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Painting is back in vogue at the giant art fair. But it’s superficial and silly rather than sleazy and shocking. The Masters section is where the work to lust over is – with an actual space rock for sale
Hospital diary ⦠Tracey Emin, We All Bleed, 2020 Photograph: Image courtesy Tracey Emin (2020)
Hospital diary ⦠Tracey Emin, We All Bleed, 2020 Photograph: Image courtesy Tracey Emin (2020)
Thu 13 May 2021 01.00 EDT
Last modified on Thu 13 May 2021 10.40 EDT
âIâm smiling and talking to you,â says Tracey Emin, sitting at her kitchen table. âBut itâs not always like this.â Weâve been delaying this conversation until she finally felt well enough. She has been spending a lot of time in bed, just resting. On the phone, she sounded weak, but today she is indeed smiling, getting excited as she speaks â the Tracey who I have been fortunate enough to get to know.
Having made a splash in 2020 with her magical exhibition
I Am Not the Only One but Many, at Mayfairâs ritzy Massimo De Carlo gallery, Korean artist Yee Sookyung has further solidified herself as a pioneer of porcelain ceramics. Harnessing the ancient craft of
Kintsugi â the art of rejoining broken pottery pieces back together with 24K gold leaf â the 58-year-oldâs captivating works earned her a feature in
Tatler Hong Kong in 2018, after her
coup de mâitre at the 57th Venice Biennale.
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