Sofia Hallström

Ghanaian painter Amoako Boafo has had a meteoric rise in the art world over the past couple of years – thanks, in part, to his eyebrow-raising commission of three portraits which were sent into space on Jeff Bezos’s rocket ship in 2021. Tech bros aside, Boafo is interested in subverting Western views of Africa and the diaspora through his brightly coloured oil and paper transfer paintings, and is becoming recognised for his portraits and figurative works. In some pieces, the figures elegantly recline, in others, they sit contemplatively, always with their eyes transfixed on the viewer. Inspired by Adaobi Tricia Nwaubani’s novel, I Do Not Come to You by Chance, this exhibition at Gagosian will be Boafo’s first solo show in the UK.

Celebrated Korean-born, London-based artist Do Ho Suh will be the subject of a new Tate Modern exhibition opening in April. His work explores themes of globalisation and belonging, establishing him as a key figure in contemporary conversations on space and identity. Characterised by intricate, life-sized translucent fabric installations of interior spaces and objects, freestanding in space and held together by thin metal poles, Suh draws from experiences of migration – the works represent places that Suh has either lived or worked in, exploring the emotional and personal significance of the home in a time of global displacement. This exhibition at the Tate Modern will showcase his work across three decades, including brand-new, site-specific works on display.  

Regarded as one of the UK’s most influential contemporary artists, this new exhibition at Tate Britain surveys Ed Atkins’ career to date, showcasing 15 years of work spanning computer-generated videos, animations, sculpture, installation, sound, painting and drawing. At the heart of it is a series of 700 drawings on Post-It notes, each delicately stuck in place by its adhesive strip, arranged and framed in grids. The intimate sketches – sometimes in coloured biro, sometimes in graphite – range from messages of devotion (‘I love you x’) to surreal images, like a bird’s claw clutching a log, a giant match struck between two terrified faces and a human mouth revealing a sharp canine tooth. Created for his daughter during the 2020 Covid-19 lockdown, Atkins describes the on-going Post-It drawings as ‘the best things I’ve ever made’, and you can sense the deep affection and care that went into making them. These heart-warming works serve as emotional anchors, showing the deeply personal yet universal concerns that underlie Atkins’ broader exploration of technology and identity.  Throughout the exhibition, Atkins’ voice is unmistakable. He even writes the wall labels in the first person. In many of his video works, Atkins is represented by digital avatars in life-like renders, as visitors are guided through a landscape of CGI projections, installations of moving bed sheets, corridors of period costumes hanging on clothing racks and a muted 24-hour television broadcast of Sky News. H