Holt/Smithson Foundation (online)

Nancy Holt and Robert Smithson: Friday Film Programme

Nancy Holt and Robert Smithson shooting film at the site of Smithson's earthwork Broken Circle/Spiral Hill, Emmen, The Netherlands (1971)

Nancy Holt and Robert Smithson are two key figures in earth, land, and conceptual art, pioneering some of the most influential site-specific installations and video work in the 20th century. As many galleries and museums are continuing to find new digital means of presenting their programme, the Holt/Smithson Foundation launched a weekly film programme of both artists’ most iconic films alongside lesser known works with each available for just 24 hours. Throughout the series we see each artist in a new light, framed around the early experimental energy of video art as they explore artistic collaboration and themes of presence and absence against the backdrop of their monumental earthworks. Review by Aileen Dowling

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Schinkel Pavillon, Oberwallstraße 1, 10117 Berlin, Germany

John Miller: An Elixir of Immortality

Installation view, An Elixir of Immortality, John Miller, photo: Andrea Rossetti

The first retrospective of John Miller’s work in Germany, ‘An Elixir of Immortality’ provides a comprehensive overview spanning from the 1980s to the present. Exhibited at Schinkel Pavillon is a divergent and at times incongruous body of work, including sculpture, video and painting. Miller refuses to be pigeonholed or swiftly pinned down, punctuating his work with a beat of wry humour along the way. Review by Eva Szwarc

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Cole Projects, London and online

Ritual For A New Regime

Ritual For A New Regime

During the silence of lockdown, questions about how the pandemic would affect the development of cities began to circle frantically. While established models threatened to crumble, in the property world, planning restrictions were relaxed to encourage building and accelerate development. In an ex-military site in north London, curator Camilla Cole has made use of this transitional period for a new project that reflects upon the current, peculiar moment in history. Review by Gabriella Sonabend

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Cammie Staros: Becoming Whilst Dissolving

Cammie Staros, Eros and Anteros, ceramic, MDF, epoxy, paint, 48 x 20 x 40 inches, 2017

For Los Angeles-based Cammie Staros, Greek antiquities are an anchor and a point of departure from which to deconstruct visual language and forge alternative systems of representation. Staros uses the pot to talk about the way we relate to Western art history, to the context of the modern museum and to the departure from restrictive historical narratives. Text by Gabriella Sonabend

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Pippy Houldsworth Gallery, 6 Heddon Street, London W1B 4BT

Painting with Light: The Photography of Ming Smith

Ming Smith, Trio in Gambela, Ethiopia, (1973/2003), archival pigment print, 40.6 x 50.8 c

Smith's photographic style is candid street photography, expressive rather than direct documentation. Embedded within her photographs is emotion, feeling, and life enhanced by the precise colour and light that forms each composition. Review by Sheena Carrington

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Black Lives Matter: A Statement of Support

Black Lives Matter. A Statement of Support. ‘this is tomorrow’ stands in solidarity with the Black Lives Matter movement. We are saddened by the pain and anger we have seen erupt since the killing of George Floyd, and numerous other black people, by police and other state forces. Part of this frustration comes from the continuing refusal of power structures to create lasting change and represent the society that we would all like to live in: one that is fair, respectful, equal, kind and places no person above the law. When thinking about our editorial approach we are committed to continuing to cover as wide a range of voices of possible but to also build on that by working even harder to cover work that highlights the ongoing fight that marginalised people and groups face. Lastly we would like to more concretely state that we reject racism, fascism in any form, as well as condemning all police and state brutality.

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Nothing gentle will remain: Interviews with Paul Maheke and Naïmé Perrette

Naïmé Perrette, Have you felt that vertigo, when you no longer know what is close?, digital collage, from Tree Landing, with texts by Sara Gianini, 2020

'Nothing gentle will remain' is an online publication that invites artists and audiences to speculate on how we gather together, both now and in the future. The projects’ curators discuss what it means to make work about collective gathering during these unprecedented times with contributing artists Paul Maheke and Naïmé Perrette. Interviewed by Titus Nouwens, Nora Kovacs and William Rees

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Josh Lilley, 40 - 46 Riding House Street, London W1W 7EX

Tom Anholt: Notes on Everything

Tom Anholt, installation view

Anholt is as much a raconteur as a painter. There are not many contemporary artists, or writers for that matter, who can set a scene better. Figures plucked from his reverie traipse across the canvas in technicolour pyjamas like lost sleepwalkers in scenery that resembles a psychedelic underworld. Review by Ted Targett

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Camden Art Centre, Arkwright Rd, London NW3 6DG

The Botanical Mind Online

O, you happy roots, branch and mediatrix (screen 1)

‘The Botanical Mind: Art, Mysticism and The Cosmic Tree’ was originally intended to be an in-house group exhibition at Camden Art Centre. Instead, the spread of COVID-19 and the closure of public gallery spaces saw the show move to the digital realm and become ‘The Botanical Mind Online’. The exhibition is hosted at botanicalmind.online, which serves as both the main space to read about the themes and topics of the show, and the central repository for a number of digital offerings, from videos, sound recordings, and podcasts to texts. Review by Aidan Kelly Murphy

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The Tetley, Hunslet Road, Leeds LS10 1JQ

Taus Makhacheva: Hold Your Horses

Taus Makhacheva, ASMR (Autonomous Sensory Meridian Response) Spa, 2018.

When The Tetley gallery in Leeds opened Taus Makhacheva’s exhibition ‘Hold Your Horses’, the world was still aggressively galloping forward. No one knew that in a month’s time the pandemic stasis would impose the idiom’s meaning on life as we know it. Yet, the works included in the exhibition explore several themes that seem to be critical at this point. Review by Jaroslava Tomanova

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The National Gallery, Trafalgar Square, Charing Cross, London WC2N 5DN

Backlit: On Visiting The National Gallery, London from Home

Room 11 at The National Gallery, London

Since the lockdown announcement on the 23rd March, galleries and museums across the UK have been emphasising the scope and availability of their digital collections, encouraging the public to engage with high-resolution reproductions of their artefacts online. Considering the work of art in the age of digital reproduction may not be a new phenomenon. And yet, the enthusiasm with which many institutions have been vocalising the accessibility of their archives on the Internet raises the volume on several important questions regarding the significance, if any, of the artwork as a physical, encounterable object, and the responsibility of museums to ensure that their collections are available online. Review by Rowland Bagnall

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Odeon of Herodes Atticus, Dionysiou Areopagitou, Athina 105 55, Greece

Dionisis Kavallieratos: Disoriented Dance / Misled Planet

Installation view Disoriented dance / Misled planet, Pitchers

Oh, it feels good to be back looking at art. Standing in the open air of this historic site, Dionisis Kavallieratos’s ‘Disoriented Dance / Misled Planet’ feels like exactly the right show to be seeing at this moment. It’s playful, gentle on the mind and easy on the eye, contemporary, but riffing on ancient themes, challenging, but not too much so. Review by William Summerfield

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