The lighting, music and layout are such key parts of Richard Sides' work that 'Invisible World' is an exhibition to experience rather than see. João Abbott-Gribben reviews Sides' solo show at Carlos/Ishikawa gallery in London.
Whether affixed to other structures or lolling on the floor, Dean's oversized, weighty and flaccid things convey the muscular effort of communication, pushing forward an idea of language as material process and bodily struggle. They return, heaped on the floor, in ‘Sic Glyphs’, an exhibition of new work by Dean currently on display in the South London Gallery, an exhibition for which the artist has been nominated for the Turner Prize. Luke Naessens reviews
The Museum of Contemporary Art San Diego (MCASD) fills its Downtown location with works by artist Do Ho Suh, featuring large-scale architectural installations, sculptures, works on paper and video. Operating within a distinctly twenty-first century global mode, Suh crafts evocative works that reflect ideas of home, identity, and personal space.
Less interested in a prescriptive rhetoric on consumer culture than exploring how the poetic and the personal can be addressed under contemporary conditions, Beveridge sits on the line between ambivalence and celebration – investigating a fascination between the lure of consumer images and objects and the values that they preserve and perpetuate.
Farah's paintings stitch together personal histories, techniques, materials and diverse frames of reference, all underscored by the history, geography and politics of ownership, gender, labour and production. Review by Anneka French
Yves Zurstrassen’s work is always moving, going from lyrical abstraction to abstract expressionism and vice versa. The Belgian artist develops a singular creating process and uses a very particular technique that reflects the desire to go beyond temporality.
Jessica Dickinson’s work in her current exhibition, ARE: FOR + remainders, currently on view at James Fuentes, New York, focuses on the sensations of time, light, and matter within shifting philosophical, perceptual and psychological states. Working with oil paint and various tools on a plaster-like ground, various additive and subtractive actions of countering speeds and pressures are layered, from repetitive marking to aggressive chiseling. These procedures draw their direction from a specific period and poetic sequence of events, where abrupt change is intertwined within daily time.
'Thames Water' continues Deshayes' idiosyncratic use of industrial materials and processes by positioning cast iron sculptures that function as radiators around the perimeter of the gallery. Review by William Rees
Regularly describing his own work as a form of fan art, Simon Denny’s practice revolves around new technology narratives: from Kim Dotcom to the NSA. In ‘Blockchain Future States’, he takes on the enigmatic Satoshi Nakamoto as his subject. Review by William Rees