Artist Interview: Lubaina Himid

Interview: Lubaina Himid

Lubaina Himid

Ahead of tonight's Turner Prize winner announcement, which she is odds on to win, Cleo Roberts, art historian and research associate at Wolfson College, University of Cambridge, interviewed Lubaina Himid to find out more about her practice, research process and the intricacies of her visual language.

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Zabludowicz Collection, 176 Prince of Wales Rd, Belsize Park, London NW5 3PT

Zabludowicz Collection Invites: Beth Kettel

Beth Kettel, The Mist of a Pessimist, 2017. Live performance as part of Zabludowicz Collection Invites solo exhibition.

It’s a game show but unlike any you’ve ever seen. Three contestants file wordlessly onto the small stage— animal, human and machine. Familiar and strange, they face the audience. The animal wears a mask, detailed enough to identify it but vague enough to remain unspecific. Review by Kaitlyn Kane

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Assembly Point, 49 Staffordshire Street, London SE15 5TJ

Jemma Egan: Turning to Dust

Turning to Dust, 2017, Jemma Egan. Installation View

For this outing Jemma Egan displays five works unpacking the narrative of a wellness industry which is fast bedding down as a canonical part of our postmodern obsession with the self. Review by Sophie Risner

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Matthew Marks Gallery, 523 W 24th St, New York, NY 10011, USA

Gary Hume: Mum

Ripe

Matthew Marks is pleased to announce Gary Hume: Mum, the next exhibition in his gallery at 522 West 22nd Street. This body of work focuses on a range of subjects, but at its core is a suite of highly personal paintings about memory and loss. Hume’s mother is 86 years old and suffers from dementia. And while the ostensible subjects of many of the new paintings are flowers, their titles — Mourning, Spent, Blind — reflect Hume’s thoughts of her.

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Museum of Contemporary Art San Diego, 1100 Kettner Blvd, San Diego, CA 92101, USA

Memories of Underdevelopment: Art and the Decolonial Turn in Latin America, 1960-1985

Installation view of Memories of Underdevelopment: Art and the Decolonial Turn in Latin America, 1960-1985

Memories of Underdevelopment is set within the context of Latin America during the 1960s to 1980s, a period that coincides with both the apex and unraveling of the developmentalist project in many countries in the region, most notably Brazil, Argentina, Venezuela, and Mexico. In contrast to dominant ideologies that guided the modernization process in these countries, Memories of Underdevelopment traces the emergence of a distinct set of artistic practices that questioned the developmentalist rhetoric and proposed alternative forms of cultural production that responded to this situation of cultural and economic dependency.

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Camden Arts Centre, Arkwright Road, London NW3 6DG

Nathalie Du Pasquier: Other Rooms

 Installation view of Nathalie Du Pasquier: Other Rooms at Camden Arts Centre, 2017.

Self-described as a painter of still lives ‘who makes her own models’ – carefully colour toned, modular, geometric constructions – Du Pasquier has taken two gallery rooms as her field of composition for a new body of work that comes together as a comprehensive, if many sided, installation. Review by Hannah Newell

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Calvert 22, 22 Calvert Avenue, London E2 7JP

Dmitri Prigov: Theatre of Revolutionary Action

Dimitri Prigov. Theatre of Revolutionary Action, Installation view, 2017.

‘Russia,’ a 2004 media-opera, like much of Prigov’s work that spans drawing, installation, performance, poetry and sculpture tests the limits of language and meaning, while exploring the complex legacy of Russia’s socialist project and its eventual unravelling. Review by Anya Smirnova

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Chisenhale Gallery, 64 Chisenhale Rd, London E3 5QZ

Hannah Black: Some Context

Hannah Black, The Situation (2017). Commissioned and produced by Chisenhale Gallery.

Articulation and destruction, ambiguity and obligation, specificity and dissolution, singularity and collectivity – their various interchanges and struggles, become descriptors for Hannah Black’s ‘Some Context’. Review by Alex Bennett

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Kunsthalle Wien, Museumsplatz 1 1070 Vienna

Florian Hecker: Hallucination, Perspective, Synthesis

Installation view: Hallucination, Perspective, Synthesis

Florian Hecker uses synthetic sounds and the listener’s auditory process to create acoustic spaces of experience. His computer-generated compositions dramatize psychoacoustics as well as objective-physical stimuli and their individual, psychic and physical impacts.

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DHC/ART Foundation for Contemporary Art, 451 Rue Saint Jean, Montréal, QC H2Y 2R5

Bill Viola: Naissance à rebours

Still from Ascension 4

The presentation at DHC/ART brings together a collection of video works by artist Bill Viola. Four flat panel video works as well as a projection piece are presented alongside Viola's most recent major installation, Inverted Birth (2014). This monumental projection depicts the five stages of awakening through a series of violent transformations, exploring the very nature of our existence: life, death, birth, and rebirth.

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Jack Shainman Gallery, 513 West 20th Street, New York, NY 10011

Nina Chanel Abney: Seized the Imagination

Nina Chanel Abney: Seized the Imagination installation view 2017

There seems to be a dichotomous relationship between specificity and standardization at play in Seized the Imagination. While occasional zeitgeist-adjacent signifiers prove easy to recognize, the activity afoot isn’t immediately identifiable. Review by Torey Akers

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Gió Marconi, Via Alessandro Tadino, 20, 20124 Milano

Wade Guyton: Siamo arrivati, in forma abbreviata

iPhones, cameras, computers, consumer-grade Epson printers… American artist Wade Guyton’s practice surrounds the digital universe of our daily lives. Guyton’s process-based approach consists of an apparently simple method, focused on an authorial use of technology. The limitations of a large-format Epson UltraChrome inkjet printer create stutters and miss-fires on his large-scale canvases challenging the notions of painting and photography. Review by Marialuisa Pastò

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