The Tetley, Hunslet Road, Leeds LS10 1JQ
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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
The National Gallery, Trafalgar Square, Charing Cross, London WC2N 5DN
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
Odeon of Herodes Atticus, Dionysiou Areopagitou, Athina 105 55, Greece
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
In Fiona Anderson’s ‘Cruising the Dead River: David Wojnarowicz and New York’s Ruined Waterfront’ she examines the dilapidated and abandoned piers and warehouses on the waterfront of 1970s/80s New York, considering these places not only as those of queer space but also of queer time; the cruising that occurred within them as preservationist, an activism against the demolishment of queer histories - an archiving of sorts. Review by Tess Charnley
John Hansard Gallery, 142-144 Above Bar St, Southampton SO14 7DU
The current Covid-19 pandemic has thrown the art world into a fight for relevancy that, as galleries and museums have had to close their doors, reveals the limits of their techie expertise. Many face new challenges, but the technophilic, literate, and adept are of course out there. David Blandy is one such case, and two new video works by Blandy, commissioned by John Hansard Gallery, reflect on the current crisis. Review by Stan Portus
Lundahl & Seitl, online
The app 'Symphony of a Missing Room' attempts to frame the museum as a site of collective imagination, a palimpsest that stores the voices of its visitors past and present. Based on a guided tour artists Lundahl & Seitl have been staging in galleries for the past 10 years, it allows you to participate in an immersive artwork at home with a friend. Review by Kirsty White
Galerie Lelong & Co. and P·P·O·W (online)
Proposed by Carolee Schneemann in the last year of her life, ‘Irrigation Veins: Ana Mendieta & Carolee Schneemann, Selected Works 1966 – 1983’ is a compelling exhibition of two canonical artists who sought to explore their embodied relationship to the land and its history through the body as material. Considering their inclusions in influential essays by Lucy Lippard and Gloria Feman Orenstein, as well as exhibitions at A.I.R. Gallery, the first artist-run gallery for women artists in the United States, it is remarkable that Mendieta and Schneemann have never been placed in direct dialogue. Review by Aileen Dowling
VITRINE, London, 15 Bermondsey Square, London SE1 3UN
Nicole Bachmann in conversation with Alys Williams on the occasion of her solo show ‘full stop slightly high’ at VITRINE, London.
LADA
LADA is delighted to present this online screening of Z, a new performance film by Keith Khan.
Serpentine Gallery, Kensington Gardens, London W2 3XA
On the wall of a lobby, against a deep red velvet backdrop, a prophetic message welcomes the visitor: ‘In our splendid universe, motion pictures mirror our reality’. In Cao Fei’s ‘Blueprints’, different worlds merge and flip. Combining theatrical sets, photography, moving images, and her first VR work, the artist traces patterns of reality, teleporting visitors through distant territories and histories. Focusing on the district of Jiuxianqiao in Beijing, where the first Chinese computer was invented, the exhibition offers local perspectives of contemporary technological developments in China, mapping feelings that resonate globally. Review by Giulia Civardi
External Pages
You are browsing the internet at different speeds, across temporalities. You take a deep dive in the realm of ‘BLACK MEME’, encountering material you are surrounded by every day. A journey curated by Legacy Russell. Review by Clara Nissim
Kerlin Gallery, Anne's Ln, Dublin 2, D02 A028, Ireland
Cunnane produces striking images of the built environment, brand new and abandoned buildings, plants, the sea, the lie of the land, a frosty morning, a cloud of mist, Siobhán sitting in the back seat of a car (her face half hidden behind clenched-up fists), a bruised arm and a burning truck. His pictures show that he possesses an extraordinary capacity to see the remarkable and the mundane in the things around him, as well as a knack for embodying such contradictory characteristics in his work. Review by John Gayer
“I am intuitively attracted to organic forms, maybe because they give the illusion of spontaneity, while carrying an essentially encoded system inside. I often have a feeling that these prolific bodies grow by themselves, as if the materials would have some preordained forms secretly coded within, and I was just conforming to their attitudes. For me the excavation of these forms is like a kind of autopsy - the shapes bubble over as the insides of mankind.” Zsófia Keresztes interviewed by Sonja Teszler
