Mother's Tankstation, 26 Holborn Viaduct, London EC1A 2AT
Though it appears brittle, the Greyhound is strong and quick, its structure contradicts its force. Similarly with Maria Farrar’s paintings, lines become not just convenient structure, but a directional thing-in-itself. Review by Alex Bennett
The Bower 'Ladies', Unit 1, Brunswick Park, Camberwell, London, SE5 7RH
__large.jpg)
Made from seemingly hours painstakingly trawling through the South West Film and Television Archive based in Plymouth, Frances Scott’s exquisite film work, ‘Diviner’, marks the inaugural outing for newly opened exhibition and event space, The Bower. We are presented with an opulent 23 minute-long work which uses the short documentary, ‘Diviner Water in Luppitt’ (1976), as a locus for a broader sociological investigation. As a diviner might predict the future or locate water, Scott’s acute dexterity to hone the archive both realises and relinquishes the agency within; here her ability to re-appropriate the past negotiates a space for the present day to find shelter. Review by Sophie Risner
National Gallery, Trafalgar Square, London WC2N 5DN
Looking at some of Cole’s earliest American landscape paintings, made after his move to New York from Philadelphia in 1825, the contrast is arresting. The Edenic quality of his scenery is hard to miss. There’s a quiet stillness to paintings like ‘View of the Round-Top in the Catskill Mountains’ (1827), in which the landscapes seem both fresh and undisturbed; not only are they new to Cole – and “new to Art”, as he writes in his journal – but they seem somehow newly created, as if the painting’s mists were rising from a just-finished topography. Review by Rowland Bagnall
Renata Fabbri Gallery, Milan
In her text "Perhaps cultivating touch can still save us" Luce Irigaray proposes a contraposition between sight and touch...
Handel Street Projects, 14 Florence Street, London N1 2DX
Graham Gussin’s The Mary Jane Paintings are illegal. They aren’t illegal in the same way that the art market is increasingly criminal, such as how the sale of da Vinci’s Salvador Mundi was called ‘the biggest art fraud in history’ or how works of art featured heavily in the Panama Papers as vehicles for tax evasion and other financial crimes. Instead, they are directly illegal; made from hashish that has been ground down, mixed with linseed oil and applied to linen and paper. Review by Matthew Turner
LADA
A film documenting Fyodor Pavlov-Andreevich’s performance ‘Foundlings’ where he present himself naked, in a glass box to high profile art gala’s around the world.
Sainsbury Centre for Visual Arts, University of East Anglia, Norfolk Road, Norwich NR4 7TJ
__large.jpg)
Stained glass artist Brian Clarke can remember when the Sainsbury Centre for Visual Arts was merely a sketch on the back of a napkin. The napkin belonged to architect Norman Foster, and the sketch utilised a unique approach - integrating building with landscape - using the style of structural expressionism. Considering this integration, it would seem fitting that the ‘finally-celebrated’ artist should take advantage of the centre’s grand windows. Review by Paul Black
Tramway, 25 Albert Dr, Glasgow G41 2PE
In a discussion about his work the late Chilean experimental filmmaker, Raúl Ruíz, said that his ‘films would have to be seen many times, like objects in the house, like a painting…’, that ‘landscape is used as a story’ and that he sought to draw upon ‘connections between film, installation, writing, theatre’ that in his extensive body of works, including the theoretical text ‘Poetics of Cinema’, made between 1963 and 2010, could be described as a nesting of stories, residing within each other, and of stories co-existing; of narratives, often fragmented and elliptical, and their layering together. Review by Alex Hetherington
Diep-Haven
diep~haven is a festival taking place over 175 days, made up of 13 venues (including a ferry)
Chisenhale Gallery, 64 Chisenhale Rd, London E3 5QZ
When A Fire Circle For A Public Hearing opened at Chisenhale Gallery last April, it was quite frustrating to learn that Paul Maheke was not going to perform live for the whole duration of the exhibition. Despite being completely absent from the stage, Maheke’s body is still present through a video work that plays on a continuous loop. Review by Fiorella Lanni
Turf Projects, 46-47 Trinity Court Whitgift Centre, Croydon CR0 1UQ
The exhibition’s text opens with a quote from the film Dawn of the Dead, where a group of survivors find refuge from the zombie apocalypse in a shopping mall. The exhibition seeks to problematize our reliance on technology and looks for alternative forms of survival, asking ‘What tools might expedite shopping mall survivalism?’ For Turf projects, who are being evicted from this space at the Whitgift at the end of the year to make way for a shiny new Westfield, the question of survival has never been more urgent. Review by Amy Jones
Josh Lilley Gallery, 44 – 46 Riding House St, Fitzrovia, London W1W 7EX
.1527771021435__large.jpg)
Brian Bress has long been casting characters, almost always himself in costume, into videos carefully composed with subtle pathos. In these, the modes have grown more sophisticated with focus on the narrow confines of portraiture of tightly framed figures, their goofy attitude streamlined into more elegant displays with the scale of each character’s body relative to our own. Review by Alex Bennett
www.barnebys.com/
Attention museum goers, culture vultures and art lovers! For those who understand the power of art and design, the importance of cultural heritage and art in our society, we’d like to draw your attention to the powerful connection between the art world and the auction world of which Barnebys both embodies and emanates.
