Maraya Art Centre, Sharjah, UAE

Between the Visible and Invisible

Maraya Art Centreis pleased to announce its upcoming exhibition, ‘Between the Visible and the Invisible’ curated by Dr. Azadeh Fatehrad

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LADA

LADA Screens - Adam Patterson

Selected as part of the 2018 LADA Screens Open Call, "Lookalook" documents a live performative walk in Bridgetown, Barbados.

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Waldo 117 Dearborn Lane Rockport, ME 04856 USA

The Infinite Image

The Infinite Image is an exhibition that brings together five impressions made from Mesopotamian cylinder seals (c.3000- c.300 BCE) with five contemporary painters who use diverse strategies to resuscitate, reactivate, and recombine art-historical images and motifs.

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Jerwood Visual Arts, London

Jerwood Solo Presentations 2018

Jerwood Solo Presentations is now in its third year and continues to provide a much needed platform for emerging artists to make and display new work.

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LADA

LADA Screens - Nicola Fornoni

Selected as part of the 2018 LADA Screens Open Call, “Overshoot Day” is a film shot in vast marble quarry, featuring artist Nicola Fornoni using his mouth to keep a glass with a drop of water in it raised in the air for an hour and a half.

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Lisson Gallery, 67 Lisson Street, London, NW1 5DA

Mary Corse

Mary Corse’s first major UK show at Lisson Gallery, London, is as much a scientific inquiry as it is art. Newtonian science extracts emotion from the situations it is used to examine, the same, by extension, could be said of its strange alter ego quantum mechanics. Review by Matthew Turner

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The Voice of the Unicorn: exploring alienation, silence and isolation of disabled artists

This article was produced in collaboration with Disability Arts Online.

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Scottish National Gallery Of Modern Art (Modern One), 75 Belford Road, Edinburgh, EH4 3DR

Jenny Saville: Trace

Jenny Saville’s paintings have always explored the insistence of corporeal mass, the fleshiness of flesh...

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Whitechapel Gallery, 77-82 Whitechapel High St, London E1 7QX

Katja Novitskova: Invasion Curves

Entering Katja Novitskova’s ‘Invasion Curves’ at Whitechapel Gallery is like stepping into the set of a science fiction film. Metallic wires, flashing lights, giant eggs and a human brain occupy the gallery space. Surrounding this landscape, floating sheets of Perspex and resin hang from the ceiling and display phrases such as ‘the right to harvest resources’, ‘we are at an inflection point’, and the title ‘invasion curves’. Review by Fiorella Lanni

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Mother's Tankstation, 26 Holborn Viaduct, London EC1A 2AT

Maria Farrar: Eaves Deep

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

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The Ryder Projects London

As Long As Summer Lasts

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The Bower 'Ladies', Unit 1, Brunswick Park, Camberwell, London, SE5 7RH

Frances Scott: Diviner

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

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National Gallery, Trafalgar Square, London WC2N 5DN

Thomas Cole: Eden to Empire, and Ed Ruscha: Course of Empire

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

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