Thomas Dane Gallery, 3 & 11 Duke Street St, London SW1Y 6BN
Powerful and erotic imagery is embedded within the painted skins of Cecily Brown's work. Piers Masterson reviews her solo exhibition 'Madrepora', Brown's first at Thomas Dane's St. James' gallery.
MOCA, 250 South Grand Avenue, Los Angeles, CA 90012
In this Vertovian factory of pure light, our bodies kill, are killed, respawn, fight, pop, lock, and boogie. Review by Hyunjee Nicole Kim
Pippy Houldsworth Gallery, 6 Heddon Street, London W1B 4BT
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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
Rue des Sablons 6, 1205 Genève
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.
James Fuentes, 55 Delancey Street, New York, NY 10002
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.
Stuart Shave/Modern Art, 4-8 Helmet Row, London EC1V 3QJ
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'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
Petzel Gallery, 456 W 18th Street, New York 10011
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
Hauser & Wirth, 23 Savile Row, London W1S 2ET
Piers Masterson reviews Mike Kelley's large-scale installation at Hauser & Wirth, exploring issues surrounding the reproduction and dissemination of cultural heritage.
Arsenal Contemporary Art, 2020 Rue William, Montréal, QC H3J 1R8
At the heart of this winding installation an Oculus Rift virtual reality piece disorients the viewer, transporting them from gallery to imagined landscape.
Public Exhibitions, Black Gates, Hassard Street, London, E2 7RD
Public Exhibitions proudly presents a physical solo show and an online exhibition by Kitty Clark, curated by Valentina Fois.
H.M.Klosterfelde Edition, Berlin
In their first joint solo exhibition, artists Cécile B. Evans and Yuri Pattison revisit the Eames’ legendary collaboration with the computer company IBM.
Capitain Petzel, Karl-Marx-Allee 45, 10178 Berlin
The second solo exhibition by Sarah Morris at Capitain Petzel, Berlin, Cloak and Dagger, sees a new and recent films and paintings examine the fictional, internal and external architectural landscape inhabited by Fritz Lang who directed the film noir classic, Cloak and Dagger, from which the exhibition gets its title.
DREI, Hochköppeler Pürling GbR, Arndtstrasse 4, D-50676 Cologne
Christian Freudenberger‘s works feature recurring fragments of a collective inventory of images with already inherent aesthetic purposes – comics, company logos, technical everyday objects which are steadily compiled and archived, serving as the basis for tableaus that, during the image finding process, are reduced up until a point at which the fine line between narrative motifs and total abstraction sways back and forth.
