Viewing articles from 2016/10

Cell Project Space, 258 Cambridge Heath Rd, London E2 9DA

Aude Pariset: GREENHOUSES

Stallion Dad

In her first UK solo show, Aude Pariset critiques the systems that perpetuate human damage on the environment and floats potential solutions via home-manufactured bioplastics and living sculptures that evolve for the duration of the exhibition. Review by Jessie Bond

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Neuer Berliner Kunstverein, Chausseestrasse 128/129, 10115 Berlin

Halil Altındere: Space Refugee

Halil Altındere, 3 Cosmonaut Family Costumes (2016), Muhammed Ahmed Faris with Friends I - II  (2016);  exhibition view  Space Refugee,  Neuer Berliner Kunstverein, 2016

In light of European defence against immigrants, Halil Altındere proposes - at some ironic distance - to use the cosmic space as a haven for refugees. This vision of a life in space for the refugees is illustrated with specially designed spacesuits from a fictitious “Palmyra”-space mission, a planetary rover and a virtual reality video.

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Phoenix, 4 Midland Street, Leicester, LE1 1TG

Kitty Clark: Mr. Nobody

Kitty Clark: Mr. Nobody, installation view at Phoenix, 2016

Kitty Clark presents an oculus rift virtual reality experience at the centre of a series of sculptures and projection works. Mr. Nobody, the central figure in the installation, suffers from Technostress, a term coined to describe the negative psychological relationship between people and new technologies.

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Photoworks, 154-155 Edward Street, Brighton, England BN2 0JG

Brighton Photo Biennial 2016

The Smarteez, Joburg style battles series 2012© Daniele Tamagni2012

A more illustrative title for this year's Brighton Photo Biennale - arguably UK's most important photography festival - could easily have been 'Identity, Portraiture, Self-Expression'. All three subjects are intertwined together in every BPB exhibition across the city as the representation of the body is approached through key themes, such as sexuality, gender, race and age. Review by Aris Kourkoumelis

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House of Egorn, Schöneberger, Ufer 51 10785 Berlin | House of Egorn 13-19 Herald St London, E2 6JT

The Bullet Returns to Where the Shot was Fired

The Bullet Returns to Where the Shot was Fired, installation view at House of Egorn, London, 2016

This two-part show is sufficiently complex and self aware to acknowledge its complicity without being curtailed by it. The exhibition takes its name from Hito Steyerl’s performative lecture ‘Is the Museum a Battleground’, delivered at the 2009 Istanbul Biennial, in which Steyerl seeks to makes visible the ties which connect the art world to violent conflict via global capital. Review by Laura Purseglove

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Barbican Centre, Silk Street, London EC2Y 8DS

Bedwyr Williams: The Gulch

Bedwyr Williams, The Gulch, The Curve, Barbican

Entering the Curve through a pair of sand dunes and hustled into a small central corridor, a series of objects meet you – wigs and rocks, a tiny Games Workshop-esque model of the artist, a baseball jacket featuring a goat mascot who invites you to 'ruminate!' Tessa Norton reviews Bedwyr Williams' large scale work 'The Gulch' at the Barbican.

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The Sunday Painter, 12-16 Blenheim Grove, London SE15 4QL

Piotr Lakomy: Room Temperature

Room Temperature installation view, The Sunday Painter, London, 2016

The title of Piotr Lakomy’s exhibition at The Sunday Painter – ‘Room Temperature’ – prefaces the human body as both a starting point and remnant of its display. A ‘comfortable’ ambience of twenty degrees centigrade is at odds with the body’s thirty-seven, and it is this tension between comfort and discomfort, absence and presence, which lingers in the air. Review by Joseph Constable

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Seventeen, 270-276 Kingsland Road, London E8 4DG

Lonesome Wife

Lonesome Wife, Seventeen, installation view

This autumn Seventeen presents ‘Lonesome Wife’, an imaginative and seductive exhibition displaying the work of nine multiform artists. Taking the focal point of being a show about text but without the text, curator Attilia Fattori Franchini edifies the character of William H. Gass’ (1968) novel ‘Willie Masters’ Lonesome Wife’, by using installation, painting and photography. The unseen text is brought to gallery visitors through abstract, visual props that are as gentle and subtle as they are fetishistic and nasty. Review by Phoebe V. Bradford

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Chewday's, 139 Lambeth Walk, London, SE11 3EE

Bryan Dooley: Public Death

Bryan Dooley, NP, 2016 [detail]

Public Death is the theatrical result of Bryan Dooley's research into dormant patents, currently owned by Google, designed to move data farms out to sea. Dooley’s installation plays on themes of circulation, cultural signification, technological progress, and inevitable disaster.

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Frutta, Via dei Salumi, 53, 00153 Rome

Marco Giordano: asnatureintended

Marco Giordano: asnatureintended, installation view at Frutta, 2016

Marco Giordano presents jesmonite panels with lenticular prints, ceramic heads and an installation made out of silicon in his solo show at Frutta’s new space.

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Cardiff Contemporary 2016, Between 7 and 8 High Street, Cardiff CF10 1AW

Artist Interview: Roman Štětina

Shave and a haircut - two bits (film still), Roman Štětin, 2016. Courtesy of the artist

‘Shave and a haircut - two bits’ is a new site specific installation by Czech artist Roman Štětina, on view from 21 October - 19 November, via a corridor between 7 and 8 High Street, as part of the city wide visual arts festival Cardiff Contemporary. Curated by Louise Hobson, this will be Štětina’s first exhibition in Wales.

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Arsenal Contemporary Art, 2020 Rue William, Montréal, QC H3J 1R8

Jon Rafman: Arsenal Montreal

Jon Rafman Erysichthon, 2015 Video

At the heart of this winding installation an Oculus Rift virtual reality piece disorients the viewer, transporting them from gallery to imagined landscape.

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