Viewing articles from 2016/11
Serpentine Sackler Gallery, West Carriage Drive, London W2 2AR
There’s no cosy welcome at ‘Drunk Brown House’, Helen Marten’s solo exhibition in the Serpentine Sackler Gallery. The iron framework filling the entrance acts as a gate, its outline of a hand holding a knife carves up the gallery, invoking an act of violence to tame the challenging space. Review by Tessa Norton
The Showroom, 63 Penfold St, Marylebone, London NW8 8PQ
In ‘Mafavuke’s Trial and Other Plant Stories’, Uriel Orlow proposes the concept of botany as a political sphere, where vegetation and plant life emerge as instruments of political agency, both in colonial and post-colonial contexts. Review by Ruth Hogan
Guggenheim Museum Bilbao, Abandoibarra Etorb., 2, 48009 Bilbo, Bizkaia, Spain
‘Francis Bacon: From Picasso to Velázquez’ at the Guggenheim Museum Bilbao is conceivably one of the most significant Bacon exhibitions to date. It features a number of works on which little is known and some that have never been exhibited. Review by Dr Rina Ayra
Tanya Leighton, Kurfürstenstraße 156 & 24/25, 10785 Berlin
Borna Sammak’s unique approach to mining contemporary culture – translated into video, sculpture and painting – often amounts to an overwhelming, nearly illegible accumulation of the stuff that surrounds us. If contemporary life feels cluttered, Sammak asks just how much overstimulation we are willing to slog through to find meaning that makes sense to us.
Annka Kultys Gallery, 472 Hackney Road, Unit 3, 1st Floor, London, E2 9EQ
Comfort Zone brings together Molly Soda's exploration of how instant messaging, constant sharing, retweeting and ranking through likes, invades and permeates our lives today. All these technologies profoundly affect our concept of human identity and the relationship between the public and the private realms.
‘DVD is Dead’ is a video channel hosted on Instagram, and October 2016’s resident artist was Zarina Muhammad, whose practice exhibits an inherent understanding of the ubiquity of the screen whilst incorporating self-evaluation and cultural critique in the form of print, video, installation, and digital collage. Text by Trevor H. Smith
Palais de Tokyo, 13 Avenue du Président Wilson, 75116 Paris
For his Palais de Tokyo ‘Carte blanche’ exhibition Tino Seghal his filled the space with six of his own works as well as works by Felix Gonzalez-Torres, James Coleman, Daniel Buren, Isabel Lewis, Pierre Huyge and Philippe Parreno. Review by Elli Resvanis
Jerwood Visual Arts, Jerwood Space, 171 Union Street, Bankside, London SE1 0LN
The five artists exhibiting in ‘Jerwood Open Forest’ are part of a long line of environmentally engagement practice. They open new ways of thinking about urban industry, poetry, loss, technology, stories and historical connections. Review by Jillian Knipe
Kunstverein Harburger Bahnhof, im Bahnhof über Gleis 3 & 4, Hannoversche Straße 85, 21079 Hamburg
Christopher Kulendran Thomas’ family is from a place that no longer exists. For three decades during the Sri Lankan civil war, “Eelam” was self-governed as an autonomous state led by a neo-Marxist revolution.
David Zwirner, 24 Grafton Street, London W1S 4EZ
While Rauch is a household name in his native Germany, with a considerable international reputation, ‘Rondo‘ is his first major UK show. And it is about time this most fascinating of contemporary figurative painters was introduced to the British public. Review by Katharina Günther
Gillett Sqaure, London
Domobaal, 3 John St, London WC1N 2ES
There is a strong sense of the theatrical running through Lothar Götz’s solo show at Domobaal gallery. The murals and individual works are made of bright harlequinesque colours and designs. There are long PVC curtains with silkscreen printed disks that cover the windows and block out natural light. A purpose built wall breaks into the space and serves as both a stand for paintings while also subtly forcing the viewer to enter the room from the right, as if entering a stage. Review by Betsy Porritt
De Hallen Haarlem, Grote Markt 16, Haarlem, The Netherlands
Cécile B. Evans, whose work focuses on the relationship between humans and technology, transforms De Hallen Haarlem into an immersive environment with her eponymous video work What The Heart Wants.