Viewing articles from 2016/12
National Portrait Gallery, St. Martin's Pl, London WC2H 0HE
Despite the obvious limitations on subject matter and medium, the judges manage to offer a diverse range of works that chart moving personal stories and global sociocultural shifts centred mainly around issues of gender, race and age. Review by Aris Kourkoumelis
South London Gallery, 65-67 Peckham Rd, London SE5 8UH
Time marches on in Ondak's piece 'Event Horizon', a performance structure that rolls on over the duration of the 100 days of the exhibition at South London Gallery. A sliced up oak tree lies on the floor divided into 100 sections. Over the course of the exhibition, every day a piece is taken and placed on a grid of dowels mounted on the wall. Each of the tree sections has painted on to it text stating a significant event from each year. Review by Piers Masterson
The Secession, Friedrichstraße 12, 1010 Vienna, Austria
The Secession presents the work of the young American painter Avery Singer, whose innovative art effortlessly integrates references to art history and contemporaneity with an exploration of the underpinnings and mechanisms of digital media.
Carré d'Art, Place de la Maison Carrée, 30000 Nîmes, France
For this exhibition at Carré d’Art, Abraham Cruzvillegas produced new works from materials collected in the city of Nîmes. The artist's approach calls up history and self-construction within the economic, social and political contexts as he breathes fresh life into objects and alters the way we interpret them.
Australian Centre for the Moving Image Federation Square, Melbourne, Australia
In the darkened subterranean gallery of ACMI, “The Projectionist” draws the theatre curtains. Adjusting the width of the screen, the gesture is both performative and practical. “The Projectionist” announces the upcoming film and proceeds to press play.
Modern Art Oxford, 30 Pembroke Street Oxford, UK OX1 1BP
Modern Art Oxford has had its 50th anniversary this year. To celebrate its cultural conversion from the Victorian brewery that it once was in the 60s to the international gallery that exists today, a commemorative medley of exhibitions has been staged.
Whitechapel Gallery, 77-82 Whitechapel High St, London E1 7QX
Kentridge's work combines a complex and theoretically rigorous reading of 20th century art and history with a level of artistic virtuosity that can be equally appreciated by traditionalists. Review by Luke Naessens
Bosse & Baum, Copeland Estate, 133 Copeland Road, London SE15 3SN
‘Mondo Throb’ is a mise-en-scène in which a body of works have figuratively turned the gallery space into a night spot; revellers are immortalised in paintings, the traces of their dance steps left on the floor. Review by Cristina Ramos González
Camden Arts Centre, Arkwright Road, London NW3 6DG
Described as ‘a semiotic technology’, the work consists of eight drawings arranged as a schematic diagram. Camplin claims these were transmitted to her and downloaded through psychic communication. Whatever this psychic seance involved remains mysterious. Review by Tessa Norton
Institute of Modern Art, 420 Brunswick Street, Fortitude Valley, Brisbane, Australia
Limits to Growth is the first survey exhibition of Melbourne-based artist Nicholas Mangan. Bringing together five major projects made between 2009 and 2016, Mangan’s immersive moving-image installations masterfully balance complex narratives.