Viewing articles from 2017/01

The Jewish Museum, 1109 5th Ave at 92nd St, New York

Take Me (I’m Yours)

Take Me ('m Yours), installation view at the Jewish Museum, 2016.

‘Take Me (I’m Yours),’ the star-studded group show currently on view at The Jewish Museum in New York, is the third iteration of an exhibition held at London’s Serpentine Galleries in 1995. Review by Arthur Ivan Bravo.

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Turner Contemporary, Rendezvous, Margate CT9 1HG

John Akomfrah: Vertigo Sea

Vertigo Sea

Stark beauty swills with reoccurring images of historical horrors in Akomfrah’s video installation. The work cuts between past and present in a manner that demands the two be examined together. Elizabeth Kane reviews

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Silver End Village Hall, Silver End, Witham, CM8 3RQ

Radical ESSEX | ESSEX Architecture Weekend | September 2016

As an introduction to ESSEX Architecture Weekend, this panel discussion will explores the relationship between London and Essex, mapping out a collective cultural history between county and Capital. Click 'further reading +' for links to other talks from ESSEX Architecture Weekend.

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Tyneside Cinema, Pilgrim Street, Newcastle upon Tyne NE1 6QG

Oreet Ashery: Revisiting Genesis

Oreet Ashery, Revisiting Genesis, video still, 2016

Taking form as a web-series in twelve episodes, originally released weekly in soap-opera style, ‘Revisiting Genesis’ explores, amongst other things, the philosophical, socio-political, practical and emotional implications of the processes surrounding death and withdrawal. Review by Mette Kjærgaard Præst

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Primary, 33 Seely Rd, Nottingham NG7 1NU

Anna K.E.: Leaving the Rock Stage

Leaving the Rock Stage (2016)

Pivotal to the exhibition, through physical dominance and content, are photographs supported by stage trussing. These are structures that would, as the exhibition title suggests, be at home within the context of large stadium gig. Review by Alice Gale-Feeny

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Nottingham Contemporary, Weekday Cross, Nottingham, NG1 2GB

Marguerite Humeau: FOXP2

Marguerite Humeau, FOXP2, 2016. Exhibition view, Nottingham Contemporary. Courtesy the artist, C L E A R I N G New York/Brussels, DUVE Berlin.

The galleries of Nottingham Contemporary are taken over by the relentless echoes of human civilization and the emotional turmoil of elephants - now the dominant species on Earth. Marguerite Humeau’s exhibition, ‘FOXP2’, comprises two immersive installations that exist in the blurred space where science ends and fiction begins. Review by Laura-Jade Vaughan.

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La Triennale di Milano, Viale Alemagna 6, 20121 Milano

Marc Camille Chaimowicz: Maybe Metafisica

  Marc Camille Chaimowicz: Maybe Metafisica, installation view at La Triennale, 2016.

‘Maybe Metafisica’, Marc Camille Chaimowicz’s solo show at the Triennale di Milano, is an encounter between Milan’s institutional and historical context on one hand and the circularity defining the artist’s long-standing practice on the other. Review by Bianca Baroni.

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Roman Road, 69 Roman Rd, London E2 0QN

Natalia LL: Probabilities

Natalia LL: Probabilities, installation view, Roman Road, London, 4 November 2016-14 January 2017.

Natalia LL’s solo exhibition ‘Probabilities’ gathers photographic and text works from the early 1970s created during the onset of Poland’s ‘consumer communism’ initiative. Jaime Marie Davis reviews

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Maureen Paley, 21 Herald Street, London E2 6JT


“…HOUNDED BY EXTERNAL EVENTS…” Curated by Michael Bracewell. Exhibition view, Maureen Paley, London 2016

Unease seems to be the mood of the moment. We are in a state of political flux, paranoia and polarised views. If it feels familiar to the human race it’s because we’ve lived this before. As the blurb accompanying the latest exhibition at Maureen Paley tells us, each generation experiences its own rise of unease. Review by Jesc Bunyard

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Austrian Cultural Forum London, 28 Rutland Gate, Knightsbridge, London SW7 1PQ

Tender Touches

Zoe Williams, Chateaux Double Wide Series, video still

Zoe Marden reviews 'Tender Touches', an exhibition that attempts to discuss ideas of feminism, representation, intimacy and objectification through the works of 1970s avant garde and contemporary artists.

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