Viewing articles from 2017/03

Foundling Museum, 40 Brunswick Square, Bloomsbury, London WC1N 1AZ

Mark Neville: Child’s Play

Mark Neville, Arts and Crafts at Somerford Grove Adventure Playground, 2011

The Foundling Museum’s 'Child’s Play' by Mark Neville is a photography exhibition which inhabits that grey, often elusive space between contemporary art, documentary photography and political activism. The project aims to focus attention on attitudes towards play in the UK by bringing together a book, a symposium and this exhibition which presents images of children playing set against a number of vastly contrasting backdrops around the world. Review by Alexander Daniel

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Thomas Dane Gallery 3 Duke Street St James's London SW1Y 6BN

Anya Gallaccio: Beautiful Minds

Anya Gallaccio, Beautiful Minds, 2017. Installation view, Thomas Dane Gallery, London

'Beautiful Minds’ at Thomas Dane Gallery presents a collaborative sculptural installation that interrogates notions of authorship, performativity and our relationship to technology. Review by Zoe Marden

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

Ghislaine Leung: The Moves

Pictures, 2017, Ghislaine Leung. Raised floor with sunken recess, black rubber Push to Shove, 2017, Ghislaine Leung. Foam board, tape, carpet, rubber, phones, night lights, video, photos, paper, acetate, mirror, extension cables, cable ties. 61 x 112

The display overwhelms by its absence of images and presents instead a series of glass wall panels bracketed inside aluminium structures. These panels, covered with black vinyl texts, spell out incidental conversations, unsolicited quotes, traces of speech. Review by Rafael Barber Cortell

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Vienna Secession, Friedrichstraße 12, 1010 Viennassion

Angelika Loderer

Angelika Loderer, installation view, Secession 2017, Photo: Matthias Bildstein

Angelika Loderer's new sculptural works call conceptions of value in to question. Here, simple and commonplace forms are enhanced with precious materials, bearing witness to the ambivalence of perishability and meaning.

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Stedelijk Museum, Postbus 75082, 1070 AB Amsterdam

Jordan Wolfson: MANIC / LOVE / TRUTH / LOVE

Installation view Jordan Wolfson: MANIC / LOVE. Photo: Gert Jan van Rooij. Collection LUMA Foundation.

Merging the boundaries between abstraction and figuration, and challenging the formal and narrative potency of the sculptural discipline Jordan Wolfson presents MANIC / LOVE / TRUTH / LOVE. In this exhibition Wolfson explores the increasing digitalization of society and other technological developments.

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Centre for Contemporary Arts, 350 Sauchiehall Street, Glasgow G2 3JD

Forms of Action

Asuncion Molinos Gordo, Contestador (Answerphone), 2016, installation view at Forms of Action, CCA Glasgow

‘Forms of Action’ presents the work of seven artists whose actions in society are the core of their practice. Each with rich cultural, historical and political backdrops, this assembly of artists is, in itself, a timely form of action. Review by Kate Self.

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Plymouth University, Roland Levinsky Building, Drake Circus, Plymouth PL4 8AA & Plymouth Arts Centre, 38 Looe St, Plymouth PL4 0EB

Malcolm Le Grice: Present Moments and Passing Time

Present Moments and Passing Time, installation view at Plymouth Arts Centre, 2017

Both a prolific and experimental artist, Malcolm Le Grice has amassed an innovative body of work throughout his career. Now considered a pioneer of British Expanded Cinema, the Plymouth-born artist has explored diverse territory over the years, the results of which have been brought together in a new exhibition, ‘Present Moments and Passing Time’. Review by Eva Szwarc.

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South London Gallery, 65-67 Peckham Rd, London SE5 8UH

Amie Siegel: Strata

Amie Siegel, Quarry, 2015. HD video, colour and sound. Exhibition view South London Gallery, 2017

Siegel probes ideas of value, wealth, attraction and symbolism through her work, presenting a layering of geological and allegorical strata which gives the exhibition its title. Review by Jillian Knipe

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J Hammond Projects, Unit 2B2 Bomb Factory, Boothby Road, London N19 4AJ

Does Your Chewing Gum Lose Its Flavour (On the Bedpost Overnight)?

Does Your Chewing Gum Lose Its Flavour (On the Bedpost Overnight) J HAMMOND PROJECTS

The objects we choose to accumulate and surround ourselves with represent a manicured veneer, and what we throw away is more revealing. Isn’t it more exciting to think about how someone would rather not be perceived? Liam Hess considers group exhibition 'Does Your Chewing Gum Lose Its Flavour (On the Bedpost Overnight)?'

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Modern Art, 4-8 Helmet Row, London EC1V 3QJ

Peter Halley: Paintings from the 1980s

Peter Halley, Paintings from the 1980s, exhibition view, Modern Art.

The works focus on paintings, drawings and prints from a pivotal period in his career, 1982-1987. It is during this period that Halley began developing a striking signature visual language that he has refined and expanded on over the last four decades. It is comprised of textured and flat geometric elements that he refers to as prisons, cells and conduits. These seemingly abstract compositions were reflections of the increasing geometric divisions of the social and domestic spaces Halley saw people inhabiting. Review by William Davie

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SpazioA, Via Amati, 13 Pistoia 51100 Italy

Ode de Kort: O froooom O toooo O

Ode de Kort, 'O froooom O toooo O', 2017, exhibition view, SpazioA, Pistoia

For her first solo show Belgian artist Ode de Kort presents a new body of work comprising photographic, typographic and choreographic objects, exploring tensions between stasis and movement, and challenging the boundaries between media and disciplines.

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Hauser & Wirth Somerset, Durslade Farm, Dropping Lane, Bruton, Somerset BA10 0NL

Djordje Ozbolt: Brave New World

Djordje Ozbolt: Brave New World, installlation view at Hauser & Wirth Somerset, 2017

Visitors to 'Brave New World,' the culmination of Djordje Ozbolt's residency at Hauser & Wirth Somerset, are greeted by a procession of garden gnomes traipsing through the courtyard and into the Threshing Barn. These brightly-coloured statues, which Ozbolt rescued from his home country of Serbia and re-cast in resin, are described by the artist as ‘unwelcome guests, cultural refugees’. Review by Bob Gelsthorpe.

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The Edge, University of Bath, Bath, BA2 7AY

James Capper: Sculpture & Hydraulics

James Capper: Sculpture & Hydraulics, installation view at The Edge, 2017.

At the far end of the gallery, a long articulated steel arm, wound round with thick coils of hydraulic hose, perches vulture-like upon two tonnes of concrete. Though it rests dormant now, its plinth wears the scars of previous savagery. Earlier, the artist James Capper had taken to the controls of ‘Atlas Prototype’ and directed the arm, equipped with a menacing mace-like mill, against the base on which it stands. Review by Kit Webb.

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