Viewing articles from 2017/06

Grand Union, Minerva Works, 158 Fazeley St, Birmingham B5 5RS

Seecum Cheung: The Dutch Window

Seecum Cheung, The Dutch Window, 2017.

In a time when saboteurs lurk at home and gossips snipe from afar, some reach for the shutters and draw them fast. Better to be kept in the dark, it’s presumed, than to risk the prying of the ill-intentioned. Britain pulls down the blinds. The Channel has rarely felt wider. Kit Webb reviews Seecum Cheung's 'The Dutch Window'.

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Zabludowicz Collection, 176 Prince of Wales Road, London NW5 3PT

You Are Looking At Something That Never Occurred

You Are Looking at Something That Never Occurred, 2017. Installation view at Zabludowicz Collection.

With a title taken from an interview with Jeff Wall by Lucas Blalock, ‘You are Looking at Something that Never Occurred' is yet another attempt aiming to challenge the idea that photography identifies with reality and objectivity. Review by Aris Kourkoumelis

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White Cube Bermondsey, 144 – 152 Bermondsey Street, London SE1 3TQ

Jürgen Partenheimer: Lichtschwarm

Jürgen Partenheimer, Lichtschwarm, White Cube Bermondsey, 28 April - 18 June 2017

Jürgen Partenheimer's works hover in a peculiar location. Somewhere specifically approximate. In his first London exhibition, ‘Lichtschwarm’ (Light Swarm), Partenheimer presents his continuing and illusive conversation between art of itself and of its circumstances. Jillian Knipe reviews

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Sprüth Magers, Oranienburger Straße 18, 10178 Berlin

Pamela Rosenkranz: She Has No Mouth

Installation view, Pamela Rosenkranz: She Has No Mouth

The Swiss artist Pamela Rosenkranz is interested in the invisible phenomena that affect the material world. Behind a sensual aesthetic, her work is subtly subversive. Rosenkranz often draws from consumer research, notably the effect of toxoplasmosis, a parasite said to infect 30% of the world population and researched for influencing a series of human behaviours, including fear, spending habits, physical attraction and most relevant to the concept of her inaugural solo exhibition at Sprüth Magers Berlin, human fondness for cats. Review by Anaïs Castro

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Somerset House, Strand, London WC2R 1LA

Mat Collishaw: Thresholds

Thresholds, early test visualisation

In the context of Photo London, the artist has brought together the vanguard of Victorian visual technology with current developments in virtual reality programming. Review by Cleo Roberts

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White Rainbow,47 Mortimer St, Fitzrovia, London W1W 8HJ

Minimalist Anyway | Kazuko Miyamoto and Lydia Okumura

Minimalist Anyway, Installation view at White Rainbow, London, 2017.

‘Minimalist Anyway’ held at White Rainbow presents a dialogue between the works of two artists with Japanese origins: Lydia Okumura and Kazuko Miyamoto, considering how the legacy of minimalism has impacted upon the reading of their work. Review by Rafael Barber Cortell

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Rowing, 3 Leighton Place, London NW5 2QL

Rory Pilgrim

Rory Pilgrim, Software Garden, installation view

Pilgrim’s exhibition is based on the idea that technology, like ecology, can facilitate beneficent exchanges between its users. The show’s main feature is a short film (22 minutes) also called ‘Software Garden’ (2017), which takes the structure of the diverse environment of a garden by combining work from a number of collaborators. Review by Henry Broome

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Hannah Barry Gallery, 4 Holly Grove, Peckham, London SE15 5DF

Oliver Griffin

H Demonstrations of Patterns in Flow What do you expect from your surfaces. A philosophy of Bicycle MotoCross (BMX) and everything. Installation view.

On the wall, hung off-centre in a 3 x 3 grid that recalls the conventional arrangement of Bernd and Hilla Becher’s water towers and grain elevators, are nine risograph prints. They belong to a series of photographs taken by Griffin at a flatland BMX competition in 2015, not of the riders or their performances, but of the streaks whorled by skidding tyres. Review by Kit Webb

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Spike Island, 133 Cumberland Road, Bristol BS1 6UX

Andrea Luka Zimmerman: Common Ground

Andrea Luka Zimmerman: Common Ground, installation view at Spike Island, 2017

‘Common Ground’ showcases the importance of place in Andrea Luka Zimmerman's practice. At the centre of the exhibition is Zimmerman’s film ‘Estate, a Reverie’ (2015). It tracks the drawn out closure of the Haggerston Estate in East London, where Zimmerman lived for 18 years. Review by Helen Cobby

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