Viewing articles from 2017/07

495 Rogers Avenue, Brooklyn, NY 11225

Bonded Warehouse

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Alina Tenser and Chris Domenick’s latest sculptural and performance work is currently on view at Helper Projects, New York.

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De La Warr Pavilion, Marina, Bexhill-on-Sea TN40 1DP

Simon Patterson: Safari: an exhibition as expedition

Simon Patterson, rehearsal of Seascape, 2017, with Bexhill Sailing Club

Simon Patterson’s ‘An Exhibition As Expedition’ takes you on a discursive and peripatetic journey, one which is immaterially played out in the mind of the visitor as they traverse the De Le Warr Pavilion. While doing this the artist sets out to undermine traditional bodies of 'stable' knowledge such as maps, museums and archives. Suggesting that meanings, not just in the world of art, are always in a state of shape shifting flux and that truth is just another strange sub-genre of fiction. Review by Matthew Turner

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Scotland Pavilion, Chiesa di Santa Caterina, Fondamenta Santa Caterina, 30121, Cannaregio

Venice Biennale 2017: Rachel Maclean: Spite Your Face

Installation view, Rachel Maclean, Spite Your Face, 2017.

The large portrait format screen in place of the altar of the deconsecrated church creates an ambience of a religious service and the audience are made to sit in pews. Maclean's previous work has taken Old Testament stories retelling them as contemporary fables that poked fun at cults and fads. 'Spite Your Face' presents the story of Pinocchio – one of those children's tales that having only known from the cleaned up Disney version is far darker than I assumed. Review by Piers Masterson

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Tenderpixel, 8 Cecil Court, London WC2N 4HE

CONGLOMERATE: Station ID

CONGLOMERATE, Still from Desde el Jardin, directed by Sol Calero and Dafna Maimon, 2016.

An elaborate installation is the ‘absurdly complicated’ stage-set for the newest piece of ‘Gesamkunstwerk’ by Berlin-based artist collective CONGLOMERATE, presented at Tenderpixel as their first London-based project. The group comprises a core squadron of 5 artists and filmmakers including Sol Calero, Ethan Hayes-Chute, Derek Howard, Christopher Kline and Dafna Maimon, converging and disbanding at will in different cities and contexts in order to produce 30-minute ‘Blocks’ of programming that make a mess of traditional genres. Review by Alice Bucknell

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Estonia Pavilion, Palazzo Malipiero, San Samuele Square, San Marco 3199, 2nd floor, Venice, Italy

Venice Biennale 2017: Katja Novitskova: If Only You Could See What I’ve Seen with Your Eyes

Katja Novitskova, If Only You Could See What I've Seen with Your Eyes, exhibition view at the Estonian Pavilion, Palazzo Malipiero, 57th Venice Bienniale

Outside the entrance of the Estonian Pavilion in the 57th Venice Biennale, the phrase ‘If only you could see what I’ve seen with your eyes’ is printed on a poster in glowing red type. Katja Novitskova’s exhibition title originates from the 1982 post-apocalyptic film ‘Blade Runner’ and points toward several themes that run throughout the exhibition. Review by Ashley Janke

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Bluecoat, School Lane, Liverpool L1 3BX

Siobhan Davies Dance: material / rearranged / to / be

Siobhan Davies Dance, Material / rearranged / to / be at Bluecoat, 2017

‘Material / rearranged / to / be’ is a performative installation by Siobhan Davies Dance that completed its tour at Bluecoat. Daily performances took place throughout the day in the galleries and adjacent corridor. This was a complex proposition with new works by six choreographers, two visual artists and a design collective to create a landscape in flux. Kate Self reviews

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CANADA 333 Broome St, New York, NY 10002

Tomorrow Tomorrow

Installation view, Tomorrow Tomorrow, 2017

Tomorrow Tomorrow, curated by Stephanie Snyder, the Anne and John Hauberg Curator and Director of the Cooley Gallery, and Wallace Whitney, is a group exhibition featuring Demian DinéYazhi’ and Noelle Sosaya, MK Guth, Jessica Jackson Hutchins, Kristan Kennedy, Evan La Londe, Charlie Perez-Tlatenchi, Michelle Ross, Storm Tharp, and Heather Watkins. These nine artists are preoccupied with physical abstraction, changeability, and working with materials to shape space with emotional purpose.

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Turner Contemporary, Rendezvous, Margate, Kent CT9 1HG

Michael Armitage and Phyllida Barlow: Every Day is a New Day

Phyllida Barlow, installation view, Turner Contemporary

‘Every Day is a New Day’ is comprised of two solo shows, and as such comparisons are inevitable. Different as the work of Phyllida Barlow and Michael Armitage are – in medium, in scale, in cultural and social preoccupations – it is difficult to get away from the sense that one is being led through a critical narrative. Review by Benedict Hawkins

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Klein Sun Gallery, 525 W 22nd St, New York, NY 10011, USA

Ji Zhou: Real Illusion

Ji Zhou, Greenhouse 2, 2017, archival pigment print, 110 x 250 cm

Moving between imagined and inhabited geographies, the artist suggests that our grasp on the tangible world is a tendentious fiction. Review by Tausif Noor

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