For Yoshinori Niwa's second solo show at Edel Assanti, the Japanese artist presents a series of video works and installations that shine a light on the complex relationship between countries, between governments and their citizens, and between objects and the past. Review by Bobby Jewell
‘Outside Again’ is a short documentary on Tehching Hsieh by Hugo Glendinning and Adrian Heathfield shot in Taipei and New York. It featured as part of ‘Doing Time’, Hsieh’s exhibition in the Taiwan Pavilion at the Venice Biennale 2017.
Whiteread has stretched usual architectural proximity. This creates a large void between interior and exterior realms: expressing a psychological distance and complexity through space. Review by Matthew Turner
The exhibition Woman with a Camera presents a selection of 18 works from the Museum of Contemporary Art Chicago's collection, featuring work by established masters Marina Abramovic, Sophie Calle, Catherine Opie, Laurie Simmons, and Carrie Mae Weems, as well as emerging artists Anne Collier, Xaviera Simmons, and Mickalene Thomas. Together, the women use photography to explore central themes in contemporary photography: rendering the human figure, capturing public and private spaces, and commenting on our media-saturated culture. Other works from the gift will be incorporated into MCA exhibitions throughout the year.
The works in the exhibition stem from Troika’s continuing interest in the various models and belief systems used to detail and understand the world. Incorporating the opposing frameworks of technological advancement and mythology, Troika’s works investigate how the application of a purely rational and scientific method onto practical life is often at odds with the subjective and unpredictable.
Ahead of tonight's Turner Prize winner announcement, which she is odds on to win, Cleo Roberts, art historian and research associate at Wolfson College, University of Cambridge, interviewed Lubaina Himid to find out more about her practice, research process and the intricacies of her visual language.
It’s a game show but unlike any you’ve ever seen. Three contestants file wordlessly onto the small stage— animal, human and machine. Familiar and strange, they face the audience. The animal wears a mask, detailed enough to identify it but vague enough to remain unspecific. Review by Kaitlyn Kane
For this outing Jemma Egan displays five works unpacking the narrative of a wellness industry which is fast bedding down as a canonical part of our postmodern obsession with the self. Review by Sophie Risner
Matthew Marks is pleased to announce Gary Hume: Mum, the next exhibition in his gallery at 522 West 22nd Street. This body of work focuses on a range of subjects, but at its core is a suite of highly personal paintings about memory and loss. Hume’s mother is 86 years old and suffers from dementia. And while the ostensible subjects of many of the new paintings are flowers, their titles — Mourning, Spent, Blind — reflect Hume’s thoughts of her.
Memories of Underdevelopment is set within the context of Latin America during the 1960s to
1980s, a period that coincides with both the apex and unraveling of the developmentalist
project in many countries in the region, most notably Brazil, Argentina, Venezuela, and Mexico.
In contrast to dominant ideologies that guided the modernization process in these countries,
Memories of Underdevelopment traces the emergence of a distinct set of artistic practices that
questioned the developmentalist rhetoric and proposed alternative forms of cultural
production that responded to this situation of cultural and economic dependency.