Viewing articles from 2018/02

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

No, No, No, No

No, No, No, No Installation View, 2018

Through the use of verbal and visual puns, the works displayed in ‘No, No, No, No’ convey irony and humour, and challenge the audience by playing with ideas of authorship, making and presenting art, and even appropriating existing artworks. Review by Fiorella Lanni

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Tramway, 25 Albert Drive, Glasgow G41 2PE

Margaret Salmon: Circle

Installation view, Margaret Salmon: Circle, Tramway, Glasgow, 2018

American Glasgow-based artist Margaret Salmon’s filmic, atmospheric and carefully rendered installation, sensitive to the nuances of people, the subtleties of places and objects (and her relationships to them) is housed in Tramway’s immense principal space. It renders the space quieter than normal, in half-light – a place for a rare, esoteric experience. Review by Alex Hetherington

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LADA

LADA Screens - Martin O’Brien

The Unwell, by Martin O’Brien and Suhail Ilyas, takes us into an apocalyptic landscape inhabited only by strange, coughing bodies, and is part of Martin’s ongoing exploration of the figure of the zombie as a metaphor for the sick body.

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Public spaces around Europe and Iran – Darbast Platform

Tara Fatehi Irani: Mishandled Archive

Mishandled Archive, Tara Fatehi Irani, Tehran (2018)

What we see and hear in ‘Mishandled Archive’ is not limited to one narrator – several voices are heard. It is as if we are wandering in the aural and visual space of a polyphonic text that relieves the many voices of its characters from a singular dominant authority. Review by Helia Hamedani

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Nest, in collaboration with Stichting Electriciteitsfabriek, De Constant Rebecqueplein 20, 2518 RA The Hague, Netherlands

Zoro Feigl: Infinity

Pressurising 2010

Whether extended to hang loosely, to bumble about on the floor or transport veils of colourful gunk skyward, the works in Zoro Feigl's latest exhibition, Infinity, at the Nest, The Hague, in collaboration with Stichting Electriciteitsfabriek, demonstrate that their power resides in their ability to enthrall and maintain a poetic presence. Review by John Gayer

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Lisson Gallery, 138 10th Avenue, New York

Channa Horwitz

Installation view of Channa Horwitz at Lisson Gallery, New York

In the first exhibition at Lisson Gallery, New York, by Californian artist Channa Horwitz, her seminal Sonkinotography series of permutational drawings, created from1968 until her death in 2013, are presented. The exhibition shows an artist who in 1969 had her early compositions dismissed by a critic of the Los Angeles Times as 'Pretty Notations by Valley Housewife' finally receiving the recognition that she deserves. Review by Grace Storey

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Chisenhale Gallery, 64 Chisenhale Rd, London E3 5QZ

Lydia Ourahmane: The you in us

Lydia Ourahmane, In the Absence of our Mothers (2018). Commissioned and produced by Chisenhale Gallery, London.

A golden tooth is unassumingly mounted on a pin, sticking out of the wall. A cabinet with documents is standing next to it. In the middle hangs an x-ray. It takes another moment to realise a low humming is coming from the floorboards. It finds resonance with the room, with the bodies in it, and creates a feeling of being ‘within’ something latently present. Review by Rosanna van Mierlo

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Hestercombe Gallery, Cheddon Fitzpaine, Taunton, Somerset TA2 8LG

Odyssean: Topographies

Natasha Rosling and Vilma Luostarinen, Edible Coastlines, 2018.

Beginning high up in the Orkney Isles and journeying to the South West of England, ‘Odyssean: Topographies’ is a cognitive, visual and, at times, physical expedition into hidden and imagined spaces. The culmination of four artists' Orkney-based residencies, the exhibition throws into question the ways in which humans formulate perceptions of nature and place in an era rife with technology. Review by Selina Oakes

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650mAh, Mist Vape Shop, 41 Western Road, Hove, BN3 1JD

Jack Lavender - Sorry I haven’t been

Jack Lavender, Untitled (car cover, stereo, lights, resin statue), 2018

LED lights trace the floor’s edge and bathe the room in a purple haze. The beams evoke the luminescence of whizzing cars on the motorway and trigger nostalgic memories of long night-time drives and the open road – Lavender’s car hurtles down a motorway of a bygone time. Review by Sophie Ruigrok

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Rotterdam, Netherlands

International Film Festival Rotterdam

SLEEPCINEMAHOTE installation view IFFR 2018

The International Film Festival Rotterdam 2018, now in its 47th edition, flirts with the boundaries of art and film throughout the city with powerful and exciting works by Nicolas Provost, Hiwa K, Agnieszka Polska and Artur Zmijewski among others. But just how far does the synthesis between cinema and fine art achieve new experiences in viewing? Review by Laurence Scherz

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Ikon Gallery, 1 Oozells Square, Brindleyplace, Birmingham B1 2HS

Thomas Bock and Edmund Clark: In Place of Hate

James and Henry Barnard

The first UK-exhibition dedicated to the work of the Birmingham-born convict artist, Thomas Bock (c.1793 – 1855), at Ikon Gallery in Birmingham, is paired with the concurrent exhibition, Edmund Clark: In Place of Hate. This was the the result of a three-year residency spent by the artist at HMP Grendon – Europe’s only entirely therapeutic prison. Despite widely differing careers they both viscerally remind us of the dangers of denying any person a sense of identity. Review by Sara Jaspan

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Cass Sculpture Foundation, New Barn Hill, Goodwood, West Sussex PO18 0QP

The Sleeping Procession

CASS Projects: The Sleeping Procession exhibition. Curated by Sean Steadman and Gabriel Hartley

‘The Sleeping Procession’, a bright and upbeat group exhibition curated by emerging artists Gabriel Hartley and Sean Steadman occupies the gallery with ease. It is a jovial gathering, inspired by the Foundation’s archive of maquettes which the pair have put in dialogue with works by their peers and a number of artists whose work they have found influential. Review by Rebecca Partridge

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Chelsea Space, 16 John Islip St, London SW1P 4JU

Ian Giles: After BUTT

Installation view, Ian Giles: After BUTT. Image courtesy Ian Giles and Chelsea Space, copyright Rob Harris

When does a cultural artefact – a magazine, a film, an artwork – cease to be considered what we might call ‘contemporary’ and enter the realm of the historical? A minute ago? Yesterday? The turn of the millennium? Once its creator/s have passed away? Not until it starts to have what might be called a legacy? Helena Haimes reviews ‘After BUTT’ by Ian Giles, new film currently showing at London’s Chelsea Space.

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