Viewing articles from 2018/03

Pi Artworks, 55 Eastcastle Street, London W1W 8EG

Ipek Duben: in via incognita

Installation view: Ipek Duben, in via incognita, 2018.

“We were human beings once”; “Now he could start a new life”. These are two separate sentences from testimonials scrolling down on a large projection in Pi Artworks London’s back wall. The rest of the exhibition ‘in via incognita’ by Ipek Duben consists of what that semicolon represents: the in-between of having been human once and the possibility of starting a new life. Text by Gulnaz Can

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Wysing Arts Centre, Fox Rd, Cambridge CB23 2TX

more of an avalanche

Wysing Arts Centre, more of an avalanche, installation view, 2018

The exhibition takes the most ubiquitously right wing of pejorative terms – “snowflake” – as its conceptual springboard: the works here reclaim this insult from the political right by embracing and unabashedly exploring it. Empathy for your fellow humans and a willingness to speak up against pernicious injustice are embraced as strengths to celebrate, rather than mocked as signs of hypersensitivity and an inability to cope with ‘real life’. Review by Helena Haimes

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Imperial War Museum London, Lambeth Rd, London SE1 6HZ

Age of Terror: Art Since 9/11

Surveillance Camera with Plinth

The compulsion of artists to respond to certain events as they unfold, as exemplified by artists in Age of Terror: Art Since 9/11 at the Imperial War Museum, London, raises unavoidable questions concerning the relationship between aesthetics and morality. Review by Rowland Bagnall

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Art in General, 145 Plymouth St, Brooklyn, NY 11201, USA

Zach Blas: Contra-Internet

Zach Blas, Jubilee 2033 (film still) 2018. Commissioned by Gasworks, London; Art in General, New York; and MU, Eindhoven

Zach Blas’ debut US solo show, Contra-Internet, at Art in General, New York, is a 28-minute long film, ‘Jubilee 2033’, inspired by the opening sequence of Derek Jarman’s seminal queer punk film ‘Jubilee’ (1978). Blas’ film imagines the jubilee of the internet in 2033 and evidences his broader endeavour ‘to explore contemporary technology in relationship to feminism and queerness’. Review by Grace Storey

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Charlie Godet Thomas: Cloud Study

Charlie Godet Thomas, Cloud Study, 2017. Commission for SCULPTURE AT Bermondsey Square, London.

Public sculpture usually dominates its surrounds; they are alien objects that often attempt to improve an area by shifting our focus away from it. Conversely, Charlie Godet Thomas’ ‘Cloud Study’, commissioned by SCULPTURE AT and located in Bermondsey Square, is a different species; it blends into the language of the street and manipulates it like a virus, deforming common visual cues and the messages they usually transmit. A sign, for example, is supposed to be read easily, but Thomas’ is ambiguous, and he tells us about our environment instead of distracting from it. Review by Matthew Turner

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Hayward Gallery, Southbank Centre, 337-338 Belvedere Rd, Lambeth, London SE1 8XX

Andreas Gursky

Installation image, Andreas Gursky at Hayward Gallery 25 January - 22 April 2018

Gursky captures the next step in the evolution of our sense of resolution, a way of seeing beyond increasing levels of detail, one which constantly flips back and fourth between the detail and the overview, perhaps imprinted in us as we zoom in and zoom out when using Google maps – in fractions of a second we can travel from our own home to the scale of the whole world and back again. Review by Matthew Turner

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Richard Saltoun Gallery, 41 Dover St, Mayfair, London W1S 4NS

Women Look at Women

Installation view, Women Look At Women, Richard Saltoun Gallery, London 15 February - 31 March 2018

The show opens with Renate Bertlmann’s ‘Transformations’ (1969/2013), a series of 53 black and white photographs which address an analysis of gender-specific social roles through the role-play sequence of staged photography. Indeed, the importance of inventing alter-egos in performance seems significant throughout the exhibition. Review by Matthew Cheale

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New Museum, 235 Bowery, New York, NY 10002, USA

2018 Triennial: Songs For Sabotage

Photo caption - Installation view, 2018 Triennial: “Songs for Sabotage”

While each painting on view in the 2018 Triennial: Songs For Sabotage, at the New Museum, New York, might pack a punch on its own, when grouped, this pervasive, globalized homogeneity only undercuts the swollen pomp ascribed to Songs of Sabotage by its organizers, and points, perhaps, to a more sinister condescension afoot in the galleries themselves. Review by Torey Akers

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Museo Rufino Tamayo, Paseo de la Reforma 51, Bosque de Chapultepec, Bosque de Chapultepec I Secc, 11580 Ciudad de México, CDMX, Mexico

Cerith Wyn Evans

Cerith Wyn Evans, Museo Tamayo, installation view, 2018

The achievement of Wyn Evan’s show at the Museo Tamayo is to take an architectural space; equal parts gallery and auditorium, and to bring these identities together. On one side is the visual allure of the neon, a medium which seems to endlessly delight, on the other, is the music of nature and humanity; a concert exists between them. Review by Elliott Burns

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Oriel Davies Gallery, The Park, Newtown, SY16 2NZ

Freya Dooley: Speakable Things

Freya Dooley, Speakable Things, Oriel Davies, 2018

‘Speakable Things’, Freya Dooley’s newly commissioned sound and moving image work for Litmus at Oriel Davies, is installed within a room painted a deep pink comparable to the inside of a mouth. It is an intimate colour for an intimate space, measuring less than 2m². The mouth repeatedly appears throughout ‘Speakable Things’, as blank space interrupts out-of-sync close ups and scenes of wild landscape. Freya is interested in the voice as something in-between inside and outside, sound and language, thought and body. Text by Litmus Curator Louise Hobson

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Camden Arts Centre, Arkwright Road, London NW3 6DG

Giorgio Griffa: A Continuous Becoming

Installation view of Giorgio Griffa: A Continuous Becoming, Camden Arts Centre, 2018.

Rhythm defines Giorgio Griffa’s work. Throughout the Camden Arts Centre’s gallery spaces, from his earliest, late 1960s work to his more recent output, his bright, repeated gestures mark the raw canvases in sequences and patterns. The rhythmic quality is emphasised by the folds of his unstretched canvases, starkly visible, which segment the surfaces of the paintings into something like a score. Review by Kaitlyn Kane

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