Viewing articles from 2022/02
Galerie Max Hetzler, Bleibtreustraße 45, 10623 Berlin
Galerie Max Hetzler is pleased to present an exhibition with new work by Thomas Struth. Revolving around universal questions of our time with a focus on Science, Nature and Portraiture, three major themes from Thomas Struth’s current bodies of work are shown across the two gallery locations in Bleibtreustraße.
Warwick Arts Centre, Coventry CV4 7AL
The first exhibition since 2018 is Rana Begum: Dappled Light. Rana Begum was born in 1977 in Bangladesh. She lives and works in London. Begum’s work focuses on the interplay between light and colour, blurring the boundaries between sculpture, painting and architecture. Her use of repetitive geometric patterns – found both within Islamic art and the industrial cityscape – takes its inspiration from childhood memories of the rhythmic repetition of daily recitals of the Qur’an. Influenced by the geometric abstraction of minimalism and constructivism and the work of artists such as Agnes Martin, Donald Judd, Jesús Rafael de Soto and Tess Jaray, Begum’s work ranges from drawings, paintings and wall-based sculptures to large-scale public art projects.
David Zwirner 24 Graton Street, London
David Zwirner is pleased to present new work by British artist Rose Wylie (b. 1934) in The Upper Room at the gallery’s London location. The exhibition will feature both two- and three-dimensional works, emphasising the interchange between painting and sculpture in the artist’s practice and highlighting the way in which her move into sculpture in recent years has enabled her to explore new perspectives on recurrent motifs.
The Artist Room, London W1F 9TX
The Artist Room is pleased to present ECHO, a group exhibition featuring works by George Henry Longly, Jane Simpson, Kaari Upson and Grace Woodcock. ECHO explores the memories that objects hold; how artists have transformed them into portals for exploring introspective histories and our broader human condition. Including sculpture and photography, this exhibition navigates the varying ways that an intergenerational group of artists have utilised objects – whether cherished and treasured, abandoned and forgotten or transient and utilitarian. In different ways and through processes of bricolage, representation and re-representation, all of the included works are markers of active and lost memories.