Viewing articles tagged with 'Birmingham'

Grand Union, Minerva Works, 158 Fazeley St, Birmingham B5 5RS

Seecum Cheung: The Dutch Window

Seecum Cheung, The Dutch Window, 2017.

In a time when saboteurs lurk at home and gossips snipe from afar, some reach for the shutters and draw them fast. Better to be kept in the dark, it’s presumed, than to risk the prying of the ill-intentioned. Britain pulls down the blinds. The Channel has rarely felt wider. Kit Webb reviews Seecum Cheung's 'The Dutch Window'.

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

Oliver Beer

Oliver Beer, installation view at Ikon, 2017

Beer’s practice is diverse – encompassing film, sound, and sculpture – and perhaps more easily related by sensibility than subject matter. His home video, ‘Mum’s Continuous Note’, which welcomes us into the exhibition, serves as our induction. Review by Kit Webb

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Ort Gallery, 500-504 Moseley Road, Birmingham B12 9AH

Kristina Cranfeld: In This Perfect British Landscape…

Kristina Cranfeld: In This Perfect British Landscape... installation view at Ort Gallery, 2017

This tight and timely show from Kristina Cranfeld comprises two projected films, ‘Manufactured Britishness’ and ‘Dukes Rise’, both absurdist takes on the current immigration crisis and the nostalgic fantasy of resurrecting the Great British identity. Review by Elli Resvanis

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Centrala, Unit 4 Minerva Works, 158 Fazeley Street, Birmingham B5 5RT


Olga Grotova, One (2016)

The centenary of the Russian Revolution is being celebrated in various exhibitions and cultural events this year. ‘Seventeen’ at Centrala more obliquely explores what a centenary of such significance might mean through the work of three UK-based Russian artists, Olga Grotova, Yelena Popova and Nika Neelova. Review by Jessie Bond

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

Roger Hiorns

Roger Hiorns, installation view at Ikon galley, 2016

Hiorns’ works are charged with a bodily materiality, bio-politics, time and collapse. An atomised jet engine is placed on the floor next to the video work ‘Benign’. A series of paintings in decaying latex depict sexual acts between men, surrounded by clusters of disembodied erections. Review by Cathy Wade.

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Grand Union, 19 Minerva Works, Fazeley Street, Birmingham B5 5RS

Mitra Saboury: Pulling Walls

Installation view, Mitra Saboury, Pulling Walls at Grand Union, 2016

Saboury utilises her own body to explore the landscape of Digbeth - an area of Birmingham’s industrial heritage, which is rapidly changing due to recent gentrification – through various sensory devices including touch, sound and taste. Review by Louisa Lee

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St Barnabas’ Church, High Street, Erdington, Birmingham B23 6SY

Tereza Buskova: Clipping the Church

Clipping the Church performance documentation

‘Clipping the Church’ demonstrated the transformations that communities naturally undergo, and ignited a much needed sense of what a unified community can be, when words are left aside in favour of a spirit of simple togetherness. Review by Dominika Mackiewicz

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Ikon, 1 Oozells St, Birmingham B1 2HS

Dan Flavin: It is what it is and it ain’t nothing else

Dan Flavin, It is what it is and it ain't nothing else. Installation view, Ikon Gallery (2016). Photo by Stuart Whipps, courtesy of Ikon. © 2016 Stephen Flavin/Artists Rights Society (ARS), New York

The Ikon building lends a somewhat cosy and domestic vibe to Flavin’s work, which I enjoy far more than some of the often starker forms of presentation in larger institutions. Indeed pairing, or starting a conversation, between Flavin’s work and Ikon’s former school house architecture is central to the exhibition’s design. Review by Sacha Waldron

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Grand Union, Minerva Works, 158 Fazeley St, Birmingham B5 5RS

They Are Here: Precarity Centre

Precarity Centre (Installation view)

Precarity Centre is an interdisciplinary framework and an experiment in social space rather than an exhibition. It sets out to be a much more fluid entity – one that is unfolding over time, has multiple points of access and a sense of precariousness to its content and form. Review by Anneka French

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Grand Union, Minerva Works, 158 Fazeley St, Birmingham B5 5RS

Emma Hart: big MOUTH

Radio Shame

big MOUTH actively questions the values of photography, just as it questions the making of objects through new works that draw from the nagging bodily anxieties of daily life. Review by Cathy Wade

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The New Art Gallery Walsall, Gallery Square, Walsall WS2 8LG | Library of Birmingham, Centenary Square, Broad Street, Birmingham B1 2ND

Mat Collishaw at The New Art Gallery Walsall and the Library of Birmingham

Mat Collishaw, All Things Fall, 2014

Mat Collishaw’s approach to art is filled with respect for the past. Victorian and Baroque cultures in particular are being constantly reiterated in his oeuvre, with the artist seemingly spellbound by their dubious character. Review by Dominika Mackiewicz

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Birmingham Open Media, 1 Dudley St, Birmingham B5 4EG

Fierce Festival, Davis Freeman: Karaoke(ART)


Karaoke(ART) activates video through invitation - for contemporary artists to reinterpret the available space of karaoke, to use it as they wish, to add, unbalance, distort or reveal truths that can be pulled from the undercurrents of their chosen song. Review by Cathy Wade.

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