Viewing articles tagged with 'Birmingham'

Eastside Projects, 86 Heath Mill Lane, Birmingham, B9 4AR

The Range

Eastside Projects, The Range, 2018, Photo: Stuart Whipps

Curated by artist Rehana Zaman, ‘The Range’ features new work by six artists, including Ain Bailey, Adam Farah and Beverley Bennett, following close to a year of mostly digital correspondence amongst the group. Internet culture provides much of the source material for their shared exploration and humour, as well as the show’s title, which makes reference to a ‘Little Britain’ sketch and the popular Twitter thread it inspired. Review by Divya Osbon

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Nottingham Contemporary, Weekday Cross, Nottingham NG1 2GB

Still I Rise: Feminisms, Gender, Resistance

Installation view of Still I Rise: Feminisms, Gender, Resistance, Oct 2018 - Jan 2019, Nottingham Contemporary.

‘Still I Rise: Feminisms, Gender, Resistance’ is the first act of an exhibition showing a kind of history of resistance through the means of feminisms and intersectional queer thinking. The curators started to build the exhibition as an idea two years ago. Then, we didn’t have #metoo and #timesup, Trump wasn’t yet the POTUS, women’s marches weren’t so much in the news ... Review by Gulnaz Can

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

Langlands & Bell: Internet Giants: Masters of the Universe

Icon (Mark Zuckerberg)

Internet Giants: Masters of the Universe at Birmingham's Ikon Gallery is a timely mediation on how dominant technology behemoths, like Facebook, have completely reshaped our cultural and social landscape. Teasing out these complexities through new sculptural and digital works, artists Langlands & Bell question if the opulent mega campuses of Apple and Google will define our age. Review by Jack Welsh

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

Susie Green: Pleasure is a Weapon

Susie Green, Pleasure is a Weapon, 2017

Weaving in and out of sweaty bodies with a collection of singing, dancing, vaping and harp playing are Susie Green and Rory Pilgrim (together The Brilliant State.) The audience track both artists around the space (being careful not to get tangled in the trailing rope of ‘Slow Burn’ as Pilgrim and Green tenderly dress and undress each other to a mixture of choral, dance and pop music. Review by Amy Jones

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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

SEVENTEEN

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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