Viewing articles tagged with 'Drawing'

Hauser & Wirth, 23 Savile Row, London W1S 2ET

Geta Brătescu: The Power of the Line

Geta Brătescu, Jocul formelor (Game of Forms), 2010, Collage, drawing on paper, 4 parts, 45 x 60 cm

Hauser & Wirth, working closely with the artist before her death and with Ivan Gallery, has put together a museum-quality exhibition of this remarkable artist’s work. The show draws together pieces from the last decade, a period in which Brătescu’s practice focused on working with the line as a structuring principle. Review by Anna Souter

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White Cube Bermondsey, 144 – 152 Bermondsey Street, London SE1 3TQ

Tracey Emin A Fortnight of Tears

Tracey Emin, A Fortnight of Tears, White Cube Bermondsey, 6 February - 7 April 2019

The paintings in this exhibition splatter the flesh, blood and mucus palettes of Francis Bacon and Cy Twombly across Egon Schiele’s warped technical accuracy of human anatomy. It’s some of the best painting Emin has done for years and is enough to carry the less potent parts of the exhibition. The neon and the selfies seem to blare some loud but ineloquent kind of intimacy at you, and don’t come near the compositional mastery of the paintings and sculptures. Review by Adam Heardman

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Primary, 33 Seely Road Nottingham, NG7 1NU & New Art Exchange, 39-41 Gregory Boulevard, Nottingham NG7 6BE

Hardeep Pandhal: Paranoid Picnic: The Phantom BAME

Hardeep Pandhal, Paranoid Picnic: The Phantom BAME (2019), Primary

Nottingham galleries, New Art Exchange and Primary present ‘Paranoid Picnic: The Phantom BAME’, a split-site exhibition of recent and ongoing works by Hardeep Pandhal. A second generation British Sikh now based in Glasgow, Pandhal dissects continuing projects of cultural assimilation and the performance of heritage. Review by Amelia Seren Roberts

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SFMOMA, 151 Third St, San Francisco, CA 94103

Vija Celmins: To Fix the Image in Memory

Vija Celmins, Suspended Plane, 1966; oil on canvas

Best known for her photorealist drawings and paintings in monochrome or grey tones, Celmins’ work has always shown a fascination with what we see, how we see it, and the experience of seeing itself. ‘To Fix the Image in Memory’ presents some of Celmins’ most iconic works. Review by Rosanna van Mierlo

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Edel Assanti, 74a Newman Street, London W1T 3DB

We are the people. Who are you?

Funda Gul Ozcan, It Happened as Expected, 2018, Four channel video installation, looping, Dimensions variable

A timely exhibition, ‘We are the people. Who are you?’ is an insightful essay representing current anxieties over the health of our electoral democracy. The 30th anniversary of the fall of the Berlin Wall is looming and as well as reflecting the unpredictable consequences of that historical moment for artists from the former Soviet bloc the show connects the ‘revolution’ of 1989 with the turning point of 2016’s US election and other historical pivots. Review by Piers Masterson

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The Approach, 1st Floor, 47 Approach Road, Bethnal Green, London E2 9LY

Shapeshifters

Shapeshifters, installation view at The Approach, 2019

In the delicate space of The Approach Gallery, group show ‘Shapeshifters’ initially seems a suitably lightweight fit with pastel images and objects tiptoeing across the room. In direct opposition, heaviness slowly wades in through the details, as pinks shift from candy fluorescent to wet plasticky sludge and blood clot red. Review by Jillian Knipe

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MCA Denver, 1485 Delgany Street, 80202, USA

Tara Donovan: Fieldwork

Untitled (Mylar), 2011, Mylar and hot glue, Dimensions variable, Site-specific installation

On a physical and material level, but most crucially on a metaphysical and referential plane, Donovan's works multiply, fold and expand beyond the sum of their parts. Review by Rosanna van Mierlo

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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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Jerwood Visual Arts, Jerwood Space, 171 Union Street, Bankside, London SE1 0LN

Survey

Installation View of Survey at Jerwood Space, London, 3 October - 16 December 2018.

An assembly of work from fifteen early career artists who have been nominated from across the UK, ‘Survey’ is an exhibition comprising a wide range of disciplines. From film, performance and drawing, to painting, ceramics and installation, it gives rising voices within the sector the opportunity to stand out and stand up. Review by Alexandra Gamrot

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Sadie Coles, 1 Davies Street, London, W1K 3DB

Paul Anthony Harford

Untitled (mother asleep with masked child)

The most poignant works in the exhibition are the drawings in which Harford depicts his mother, frail and clearly coming to the end of her life, she’s shown sleeping under thick covers, already starting to slip away. In one drawing, a thick safety rail cuts in front of the composition, signaling that her separation has already begun. Review by Kaitlyn Kane

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Lily Brooke Gallery, 3 Ada Rd, Camberwell, London SE5 7RW

Charlie Godet Thomas: WHAT IS IT, THIS TIME?

Song of Experience

In his current show WHAT IS IT, THIS TIME? at Lily Brooke gallery, Charlie Godet Thomas transforms the immateriality of flat text into three-dimensional sculptural objects, capturing the moment words carve an emotional space in the mind of a reader and the outside world. Review by Matthew Turner

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Barbican Centre, Silk St, London EC2Y 8DS

Yto Barrada: Agadir

Yto Barrada: Agadir, Installation View with performers Nick Armfield, Rory Francis, Tallulah Bond and Jonny Lavelle, Yto Barrada: Agadir, Installation View, The Curve, Barbican Centre, 7 February - 20 May 2018

Commissioned by the Barbican as part of the ‘Art of Change’ programme, Moroccan-born artist Yto Barrada has taken over the Curve gallery with a display of loss, separation and re-emergence. Referencing the novel ‘Agadir’ by Mohammed Khaïr Eddine, the artist reworks the spinal layout of the gallery as a fragmented timeline. Using photography, film, performance and collage, Barrada guides us through a history of colonialism, political subversion and the failure of a Modernist architectural utopia, all wrapped up in an event – an earthquake – that all but destroyed the city in fifteen seconds in 1960. Review by Rosanna van Mierlo

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The approach, 1st Floor, 47 Approach Road, Bethnal Green, London E2 9LY

Evren Tekinoktay: Serpentine

Evren Tekinoktay,Serpentine, Installation view

The overall aesthetic of the current exhibition, ‘Serpentine’, is remarkably conservative. The collages appear to be simple cut-outs; I stare at them, and they freeze. The lines, corners and edges form sharp patterns through the gallery wall; and they are softened by the pale colours outlining and filling the shapes. Review by Carolina Mostert

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