Viewing articles tagged with 'Film'
ACUD Gallery, Veteranenstraße 21, 10119 Berlin Mitte, Berlin
For her first solo exhibition in Germany at ACUD Gallery in Berlin, Monira Al Qadiri presents a simple combination of sculptures and video works created in the past five years. Review by Anaïs Castro
Whitney Museum of American Art, 99 Gansevoort Street, New York, NY 10014
The 78th instalment of the Whitney Biennial for 2017 - which always aims for the zeitgeist and the seminal - opens at a time of crisis not only in the United States, but around the world. Review by Arthur Ivan Bravo
Tenderpixel, 8 Cecil Court, London WC2N 4HE
David Ferrando Giraut’s recent works weave a neon path through progressive economic theories and 17,000 years of image-making, arriving at the present day clad in Louboutin and dripping in gold. Review by Jack Smurthwaite
Barbican Centre, Silk St, London EC2Y 8DS
In ‘Incoming’, the other is played by the European state apparatus. In their helmets, suits and protective gear, those that meet and interact with the refugees are rendered alien in the thermographic camera’s aesthetic. Mosse’s camera is able to present the true inhumanity of the crisis by inverting the roles of the migrant and those enforcing the violent borders. Review by David Lee Astley
Ort Gallery, 500-504 Moseley Road, Birmingham B12 9AH
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
Auto Italia, 44 Bonner Rd, London E2 9JS
‘Feral Kin’ is London’s first glimpse into Auto Italia’s collaborative, ongoing project ‘On Coping’. From Johannesburg to Copenhagen, Auto Italia has brought ‘On Coping’ across the world. Working locally with artists in each city, the project seeks to unpack the artist precariat by developing systems of growth through collaboration. Review by Ashley Janke
SE8 Gallery, 171 Deptford High Street, London SE8 3NU
In ‘Future Nothingness’ material and materiality are merged together by Portuguese artist João Biscainho in a well-choreographed display. The exhibition presents a series of works from 2013 – 2015 that take us into a series of marine references, using fluids as the main vehicle to transport the meaning of the works in the semi-dark space of the gallery. Review by Cristina Ramos González
The Power Plant, 231 Queens Quay West, Toronto, Ontario M5J 2G8 Canada
As we go about our daily lives, we enter into and are confronted by spaces designed to shape and regulate our behaviour, whether we notice it or not. It is this architecture of control that informs Kapwani Kiwanga’s solo exhibition at The Power Plant.
Jerwood Visual Arts, Jerwood Space, 171 Union Street, Bankside, London SE1 0LN
Carolina Mostert reflects on new works by Patrick Hough and Lawrence Lek, exploring themes of AI, language and narrative as part of Jerwood/FVU Awards 2017: Neither One Thing or Another.
ICA, The Mall, London SW1Y 5AH
As the main player in a game of shifting dynamics of authority, Boyce enables a fairly unpredictable performative situation but avoids direct involvement in the action. Later on, the artist reshapes the remains of the past event, so to create an installation that aims to become a space for new experience. Review by Chiara Cartuccia
Hunt Kastner, bořivojova 85 Prague, Czech Republic
Basim Magdy's work opens a part of memory that does not need to succumb to historiographical categorizations. For his exhibition at Hunt Kastner, he presents the 2014 film ‘The Many Colors of the Sky Radiate Forgetfulness’ alongside a series of photographs.
Centrala, Unit 4 Minerva Works, 158 Fazeley Street, Birmingham B5 5RT
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