Viewing articles tagged with 'Film'

Luxembourg & Dayan, 2 Savile Row, Mayfair, London W1S 3PA

The Ends of Collage: London

Installation view, The Ends of Collage, Luxembourg & Dayan, London, 10 March - 13 May 2017

While on one count, the show’s conception of collage is flawed, it presents a complete and compelling account of its connection to other mediums. Review by Henry Broome

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ACUD Gallery, Veteranenstraße 21, 10119 Berlin Mitte, Berlin

Monira Al Qadiri: Bubble

Monira Al Qadiri: Bubble, installation view at ACUD, 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

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Whitney Museum of American Art, 99 Gansevoort Street, New York, NY 10014

Whitney Biennial 2017

Installation Occupy Museums,  Debtfair, 2017  ( 2017 Whitney Biennial, March 17—June 11, 2017).  Thirty artworks and interactive website.  Whitney Museum of American Art

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

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Tenderpixel, 8 Cecil Court, London WC2N 4HE

David Ferrando Giraut: The Accursed Stare

David Ferrando Giraut, CATOPTROPHILIA, 2013. Installation view.

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

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Barbican Centre, Silk St, London EC2Y 8DS

Richard Mosse: Incoming

Still frame from Incoming, 2015-2016. Three screen video installation by Richard Mosse in collaboration with Trevor Tweeten and Ben Frost.

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

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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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New Museum, 235 Bowery, New York, 10002

A.K. Burns: Shabby but Thriving

A.K. Burns: Shabby but Thriving, installation view at New Museum, New York, 2017

'Shabby but Thriving' at the New Museum is an installation, centred on a two-channel video, that extends A.K. Burns’ trans-feminist practice. Review by Rusty Van Riper

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Auto Italia, 44 Bonner Rd, London E2 9JS

Feral Kin

Feral Kin, Auto Italia South East (2017). Installation detail (left to right): Billy Howard Price, Taut Pupil (2017). Digital print. Jaakko Pallasvuo, MASK (2016) written by Huw Lemmey & Jaakko Pallasvuo. Single channel video.

‘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

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SE8 Gallery, 171 Deptford High Street, London SE8 3NU

João Biscainho: Future Nothingness

Rock Interior (2012-2014) and Uncanny River (the Crossing) (2014-2015)

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

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The Power Plant, 231 Queens Quay West, Toronto, Ontario M5J 2G8 Canada

Kapwani Kiwanga: A wall is just a wall

Kapwani Kiwanga: A wall is just a wall. Installation view: The Power Plant, Toronto, 2017. Photo: Toni Hafkenscheid

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.

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ICA, The Mall, London SW1Y 5AH

Sonia Boyce: We move in her way

Sonia Boyce: We move in her way

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

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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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