‘The Trickle-Down Syndrome’ is a large-scale installation, which consists of five interconnected yet individual rooms, inspired both by 1930s backdrops of Hollywood director Busby Berkeley and the Surrealist works of Max Ernst. Review by Fiorella Lanni
A long table surrounded by Ikea-style chairs runs through the centre of the gallery, while in one corner, a separate environment for relaxing houses oversized cushions and shelves of plants. And everywhere, there is the physical manifestation of tech: wires, adapters, servers, computers, and cameras, creating a cacophony of noise that hums throughout the installation. Review by William Rees
The spine of the exhibition is ‘Revolution’ - a 30-minute video displayed on five monitors throughout the gallery and accompanied by a live choreographed performance. This mash up of dancers in a studio performing strong, synchronised choreography, Kool FM DJs jamming to Drum & Bass and Peake family home videos dictates the throbbing, erratic rhythm that permeates the space. Review by Alex Borkowski
The lighting, music and layout are such key parts of Richard Sides' work that 'Invisible World' is an exhibition to experience rather than see. João Abbott-Gribben reviews Sides' solo show at Carlos/Ishikawa gallery in London.
In this intriguingly titled and intimately composed exhibition, ideas of how love and its stories might be practiced, sought and appropriated move between the published page and spoken word, and are heard through sound and audio. Love is also framed within filmed moments and presented in painted gestures; it is seen in close proximity and recognised across vast distances. The love stories described here are sensed in places, portraits, correspondences and spectres. Review by Alex Hetherington
The BALTIC Artists’ Award is a clear attempt to combat some of the issues associated with prize exhibitions through a format that provides an actual and equal opportunity for four artists to develop and showcase significant new bodies of work. The award has no limit on age or nationality, is selected by some of the world’s leading contemporary artists (who also mentor the shortlisted artists) and has no ‘winners’ or ‘losers,’ with prize money (totalling £30,000 per artist) shared equally amongst the four. Review by Amy Jones
For the last seven years, the contemporary art festival Walk&Talk, has been bringing international artists to the Azores to make work in the galleries, museums, and streets of Ponta Delgada and further afield across the rest of São Miguel and Terceira. This year’s programme engages with the unique location, natural environment and history of the islands with playful, self-referential and at times antagonistic artworks considering what it means to live and make work at the periphery. Review by Jessie Bond
Featuring six Northern California artists, So I traveled a great deal... is organized by the artist Vincent Fecteau and the curator Jordan Stein, and reflects their interest in the lesser-known, the ahead-of-its-time, the hard-to-classify, the ecstatic, the hermetic, and the strange.
‘Good thing you are not alone’, the Los Angeles-based artist Kaari Upson’s first solo museum exhibition in New York City’s New Museum, immediately follows her also having participated and contributed to the Whitney Museum of American Art’s 2017 Biennial, which took place not too far uptown in Manhattan. Timing aside, the exhibition is also notable for its size, promising to be of particular interest in providing a glimpse into what Upson’s been up to in the last number of years, especially since having possibly moved on from the monumental ‘Larry Project’, an omnipresence in her practice since the early 2000s. Review by Arthur Ivan Bravo
Incorporating a programme of music, dance, theatre and contemporary art, Manchester International Festival is expansive. With daily broadcasts by BBC 6 Music’s Radcliffe and Maconie and regular email updates on what to do at MIF landing in my inbox, it can be difficult to find one’s own way into and through the programme beyond the mediated story of the festival with its pervasive marketing and slick imagery. Yet perhaps this very mediation provides an additional facet to the theme of storytelling that seems to echo throughout MIF’s varied programme. Laura Mansfield reviews
‘autoportrait’ is an eight minute and 50 second 35mm black and white film produced collaboratively between artist Luke Willis Thompson and its subject, Diamond Reynolds. It is also intended as a ‘sister image’ to the video documenting the fatal shooting of her partner, Philando Castile, by a police officer in Minnesota, which she broadcast via Facebook Live on 6 July 2016 and which has consumed Reynolds’s identity over the past year. Review by Alice Bucknell
The large portrait format screen in place of the altar of the deconsecrated church creates an ambience of a religious service and the audience are made to sit in pews. Maclean's previous work has taken Old Testament stories retelling them as contemporary fables that poked fun at cults and fads. 'Spite Your Face' presents the story of Pinocchio – one of those children's tales that having only known from the cleaned up Disney version is far darker than I assumed. Review by Piers Masterson