Viewing articles tagged with 'Group'

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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Drawing Room, Unit 8 Rich Estate, 46 Willow Walk London SE1 5SF

Drawing Biennial 2017

 Drawing Biennial 2017, Photography by Dan Weill

Drawing Biennial 2017 offers insights into how artists contend with a world in rapid and disorienting flux. A snapshot of contemporary drawing practices, the exhibition includes more than 200 new and recent works on paper by leading international artists of different generations.

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Guggenheim Museum Bilbao, Abandoibarra Etorb., 2, 48009 Bilbo, Bizkaia, Spain

Abstract Expressionism

View of the installation at the Guggenheim Museum Bilbao: Abstract Expressionism

The rationale behind this blockbuster-style show is that the movement was a multifaceted group phenomenon, involving artists from all mediums and practices, and spanning the East to West Coast of America. Prominent names such as Jackson Pollock, Mark Rothko or Willem de Kooning are not typically associated with group shows; rather represented in large-scale solo retrospectives dedicated to exploring their individual oeuvres. The exhibition is a major feat; most of these works haven’t been seen in tandem since 1959. Review by Philomena Epps

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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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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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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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Wysing Arts Centre, Fox Road, Bourn, Cambridge, CB23 2TX

All Channels Open

Lawrence Lek, FABRICK, 2017. Two video loops, 12 min, Stereo sound, Architectural model, Lasercut MDF, HD Screens, Raspberry Pis, LED Strip. 65 x 25 x 15 cm.

‘All Channels Open’ is similar to a compilation played within a subdued, minimally lit dance floor. An imaginable mic is passed to each artist in an effort to amplify her or his voice and position in the space. Review by Jaime Marie Davis

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Frith Street Gallery, Soho Square (60 Frith Street), London

Adrian Paci / Giuliana Racco: Another Place

The Guardians

Informed by Adrian Paci's personal history of exile from Albania to Milan in 1997 during an armed uprising, he is characteristically drawn to dislocating the viewer and exploring the ambiguities of space, and the intersection between fact, fiction, reality and fantasy. His work has found a suitable counterpart in Giuliana Racco. Review by Cleo Roberts

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New Art Exchange, 39-41 Gregory Boulevard, Nottingham, NG7 6BE

UNTITLED: art on the conditions of our time

UNTITLED: art on the conditions of our time, installation view at New Art Exchange, 2017

UNTITLED provides a number of guilty pleasures. Opening with Harold Offeh's video Covers Playlist (2016), in which a slightly over the hill man works on his disco diva moves, the show manages to maintain that identity politics can be playful as well as a serious subject. Review by Piers Masterson

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Centre for Contemporary Arts, 350 Sauchiehall Street, Glasgow G2 3JD

Forms of Action

Asuncion Molinos Gordo, Contestador (Answerphone), 2016, installation view at Forms of Action, CCA Glasgow

‘Forms of Action’ presents the work of seven artists whose actions in society are the core of their practice. Each with rich cultural, historical and political backdrops, this assembly of artists is, in itself, a timely form of action. Review by Kate Self.

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J Hammond Projects, Unit 2B2 Bomb Factory, Boothby Road, London N19 4AJ

Does Your Chewing Gum Lose Its Flavour (On the Bedpost Overnight)?

Does Your Chewing Gum Lose Its Flavour (On the Bedpost Overnight) J HAMMOND PROJECTS

The objects we choose to accumulate and surround ourselves with represent a manicured veneer, and what we throw away is more revealing. Isn’t it more exciting to think about how someone would rather not be perceived? Liam Hess considers group exhibition 'Does Your Chewing Gum Lose Its Flavour (On the Bedpost Overnight)?'

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Breese Little, Unit 1, 249 - 253 Cambridge Heath Road, London E2 6JY

Parallax scrolling

Parallax scrolling, Nicholas Hatfull, Lauren Keeley and Jackson Sprague, Installation View

‘Parallax scrolling’ is an exhibition that proposes a series of visual tactics by artists Nicholas Hatfull, Lauren Keeley and Jackson Sprague. These invite viewers to engage with perception and perspective by utilising simple optical devices, drawing our attention to the process of representation. Review by Cristina Ramos González

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Tenderpixel, 8 Cecil Court, London WC2N 4HE

Tropical Hangover

Tropical Hangover, installation view.

In the hot, damp climate of the rainforest, no sooner than an animal or plant dies, it begins to decay, feeding the maggots and soil from which new life grows. The tropics are an uncompromisingly ugly environment. The notion of nature’s immutable beauty is a human construction; one, as Tenderpixel’s group show ‘Tropical Hangover’ reveals, perpetuated by art. Henry Broome reviews

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