Viewing articles tagged with 'Group'

dlr Lexicon, Haigh Terrace, Moran Park, Dún Laoghaire, Ireland

Paul Hallahan & Lee Welch: And the tide was way out

Paul Hallahan & Lee Welch: And the tide was way out, dlr Lexicon, 2019

In ‘And the tide was way out’ we are presented with two distinct approaches by the artists to painting, and while they converge in two works at the centre of the main gallery space, their divergence dominates the duo exhibition. Review by Aidan Kelly Murphy

Further reading +

The Photographers' Gallery, 16-18 Ramillies St, Soho, London W1F 7LW

All I Know Is What’s On The Internet

Degoutin & Wagon, World Brain, 2015, HD Video. All I Know Is What Is On The Internet, on display at The Photographers' Gallery until 24 February 2019.

To this exhibition’s immense credit, it avoids engaging in knee-jerk satire of the American President. Instead, his words serve as a jumping-off point to consider the blurrier than ever line between fact and fiction, and the changing nature of ‘the image’. Review by Adam Heardman

Further reading +

MO Museum, Pylimo g. 17, Vilnius 01141, Lithuania

All Art Is About Us

Installation view, All Art is About Us exhibition, MO Museum, Vilnius.

The inaugural exhibition, ‘All Art is About Us’, is made up predominantly of painting, video installation and photography from the museum’s collection of Lithuanian art. Review by Gulnaz Can

Further reading +

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

Further reading +

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

Jerwood Solo Presentations 2019

Sofia Mitsola, Jerwood Solo Presentations 2019, installation view

For its spring show, Jerwood Visual Arts has commissioned new bodies of work from three artists at pivotal points in their careers: Kitty Clark, Appau Jnr Boakye-Yiadom and Sofia Mitsola. This is the fourth iteration of Jerwood Solo Presentations, and the guidance notes explain that there is no curatorial theme uniting the chosen artists; these are three very different offerings, but each is powerful in its own way. Review by Anna Souter

Further reading +

William Benington Gallery, unit 3, 50 Tower Bridge Rd, London SE1 4TR

An Arrangement in Two Halves, a Bench in Two Parts

An Arrangement in Two Halves, a Bench in Two Parts #06 and #07

This is a show in two parts, the first of which blurs the artistic personas of the two artists in displaying a deconstructed functionless kit of parts throughout the gallery space, before – in part two – being reconfigured into a bench and other wall-based pieces, at which point the two artists’ practices are clearly delineated. Review by Matthew Turner

Further reading +

Rennes

Rennes Biennale 2018: Cries and Echoes

Pauline Boudry & Renate Lorenz, 40m Cube, Les Ateliers de Rennes

Siham and Hafida are two singers of the Aita, a musical genre of the Chikha. Their intergenerational conversations throughout the film give insight to how lived experience is transmitted and challenged by the fact that the younger generations learn the treats of the Aita through clips on youtube. Review by Helena Julian

Further reading +

Collective, City Observatory, 38 Calton Hill, Edinburgh EH7 5AA

Affinity and Allusion

Dineo Seshee Bopape, [when spirituality was a baby], 2018, Collective City Dome

‘Affinity and Allusion’, the opening project at the new expanded Collective on Edinburgh’s Calton Hill, does not refer to a group show as such, as one might expect for the relaunch, or remaking and reimagining of an institution like this, but is rather a title of intention, focus and scope around the nature of exhibitions and displays, given to a cluster, or constellation (the theme of astronomy is in abundance here, given that the site is a former observatory), of complex activities. Review by Alex Hetherington

Further reading +

The Hepworth Wakefield, Gallery Walk, Wakefield WF1 5AW

The Hepworth Prize for Sculpture

Installation shot of Michael Dean in The Hepworth Prize for Sculpture. 26 October 2018 - 20 January 2019.

Now in its second edition, the biannual £30,000 Hepworth Prize for Sculpture, presents us with five artists that serve to answer the question, ‘Where is contemporary sculpture headed?’ in one absolute way: everywhere and anywhere. With nothing off limits, everything and the kitchen sink can be found in this year’s shortlisted works, even some anticlimactic human hair … Review by Kit Edwards

Further reading +

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

Further reading +

Auto Italia, 44 Bonner Road, London E2 9JS

Gran Fury: Read My Lips

Kissing Doesn't Kill, Gran Fury, 1990, vinyl wall poster

‘Read My Lips’ is a powerful retrospective of agitprop collective Gran Fury, an autonomous unit stemming from the New York caucus of radical international direct action group ‘AIDs Coalition To Unleash Power’ or ACT UP. Review by Sophie Risner

Further reading +

Austrian Cultural Forum, 28 Rutland Gate, Knightsbridge, London SW7 1PQ

Newstalgia

Elisabeth Molin, Ate Chocolate, (edible monuments) 2018

‘Newstalgia’ is shifting common ways of memorialisation into question. It does this through exposing attempts to activate social and cultural habits that remember and question contemporary ways to fulfil civil duties – to re-evaluate economic, cultural and societal operations. Review by Alexandra Gamrot

Further reading +

South London Gallery, 65-67 Peckham Rd, London SE5 8UH

KNOCK KNOCK: Humour in Contemporary Art

Installation view of KNOCK KNOCK at South London Gallery (22 September - 18 November 2018) Pictured: She (2017) and KEEP OUT OF REACH OF CHILDREN (2018) by Danielle Dean

Despite the show’s title, which has been taken from Roy Lichtenstein’s ‘Knock, Knock Poster’ (1976) and which appears in the main gallery, the exhibition refuses the monotony of formulaic joke-telling and instead employs irony and cynicism to create moments of discomfort and menace. Review by Olivia Aherne

Further reading +