Viewing articles tagged with 'Group'

PEER, 97-99 Hoxton Street, London N1 6QL

Jonathan Baldock and Emma Hart: Love Life

Love Life by Jonathan Baldock and Emma Hart, 2016

A wicker basket spits hay across the floor from its gormless mouth. Papier-mâché masks with hooked noses and chins, a pair of hessian arms ending in red hands and a roughly hewn cudgel are nestled in a rustic bed. Jessie Bond reviews a collaborative exhibition by artists Jonathan Baldock and Emma Hart.

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Jan Colle Gallery, Jakob van Caeneghemstraat 16, 9000 Gent, Belgium

Egon Van Herreweghe and Thomas Min: The Ideal Husband

The Ideal Husband, installtion view at Jan Colle Gallery, 2016.

‘The Ideal Husband’, an exhibition of work by Egon Van Herreweghe and Thomas Min, is primarily shaped by its location. The characteristics of the venue are taken as a starting point for this show, which is a careful survey of notions related to virility, masculinity and manhood in modern times. Review by Josephine Van De Walle.

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The Jewish Museum, 1109 5th Ave at 92nd St, New York

Take Me (I’m Yours)

Take Me ('m Yours), installation view at the Jewish Museum, 2016.

‘Take Me (I’m Yours),’ the star-studded group show currently on view at The Jewish Museum in New York, is the third iteration of an exhibition held at London’s Serpentine Galleries in 1995. Review by Arthur Ivan Bravo.

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Maureen Paley, 21 Herald Street, London E2 6JT


“…HOUNDED BY EXTERNAL EVENTS…” Curated by Michael Bracewell. Exhibition view, Maureen Paley, London 2016

Unease seems to be the mood of the moment. We are in a state of political flux, paranoia and polarised views. If it feels familiar to the human race it’s because we’ve lived this before. As the blurb accompanying the latest exhibition at Maureen Paley tells us, each generation experiences its own rise of unease. Review by Jesc Bunyard

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

Tender Touches

Zoe Williams, Chateaux Double Wide Series, video still

Zoe Marden reviews 'Tender Touches', an exhibition that attempts to discuss ideas of feminism, representation, intimacy and objectification through the works of 1970s avant garde and contemporary artists.

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National Portrait Gallery, St. Martin's Pl, London WC2H 0HE

Taylor Wessing Photographic Portrait Prize 2016

Katlehong Matsenen by Claudio Rasano, 2016

Despite the obvious limitations on subject matter and medium, the judges manage to offer a diverse range of works that chart moving personal stories and global sociocultural shifts centred mainly around issues of gender, race and age. Review by Aris Kourkoumelis

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Laura Bartlett Gallery, 4 Herald St, London E2 6JTt


Breather  Installation view, Laura Bartlett Gallery, London, 2016

Carolina Mostert reflects on 'Breather', a group exhibition of work by Alex Olson, Ketuta Alexi-Meskhishvili, Sarah Dobai, Brie Ruais and Simone Forti.

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Modern Art Oxford, 30 Pembroke Street Oxford, UK OX1 1BP

KALEIDOSCOPE: The Vanished Reality

The Vanished Reality, installation view

Modern Art Oxford has had its 50th anniversary this year. To celebrate its cultural conversion from the Victorian brewery that it once was in the 60s to the international gallery that exists today, a commemorative medley of exhibitions has been staged.

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

Feminist Avant–Garde of the 1970s

 Installation Image of Feminist Avant-Garde of the 1970’s- Works from the Verbund collection on display at The Photographers’ Gallery at 16-18 Ramillies Street (7 October 2016 – 29 January 2017)

Many of the 48 practices on show are already rich in dialogue and debate yet our intimacy with their work shouldn’t negate the radical, experimental, ‘avant-garde’ reality of what the artists achieved during this rich era of feminist art practice. Review by Sophie Risner

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Yuz Museum, 35 Fenggu Road, Xuhui District, Shanghai, China


Tan Tian, installation view at Yuz Museum Shanghai, 2016

OVERPOP focuses on a group of artists who are responding to the impact of the Internet on the visual environment. Their work is more than post-internet, however: it incorporates the historical tradition of Pop Art in addition to responding to the acceleration of digital imagery.

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Pump House Gallery, Battersea Park, London, SW11 4NJ

Each fighting its own little battle in happy ignorance

Tom McCaughan, The Indefatigable Field, 2016

The exhibition is loosely based on Graham Greene’s 1934 novel ‘It’s a Battlefield’, which focusses upon the power and bureaucracy of a governing administration. The resonances of both book and exhibition extend naturally to the current global political climate. Elli Resvanis reviews

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IMT Gallery, 2, 210 Cambridge Heath Rd, London E2 9NQ


I Need This In My Life

The dichotomy between freedom in ideas but not in body is reasserted throughout ‘Wandering/WILDING’, whereby forthright playfulness and vulnerability is conveyed in the work of seven artists. Review by Lauren Velvick

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Tate Modern, Bankside, London SE1 9TG / Nahmad Projects, 2 Cork Street, London W1S 3LB

Naked Truth

Installation view, Pierre Auguste Renoir and Felix Gonzalez-Torres, Untitled (Revenge) 1991

Carolina Mostert considers the eroticism to be found within Georgia O'Keeffe's recent exhibition at Tate Modern and the artists currently exhibiting in 'Bliss' at Nahmad Projects.

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