Viewing articles tagged with 'Installation'

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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Blain|Southern, 4 Hanover Square, London W1S 1BP

Tim Noble and Sue Webster: STICKS WITH DICKS AND SLITS

Tim Noble and Sue Webster, STICKS WITH DICKS AND SLITS, 2017, Installation view

Their exaggerated expressions, dishevelled hair and naked bodies rendered with a cartoonish aesthetic make an adequate mockery of the Mayfair surroundings. The artists are seemingly running riot in their white cube play-pen. Review by Cleo Roberts

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Thomas Dane Gallery 3 Duke Street St James's London SW1Y 6BN

Anya Gallaccio: Beautiful Minds

Anya Gallaccio, Beautiful Minds, 2017. Installation view, Thomas Dane Gallery, London

'Beautiful Minds’ at Thomas Dane Gallery presents a collaborative sculptural installation that interrogates notions of authorship, performativity and our relationship to technology. Review by Zoe Marden

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Cell Project Space, 258 Cambridge Heath Rd, London E2 9DA

Ghislaine Leung: The Moves

Pictures, 2017, Ghislaine Leung. Raised floor with sunken recess, black rubber Push to Shove, 2017, Ghislaine Leung. Foam board, tape, carpet, rubber, phones, night lights, video, photos, paper, acetate, mirror, extension cables, cable ties. 61 x 112

The display overwhelms by its absence of images and presents instead a series of glass wall panels bracketed inside aluminium structures. These panels, covered with black vinyl texts, spell out incidental conversations, unsolicited quotes, traces of speech. Review by Rafael Barber Cortell

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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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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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The Showroom, 63 Penfold Street, London NW8 8PQ

Laura Oldfield Ford: Alpha/Isis/Eden

Laura Oldfield Ford, Alpha/Isis/Eden, installation view, The Showroom, 2017

Her omnipresence comes from a series of movements through the landscape as a squatter and activist. It is through Oldfield Ford’s political ideologies that the thematic of resistance in her work surfaces. Review by Sophie Risner

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Focal Point Gallery, Southend-on-Sea, Essex, SS1 1NB

Volker Eichelmann: On Peacock Island

Installation View. Volker Eichelmann 'On Peacock Island'; Courtesy Focal Point Gallery, Southend Photo: Anna Lukala

Focal Point Gallery present ‘On Peacock Island’, the first major solo exhibition of the German artist Volker Eichelmann. The exhibition features a series of new work by the artist, incorporating an arrangement of drawings by Stephen Tennant.

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Centro de Arte Andaluz Contemporáneo (CAAC) and Sala de Exposiciones Santa Inés, Seville

Leonor Serrano Rivas: Decorative Elements and Recurrent Patterns

One way to approach the recent body of work from Leonor Serrano Rivas is to understand it as a deconstruction of sorts of what would make a theatrical event. The Spanish artist has presented three key elements of a theatre play – the stage, the costumes and the backdrop – across two venues. Text by Lorena Muñoz-Alonso.

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Pump House Gallery, Battersea Park, London SW11 4NJ

Pilvi Takala: The Committee

Pilvi Takala, detail of The Committee project, 2013-2017, Pump House Gallery, London.

Pilvi Takala's ‘The Committee’ is a charming and timely exhibition that comments on the value of creativity for children, the opportunities it affords them and, significantly, is told from their perspective. Bobby Jewell reviews

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Witte de With Center for Contemporary Art, Witte de Withstraat 50 - 3012 BR Rotterdam

Laure Prouvost: the wet wet wanderer

Laure Prouvost, installation view, 'the wet wet wanderer' (2017), Witte de With Centre for Contemporary Art, Rotterdam. Photo: Kristien Daem

Prouvost’s installation transforms the ground floor of Witte de With into a sodden sub-aqueous bar. Combining sculpture, video and sound, the form of a mundane high street commercial space is defamiliarized. Here language is as slippery as a squid, function as deceitful as fiction.

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Haus der Kulturen der Welt, John-Foster-Dulles-Allee 10, 10557 Berlin

alien matter

alien matter, installation view at Haus der Kulturen der Welt, 2017.

The exhibition 'alien matter' aims to examine new relationships between man and machine through the work of thirty artists brought together around four thematic focal points: artificial intelligence, plastics, infrastructure and the internet of things. Review by Anaïs Castro.

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Power Station of Art, 200 Huayuangang Rd, Huangpu District, Shanghai, China

11th Shanghai Biennale: Why Not Ask Again?

Matts  Leiderstam, Gift of Tears, Oil painting made after Marco Palmezzano, “Christ  Carrying the Cross”, 1534, and bird-scope with refitted viewfinder on a  Manfrotto tripod; printed posters and oak table, 2016

The 11th Shanghai Biennale is a dense and vastly-scaled staging that melds Chinese science fiction, Bengali parables, the principles of traditional South Asian miniature painting, turbulent shifts in political thought and a scrutiny of the transportation of mass information through technologies, screens and devices. Review by Alex Hetherington.

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