Viewing articles tagged with 'Installation'

Artist Interview: Lubaina Himid

Interview: Lubaina Himid

Lubaina Himid

Ahead of tonight's Turner Prize winner announcement, which she is odds on to win, Cleo Roberts, art historian and research associate at Wolfson College, University of Cambridge, interviewed Lubaina Himid to find out more about her practice, research process and the intricacies of her visual language.

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Zabludowicz Collection, 176 Prince of Wales Rd, Belsize Park, London NW5 3PT

Zabludowicz Collection Invites: Beth Kettel

Beth Kettel, The Mist of a Pessimist, 2017. Live performance as part of Zabludowicz Collection Invites solo exhibition.

It’s a game show but unlike any you’ve ever seen. Three contestants file wordlessly onto the small stage— animal, human and machine. Familiar and strange, they face the audience. The animal wears a mask, detailed enough to identify it but vague enough to remain unspecific. Review by Kaitlyn Kane

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Museum of Contemporary Art San Diego, 1100 Kettner Blvd, San Diego, CA 92101, USA

Memories of Underdevelopment: Art and the Decolonial Turn in Latin America, 1960-1985

Installation view of Memories of Underdevelopment: Art and the Decolonial Turn in Latin America, 1960-1985

Memories of Underdevelopment is set within the context of Latin America during the 1960s to 1980s, a period that coincides with both the apex and unraveling of the developmentalist project in many countries in the region, most notably Brazil, Argentina, Venezuela, and Mexico. In contrast to dominant ideologies that guided the modernization process in these countries, Memories of Underdevelopment traces the emergence of a distinct set of artistic practices that questioned the developmentalist rhetoric and proposed alternative forms of cultural production that responded to this situation of cultural and economic dependency.

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Camden Arts Centre, Arkwright Road, London NW3 6DG

Nathalie Du Pasquier: Other Rooms

 Installation view of Nathalie Du Pasquier: Other Rooms at Camden Arts Centre, 2017.

Self-described as a painter of still lives ‘who makes her own models’ – carefully colour toned, modular, geometric constructions – Du Pasquier has taken two gallery rooms as her field of composition for a new body of work that comes together as a comprehensive, if many sided, installation. Review by Hannah Newell

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Calvert 22, 22 Calvert Avenue, London E2 7JP

Dmitri Prigov: Theatre of Revolutionary Action

Dimitri Prigov. Theatre of Revolutionary Action, Installation view, 2017.

‘Russia,’ a 2004 media-opera, like much of Prigov’s work that spans drawing, installation, performance, poetry and sculpture tests the limits of language and meaning, while exploring the complex legacy of Russia’s socialist project and its eventual unravelling. Review by Anya Smirnova

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Chisenhale Gallery, 64 Chisenhale Rd, London E3 5QZ

Hannah Black: Some Context

Hannah Black, The Situation (2017). Commissioned and produced by Chisenhale Gallery.

Articulation and destruction, ambiguity and obligation, specificity and dissolution, singularity and collectivity – their various interchanges and struggles, become descriptors for Hannah Black’s ‘Some Context’. Review by Alex Bennett

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Kunsthalle Wien, Museumsplatz 1 1070 Vienna

Florian Hecker: Hallucination, Perspective, Synthesis

Installation view: Hallucination, Perspective, Synthesis

Florian Hecker uses synthetic sounds and the listener’s auditory process to create acoustic spaces of experience. His computer-generated compositions dramatize psychoacoustics as well as objective-physical stimuli and their individual, psychic and physical impacts.

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DHC/ART Foundation for Contemporary Art, 451 Rue Saint Jean, Montréal, QC H2Y 2R5

Bill Viola: Naissance à rebours

Still from Ascension 4

The presentation at DHC/ART brings together a collection of video works by artist Bill Viola. Four flat panel video works as well as a projection piece are presented alongside Viola's most recent major installation, Inverted Birth (2014). This monumental projection depicts the five stages of awakening through a series of violent transformations, exploring the very nature of our existence: life, death, birth, and rebirth.

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Gió Marconi, Via Alessandro Tadino, 20, 20124 Milano

Wade Guyton: Siamo arrivati, in forma abbreviata

iPhones, cameras, computers, consumer-grade Epson printers… American artist Wade Guyton’s practice surrounds the digital universe of our daily lives. Guyton’s process-based approach consists of an apparently simple method, focused on an authorial use of technology. The limitations of a large-format Epson UltraChrome inkjet printer create stutters and miss-fires on his large-scale canvases challenging the notions of painting and photography. Review by Marialuisa Pastò

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Kunstraum, 21 Roscoe St, London EC1Y 8PT

Merike Estna: fragments from the shattered toe

Merike Estna, fragments from the shattered toe, Kunstraum, London, 2017.

Not only do Merike Estna's paintings have colourful, thick lines running erratically across large-scale surfaces, she also makes painting itself seem as playful and effortless as a 1990s computer game. Review by Brenda Guesnet

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

3-Phase

Nicola Singh, Sweet Spot, 2017 – installation view. Commissioned for 3-Phase, a partnership between Jerwood Charitable Foundation, WORKPLACE and Eastside Projects.

For this second edition of '3-Phase', artists Larry Achiampong, Mark Essen and Nicola Singh have been selected by an independent panel to develop and present new works through three exhibition moments. Following the first at Jerwood Space, the artists will exhibit at WORKPLACE Gallery in Gateshead and Eastside Projects in Birmingham in 2018. Review by Giulia Ponzano

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DenFrie, Oslo Pl. 1, 2100 København Ø, Denmark

Hans Op de Beeck: Staging Silence II

Staging Silence II, video still

The subject matter of Staging Silence II, a video work by internationally acclaimed Belgian artist Hans Op de Beeck, consists of miniature dioramas depicting deserted scenarios that are built by anonymous hands, working with meticulous precision. There is no plot, no storyline, only empty scenes, where something might happen.

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Bonington Building, Nottingham Trent University, Dryden St, Nottingham NG1 4GG, UK

Sara MacKillop: One Room Living

One Room Living, installation view

One Room Living presents a series of works and interactions that reference the wide variety of spatial uses that directly surround Bonington Gallery – analysing not only the gallery’s site and situation, but also how the wider institution’s function is represented across a multitude of spaces.

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Plymouth Arts Centre, Peninsula Arts, KARST, Plymouth College of Art, The Council House, Plymouth

We The People Are The Work

More Than A Pony Show, Matt Stokes.

A partnership between Plymouth’s major visual arts venues, 'We The People Are The Work' is comprised of five new commissions installed across the city. With each involving varying degrees of collaboration with the city’s inhabitants, at the core of the work is how each artist navigates the complexities of ‘social engagement’. Review by Rowan Lear

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