Viewing articles tagged with 'London'

Somerset House, Strand, London WC2R 1LA

Mat Collishaw: Thresholds

Thresholds, early test visualisation

In the context of Photo London, the artist has brought together the vanguard of Victorian visual technology with current developments in virtual reality programming. Review by Cleo Roberts

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White Rainbow,47 Mortimer St, Fitzrovia, London W1W 8HJ

Minimalist Anyway | Kazuko Miyamoto and Lydia Okumura

Minimalist Anyway, Installation view at White Rainbow, London, 2017.

‘Minimalist Anyway’ held at White Rainbow presents a dialogue between the works of two artists with Japanese origins: Lydia Okumura and Kazuko Miyamoto, considering how the legacy of minimalism has impacted upon the reading of their work. Review by Rafael Barber Cortell

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Rowing, 3 Leighton Place, London NW5 2QL

Rory Pilgrim

Rory Pilgrim, Software Garden, installation view

Pilgrim’s exhibition is based on the idea that technology, like ecology, can facilitate beneficent exchanges between its users. The show’s main feature is a short film (22 minutes) also called ‘Software Garden’ (2017), which takes the structure of the diverse environment of a garden by combining work from a number of collaborators. Review by Henry Broome

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Hannah Barry Gallery, 4 Holly Grove, Peckham, London SE15 5DF

Oliver Griffin

H Demonstrations of Patterns in Flow What do you expect from your surfaces. A philosophy of Bicycle MotoCross (BMX) and everything. Installation view.

On the wall, hung off-centre in a 3 x 3 grid that recalls the conventional arrangement of Bernd and Hilla Becher’s water towers and grain elevators, are nine risograph prints. They belong to a series of photographs taken by Griffin at a flatland BMX competition in 2015, not of the riders or their performances, but of the streaks whorled by skidding tyres. Review by Kit Webb

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Turf Projects, Keeley Rd, Croydon CR0 1TF

Paul Schneider: Ways of Seeing

Installation view, Ways of Seeing at Turf Projects

A simplicity of form is the essence of ‘Ways of Seeing’, Paul Schneider’s solo show at Turf Projects in East Croydon. Screen Beans, the now extinct graphics of the 90s Microsoft Office populate the gallery space of Turf Projects over and over again creating an immersive virtual experience. Review by Zoe Marden

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Cubitt Gallery, 8 Angel Mews, Islington, London N1 9HH

Houses are really bodies: escape, defiance and friendship in the writing of Leonora Carrington

Houses are really bodies: the writing of Leonora Carrington, installation view, Cubitt Gallery, London, 2017.

In the contemporary, the idea of ‘sanctuary’ is an interesting one. Helen Nisbet’s use of the word when describing ‘Houses are really bodies’, her debut installation as Cubitt’s latest Curatorial Fellow, strikes chords that place the show both within a dense history and at the forefront of the present. Review by Jack Smurthwaite

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Chisenhale Gallery, 64 Chisenhale Rd, London E3 5QZx

Maeve Brennan: The Drift

Maeve Brennan, The Drift, 2017. Installation view, Chisenhale Gallery, 2017.

From the very first images you are transported into rural Lebanon. The silence of the valley is broken by an incoming car, driving past a junction littered with disused motor vehicles. These modern ruins are instantly followed by ancient villas and temples that have sat for centuries in the countryside, now surrounded by roads, pylons and infrastructure. Review by Bobby Jewell

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Kunstraum, 21 Roscoe Street, London EC1Y 8PT

Sophie Jung: Producing My Credentials

Sophie Jung, Producing My Credentials, Kunstraum, London, 2017.

‘Producing My Credentials’ is a series of performances and an exhibition that invites the audience to enter an audacious and curious version of Sophie Jung’s memory theatre. Review by Christian Lübbert

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Marian Goodman Gallery, 5-8 Lower John Street, London W1F 9DY

Annette Messager: avec et sans raisons

Installation view of Annette Messager, avec et sans raisons, Marian Goodman Gallery London 19 April - 27 May 2017

‘Daily’ (2016) features ropes of black thread akin to dusted cobwebs, a recurring thematic throughout the show used to strangle and surrender items of gigantic proportions; scissors, combs, keys and locks. Items charged with domestic associations lie surrendered in mid-air, transfixed and immobile, a metaphor for frustration which is echoed in the exhibition’s accompanying work. Review by Sophie Risner

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The Sunday Painter, 1st Floor, 12-16 Blenheim Grove, London SE15 4QL

Assorted Paper

Installation view, Assorted Paper, The Sunday Painter

The gallery plays host to a number of works, all wrestling with different aspects of the material, and manages to arrange them in a way that provokes dialogue between the works without it being overwhelming. There is a mixture of surprising and expected responses to working with paper. Review by Jesc Bunyard

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Furtherfield Gallery, The McKenzie Pavilion, Harringay, London N4 2NQ

PLEASE IDENTIFY YOURSELF.

Refugee Flag, Installation view at Furtherfield Gallery, 2017

‘PLEASE IDENTIFY YOURSELF.’ announces itself with a song and a flag. Yara Said’s ‘Refugee Nation’ flag, designed in lifejacket orange for stateless participants of the 2016 Olympics, floats over the small pavilion in Finsbury Park housing Furtherfield Gallery. Review by David Morris

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Castor, Enclave 8, 50 Resolution Way, London, SE8 4AL

Jack West: Time and Attendance

Jack West: Time and Attendance, Castor

The videos exist in a digital purgatory with nothing around them apart from pixels and hyperbolic colour palettes emulating materials we know. Review by William Davie

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