Viewing articles tagged with 'Painting'

Centrala, Unit 4 Minerva Works, 158 Fazeley Street, Birmingham B5 5RT

SEVENTEEN

Olga Grotova, One (2016)

The centenary of the Russian Revolution is being celebrated in various exhibitions and cultural events this year. ‘Seventeen’ at Centrala more obliquely explores what a centenary of such significance might mean through the work of three UK-based Russian artists, Olga Grotova, Yelena Popova and Nika Neelova. Review by Jessie Bond

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Gasworks, 155 Vauxhall Street, London SE11 5RH

Jamie Crewe: Female Executioner

Jamie Crewe, Female Executioner, 2017. Installation view.

‘Female Executioner’ translates the 1884 work, ‘Monsieur Venus: A Materialist Novel’, into compact visual sequences theatrically staged across the sparse Gasworks gallery. Review by Ashley Janke

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Frith Street Gallery, Soho Square (60 Frith Street), London

Adrian Paci / Giuliana Racco: Another Place

The Guardians

Informed by Adrian Paci's personal history of exile from Albania to Milan in 1997 during an armed uprising, he is characteristically drawn to dislocating the viewer and exploring the ambiguities of space, and the intersection between fact, fiction, reality and fantasy. His work has found a suitable counterpart in Giuliana Racco. Review by Cleo Roberts

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New Art Exchange, 39-41 Gregory Boulevard, Nottingham, NG7 6BE

UNTITLED: art on the conditions of our time

UNTITLED: art on the conditions of our time, installation view at New Art Exchange, 2017

UNTITLED provides a number of guilty pleasures. Opening with Harold Offeh's video Covers Playlist (2016), in which a slightly over the hill man works on his disco diva moves, the show manages to maintain that identity politics can be playful as well as a serious subject. Review by Piers Masterson

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Centre for Contemporary Arts, 350 Sauchiehall Street, Glasgow G2 3JD

Forms of Action

Asuncion Molinos Gordo, Contestador (Answerphone), 2016, installation view at Forms of Action, CCA Glasgow

‘Forms of Action’ presents the work of seven artists whose actions in society are the core of their practice. Each with rich cultural, historical and political backdrops, this assembly of artists is, in itself, a timely form of action. Review by Kate Self.

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Plymouth University, Roland Levinsky Building, Drake Circus, Plymouth PL4 8AA & Plymouth Arts Centre, 38 Looe St, Plymouth PL4 0EB

Malcolm Le Grice: Present Moments and Passing Time

Present Moments and Passing Time, installation view at Plymouth Arts Centre, 2017

Both a prolific and experimental artist, Malcolm Le Grice has amassed an innovative body of work throughout his career. Now considered a pioneer of British Expanded Cinema, the Plymouth-born artist has explored diverse territory over the years, the results of which have been brought together in a new exhibition, ‘Present Moments and Passing Time’. Review by Eva Szwarc.

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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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Modern Art, 4-8 Helmet Row, London EC1V 3QJ

Peter Halley: Paintings from the 1980s

Peter Halley, Paintings from the 1980s, exhibition view, Modern Art.

The works focus on paintings, drawings and prints from a pivotal period in his career, 1982-1987. It is during this period that Halley began developing a striking signature visual language that he has refined and expanded on over the last four decades. It is comprised of textured and flat geometric elements that he refers to as prisons, cells and conduits. These seemingly abstract compositions were reflections of the increasing geometric divisions of the social and domestic spaces Halley saw people inhabiting. Review by William Davie

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Hauser & Wirth Somerset, Durslade Farm, Dropping Lane, Bruton, Somerset BA10 0NL

Djordje Ozbolt: Brave New World

Djordje Ozbolt: Brave New World, installlation view at Hauser & Wirth Somerset, 2017

Visitors to 'Brave New World,' the culmination of Djordje Ozbolt's residency at Hauser & Wirth Somerset, are greeted by a procession of garden gnomes traipsing through the courtyard and into the Threshing Barn. These brightly-coloured statues, which Ozbolt rescued from his home country of Serbia and re-cast in resin, are described by the artist as ‘unwelcome guests, cultural refugees’. Review by Bob Gelsthorpe.

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Breese Little, Unit 1, 249 - 253 Cambridge Heath Road, London E2 6JY

Parallax scrolling

Parallax scrolling, Nicholas Hatfull, Lauren Keeley and Jackson Sprague, Installation View

‘Parallax scrolling’ is an exhibition that proposes a series of visual tactics by artists Nicholas Hatfull, Lauren Keeley and Jackson Sprague. These invite viewers to engage with perception and perspective by utilising simple optical devices, drawing our attention to the process of representation. Review by Cristina Ramos González

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Turf Projects, Keeley Road, Croydon, London, CR0 1TF

Agnes Calf: Silence is so accurate

Agnes Calf: Silence is so accurate,  installation view at Turf Projects, 2017. Photo: Tim Bowditch.

Agnes Calf presents a new body of gold-tinted work at Turf Projects providing a setting for an exploration of an artwork’s apparent mutism in the face of perception, archivism and interpretation.

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

you were high when I was doomed

Installation view, you were high when I was doomed, IMT Gallery

The walls of the gallery have been spray painted to resemble some kind of toxic sky, with poisonous greens and billowing hues of black and purple. It creates a trail of changing colours like some kind of Romantic painter’s nightmare, through to its charred end. Review by Theo Turpin

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