Viewing articles tagged with 'Painting'

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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Rodeo, 123 Charing Cross Road London WC2H 0EW, UK

Condo: Haris Epaminonda

Installation view, Haris Epaminonda, VOL.XIX, Rodeo, London, 2016.

For VOL. XX, the nineteenth edition of 'Volumes', Haris Epaminonda uses disparate material from her collection of pottery, books and historical objects.

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Gemeentemuseum Den Haag, Stadhouderslaan 41, 2517 HV Den Haag, Netherlands

Rinus Van de Velde

Rinus Van de Velde, installation view at  Gemeentemuseum Den Haag, 2016

Stepping into Rinus Van de Velde’s installation situates one in an outsized and totally absorbing graphic novel. His large and powerful charcoal on paper drawings tell of life at an artists’ colony led by the idiosyncratic, manipulative and fictional sculptor Isaac Weiss, just the latest in a string of stand-ins Van de Velde employs in his work. Review by John Gayer.

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

Lubaina Himid: Invisible Strategies

Lubaina Himid: Invisible Strategies, installation view at Modern Art Oxford, 2017

Opening the day following the inauguration of President Trump, Lubaina Himid’s exhibition at Modern Art Oxford comes at a significant moment. Yet it must be remembered that as an artist, curator and self-described ‘political strategist,’ Himid has worked tirelessly throughout her practice over the last 30 years to highlight the implicit and systemic racial exclusion within British art institutions and society.

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Emalin, Unit 4 Huntingdon Estate, Bethnal Green Rd, Shoreditch E1 6JU

Condo: Emalin hosting Galerie Gregor Staiger

Installation View, Condo: Emalin hosting Galerie Gregor Staiger

Carolina Mostert responds to a group exhibition at Emalin, as part of the multi-sited project 'Condo'. She finds a series of curious forms layered with myth, history and a variety of technologies.

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Pilar Corrias Gallery, 54 Eastcastle Street, London W1W 8EF

Charles Avery: The People and Things of Onomatopoeia: Part 2

Installation view gallery 2

Recent political developments in the UK have naturally left the issue of an island mentality very present in people’s minds. Avery has described his protagonists as philosophically engaged rationalists but with such clear contrast between the Island’s urban and rural life, you wonder how long before the Islanders might have a revolution. Review by Tessa Norton

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Passen-gers, Brunswick Centre, London

Evy Jokhova: Towering in the condition of fragments

Installation view, l-r: Totem VIII, 2017, plaster, steel, cement, polystyrene, stone effect; Slabs on Stone II, 2016, carved stone, linoleum, oil paint, stone effect, timber; Slabs on Stone I, 2016; Totem I, 2016

Evy Jokhova’s exhibition consists of a mix of sculptures and installations that generate questions about nature and artifice, crafted and found objects, and subjective and objective states. Stacked in formations that resemble cairns, the works explore the social and historical dimensions of stone, linoleum, paint and fur. Review by Anya Smirnova

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The Ian Potter Museum of Art, Swanston Street, University of Melbourne, Parkville VIC 3010

Ramesh Mario Nithiyendran: In the Beginning

Ramesh Mario Nithiyendran: In the Beginning, installation view at Ian Potter Museum of Art, 2016

Drawn to the messy nature of clay, Ramesh Mario Nithiyendran admits that he is no master potter. Rather than reinventing the wheel, Nithiyendran has abandoned it entirely, in favour of a more visceral approach. Piling lump upon lump of clay, the artist forms crude figurines through which he explores notions of creation, religion and gender. Review by Hayley Haynes.

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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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Maureen Paley, 21 Herald Street, London E2 6JT

“…HOUNDED BY EXTERNAL EVENTS…”

“…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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