Viewing articles tagged with 'Painting'
Copenhagen Contemporary, Trangravsvej 10–12, 1436 Copenhagen K
Four full-size aeroplanes occupy the corners of the vast gallery, each based on a 20th century warplane from Kiefer’s private collection. They are impotent, made from malleable lead and brittle zinc and leaning on rusted props and boulders. Giant poppies burst from a cockpit and ripped-open wings are adorned with sunflowers or weighed down with Kiefer’s signature lead books. Review by Jessie Bond
Guggenheim Museum Bilbao, Abandoibarra Etorb., 2, 48009 Bilbo, Bizkaia, Spain
The rationale behind this blockbuster-style show is that the movement was a multifaceted group phenomenon, involving artists from all mediums and practices, and spanning the East to West Coast of America. Prominent names such as Jackson Pollock, Mark Rothko or Willem de Kooning are not typically associated with group shows; rather represented in large-scale solo retrospectives dedicated to exploring their individual oeuvres. The exhibition is a major feat; most of these works haven’t been seen in tandem since 1959. Review by Philomena Epps
Hauser & Wirth, 23 Savile Row, London W1S 2ET
With relentless honesty, wit and self-irony, the Austrian painter Maria Lassnig explores her corporeality and shocks by simply making tangible the most fundamental common experience of us all – inhabiting a human body. Review by Katharina Günther
M WOODS, D-06, 798 Art Zone, No. 2 Jiuxianqiao Road, Chaoyang District, Beijing 100015
An Ode, the first ever museum exhibition of Cristof Yvoré's work in Asia, presents paintings from many stages of the French painter’s career. Yvoré undertakes a restless exploration of the physicality of paint, imbuing his subjects with all the subjectivity and uncertainty of remembered things.
Whitney Museum of American Art, 99 Gansevoort Street, New York, NY 10014
The 78th instalment of the Whitney Biennial for 2017 - which always aims for the zeitgeist and the seminal - opens at a time of crisis not only in the United States, but around the world. Review by Arthur Ivan Bravo
Tenderpixel, 8 Cecil Court, London WC2N 4HE
David Ferrando Giraut’s recent works weave a neon path through progressive economic theories and 17,000 years of image-making, arriving at the present day clad in Louboutin and dripping in gold. Review by Jack Smurthwaite
Auto Italia, 44 Bonner Rd, London E2 9JS
‘Feral Kin’ is London’s first glimpse into Auto Italia’s collaborative, ongoing project ‘On Coping’. From Johannesburg to Copenhagen, Auto Italia has brought ‘On Coping’ across the world. Working locally with artists in each city, the project seeks to unpack the artist precariat by developing systems of growth through collaboration. Review by Ashley Janke
Centrala, Unit 4 Minerva Works, 158 Fazeley Street, Birmingham B5 5RT
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
Frith Street Gallery, Soho Square (60 Frith Street), London
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
New Art Exchange, 39-41 Gregory Boulevard, Nottingham, NG7 6BE
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
Centre for Contemporary Arts, 350 Sauchiehall Street, Glasgow G2 3JD
‘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.