Viewing articles tagged with 'Painting'

Hauser & Wirth, 23 Savile Row, London W1S 2ET

Maria Lassnig, A Painting Survey, 1950 – 2007

Schicksalslinien / Be-Ziehungen VIII (Lines of Fate / Re-lations VIII)

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

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M WOODS, D-06, 798 Art Zone, No. 2 Jiuxianqiao Road, Chaoyang District, Beijing 100015

Cristof Yvoré: An Ode

Installation view of Cristof Yvoré: An Ode at M WOODS, 2017

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.

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OUTPOST, 10b Wensum Street, Norwich, NR3 1HR

Rebecca Ackroyd: House Fire

Rebecca Ackroyd: House Fire, installation view at OUTPOST, 2017

Lodged in the entrance of a former Skittle Salon in Norwich, the home of Outpost gallery, are the hips of a nude female. Review by Cleo Roberts

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Whitney Museum of American Art, 99 Gansevoort Street, New York, NY 10014

Whitney Biennial 2017

Installation Occupy Museums,  Debtfair, 2017  ( 2017 Whitney Biennial, March 17—June 11, 2017).  Thirty artworks and interactive website.  Whitney Museum of American Art

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

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Tenderpixel, 8 Cecil Court, London WC2N 4HE

David Ferrando Giraut: The Accursed Stare

David Ferrando Giraut, CATOPTROPHILIA, 2013. Installation view.

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

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Auto Italia, 44 Bonner Rd, London E2 9JS

Feral Kin

Feral Kin, Auto Italia South East (2017). Installation detail (left to right): Billy Howard Price, Taut Pupil (2017). Digital print. Jaakko Pallasvuo, MASK (2016) written by Huw Lemmey & Jaakko Pallasvuo. Single channel video.

‘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

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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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