Viewing articles tagged with 'Performance'

kurimanzutto, Gobernador Rafael Rebollar 94, San Miguel Chapultepec I Secc, 11850 Ciudad de México, CDMX, Mexico

Sarah Lucas: DAME ZERO

Sarah Lucas, installation view of DAME ZERO, kurimanzutto, Mexico City, 2018. Images courtesy of the artist and kurimanzutto, Mexico City.

Whilst firmly rooted in the irreverent humour of Britain, Sarah Lucas: DAME ZERO, currently on view at kurimanzutto, Mexico City, is able to securely locate itself within (as if emerging from) the context of Mexico. Review by Elliott Burns

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Wysing Arts Centre, Fox Rd, Cambridge CB23 2TX

more of an avalanche

Wysing Arts Centre, more of an avalanche, installation view, 2018

The exhibition takes the most ubiquitously right wing of pejorative terms – “snowflake” – as its conceptual springboard: the works here reclaim this insult from the political right by embracing and unabashedly exploring it. Empathy for your fellow humans and a willingness to speak up against pernicious injustice are embraced as strengths to celebrate, rather than mocked as signs of hypersensitivity and an inability to cope with ‘real life’. Review by Helena Haimes

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LADA

LADA Screens - Martin O’Brien

The Unwell, by Martin O’Brien and Suhail Ilyas, takes us into an apocalyptic landscape inhabited only by strange, coughing bodies, and is part of Martin’s ongoing exploration of the figure of the zombie as a metaphor for the sick body.

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Public spaces around Europe and Iran – Darbast Platform

Tara Fatehi Irani: Mishandled Archive

Mishandled Archive, Tara Fatehi Irani, Tehran (2018)

What we see and hear in ‘Mishandled Archive’ is not limited to one narrator – several voices are heard. It is as if we are wandering in the aural and visual space of a polyphonic text that relieves the many voices of its characters from a singular dominant authority. Review by Helia Hamedani

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Hestercombe Gallery, Cheddon Fitzpaine, Taunton, Somerset TA2 8LG

Odyssean: Topographies

Natasha Rosling and Vilma Luostarinen, Edible Coastlines, 2018.

Beginning high up in the Orkney Isles and journeying to the South West of England, ‘Odyssean: Topographies’ is a cognitive, visual and, at times, physical expedition into hidden and imagined spaces. The culmination of four artists' Orkney-based residencies, the exhibition throws into question the ways in which humans formulate perceptions of nature and place in an era rife with technology. Review by Selina Oakes

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Tate Modern, Bankside, London SE1 9TG

They Are Here: 40 Temps, 8 Days

Temps, 8 Days - Day 8: Reflecting on Life

For their new performance 40 Temps, 8 Days, artist collective They Are Here employed forty temp workers at an hourly rate of £10.50 to do activities normally done in one’s spare time.

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Zabludowicz Collection, 176 Prince of Wales Rd, Belsize Park, London NW5 3PT

Zabludowicz Collection Invites: Beth Kettel

Beth Kettel, The Mist of a Pessimist, 2017. Live performance as part of Zabludowicz Collection Invites solo exhibition.

It’s a game show but unlike any you’ve ever seen. Three contestants file wordlessly onto the small stage— animal, human and machine. Familiar and strange, they face the audience. The animal wears a mask, detailed enough to identify it but vague enough to remain unspecific. Review by Kaitlyn Kane

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KELDER, Basement of Mercer & Co., 26A Chapel Market, London N1 9EN

I Want My Ideal Paste

Col Self & Body Drift, BLK Vapour Purity Ritual, 2017

‘I Want My Ideal Paste’ takes the viscous semi-state of slime as its focus, bringing together artists, practitioners, youth workers and filmmakers to investigate the potentials held in all things that creep, shudder, stretch and burst. Review by Freddie Mason

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Grand Union, 19 Minerva Works, Fazeley Street, Birmingham B5 5RS

Susie Green: Pleasure is a Weapon

Susie Green, Pleasure is a Weapon, 2017

Weaving in and out of sweaty bodies with a collection of singing, dancing, vaping and harp playing are Susie Green and Rory Pilgrim (together The Brilliant State.) The audience track both artists around the space (being careful not to get tangled in the trailing rope of ‘Slow Burn’ as Pilgrim and Green tenderly dress and undress each other to a mixture of choral, dance and pop music. Review by Amy Jones

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Barbican Centre, Silk St, London EC2Y 8DS

Trajal Harrell: Hoochie Koochie, A performance exhibition

The Return of La Argentina, Trajal Harrell: Hoochie Koochie, A performance exhibition, Barbican Art Gallery, London

Enter into the Barbican’s gallery space, and an audience is huddled around a trio of young male dancers in loose, draped clothing, shuffling on tiptoe and making gentle reaching arm movements. Evie Ward reviews Trajal Harrell: Hoochie Koochie, A performance exhibition.

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Barbican, Silk St, London EC2Y 8DS

Eddie Peake: The Forever Loop

 Eddie Peake: The Forever Loop 9 October 2015 - 10 January 2016

The spine of the exhibition is ‘Revolution’ - a 30-minute video displayed on five monitors throughout the gallery and accompanied by a live choreographed performance. This mash up of dancers in a studio performing strong, synchronised choreography, Kool FM DJs jamming to Drum & Bass and Peake family home videos dictates the throbbing, erratic rhythm that permeates the space. Review by Alex Borkowski

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LADA

LADA Screens: Neil Bartlett

Lada screens neil bartlett

A Vision of Love Revealed in Sleep is Neil Bartlett's one-man homage to the pre-Raphaelite painter Simeon Solomon originally made in 1987 and re-performed at Tate Britain as part of the Queer British Art exhibition in July 2017.

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Rhubaba Gallery and Studios, 25 Arthur St, Edinburgh, EH6 5DA

You hardboiled     I softboiled

Installation view, You hardboiled I softboiled, Rhubaba Gallery and Studios, 2017 (Valerie Norris, Music for Intelligent Young Ladies (2013), and, bedroom furniture (2013)).

In this intriguingly titled and intimately composed exhibition, ideas of how love and its stories might be practiced, sought and appropriated move between the published page and spoken word, and are heard through sound and audio. Love is also framed within filmed moments and presented in painted gestures; it is seen in close proximity and recognised across vast distances. The love stories described here are sensed in places, portraits, correspondences and spectres. Review by Alex Hetherington

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