Viewing articles tagged with 'Photography'

Gió Marconi, Via Alessandro Tadino, 20, 20124 Milano

Wade Guyton: Siamo arrivati, in forma abbreviata

iPhones, cameras, computers, consumer-grade Epson printers… American artist Wade Guyton’s practice surrounds the digital universe of our daily lives. Guyton’s process-based approach consists of an apparently simple method, focused on an authorial use of technology. The limitations of a large-format Epson UltraChrome inkjet printer create stutters and miss-fires on his large-scale canvases challenging the notions of painting and photography. Review by Marialuisa Pastò

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Serpentine Sackler Gallery, West Carriage Drive, London W2 2AR

Torbjørn Rødland: The Touch That Made You

Torbjørn Rødland, Bathroom Tiles, 2011-13

In Torbjørn Rødland’s photography activity is stalled. Chemistry is cauterised and left to breathe and rest, surfaces and nubile skins are luminous and lustful, viscosities slip and collaborate. Review by Alex Bennett

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Nottingham Contemporary, Weekday Cross, Nottingham NG1 2GB

States of America

Lee Friedlander, Mt Rushmore, South Dakota, 1969, gelatin-silver print.

Nottingham Contemporary’s ‘States of America’ sweeps across the shifting social and political landscape of the USA between the 1960s and early 1990s, capturing the rise of popular culture and suburbia, declining city centres, the Civil Rights Movement, wealth disparity, urban life and the fading American Dream. Viewed through the lens of seventeen different photographers, we are offered a necessarily prismatic picture of American culture that is particularly compelling given current events. Review by Hannah Newell

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Division Gallery, 45 Ernest Ave, Toronto, ON M6P 3M7

Nicolas Baier: Asterisms

Vanité (bureau astro)

Division Gallery is pleased to announce Asterisms, an exhibition of new works by acclaimed Quebec artist Nicolas Baier. His past work consisted of a self-reflexive examination of the camera’s possibilities, focusing on the medium’s transformation in the digital age. Baier’s experimentation compelled us to pay attention to the perspectival changes engendered by photography: how the technology alters both the Real and our direct reality.

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Index, The Swedish Contemporary Art Foundation, Kungsbrostrand 19 11226 Stockholm

Beth Laurin: Provisorium

As its title, Beth Laurin: Provisorium, suggests, this exhibition functions as a provisional retrospective, the contents of which have settled, but are not yet final. The word provisorium also has a more everyday meaning in Swedish as ‘makeshift’. This word falls short of the fine delicacy with which much of Laurin’s work is realized, but does perhaps account for the way that the work meshes together the everyday life and environments in which she lives and works. Review by David Price

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Edel Assanti, 74a Newman Street, London W1T 3DB

Marcin Dudek: Steps and Marches

Marcin Dudek: Steps and Marches, Edel Assanti

The personal nature of this work speaks to Dudek’s practice more widely. Over a number of years, he has been exploring group behaviour and crowd control through the context of the stadium, posing questions about responsibility and autonomy while working through his own past. Review by Kaitlyn Kane

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Kestle Barton, Manaccan, Helston, Cornwall. TR12 6HU

Togetherness: Notes on Outrage curated by South Kiosk

About Togetherness: Notes on Outrage installation view

In a converted Cornish farmstead situated just ten miles from the southernmost point of mainland Britain, a group show, Togetherness: Notes on Outrage, curated by London gallery, South Kiosk, that started out in London in the summer offers a considered response to – and celebration of – architecture critic Ian Nairn’s 1955 edition of Architectural Review, entitled Outrage. Review by Trevor H. Smith

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Bonington Gallery, Nottingham Trent University, Bonington building, Dryden Street, Nottingham, UK, NG1 4GG

It’s Our Playground: Artificial Sensibility

Installation view

A solo exhibition of new work by Paris-based artist duo It’s Our Playground (IOP), comprised of Camille Le Houezec and Jocelyn Villemont. Artificial Sensibility continues the duo’s ongoing reflection on artificial intelligence – when technology mimics human cognitive behaviour. Artificial Sensibility reveals a hybrid learning process of automated principles of recognition and basic human methods of education.

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Project Narrative Informant, Morley House, 26 Holborn Viaduct, The City of London, London EC1A 2AQ

Juliana Huxtable

Installation view, Project Narrative Informant

In her first UK solo show, Huxtable's focus shifts to what covers the bodies of others. The exhibition is centered around ten panels of text displaying fragments from a larger narrative written by Huxtable. Threaded through the story of a young blonde who falls in with a crowd of skinheads in London, is an analysis of struggles over the meaning of the white skinhead aesthetic: bomber jackets, Fred Perry, Ben Sherman. Review by Kevin Brazil

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Tate Modern, Bankside, London SE1 9TG

Soul of a Nation: Art in the Age of Black Power

Faith Ringgold, America People #20 Die

Covering the period 1963 to 1983 the choice of theme for ‘Soul of a Nation: Art in the Age of Black Power’ is a timely move, bringing together a disparate selection of work around the theme of artistic responses to the American civil rights and Black Power movements, and the specific experiences of artists as activists for or from the African-American community. Review by Piers Masterson

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Thomas Dane Gallery 3 Duke Street St James's London SW1Y 6BN

Naming Rights

Naming Rights at Thomas Dane Gallery 2017, Installation View

‘Naming Rights’ is a unique exhibition that discloses the arcane mechanisms of an artist run project space, converting the gallery into a place for artistic research and experimentation. The result is a distinctive presentation of works by international artists. Review by Fiorella Lanni

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