Viewing articles tagged with 'Photography'

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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Christopher Cutts Gallery, 21 Morrow Ave, Toronto, ON M6R 2H9, Canada

Michael Snow: Powers of Two

Powers of Two

Snow is arguably one of Canada’s most internationally famed contemporary artists, known most commonly for his innovative work in film and video. ‘Powers of Two’ also brings together more recent sculpture and photo-based work with a refreshing collection of rarely seen early drawings and illustrations. Review by Emma Rae Warburton

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Frith Street Gallery, 17-18 Golden Square, London W1F 9JJ

Dayanita Singh: Museum of Shedding

Dayanita Singh, Museum of Shedding, installation view

Carolina Mostert considers Dayanita Singh's 'Museum of Shedding', an exhibition that considers time, change, inspiration and the inner processes of the artist.

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Primary, 33 Seely Rd, Nottingham NG7 1NU

Anna K.E.: Leaving the Rock Stage

Leaving the Rock Stage (2016)

Pivotal to the exhibition, through physical dominance and content, are photographs supported by stage trussing. These are structures that would, as the exhibition title suggests, be at home within the context of large stadium gig. Review by Alice Gale-Feeny

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Roman Road, 69 Roman Rd, London E2 0QN

Natalia LL: Probabilities

Natalia LL: Probabilities, installation view, Roman Road, London, 4 November 2016-14 January 2017.

Natalia LL’s solo exhibition ‘Probabilities’ gathers photographic and text works from the early 1970s created during the onset of Poland’s ‘consumer communism’ initiative. Jaime Marie Davis reviews

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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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Austrian Cultural Forum London, 28 Rutland Gate, Knightsbridge, London SW7 1PQ

Tender Touches

Zoe Williams, Chateaux Double Wide Series, video still

Zoe Marden reviews 'Tender Touches', an exhibition that attempts to discuss ideas of feminism, representation, intimacy and objectification through the works of 1970s avant garde and contemporary artists.

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National Portrait Gallery, St. Martin's Pl, London WC2H 0HE

Taylor Wessing Photographic Portrait Prize 2016

Katlehong Matsenen by Claudio Rasano, 2016

Despite the obvious limitations on subject matter and medium, the judges manage to offer a diverse range of works that chart moving personal stories and global sociocultural shifts centred mainly around issues of gender, race and age. Review by Aris Kourkoumelis

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Laura Bartlett Gallery, 4 Herald St, London E2 6JTt

Breather

Breather  Installation view, Laura Bartlett Gallery, London, 2016

Carolina Mostert reflects on 'Breather', a group exhibition of work by Alex Olson, Ketuta Alexi-Meskhishvili, Sarah Dobai, Brie Ruais and Simone Forti.

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The Photographers' Gallery, 16 - 18 Ramillies St, London W1F 7LW

Feminist Avant–Garde of the 1970s

 Installation Image of Feminist Avant-Garde of the 1970’s- Works from the Verbund collection on display at The Photographers’ Gallery at 16-18 Ramillies Street (7 October 2016 – 29 January 2017)

Many of the 48 practices on show are already rich in dialogue and debate yet our intimacy with their work shouldn’t negate the radical, experimental, ‘avant-garde’ reality of what the artists achieved during this rich era of feminist art practice. Review by Sophie Risner

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Annka Kultys Gallery, 472 Hackney Road, Unit 3, 1st Floor, London, E2 9EQ

Molly Soda: Comfort Zone

Molly Soda: Comfort Zone, installation view at Annka Kultys Gallery, London, 2016

Comfort Zone brings together Molly Soda's exploration of how instant messaging, constant sharing, retweeting and ranking through likes, invades and permeates our lives today. All these technologies profoundly affect our concept of human identity and the relationship between the public and the private realms.

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Cell Project Space, 258 Cambridge Heath Rd, London E2 9DA

Aude Pariset: GREENHOUSES

Stallion Dad

In her first UK solo show, Aude Pariset critiques the systems that perpetuate human damage on the environment and floats potential solutions via home-manufactured bioplastics and living sculptures that evolve for the duration of the exhibition. Review by Jessie Bond

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