Viewing articles tagged with 'Photography'

Hannah Barry Gallery, 4 Holly Grove, Peckham, London SE15 5DF

Oliver Griffin

H Demonstrations of Patterns in Flow What do you expect from your surfaces. A philosophy of Bicycle MotoCross (BMX) and everything. Installation view.

On the wall, hung off-centre in a 3 x 3 grid that recalls the conventional arrangement of Bernd and Hilla Becher’s water towers and grain elevators, are nine risograph prints. They belong to a series of photographs taken by Griffin at a flatland BMX competition in 2015, not of the riders or their performances, but of the streaks whorled by skidding tyres. Review by Kit Webb

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AirSpace Gallery, 4 Broad Street, City Centre, Stoke-on-Trent ST1 4HL

Victoria Lucas: Lay of the Land (and other such myths)

Victoria Lucas, Lay of the Land (and other such myths), installation view at AirSpace Gallery

The spectral colours of ‘Psychedelic Western #3’ (2015) provide a rich exhibition excerpt – its vibrant and effervescent depictions of the Alabama hills are repeated in the show's wall-sized prints and theatrical screens. A feminine sigh welcomes you into the space, while deceptively light boulders – made from layers of polystyrene, fibreglass and jesmonite – catch your eye as they glisten under the gallery's spotlights. Selina Oakes reviews

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The Sunday Painter, 1st Floor, 12-16 Blenheim Grove, London SE15 4QL

Assorted Paper

Installation view, Assorted Paper, The Sunday Painter

The gallery plays host to a number of works, all wrestling with different aspects of the material, and manages to arrange them in a way that provokes dialogue between the works without it being overwhelming. There is a mixture of surprising and expected responses to working with paper. Review by Jesc Bunyard

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Barbican Centre, Silk St, London EC2Y 8DS

The Japanese House: Architecture and Life after 1945

The Japanese House: Architecture and Life after 1945. Installation View, Barbican Art Gallery, London, 23 March - 25 June 2017

This is an exhibition that, alongside showing ground breaking architectural designs and their socio-economical contexts, attempts to dig deeper into the psyche of the Japanese family. Spread across two floors centred around a courtyard with lovingly reconstructed walk-through models of contemporary Japanese rooms, the show allows us to sense what it’s like to live in these finest examples of nanotecture. Review by Dominika Mackiewicz

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The Power Plant, 231 Queens Quay W, Toronto, ON M5J 2G8, Canada

Jonathas de Andrade: On Fishes, Horses and Man

Jonathas de Andrade: On Fishes, Horses and Man, installation view at The Power Plant, Toronto, 2017

In his solo exhibition at the Power Plant, Jonathas de Andrade astutely mines the racialized socio-economic conditions specific to north-eastern Brazil in order to explore the ways in which archetypes, ideologies and fictions both conceal and construct lived experience. Review by Alex Borkowski

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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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Barbican Centre, Silk St, London EC2Y 8DS

Richard Mosse: Incoming

Still frame from Incoming, 2015-2016. Three screen video installation by Richard Mosse in collaboration with Trevor Tweeten and Ben Frost.

In ‘Incoming’, the other is played by the European state apparatus. In their helmets, suits and protective gear, those that meet and interact with the refugees are rendered alien in the thermographic camera’s aesthetic. Mosse’s camera is able to present the true inhumanity of the crisis by inverting the roles of the migrant and those enforcing the violent borders. Review by David Lee Astley

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The RYDER, 19a Herald Street, London E2 6JT

Ewa Axelrad: SATIS

Ewa Axelrad: SATIS, Installation view at The RYDER Projects, London, 9 March - 15 April 2017

It’s difficult not to flinch when the word ‘satis’ ricochets through the sober silence of Ewa Axelrad’s exhibition at The RYDER, even after you have heard it for the first time. This sonic intrusion continues to hang in the air as much as it cuts through it with a repeating interval. Review by Joseph Constable

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Decad, Gneisenaustraße 52, 10961 Berlin, Germany

Christopher Petit: In What’s Missing, Is Where Love Has Gone

Christopher Petit: In What's Missing, Is Where Love Has Gone, installation view at Decad, 201

Novelist and filmmaker Christopher Petit presents ‘In What’s Missing, Is Where Love Has Gone’. Using a pixelated image of the late David Bowie as a stimulus, the four works presented are an examination of a quiet voyeurism that speaks to internal, often inexpressible observations surrounding popular, repetitive images. Review by Candice Nembhard

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The Third Line, Warehouse 78 & 80, Street 8, Al Quoz 1, Alserkal Avenue Dubai, UAE

Sophia Al-Maria: EVERYTHING MUST GO

Sophia Al-Maria EVERYTHING MUST GO, installation view at The Third Line, Dubai 2017. Courtesy the artist and The Third Line.

Sophia Al-Maria's exhibition at The Third Line creates an immersive experience, capturing the chaotic, almost apocalyptic act of consuming. The viewer is invited to experience illusions of order in underlying confusion and pandemonium.

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