Viewing articles tagged with 'Sculpture'

Pump House Gallery, Pleasure Garden Fountains, Battersea Park, London SW11 4NJ

Samara Scott: Developer

Samara Scott, Developer, 2016. Mixed media site-specific installation at the Pleasure Garden Fountains in Battersea Park, London. Image courtesy Pump House Gallery.

Near the large fountains in Battersea Park that are the remnants of the 1950s Festival of Britain, are the mirror pools and Scott’s latest work. Scott’s practice combines the physical and the explicitly bodily with the industrial and manufactured. Her concern with ‘Developer’ is the situating of the park in a former industrial heartland – how it came to be a place of pleasure within saltpetre works. Review by Betsy Porritt

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S1 Artspace, The Scottish Queen, 21-24 South Street, Sheffield S2 5QX

The Brutalist Playground

Assemble and Simon Terrill, The Brutalist Playground, 2016. Exhibited at S1 Artspace, Park Hill, Sheffield, June - Sept 2016. © the artists. Photography: Alun Bull

With the tagline ‘part sculpture; part installation; all play’, the Assemble collective and Simon Terrill’s most recent iteration of ‘The Brutalist Playground’ at S1 Artspace in Sheffield, consciously expands the sculptural field whilst importing the social history of British post-war architecture. Review by Lara Eggleton

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South London Gallery, 65-67 Peckham Rd, London SE5 8UH

Under the Same Sun

Jonathas de Andrade, Posters for the Museum of the Man of the Northeast, 2013.  Installation view: Under the Same Sun: Art from Latin America Today, South London Gallery, June 10-September 4, 2016.

Centres of economic might are shifting, and the geographic catchments of the Guggenheim’s UBS-sponsored MAP programme are not defined as much by shared cultural context as they are by their markets. Alex Quicho reviews 'Under the Same Sun'.

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KARST, 22 George Place, Stonehouse, Plymouth, PL13NY

Material Nuclear Culture

Nick Crowe & Ian Rawlinson 2016 Courageous DV Video: colour, sound. variable

Ever since their invention, submarines have been a source of unextinguished curiosity. Silently present in the depths of the sea, they are in equal parts insidious and menacing as they are intriguing and mysterious. Review by Eva Szwarc

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The Fruitmarket Gallery, 45 Market Street, Edinburgh, EH1 1DF

Damián Ortega

Damián Ortega, Altocumulus, 2016. Courtesy of the artist, kurimanzutto, mexico city and gladstone gallery, new york. photo- ruth clark1

In ‘States of Time’, rather than seeing found, industrial fragments, we see a collection of handmade objects whose structure appears to have been compromised by erosion or conjured by the wind. Review by Joy Harris

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Jerwood Visual Arts, Jerwood Space, 171 Union Street, Bankside, London SE1 0LN

Jerwood Solo Presentations

Installation view, works by Rachel Pimm, 2016

William Rees reviews Jerwood Solo Presentations, an exhibition of newly commissioned works by artists Lucy Parker, Rachel Pimm and Katie Schwab nominated by former Jerwood Visual Arts Writers in Residence.

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Parasol unit, 14 Wharf Road, London, N1 7RW

Rana Begum: The Space Between

Rana Begum, The Space Between. Installation view at Parasol unit, 2016.

As you enter, glimmers of activity jump out. No one work is overshadowed and each invites its own narrative exploring the relationship between light and colour. Review by Sophie Risner

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Division of Labour, 13-19 Herald Street, Bethnal Green, London E2 6JT

Looking at People Looking at Art

Installation view, Looking at People Looking at Art

The pieces gathered here seem on the whole quite proud to show off their rough edges, pleased with their stodginess and lumpiness, and are happy to sit somewhat awkwardly before us. Tim Dixon reviews this exhibition curated by artist Mark Essen.

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Liverpool Biennial, 55 New Bird Street, Liverpool L1 0BW

Liverpool Biennial 2016

Mark Leckey, Dream English Kid, 1964 – 1999 AD, 2015. Photo courtesy the artist and Cabinet London

What is always already an inevitable attribute of a city-wide exhibition is actively embraced and enhanced by this year’s Liverpool Biennial. Using the thematic framework of the ‘episode’, the Biennial’s programme brings together a constellation of diverse narrative fragments, scenarios and scenes. Review by Laura Mansfield

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SculptureCenter, 44-19 Purves St, Long Island City, NY 11101

Leslie Hewitt: Collective Stance

Installation view, Leslie Hewitt: Collective Stance, SculptureCenter, 2016. Photo: Kyle Knodell

Leslie Hewitt’s new exhibition at the SculptureCenter in Queens, New York, is surprising for its spartan modesty, a quietude that highlights both the riveting intellect and powerful emotional current of her work. Review by Liam Hess

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Chisenhale Gallery, 64 Chisenhale Road, London E3 5QZ

Yuri Pattison: user, space

Yuri Pattison, user, space (2016). Installation view, Chisenhale Gallery, 2016. Commissioned by Chisenhale Gallery, London. Courtesy of the artist; mother's tankstation limited, Dublin; Helga Maria Klosterfelde, Berlin; and Labor, Mexico.

A long table surrounded by Ikea-style chairs runs through the centre of the gallery, while in one corner, a separate environment for relaxing houses oversized cushions and shelves of plants. And everywhere, there is the physical manifestation of tech: wires, adapters, servers, computers, and cameras, creating a cacophony of noise that hums throughout the installation. Review by William Rees

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SPACE, 131 Mare St 131 Mare St, London E8 3RH

Josh Bilton: Undersong

Undersong

In his exhibition at SPACE Josh Bilton takes Portland stone as his focus, looking at its displacement from Portland to London and the duality of these two locations. Review by Rosie Ram

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The Averard Hotel, 10 Lancaster Gate, London W2 3LH

Maybe your lens is scratched?

Astray (Part II): Smoking, 2016

‘Maybe your lens is scratched?’ hinges on a relationship between space and image disrupted by economic and political changes (rising inequality, international capital, privatization of space, shell corporations).

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