Viewing articles tagged with 'Sculpture'

Turf Projects, 46-47 Trinity Court Whitgift Centre, Croydon CR0 1UQ

LOW BATT. installation view

LOW BATT. installation view

The exhibition’s text opens with a quote from the film Dawn of the Dead, where a group of survivors find refuge from the zombie apocalypse in a shopping mall. The exhibition seeks to problematize our reliance on technology and looks for alternative forms of survival, asking ‘What tools might expedite shopping mall survivalism?’ For Turf projects, who are being evicted from this space at the Whitgift at the end of the year to make way for a shiny new Westfield, the question of survival has never been more urgent. Review by Amy Jones

Further reading +

Witte de With Centre for Contemporary Art, Witte de Withstraat 50, 3012 BR Rotterdam, Netherlands

Irene Kopelman, a solo exhibition

Irene Kopelman, 77 Colors of a Volcanic Landscape A, B, C (2016) and Puzzle Piece (2012) part of Irene Kopelman, a solo exhibition, Witte de With Center for Contemporary Art 2018

Stepping into Irene Kopelman, a solo exhibition, lands one in an ambiguously sparse installation filled with plenty of air and light. Here it takes time to adjust to the presentation’s scope, as some of the works offer bare whispers of visual information that are delicately precise representations that cannot be grasped in a few milliseconds. Review by John Gayer

Further reading +

The Tetley, Hunslet Rd, Leeds LS10 1JQ

Material Environments

Material Environments installation view

Inspired by Yorkshire’s cult status as a UFO hotspot, Serena Korda has created a new immersive and raw sound work, ‘Clairaudience’ (2018). Korda’s research process is mapped across three galleries. Review by Jack Welsh

Further reading +

Guggenheim Museum, Bilbao, Abandoibarra Etorb., 2, 48009 Bilbo, Bizkaia, Spain

Art and China after 1989: Theater of the World

Art and China after 1989: Theater of the World installation view, 2018

What becomes apparent in the latter stages of the exhibition is a sense that many of the exhibition’s themes collapse into one another. 2008 is painted as a pivotal moment where the Beijing Olympics act as an affirmation of China’s ascent to global power, yet the Sichuan earthquake happened only a month before. Review by Stanley Portus

Further reading +

Yorkshire Sculpture Park, West Bretton, Wakefield WF4 4LG

Giuseppe Penone: A Tree in the Wood

Luce e ombra (detail)

The use of wood, twigs and leaves in his work seems to recall Penone’s artistic output of the 60s and 70s, as part of the Italian art movement ‘Arte Povera’ (Poor Art), which placed an emphasis on the use of throwaway materials. However, today, Penone does not shy away from monumentalizing mediums. Review by Kristina Foster

Further reading +

New College, Oxford, Holywell St, Oxford OX1 3BN

Emily Young

Midnight Head

Born into a family of writers, artists and politicians, British Sculptor Emily Young found an affinity to sculpting from an early age; influenced by her grandmother, the sculptor Kathleen Scott, a colleague of Auguste Rodin and widow of the explorer Captain Scott of the Antarctic. Review by Paul Black

Further reading +

Barbican Centre, Silk St, London EC2Y 8DS

Yto Barrada: Agadir

Yto Barrada: Agadir, Installation View with performers Nick Armfield, Rory Francis, Tallulah Bond and Jonny Lavelle, Yto Barrada: Agadir, Installation View, The Curve, Barbican Centre, 7 February - 20 May 2018

Commissioned by the Barbican as part of the ‘Art of Change’ programme, Moroccan-born artist Yto Barrada has taken over the Curve gallery with a display of loss, separation and re-emergence. Referencing the novel ‘Agadir’ by Mohammed Khaïr Eddine, the artist reworks the spinal layout of the gallery as a fragmented timeline. Using photography, film, performance and collage, Barrada guides us through a history of colonialism, political subversion and the failure of a Modernist architectural utopia, all wrapped up in an event – an earthquake – that all but destroyed the city in fifteen seconds in 1960. Review by Rosanna van Mierlo

Further reading +

Roman Road, 69 Roman Road, London E2 0QN

Alix Marie: La Femme Fontaine

Alix Marie: La Femme Fontaine, installation view, Roman Road, London, 5 April - 20 May 2018.

Water declares itself the primary medium of Alix Marie’s ‘La Femme Fontaine’ – its presence in the gallery is inescapable. Running through long, clear tubes, it finds its way into every corner of the space. It scales the high walls only to come back to the ground. It trickles audibly into shining silver bowls and the splashing carries and echoes. It spills on to the floor, collecting in shallow puddles. Review by Kaitlyn Kane

Further reading +

Castlefield Gallery, 2 Hewitt Street Manchester, M15 4GB

Ruth Barker & Hannah Leighton-Boyce

Ruth Barker, Victory, 2013, Her whole self, 2018

Set against the backdrop of the centenary celebrations of the suffragette movement, Castlefield Gallery's exhibition – which is co-commissioned with the University of Salford Art Collection – is the result of Ruth Barker and Hannah Leighton-Boyce's year-long research and production residencies. Throughout 2017, the two artists exchanged ideas from their respective locations in Salford and Glasgow; each delving into the long-standing archives of either the University of Salford Art Collection or the Glasgow Women's Library in order to formulate new visual narratives. Review by Selina Oakes

Further reading +

Parc de la Villette, 211 Avenue Jean Jaurès, 75019 Paris, France

Interview: Will Ryman on his commission for Parc de la Villette

Will Ryman, La Villette, Heads

New York-based sculptor Will Ryman recently unveiled his first large-scale European presentation of work in La Villette, an expansive urban public park located in the northeast of Paris. Three sculptures, ‘Pac-Lab’, ‘Heads’ and ‘Sisyphus’ (all 2018), have been commissioned as part of the interdisciplinary Festival 100%. Made first in clay and then fabricated in painted resin and bronze respectively, the sculptures have a theatrical bent, something the artist is keen to connect to personal experiences of making processes, histories and audience dialogue. Anneka French speaks to the artist.

Further reading +

Met Breuer, 945 Madison Ave, New York, NY 10021, USA

Like Life: Sculpture, Color, and the Body (1300–Now)

Like Life: Sculpture, Color, and the Body (1300–Now) at the Met Breuer, 2018

Like Life, current on view at the Met Breuer, is a sweeping paean to historical contemporaneity, but where crowded chaos or a pandering sense of prurience could easily reign, co-curators Sheena Wagstaff and Luke Syson manage to imbue the eerie magic of mimesis with an academic bent that won’t intimidate fair-weather tourists. Review by Torey Akers

Further reading +

Large Glass, 392 Caledonian Road, London N1 1DN

Alice Channer: A Coin in Nine Hands - Part 5

Crustacean Satellites, 2018. Vacuum Metallised Spider Crab (Maja Brachydactyla) and Brown Crab (Cancer Pagurus) Shells on Stainless Steel Jigs; PVC Coated Steel Cables; Fixings, 295.5 (h/variable) x 105 (w) x 110 (d) cm

'A Coin in Nine Hands - Part 5: Alice Channer (Carapaces)’ is a fascinating celebration of the elaborate figure of a shell. Inspired by Marguerite Yourcenar’s novel ‘A Coin in Nine Hands’ (1993), which recounts the journey of a ten lira coin through the hands of nine different people – a prostitute, an artist and Mussolini’s assassin – this exhibition is part of the gallery’s ambitious project of displaying the work of nine international artists in nine different solo shows over the coming months. Review by Fiorella Lanni

Further reading +

Spanien 19C, Kalkværksvej 5A, 8000 Aarhus, Denmark

Mette Boel: Sunkissed

Mette Boel, Sunkissed, 2018, exhibition view, udstillingsstedet Spanien 19c, Aarhus.

Trainers pair up with swimming pool noodles to create weird, often amusing pairings, as the noodles appear to be wearing shoes and claim the space for themselves. Posters look like tourist ads and then again not. Then there is the sand on the floor, which reminds us of relaxing days at the beach. Yet, here, the sand does not move; it has become like a carpet. Not a carpet to lie down upon, but something to investigate, to brush up against. Review by Rikke Hansen

Further reading +