Viewing articles tagged with 'Sculpture'

House of Egorn, Schöneberger, Ufer 51 10785 Berlin | House of Egorn 13-19 Herald St London, E2 6JT

The Bullet Returns to Where the Shot was Fired

The Bullet Returns to Where the Shot was Fired, installation view at House of Egorn, London, 2016

This two-part show is sufficiently complex and self aware to acknowledge its complicity without being curtailed by it. The exhibition takes its name from Hito Steyerl’s performative lecture ‘Is the Museum a Battleground’, delivered at the 2009 Istanbul Biennial, in which Steyerl seeks to makes visible the ties which connect the art world to violent conflict via global capital. Review by Laura Purseglove

Further reading +

Barbican Centre, Silk Street, London EC2Y 8DS

Bedwyr Williams: The Gulch

Bedwyr Williams, The Gulch, The Curve, Barbican

Entering the Curve through a pair of sand dunes and hustled into a small central corridor, a series of objects meet you – wigs and rocks, a tiny Games Workshop-esque model of the artist, a baseball jacket featuring a goat mascot who invites you to 'ruminate!' Tessa Norton reviews Bedwyr Williams' large scale work 'The Gulch' at the Barbican.

Further reading +

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

Piotr Lakomy: Room Temperature

Room Temperature installation view, The Sunday Painter, London, 2016

The title of Piotr Lakomy’s exhibition at The Sunday Painter – ‘Room Temperature’ – prefaces the human body as both a starting point and remnant of its display. A ‘comfortable’ ambience of twenty degrees centigrade is at odds with the body’s thirty-seven, and it is this tension between comfort and discomfort, absence and presence, which lingers in the air. Review by Joseph Constable

Further reading +

Seventeen, 270-276 Kingsland Road, London E8 4DG

Lonesome Wife

Lonesome Wife, Seventeen, installation view

This autumn Seventeen presents ‘Lonesome Wife’, an imaginative and seductive exhibition displaying the work of nine multiform artists. Taking the focal point of being a show about text but without the text, curator Attilia Fattori Franchini edifies the character of William H. Gass’ (1968) novel ‘Willie Masters’ Lonesome Wife’, by using installation, painting and photography. The unseen text is brought to gallery visitors through abstract, visual props that are as gentle and subtle as they are fetishistic and nasty. Review by Phoebe V. Bradford

Further reading +

Annely Juda Fine Art, 4th Floor, 23 Dering Street, London W1S 1AW

Lucia Nogueira

Installation view, Lucia Nogueira

The dense exhibition at Annely Juda Fine Art provides an insightful overview of Nogueira’s practice between 1989 and 1997 and the space is packed with her sculptures, installations and drawings. Elli Resvanis reviews

Further reading +

The Koppel Project, 93 Baker Street, London W1U 6RL / 26 Holborn Viaduct, London EC1A 2AQ

Mitologia de la Tierra and From Myth to Earth

Installation view, From Myth to Earth

Artists Sol Bailey Barker and Gabriella Sonabend travelled to Colombia to spend six months exploring its landscapes, and researching and responding to its bloodied history, mythologies and the current volatile climate. The results of this process can be seen in ‘From Myth to Earth’. In ‘Mitologia de la Tierra’, meanwhile, Bailey Barker and Sonabend have contextualised their journey and invited six Colombian artists who have never previously shown in the UK to exhibit their work. Review by William Davie

Further reading +

kim? Contemporary Art Centre, Sporta iela 2 LV-1013, Rīga, Latvia

Daiga Grantiņa: Heap-core,,,

Daiga Grantiņa: Heap-core,,, installation view at kim? Contemporary Art Centre, Riga, 2016

The exhibition hall at kim? Contemporary Art Centre in Latvia is transformed into a site-specific installation by Riga-born, Paris-based artist Daiga Grantiņa.

Further reading +

Yorkshire Sculpture Park, West Bretton, Wakefield WF4 4LG

Not Vital

Not Vital, House to Watch the Sunset, 2005. Aluminium, 430 x 550 x 330 cm. Courtesy the artist and YSP. Photo © Jonty Wilde

Within the aesthetics of all the works there is a blend between graffiti and the Old Masters. This curious mix is most prevalent within the work at the Underground Gallery, where self-portraiture becomes merged within the cool feel of stainless steel and marble. Review by Jesc Bunyard

Further reading +

Serpentine Gallery, Kensington Gardens, London W2 3XA

Marc Camille Chaimowicz: An Autumn Lexicon

Marc Camille Chaimowicz: An Autumn Lexicon; Installation View, Serpentine Gallery (20 September-20 November 2016)

With new installations created specifically for the exhibition and existing works reconfigured for the space, the overall experience of Marc Camille Chaimowicz’s ‘An Autumn Lexicon’ is one of intense visual pleasure. Review by Jessie Bond

Further reading +

White Cube Bermondsey, 144 – 152 Bermondsey Street, London SE1 3TQ

Virginia Overton

 Virginia Overton, Solo exhibition, White Cube Bermondsey, London, 30 September - 6 November 2016

Overton uses materials and signifiers that have been familiar throughout her life. These highlight a shift in perspective, considering how buildings, design and objects shape our cultural identities and the ways in which we view the world. Review by Elli Resvanis

Further reading +

Hauser & Wirth, 23 Savile Row, London W1S 2ET

Mike Kelley: Framed and Frame

Installation view, Mike Kelley. Framed and Frame, Hauser & Wirth London, 2016

Piers Masterson reviews Mike Kelley's large-scale installation at Hauser & Wirth, exploring issues surrounding the reproduction and dissemination of cultural heritage.

Further reading +

Galerie Christophe Gaillard, 5 Rue Chapon, 75003 Paris

Kate Steciw

Kate Steciw, installation view at Galerie Christophe Gaillard, Paris, 2016

Kate Steciw's sculptural encounters with the photographic embody the subjective possibilities of our contemporary image environment.

Further reading +

Wysing Arts Centre, Fox Road, Bourn, Cambridge, CB23 2TX

Joey Holder: Ophiux

Ophiux, Joey Holder.  photograph: Damien Griffiths.

Following her “Multiverse” residency at the Wysing Arts Centre in 2015, Joey Holder’s solo show, Ophiux, draws us into the possible near future of biology and medical sciences. Review by Emilie Cloos

Further reading +