Books, access to knowledge and what that means, are central to this exhibition and to Latham’s practice. Books stuck together, burned up, glued into glass, arranged as monuments. Review by Sacha Waldron
HOUSE has the potential to bring together a meaningful constellation of projects. On the occasion of Brighton Festival’s celebration of its 50th year, the two festivals have jointly taken up the theme of “home,” provoking ruminations about place and identity—and also the relationship between the local and the international. Review by Amy Luo
Managing to avoid an overly academic discourse in favour of a materially playful framework, ‘good things come…’ gives sensitive and considerate investment to seventeen contemporary artists. Review by Bob Gelsthorpe
'Elusive Earths III' is an ongoing in situ work, process, and dialogue between Jennifer Teets and Lorenzo Cirrincione, that looks to the elusiveness of rare clays, soils, and earths with forgotten origins.
Comedy as a technique illustrates the need to feel awkward, vulnerable and suggestible if we're to challenge norms in society. It also highlights that feeling entertained can also be just as emancipatory an experience when discussing something with potency. Review by Sophie Risner
Whether affixed to other structures or lolling on the floor, Dean's oversized, weighty and flaccid things convey the muscular effort of communication, pushing forward an idea of language as material process and bodily struggle. They return, heaped on the floor, in ‘Sic Glyphs’, an exhibition of new work by Dean currently on display in the South London Gallery, an exhibition for which the artist has been nominated for the Turner Prize. Luke Naessens reviews
Mark Horowitz approaches painting from a cinematographic standpoint, similar to the process of video making — from creative writing and mood boards, to casting, location scouting, propping, dialogue adaptation, establishing mise-en-scène, improvisation and editing — he chooses characters and backgrounds of display that fluctuate between landscapes, interiors and still lifes while enacting personas that could range from anywhere between Greek goddesses to the weather man.
The tomb-like resonance of the hall with its obvious religious connotations lends the scene a sense of ancientness or even timelessness; the figure could be a sacred High King of Ireland lying in state. Paradoxically however, there is too something very present and pertinent about this strange body. Review by Fiona Haggerty
Artist collaborators Joanne Tatham & Tom O’Sullivan produce works that interrogate the roles and behaviours of contemporary art. At The Modern Institute, this is presented as a series of uneven, re-staged and re-positioned installations of past works that employ a palette of forms, motifs, patterns, titles, comic faces and images. Review by Alexander Hetherington
How can art production continue when resources become scarce? Or when large sections of the earth become uninhabitable? Or when financial crash after financial crash leaves our lives so precarious we can no longer find the spacious, free time for art-making? In using the techniques of the past, these artists also look tentatively forwards: the past, present and future collide. Review by Siobhan Leddy
Under the concept of Paradise, an allegorical figure of a lost origin and promised destination, Martin Soto Climent explores the writings of Korean philosopher Byung-Chul Han concerning respect and erotic experience. The artist proposes a way to liberate the identity of intimacy, consumed in our days under the rule of an overwhelming system.
In her solo show at TILE Project Space Lucia Leuci reflects on the construction of identity during childhood and within the parental model. 'Bad mothers and creole kids' is a mise en scène of social behaviours through the construction of a incubator - a symbolic place where different experiences can live together without dominating each other.
As Doug Fishbone importantly points out, “[mini-golf is] socially inclusive and egalitarian - more so than any ‘real’ golf course”. Both 80-year old Grandmother and 5-year old Granddaughter who were seen competing together, seemed to back up this claim. Review by Alice Gale-Feeny