Viewing articles tagged with 'Sculpture'
Blain|Southern, 4 Hanover Square, London W1S 1BP
Their exaggerated expressions, dishevelled hair and naked bodies rendered with a cartoonish aesthetic make an adequate mockery of the Mayfair surroundings. The artists are seemingly running riot in their white cube play-pen. Review by Cleo Roberts
The Third Line, Warehouse 78 & 80, Street 8, Al Quoz 1, Alserkal Avenue Dubai, UAE
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.
Lodos, Edificio Humboldt, 116 Calle del Artículo 123, Int. 301, Colonia Centro, Mexico City, Mexico
‘Everything that is not a basket, is a bad basket’ exclaims Kasia Fudakowski in her solo show at Lodos Gallery in Mexico City. Craft, and its valuation, is at the centre of this show, as Berlin-based Fudakowski archly comments on appropriation, market value and the definition of artistic labour. Review by Henry Osman
New Art Exchange, 39-41 Gregory Boulevard, Nottingham, NG7 6BE
UNTITLED provides a number of guilty pleasures. Opening with Harold Offeh's video Covers Playlist (2016), in which a slightly over the hill man works on his disco diva moves, the show manages to maintain that identity politics can be playful as well as a serious subject. Review by Piers Masterson
Thomas Dane Gallery 3 Duke Street St James's London SW1Y 6BN
'Beautiful Minds’ at Thomas Dane Gallery presents a collaborative sculptural installation that interrogates notions of authorship, performativity and our relationship to technology. Review by Zoe Marden
Cell Project Space, 258 Cambridge Heath Rd, London E2 9DA
The display overwhelms by its absence of images and presents instead a series of glass wall panels bracketed inside aluminium structures. These panels, covered with black vinyl texts, spell out incidental conversations, unsolicited quotes, traces of speech. Review by Rafael Barber Cortell
Vienna Secession, Friedrichstraße 12, 1010 Viennassion
Angelika Loderer's new sculptural works call conceptions of value in to question. Here, simple and commonplace forms are enhanced with precious materials, bearing witness to the ambivalence of perishability and meaning.
Stedelijk Museum, Postbus 75082, 1070 AB Amsterdam
Merging the boundaries between abstraction and figuration, and challenging the formal and narrative potency of the sculptural discipline Jordan Wolfson presents MANIC / LOVE / TRUTH / LOVE. In this exhibition Wolfson explores the increasing digitalization of society and other technological developments.
Centre for Contemporary Arts, 350 Sauchiehall Street, Glasgow G2 3JD
‘Forms of Action’ presents the work of seven artists whose actions in society are the core of their practice. Each with rich cultural, historical and political backdrops, this assembly of artists is, in itself, a timely form of action. Review by Kate Self.
J Hammond Projects, Unit 2B2 Bomb Factory, Boothby Road, London N19 4AJ
The objects we choose to accumulate and surround ourselves with represent a manicured veneer, and what we throw away is more revealing. Isn’t it more exciting to think about how someone would rather not be perceived? Liam Hess considers group exhibition 'Does Your Chewing Gum Lose Its Flavour (On the Bedpost Overnight)?'
SpazioA, Via Amati, 13 Pistoia 51100 Italy
For her first solo show Belgian artist Ode de Kort presents a new body of work comprising photographic, typographic and choreographic objects, exploring tensions between stasis and movement, and challenging the boundaries between media and disciplines.
Hauser & Wirth Somerset, Durslade Farm, Dropping Lane, Bruton, Somerset BA10 0NL
Visitors to 'Brave New World,' the culmination of Djordje Ozbolt's residency at Hauser & Wirth Somerset, are greeted by a procession of garden gnomes traipsing through the courtyard and into the Threshing Barn. These brightly-coloured statues, which Ozbolt rescued from his home country of Serbia and re-cast in resin, are described by the artist as ‘unwelcome guests, cultural refugees’. Review by Bob Gelsthorpe.