Viewing articles tagged with 'Solo'

KW Institute for Contemporary Art, Auguststraße 69, 10117 Berlin, Germany

Schering Stiftung Art Award 2018: Anna Daučíková

Upbringing by Touch

The current exhibition at KW Institute presents the work of Anna Daučíková through video, photography and sculpture. Spanning the past five decades, the body of work refuses linearity, welcomes the experimental possibilities between the artist and her materials, and opens up to wider discourses on identity. Review by Eva Szwarc

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Magasin III Jaffa, 6813131 34, Olei Zion St, Tel Aviv-Yafo, Israel

Cosima von Bonin: Ocean and Caffeine

Seasons in the Abyss

Two fish dressed up in skirts and shackled to guitars guard the entrance of Magasin III in Jaffa at Cosima von Bonin’s first solo exhibition in Israel. ‘Ocean and Caffeine’ looks as if it is inspired by the essence of the port city as a surfboard leans horizontally on the wall, but it is a crash course in nearly two decades of von Bonin’s work about marine life. Review by Danielle Gorodenzik

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Museum Voorlinden, Buurtweg 90, 2244 AG Wassenaar, Netherlands

Do Ho Suh

Staircase - III

Do Ho Suh’s solo exhibition highlights the artist’s fabric replicas of the places where he once lived. Reproduced at a 1:1 scale and in a range of colours, this well-known mode of his practice not only charts the route Suh’s life has taken, but also creates a presence that is more atmospheric than architectural. Based on residences in Berlin, London, Seoul, and New York City, these markers speak of the evanescence of past experiences and the frailty of memory. Their cumulative effect balances the mnemonic with fact. Review by John Gayer

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Frith Street Gallery, 17-18 Golden Square, Soho, London W1F 9JJ

Callum Innes: Keeping Time

Installation view, Callum Innes: Keeping Time

When entering Frith Street Gallery, there is an initial risk of misunderstanding Callum Innes’ work. A visitor could easily glance at the paintings here, determine them to be simple and flat, and they could walk away. However, Innes’ pieces function almost like impressionist works - only up-close do his markings and layers become apparent, and you suddenly become aware that each piece is an arrangement of layers and brushstrokes on a canvas, each possessing different finishes and textures. Review by Lois Morton

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Sprüth Magers, 7A Grafton Street, London W1S 4EJ

Senga Nengudi

Installation view, Senga Nengudi, Sprüth Magers, London, 7 June - 13 July 2019

Nengudi utilises nylon stockings in various shades of brown; stretching them tight, filling the gusset with sand, or allowing them to flap around in front of an air conditioning vent. The ‘R.S.V.P.’ sculptures are powerfully evocative, alluding to the female body and to the racialised body, even while they explore a formal approach to the industrial, the quotidian and the found object. The exhibition also hints at – but perhaps doesn’t make quite enough of – Nengudi’s performance practice, through which she ‘activates’ her stocking-sculptures through dance, adding yet another layer to the ways in which these pieces can be experienced. Review by Anna Souter

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Matt's Gallery, 92 Webster Rd, Bermondsey, London SE16 4DF

Dean Kenning: Psychobotanical

Dean Kenning, Psychobotanical, 2019, installation view

The centrepiece of Dean Kenning’s new show ‘Psychobotanical’ is ‘Untitled (Rubber Plant)’, a kinetic sculpture made of silicon. On a waist-high plinth, two perfectly white, tendrilled sculptures are motorised to interact with each other in a way which seems both random and imbued with human gesture – somewhere between the wavy wind-sock creatures you see outside MOT garages and a gallery-friendly ‘Day Of The Triffids’. Review by Lucy Holt

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Delfina Foundation, 29/31 Catherine Place, London SW1E 6DY

Asunción Molinos Gordo: Accumulation by Dispossession

Asunción Molinos Gordo, Accumulation by Dispossession, 2019. Exhibition at Delfina Foundation

As a part of the current programme at Delfina Foundation, ‘The Politics of Food’, the artist Asunción Molinos Gordo draws on ideas and techniques responding to the destructive system of food production and its ambivalent, two-faced character. Review by Alexandra Gamrot

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Tokyo Opera City Art Gallery, 3 Chome-20-2 Nishishinjuku, Shinjuku City, Tokyo 163-1403, Japan

Tom Sachs: Tea Ceremony

Tom Sachs "Tea Ceremony" installation view

Despite the readymade being a well-established component in modern art, there are still new ways of using mass-produced objects to draw our attention to how we connect with the everyday material world. In the case of Tom Sachs, the New York City-based sculptor known for fashioning makeshift objects and installations from materials as commonplace as duct tape and electrical appliances, his recent exhibition at Tokyo Opera City Art Gallery focuses on the use of objects as part of rituals, specifically, as the title makes plain, the Japanese tea ceremony. Review by Nick West

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Castor, Enclave 1, 50 Resolution Way, London, SE8 4AL

Alan Magee: Data Dust, Dust Data

Celestial Machines Drop ceiling, Light panel, Screen, Video, Robotic arm, Arduino, Raspberry pi and Circuitry 130 x 130 x 95cm, 2019

Upon entering ‘Data Dust, Dust Data’, Alan Magee’s second exhibition at Castor Projects, the visitor is immediately confronted by two contrasting artworks: go left towards a hanging, high-tech exhibit that includes a tangle of wires and exposed circuitry and a motionless robotic arm, or right towards a chest-height, curvilinear plinth topped with black foam and displaying a dozen small, pinkish objects. Review by Rebecca Morrill

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TACO!, 30 Poplar Place, Thamesmead, London SE28 8BA

Joe Cheetham: Can You Feel It?

Joe Cheetham: Can You Feel It?, installation view, TACO!

The current exhibition ‘Can You Feel It?’ explores the polaric feelings of euphoria and loss which surround 90s rave culture and its legacy. Artist Joe Cheetham, known primarily for his works on canvas, has here created a gallery-spanning wall mural which depicts a number of beano-on-ecstasy style cartoon characters, straight from the pages of Viz magazine. Review by Amy Jones

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Kiran Nadar Museum of Art, No. 145, DLF South Court Mall, Shaheed Pankaj Juyal Marg, Saket District Centre, Saket, New Delhi, Delhi 110017, India

Arpita Singh: Six Decades of Painting

Whatever is Here

The Kiran Nadar Museum of Arts presents the first ever retrospective of one of India’s most significant female artists, Arpita Singh. Review by Pranamita Borgohain

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Gasworks, 155 Vauxhall Street, London SE11 5RH

Pedro Neves Marques: It Bites Back

Pedro Neves Marques, It Bites Back, 2019 (featuring music by HAUT). Exhibition view at Gasworks, London.

Through the in-depth analysis of virus warfare and the rising number of actions against queer bodies around the globe, the exhibition ‘It Bites Back’ draws on distinguishing power agents, such as hormones and fluids, as symbols for forces that reign in our everyday lives and which define the 21st century’s approach to biopolitics. Review by Alexandra Gamrot

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Glenfeshie, Cairngorms National Park

Simone Kenyon: Into the Mountain

 Mountain: Into The Mountain

High in the Cairngorm Mountains, a remarkable artwork was performed over four days. ‘Into the Mountain’ is a unique response to ‘The Living Mountain’ (1977) by Nan Shepherd, a lyrical text describing a sensuous exploration of the Cairngorms. Through a rich fusion of dance, music, literature and walking, the performances invited audiences to explore more-than human connections with mountain environments and ecologies. Review by Anna Fleming

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Kettle's Yard, Castle Street, Cambridge, CB3 0AQ

Oscar Murillo: Violent Amnesia

Oscar Murillo, Violent Amnesia, 2019. Kettle’s Yard, University of Cambridge

“No man is an island, entire of itself; every man is a piece of the continent, a part of the main.” Oscar Murillo’s current exhibition at Kettle’s Yard starts with these words by John Donne. This quote is a testimony of the artist’s mourning for his friend, Nigerian curator and unique contributor to the art world, Okwui Enwezor, who died earlier this year. But it makes me think that if Murillo were an island, he would have been a floating island. Review by Gulnaz Can

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