Viewing articles tagged with 'Solo'

Tramway, 25 Albert Dr, Glasgow G41 2PE

Laida Lertxundi: WORDS, PLANETS

 WORDS, PLANETS (still)

In a discussion about his work the late Chilean experimental filmmaker, Raúl Ruíz, said that his ‘films would have to be seen many times, like objects in the house, like a painting…’, that ‘landscape is used as a story’ and that he sought to draw upon ‘connections between film, installation, writing, theatre’ that in his extensive body of works, including the theoretical text ‘Poetics of Cinema’, made between 1963 and 2010, could be described as a nesting of stories, residing within each other, and of stories co-existing; of narratives, often fragmented and elliptical, and their layering together. Review by Alex Hetherington

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Chisenhale Gallery, 64 Chisenhale Rd, London E3 5QZ

Paul Maheke: A fire circle for a public hearing

Paul Maheke, A place you only go through (2018). Produced by Chisenhale Gallery, London. Commissioned by Chisenhale Gallery and Vleeshal Center for Contemporary Art, Middelburg

When A Fire Circle For A Public Hearing opened at Chisenhale Gallery last April, it was quite frustrating to learn that Paul Maheke was not going to perform live for the whole duration of the exhibition. Despite being completely absent from the stage, Maheke’s body is still present through a video work that plays on a continuous loop. Review by Fiorella Lanni

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Josh Lilley Gallery, 44 – 46 Riding House St, Fitzrovia, London W1W 7EX

Brian Bress: Another Fine Mess

Brian Bress: Another Fine Mess installation view

Brian Bress has long been casting characters, almost always himself in costume, into videos carefully composed with subtle pathos. In these, the modes have grown more sophisticated with focus on the narrow confines of portraiture of tightly framed figures, their goofy attitude streamlined into more elegant displays with the scale of each character’s body relative to our own. Review by Alex Bennett

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Paradise Works, East Philip Street, Salford, Manchester, M3 7LE

Nick Jordan: Mental State Signs

Nick Jordan: Mental State Signs installation view

Alongside his artistic practice, Nick Jordan has spent a number of years filming mental health training videos for the University of Manchester’s hospital teaching unit, encountering many cases of ‘disorder’ as a result. This latest body of work, presented at Paradise Works, on the border between Manchester and Salford, responds to one kind of psychosis in particular: a manifestation of schizophrenia known as ‘thought broadcasting’, whereby patients believe that their thoughts are being transmitted and heard by others. Review by Sara Jaspan

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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

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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

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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

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The Bluecoat, School Ln, Liverpool L1 3BX

Emma Smith: Euphonia

Emma Smith: Euphonia installation view

Gradually, our eyes make way for our ears: we attune ourselves to an aural experience rather than the anticipated visual encounter. Harmonies and melodic rhythms all glide – and bounce – their way across the installation. Review by Selina Oakes

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Cabinet Gallery, 132 Tyers St, Lambeth, London SE11 5HS

Ed Atkins: Olde Food

Ed Atkins Installation view, Olde Food, Cabinet, London, 22 April - 2 June 2018

Olde Food has a surface but no nourishing inner content; credits to a film are shown that never started nor did it ever have a core narrative or story; a soaked and constantly crying man looks for sympathy from the viewer, without the capacity to learn there is none forthcoming. Review by Matthew Turner

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IMT Gallery, 2, 210 Cambridge Heath Rd, London E2 9NQ

Maggie Roberts: Glimmer Breach

Maggie Roberts: Glimmer Breach Installation view

Roberts is tapping into the current zeitgeist around post-human or extra-human forms of intelligence via specific texts, fauna and digital tools. Whilst there are many artists working with and around these now, along with Roberts, it is her method of ‘fictioning’ and the open-ended, discursive nature of her work that elevates her current exhibition, Glimmer Breach, at IMT Gallery. Review by Lauren Velvick

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Edel Assanti, 74A Newman St, Fitzrovia, London W1T 3DB

Noémie Goudal: Telluris

Noemie Goudal: Telluris installation view

Noémie Goudal’s photographs are full of unsettled contradiction. The product of constructions, they lie between truth and fiction, the ancient and the new, managing to be both unified and fragmented, existing in a state of instability. Review by Kaitlyn Kane

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Plymouth Arts Centre, 38 Looe St, Plymouth PL4 0EB and Plymouth College of Art, Tavistock Pl, Plymouth PL4 8AT 

History Painting: Rose Wylie

History Painting: Rose Wylie installation view

It seems near impossible to refer to the style of a Rose Wylie painting without mentioning the word childlike. Even on canvas, brush-strokes and mixes of paint still carry the instinctive childlike motion of the impulsive hand that struck them there. Review by Eva Szwarc

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Transfer Gallery, 1030 Metropolitan Ave, Brooklyn, NY 11211

Rhonda Holberton: Still Life

Rhonda Holberton: Still Life installation view

Contrary to the exhibition’s title, which suggests a state of stasis, Holberton’s work oscillates between analogue and digital, animate and inanimate, in order to destablise the notion of these binaries, and explore the possibility of a third space. Review by Grace Storey

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