Viewing articles tagged with 'Solo'

The Edge, University of Bath, Bath, BA2 7AY

James Capper: Sculpture & Hydraulics

James Capper: Sculpture & Hydraulics, installation view at The Edge, 2017.

At the far end of the gallery, a long articulated steel arm, wound round with thick coils of hydraulic hose, perches vulture-like upon two tonnes of concrete. Though it rests dormant now, its plinth wears the scars of previous savagery. Earlier, the artist James Capper had taken to the controls of ‘Atlas Prototype’ and directed the arm, equipped with a menacing mace-like mill, against the base on which it stands. Review by Kit Webb.

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The Showroom, 63 Penfold Street, London NW8 8PQ

Laura Oldfield Ford: Alpha/Isis/Eden

Laura Oldfield Ford, Alpha/Isis/Eden, installation view, The Showroom, 2017

Her omnipresence comes from a series of movements through the landscape as a squatter and activist. It is through Oldfield Ford’s political ideologies that the thematic of resistance in her work surfaces. Review by Sophie Risner

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Focal Point Gallery, Southend-on-Sea, Essex, SS1 1NB

Volker Eichelmann: On Peacock Island

Installation View. Volker Eichelmann 'On Peacock Island'; Courtesy Focal Point Gallery, Southend Photo: Anna Lukala

Focal Point Gallery present ‘On Peacock Island’, the first major solo exhibition of the German artist Volker Eichelmann. The exhibition features a series of new work by the artist, incorporating an arrangement of drawings by Stephen Tennant.

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Kunsthalle Düsseldorf, Grabbeplatz 4 40213 Düsseldorf

Samson Young: A dark theme keeps me here, I’ll make a broken music

Installation view of “Samson Young: A dark theme keeps me here; I’ll make a broken music,” 2016–17, at Kunsthalle Düsseldorf. Photo: Simon Vogel

For his first institutional exhibition in Germany and Europe, Samson Young presents sound works, installations, performances, drawings, sound walks, and films. Making concrete historical and social references, the work addresses the political qualities of sound in relation to war and conflict.

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Centro de Arte Andaluz Contemporáneo (CAAC) and Sala de Exposiciones Santa Inés, Seville

Leonor Serrano Rivas: Decorative Elements and Recurrent Patterns

One way to approach the recent body of work from Leonor Serrano Rivas is to understand it as a deconstruction of sorts of what would make a theatrical event. The Spanish artist has presented three key elements of a theatre play – the stage, the costumes and the backdrop – across two venues. Text by Lorena Muñoz-Alonso.

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Pump House Gallery, Battersea Park, London SW11 4NJ

Pilvi Takala: The Committee

Pilvi Takala, detail of The Committee project, 2013-2017, Pump House Gallery, London.

Pilvi Takala's ‘The Committee’ is a charming and timely exhibition that comments on the value of creativity for children, the opportunities it affords them and, significantly, is told from their perspective. Bobby Jewell reviews

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Hannah Barry Gallery, 4 Holly Grove, Peckham, London SE15 5DF

Mohammed Qasim Ashfaq: BLACK SUN

BLACK SUN

Encountering Mohammed Qasim Ashfaq’s work, ‘Black Sun’, is as much a lesson on the poetics of architecture as it is a visual experience. Review by Joan Lee

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Turf Projects, Keeley Road, Croydon, London, CR0 1TF

Agnes Calf: Silence is so accurate

Agnes Calf: Silence is so accurate,  installation view at Turf Projects, 2017. Photo: Tim Bowditch.

Agnes Calf presents a new body of gold-tinted work at Turf Projects providing a setting for an exploration of an artwork’s apparent mutism in the face of perception, archivism and interpretation.

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Witte de With Center for Contemporary Art, Witte de Withstraat 50 - 3012 BR Rotterdam

Laure Prouvost: the wet wet wanderer

Laure Prouvost, installation view, 'the wet wet wanderer' (2017), Witte de With Centre for Contemporary Art, Rotterdam. Photo: Kristien Daem

Prouvost’s installation transforms the ground floor of Witte de With into a sodden sub-aqueous bar. Combining sculpture, video and sound, the form of a mundane high street commercial space is defamiliarized. Here language is as slippery as a squid, function as deceitful as fiction.

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Bodega, 167 Rivington Street, Lower Level East, New York

Hannah Black: Soc or Barb

Hannah Black: Soc or Barb, installation view at Bodega, 2017

Today there are many critical voices calling for America to look carefully at the political landscape of Europe in the interwar years. Hannah Black’s second solo exhibition in America, ‘Soc or Barb,’ uses an abridged citation of the communist philosopher and activist Rosa Luxemburg to remind her audience of a previous political precipice, the failed 1918 German Revolution. Review by Alexandra Symons Sutcliffe.

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narrative projects, 110 New Cavendish Street, Fitzrovia, London W1W 6XR

Mahmoud Bakhshi: The Unity of Time and Place

The Unity of Time and Place, Detail 8

Mahmoud Bakhshi's exhibition addresses the violence of Iran's 1979 revolution, and as the title, ‘The Unity of Time and Place’, suggests, the past inhabits the present too. Review by Henry Broome

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Rodeo, 123 Charing Cross Road London WC2H 0EW, UK

Condo: Haris Epaminonda

Installation view, Haris Epaminonda, VOL.XIX, Rodeo, London, 2016.

For VOL. XX, the nineteenth edition of 'Volumes', Haris Epaminonda uses disparate material from her collection of pottery, books and historical objects.

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Tensta Konsthall, Taxingegränd 10, Box 4001, 163 04 SPÅNGA, Sweden

Trevor Paglen: Autonomy Cube

Trevor Paglen, ‘Autonomy Cube’ 2014. Installation view,Tentsa Konsthall, 2017.

Trevor Paglen's 'Autonomy Cube' is made in collaboration with digital civil liberties activist, computer security researcher, and artist Jacob Appelbaum, and provides a secure Wi-Fi network to gallery visitors. Creating a network through "onion routing" the work makes users’ precise information virtually untraceable.

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