Viewing articles tagged with 'Solo'

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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Dublin City Gallery The Hugh Lane, Charlemont House, Parnell Square North, Dublin 1, D01 F2X9, Ireland

Amanda Dunsmore: Keeper

Amanda Dunsmore, John Hume, 2005; installation view, Dublin City Gallery The Hugh Lane

In light of seismic political events, and the failed attempts to square the circle that is the Irish Border, Amanda Dunsmore’s exhibition ‘Keeper’ in Dublin’s Hugh Lane seems increasingly vital and brings the Good Friday Agreement into sharper focus. Review by Aidan Kelly Murphy

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Camden Arts Centre, Arkwright Rd, London NW3 6DG

Sadie Benning: Sleep Rock

Hotel Fashion

When I first saw Sadie Benning’s ground-breaking ‘cut and paste’ video work in the early 1990s, with their cool soundtracks and deadpan narrations, it was clear that here was an artist who was ahead of their time and whose influence can be seen in practices from Mark Leckey to Heather Phillipson. For their first solo exhibition in London, Benning presents new work that continues their interest in autobiography and found imagery which now finds form through a filmic sequence of paintings and collages. Review by Piers Masterson

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Gropius Bau, Niederkirchnerstraße 7, 10963 Berlin

Covered in Time and History: The Films of Ana Mendieta

Sweating Blood

Ana Mendieta remains a significant artistic figure of the 1970s and 1980s because of her radical practice encompassing performance, gender and geo-political identity. The extensive self-documentation of her performances (which were often enacted alone) on primarily Super 8 film has allowed for her works to survive to this day. Review by Joan Lee

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Barbican Centre, Silk St, London EC2Y 8DS

Yto Barrada: Agadir

Yto Barrada: Agadir, Installation View with performers Nick Armfield, Rory Francis, Tallulah Bond and Jonny Lavelle, Yto Barrada: Agadir, Installation View, The Curve, Barbican Centre, 7 February - 20 May 2018

Commissioned by the Barbican as part of the ‘Art of Change’ programme, Moroccan-born artist Yto Barrada has taken over the Curve gallery with a display of loss, separation and re-emergence. Referencing the novel ‘Agadir’ by Mohammed Khaïr Eddine, the artist reworks the spinal layout of the gallery as a fragmented timeline. Using photography, film, performance and collage, Barrada guides us through a history of colonialism, political subversion and the failure of a Modernist architectural utopia, all wrapped up in an event – an earthquake – that all but destroyed the city in fifteen seconds in 1960. Review by Rosanna van Mierlo

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Roman Road, 69 Roman Road, London E2 0QN

Alix Marie: La Femme Fontaine

Alix Marie: La Femme Fontaine, installation view, Roman Road, London, 5 April - 20 May 2018.

Water declares itself the primary medium of Alix Marie’s ‘La Femme Fontaine’ – its presence in the gallery is inescapable. Running through long, clear tubes, it finds its way into every corner of the space. It scales the high walls only to come back to the ground. It trickles audibly into shining silver bowls and the splashing carries and echoes. It spills on to the floor, collecting in shallow puddles. Review by Kaitlyn Kane

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The approach, 1st Floor, 47 Approach Road, Bethnal Green, London E2 9LY

Evren Tekinoktay: Serpentine

Evren Tekinoktay,Serpentine, Installation view

The overall aesthetic of the current exhibition, ‘Serpentine’, is remarkably conservative. The collages appear to be simple cut-outs; I stare at them, and they freeze. The lines, corners and edges form sharp patterns through the gallery wall; and they are softened by the pale colours outlining and filling the shapes. Review by Carolina Mostert

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Parc de la Villette, 211 Avenue Jean Jaurès, 75019 Paris, France

Interview: Will Ryman on his commission for Parc de la Villette

Will Ryman, La Villette, Heads

New York-based sculptor Will Ryman recently unveiled his first large-scale European presentation of work in La Villette, an expansive urban public park located in the northeast of Paris. Three sculptures, ‘Pac-Lab’, ‘Heads’ and ‘Sisyphus’ (all 2018), have been commissioned as part of the interdisciplinary Festival 100%. Made first in clay and then fabricated in painted resin and bronze respectively, the sculptures have a theatrical bent, something the artist is keen to connect to personal experiences of making processes, histories and audience dialogue. Anneka French speaks to the artist.

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