Viewing articles tagged with 'Text'

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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Cordova, Carrer de Portugalete, 15, 08014 Barcelona, Spain

Siera Hyte: Honey Week

Installation view, Siera Hyte: Honey Week, Cordova Gallery

Inspired by ‘The Butterfly’s Evil Spell’ (1920), Federico Garcia Lorca’s first ever play, Sierra Hyte’s ‘Honey Week’ is an invitation to participate in an almost theatrical setting in which humans, animals and creatures alike are welcome to partake of the space. Review by Marta Faria

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Oriel Davies Gallery, The Park, Newtown, SY16 2NZ

Freya Dooley: Speakable Things

Freya Dooley, Speakable Things, Oriel Davies, 2018

‘Speakable Things’, Freya Dooley’s newly commissioned sound and moving image work for Litmus at Oriel Davies, is installed within a room painted a deep pink comparable to the inside of a mouth. It is an intimate colour for an intimate space, measuring less than 2m². The mouth repeatedly appears throughout ‘Speakable Things’, as blank space interrupts out-of-sync close ups and scenes of wild landscape. Freya is interested in the voice as something in-between inside and outside, sound and language, thought and body. Text by Litmus Curator Louise Hobson

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V-A-C Collection, Palazzo delle Zattere, Dorsoduro 1401, Venice

The Electric Comma: V-A-C Collection

Installation view, The Electric Comma

Taking its title from Shannon Ebner’s installation The Electric Comma, the exhibition focuses on shifts in language, perception and understanding in the age of artificial intelligence. Through varied practices and from different backgrounds, participating artists deal with the negotiations between the conscious mind and today’s pervasive learning machine, imagining pathways of exchange between human and nonhuman, ranging from the poetic and intuitive to the algorithmical and analytical.

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Edel Assanti, 74a Newman Street, London W1T 3DB

Yoshinori Niwa: That Language Sounds Like a Language

Yoshinori Niwa, That Language Sounds Like a Language, installation view, Edel Assanti

For Yoshinori Niwa's second solo show at Edel Assanti, the Japanese artist presents a series of video works and installations that shine a light on the complex relationship between countries, between governments and their citizens, and between objects and the past. Review by Bobby Jewell

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Chisenhale Gallery, 64 Chisenhale Rd, London E3 5QZ

Hannah Black: Some Context

Hannah Black, The Situation (2017). Commissioned and produced by Chisenhale Gallery.

Articulation and destruction, ambiguity and obligation, specificity and dissolution, singularity and collectivity – their various interchanges and struggles, become descriptors for Hannah Black’s ‘Some Context’. Review by Alex Bennett

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Plymouth Arts Centre, Peninsula Arts, KARST, Plymouth College of Art, The Council House, Plymouth

We The People Are The Work

More Than A Pony Show, Matt Stokes.

A partnership between Plymouth’s major visual arts venues, 'We The People Are The Work' is comprised of five new commissions installed across the city. With each involving varying degrees of collaboration with the city’s inhabitants, at the core of the work is how each artist navigates the complexities of ‘social engagement’. Review by Rowan Lear

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Various locations, Coventry

Coventry Biennial of Contemporary Art

Bermuda Collective, Alcoholism '65

The walk from the station establishes the context for this first biennial: hoardings and lightboxes promote Coventry’s bid to be the UK’s City of Culture in 2021. In parallel the council has promised ten years of support for cultural growth regardless of the bid’s outcome. For artists and curators in the city, here was an opportunity, not just to take stock of what has recently been achieved, the partnerships already instigated, but to begin plotting the parts they will play in the years to come. Review by Kit Webb

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Project Narrative Informant, Morley House, 26 Holborn Viaduct, The City of London, London EC1A 2AQ

Juliana Huxtable

Installation view, Project Narrative Informant

In her first UK solo show, Huxtable's focus shifts to what covers the bodies of others. The exhibition is centered around ten panels of text displaying fragments from a larger narrative written by Huxtable. Threaded through the story of a young blonde who falls in with a crowd of skinheads in London, is an analysis of struggles over the meaning of the white skinhead aesthetic: bomber jackets, Fred Perry, Ben Sherman. Review by Kevin Brazil

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Rhubaba Gallery and Studios, 25 Arthur St, Edinburgh, EH6 5DA

You hardboiled     I softboiled

Installation view, You hardboiled I softboiled, Rhubaba Gallery and Studios, 2017 (Valerie Norris, Music for Intelligent Young Ladies (2013), and, bedroom furniture (2013)).

In this intriguingly titled and intimately composed exhibition, ideas of how love and its stories might be practiced, sought and appropriated move between the published page and spoken word, and are heard through sound and audio. Love is also framed within filmed moments and presented in painted gestures; it is seen in close proximity and recognised across vast distances. The love stories described here are sensed in places, portraits, correspondences and spectres. Review by Alex Hetherington

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Cubitt Gallery, 8 Angel Mews, Islington, London N1 9HH

Houses are really bodies: escape, defiance and friendship in the writing of Leonora Carrington

Houses are really bodies: the writing of Leonora Carrington, installation view, Cubitt Gallery, London, 2017.

In the contemporary, the idea of ‘sanctuary’ is an interesting one. Helen Nisbet’s use of the word when describing ‘Houses are really bodies’, her debut installation as Cubitt’s latest Curatorial Fellow, strikes chords that place the show both within a dense history and at the forefront of the present. Review by Jack Smurthwaite

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Furtherfield Gallery, The McKenzie Pavilion, Harringay, London N4 2NQ

PLEASE IDENTIFY YOURSELF.

Refugee Flag, Installation view at Furtherfield Gallery, 2017

‘PLEASE IDENTIFY YOURSELF.’ announces itself with a song and a flag. Yara Said’s ‘Refugee Nation’ flag, designed in lifejacket orange for stateless participants of the 2016 Olympics, floats over the small pavilion in Finsbury Park housing Furtherfield Gallery. Review by David Morris

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