Viewing articles tagged with 'Video'

Parafin, 18 Woodstock Street, London W1C 2AL

Hiraki Sawa: Fantasmagoria

Hiraki Sawa, fantasmagoria, installation view, Parafin, London, 2018

Drawing on his background as a sculptor, Sawa's films are a physical presence in the gallery. They are at once strange and familiar, showing us known things that have been rendered mysterious. Review by Kaitlyn Kane

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Tramway, 25 Albert Drive, Glasgow G41 2PE

Margaret Salmon: Circle

Installation view, Margaret Salmon: Circle, Tramway, Glasgow, 2018

American Glasgow-based artist Margaret Salmon’s filmic, atmospheric and carefully rendered installation, sensitive to the nuances of people, the subtleties of places and objects (and her relationships to them) is housed in Tramway’s immense principal space. It renders the space quieter than normal, in half-light – a place for a rare, esoteric experience. Review by Alex Hetherington

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Hestercombe Gallery, Cheddon Fitzpaine, Taunton, Somerset TA2 8LG

Odyssean: Topographies

Natasha Rosling and Vilma Luostarinen, Edible Coastlines, 2018.

Beginning high up in the Orkney Isles and journeying to the South West of England, ‘Odyssean: Topographies’ is a cognitive, visual and, at times, physical expedition into hidden and imagined spaces. The culmination of four artists' Orkney-based residencies, the exhibition throws into question the ways in which humans formulate perceptions of nature and place in an era rife with technology. Review by Selina Oakes

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Ikon Gallery, 1 Oozells Square, Brindleyplace, Birmingham B1 2HS

Thomas Bock and Edmund Clark: In Place of Hate

James and Henry Barnard

The first UK-exhibition dedicated to the work of the Birmingham-born convict artist, Thomas Bock (c.1793 – 1855), at Ikon Gallery in Birmingham, is paired with the concurrent exhibition, Edmund Clark: In Place of Hate. This was the the result of a three-year residency spent by the artist at HMP Grendon – Europe’s only entirely therapeutic prison. Despite widely differing careers they both viscerally remind us of the dangers of denying any person a sense of identity. Review by Sara Jaspan

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Chelsea Space, 16 John Islip St, London SW1P 4JU

Ian Giles: After BUTT

Installation view, Ian Giles: After BUTT. Image courtesy Ian Giles and Chelsea Space, copyright Rob Harris

When does a cultural artefact – a magazine, a film, an artwork – cease to be considered what we might call ‘contemporary’ and enter the realm of the historical? A minute ago? Yesterday? The turn of the millennium? Once its creator/s have passed away? Not until it starts to have what might be called a legacy? Helena Haimes reviews ‘After BUTT’ by Ian Giles, new film currently showing at London’s Chelsea Space.

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Pump House Gallery, Battersea Park, London SW11 4NJ

Sriwhana Spong: a hook but no fish

Sriwhana Spong, a hook but no fish installation view, 2017.

Sophie Risner reviews a presentation of work by Sriwhana Spong which takes the work of twelfth century female mystic named Hildegard von Bingen as its central reference point.

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Baltic Centre for Contemporary Art, S Shore Rd, Gateshead NE8 3BA

Susan Philipsz: A Single Voice

Susan Philipsz: A Single Voice installation view

Susan Philipsz’s work has often been described as a form of ‘sound sculpture’ that you hear long before you see it. The exact significance behind A Single Voice is not perfectly clear. Philipsz has pointed out that the apocalyptic story of Aniara holds just as much relevance today as when the poem was first written in 1956 (arguably more), and the mournful quality of the deconstructed violin combined with the player’s stark isolation as she accompanies an invisible, inaudible orchestra through her headphones, could almost be read as a last chilling goodbye to the human race as it peters into extinction. Review by Sara Jaspan

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Nottingham Contemporary, Weekday Cross, Nottingham NG1 2GB

From Ear to Ear to Eye: Sounds and Stories from Across the Arab World

Joe Namy, Red Filled the Intervals; Between the Musical Notes, 2017/2017. Courtesy of the artist. Installation shot, From Ear to Ear to Eye, Nottingham Contemporary, Dec 2017- Mar 2018. Photo Stuart Whipps.

‘From Ear to Ear to Eye: Sounds and Stories From Across the Arab World’ at Nottingham Contemporary explores sound, music and listening in the Arab world, revealing different layers of meaning, intertwined histories, complicated political situations and complex questions. This expansive exhibition spreads across six rooms and showcases works by almost 20 artists who work with sound, are musicians or explore oral stories. Review by Roma Piotrowska

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South London Gallery, 65-67 Peckham Rd, London SE5 8UH

Ilona Sagar: Correspondence O

Still from Correspondence 0, Ilona Sagar 2017.

Like conducting an autopsy of her own subject matter, Ilona Sagar projects her film ‘Correspondence O’ on to a split screen, cut down the middle and opened out. The rest of the room is dark like an operating theatre after hours with its monitors left running, which continue to project the sterile blues and desaturated tones most often associated with hospitals. Review by Matthew Turner

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National Galleries of Scotland, 73 Belford Road, Edinburgh, EH4 3DS

NOW | Susan Philipsz, Michael Armitage, Yto Barrada, Kate Davis, Hiwa K, Sarah Rose

Seven Tears, 2016

NOW is the second in a six-part series of exhibitions presented by the Scottish National Gallery of Modern Art exploring the work of international contemporary artists. It is dominated by a 5 room display of works by the artist Susan Philipsz alongside works by renowned artists Kate Davis, Sarah Rose, Hiwa K, Michael Armitage and Yto Barrada. Review by Rosie Priest

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Plymouth Arts Centre, 38 Looe Street, Plymouth, PL4 0EB

Clare Thornton: Materials of Resistance installation view

Clare Thornton: Materials of Resistance installation view

In Clare Thornton’s current solo exhibition, Materials of Resistance, showing work from the last seven years, delicate materials – including the body itself and those that stand in for it – are put at risk and tested to breaking point. Review by Ellen Wilkinson

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Tyneside Cinema, 10 Pilgrim Street, Newcastle upon Tyne NE1 6QG

Andrea Luka Zimmerman: Civil Rites

Film Still, Andrea Luka Zimmerman, Civil Rites

At its core, this is a film about the citizens of Newcastle and their indefatigable spirit of resistance, as it’s expressed itself over centuries. It takes us on a journey through a series of simply and beautifully composed shots of prosaic city spots that have also, at some historical moment, witnessed extraordinary acts of protest. Review by Helena Haimes

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Stuart Shave/Modern Art. 4-8 Helmet Row, London EC1V 3QJ

David Noonan: A Dark and Quiet Place

David Noonan, exhibition view, Modern Art, Vyner Street, London,

In the current political climate, few things seem more appealing that a quiet, dark room where one can shut out the world. Perhaps it is this escapist fantasy, then, that is the drive behind David Noonan’s new exhibition at Stuart Shave/Modern art entitled ‘A Dark and Quiet Place’. Review by Amy Jones

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Barbican Centre, Silk St, London EC2Y 8DS

John Akomfrah: Purple

John Akomfrah: Purple. The Curve, Barbican

Throughout the five movements and epilogue of ‘Purple’, which follow a loose narrative arc beginning at birth and ending with death, and simultaneously show technological progressions from steam engines to artificial intelligence, the screens loop disparate imagery together creating a lyrical essayism. Review by Stan Portus

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