Viewing articles tagged with 'Video'

BALTIC Centre for Contemporary Art, South Shore Road, Gateshead NE8 3BA

BALTIC Artists’ Award

Eric N. Mack, A Lesson in Perspective 2017, activated by participant, BALTIC Artists' Award 2017, installation view, BALTIC Centre for Contemporary Art Gateshead.

The BALTIC Artists’ Award is a clear attempt to combat some of the issues associated with prize exhibitions through a format that provides an actual and equal opportunity for four artists to develop and showcase significant new bodies of work. The award has no limit on age or nationality, is selected by some of the world’s leading contemporary artists (who also mentor the shortlisted artists) and has no ‘winners’ or ‘losers,’ with prize money (totalling £30,000 per artist) shared equally amongst the four. Review by Amy Jones

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Various, The Azores

Walk&Talk

Walk&Talk 2017, Joao Paulo, Serafim Naturalis Historiae

For the last seven years, the contemporary art festival Walk&Talk, has been bringing international artists to the Azores to make work in the galleries, museums, and streets of Ponta Delgada and further afield across the rest of São Miguel and Terceira. This year’s programme engages with the unique location, natural environment and history of the islands with playful, self-referential and at times antagonistic artworks considering what it means to live and make work at the periphery. Review by Jessie Bond

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New Museum, 235 Bowery, New York, NY 10002, USA

Kaari Upson: Good thing you are not alone

Kaari Upson: Good Thing You Are Not Alone, 2017. New Museum, New York.

‘Good thing you are not alone’, the Los Angeles-based artist Kaari Upson’s first solo museum exhibition in New York City’s New Museum, immediately follows her also having participated and contributed to the Whitney Museum of American Art’s 2017 Biennial, which took place not too far uptown in Manhattan. Timing aside, the exhibition is also notable for its size, promising to be of particular interest in providing a glimpse into what Upson’s been up to in the last number of years, especially since having possibly moved on from the monumental ‘Larry Project’, an omnipresence in her practice since the early 2000s. Review by Arthur Ivan Bravo

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Manchester International Festival, various venues

Manchester International Festival

What is the City but the People launch event for Manchester International Festival.

Incorporating a programme of music, dance, theatre and contemporary art, Manchester International Festival is expansive. With daily broadcasts by BBC 6 Music’s Radcliffe and Maconie and regular email updates on what to do at MIF landing in my inbox, it can be difficult to find one’s own way into and through the programme beyond the mediated story of the festival with its pervasive marketing and slick imagery. Yet perhaps this very mediation provides an additional facet to the theme of storytelling that seems to echo throughout MIF’s varied programme. Laura Mansfield reviews

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Chisenhale Gallery, 64 Chisenhale Rd, London E3 5QZ

Luke Willis Thompson: autoportrait

Luke Willis Thompson, autoportrait, 2017. Installation view, Chisenhale Gallery 2017.

‘autoportrait’ is an eight minute and 50 second 35mm black and white film produced collaboratively between artist Luke Willis Thompson and its subject, Diamond Reynolds. It is also intended as a ‘sister image’ to the video documenting the fatal shooting of her partner, Philando Castile, by a police officer in Minnesota, which she broadcast via Facebook Live on 6 July 2016 and which has consumed Reynolds’s identity over the past year. Review by Alice Bucknell

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Scotland Pavilion, Chiesa di Santa Caterina, Fondamenta Santa Caterina, 30121, Cannaregio

Venice Biennale 2017: Rachel Maclean: Spite Your Face

Installation view, Rachel Maclean, Spite Your Face, 2017.

The large portrait format screen in place of the altar of the deconsecrated church creates an ambience of a religious service and the audience are made to sit in pews. Maclean's previous work has taken Old Testament stories retelling them as contemporary fables that poked fun at cults and fads. 'Spite Your Face' presents the story of Pinocchio – one of those children's tales that having only known from the cleaned up Disney version is far darker than I assumed. Review by Piers Masterson

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Tenderpixel, 8 Cecil Court, London WC2N 4HE

CONGLOMERATE: Station ID

CONGLOMERATE, Still from Desde el Jardin, directed by Sol Calero and Dafna Maimon, 2016.

An elaborate installation is the ‘absurdly complicated’ stage-set for the newest piece of ‘Gesamkunstwerk’ by Berlin-based artist collective CONGLOMERATE, presented at Tenderpixel as their first London-based project. The group comprises a core squadron of 5 artists and filmmakers including Sol Calero, Ethan Hayes-Chute, Derek Howard, Christopher Kline and Dafna Maimon, converging and disbanding at will in different cities and contexts in order to produce 30-minute ‘Blocks’ of programming that make a mess of traditional genres. Review by Alice Bucknell

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Estonia Pavilion, Palazzo Malipiero, San Samuele Square, San Marco 3199, 2nd floor, Venice, Italy

Venice Biennale 2017: Katja Novitskova: If Only You Could See What I’ve Seen with Your Eyes

Katja Novitskova, If Only You Could See What I've Seen with Your Eyes, exhibition view at the Estonian Pavilion, Palazzo Malipiero, 57th Venice Bienniale

Outside the entrance of the Estonian Pavilion in the 57th Venice Biennale, the phrase ‘If only you could see what I’ve seen with your eyes’ is printed on a poster in glowing red type. Katja Novitskova’s exhibition title originates from the 1982 post-apocalyptic film ‘Blade Runner’ and points toward several themes that run throughout the exhibition. Review by Ashley Janke

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David Roberts Art Foundation, Symes Mews, London NW1 7JE

Curators’ Series #10. Greater than the Sum by Kunsthalle Lissabon

Laure Prouvost, GDM future franchise, 2017 (details)

What role can the artist take in society? What path forward can a curator hope to illuminate? These are questions at the heart of the Kunsthalle Lissabon's programme, the Portuguese art institution that is currently exhibiting as part of DRAF’s Curator’s Series – only the second time an institution rather than an individual has been invited. In ‘Greater than the Sum,’ the two curators from the Kunsthalle Lissabon have taken full advantage of this rare privilege. Review by Kaitlyn Kane

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Vienna Secession Friedrichstraße 12, 1010 Vienna

Alex Da Corte

Alex Da Corte, Slow Graffiti, installation view

For his first major solo exhibition in Europe, Alex Da Corte has created a new work for the Vienna Secession.

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ALMA ZEVI, Salizzada San Samuele, 3357, 30124 Venice, Italy

John Smith: Films in Sheep’s Clothing

John Smith, Films in Sheep's Clothing, Om, 1986, ALMA ZEVI, 2017

In an increasingly earnest art world, visitors to Alma Zevi’s gallery off the main sway of the Grand Canal can take relief in the comedic value of mistranslation and mistaken identity. John Smith’s films - showcased for the first time in Italy in Zevi’s solo exhibition – are arranged into an artful, tightly curated presentation, and span Smith’s forty-year involvement at the frontline of British conceptual film-making. Review by Olivia Paterson

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Hales Gallery, Tea Building, 7 Bethnal Green Road, London, E1 6LA

Carolee Schneemann: More Wrong Things

Carolee Schneemann, More Wrong Things, 2017, Hales London

Recently awarded the Golden Lion for Lifetime Achievement at the 2017 Venice Biennale, Carolee Schneemann is best known for her innovations in feminist and performance art. Yet Schneemann’s decades-spanning multimedia practice has also consistently questioned the personal and cultural politics of violence and mourning, which the eloquent recent works in the exhibition continue to examine. Review by Carlos Kong

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The Kitchen, 512 W 19th St, New York, NY 10011, USA

That I am reading backwards and into for a purpose, to go on

Installation view, That I am reading backwards and into for a purpose, to go on, The Kitchen

Initially I see and hear numerous bodies on screen; speaking, gesturing, rolling, walking, running, returning and repeating. But the space I inhabit, is absent of any consciously performing bodies. This exhibition is not ‘of’ performance, rather it invites thought on how performance and the performer can be positioned to challenge current inequality, oppression and false-truths. Cicely Farrer reviews

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Jerwood Visual Arts, Jerwood Space, 171 Union Street, Bankside, London SE1 0LN

Jerwood Staging Series

SIREN, 2017. Louisa Martin. Co-choreographed with and performed by Masumi Saito.

The third event, Louisa Martin’s ‘Siren’ (2017), combined orchestrated sounds, light interventions and an energetic dance co-choreographed and performed by Masumi Saito. The final instalment of the programme, ‘Rushes, Sketches and Schemes’, could not have been more different. Christian Nyampeta presented a live audio-visual session, featuring excerpts and rushes from an ongoing project called ‘Our Common Ghost’ (2015 - present), exploring themes of community, identity and erasure. Henry Broome reviews

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