White Rainbow gallery has united five artists’ explorations of the notion of weightlessness, displaying how artists reconfigure material to distort their physical properties, or so the press release claims. The room is mostly filled with sculptural forms, except for a few wall-mounted works by artist duo Ittah Yoda that hang quietly triumphant behind their neighbours who, despite all their efforts, only seem to prove the rule that weight is an aspect that simply cannot be altered.
David Uzochukwu is a self-taught, 18-year-old photographer based between Paris and Brussels. In recent years, he has progressed from self-portraiture to major collaborations shooting FKA Twigs for Nike as well as a series for Adobe Photoshop. Whilst shooting for publications such as Hunger Magazine, Dazed Digital, Wonderland Magazine and Vogue, David has always managed to preserve his creative integrity and strong narrative vision, especially across the fine art photography you’ll find in his portfolio.
“The cliche of the journey being the destination is partly true in this case,” opened Neville Wakefield at the inauguration of the Desert X biennial in Palm Springs. Lasting until April 30, Desert X brings together 14 artists investigating the broad cultural, social, and ecological impacts of the desert. Set across 40 square miles of the Coachella Valley, the works take viewers to nature preserves, A-frame motels, and underground survival shelters.
Across the board, there seems to be a pull towards painting as a medium both in artistic practice and art institutions. Abstract contemporary painting in particular is at the fore, promising material realness and meaning in today’s digital vacuity. London is currently scattered with painting exhibitions and Lamb Arts, a gallery which applies itself between London and Sao Paulo, appears to have followed within this trend.
The female body is a delicate, reactive and complex entity, there is no one way to approach or describe it. Touch Sensitive saw curator Cairo Clarke invite six women artists to explore the representation of the feminine exterior through a week of six individual exhibitions of performance art. Focusing on the sense of touch, Clarke created a discourse on the digitisation, politicisation and sexualisation of the body.
Christopher Page’s site-specific art work Exterior. (Morning.) currently occupies the East London exhibition space UNIT9 Gallery. Founded by Alex Flick, an artist in his own right, the space aims to provide an exhibition platform for emerging artists who demonstrate a sense of ambition, promise and talent. Focusing on the mediums of installation, video, performance as well as conceptual works with a distinctive voice
The 78th Whitney Biennial is a potluck of strangers. Their connections are about place rather than relationships. They all know the hosts, but not each other. The Whitney Museum’s wall texts and publicity - the potluck’s menu - suggest that this year’s “artists test the limits of time worn structures and protocols, claim space for direct experience and personal agency, and create alternate zones or worlds. Some spotlight particular social issues, such as financial debt, violence, or access to equal opportunities
Over the years, Art Rotterdam has gained a reputation among European contemporary art fairs for being one of the major art events for galleries, dealers, artists and collectors. Earlier this year, the 18th edition gathered more than 100 galleries in 4 curated sections including the Prospect and Concept sections, all hosted under the roof of the Van Nelle Factory. Inevitably, Art Rotterdam is also an opportunity for the city as a whole to become a temporary cluster for the arts.
David Hockney: 60 years of work at London’s Tate Britain is a beautifully-curated retrospective of the artist’s multi-faceted, multi-dimensional oeuvre. Populated with some of Hockney’s most iconic paintings from across the decades, this chronological overview pinpoints the defining moments in his prolific career. His use of colour, his play with artifice and his experimental use of mediums are explored in great depth by the exhibition's team of curators Chris Stephens, Andrew Wilson and Helen Little.
This is a film that will challenge you, but in the Woody Allen sort of way. It’s light-hearted and self-effacing, but I doubt you’ll laugh out loud; the humour is taciturn, and always curbing the edge of something sadder – something you cannot quite put your finger on. The film opens with a black tie party, filtered through a sleek blue light.
Russia, newly fearsome and obscure, is very much in the news, but not for reasons that invite open cultural exchange. America’s Cold War adversary for four frosty decades, Russia—then called the Soviet Union—underwent a brief glasnost, or period of transparency during the late 1980s and early 1990s. What followed afterwards was its polar opposite. To borrow a phrase from William Styron, today the largest country on earth exemplifies the idea of darkness visible.
Imagine if the cure for homesickness could be carried in a suitcase - that you were able to pop up a particular window pane or door knob from your childhood home or college art studio, wherever you go. For Do Ho Suh, this is near enough the objective. Set across three individual spaces, Passage/s at Victoria Miro, is the artist’s first solo exhibition in London.
The Kings are Back at Chelsea space The Dot Project is a bold and evocative showcase of contemporary European painting from a Hungary-based collective that appears to defy convention. David Krňanský, Martin Lukáč and Julius Reichel - collectively known as Black Hole Generation - met whilst studying together at the Academy of Architecture and Design (UMPRUM) in Prague.
The futuristic box of a building placed in a heart of the Gorky park in Moscow, Gaeage was reopened in its third building last summer. The renovated building of the Soviet-era ‘Vremena goda’ restaurant was partly preserved on the inside, while on the outside Rem Koolhaas has put into the the polycarbonate making a step away from the typical white cube of a contemporary museum.
Celebrated for his boundless energy, the 88-year old Argentinian artist Julio Le Parc is currently exhibiting at both Galerie Perrotin, New York and the Perez Art Museum, Miami. Internationally-known for his perceptually illusory paintings, sculptures, and immersive installations, the artist’s innovative artwork continues to capture the imagination of a cutting-edge, contemporary audience.
Defined as the voice of a generation, the American photographer Nan Goldin is known for capturing the most intimate experiences of her friends and lovers across Boston and downtown New York. At the Museum of Modern Art in New York, a slideshow of her iconic collection of images The Ballad of Sexual Dependency compiles nearly 700 photographs. Much of it is shot with only available light between 1979 and 1986 amidst the hard-drug subculture of the Bowery neighbourhood.
Traditional art media do not ask much of one’s time. Two- and three-dimensional works occupy space: on a wall, on a floor, or even suspended from a ceiling. To borrow from Robert Mangold, these works say, “Here I am. Plonk.” You see it. You might walk around it. You either get it or not. Job done. Video—time-based media—demands more of the viewer, especially when the work is flat screen and full frontal as opposed to immersive or interactive.
Established in 2001, the ‘Ultra Technologists’, TeamLab, are a Japanese tech-art collective working within the digital realm seeking to ‘transcend physical and conceptual boundaries.’ The interdisciplinary group includes professional animators, graphic designers and artists as well as mathematicians. It was established by Toshiyuki Inoko. By using the digital domain as a key element of their practice, TeamLab produce works of art that connect and flow from one to the other.
The Brooklyn-based artist Andrew Erdos and I were introduced by the founders of The Chimney gallery when a visit to their Bushwick space led to a spontaneous studio visit. Before I saw any of his sculptures, videos, photography or mixed-media installations, I was blown away by the magical space within which Erdos works. His landscape photography was pasted to the windows, making you feel as if you were in a desert with his glass mountain standing triumphant.
Twelve large-scale paintings, and one video - all produced in the last year - adorn the walls of Waddington’s Cork Street space in the artist's breathtaking new exhibition Rhythms and Reflections. The paintings are a result of a phase of multimedia experimentation which began during Verdier’s time as the first visual artist-in-residence at the acclaimed The Juilliard School in New York in 2014.