Posts tagged London
A Review of Afterimage: Dangdai Yishu at Lisson Gallery, London

By proposing a fresh and alternative definition – or lack thereof – of Chinese contemporary art, guest curator Victor Wang presents a symphony of dynamic, multi-disciplinary and insightful artworks by nine brilliant Chinese contemporary artists. The show unfolds to, and together with, the viewer as an open and unremittingly changing discourse, its currents imbued with a penetrating and movingly authentic echo of individual agency. 

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A Review of Oscar Murillo: Manifestation at David Zwirner, London

Upon entering David Zwirner, one is affronted by three large, deep-red canvases which occupy and overpower the primary wall of the main gallery with their assured presence. These new manifestation works at first push the audience away, asking the viewer to beguile in their pigmented facades from a distance, then following a pause, draws them in with textural details, liminal text and the jarring churnings of visceral brushstrokes.

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A Review of Lee Krasner: Living Colour at Barbican Art Gallery, London

The Barbican retrospective, the first in Europe for over fifty years, presents some one-hundred works, many of which are available to the UK public for the first time. Organised chronologically, and ranging from early monochromatic, cubist drawings to large scale, colourful abstract paintings, it finally debunks the myth of Krasner as merely the wife of Jackson Pollock.

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A Review of William Foyle: Landscapes at Asia House, London

Entering Asia House, I was immediately struck by the overflow of glittering figures adorned in all manner of extravagance; each in silent competition with the other. Air kisses were exchanged, delicately gloved hands waved at exquisitely tailored suits, crisp bubbling champagne was poured, and at the centre of this frenetic whirlpool was Scottish artist William Foyle and his eleven landscapes.

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A Review of Dorothea Tanning at Tate Modern, London

It felt like Dorothea Tanning found me, rather than the other way around. I had heard of a friend’s suicide days before seeing the exhibition, and could see this tragedy’s tendrils creeping through too many lives. But the chain-reactions this set off were not clean or comprehensible – they had spikes. 

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A Review of Tristano di Robilant: Youth at Tristan Hoare, London

In an essay on the poet Enrique Lihn’s In the dark room, the writer Alejandro Zambra says: ‘childhood is, then, a time in the service of ghosts, a place to put images that, seen from the present, form a kind of foundation. A difficult foundation, of course, unsteady: the darkroom is where photographs are developed, where images appear, for the first time fixed on paper, that both authorise and destroy identity’.

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A Review of Tracey Emin: A Fortnight of Tears at White Cube, London

White Cube is showing a ‘Fortnight of Tears’ by Tracey Emin – showing sculpture, neon, film, photography and drawings focusing on the artist’s trauma. A radical departure from previous shows, it deals with the artist’s womanhood, sex, loss, bereavement and renewal through a range of newly developed mediums.

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A Review of Diane Arbus: In the Beginning at Hayward Gallery, London

With some of the most recognisable photographs in existence, Diane Arbus (1923–1971), made her mark in New York and the art world forever with her singular method of portraiture. The latest show to honour her work was organised by The Metropolitan Museum of Art, New York and adapted for Hayward Gallery.

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A Review of Anne Imhof: Sex at Tate Modern, London

Anne Imhof's third solo exhibition, Sex, a highly anticipated followup to both Angst (2016) and Faust (2017) was unsurprisingly in keeping with the artists known aesthetic and mimicked the uneasy atmosphere of both her previous endurance performances. Elevated platforms, serpentine movements, dead-eyed stares, smoke and the odd bit of fire connect all three of Imhofs performances to date.

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A Review of Geta Brătescu: The Power of the Line at Hauser & Wirth, London

Hauser & Wirth homages Geta Brătescu in its latest exhibition, The Power of the Line. It explores the constantly evolving use of the line in the artist’s most recent works. The show was organised in close collaboration with the artist and Marian Ivan and Diana Ursan of Ivan Gallery, resulting in a highly introspective display.

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A Review of Bill Viola at the Royal Academy of Arts, London

Though the curators of the RA’s Michelangelo / Bill Viola exhibition, Live Death Rebirth, frame the show as a ‘conversation’, it unavoidably sets the two artists up for conflict – one that Viola seems fated to lose. Clearly aware of this temptation, the show’s Introduction over justifies; ‘it is [their] commonality, rather than a suggestion that Viola is a “modern Michelangelo” that the exhibition illuminates’.

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A Review of Walter de Maria: Idea to Action to Object at Gagosian, Grosvenor Hill, London

An intriguing insight into the workings behind the subliminal sculptures of late artist Walter de Maria, Gagosian’s new exhibition ‘Idea to Action to Object’ presents over forty works on paper and several related sculptures, which are on view for the first time.

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A Review of Tom Wesselmann at Almine Rech Gallery, London

Almine Rech Gallery presents a provocative, uplifting survey of work made in the final years of Tom Wesselmann’s life. Large-scale Sunset Nudes (2002–4), are paired with painted aluminium wall assemblages dating from the same period, their maquettes on public display here for the first time.

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A Review of Petra Cortright: Pale Coil Cold Angel at Nahmad Projects, London

American artist Petra Cortright is sailing the wind of technology - her's is art of the post-internet age. She creates work, which explores society’s relationship with technology as approached from an artistic starting point. Pale Coil Cold Angel at Nahmad Projects delves deeper into the idea of creating work via new technologies.

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A Review of Rose Wylie: Lolita's House at David Zwirner, London

Rose Wylie is everywhere! Represented by blue-chip gallery David Zwirner, the 83-year-old painter continues to receive awards and embark on museum shows met with critical acclaim. Alongside female artists like Phyllida Barlow representing Britain at the last Venice Biennale at the age of 73, or Lubaina Himid's historic Turner Prize win last year, Wylie's moment in the spotlight is long overdue. 

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A Review of Rio Azul by Beatriz Milhazes at White Cube Bermondsey, London

A sun-drenched Sunday afternoon in Bermondsey was the perfect setting to see White Cube’s new show, a large-scale exhibition of works by prominent Brazilian artist Beatriz Milhazes. Entering the stark white space, I felt almost as if I had been transported away to the exotic climes of Brazil - as if when I exited the glass doors I would step out onto the Copacabana. 

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A Review of Slippage at The Post_Institute, Brixton, London

The corpus of postmodern abstraction and contemporary gambits on show demonstrated a clear hypothesis: the increasingly discursive fabric of painting in the expanded field. Drawing from this open legacy is the inaugural show of The Post_Institute, Slippage: Performative Utterances in Painting, an exhibition of five artists which similarly educes the hermeneutics of painting and its increasingly heterogeneous vernacular.

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A Review of Eddie Peake at South Gallery White Cube Bermondsey, London

Once an exhibition cautions against nudity it feels more like a promise than a warning, but now that we are more difficult to shock, it seems that nudity needs a sense of purpose or joviality. Said warning appears upon entry to the South Gallery of White Cube Bermondsey and in light of Eddie Peake’s previous installations like Touch 2012, I imagined I would be in luck.

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