Contemporary art is often what occupies spaces after commerce has departed, or is yet to arrive. The Moving Museum’s Istanbul exhibition found temporary residence in Şişhane Otopark, a soon-to-be-open underground multi-storey carpark. Its street-level carapace, Şişhane Park, incorporates ‘sunset decks’ east-facing across the Bosporous and an outdoor ‘theatric room’. The park’s still incomplete mezzanine levelread more
Author: admin
The Infinite Mix: The Hayward Gallery at 180 The Strand
I arrived at ‘The Infinite Mix’, a Hayward offsite exhibition, organized in collaboration with The Vinyl Factory while the gallery’s Southbank home is being refurbished, some time after the other critics had been and gone. ‘The Infinite Mix’, Ben Luke wrote in London’s Evening Standard, is ‘a contender for the show of the year’; ‘Wonderful,’read more
Alien Formalism: Actuality and Abstraction
‘[Form] prolongs and diffuses itself throughout our dreams and fancies: we regard it, as it were, as a kind of fissure through which crowds of images aspiring to birth may be introduced into some indefinite realm…’ – Henri Focillon, The Life of Forms in Art, 1934 Annette Kelm’s constructed photographs of ordinary things offer usread more
S, s, s, s sommme P, p,p,p,proxim, im, im, ity
‘No one who uses money is unchanged by that. No one who uses money can easily get a look at their own practice.’ – Anne Carson, Economy of the Unlost Simultaneously I move with, and have been moved by, Adam Linder’s work Some Proximity, the second in an ongoing series of ‘choreographic services’ that haveread more
Put Me On: #Accumulator_plus
This is the tang in the air: tough love, zero tolerance, ever-growing inequality, CCTVs, ASBOs, and an ‘intensely relaxed’ attitude to what was fuelling the economic boom they said would never bust.– Dan Hancox, Stand up Tall: Dizzee Rascal and the Birth of Grime Shearsmith House in Stepney Green is one of a triumvirate ofread more
Malcolm Le Grice: Richard Saltoun
As a filmmaker who, like many others of his generation, rented rather than sold work through the London Filmmakers’ Co-operative, Malcolm Le Grice’s first solo exhibition in a commercial gallery raises questions about the display, distribution and, finally, perhaps, displacement of such work. While the exhibition’s playful title – ‘No Idea’ – might inadvertently reflectread more
In Focus: Aaron Flint Jamison
‘Okay, do you wanna hear another Flint story? This one’s super weird and really cool.’ It’s one of many Flint stories Jamie Stevens, incumbent curator at Cubitt Gallery, London, has told me so far. ‘… So Flint gets on stage wearing an Arnold Schwarzenegger mask with a flashing strobe light inside and begins reading aread more
Alien Encounters: Nottingham Contemporary
Herman Poole Blount first visited the planet Saturn in 1936. There, he received his calling: quit college and pursue music for one day your vibes will deliver a world in chaos. By the mid-1950s Blount’s birth date, names, addresses and memories had become opaque, concealing, or perhaps revealing, the accruements of identity as a myth.read more
Condo: Various venues
Billed as “a collaborative exhibition by twenty-four international galleries across eight London spaces” and coordinated by Vanessa Carlos, director of Carlos/Ishikawa, Condo has generated discourse largely centered on the economic straits facing younger commercial galleries in the city. You might be the hottest ticket in town, but cultural capital alone won’t pay your invoices. Forread more
The Influence of Furniture on Love: Wysing Arts Centre
‘The Influence of Furniture on Love’, along with the exhibition ‘Hey, I’m Mr Poetic’, staged at Wysing Arts Centre between April and June this year, are both pauses to reflect on the institution’s 35-year history. Although Wysing has an exhibitions and events programme coordinated by in-house curators, and on-site studios and specialist workshops, over theread more