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Lyon Biennale 2017 ‘Floating Worlds’

Few images conjure techno-modern utopia’s discontents like Buckminster Fuller’s Montreal ‘Expo 67’ biosphere in flames. Lit by a welder’s spark during structural renovation in 1976, the acrylic carapace of the icosahedron dome burnt fiercely for 30 minutes before extinguishing. Probably the lean efficiency of Fuller’s structures – he converted, as the critic Martin Pawley nicelyread more

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Filipa César & Louis Henderson: Gasworks

‘We need a lighthouse philosopher,’ suggests Roque Pina, the protagonist of Filipa César & Louis Henderson’s captivating essay-film Sunstone, 2017. Though you would be forgiven for thinking that Pina already fulfils this role as he flatly, matter-of-factly addresses the origins of the lighthouse, its development and future, and reveals its inextricable relations with Enlightenment epistemologies,read more

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Over Hang: W139, Amsterdam

After fifteen hours on the Newcastle-Amsterdam ferry I was hungover for ‘Over hang’ at W139. I arrived, then, in the dual traditions of ‘creatives’ who’ve found that a bastard behind the eyes enables a more corpuscular encounter with art and tourists ruining Amsterdam for the locals. Or maybe, as this show, curated by exhibiting artistread more

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Christodoulos Panayiotou: RODEO

Almost exactly a decade before Christodoulos Panayiotou opened his recent show “False Form,” the Cypriot artist convened a roundtable at the University of Oxford among an astrophysicist, a historian of antiquity, a philosopher, and an artist, Jem Finer, on the theme of absence. The antiquarian introduced negative theology as a way to think beyond reason;read more

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The Moving Museum: Şişhane Otopark, Istanbul

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

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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

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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

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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

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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