Showing posts with tag: exhibitions


Exhibition: The Bride and the Bachelors: Duchamp with Cage, Cunningham, Rauschenberg and Johns

It was by a twist of fate that I began drafting this on April Fool’s Day, that most irritating of days on which you cannot tell whether or not you’re being taken for a numpty. On this day, of all days, I started writing this review of an exceptional art show – one that appears to be built upon a big old practical joke. Read more →

Exhibiton: From Death to Death and Other Small Tales

The body is an enduring theme in art, from Egon Schiele's exquisite but confrontational masturbation works, to Mark Quinn's queasy frozen-fluid casts. The current show at the Scottish National Gallery of Modern Art, From Death to Death And Other Small Tales, features works from the collection of D. Daskalopoulos alongside many rarely-seen major pieces from the Scottish National Gallery of Modern Art. It includes artists who have shaped 20th and 21st-century culture, each responding in various ways to the great mysteries of the physical and psychological self; that duality of tissue and thought that fundamentally constitutes who we are. Read more →

Death: A self portrait at the Wellcome Collection

One of the most resonating questions I was left pondering over was of representation. In many respects the contemplations of death, the associated images, the rituals and ceremonies built around the concept are all vicarious — somewhat removed from the morbid subject. As reflected in literature, philosophy, film and art, the thing that makes death so deathly is its distance, its unfathomable nature. It is perhaps because of this that it is such a consistently fruitful theme for the creative facets of culture — be it ceremony, art or ritual. Read more →

When Books Become Sculpture and Imagination Takes the Reins

I'm trying not to press my nose against the glass like a child outside a sweet shop, but it's hard because I feel a bit hungry around the eyes. I make my way round the ten paper sculptures sitting quietly on an upper-floor of the Scottish Poetry Library. There’s a simpering tide of superlatives attempting to break free from my biro. Having been to many unsatisfactory exhibitions in my time – rows of hanging windbreaks and unintelligible conceptual scrawlings and anything Jeff Koons has ever vomited out – I know what a rare thing this is. And best of all, the sculptures are made out of books. Read more →

Beatrice Gibson: The Tiger’s Mind

Beatrice Gibson’s The Tiger’s Mind is a film that explores voice, speech, representation, fiction and narrative. The film, shot in 16mm and transferred to High Definition, is built around Cornelius Cardew’s experimental score of the same name and is a montage of six improvised collaborations: experimental musician Alex Waterman as the Tree, artist Jesse Ash as the Wind, pianist John Tilbury as the Mind, research architect Celine Condorelli as the Tiger, artist Will Holder as Amy and Gibson herself as the Circle. Each participant developed different facets of the film (such as the props, Foley sound, music, special effects or set) which have subsequently been pieced together to create the whole. Read more →

Ed Atkins: Us Dead Talk Love

When walking into the space at the Chisenhale Gallery I was confronted with a wave of spatial awkwardness. I wanted the familiarity of that easy cinema construct: the seating and the screens. Ed Atkins doesn’t offer this. Instead the seating is in the middle of the space, with collaged panels lining the walls around. I remained in the middle of an art space rather than being in front of a screen, and as people floated around me I felt the sharp, uncomfortable pang of inhabiting a space ordered by light and resonance rather than traditional grids with fronts and backs. Read more →

The Silent Traveller: An Outsider’s Perspective of Britain, 1933-1955.

‘Umbrellas under Big Ben’—ink on paper, 1938. Courtesy of V&A.

The Tate Britain’s summer exhibition this year was “Another London: International Photographers Capture City Life 1930–1980”. Timed to coincide with the London Olympics, it featured photographs of London by photographers who were not British nationals. It was the city itself that took centre stage in the show, which celebrated the fact that well-known foreign photographers brought their “outsider” perspective to London and documented a “dynamic metropolis, richly diverse and full of contrast”.

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Exhibition: Grayson Perry—Never “Normal” or “Nice”

Grayson Perry’s art was never going to be ‘normal’ or ‘nice’. He  is a transvestite whose alter ego, Claire, likes to dress up in dolly outfits, bibs and bonnets. He holds balloons sometimes. He wears bright red lipstick. He also won the Turner prize in 2003 and is one of the most iconic artists on the modern art scene.

Grayson Perry (b.

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The Frieze Art Fair

The first public day of the Frieze Art Fair was, as always, brimming with art enthusiasts, spectators and London’s cream of the crop. A long, beautiful queue of ladies and gents suited up in Chanel, Balenciaga and other fashionable eccentricities awaited me as I walked up to the Regent’s Park entrance. Flicking my gaze up and down the queue was similar to flicking through the pages of The Sartorialist.

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Art Installation: Ryan Gander’s Locked Room Scenario

A journalist, two French exchange students, a Time Out Magazine reader and a couple are standing in the concrete yard of what looks like a depilated construction site. They’ve made an appointment to visit an art exhibition. Except, it seems, there is no exhibition. So the joke goes. Except Ryan Gander’s Locked Room Scenario isn’t a juvenile prank, but an interactive art installation.

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Exhibition: Lee Friedlander: America by Car & The New Cars 1964

The New Cars 1964

Lee Friedlander is a Washington born photographer whose unique compositional vision has consistently won great acclaim over the past five decades. A new exhibition at the West End’s Timothy Taylor Gallery displays two complimentary projects by the influential artist: The New Cars 1964 and America by Car. Both collections are comprised of photos taken of, or inside, cars.

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Once Upon a Wartime at the Imperial War Museum

It’s the first time I’ve been to the Imperial War Museum since I was 11 and I’m a bit disorientated, so I ask a member of staff where the Once Upon a Wartime exhibition is. “See the Sherman tank in the corner?” he says, pointing to a monstrous tank surrounded by kids with clipboards. “Just behind that.”  It’s a good introduction to the idiosyncrasies of the museum’s collection of weapons and war and the constant stream of school parties of shrieking kids moving between them.

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