Friday Dispatch

Nicholas Byrne, Finish your sentence, installation view, Vilma Gold, London, 2015. Image courtesy the artist and Vilma Gold, London. Photo: Mark Blower.
Friday Dispatch 6 Nov 2015 By Caroline Douglas

Nicholas Byrne, Finish your sentence, at Vilma Gold, London

In approaching the work of Nicholas Byrne, one must first and foremost consider the physicality of his paintings. Yes, they do feature elements of figuration: isolated heads, disembodied lips and…

Channa Horwitz , 'Time Structure Composition III, Sonakinatography I', 1970, Casein paint on graph paper. Courtesy Estate of Channa Horwitz. Photo by Timo Ohler
Friday Dispatch 8 Apr 2016 By teamcas

Channa Horwitz at Raven Row, London

Elizabeth Price, 'A RESTORATION', 2016, two screen HD video installation, 18:36 min. Courtesy of the artist and MOT International, London & Brussels. Made in response to the collections and archives of the Ashmolean and Pitt Rivers museums, commissioned as part of the Contemporary Art Society Annual Award for Museums. Produced in partnership with the Pitt Rivers Museum and The Ruskin School of Art
Friday Dispatch 18 Mar 2016 By Caroline Douglas

Elizabeth Price, A RESTORATION, the Ashmolean Museum, Oxford

Mark Wallinger, ID, installation view, Hauser & Wirth London, 2016. Photo: Ken Adlard. © Mark Wallinger. Courtesy the artist and Hauser & Wirth.
Friday Dispatch 11 Mar 2016 By Caroline Douglas

Mark Wallinger, ID, at Hauser & Wirth, London

Wallinger’s genius is to take the seemingly banal and use it to jerk us out of the everyday towards a more acute understanding of where we stand, in the great scheme of things. That he does this with such humour and lightness of touch is what makes the work so enormously rewarding

Steven Claydon, The Gilded Bough, installation view, Sadie Coles HQ, London, 2016. © the artist, image courtesy Sadie Coles HQ, London. Photograph: Todd White, London.
Friday Dispatch 4 Mar 2016 By Caroline Douglas

Steven Claydon, The Gilded Bough, at Sadie Coles HQ, London

Steven Claydon’s new show at Sadie Coles, his second with the gallery, is the product of two years’ work. In the period since his last show here in 2012 he has shown in Los Angeles, Munich, Milan, Geneva and Bergen.

Hito Steyerl, Duty-Free Art, installation view, Museo Nacional, Centro de Arte Reina Sofia, Madrid, 2015. Courtesy the artist and Andrew Kreps Gallery, New York. Image courtesy Museo Nacional, Centro de Arte Reina Sofia, Madrid.
Friday Dispatch 26 Feb 2016 By Caroline Douglas

Hito Steyerl, Duty-Free Art, at Museo Nacional, Centro de Arte Reina Sofia, Madrid

Hito Steyerl’s current exhibition in Madrid offers the most comprehensive view to date of the work of an artist with arguably the sharpest analysis of our particular moment in history.

Narelle Jubelin, As yet untitled (Lina Bo Bardi, 1987), 2014, cotton on silk petit point, 37 × 33cm, framed. © the artist, Courtesy of Marlborough Contemporary, London. Photo: Francis Ware.
Friday Dispatch 19 Feb 2016 By Caroline Douglas

Narelle Jubelin, Flamenco Primitivo, at Marlborough Contemporary, London

Narelle Jubelin is an artist whose work has long been concerned with the way ideas transition through time and across continents.

Becky Beasley, ‘A Man Restored A Broken Work’, 2015, HD Video, 21 mins. Courtesy the artist and Laura Bartlett Gallery, London
Friday Dispatch 12 Feb 2016 By Caroline Douglas

Becky Beasley, Lake Erie from the Northwest, Laura Bartlett Gallery, London

Becky Beasley’s new show at Laura Bartlett Gallery brings together work from the last 12 years of her career.

Claire Hooper, Clay as Bread and Dust as Wine, installation view, Hollybush Gardens, 2016. Courtesy the artist and Hollybush Gardens. Photo: Andy Keate.
Friday Dispatch 5 Feb 2016 By Caroline Douglas

Claire Hooper, Clay as Bread and Dust as Wine, Hollybush Gardens, London

“This show is an example of what galleries do at their very best: offering the opportunity for an artist to experiment in a substantial way, to develop and grow their practice, to take risks. Which in this case, in my humble opinion, has paid off handsomely.”

Chiara Fumai, The Book of Evil Spirits, 2016, courtesy the artist and waterside contemporary, London.
Friday Dispatch 29 Jan 2016 By Ilaria Puri Purini

Chiara Fumai, The Book of Evil Spirits, waterside contemporary, London

If you have ever played Ouija board then you will recognise what adorns the walls of Waterside Contemporary. Italian artist Chiara Fumai explores radical feminism through conjuring the occult in her new show at the Hoxton gallery.

Charles Mayton, Ort, 2015, waterbased oil paint, acrylic, polymer varnish on discarded produce boxes, 49.5 x 39.4. Courtesy the artist and The Approach, London. Photo: FXP photography.
Friday Dispatch 22 Jan 2016 By Caroline Douglas

The Approach and Carlos/Ishikawa, London

Condo is the rather brilliant idea of Vanessa Carlos, co-founder of four year-old Carlos/Ishikawa gallery in Whitechapel. For the last week, just mentioning the gallery exchange project has invariably elicited…

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