Gallery run 15th September

1281
J B Blunk at Kate MacGarry with oriental ceramics.

1282
Kim Dorland at Beers London with images of forests, some figures aware of their impending death and a light-hearted egg motif.

1283
Richard Aldrich at Herald Street with a loose abstract piece.

1284
Christina Quarles at Pilar Corrias with abstracted figures in bright patterned landscapes.

1285
Moshekwa Langa at Blain Southern with great abstract works.

1286
Conrad Shawcross of Victoria Miro with developments on his tetrahedral motif.

1287
Urs Fischer at Gagosian. The candle is burning.

1288
Don Van Vliet (aka Captain Beefheart) of Michael Werner Gallery with familiar animals that have become symbols.

1289
Keith Farquhar at Cabinet Gallery with familiar objects transformed for our viewing pleasure.

Advertisements

Gallery run 2nd August

1241
Anna-Bella Papp of Stuart Shave Modern Art with clay tableaux.

1242
Katy Moran of Stuart Shave Modern Art showing abstract paintings based, I think, on overpainting decorative paintings found at markets.

1243
Tim Stoner at Stuart Shave Modern Art with delicate charcoal drawings, and paintings, of Hackney and France.

1244
Ida Ekblad of Herald Street with bright images made, I believe, from bright melted plastics.

1245
Mathew Cerletty at Herald Street with a great painting of a sports image.

1246
Hunter Reynolds at Hales Gallery with stitched pictures of clouds. As the artist lost many friends through AIDS these stitched photos have taken many forms ranging from (impractical) hospital blankets to happy memories.

1247
Gabriella Boyd at Whitechapel Gallery London Open 2018 with paintings depicting awkward moments in relationships.

1248
Ayan Farah who I believe has previously shown with Almine Rech, now showing at Whitechapel Gallery in London Open 2018.

1249
Hannah Brown at Whitechapel Gallery London Open 2018 with very life-like paintings of a park.

Gallery run 22nd June

1191
Lesley Vance of Herald Street with beautiful formal compositions that use a range of styles including a nice gestural brushstroke stylie.

1192
Oscar Tuazon at Maureen Paley with work that references major projects in the US. These involve live-in spaces as well as political agitation for communities to keep access to dwindling water resources as it gets syphoned off by industry. We are presented with the basic elements in the gallery of fire, water and earth, or in this case rust.

1193
Anwar Jalal Shemza at Hales Gallery exploring the vast possibilities of composition using just circles, squares and, of course, colour.

1194
The star-crossed lovers are featured in a great mural near Hoxton.

1195
Kathryn MacNaughton at Beers London with carefully rendered re-workings of computer and mouse-generated images.

1196
Sarah Sze of Victoria Miro with great photo and paint collages. They are shown alongside lots of torn images attached to the gallery’s walls with blue tape. It is as though the artist has recreated the laboratory of visual associations from which the formally mounted works derived, as an installation in the gallery.

1197
Katharina Grosse of Gagosian with giant spray paint and stencil works, executed as high art abstraction.

1198
Eline McGeorge of Hollybush Gardens who creates pixilated images by weaving emergency foil blankets into natural imagery. The juxtaposition of the two materials creates an extra pathos suggesting that nature maybe in the position of the injured patient.

1199
Footie-England flags casting their red-crossed shadow onto a pavement somewhere near the end of today’s run in Peckham.

Gallery run 13th April

Like last week, this Gallery-Run-write-up has been reduced to the individual photo captions, shown further down the page, in order to make room for a temporary project called Plus 1 that now follows. Guests join me, hopefully, on a gallery run and will share ideas. Alas there are still no takers, though admittedly I still haven’t really asked anyone else yet, beyond the hopeful invitations shown last week. This week’s article features something entirely different, though still comprising a sort of plus 1, whilst also verging on the confessional! For two months I learnt the names of artists associated with London-Frieze-exhibiting galleries, from lists of paper whilst out jogging being careful not to run into lampposts or pedestrians. Each list could be hand-held and studied. Some even show the effects of rain or of being stuffed into a pocket. Along with a two word summary of something that each artist did, the process helped to create a stack of memory boxes that follows the sequence of the numbered lists shown in the photograph below. The memory boxes automatically bring forth the next in the stack, provided they are cycled through in recall about once every fortnight. The boxes also bring with them an essence of each artist, since they have gradually filled up with experiences of gallery visits. Memory is a strange thing and this sequential recall is probably born through the need to piece together consecutive events in time, something the philosopher David Hume considered to be the rather unphilosophical survival function that shapes the human brain.

listsThe Lists Cycle. Gallery Runner lists in the foreground.

1091
Pablo Bronstein of Herald Street Gallery with a film that crosses the glam game show format with some of the grand narratives of Greek mythology.

1092
Bernard Cohen at Flowers Gallery.

1093
Elizabeth Murray of Pace Gallery showing at Victoria Miro with what looks like biological imagery on the shaped canvas.

1094
Joan Mitchell at Victoria Miro in a group show.

1095
Carlos Garaicoa at Parasol Unit with reconstructions of tiled Cuban adverts, albeit with a few alterations.

1096
Fab boat in Camden.

1097
Ryan Gander of Lisson Gallery with carved shapes from an important mathematical blueprint. Meanwhile the black pile of sand steadily grows during the show from a thin stream of sand falling out of a hole in the ceiling.

1098
Pedro Reyes of Lisson Gallery with a room full of sculpture and wall tableaux forming a complete system of ideas, some executed and some pending.

1099
Ian Cheng of Pilar Corrias showing at Serpentine Galleries. We see what appears to be a simple animation but gradually learn that the creature is living in real time and using a sort of AI to try things out and get used to its rather unusual body.

Gallery run 16th March

The day starts with a jog to Matt’s Gallery. The gallery is doing a sequence of short one week shows and with this fast turnover has quite an itinerary lined up. This week it is Mandy Ure, who I remember well from Goldsmiths. She had a great way of mixing random marks, from paint pouring and dripping, into purposeful compositions through subsequent blowing up and careful finishing with a paint brush. Her work today is reminiscent of the shapes under a microscope and her own purposeful action has become here a metaphor for the careful order maintained in the blob-like structures of cells.

A few hours later after seeing the works shown below I come to the last gallery of the day, Victoria Miro and see Jules de Balincourt. His paintings are from the imagination and a rather sublime one at that. Figures are dwarfed by a spectacular multi-coloured boulder. Though the image is physically small, it extends into the abyss of the viewer’s own imagination and stirs up a host of resident memories!

1051
Mandy Ure at Matt’s Gallery with small abstracts.

1052
Laura Gannon at Kate MacGarry with cut canvases painted with metallic pigments.

1053
Michael Dean of Herald Street.

1054
Amalia Pica of Herald Street showing a small cluster of castings of shell-like objects.

1055
Francesco Arena of Sprovieri Gallery with a performance stool. It can only be sat on by someone whose age is 33, the difference in age between artist and father. A death will cause this interval to change and that will impede on the required age for the stool-performer.

1056
Matthew Day Jackson of Hauser and Wirth with recreations of Dutch still life paintings made with DIY materials.

1057
Leon Kossoff at Ordovas.

1058
Lorna Simpson at Hauser and Wirth with delicate washes on screenprinted and newspaper images.

1059
Jules de Balincourt of Victoria Miro with vividly coloured landscapes populated by crowds of small figures.

Gallery run 7th February

The Regent’s Canal highway describes a sort of subjective experience of running on the towpath between Hackney and Regent’s Park. Though not particularly fast in the physical sense the towpath seems quick in a kind of existential sense, namely that with several galleries dotted along its route a sensation of speed is produced by the sheer lack of things that need to be done or thought about during the journey. A few glances at boats, the occasional meandering daydream is all that separates one gallery on the canal from the next. Suddenly the finger is on the buzzer awaiting entry to Victoria Miro Gallery. Jorge Pardo, who is of Cuban American extraction and now living in Mexico, is showing wall-mounted structures that resemble beautifully coloured screens. They are painted, but not in a traditional sense, for the colour emerges from an interaction of minute speckles of paint which have either been created from abrasions into a surface of many layers or, and this seems the case here, have in fact been created completely intentionally by a programmed computer and application device. A thin hair’s-breadth groove around each speckle provides the clue that the speckles themselves have been applied with deliberate intent. On a larger scale, that is on the scale of the entire objects, we see rhythmic patterns running right across their surfaces. Waves and flow lines appear as the eye scans the intricately cut plastic and fibrous sheets. For the lamps this experience is enhanced further by the presence of the interior light source which provides a strong contrast between material and void. In addition this light source promotes a change of geometry in the object. Rather than being planar, as was the case with the wall mounted works, these lamp-like objects are radial. Intricately cut sheets of coloured plexi-glass fan out from the centre, like an elaborate array of coloured cooling fins, conveying their subtle glows to the object’s fragmented surface.

Back on the canal highway, Regent’s Park soon offers a route south to the West End. At Simon Lee Gallery, there is a display of the late works by Hans Hartung. Accompanying this display is a film that shows the artist in a wheel chair, since he is an old man, spraying and flicking paint across large expanses of canvas. Known for his gestural abstraction, the artist is now using a prosthetic device comprising a stick wand and spray nozzle. In the gallery we see the result and how the artist succeeds in his express intention of mimicking the forces of nature. Partly these forces reside within the paint itself causing the drops to cling to one another or else suddenly break free as though they were a shower of ejecting particles, but there is a deeper connection to nature too, manifest most clearly when the work has taken on more complex forms such as a spiral motif in one outstanding example. Here it is as though the artist has attuned himself to the various rhythms that define the universe itself allowing him to represent the more complex forces that create the various spinning and oscillating systems around us.

With Corvi Mora and Greengrassi galleries pairing up this month, several artists are on display in the main viewing space and it requires careful checking of the paperwork to determine which gallery is associated with which artist. Tatsuo Ikeda who as it turns out is with Greengrassi, though in previous years has also exhibited with the blue-chip giant Gagosian, has produced surreal drawings of figures sporting various limbs for locomotion, as well as prosthetic cones. The artwork is very proficient, which allows us not only to enjoy the images, but also to engage with the various distortions of nature without rejecting them on the grounds of incredulity. The images are therefore accepted on account of their near photographic-like appearance. As a passing observation it seems that the two dominant features of these works, namely their Surrealism and their Realism of execution, turn out to be unlikely bedfellows, despite the apparent contradiction of these two terms.

1001
Jorge Pardo at Victoria Miro with laser cut plastic in exotic lamps that nevertheless look very traditional.

1002
Pablo Bronstein of Herald Street Gallery showing drawings at RIBA of pseudo-Georgian architecture.

1003
Matt Saunders of Marian Goodman Gallery.

1004
Hans Hartung at Simon Lee Gallery with paintings from late in his career made using spray nozzles and paint-covered olive branches that he could manipulate from his wheelchair.

1005
Estate near Greengrassi and Corv iMora galleries looking resplendent against a blue sky this afternoon.

1006
Tatsuo Ikeda at Greengrassi group show for Condo 2018.

1007
Kye Christensen Knowles at Corvi Mora and Greengrassi group show as part of Condo 2018.

1008
John Lindell at Corvi Mora for Condo 2018.

1009
Sable E Smith at Greengrassi and Corvi Mora group show as part of Condo 2018.

Gallery run 11th January

The run to Trinity Buoy Wharf has been an attractive activity ever since a speaker at an event there, Ian Sinclair, notable for walking round the entirety of the M25 and writing a book about it, declared that this wharf, with its location next to the River Lee, marked an historic site. From here the Saxons would check out the Vikings, whilst the latter would return their reconnaissance in this direction from across the barrier of the River Lee. It is right on this junction that this smaller tributary departs the Thames as it takes its waters from the North. With a bacon roll consumed, it is time to head to the first gallery of the day via a series of waterways.

The River Lee provides quite a formidable barrier to the foot traveller even today and unlike the fairly tortuous route of a few weeks ago which required a four lane highway as travelling companion to cross the river, today’s route wends its way north past the giant docks of Canary Wharf and onwards up the Regent’s Canal, escorting me to Hackney, and indeed, arriving fifteen minutes early at one of the midday openers. PeerUK is hosting Catherine Story from nearby Carl Freedman gallery and in its window are clues to the nature of the show. Clay maquettes are the artist’s starting point and these have then been transposed to canvas as a series of Surreal looking paintings populated by chunky figures with shear planes suggestive of both limbs and machinery. They are in fact reminiscent of Cubism and with the clay being a plastic medium, the artist appears to have worked out in advance, the various folds, bobbles, distortions and protrusions, distinctive of that style, before then transposing them to the two dimensional world of paint.

Herald Street Gallery has opened a new space in Museum Street just near the British Museum and Ida Ekblad is on show. Her rather stunning, bright paintings are actually made with plastic, a fact gleaned whilst reading her press release off the phone in those last few minutes of waiting outside the previous space. The plastic has been melted and smeared with a palette knife and yet none of its intensity of colour, whether it be derived from a previous state as coloured carrier bag or plastic household object, a specific origin that the artist doesn’t actually divulge, has been lost. Rather this detritus of daily life lives on in a strange afterlife as material of a painting, depicting the simple forms of pots that are themselves reminiscent of Greek urns, along with a whole host of other types of ornamentation ranging from flowers to simple coloured planes.

After seeing yet more good quality work up for auction at Phillips, with a couple of stand out pieces by Alex Israel and Barnaby Furnas, the next destination is south of the River at Vauxhall where Cabinet Gallery sits proudly in the middle of the aptly named, Pleasure Garden. Henrik Olesen’s musings on the nature of an object lead to an unusual, though confident display of tacked, nailed and propped materials that sit and hang against the various white-walled nooks that this gallery has made available with its slightly unusual polygon-styled floor plan. On many of the box-sections of brushed aluminium, which feature as rectangular frames or stand-alone girders, there are small inscriptions presented on clear plastic rather as one might find accompanying cooking instructions on a ready-meal, and these provide further philosophical reflections by the artist on object hood. Perhaps by giving us a general scene of peculiar part-objects to look at whilst openly questioning their validity, the artist is also trying to evoke an aspect of the human condition that has been put into words by the philosopher Heidegger, that since the Greek ages we have passed over the phenomena of the world, a general being, and instead focused our attention, to our detriment, on individual objects from which we try to extract meaning.

961
Catherine Story of Carl Freedman Gallery on show at Peer UK.

962
Ida Ekblad of Herald Street Gallery with vivid paintings made from melted plastic.

963
Barnaby Furnas of Victoria Miro provides the statement piece for auction at Phillips.

964
Alex Israel on auction at Phillips and adorning the front cover of the catalogue as befits a top ranking artist shown by Gagosian Gallery amongst others.

965
Michael Pybus on auction at Phillips.

966
Clever use of stickers on this bike.

967
Henrik Olesen presents a show at Cabinet Gallery of what could perhaps be described as partial objects, many of which are casually stapled or pinned to the wall. The show itself seems to question what an object actually is.

968
Simon Thompson of Cabinet Gallery, an artist I’ve wanted to visit for a while, has done prints of objects on rather fab rug-like objects with a hanging tag.

969
Michael Armitage of White Cube showing at South London Gallery. An allegorical piece as a mother gives birth to a goat. Not a good thing! and dreams of a better life symbolised by washing machine top right, are back on hold.