Gallery run 20th June

1331Dulwich Pavilion inspired by the Nigerian cloth patterns of artist Yinka Ilori‘s native country. Pricegore architects complete an impressive team.

1332Serpentine Pavilion, what a fantastic jagged roof it has!

1333It’s here!
This year’s Serpentine Pavillion has arrived, curtesy of the architect Junya Ishigami. The rock-covered roof was the chief design consideration and all else is periphery. A crow was the inspiration , the wings mimicked by several tons of slate. Destination, due South!, since for added impact the roof is also aligned to due South, tapering to the rear in the NE and NW directions.

1334He’s still as ascerbic as ever. Blah, blah, blah. The colours are stunning, helped by the velvet fabric. The old print set hasn’t changed but the experimentation with paint continues apace. Mel Bochner at Simon Lee Gallery.

1335Jannis Kounellis at Almine Rech Gallery.
These striking letter-canvases are inspired by ship’s lettering in the artist’s native home of Piraeus, Greece’s shipping port close to Athens.

1336Howardena Pindell at Victoria Miro with collages comprised of paper chads- those circular discs of paper made from hole punchers. Not to be confused with hanging Chad or Florida 2000. These artworks are very beautiful and represent the artist’s mature phase, set against her determination to recover from a severe car accident.

1337Well this is the subject of many an art school dissertation on movement and it’s arrived in London, in the flesh, as it were. Even in its latent state with power switched off it can’t resist a few impromptu light events, Obviously the shadows below are staged, but the refractions further up casting light pools on the surrounding walls are more telling of the machine’s potential to play with light. This is Lazlo Moholy Nagy‘s light machine -a sort of hybrid cross between film projector and stop-motion light house. On show at Hauser and Wirth.

1338Keith Tyson at Hauser and Wirth exploring the genre of flower painting. This is the standout example for me as there are allusions to swamps and a wider ecosystem. A question, though, to an old colleague and technophile. Is single, vanishing-point perspective appropriate, for rendering nature?
Nature is no friend of our Cartesian systems as the ironic quoting of equations attests. But the flowers are nevertheless signifying something with their spiral patterns in these photorealistic paintings. Do we consider the Aesthetics, or do we look deeper at some strange flower-sprouting- laws based on osmotic pressures and electric field lines, perhaps?

1339Francis Bacon at Gagosian Gallery They are all behind glass which makes them a pain to photograph, oblique angle photo to remove my own reflection followed by correction using the tilt toolbox- is not really the way to experience art. Being there , however, brings a few sublime moments and the eye’s remarkable ability to selectively choose its depth of field offers are far more forgiving editing of miscellaneous reflections.

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Gallery run 22/2/19

1301
Tracey Emin at The White Cube Bermondsey until 9th March. Work entitled Another Goodbye in the show A Fortnight of Ashes.

This show focuses on the powerful feelings evoked by love, sex, death and loss. In this piece, located in a room Tracey has renamed the Ashes Room, is a remembrance of the artist’s dead mother.

Remembrance and memory are the themes of this show and the power that they hold over us are clearly visible here. For Tracey, the memorabilia of her past are displayed in glass vitrines, rather like the sealed vessels of Prousts Remembrance of Things Past that hold the long forgotten memories of past habits and routines shared with loved ones. Just as Proust’s vessels burst open when triggered with a sensation often of smell or taste, it looks like these glass vitrines too have been smashed apart and plied their powerful subject matter upon the work in the show.

1302
Staging Jackson Pollock at The Whitechapel Gallery until 24th March. Not so much about the American artist himself as rather a narrative of two intertwining events. Firstly, the display and eventual purchase of a beautiful painting called number 9, Summertime, by the Tate Gallery and secondly the ground breaking exhibition at the Whitechapel Gallery back in 1958, of Jackson Pollock’s works, where this painting was originally displayed on a bespoke wall by modernist architect Trevor Dannat. The wall ran right through the middle of the gallery and epitomised the brutalist architecture of the day. Alongside all this archive material is the real thing. Number 9 has been lent back to the Whitechapel for this show and it is still looking resplendent.

1303
Woskerski mural near BrickLane.

1304
Hyon Gyon at Parasol Unit, until 31st March. Work entitled We Were Ugly.

This enormous work running the length of the gallery is composed of 17 styro-foam blocks in the traditional builder’s dimensions of 4 feet wide by 8 feet high. Here the similarities to the building trade comes to an end, however. The bright painted surfaces have been burnt with a soldering iron revealing the blue granular layer that comprises the region behind the picture surface. Paint fuses into this nether world and offers a comparison to the artist’s own psyche, we are told.

1305
Me in front of my works Life In A Cell and Psychic Space exploring the hidden realities in nature and science.
This is my base in Peckham, Ideas Lab and the start point for each #galleryrunner event.

1306
John Korner at Victoria Miro until 23rd March. Work entitled Apples as Architecture, 2019 in the show Life in a Box.

For John Korner, apples are a mini-theme and one that I both recognise and love. Previous apple works are Apple Bombs and Running Along Apples. This mini-collection of apple works also offers a clue as to why this show should seem to be all about dynamism, with its running figures, sports track and climbing-frame bar where you receive free alcohol shots on a Friday afternoon, yet its title Life in a Box should simultaneously seem so static. The apples in Korner’s paintings are not strictly still, but pulse across the picture surface leaving behind their glowing after-images. Thus grids and boxes as exemplified by these vibrant apples are therefore only temporary states. Everything is ultimately dynamic and changing.

1307
Peter Joseph at Lisson Gallery, until 2nd March. Work entitled Dark Blue, Mushroom, Light Blues, Greens and Yellow 2016

These enigmatic works give little away on an intellectual level but nevertheless show the acute aesthetic sensitivity of a 90 year old artist at the top of his game.

1308
Liu Xiaodong at Lisson Gallery, until 2nd March. Work entitled Weight of Insomnia (Beijing) 2016, in the show Weight of Insomnia.

In a glass vitrine we see a typed proposal for a kind of painting machine, three in fact, that could work tirelessly for several weeks depicting three different landscapes from digital images captured by CCTV. By a certain good fortune one of these CCTV regions would be outside the artist’s own apartment and is the image shown here.
This and the other two images were a great success in the artist’s native China and the project continued to grow, incorporating iconic squares and public spaces in many other countries. The machines are still painting night and day, and one of them is even on show and at work in the present exhibition, where we see scaffolding, some delicate wires, a kind of makeshift print-head and finally a small laptop displaying the CCTV image providing the electronic subject matter of its current painting of Nelson’s Column and Trafalgar Square.

1309
Miroslav Balka at White Cube, until 9th March. Show title, Random Access Memory.

Walls are the theme of many news stories currently and here we have two. They are made of corrugated metal sheet, heated to a temperature of 45 degrees, which apparently is the temperature at which the enzymes within organisms begin to denature and their cells die, but when this temperature is delivered by objects resembling giant radiators, they actually feel lovely to rest against. Random Access Memory, the type used by computers to store data, is the show title that adds a more sinister note to these giant structures straddling the galleries.

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.

Gallery run 23rd August

1271
Tracy Emin of White Cube with a delicate bird on pole sculpture. At Frieze Sculpture Park.

1272
Simon Periton of Sadie Coles HQ with a delicate cut-out made from painted metal sheet. At Frieze Sculpture Park.

1273
Conrad Shawcross of Victoria Miro Gallery with a labyrinth. At Frieze Sculpture Park.

1274
Rachel Feinstein of Gagosian Gallery with a florid sculpture set in Regent’s Park at the Frieze Sculpture Park.

1275
Virginia Overton of White Cube with fab artwork reminiscent of blue collar fabrication. At Frieze Sculpture Park.

1276
Bharti Kher of Hauser And Wirth at Frieze Sculpture Park.

1277
John Baldessari of Marian Goodman Gallery with a 6’7” penguin. At Frieze Sculpture Park.

1278
Kiki Smith has created a figure out of a fairy tale. At Frieze Sculpture Park.

1279
Elmgreen And Dragset of Galerie Perrotin at Frieze Sculpture Park.

Gallery run 10th July

1221
Angela De La Cruz of Lisson Gallery with paintings and metal shutters pulled off their frames.

1222
Christopher Le Brun at Lisson Gallery with abstract paintings. Some have the paint applied straight from the tube which leaves pleading scratch marks from the nozzles.

1223
Edward Keinholz at Blain Southern with sculptures from found objects.

1224
Alex Hartley of Victoria Miro with two-layer paintings combining foliage and architecture.

1225
Pipilotti Rist at Hauser and Wirth. Trust me!

1226
Fischli and Weiss at Hauser Wirth with a giant vase.

1227
Alexander Calder at Ordovas with a black flower mobile.

1228
Cindy Sherman of Sprueth Magers with film star style self portraits. A hint of cleverly contrived faded glamour too.

1229
Lydia Okumura at Galerie Thaddaeus Ropac with a retrospective. Made with painted wire mesh.

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 3rd May

1121
Julian Opie at Alan Cristea Gallery with the ubiquitous vinyl support now raised to the level of very good, high art.

1122
Helen Frankenthaler at Victoria Miro.

1123
Richard Serra of Gagosian with thickly covered sheets of paper, revealing uncovered edges built into the composition.

1124
Matthias Bitzer of Almine Rech Gallery with faces, mediating mathematical forms and his characteristic alternating light and dark bands of paint.

1125
John Chamberlain of Gagosian with posthumous artwork of crushed car parts shown in conjunction with his estate.

1126
Urs Fischer of Sadie Coles HQ with an emerging nude figure.

1127
Eric N Mack at Simon Lee Gallery with multi-media images and spaces.

1128
Karen Kilimnik of Sprueth Magers with small, vivid paintings. The effect of her imagination is clear from the explosion and bullet traces that have been frozen for the single moment of the composition.

1129
Spot the front door with letter box and street number 69, drawn onto this shelter along with the more obvious added brickwork.