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 30th September

Art Povera with Marisa Merz and Jannis Kounellis and global trade, politics and migration with Yinka Shonibare, Akram Zaatari and Mike Kelley.

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Yinka Shonibare at Stephen Friedman with cosmic statues and a move away from his fabric motifs.

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Marisa Merz at Thomas Dane Gallery with images on basic materials and was part of the Art Povera grouping also with her husband Mario Merz.

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Peter Saul at Michael Werner with superheroes and angst ridden figures.

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Akram Zaatari at Thomas Dane Gallery celebrating the story of an Israeli pilot who refused to drop his bombs on a school in Lebanon and offloaded them into the sea instead.

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Mike Kelley at Hauser and Wirth London with a recreation from China Town.

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Jannis Kounellis at White Cube with constructions from wax, lead and metal.

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On the Regent’s Canal.

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Sol Calero at Laura Bartlett Gallery with bright imagery inspired by Venezuela.

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Lygia Pape at Hauser and Wirth London with installation made of fine wires.