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 23rd March

A classic stop-off point is Brick Lane, at Beigel Bake to be more precise, where apple strudel costs just 80p. From here I move on from some of the galleries in the east of London towards the west end and on the way encounter Hollybush Gardens in Farringdon. On show is Turner Prize winner, Lubaina Himid. The room is full of wall paintings extending onto some additional objects propped upright on the floor. It is fascinating that the original utility of these painted objects, such as piano lid, is still immediately recognisable.

Jogging west past Holborn, the Mayfair galleries are finally reached. David Zwirner on Grafton Street is hosting Andrzej Wroblewski, a Polish artist who oozes Eastern Block charm. His Chauffeur series features drivers with their back turned to the viewer. A Gauguinesque blaze of colour near the driver’s head appears to demarcate that area of the vehicle window where the subject’s own psyche has intervened into this external world.

Then doubling back slightly, for a reason I can no longer remember since this is a slightly stripped down and edited re-write, Sophie Von Hellermann has been exhibiting some lovely loose paintings at Pilar Corrias. Formally of Vilma Gold, which shut last Autumn, the artist has found a good replacement with this gallery on Eastcastle Street.

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Lubaina Himid of Hollybush Gardens with a painted piano lid.

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Jose Damasceno of Thomas Dane Gallery with a small intervention on the eyes of Brazilian money-prints.

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Pier Paola Calzolari at White Cube who uses refrigeration units in his sculptures to produce pure whites.

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Mel Bochner at Mazzoleni Gallery.

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Andrzej Wroblewski at David Zwirner with an image from his Chauffeur series.

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Roy Newell at Simon Lee Gallery with meticulously worked miniature paintings.

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Michelangelo Pistoletto of Simon Lee Gallery with shelving images on his characteristic mirror backgrounds.

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Jean Dubuffet at Timothy Taylor with one his familiar cellular-based sculptures.

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Sophie Von Hellermann of Pilar Corrias with colourful paintings from the imagination.

Gallery run 6th December

My phone is being sorted out this morning leaving me temporarily camera-less. Nevertheless this hiatus is a chance to build up the jogging miles before my retrieving of the device and doing the gallery visits in quick succession. At Alison Jacques Gallery, Juergen Teller is displaying a series of photographs called Go-Sees. The title used here refers to the term in the fashion industry of an informal introduction between photographer and aspiring model. In this exhibition the models have crossed over from the fashion industry into art. They are shown posing in a frequently used doorway or against a familiar backdrop revealing, all the while, different levels of engagement with the camera. Some models are at the artist’s front door waiting to be let in and have been caught unexpectedly from above, whilst others have adopted contorted gymnastic poses thereby taking control of the photograph and demonstrating a power of their own.

A few streets away at Pilar Corrias Gallery, Mary Ramsden has exhibited abstract paintings with dynamic motifs. A swoosh of paint arcs over the canvas and at its apex, where the droplets can no longer hold together due to the force of the brush swerving in a new direction, a secondary ejection occurs. The droplets have broken free and splay out across the canvas. This arching swoosh is a gesture but also a symbol, since the artist appears to have reproduced it at will, not only in its general shape, but also in its dynamism, harnessing the forces of nature to eject the paint spray at the chosen point. Other details stand out too, though with less dynamism, such as a bright pink strip of paint up the outside of the stretcher frame. It is normally a dead space that carries only the residues and traces of the main action on the painting’s front surface, but here on this side strip the artist appears to have intervened amongst the various accidents.

Sadie Coles HQ provides two further spaces for today’s run. At Kingly Street, Kati Heck has produced a central hexagon structure in the centre of the main gallery. Six paintings are displayed on its inner walls forming a sort of panorama of images. The images themselves are very strong, comprising figures and various objects of symbolic importance, all boosted in their immediacy by the economy and panache of the brushstrokes. Some of the background colour actually appears to have been applied with decorating brushes, evidenced by the width of their strokes, whilst other areas are omitted altogether, suggesting a confidence and good judgement on the part of the artist. Arms are detached from hands, a piece of sky missing, but each such intervention is done with a plausible logic thereby keeping alive the interest for the viewer.

With the day rapidly passing, there is a chance to see some work at Phillips. Jonathan Meese has a large image that oozes German Expressionistic appeal. The tell-tale fragments of German vocabulary along with roughly rendered figures populating the picture space, create a distinct style and attractive image. Finally in Peckham a climbing frame with art aspirations of its own catches the eye. The steel with flaking blue paint looks great and its image on Instagram sits in the middle of the other eight like a sort of carousel.

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Juergen Teller at Alison Jacques Gallery who photographed aspiring models in informal settings called Go-Sees.

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Mary Ramsden of Pilar Corrias.

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Adriano Costa of Sadie Coles HQ.

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Urs Fischer at Sadie Coles HQ with prints and photos.

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John Armleder at Phillips.

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Mel Bochner at Phillips.

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Jonathan Meese at Phillips.

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Kati Heck at Sadie Coles HQ with very good figurative painting that isn’t too finished in places.

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Old frame in Peckham.