In this group exhibition the importance and relevance of traditional draughtsmanship skills to significant strands of contemporary art practice are givens. It features the work of eight of Rosenfeld Porcini’s international roster of artists: Enrique Brinkmann from Spain, Lu Chao from China, Antonis Donef and Marianna Gioka from Greece, Lanfranco Quadrio and Nicola Samori from Italy, Marcel Rusu from Rumania and Eduardo Stupia from Argentina.
Her first solo exhibition in the UK at the Dulwich Picture Gallery comes far too late, as the popular artist from Canada died 69 years ago; nevertheless, it is a clear display of Emily Carr’s essence. Her landscape canvases are revelations. Their meaning is absorbed by their visual representation and vice versa. They deny any distance between the painter’s inner space and her spatial surrounding, the territory of British Columbia.
The cadets have been left drumming alone, and surrounded, in this exhibition, by the images of the aftermath of war they look vulnerable. One boy in particular has too-long sleeves and peers out from under the too-low peak of his hat, his cheeks flushed – a tin toy soldier hanging from the Christmas tree. For some the drums seem to be positioned too high, and their arms are raised awkwardly at the shoulder in order to strike.
Mapping is a military reconnaissance mission and a map is a logistical system and potentially, a weapon. The map, the plan, is a birds-eye-view of the city, while the person navigating its innards has a very different, rather more messy experience. Even attempting to trace that journey is just one personal story among the crushing throngs of lives that pass each other everyday. As the attempts of the late twentieth-century ‘psychogeographers’ showed—to whom, not unsurprisingly, many of the exhibitors in Mapping the City owe differing degrees of inspiration—trying to systematise the ground-level experience of urban life into a scientific and objective approach is to create overly confident, artificial categorisations and silence the ongoing narrative of sleepless cities.
Hello! And welcome to the new ArtSelector, a dedicated review website. We go live with our first reviews today, a selection of current exhibitions in London where we, the writers, are based. As you can read on our About page, until 2013 ArtSelector was a free, online network for artists—a…
As the Barbican’s photographic exhibition Constructing Worlds: Photography and Architecture in the Modern Age came to close this January, South Kiosk followed with an exhibition of new work by two contemporary artists who have documented major infrastructural developments in two separate locations across the world. Unlike Constructing Worlds, which was…
Apocryphal binds of creation and destruction appear thematically throughout the exhibition and yet, as in Vidya Gastaldon’s work, these binaries are subsumed by an overpowering ambivalence between them, like the entangled symmetry of Andy Harper’s painting or the tragic birth of a volcano that forms the world: the dualism of beauty and decadence, life and death, utopia and dystopia, the sardonic or knowingly cliché, and a true, mystical sincerity. Ambiguity trickles down the inside of this re-purposed, post-industrial pillar like good-natured laughter.