The latest in my rolling choice of ten, together with previous choices which
It’s worth a trip towards Wimbledon to catch the psychologically provocative and technically innovative photography of Jonny Briggs. He’s known for attempting a seemingly impossible act of self-escape: in his words: ‘I try to think outsidej the reality I was socialised into and create new ones with my parents’. Here he goes back further by altering historic black and white photographs of his grandparents and great grandparents. Briggs reconfigures their gazes by splicing them into an unsettlingly monocularity, or by pinning lips onto their eyes as if they might literally eat with them. His mother is here, too – though you have to look hard to spot her mouth smuggled into a woodland landscape.
|Painting from IOU under flash|
|Installation view by candlelight|
@ Danielle Arnaud, 123 Kennington Road - Kennington
To 13 Dec: www.daniellearnaud.com
|Untitled (Branch) II 2015 pencil on roll of Saunders Waterford paper, steel and perspex 72 x 24 x 24 cm|
|Dark night, 2015 - pencil on paper, 15 x 52 cm (290 cm uncurled)|
Frame thy Fearful Symmetry @ Collyer Bristow Gallery, 4 Bedford Row – Holborn
To 24 Feb 2016 (weekdays, by appointment): www.collyerbristow.com
|Rachel Maclean: The Massacre of the Innocents, 2011|
Curatorial duo Hi Barbara’s choices for the unusual location of lawyers’ offices combine a witty shelf of Richard Wentworth prints with a younger generation of photo-based interdisciplinary artists – Ruth Proctor, Tom Lovelace, David Raymond Conroy, Eva Stenram, Rachel Maclean and Tina Hage – who reframe reality through performance, construction, re-presentation and manipulation. For example, those last two present themselves as the sole actor to contrasting effect; Stenram shows new twists on the questionable but compelling, quaint yet dark voyeurism she extracts from rephotographing and digitally altering sixties glamour shots; artist and ice skating coach Proctor documents her attempts to land the jumps she could nail in her competitive prime, opening up the possibility of failing better – if that’s what falling more often makes for – as she grows older.
|Eva Stenram: Drape (Centrefold II), 2012|
|Christina Iglesias: Installation view with Phreatic Zone II, aluminium and water ('phreatic': relating to or denoting underground water in the zone of saturation - beneath the water table).|
|Chantal Akerman: still from the multi-screen installation The East: Bordering on Fiction, 1995|
|The Iceberg, 1946|
|Dan Hays: Wanderlust, 2015 - oil on canvas, 152 x 270 cm|
|Dan Hays: Wanderlust, 2015 (detail)|
|Flat Painting Bodfari 15 Caput Mortum, 2015 - 237 x 178 x 26 cm|
|Flat Painting Bodfari 15 Caput Mortum in progress on site|
To 21 Nov: www.jacobsongallery.com/
|Tell Shimshara, 2002 Mixed media on cast aluminum - 137 x 152 x 58 cm|
|Die Marquise von O..., 1999, mixed media on seven canvas panels, overall 305 x 1,317 cms|
To 28 November 2015: www.handelstreetprojects.com
On the back of thirty years’ work emphasising our personal and social preconceptions, Gerard Williams shows thirty double-sided birch plywood tablets. Small windows are cut from each face to highlight details of two or three banknotes enclosed within. This economical collision of art and value might ask whether, as Dave Hickey has put it, art and money are parallel cultural fictions - based on demonstrations of trust - which have no intrinsic value. If that’s the question, one answer might lie in the aesthetic interest which accrues from revealing evocative image fragments while turning the tableaux into compelling abstract arrangements.
To 28 Nov: www.union-gallery.com
|Stoned Turn - Turned Stone, 2015|
|Scaled Ladder, 2014|
The Ben Uri Gallery has had a dozen homes over a hundred years, and built a significant collection of art by Jewish emigres. It’s now hoping to find a new home under the banner of art, identity and migration, and to expand its ethnic reach to represent London as a home for multiple ethnic communities. This show, featuring 70 of the collection’s inventory of 1300, illustrates what that might look like for the Jewish century. It’s not a parade of masterpieces, though there are a couple, but it is full of fascinating work, much of it by little-known figures, and it is exceptionally well presented via text and free audio commentaries. Bomberg, Gertler and Auerbach show well, and I rather liked the sort-of cubist pointillism of Romainian-born Arthur Segal's harbour scene.