Monday, 28 July 2014


The latest in my rolling top ten, together with previous choices which you can still see


Sigrid Holmwood: A Peasant Painter’s Garden @ ASC Gallery, Erlang House, 128 Blackfriars Rd - near St George’s Circus, Southwark

To 8 Aug:

Three Women and a Cow, 2013: Mushroom pigment made from blood red webcaps (cortinarius sanguineus), chalk, chrome yellow, indigo, and red lead bound in egg on hand woven linen

Anglo-Swede Sigrid Holmwood, whose family background is in farming, has studied how the peasant paintings of South West Sweden emerged from medieval sources. Seeing them as an alternative to bourgeois accounts of art history, she’s remade the types of brush, and the earth, mineral and plant-based pigments they used, and depicted the peasant painter's world as one ‘full of magic, where meaning and emotion are inscribed into all materials, and the animal, vegetable, human and super-natural are all interconnected'. Her way of painting parallels returning to traditional farming in contradistinction to modern machine-dominated methods. Holmwood’s lively style is at one with a filmed performance in which she rides a giant paintbrush-come hobby horse as if it were a broomstick…. Add spalting, secret hex signs, mycorrhizal relationships and the modern twist of using mushroom colours, and there's plenty going on.

Sigrid Holmwood with brush

Samara Scott: High Street @ the Zabludowicz Collecton, 176 Prince of Wales Rd – Chalk Farm

Samara Scott describes her practice as a ‘slow digestion of cosmetic, edible and chemical cultural bedris’. That turns out to be largely a means of trapping the fluorescently pastel-coloured experiences of a synthetically freed body. The key development in her language here are resinous horizontal paintings – come sculptural accumulations – come low tables - come flatbed scanners, raised on various props. Add a toothpaste drawing on the wall, rolls of sellotape inserted into textile, and a multi-hued painting featuring the gussets from tights, and plenty else, and you have one of five good reasons to visit Anita Z’s summer shows, the other highlights being a persuasive selection of Sam Falls’ paintings, sculpture and less often seen videos; and a rebooted version of Rachel Pimm’s excellent show from Enclave in April.

                 Rasbs Blubs Strawbs Glee, 2014 - styrofoam, tight toes, tight crotches

Flat Pack/ Wrapped/Stacked @ Punk & Sheep, 5th Floor, 30 Marsh Wall, Canary Wharf 

To 15 Aug:

Jonathan Trayte: Unifine and Rob Leech: Barry Box prominent and Sam Plagerson's improbably-sized contribution at the back.
This appointment only space on a Canary Wharf 5th floor, named for the gallerist couple’s pet names for each other, currently features 30 artists whom curator Tim Ellis invited to produce a sculpture not to exceed 50 x 50 x50 cm and to cost less than £100 to make, and to be posted to the Gallery in a box on which they are displayed with the artist ‘relinquishing control’ from then on. The prevailing mode of quiet wit includes several cunning wheezes to bend the rules – Kate Howard’s inflatable, Graham Reid’s sections to be reconstructed ceiling high, Rob Leech’s box which makes for a big two box sculpture - and a couple of the blatant cheats which I feel Ellis should have cut in half. It’s all well-suited to the surrounding financial services industry.  I particularly liked Jonathan Trayte’s iron and ceramic full box-worth of bread, a move on from his fetishitically finished fruit to a sort of reductio ad absurdum of mass food production  – though I did wonder about the £100 limit…
Installation view with Kate Howard at the front and Graham Reid showing height


Schema – Sukima @ Laure Genillard, 2 Hanway Place – Tottenham Court Rd 

To 13 Sept:

Installation view with Yasuko Otsuka left, Kenneth Dingwall ahead,
Yoko Terauchi right

This six-strong Anglo-Japanese curation by David Connearn can be viewed at two levels, and not just Laure Genillard’s ground floor and basement: on the one hand, a post- Heideggerian account of Kant which uses the linguistic coincidence set out in an accompanying  newspaper that the English schema (plan) and the Japanese sukima (crevices) are pronounced the same as a starting point (phew!) or as a delicately beautiful collection of interventions which contrast eastern gradations (Yasuko Otsuka’s subtle duochrome lithographs on cotton, Yoko Terauchi’s shifting perspective of the gallery space using graphite on paint to shadow the floor, Hakudo Atsuo’s silver dust drawings)  with western clarity  (Gary Woodley’s line sliced through the stairs, Kenneth Dingwall’s more logical colour-sets, Tom Benson’s white painting with an accompanying text which makes for a neat face-off with the canvas at the centre of Yasmina Reza’s play ‘Art’).  Recommended either way. 

Gary Woodley: Impingement no. 62. double helix, 2014


Keita Miyazaki (& Bongsu Park): Sound & Vision @ Rosenfeld Porcini, 37 Rathbone St – Fitzrovia

Collective Practice, 2014: aluminium bronze, felt, exhaust pipe 

Young Japanese artist  Keita Miyazaki has a resonant-enough central idea for his new sculptures, which look to create some sort of utopian mode, however ironic, out of post-tsunamic landscape by combining parts of old car engines, festooning them with colourful origami forms, and building in public jingles from the Tokyo soundscape.   That said, I can imagine it turning null, but Mizazaki’s forms take on an unpredictable almost animal life as their contrasts hint at post-recessionary flowering, industry in the community, and party streamers threatening to trump environmental issues. The no-nonsense aesthetic and political charge of the car engine have made it a fairly frequent component of conceptual art – see Thomas Bayrle, Matthew Barney and Roger Hiorns (though not John Chamberlain: 'I didn’t want engine parts, wheels, upholstery, glass, oil, tires, muffler systems or transmissions.  Just the sheet metal').

Quarantine, 2014:   felt, paper, exhaust pipe

Eric van Hove: V12 @ Copperfield Gallery, 6 Copperfield Street - Southwark

To 1 Aug, then 1-20 Sept:

V12 Laraki: Alternator (2013): Yellow copper, red copper, nickel silver, mahogany wood, cedar wood, cow bone, sand stone, cotton, ram's horn, cowskin, tin, chinese superglue and cow horn.

In an unusual twist on work not being what it seems, the apparent bling of intricate abstract sculptures in the second show of the third gallery to use this spacious former church hall is far from the point. Rather, they’re part of a project which revisits a failed dream of manufacturing a luxury sports car wholly in Morocco by commissioning to-scale versions of the 463 components in the Mercedes V12 engine which Abdeslam Laraki was eventually forced to use in the ‘Luraki Fulgara’. As such, it’s a social sculpture project orchestrated by the multi-national Van Hove to empower 57 of the estimated three million self-employed Moroccan craftsmen to make something other than tourist fodder. They worked reclaimed and traditional materials such as cow bone and recycled aluminium to the point of looking precious, so harnessing traditional skills in a sort of reverse engineering of factory line production.

V12 Laraki: Alternator (2013) - exploded view

Phantom Limbs @ Pilar Corrias, 54 Eastcastle Street - Fitzrovia

To 1 Aug:

Antoine Catala:   :)

I was fascinated, if not wholly unbaffled, by Phantom Limbs. It posits a parallel between the way the digital affects us at a distance with the phenomenon of a lost body part which is still perceived as being present. Two artists new to me making striking contributions. Rachel Rose’s 10 minute film Palisades in Palisades (2014), projected with a welcome lounging mat, swoops atmospherically between remote distance and intense close-ups as it explores the site where a battle from the American Revolutionary War was fought.  Antoine Catala’s :) (2014), is an emoticon turned into a mildly robotic kinetic sculpture which varies its expression winningly as it trundles towards you; while his Storage (2013) represents residual memory by varying shape according to whether a vacuum sucks it in or not: a sort of reverse inflatable. 

Antoine Catala:   :)

An Impossible Bouquet: Four Masterpieces by Jan van Huysum @ Dulwich Picture Gallery

To 21 Sept:

Vase with Flowers, c. 1715

The obvious reasons to visit the country’s oldest public gallery are the permanent collection (all that Poussin!) and (also to 21 Sept) a winning account of Ben and Winifred Nicholson and their circle in the 1920s. Yet there’s also a focussed gathering of four floral still lives by the Dutch painter Jan van Huysum (1682-1749).  Dulwich’s own example, set against a dark background, is from 1715. Here it’s joined by three loans which follow his 1720 switch in to setting his Rococo bouquets against gardens with statuary. Their pre-refrigeration ‘impossibility’ is, of course, that Huysum took up to two years over each painting, and so shows blooms from quite different seasons - up to 40 different species plus maybe ten insects in each - all of which are informatively set out by means of interpretative keys. 

Flowers in a Vase with Crown Imperial and Apple Blossom at the Top 
and a Statue of Flora, 1731-32 


A Poem for Raoul and Agnes @ Ancient & Modern, 201 Whitecross Street - near The Barbican

To 6 Sept (but closed 10-26 Aug):

Winifrid Nicholson: Palm, 1980

Talking of flowers, here are 14 floral works, chosen by Sherman Sam with a poem of accepting transience by another art critic – Barry Schwabsky – in mind: ….’We more than wounded know nothing / of flowers but the ripe pod / scatters its seed regardless’.  Cue a Winifred Nicholson worthy of Dulwich; Phoebe Unwin’s nuanced nude disguised in a bloomscape; Alex Katz alongside his under-seen peer Jane Freilicher;  Eithne Jordan’s play in the office - hardly separate given Ancient & Modern’s scale – with the separate lobby of Spruth Magers; and various other seasonal subtleties in one of the most enjoyable summer shows around (Simon Lee and Laura Bartlett’s project space are also commended).

Eithne Jordan Office I, 2014

Sam Francis @ Bernard Jacobson Gallery, 6 Cork St – Central

Untitled (#2 Pri-Rain), 1964 - gouache on paper

As John Yau says in the accompanying book to this extensive and beautiful survey of works on paper by the Californian artist Sam Francis (1923-94), he’s hard to place as an American abstractionist, being neither an Expressionist nor a Colour Field painter. Plenty lay behind his fluid and spontaneous-looking work – flight, botany, Zen, Jung, alchemy, dreams and his considerable physical sufferings from a plane crash, tuberculosis, kidney disease and cancer. This show ranges from early Tobeyesque explorations to his petal-like phase to his radical use of the ‘empty centre’, to the ‘blue balls’ to structured pours as those background factors are reflected in different formal approaches. All of which might be bracketed as using colour to trammel between the physical world of paint and ground and the immaterial world of thought and air.

Untitled (L.A.), 1976


PERFECTIoNISM @ Griffin Gallery, 21 Evesham St – Latimer Road

To Aug 30:

Katerina Blannin: Three Piece  Suite, Vert, 2014
To 30 Aug: www.

Becca Pelly-Fry, the director of Winsor & Newton's lively space, has chosen ten artists whose work, shares an underlying 'perfectionism of process'. As teed up by an intelligently ludic wall text by Nick Hornby, they range from Lee Edwards’ intimate portraits on wood knolls to Inbal Strauss’ meticulously wrought pseudo-functional sculptures to Dale Adcock’s paradoxically intricate control of monumental surfaces to Iavor Lubomirov's canny sculpting of W&N's own graph paper. Katrina Blannin derives angular geometries from grids, then groups the forms into triptychs to complicate their visual dance of ghosting and mirroring. It's all precisely calibrated, yet the weave of the linen, along with the odd stray hair, is allowed to insinuate humanising touches of what one might call perfectly judged imperfections. 

Dale Adcock: Tomb, 2012


Jimmie Durham: Traces and Shiny Evidence @ the Parasol Unit, 14 Wharf Road

Smashing, 2004 (video still)
Some works lure you into a repetitive logic to compelling effect. I found myself repeatedly watching ‘just one more’ object get dispatched in Jimmie Durham’s 90 minute video of bureaucratic smashing . Durham, in a suit, sits at a desk. Assistants hand him a stream of items, each of which he pounds impassively with a prehistoric rock, whether with one blow or with mechanical persistence (he comes down 30 times on an alarm clock). Then he stamps and signs a certificate, and puts away the pen, ink pad and die we know he’ll need again in a minute. That's upstairs: below, the Berlin-based Cherokee's colourful installation of oil drums, pipes and spills proposes a compelling, if simple, echo of destruction.

Traces and Shiny Evidence, 2014 (detail)


Candida Höfer: Villa Borghese at Ben Brown Fine Arts12 Brook's Mews - Mayfair

To 19 Sept:

Villa Borghese Roma XVIII, 2012

Candida Höfer's Villa Borghese series is typical of her intimately monumental, formally similar records of culturally significant public interiors: she uses natural light only (Höfer adjusts her exposure time from minutes to hours as necessary), includes no people (though this set is statue-heavy by way of stand-in), centres the far wall from a slightly raised viewpoint, and generates an air of splendour and permanence. Indeed, despite the lack of digital intervention, you might say that Höfer  presents such spaces more as we might imagine them to be than as they would be likely to appear to us, were we there.

Rachael Champion: Primary Producers @ Hales Gallery, Tea Building, 7 Bethnal Green Rd – Shoreditch

Primary Producers, 2014
Hales’ space has two highly intrusive distinctive central columns. Far from worrying about sightlines, London-based New Yorker Rachael Champion uses them as the starting point for a modularly irregular, organically geometric set of shapes – half-building, half-landscape – which subsube the gallery in a combination of pebbledash (publicly derided by many, but secretly loved equally?), water, and the basic life form of algae (cleared from garden ponds, but an important source of oxygen, a super-food and a putative fuel)…  The result is a striking multi-ponded suburban takeover of Shoreditch’s cool which may speak, as the show’s blurb has it, of our ‘ever-mounting Anthropocene crises’.


Will Cotton @ Ronchini Gallery, 22 Dering St - Mayfair

To 9 August:

The Deferred Promise of Complete Satisfaction, 2014 - oil on linen

New Yorker Will Cotton’s first British show neatly summarises his practice in the pinks and whites of a macaron-hatted portrait; a candy floss cloudscape;  an abstracted wax-textured close-up of cake decor; and a photorealistic nude riding an ice cream fish. Koons, Johns and Boucher come to mind, and there are painterly issues at stake in, for example, the variety of colours in the whites. The dominant impression, though, is of sweetness pushed to an extreme which is both repulsive and compulsive, setting up the questions of which wins – of whether humankind is trapped by incessant desire or blessed by the gratification available – and of whether Cotton subverts or exploits the lure of what he so elaborately bakes and paints. 

Persistence of Desire 3, 2014, oil and wax on linen


Pangaea: New Art From Africa and Latin America @ the Saatchi Gallery - Sloan Square

To Nov:

Rafael Gómezbarros:  'Casa Tomada' (Seized House)

There are plenty of big shows which it hardly seems necessary to mention: such brilliance as  Matisse at the Tate Modern; Veronese, all theatre and colour at the National Gallery, any lack of depth well-aligned to modern tastes – or at any rate to mine; Phyllida Barlow in ramshackle glory at Tate Britain; and Giuseppe Penone at Gagosian. And the less convincing: Schnabel at The Dairy, for example, or Herman Bas's two sites for Victoria Miro. Then there are mixtures like Chris Marker at the Whitechapel, and Saatchi’s new ragbag of South America and Africa… if you’ve never been to the excellent Jack Bell Gallery, there’s a crash course here as three rooms are given over entirely to expanded versions of four of the African explorer’s lively shows. Still, Pangaea’s signature room is its first: Rafael Gómezbarros' 440 giant ants swarm the walls, each made of two cast human skulls with branches for legs, and held together by dirty bandaging. 

 Images courtesy the relevant artists and galleries + Mary Boone Gallery, New York (Cotton)

Sunday, 27 July 2014


Phyllida Barlow: Fifty Years of Drawings @ Hauser & Wirth, 23 Savile Row - Central

To 26 July: - has 123 images of the show!

7 Bathing Hut, circa 1970

Filling a run of large galleries with 500 or so drawings culled from the archive of a sculptor may not sound the most stimulating prospect, yet this feels far more than a supplement to Phyllida's Barlow's feisty occupation of Tate Britain.  She has a four stage process: (1) initial idea sketches (2) worked up 'drawings', which are typically paintings full of colour (3) sculptural forms (4) combination / reuse of those forms. Here we have stage 2: given the historically temporary nature of most of Barlow's stage 4 production, as close as we'll get to a full retrospective – an energising demonstration of sculptural  thinking with more ideas for painting than the average dauber could shake a brush at...  
Untitled 2001
The Combinational @ Studio 1.1, 57a Redchurch St – Shoreditch

To 27 July:

Sarah Anne Johnson: Kissing Gold, 2013
It would be illogical not to recommend my own show! It starts from the found and the collaged as dominant modern modes, and looks at how six artists combine materials in sculpture, video, painting, photography and mergers thereof, to reflect on how we live together. Moreover, the show is itself a combination of Canadians – Sarah Anne Johnson and Wil Murray – and Britons – Susan Collis, Appau Junior Boakye-Yiadom, Suzanne Moxhay and Catherine Herbert. Sarah, who flew in from Winnipeg for the opening, has installed 34 photographs from her Wonderlust series. She travelled throughout Canada to find people willing (but not too willing!) to be photographed in their homes during intimate moments which she then altered to enhance a refreshing variety of moods from tender to comedic to absurd.

Sarah Anne Johnson: Burnt, 2013

Leo Fitzmaurice: /_\  @ The Sunday Painter, 1st Floor, 12-16 Blenheim Grove - Peckham 

To 27 July:

/_\, 2014 -  gummed paper tape on gallery walls
As another wordless title/_\  - hints, this is a show of framing rather than direct content. Merseyside artist Leo Fitzmaurice shows a near-empty gallery with what look like two small abstract paintings, but turn out to be (or do they?) arrangements of J-cloths and dusters - and how he got such a clean look, perhaps. His primary interventions are to soften the light to a cool white by applying a thin vinyl to the windows, and to run gummed brown tape along every edge and join in the architecture. The effect is a deconstructive demonstration of the parts from which the room is made… which proves, when one’s thoughts turn to the collapsed distinction between production and display, to be content enough.

J-cloth, 2013 - Permanent marker on tracing-paper


A.R. Hopwood: The False Memory Archive @ Carroll / Fletcher project space, 17A Riding House St - Fitzrovia

To 12 July (also at the Freud Museum to 3 Aug):

From 'False Memory Archive Erased UFOs':  collection of found UFO images with all evidence of the UFOs removed, presented in 242 used frames, 2012-13.
Alistair Hopwood occupies both Carroll / Fletcher’s new project space (in what was the Nettie Horn gallery) and the rather appropriate Freud Museum for an extensive exploration of false memory with many fascinating examples. Perhaps you think you’ve seen it already, but why not go again? Not least of the pleasures is a wall of  found photographs, fitted to found frames, from which the supposed evidence of UFOs has been removed. Often, Hopwood told me, the removal was of what had anyway been a mere photoshop addition. Imagine generating a false memory of a UFO sighting from forgetting that you yourself had doctored a photograph to include one...


Trujillo Paumier: Men y Men @ New Art Projects, 17 Riding House St - Fitzrovia

Trujillo/Paumier 'Untitled (Moro 24)', 2012

This unusual show by photographer-partners sees them working separately to contrast two distinctive but visibly Catholic communities in the Mexican town of Oxaca: American Brian Paumier’s Moros - portraits of cowboys and their steeds – are shown opposite Mexican Joaquin Trujillo’s trans-gender Muxes. The Moros and Muxes get on well, though, as indicated by a table of inter-mixed images presented in ex votos style, making this a celebration of difference. There’s also a film of the cowboys, lyrically shot from a helicopter as they parade their horses in an annual festival of thanksgiving, complete with the colour-bursts of traditional family ribbons.

Trujillo/Paumier 'Untitled (Muxes 11)', 2009


Architectural Landscape @ Camilla Grimaldi, 2nd floor, 25 Old Burlington Gardens – Central


The third  show in Camilla Grimaldi’s new space brings together four female photographers with structures on their minds: Heidi Specker, Clare Strand, Faye Heller and the young Dutch artist Fleur van Dodewaard, who shows prints from her fascinating set of 131 variations on Sol Lewitt’s 122 Variations of Open Cubes. Lewitt planned a systematic exploration of all the possible forms of open-sided cubes, with 1-9 of the 12 sides which would constitute a full cube missing so that the viewer can imagine the completion. Van Dodewaard uses a fleshy pink, so hinting at the body – indeed, she’s titled a comparable series of geometric constructions ‘Nudes’. She also provides an enlivening sense of the project’s contingencies: there are accidental duplications of structures, gaps where she failed to replicate one of Lewitt’s arrangements, some forms which she couldn’t match to his originals...


Sean Scully: Kind of Red @ Timothy Taylor Gallery, 15 Carlos Place – Mayfair

NB possible related trip =  Sean Scully Encounters: A New Master Among Old Masters – Christ Church Picture Gallery, Oxford - to 31 Aug

'Kind of Red', 2013

It’s easy to fall for the solid luminosity of Sean Scully’s paintings; nor is it hard to find they evolve rather slowly.  Here, though, in his first London solo since 2010, Scully eases into the full horizontal stripes (or ‘landline’) for a change, and where he employs his more characteristic city-inspired broken stripes, does so with some differences: the lushness is looser; and though he’s painted on aluminium and cited musical influences before, his exposure of more surrounding metal than previously adds to the sense that these could be end-on views of Scully’s own sculptures, and exploits the optical illusion whereby the aluminium appears to vary in colour depending on the colours from under which it’s glimpsed. All of which suits the improvisational jazz aesthetic of the vast quiptych ‘Kind of Red’. 


Bernard Frize: Colour Divides @ Simon Lee, 12 Berkeley Street – Mayfair
Riamo, 2014

I once congratulated Bernard Frize - as I saw it - for how, no matter that he uses such imaginatively disparate processes to make his paintings, they all look instantly like his work. That's a shame, he said jestingly, I do my best to avoid that.  Well, he's failed again here - but then the seven large works here are variants on a 1986 painting which tracked the labyrinthine course of the ceiling on which it was made, and they use an established strategy of his: the application of several colours to a single brush.  Various doublings and reversals are then applied between and within paintings. In Riamo, for example, the order of the colours on the brush is reversed below a horizontal fault line. ‘In my beginning is my end’, as Eliot put it, and it’s fascinating to see how the cycles play out as colour divides.
Lescilia, 2014


Hannah Maybank: Bobhowlers and Blooms @ Gimpel Fils, 30 Davies Street - Mayfair

To 5 July 2014:

'Angela', 2014 - synthetic dragon's blood and watercolour on stretched watercolour paper over polyester

Hannah Maybank’s dangerously beautiful mixed media paintings have flowers or hawkmoths as their starting point. Or do they? The floral works set out from a Christian name of significance to the artist, who then observes as the character of the painting falls in with or  diverges from that of its inspiration. Maybank is technically adventurous, exploring such materials as ‘synthetic gold’, ‘Japanese glass pigment’ and ‘orasol’. There's less of the latex peeling effect typical of her previous work, but there’s still a sense of vegetative growth not quite under control. That encourages environmental readings, but that dangerous beauty is the thing.

'Bobolla', 2014 - synthetic dragon's blood, graphite and watercolour on linen


Jane Harris and Jiri Kratochvil: the devil is in the details @ Horatio Jr., The Lord Nelson, 60 Canon Beck Rd – Rotherhithe

Jane Harris: 'Blue Bleu', 2013

Another show by real life partners sees the basement of a former pub filled with Jiri Kratochvil’s constructions, which make remarkably disparate found items surprisingly cohesive: thus, repurposed French agricultural equipment, Dorset limestone, and miniscule plastic models in sexual action make up Purely Physical.  Jane Harris, in bar and chapel-like ex-gents, applies her language of ellipses to diptychs with triple inversions: the colours in each of the pairs are the same, but the paint in the areas inside and outside the scalloped shapes is applied with opposing directionality and the ellipses making up the scallop are reversed. It sounds complex, but the modulations of hue achieved are simply seductive!   

Jiri Kratochvil: 'Purely Physical', 2014 (detail) 

Simona Brinkmann and Anja Carr: HOLD ON! LET GO! @ the Agency, 66 Evelyn St – Deptford
To 21 June:

Docile Brutes IV (No Go) - 2014 Steel, leather, metal fittings.

London-based Italian Simona Brinkmann uses leather and metal to form barriers suggesting shifting boundaries between private and public and a femininist take on power structures. All sleekly attractive and effectively tensed, but what makes ‘Hold On!’ interesting is its slippages - between original and copy, and between urban and rural: these fetish-finished versions are slightly out of wack with their originals; and their primary original isn’t city railings but cattle grids. Are we, then, the docile cows / brutes? Whether or not, Brinkmann is appropriately combined with Anja Carr’s performance-based horseplay (‘Let Go!’) and a gallery with a garden.  

Foreground: Underling  Background: Rig - 2014, both leather, oak, metal fittings.

Andrew Cross: Every seat @ Canal Projects, 60 De Beauvoir Crescent - Haggerston

From 'Every Seat'
Andrew Cross is best-known for photography and film projects which build the manner of travel into the way scenes are perceived, but this may be his canal debut - and then as a location, rather than a mode. The show is mainly a retrospective of his other main stream, the relationship between place, memory and performance. Cue another chance to see The Solo (see; the absent stage of Knebworth; the bare essentials of the Somali National Theatre; and 100 or so of 2,500 images which capture the view from every seat in the Royal Opera House - with the stage curtain down.  This takes the rigorous documentary approach of the Düsseldorf School to an impressively absurd extreme, and one which put me in mind of Alan Shearer and Robbie Savage's subsequent charity stunt of sitting on every seat in Wembley Stadium.   

David LaChapelle LAND SCAPE @ Robilant + Voena, 38 Dover St - Central

Castle Rock, 2013

In 2006, David Lachapelle forswore his hugely successful career as a commercial photographer in order to concentrate on fine art. The results have tended towards the overblown or trite – but I like 'Negative Currency' (mostly 2010) and this new series. Lachapelle commissioned the construction of models of the architecture of oil production and distribution, using recycled and repurposed materials such as egg cartons, hair curlers, cardboard packaging and patio lights. He then photographed the models, dramatically and somewhat romantically lit, in relevant real landscapes: refineries in the desert, petrol stations (alright, 'gas stations') in the jungles which are threatened now by the activity generated by the fuel of their predecessors... Result: spectacular and deceptive images with genuine purchase on the linkages between oil, lifestyle and the environment. 
Gas 76, 2013

Interchange Junctions @ 5 Howick Place, Victoria

To 21 June: - email to arrange appointment.  

Alice Anderson with 'Primary Material', 2014 - unattached sections of copper mesh.

Well over 100,000 square feet across seven  just built floors – shortly to become offices - play temporary host to 25 artists riffing off Yinka Shonibare, who has permanent work here. So: racial stereotypes countered, colonial legacies challenged, the history of trade examined…  There’s some great and unexpected stuff: Shonibare’s own totems with every colour of nail (and Andy Wicks' monumentally photographed nails); David Blandy’s Japanese garden installation; Fiona Curran and Faig Ahmed’s carpet alterations; Alice Anderson’s instantly convincing new direction, making copper mesh perform with trembling grace; and Rose Finn-Kelcey’s funfair sign out of a mistransalation in a Chinese restaurant menu - which led to ‘sad and lonely, set meal for one’.  You won’t be sad, you’ll be amazed.

Rose Finn-Kelcey: 'Sad And Lonely (Set Meal For One)', 2006

Steven Allan: Steady Rolling @ Berloni, 63 Margaret Street - Fitzrovia

To 5 July:

Nice Float, 2014

London-based Aberdonian Steven Allan made a strong impression in his degree show a couple of years back by merging the aesthetics of print and paint to create a distinctive dirty yellow world populated by banana-men. ‘Steady Rolling’ finds Allan in more gestural territory on what seems a confidently impressive scale. Paradoxically, though, what he dramatizes is the self-doubt of the artist trapped in his studio with no means of telling if he’s making progress or going bananas. Whether he presents himself as the returning
fruit construct, a baby acting the great artist, or a dung beetle straining to move the work forward, Allan’s task appears gloomily Sisyphean. And yet… the results are actually pretty funny.


Income's Outcome (part four): A drawing project by Danica Phelps + Works on paper by Katherine Murphy @ Patrick Heide,  11 Church Street - Marylebone

To 28 June: &

Danica with son Orion in front of drawings detailing their life together

For two decades American conceptual artist Danica Phelps has effected a rare combination of objectivity and intimacy: objectivity in the rigorous recording of her income (in green stripes) and expenditure (red): intimacy in the fluid drawings which diarise how the money is earned and spent. Her personal life over  has provided plenty of fodder: coming out as gay; a grand passion; an IVF conception in India; a tempestuous break-up; legal disputes – but here we see payments for rent, car insurance, milk, parking tickets, a children’s party…  Trivia and drama is accounted for alike, and the normally hidden economics of art built in too, as work and life combine.  Here’s she’s neatly paired with Katherine Murphy, who itemises the plain realities of minimum wage labour.

Income's Outcome 165

'Income’s Outcome 165': (10.75″x10.25″) $1,200  shows the flow of a dollars in 1,000 lines from Danica's window to her landlord's and the resulting depletion of her assets by $1,000 at one red stripe per dollar


Everything Falls Faster Than An Anvil @ Pace, 6-10 Lexington St – Soho

To June 18:

Catharine Ahearn: Incredible Hulk, 2014
The title of Tobias Czudej’s selection of art influenced by cartoons references Mark O'Donnell's ‘Laws of Cartoon Motion’ which have also been gleefully explored by Andy Holden (see eg  He’s absent here, but a suitably lively mix of established and upcoming artists is set against Carl Ostendarp’s pink ‘Fruit and Icebergs’ drip murals.  The highlights, spinning off a small Guston, take cartoonery to darker places: Catherine Ahearn reduces the Incredible Hulk to a powerless absurdity of hands; Tala Madani illuminates her bald man characters as tree decorations; Peter Wachler’s mournfully anthropomorphic metal piping sculpture fitfully invades the space with the sound of panpipes.


Stephan Baumkötter @ Bartha Contemporary, 25 Margaret St - Fitzrovia

To June 28:


The distinguishing feature of this show is the subtlety of its internal echoes – between casual-looking pastel drawings, and oil sticks layered into a near-monochrome waxiness which put me in mind of Brice Marden’s surfaces. Those echoes emerge from history and process: developmentally, the drawings came before the paintings; and now Baumkötter's ‘paintings’ are made by repeating the drawings' blend of chance and control until a complete surface emerges in a unpredictable hue which alters in the light – that variability alchemically belying the use of the same few colours in all the German artist's drawings and paintings.

Juan Uslé: Al Clarear @ Frith Street, 17-18 Golden Square, Soho

To 26 June:

Soñé que Revelabas (Aurora), 2014 - Vinyl, dispersion and dry pigment on canvas
Saro and New York based Juan Uslé is at his biggest  – nine feet high – in his family of dark paintings known collectively as Soñé que Revelabas ('I dreamt that you revealed'). Ongoing since 1997, they evoke both landscape and city. It’s not those suggestions, though, but the rhythmically discontinuous, mechanically organic surface patterns which draw the viewer in to discover irregularities in strokes of paint which Uslé has compared with heart beats. Also small paintings from kayak journeys by dusk on the Rio Cubus, in Uslé's home territory of Cantabria.


Into And Out Of Abstraction @ Lubomirov-Easton, Resolution Way - Deptford

To 21 June (late opening 30 May):
Gunther Herbst: The Ice Island 2

It’s hard not recommend my own ‘Into And Out of Abstraction’ (see separate post), as I love how the fascinating painting practices of Danny Rolph, Gunther Herbst and Colin Crumplin play off each other. London-based South African Herbst sneaks modernism into the history of imperialism in his new paintings of boats, combining such painterly styles within a work: her one might cite Stella and Ellsworth Kelly in the boats, the topographical work of William Hodge (who traveled with Captain Cook) in the glacier, abstract expressionism in the sky and Richter's blur in the reflection.  Deptford is worth a visit anyway for the run of galleries at The Enclave and the nearby Bearspace and A.P.T.