The arch-mischievous Giorgio Sadotti has brought darkness to the evening front of studio1.1: the plug sockets trail leads, but all you can see by is a flame flickering from the floor. Sadotti has – perhaps in a parody of nostalgia for yuletides past? - reinstated a demolished dividing wall, the better to hide what the leads lead to: the electric lights which normally light the gallery have been moved, simply by extending the electrical wires which normally power them, to form a battery aimed at the wall of the newly recreated back room. Thus is the true light of the season hidden and - apart from lighting a magazine work featuring Amy Winehouse (and maybe that's a big 'apart from') - wasted…
Buskova’s earlier films assert the resilience of local cultures – these rituals have seen off communism – and ask two interesting questions. First, what role should traditions play in the modern world? Best, Buskova implies, not to let them ossify in conservation, but to change them to suit the present. Second, what is the boundary between life and art? The melding of the two shows that the division is not such a simple one, and speaks for the art of living.
|Incorrectly manufactured object, designed and fabricated by factory worker Mr King at Wenzhou Yidao Optical Co., Ltd., Wenzhou, China. 2012. Photo Jonathan Minster|
To 21 Dec - http://www.erratum.co is a website complete with associated campaign
I wonder if London gets too complacent about having the Tate - commonly reckoned to lie behind the boom as a result of which there's so much else to see (though not so much that's open at Christmas). So here's an appreciation of some of what's there now, when many other galleries are closed...
|Daido Moriyama - from 'Another Country in New York'|
William Klein + Daido Moriyama - Tate Modern
|Web Ladder, 2010|
|Installation view of Jutta Koether room|
Jutta Koether in 'A Bigger Splash' - Tate Modern
To 1 April
An eccentric show, yoking all sorts of stuff together at some remove from its apparent theme of performance through painting… but no matter: I was pleased to come across two rooms in which paintings interact with their surrounding spaces and people. Jutta Koether, once in Martin Kippenberger’s circle, takes forward his seriously unserious approach to painting through an all-over jungle of sketchy explorations, seen here in a large centrally-suspended work which becomes the subject of a sort of viewers’ diary which tuns into the reason for the painting. There are also ‘Wild Garlands’: deliciously glossy-dark plank-fetishes which become the unlikely props in a dance collaboration with Ei Arakawa. That then bleeds into a room of Ei’s winningly sociable, cheerfully ritualistic performances with other painters’ works.
|Terror. Virtue - bronze medal, 1984|
Ian Hamilton Finlay - Tate Britain
To 17 Feb
I don't much care for the installation of Ian Hamilton Finlay (1925-2006) in the Duveen Gallery, but there's no doubting his posthumous influence, and the work shown gives a good sample of how language and history directly inhabits his world. It includes plenty of pointed 'visual rhymes' such the flute / machine gun, fountain / warship and grove / tank - as well as this rhyme between classical columns and guillotine. The 'terror' of state oppression relates specifically to the actions of Strathclyde Council in the 'First Battle of Little Sparta', fought over a refusal to treat Hamilton's garden as non-commercial for rating purposes.
|Jaring Lokhorst: Lush|
|Bram Bogart installation view|
|At the Crosswalk VIII, 2011|
|Untitled (Crossing the Street II), 1989|
UK: Public Galleries
UK: Commercial / Private
Rest of the World (obviously fairly arbitrary, depending where I happened to go)
|Sarah Anne Johnson|