Installation view with Do you realise there is a rainbow even if it’s night!? (gold green), 2017 - Kilim carpet from Kosovo, flokati, polyester, chenille wire, steel, brass; installation with flickering and unflickering light bulbs - and various of the Moth drawings
Detail of Moth #7, 2017 - Wooden frame made by the artist, killim carpet from Kosovo, black ink on paper and metal pins
85 x 62 x 15 cm
Various Rooms at Tate Modern / National Gallery / Whitechapel
Over Xmas and ongoing
Akseli Gallen-Kallela, Lake Keitele, 1904 (a slightly earlier version than the National Gallery's own, with more of the abstracting 'wake of a Kalevala boat' effect in the foreground)
It’s natural to think in terms of galleries and exhibitions, but what about individual rooms in large institutions? Thomas Ruth is the main reason to visit the Whitechapel just now, but 'The Upset Bucket' is a wonderful selection from the ISelf Collection of 28 artists looking at how we project our identity through consumer choices: cue gold and caviar, bins and trash. Several whole room installations are of course core to the Tate Modern’s top current show – the Kabakovs – but two rooms of white works would also justify a trip: 'Painting with White', curated by Tanya Barson, and a display of Maria Bartuszová's under-known work. Not to mention the full version of Tehching Hsieh's One Year Performance 1980-1981 with all 8,760 of the photos taken hourly. And the various loans make up a Gallen-Kallela overview in Room 1 of the National Gallery, including all four versions of the seminal Finn's 1904-05 views of Lake Keitele.
Simon Fujiwara, Fabulous Beasts (Bluewashed Mink), 2017. Shaved fur coat on wooden stretcher frame, 175 × 100 cm.
Rose Wylie & Wade Guyton @ Serpentine Galleries - Kensington
To 8 Feb (Guyton) / 11 Feb (Wylie)
Rose Wylie: Choco Leibniz, 2006 - 366 x 305 cm
Both Serpentine Galleries feature artists who've found a highly distinctive visual language. Rose Wiley's cheerfully dispenses with convention in her thrillingly free and spontaneous-looking accumulations of floating memories and sensations, featuring her wartime experiences alongside films, animals, football, tennis, skating... The installation aces the Sackler's spaces, with the multi-panel works particularly at home. Here she is, in the show's simplest and least colourful painting, eating that most philosophical of biscuits, the Choco Liebniz. Back at the old Serpentine, Wade Guyton - much lower key - continues to develop the range of his his modern style of diptychs - doubled computer print-outs that push the capabilities of the equipment to a limit which becomes painterly.
|Wade Guyton: installation view|
Ilya & Emilia Kabakov: Quotations @ Sprovieri, 23 Heddon St (also at Tate Modern)
|Ilya & Emelia Kabakov: Unfinished Installation, 1995-2017|
Combining Materials @ Rosenfeld Porcini, 37 Rathbone Street - Fitzrovia
To 10 Feb
Keita Miyazaki:Collision of Species, 2017 - car parts, felt, paper, stainless steel, speaker system 155x110x78cm
This show puts forward a neat theme – the surprising combination of materials – and makes a stimulating choice of artists who use that approach for their own interesting reasons. Keita Miyazaki provides the ideal start by reconciling discarded car engines with paper folded origami-style. Continuing with tough meets fragile, Brazilian Túlio Pinto balances rock against glass with elegant drama. Felicity Hammond melds metal and concrete with photography. Alice Cattaneo’s glass and wood wall sculptures function a little like paintings, whereas Jane Bustin’s paintings edge towards sculpture with limewood, chiffon, crystal and copper included in Fluorite, 2017. And Leonardo Drew, the most established artist here, fixes large chunks of wood and mis-shapes of aluminium onto heavy paper.
Art,11 Church St - Marylebone
|Practicing (Diptych), 2016-17|
|Phillip Hunt: Paperjet 4, 1999-2018|
Simon Allison: Spin Cycle and Debris, 2016
XVII: The Age of Nymphs @ Mimosa House, 12 Princes Street - Oxford Circus
To 13 Jan
|Upper installation view with Nika Neelova, Folded Rooms, perimeter of studio traced in stainless steel and wax and folded, 2017 - Photo: Damian Griffiths|
|Caroline McCarthy: Vanitas, 2007|
|Michael Petry: Red Roses, 2009 - one of three blown glass and cut flower arrangements in which the rim of the vase is taken from online submission of anus shapes, and each flower choice represents a man's sexual preferences via the 1970's gay hanky colour code.|