Friday, 16 November 2018

CHOICES UP NOW





SHOWS TO SEE: Up Now in London 


see also my Instagram feed as paulcareykent

Gabriele Beveridge: Live Dead World at Seventeen Gallery to 15 Dec





You have to hand it to Gabriele Beveridge – literally in the case of the 49 which make up 'Memorial': her latest show pushes her emphasis on display to new heights of installation. Relevantly to that approach, you might call her glass works ‘support-specific’: they take form as they cool on the brackets on which they sit, as in 'The Spine through the Guts' 2018. Plus the new use of deliciously filigree roots as a found (or should I say arduously sourced?) material.


Andy Harper: Plastic Fox at Patrick Heide to 12 Jan



The 'Plastic Fox' is not just a painting's title, but an item Andy tells me he's always wanted but never found. Now he has one!? 'Pocket of Straws' (above) demonstrates his new method - consistent with the natural-artificial mixture of a plastic fox - of puncturing the surface of his vegetational density with what could be computer swatches (but are actually shapes masked out with Frisket Film at the start of the process, then painted as the last step). Plus upstairs, an informal retrospective selection.

Rashid Khalifa: Penumbra: Textured Shadow, Coloured Light at the Saatchi Gallery to 19 Nov



This walk-through grid maze is from the series 'Penumbra' 2018 The Bahrain artist Rashid Khalifa's recent series of colourful constructivist riffs on the mashrabiya operate through interpenetrating maximimalist geometries. They're inspired - like rather comparable strands of Rana Begum's work - by the light and colour of walking along the street, and are as good a reason to visit the Saatchi Gallery as the typically patchy main show 'Black Mirror'.

Michael Sailstorfer: Tear Show at KÖNIG LONDON to 19 Nov



 
Michael Sailstorfer’s first UK solo show is impressively orchestrated. He combines heavy electronically controlled drumming with the lightness of tears in 21 lipstick paintings and 100 glass tears. The two come together satisfyingly in the film ‘Tears’ 2015, in which giant teardrops fall from the sky with sufficient velocity to destroy a country house in eight minutes. Hypocritical weeping at the damage done?





Suspension: A History of Abstract Hanging Sculpture, 1918-2018 at Olivier Malingue Gallery to 15 Dec


Suspension stands in for psychological tension as Karl Shapiro's constuctivist 'Untitled' 2014 takes on human form. It's not often you see a new category of exhibition, but  Olivier Malingue can claim that for this 12 artist survey, with more on display in Paris. 


Sue Williams at Skarstedt to 24 Nov


Seven new works provide a treat. 'All Quiet' 2018 looks abstract from a distance but mixes doodly figuration of personal and political resonance: houses, testicles, filing cabinets, an obfuscated Pentagon and a DIY model of it, unfolded... These delicately bombastic elements may hint at Trump and his slippery notion of truth, but Williams told me it's only indirect because 'he gets enough publicity and makes you throw up'. 


Jesse Darling: Art Now - The Ballad of Saint Jerome at Tate Britain to 24 Feb



‘Epistemologies (shamed cabinet)’ 2018 sees wounding and liberation – here from the constraints of institutional display – come together in the limping potential escape of a cabinet. What’s more, they’ve found a use for lever arch files, of which a huge pre-digital surplus remains. Darling makes an intriguing job of the ‘Art Now’ room, sparked by the story of St Jerome and the lion, more typically an art historical subject but here the starting point for an epistolary exchange between Darling and a priest who is also transgender, and which leads in to the room’s many and varied works on themes of healing, control and the subjugation of otherness.



Melanie Manchot: 'White Light Black Snow' at Parafin to 17 Nov



This capture from 'Cadence' comes from four minutes which makes good use of a drone to capture a lunged horse to make a cosmic drawing in the snow. It's the only film in this superbly choreographed show, which concentrates on Manchot's photography, with a light upstairs and dark downstairs supporting an impressively handled glut of other oppositions: fire/ice, vertical/horizontal, black/white, object/image as well as dark/light and above/below.






 Jan Henderikse: Mint at the Cortesi Gallery to 20 Nov



Dutchman Jan Henderikse is a long-term practitioner of emotionally charged accumulation with a Zero-tending aesthetic. Cortesi has a fine survey covering 60 years and ranging from number plates to bars of soap to shredded bank notes. ‘Untitled’ 2017 bitter-sweetly conjures celebration through the detritus of its passing, and also provides a nice word: these are champagne muselets (from the French museler, to muzzle). 






Hiding in Plain Sight at the Amar Gallery to Dec 13




Ethel Schwabacher's 'Warm Rain' 1959 appears in the Amar Gallery's impressive survey of 11 female abstract expressionists, with top works by the obvious Frankenthaler and de Kooning but also Grace Hartigan, Yvonne Thomas, Amaranth Ehrenhalt... Schwabacher, who was close to Arshile Gorky, is inspired by nature and psychological states - and 'Warm Rain' feels like a relief from traumas, of which she had a few.





Heather Phillipson: My Name is Lettie Eggsyrub at Gloucester Road underground station - throughout 2018.
 










Phillipson is a vegan who says that eggs are subject to torture - would you like to be cracked or boiled? - when we forget they are potential lives. So her whole-platform eggstravaganza questions consumption, bit it's more obviously a fun thing to go to work alongside, with farting eggs making especially wacky sense.






Images courtesy / copyright the relevant artists and galleries 




   

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About Me

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Southampton, Hampshire, United Kingdom
I was in my leisure time Editor at Large of Art World magazine (which ran 2007-09) and now write freelance for such as Art Monthly, Frieze, Photomonitor, Elephant and Border Crossings. I have curated 20 shows during 2013-17 with more on the way. Going back a bit my main writing background is poetry. My day job is public sector financial management.

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