Thursday, 17 December 2009



Just a brief update to replace those shows about to close: partly as I’ve been in London less than in Malaga (for the Chema Cobo show at CAC Malaga, which I strongly recommend - but admit that I wrote the catalogue!) and Paris (cunningly timed to coincide with the Pompidou Centre being closed by a strike) rather than London.

Ornulf Opdahl: 'Mood Paintings of the North' @ Kings Place gallery and Jon Buck @ Pangolin London, both 90 York Way - Kings Cross

Opdahl to 26 Feb: Buck to 24 Dec:

Kings Place is very much worth a visit: not only is it a spectacularly appointed new building with a high quality music programme and a good café, it also has lots of visual art, courtesy of the Pangolin and Kings Place galleries. The former is unusual in showing primarily sculpture and being linked to a foundry, and exhibits many sculptures outside the gallery (a leaflet takes you round a trail, and there are striking front window displays).

The Kings Place Gallery spreads its wares across three levels outside the large but rather tucked away room of the gallery itself. Currently it is showing no fewer than 50 recent oils and watercolours by Ornulf Opdahl, who paints the mountains and fjords of Alesund on the west of Norway. If that sounds like a recipe for traditional romanticism, it is: in the accompanying ten minute film Opdahl himself talks about his recurring fascination for 'a landscape which always reflects my mind'. But he also says that he 'tries to be abstract all the time', and that is what gives his dramatic explorations of light and mood a modern inflexion - in another context, you might not guess the subject of 'The Mountain, Ramsen, Winter'...

Until Christmas Pangolin is showing the characterful bronzes of Jon Buck, which present a range of animals, people and hybrids (the bird-people are particularly effective) using an unusual combination of line drawing on the sculptures and intense supersaturated colouring so that the bronze looks smooth and glossy enough to be plastic. Buck has arrived at that look via cave painting, tribal art and the Dutch zoologist Nikolaas Tinbergen, who proved that animals’ responses are heightened if natural stimuli are exaggerated, such as by increasing the saturation and contrast of pre-existing markings. And there’s a perfect work-by-work guide using the artist’s comments to take you through the show, plus a couple of very small affordable editions which would allow you the rare move of putting a bronze sculpture in a Christmas stocking!

Visible Invisible: Against the Security of the Real @ Parasol unit, 14 Wharf Rd - Hoxton

To 7 Feb:

If Jon Buck makes bronze look almost plastic, veteran Hans Josephsohn's brass figures dotted around the Parasol unit's elegant and considerable space have the look of rough cement. They are the counterpoints to four painters - Cecily Brown, Shaun McDowell, Katy Moran and Maaike Schoorel - who work in the space between figuration and abstraction. This show would be worth visiting just for the opening room of Katy Moran's initmate and astutely-judged apparent hesitations. But you also get Cecily Brown punning modulations between people and skulls; the flickeringly fleshy evocations of Shaun McDowell, rapidly emerging as the best known of the Hannah Barry Gallery's South London set; and Maaike Schoorel making a portrait of Roger Hiorns almost disappear into blankness as if she knew that he would fail to win the Turner Prize.

André Butzer @ Alison Jacques, 16-18 Berners St – Fitzrovia

To 9 Jan:

My favourite all-around room of colour in London now must be the one in which German master of high wattage gestural bravado André Butzer sets up his assault with one vast abstract-tending painting per wall in his four personal primary colours: red, blue, yellow and flesh. The abstraction, incidentally, has emerged from and still alludes to a fascinating personal mythology which has important places for Donald Duck, NASA, Henry Ford, the Siemens electronic company, Adolf Eichmann and Edvard Munch. The self-sufficient intensity of that one room is emphasized by the smaller downstairs gallery being left empty – but ask nicely and you’ll also be able to see a smaller multi-coloured painting upstairs, along with drawings in which Butzer achieves a surprising proportion of the same hit with contrasting economy of means.

Nathan Danilowicz: Une Oasis d’Horreur dans une Désert d’Ennui @ Crisp,3 Newman Passage – Fitzrovia

To 9 Jan:

Here the title reference is to Baudelaire finding that every oasis is only a mirage. In a parallel move, young LA multimedia artist Danilowicz brings death to the surface of life through a mash-up of everything from minimalism to Viennese actionism via various points between. If that makes him sound mad, maybe so: he has previously had his teeth extracted to show as a work, and produced an obsessive cycle of 1,000 3 x 3 inch black geometric drawings on 1,000 successive days. But it’s good mad, which ranges here from the World Trade Centre made from staples (there’s boredom meets horror for you!), to drawings made by blood-letting whihc are installed in a third floor garden oasis, to the imposition of black tape versions of his obsessive geometries onto pornographic images (so much for sex as liberation!). Hilary Crisp’s adventurous transatlantically-programmed three-storey-yet-cosy gallery is, incidentally, handily placed once you know where it is: hidden just down the passage which links Newman Street with Rathbone Street.

Ilya & Emilia Kabakov: Under the Snow @ Sprovieri Gallery, 27 Heddon St – Central

To 17 Jan:

Sprovieri is tucked away on the first floor behind the phone box (which features on the cover of Ziggy Stardust, incidentally) at the end of Heddon Street. It opened ten years ago with the New York based Russian émigrés Ilya and Emilia Kabakov, and has shown them regularly. If you think of the Kabakovs as producing hardcore conceptual installations turning on the legacies of Soviet history, then this gently lyrical set of large paintings from their extensive ‘Under the Snow’ suite will surprise you. They show a world blanketed in snow, varying gaps in which reveal people and landscapes. These play on memory, scale, and what is and isn’t hidden. There’s a hint, perhaps, of Ilya’s original career as a children’s book illustrator. White, say the Kabakovs, 'is the space of pure contemplation’ that ‘suddenly turns out to be inserted into the visual world' in the form of snow. There is also an intriguing extract from the complex project ‘The Teacher and The Student: Charles Rosenthal and Ilya Kabakov’, which consists of work shown as the products of a fictional version of Ilya and his teacher.

Cory Arcangel in ‘Lisson Presents 7’ @ Lisson Gallery, 29 & 52-54 Bell Street – Marylebone

To 16 Jan:

The Lisson has settled into an amenable pattern of gallery artist solo show plus a more widely-based group show in its two contiguous spaces. The current solo show, the latest stage in Tatsuo Miyajima’s suitably obsessive 20 year build-up of LED count-down sculptures tracking our heartbeats towards death, has been well-received. Nonetheless, I prefer the group show, in which Stephen Willats and Ceal Floyer stand out along with a substantial selection from an American guest from the Max Wigram Gallery, Cory Arcangel. He wittily subverts and plays with technological processes, here by abstracting the Dennis Hopper film ‘Colors’ into one row of pixels at a time; having the American high school film ‘Dazed and Confused’ dubbed into Indian-accented English; presenting damaged film stock sourced online as if – as seems likely in the gallery context - it is a structuralist film; and allowing photoshop demonstration software to determine his printed images.

Peter Davies @ The approach, 47 Approach Rd – Bethnal Green

To 17 Jan:

If you like lists and quizzes you’ll love Peter Davies’ big painting ‘The Epoch of Perpetual Happiness’, which provides a pictorial spin on his well-known lists of a hundred hot or cool artists by presenting a huge range of art and pop references – the press release lists some 150 for you to spot but you can also gain bonus points for discovering unlisted inclusions: one of them is Gerhard Richter, represented through the filter of his candle on the cover of Sonic Youth’s ‘Daydream Nation’. Richter is also a presence in the show as a whole in the way in which Davies pursues parallel but very different strands of painting which themselves interrogate the nature of painting. The other two large canvasses here are an obsessively detailed take on colour field abstraction via thousands of small squares, and the conversion of gestural abstract expressionist marks into an anally retentive equivalent using carefully ruled straight lines.

Donald Judd: ‘Progressions 1960’s and 1970’s’ @ Simon Lee, 12 Berkeley St – Central

To 29 January:

The purest pleasure currently available in a London gallery may well be this series of six horizontal mounted wall works by the late American master of anti-illusion, Donald Judd. It’s a chance to track the subtle changes in shape and means from 1967 to 1975 in what, colour aside, may look near-identical works. In fact, Judd sought increasing perfection in line with the improving manufacturing capability, moving from galvanized iron painted with lacquer to highly polished brass to anodized aluminium, in which an electrical process maximizes the adhesion of the paint.

Belén Rodríguez González: ‘Mixtilinea’ @ Josh Lilley, 44-46 Riding House Street – Fitzrovia.

To 20 Jan:

Belén Rodríguez González is a young Spanish artist whose first solo show anywhere is in London now. ‘Timeline’ is a circling model train on which a camera is mounted so that it relays live film made from trackside photographs of every five minutes over the artist’s day (along with a commendably short tunnel of sleep). The live feed is projected back to life-size as time becomes space and the past scrolls into a future which looks bound to repeat it… A neat loop, though I was more drawn into a related set of works suggesting that photocopiers and notebooks are less neutral methods of recording than we might suppose. Rodríguez González has deconstructed 40 notebooks with various patterns of lines and squares and reconstructed them so that each cover contains a sheet from each book, replacing their routines with a succession of minimalist surprises. Those pages are then picked up in photocopies of apparently normal lined notebook sheets which are in fact copies of patterns of thread placed across the screen, both in a working copier (free art!) and her plans to do the same for a whole range of copiers. Writing on the track of a line will never seem so straightforward again…

Gordon Cheung @ Room, 31 Waterson St – Shoreditch

To 31 Jan:

Gordon Cheung has surfed the zeitgeist from one recession to the next with his imaginings of the end of civilisation with his characteristic integration of stock listings into paintings: here the close-up heads of those market beasts the bull and the bear ram home such themes. But is it time for a change? Cheung provides three with laser-burnt subversions of Durer etchings, and new lines in sculpture and video animation: the latter in particular are mesmerically well-suited to his psychedelically apocalyptic colours. And the four screens of cowboys come with the bonus of The Doors' seminal 'The End' as a soundtrack.

And still showing from previous lists: La peinture est presque abstraite to 23 Dec, Presque Rien III to 9 Jan, Robert Kusmirowski to 10 Jan, Hans-Peter Feldmann to 16 Jan and The Body in Women’s Art Now to 20 Jan. So there’s plenty of good stuff on! gives full address and opening time details of most shows. I've taken the view that adding images to the blog might make it unwieldy given that they tend to be on the linked gallery websites, but am happy to take views on that...


I am looking forward to:

Ori Gersht @ Mummery & Schnelle 13.1 – 27.2

Oliver Laric @ Seventeen 13.1 – 13.2

Ryan Mosley @ Alison Jacques 13.1 – 13.2

Danny Rolph @ Poppy Sebire 14.1 – 20.2

William Eggleston @ Victoria Miro 15.1 – 27.2

Max Mosscrop @ Five Years: 16.1 – 31.1

Waseem Ahmed @ Laurent Delaye 22.1 – 27.2

Magali Reus @ Ibid Projects 22.1 – 7.3

Michael Landy @ South London Gallery 29.1 - 14.3

John Gerrard @ Thomas Dane 3.2 – 6.3

No comments:

Post a comment

Note: only a member of this blog may post a comment.

About Me

My photo
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.