|Ingeborg Lüscher at the opening|
To 29 Jan: http://www.thephotographersgallery.org.uk/ (free 10 am -12)
|Renata Eisenegger: High-rise No. 1, 1974|
|David Salle: Mingus in Mexico, 1990|
There are too many good shows to review them all, and I tend to avoid the most obvious: those open over Christmas include:
Picasso at the National Portrait Gallery (to 5.2), a superbly balanced retrospective which happens to focus on known people - plus the bonus ball of Luc Tuymans’ portraits in glasses
The RA’s Abstract Expressionism (to 2.1). True, it’s a mess with an unduly tokenistic female presence, but is still full of great things, and the Still room is a triumph. Luc Tuymans bonus his curation of Ensor.
William Kentridge at the Whitechapel Gallery (to 15.1, plus various extras, none Tuymans).
Paul Nash at Tate Britain (to 5.3), bonus Rachel Maclean
Richard Serra’s third monumental occupation (to 25.2) of the Gagosian space in Britannia Street which was built to the spec of accommodating his work
Parts (30%) of Saatchi's latest show Painters' Painters (to 28.2) - David Salle (taking over from the recent Skarstedt show), Ansel Krut, Ryan Mosley.
If you like the spectacular, Anselm Kiefer at White Cube Bermondsey (to 22.1)
Rauschenberg at Tate Modern (to 2.2), not without a Salle chime at points...
The Wellcome Collection's current double, include Making Nature, a nice counterpoint to Marian Goodman's Animalia.
To 7 Jan: http://narrativeprojects.com
|Shadows for Construction # 7, 2016|
To 15 Jan: http://www.thephotographersgallery.org.uk/ (free 10 am -12)
|Renata Eisenegger: High-rise No. 1, 1974|
|Renate Bertlmann : from Tender Touches, 1976|
|Natalia LL: Consumer Art, 1972|
There’s something of a festival of 70’s feminist art in London now, as three fine shows complement to the Photographer’s Gallery's uberfest. Renate Bertlmann (also at the Photographer’s) has a solo show at Richard Saltoun – including work sharp enough to be banned by the Pompidou Centre in 1978 - and also stars in the Austrian Cultural Forum’s combination of 70’s classics with current parallels. Tender Touches, Bertlmann’s compelling series of short films, is in both shows: latex teats and the like appear to flirt, kiss, fuck, ejaculate and give birth in some sort of pseodo-sexual zone. The ACF cunningly counterpoints her with Eva Stenram, who cuts the posed female down to a limb: either way, we’re drawn in yet alienated from the bodies we might reconstruct from their different degrees of absence. Natalia LL’s early 70’s work from Poland seems to parody, yet also dream of ,western styles of consumption and advertising. At Roman Road the artist is visibly present in making food sexual, and it’s relevant that bananas, for example, were a luxury behind the Iron Curtain.
|Eva Stenram: Parts 6, 2013|
|Renate Bertlmann : from Tender Touches, 1976|
Bojan Šarčević: invagination @ Modern Art, 4-8 Helmet Row - Old Street
To 14 January 2017: www.modernart.net
Where is action painting now? Here’s where… as enacted in slow motion by ten performers during Frieze week (and two thereafter except for a full ten again on 17 December) on three storey glass structure which responds to the religious height of the main hall, and among Huanca's previous works in another room. The upcoming American (or, now, those trained by her) paints her models every day, and their semi-choreographed movements paint the space in turn over the show's long duration. Viewers and models between them trigger an atmospheric soundscape.
|Primordial Accumulation, 2016|
To 4 Feb: www.simonleegallery.com
|Installation view with Zone, 2016|
|Be fearful and alert, as if peering into an abyss, as if treading onto thin ice, 2016 - glazed ceramic|
There’s another good reason to visit the Zabludowicz Collection this coming month: Dutch painter Willem Weismann occupies the project space with a cycle of three large paintings which take us from outside to inside and (after a punctuating ladder painting) down into the basement, with all sorts of cunning connections between the works, such as the recurrence of stylised fire, the way a patch of the surface which acts as his palette recurs in different guises, and the TV image in the second work showing the image from the CCTV on the first. Plus a rather fetching line-up of cushions!
Solopreneur @ Kingsgate Workshops,110-116 Kingsgate Road - West Hampstead
|Installation view with Wendy and Road Spike prominent|
|Wuji Yi: research documentation from 'The Most Glorious Security Barrier in Ghuja' project|
|Carsten Höller: Octopus, 2014|
|still from Steve McQueen: Running Thunder, 2007|
Brooklyn Boogie (Bruised Grid #6), 2016 Acrylic on canvas and wood
30 x 30 cm (35 canvases)
K- Bild (version 2), 2016 Acrylic on canvas 130 x 80 cm
|Brackish II, 2014 - 92 x 113cm|
Stephanie Quayle: Jenga @ T.J.Boulting, 59 Riding House Street - Fitzrovia
To 10 Dec: www.tjboulting.com
Levi van Veluw: The Foundation @ Rosenfeld Porcini, 37 Rathbone Street - Fitzrovia
To 26 Nov: http://rosenfeldporcini.com
Subdividing matter I, 2016, Walnut wood, Black ink
In 2011, Dutch artist Levi van Veluw built three versions of his boyhood bedroom, covered with thousands of symmetrical wooden shapes to symbolise his ‘urge for order and fear of losing control’. He has since developed that theme of the world on the edge of order or just tipping over it through charcoal drawings, installations, photography and film. All are present in his first London solo show, an immersive alternate reality realised with fantastic control which is at once unsettlingly and uplifting. Surely that much obsessive regulation will collapse at some point - as the video performance 'Archive' suggests - but for now the exhilaration of its realisation predominates.
|Factory 2, 2016 - charcoal on paper|
Cindy Sherman and David Salle: History Portraits and Tapestry Paintings @ Skarstedt, 8 Bennet St - Central
To 26 Nov: www.skarstedt.com
To 19 Nov: www.houldsworth.co.uk
Girl with Frog, 2016 - charcoal, ink and watercolour on paper, 72 x 53 cm
To 19 Nov: http://julianpage.co.uk/coming-soon-creative-fury-group-show-featuring-william-kentridge/
Can this really be Rauch’s first solo show in London? It has everything you'd want in it, with Rauch's character creations seemingly emerging from his favourite 19th century into darkly modern scenarios. His task, says Rauch, is to bring us the our disturbed condition in a form we can live with, which he does by working simultaneously on a group of paintings, starting on the left with little idea how they will turn out. Plus, in the project space, a collaboration between Marcel Dzama and Raymond Pettibon makes for a subsidiary attraction which could easily act as a main event....
Hugh Mendes: The Death of the Artist @ Charlie Smith, 336 Old St – Hoxton
To 12 Nov: http://charliesmithlondon.com/artists/hugh-mendes/
|Obituary: Robert Rauschenberg, 2015|
Njideka Akunyili Crosby: Portals @ Victoria Miro, Wharf Road, Hoxton - to 5 Nov: www.victoria-miro.com
Njideka Akunyili Crosby: Super Blue Omo, 2016 - Acrylic, transfers, colored pencils, collage on paper 213 x 274 cm - with detail
* ie EC1 - where Rolph lived, EC2 where he went to school, EC3 - where he wandered the streets on empty Sunday mornings and EC4, where his father worked for Fleet Street newspapers.
Molly Soda: Comfort Zone @ Annka Kultys, 472 Hackney Rd - Cambridge Heath
Lynn Hershman Leeson: Trans Genesis: Evaporations and Mutations @ Vilma Gold, 6 Minerva Street
To 29 Oct
|Molly Soda in suitable phone action in her pink-tinged world|
|Rachel Libeskind with her version of Holbein (for half the tapestries, the back / negative is displayed)|
To Oct 29: www.carrollfletcher.com
|Still from 3-Legged, 1996|
|Still from Harry Houdini (there's no escape that I can see), 1994|
Andrew Curtis: Garage Door Paintings @ PayneShurvell,
71 Blandford St - Baker St
To 26 Oct (by appointment + closing event 26 Oct 7-9pm): email@example.com
* Penone states that ‘the vision of an abject is a moment past’, whereas ‘tactile perception brings us closer to the present’. That operates poetically in the work, but actually there’s scope to disagree here: light takes pretty-much no time to travel (say) a metre or two from object to eye at 300 million m/sec, much less time than for a hand’s touch to transmit to the brain through the nerves at a comparatively sluggish 100 m/sec.
|Now & Ever 76, 2016|
|'Play Doh', 1994-2014|
|Three Ball 50/50 Tank (Spalding Dr JK Silver series), 1995|
Derek Jarman garden, Floor 10, 95A Rye Lane in Bold Tendencies to 1 Oct
Colin Booth: If Not Winter @ MOCA Project Space, 113 Bellenden Rd to Sept 23
|Still from Dinh Q. Lê: The Colony|
|Colin Booth: Go, litel bok (detail)|
|Jas's Interlude, 2016|
|It's not so often you want your photo's subject with eyes closed...|
The highlight of the Waddington Gallery’s Barry Flanagan retrospective earlier this year was his film sand girl, 1970, even though it wasn’t terribly well displayed. The Welsh artist (1941-2009) is better far better known for his adventurous early sculptures (quite often using sand) and later self-identification as a mischievous hare. So it’s good to find that Tate bought sand girl in 2012 and is now displaying it on a monumental scale in a dedicated room, so making the most of the chance-driven details in this 17 minute proto-exemplar of action, time and gravity as sculpture. Flanagan's student Cheryll Potter is transformatively trickled on by sand leaked from a bag swung over her. It settles into granularity, seethes with her movements, forms abstractions on closeup, and plays hide and seek with the landscape as body.
|The original photograph|
|Hassan Hajjij: Mr J-C Heyford, 2012|
Bella Easton: These Outer Shells
* see full text at http://paulsartworld.blogspot.co.uk/2016/07/bella-easton-these-outer-shells.html