Friday, 5 October 2018


SHOWS TO SEE: Up Now in London

See also my Instagram feed as paulcareykent

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.

Paul Anthony Harford at Sadie Coles Davies Street to 10 Nov

Paul Anthony Harford's 'Untitled (artist attacked by gulls)' is typical of the many seaside graphite drawings with a surreally rudderless undertow made by Paul Anthony Harford (1943-2016) who lived in Southend and Weymouth but was no outsider but always refused to exhibit his work.

 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). 

Yelena Popova: Her Name is Prometheus @ l'étrangère to 3 Nov

The chance to rearrange an interactive sculpture-come-non-competitive-game (as demonstrated by the artist herself above) epitomises this show of heavy issues presented lightly, as the parts can make up the plutonium atom and the colours are for  'danger'. Likewise a female Prometheus, the great physicist Lise Meitner, synchronised swimming and nuclear fission all feed in to various works..

Martin Maloney: Field Workers at JGM Gallery to 26 Oct.

'Baba Yaga' 2013 is one of ten monumental combinations of figure and landscape with considerable zing and such abiguities as vegetation which could be headwear and bodies through which we may be seeing the land. Their basis - Slovenian 'field workers' awaiting passing lorry drivers - adds to the disorientation.

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 


Subscribe to mailing list

* indicates required






    Email Format








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.