REVIEWS

/ JJ CHARLESWORTH
“Phantom Limbs”

PILAR CORRIAS, London

View of “Phantom Limbs,” Pilar Corrias, London, 2014.
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JJ Charlesworth

People who have lost arms or legs often report experiencing a “phantom limb”—the sense that the limb is still there, or that they can still move or feel it. It’s a good metaphor, too, for current post-internet art debates concerning the shifting relationship of real to virtual, digital to material.... continue reading
Alexandre Singh’s “The Humans”

SPRüTH MAGERS, London

Alexandre Singh, The Humans, 2013.
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JJ Charlesworth

Alexandre Singh’s spectacular, ambitious project The Humans (2013) is not the easiest artwork to discuss. A three-hour, three-act play with music-and-dance numbers, The Humans presents the audience with a wildly absurd remix of an origins-of-man narrative, borrowing and stealing from the Bible, the classics, Shakespeare, and other references too numerous... continue reading
View of “RE PETITIONER IN ZERO TIME,” Vilma Gold, London, 2013.
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JJ Charlesworth

An aerial view, computer-generated, of a bleak, barren plain, improbably square in shape and bounded by undulating mountains, under a sunless grey sky. The view circles, then sweeps slowly down the speckled grey ground, gaining resolution as we begin to make out a terrain of grayish rocks, stones, gravel, and... continue reading
Natascha Sadr Haghighian

CARROLL / FLETCHER, London

Natascha Sadr Haghighian, de paso, 2011.
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JJ Charlesworth

Berlin-based Natascha Sadr Haghighian’s exhibition at Carroll / Fletcher might appear visually spare, but with each work, Haghighian draws you further into a game of institutional hide-and-seek, in which visibility and invisibility, the act of remaining hidden and being revealed, are played out as Machiavellian manipulations of the conventions of... continue reading
Yto Barrada, Twin Palm Island, 2012.
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JJ Charlesworth

There are artworks that work on the viewer’s apprehension of an implied absence, and then there are artworks that simply stand there waiting for that apparent lack to be filled in by contextualizing talk. The former has something to do with aesthetic experience, the latter with a loss of interest... continue reading
Raqs Media Collective’s “Guesswork”

FRITH STREET GALLERY, London

View of, "Guesswork", Frith Street Gallery, London, 2012.
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JJ Charlesworth

The crossed hammer-and-sickle insignia of the Bolshevik revolution has a sense of certainty to it. But it’s an old design, and a lot has happened since it first declared the coming triumph of the proletariat. So Marks (2011) the first work you see on entering Frith Street Gallery, has a... continue reading

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ARTIST

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Carolina Nitsch
Blum&Poe
P420
Xavier Hufkens
Aperture
The breeder
The Third Line
Camera Austria
X-TRA
Anton Kern Gallery
Marion
Brooklyn Rail
Art Monthly