REVIEWS

/ PATRICK LANGLEY
View of "When my eyes saw and when my ears heard," Hollybush Gardens, London, 2017.
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Patrick Langley

In her 1974 memoir Handbook in Motion, Simone Forti describes how, when she moved from San Francisco to New York in 1959, the city seemed a “maze of concrete mirrors.”(1) New York didn’t just disorient: it “shocked” her. She took solace from the city’s alienating architecture by rooting herself in... continue reading
View of Christina Mackie's "Drift Rust," Herald Street, London, 2017.
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Patrick Langley

Christina Mackie’s installations have an instinctive and provisional feel about them. They present the viewer with arrays of disparate objects, arranged on trestle tables, walls, and shelves, assembled according to a spontaneous logic of correspondence and juxtaposition. Mackie refers to this aspect of her work as “trestle art.”(1) Wolfgang Tillmans’... continue reading
Huma Bhabha

STEPHEN FRIEDMAN GALLERY, London

View of "Huma Bhabha," Stephen Friedman Gallery, London, 2016.
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Patrick Langley

Huma Bhabha’s humanoid sculpture In the Shadow of the Sun (2016), displayed on a low white plinth in a brightly lit room in London’s Stephen Friedman Gallery, stares at the viewer with inscrutable, smudged black eyes. The figure is female. She wears a hood. Her torso, cut from Styrofoam embellished... continue reading
View of Shelagh Wakely's "Spaces Between Things," Richard Saltoun Gallery, London, 2016.
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Patrick Langley

Shelagh Wakely’s Papillon de Nuit (1993)—modestly framed on the white wall of a metal-floored room at Richard Saltoun Gallery—is a collage assembled from photographic documentation of an installation of the same name, in which a video monitor showing a restless, fluttering moth was placed on a glass table, surrounded by... continue reading
Frieze Art Fair

FRIEZE ART FAIR, London

View of Frieze Art Fair, London, 2015.
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Patrick Langley

Sociologists have a name for the acute disorientation that half an hour at Frieze London can induce: the “Gruen effect.” Named after Victor Gruen, the Austrian émigré who designed America’s first malls in the 1950s, it describes the sense of temporal and geographical dislocation that sets in when you enter... continue reading

AUTHOR

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GALLERY

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Abc
Bq
Kow
M+B
Non
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ARTIST

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Luisa Strina
flashart
Aperture
Spike
art-agenda
Anton Kern Gallery
Sprueth Magers
Gallery Ernst Hilger
Carolina Nitsch
Afterimage
Friedrich Petzel
Brooklyn Rail
Air the paris