REVIEWS

/ London
View of Abigail Reynolds, Lost Libraries at Shoreditch Library, London, 2018.
by

Tom Jeffreys

“Many artists consider books and libraries to be oppressive hierarchies of knowledge, dogmatic and hectoring,” writes artist Abigail Reynolds in her new book Lost Libraries. But Reynolds does not agree: “I consider them the gates of freedom.”(1) Three simultaneous exhibitions in east London exemplify this fascination with books and their... continue reading
View of Ed Atkin’s “Olde Food” at Cabinet, London, 2018.
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Patrick Langley

A boy in a bruise-pink jacket jogs through a dusky idyll, limp-kneed and panting for breath. The grass that flanks the path is dappled with blooming flowers: purple, yellow, orange, and white. In the foreground is an upright piano, incongruously plonked between two trees. The boy staggers past it and... continue reading
Yto Barrada’s “Agadir”

THE BARBICAN CENTRE, London

View of Yto Barrada's "Agadir" at The Curve, Barbican Centre, London, 2018.
by

Mitch Speed

Just before midnight on February 29, 1960, an earthquake hit the Moroccan city of Agadir, killing between 12,000 and 15,000 people—roughly a third of the city’s population. As many were injured; at least 35,000 were left homeless. Yto Barrada’s “Agadir,” in The Curve gallery at London’s Barbican Centre, invokes the... continue reading
“Counter Investigations: Forensic Architecture”

INSTITUTE OF CONTEMPORARY ART, London

View of "Counter Investigations: Forensic Architecture" at the Institute of Contemporary Arts, London, 2018. 
by

Naomi Pearce

In his 2014 lecture “The Future of Forensic Science in Criminal Trials,” judge Thomas of Cwmgiedd, Lord Chief Justice of England and Wales, identified a communication problem. In light of the increasingly complex science used in court, he called for a set of judicial primers: standardized documents, written in “plain... continue reading
“Women Look at Women”

RICHARD SALTOUN GALLERY, London

View of "Women Look At Women," Richard Saltoun Gallery, London, 2018.
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Lucy Reynolds

I almost walk past the entrance to “Women Look at Women,” the inaugural exhibition at Richard Saltoun’s new space on London’s New Bond Street, delayed and disorientated by the glossy rows of designer shops and galleries that surround it. Catherine—a friend on a break from the picket line where she,... continue reading
Installation view, Marvin Gaye Chetwynd, "Ze & Per," 2018.
by

Philomena Epps

Marvin Gaye Chetwynd’s practice, with its hubbub of miscellaneous and licentious references, evokes a mood of historic and anthropological ambiguity. Her works enmesh periods of cultural rebellion over the centuries, from medieval history, folk plays, and pagan festivals, to the genesis of Dada, and from the DIY culture of drag... continue reading

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Sprueth Magers
Afterimage
Magazine Mousse
Friedrich Petzel
P420
Aperture
Art Monthly
Vitamin creative space
Xavier Hufkens
galeria nara roesler
Carolina Nitsch
Luisa Strina
Kaleidoscope