REVIEWS

/ London
“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.
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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
David Blandy, The End of the World, 2017.
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Patrick Langley

In his three-volume book Principles of Geology (1830-1833), Charles Lyell pioneered a theory whose clunky title belies its elegance. Uniformitarianism, as Lyell’s argument is known, suggests that the earth was shaped, over hundreds of millions of years, by incremental processes that are observable all around us: erosion, sedimentation, and so... continue reading
Cosey Fanni Tutti

CABINET, London

View of "Cosey Fanni Tutti," Cabinet, London, 2017.
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Lucy Reynolds

Cosey Fanni Tutti’s exhibition at Cabinet Gallery is divided into two parts, a photographic exhibition and a film, which together invite the visitor to negotiate not only questions of morality but also archival memento mori. Upon entering the upper gallery, the viewer confronts frames from Cosey’s 1977 photographic collaborations with... continue reading
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

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Marion
Art Monthly
Luisa Strina
Camera Austria
flashart
Hilger
ArtAsiaPacific
Sprueth Magers
sp-arte
The Third Line
GALLERIA MASSIMODELUCA
Cardi Black Box
Magazine Mousse