REVIEWS

/ London
Installation view of Lawrence Abu Hamdan, Earwitness Inventory, 2018.
by

Jeremy Millar

Lawrence Abu Hamdan’s latest project emerged from his involvement with an extensive—and emotionally harrowing—2016 investigation by Forensic Architecture into Saydnaya Prison in Syria, commissioned by Amnesty International. (The investigation was presented in Forensic Architecture’s exhibition at London’s Institute of Contemporary Arts earlier this year, for which they were nominated for... continue reading
London Roundup

VARIOUS LOCATIONS, London

View of Julia Scher, Guards, Hidden Camera, at Frieze Art Fair, London, 2018.
by

Mariana Canepa Luna

Just as Frieze Art Fair opened last Wednesday, Prime Minister Theresa May gave her keynote speech—and dared to dance again—at the Conservative Party Conference in Birmingham. She announced that freedom of movement would be terminated “once and for all” by limiting access to “highly skilled workers” (in short, migrants earning... continue reading
Mika Rottenberg

GOLDSMITH'S CENTRE FOR CONTEMPORARY ART, London

Still from Mika Rottenberg, Bowls Balls Souls Holes (Bingo Variant), 2014.
by

Lorena Munoz-Alonso

Shucking oysters, turning wheels and levers, sitting in a rammed plastic warehouse while staring at a mobile phone—to enter Mika Rottenberg’s universe is to fall down a rabbit hole of stoic drudgery. The worlds the artist conjures in her video installations are populated by extraordinary characters, such as the fantasy... continue reading
View of "Five Heads (Tavantolgoi)–Art, Anthropology and Mongol Futurism" at greengrassi / Corvi-Mora, London, 2018.
by

Philomena Epps

“Five Heads (Tavan Tolgoi)” opens with video Gee, Ulaanbaatar, October 2017 (2018), an interview with the Mongolian rapper Big Gee filmed by artist and researcher Hermione Spriggs (who curated the exhibition) with Alice Armstrong and Curtis Tamm. Gee reflects on the complicated relationship between the Mongolian government, population, and the... continue reading
View  of  "Signals:  If  You Like  I  Shall  Grow,"  kurimanzutto  hosted  by  Thomas  Dane  Gallery,  London,  2018.
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Lorena Munoz-Alonso and Isobel Harbison

Double Take is a feature of art-agenda in which two authors review the same exhibition. Written separately, the two texts share the same images and are published below. –By Isobel Harbison “Signals: If You Like I Shall Grow” is an exhibition of works that come from a past that was alive to... continue reading
Joan Jonas

TATE MODERN, London

Joan Jonas, Reanimation, 2010/2012/2013.
by

Philomena Epps

When I was a child, I received a disco ball as a birthday gift. Hung haphazardly above my bed and lit by a repurposed old desk lamp, it reflected a scintillating constellation across the ceiling. In a flick of a switch, the quotidian transformed: I had entered a secret world.... continue reading

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