Collective, City Observatory, 38 Calton Hill, Edinburgh EH7 5AA

Sulaïman Majali: saracen go home

Sulaiman Majali: saracen go home, Collective, Edinburgh, installation photograph, 1 February — 29 March 2020

玉溪西元棋牌On stage is a single mic stand before a row of empty seats. A recording ushers us towards the sounds of the Middle East. But where are the actors? And what is this scene? Dispersed upon the stage are the scattered pieces of diasporic memory. Review by Elaine Y.J Zheng

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Tate Modern, Bankside, London SE1 9TG

Dora Maar

Dora Maar at Tate Modern, 2019.

Tate Modern here highlights how vast, rich and varied Maar’s work was, over five decades, in striking curatorial choices. It powerfully repairs an injustice in the history of art. Moving chronologically from her first photographs to her experimental return to the dark room, the exhibition displays different phases of a sublime career, kick-started in an iconic place and time: Paris in the 1930s within the Surrealist movement. Review by Melissa Chemam

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Nottingham Contemporary, Weekday Cross, Nottingham NG1 2GB

Sung Tieu: In Cold Print

Recruitment Agreements Between Nations, 2015. Subnational Enterprise installation view at Dong Xuan Center, Berlin, 16 May - 13 June, 2015.

Sung Tieu’s new show at Nottingham Contemporary, ‘In Cold Print’ brings to light the physiological aspects of Cold War ideologies by re-contextualizing them in modern day warfare, looking at ideas of weaponry as silent, ghostly or in some way intangible. Review by Lucy Holt

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CAN Christina Androulidaki Gallery, Panagiotou Anagnostopoulou 42, Athina 106 73, Greece

Celia Daskopoulou

Untitled

玉溪西元棋牌In this extraordinary show, CAN Gallery focuses on paintings of men from the 1980s and 90s by Greek artist Celia Daskopoulou. Like many avant-garde Greek artists Daskopoulou left her conservative native country to study in Paris in the 1960s, returning to Athens in the 1970s where she developed her mature style. This largely focused on heavily stylised portraits of women that satirised traditional female depiction and roles in society. Review by William Summerfield

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Matt's Gallery, 92 Webster Road, London SE16 4DF

Patrick Goddard: Trip to Eclipse

Patrick Goddard, Trip To Eclipse (2020), installation shot.

玉溪西元棋牌‘Trip To Eclipse’ is a new installation by Patrick Goddard, exhibited at Matt’s Gallery following his participation in the Blackrock Residency in 2016, a collaboration between the gallery and the Lydney Park Estate. The title is a reference to a 1990s clothing label, which was more popular amongst children and teens than the actual rave culture it proposed to represent. Think: bomber jackets and ultra-baggy jeans, graffiti and spliffs. Review by Chris Hayes

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Gasworks, 155 Vauxhall Street, London SE11 5RH

Lauren Gault: C I T H R A

Lauren Gault, C I T H R A, 2020. Installation view. Commissioned by Gasworks.

玉溪西元棋牌Lauren Gault’s exhibition ‘C I T H R A’ at Gasworks, London, is a show of strange encounters. The installation continues the artist’s interest in the possibilities of materials, using ‘sculptural language as a connective tissue’ for her wider research. Review by Tess Charnley

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Live Art Development Agency, The Garrett Centre, 117 Mansford Street, London, E2 6LX

LADA Screens: selina bonelli

LADA presents a screening of (re)collecting (f)ears, a film documenting a number of performances by the artist selina bonelli. The event also features readings from (re)collecting (f)ears, a publication featuring artistic responses to the project, and a conversation between selina bonelli and Joseph Morgan Schofield (LADA).

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New Art Exchange, 39-41 Gregory Blvd, Nottingham NG7 6BE

Shezad Dawood: Encroachments

Shezad Dawood, Encroachments. Installation view, New Art Exchange, 2020

Shezad Dawood’s exhibition is overrun with multi-coloured terrazzo. The walls are plastered with garish speckles, which seep into paintings, prints, plinths and even the exhibition guide. The terrazzo, designed by Dawood, gives the display a Pop-y veneer, strengthened by visual allusions to Robert Rauschenberg’s collages and Andy Warhol’s silkscreens, as well as tributes to the arcade game, Space Invaders. Review by Julia Schouten

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玉溪西元棋牌Jerwood Arts,171 Union Street, Bankside, London SE1 0LN

Jerwood/Photoworks Awards

Silvia Rosi, Jerwood/Photoworks Awards 2020 supported by Jerwood Arts and Photoworks. Installation view at Jerwood Space, London.

The Jerwood/Photoworks Awards is a significant opportunity for an early career artist to develop their work over the course of a year with the benefit of financial support and a program of mentoring. The 2020 winners are Silvia Rosi and Theo Simpson and their commissioned work is currently on view at Jerwood Arts. The award boasts its effort to encourage artists who engage with photography in an experimental way. Review by Katie McCain

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LOOCK Galerie, Potsdamer Strasse 63, DE 10785 Berlin

Christian Borchert: Familienporträts

Familienporträts by Christian Borchert at Loock, Berlin

玉溪西元棋牌Christian’s Borchert’s ‘Familienporträts’ pull the viewer in off the cold West Berlin street, into a position of a post-Cold War voyeur; peering into the domestic situations of individual families who lived through the DDR (Deutsche Demokratische Republik) and then what became of them after. Review by Nicola Jeffs

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玉溪西元棋牌Spike Island, 133 Cumberland Rd, Bristol BS1 6UX

Pacita Abad: Life in the Margins

Life in the Margins (2020) Installation view, Spike Island, Bristol

The riot of full-bodied exuberance currently filling the spaces of Spike Island sits in welcome contrast to this colourless English January. Dividing up the space of the gallery, hang twenty or so large quilted canvases that froth with vivid colour, dense paintwork, and detailed needlework by Filipina-American, Pacita Abad (1946–2004). Review by Lizzie Lloyd

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玉溪西元棋牌SPACE Ilford, 10 Oakfield Road, Ilford, IG1 1ZJ

Lindsey Mendick: Regrets, I’ve Had a Few

Lindsey Mendick: Regrets, I've Had A Few, 2019. Mixed media installation including: ceramics, paint and fabric.

玉溪西元棋牌Many of the works comprising Lindsey Mendick’s exhibition are the culmination of a series of ceramic workshops she led for Ilford-based over 65 year-olds, including over 70 ceramic sculptures – ranging from Dorothy Gale-style red stilettos and a bird bath, elaborately decorated vases and colourful crockery, fabric clad angel figurines and anthropomorphic animals at sail in a fictional sea – together with painted wall murals, fabric banners, and sculptural display structures. The show marks the grand opening of the new SPACE Studios in Ilford situated in the rear of the Town Hall. Review by Tyler Woolcott

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Southard Reid, 7 Royalty Mews, London W1D 3AS

Prem Sahib: Descent II. Cul-de-Sac

Prem Sahib, Archive, 2019, wood, painted steel, acrylic, archival material belonging to Kamaljit Sahib.

Sheena Carrington reviews the second of a three part exhibition by Prem Sahib titled 'Descent', a project with an overarching narrative that explores socio-political architectures and acts of resistance.

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Irish Museum of Modern Art, Dublin

Derek Jarman: PROTEST!

The Garden

The vast scale of work on show is what grips you first when entering ‘PROTEST!’, the Derek Jarman retrospective at Dublin’s Irish Museum of Modern Art (IMMA). It spans the entirety of IMMA’s West Wing, comprising 11 rooms, a number of alcoves and two long, connecting corridors. The show displays works from the four decades of Jarman’s career, beginning in the late-50s, as he entered King’s College London, through to the ‘90s and his untimely death in 1994 from an AIDS-related illness aged just 52. Review by Aidan Kelly Murphy

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