Critic's Guide - 30 May 2018

Critic’s Guide to London: The Best Shows in Town

From Ian White's posthumous retrospective to Lloyd Corporation's film about a cryptocurrency pyramid scheme, what to see in the capital

By Figgy Guyver


Critic’s Guide to London: The Best Shows in Town - 评论家伦敦指南:通山县最佳节目

Apostolos Georgiou, ‘From My Heart’, 2018, installation view, Rodeo, London. Courtesy: the artist and Rodeo, London

Apostolos Georgiou, ‘From My Heart’ 
9 May – 16 June

‘One must never place a loaded rifle on the stage if it isn't going to go off. It’s wrong to make promises you don’t mean to keep’, wrote Anton Chekhov in a letter to a fellow playwright. Apostolos Georgiou’s uncanny figurative paintings abide by this principle. Only necessary props are included in the ongoing drama, and each lies latent and ready. A suited man shields his eyes and pulls from his pocket a letter emblazoned with an inky black heart. A smartly dressed woman presses her fist into a bare mattress, as if poised to leap up and flee the scene; by her side: a rifle.

Set over two floors at Rodeo gallery, the small selection of large paintings (all 2000–17, all Untitled) in ‘From My Heart’ show a practiced hand at work, one able to pin a squirming figure on a canvas. Georgiou’s scenes are delineated, rather than represented: a line divides wall, ceiling, floor. A shoe is fixed in place with a few confident marks, an arching back is shaped byswift strokes. And everywhere yellow, black and blue bleed from the surface, like a deepening bruise.


Critic’s Guide to London: The Best Shows in Town - 评论家伦敦指南:通山县最佳节目

Ian White ‘Any frame is a thrown voice’, 2018, installation view, Camden Arts Centre, London. Courtesy: Camden Arts Centre, London

Ian White ‘Any frame is a thrown voice’
Camden Arts Centre
19 April – 24 June

How to posthumously exhibit the work of a performance artist? Specifically, the work of Ian White (1971–2013), an artist concerned with the transmission of ideas, and with what constitutes liveness. Curators Kirsty Bell [a frieze contributing editor] and Mike Sperlinger pose a response to this question in ‘Any frame is a thrown voice’, an exhibition, or perhaps contemporary interpretation, of White’s diffuse and intellectually rigorous practice.

White’s absence is, of course, felt (his body was a slight but nonetheless physical presence in his work), however Bell and Sperlinger propose various strategies for reanimating these past performances. In his earliest work on show, The Neon Gainsborough (2002–3/2018), a slide show of Thomas Gainsborough paintings is projected onto a wall. An accompanying film slowly unveils handwritten subtitles, radically interpreting these works. In White’s own words, the paintings are ‘read as psychotic by a gay hysteric.’ At the climax of the original piece, White walked from behind the slide projector and unfurled two A1 photocopies of the Transvestite Transsexual News. In this retelling, a cued spotlight illuminates the posters. Elsewhere in the exhibition, archival photographs, technical scripts and written narratives describe the work. There’s an accompanying programme of performances (Adrian Rifkin and Julie Cunningham present performances of White’s pieces Black Flags and Democracy on 6 June from 7pm), film screenings and even an art theory course. Unusually for White’s practice, video is used sparingly in the show.

As part of 6 things we couldn’t do, but can do now (2004/18) White and longtime collaborator, Jimmy Robert, painstakingly learnt and performed Yvonne Rainer’s avant-gardeand ground-breaking dance, Trio A (1966). White understood that one way to grasp a gesture is to learn it yourself. As curators, Bell and Sperlinger abide by this dictum, re-presenting White’s practice in a manner faithful to its internal logic.


Critic’s Guide to London: The Best Shows in Town - 评论家伦敦指南:通山县最佳节目

Aimée Parrott, Puncture, 2018, fabric dye, ink, felt, thread, monotype, batik on canvas, 60 x 110 cm. Courtesy: the artist and Pippy Houldsworth Gallery, London

Aimée Parrott, ‘Blood, Sea’
Pippy Houldsworth Gallery
4 May – 15 June

Our skin encases human cells, but our bodies are also host to alien objects, trace metals and billions of microorganisms. Aimée Parrott’s first solo exhibition at Pippy Houldsworth Gallery is a visual representation of these leaky, porous and tidal bodies. Specifically, the show uses René Quinton’s scientific discovery that ‘blood plasma has an almost identical chemical composition to sea water,’ but this is only the starting point.

The compact, one-room show is comprised of ten abstract works on canvas. Each is stained wet-on-wet with blue, yellow, fuchsia and mauve inks, like a distant galaxy or bacteria festering in a petri dish. Six of the works are overlaid with gestural mono prints, and almost all feature a sculptural element (a new direction for Parrott): patches of leather and felt bulge out of one canvas, and a triangle of velvet the colour of rosewood is pinned to another, its drape yonic. Parrott’s works are abstract yet legible. In Beat (2018), the canvas is pinched and sewn, forming a delicate ridge that resembles a ribcage or rising waves.

‘Blood, Sea’ makes connections between microbial and galactic, human and non-human, and gives painting a voice in the ecological discussions of today.


Critic’s Guide to London: The Best Shows in Town - 评论家伦敦指南:通山县最佳节目

Lloyd Corporation, ‘Local to Global’, 2018, installation view, Carlos/Ishikawa, London. Courtesy: Carlos/Ishikawa, London

Lloyd Corporation, ‘Local to Global’
10 May – 23 June 

Carlos/Ishikawa has had a makeover. Gone are the polished concrete floor and elegant minimalist interior. Instead, Lloyd Corporation, a London-based artist duo, have installed threadbare boardroom seating and a carpet that could have been lifted from a hotel conference suite. In the centre of the room, a flat-screen TV plays Local to Global (2018)the pair’s exposé of OneCoin, a particularly insidious pyramid scheme premised as a cryptocurrency.

Recorded using hidden cameras, the film is both absurd and chilling in equal measure. But where Lloyd Corporation’s work excels, is in its emphasis on who rather than how. ‘I believe we can go further’ says one woman ‘a lot of Asia and Africa will lift out of the poverty when the company comes out and there will be a lot of millionaires coming out of the world.’ (sic.) The global poor is OneCoin’s target.

Like Alex Gibney’s famous exposure of Scientology, Going Clear (2015), Lloyd Corporation uncover the link between religious fanaticism and the neoliberal self. ‘Once you let the lion in, he will eat everyone alive,’ says Global Leader, Diamond Khan. ‘But to capture the lion, that’s the game.’


Critic’s Guide to London: The Best Shows in Town - 评论家伦敦指南:通山县最佳节目

August Sander, Boheme, 1972, silver gelatin print, 60 x 79 cm. Courtesy: Hauser & Wirth; © Die Photographische Sammlung/SK Stiftung Kultur - August Sander Archive, Cologne / DACS 2018

August Sander, ‘Men Without Masks’
Hauser & Wirth
18 May – 28 July

In 1910, a young man from a mining town east of Cologne set out on a prodigious project. His name was August Sander and his aim was to document contemporary German society in all its diversity, through photographic portraits of its people. Featuring more than 80 large-scale black and white photographs taken between 1910–30, Hauser & Wirth is the temporary home of this peculiar rabble: two boxers stand beside a jockey – alongside a nun, spectacled students. There are aviators, farm workers, dwarves and actors; each is preserved by Sander’s exacting lens.

Included in the exhibition are an early set of 12 portraits of farm labourers from the Westerwald. The series served as the foundation for a larger project called ‘People of the 20th Century’, in which subjects were photographed and, in Sander’s words, classified ‘according to their essential archetype, with all the characteristics of mankind in general.’While this has connotations of the crude essentialism of fascism, Sander’s work sought to disrupt this logic from within. His book of portraits, Face of Our Time (1929) was subsequently destroyed by the Nazi regime.

In ‘Country Band’ (1913), a quintet of musicians stand in a clearing, flanked by spiny trees. While unified as a group, each displays their singularity: one adopts a serious expression, another wears an ironic smirk. Some men are tall, others shorter. Only one sports a spotted bow tie. In Sander’s photographs, one sees individuality within an archetype.


Critic’s Guide to London: The Best Shows in Town - 评论家伦敦指南:通山县最佳节目

Kate Newby, ‘I can’t nail the days down‘, 2018, installation view, Kunsthalle Wien, Vienna. Courtesy: the artist; Photograph: Jorit Aust

Kate Newby, ‘All the stuff you already know’
The Sunday Painter
26 May – 23 June

In a window, and on white beams that stretch across a double height room, Kate Newby has installed All the stuff you already know (2018), a thoughtfully site-specific platform of handmade terracotta bricks. These have been gouged out, scraped and jabbed at – the product, seemingly, of ritualistic fury. Placed (or scattered?) on top are tens, maybe hundreds of small objects: ring pulls, clay fragments, brass twigs and seed husks. Like Cathy Wilkes’ assemblages, Newby’s installations preserve the remnants of an unseen ceremony.

Downstairs, suspended glass sculptures resemble plastic bags filled with water. The piece, colloquially titled Try it with less pennies and direct light (2017–18), is a recreation of a Midwestern American insect repellent: ‘unwanted flies are disoriented by [the bags’] anomalous volume, and have been known to lose equilibrium and fall out of the air,’ writes Sam Korman in the accompanying text. Newby’s practice is as much about ritual and folk knowledge as it is about reconsidering these humble objects. Other works litter the downstairs gallery, including stacks of clay shells, hung from the ceiling with delicate wire. A close look yields a reward: each is inlaid with jewel-hued glass.


Critic’s Guide to London: The Best Shows in Town - 评论家伦敦指南:通山县最佳节目

Vincent Fecteau, Untitled, 2018, papier mâché, tulle, watercolor pencil, acrylic, 75 × 58 × 66 cm. Courtesy: the artist and greengrassi, London

Vincent Fecteau 
13 April – 16 June 

Vincent Fecteau constructs objects for a future that never happened. In his fifth exhibition at greengrassi, the American artist places nine sculptures (all around 60 x 60 x 60 cm), each on a white plinth, in one quiet room. Some forms are industrial, resembling engines or anvils. Others are more geological, like wave-carved rocks. All are painted grey or black and most are finely speckled with a watercolour pencil, to give a finish like tarnished steel. On some, lime green or brown specks have been flicked over the surface, evocative of lichen or rust. There’s a joke hidden in Fecteau’s sculptures; the industrial appearance of the objects is a crafted illusion. The captions reveal the objects’ homespun origins: papier mâché.

These new works (all 2018, all Untitled) have a more violent tone than his previous – often brightly coloured, sculptures of similar formal shapes – citing a genus via Italian futurism. As in previous exhibitions, Fecteau’s sculptures also include florist paraphernalia: birch twigs, curly willow, cane webbing, raffia. In one piece, a dried lotus pod is stuffed into a cylindrical shape that resembles an exhaust pipe. In Fecteau’s future who wins: nature or the machines?

Main image: Apostolos Georgiou, Untitled (detail), 2000, acrylic on canvas, 2.5 x 2 m. Courtesy: the artist and Rodeo, London

Figgy Guyver

Figgy Guyver is co-founder and editor at CUMULUS Journal. She is the current frieze Publishing Trainee based in London.

Critic's Guide
Camden Arts Centre
August Sander
The Sunday Painter
Ian White
Figgy Guyver
Vincent Fecteau
Kate Newby
Hauser & Wirth

评论家和第039号指南:2018年5月30日评论家伦敦指南:从Ian White死后回溯到劳埃德公司关于密码学金字塔计划的电影,通山县的最佳表演IGGY GUYVER AGYFROMY MyuHythy5.5.JPG Critic’s Guide to London: The Best Shows in Town - 评论家伦敦指南:通山县最佳节目 AptoLogo Grigiou','从我的心脏',2018,安装视图,伦敦牛仔竞技。礼貌:艺术家和牛仔竞技,伦敦Aptoulo Gojouou','从我的心脏'WPAP60300 3BR牛仔竞技WAPP60300 3BR 5月9日-6月16日'一个绝不能放置一个装满步枪在舞台上,如果它不打算起飞。Anton Chekhov在给一位剧作家的一封信中写道:“做出承诺并不意味着承诺是错误的。”Apostolos Georgiou神秘的具象绘画遵循这一原则。只有必要的道具包含在正在进行的戏剧中,每个谎言潜伏着,准备就绪。一个合适的男人遮住了他的眼睛,从口袋里掏出一封信,上面写着一颗漆黑的心。一个衣着漂亮的女人把拳头压在一张光秃秃的床垫上,仿佛准备跳起来逃离现场;在她身边:步枪。在RoDo画廊设置两层,小画幅(2000—17,所有未命名)在我的作品中展示了一只练习的手,一个可以在画布上画一个蠕动的图形。乔治乌的场景被描绘,而不是代表:一条线分隔墙,天花板,地板。鞋是固定的地方,有几个自信的标志,拱背是由斯威夫特中风塑造。到处都是黄色、黑色和蓝色从表面渗出,像是一个加深的瘀伤。DD9XYMV4AELJY.JPG Critic’s Guide to London: The Best Shows in Town - 评论家伦敦指南:通山县最佳节目 Ian White '任何帧是一个抛出的声音',2018,安装视图,卡姆登艺术中心,伦敦。礼貌:卡姆登艺术中心,London Ian White的任何框架是一个抛出的声音’WPAP60300 3BR卡姆登艺术中心WPAP60300 3BR 4月19日- 6月24日如何死后表演一个表演艺术家的作品?具体来说,Ian White(1971—2013)的作品,一个与思想的传递有关的艺术家,以及什么构成了活力。策展人Kirsty Bell(A.FieZe撰稿人)和Mike Sperlinger在“任何框架中都是一个抛出的声音”,一个展览,或者是当代的解释,对怀特的漫漫和理智严谨的实践提出了这样的回答。(他的身体在他的作品中是一个轻微的但仍然是身体存在的),然而贝尔和斯珀林格提出了各种策略来恢复这些过去的表演。在他的早期作品《霓虹灯庚斯博罗》(2002—3/2018)中,一幅托马斯庚斯博罗绘画的幻灯片放映在墙上。随之而来的电影慢慢地揭示了手写字幕,从根本上解释了这些作品。在White自己的话中,这些画被“同性恋歇斯底里”视为精神病。在最新作品的高潮时,White从幻灯片放映机后面走了出来,展开了两个A1影印的易装癖性变性新闻。在这个复述中,一个线索化的聚光灯照亮了海报。在展览的其他地方,档案照片、技术脚本和书面叙述描述了这项工作。有一个陪同演出的节目(Adrian Rifkin和Julie Cunningham表演White的作品《黑旗》和《民主》,从6月6日下午7点开始),电影放映甚至是一个艺术理论课程。不寻常的是,怀特的实践中,视频在节目中被谨慎地使用。作为我们不能做的6件事的一部分,但现在可以做的是(2004/18)白人和长期的合作者,Jimmy Robert,用心地学习和表演Yvonne Rainer的先锋和霹雳舞,三重奏(1966)。怀特明白掌握手势的一种方法是自己学习。作为策展人,贝尔和斯佩林格恪守这句格言,以忠实于其内在逻辑的方式重新呈现White的实践。Big-GualRys1525959857,PARROTTTHORITION 2018H9227,300 DPI.JPG WPAP6023 602IMG AIM E Parrott,穿刺,2018,织物染料,油墨,毡,螺纹,单型,蜡染在帆布上,60×110厘米。礼貌:艺术家和Pippy HoudsWestern画廊,伦敦AIME E Parrott,“血液,海洋”WPAP60300 3BR PIPY HoudsWests画廊WPAP60300 3BR 5月4日-6月15日我们的皮肤包裹人类细胞,但我们的身体也是寄宿于异物,微量金属和数十亿的微小器官。皮埃特·帕罗特女士在Pippy HoudsValsGuy画廊的第一次个人展览是这些渗漏、多孔和潮汐体的视觉表现。具体来说,该节目使用的是雷恩昆顿的科学发现:血浆与海水的化学成分几乎相同,但这仅仅是出发点。紧凑,单室节目由十个抽象作品在画布上。每一个都是湿的湿蓝色,黄色,紫红色和紫红色墨水,像一个遥远的星系或细菌在培养皿中溃烂。六的作品是用手势单色印刷的,几乎所有的都是雕塑元素(Parrott的新方向):一块皮革和毛毡从一个画布中凸出,三角形的天鹅绒被红木的颜色钉在另一个上面,它的褶皱是柔和的。Parrott的作品抽象而易读。在搏动(2018)中,帆布被捏和缝合,形成一个类似于肋骨或上升波的微妙的脊。“血,海”使微生物和银河系、人类和非人类之间的联系,并在今天的生态讨论中提供绘画声音。WPA6024602IMG劳埃德公司,“本地到全球”,2018,安装视图,卡洛斯/石川,伦敦。礼貌:卡洛斯/石川,伦敦劳埃德公司,“本地到全球”WPAP60300 3BR卡洛斯/石川WPA60300 3BR 5月10日-6月23日,卡洛斯/石川有一个改造。抛光的混凝土地板和优雅的极简室内已经消失了。相反,劳埃德公司,一个伦敦的艺术家二人,已经安装了陈旧的会议室座椅和一个地毯,可以从酒店会议套件中取消。在房间的中央,一个平板电视在全球范围内播放(2018),这是ONECOON的一对,一个特别阴险的金字塔方案,前提是加密。用隐形相机录制的影片同样荒诞不经,令人寒心。但在劳埃德公司的工作中,他强调的是“谁不是谁”。“我相信我们可以走得更远。”一位女性说,“当亚洲公司和非洲走出国门的时候,许多亚洲和中国将摆脱贫困,世界上将有很多百万富翁。”全球贫困人口是OneCoin的目标。就像Alex Gibney的著名的山本学揭露一样,“2015”,劳埃德公司揭示了宗教狂热与新自由主义之间的联系。全球领导人Diamond Khan说:“一旦你让狮子进来,它就会把所有活着的人吃掉。”“但要捕捉狮子,那就是游戏。”低音JPGY72DPI-VIY42Y2.JPG Critic’s Guide to London: The Best Shows in Town - 评论家伦敦指南:通山县最佳节目 8月Sander,波希姆,1972,银明胶打印,60×79厘米。礼貌:豪泽&Wirth;SoopySimulsSaMuln/SK StfultKulur-8月桑德档案馆,Cologne /DACS 2018八月桑德,“没有面具的人”WPAP60300 3BR豪泽and WrthWPA60300 3BR 5月18日-7月28日1910,来自Colo东部一个矿业小镇的年轻人。GNE开始了一个巨大的项目。他的名字是奥古斯特·桑德,他的目标是通过其人物的摄影肖像来记录当代德国社会的多样性。在1910到30年间,豪泽和Wirth拍摄的超过80张大型黑白照片是这只古怪的乌合之众的临时住所:两个拳击手站在骑师旁边,旁边还有一个修女,戴着眼镜的学生。有飞行员、农场工人、矮人和演员;每一个都被Sander的严格镜头所保留。包括在展览中的是12幅来自韦斯特林山的农场工人的早期肖像。这一系列为一个名为“二十世纪人”的大型项目奠定了基础,在这个项目中,拍摄对象,用Sander的话说,按照“基本原型”分类,概括了人类的所有特征。法西斯主义的原始本质主义,Sander的作品试图从内部破坏这一逻辑。他的肖像画《我们的时代》(1929)随后被纳粹政权摧毁。在《乡村乐队》(1913)中,一个五重奏的音乐家站在一个空旷的地方,四周有刺的树。每个人都表现出一种严肃的表情,另一种则带有讽刺意味。有些男人个子高,另一些矮一些。只有一项运动是蝴蝶结领结。在Sander的照片中,我们看到了原型中的个性。1414kATE-NeYBION-CAN-NILA-Nay-Del-JavaJPG Critic’s Guide to London: The Best Shows in Town - 评论家伦敦指南:通山县最佳节目 Kate Newby,“我不能钉住日子”,2018,安装视图,Kunsthalle Wien,维也纳。礼貌:艺术家,照片:JORITE AtEt KATE NeWBY,“所有你已经知道的东西”WPAP60300 3BR星期日画家WPAP60300 3BR 5月26日-6月23日在一个窗口,在白色横梁横跨一个双高度房间,Kate Newby安装了所有的东西你ALR(2018)一个精心设计的手工制陶砖的专用平台。这些东西被挖出、刮去、戳破了——这似乎是仪式狂暴的产物。放置(或分散?)顶部是几十个,也许是几百个小物体:环拔、粘土碎片、黄铜树枝和种子外壳。像Cathy Wilkes的组合一样,Newby的装置保存着一种看不见的仪式的残留物。在楼下,悬挂的玻璃雕塑就像装满水的塑料袋。这篇文章俗语地说:“少花钱试试看。”

FRIZE特稿 ARThing编译

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