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Richard Wilson 20:50, 1987, installation view. Courtesy: © the artist and Hayward Gallery; photograph: Mark Blower
‘Space Shifters’
Hayward Gallery
26 September 2018 – 6 January 2019
‘Space Shifters’ amounts to a glorious architectural ego-trip for the Hayward Gallery’s freshly renovated and spunkily skylit galleries. Luscious coloured resin works from Californian Light & Spacers De Wain Valentine and Robert Irwin glow like sheeny Jell-O. The high ceilings hosts suspended works by Leonor Antunes (a new commission in brass and hemp rope), Daniel Steegmann Mangrané (lightly jangling chain curtains strung in ovals to echo the gallery’s stairwells) and Felix Gonzalez-Torres (the beaded curtain work “Untitled” (Golden), 1995).
The headliners here, though, are large-scale pieces that mess with perception, turning the orderly geometry of this Brutalist building’s interior to unexpected ends. Alicja Kwade’s mind-bending perceptual labyrinth WeltenLinie (2017) – a highlight of last year’s Venice Biennale – here gets the focus it deserves. Marrying boulders and tree stumps in stone, and various metals, Kwade’s work throws out questions about the nature of matter and space.
‘Space Shifters’ bows out on that much-loved London work, Richard Wilson’s 20:50 (1987): a narrowing walkway through a room half filled with oil, recently sold by the Saatchi Collection and soon to be installed at MoNA in Tasmania. However well you know the piece, seeing it in new architecture is to see it fresh.
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Courtesy: the artist and Serpentine Galleries; © Kamitani Lab / Kyoto University and ATR
Pierre Huyghe
Serpentine Gallery
3 October 2018 – 10 February 2019
As yet untitled, and kept behind closed doors until the Tuesday opening, Pierre Huyghe’s first significant work since his 2017 Skulptur Projekte Münster installation, After ALife Ahead, introduces artificial intelligence into the environmental equation. Rather than excavate the floor, as in Münster, the artist has sanded into the gallery walls to expose layers of paint from previous exhibitions in the space, leaving fine dust that threatens to adhere to visitors’ garments, taking a journey through time on a journey through space.
Human visitors will be kept company by a large swarm of flies – fed on sugar up in the rotunda of the central gallery – and hints of an intelligent presence manifested on five large LED screens around the gallery. Continuing his exploration into artmaking without authorship, Huyghe has worked with a team in Kyoto using machine learning for Deep Image Reconstruction. A subject was asked to picture a set of images and ideas during a functional MRI scan: what we see is the resulting analysis of his brain activity as the AI searches to identify the image in his mind’s eye. There are smells, too. A neural network monitoring human activity in the gallery rounds off Huyghe’s new ecosystem.
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Tania Bruguera, Hyundai commission, 2018, installation view, Tate Modern. Courtesy: Tate Modern, London; photograph: © Tate photography, Andrew Dunkley
Tania Bruguera
Tate Modern
2 October 2018 – 24 February 2019
The artist behind this year’s Turbine Hall Hyundai commission has history in the space. For Tania Bruguera’s 2008 work Tatlin’s Whisper #5 two members of the mounted police entered Tate Modern and conducted crowd-control tactics on the public. The horses, as Bruguera herself admits, are going to be a hard act to follow.
This new work will involve participants drawn from Tate Modern’s SE1 postcode – a group of neighbours rather than a community in a traditional sense, breaking through the big city tendency to live cheek-by-jowl yet somehow in total isolation. Bruguera has so far remained quiet about the new work, teasing only that her work somehow involves portraiture, sending out three clues on her Instagram feed. Clue #1: Gustave Caillebotte, The Floor Scrapers (1875); Clue #2: Hans Holbein the Younger, The Ambassadors, (1533); Clue 3#: Caravaggio, Narcissus (1597-9). A strong theme of reflective floors, then. But where does the collective action come in? And – this being Bruguera – the politics?
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Amy Sillman, Y18, 2017, acrylic, gouache and ink on paper, 1 x 0.7 m. Courtesy: © the artist and Capitain Petzel, Berlin; photograph: John Berens
Amy Sillman, ‘Landline’
Camden Arts Centre
28 September 2018 – 6 January 2019
Such is Sillman’s humour and ripe, vivid sense of colour that even the darker works in this show – notably the vast double-sided installation of pictures Dub Stamp (2018) based on drawing made in the days following the election of Donald Trump – have a kind of hopefulness to them. The show includes drawings, prints and oils as well as animations and zines (available to buy: definitely GBP£1 well spent).
On paper, Sillman’s brushy, heavy-lined forms (legs, lungs, figures apparently hunched to puke or poo) appear in series, morphing from one sheet to the next. That tendency reaches satisfying expression in her drawn, painted and collaged animations. After Metamorphosis (2015–16), projected in the central hallway, takes its cue from Ovid as a series of animal and human forms mutate through one another in a long, delightful sequence. Hints of human figures and agricultural landscape stretch themselves across Sillman’s intensely coloured canvases – movement comes here, too, with silvery metallic paint that slithers disconcertingly in the light.
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Hannah Wilke, Untitled, 1974-77, Terracotta, 3 x 152 x 152 cm. Courtesy: Alison Jacques Gallery, London
Hannah Wilke
Alison Jacques
27 September – 21 December 2018
Works spanning three decades by the pioneering feminist artist include the familiar – performance stills of Wilke using her body as a malleable, mouldable substance; arrangements made with clitoral buds of chewing gum – and the unexpected.
Chief among these are a trio of paintings from the early 1960s not shown since Wilke’s death in 1993. Using delicate, sherbet shades, Wilke unites crisp geometric panels with anthropomorphic forms suggesting the contorted female body. In their flattened abstracted approach to the feminine body, there’s a hint of Evelyn Axelle and perhaps Maria Lassnig, but the palette is disconcerting. Those colours are the commercial shades of soft ultra femininity: sanitary towel packaging, baby clothes, talc.
The tones are picked up in some of the glazes later used by Wilke in her folded labial sculptures, here shown not only in ceramic but also bronze, raw terracotta and latex. A large pinned many-petalled sculpture in muscle-red latex hangs like an altarpiece in the side room showing smaller, early works on paper, swimming with suggestive forms.
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General Idea, study for Great AIDS (Cadmium Red Light), 1990/2018. Courtesy: © General Idea and Maureen Paley, London
AA Bronson + General Idea
Maureen Paley
30 September – 11 November 2018
AA Bronson, Felix Partz and Jorge Zontal met 50 years ago in Canada, living and working together as the collective General Idea from 1969 to 1994. Alongside conceptual exhibitions including ‘Going Through The Notions’ (1975) and ‘The 1984 Miss General Idea Pavilion’ (a hoarding for a fictional pavilion that burned down in a fictional fire), the trio were responsible for the experimental cultural journal FILE Megazine [sic]. The journal used the ‘found format’ of LIFE magazine – landing General Idea with a lawsuit from Time/Life in 1976 – and attracted contributions from countercultural figures from William Burroughs to Talking Heads.
General Idea’s first ‘AIDS’ painting – this time using the ‘found format’ of Robert Indiana’s LOVE (1967) – was created in the mid 1980s, after the group’s move to New York. It became the first work in the ‘Imagevirus’ series, a graphic intended to spread freely, infecting the city, but also normalizing a disease that was, by that point, already part of many people’s day-to-day. This celebratory exhibition will show paintings from the ‘Imagevirus’ series within a gallery hung with ‘Imagevirus’ wallpaper.
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Felix Clay, Portrait of Kerry James Marshall, 2018. Courtesy: © the artist and David Zwirner, London
Kerry James Marshall, ‘History of Painting’
David Zwirner
3 October – 10 November
After the success of his 2016 retrospective ‘Mastry’ – which toured from the Museum of Contemporary Art in Chicago, to the Met and LA MOCA – what next for Kerry James Marshall? At David Zwirner he’s setting himself up with a grand, vainglorious gesture in a set of works grouped under the title ‘History of Painting’. ‘It seems to me the only way forward is to take up a challenge that seems so outsized as to present you with the real possibility of a massive failure’ he explained in a recent interview.
Marshall will address landscape, still life, portraiture, abstraction, and history painting, yes, but also the history of painting in terms of process and industry, from the acquisition of knowledge, through exhibition, auction, ownership and collection. In the moving image era, why make paintings? Marshall asks. The conclusion suggested by his arch auction house paintings – listing artworks as if they were second hand goods on a Xeroxed flyer (Untitled (Sotheby’s Sale), 2005) – is all rooted in big ideas and sheer enjoyment.
For more shows on during Frieze Week head over to On View.
Main image: Tania Bruguera, Hyundai commission, 2018, installation view, Tate Modern. Courtesy: Tate Modern, London; photograph: © Tate photography, Andrew Dunkley
Hettie Judah is a writer based in London.

蛇纹石画廊
2018年10月3日-2019年2月10日皮埃尔·惠格自2017年安装雕塑家Projekte Münster以来的第一件重要作品《先行ALife Ahead》将人工智能引入到环境方程中。艺术家没有像明斯特那样挖掘地板,而是把沙子打磨到画廊的墙上,以暴露空间中以前展览的颜料层,留下细微的灰尘,可能粘在参观者的衣服上,在穿越空间的旅途中穿越时间。人类参观者将会被一大群苍蝇陪伴,这些苍蝇在中央美术馆的圆形大厅里摄取糖分,在美术馆周围的五个大LED屏幕上显示出智能存在的迹象。在没有作者的情况下,他继续探索艺术创作,并与京都的一个团队合作,使用机器学习进行深层图像重建。受试者被要求在功能性MRI扫描期间描绘一组图像和想法:我们看到的是当人工智能搜索以识别他脑海中的图像时,大脑活动的结果分析。也有气味。一个神经网络监控人类活动在画廊中巡视惠更斯的新生态系统。Bruguera_press_014.jpg


Camden艺术中心2018年9月28日到2019年1月6日,这就是希尔曼的幽默和成熟,生动的色彩感,甚至更暗的作品也在这个展览中展出,尤其是基于唐纳德·特朗普当选后几天内所绘画的《杜布邮票》(2018)的广泛的双面安装。对他们有一种希望。该展览包括绘画、印刷品和油画以及动画和锌(可以买到:肯定花费了1英镑)。在纸上,席尔曼的毛茸茸、线条粗犷的形态(腿、肺、明显弯腰吐痰或大便)成串出现,从一张纸变到另一张。这种倾向在她的绘画、绘画和拼贴动画中达到了令人满意的表达。变形之后(2015-16),投影在中央走廊,从奥维德那里得到线索,一系列的动物和人类形态以一个长而愉快的顺序相互突变。人物和农业景观的影子在希尔曼色彩斑斓的画布上延伸开来——运动也来到这里,银色的金属漆在光线下令人不安地滑行。AJG-HW-0364A.JPG


FRIZE特稿 ARThing编译