The Best of London's September Exhibitions – 伦敦最好的和039的九月展览

As the summer comes to a close, we shuffle back indoors to replenish in the soothing shadows; switch on the neon lights and/or projectors, print out press releases, and settle in for a new season of shows.

This September sees the opening of several new spaces in London: the Assemble-designed Goldsmiths Centre for Contemporary Art (8 September), South London Gallery’s new annex in a nearby former fire station (22 September), as well as V22 launching their new studios out east near London’s City Airport with a group exhibition (21 September). These venues in New Cross, Peckham and Silvertown mark new frontiers in London’s sprawl of exhibition spaces; though with V22 continuing their ‘Young London’ series surveying the next hot young things and SLG’s ‘Knock Knock’ show wading into the well-worn territory of a large scale group exhibition dealing with ‘humour in contemporary art’, how much new ground these spaces will actually cover remains to be seen. Meanwhile, a set of mainly time-based works across the city over the next month promise to keep us keenly nourished well into autumn.


The Best of London's September Exhibitions - 伦敦最好的和039的九月展览

Ana Vaz, So long as the sky is recognised as an association, 2018. Courtesy: the artist and Lux

Ana Vaz, ‘The Voyage Out’
12 September – 7 October

The films of Ana Vaz are like a vivid dream of a nature documentary about the vagaries of human perception; colour-saturated footage that shifts from moments of careful observation to casual, impossible fantasies. Vaz has described her work as ‘anxious quasi-anthropologic fictions’; her first UK exhibition sees an installation of videos, sound works, maps and events as part of her ongoing project The Voyage Out (2016–ongoing). An ethnography of an island that has supposedly arisen following the nuclear meltdown in Fukushima, Japan, the kaleidoscope of the project becomes a way to imagine a post-apocalyptic ecology. While The Voyage Out will eventually culminate in a full-length feature film, for the moment you can catch a selection of Vaz’s shorter films at a concurrent screening event at the Whitechapel.


The Best of London's September Exhibitions - 伦敦最好的和039的九月展览

Erin Ellen Kelly and Mariam Ghani, To Live, 2013. Courtesy: the artists and Hollybush Gardens, London

‘Where I Am Is Here’
Hollybush Gardens
31 August – 16 September

Centred around and named after Scottish artist Margaret Tait’s half-hour episodic and wandering portrait of Edinburgh, Where I Am Is Here (1964), and part of a set of events marking the 100th anniversary of her birth, this changing set of screenings and performance, curated by Helen Nisbett, is already well under way, so catch the rest while you can. Tait’s film plays continually over the next two weeks, glancing black and white Super 8 footage of incidents large and small: revellers rolling in freshly fallen snow, while the camera lingers on the window pane; a man self-consciously launching a toy sailboat into a stream. Alongside this, each weekend features a different artist in parallel, which began with Mariam Ghani’s To Live (2013); this coming weekend features a performance by Rhona Warwick Patterson (9 September), and next weekend work by Jasleen Kaur (14–16 September).


The Best of London's September Exhibitions - 伦敦最好的和039的九月展览

‘On Collecting. Panza Collection Archives’, 2018, installation view. Courtesy: Hauser & Wirth, London

‘On Collecting: Panza Collection Archives’
Hauser & Wirth
4 – 15 September

My own experience with collecting will most likely be forever limited to dusty binders full of trading cards, and those free posters that artists like Jeremy Deller leave around their shows. But the mechanics and machinations that go into the long-term care for an artwork is a fascinating world, fraught with acid-free archival paper, acerbic egos, and things that just happen to go missing. For two weeks at Hauser & Wirth, a minimal library of sorts puts the collecting activities of Giovanna and Giuseppe Panza on display, including sketches, photographs, correspondence with artists like Hanne Darboven, plans for James Turrell’s interminable crater project, which they helped fund, and the ‘performative’ installation of a Sol LeWitt wall drawing. Giuseppe Panza, an Italian wine distributor with a taste for American art, was at times a controversial figure (Donald Judd accused him in the ’80s of making unauthorised works from sketches), but his efforts went on to form major parts of the MOCA and Guggenheim collections, and others. This reading room and accompanying events might shed a little light on what the unknown factor of time does to the equation of art + money.


The Best of London's September Exhibitions - 伦敦最好的和039的九月展览

Martine Syms, Mythiccbeing, 2018, film still. Courtesy: the artist and Sadie Coles HQ, London

Martine Syms, ‘Grand Calme’
Sadie Coles HQ, Kingly Street
6 September – 20 October

Syms made an initial appearance within Sadie Coles in 2016 as part of Condo, a slim back room showing of what felt like fragments of work in progress, an effort overshadowed by her bold and layered show later that year in the ICA. This sees Syms return to occupy the full gallery, (almost) literally: a screen holds a virtual reality avatar of the artist, programmed with her physical tics and way of talking. We’re meant to interact, via that means with which we interact with most people in our lives: our phones. It might sound borderline cringe, but Syms’s often deft negotiation of personal histories, cultural touchstones and self-conscious representation should provide a critical cracked mirror to the debates on race and identity that need a broader public platform in the UK.


The Best of London's September Exhibitions - 伦敦最好的和039的九月展览

Dapper Bruce Lafitte, T.B.D.C Presents Walking From New Orleans, 2017, archival ink on paper, 46 x 61 cm. Courtesy: FIERMAN, New York and Tatjana Pieters, Gent

Dapper Bruce Lafitte and Jeremiah Day
12 September – 20 October

This pairing sees the intertwining of two different forms of narrating place, bringing together the detailed felt-tip drawings of Dapper Bruce Lafitte with the annotated photographs of Jeremiah Day. Lafitte’s works are filled with bustling crowds and inscribed with notes and names, often depicting his hometown of New Orleans: T.D.B.C. Presents Put the Guns Down Said the Col. (2017) shows a crowd standing outside the Ernest N. Morial Convention Centre, where thousands were evacuated after hurricane Katrina; armed soldiers and television crews stand between us and the herded escapees, interspersed with nods like ‘RIP Bobby Blue Bland’. Day’s photographic series ‘No Words For You, Springfield’ (2009) follows immigration trails to an area of Boston, similarly footnoting and cutting into his images with personal asides. Day’s performances, often weaving together muted reflections with improvised choreography, usually provide an unexpectedly personal side-winding road into his work, and the show will include a performance from him on the 26 October.


The Best of London's September Exhibitions - 伦敦最好的和039的九月展览

Hermann Braus, Anatomie des Menschen: ein Lehrbuch für Studierende und Ärzte (Anatomy of Man: a textbook for students and doctors), 1921. Courtesy: Carlos/Ishikawa, London

Stuart Middleton, ‘Improvers’
20 September – 27 October

While information on what will be in Middleton’s upcoming show hasn’t been released, it might be fair to guess that it’ll include the ingredients of several of his recent shows: creeping, existential stop-motion animation videos – like Beat (2017), a portrait of an ageing, moody mutt that formed part of his (literally) pared back show at the ICA last year – likely framed by some wayward, ironic architectural interventions, such as the stained tubes of white tenting that housed the same exhibition’s iteration in Glasgow’s Tramway. What intrigues me about Middleton’s work is the fug of suburban bluster and boredom that hangs around his work, like the insistent smell of the moulding foods and wallpaper in several of his animations.


The Best of London's September Exhibitions - 伦敦最好的和039的九月展览

Lawrence Abu Hamdan, 3 Whispers (detail), 2017. Courtesy: the artist

Lawrence Abu Hamdan, ‘Earwitness Theatre’
Chisenhale Gallery
21 September – 9 December

Drawing on sound recordings and descriptions of sonic experience, Abu Hamdan’s work has been a sustained critique of the hierarchy of senses in how we witness and come to grips with what we think of as the ‘truth’. His new work presented at Chisenhale draws on his crucial work around the Syrian military prison Saydnaya, part of which was included at the Forensic Architecture exhibition at the ICA earlier this year. Drawing from prisoners’ descriptions of what they heard while held there while mostly hooded or blindfolded, alongside a treated recording of some of the detainees testaments, this show displays some of the objects the artist has used to refine and aid their testimonies: pasta, shoes and pine cones. These are the tools of the contemporary Foley artist and human rights activist, helping us retrieve from silence some evidence of what went on within the prison’s walls.

Head over to On View to see more current and upcoming shows in London.

Main image: Portrait of Giuseppe Panza. Courtesy: the Panza Collection

Chris Fite-Wassilak

Chris Fite-Wassilak is a writer who lives in London.

Critics’ Guides /

Martine Syms
Ana Vaz
Jeremiah Day
Stuart Middleton
Lawrence Abu Hamdan
Dapper Bruce Lafitte
Hollybush Gardens
Sodie Coles HQ
Hauser & Wirth

夏天快要结束了,我们拖着脚步回到室内,在柔和的阴影中补充能量;打开霓虹灯和/或投影仪,打印新闻稿,然后安顿下来准备新一季的节目。今年9月,伦敦将开辟几个新空间:集合设计的金匠当代艺术中心(9月8日),伦敦南部美术馆在附近的一个前消防站(9月22日)的新附属设施,以及V22在伦敦艾城以东附近推出他们的新工作室。参加一个团体展览(9月21日)。新十字、佩克汉姆和银城的这些场馆标志着伦敦广阔的展览空间中的新领域;尽管V22继续他们的“年轻伦敦”系列调查下一个热门的年轻事物,而SLG的“敲门”节目则涉足了大规模聚居区的陈旧领域。“当代艺术中的幽默”展览,这些空间究竟覆盖了多少新领域还有待观察。同时,下个月全市范围内一系列主要以时间为基础的工程将保证我们营养充足,直到秋天。万维网-只要天空被识别为关联-ana-vaz-2018。-.jpg The Best of London's September Exhibitions - 伦敦最好的和039的九月展览 Ana Vaz,只要天空被识别为关联,2018。礼貌:艺术家和卢克斯·安娜·瓦兹,9月12日至10月7日的《远航》对偶然的、不可能的幻想的充分观察。Vaz把她的作品描述为“焦虑的准人类学小说”;她的第一个英国展览将视频、音响、地图和事件的安装作为她正在进行的项目“出航”(2016年——正在进行的)的一部分。据推测,在日本福岛核危机后出现的一个岛屿的民族志,该项目的万花筒成为后世界末日生态学的一种想象方式。虽然《远航》最终将以一部全长故事片告终,但眼下你可以在白教堂同时举行的放映活动中捕捉到Vaz的短片精选。WP.JPG The Best of London's September Exhibitions - 伦敦最好的和039的九月展览 Erin Eeln Kely和Mariam Ghani,生存,2013。礼貌:艺术家和好莱坞花园,伦敦,“我在哪里”这是(1964年),也是纪念她诞辰100周年的一系列活动的一部分,由海伦·尼斯贝特策划的这组不断变化的放映和表演已经在进行中,所以尽你所能抓住剩下的部分。泰特的电影在接下来的两周里连续上映,放映了黑白的《超级8》大事和小事的片段:狂欢者在刚下过雪时滚动,而摄像机却在窗玻璃上徘徊;一个男人无意识地将玩具帆船放入小溪。除此之外,每个周末都有不同的艺术家,从玛利亚姆·加尼的《活着》(2013)开始;这个周末有罗娜·沃里克·帕特森(9月9日)的演出,还有贾斯林·考尔(9月14-16日)的下周末作品。关于收集的Web.jPG WPA6024602IMG。潘杂藏文档案,2018,安装视图。礼貌:Hauser&Wirth,伦敦On Collecting:Panza Collection Archives’
4-159月4日-15日我收集的经验很可能永远局限于满是交易卡的尘土飞扬的装订本和那些免费的海报。像Jeremy Deller这样的艺术家离开他们的演出。但是,对艺术品进行长期护理的机制和阴谋是一个迷人的世界,充满了无酸的档案纸、刻薄的自我和刚好消失的东西。在Hauser&Wirth的两个星期里,一个极简的图书馆展出了乔凡娜和朱塞佩·潘扎的收藏活动,包括草图、照片、和像汉娜·达尔博文这样的艺术家的通信、詹姆斯·特雷尔无穷无尽的陨石坑项目的计划,他们帮助资助了这个项目。和“表演”安装索尔-莱维特壁画。意大利葡萄酒经销商朱塞佩·潘扎(Giuseppe Panza)对美国艺术有鉴赏力,他有时是个有争议的人物(唐纳德·贾德(Donald Judd)在上世纪80年代指责他通过草图创作未经授权的作品),但他的努力继续形成了MOCA和古根海姆等藏品的主要部分。这个阅览室和随之而来的事件可能对未知的时间因素如何影响艺术+金钱的方程式有所启发。JPG The Best of London's September Exhibitions - 伦敦最好的和039的九月展览 Martina SyMS,MythcCybe,2018,胶片仍然。礼貌:艺术家和萨迪·科尔斯总部,伦敦马丁·塞姆斯,‘大冷静’603003br萨迪·科尔斯总部,国王街603003br9月6日至10月20日,塞姆斯作为康多的一部分,于2016年在萨迪·科尔斯内首次亮相,一间狭长的后屋展示了那种似曾相识的感觉。作品的片段正在进行中,这一努力被她在那一年晚些时候在ICA中大胆而分层的表演所掩盖。这让塞姆斯重新占据了整个画廊,(几乎)字面上:一个屏幕保存着艺术家的虚拟现实化身,用她的肢体抽搐和说话方式编程。我们的目的是互动,通过这种方式,我们与我们生活中的大多数人互动:我们的手机。这听起来似乎有些畏缩,但塞姆斯对个人历史、文化试金石和自我意识的代表性常常娴熟地进行谈判,这应该为英国需要更广泛的公共平台的种族和身份辩论提供一面批判性的镜子。web.jpg wpap 6025602img Dapper Bruce Lafitte,T.B.D.C《从新奥尔良走过的演讲》,2017,纸上存档油墨,46x 61 cm。礼貌:菲尔曼,纽约和塔贾纳·皮特斯,达珀·布鲁斯·拉菲特将军和耶利米·戴,603003br Arcade,603003br Arcade,9月12日至10月20日。这对搭档看到两种不同形式的叙事场所交织在一起,把详细的毡毡尖端图画汇集在一起。F Dapper Bruce Lafitte与耶利米一天的注释照片。拉菲特的作品里挤满了熙熙攘攘的人群,还刻满了笔记和名字,经常描绘他的家乡新奥尔良:T.D.B.C.Presents Put the Guns Down Said the Col.(2017)展示的是一群人站在欧内斯特·N.道德会议中心外面,数千人在胡尔之后被疏散。瑞克·卡特里娜;武装士兵和电视台工作人员站在我们和那些成群的逃亡者之间,点点头,像是“RIP Bobby Blue Bland”。戴的摄影系列“不为你说话,斯普林菲尔德”(2009)跟随移民路线来到波士顿的一个地区,类似的脚注和切割与他的个人以外的图像。白天的表演常常用即兴的编排把沉静的反思编织在一起,通常给他的作品提供一个出乎意料的个人侧向曲折的道路,演出将包括10月26日他的表演。web.jpg The Best of London's September Exhibitions - 伦敦最好的和039的九月展览 Hermann Braus, Anatomie des Menschen: ein Lehrbuch für Studierende and rzte (人体解剖学:学生和医生的教科书),1921。礼貌:Carlos/Ishikawa,伦敦斯图尔特·米德尔顿,“改进者”号603003br Carlos/Ishikawa号603003br 9月20日至10月27日,虽然关于米德尔顿即将上演的节目的信息尚未公布,但猜测其中将包括以下内容他最近几场表演的重新改版:爬行,存在主义的停止动作动画视频,比如Beat(2017),一头年老的喜怒无常的杂种狗的肖像,它构成了他去年在ICA(字面上)瘦身秀的一部分——很可能被一些任性,讽刺性的建筑干预所构架,比如由于白色帐篷的染色管在格拉斯哥的电车轨道上举行了同样的展览。米德尔顿的作品让我感兴趣的是郊区的喧嚣与无聊,萦绕在他的作品周围,就像他的几部动画片中模制食品和壁纸的味道一样。Larence-.-hamdan-at-chisenhale-gallery.jpg The Best of London's September Exhibitions - 伦敦最好的和039的九月展览-Lawrence Abu Hamdan,3 Whispers(细节),2017。礼貌:艺术家劳伦斯·阿布·哈姆丹、“地球证人剧院”603003br Chisenhale Gallery603003br 9月21日至12月9日,根据声音记录和音响经验的描述,阿布·哈姆丹的作品一直以来都是对感官层次结构的批判。在我们如何见证和掌握我们所认为的“真理”。他在Chisenhale提交的新作品借鉴了他围绕叙利亚军事监狱Saydnaya所做的重要工作,其中一部分被包括在今年早些时候ICA的法医建筑展览上。从囚犯们被关押期间所听到的大部分戴着头巾或蒙着眼睛所听到的情况的描述中,再加上一些被关押者遗嘱的经过处理的录音,这个展览展示了艺术家用来提炼和辅助他们证词的一些物品:意大利面、鞋子和松果。锿。这些是当代弗利艺术家和人权活动家的工具,帮助我们从沉默中找回监狱墙内发生的一些证据。前往查看更多的当前和即将到来的节目在伦敦。主要形象:朱塞佩潘扎的肖像。礼貌:潘扎藏品公司Chris Fite-Wassilak是一位住在伦敦的作家。评论家指南


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