Your Guide to the Best Shows at London Gallery-Share Condo – 伦敦画廊共享公寓最佳表演指南

This coming weekend marks the opening of the fourth iteration of Condo, an annual gallery-sharing initiative that brings together galleries from around the world – predominantly from across the USA and Germany, as well as others from Egypt, South Africa, Chile and China. Started here in London in 2016 by Vanessa Carlos, owner of Carlos/Ishikawa, it’s a month-long ‘collaborative exhibition’, which has since spawned Condos in New York, Mexico City, Shanghai, and smaller versions last year in Athens and Sao Paulo. Other gallery cooperation models had existed before, like Amsterdam gallerist Jeanine Hofland’s one-day mini fair, A Petite Fair, or the ‘Villa’ project initiated by Raster Gallery in Warsaw in 2006. However, Condo has proved a timely spark at a time of smaller- and mid-size gallery closures and blue-chip consolidation, inspiring other similar style projects such as Okey Dokey in Dusseldorf and Cologne, Friend of a Friend in Warsaw, and Gallery Share Los Angeles. As the idea expands, Condo London has accordingly grown each year, with this year’s edition featuring 52 galleries over 18 spaces across London. There’s a lot of ground to cover, so here’s a quick guide to some of the highlights:

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Your Guide to the Best Shows at London Gallery-Share Condo - 伦敦画廊共享公寓最佳表演指南

Igshaan Adams, Plate 10.5, 2018, nylon rope, cotton twine, polyester and plastic, wooden and glass beads,-3 x 2.7 m. Courtesy: Blank Projects, Cape Town

Greengrassi/Corvi Mora hosting Blank Projects
12 January – 9 February

The exigencies of the light-of-foot nature of Condo often mean that many of the works on display are often wall-based or two-dimensional. Blank Projects have turned this into an asset, with a concise selection from three artists where the formal links of looping lines in drawing, painting and weaving combine to suggest something darker seething below the surface. Donna Kukama’s loveandsuicide (2018) is a small canvas with a set of overlapping, illegible words hurriedly scrawled across it, the urgency of the gesture deflating some of the childish humour in Jared Ginsburg’s Plaster Print (orgy) (2018), a round fragment of plaster with a quick pencil outline sketch of a half-dozen people in a tangle of limbs and genitalia. Igshaan Adams’s Plate 10.5 (2018) is a large frayed, faded tapestry, twine and coloured rope making a mirrored abstract pattern derived from a Rorschach inkblot test. The wing-shaped central section is more threadbare, revealing that the whole thing rests on sections of cane upholstery weaving, pointing towards a domestic backdrop to the psychological unfurling happening between the works.

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Your Guide to the Best Shows at London Gallery-Share Condo - 伦敦画廊共享公寓最佳表演指南

Elaine Cameron Weir, His Master’s Voice (such a medal, when given in ceremony is placed high around the neck, A Dog’s Collar). Attempts to keep up conversation with it rather like holding up the head of a corpse (detail), 2018, stainless steel, parachute hardware, aluminum, pewter, leather, oyster shell, 1.2 x 0.4 x 0.4 m. Courtesy: JTT, New York

Sadie Coles HQ hosting JTT
12 January – 9 February

They look at first glance like sick trophies: splayed animal skins, each bound to a steel grid hanging in the air from thick metal wires. The quick realisation that the pale matter being displayed in Canadian artist Elaine Cameron-Weir’s untitled series of sculptures from 2018 is only cloth doesn’t really offset the unease of the works. A worn-out cream colour, the stitching and folds in the material appear like a misplaced bit of drapery, or a section from an ornate skirt; the occasional bit of printed text gives the hint that these are made from old parachute silk. What they’ve become, though, feels akin to the gruesome practice of displaying executed bodies: a ritual dissection, presented as a warning.

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Your Guide to the Best Shows at London Gallery-Share Condo - 伦敦画廊共享公寓最佳表演指南

Kang Seung Lee, Goh Choo San, 2018, graphite on paper. Courtesy: Mother’s Tankstation Limited, London

Mother’s Tankstation Limited hosting Commonwealth and Council
12 January – 9 February

Kang Seung Lee’s drawings are filled with ghosts. His detailed graphite drawings are photorealistic scenes from riots and conflict zones, where the bodies have been mostly, but not entirely, erased. What remains is a persistent smudge, a gaseous haze where a living body used to be. The body haunting the works presented at Condo is that of Chinese choreographer Goh Choo San, an innovator of ballet who was the director of the Washington Ballet, and who died of an AIDS-related illness in 1987. Commonwealth and Council will be presenting Lee’s work and a video installation by Patrick Staff, alongside Mother’s Tankstation artists Yuri Pattison and Sebastian Lloyd Rees. The latter’s new solar-powered work Hoarding (Plumtree Ct, 26th January 12.08 GMT - 2018) (2018), comprises a scuffed-up bit of wood panelling, cut and reorganised to become a Josef Albers-like composition of squares within squares, a construction-site modernism.

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Your Guide to the Best Shows at London Gallery-Share Condo - 伦敦画廊共享公寓最佳表演指南

Erin Riley, Stepbrother, 2017, wool and cotton tapestry, 1.2 x 1.2 m. Courtesy: P.P.O.W., New York

The Sunday Painter hosting P.P.O.W.
12 January – 9 February

Tapestry and weavings have become more prominent in recent years, as part of a return to a sense of physical investment and craft that seemed threatened by digital domains. Erin Riley’s use of the medium is like diaristic photography, close-up snapshots from a suburban life monumentalised as half-metre tapestries: the discarded used condoms of Humble Magnum (2018); the blood-stained panty liner in a pair of pants lying at someone’s feet in Crimson Landslide 6 (2018); a rubber monster toy sitting next to a ‘Tootsie Roll’ coin bank in Stepbrother (2017). Riley draws on the history of tapestry as a narrative medium to depict an intimate, feminine story, told with nude selfies and still-lives of contraceptive pills.

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Your Guide to the Best Shows at London Gallery-Share Condo - 伦敦画廊共享公寓最佳表演指南

Megan Plunkett, Bury Me in a Pet Sematary, 2018, photograph. Courtesy: Emalin, London

Emalin hosting Emmanuel Layr
12 January – 9 February

You could call Gaylen Gerber’s work insistently half there. The American artist has for decades been creating simple grey canvases, and then inviting other artists to work with them as they see fit, as an act of framing and collaboration, of sorts. They remain undated, until the fellow artist completes their part of the deal. This has evolved, over the years, to Gerber’s parallel ‘Support’ series (undated), in which objects – from beer cans to 18th century Japanese tea bowls – are covered in the same matt grey, an act of erasure and semantic levelling, that at the same time seems to be awaiting the next remake. At Emalin, he presents a small glimpse of his disappearing act, with Support (undated), a gilt frame mirror painted a uniform grey. It’s a visual vacuum, that will be partially filled by photographs by Emalin’s Megan Plunkett. Her series, ‘Young Woman and Dog’ (2018), features images found on Craigslist of relaxed-looking dogs sat next to pots and – in one instance – a horse.

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Your Guide to the Best Shows at London Gallery-Share Condo - 伦敦画廊共享公寓最佳表演指南

Adriano Amaral, Untitled, 2018, aluminium structure, football boots, silicone, grasshoppers, aluminium powder, goose feet, reflective glass beads, 71 x 26 x 18 cm. Courtesy: Galeria Jaqueline Martins, São Paulo

Rodeo hosting Galeria Jaqueline Martins
12 January – 23 February

Portuguese-based Brazilian Adriano Amaral’s installations feel like excerpts from a burnt-out dystopia – so a fitting art for our time. Bronze-cast bees’ nests drip with translucent silicone, while roots intertwine with tubing and wire to stretch towards blackened, warped display screens. The old radiators of Untitled (2018) have been elongated with an ectoplasm-like rubber, bits of twigs and fish fossils peeking out, stretching up like a fountain and completed with pieces of aluminium spurting from the top. Nature and technology have finally melded in his world, creating a new, enveloping environment that feels none too cosy for us humans.

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Your Guide to the Best Shows at London Gallery-Share Condo - 伦敦画廊共享公寓最佳表演指南

Sandra Mujinga, Disruptive Patterns, 2018, film still. Courtesy: the artist, Croy Nielsen and The Approach, London

‘Shapeshifters’ at The Approach
12 January – 10 February

The body is set to be atomised and remoulded through painting, video and sculpture in a group show at East London gallery The Approach. The brightly bizarre portraits of Sascha Braunig give a new, photorealistic surrealism filtered through the aesthetic of neon shop signs and endless television commercials. A similarly plasticised head dances in and out of view in Sandra Mujinga’s video Disrupted Patterns (2018), while a work from her ‘Shawl’ series (2017) hangs nearby: wearables made of fake leather and latex suggest another body shape – something with long, tentacle-like limbs. The highlights, however are the sculptures of Polish artist Maria Pinińska-Bereś (1931-1999), that evidence the precision and humour of her oeuvre. Sabbath (1987) is a hanging broom that might be used for cleaning, and has the cartoonish look of one used by a witch. But this is more of a weapon and a means of escape: having skewered a cushion and a cleaning cloth, this broom points firmly towards the moon.

Main image: Sascha Braunig, Untitled (frames), 2018, acrylic and acryla-gouache on paper, 31 x 41 cm. Courtesy: the artist, Foxy Production and The Approach, London; photograph: Charles Benton

Chris Fite-Wassilak

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

Critics’ Guides /
Chris Fite-Wassilak
Condo 2019
greengrassi
blank projects
Sadie Coles
JTT
mother's tankstation limited
Commonwealth & Council
The Sunday Painter
P.P.O.W

即将到来的这个周末标志着第四代公寓的开幕,这是一个年度画廊分享计划,汇集了来自世界各地的画廊——主要来自美国和德国,以及来自埃及、南非、智利和中国的其他画廊。由Carlos/Ishikawa的所有者Vanessa Carlos于2016年在伦敦开始,这是一个为期一个月的“合作展览”,自那以后,它在纽约、墨西哥城、上海以及去年在雅典和圣保罗催生了一些小型公寓。其他画廊合作模式以前也存在过,如阿姆斯特丹画廊珍妮霍夫兰的一天迷你展、小型展览会或2006年华沙光栅画廊发起的“别墅”项目。然而,事实证明,在中小型画廊关闭和蓝筹股整合的时代,公寓是一个及时的火花,激励了其他类似风格的项目,如杜塞尔多夫和科隆的奥基·多基,华沙一个朋友的朋友的朋友,以及洛杉矶的画廊共享。随着这个想法的扩展,伦敦公寓每年都有相应的增长,今年的版本在伦敦有52个画廊,超过18个空间。这里有很多地面要覆盖,所以这里有一些亮点的快速指南:无标题-工作-标题-2018-尼龙-绳-棉-绳-聚酯-塑料。-木珠和玻璃-珠-300-x-270-cm.jpg Your Guide to the Best Shows at London Gallery-Share Condo - 伦敦画廊共享公寓最佳表演指南 igshaan-adams,10.5,2018,尼龙绳,棉绳,聚酯和塑料,WoodeN和玻璃珠,-3 x 2.7 m。礼遇:空白项目,开普敦绿格拉西/科维莫拉主办空白项目
1月12日至2月9日,公寓的“脚下之光”性质的紧急情况通常意味着许多展出的作品通常是基于墙或二维的。空白项目已经将其转化为一种资产,从三位艺术家中进行了简洁的选择,其中,绘画、绘画和编织中的循环线的正式链接结合在一起,暗示了表面下更暗的东西。唐娜·库卡玛的《爱与自杀》(2018)是一幅小画布,上面有一组重叠的字迹,字迹难以辨认,匆忙地在上面涂鸦,加里德·金斯堡的石膏画(狂欢)(2018)中的一些孩子气的幽默被这种姿势所冲淡,这是一块圆形的石膏碎片,上面有一张六个人纠结在一起的快速铅笔轮廓草图。MBS和生殖器。伊格肖亚当斯的10.5版(2018年)是一个大磨损,褪色的挂毯,麻绳和彩绳,从罗夏墨迹测试中得出镜像抽象图案。机翼形的中央部分更为简陋,显示出整件事都是在藤条装饰织成的部分上进行的,指向了作品之间发生的心理膨胀的家庭背景。CWE-2018-063_detail_01.jpg Your Guide to the Best Shows at London Gallery-Share Condo - 伦敦画廊共享公寓最佳表演指南 Elaine Cameron Weir,他的主人的声音(这样一枚奖章,在仪式上颁发时,放在脖子上,一只狗的项圈)。试图保持与它的对话,而不是举着一具尸体的头(细节),2018年,不锈钢,降落伞硬件,铝,白蜡,皮革,牡蛎壳,1.2 x 0.4 x 0.4米。礼貌:JTT,纽约萨迪·科尔斯总部主办JTT
1月12日至2月9日,他们第一眼看上去像生病的奖杯。S:张开的动物皮,每一张都绑在一个钢网上,由粗金属丝悬挂在空中。加拿大艺术家伊莱恩·卡梅伦·威尔(Elaine Cameron Weir)2018年创作的无标题系列雕塑中所展示的苍白物质,很快就意识到这只是布料,并不能真正抵消作品的不安。一种破旧的米色,布料上的针脚和褶皱看起来像是一块放错地方的窗帘,或是一条华丽裙子上的一部分;偶尔印刷的文字暗示这些布料是用旧降落伞丝绸制成的。然而,他们所成为的感觉类似于展示被执行尸体的可怕做法:仪式解剖,作为警告。kslee_choo san goh_2.jpg Your Guide to the Best Shows at London Gallery-Share Condo - 伦敦画廊共享公寓最佳表演指南 Kang Seung Lee,Goh Choo San,2018,纸上石墨。礼遇:母亲加油站有限公司,伦敦母亲加油站有限公司主办英联邦和议会
1月12日至2月9日,李康承宪的画充满了鬼魂。他详细的石墨画是暴动和冲突地区的真实照片,那里的尸体大部分,但不是全部被抹去。剩下的是一个持续不断的污点,一个曾经是活体的气态薄雾。《公寓》中令人难忘的作品是中国舞蹈编导吴秋山的作品。吴秋山是芭蕾舞的创新者,曾任华盛顿芭蕾舞团团长,1987年死于与艾滋病有关的疾病。英联邦和议会将展示李的作品和帕特里克员工的视频装置,以及母亲的坦克站艺术家尤里·帕蒂森和塞巴斯蒂安·劳埃德·里斯。后者的新太阳能工作囤积(Plumtree CT,26 January 12.08 GMT-2018)(2018年),包括一块磨损的木板,切割和重组,成为一个约瑟夫阿尔伯斯样的广场内广场组成,一个建筑工地的现代主义。2017继兄弟48-x-48-inches.jpg Your Guide to the Best Shows at London Gallery-Share Condo - 伦敦画廊共享公寓最佳表演指南 Erin Riley,继兄弟2017,羊毛和棉花挂毯,1.2 x 1.2 m.礼遇:P.P.O.W.,纽约,主办P.P.O.W.
1月12日至2月9日挂毯和织布的周日画家近年来变得更加突出,正如一种回归到物质投资和工艺的感觉,似乎受到了数字领域的威胁。Erin Riley对媒体的使用就像是日记式的摄影,来自郊区生活的特写镜头,被标为半米长的挂毯:被丢弃的用过的谦卑大酒瓶避孕套(2018年);深红色滑坡6(2018年);一条裤子里沾满血迹的内裤衬里;一个橡胶怪物玩具坐在一个“嘟嘟”的旁边。Sie Roll’Coin Bank in Stepbrother(2017年)。莱利利用挂毯的历史作为叙事媒介,描绘了一个亲密的、女性化的故事,用裸体自拍和避孕药的静物生活来讲述。megan-plunket-bury-me-in-a-pet-sematary-08-2018.jpg Your Guide to the Best Shows at London Gallery-Share Condo - 伦敦画廊共享公寓最佳表演指南 megan plunket,bury me in a pet sematary,2018年,照片。礼貌:埃玛林,伦敦埃玛林主办埃玛努埃尔莱尔
1月12日至2月9日,你可以打电话给盖伦戈伯的工作坚持一半。几十年来,这位美国艺术家一直在创作简单的灰色画布,然后邀请其他艺术家在他们认为合适的时候与他们合作,作为一种框架和协作的行为。他们不会透露日期,直到同一位艺术家完成交易。这些年来,这已经演变成了杰伯平行的“支持”系列(未注明日期),在这个系列中,从啤酒罐到18世纪的日本茶碗,物体都覆盖着相同的哑光灰,这是一种擦除和语义平衡的行为,同时似乎在等待下一次重拍。在埃玛林,他展示了他消失的行为的一小部分,与支持(未注明日期),镀金镜框画了一个统一的灰色。这是一个视觉真空,部分会被埃玛琳的梅根·普朗科特的照片填满。她的系列作品《年轻的女人和狗》(2018年),在Craigslist上的图片中,一只看起来很放松的狗坐在罐子旁边,还有一匹马。未知U 0.JPG Your Guide to the Best Shows at London Gallery-Share Condo - 伦敦画廊共享公寓最佳表演指南 Adriano Amaral,无标题,2018,铝结构,足球鞋,硅胶,蚱蜢,铝粉,鹅掌,反光玻璃珠,71 x 26 x 18 cm。礼貌:Galeria Jaqueline Martins,S_o Paulo Rodeo主办Galeria Jaqueline Martins
1月12日至2月23日葡萄牙籍巴西Adriano Amaral的装置感觉像是从一个烧毁的反乌托邦中摘录出来的,因此是我们这个时代的一种合适的艺术。青铜铸成的蜂巢滴下半透明的硅树脂,而根部与管子和金属丝缠绕在一起,延伸到变黑、扭曲的显示屏上。《无题》(2018年)的旧散热器被一种橡胶之类的外质拉长,一些树枝和鱼化石露在外面,像喷泉一样伸展开来,并由顶部喷出的铝片完成。自然和科技最终融合在他的世界中,创造了一个新的、封闭的环境,对我们人类来说不太舒适。ap-mujis-00001-ab-xx.jpg Your Guide to the Best Shows at London Gallery-Share Condo - 伦敦画廊共享公寓最佳表演指南 sandra mujinga,《颠覆性模式》,2018年,电影《静止》。礼貌:艺术家,克罗尼尔森和方法,伦敦“变形金刚”在方法
1月12日-2月10日身体设置成原子化,通过绘画,视频和雕塑在东伦敦画廊的一个小组展览的方法。Sascha Braunig明亮而奇异的肖像通过霓虹灯商店标志和无休止的电视广告的美感,呈现出一种新的、逼真的超现实主义。桑德拉·穆金加(Sandra Mujinga)的视频(2018年)中,一个同样塑化了的头部在镜头中来回舞动,而她的“披肩”系列(2017年)中的一件作品则挂在附近:人造革和乳胶制成的可穿戴设备暗示着另一种体型——长而触手状的四肢。然而,最引人注目的是波兰艺术家玛利亚·皮尼·斯卡·贝雷尔(1931-1999)的雕塑,这证明了她作品的精确性和幽默性。安息日(1987年)是一种可以用来清洁的悬挂式扫帚,具有巫婆用扫帚的卡通形象。但这更像是一种武器和逃跑的手段:这把扫帚把一个垫子和一块清洁布弄歪了,紧紧地指向月球。主要图片:Sascha Braunig,无标题(框架),2018年,丙烯酸和丙烯酸水粉纸,31 x 41厘米。礼貌:艺术家,福克斯制作和方法,伦敦;照片:查尔斯本顿克里斯菲特瓦西拉克克里斯菲特

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