Moving through decadence, desire and its eventual dissolution, the rigorous visual rhetoric of Israeli-born American artist Elad Lassry has infiltrated the White Cube. Known for his distinctive and unapologetic style, Lassry’s particular brand of kitsch, using a strict 11.5 x 14.5 inch photographic format complete with coordinated frame, could easily be brushed aside as a hybrid Californian pop-minimalism. But if you allow subject to give[…..]
Like other missed opportunities, there are always certain exhibitions that you regret not seeing – the ones you mean to visit, plan to visit, even try to go and visit – but something gets in the way. Many are forgotten, but in some cases, the in absentia can continue to haunt for years. Locked Room Scenario scratches at these open wounds of regret. As an[…..]
We are all cyborgs… as Donna Haraway proclaimed in her 1991 manifesto. The fusion of man and machine in popular culture, scientific exploration and artistic production in the late 20th century, was loaded with fear, alongside great aspirations, of genetic engineering, technological advances and mechanisms of control. However, the anxiety of the future that was expressed in 1990s art with the exploration of digital interfaces[…..]
Summer tends to be a time of spectacle in London – massive installations, blockbuster shows, international festivals and grand theatrical events. With smaller galleries closed and many leaving for a break from the claustrophobic city and intellectual rigour, the spectacle is relied upon to attract the attention of the audience who remain. Israeli designer Ron Arad’s massive undertaking at the Roundhouse, aptly titled Curtain Call,[…..]
Jake and Dinos Chapman are one of those duos whose artistic identity seems to be forever fused together – much like the disfigured, conjoined zygotic children they famously produced in the 1990s. So what happens when that artistic relationship in severed? As their current exhibition in London shows – really, not that much. Spread across both of the White Cube spaces in London, Jake &[…..]
It is rare to see Marina Abramović without a mask. Not a physical barrier – as we know well, she often performs without a stitch of clothing or a smear of make-up. This covering is an emotional sheath – a rigid facade upheld throughout her work and her career even at the most vulnerable of moments. So it was beguiling to find here, under layers[…..]
In the aftermath of the manic, dizzying opening of the Venice Biennale, it is refreshing to see an alternate possibility for an international exhibition on the coast of England – a project, that much like it’s place, embodies the understated, the poetic and the site-specific – a welcome breathe of fresh air in contrast to the global displays of power battling it out at the[…..]
