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Channa Horwitz , 'Time Structure Composition III, Sonakinatography I', 1970, Casein paint on graph paper. Courtesy Estate of Channa Horwitz. Photo by Timo Ohler
Friday Dispatch 8 Apr 2016 By Caroline Douglas

Channa Horwitz at Raven Row, London

For anyone who may have come across her work for the first time at the 2013 Venice Biennale, or last year at the Tinguely Museum in Basel as part of Haroon Mirza’s collaborative exhibition, this is at last an opportunity to grasp Horowitz’ project in greater depth.

Elizabeth Price, 'A RESTORATION', 2016, two screen HD video installation, 18:36 min. Courtesy of the artist and MOT International, London & Brussels. Made in response to the collections and archives of the Ashmolean and Pitt Rivers museums, commissioned as part of the Contemporary Art Society Annual Award for Museums. Produced in partnership with the Pitt Rivers Museum and The Ruskin School of Art
Friday Dispatch 18 Mar 2016 By Caroline Douglas

Elizabeth Price, A RESTORATION, the Ashmolean Museum, Oxford

Elizabeth Price’s unique way of addressing her subject renders it intellectually thrilling, as well as physically exhilarating to experience

Mark Wallinger, ID, installation view, Hauser & Wirth London, 2016. Photo: Ken Adlard. © Mark Wallinger. Courtesy the artist and Hauser & Wirth.
Friday Dispatch 11 Mar 2016 By Caroline Douglas

Mark Wallinger, ID, at Hauser & Wirth, London

Wallinger’s genius is to take the seemingly banal and use it to jerk us out of the everyday towards a more acute understanding of where we stand, in the great scheme of things. That he does this with such humour and lightness of touch is what makes the work so enormously rewarding

Steven Claydon, The Gilded Bough, installation view, Sadie Coles HQ, London, 2016. © the artist, image courtesy Sadie Coles HQ, London. Photograph: Todd White, London.
Friday Dispatch 4 Mar 2016 By Caroline Douglas

Steven Claydon, The Gilded Bough, at Sadie Coles HQ, London

Steven Claydon’s new show at Sadie Coles, his second with the gallery, is the product of two years’ work. In the period since his last show here in 2012 he has shown in Los Angeles, Munich, Milan, Geneva and Bergen.

Hito Steyerl, Duty-Free Art, installation view, Museo Nacional, Centro de Arte Reina Sofia, Madrid, 2015. Courtesy the artist and Andrew Kreps Gallery, New York. Image courtesy Museo Nacional, Centro de Arte Reina Sofia, Madrid.
Friday Dispatch 26 Feb 2016 By Caroline Douglas

Hito Steyerl, Duty-Free Art, at Museo Nacional, Centro de Arte Reina Sofia, Madrid

Hito Steyerl’s current exhibition in Madrid offers the most comprehensive view to date of the work of an artist with arguably the sharpest analysis of our particular moment in history.

Narelle Jubelin, As yet untitled (Lina Bo Bardi, 1987), 2014, cotton on silk petit point, 37 × 33cm, framed. © the artist, Courtesy of Marlborough Contemporary, London. Photo: Francis Ware.
Friday Dispatch 19 Feb 2016 By Caroline Douglas

Narelle Jubelin, Flamenco Primitivo, at Marlborough Contemporary, London

Narelle Jubelin is an artist whose work has long been concerned with the way ideas transition through time and across continents.

Becky Beasley, ‘A Man Restored A Broken Work’, 2015, HD Video, 21 mins. Courtesy the artist and Laura Bartlett Gallery, London
Friday Dispatch 12 Feb 2016 By Caroline Douglas

Becky Beasley, Lake Erie from the Northwest, Laura Bartlett Gallery, London

Becky Beasley’s new show at Laura Bartlett Gallery brings together work from the last 12 years of her career.

Claire Hooper, Clay as Bread and Dust as Wine, installation view, Hollybush Gardens, 2016. Courtesy the artist and Hollybush Gardens. Photo: Andy Keate.
Friday Dispatch 5 Feb 2016 By Caroline Douglas

Claire Hooper, Clay as Bread and Dust as Wine, Hollybush Gardens, London

“This show is an example of what galleries do at their very best: offering the opportunity for an artist to experiment in a substantial way, to develop and grow their practice, to take risks. Which in this case, in my humble opinion, has paid off handsomely.”

Charles Mayton, Ort, 2015, waterbased oil paint, acrylic, polymer varnish on discarded produce boxes, 49.5 x 39.4. Courtesy the artist and The Approach, London. Photo: FXP photography.
Friday Dispatch 22 Jan 2016 By Caroline Douglas

The Approach and Carlos/Ishikawa, London

Condo is the rather brilliant idea of Vanessa Carlos, co-founder of four year-old Carlos/Ishikawa gallery in Whitechapel. For the last week, just mentioning the gallery exchange project has invariably elicited…

Sabine Moritz, Der rote Rock (The Red Skirt), 2015. Oil on canvas, 150 x 150 cm. Image courtesy the artist and Pilar Corrias Gallery. Photograph: Damian Griffiths.
Friday Dispatch 15 Jan 2016 By Caroline Douglas

History Lessons on Eastcastle Street

As the new year grinds in to gear after the slumberous holidays, and new shows are starting to open across town, I thought I would just catch up on a…

'Tightrope Walk: Painted Images After Abstraction', installation view, North & South Galleries, White Cube Bermondsey, 25 November 2015 - 24 January 2016. Photo © White Cube (George Darrell)
Friday Dispatch 18 Dec 2015 By Caroline Douglas

Tightrope Walk: Painted Images After Abstraction, curated by Barry Schwabsky, at White Cube Bermondsey, London

For those of you not sensibly leaving town for the holidays, the next week or two offers the opportunity to take a more leisurely approach to getting round town to…

Mark Leckey, Dream English Kid, 1964 - 1999 AD, installation view, Cabinet, London, 16 October - 28 November 2015. Image courtesy the Artist and Cabinet, London.
Friday Dispatch 4 Dec 2015 By Caroline Douglas

Mark Leckey, Dream English Kid 1964 – 1999 AD, at Cabinet, London

Mark Leckey’s new film showing at Cabinet Gallery was premiered earlier this autumn at the BFI Film Festival in London. Leckey won the Turner Prize in 2008, and is an…

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