Winner of the Aspen Online Art Award creates a virtual world from the unique digital fingerprints of users
The £5,000 commission launched on 3 May 2017
‘Age of Terror: Art since 9/11’ at Imperial War Museum London
A chilling reminder of how the political, social and cultural aftershocks of 9/11 continue to reverberate around the world more than 16 years later, the ‘War on Terror’ seemingly infiltrating every area of our lives.
Catherine Opie: Portraits and Landscapes at Thomas Dane Gallery
Only when we take time to slow down and immerse ourselves into the intimate studies of her friends can we explore the vulnerability and intimacy of each sitter and the humanity of Opie’s subjects above all.
Helen Cammock: Shouting in Whispers, at Cubitt Gallery
Cammock challenges us to reflect on how we commemorate and represent historical moments and people and to think about who is rendered invisible or unacknowledged by history and present culture.
Tschabalala Self: Bodega Run, at Pilar Corrias
Tschabalala Self’s work is primarily concerned with the ethno-cultural stereotypes surrounding the Black body within contemporary culture, ‘Bodega Run’ at Pilar Corrias Gallery is Self’s first foray into installation.
Theo Eshetu: The Slave Ship, at Tiwani Contemporary
The film is a hypnotic meditation on how the concept of free trade reinforces inequalities and injustices that seem to have their roots in the transatlantic slave trade.
Chris Ofili: Weaving Magic at the National Gallery
The tapestry took five craftsmen and women three years of weaving, using over 250 colours to replicate Ofili’s watercolour sketch on a x800 scale
Two large-scale photographic works by Guy Moreton acquired for Tullie House Museum, Carlisle
The large-scale photographic works explore the Lake District landscapes that shaped German artist Kurt Schwitter’s final artistic practice, his fourth ‘Merzbau’.
Her appropriation of found footage, combined with a sophisticated take on 21st century social media communication, give her a very distinct voice, full of humour and energy.
The Place is Here at Nottingham Contemporary
The question arises why it has taken almost 30 years to gain the visibility that black artists were already fighting for in the 1980s.
Bouchra Khalili at Lisson Gallery, London
Her presentation of ‘counter-geography’, and the power of oral history, can be understood as a means of reclaiming history and space from the perspective of subjects that are situated at the margins of the global order.