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Still from Matilda Skelton Mace, Sky Island, 2017. Courtesy of the artist.
Art Consultancy 3 May 2017 By teamcas

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

Omer Fast, 5000 Feet is the Best, 2011. Film still, single channel projection (30 mins). © Omer Fast
Friday Dispatch 8 Dec 2017 By Christine Takengny

‘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, David, 2017 (Detail). © Catherine Opie, Courtesy Regen Projects, Los Angeles and Thomas Dane Gallery, London
Friday Dispatch 3 Nov 2017 By Christine Takengny

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 installation view, Cubitt Gallery, 2017. Photography by Mark Blower, courtesy of Cubitt Artists.
Friday Dispatch 13 Oct 2017 By Christine Takengny

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, Habibi Papi, 2017. Watercolour, acrylic, flashe, gouache, coloured pencil, hand-coloured photocopies, photocopies hand-coloured canvas on canvas. 243.8 x 213.4 cm. Photo: Damian Griffiths, Courtesy of the artist and Pilar Corrias Gallery
Friday Dispatch 15 Sep 2017 By Christine Takengny

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, 2015. Single channel video installation with sound, 14m 28s. Courtesy of the artist and Tiwani Contemporary. Photographer © Sylvain Deleu 2017.
Friday Dispatch 28 Jul 2017 By Christine Takengny

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.

Installation view of Chris Ofili, The Caged Bird's Song, 2014–2017. Wool, cotton and viscose. Triptych, left and right panels each 280 x 184 cm; centre panel 280 x 372 cm. © Chris Ofili. Courtesy the artist and Victoria Miro, London, The Clothworkers’ Company and Dovecot Tapestry Studio, Edinburgh. Photography: Gautier Deblonde
Friday Dispatch 28 Apr 2017 By Christine Takengny

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

Guy Moreton, KS02, The Wilderness, Langdale, 2012. Museum framed C-print, 78 x 102 cm. Courtesy: the artist
Recent Acquisitions 26 Apr 2017 By Christine Takengny

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’.

Martine Syms, still from Notes on Gesture, 2015
Artist to Watch 30 Mar 2017 By Christine Takengny

Martine Syms

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.

Lubaina Himid, A Fashionable Marriage, 1986. Courtesy artist & Hollybush Gardens. Photo Matthew Birchall & Tao Lashley-Burnley
Friday Dispatch 17 Mar 2017 By Christine Takengny

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, The Mapping Journey Project, 2008-2011. Installation view, 'Here and Elsewhere', New Museum. Courtesy New Museum, New York. Photos Benoit Pailley
Friday Dispatch 10 Feb 2017 By Christine Takengny

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.

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