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, 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, 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, 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, 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, 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.”
Chiara Fumai, The Book of Evil Spirits, waterside contemporary, London
If you have ever played Ouija board then you will recognise what adorns the walls of Waterside Contemporary. Italian artist Chiara Fumai explores radical feminism through conjuring the occult in her new show at the Hoxton gallery.
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…
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, 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, 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…
Richard Rigg, Reoccurring Rose Garden, at Workplace London
I’ve been having a lot of conversations, these last few weeks, about how to negotiate a world that seems dominated by event-driven enthusiasm for art fairs, versus the old fashioned gallerist’s ‘craft’ of nurturing a stable of artists and presenting considered, coherent gallery exhibitions that introduce bodies of new work.