By Stephanie Bailey
Taking over Sofia Touboura’s independent project space, Open Show Studio, for a one week programme of live poster painting sessions, sound performances and general hanging out with whoever chooses to stop by, George Kakanakis’s The Democracy of Hunger is definitely not an exhibition – Kakanakis prefers to see it as a stockpile of propaganda materials, evidenced in the posters exhibited within the 2-floor space.
Review by Jenny Thompson
Answering these two questions initially seems easy. However, if we consider our social and emotional histories, we begin to uncover a plethora of information and feelings. Who are you? Where are you going? Emotional Learning Cards are the latest product from Iniva and A Space, designed specifically to stimulate and challenge our views on identity, cultural belief systems, values and attitudes.
For 2010 the second edition of The Manchester Contemporary (28 -31 October) continues to harnesses cutting-edge and critically engaged contemporary art in the North West region. Taking place in a purpose built temporary structure, this year’s fair takes a flexible approach to the presentation of work and offers a platform for internationally exhibiting artists and those that are new and emerging.
By Kenn Taylor
Bloomberg New Contemporaries is an open-submission showcase for art students and recent graduates, which takes emerging artists and their works out of the educational realm and places them within the framework of the “real” art world. The exhibition has a long-established pedigree, having been in existence in various forms since 1949, and it provides a rare opportunity for early career artists to get their work shown in a professional gallery context.
TOM WESSELMANN: Works 1958–2004 opened earlier this month in London at Haunch of Venison, marking the most extensive exhibition of his work to date in the UK.
In the early 20th century, Duchamp posed the question of ownership in art and yet despite all the ensuing discussions surrounding postmodernism, authorship and everything else in between, something has been lost; just because the work of art has become part of a Baudrillardian network of signs and significations, that is not to say that the potential for an autonomous or original form is a thing of the past.
By Kenn Taylor
The Liverpool Biennial, now in its sixth incarnation, is the largest festival of contemporary art in the UK. It’s a huge undertaking and the extent of the festival can only really be appreciated by walking around it. Every two years the city is literally filled with art in every conceivable place. Virtually every medium is represented by hundreds of artists from all corners of the globe. Although the Biennial opened 3 weeks ago, it continues until 28 November, so there’s still plenty of time to visit.
The Simon Oldfield Gallery opened in Covent Garden earlier this year and with an exciting exhibition programme, the gallery offers a platform for emerging artists. The last show, New Symphony showcased four exponents of a new generation of UK sculptors: Tim Ellis, Sam Plagerson, Katie Cuddon.
I know that you’re not supposed to have favourites, but Marina Abramović, really is one of my favourite contemporary artists today, which is a paradox because I often find performance art hard and durational. It requires so much attention, and time (which is something I’m often short of), but I find her work inspirational. Abramović demands your attention, and you can’t help being intrigued.
This issue begins with Small Scale, Big Change, a survey of 11 architectural projects that redress the debate between architecture and society. Exploring the idea of unique in Mechanical Couture, designers are re-engaging with mechanical reproduction. British photographer, Neeta Madahar, creates beautiful images that contemplate the genre. This is juxtaposed with newcomer, Rebecca Handler, whose work embraces new technologies, raising questions around contemporary image-making.
I am a big fan of Jerwood – covering visual arts, dance, theatre, literature and music, they see the arts the same way that I do, and celebrate creativity in all its guises. So I was delighted to learn that Virginia Verran was named the winner of the Jerwood Drawing Prize 2010 for her piece Bolus-Space (signal). Her work, along with that of the 70 short-listed artists will be shown at Jerwood Space in London until 7 November 2010, and will then tour to Cheltenham, Berkshire, Carmarthen and Durham.