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Just an observation? Review – Duchy Gallery, Glasgow

Review by Alistair Q

As you come off High Street and enter the beginnings of the bedraggled East End, across from a noisy new construction site and in the midst of a row of hollowed out skeletal shop fronts you could be forgiven for the surprise at finding the large boisterous works of Michael White hidden amongst the churning hub of renewal taking place outside the small Duchy gallery in Glasgow.

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Last Weekend of the January Sale – Know Your Aesthetica

If you read this blog, then your probably already know about Aesthetica Magazine, but just to recap Aesthetica is a British-based international arts and culture publication that was founded in 2002. Aesthetica engages with the arts both in the UK and internationally, combining dynamic content with compelling critical debate and pushing boundaries while exploring the best in contemporary arts and culture.

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Gareth Cadwallader’s Tangible Reality

Review by Paul Hardman

Window Paintings: Gareth Cadwallader

The new Gareth Cadwallader exhibition at the Hannah Barry Gallery, Peckham gathers much of its resonance not only from its content but also from its context in this location. The stark contrast between the environs of the gallery, the gallery itself and the idyllic scenes depicted in Cadwallader’s large scale photographs cannot help but have an effect on how the work is experienced.

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Review: Gerard Byrne at MK Gallery

Review by Nicola Mann

Case Study: Loch Ness (Some possibilities and problems),
2001-2011.

Gerard Byrne grew up in Dublin in the 1970s. It was a time and place where socio-political realities were filtered through the hazy gauze of influence installed by the Roman Catholic doctrine. The chasm between historical facts and fictions, and their distance in time and space from the present, informs Byrne’s artistic repertoire. In his video and photo installation 1984 and Beyond (2005-2007), Byrne re-staged a 1963 Playboy interview series with science-fiction luminaries of the time.

Haroon Mirza, Northern Art Prize exhibition_ Credit Simon Warner

Northern Art Prize- It’s not the winning…

Review by Bethany Rex

The Northern Art Prize celebrates and rewards contemporary visual artists based in the North of England. Now in its 4th year, it has established itself as a significant and relevant not only in the North, but nationwide too. A maximum of 24 artists are put forward by 12 nominations from the North East, North West and Yorkshire regions. The lucky four who make the shortlist exhibit their work in a group show at Leeds Art Gallery. We popped over to the Award Ceremony not only to extend our congratulations to Haroon Mirza, this year’s winning artist, but to celebrate the contribution of all those who took part.

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London Art Fair 2011 – The Round-Up

Review by Bethany Rex

Presenting over 100 galleries and featuring some exceptional contemporary work from leading figures and emerging talent, this year’s London Art Fair is exceptional. The opening night provided a refreshingly buoyant atmosphere, which was steadily helped along by a crowd of people who were clearly more than ready to shed the incessant recession talk that has hung around arts organisations like a bad omen throughout 2010.

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Filmmaker Series – Part 3 Q&A with Shaun Hughes

We continue our Q&A with the Aesthetica Short Film Competition winners with some insights from filmmaker Shaun Hughes. Shaun’s film, Mother, is an intense and devestating film set in 1970s Scotland. In a remote farmhouse a woman takes her own life, leaving her husband and 12-year-old daughter alone and isolated. As the seasons pass the father’s grief becomes more intense. His daughter tries to relieve his suffering and on the one-year anniversary of the death, and in the wake of their loss, we witness how fully the daughter has fallen into her mother’s role.

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Review: What Next For The Body at Arnolfini, Bristol

Review by Regina Papachlimitzou

Unon entering What Next For The Body, you are greeted by a warm and comfy lounge, complete with inviting brocade sofa and armchairs, a table littered with art books, and low lighting. The gallery is inviting you to take some time to relax, make use of the reading material provided, leave an opinion or just contemplate the exhibition on your way out. This feeling is quite unlike what you might be used to experiencing upon entering the high-ceilinged, almost austere foyer of Arnolfini.

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Review: Uamh/Cave – Gill Russell at the Royal Scottish Academy

Review by Colin Herd

Every year, Sabhal Mòr Ostaig, the centre for Gaelic language and culture on the Isle of Skye, hosts an artist residency programme for artists interested in producing work informed by an engagement with Gaelic language, culture and environment. One of the current recipients is installation artist Gill Russell, and some of the work she’s produced in the residency is now on show, for the month of January, in the downstairs gallery at the Royal Scottish Academy.

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Review: Marcel Dinahet at Domobaal, London

Review by Emma Cummins

In a world saturated with images; with photographs, films, videos and video art; Marcel Dinahet’s work is a welcome reprieve. Now in his sixties, Dinahet has been working almost exclusively in video since he abandoned sculpture in the early 1980s. Exploiting the intimacy and transportability of the video camera, Dinahet’s work is characterised by a quiet ambiguity, which resists any straightforward narrative logic.

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Visual and Performance Art for All

Q&A with Alice Lobb, Gallery Programmer at artsdepot. Artsdepot an exciting and vibrant arts venue in North London, committed to providing a diverse range of high quality visual and performance arts for everyone.

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Journey through the Afterlife: Ancient Egyptian Book of the Dead at the British Museum

Review by Robert J. Wallis & Tiffany Jow

Dr Robert J. Wallis is Professor of Visual Culture and Director of the MA in Art History, and Tiffany Jow is a candidate for the MA in Art History; both are at Richmond the American International University in London.

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Review DAVID MALJKOVIC at Sprüth Magers, London

Review by Charles Danby

From Grafton Street there was little to see. The large glazed exterior of London’s Sprüth Magers offered a near empty room and a side view of a 16mm projector towards its left end, an upfront disclosure of Croatian artist David Maljkovic’s alluring economy and deft intransience towards slightness and concealed thresholds.