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The Vorticists: Manifesto for a Modern World, Tate Britain, London.

Review by Sarah Richter, a candidate for the MA in Art History at Richmond the American International University in London.

Vorticism was a British Avant Garde movement that occurred simultaneously with WWI and although the summer exhibition at the Tate Britain, the Vorticists: Manifesto for a Modern World, contains work that exhibits infusions from Cubism, Primitivism and Futurism, the Vorticists main aim was to break with and challenge the objectives of the aforementioned groups. The Vorticists were concerned with achieving the recognition that Britain deserved in the art world. Long overlooked as a centre for artistic production, London was seen as not having any sort of artistic predilection, and if any, much lower than that of heart of artistic innovation, Paris. The movement, whose name was coined by American poet Ezra Pound, was a rejection of the propriety that defined Edwardian England and embraced the radical changes of the modern world. Voritcism, was led by the British artist Wyndham Lewis and encompassed more than just art but also writers, poets and sculptors.

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Two Weeks, Ten Artists, One Objective: Artist of the Day 2011, Flowers Gallery, Cork Street, London.

Pioneered by Angela Flowers in 1983 Artist of the Day is an annual event whereby ten selectors choose an artist to each hold a one day solo exhibition over the course of two weeks. Running from the 27 June – 9 July, this year’s selectors include Julian Opie, Tim Head, Alison Wilding and Chantal Joffe. Each of the ten chosen artists will show at Flowers Cork Street for one day during the course of the two weeks. On Saturday 2nd and 9th July there will be a group exhibition of artists who exhibited during the week. We’ve handpicked our favourites below.

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Fundamental Stages of Being: Presence, Absence, Kingsland Road Studio, London.

Review by Alex Tieghi-Walker

Tucked underneath an ordinary yellow-bricked housing development, like so many now trailing the canal in East London, is a rather extraordinary space – in another life it was probably an underground car park, but today the Kingsland Road Studio has been furnished with whitewashed beach huts and from 10 – 13 June, Presence Absence, the first exhibition here with energetic works by four young London artists. The Kingsland Studio is the offspring of a small collective of photographers and designers who, as well as stashing themselves away in a hardback-lined corner of the blanched space, provide a place for creative peoples to create and present their art. Zachary Eastwood-Bloom, James Irwin, Brendan Olley and Alida Sayer are the lucky quartet chosen to inaugurate the studio, of which one half is taken up by pleasantly calming typographical and geometric installations and the rest of the space housing the more disruptive tendencies of the artists.

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Pablo Bronstein: Sketches for Regency Living, ICA, London.

Review by Paul Hardman

Bronstein is the first artist to have had the opportunity to use all of the ICA‘s available spaces for a solo exhibition. The three main gallery areas, along with corridors and stairwells, have provided him with a puzzle that suits his own work particularly well, since the subject of much of his work is the vocabulary of Regency period design and architecture, and building that houses the ICA, Nash House, is itself a grand example of this genre. This connection between the artists work and the architecture creates a relationship that is at times ironic, charming and occasionally confusing. But it a connection that I am sure delighted the artist, and this delight shines through in the parts of the exhibition that work most successfully.

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Multi-Sensory Dialogues: Q&A with Russell Hill, Catlin Art Prize Winner 2011.

Established in 2007, the Catlin Art Prize recognises and supports the development of recent art graduates in the UK. Following their final degree shows, artists are selected for their potential to make a significant mark in the art world during the next decade and invited to demonstrate their progress by presenting a new body of work at the Catlin Art Prize exhibition, held twelve months on from graduation.

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Transformations in the Domestic Realm: Haegue Yang, Teacher of Dance, Modern Art Oxford.

Review by Lucy Hobbs

Five tomato cans, elevated on a cylindrical platform boasting tightly-knitted mauve exteriors introduce visitors to Haegue Yang’s foremost solo UK exhibition Teacher of Dance. Seoul-born Yang has been living and working in Berlin and Seoul for the past fifteen years and Teacher of Dance presents an album of over a decade of the artists work. Yang’s sculptures and installations research and formulate connections between private space and domesticity by frequently utilising and manipulating recognisable household objects and consumerist goods. Transformation of household entities is a frequent attribute in Yang’s work which reflects explicitly on her impressions of modern civilisation, society and community.

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Marjolijn Dijkman: Theatrum Orbis Terrarum, Spike Island, Bristol.

Review by Regina Papachlimitzou

In Theatrum Orbis Terrarum, Dutch artist Marjolijn Dijkman offers a fresh and intriguing perspective on the well-trodden but nonetheless relevant and significant subject of the effects that human presence perpetuates on its surroundings. Setting off from starting points as disparate as 18th century exploration, atomic physics and urban decay, Dijkman’s work reveals an intriguing dimension of the (often strained) relationships between human beings and the theatrical stage that is the globe we tread on.

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Liverpool’s First International Photography Festival: Look11, Various Venues, Liverpool.

Review by Kenn Taylor

A new entry on Liverpool’s cultural calendar, Look11, is a vast photography festival encompassing exhibitions, events and projects taking place over several months. Like the similar but larger Liverpool Biennial, it has taken over many of the city’s arts venues for the duration and has an over-arching theme – ‘photography as a call to action’.

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Photographic Examinations of Femininity: Neeta Madahar & Madame Yevonde, PM Gallery & House, London.

Review by Sarah Richter, a candidate for the MA in Art History at Richmond the American International University in London.

The Role Play exhibit is situated in a section of the 19th century manor home and grand gardens of the Pitzhanger Manor-House located at Ealing Broadway in West London. The show features the work of both Neeta Madahar and Madame Yevonde. The show combines Madahar’s contemporary work with that of Madame Yevonde’s from the 1930s. Both explore the construction of female roles in photography and thus contemporary society, with Madhar’s contemporary series Flora drawing inspiration from the work of Madame Yevonde’s from the 1930s entitled Goddesses, their relationship is easily identifiable and the works have been interspersed, with a Madame Yevonda next to a Madahar and they blend seamlessly together as they depict photographic explorations of femininity in similar ways. Without reading the captions under the images, it’s hard to discern which work belongs to which artist. The influence and legacy that influenced Madahar’s current work is palpable when examining Madame Yevonde’s visually stunning and emotionally gripping portraits of society women.

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The Sly and Unseen Day: George Shaw, South London Gallery

Review by Paul Hardman

The most important thing to say about this George Shaw exhibition, The Sly and Unseen Day is that the paintings are incredible. Of course the subject matter is what would be considered ugly, or at best mundane, but since his images tend to look rather downbeat and dry in reproductions it should be emphasised that seeing the actual paintings is an unexpectedly rich experience.

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The Quiet Man of the YBAs: Angus Fairhurst, Westfaelischer Kunstverein, Münster, Germany

Angus Fairhurst (1966-2008) was one of the most influential members of the group of artists associated with London’s Goldsmiths College in the late 1980s. Fairhurst participated in the seminal exhibition, Freeze, in 1988, which introduced the world to a generation who became known as the Young British Artists, setting the tone for contemporary art in the UK over the next two decades. The retrospective at Westfälischer Kunstverein is the first major exhibition of his work in Germany.

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Broadening Access to the Visual Arts: Q&A with Nathan Engelbrecht, Director of EB&Flow Gallery, London.

Interview by Bethany Rex

EB&Flow opened this spring in Shoreditch with an aim to build long term relationships with artists from a formative stage in their career and as their practice develops. The gallery aims to increase access to the visual arts by running an education programme on collecting, curatorial practice, and artist professional development, as well as artists talks and guest curated projects. The inaugural show, Since Tomorrow, celebrated the core group of EB&Flow artists and the new show, which opens today, focuses on the work of one of the EB&Flow artists – Katie Louise Surridge (b.1985).