Text by Alison Frank
The Japan Foundation has hosted an annual touring film programme since 2004. This year, between 10 February – 28 March, a set of 9 contemporary Japanese films will tour 7 UK cities (London, Sheffield, Edinburgh, Glasgow, Belfast, Bristol and Nottingham). Two directors with films in the programme have been invited to introduce their work: Masayuki Suo (I Just Didn’t Do It, 2007) at London’s ICA and Katsumi Sakaguchi (Sleep, 2011) at both ICA and Sheffield’s Showroom & Workstation cinema.
Text by Ella Mudie
When Nalini Malani, one of India’s most prominent contemporary artists, was invited to create a large-scale new media installation for presentation in India Contemporary at the Venice Biennale in 2005, her response was the startling and enigmatic video play Mother India. Recently acquired by the Art Gallery of New South Wales in Sydney, this provocative visual and sonic response to the challenge of representing continuous cycles of gendered violence is currently screening in the gallery’s Asian art wing.
Text by Angela Darby
The opening of Interplanetary Revolution may feature a cocktail bar, a chorus of ice cream vans, the introduction of another currency and a song by The Factotum Choir that they never quite cracked. Are we the warriors of the Revolution?! Are you? Drawing inspiration from the 1924 Russian propaganda animation of the same name, Interplanetary Revolution is a project that will include at least two new simultaneous group exhibitions and the installation/reworking of another. Looking at failing/ed ideologies; notions of otherworldliness and the uncanny; and revolutionary critique, Interplanetary Revolution will be an opportunity to collapse a few assumptions and undermine previous relationships.
Text by Dan Tarnowski
Slows is a new exhibition of paintings by the Brooklyn artist, Ridley Howard. Howard’s second show at Leo Koenig Inc. marks both a new direction in his artwork and a continued exploration of his typical style, which could be described as conceptual figurative work.
Text by Kathryn Hall
The family is unique as a social institution: it functions largely in private, while at the same time has a public character; it may be defined one way for political purposes, yet assume any number of forms through personal perceptions and biological associations. According to context, the word family can carry with it notions of safety, obligation, compassion, social norms, or role fulfilment.
Text by Regina Papachlimitzou
In his first UK solo exhibition, Silver Lion Award winner of last year’s Venice Biennale, Haroon Mirza unfolds the map of an uncharted soundscape at once inviting and forbidding. His show /|/|/|/|/|/|/|/|/|/|/|/|/|/|/|/| (the title being the “typographic representation of a sawtooth waveform” –that is to say, the representation of sound waves) consists of installations in which the auditory element heavily outweighs the visual. Each installation is pervaded by its own distinct mood, but all share a common denominator in the intensity of the experience and of the response each work elicits.
Text by Daniel Potts
In Numbers does not claim to be an exhaustive survey of serial publications since 1955, but aims to provide the contours of the genre. An extensive collection of artists’ serial publications is arranged into different groupings of periodicals in the Lower Gallery at the ICA, proving a diverse array aesthetically and globally, and requiring close inspection. Although periodicals first appeared in Europe around the end of 18th century, this exhibition features periodicals by avant-garde artists working within the last 60 years who adapted the format in their own ways, coming from movements such as Dada and De Stijl.
Text by Emily Sack
Colchester in Essex is known as being the oldest documented town in the UK. A visit to this charming city is likely to include a tour of the castle, a pint in an historical pub, and, surprisingly, a large golden arc of a building showcasing cutting edge contemporary art from around the globe. Opening just several months ago, the new creation by Rafael Viñoly Architects makes its presence known in the historical town, encouraging an emphasis on the contemporary. Steven Claydon’s first solo UK show is the second site-specific exhibition created for the impressive space.
Text by Heike Wollenweber
Dana Schutz (b. 1976) has developed a distinctive visual style characterised by vibrant colour and raw and tactile brushwork. If the Face Had Wheels is a survey of the artist’s work (spanning 2001 – 2011) that includes 30 paintings and 12 drawings, inviting viewers to enter into a world where fantasy and humour meet horror. Not an absurd question for Schutz.
Text by Bethany Rex
Following the successful Creative Works Competition, Aesthetica Magazine has launched an annual Aesthetica Art Prize. The Aesthetica Art Prize is open for submissions from now until 31 August 2012, and provides an invaluable platform for emerging and established artists, offering contenders a first prize of £1,000. The four shortlisted professional entrants and four shortlisted student entrants will also their have their own exhibition at a venue in York, their work published in the Aesthetica Art Prize Annual and their work praised in Aesthetica Magazine.
Text by Matt Swain
Peintures Carrées (Square Paintings) is a new exhibition of works on square, screen-reprinted Plexiglas by French artist Jean-Marc Bustamante (b. 1952). Bustamante is a noted conceptual and installation artist who incorporates ornamental design and architectural space into his work. Emerging principally as a photographer in the 1970s, Bustamante has since explored the space between photography, sculpture, architecture and decor. His work represents mental landscapes and combines different artistic languages where past experiences blend to create a unique visual experience.
Text by Travis Riley
The exhibition’s title puts in mind an idea of declassification and redefinition. It is borrowed from Georges Bataille (1897-1962), whose Critical Dictionary was printed as a regular section of his surrealist journal Documents (published in Paris from 1929 through 1930), and functioned on the basis that “A dictionary would begin from the point at which it no longer rendered the meanings of words but rather their tasks.” This endeavour is embodied in David Evans’ curation of the exhibition.