Adam Chodzko launches his first solo exhibition at Marlborough Contemporary from 6 November until 21 December with a brand new multimedia project, Room for Laarni, Image Moderator. Showcasing Chodzko’s fascination with the individual, the “crowd” and the network of relationships that form in society, the show focuses upon image moderator character, Laarni, who streams images across Western social media networks, checking for the most extreme content shifting across the technological waves.
With the rain lapping down and the streets turning grey, this weekend is certainly one for sheltering away in a warm gallery with some of the world’s best exhibitions for company. Whether you’re in the mood for the cheerily colourful or the stripped back and reflective, there’s bound to be something in the art world to keep out the cold this Saturday and Sunday. Here are a few ideas of shows you might like to try.
In the catalogue prepared for the first ever Contemporary African Art Fair to take place in the world, the foreword by Koyo Kouoh, the fair’s Cameroon-born artistic director, draws attention to many important aspects of the fair. However, one of the most crucial points she makes is as follows: “The global reception of African art has morphed from the shadows of dusk into the splendour of rose in the course of a decade.” Just as it has been with Middle Eastern art in the last decade, African art has also been on the global artistic agenda. Bringing together 54 African countries under one roof, as well as 70 emerging and established artists, the fair comprises of 15 exhibitors from Abidjan to Lagos. The variety of art produced across African countries; sculptures, photography, paintings, installations, mixed-media pieces of completely different artistic movements all reflect the richness of Africa’s history and geography as well as the contemporary cultural abundance inherent within the infrastructure of the continent.
The surprisingly captivating marriage of Gonzalez-Torres and Hirst sounds like a much worse idea than it actually is. Take an endless, amorphous, intellectually charged installation by a brilliant dead conceptual artist, and pair it with some second-rate paintings by a living conceptual artists who is better known for the depth of his wealth than of his work, and you have the perfect show for Frieze.
This year at the Aesthetica Short Film Festival (ASFF), running from 7 to 10 November in York, audiences will have the opportunity to engage not only with mainstream cinema, but also experience a programme of thought-provoking artists’ film. This year’s event will exhibit the festival’s strong links with the world of contemporary art, showcasing a line-up of outstanding artists’ films and related masterclasses.
Weetwood Hall on the outskirts of Leeds, plays host to an art conference offering eight speakers the chance to produce a convention that will cover the less familiar side of art. Examining the difference between artist intent and audience reception, Appreciating Aspects of Art considers how to define, curate and engage with art.
In conjunction with this Autumn’s Asian Art in London, Rossi & Rossi opens In-Between, an exhibition showcasing the artistic brilliance found in a group of Tibetan carved wood manuscript covers. Dating from the 12th to the 15th centuries, the varied covers will be presented alongside contemporary pieces produced in direct response to them. Nearly 30 new Tibetan sculptures and paintings are set to be on display and they each provide a commentary on the stunning survivors. Curated by Tenzing Rigdol, some of the artists involved are Marie-Dolma Chophel, Gade, Rabkar Wangchuk and Palden Weinreb, besides many more.
For their second exhibition, the Chalet Society has focused upon Californian artist, Jim Shaw. From 24 October until 24 January Shaw’s 40-year practice will be under the spotlight. The artist has produced a significant number of incredible paintings, drawings, videos, installations and performances. He is also a compulsive collector, drawing his inspiration from pop culture pieces, comic books, rock music, B movies and amateur paintings. As the title of the showcase suggests, it will be Shaw’s extensive archive of collected memorabilia on display rather than his own artwork.
Mitra Tabrizian’s new series Leicestershire makes its UK debut at The Wapping Project Bankside from 8 November to January 2014, showcasing a selection of near-dystopian shots taken in the county still bearing the marks and memories of its once central position in the textile and hosiery industry.
Irving Penn: On Assignment is an eclectic collection of photographs and media taken or published between the 1940s and 2008. Yet there is a unity to the pictures that derives from excellence. Beyond the artistic vision and pushing-the-envelope elaboration of form and style of the images as pictures or icons which many before have archived in the annals of art and media history, there is also the total mastery by Penn of the print.
Wolfgang Tillmans returns to Maureen Paley for his seventh solo show at the gallery. Until 24 November his exhibition, central nervous system, is both a departure from and a continuation of his Neue Welt project (a study that develops ways of capturing and printing imagery using advanced digital technology). This new showcase presents a revived exploration into portraiture for Tillmans and focuses on a single subject throughout the works.
Two exhibitions that seem, on first impressions, worlds apart have opened, simultaneously, at Turner Contemporary, Margate. Dorothy Cross Connemara and Turner And Constable: Sketching From Nature, Works from The Tate Collection straddle an almost two-century gap, contemporary mixed-media on one side, Romantic painting on the other. However, despite their differences, the two exhibitions complement one another well. The organic, poetic and quietly thoughtful works of Dorothy Cross conjure the smell of salt air and visions of the sea. Tabernacle (2013), a video installation, for example, brings the sound of waves crashing into the gallery space. The physical elements of Cross’ exhibition too, composed mainly of materials taken from the shore – sundried sharkskin, stretched over the shell of an eroded boat, the bones of a whale, strung up over a rusted bucket – carry with them, even within the sterile context of the gallery, the memory of their place of origin. Cross’ exhibition slips, quite effortlessly, into the other, Turner And Constable: Sketching From Nature, in which, through heavy, dark and rich oils, landscape and seascape are obsessively represented and reproduced.