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Top Five Exhibitions this Week!

Posted on March 29, 2017

Top 5 Exhibitions This Week

We have chosen 5 of the best contemporary art exhibitions from around the UK to visit this week.

Draw To Look

Royal West of England Academy

02 Apr 17 - 07 May 17


‘We only see what we look at. To look is an act of choice.’

 - John Berger, Ways of seeing.

Hannah invites you, one at a time, to join her in the gallery, at a desk specially made for two people to draw each other.

A simple occasion to notice the looking that drawing allows and the difference it makes.

You will become a part of this evolving project, open to all experience. You can participate in this one-on-one performance on: 2 April, 23 April, 7 May

Hannah Sullivan is a Bristol based performance artist invested in reframing and opening creative practices, by focusing thought on what they do. Drawing does many things, it records but it also asks us to pay attention. Hannah is interested in the liveness of observational drawing, the affect this occasion has on our relationship to what we choose to draw, and the resulting marks as maps of our looking. Using a simple drawing exercise Hannah aims to make some time for you to consider what we cultivate when we draw. Draw To Look is a new participatory work developed especially for the Drawing Lab at DRAWN 2017, inspired by the RWA building and spaces it consists of a specially made drawing desk, a one-on-one performance and an evolving exhibition.

Draw To Look is presented in association with MAYK and supported by Royal West of England Academy and Arts Council England. With Thanks to Loft 6D, Interval, Cove Park, and the writings of John Berger and Tania Kovats.

Dramaturgy by Alice Tatton Brown

Design assistance from Alexander Stevenson

Produced by Katherine Hall


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Sonia Boyce: We move in her way 


1 Feb 2017 – 16 Apr 2017


Sonia Boyce presents a new body of work created especially for the ICA.  We move in her way involves the exploratory vocal and movement performances of  Elaine Mitchener, Barbara Gamper and her dancers Eve Stainton, Ria Uttridge and Be van Vark, with an invited audience. A multi-media installation has been generated from the documentation of their open-ended live performance. The title of the work suggests two possible readings: that ‘she’ dictates our movements; or that we obstruct ‘hers’, with both interpretations suggesting power is at play.

Boyce has a participatory art practice where she invites others to engage performatively with improvisation. In this process, she encourages contributors to exercise their own responses to the situations she enables, where she steps back from any directorial position to observe the activities and dynamics of exchange as they unfold. Once the performance is played out and documented, Boyce reshapes the material generated, in what she calls “recouping the remains”, to create the artwork as a multi-media installation.

We move in her way was created in this way as a performative laboratory, in which the audience and performers negotiated the ICA Theatre space around sculptural objects and their own bodies. Play and playfulness unfolded during the open-ended live performance, sparking a breakdown of assumed order between performers and audience. The dynamics of power-play shifted between the masked audience, the performers and the sculptural objects created as a means to facilitate touch and being together, whilst remaining distinct.

Notions of difference and relatedness make reference to the enduring influence of Dada within We move in her. Processes of collaborative improvisation are exemplified in the piece, referencing the Brazilian artist Lygia Clark in the late 1960s and 70s. Some of the masks worn by the audience are a re-working of Sophie Tauber’s Dada Head (1920) – itself an appropriation of Oceanic sculpture. The final artwork takes another playful turn to create a multi-layered and multi-media installation.


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London Gallery West

29 March 2017 to 21 May 2017


London Gallery West is delighted to present a retrospective of works by Ian Bourn from the last six years, featuring installation and assemblages combining painting, video and performance.

A pioneer of British video art, Bourn is best known for his self-performed video diary pieces with their fictional, tragi-comic characterisations drawn from real encounters, and for the collaborative site-specific performance events he co-instigated as part of the HOUSEWATCH group (1985-1997). Since 2010 Bourn’s work has expanded in new directions, incorporating painting and graphic elements and utilising interval-record video to develop the idea of pictorial composition as a time-based narrative.

Following cuts to public sector arts funding, the artist began a reassessment of his working practice. “My reduced circumstances forced me quite literally to go back to the drawing board and start painting; something I hadn’t done since college” explains Bourn. Making imagery, at first derived from the dilapidated interior surfaces of Bourn’s home, and later from his self-image reflected in mirrors, was to provide the source material for a series of installations described by the artist as “exercises in topographical and physiognomic conjecture, and meditations on the creative process”.

Initial compositions were based on a rough section of plasterwork near the skirting board of the kitchen wall, from which the artist extrapolated the image of a rocky coastline. This invented scene formed the basis for several landscapes, each visualised differently in terms of geological features, time of day and meteorological conditions. “As the coastal scene ‘revealed itself’ differently each time I painted it, I became interested in the nature of visual invention”, says Bourn. “I proceeded to make video recordings documenting the progress of each picture and my role in its construction.”

In 2014 Bourn initiated his Self-Reflective project, a set of mixed media works exploring self-portraiture. Incorporating similar techniques to Peninsula, the works in this series are also concerned with process. The video sequences constitute a range of different approaches to self-depiction. Using projections and mirrors, Bourn presents the process of self-portraiture as a developing narrative, in which self-image is continually under review and re-inventing itself.

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Tate Modern

31 MARCH 2017 AT 19.00–23.00


Experience immersive live cinema in the Tanks


Permanent Installation, South Terrace: Fujiko Nakaya, London Fog with Ryuichi Sakamoto and Shiro Takatani â�¨From 19.00 Tanks foyer and East Tank: Isabel Lewis Occasion â�¨19:10, East Tank: CAMP Four-Letter Filmâ�¨20.00, South Tank: Carlos Casas Sanctuary â�¨22.00, East Tank: Melanie Bonajo Pilgrimage with the Animals

On the fifth night of the BMW Tate Live Exhibition Carlos Casas presents the world premiere Sanctuary, an experimental sound and infrasound environment by day and live film experience by night. Inspired by the myth of the elephants’ graveyard – a place where elephants instinctively know to go at the end of their lives – Sanctuary takes up themes of extinction, interspecies communication and the cinematic imaginary. Part adventure film, part experimental nature documentary, the film gives way to a spectacle of stroboscopic light signalling the journey’s transition to a purely sonic experience, featuring live Ambisonics 3D sound spatialisation and infrasound recordings documented and developed by sound artist Chris Watson in collaboration with spatial sound specialist Tony Myatt.

In the East Tank, Melanie Bonajo’s Pilgrimage with the Animals proposes a space in which we can communicate through the senses. Attempting to create a sense of unity with the creatures with whom we share the planet, the performance challenges the forms of relationships that humans build with the animal world, asking whether we can move beyond a sense of reverence for the animal, the rainforest, the mountain or the wilderness towards a more concrete ethics of shared experience and solidarity. Bonajo asks: ‘In what ways are we consciously and unconsciously connected with other life forms? Will some of our thoughts and feelings go extinct along with the species vanishing from our lives?’ Pilgrimage with the Animals is performed by Patricia Bardi, Izabella Finch, Daniel Hernandez, Anthony Goh, Edoardo Mozzanega and Rozalind Holgate Smith, with new music by the composer Michael Beharie.

Isabel Lewis hosts her ongoing series of Occasions, a complete sensory experience bringing music, dance, food, and drink to the Tanks. 

CAMP’s Four-Letter Film can be seen during a fifteen-minute period in the East Tank. The film takes the form of an overheard conversation that plays out through text displayed via a large-scale, minimum-bandwidth LED structure.  

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Stephen Friedman Gallery

17 March 2017 - 21 April 2017


Stephen Friedman Gallery is pleased to announce a presentation of new work by Lisa Brice. This will be the artist's first exhibition dedicated to paintings on paper. Vibrant works in cobalt blue gouache will line the walls of 11 Old Burlington Street. Each work is an intimate figurative portrait of feminine power and sensuality.â�¨ â�¨This will be Brice's first exhibition at Stephen Friedman Gallery. She was born in 1968 in Cape Town and now lives and works in London, also spending time in Trinidad following a residency in 2000. Brice's practice is concentrated on haunting and emotive portraiture. She references art history, images of women in the media and photographs she has taken herself. Brice's work was recently included in the much lauded exhibition ‘Making and Unmaking' curated by Duro Olowu, at Camden Arts Centre in London last year.


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