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Dialogue - Review
Border Farm at the South London Gallery
Two reviews of the SLG's screening of the Thenjiwe Nkosi's docudrama on a group of Zimbabwean "border jumpers"
Posted: Mar 15 2011 | More...
Dialogue - Review
Martin Creed's latest show at Hauser & Wirth's Savile Row galleries
Posted: Feb 18 2011 | More...
Dialogue - Review
A show of three young artists that display strong narratives in their work, showing until 12 March 2011
Posted: Feb 01 2011 | More...
Dialogue - Review
Unheralded Stories at Purdy Hicks
Tom Hunter's solo show at Purdy Hicks gallery on the Southbank, running until January 15th 2011
Posted: Dec 14 2010 | More...
Dialogue - Preview
Our last preview of the year sees openings at LIMA ZULU, Flowers, John Martin, Hive and last chances this...
Posted: Dec 13 2010 | More...
Dialogue - Preview
Openings at Pilar Corrias, Josh Lilley, Space in Between and talks at Gasworks, Paradise Row, and the RCA
Posted: Dec 06 2010 | More...
Dialogue - Review
Bloomberg New Contemporaries 2010 at ICA
The old lady of 'new artist' awards returns to the ICA this year with outstanding film and video...
Posted: Dec 03 2010 | More...
Dialogue - Review
Zigelbaum + Coelho at Riflemaker
Riflemaker exhibits the Miami Basel Designers of the Future award-winners, running until 31 March
Posted: Dec 01 2010 | More...
Dialogue - Review
Seventeen's latest exhibition, 'a show with Tourette's', which is open until 23rd December 2010
Posted: Nov 27 2010 | More...
Dialogue - Review
Newspeak part II at The Saatchi Gallery
The second part of The Saatchi Gallery's blockbuster new British art show showing in London
Posted: Nov 25 2010 | More...
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Agnieszka Gratza
In this slow-paced Triple Bill of solo performances setting the artists' bodies within haunting soundscapes, Shunt Vaults is gradually recovering from 'Visions of Excess', a twelve-hour feast of live art at its most daring displayed there on April 12th.
The evening gets off to a fine start with Carla Esperanza Tommasini's eerily beautiful 'Tears of Eros'. Covered from head to toe in gold paint, the body-turned-sculpture starts crawling towards us down a long band whose metallic silver sheen off-sets its golden hue. The erotic charge of the piece is progressively diffused as the taut golden body unfolds before our eyes revealing its innermost recesses, down to the inside of its gaping mouth - obscenely red.
Each piece has its own designated performance space; at Shunt Vaults you are spoilt for space. For the next show we proceed to the adjacent room strewn with cushions for all to sit on. But Richard Hayes's 'Listen, My Secret Fetish' makes for anything but comfortable viewing. The four 'sound pieces' for clarinet, saxophone and bass drum - relentless by dint of repetition - are performed in different parts of the room by Hayes, donning a different garb each time in varying degrees of nudity.
Things pick up again (though not in pace) with 'The Modes of Al-Ikseer'. A square pool filled to the brim with a dubious-looking substance giving off a rancid smell is how Harminder Singh Judge imagines the ocean of milk out of which the world was created according to Hindu myth. Clad in a sarong and looking the part of an oriental sage, the artist rotates on its surface achingly slowly, letting the message scrawled in neon letters appended to his waist ('Pick up the receiver and I'll make you a believer') sink in bit by bit until it erupts into the blasting lyrics of Depeche Mode's 'Personal Jesus'.
Triple Bill was performed on April 13th and 14th at Shunt Vaults as part of the Spill Festival, April 2 to 23. Click here for the programme.