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New Connections Within The Polyphonic Whole: Janet Cardiff, Fabrica Gallery, Brighton

Review by Amy Knight Sound has, perhaps more than any other sensory stimulation, a transcendental power that can immerse the listener in an all-encompassing awareness…

The Globe Shrinks for Those Who Own It: Barbara Kruger, Sprüth Magers, London.

Review by Laura Bushell There’s a game children play when they want to enrage their siblings; that of repeating verbatim everything the other says. Maintained…

Two Portrayals of Life: Miroslav Tichý and Shimabuku’s My Teacher Tortoise, Wilkinson Gallery, London.

Review by Mallory Nanny, a candidate for the MA in Art History at Richmond the American International University in London. Located in the lively art…

Sam Knowles, Fearful Sphere, at Simon Oldfield Gallery, London

Sam Knowles’ first solo exhibition, Fearful Sphere opens tonight in London. Knowles’ (b.1983) practice deals with metaphysical concerns, and the notion that the world…

Ian Hamilton Finlay | Definitions at Victoria Miro, London

By Sarah Richter, a candidate for the MA in Art History at Richmond the American International University in London. Ian Hamilton Finlay’s show currently at…

Vija Celmins, Television and Disaster (1964 – 1966), LACMA, LA.

Review by Jareh Das Los Angeles County Museum of Art presents an intimate exhibition of Vija Celmins works, focusing on the artist’s time in Los…

Articulating Sounds As Visual Imagery: Sam Belinfante, Penumbra, mima, Middlesborough

Review by Jareh Das As you approach mima (Middlesbrough Institute of Modern Art) in Centre Square the viewer is confronted by a resounding female operatic…

The Wider Narratives of the Middle East: Rabih Mroué, The People Are Demanding, Iniva, London.

Review by Jareh Das Lebanese artist, theatre director, playwright and actor, Rabih Mroué presents his first UK solo show at iniva which centres around ongoing…

Predominantly Political Art? Peter Kennard, At Earth, Raven Row, London

Review by Kara Magid, a candidate for the MA in Art History at Richmond, The American International University in London. Painters George Shaw and Karla…

Contemporary Lighting Design: WOKA, Vienna

WOKA was born in 1900, they produce handmade reproductions of exclusive lighting-fixtures from the early 20th century. Handmade in Vienna, with original tools using the…

Manipulations of Form, Weight and Volume: Michael Sailstorfer, Modern Art Oxford

Review by Matt Swain Modern Art Oxford hosts Michael Sailstorfer’s first solo presentation in the UK, comprising mixed-media sculptural interventions exploring notions of flight, movement…

Francis Alÿs: A Story of Deception, MoMA, New York.

Francis Alÿs: A Story of Deception at The Museum of Modern Art and MoMA PS1 opens on 8 May, drawing upon MoMA’s unique and important…

Experiments in Space Exploration: Secret Satellites, Belfast Exposed.

Review by Angela Darby For the exhibition Secret Satellites curated by Karen Downey, the Belfast Exposed gallery has been divided into three distinct sections. The…

Arab Spring: Hesam Rahmaniam, Paradise Row, London.

Review by Jessica Jones-Berney It is with acerbic wit that Iranian-born artist Hesam Rahmanian deplores the rapidly unravelling fabric of his native land, consumed by…

Contemporary sculpture in Croatia + Hungarian reflections, Hungarian National Gallery

Review by Adam Harangozó For the opening event of the Croatian Culture Months, the Hungarian National Gallery has arranged a rich exhibition from the works…

Cross-generational Dialogues: Margaret Harrison & The Girls, PayneShurvell, London

Review by Laura Barone,, a candidate for the MA in Art History at Richmond the American International University in London. It’s only April, but what…

The Outsider: Still Lives, Robert Lenkiewicz, Royal West of England Academy, Bristol

Review by Regina Papachlimitzou Speaking in relation to the second major controversy he triggered in a course of a creatively chaotic life (namely, his deal…

Everyday Scenarios & Complex Iconography: Paul Graham, Whitechapel Gallery, London.

Review by Emily Sack, a candidate for the MA in Art History at Richmond the American International University in London. A visit to Whitechapel Gallery…

Contemporary Russian Discourse: Practice For Everyday Life, Calvert 22, London.

Review by Sarah Richter, a candidate for the MA in Art History at Richmond the American International University in London. Calvert 22 is a not…

Joan Miró at Tate Modern: The Ladder of Escape

Review by Ruby Beelsey The latest in a string of blockbuster shows at Tate Modern, Joan Miró needs no introduction. As one of the defining…