Featuring Ming Smith, Frida Orupabo and Missylanyus. The Serpentine presents the work of the acclaimed US filmmaker, cinematographer and artist Arthur Jafa. Across three decades, Jafa has developed a dynamic, multidisciplinary practice ranging from films and installations to lecture-performances and happenings that tackle, challenge and question prevailing cultural assumptions about identity and race.
This is Wolfgang Tillmans’s first ever exhibition at Tate Modern and brings together works in an exciting variety of media – photographs, of course, but also video, digital slide projections, publications, curatorial projects and recorded music – all staged by the artist in characteristically innovative style.
Dont’ mis sthis from Sonia our own UAL Chair of Black art!
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 playNotions 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..
South African artist William Kentridge (b.1955, Johannesburg) is renowned for his animated expressionist drawings and films exploring time, the history of colonialism and the aspirations and failures of revolutionary politics.
In this major exhibition of six large-scale installations by the artist, music and drama are ruptured by revolution, exile and scientific advancement.
This Also at Whitechapel- is very much worth a look.. and it’s free…
Characteristically deploying their strategic combination of humour, information, bold graphics and a subversive use of public space, their latest campaign includes a banner installed on the front of the Gallery and a display of posters and new research.
This is a must- see show for anyone interested in Artists’ Film!
It’s a major exhibition of work by the internationally celebrated filmmaker and artist, Chantal Akerman. It’s the first large scale exhibition in the English-speaking world of Akerman’s installation work. There will be seven installation works at Ambika P3: the centrepiece will be NOW (2015), a powerful 8 channel video installation with surround sound originally commissioned for the Venice Biennale 2015. For this work, Akerman collected images from desert regions, specifically violently contested regions in the Middle East, her aim to present the current condition of violence and conflict as lived experience.
Ambika P3, University of Westminster,
35 Marylebone Road, London NW1 5LS
Opening hours: Daily except Mondays
Tue–Fri, 11am–7pm, Sat–Sun, 12pm–6pm
Nearest tube: Baker Street
Some interesting video work here to view online, especially if you are interested in a
“kind of artistic practice that through video mimics the production processes of advertising, TV and fashion – a practice that instead of opposing the corporate/institutional spectacle, flirts with its idioms and subverts its (commercial) objectives.”
Animal with a Language engages with ‘rage against reason’, an attempt to foreground agency against a backdrop of prevailing flatline economies. In the exhibition, degraded actions and material forms, the political unconscious, body languages of exile and the salvage of utopian moments interact. Unorthodox, multi-layered and eclectic, Oreet Ashery’s expansive body of work confronts ideological, social and gender constructions within the fabric of personal and broader contemporary realities.
Within the troubling global condition of The Un/Clean, Ashery interrogates the paradoxical coexistence of revolt and desire towards the unclean and animalistic, the annihilation of the self and others.
Beware! The Unclean Are Rising Again! They Exist! They do Exist!