27.2.11

Robin Friend


Confused, Self Portrait, 2003
 

Furlongs

Robin Friend’s work is constructed from the experience and interaction we have with landscape that has been transformed throughout history: he is inspired by our connection with nature, leaving all traces of city life behind. Frustrated with our fragmented relationship with the land, he sets out to explore another way of seeing and thinking about the world.

24.2.11

Vanessa Billy


Wait, Sit, Converse,  2009


Isa Genzken

Genzken responds to the built environment in a unique way, touching on architecture, art, design and social experience in her most recent work. She augments sophisticated formalism to create her own interactions with material and procedure. Her work is a result of associations of utopian ideals with escapist fantasy whilst retaining order and form.

America Room, 2008
 

Oil, 2007



Windscreen 2, 2008
 


White Horses, 2008
 

23.2.11

Richard Prince


Untitled (cowboy), 1980-84
 
 
Untitled (girlfriend), 1993




14.2.11

Marlo Pascual


Eva Rothschild


Burning Tyre, 2004
 Eva Rothschild creates sculptures which function independently. They act as a solitary objects, made from banal materials: a found tyre filled with incense sticks. Once set alight, the gallery is filled with a pleasing aroma, creating an ephemeral self destructing entity.

Daniel Pflumm

                 
                  PFLUMM 2.0 (Logoflut) from Matthias Löffler on Vimeo.

8.2.11

Martin Creed

Martin Creed
Hauser and Wirth
03/02/11




I am a fan of Martin Creed, and although a lot of people snub his 2001 Turner Prize winning piece Work No. 227: The Lights Going On And Off , I personally enjoy the concept and the amount of controversy one simple idea can trigger. 
Unfortunately, the visit to Hauser and Wirth Gallery on Savile Row did not live up to my expectations. Personally, his paintings did not stir up any emotion or even a vague interest, I prefer his more sculptural work, they create a presence within the space.
The gallery is split into two different buildings, with Creed's more prominent piece situated solely in one space. When I say I prefer Creed's work with more of a presence, his main piece of work should not of fallen short of expectations. "MOTHERS" is a gigantic, rotating sign spelt out in huge neon lettering, spinning round faster and faster then slowing down once more in an uncontrollable cycle. The audience is invited to walk underneath, yet whether or not they do is a different matter, depending of the confidence of oneself.
 Unfortunately for me, Mothers was in need of repair and i could only observe this stationary neon monster with my nose pressed up against the window unable to appreciate it in full swing.

Susan Hiller

Tate Britain
Susan Hiller
03/02/11

PSI Girls, 1999

The Entertainment, 1990