Transparent Things uses Chapter 1 of Vladimir Nabokov’s novel as a script. In this brief text objects exert uncanny agency, pulling us back anecdotally and materially into their past, and catalysing radical perceptual shifts. This 'script' lends itself to an exploration of contemporary sculpture.
Vladimir Nabokov, Colour Plate 55; Colour Plate 41; Colour Plate 44 by Vladimir Nabokov. © Vladimir Nabokov, used by permission of The Wylie Agency (UK) Limited. Photo: Mark Blower.
Artists have been invited to contribute works as co-readers of the text, with new works contributed by Michael Dean, Marie Lund, Virginia Overton, and Renee So, alongside works by Nairy Baghramian, Carlotta Bailly Borg, Becky Beasley, Gareth Cadwallader, Nina Canell, Theaster Gates, David Hammons, Lucy Skaer, Vladimir Nabokov and Kerry Tribe.
Virginia Overton, Untitled (cascade), 2020. Aluminium sign parts, ladders, steel drum, Uni-strut, water, pump, hose, sandbags and hardware. Commissioned by Goldsmiths Centre for Contemporary Art, London. Courtesy of the artist and White Cube. Photo: Mark Blower.
Goldsmiths Centre for Contemporary Art, London
21 February – 3 May 2020 (Closed due to the Covid-19 pandemic)
Presented by Natasha Hoare
Edited by Martin Kennedy
Renee So, Figures & Vessels, 2019. Stoneware, terracotta. Courtesy of the artist and Kate MacGarry. Photo: Mark Blower.
Michael Dean, (Unfucking Titled) fucked dove / pigeon, 2020. Steel, cable ties, padlocks, concrete, customised scene tape, paperback books (Pollen, 2015). Courtesy of the artist and Herald St, London. Photo: Mark Blower.
Theaster Gates, Sound Cube, 2019. Azobe, Hammond B3 Organ and Leslie speaker. Courtesy of the artist and White Cube. Photo: Mark Blower.
Ellen Gallagher: AxME
“…When we are moved and have discovered or learned to funnel the mucous of situations that happen throughout our generational lives, we have the capacity to be victorious, slaying wrong perceptions and ill-fitted social anxiety.”1 So writes the artist and poet Theaster Gates in his text on American artist Ellen Gallagher.
The Shape of Things to Come: New Sculpture
Fragility in strength, destruction in creation, nature in artifice, beauty in abject deformation – these are just a few of the myriad paradoxes which confront the audience at the Saatchi Gallery’s current exhibition, The Shape of Things to Come: New Sculpture. Showcasing works by 20 international artists, and exploring an incredible range of materials, this survey show marks the first time the entire gallery has been devoted to works in 3D.
Questions of whether one perceives light, or the object generating light, or whether light is just that, which illuminates, are partly why the current exhibition at the Hayward Gallery, The Light Show, is so fascinating.
Los Angeles takes Manhattan
It is a fine New York moment for California. For no reason that art-worlders can explain, six of Los Angeles’ slow-to-emerge, mid-60s-generation artists have taken over major venues in the city and, with no competition from West Chelsea’s summer shows – the majority held over from spring – are holding court like rock stars.