Let's start with double birds...
|Koen Vanmechelen in The Crypt (photo by Alex Deyaert)|
To 10 Jan: www.purdyhicks.com
|Jeffreys flew over from Australia to be with her birds, here ‘Neville’ Major Mitchell’s Cockatoo (often seen as the most beautiful of them) and ‘Bob’ Long-Billed Corella (an old-stager with a broken beak).|
|'Pete' Red-Tailed Black Cockatoo|
João Onofre: Tacet @ Marlborough Contemporary, 6 Albemarle Street - Central
|Tacet, 2014 . Still from single channel HD video|
João Onofre likes to generate music from paradoxical nojunctions, and thid show centres on a performance of the notorious 4’33’’, for which John Cage's only instruction is 'tacet' - it is silent. Ambient sounds are a large part of Cage's point, but here they come from the piano and with some spectacle as the pianist sets it alight. Other works with a strong sense of time passing complete show: the seasonal medium of a haiku embossed on the Portuguese parliament; wind chimes tuned to the notes D.E.A.D. in reference to a 1968 Bruce Nauman piece; and a large aquatint,in which binary code for the Universal Declaration of Human Rights, takes on a calendar-like formation.
. Still from single channel HD video|
Suspicion @ the Jerwood Space, 171 Union Street - Bankside
To 7 Dec: www.jerwoodvisualarts.org
The Jerwood Space provides an unusually complete package: an interesting curatorial position from Dan Coombs, spinning off a scene from Hitchcock; a short story which takes that in an entertaining new direction; and a good selection of painters, including Benjamin Senior’s weird integrations of figures with their surroundings, Damien Mead’s subtle take on the Janus double, Geraldine Swayne’s spookily intimate focus on women who may have been murderees, and Cavadonga Valdes’ car mysteriously parked in ivy - not forgetting the curator’s own distortions, the latest in his paintings from collages made up of images distorted by a photocopier (if you like that sort of thing, there’s another reason to check out Take Modern’s Polke show).
|Piers Secunda: A Texas Well, 1928, 2013, Texas crude oil and varnish on industrial floor paint with cast paint nuts and bolts in bespoke frame|
To 19 Dec: www.thewappingprojectbankside.com
|Break of Day, 2014|
|Parsons demonstrates the usefulness of White (Dark/Light Spectrum), 2013 - as a halo!|
Ben Nicholson @ Richard Green, 33 New Bond St & Francesca Simon: Site Lines @ Beardsmore Gallery, 23-24 Prince of Wales Road - Kentish Town
|Ben Nicholson: June 1960 (stone goblet)|
|Francesca Simon: False Construct 1, 2014|
|Ground floor gallery with basketball drawings|
Pedro Cabrita Reis: The London Angles @ Sprovieri, 23 Heddon Street - Central
To 6 Dec: www.sprovieri.com
|The London Angles, 2014|
As a collateral event, having represented Portugal officially in 2003, Pedro Cabrita Reis made one of the best installations of the last Venice Biennale. He's been little shown in London, though, making this a welcome chance to see his typical constructions of architectural elements and integrated light, playing with the experience and energies of viewing in space. There are also newer streams of work: sculptures which play off the columns of Sprovirei’s main gallery to create – in the subsidiary room - the eponymous ‘London Angles’, in which the object is light and its apparent shadow an object; and monochrome paintings which deflect attention to their architectural framing, the inside of which turns out to be the most painterly element. It’s all beautifully judged.
|unframed #7, 2014 - enamel on aluminium, double glass, MDF, armature, fluorescent light and electric cable|
To 30 Nov: www.ravenrow.org
|Correction of National Colours, Measured by Distribution of Wealth, 1972 (black = middle class, red = remaining households, yellow = big business)|
Ideal Landscape: Meditation Wedge, 1:10, 1969
PREVIOUS CHOICES STILL ON
Images courtesy / copyright the relevant artists and galleries