Up Now in London
@ Marlborough Contemporary, 6 Albemarle St – Central
By titling the show with the Fibonacci Sequence, American sculptor Matt Johnson indicates that he’s working with science and ratios: not so obvious when you see piles of baguettes and a giant (65cm square!) pizza box. But the bread, which is piled in the ration of the golden mean, is a scale model of the Giza pyramid, and it isn’t wheat but wood suggesting stone. And the pizza box has a black hole vortex in the middle – making it the logical pair of a version of the cosmos painted onto the fibreglass replica of the unevenness of a tarp, setting up Johnson’s version of a blip in the space time continuum. Opening just after after Stephen Hawking’s death, this show begun to feel like a tribute. A swan and a frog watch over proceeding, both made from shells enlarged, cast in bronze, and painted to look like shells again. Fun, to which Hawking himself was far from averse, of course, before checking out at the surprising age, given his condition, of 76.
Black Hole Pizza Box, 2018, carved wood with paint, 26 x 25 1/4 x 5 in. (detail).
Cristina Garrido: Hymn, 2012 - homonymous work by Damien Hirst from the series of altered postcards Veil of Invisibility, 2011-present
The Gerald Moore Gallery makes a fine venue for Ann-Marie James’ stimulating presentation of collage and assemblage by 13 artists ranging from perhaps the most famous current practitioners (Linder, John Stezaker and Susan Hiller) to less known artists also finding logical reasons to represent and combine to generate a fresh aesthetic. For example Tim Davies subverts the function of bridges by sanding away their ‘from’ and ‘to’; Cristina Garrido almost erases the works of art from postcards, leaving us to wonder which are improved by the process; and Holly Stevenson’s riotously conjoins vintage postcards of 1950’s cowboy actors with the landscapes in which they acted, the latter in turn inhabited by snippings from jewellery adverts to ramp up their theme park qualities. I liked it more when Holly told me how one of the actors died following a marital row: he drove off with all his wife’s jewellery, crashed, and his head was fatally cracked by the flying casket of bling.
Invisible Cities: Architecture of Line @ Waddington Custot, 11 Cork St - Central
Maria Helena Vieira da Silva; Le couloir (ou Intérieur), 1948
oil and graphite on canvas, 46 x 55 cm
Liane Lang: Stalin's moustache and cafe installation view with Prussians and Other Villians (Prussian rulers and politicians) and Hair of the Devil (fascists and dictators), 2015
Dominic Beattie: Cascade @ JGM Gallery, 24 Howie St – Battersea
Anna Reivilä: Nomad @ Purdy Hicks, 25 Thurloe St – South Kensington
|Bond #31, 2017|
|Bond #29, 2017|
|Gabriela Schutz Blog 3, Blog, Art Posts I Liked and First Hand Experiences installation view by Oskar Proctor|
In The Future @ Collyer Bristow, 4 Bedford Row – Holborn
To 14 June
* By appointment during office hours: and subject to meetings sometimes occupying rooms, so Friday afternoon is a good time to visit. Comes with a nice booklet.
** Odd what you can learn looking at art: Reese's Pieces are American packs of peanut butter candy spheres, manufactured by The Hershey Company in yellow, orange and brown. Sales tripled when, in one of the earliest such film product placements, they featured at a cost of $1m in ‘E.T. the Extra-Terrestrial’, 1982.
Arno Beck: Textmode (Mountain), 2017 - typewriter drawing on Japanese paper
Lorna Simpson: Unanswerable @ Hauser & Wirth, Savile Row – Central
To 31 March
Gideon Rubin: Black Book @ Freud Museum, 20 Maresfield Gardens - Finchley Road
To 15 April
|Untitled, 2017: gouache on paper in antique frame|
Black Book (detail) - ink on serial parts of the 1939 English edition of 'Mein Kampf'