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Viewing The inner workings of Douglas Gordon’s brain at Gagosian

The Wick - Douglas Gordon at Gagosian Gallery, Grosvenor Hill, Jan 24
Above  Douglas Gordon at Gagosian Gallery, Grosvenor Hill, Jan 24
The Wick - Douglas Gordon, Gagosian Gallery, Grosvenor Hill, Jan 24
Above  Douglas Gordon, Gagosian Gallery, Grosvenor Hill, Jan 24
The Wick - 2023EastWestGirlsBoys, Gagosian Gallery, Grosvenor Hill, Jan 24
Above  2023EastWestGirlsBoys, Gagosian Gallery, Grosvenor Hill, Jan 24
The Wick - Douglas Gordon, Gagosian Gallery, Grosvenor Hill, Jan 24
Above  Douglas Gordon, Gagosian Gallery, Grosvenor Hill, Jan 24
The Wick - Douglas Gordon, Gagosian Galery, Grosvenor Hill, Jan 24
Above  Douglas Gordon, Gagosian Galery, Grosvenor Hill, Jan 24
The Wick - Douglas Gordon, Gagosian Gallery, Grosvenor Hill, Jan 24
Above  Douglas Gordon, Gagosian Gallery, Grosvenor Hill, Jan 24
The Wick - Douglas Gordon at Gagosian Gallery, Grosvenor Hill, Jan 24
Above  Douglas Gordon at Gagosian Gallery, Grosvenor Hill, Jan 24
The Wick - Douglas Gordon, Gagosian Gallery, Grosvenor Hill, Jan 24
Above  Douglas Gordon, Gagosian Gallery, Grosvenor Hill, Jan 24
The Wick - 2023EastWestGirlsBoys, Gagosian Gallery, Grosvenor Hill, Jan 24
Above  2023EastWestGirlsBoys, Gagosian Gallery, Grosvenor Hill, Jan 24
The Wick - Douglas Gordon, Gagosian Gallery, Grosvenor Hill, Jan 24
Above  Douglas Gordon, Gagosian Gallery, Grosvenor Hill, Jan 24
The Wick - Douglas Gordon, Gagosian Galery, Grosvenor Hill, Jan 24
Above  Douglas Gordon, Gagosian Galery, Grosvenor Hill, Jan 24
The Wick - Douglas Gordon, Gagosian Gallery, Grosvenor Hill, Jan 24
Above  Douglas Gordon, Gagosian Gallery, Grosvenor Hill, Jan 24

Douglas Gordon: All I need is a little bit of everything

Gagosian, 20 Grosvenor Hill, W1
1 February – 16 March 2024

Sentence fragments, questions and phrases in multiple languages seem to ricochet around the Gagosian gallery in Douglas Gordon’s All I need is a little bit of everything. “I am the author of my own addictions,” declares one English message inscribed in the gallery wall, while “It’s coming” asserts an ominous red neon Japanese sign. Roaming the gallery feels like inhabiting someone’s chaotic brain, with memories and anxieties bubbling to the fore.

This highly charged exhibition from the Scottish Turner Prize-winner also includes ‘2023EastWestGirlsBoys’, a transfixing video paean to Soho’s seedy past. Neon signage and words from bars, clubs and shops are reflected in a close-up of Gordon’s eyeball, which dilates and constricts in response, making a trippy tribute to the area’s erotic entertainment industry. The exhibition also coincides with the unveiling of a Douglas Gordon video work, ‘Undergroundoverheard’, at Tottenham Court Road station – one of several artworks commissioned by the Crossrail Art Programme for the Elizabeth line. The looped video builds on Gordon’s text-based artworks, while stopping commuters in their tracks.
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Dates
01 February 2024 — 16 March 2024

Viewing The Royal Academy explores art’s colonial history

The Wick - Lubaina Himid RA, Naming the Money, 2004 Mixed media installation with sound, dimensions variable National Museums Liverpool, International Slavery Museum, Gift of Lubaina Himid, 2013 Courtesy the artist, Hollybush Gardens, London and National Museums, Liverpool © Spike Island, Bristol. Photo: Stuart Whipps
Above  Lubaina Himid RA, Naming the Money, 2004 Mixed media installation with sound, dimensions variable National Museums Liverpool, International Slavery Museum, Gift of Lubaina Himid, 2013 Courtesy the artist, Hollybush Gardens, London and National Museums, Liverpool © Spike Island, Bristol. Photo: Stuart Whipps
The Wick - Sir Joshua Reynolds PRA, Portrait of a Man, probably Francis Barber, c. 1770 Oil on canvas, 78.7 x 63.8 cm The Menil Collection, Houston Photo © Hickey-Robertson, Houston
Above  Sir Joshua Reynolds PRA, Portrait of a Man, probably Francis Barber, c. 1770 Oil on canvas, 78.7 x 63.8 cm The Menil Collection, Houston Photo © Hickey-Robertson, Houston
The Wick - Kerry James Marshall Hon RA, Scipio Moorhead, Portrait of Himself, 1776, 2007 Acrylic on PVC panel, 71.1 x 55.9 cm Paul & De Gray © Kerry James Marshall. Courtesy of the artist and Jack Shainman Gallery, New York. Photo: James Prinz Photography
Above  Kerry James Marshall Hon RA, Scipio Moorhead, Portrait of Himself, 1776, 2007 Acrylic on PVC panel, 71.1 x 55.9 cm Paul & De Gray © Kerry James Marshall. Courtesy of the artist and Jack Shainman Gallery, New York. Photo: James Prinz Photography
The Wick - Tavares Strachan, The First Supper (Galaxy Black) (detail), 2023 Bronze, black patina, gold leaf, 217.3 x 928.6 x 267.9 cm Courtesy of the artist and Courtesy of Glenstone Museum, Potomac, Maryland. Photo: Jonty Wilde
Above  Tavares Strachan, The First Supper (Galaxy Black) (detail), 2023 Bronze, black patina, gold leaf, 217.3 x 928.6 x 267.9 cm Courtesy of the artist and Courtesy of Glenstone Museum, Potomac, Maryland. Photo: Jonty Wilde
The Wick - John Singleton Copley RA, Watson and the Shark, 1778 Oil on canvas, 183.5 x 229.6 cm Museum of Fine Arts, Boston. Gift of Mrs George von Lengerke Meyer Photograph © 2024 Museum of Fine Arts, Boston
Above  John Singleton Copley RA, Watson and the Shark, 1778 Oil on canvas, 183.5 x 229.6 cm Museum of Fine Arts, Boston. Gift of Mrs George von Lengerke Meyer Photograph © 2024 Museum of Fine Arts, Boston
The Wick - J. M. W. Turner RA, Whalers, c. 1845 Oil on canvas, 91.8 x 122.6 cm Lent by The Metropolitan Museum of Art, New York, Catharine Lorillard Wolfe Collection, Wolfe Fund
Above  J. M. W. Turner RA, Whalers, c. 1845 Oil on canvas, 91.8 x 122.6 cm Lent by The Metropolitan Museum of Art, New York, Catharine Lorillard Wolfe Collection, Wolfe Fund
The Wick - Kara Walker Hon RA, no world, from An Unpeopled Land in Uncharted Waters, 2010 Etching with aquatint, sugar-lift, spit-bite and drypoint on paper, 60.6 x 76.8 cm British Museum, London © Kara Walker, courtesy of Sikkema Jenkins & Co. and Sprüth Magers
Above  Kara Walker Hon RA, no world, from An Unpeopled Land in Uncharted Waters, 2010 Etching with aquatint, sugar-lift, spit-bite and drypoint on paper, 60.6 x 76.8 cm British Museum, London © Kara Walker, courtesy of Sikkema Jenkins & Co. and Sprüth Magers
The Wick - Francis Harwood, Bust of a Man, 1758 Black stone (pietra di paragone) on a yellow Siena marble socle, 69.9 x 50.2 x 26.7 cm The J. Paul Getty Museum, Los Angeles Digital image courtesy of Getty’s Open Content Program
Above  Francis Harwood, Bust of a Man, 1758 Black stone (pietra di paragone) on a yellow Siena marble socle, 69.9 x 50.2 x 26.7 cm The J. Paul Getty Museum, Los Angeles Digital image courtesy of Getty’s Open Content Program
The Wick - Ellen Gallagher Hon RA, Whale Falls, 2017 Oil, acrylic, ink and paper on canvas, 188 x 202 cm The Ekard Collection © Ellen Gallagher Courtesy the artist and Hauser & Wirth Photo: Ernst Moritz
Above  Ellen Gallagher Hon RA, Whale Falls, 2017 Oil, acrylic, ink and paper on canvas, 188 x 202 cm The Ekard Collection © Ellen Gallagher Courtesy the artist and Hauser & Wirth Photo: Ernst Moritz
The Wick - Sonia Boyce OBE RA, Lay back, keep quiet and think of what made Britain so great, 1986 Charcoal, pastel and watercolour on paper, 152.5 x 65 cm (each) Arts Council Collection, Southbank Centre, London © Sonia Boyce. All Rights Reserved, DACS 2024
Above  Sonia Boyce OBE RA, Lay back, keep quiet and think of what made Britain so great, 1986 Charcoal, pastel and watercolour on paper, 152.5 x 65 cm (each) Arts Council Collection, Southbank Centre, London © Sonia Boyce. All Rights Reserved, DACS 2024
The Wick - Hew Locke RA, Armada, 2017–19 Installation: wood, textile, metal, string, plastic, rubber, paper and paint, dimensions variable Tate. Purchased with assistance from Tate International Council and with Art Fund support 2021 Courtesy the artist and Ikon Gallery. Photo: Stuart Whipps © Hew Locke. All Rights Reserved, DACS 2024
Above  Hew Locke RA, Armada, 2017–19 Installation: wood, textile, metal, string, plastic, rubber, paper and paint, dimensions variable Tate. Purchased with assistance from Tate International Council and with Art Fund support 2021 Courtesy the artist and Ikon Gallery. Photo: Stuart Whipps © Hew Locke. All Rights Reserved, DACS 2024
The Wick - Lubaina Himid RA, Naming the Money, 2004 Mixed media installation with sound, dimensions variable National Museums Liverpool, International Slavery Museum, Gift of Lubaina Himid, 2013 Courtesy the artist, Hollybush Gardens, London and National Museums, Liverpool © Spike Island, Bristol. Photo: Stuart Whipps
Above  Lubaina Himid RA, Naming the Money, 2004 Mixed media installation with sound, dimensions variable National Museums Liverpool, International Slavery Museum, Gift of Lubaina Himid, 2013 Courtesy the artist, Hollybush Gardens, London and National Museums, Liverpool © Spike Island, Bristol. Photo: Stuart Whipps
The Wick - Sir Joshua Reynolds PRA, Portrait of a Man, probably Francis Barber, c. 1770 Oil on canvas, 78.7 x 63.8 cm The Menil Collection, Houston Photo © Hickey-Robertson, Houston
Above  Sir Joshua Reynolds PRA, Portrait of a Man, probably Francis Barber, c. 1770 Oil on canvas, 78.7 x 63.8 cm The Menil Collection, Houston Photo © Hickey-Robertson, Houston
The Wick - Kerry James Marshall Hon RA, Scipio Moorhead, Portrait of Himself, 1776, 2007 Acrylic on PVC panel, 71.1 x 55.9 cm Paul & De Gray © Kerry James Marshall. Courtesy of the artist and Jack Shainman Gallery, New York. Photo: James Prinz Photography
Above  Kerry James Marshall Hon RA, Scipio Moorhead, Portrait of Himself, 1776, 2007 Acrylic on PVC panel, 71.1 x 55.9 cm Paul & De Gray © Kerry James Marshall. Courtesy of the artist and Jack Shainman Gallery, New York. Photo: James Prinz Photography
The Wick - Tavares Strachan, The First Supper (Galaxy Black) (detail), 2023 Bronze, black patina, gold leaf, 217.3 x 928.6 x 267.9 cm Courtesy of the artist and Courtesy of Glenstone Museum, Potomac, Maryland. Photo: Jonty Wilde
Above  Tavares Strachan, The First Supper (Galaxy Black) (detail), 2023 Bronze, black patina, gold leaf, 217.3 x 928.6 x 267.9 cm Courtesy of the artist and Courtesy of Glenstone Museum, Potomac, Maryland. Photo: Jonty Wilde
The Wick - John Singleton Copley RA, Watson and the Shark, 1778 Oil on canvas, 183.5 x 229.6 cm Museum of Fine Arts, Boston. Gift of Mrs George von Lengerke Meyer Photograph © 2024 Museum of Fine Arts, Boston
Above  John Singleton Copley RA, Watson and the Shark, 1778 Oil on canvas, 183.5 x 229.6 cm Museum of Fine Arts, Boston. Gift of Mrs George von Lengerke Meyer Photograph © 2024 Museum of Fine Arts, Boston
The Wick - J. M. W. Turner RA, Whalers, c. 1845 Oil on canvas, 91.8 x 122.6 cm Lent by The Metropolitan Museum of Art, New York, Catharine Lorillard Wolfe Collection, Wolfe Fund
Above  J. M. W. Turner RA, Whalers, c. 1845 Oil on canvas, 91.8 x 122.6 cm Lent by The Metropolitan Museum of Art, New York, Catharine Lorillard Wolfe Collection, Wolfe Fund
The Wick - Kara Walker Hon RA, no world, from An Unpeopled Land in Uncharted Waters, 2010 Etching with aquatint, sugar-lift, spit-bite and drypoint on paper, 60.6 x 76.8 cm British Museum, London © Kara Walker, courtesy of Sikkema Jenkins & Co. and Sprüth Magers
Above  Kara Walker Hon RA, no world, from An Unpeopled Land in Uncharted Waters, 2010 Etching with aquatint, sugar-lift, spit-bite and drypoint on paper, 60.6 x 76.8 cm British Museum, London © Kara Walker, courtesy of Sikkema Jenkins & Co. and Sprüth Magers
The Wick - Francis Harwood, Bust of a Man, 1758 Black stone (pietra di paragone) on a yellow Siena marble socle, 69.9 x 50.2 x 26.7 cm The J. Paul Getty Museum, Los Angeles Digital image courtesy of Getty’s Open Content Program
Above  Francis Harwood, Bust of a Man, 1758 Black stone (pietra di paragone) on a yellow Siena marble socle, 69.9 x 50.2 x 26.7 cm The J. Paul Getty Museum, Los Angeles Digital image courtesy of Getty’s Open Content Program
The Wick - Ellen Gallagher Hon RA, Whale Falls, 2017 Oil, acrylic, ink and paper on canvas, 188 x 202 cm The Ekard Collection © Ellen Gallagher Courtesy the artist and Hauser & Wirth Photo: Ernst Moritz
Above  Ellen Gallagher Hon RA, Whale Falls, 2017 Oil, acrylic, ink and paper on canvas, 188 x 202 cm The Ekard Collection © Ellen Gallagher Courtesy the artist and Hauser & Wirth Photo: Ernst Moritz
The Wick - Sonia Boyce OBE RA, Lay back, keep quiet and think of what made Britain so great, 1986 Charcoal, pastel and watercolour on paper, 152.5 x 65 cm (each) Arts Council Collection, Southbank Centre, London © Sonia Boyce. All Rights Reserved, DACS 2024
Above  Sonia Boyce OBE RA, Lay back, keep quiet and think of what made Britain so great, 1986 Charcoal, pastel and watercolour on paper, 152.5 x 65 cm (each) Arts Council Collection, Southbank Centre, London © Sonia Boyce. All Rights Reserved, DACS 2024
The Wick - Hew Locke RA, Armada, 2017–19 Installation: wood, textile, metal, string, plastic, rubber, paper and paint, dimensions variable Tate. Purchased with assistance from Tate International Council and with Art Fund support 2021 Courtesy the artist and Ikon Gallery. Photo: Stuart Whipps © Hew Locke. All Rights Reserved, DACS 2024
Above  Hew Locke RA, Armada, 2017–19 Installation: wood, textile, metal, string, plastic, rubber, paper and paint, dimensions variable Tate. Purchased with assistance from Tate International Council and with Art Fund support 2021 Courtesy the artist and Ikon Gallery. Photo: Stuart Whipps © Hew Locke. All Rights Reserved, DACS 2024

Entangled Pasts, 1768 – now: Art, Colonialism and Change

Royal Academy, Piccadilly, W1
3 February – 28 April 2024

The Royal Academy unpicks the threads that tie art to Britain’s colonial history in Entangled Pasts, drawing on its own collections and loans from other organisations. It brings together 100 artworks – spanning from the foundation of the RA in 1768 to now – to examine the role of art in shaping narratives of empire, enslavement, resistance, abolition, indenture and colonialism, while reckoning with its own complex links to these movements.

Contemporary perspectives come courtesy of artists, including Yinka Shonibare, Sonia Boyce, Barbara Walker and John Akomfrah. Among the highlights are Hew Locke’s haunting fleet of ragged ships suspended from the ceiling, reflecting the movement of people across time, and John Akomfrah’s 43-minute visual assault, Vertigo Sea, in which images of historical tragedies – from slave killings to drowned migrants – are cut with scenes from nature. Horrifying yet captivating in equal measure.
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Dates
03 February 2024 — 28 April 2024

Viewing  Gerhard Richter’s hypnotic abstractions at David Zwirner

The Wick - Viewing  Gerhard Richter’s hypnotic abstractions at David Zwirner
Above  
The Wick - Viewing  Gerhard Richter’s hypnotic abstractions at David Zwirner
Above  
The Wick - Viewing  Gerhard Richter’s hypnotic abstractions at David Zwirner
Above  
The Wick - Viewing  Gerhard Richter’s hypnotic abstractions at David Zwirner
Above  
The Wick - Gerhard Richter 11.8.2023 (3), 2023 Colored ink and pencil on paper © Gerhard Richter 2024 (25012024)
Above  Gerhard Richter 11.8.2023 (3), 2023 Colored ink and pencil on paper © Gerhard Richter 2024 (25012024)
The Wick - Gerhard Richter 17.7.2023, 2023 Colored ink and pencil on paper © Gerhard Richter 2024 (25012024)
Above  Gerhard Richter 17.7.2023, 2023 Colored ink and pencil on paper © Gerhard Richter 2024 (25012024)
The Wick - Gerhard Richter 15.5.2023 (2), 2023 Colored ink and pencil on paper © Gerhard Richter 2024 (25012024)
Above  Gerhard Richter 15.5.2023 (2), 2023 Colored ink and pencil on paper © Gerhard Richter 2024 (25012024)
The Wick - Gerhard Richter Aladin (Aladdin), 2010 Lacquer behind glass, mounted on Alu-Dibond © Gerhard Richter 2024 (25012024)
Above  Gerhard Richter Aladin (Aladdin), 2010 Lacquer behind glass, mounted on Alu-Dibond © Gerhard Richter 2024 (25012024)
The Wick - Viewing  Gerhard Richter’s hypnotic abstractions at David Zwirner
The Wick - Viewing  Gerhard Richter’s hypnotic abstractions at David Zwirner
The Wick - Viewing  Gerhard Richter’s hypnotic abstractions at David Zwirner
The Wick - Viewing  Gerhard Richter’s hypnotic abstractions at David Zwirner
The Wick - Gerhard Richter 11.8.2023 (3), 2023 Colored ink and pencil on paper © Gerhard Richter 2024 (25012024)
Above  Gerhard Richter 11.8.2023 (3), 2023 Colored ink and pencil on paper © Gerhard Richter 2024 (25012024)
The Wick - Gerhard Richter 17.7.2023, 2023 Colored ink and pencil on paper © Gerhard Richter 2024 (25012024)
Above  Gerhard Richter 17.7.2023, 2023 Colored ink and pencil on paper © Gerhard Richter 2024 (25012024)
The Wick - Gerhard Richter 15.5.2023 (2), 2023 Colored ink and pencil on paper © Gerhard Richter 2024 (25012024)
Above  Gerhard Richter 15.5.2023 (2), 2023 Colored ink and pencil on paper © Gerhard Richter 2024 (25012024)
The Wick - Gerhard Richter Aladin (Aladdin), 2010 Lacquer behind glass, mounted on Alu-Dibond © Gerhard Richter 2024 (25012024)
Above  Gerhard Richter Aladin (Aladdin), 2010 Lacquer behind glass, mounted on Alu-Dibond © Gerhard Richter 2024 (25012024)

David Zwirner, 24 Grafton Street, W1
25 January – 28 March 2024

Head to David Zwirner to lose yourself in the mesmerising smudges, smears and drips of German artist Gerhard Richter. Coloured lacquer swirls behind glass and clouds of ink billow across paper in the exhibition, which includes works made from 2010 up until August last year.

Coinciding with his three-venue exhibition in the Swiss Alps, the London show charts the progression of his work in recent years, including one of his largest ever Strip “paintings” – made by abstracting his work on a computer and digitally printing it – as well as oil paintings made just before he decided to focus on drawing and installation, as spotlighted in the show. At 91 years old, the German artist continues to surprise.
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Dates
25 January 2024 — 28 March 2024
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