Our top picks of exhibitions together with cultural spaces and places, both online and in the real world.
All, Art, Auctions, Exhibitions, Travel & Hospitality, Initiatives
Viewing IRL (In Real Life), Timothy Taylor London
Above Sahara Longe, Ejatu in Pink and Green, 2021
Above Erin M. Riley, Alone in Seoul, 2021
Above Rebecca Ackroyd, Receiver, 2021
Above Kesewa Aboah, Taking Up Space, 2021
Above Honor Titus, Brownstone Waltz, 2020
Above Sahara Longe, Ejatu in Pink and Green, 2021
Above Erin M. Riley, Alone in Seoul, 2021
Above Rebecca Ackroyd, Receiver, 2021
Above Kesewa Aboah, Taking Up Space, 2021
Above Honor Titus, Brownstone Waltz, 2020
IRL (In Real Life)
Timothy Taylor London
8 July — 21 August 2021
Just as we embrace the new normal comes this group exhibition of paintings, sculptures and textile-based works, which celebrates the joy of social and sensory experience, while also considering the profound impact of Internet culture on the ways we work, socialise and connect with the world.
From textured tapestries to hand-painted canvas wall hangings, many of the works on display are characterised by heightened materiality — a nod perhaps to our collective longing for physicality in lockdown.
Antonia Showering, William Brickel and Honor Titus express their desire for touch and connection in paint, while Alma Berrow’s quirky plates of food pay homage to the hedonistic pleasure of eating and drinking among friends and family. (Her ceramic fried eggs look good enough to eat!)
Uncanny gouaches by Rebecca Ackroyd are shown alongside arresting self-portraits by Lydia Pettit and tapestries by Kesewa Aboah, who uses her own body as a tool during the creative process. After the year we’ve had, a show devoted to our lives online and off seems pretty apt.
Above There’s no place like home
Magnum Gallery, Online
Above There’s no place like home
Magnum Gallery, Online
Above There’s no place like home
Magnum Gallery, Online
Above There’s no place like home
Magnum Gallery, Online
Above There’s no place like home
Magnum Gallery, Online
Above There’s no place like home
Magnum Gallery, Online
Magnum Gallery, Online
19 May — 31 August 2021
Bringing together works by Magnum photographers including Martin Parr, Alec Soth and Alessandra Sanguinetti, this online exhibition reflects on the notion of home as a central place for solace, security and creativity. It also explores how the home can engender optimism and happiness during times of hardship or uncertainty.
There’s a rich mix to sink your teeth into. Antoine d’Agata’s critically-acclaimed series Virus, in which he documents the devastating impact of the Covid-19 outbreak in Paris, evokes the anguish and fear experienced by millions over the past year. Bruce Gilden’s iconic black-and-white image of a woman in a bikini, on the other hand, is likely to raise a smile.
Don’t miss Peter Marlow’s poetic images spotlighting the loneliness of elderly people and Harry Gruyaert’s lively compositions of public celebrations from the early 1980s. All of this and more at the click of a mouse. Sounds like just the thing to while away those extended summer lunch breaks!
Viewing Ken Nwadiogbu: Journey Mercies, The Bomb Factory Art Foundation
Above Ken Nwadiogbu: Journey Mercies
Above Ken Nwadiogbu: Journey Mercies
Above Ken Nwadiogbu: Journey Mercies
Above Ken Nwadiogbu: Journey Mercies
Above Ken Nwadiogbu: Journey Mercies
Above Ken Nwadiogbu: Journey Mercies
Above Ken Nwadiogbu: Journey Mercies
Above Ken Nwadiogbu: Journey Mercies
The Bomb Factory Art Foundation
8 — 25 July 2021
Nigerian artist Ken Nwadiogbu is the subject of a new solo show at The Bomb Factory Art Foundation in London. Central to the presentation is an installation of stacked cardboard boxes. Each box is painted with the face of someone the artist has met on his travels.
For Nwadiogbu, it is a metaphor for global trade and the migrant experience: ‘Our individual lives may be self-contained but, essentially, we stand on each other’s shoulders journeying to a different continent and bringing with us values that shape the culture and ideas of these spaces’.
Painted in vibrant colours, the boxes stack in a way that references traditional African woven fabrics, while the title of the exhibition pays homage to the Nigerian custom of saying prayers for a traveller about to embark on a long journey.
‘Journey Mercies highlights the struggles and joys, gains and losses of Migration,’ explains the artist. ‘This is particularly applicable to those of us with dreams, values and hope who flee our countries due to the insecurity, lack of infrastructure, and scarcity. But the stacked structures we build are intact. The communities are rich with diversity and beauty.’