EXHIBITION REVIEW: Power and Architecture Part I at Calvert 22


The world over, architecture has always been, and will likely always be, a potent manifestation of a society’s power, influence and above all, aspiration. Across the post-Soviet world, people today live with the legacies of grand monuments and high-rise cathedrals of Modernism that signified the grand ambitions of rulers past. Calvert 22’s Power and Architecture…

Jo Varney | June 29, 2016

Exhibition Review: Dóra Maurer at White Cube Gallery


The White Cube Gallery is just what it says – a beautifully clean building of concrete and glass with a gallery, containing vast white walls. In such a cold and ‘arty’ environment, Dóra Maurer’s colourful abstractions really come to the fore: the show, which displays works by the artist spanning over 50 years – from the…

Julia Secklehner | June 1, 2016
Ilya Repin, a detail from The Zaporozhian Cossacks write a letter to the Sultan of Turkey

Exhibition Event: Russia and the Arts: The Age of Tolstoy and Tchaikovsky (until 26 June 2016)

‘A programme of special events including talks, tours, workshops and an international conference complements the exhibition [for further details please click on the right-hand image] All events are free except where indicated. Places are limited and available at the Gallery on a first-come, first-served basis. For charged events you can book tickets online, call 020 7306 0055…

Robin Ashenden | May 13, 2016 (1)

RCI EVENT: ‘Brâncuși: The British Connection’, reviewed by Jo Varney

There are 18 Romanian Cultural Institutes around the world and on Friday 19th February, from London to Paris to Berlin, all simultaneously celebrated the birthday of one of Romania’s national heroes– Constantin Brâncuși. Born in 1876, Brâncuși was a sculptor who displayed almost unparalleled virtuosity in the way he controlled and reduced forms: eventually liberating…

Jo Varney | February 26, 2016
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‘I Served the King of England’ (Delfina Foundation) reviewed by Julia Secklehner


‘I Served the King of England’ at Delfina Foundation was intriguingly described as an artistic exploration ‘of the artist’s persona, individuality, role-play and alter ego’. In fact, the ‘live exhibition’ resembled a kind of cabaret, comprising short-film screenings, live music, artistic performances and a mock talk-show with the fictional character Rose Pantopon, played by Julie…

Julia Secklehner | February 25, 2016
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Exhibition: ‘Recount Me Always Anew’ reviewed by Julia Secklehner


Entering the front room of the space, we step back in time and place to a not-too-distant communist past: there’s a shopfront, framed by mostly empty shelves, save for big jars of pickled cabbage and smoked sausages, and a series of stacked up postcards announcing the exhibition. The facilities for a shop are there (it’s an…

Julia Secklehner | February 8, 2016
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‘Mikyta Export Import I commodification’ at DIVUS Gallery, reviewed by Julia Secklehner


‘Commodification is the transformation of goods and services, as well as ideas or other entities that normally may not be considered goods, into a commodity.’ This explanation introduces us to Mikyta’s current exhibition at Divus’s small gallery space in Deptford. The exhibition comprises twenty works by the artist, some lone-standing and some part of a…

Julia Secklehner | February 3, 2016
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Exhibition: UK/RAINE at the Saatchi Gallery, reviewed by Julia Secklehner


UK/RAINE at Saatchi Gallery is the result of a competition for young artists working or born in the Ukraine or the UK, divided into five categories: Installation, New Media, Painting, Sculpture and Street Art. While the guidelines for entry seem rigorously structured, the exhibition itself luckily isn’t. Over five rooms on the gallery’s ground floor,…

Julia Secklehner | December 9, 2015
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Jakub Španhel’s ‘Sacred and Profane’ at Art Galleries Europe, reviewed by Julia Secklehner


Sacred and Profane is Czech artist Jakub Španhel’s first solo exhibition in the UK, organised by Frameless Gallery, in whose low space Španhel’s paintings reach almost from floor to ceiling. Their dark,  bold colours contrast with the light interior – yet, the more we find out about Španhel’s work, the more we feel it actually…

Julia Secklehner | October 12, 2015