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 | 13/05/2016
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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 | 26/02/2016
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‘I Served the King of England’ (Delfina Foundation) reviewed by Julia Secklehner

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‘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 | 25/02/2016
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Exhibition: ‘Recount Me Always Anew’ reviewed by Julia Secklehner

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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 | 08/02/2016
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‘Mikyta Export Import I commodification’ at DIVUS Gallery, reviewed by Julia Secklehner

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‘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 | 03/02/2016
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Exhibition: UK/RAINE at the Saatchi Gallery, reviewed by Julia Secklehner

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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 | 09/12/2015
Cristian Luchian, 'Living in Between'.

The London Salon of Romanian Art, reviewed by Camelia Ciobanu

This September, the ICR is hosting ‘The London Salon of Romanian Art’, as part of a new permanent programme. It’s different from previous art displays:  the five names on show –  Florin Ungureanu, Cristian Luchian, Monica Madas, Ioana Pioaru and Viniciu Les – are young Romanians coming not from Romania but living and working in…

Camelia Ciobanu | 25/09/2015
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Joanna Rajkowska’s ‘Painkillers’ at l’étrangère Gallery, Shoreditch, reviewed by Julia Secklehner

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L’étrangère Gallery in Shoreditch always puts on interesting shows, and Joanna Rajkowska’s Painkillers is no exception. On entering the exhibition space, we’re confronted with an entirely monochrome room: black flooring, white walls, black metal pedestals – and white artworks. The minimalist curation is attractive, yet somewhat confusing at first sight: in the middle of the…

Julia Secklehner | 25/09/2015
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Diana Buzoianu’s ‘Urban Indispensable’ at 54 the Gallery, reviewed by Jo Varney

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Since its commercial introduction in 1839, photography has been a medium caught between the two poles of ‘art’ and ‘science’. While the images created with objects, people or scenes placed before a lens were once spoken of as imprinted by nature itself  – and thus  free from the frail human hand prone to error –…

Jo Varney | 23/07/2015