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‘The New East’ at cueB Gallery, reviewed by Julia Secklehner

One of the special things about entering cueB Gallery in Brockley is that you pass through a colourful café bar directly to the gallery located at the back. It’s a nice transition between dimmed light / funky decoration and the clean white gallery space, which comprises only one room. As it isn’t separate from the…

Julia Secklehner | 05/05/2015
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‘Tamás Dezső: Notes For An Epilogue’ reviewed by Valenka Navea

Rating:

Apparently pieces from Tamás Dezső’s Notes for an Epilogue were still arriving at the Photographer’s Gallery last Saturday, a few days after the show opened to the public. It’s still in it’s opening week but already receiving rave reviews. The show consists of 10 pieces capturing varying subjects, landscapes and people in Romania and Hungary, taken…

Valenka Navea | 26/04/2015
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‘Crisscross Stories’ – Hungarian-Estonian Fairytale Art, reviewed by Judith Fagelson

The premise for Crisscross Stories, at London’s Hungarian Cultural Centre,  is simple: eight Hungarian and eight Estonian authors were commissioned to write new fairy stories. Twenty-five artists from each country were then invited to illustrate their favourite stories,  Hungarian artists illustrating Estonian tales, and vice versa. The result is a whirl of colour and imagination…

Judith Fagelson | 15/04/2015
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‘A Makeshift Imitatio Christi’ at Divus Gallery, reviewed by Julia Secklehner

Even though the artworks by Miroslav Vojtíšek  – who uses the pseudonym S.d.CH. in his show A Makeshift Imitatio Christi – are contemporary, his pieces and the way they’re displayed look anything but. There’s something about the current colour scheme at the Divus Gallery in Deptford that makes you feel you’ve stepped back in time…

Julia Secklehner | 11/04/2015
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Exhibition: ‘Borderlands’ at GRAD, reviewed by Julia Secklehner

‘Borderlands’ is hosted in the small exhibition space of the Gallery for Russian Arts and Design, comprising works by Zhanna Kadyrova, Evgeny Granilshchikov, Nikita Shokhov and the artists’ collective ZIP Group, selected by curator and art critic Sergey Khachaturov. Upon entering the gallery space with its wooden floors and light blue walls, we encounter Kadyrova’s…

Julia Secklehner | 26/03/2015
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Roman Pyatkovka’s ‘Soviet Photo’ at Dadiani Fine Art, reviewed by Julia Secklehner

The small gallery space of Dadiani Fine Art has nine of Roman Pyatkovka’s large-scale combination photos on display. Looking like movie posters, they mix Soviet kitsch imagery with mostly naked girls, flirting with spectators from behind a veil of folklore dancers, children watching boats or camera manuals. The imagery Pyatkovka has constructed with this artificial…

Julia Secklehner | 18/03/2015
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‘UKRAINIAN ART NOW: SPACES OF IDENTITY’ reviewed by Julia Secklehner

Focussing on Ukrainian contemporary art at this moment of crisis, the symposium ‘Ukrainian Art Now’ at the Courtauld Institute centred on the events of Maidan, with insights too into the cultural situation in Eastern Ukraine. The first speaker Roman Minin, an artist from that very region around Donetsk, showed his images of miners in various…

Julia Secklehner | 07/03/2015
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Contemporary Ukrainian Art at the Darren Baker Gallery, reviewed by Jo Varney

Since the revolutionary Maidan events in Kiev from November 2013 to February 2014, there’s been unprecedented interest in Ukrainian contemporary art, both in London and worldwide. Perhaps no comparable event in the recent past has seen artists playing such a central role: from the start, they were at the centre of the protests – painting…

Jo Varney | 05/03/2015
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Jan Kaplický: Drawings, reviewed by Jo Varney

Drawings by the Czech architect Jan Kaplický (1937–2009) hang in the sumptuous front room at the Architectural Association  for the first time since he exhibited there as a teacher in the 1970s. The exhibition embodies Kaplický’s belief in the power of drawing as a way of problem-solving and working through ideas, and there are 23…

Jo Varney | 03/03/2015
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Olha Pryymak’s ‘Ukrainian Diaries’ reviewed by Julia Secklehner

The grey concrete floors and whitewashed walls of the industrial exhibition space at Krilova Stelfox Gallery give full prominence to Olha Pryymak’s work. Her show is a series of small square paintings in nine groups of nine, neatly arranged in chronological order. They illustrate the first year of the crisis in Ukraine, intermixed with personal…

Julia Secklehner | 26/02/2015