Data Dump (London 03/16)

 

Detail: Lynn Hershman Leeson, "Lorna," 1979-82. At Whitechapel Gallery.

Last week I popped down to London for four days to do some research at a handful of galleries and see Pierre Andre Valade conduct Messaien at the BBC Symphony Orchestra (not pictured/ no photos allowed, though I took a cheeky one for my Instagram). My primary destination was Victoria Miro gallery to research/see Vancouver artist Stan Douglas’s new exhibition & film The Secret Agent. I’m writing about it right now so I won’t go into any length, but it was set during the 1974 Carnation Revolution in Portugal and shot in Lisbon with Portuguese actors. The film itself is a six-screen installation and I am currently obsessed with it (alongside my long term obsession with Stan’s work in general). Victoria Miro is a private gallery so no photography was allowed, so there are no photos of the exhibition here. I also went to Rivington Place gallery to see the exhibition of contemporary Brazilian photographer Mario Cravo Neto, which was incredible but also not pictured here as no photos were allowed. I’m writing about Cravo Neto as well so I’ll post links to the papers if the pieces ever end up somewhere.

This data dump, then, is from my trips to the Whitechapel Gallery to see their Electronic Superhighway 2016-1966 exhibition and to Tate Britain to hear Turner Prize winner Susan Philipsz’s sound installation “War Damaged Musical Instruments.” It was a whirlwind four days of sound and media to help me cope with the mass of dissertation editing ahead this month. I feel recharged. So here’s a very small cross-section of the art I saw through unedited photos (no time), sometimes with people for scale.

WHITECHAPEL:

 

TATE BRITAIN:



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