Yelena Popova: Drying Time & Sam Austen: Such Animals

Yelena Popova: Drying Time
Sam Austen: Such Animals
Paradise Row

Much, much, much grandiose at La Conservera (curated by Pablo del Vale) another work from another artist, than Sam Austen's work at Paradise Row Gallery. Probably is due to the disagreeable intense smell of cheap perfume which emanates by the watch sales assistant at Selfriges, or could it be from that huge mountain of wannabe artists, tawdry curators, and pretentious gays, i.e., twats! Flooding the space, which looks a lot like an aquarium, with that big window that is never used. The inside, while remaining inside, should extrapolate to the outside. And it doesn't.

Jane & Louise Wilson: False Positives and False Negatives

Jane & Louise Wilson
False Positives and False Negatives
Paradise Row

Jane & Louise Wilson, False Positives and False Negatives (16 screenprints on mirrored Perspex, 70x50cm), 2012

Jane and Louise Wilson's large-scale photographs arouses in me the same type of fascination, feelings and sensations, which, in the same way, I consider Tenochtitlan (the Aztec pyramids site North of Mexico City) as an attractive natural scenery to make love. Images of the expression of power, of man's intervention in nature, and the death and rebirth of those spaces through nature's repossession. Of cosmological energies being conducted to and into bodies laying down on the top of the pyramids, while waiting for a sacrificial death, in order to give birth to a new day. On those pictures, in particulary, in the Nature Abhors A Vacuum's series, they reveal abandoned interiors spaces - human constructions - that are being retaken and brought around to live by nature.

Jane & Louise Wilson, Atomgrad (Nature Abhors A Vacuum) III (C-type print mounted on aluminum with diasec, 180x220cm), 2010

«Jane & Louise Wilson's exhibition explores the act of surveillance, considering its form and presence in spaces burdened by potent histories.» [PR]

Jane & Louise Wilson, Blind Landing Lab (Lab 1) (cast aluminum and enamel plated), 2012

Jane & Louise Wilson, Blind Landings (H-bomb Test Site, Orford Ness) #2 (black and white print with collage photographic elements, 38x38cm), 2013

«Jane and Louise Wilson (1967) were born in Newcastle and received their MAs at Goldsmiths College of Art, London. They began working together in 1989 and since then have exhibited at major galleries internationally. They were nominated for the Turner Prize in 1999. They have been in numerous solo and group shows internationally. Recent exhibitions include Tempo Suspenso CAM Gulbenkian, Lisbon, Portugal and Unfolding the Aryan Papers, CGAC Santiago de Compostela, Spain, 2010 (solo), the Stanley Kubrick retrospective, LACMA Los Angeles, 2011-12, (group), The Toxic Camera, The Whitworth Art Gallery, Manchester 2012 (solo), Tomorrow was already here, Tamayo Museum, Mexico City, 2012-13 and at 303 Gallery, New York, 2013 (solo). [PR]»

The Instability of the Image

The Instability of the Image
Paradise Row

Moments of Reprieve

Ori Gersht, If Not Now, When #1, 2009, Lambda print on aluminium, 100 x 240 cm, edition of 6

Jane and Louise Wilson, Oddments Room IV (A Canoe Voyage up the Minnay Sotor), C-type print mounted on aluminium with diasec, 175.3 x 218.4 cm; Adam Broomberg & Oliver Chanarin, Red House #12, 2006, C-type print, 156 x 142 cm

Jane and Louise Wilson, Atomgrad (Nature Abhors a Vacuum) #4, 2010, C-type print mounted on aluminium with diasec, 182.9 x 228.6 cm; Taryn Simon, Kenneth Waters, Scene of the Crime, Ayer, Massachusetts. Waters died in an accident 6 months after his exoneration. Served 18 years of a life sentence for Murder and Robbery,2002, Chromogenic print, framed, 78.7 x 101.6 cm