Mariele Neudecker, Still from Iceberg video, 2012. Mariele Neudecker takes over a Brighton townhouse
HOUSE Festival 2013, 4 - 26 May 2013
Brunswick Square in Brighton & Hove is one of the premier examples of terraced Georgian architecture in the city, and one of its buildings, named The Regency Town House, has been restored and set aside by a charitable trust to foster appreciation of the area’s architecture heritage.
As one of the lead art projects of the Brighton Festival,
Düsseldorf-born artist Mariele Neudecker takes over the townhouse from this weekend with an immersive installation. She promises to recreate the experience of natural landscapes in the Regency built environment, from the deep sea and the iceberg belt to the glare of the sun in the sky.
Hauser & Wirth, until 27 July 2013
From the Silk Road over land to maritime networks over sea, trade routes have always been essential in the circulation of art objects, and have often been the subject of great works of art themselves. A new group show at Hauser & Wirth’s Piccadilly gallery
examines contemporary artists’ responses to the way goods and services are traded across continents today.
Wael Shawky, Video still from ‘Al Araba al Madfuna’, 2012. Video, b/w, sound. Duration, 21:21 min. © Wael Shawky. Courtesy the artist and Sfeir-Semler Gallery, Beirut / Hamburg.
Works range from Indian sculptor’s immortalisation of a suitcase in steel (2006) to Adel Abidin’s music videos
(2010) in which singers vocalize – in a Western pop-pastiche – lyrics that praise Saddam Hussein.
Frederick Gore RA
Richmond Hill Gallery, until 9 June 2013
As flowers in gardens and meadows open their petals for spring, so Richmond Hill Gallery
in London opens a suitable show for the change of season: a survey of lovely French landscapes by the plein air painter Frederick Gore (1913- 2009).
Frederick Gore, 'Field of Pinks, St Remy de Provence', 1956. Courtesy Richmond Hill Gallery.
There are pieces from across the Academician’s career, including the jubilant, fleur-filled Field of Pinks, St. Remy de Provence (1956), as well as later works in which the artist’s palette becomes further Fauvist, as enclosures of countryside become represented by bright reds and purples, and shadows of trees the colour of deep blue.
Fred Cuming RA
Adam gallery, 8 – 25 May
While Gore’s paintings often exaggerate colour to extremes to reflect the power and beauty of nature, the work of Fred Cuming takes a highly nuanced approach to tone, capturing the subtle chromatic effects on sky and sea as the sun sets and rises.
Fred Cuming RA, 'Rye Harbour Mouth, Evening'. Oil on board. 10 x 20 inches.
From Wednesday Adam Gallery
in London presents an exhibition of the Academician’s works, which emit the ethereal atmosphere of impending dusk in coastal towns such as Dungeness, Brighton, Falmouth and Hastings, and also includes a series painted in Venice. I’m always amazed by Cuming’s ability to render clouds on canvas with the same celestial quality as one sees in them in the sky.
Sprüth Magers London, until 15 June 2013
Robert Morris had a pivotal influence on the development of Minimalism and Process Art in 1960s America, although he is not always as often discussed in this country as like-minded artists such as Donald Judd.
Robert Morris, 'Untitled (3 L's)', 1965. Painted Plywood. 8 x 8 x 2 feet each. Installation view. Corcoran Gallery of Art. November 24 - December 28, 1969.
An exhibition of his sculptures at Sprüth Magers London
from today explores some of his particular interests in form and material. He asks the viewer to consider the most basic form of the right angle in Untitled (Three L’s) (1965), in which three three-dimensional L-shapes are posed in different positions. Other pieces hone in on the particular properties of substances like steel and the effect of gravity on objects.
The Japanese Foundation, 9 May
This week’s recommended talk is The Japan Foundation’s in-conversation event
on 9 May with the Turner Prize-nominated artist-duo The Otolith Group (Kodwo Eshun and Angalika Sagar) and Japanese artist and filmmaker Hikaru Fujii.
Courtesy The Japan Foundation.
The latter has documented the effects of the 2011 earthquake and tsunami on the Tohoku region of Japan. His project touches upon The Otolith Group’s central concern about how can art responds to the most troubling events and periods of history. The event is free but booking is essential.
Sam Phillips is a London-based arts journalist and contributor to RA Magazine