Chikisei Sesuisho, 1960 - Oil on canvas, 130 x 193 cm
To 4 March: www.cadogancontemporary.com
Untitled (ochre-magenta), 2016 - oil on canvas, 145cm x 145cm
|The artist in and largely with Caribbean Blue, I reckon|
|Cabec? a d'Agua, 2016, Acrylic on linen, 240 x 240cm|
It’s a measure of how tough it is for artists that few from Max Wigram's roster have been picked up by other London galleries – as Luiz Zerbiini has - since Max Wigram’s precipitate closure in 2015. The Brazilian works across abstraction and representation separately but simultaneously, and it’s obvious how the streams of painting influence each other: the patterns of Rio’s reality are exaggerated, the abstracts suggested perceptual hazing of the world. A similar to and fro operates in his unusual and historically resonant collages of found slides. Plus, in a new development, Zerbini has started to apply obsessive pencil workings to some canvases, and the low key pseudo-metallic look of that has also started to spread into his whole practice.
|Quadrado Novo, 2016, Acrylic on canvas, 220 x 160cm|
Do Ho Suh – formerly of Korea, the USA and Germany, now lives a stone’s throw from Victoria Miro, where his three floor exhibition ticks plenty of popular boxes: obvious craftsmanship, a walk-through installation, good selfie opportunities, alluring colour, a film with small children. Yet it is essentially a quietly thoughtful show, in which buildings are displayed as skin, so intimately does Suh engage with them; geography is collapsed into personal space; and we’re drawn into the metaphorical potential of corridors, hallways and exits.
Adam Hennessey: Smile @ New Art Projects, 6D Sheep Lane - Cambridge Heath
To 4 March: http://newartprojects.com/contact/
Sheep Murder, 2016 - 155 x 110cm
Young painter Adam Hennessey describes his work as ‘squishing large things into small spaces’. That’s true of many of the wittily ebullient acrylics on show here – several smiley faces jostle to be sunniest, and birds struggle to fit in their framing. But there’s no squishing required to get these 25 canvases into Fred Mann's expansive new space. Indeed, there’s enough capacity to hold a room back for small works on paper to be painted ready for a closing event on 4 March. Hennessey has a particular affinity with fingers and sheep: the former appear directly several times , though the ‘Finger Alphabet’ merely points to an anagram caused by alphabetical order; a characterfully distinguished herd of the latter seem to have been shot – if only, perhaps, with paint – before they can enjoy the lushest grass you ever didn’t really see, it was just a picture in Sheep Lane.
Alphabet Finger, 2016 x 110cm
Installation detail: Sarah Pichkostner
Good sculpture often emerges from letting the material have its way, giving the – somewhat misleading – impression that the artist didn’t have to do much. London-based German Florian Roithmayr plays airily located, elongated U-shaped hangings (cast in plaster from card originals) against more bodily forms. Roithmayr spread clay on paper on the Bloomberg floor, waited six weeks for it to dry and, as the shrinking caused by the 30% which is water evaporated, curl up. Then he raised up his appealingly casual population of forms... Austrian sculptor Sarah Pichkostner’s first London solo show is a subtle grower. The title comes from an audio piece smuggled into a foam sculpture which whispers urgently yet tantalisingy close to inaudibly. A little like Roithmayr, she lets silver nitrate act from inside to ensilver glass tubes, and also coaxes coloured light into doing its stuff variously: in the sculptures, shone on the sculptures, glowing from behind a wall – and is used to yellow a narrow back-of-wall space at Josh Lilley, which she uses better than anyone since Analia Saban in 2009. Is this, perhaps, what sculpture would be like on the moon?
To 18 Feb (Tintype and Union) / 5 July (House of St Barnabas)
|Emma Cousin: Inpatient, 2016 - 120 x 100cm|
Separate entries might be a little excessive, but naturally I believe that 14 of the best artists currently on show in London are in three shows I’ve curated: a wider view of Alice Anderson than her well-known copper wire bindings (see http://paulsartworld.blogspot.co.uk/2016/11/alice-anderson-post-digital-11-nov-2016_4.html for details); nine abstract painters showing how various distinctive processes enable them to play off chance and control to aesthetically transcendent effect(http://paulsartworld.blogspot.co.uk/2016/12/show-us-your-process-preview.html) ; and my four favourite young figurative painters, creating a room full of character and presence (http://paulsartworld.blogspot.co.uk/2016/12/the-other-side.html). What’s more, Emma Cousin, one of the four, also features in a lively two-hander at Tintype. She’s paired with Milly Peck, whose scribble-like sculptural versions of everyday forms enter into a lively to-and-from with Cousin’s leg play.
Room and Condo (Bridget Donahue) @ Sadie Coles, 62 Kingly St - Oxford Circus
To 28 Feb: www.grad-london.com