http://www.tate.org.uk

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The Robinson Institute’s researchers have revisited Robinson’s last known journey, presenting his findings and film footage as an exhibition that features works by artists, mainly from Tate’s collection; writers, historians, geographers, cartographers and geologists; and a variety of other objects.

Audiences are invited to retrace Robinson’s steps and consider the connections that he makes. For example, the 1795 amendment to the Settlement Act, which enabled the rural poor to migrate more easily to industrial towns and cities, is shown alongside an unusually large meteorite that fell the same year. Robinson’s discovery of the Boyle-Hooke commemoration plaque on Oxford’s High Street, which celebrates two of England’s most important scientists, triggers further consideration of the historical events that led to the Industrial Revolution, as his photograph of the memorial site is juxtaposed with Ed Ruscha’s Mad Scientist 1975 and L.S. Lowry’s Industrial Landscape 1955.
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http://www.carrollfletcher.com/

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In Anonymous, untitled, dimensions variable – an exhibition with a daily changing title – artist-provocateurs Eva and Franco Mattes aka 0100101110101101.ORG disrupt the safe environment and conventions of the art gallery. In a compelling cacophony of facts and fictions, performances are held in videogames, images are appropriated from random personal computers, a webcam suicide is simulated, fake sculptures are attributed to revered artists and potentially toxic artifacts sit next to stolen fragments of precious artworks and a hacked arcade game. Eva and Franco Mattes’ first exhibition in London explores the unfolding narratives and unforeseen consequences of their interventions and subversive hoaxes in physical and virtual space.

Every day throughout the exhibition, Eva and Franco Mattes will change the title of the show to emphasize the evolving, participatory nature of their works. The titles will be made public in the gallery space and on this blog, both platforms are open to the audience’s comments and feedback.
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http://www.p3exhibitions.com/

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1001 TV Sets (End Piece)’ features 1001 cathode ray tube TV sets of all ages and conditions, filling the massive Ambika P3 subterranean space. The TVs had been tuned to different analogue stations that played randomly in a cacophony of electronic signals. The signals gradually reduced between 4 and 18 April 2012, as the final analogue signals were broadcast from London’s Crystal Palace.
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This significant new opportunity for moving image artists has so far supported four of the most exciting new talents to emerge on the contemporary art scene, providing each with a development fund and exhibition opportunity. Those shortlisted artists -Ed Atkins, Emma Hart, Naheed Raza and Corin Sworn – were selected by a panel of judges from a nominated long-list of more than 50 proposals from across the UK. Each artist was awarded a bursary of £4,000 to develop pre-production proposals.
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Since the 1980s Stan Douglas has reappropriated key moments from history, precisely examining political, social and racial shifts, in an effort to deconstruct and reimagine their presupposed and foregone outcomes. Douglas appropriates the fantastical and hyper-real from Hollywood; murder mysteries, Westerns and film noir. He frames these minutely researched narratives within the borrowed literary constructs of Samuel Beckett, Herman Melville and Franz Kafka.

Working within film and photography as his preferred medium, Douglas constructs life-size, cinematic mise-en-scene, which immerse the viewer into a complex, unknown and unfolding story. The scenes he creates are at once familiar and yet unknown with an air of mid-moment foreboding.
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Each of my series has a visual idea behind it, which I develop during my research. Sometimes the development follows a straight line from A to B; sometimes something completely new and interesting shows up, which makes me leave the straight path and follow a more indirect one with new rules.
—Thomas Ruff
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http://www.artmuseum.pl/wydarzenie.php?id=Angry_Birds_eng

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Artists: Eric Binder, Ivan Brazhkin, Alexandra Galkina, Ivars Gravlejs, Alina Gutkina, Valya Fetisov, Zhanna Kadyrova, Polina Kanis, Irina Korina, Laura Kuusk, Camille Laurelli, Lena Martynova, Misha Most, Anton Nikolaev, Anastasia Potemkina, Sergey Sapozhnikov, SOSка (Mykola Ridnyi, Anna Kriventsova and Sergey Popov), David Ter-Oganyan, Sveta Shuvaeva, Igor Shuklin, Grigory Yushchenko.

curator: David Ter-Oganyan in cooperation with Daria Atlas and Katia Szczeka.

The exhibition presents works of a young generation of artists, important for the Moscow art scene today. It includes not just Russians, but also artists from former Soviet republics and from Western countries.
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http://www.barbican.org.uk/artgallery/

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This is the first major exhibition in the UK by the Chinese artist, Song Dong. A poignant meditation on family life and the artist’s own childhood during the Cultural Revolution, the installation comprises over 10,000 items collected by Song Dong’s mother, Zhao Xiangyuan, over five decades – ranging from a section of the family home, to metal pots and plastic bowls to blankets, bottle caps, toothpaste tubes and toys. The activity of saving and re-using things is in keeping with the Chinese adage wu jin qi yong – ‘waste not’ – a prerequisite for survival during periods of social and political turmoil.

Song Dong is known for his conceptual and often very personal performances and installations. For his London exhibition, Song Dong has developed a new iteration of Waste Not. First conceived in 2005, it remains of the utmost significance to the artist. Unexpectedly and tragically Zhao Xiangyuan died in an accident in 2009. Each time Song Dong remakes the work, assisted by his sister, Song Hui, and his wife Yin Xiuzhen, the entire family is brought together again. Memories are rekindled and personal family objects are rediscovered, bringing powerful emotions to the fore.

Ultimately, Waste Not speaks of the strong bonds between family members and the power of objects to tell stories and shape our lives.

The installation invites you to intimately relate to their extraordinary life story.

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 http://www.foto8.com

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We knew almost nothing about Abkhazia when we visited for the first time in 2006. During our virtual travels through the country across maps on the internet, we discovered a fascinating landscape of mountains and rivers, with the majority of the towns spread out along the Black Sea. We read about snowy mountains of dizzying height that rise straight out of the sea, about endless beaches and lush gardens full of palms, tea bushes and citrus trees. We put the place names Sukhumi and Gagra in our mouths and savoured them like exotic morsels.

This coastal strip on the Black Sea was once the Riviera of the Soviet Union. Stalin had two dachas there. His successor, Khrushchev, swam in Pitsunda’s warm waters when the Communist Party in Moscow ousted him to make way for the party mastodon Brezhnev. In the literature and Soviet guidebooks, Abkhazia sounds like a dream, a subtropical oasis on the Black Sea, a promised land.

The more we read about it, the more it enticed us, like a fairy tale; but a fairy tale tinged with black. On the flip side are the ruins, the pot-holed roads along which only the overgrown, concrete stairs of houses still stand, the rusted gates and car wrecks, the twisted remains of the horrific civil war that erupted here in the early ’90s. It reminded us of areas such as Transnistria, Nagorno-Karabakh, South Ossetia and Kosovo, all small, violent and unviable provinces of artificially created countries. Abkhazia had been destroyed by civil war and forced into isolation, but had kept itself going for 15 years despite an international boycott and a tourism-based economy in a region without tourists.

The Abkhazians live in devastation and poverty. During the war they deported 200,000 Georgians and in so doing went from being a vacation paradise to a totally isolated country. The 200,000 refugees live in equally impoverished conditions and are filled with nostalgia for their lost paradise. This cynical parallel was the reason for us to make four trips to Abkhazia and to record this obscure and painful conflict.

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http://www.hansardgallery.org.uk/exhibition/current.html

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Derived from the artist’s journeys to Afghanistan, Monsters of the Id tests our expectations of cinematic and media representation, presenting a series of new works that experiment with advanced display technologies. The exhibition captures the disorientation of a civilian observer within a militarised environment.

Upon entering the gallery, visitors are immersed in a landscape that crosses the physical and the virtual. The disquieting Observer Effect presents viewers with a projected image of a distant, self-absorbed population. As audiences remain within the space, this virtual community grows in number and becomes distracted by their presence.

Searchlight 2 reveals illusory human shadows traversing a low platform terrain, suggestive of the desert landscape as seen by an aerial drone. The unnerving movements of this unidentified population are computer-generated and directly mirror the actions seen in Observer Effect.

Apparent Horizon renders immersive, virtualised vistas of a desert landscape. As viewers, our role hovers between sublime reverie and the quiet anxiety between of periods of violence. The exhibition ends with a final cinematic flourish, enabling visitors to consider their role in the exhibition and its dialogue of control, observation truth and contradiction.

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