Author: Oisín McGilloway
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As night falls on Manchester, Valentin Noujaïm and Space Afrika audio-visual hellscape The Dark Wood comes to life, confronting social and political collapse to fight for a brighter daybreak. For an installation concerned with architectural ruin, The Dark Wood presents its case with a deft symmetry. In the ICA’s Upper Gallery, each contribution by Noujaïm…
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Moyra Davey’s short history of four famous artists and their Ukrainian roots is a quiet contemplation on cultural memory, preservation and identity. Much of what drives cultural displacement, invasion and colonisation today is a future based in the past. It’s long been a quality of the postmodern world that the beliefs that fuelled conflicts and…
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For their eleventh fair, which opens in Kensington’s Olympia centre this week, Photo London is introducing a moving image programme. Previously held in Somerset House, Photo London has moved to the redeveloped Olympia. The move has allowed for an expanded programme now including a section exclusively for moving-image works. The programme includes films by Melissa…
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With Bardo Loops, Gabriel Abrantes’ signature anthropomorphism is as emotional and ingenious as ever. Throughout his filmic oeuvre, multimedia artist Gabriel Abrantes has consistently returned to and nurtured an approach to exploring human emotions through non-human characters. The most famous example is The Artificial Humors (2016), a tidy answer to the common question “what if…
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In Tate’s recently announced 2027 programme, moving-image art features boldly yet sparsely. Announced last month, the exhibition programme presents retrospectives from many time periods, as well as new commissions, bringing international art to its over 7.5 million yearly visitors. From early 2027 to early 2028, Tate Modern will see shows centred around ink painting, a…
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François Ozon slowly and meticulously reassembles Camus’ The Stranger to create one of the best adaptations put to screen. Albert Camus’ first novel, L’Etranger, is, by virtue of its philosophy, a tough one to adapt to screen. What is, in many ways, a celebration of fatalism, doesn’t quite gel with the neoliberal inevitability that has…
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The group show that transports viewers back to the months before the 2008 crash hesitates to leave the political and economic decline of the present behind—making it an art show for our times. Like a modern One Direction for the art world, ICA bring together recent works and new commissions from Jenna Bliss, Buck Ellison…
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With ‘Narrative Warfare’, Jordan Lord reclaims the ‘tell, don’t show’ rhetorical approach as a tool for resistance against fair-right domination of the image economy. In the tradition of documentary, we cannot categorise Jordan Lord’s latest film, Concealed and Denied. This isn’t only because it deals with the rapidly evolving culture of social media politics, or…
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With this crazed symphony, James Richards brings together four years of works to create a hallucinatory experience for the hysteria of our times. The umbrella name given to the three distinct chapters of James Richards’ latest work at Sylvia Kouvali is perhaps the best way to describe the feeling that flows between the varying images.…
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Despite its far-reaching geographical and historical subject, the themes of home and belonging make the eponymous “ground” unmistakably East London, the area in which it rightfully won awards last year. It should come as no surprise that The Ground Beneath Me, a project consisting of the filmic work Legacy of a Heart’s Injury (2026–) and…
