Critic's Guide: East End Night

Tonight's highlights: two significant new painting shows and an impressive new film by Charlotte Prodger

For the complete list of the galleries participating in this year’s East End Night (8 October, 6 – 8pm) click here.

kants-00213-d1-300.jpg

Sanya Kantarovsky, Little Big Man, 2016, oil and watercolour on canvas, 87 x 66 cm. Courtesy: Stuart Shave/Modern Art, London 

Sanya Kantarovsky, Little Big Man, 2016, oil and watercolour on canvas, 87 x 66 cm. Courtesy: Stuart Shave/Modern Art, London 

Sanya Kantarovsky
Stuart Shave/Modern Art
4 October – 5 November 

Sanya Kantarovsky’s new body of paintings retain all of the artist’s signature humour, but are amongst the most varied he’s produced. Cartoonish figures abound, mainly youths and stringy haired moustachioed men, but also a brilliant portrait of the artist Olga Balema. Playing guess the historical genres and movements in Kantarovsky’s works is tempting too, but it’s ultimately a futile endeavour – he merges constellations of art historical tropes, themes and styles at a speed too fast pin down. The show, titled ‘Feral Neighbours’, is accompanied by the artist’s first monograph, titled ‘No Joke’, made in collaboration with designer Stuart Bailey. 

hs12-ak5653f_a.jpg

Annette Kelm, Welcome, 2016, archival pigment print, framed 79 x 97 cm. Courtesy: Herald St, London

Annette Kelm, Welcome, 2016, archival pigment print, framed 79 x 97 cm. Courtesy: Herald St, London

Annette Kelm
Herald St
30 September  6 November

In this body of still-life photographs, Annette Kelm plays games with a sculptural juxtaposition of objects and text. A pizza box features twice, in the background of Welcome
(2016), a staged assemblage of assorted objects on a table, and more bluntly in the appropriately-titled Pizza Pizza Pizza (2016), a c-type print replicated four times that shows a piece of bark stuck to the side of a pizza box, only for its shadow to prove that impossible. As one has come to expect from Kelm’s work, visual elements and signs blur in a mirage of possible intentions, meanings and readings.

giant-300.jpg

Allison Katz, Giant, 2013–2016, oil on canvas, 2.6 x 2.1 m. Courtesy: The Approach, London

Allison Katz, Giant, 2013–2016, oil on canvas, 2.6 x 2.1 m. Courtesy: The Approach, London

Allison Katz
The Approach
18 September  23 October

The bewitching set of paintings that make up Allison Katz’s first solo exhibition at the Approach vary in size, media, style and tone, but are united by an communal energy that gets close to a tongue-in-cheek spiritualism. See, for example, Giant (2013-16),in which a deity-sized nude woman carrying a bundle of twigs, her modesty covered by well-placed clouds, looms above a low-lying town. For more examples of this supernaturally-tilting self effacement, see the humorously titled Self-Elf and Schrödinger’s Katz (both 2016).

bridgit_01.jpg

Charlotte Prodger, BRIGET, 2016, single channel video installation. Courtesy: Hollybush Gardens, London

Charlotte Prodger, BRIDGIT, 2016, single channel video installation. Courtesy: Hollybush Gardens, London

Charlotte Prodger
Hollybush Gardens
6 October – 12 November

Charlotte Prodger’s new film BRIDGIT (2016) uses the various names by which the eponymous Neolithic female deity was known to weave a diaristic exploration into the fluidity of identity and sexuality. Shot on her iPhone, the footage flicks between scenes in the artists’ flat (herself listening to the radio, her cat exploring a lamp with her nose and paw) to shots of the Scottish Highlands (standing stones, a forest scene), at a calm pace that is dictated by the iPhone’s limited storage capacity – scenes can only be up to 4 minutes in length. The intermittent narrative presents an accounts of the time Prodger spent working as a care assistant in Aberdeenshire, her own coming out, and the awkward encounters when she has had to confirm or deny her sexuality. 

2016_09_01-11.jpg

Paolo Gioli, Schermo-Schermo, 1975, silkscreen and acrylic on canvas, 111 x 161 cm. Courtesy: Wilkinson Gallery, London

Paolo Gioli, Schermo-Schermo, 1975, silkscreen and acrylic on canvas, 111 x 161 cm. Courtesy: Wilkinson Gallery, London

Paolo Gioli
Wilkinson
16 September  13 November

Paulo Gioli’s show ‘On the Edge of (New) Media’ brings together a grouping of works from the 1970s and ’80s from an artist largely unknown in the UK. Born in Rovido in 1942, Gioli’s practice is informed by a defining trip to New York in 1967 where he met Stan Brakhage and witnessed the city’s thriving avant garde film scene. Experiments with the process and material nature of film and photography play out in various spliced, collaged and printed forms – brightly coloured canvases made using silk-screen and acrylic – and a few collaged video works as well.

For the complete list of the galleries participating in this year’s East End Night (8 October, 6 – 8pm) click here.

Main image: Annette Kelm, Pepper / Pac Man, 2016, archival pigment print, framed, 61 x 75 cm. Courtesy: Herald St, London

Paul Teasdale is editor of frieze.com. He is based in London.

Most Read

In further news: white supremacist vandals attack Rothko Chapel; Israeli minister bans art produced in solidarity with...
To experience the music of the composer, who passed away last week at the age of 69, was to hear something tense,...
In a year charged with politicized tensions, mastery of craft trumps truth-to-power commentary
The US writer, who died last week, brought a quality of inestimable importance to the modern novel: a mind that was...
The $21M painting was the highest price ever paid for a work by a living African American artist at auction
Royal bodies, the ‘incel’ mindset and those Childish Gambino hot-takes: what to read this weekend
In further news: women wearing rainbow badges beaten in Beijing’s 798; gallerists Georg Kargl and Richard Gray have...
‘Coping as a woman in France is a daily battle: the aggression can be subtle, and you always have to push harder to...
The rapper and artist have thoughts about originality in art; Melania Trump tries graphic design – all the latest...
The dilapidated Nissen hut from which Rachel Whiteread will take a cast
Yorkshire residents complain that the concrete sculpture of a ‘Nissen hut’ will attract excrement, vandalism and litter
Poul Erik Tøjner pays tribute to Denmark’s most important artist since Asger Jorn
Toyin Ojih Odutola’s portraits of a fictional aristocratic Nigerian family push toward an expanded definition...
Photographer Dragana Jurisic says her account was deactivated after she uploaded an artwork depicting a partially naked...
In further news: open letter protests all-male shortlist for BelgianArtPrize; Arts Council of Ireland issues...
From Sol Calero’s playful clichés of Latin America to an homage to British modernist architect Alison Smithson
Everybody’s favourite underpaid, over-educated, raven-haired art critic, Rhonda Lieberman, is as relevant as ever
‘Prize & Prejudice’ at London's UCL Art Museum is a bittersweet celebration of female talent
The curators want to rectify the biennale’s ‘failure to question the hetero-normative production of space’; ‘poppers...
A fragment of the brutalist Robin Hood Gardens will go on show at the Venice Architecture Biennale
‘Women's role in shaping the history of contemporary art is being reappraised’
Three shows in Ireland celebrate the legendary polymath, artist and author of Inside the White Cube
The legendary performance artists will partner up again to detail their tumultuous relationship in a new book
An open letter signed by over 100 leading artists including 15 Turner prize-winners says that new UK education policy...
Naturists triumph at art gallery; soothing students with colouring books; Kanye’s architectural firm: your dose of art...
Avengers: Infinity War confirms the domination of mass culture by the franchise: what ever happened to narrative...
The agency’s founder talks about warfare in the age of post truth, deconstructing images and holding states and...
From hobnobbing with Oprah to championing new art centres, millennial crown prince Mohammed bin Salman is following a...
A juror for the award last year, Dan Fox on why the Turner Prize is and always will be political (whatever that means)
The argument that ancestral connection offers a natural grasp of the complex histories and aesthetics of African art is...
One of most iconic and controversial writers of the past 40 years, Tom Wolfe discusses writing, art and intellectual...

Latest Magazines

frieze magazine

March 2018

frieze magazine

April 2018

frieze magazine

May 2018