Our Picks: External shows and news of interest
  • Anne de Carbuccia @ Brun Fine Art
    28 September – 15 November
    The aim of Anne de Carbuccia’s ONE PLANET ONE FUTURE exhibition is to raise awareness and document human-caused threats to the planet, “what we have, what we may lose and what we have already lost”. One Planet One Future harnesses the universal language of art to inspire individual action. Through her photographs, Anne de Carbuccia wishes to draw attention to the current environmental crisis and to move people to change the behaviours and habits that contribute to it. All the photographs are taken on location and are both an homage to their subjects — water, disappearing environments, endangered species, and cultures — and a hard examination of the often ruinous effects of pollution and war.
  • Joan Jonas @ Amanda Wilkinson Gallery
    1 October – 17 November
    An exhibition of new works called In the Trees II, by Joan Jonas.
  • Lucy Dodd @ Spreuth Magers
    2 October – 17 November
    ‘Miss Mars’, is a solo exhibition of new paintings by the American artist Lucy Dodd.   Her work includes large canvases using pigments incorporating organic matter, such as berries, nettles and tea.
  • Melanie Manchot @ Parafin
    28 September – 17 November
    Melanie Manchot's works in this exhibition, White Light Black Snow includes a new body of photographic works, being shown for the first time, and the premiere of a new video work, Cadence (2018). The exhibition runs concurrently with a major survey show at MAC VAL in Paris.  
  • Annie Albers @ Alan Cristea Gallery
    1 October – 17 November
    Collections: Prints 1963 - 1984, is a major retrospective of Anni Albers’ prints.  The exhibition, including archival material, coincides with the Tate Modern’s first survey of Albers’ textiles; together these shows will shed light on an often-overlooked artist.  
  • Cleo Broda & Others @ Church of St John, Bethnal Green
    2 November – 18 November
    Thirteen artists show new work, inspired by the historic Church of St John on Bethnal Green, a grade-one listed church designed by Sir John Soane. The coming into being of something; the origin. Energy, industrial light, magic, the unexplainable.  Artists include: Cleo Broda, Sinéid Codd, JMC Hayes, Soa J Hwang, Evy Jokhova, Anne Krinsky, Eva Lis, Laura Moreton-Griffiths, Katia Potapova, Kristina Pulejkova, Cecilia Sjoholm, Pandora Vaughan, Alexis Zelda Stevens.
  • Polly Barham @ Ikon Gallery
    19 September – 18 November

    A major exhibition of new and recent work by Polly Apfelbaum, which features large-scale colourful installations of textiles, ceramics and drawings, Apfelbaum’s artistic practice is framed within wider sociological and political contexts, and the legacy of post-war American art.

    The exhibition title comes from the 1970s song Waiting for the UFOs by British singer-songwriter Graham Parker, recalling the vast empty spaces of the American landscape and the characters who anxiously anticipate extra-terrestrial visits. This is combined with surrealist René Magritte’s definition of a garden as “a space set between a landscape and a bunch of flowers”

  • Nina Murdoch @ Marlborough Fine Arts
    31 October – 24 November
    Collecting Colour is the first solo exhibition by Nina Murdoch in four years. During this time she has simplified her subject matter, concentrating on her technique to allow the paint to assume greater importance. She has produced monumental paintings with a depth and quality that resonate light and atmosphere in dramatic and hypnotic visions. The exhibition brings together 16 new large-scale egg tempera and gesso paintings alongside a group of pastel studies. Together they showcase Murdoch’s representation of architectural spaces from a close-up, more abstracted viewpoint.
  • Sue Williams @ Skarstedt
    2 October – 24 November
    Following her acclaimed exhibition of historical works from 1997-1998 in New York, Sue Williams' New Paintings demonstrate a continuing interest in exploring the fluid boundary between figuration and abstraction and her pursuance of the transformation of one into the other. In this body of work, the paintings have an increasing ethereality. They utilise the lightness of exposed ground to create areas of watery colour that combine with the elements of mark making, doodling, lining and smudging seen in her previous works. In them, as ever, gender roles and politics are alluded to whilst she also explores memory and personal experience.
  • Miriam Nash @ Castor Projects
    27 October – 24 November
    In this exhibition, Tall Tales, Fall Tails, Miriam Naeh continues her exploration into the phenomenology of absurd through a careful and deliberate infusion of static sculpture and theatrical performance. In this scene of what might be called a “liar’s paradise” of outmost strangers, her organically worm like statues are not just the entertaining grotesque images perceived at first glance, but also and simultaneously real representatives of the uncanny. A gap is created as a reflexive evidence of the synthetic act that fuses the fictional with the real. This gap allows her to shed light upon the artistic act itself, which is manifested through the images that hide from logic, fleeing it towards the imaginary.
  • Paula Rego @ Marlborough Fine Art
    4 October – 27 November
    From Mind to Hand: Drawings from 1980 - 2001, is an exhibition devoted to Paula Rego’s preparatory sketches demonstrating how essential drawing is to an understanding of her work. Fundamental to Rego’s practice is her need to draw.  It underlies her method and remains at the core of all aspects of her work: paintings, pastels and prints. The exhibition spans the last three decades and comprises approximately fifty to sixty pieces, giving rare insight into her draughtsmanship and inventiveness. It is when she is drawing that her imagination comes into play and the stories unravel.
  • Melanie Wickham @ Tobacco Factory
    17 October – 27 November
    Melanie Wickham is a lino printer, who trained as an illustrator.  She has been carving out lino hares, cats, spiders and otters ever since. She is currently working on progressively larger flocks of birds. Melanie has exhibited regularly in galleries and exhibitions around the UK and has printed on many things – from lovely printmaking papers to walls, curtains and pairs of pants.
  • Prudence Maltby & others @ Swindon Museum & Art Gallery
    12 September – 1 December
    Cicatrix: the Scar of a Healed Wound, is a centenary project which reflects the story of Wiltshire during World War I. It is an exhibition  by Prudence Maltby, Susan Francis and Henny Burnett joined by Commonwealth artists Caro Williams (New Zealand), Catherine Farish (Canada) and Sophie Cape (Australia).  Cicatrix is a collaborative exhibition incorporating painting, drawing, sculpture, film, print and sound installation. This touring exhibition examines the concept of scarring: the physical marks left behind, scars on the Wiltshire landscape, and other scars, obscured but clearly evident as memories mapped within those who’ve experienced conflict. Cicatrix is a member of the First World War Centenary Partnership, led by Imperial War Museums, and forms a network of regional, national and international cultural and educational organisations.  
  • Noor Afsha Mirza @ Delfina Foundation
    27 September – 1 December
    The Scar, a fiction film installation by London and Istanbul based artists Noor Afshan Mirza and Brad Butler, is in three chapters (The State of the StateThe Mouth of the Shark and The Gossip), inspired by a true event with names, scenes and locations having been fictionalised through the use of Magical Realism.
  • Lucy Beech @ De La Warr Pavilion
    1 October – 2 December
    Lucy Beech’s solo exhibition Hyperstimulation presents a new film accompanied by a text by Naomi Pearce. The looping film, entitled Reproductive Exile, follows the fictional story of a woman undertaking cross-border fertility treatment. The film is set in private international clinic in the Czech Republic, where lack of legislation associated with reproductive rights sustains a booming fertility industry. Here the intended parent is introduced to ‘Eve’ (short for Evatar), a robotic version of the female reproductive system. Addressing gender bias in biomedical research and based on developments in reproductive science, ‘Eve’ is the future of drug testing in women and personalised medicine.
  • Behjat Sadr @ The Mosaic Rooms
    28 September – 8 December
    This the first UK exhibition dedicated to Behjat Sadr (1924-2009), now regarded as one of Iran’s most influential and radical visual artists. The exhibition brings together a selection of masterpieces by the artist never seen before in the UK. The display reveals Sadr’s dramatic artistic journey against the backdrop of bitter political events and her struggles as a woman fighting for recognition on a male dominated art scene. Each of the three gallery spaces at The Mosaic Rooms is dedicated to a city that was instrumental in shaping Sadr’s practice. Sadr’s own career path is evidence of a cosmopolitan modernity that was emerging in and between Tehran, Rome and Paris where the artist eventually settled after the 1979 Revolution.
  • Heidi Bücher @ Parasol Unit
    19 September – 9 December
    A major survey exhibition of works by Swiss artist Heidi Bucher(1926–1993), showing for the first time in a UK public institution 25 years after her death.  This exhibition brings together a significant body of her enigmatic latex works made during the last two decades of her artistic life and includes screenings of films that document her at work. The visceral qualities of Heidi Bucher’s intriguing works bear testimony to her deep sensitivity and suggest numerous associative meanings. Well known for her latex casts of room interiors, objects, clothing and the human body, which she herself referred to as Häutungen(skinnings), Bucher’s process invariably preserved a haunting imprint of an architectural surface or an object which was simultaneously both a physical encapsulation of and a liberation from the memories these things held for her.
  • Rachel Maclean @ Zabludowicz Collection
    20 September – 16 December
    Rachel Maclean has rapidly established herself as one of the most distinctive creative voices in the UK. Creating baroque, hyper-real worlds using green-screen video and computer animation, and playing many of the extravagantly costumed characters herself, Maclean spins razor-sharp fables that combine comedy and horror. Her work offers a powerful critique of contemporary society and its underlying fears and desires. Maclean is presenting. I’m Terribly Sorry, a new Zabludowicz Collection commission in virtual reality.  The artist’s first piece in the medium, made in collaboration with Werkflow: an interactive experience set in a dystopian urban British landscape of manic tourist merchandise.  It reflects on societal unease and misunderstanding in a culture of voracious documentation, self-performance and voyeurism.
  • Yayoi Kusama @ Victoria Miro
    3 October – 21 December
    This major exhibition of new work by Yayoi Kusama, Infinity Mirror Room, takes place across the Wharf Road galleries and waterside garden.  The exhibition will feature new paintings, including works from the iconic My Eternal Soul series, painted bronze pumpkin and flower sculptures, and a large - scale Infinity Mirror Room, created for this presentation. Throughout her career, Yayoi Kusama has developed a unique and diverse body of work that is highly personal in nature, and connects profoundly with global audiences. Continuing to address the twin themes of cosmic infinity and personal obsession, the new works in this exhibition are testament to an artist at the height of her powers as she approaches her 90th birthday. Paintings from the artist’s celebrated, ongoing My Eternal Soul series will be on view at Gallery II, Wharf Road.  Joyfully improvisatory, fluid and highly instinctual, the My Eternal Soul paintings abound with imagery including eyes, faces in profile, and other more indeterminate forms, including the dots for which the artist is synonymous, to offer impressions of worlds at once microscopic and macroscopic.
  • Ilse D'Hollander @ Victoria Miro
    7 November – 21 December
    In Ilse D’Hollander’s (1968–1997) work, the focus is on the rich dialogue between abstraction and representation, giving special attention to the ways in which she coaxed evocations of place, light and weather into her modestly-scaled canvases and works on cardboard. D’Hollander’s paintings are seldom straight forward landscapes. Instead, drawing the viewer in, her work reveals a masterful command of graphic and painterly touch that captures, holds and, often, diverts attention. Monochrome or near monochrome fields might be interrupted by blocks of colour; geometric volumes that read as natural or manmade interventions. These in turn might be punctuated by streaks or strokes of paint – applied with a brush or sometimes the artist’s hands. The results can be read as a series of accumulated impressions, adjustments and layerings – visual records of the artist’s thought processes as much as evocations of the landscapes she knew and loved.
  • Sheida Soleimani @ Edel Assanti
    26 October – 21 December
    In Medium of Exchange, Sheida Soleimani charts a fragmented history of the relationship between OPEC nations and western political powers since the 1960s, when the organisation was formed.  The exhibition  highlights the correlation between sovereign oil wealth and civil rights abuse. Medium of Exchange combines photographic tableaus with a scripted film. The freestanding photographs portray theatrical interplays between caricatured OPEC Oil Ministers and the western government officials who together control the oil industry. Solitary or group portraits are staged against backdrops composed of found images of oil fields and refineries, strewn with props relating to the commodities or cultural signifiers that shape each specific narrative. Soleimani’s various characters are engaged in bizarre acts of excess, romance and aggression.
  • Lizzie Siddal @ Wightwick Manor & Gardens
    1 March – 24 December
    Lizzie Siddal was an important and influential artist and poet.  A professional member of the Pre-Raphaelite artistic circle, she is, however, remembered today mainly as the model for the iconic Millais painting, Ophelia, and as wife and muse of the Pre-Raphaelite artist Dante Gabriel Rossetti. ‘Beyond Ophelia’ examines Siddal’s style; subject matter; depiction of women; her influence on other artists; and the prejudice she faced as a professional female artist in the patriarchal Victorian art world.
  • Berlinde De Bruyckere @ Hauser & Wirth Somerset
    29 September – 1 January
    Stages and Tales is a solo exhibition by Berlinde De Bruyckere, in which she presents two new bodies of sculptural works, selected in direct relation to the spaces they are exhibited in. The pieces presented in ‘Stages & Tales’ are a new artistic direction for De Bruyckere, moving away from the figurative work she is best known for, these new bodies of work are the artist’s most abstract pieces to date. Hanging from the walls of the Rhoades Gallery are seven new works composed of heavily weathered, semi-decomposed blankets built up in layers, that comprise the series Courtyard Tales (2017 – 2018). Since the early 1990s, many of De Bruyckere’s major works have featured structures involving blankets, suggesting warmth and protection, but also the vulnerable experiences that lead one to seek such shelter. In these tactile works the blankets hang, ragged and often in tatters, evoking shrouds. Peculiar bulges hint at something concealed within or behind the blankets, allowing the works to sit proud from the walls. The composition of layered colours in a warm and muted palette with the occasional splash of an untouched brighter tone, evokes images of a painterly nature.
  • Annie Swynnerton @ Manchester Art Gallery
    23 February – 6 January
    The first retrospective for nearly a century of the Manchester born painter Annie Swynnerton, a pioneering professional artist who challenged convention in art and life.  Painting Light and Hope features 36 paintings from across Swynnerton’s career, including 13 from Manchester Art Gallery’s collection with further loans from public galleries including the Royal Academy Collection, Tate and the Walker Art Gallery, Liverpool. The exhibition also features a number of rarely seen paintings on loan from private collections. Portraits showing the artist’s Manchester connections open the exhibition including Susan Dacre, with whom she co-founded the Manchester Society of Women Painters, and the Reverend William Gaskell, husband of novelist Elizabeth Gaskell. The exhibition also brings together landscapes, allegorical works and later portraits revealing her as a continually inventive artist who engaged with current art movements and forged her own independent style shaped by her experience of light and colour in Italy.
  • Francis Upritchard @ The Curve, Barbican
    27 September – 6 January
    This autumn, New Zealand born artist Francis Upritchard creates a new series of sculptural interventions in her exhibition, Wetwang Slack.  She is known for her array of archetypal figures in varying sizes from medieval knights to meditating hippies, painted in monochromatic or distinct patterns and decorated with bespoke garments and objects, Upritchard has conceived of the gallery as a spectrum in which to play with scale, colour and texture that shifts as you move through the space.  
  • Amy Sillman @ Camden Arts Centre
    1 September – 8 January
    Amongst the most distinctive voices in contemporary painting, Amy Sillman has interrogated the language and practice of painting, re-evaluating its history and extending its reach into emergent mechanical and digital processes. Working in New York, Sillman’s wayward form of abstraction has pushed defiantly at the process-oriented approaches typically associated with the traditions of post-war painting, infusing her work with a modern sensibility, critical self-reflexivity and humour. Many of Sillman’s works undergo prolonged periods of gestation during which they are reworked, layered, washed over, scraped back, reoriented, sanded and embellished; ultimately moved from one state to another. This physical and emotional process is inscribed in the accretions of the work’s rendered surfaces; an energy of antagonism resides in forms that remain somehow in flux, feelings that don’t resolve, signs that don’t signify and materials that struggle between construction and deconstruction.
  • Fiona Tan @ Frith Street Gallery
    16 November – 12 January
    In Fiona Tan’s work explorations of memory, time, history and the role of visual images are key. She often deals with notions of representation: how we represent ourselves and the mechanisms that determine how we interpret the representation of others. Photography and film – made by herself, by others, or a combination of both – are her mediums; research, classification and the archive, her strategies. Her skilfully crafted, moving and intensely human works, expanded film and video installations, explore both past and present and our place within them. The works in this exhibition Elsewhere, have been prompted by utopian literature such as William Morris’ News from Nowhere(1890) and Tommasso Campanella’s The City of the Sun (1623). These novels lead Tan to wonder why our age is so much more inclined to dystopian narratives rather than utopian ones.
  • Paloma Proudfoot @ Hannah Barry Gallery
    7 November – 12 January
    Proudick is the first collaborative exhibition of artists and friends Paloma Proudfoot and Lindsey Mendick. Drawing from the tradition of celebrity-couple portmanteaus, the artists have rebranded themselves as Proudick for the duration of the exhibition. Like the personal lives of Kimye, Brangelina and Bennifer, Proudick will offer up their private lives as tabloid fodder through still-life installation and performance, drawing from the world of Greek myth through to the work of Tracy Emin and Sarah Lucas. "We petrify our subjects: casting or simulating organic matter into clay. Fired and lacquered with glaze, they are hardened but still liable to shatter. Like Medusa, freezing our victims in anger, imposing stillness in our ceramics whilst a writhing unsure mass ourselves." – Proudick
  • Inga Dragset @ Whitechapel Gallery
    27 September – 13 January
    Working together since 1995, artist duo Michael Elmgreen and Ingar Dragset, produce beguiling spatial scenarios that explore social and sexual politics and unveil the power structures embedded in the everyday designs that surround us. In their uncanny installations, institutional spaces are transformed into metaphors for individual desires and collective identities with subversive wit and tongue-in-cheek melancholy. This exhibition, This is how we bite our tongue, juxtaposes a survey of their emotional figurative sculptures with an extraordinary new large-scale installation that meditates on the fate of civic space.
  • First Amongst Equals @ Foundling Museum
    16 January – 13 January
    In this exhibition, First Amongst Equals, remarkable women who have shaped contemporary British society choose objects that speak to them from the Museum’s Collection.
    Spanning 300 years of social history, culture and philanthropy, selections enable visitors to see the Collection from different perspectives, to make connections between the past and the present, and to reflect on women’s ongoing struggle for equality. Contributors, who have all achieved firsts within their respective fields, include: Maria Balshaw (first female Director of Tate); Moira Cameron (first female ‘Beefeater’, Yeoman Warder of the Tower of London); Baroness Hale of Richmond (first female President of the Supreme Court); Francesca Hayward (first black female Principal Dancer of the Royal Ballet); Carris Jones (first female chorister at St Paul’s Cathedral); Joanne Moore (first female tailor to have a men’s tailoring business on Saville Row); and Frances O’Grady (first female General Secretary of the TUC).  Starting in January, items will gradually go on display throughout the year.
  • Grace Pailthorpe @ De La Warr Pavilion
    14 October – 20 January
    An exhibition of paintings, drawings and autobiographical ephemera paired with in-depth psychoanalytic interpretation, by Grace Pailthorpe (1883 – 1971) and Reuben Mednikoff ( 1906 – 1972).  The work of Pailthorpe and Mednikoff is still relatively unknown, and A Tale of Mother’s Bones will be the most significant presentation of their work in almost 20 years. Drawing on original archival research, it tells the story of the couple’s lives through their works; showing how they excavated their earliest memories (including memories of birth) in order to understand their adult relationships, critical reception, political context, and spiritual beliefs. The exhibition will reinstate the couple within the artistic and intellectual histories they contributed to, and will reveal a new term developed by the pair: Psychorealism.
  • Lucia Nogueira @ Henry Moore Institute
    5 October – 20 January
    Over the course of her short career the Brazilian-born, London-based artist Lucia Nogueira (1950-98) was recognised as an intelligent and instinctive maker of meaning through objects; a reputation that has only grown since her death. This exhibition presents rarely seen sculptures and works on paper from the Leeds Sculpture Collections alongside a number of loans.
  • Modern Couples @ Barbican Art Gallery
    10 October – 27 January
    Explore modern art and modern love; Modern Couples: Art, Intimacy and the Avant-garde, reveals how relationships can become a playground for creativity. Featuring the biggest names in Modern Art, Modern Couples explores creative relationships, across painting, sculpture, photography, design and literature. Meet the artist couples that forged new ways of making art and of living and loving. The exhibition illuminates these creative and personal relationships, from the obsessional and fleeting to the life-long. Including Dora Maar & Pablo Picasso; Salvador Dalí & Federico García Lorca; Camille Claudel & Auguste Rodin; Frida Kahlo & Diego Rivera; Emile Flöge & Gustav Klimt – plus many more.
  • Mika Rottenberg @ Goldsmiths CCA
    10 October – 27 January
    Mika Rottenberg presents new and existing work in an exhibition featuring two new films that respond to the building, and  incorporates purpose-built installations alongside sculptural objects. Mika Rottenberg is known for her ability to highlight themes such as the inequalities of our global economy and the fragility of the human body, spun through a lens of humour, absurdity and confusion. She juxtaposes the vulnerabilities and strengths of her protagonists within uncanny interpretations of our physical world.
  • Anna Barham @ Site Gallery Sheffield
    29 September – 27 January
    LCD takes shape around an ambitious new commission by artist Anna Barham, titled Crystal Fabric Field.  Based on the fundamental geometric form of naturally growing crystals, the sculpture operates as a cabinet of curiosities, housing artworks by 16 other artists, all exploring the material possibilities of crystals. The works examine and observe liquid crystal phenomena, revealing the mystical properties of objects, linking technology and the natural world and exploring links between crystal, capital and contemporary culture.
  • Alison Watt @ Abbot Hall Art Gallery, Kendal
    12 October – 2 February
    The exhibition, A Shadow on the Blind includes new work representing a significant new development in Alison Watt's practice, alongside a selection of key earlier pieces. Watt's extraordinary paintings take the viewer to the edge of abstraction yet still suggest a powerful human presence or absence.
  • Emma Hart @ Fruitmarket Gallery, Edinburgh
    27 October – 3 February
    The exhibition, Banger, highlights Emma Hart’s work with ceramics, a material she turned to in order to find the ‘real’ in art: ‘clay can be an exciting way to talk about chaos … what is immediately important is how personal it is. There’s a very raw direct relationship between the clay and my hands’. This series of new work is shown alongside the major recent work Mamma Mia!, made as part of the Max Mara Art Prize for Women which she won in 2016.
  • Senga Nengudi @ Henry Moore Institute
    21 September – 17 February
    The Chicago artist Senga Nengudi has been a trailblazer in sculpture for fifty years. A vital figure in the African American avant-garde scenes of Los Angeles and New York in the 1960s and 1970s, her work is characterised by a persistently radical experimentation with material and form. Building upon a legacy of abstraction, Nengudi is a leading figure of Postminimalism making sculpture embedded with human, philosophical and spiritual concern. Her assimilation of traditional African forms and Japanese Gutai within Western Modernism has also been especially significant.
  • Tania Brugera @ Tate Modern
    2 October – 24 February
    Tania Bruguera's work is a community-driven response to the global migration crisis that engages with 'the role of emotions in politics'. Her main concerns are institutional power, borders and migration. Her work spans performance, events, action, film, installation, sculpture, writing and teaching alongside site-specific works. Often, she sets out to cause change through her work. She calls this approach Arte Útil (useful art), in which people engage as users rather than spectators.
  • Jesse Darling @ Tate Britain
    22 September – 24 February
    In The Ballad of Saint Jerome, Jesse Darling populates the gallery with works made from everyday objects and materials. These take on the appearance of both wounded and liberated shapes. Contorted mobility canes become animated snakes. Cabinets of curiosity try to walk away on their bent legs, and disembodied hands hold aloft ladders intended for caged birds. Figures such as Icarus and Batman undergo a tragi-comic makeover, scrutinised from unexpected angles to reveal their frailty and the need for care and healing. Creating sculptures from the cabinets that are used to exhibit artworks, Darling subverts the conventions of museum display. Their approach questions how we perceive objects, and how meaning and value are assigned through the authority of institutions.
  • Cornelia Parker @ Turner Contemporary
    14 September – 17 March
    Perpetual Canon is an installation by Cornelia Parker RA. It is made up of sixty flattened instruments once belonging to a brass band. Cornelia Parker is known for her sculptures and installations that explore the potential of matter, often subjecting commonplace objects to processes such as crushing, wrapping, exploding or dropping. Here, a collection of compressed trumpets, cornets, tubas and other instruments are silenced. In Parker’s words: "the band may be winded, but they’re not down and out: they’re still marching." A canon is a piece of music where a melody is played and imitated after a short delay. Perpetual Canon was originally created for an exhibition in the North East of England, a region associated with industries such as coal mining and its tradition of brass bands, described by Parker as "an anthem that is slowly winding down".   
  • Ulla von Brandenburg @ Whitechapel Gallery
    20 September – 31 March
    Five hundred children visited Whitechapel Gallery on 28 January 1973 to learn about sweets as a popular art. An enticing display of donated confectionary was part of the ‘Fanfare for Europe’ celebrations, marking Britain’s entry into the European Common Market. Billed as a ‘Sweet Feast’, children were invited to sample the candies, but the exhibition came to an unexpected end when they overwhelmed the guard and devoured all the displays. A new film by Ulla von Brandenburg, commissioned by the Gallery recreates the event.  Renowned for a body of work drawing on theatre and performance to explore complex social issues, von Brandenburg has also designed a colourful seating structure resembling a landscape, transforming spectator into participant. Filmed with children from the Arnhem Wharf Primary School, von Brandenburg explores the dynamics between the individual and the group; and the hopes of young people at a time when Brexit may limit opportunities for future generations.

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