In the neon works of Welsh conceptualist Cerith Wyn Evans, “real light” (as Dan Flavin called electric light) appears like an un-flickering flame, creating brilliant and bizarre spatial drawings. His sculptures resonate with an amalgam of illusion and fact, interacting with the spaces that they occupy, disappear into, and dissolve.
VANCOUVER Catriona Jeffries Liz Magor’s dramatic installations encapsulate the chaos of our times, piecing together puzzles in which everyday objects enact confounding and disturbing narratives. Born in Winnipeg, Magor has resided in Vancouver most of her life. She speaks fondly of her Vancouver childhood, recalling its seaside harbor as a “wild, cranky, beautiful type of place,” which might also describe the bewitching mix of the beauteous and the abject in her work.
VENICE Fondaco Marcello There is a commentary on the interconnectedness of community, but also on our internalized fragmentations, our duplicitous natures. We might know of Janus, the two-faced god, but these deities have multiple faces, features that slip and merge unrelentingly into one another.
NEW BRITAIN, CONNECTICUT New Britain Museum of American Art Viewers first absorb Jennifer Wen Ma’s An Inward Sea (on view through October 24, 2021) as a lyrical, room-filling composition of waves set under a full moon. But that initial response quickly shifts, as synchronized sound and mechanized elements intensify with charged momentum.
For more than 20 years, Bonnie Collura has pursued a sculptural agenda that incorporates wildly diverse materials and processes while also drawing on a wide array of references—everything from the pop cultural worlds of cartoons and movies like Star Wars to highbrow texts such as Niccolò Machiavelli’s The Prince and Mary Shelley’s Frankenstein.
Tracey Emin shot to fame when My Bed (1998) was shown at London’s Tate Gallery in 1999 as one of the shortlisted works for the Turner Prize. The sheets marked with bodily secretions, the used condoms, and the menstrual-stained underwear sent critics into an uproar, and a media furor ensued.
VANCOUVER Museum of Anthropology at the University of British Columbia I don’t always find the switch between “anthropological” and “art” objects dissonant, but “Playing with Fire” cast a raking light on those problematic distinctions.
Focalizando en la investigación de proyectos que establecen vínculos entre los elementos constitutivos, con especial atención en la luz y el color para componer el eje del relato de sus obras, el artista plantea instalaciones donde la escultura es un recurso para explorar la relación establecida entre el espacio y los objetos.
Bijl tackles a vast array of subjects through his interventions, ranging from entertainment and fashion to illness, politics, utopias, and ideals, as well as a considerable emotional spectrum, veering from melancholy, dread, and boredom to hilarity.