Grace Beaumont

  • View of “No realm of thought… No field of vision,” 2020.
    picks April 01, 2020

    Cerith Wyn Evans

    Cerith Wyn Evans may be up to his usual tricks—this gallery’s enfilade is filled with his hallmark white neon and musical chandeliers—but these new percepts retain the dazzling intrigue of the artist’s metaphysical readymaking. The first room is dominated by Still life (In course of arrangement)... VI (all works cited, 2020): A pair of tall, potted trees, their branches and leaves spread out on trellises, gently rotate on turntables, illuminated by two adjacent spotlights that project an ever-evolving eclipse onto the gallery wall. This is surrounded by a quartet of monochrome canvases

  • Martin Creed, Work No. 3071 Peanut Butter On Toast, 2018, patinated bronze, gold, 1 1/2 x 2 1/2 x 3 1/8".
    picks January 28, 2019

    Martin Creed

    A bronze wedge of toast spins on a plinth, its surface smeared with gold—peanut butter never looked so splendid, or so unpalatable. Work No. 3071 Peanut Butter On Toast, 2018, is one of many scenarios in Martin Creed’s “Toast” that transform dreary domesticity into something disconcerting. Nearby on a smaller platform, a beige sock dances merrily, animated by nearly invisible wires and an electronic mechanism overhead (Work No. 3159 Dancing Sock, 2018). Despite its cheery appearance, its Disneyfication makes it seem sinister, like crazed puppetry. Creed lends the enchanted garment’s same sense

  • Mika Rottenberg, 
Mary’s Cherries, 2018, mixed media, dimensions variable.
    picks October 01, 2018

    Mika Rottenberg

    This venue’s inaugural exhibition, Mika Rottenberg’s show encompasses seven intersecting galleries across three floors. Grotesque, uncanny, and extreme, the artist’s videos often feature real-life people with extraordinary physical attributes and talents who toil in surreal assembly lines to mass-produce objects for consumption. While reminiscent of a factory, the gallery’s network of open, naturally lit spaces—the building is a rehabilitated Victorian bathhouse—clashes suggestively with the oppressive restrictions portrayed by Rottenberg. On the ground floor is Mary’s Cherries, 2004, in which

  • Andy Holden and Peter Holden, How the Artist Was Led to the Study of Nature (detail), 2017, mixed media, dimensions variable.
    picks October 23, 2017

    Andy Holden and Peter Holden

    Andy Holden has collaborated with his father, Peter Holden, a notable ornithologist, on an exhibition that explores their fascination with birds. Inhabiting two levels of a disused library, “Natural Selection” includes video installations, archival material, found objects, and printed works. On the first floor, the scent of wood fills the space: Pieces of bark are scattered in piles across the floor, mimicking a woodland pathway. Nearby, three video screens display A Natural History of Nest Building (all works cited, 2017), in which the Holdens knowledgeably describe the mechanics and idiosyncrasies

  • Benedict Drew, The Trickle-Down Syndrome, 2017, mixed media, dimensions variable.
    picks July 06, 2017

    Benedict Drew

    In his current exhibition, Benedict Drew visualizes the effects of a fallacious economic theory that favors the rich and powerful over the poor. His massive installation The Trickle-Down Syndrome, 2017, forms a network of five interconnecting spaces that pulse through the ground floor of the gallery like an uncontrollable nervous system. The activity seems to feed into the central room, which features throbbing video imagery, handcrafted objects, a distorted sound track, and large, cascading vinyl banners. The space is governed by a raised platform much like a stage, which presents a nearly

  • View of “Jonathan Baldock and Emma Hart: Love Life: Act 1,” 2016–17.
    picks December 15, 2016

    Jonathan Baldock and Emma Hart

    “Love Life: Act 1,” Jonathan Baldock and Emma Hart’s new commission for PEER in conjunction with Grundy Art Gallery and the De La Warr Pavilion, will play out in three parts, the first beginning here. For this exhibition, the artists have refashioned the gallery as a surreal Punch-and-Judy set littered with bizarre handcrafted objects. The two conjoined rooms of the candy-striped space become a gigantic theater for Mr. Punch’s family to perform their cheerfully violent hijinks. Everything is suffused with an air of menace, as though Punch could pop out at any time and brutally beat you with his

  • Adam Basanta, The Loudest Sound in the Room Experienced Very Quietly, 2015, microphone, speaker cone, amplifier, sound-level meter, acrylic, dimensions variable.
    picks January 11, 2016

    Adam Basanta

    In the downstairs area of this gallery are three new feedback-inflected sound pieces by the artist and experimental composer Adam Basanta. The first work encountered is The Loudest Sound in the Room Experienced Very Quietly, 2015. It features a set of electrical components housed within a clear acrylic box. A microphone is directed toward a speaker cone, and between the two are an amplifier and a sound-level meter, the arrow of which points beyond an ear-splitting 110 decibels. What should roar like a chainsaw or a thunderclap is almost entirely muffled out, with the occasional high-pitched note

  • View of “Roger Hiorns,” 2015.
    picks June 19, 2015

    Roger Hiorns

    On view in Roger Hiorns’s latest exhibition are eleven small canvases, varying slightly in size and covered with brilliant blue copper sulfate crystals similar to those seen in Hiorns’s ambitious 2008 project Seizure. This untitled exhibition is the third in a succession of solo presentations of the artist’s work at the gallery. The first, in 2008, involved the dust of an obliterated jet engine, spread across the gallery floor. The second, in 2012, featured a collection of white plastic panels coated with animal brain matter. What sets this new exhibition apart from the others is vivid color:

  • View of “Pipilotti Rist: Worry Will Vanish,” 2014.
    picks December 22, 2014

    Pipilotti Rist

    “Worry Will Vanish” is one of two exhibitions of Pipilotti Rist’s new video works presented by Hauser & Wirth, in London and Somerset. In this space, visitors enter the dimly lit gallery and are first encouraged to remove their shoes. It’s a sensory experience from the outset—pupils dilate to adjust to the darkness, and the nerve endings of the feet pick up the sensation of sumptuous carpeting. Further on is Gigantic Pear Log, 2014, a lone tree trunk placed upright with a round opening in the wood that emits flickers of light, inviting the viewer to peer inside, where there is a small screen

  • Mohammed Qasim Ashfaq, ROD, 2010–2014, solid aluminum, 108“ x 10”, edition of 3.
    picks October 08, 2014

    Mohammed Qasim Ashfaq

    Mohammed Qasim Ashfaq’s latest exhibition is a cold, dark cosmos of almost entirely monochrome new sculptures and works on paper. From afar, the graphite drawing BLACK HOLE IV, 2013–2014, appears to be a solid, gray orb, but up close it’s revealed to be constructed of intricate, closely hatched lines beaming from the center of the paper. Within the circle, both light shading and forceful scoring create a perfect eight-pointed star. The only glimmer of color in the exhibition appears in BEADS, 2010–2014, wherein three black, brown, and clear resin spheres composed of hexagons are connected

  • Charles Avery, Untitled (View of the MoAO from the Direction of the Place de la Revolution with Hammons, Hepworth, Koons, Unknown Easter Island Artist), 2013, pencil, ink, acrylic, and gouache on paper, 8’ 3” x 13’ 5”.
    picks December 30, 2013

    Charles Avery

    A young woman with curly red hair and a sketchbook tucked under her arm puzzles over an artwork by Sigmar Polke. Three small children play beside Sol LeWitt’s Cubic Construction, 1971, poised to climb it at any moment, while a stressed security guard advances. These are scenes not unlike any other in a busy museum or gallery space. Charles Avery’s set of drawings, however, envisages these figures among a group exhibition that takes place on The Island, a fictional world that has been central to the Scottish artist’s practice since 2004.

    Curated by Tom Morton, using Avery’s plans for the Museum

  • Bill Viola, The Dreamers, 2013, four-channel HD video projection, color, sound. Production still. Photo: Kira Perov.
    picks July 19, 2013

    Bill Viola

    In the first room of Bill Viola’s latest museum-scale exhibition is the piece Chapel of Frustrated Actions and Futile Gestures, 2013, where unproductive scenarios are played out across nine horizontal wall-mounted screens that are arranged in a three-by-three composition. A couple stands face-to-face, perpetually striking each other and then reconciling. A man alone at night digs a hole in the soil only to fill it again, continually repeating the same action. These scenes all operate around a central screen, the only one not featuring an entire human figure. In this screen we see a hand, which