Grace Beaumont

  • 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

  • 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

  • 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

  • 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

  • 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:

  • 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

  • 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

  • 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

  • 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

  • picks March 14, 2013

    Keith Tyson

    Panta rhei, or “everything flows” in Ancient Greek, is a concept that refers to the world’s state of never-ending flux, and it is the title of Keith Tyson’s exhibition at Pace London. Here, in sixteen new paintings inspired by poetry, music, and personal references, the artist explores his ongoing interest in the networks and systems that construct our existence.

    Colorful abstract shapes appear to be sucked into another dimension in the piece Curves of an infinite order, 2012, in which Tyson has applied a layering technique, painting over another picture and then scraping back the newer surface

  • picks September 08, 2012

    Sarah Lucas

    At the top of the steps to the Henry Moore Institute, two large concrete squashes, Untitled, 2006–12, flank the entrance to Sarah Lucas’s latest exhibition. Lucas is known for phallic foodstuffs, and these two also call to mind her celebrated Self Portrait with Fried Eggs, 1996, a photograph of the artist sitting slumped in a chair, fully clothed, with a fried egg placed on each breast. “Ordinary Things,” however, draws broadly from Lucas’s wide-ranging exploration of sculpture over the past two decades, including pieces from the early 1990s and her recent work.

    The ambience of the first gallery

  • picks April 09, 2012

    Katie Paterson

    A small sound, almost a middle C, is emitted into Haunch of Venison’s new space in Fitzrovia via a sensor on the door and a speaker on the far wall. Brief and almost undetectable, it mimics the noise made by a dying star and is part of Katie Paterson’s latest show, which showcases a selection of her recent projects, all poetic meditations on mind-blowing cosmological happenings.

    Consider 100 Billion Suns, 2011, which was originally developed for the 2011 Venice Biennale and gives this show its title. During the vernissage in Venice, tiny pieces of paper confetti color-matched to gamma ray bursts—the

  • picks December 24, 2011

    Gert and Uwe Tobias

    Occupying two floors at the gallery, the Tobias brothers’ first solo exhibition in London features large-scale woodcut prints, mixed-media works, collage, and ceramic objects, in a space where the walls have been painted dark blue to create a hallucinogenic journey through a sinister landscape. The identical twin artists grew up in Brasov, Romania, unaware of the Transylvanian region’s famous mythology until they moved away to Germany. The presence of the moroi, a vampirelike ghost in Romanian folklore that rises from the grave to feast on the blood of the living, lingers in the downstairs

  • picks September 26, 2011

    Mario Garcia Torres

    Mario Garcia Torres is often concerned with reconfiguring the past, bringing a new significance to previous events. For “September Piece,” he has assembled photographs, slides, and artifacts relating to the 1968 exhibition “9 at Leo Castelli,” organized by artist Robert Morris around the ideas in “Anti-Form,” his Artforum essay from earlier that year. Presented at Castelli’s stripped-down storage warehouse on New York’s Upper West Side, the works Morris chose related to material, process, and the site itself. The show was to feature art by Giovanni Anselmo, William Bollinger, Eva Hesse, Stephen