Stephanie Bailey

  • Derek Jarman, Journey to Avebury, 1971, 16 mm, color, sound, 10 minutes.
    film January 17, 2013

    Land’s End

    THE FIRST PART of “Back and Forth,” a film series currently on view at South London Gallery, opened with a stream of grainy snapshots, images of the British countryside tinged in burnt sienna, ocher and acid yellow, green and violet hues, all part of Derek Jarman’s ten-and-a-half-minute film Journey to Avebury (1971). The work invokes a sort of postmodern John Constable landscape, a pastoral version of Andy Warhol’s Empire. It’s amazing how landscapes can recall so much, here the trajectory of art in Britain—from nineteenth-century Romanticism to the lives of the YBAs: Sarah Lucas and Damien

  • Charlotte Posenenske, Series B Reliefs, 1967-2011,  aluminum, aerosol RAL spray paint, each 19 3/4 x 5 1/2".
    picks November 19, 2012

    Charlotte Posenenske and Liz Deschenes

    This meeting between late-twentieth-century provocateur Charlotte Posenenske and contemporary artist Liz Deschenes unfolds over the gallery’s three floors, with the lower- and upper-level galleries devoted to solo presentations of each artist’s respective work. Sandwiched between these two floors is the ground-level space, where Posenenske and Deschenes are shown together and where this exhibition essentially begins. Here, three aluminum forms colored a vibrant matte yellow fold out of a long white wall. Each is from Posenenske’s “Series B Relief,” 1967–2008, titled with her initials, production

  • Sam Durant, Aim Takeover of Bia HQ, Wash. DC, 2004, graphite on paper, 22 x 30".
    picks August 24, 2012

    “Animal Spirits”

    Even on Hydra, Greece’s answer to Saint-Tropez, vacationers can be reminded of the violence of global politics—in the form of “Animal Spirits,” a group show that deploys art as a form of resistance in an ex-slaughterhouse perched on this island’s edge. A macabre triptych sets the tone from the outset: Tom Sachs’s 2003 reproduction of the American presidential seal, Folkert de Jong’s sculpture of a head on a stake (Soldier’s Death, 2007,) and one of Paul Chan’s characteristic alphabets (The body of Oh Junior George (true type font), 2008), in which, for instance, the capital P corresponds to the

  • Joseph Despins and William Dumaresq, Duffer, 1971, black-and-white film in 16 mm, 75 minutes.
    film August 16, 2012

    Bridge and Tunnel

    THERE ARE MANY REASONS why Joseph Despins and William Dumaresq’s cerebral head jerker Duffer had only been screened publicly in the UK twice since its release in 1971 until Little Joe, a magazine about queers and cinema, mostly (the project’s own words), selected it for the independent Portobello Pop-Up Cinema’s London Lo-Fi Cinema Season. By all standards, it is extreme. There is sex! Sodomy! Mental instability! Misogyny! Simulated male pregnancy! Possibly infanticide! Presenting the film in London’s only semi-outdoor movie theater built under a motorway bridge and entirely out of scrap material

  • Angelo Plessas, Wi-fi Password, 2011, neon, Plexiglas, 18 x 71".
    picks August 02, 2012

    Angelo Plessas

    For the past decade, Angelo Plessas’s practice, which is rooted in 1990s Internet culture, has consistently used the Net as a medium through which to explore humankind’s place in the world. Yet, where the eighteenth- and nineteenth-century Romantics once painted figures caught in vast, oft-tempestuous natural landscapes, Plessas riffs on this convention through placing the twenty-first-century body within a cyber landscape where boundaries distinguishing the real and the virtual collapse as quickly as social networks form and expand. In his current solo exhibition, “Temple of Truth,” a range of

  • View of “The Magic Circle,” 2012.
    picks May 15, 2012

    “The Magic Circle”

    Entering this exhibition is like walking into somebody’s house, a feeling that is expertly cultivated in Loraini Alimantiri and Christoforos Marinos’s curatorial ode to Greek modernism. Made by fifty Greek artists (as well as three philhellenes), 120 works spanning the entire twentieth century and beyond inhabit—along with objects, furniture, books, plants, and posters—a small, modernist house and studio that acts as a historical and conceptual frame. Designed by an associate of Le Corbusier, Aristomenis Provelenghios, this house has served as a home and work space for various trailblazers,

  • Minouk Lim, New Town Ghost, 2005, still from a color video, ten minutes, fifty-nine seconds.
    picks April 23, 2012

    “What Should I Do to Live in Your Life?”

    The title of this exhibition, “What Should I Do to Live in Your Life?” poses a good question in a world so clusterfucked by globalization that unresolved issues of identity and belonging often rumble precariously under shifting geopolitical terrains. With this in mind, curator Claudia Pestana has invited Lee Kit, Minouk Lim, João Vasco Paiva, Part-time Suite, and Yuk King Tan to inhabit the rooms of the stately Bait Al Serkal building, a converted family home on the port of Sharjah, as a link to Hong Kong and Seoul—also port cities—where the participating artists are either from or based. Arranged

  •  Eugenia Apostolou, Disembodiment, 2011, oil on canvas, 20 x 20”.
    picks March 12, 2012

    “Abstract Further Abstraction”

    Though positioned within the context of Greece’s politically charged present, this exhibition of six artists, curated by Maria Marangou, leaves politics at the gallery door placing abstraction and material interaction at its thematic core. Nevertheless, an unavoidable tension seeps in from the frenetic standstill that is Athens today. Aemilia Papaphilippou’s Fixed in Flux II, 2009, a frenzied video combination of television static, grids, and moving lines contained within a screen, contrasts with the paced, material metamorphosis of Eugenia Apostolou’s Disembodiment, 2011, a series of five

  • View of “focal-plane,” 2012.
    picks January 11, 2012

    Yuri Pattison

    Yuri Pattison’s current exhibition at this gallery, which is located in an industrial park, gives the archiving of visual information in both real and virtual storage spaces the readymade treatment. Here, three shipping crates underscore the show’s thematic of the gallery as industrial storage unit. Through an investigation of the aesthetic reproducibility of the white cube––its essential four white walls––a spatial comparison is made between the gallery and shipping crates, particularly those transporting artworks across the world. This examination also extends to industrially manufactured