• Lindsay Seers, Nowhere Less Now, 2012, still from a thirty-five minute two-channel HD color audio-video component of a mixed-media installation additionally comprising wood, cardboard, and paint.

    Lindsay Seers


    A rusting, corrugated iron chapel in North London hosted Lindsay Seers’s captivating installation Nowhere Less Now, the latest site-specific project to be commissioned by Artangel. Seers transformed the interior of this nineteenth-century church, known as the “tin tabernacle” and occupied for the past fifty years by a troop of Sea Cadets, recladding it with riveted faux-metal sheets to resemble a ship. Seers extended this resemblance by placing an overturned iron ship’s hull inside the nave. Viewers were led into this darkened space, handed a set of headphones, and seated on a gun deck facing

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  • Roman Liška, Life After Wall Street (How to Spend It series), 2012, spray paint, synthetic mesh, fabric, felt, eyelets, MDF, monitor bracket, photocopy, 46 1/2 x 32 5/8 x 13".

    Roman Liška

    Rod Barton

    London-based German artist Roman Liška’s exhibition “NU BALANCE” was a statement of dissatisfaction and an expression of desire. The show was conceived not only as a group of works, but as an extended debate; each week the works on view were replaced with a new group, providing a shifting context and stimulus for discussion. Liška’s fundamental question was this: If the social status quo is under threat from financial, political, and environmental pressures, how might we reconfigure things in order to establish a new, dynamic equilibrium? Included in the first week’s hang was the eponymous NU

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