• Ragnar Kjartansson, Take Me Here by the Dishwasher: Memorial for Marriage, 2011/2014. Performance view.

    Ragnar Kjartansson

    Barbican Art Gallery

    Ragnar Kjartansson is only forty, but the immense span of media and sheer number of works in this midcareer survey suggest an eccentric figure who has been around for a long while. His work is strikingly contemporary in an old-fashioned way. The show—which blurred many boundaries—never spilled over from performance into spectacle. Its subtlety lay in the comfortable tension between its vitality and the dark northern European humor underlying it. You were never sure whether to laugh or cry, or both—or neither.

    Kjartansson conjures a world in which the viewer is often a voyeur, on

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  • Rana Begum, No. 670, L installation, 2016, powder-coated galvanized steel. Installation view. Photo: Jack Hems.

    Rana Begum

    Parasol unit

    London is a city best encountered on the move. As the to-and-fro of commuters and the rhythmic waves of visitors synchronize into one homogenous beat, we tend to overlook the colorful moments that can punctuate the dull monotony and give this city its eclectic character, from neon-yellow underground railings against charcoal-gray business suits to steel-drum street music accompanied by the drilling sounds of construction, or a graffiti-covered parking lot at the foot of a sharp, shiny skyscraper. Tuning in to these varying pulses and contrasting facades, however, is the perfect way to prepare

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  • View of “Jeremy Moon: Out of Nowhere,” 2016. From left: No. 3/73, 1973; English Rose, 1967; Out of Nowhere, 1965. PEER. Photo: FXP Photography.

    Jeremy Moon

    PEER/Large Glass

    This two-part exhibition of works by Jeremy Moon, curated by the young, Glasgow-based artist Neil Clements, consisted of working sketches, studies, and archival material at Large Glass, while at PEER four of his paintings were accompanied by a slide show projected within a large sculpture by Clements. Having studied law and then worked briefly in advertising while maintaining an interest in classical ballet, Moon was inspired to turn to art after seeing the now-legendary “Situation” exhibition at the Royal Society of British Artists gallery in 1960. Aside from a few months at the Central School

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