• Ilya Kabakov’s concept drawing for Three Nights, 1989.

    Ilya and Emilia Kabakov

    Tate Modern

    ILYA KABAKOV is arguably the paradigmatic installation artist, known above all for his theorization of the immersive “total installation,” and its execution in dozens of large-scale works made since the mid-1980s (after 1988 usually in collaboration with his partner and subsequent wife, Emilia). Yet this retrospective, “Not Everyone Will Be Taken into the Future,” was unfortunately not London’s long-awaited opportunity to experience an overview of the Soviet-born artists’ melancholy-utopian otherworlds. Instead, it rebranded them as painters, and not very good ones at that. As a result, the

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  • Phillip King, Colour on Fire, 2017, waterbased polyurethane paint on polyurethane, polycarbonate sheet, 7' 6 1/2“ x 15' 11” x 4' 11". Photo: Luke A. Walker.

    Phillip King

    Thomas Dane Gallery

    This two-part exhibition took place in both of Thomas Dane Gallery’s spaces: In one presentation, titled “Colour on Fire,” Phillip King showed two new polychrome sculptures; in the other, titled “Ceramics 1995–2017,” he displayed thirteen large clay objects. Together, the works showed him continuing to expand the notion of sculpture-in-the-round by exploring materials and inventing forms. Colour on Fire, 2017, is a freestanding, four-part work constructed from painted sheets of polyurethane foam. Two rectilinear elements—in pink and green, respectively, both riddled with cylindrical holes

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  • Maja Čule, Mouth, 2017, digital video, color, sound, 18 minutes
    55 seconds. Photo: Ollie Harrop.

    Maja Čule


    Maja Čule’s new video Mouth, 2017, is what a nature documentary might be like if made with a mumblecore aesthetic. Men in outdoor gear roam through a forest holding big sticks, shuffle around a muddy lake, and cross terrain thickly covered in decaying autumn leaves. One howls to the sky. Another scans a man’s back with his phone, zooming in on what appears to be a tick bite. At night they stalk animals and wrestle with each other—at one point I heard a pig or boar grunt, but it was too dark to see what’s happening. The soundtrack is ambient: Sometimes we hear their voices or the camera

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