• View of “Lee Bul,” 2018. Photo: Linda Nylind.

    View of “Lee Bul,” 2018. Photo: Linda Nylind.

    Lee Bul

    Hayward Gallery

    In Lee Bul’s glittering London retrospective, “Crashing,” everything seemed to be reaching and pushing insistently outward. The exhibition—covering thirty years of Lee’s practice, 1988–2018, with more than one hundred artworks on display—extended beyond the gallery’s physical limits to include a specially made artwork, Weep into Stones, 2017–18, comprising some fifty thousand crystals hanging off the Hayward Gallery’s Brutalist concrete exterior. At the entrance, the South Korean artist’s sprawling installation of cracked and curving acrylic mirrors, Civitas Solis II, 2014, stretched

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  • View of “Fernanda Laguna,” 2018. From left: 56, 2013; 57, 2013.

    View of “Fernanda Laguna,” 2018. From left: 56, 2013; 57, 2013.

    Fernanda Laguna

    Campoli Presti | London

    Fernanda Laguna is an inspirational figure to many in Buenos Aires, where she was born in 1972. Though she is an artist, curator, activist, poet, and writer, her direct influence has come above all through the various project spaces she’s run there since 1999. Among them is Belleza y Felicidad (Beauty and Happiness), a space she cofounded with the poets and writers Cecilia Pavón and Gabriela Bejerman, which existed from 1999 to 2007 before morphing into a publishing house still active today. Laguna’s first solo show in the UK, divided into two separately titled parts, displayed some of the

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