Top 7 Shows to See in the UK this Summer

From Pakui Hardware's medical examination room in Gateshead to a major London exhibition by racial advocacy and community organisation, Tottenham Rights, here are our editor's picks 

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BY frieze in Exhibition Reviews , UK Reviews | 02 JUN 21

 

rana begum 2021 kate macgarry
Rana Begum, No. 973, 2019–20, installation view. Courtesy: the artist and Kate MacGarry, London; photograph: Angus Mill

Rana Begum
Kate MacGarry, London

Light takes centre stage in Begum’s first solo exhibition at Kate MacGarry. In the gallery, the artist explains that light makes her feel ‘elated’ and this exhibition captures the ‘weightlessness’ it generates within her. In contrast with the bold units of colour that characterize Begum’s previous, wall-mounted metal sculptures, No. 973 features galvanized mesh in different overlapping shades, affording the individual pieces of spun metal a new virtuality. Begum’s choreographed dance with fractals magnetizes the viewer with its morphogenic playfulness. ‘How can you create a sense of balance?’ she asks. Made in direct response to the sunbeams flooding through the skylight of the east London space, No. 973 elicits an uncontained surrealist encounter, where curves in perception mimic a virtual reality experience. – Natalie Nzeyimana 

pakui hardware virtual care
Pakui Hardware, 'Virtual Care', 2021, installation view, commissioned by BALTIC Centre for Contemporary Art. Courtesy: the artists and carlier|gebauer, Berlin/Madrid; photograph: Rob Harris 

Pakui Hardware 'Virtual Care'
Baltic Centre for Contemporary Art, Gateshead

Pakui Hardware’s intervention, ‘Virtual Care’ (2021), is pared back and clinical. Designed in collaboration with Lithuanian architecture studio Isora x Lozuraityte, this seven-and-a-half-metre-tall, shrine-like space, fitted with oversized light panels and mismatched LEDs, evokes a dated surgery. Slate-grey vinyl flooring swallows all sounds of life while the luminescent exterior paint echoes the precise blue-grey of a N95 face mask. In the centre of the room, a giant mechanical general practitioner (GP) dangles from the ceiling, its glass eyes surveilling yet tender. All metal brawn and sheen, the machine flexes a hi-tech muscularity, but it is equally gossamer and vulnerable, swaying with the slightest movement of bodies in the room. – Alice Bucknell

everlyn nicodemus silent strength
Everlyn Nicodemus, Silent Strength no 33, 1990, oil on canvas, 70 × 80 cm. Courtesy: the artist and Richard Saltoun Gallery, London

'On Hannah Arendt: What Is Authority?'
Richard Saltoun Gallery, London

‘On Hannah Arendt: What Is Authority?’ – the third in a series of exhibitions themed around the work of the 20th-century political philosopher – sees artists Lili Dujourie, Everlyn Nicodemus and Lerato Shadi toy with different perspectives of authority, as wielded from the individual to the state. Disentangling the term from its common association with totalitarian power, Arendt’s titular 1954 essay seeks instead to reclaim authority as ‘authentic and indisputable experiences common to all’ and ‘an obedience in which men retain their freedom’ – a definition more in line with individual agency. – Aurella Yussuf

liz johnson artur
Liz Johnson Artur, Spring…Times, 2020, photo prints on perforated PVC, 298 × 150 cm each. © Liz Johnson Artur; courtesy: the artist and Lisson Gallery, London

'An Infinity of Traces'
Lisson Gallery, London

Greeting visitors from the back wall of Lisson Gallery’s current group show, ‘An Infinity of Traces’, is Liz Johnson Artur’s Spring ... Times (2020), which feels like an exercise in mythmaking. The Ghanaian-Russian photographer presents three photoprint banners, with a single figure the focus of each: in the first, a young woman raises her fist in solidarity; in the middle, a man dances, dressed like a pirate; and, on the right, a glamorous woman in PVC boots and a dress printed with a full-frontal nude holds an arm aloft. Any initial incongruity between the three images is diminished not just by their equal size and greyscale colouring but by their suspension from the ceiling, compelling our gaze upwards and conferring on each a dignified grandeur of the kind that turns ordinary people into heroic figures. – Aida Amoako 

 1 Rashid Johnson Image Credits Rashid Johnson, Stacked Heads, 2020. Installation view at Canning Dock Quayside. Photograph: Mark McNulty
Rashid Johnson,Stacked Heads, 2020, installation view at Canning Dock Quayside; Courtesy: the artist and the Liverpool Biennial; photograph: Mark McNulty

Liverpool Biennial 'The Stomach and the Port'
Various venues, Liverpool 

The 2021 Liverpool Biennial – rescheduled from 2020 due to COVID-19 – brings together 50 international artists and two collectives to present works in various locations around the city. Larry Achiampong has installed eight Pan-African flags on buildings and streets across the city centre, referencing Liverpool’s connection to the transatlantic slave trade while evoking a sense of solidarity and collective empathy. Yael Davids presents a new public performance, Wingspan of the Captive (2021), at Liverpool Central Library, responding to the naturalist illustrations of John James Audubon’s The Birds of America (1827). Rashid Johnson’s public sculpture Stacked Heads (2020) – a totem that uses resilient flora to speak to present-day racial discrimination – is presented at Canning Dock Quayside. And Luisa Ungar’s interactive tours, taking place throughout the city, point to elements of medicine, stigmatization and otherness. – Frieze 

emma talbot ghost calls
Emma Talbot, 'Ghost Calls', 2021, installation view at Dundee Contemporary Arts. Courtesy: the artist and Dundee Contemporary Arts; photograph: Ruth Clark

Emma Talbot 'Ghost Calls'
Dundee Contemporary Arts

‘It is not a first-person statement, not ego, but a moan of grief, gathered and gathering.’ This sentence, near the end of So Mayer’s ‘Listen to the State of Us’ – a sinuous, splintering, urgently beautiful text commissioned to accompany ‘Ghost Calls’, Emma Talbot’s first solo exhibition in Scotland – refers to the preceding line, a torrential cry of vowels: ‘Aiaiai’. Might Mayer’s description refer to Talbot’s work, too?Published in a slim volume that also includes poetry by Helen Charman and an interview between Talbot and curator Eoin Dara, Mayer’s text articulates the intense physicality of grief through an experience of collectivity understood not only as a gathering of individuals, but as a precondition upon which individuality is even possible. – Tom Jeffreys

The People’s Account, 1985, film still. Courtesy: Ceddo Film & Video and Channel Four

'War Inna Babylon: The Community’s Struggle for Truths and Rights'
Institute of Contemporary Arts, London

The People’s Account (1985) by Ceddo Film and Video Workshop is a documentary rich with oral histories and first-person accounts of the Broadwater Farm uprising, which took place on a housing estate in Tottenham, north London. Still rarely seen, the film opens with a narrator grounding you with a simple but impactful truth: ‘Three major uprisings rocked London and Birmingham in late 1985. Each was sparked by an act of police lawlessness against a Black woman.’

This July, Stafford Scott and Kamara Scott, who co-founded the community group Tottenham Rights (previously Broadwater Farm Defence Campaign), present an exhibition illustrating the institutional, cultural and political shifts since the nationwide uprisings in 1985. Featured will be Forensic Architecture’s 3D video investigation into the country’s biggest riots of recent times, which took place in 2011 in response to the police killing of Tottenham native Mark Duggan. – Rianna Jade Parker

Main image: Evan Ifekoya, Disco Breakdown, 2014, video still. © Evan Ifekoya; courtesy: the artist and Lisson Gallery, London

Contemporary Art and Culture

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