Gallery Weekend: What We Saw

This year’s Gallery Weekend may already seem like a frenzied memory but gallerists have only just begun the stretch for exhibiting new work by some of their best artists. We’ve compiled some highlights from this year’s shows, including Oscar Murillo’s looming installations and Tomás Saraceno’s entrancing spider soundscape.

Oscar Murillo
land with lost olive trees

Oscar Murillo, Onus, 2015–2016. Oil paint on canvas and linen, 360 x 250 cm, unique. Courtesy the artist, Galerie Isabella Bortolozzi Berlin and David Zwirner New York/London. Photo: Henry Trumble.

At Galerie Isabella Bortolozzi, Oscar Murillo’s show land with lost olive trees continues his enquiry into materiality. In it, he mimicks a fossil’s suspended or frozen state with dense and confrontational canvasses that hang from the ceiling and block corridors.

land with lost olive trees by Oscar Murillo will be on show at Galerie Isabella Bortolozzi from April 30 — June 25, 2016.

Stephen G. Rhodes
SWEETHAVEN ASSUMPTION: Or The Propertylessness Preparedness and Pals

Stephen G. Rhodes, The Seismic Assumption: ET family, 2015, mixed media. Courtesy the artist and Galerie Isabella Bortolozzi Berlin. Photo: Henry Trumble.

Stephen G. Rhodes looks at the cause and effect of disrupting two communities in his immersive show at Bortolozzi’s second location. The Louisiana Bayou Corne sinkhole brought on by fracking and Malta’s Sweethaven Village which was used as the film set for Robert Altman’s Popeye in 1979. Rhodes has packed the space with odd structures and toxic looking, peculiar objects. Mechanical whirring, dissonant noise and chaotic images clash in a rich recreation of the distopian scenes.

SWEETHAVEN ASSUMPTION: Or The Propertylessness Preparedness and Pals by Stephen G. Rhodes will be on show at Galerie Isabella Bortolozzi from April 27 — June 25, 2016.

Estrid Lutz Emile Mold
I Dusts

Estrid Lutz Emile Mold, I Dusts, 2016, Installation view at The Composing Rooms, Berlin. Courtesy The Composing Rooms.

Human bodies and heavy duty machinery often appear in Estrid Lutz Emile Mold’s work. For their first solo show at The Composing Rooms, compilations of found photos and those they have taken, are interlaced and presented as five lenticular collages. The young duo have modelled 3D sculptures from mesh, foam and carbon fibre with pictures of a heavily bombed high-tech public relations office with human remains.

I Dusts by Estrid Lutz Emile Mold is on show at The Composing Rooms from April 16 — May 21, 2016.

Tomás Saraceno
Aerocene

Tomás Saraceno, Asocial Semi-Social Mapping Of Pasiphae 743.61 by a solo Nephila Kenianensis — One Week And A Trio Of Cyrtophora Citricola — Six Weeks, 2016. Courtesy Esther Schipper.

At Esther Schipper Gallery, Tomás Saraceno’s exhibition titled Aerocene should be approached carefully by arachnophobes. The star of the show is the sub-saharan African spider who creates noise from its movement. Hooked up to a set of microphones and speakers, vibrations from the spider’s web spinning creates sound and dust particles which are beamed onto a screen.

Aerocene by Tomás Saraceno is on show at Esther Schipper from April 26 — May 28, 2016.

Kate Steciw
Things of Shapes

Kate Steciw, Things of Shapes, 2016, installation view. Courtesy Neumeister Bar-Am.

Neumeister Bar-Am’s presentation shows Kate Steciw’s suspended sculptures and large scale wall works. Her new collection is a departure from her usual technique of harvesting and abstracting stock images. Instead she opts for hand cut compositions and reuses old photographs she shot herself to subvert recognizable forms and create new narratives.

Things of Shapes by Kate Steciw is on show at Neumeister Bar-Am from April 29 — June 25, 2016.