In Mona Benyamin's Tomorrow, Again (2023), a dysfunctional news broadcast presents segments that recreate and react to prominent daily catastrophes in Palestine. In the shade of the sun The Mosaic Rooms, 226 Cromwell Road 6 September 2023–14 January 2024Įxpect: multimedia works by a new generation of Palestinian artists seeking ways to think about Palestine.īrought together by the 'adisciplinary' platform Bilna'es, a project by artists Ruanne Abou-Rahme and Basel Abbas, Muqata'a, and unnamed members to support artists in Palestine and beyond, The Mosaic Rooms commissioned four artists to reflect on the links between politics and aesthetics. Exhibition view: In the shade of the sun, The Mosaic Rooms, London (6 September 2023–14 January 2024). The artist's presence spreads to Southbank Centre from 4 to 8 October, where more live performances by artists trained under her are held.ĭina Mimi, The melancholy of this useless afternoon (2023). In Nude with Skeleton (2002), the nude artist lies on the ground with a skeleton on top of her, recreating a ritual performed by Tibetan monks. Abramović first performed the work in a museum in Bologna in 1977 with her partner Ulay 350 people passed between the artists before police concluded the event.Īlso re-staged is The Artist is Present, Abramović's 700-hour-long seated performance at MoMA, New York, in 2010, which invited audiences to sit across from her and stare into her eyes. The exhibition, described as 'vital' by The Guardian, begins with a re-enactment of Imponderabilia (1977) which asks audiences to squeeze between two nude performers standing in a doorway. While devoid of their original intensity, these latest performances by the veteran's students must be experienced for oneself. Serbian performance artist Marina Abramović is renowned for staging tense situations that challenge the limits of the body and mind, from standing at the receiving end of a taut arrow to fasting in a gallery for 12 days, and being held at gunpoint.Ībramović breaks another boundary in 2023 as the first woman artist to be surveyed at the Royal Academy. News Marina Abramović Enlists Performance Artists in London Read More Nomadic species wearing fabric sculptures Henderson made at each location enact their evolution across California beaches and South American glaciers. The work follows the artist's screening of Seasons End: Out of Body at Tate Modern in 2018, a choreography of 24 frames per second. The artist's new film commission, Green in the Grooves (2023), includes experiments made in her studio and garden in Australia, with a close-up view of knotted earthworms and vibrant greenery unearthed from stone crevasses, refracted by light. Starting from this awareness, Henderson's latest exhibition dives into earthworm ecologies to address how human interventions in the natural environment disrupt cyclical processes of degeneration and regeneration. Set inside soft, pastel-toned rooms, the action-filled scenic progression appears to relinquish all logic, evoking the magic of Disney's Fantasia (1940) with dynamic choreographies that remind us of the beauty of spontaneous processes that lie at the heart of life. In this mesmerising, grainy film, marionette-strung appliances tied to the wall with chains and rope struggle to come to life. Their non-sequential narratives are often devised from the artist's dream-or conceived after a hypnotherapy session inside a hotel pod at Gatwick Airport, in the case of Womb Life (2018). Tamara Henderson's visual sequences rarely disappoint. Artist Profile Tamara Henderson View Bio, Works &
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