Ilona Sagar: Correspondence O | 13 December 2017–25 February 2018

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South London Gallery, 65-67 Peckham Rd, London, SE5 8UH

In her first institutional solo show in the UK, Ilona Sagar presents Correspondence O, a multifaceted work exploring the overlooked history of the Pioneer Health Centre in Peckham and its subsequent conversion into a gated community.

Sagar’s moving-image installation expresses the complex, changing landscape of public health and the social shift towards a more egocentric, user-focused and technology-infused understanding of wellness.

The work is informed by her extensive research within the archives of the Pioneer Health Centre held by Wellcome and the Royal Institute of British Architects, and contemporary medical research conducted by the Behavioural and Clinical Neuroscience Institute at the University of Cambridge. 

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Related title: Correspondence O

Kent Monkman: A Story of Resilience | until 8 December 2017

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Cummings Arts Center Galleries, Connecticut College, 270 Mohegan Avenue, New London, CT 06320-419

Featuring drawings, prints, video, and a figurative sculptural installation made specifically for this solo exhibition, this is the the second major initiative in a year-long collaboration around the theme of “Intersections" by the co-sponsors (the Connecticut College Dayton Artist-in-Residence Program and the Center for the Comparative Study of Race and Ethnicity).

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Related Titles: Kent Monkman: Shame and Prejudice, a Story of Resilience and The Four Continents: Kent Monkman

How to Read El Pato Pascual: Disney’s Latin America and Latin America’s Disney | until 14 January 2018

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Schindler House, 835 N Kings Road, West Hollywood, CA 90069

This Pacific Standard Time: LA/LA exhibition of over 150 works by 48 Latin American artists investigates and challenges nearly 100 years of cultural influence between Latin America and Disney.

Spanning painting, photography, graphic work, drawing, sculpture, video, documents and the critical responses generated, the joint exhibition explores the idea that there are no clean boundaries between art, culture and geography, and deconstructs how such notions are formed and disputed.

The exhibition’s curators, filmmaker/writer Jesse Lerner and artist Rubén Ortiz-Torres, thoroughly examined Disney’s long engagement with Latin American culture. They intend to show that Disney cannot be seen as something to be simply exported to the rest of the Americas and passively received. Like any other cultural force or mythology in Latin America, Disney imagery has always been quickly reinterpreted, assimilated, adapted, cannibalised, syncretised and subverted by artists.

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Related title: How to Read El Pato Pascual: Disney’s Latin America and Latin America’s Disney

The Schoolhouse and the Bus | until 8 December 2017


5.00 pm to 6.30 pm
Corwin Pavilion, UC Santa Barbara, 494 UCEN Road, Isla Vista, CA 93117

This exhibition pairs, for the first time, work by two of the leading artists of the social practice movement. Suzanne Lacy is among the first generation of artists who began making art founded on public participation with the goal of empowerment or change in a community. Pablo Helguera represents the next generation of social practice artists influenced by Lacy’s work. 

The Schoolhouse and the Bus highlights a touchstone work by each of the artists (with anthropologist Pilar Riaño-Alcalá in collaboration with Lacy), executed in the Americas but never shown in their entirety in the US. Comprising installation, collage, sculpture, ephemera, photography, video and archival documentation, this exhibition highlights overlapping themes including immigration, pedagogy, race, violence, memory and social organising. 

Following its presentation at the AD&A Museum the exhibition will travel to The 8th Floor, the exhibition space for The Shelley & Donald Rubin Foundation in New York City, opening on 9 February 2018. 

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Related title: The Schoolhouse and the Bus: Mobility, Pedagogy, and Engagement

Moving Walls 24: Here We Are | until 20 July 2018


Open Society Foundations, 224 West 57th Street, New York, NY 10019

Moving Walls is an annual documentary photography exhibition produced by the Open Society Foundations Documentary Photography Project. Since 1998, the Moving Walls exhibition series has showcased nearly 200 photographers in 24 group exhibitions that align with the Open Society Foundations’ mission to advance human rights and social justice.

The current exhibition features photographs by Liam Maloney from our upcoming title Texting Syria.

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Related title: Texting Syria

Joseph Hartman: The Artist’s Studio | until 31 December 2017

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Art Gallery of Hamilton, 123 King Street West, Hamilton ON, L8P 4S8

Spanning nearly five years of work by Hamilton-based photographer Joseph Hartman, The Artist’s Studio is an exhibition of large-format photographs of studio interiors shot around the country. These photos provide rare behind-the-scenes views into the production spaces of some of Canada’s most well-known contemporary artists, such as Pierre Dorian, Robert Davidson, Wanda Koop, Duane Linklater, Kent Monkman, Mary Pratt and John Scott, alongside more emerging practices.

The artist’s studio can be a sacred place, a vacuum, a social gathering site, a habitat of personal anguish or growth—sometimes all these things at once. It is an intimate space where an artist creates the objects that will publicly represent their practice—the factory where work is made and sometimes also the stage that presents it. For all its complex ingredients, the studio is essentially a portrait of the artist.

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Related title: The Artist's Studio


The Faraway Nearby: Photographs of Canada from the New York Times Photo Archive | until 10 December 2017


Ryerson Image Centre, 33 Gould St, Toronto, ON M5B 2K3

Featuring photographs of Canadian subject matter from the New York Times Photo Archive, The Faraway Nearby examines a century of Canada’s history and its representation in the leading American newspaper of record.

Taking an expansive view of the many stories that have shaped our national experience, the exhibition highlights images of major political events and conflicts, iconic landscapes across the nation, sports heroes, candid reportage on the lives of diverse communities and portraits of notable Canadians. 

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Related title: The Faraway Nearby


Unseen by My Open Eyes: Kevin Gaffney | until 22 December 2017


Block 336, 336 Brixton Road, London SW9 7AA

Block 336 presents Unseen by My Open Eyes, the first solo exhibition of Irish artist Kevin Gaffney’s work in the UK. A natural storyteller with a surrealistic bent, Gaffney considers issues of sexual and national identities through four seductive films that explore the construction, projection and manipulation of subjective realities.

The artist will be in conversation on 1 December 2017 from 7.00–8.00 pm.

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Related title: Unseen By My Open Eyes


Guatemala from 33,000 km: Contemporary Art, 1960 – Present | until 17 December 2017

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Exhibition on view at three locations (see below)

Guatemala from 33,000 km: Contemporary Art, 1960 – Present brings together works that have rarely been seen beyond Guatemala, but that speak to a range of formal, political and social concerns that permeate contemporary art both in Latin America and throughout the globe.

This exhibition marks the first ever in-depth commitment to the study of Guatemalan art in the late twentieth and early twenty-first centuries, bringing innovative and visually arresting works produced by Guatemalan artists to a public audience in the United States and abroad.

The exhibition spans three adjacent venues:

  • Museum of Contemporary Art Santa Barbara, 653 Paseo Nuevo, Upper Arts Terrace, Santa Barbara, CA 93101
  • Community Arts Workshop, 631 Garden Street, Santa Barbara, CA 93101
  • Westmont Ridley-Tree Museum of Art, 955 La Paz Road, Santa Barbara, CA 93108

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Related title: Guatemala from 33,000 km: Contemporary Art, 1960 – Present

Carolee Schneemann: Kinetic Painting | until 11 March 2018

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MoMA PS1, 22-25 Jackson Avenue, Long Island City, NY 11101

MoMA PS1 presents the first comprehensive retrospective of Carolee Schneemann, spanning the artist’s prolific six-decade career. As one of the most influential artists of the second part of the twentieth century, Schneemann made pioneering investigations into subjectivity, the social construction of the female body and the cultural biases of art history that have had significant influence on subsequent generations of artists. 

Carolee Schneemann: Kinetic Painting begins with rarely seen examples of the artist’s early paintings of the 1950s and their evolution into assemblages made in the 1960s, which integrated objects, mechanical elements and modes of deconstruction. In the late 1960s Schneemann began positioning her own body within her work, performing the roles of “both image and image-maker”. As a central protagonist of the New York downtown avant-garde community, she explored hybrid artistic forms culminating in experimental theatre events.

The exhibition considers Schneemann’s oeuvre within the context of painting by tracing the developments that led to her groundbreaking innovations in performance, film and installation in the 1970s, as well as her increasingly spatialised multimedia installations from the 1980s, 1990s and 2000s.

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Related title: Carolee Schneemann: Unforgivable