Dripping, posing, pleading, vacantly staring into and through the viewer, the figures in Charlie Stein’s paintings are at once grotesque and hyperreal reflections of our fragile selves, splintered and strewn across the airwaves of social media, and yet all neatly packaged up.
In Joachim Lambrechts’s latest series of paintings, faces, bare muscular torsos and shapely limbs appear heavily embellished with popular tattoo slogans and motifs against brightly coloured backgrounds.
Women in golden headscarves gaze into the distance while mothers pass by with babies strapped to their backs and sacks of provisions slung over their shoulders. For the past two years, the Ethiopian artist Tewodros Hagos has dedicated his practice to the many displaced people in Africa and around the globe.
Through a frenzy of colours and symbols that are chiselled, burnt and painted onto panels of wood, Nigerian artist Gerald Chukwuma creates a striking visual language that weaves together ancient symbols, contemporary and historic references.
For his first solo exhibition with Kristin Hjellegjerde Gallery London at Melior Place Zimbabwe-based Wycliffe Mundopa presents a powerful new series of work entitled 1001 Afternoons, continuing his explorations of the complexities of female existence in relation to his role as an artist and narrator.
Kristin Hjellegjerde is opening a new new gallery space in Berlin, located on Linienstraße 130 in Mitte. The gallery will open with a two-artist exhibition on the 26th of April 2018 and will also mark the Gallery’s 6th year anniversary.
Perhaps things will change post-Brexit, but there’s a healthy internationalism in the London art scene at present. Franco-Italian Juliette Mahieux Bartoli says her paintings (‘Pax Romana’, shown by Norwegian gallerist Kristin Hjellegjerde in Wandsworth to 21 Dec) reflect the impossibility of cultural singularity in our hybridised world
Art fairs have become ubiquitous in the landscape of the art market. Once you’ve seen one fair, you’ve seen them all: row upon makeshift row of booths desperate to stand out, populated by art that stirs a faint sense of déjà vu and expectant gallerists wielding bottles of champagne. And there’s always a throng of revellers who are there to be seen and those of us waving our press passes as if we matter to the whole circus. But START is different.
After finding herself unable to tune out the chilling visuals of global atrocities in the news, Celina Teague was moved to interpret the colourful narratives of world events that would become her forthcoming exhibition, I think therefore I #.