adampugh.co.uk

Adam Pugh

Liam Gillick, ‘Industry and Intelligence: Contemporary Art Since 1820′ Art Monthly #400, October 2016. Kurzfilmtage Oberhausen 2016: El Pueblo Art Monthly #397, June 2016. Grace Schwindt: Only a Free Individual Can Create a Free Society (Site Gallery, Sheffield) Art Monthly #384, March 2015. Profile of Gintaras Didžiapetris Art Monthly #381, November 2014. Oberhausen: Memories Can’t Wait – Film Without Film Art Monthly #377, June 2014. Claire Hope: Group Photo this is tomorrow, March 2014. Where You Had ...

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Adam Pugh | adampugh.co.uk Reviews

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Liam Gillick, ‘Industry and Intelligence: Contemporary Art Since 1820′ Art Monthly #400, October 2016. Kurzfilmtage Oberhausen 2016: El Pueblo Art Monthly #397, June 2016. Grace Schwindt: Only a Free Individual Can Create a Free Society (Site Gallery, Sheffield) Art Monthly #384, March 2015. Profile of Gintaras Didžiapetris Art Monthly #381, November 2014. Oberhausen: Memories Can’t Wait – Film Without Film Art Monthly #377, June 2014. Claire Hope: Group Photo this is tomorrow, March 2014. Where You Had ...

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Adam Pugh | adampugh.co.uk Reviews

https://adampugh.co.uk

Liam Gillick, ‘Industry and Intelligence: Contemporary Art Since 1820′ Art Monthly #400, October 2016. Kurzfilmtage Oberhausen 2016: El Pueblo Art Monthly #397, June 2016. Grace Schwindt: Only a Free Individual Can Create a Free Society (Site Gallery, Sheffield) Art Monthly #384, March 2015. Profile of Gintaras Didžiapetris Art Monthly #381, November 2014. Oberhausen: Memories Can’t Wait – Film Without Film Art Monthly #377, June 2014. Claire Hope: Group Photo this is tomorrow, March 2014. Where You Had ...

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adampugh.co.uk

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Adam Pugh

http://adampugh.co.uk/aglaia-konrad-concrete-and-samples

Aglaia Konrad: ‘Concrete and Samples’ Sainsbury Centre for Visual Arts. The suite of films. Works, in this way, to locate the idea of ‘architecture as sculpture’, as Konrad avows, which the first two films,. Demonstrate in an apparently straightforward way. Both films document particular instances of architecture, in this case sacred Modernist buildings, assuming a sculptural form; an enquiry which the specific textural, tangible qualities of the medium, 16mm film, augments. But in dialogue with. And in ...

2

Adam Pugh

http://adampugh.co.uk/apparent-positions-introduction

Apparent Positions Sainsbury Centre for Visual Arts. The territory in question must be able to exist in any region on the surface of the globe; therefore we must study under what conditions it remains inaccessible, not only to ships, airplanes or other vehicles, but even to the eye. I mean that it might be possible, theoretically, for it to exist in the middle of this table without our having the slightest inkling. Tlön, Uqbar, Orbis Tertius. Takes the place, gradually, of the real world; in The Garden o...

3

Adam Pugh

http://adampugh.co.uk/melvin-moti-hyperspace-the-majestic-leeds

Melvin Moti: Hyperspace (The Majestic, Leeds) Art Monthly #371, November 2013. The theory of a fourth dimension was pursued hungrily by artists in the early 20th century, with Marcel Duchamp, Theo van Doesburg and many of the cubists tackling the questions geometrical, philosophical, epistemological that it raised. Implicitly folding in this history, and guided by a beguiling Victorian text by Edwin Abbott Abbott, Flatland: A Romance of Many Dimensions. Upon encountering a sphere, offers two insights: on...

4

Adam Pugh

http://adampugh.co.uk/outpost-open-film-2013

OUTPOST Open Film 2013 OUTPOST Gallery, 12 October 2013. A strong sculptural seam runs through the programme. Dominic Watson’s. Like a Rolling Stone. Addresses sculpture as an active agent, aiming straight for the canonical at both poles of popular and high culture by performing the Rolling Stones’. 1981, facing Henry Moore’s. Forcing objects to act, Johann Arens’. For Your Eyes Only. The body is invoked, too, as form and as object. In. While the body functions as form, to an extent, in. Too explores sel...

5

Adam Pugh

http://adampugh.co.uk/review-members-show-outpost-norwich

Review: Members’ Show (Outpost, Norwich) Art Monthly #363, February 2013. A sense of resourcefulness pervaded Ruth Ewan’s strong selection for the annual Outpost Members’ Show, from the formal economy of the readymade to work which circled source and resource at a political level. Moving image featured heavily, and both Stella Ouzounidou and Scott Massey addressed the market and the flow of capital via performative video works. Where Ouzounidou’s. When Players Get Played. Unravelled or at least troubled.

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adampugh.co.uk

Adam Pugh

Liam Gillick, ‘Industry and Intelligence: Contemporary Art Since 1820′ Art Monthly #400, October 2016. Kurzfilmtage Oberhausen 2016: El Pueblo Art Monthly #397, June 2016. Grace Schwindt: Only a Free Individual Can Create a Free Society (Site Gallery, Sheffield) Art Monthly #384, March 2015. Profile of Gintaras Didžiapetris Art Monthly #381, November 2014. Oberhausen: Memories Can’t Wait – Film Without Film Art Monthly #377, June 2014. Claire Hope: Group Photo this is tomorrow, March 2014. Where You Had ...

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