GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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Fragmentary clay narratives
Epigram succeeds where epic fails – this Persian proverb best describes Marta Jakobovits's thoughtful ceramic assemblages, writes MICHAL BONCZA
(L to R) Part of the Road Travelled (detail), 2022 – ongoing, 33 pieces of stoneware; Collecting the Raindrops, 2021, 23 ceramic pieces and dried leaves
[Richard Ivey courtesy of the artist and Elizabeth Xi Bauer Gallery]
The Bard pays homage to Hull’s finest promoter and venue, and awards Douze Points to Laibach
KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
ANDY HEDGECOCK welcomes an accessible - and optimistic - take on our relationship to new technology
JOHN GREEN suggests that a new, biased, and highly readable re-hash of the story of the Cambridge Five be taken with a large pinch of salt
BRENT CUTLER welcomes a timely reminder of the long history of protests and the outdoor spaces in which they takes place
Marta Jakobovits
Look and See
Elizabeth Xi Bauer Gallery, London
WHO hasn’t a beachcomber lurking inside that’s released, like Alladin’s genie tempting with serendipitous wishes, as soon as our bare feet touch marine sand somewhere?
Romanian Marta Jakobovits imbues fact with wonder. Her ceramic work, despite its formal rigour is entirely emotive and poetic.
The visual association with depositions brought by the sea, or an imaginary archaeological dig where “unearthed” artefacts, neatly lined out, pique our curiosity and invite childlike squatting for a closer inspection.
Such is the installation Part of the Road Travelled, 2014–2016, consisting of 33 pieces of ceramics, sand and stones which set the imagination flying.
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