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“Dom Sylvester Houédard, described by David Toop as ‘the beatnik from the middle ages’, seemed keen on anonymity, despite the instant...

“Dom Sylvester Houédard, described by David Toop as ‘the beatnik from the middle ages’, seemed keen on anonymity, despite the instant recognisability of his white monk’s habit and mysterious dark glasses.”

‘Breaking Lines: Futurism and the Origins of Experimental Poetry’, Estorick Collection, London – Peter Suchin

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[image: Dom Sylvester Houédard, ‘condensed aptitude’, 1971]

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“Allan Weber needed a pair of tatty handlebar mitts for a work this show. He approached a food delivery cyclist and offered new for old,...

“Allan Weber needed a pair of tatty handlebar mitts for a work this show. He approached a food delivery cyclist and offered new for old, explaining that he worked as a delivery driver too – in his native Rio and during his Nottingham residency – and won the cyclist’s trust.”

‘Allan Weber: My Order’, Nottingham Contemporary – Tom Denman

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[image: Allan Weber, ‘We’re in This Together Isn’t a Tip’, 2020]

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“‘Eyes Open in the Dark’ is more than an exhibition, it is a testament to a place and a people; a record of one man’s sustained...

“‘Eyes Open in the Dark’ is more than an exhibition, it is a testament to a place and a people; a record of one man’s sustained attention and its reciprocated dalliances – in short, a febrile body of work. And it is a body rather than exhibition of work, for the body always hides as much as it reveals.”

‘Peter Hujar: Eyes Open in the Dark’, Raven Row, – Francis Whorrall-Campbell

March Art Monthly
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[image: Peter Hujar, ‘Ethyl Eichelberger’, 1979]

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“Elliot Roy films himself mid sprint. While running, he hurtles through a sequence of topics – slavery, food delivery services and...

“Elliot Roy films himself mid sprint. While running, he hurtles through a sequence of topics – slavery, food delivery services and lithium extraction – all delivered to camera before it cuts away to a ‘data loading’ wheel; Roy consciously taunts our Pavlovian conditioning for more and more content.”

‘New Contemporaries’, ICA, London – Alexander Harding

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[image: Elliott Roy, ‘A Content Replaces Another’, 2024]

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“The sound montage (samples from Zinzi Minott’s collection of Caribbean music, spliced with political speeches) sets the scene for an...

“The sound montage (samples from Zinzi Minott’s collection of Caribbean music, spliced with political speeches) sets the scene for an exhibition that reclaims the Walker Art Gallery’s antiquated neoclassical space – only two of the 13,000 artworks in the institution’s collection are by black women.”

‘Conversations’, Walker Art Gallery, Liverpool – Sarah E James

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[image: Maeve Brenna, ‘With Horses’, 2023]

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“This exhibition makes it abundantly clear that soils have been abused and misunderstood for too long, that industrial modernity under the...

“This exhibition makes it abundantly clear that soils have been abused and misunderstood for too long, that industrial modernity under the guise of productivity has despoiled our life-sustaining layer with chemical farming that turns living soil into inert dirt.”

‘Soil: The World at Our Feet’, Somerset House, London – Colin Perry

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[image: Maeve Brenna, ‘With Horses’, 2023]

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“Far from being an active, experiencing subject in dialogue with an artwork that’s meaningfully addressed to you, in the projection room...

“Far from being an active, experiencing subject in dialogue with an artwork that’s meaningfully addressed to you, in the projection room or the VR space you’re in no real sense ‘addressed’ by the ‘work’. You become a passive receptacle for a dazzlingly hollow spectacle.”

From the Back Catalogue: ‘Against Immersion’ – Adam Heardman on the trend for high-tech immersive art experiences

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[image: Agustin Vidal Saavedra, ‘The Summer Palace’, 2023]

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“These projects are characterised by liveness. They are not representations of other worlds but experience-generating environments in this...

“These projects are characterised by liveness. They are not representations of other worlds but experience-generating environments in this one. The experiences they generate are also variable because they are dependent on numerous factors, including the behaviour of visitors.”

‘Total Immersion’ – Marcus Verhagen discusses a form of experiential ‘art-as-event’ that has developed its own profitable economic model

March Art Monthly

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[pic: Es Devlin, ‘Forest of Us’, 2021]

“In place of the expansionism of built worlds, we might focus on artists’ uses of the tabletop role-playing game (TTRPG) as a medium for...

“In place of the expansionism of built worlds, we might focus on artists’ uses of the tabletop role-playing game (TTRPG) as a medium for exploring social contingency, bodily instability, personal failure and narrative unresolvedness.”

‘Playing Games’ – Jamie Sutcliffe suggests that artists’ tabletop role-playing games offer alternative ways of imagining and potentially building better worlds

March Art Monthly

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[image: David Blandy and Daniel Locke, ‘ECO MOFOS!!’, 2024]

“I think that’s how I experience life. I’m very aware of how, in the West, the eye dominates. For me, the main sense organs are the...

“I think that’s how I experience life. I’m very aware of how, in the West, the eye dominates. For me, the main sense organs are the ear and the nose.”

‘Sacred Monster’ – Linder interviewed by Ellen Mara De Wachter

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[image: Linder, ‘Danger Came Smiling’, installation view]

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March art jobs, residencies, grants, exhibitions and other artists’ opportunities, plus art listings, podcasts and more in the latest...

March art jobs, residencies, grants, exhibitions and other artists’ opportunities, plus art listings, podcasts and more in the latest newsletter:

https://www.artmonthly.co.uk/newsletters →

[image: Morgan Quaintance: ‘Available Light’, music and performances, 7.30pm 13 Mar, Cafe Oto, London]

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Art Monthly, Issue 484, March 2025• Linder interviewed by Ellen Mara De Wachter• Playing Games – Jamie Sutcliffe• Total Immersion...

Art Monthly, Issue 484, March 2025

• Linder interviewed by Ellen Mara De Wachter

• Playing Games – Jamie Sutcliffe

• Total Immersion – Marcus Verhagen

• Texas • Dakar • Taipei – Chris Townsend • Gabriella Nugent • Laura Harris

+ news, views, reviews and more…

[cover: Linder, ‘Glorification de l’Élue’, 2011]

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https://www.artmonthly.co.uk

Instant access to all 484 issues:
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Institutions:
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TAKING ART APART SINCE 1976

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“‘No Other Land’ found itself alongside other films that wrestled with the same questions. How far can we be neutral observers? What...

“‘No Other Land’ found itself alongside other films that wrestled with the same questions. How far can we be neutral observers? What happens when those who document become part of the story? As Leila Amini put it in a Q&A: ‘Do you shoot the house on fire, or do you stop to help?’”

‘International Documentary Film Festival: Amsterdam’ – Rachel Pronger

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[image: ‘No Other Land’, 2024, directed by Basel Adra, Hamdan Ballal, Yuval Abraham and Rachel Szor]

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“How connected were these early innovators? Did they realise they were part of a new movement, or genre, in the realm of contemporary art?...

“How connected were these early innovators? Did they realise they were part of a new movement, or genre, in the realm of contemporary art? Did such a movement even exist? The curators do not appear sure.”

‘Electric Dreams: Art and Technology Before the Internet’, Tate Modern, London – Tom Seymour

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[image: Tanaka Atsuko, ‘Electric Dress’, 2nd Gutai Exhibition, 1956/2012]

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“As Maud Sulter’s voice echoes through the gallery, we encounter the ways in which the silent subjects of an ethnographic gaze are able...

“As Maud Sulter’s voice echoes through the gallery, we encounter the ways in which the silent subjects of an ethnographic gaze are able through her poetry to speak again.”

‘Maud Sulter: You are my kindred spirit’, Tramway, Glasgow – Amna Malik

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[image: Maud Sulter, ‘You are my kindred spirit’, installation view]

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“The exhibition ends with an incredibly tender video of the artist being formally interviewed about his work by his brother Jamal shortly...

“The exhibition ends with an incredibly tender video of the artist being formally interviewed about his work by his brother Jamal shortly before he died. Both are, in equal turn, intermittently irritated and amused by their respective questions and answers, revealing the curious, shape-shifting art that’s required to be that ‘familiar’ thing in a family setting.”

‘Hamad Butt: Apprehensions’, IMMA, Dublin – Chris McCormack

Feb Art Monthly

[image: Hamad Butt, ‘Transmission’, 1990]

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“Hans Haacke’s sober mediation of Germany’s cultural denazification is to be distinguished from the woozy and felt-swaddled...

“Hans Haacke’s sober mediation of Germany’s cultural denazification is to be distinguished from the woozy and felt-swaddled ‘reconciliations’ of this same history that were being undertaken by Joseph Beuys or Anselm Kiefer.”

‘Hans Haacke: Retrospective’, Schirn Kunsthalle, Frankfurt – George Macbeth

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[image: Hans Haacke, ‘Germania’, 1993]

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“Stanley Schtinter’s new film will, according to the artist, ‘only ever show in its analogue format, so it will always be an event to...

“Stanley Schtinter’s new film will, according to the artist, ‘only ever show in its analogue format, so it will always be an event to travel to and never streaming or screening digitally’. For Schtinter, the political power of collective viewing is something worth fighting for.”

‘Stanley Schtinter’ – Profile by Morgan Quaintance

February Art Monthly

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[image: Stanley Schtinter, ‘Important Books (or, Manifestos Read by Children)’, 2021–22]

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“As a child, I was so inspired by a book about a girl who was a witch that I was convinced that I was one too – a good witch. As part of...

“As a child, I was so inspired by a book about a girl who was a witch that I was convinced that I was one too – a good witch. As part of my witch-practice, I believed that I had hypnotised friends, but one ritual ended badly with a stomach pump, and so ended my career as a witch.”

From the Back Catalogue: ‘Irreplaceable’ – Oreet Ashery interviewed by Larne Abse Gogarty.

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[image: Oreet Ashery, ‘Party for Freedom / Party for Hire’, 2013]

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“Far from being the final nail in the coffin for Britain’s countercultural imaginary, the draconian Criminal Justice Act was another...

“Far from being the final nail in the coffin for Britain’s countercultural imaginary, the draconian Criminal Justice Act was another expression of neoliberal anxiety regarding experiments in unalienated creativity and collective joy.”

‘Rave and Resist’ – Ben Burbridge considers the countercultural history of rave culture in the UK as an unfulfilled promise for a new politics of the left

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[image: Vinca Petersen, ‘Speaker Man’, 1996]

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