Re-releases from Andy Cohen + Eleanor Ellis + William Lee Ellis, Leon Russell with Mary Russell, and Johnny Winter
Structural defect
MICHAL BONCZA takes issue with this year's uninspiring Serpentine Pavilion
Serpentine Escobedo
[Norbert Tukaj]
MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
MARTIN HALL examines the way the Roman orator took on different schools of philosophy
ALEX HALL is amused at the way the UFOs appear exactly where commercial interests, conspiracies, militarism and right-wing media overlap
ANDY HEDGECOCK is astonished by a portrait of contemporary Greece, complete with political protest, organised crime and people trafficking, told from the point of view of — wait for it — runaway poultry
MICHAL BONCZA and MARIA DUARTE review Eagles Of The Republic, The Balloonists, Star Wars: The Mandalorian and Grogu, and Tom Clancy’s Jack Ryan: Ghost War
FRIDA ESCOBEDO’S Pavilion at the Serpentine in London this year has none of the luminous joie de vivre Francis Kere regaled us with a summer ago, the spatial intrigue Bjarke Ingels Group offered in 2016 or the mesmerising filigree of Sou Fujimoto’s Cloud construct in 2013.
Formally, Escobedo’s three-metre high “walls,” made up of stacks of standard dark-grey cement roof tiles, demarcate two rectangular atria. On the inside, the lattice patterning filters and fragments outside vistas and shifts in light as well as any air circulation.
Escobedo has used triangulated breeze blocks when remodelling the Siqueiros gallery in Cuernavaca in 2014 to similar effect but on a larger scale.
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