Doron Langberg, Victoria Miro, London
There is a man floating in the bathtub. Iridescent violet, red, and ochre seem to seep from his pores into the sultry waters below, staining the porcelain bath and tiles. We feel the humidity pressing in, as if someone has just pulled the bathroom door shut. The air is intoxicating and close; we could be in the midst of a fever dream.
Lisa Brice, Charleston, Sussex
In an exhibition of works by the South African-born artist Lisa Brice, a new cohort of women have taken up residence at Charleston. Like Woolf and Bell, they seem intent on carving out a space of their own. Through plumes of smoke, the women appear chiefly as artists in the studio—taking up position in front of the easel, selecting a canvas, and raising a brush to its surface.
Jennifer Packer: The Eye Is Not Satisfied With Seeing – Serpentine Galleries, London
In a corner of London’s Hyde Park there is a painting of exquisite blooms. Petals in peach, cyan, and blue emerge from a blanket of leaves. Opaque blocks of color mingle with cascades of paint that hint at the abundance of techniques at play. But for the artist, Jennifer Packer, this is not simply an exercise in painting.
David Shrigley: DO NOT TOUCH THE WORMS – Copenhagen Contemporary, Copenhagen
Life in 2020 is starting to feel like one big can of worms. That is how David Shrigley seems to think we might be feeling about it in any case. For his largest solo exhibition to date, DO NOT TOUCH THE WORMS (2020),the Turner Prize-nominee known for his distinctly wry British humor has filled a gallery of Copenhagen Contemporary’s industrial warehouse on Refshaleøen island with twenty, larger-than-life, inflatable replicas of the pink, writhing creatures.