Last weekend’s art walk traced the development of the Kings Cross area from a seedy and downtrodden terminus, to a key destination for art collectors.
We started at Cubitt Gallery, a superb space programmed by young curators appointed to the role via a bursary scheme. Fiona Parry’s latest show at the space is of Biennale favourite, Nina Cannell. The young Swedish artist’s work revolves around the materialization of invisible processes such as electrical transferrals of energy, or the inspired invention of the periodic table by scientist Dmitri Medeleev.
Moving on down Pentonville Road we reached the Work Gallery, previously known as the Black Dog Gallery, and still affiliated with the art book publisher. Their show of Suzanne Treister featured a stunning monochrome series of beautifully detailed drawings of reversed book covers, exhibited there for the first time. The exhibition partners a show of her Hexen 2.0 works on show at the Science Museum currently. Key to her artistic strategy is her decision to represent her visions of past interrelated histories by employing alternative systems for divining meaning or creating knowledge – her tarot cards do just this.
Having lingered over deciphering these complex works we walked down the road to the Gagosian Gallery, a stunning complex of white cubes housing some of the biggest names in contemporary art. Their previous show was of Damien Hirst’s spot paintings, an exhibition held simultaneously over their 12 galleries worldwide. There current show is of new and older works by legendary photographer of the Dusseldorf School, Thomas Ruff. His new series ma.r.s. is sourced from the NASA website and he freely reinterprets the images through colour manipulation. These stunning and vivid alien landscapes were huge in scale and disorientating in their vision of the surface of Mars. We all also greatly enjoyed the 3-D glass experience that made some of the planets pop out from behind their frames.
We finished the walk at All Visual Arts, a beautiful space next to the train station that is showing the work of Reece Jones. The artist himself was there to discuss his vast charcoal drawings of landscapes punctuated by large and luminous cinema like screens. We strongly felt his filmic influences that range from Mad Max to early Spielberg. His fetishistic relationship with paper and dust feeds into a general appreciation of his work as process and duration. A great walk for a day miraculously free of April shows.
By Natasha Hoare