Ben Ashton, 01:23 Monday, 13:30 Sunday, 13:04 Sunday, 23:39 Wednesday, 20:00 Thursday, 15:37 Sunday, 13:35 Sunday, 04:23 Saturday and 17:45 Tuesday (2011)

Although there may be no candles in these painted scenes, there is arguably candlelight. There is certainly romance and the echoes of a nocturnal interior by, say, Georges de la Tour. And in this light the vulnerable nudes, of which there are three, also call to mind Rembrandt. It may…

Maxime Angel, Let My Eyes Be Your Mirror

From the pencil shavings and strewn magazines on the floor, it looks something like Maxime Angel has been living in the gallery. Indeed, there are reports she has slept on several works. She may even have slept inside the containerboard on the wall. The gallery assistant tells me the college-trained…

KutluÄŸ Ataman, Mesopotamian Dramaturgies / Mayhem (2011)

KutluÄŸ Ataman has got into the spirit of the Brighton Festival with a carnivalesque metaphor for the recent turmoil in the Arab world: a waterfall which defies gravity. (This reading of Mayhem needs its full context, a series named after a region encompassing Iraq, Iran and Syria. And nearby here…

Janet Cardiff, The Forty Part Motet (2001)

When a gallery is a deconsecrated church and the artwork is a piece of religious music, walking in is a hair’s breadth from turning up for Sunday worship. It’s humbling, even humiliating. The early choral work, Spem in Alium by Thomas Tallis, is drawing people in off the street, nevertheless.…