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Burlington Contemporary

@burlingtoncontemporary

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A free online platform for the best new writing and research on contemporary art
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Our special issue of 'Burlington Contemporary Journal' dedicated to contemporary printmaking will be published on Monday 9th November. More details coming soon. Link in bio. ⁠ ⁠ 'Burlington Contemporary Journal' is an open-access, peer-reviewed publication for new research on art made after 1960.⁠ ⁠ #OpenAccess #AcademicPublishing #Journal #PeerReview #ContemporaryArt #ArtHistory #ArtResearch @theburlingtonmagazine.⁠ by @burlingtoncontemporary
Burlington Contemporary recommends⁠ ⁠ 'Spectral Kinship' @_ai_gallery is on view until 7th November. Curated by @sophiexdottie, the exhibition features works by @kentzqchan, @@psxcharmaine, @alisonwingyinpoon, @carolinewong_art, @glimmerlx and @mikugiao.⁠ ⁠ 'Spectral Kinship brings together six artists whose works give voice to silenced subjects and explore how suppressed histories and unaccommodated desires are made palpable through sound, ritual, materiality and form. Drawing on Avery Gordon’s account of haunting as a social force that makes the present waver, the exhibition approaches the spectral as a condition of latency: elusive or buried beneath the surface, yet continually seeping across seemingly impermeable temporal and spatial boundaries and reverberating through everyday life'.⁠ ⁠ Recommended by our Editorial Assistant, Yi Ting Lee @ytlee0612. ⁠ ⁠ Images: ⁠Detail of still from 'The Moon is Wet', by Charmaine Poh. Three-channel video installation, duration 24 minutes 30 seconds. (Courtesy the artist and ai gallery, London).⁠ ⁠ 'Adorned at the Final Meeting', by Alison Poon. 2026. Ceramic, found stool and rattan, 106 by 45 by 40 cm. (Courtesy the artist and ai gallery, London).⁠⁠ by @burlingtoncontemporary
October has been a busy, exciting month as we prepare the next issue of 'Burlington Contemporary Journal', due out next week. Here's a recap of the weekly content we've published in the meantime. – Anja Segmüller @an1999ja profiled Mitchell Anderson @mitchellwanderson – Becky Hoghton @beckyhoghton, winner of the 2026 Burlington Contemporary Central Saint Martins Postgraduate Writing Commission @mafineartcsm @fine_art_csm @csm_news⁠, reviewed Isabel Nolan's solo exhibition @southwarkparkgalleries – Yi Ting Lee @ytlee6012 reviewed the German Pavilion, 'Ruin' @deutscherpavillon @labiennale, with works by @sungtieu and @henrikenaumann – Matthew James Holman @matthewjholman profiled Mary Ramsden @maryjramsden, focusing on her current solo exhibition @pilarcorriasgallery – Ravi Ghosh @ravighosh_ reviewed Jack Halberstam's @jackhalberstam 'Anarchitecture After Everything: A Trans Manifesto' @mitpress – Fiona Crisp @crisp_fiona remembered Christine Borland (1965–2026) All content is free to read. Link in bio. Images: 'Bracelet briefcase piece' from the series 'Street vending situations', by Mitchell Anderson. 2015. Street vending display, Koutoubia, Marrakech, 75 by 44 by 35 cm. (Courtesy the artist and Bernheim Gallery, Zurich and London). Installation view of 'Isabel Nolan: some fundamental forces' at Southwark Park Galleries, London, 2026, showing 'Löwenmensch under the moon', by Isabel Nolan. 2019. Hand-tufted wool, 320 by 120 cm. (© Isabel Nolan; photograph Rita Silva). Installation view of 'Ruin' at the German Pavilion, Giardini, Venice, 2026, showing 'Human Dignity Shall Be Inviolable', by Sung Tieu. 2026. Marble tesserae and grout, dimensions variable. (Courtesy the artist; photograph Andrea Rossetti). 'Perennial Cosmic Itch', by Mary Ramsden. 2026. Oil on canvas, 230 by 180 cm. (Courtesy the artist and Pilar Corrias, London). 'Bronx Floors', by Gordon Matta-Clark. 1972–73. Temporary installation. (© Estate of Gordon Matta-Clark and Artist’s Rights Society, New York). 'Projection Cloth', by Christine Borland. 2023. Installation of 4 films projected onto a cloth made of linen warp and cotton weft, dimensions variable. (© Christine Borland). by @burlingtoncontemporary
'When the internationally respected Scottish artist Christine Borland died on 19th July 2026, aged sixty-one, the depth of sadness felt across the art world was a clear reflection of her unique ability to affect people – whether directly, through her unflinching works of art or through the collaborative bonds she formed while bringing each of her distinctive projects into being. Christine’s career as an artist and academic was distinguished by a restless curiosity and guided by a profound sense of humanity. Her early work, centred on anatomy, medicine, genetics and ethics, surfaced the conflicted relationship between medical knowledge – held in museum collections, archives and teaching and research resources – and the fragmented, abstracted bodies they contain'.⁠ ⁠ Fiona Crisp @crisp_fiona remembers Christine Borland (1965–2026). Link in bio to read.⁠ ⁠ Image: ⁠Christine Borland, on the left, preparing for her exhibition 'From Life' at Tramway, Glasgow, 1994. (© Christine Borland).⁠ by @burlingtoncontemporary
From the Burlington Contemporary archive⁠ ⁠ 'Sunil Gupta has continually explored how photographs can challenge the prevailing cultural invisibility of his social and political milieu as an Indian gay man, active in the gay liberation movement in Montréal following his family’s emigration to Canada in 1969, and participating in Black cultural activism and nascent AIDS and queer activism in Britain after his relocation to London in 1977. It would, however, be a mistake to read his work as biographical, for Gupta’s project has always been directed at the gallery as a political space, aiming to remake art into a realm capable of celebrating illicit and subaltern desire. This exhibition emphasises the profound challenge of Gupta’s work to the historical institution of photography'.⁠ ⁠ In 2020 Theo Gordon _twgordon_ reviewed Sunil Gupta's @sunilgupta7402 exhibition @thephotographersgallery. ⁠A new survey show of Gupta's work is on view at @kettlesyard until 31st January 2027.⁠ ⁠ Image: Detail of ⁠'Untitled #22', from the series 'Christopher Street', by Sunil Gupta. 1976. (© Sunil Gupta, DACS, London; courtesy the artist and Hales Gallery, London, Stephen Bulger Gallery, Toronto, and Vadehra Art Gallery, New Delhi).⁠ by @burlingtoncontemporary
'Halberstam positions the trans body as a fleshy yet conceptual analogue to Gordon Matta-Clark’s works. Buildings are like bodies; they age, weather, withstand pressure, carry meaning and eventually wither. As such, anarchitecture "offers an expansive language for thinking about how bodies (and specifically trans bodies) emerge as a consequence of cutting, breaking, dismantling, and collapse" (p.3). This develops Halberstam’s thinking from "In a Queer Time and Place" (2005), in which he describes the transgender body as "a kind of heroic fulfillment of postmodern promises of gender flexibility". However, whereas this earlier reading focuses on mutability as key to gender expansion, Anarchitecture After Everything highlights the trans body’s destructive valence: "trans bodies, after all, with their scars and deliberate alterations to the flesh, stand as a testament to the necessity of unmaking and undoing" (p.3). This shift towards negation is not just to suit anarchitecture – a practice of incision and vacant space – but speaks to the author’s sense that the trans body, facing today’s polycrisis and under constant scrutiny, is loaded with anarchistic, even nihilistic, potential'.⁠ ⁠ Ravi Ghosh @ravighosh_ reviews Jack Halberstam's @jackhalberstam 'Anarchitecture After Everything: A Trans Manifesto' @mitpress. Link in bio to read. ⁠ ⁠ Image: 'Splitting', by Gordon Matta-Clark. 1974. Temporary installation. (© Estate of Gordon Matta-Clark and Artist’s Rights Society, New York). by @burlingtoncontemporary
'In "Single Energetic Event" by Mary Ramsden colours function more as verbs than as nouns. Crimson thins to magenta, which is itself drained to a rose so depleted that it seems to revert to the pale pink of the primer beneath. In some passages, water has loosened paint back into the weave; black scribbles appear in the corner, done fast and dry as though by an errant schoolchild; a dark stem, resembling the silhouette of an Italian cypress, forms a border on the left edge; and, at the bottom, aqueous greys call to mind the tap-tap-tap of a typewriter. Then there are the discs – the only forms that seem to be designed, as such. On the right, one is high, closed and flat – entirely resolved – whereas the other, near the centre, is pulled into a shape reminiscent of a teardrop or a crescent moon. What is being shown here? The small business of the world beginning, perhaps, as the title suggests. Or does the painting illustrate only the conditions under which the marks were made: the width of the brush and the force of the stroke? Is the viewer directed towards the familiar dead end of gestural abstraction, in which autonomous painting is compelled to answer for a reality outside of itself?'.⁠ ⁠ Matthew James Holman @matthewjholman profiles Mary Ramsden @maryjramsden, focusing on her current solo exhibition @pilarcorriasgallery. Link in bio to read.⁠ ⁠ Image: 'Single Energetic Event', by Mary Ramsden. 2026. Oil on canvas, 220 by 170 cm. (Courtesy the artist and Pilar Corrias, London). by @burlingtoncontemporary
Some highlights from @friezeofficial #FriezeMasters Frank Walter (1926–2009) @andrewedlingallery Beverley Buchanan (1940–2015) @andrewedlingallery Jim Amaral @jim.amaral @lamb.gallery Pacita Abad (1946–2004) @pacitaabad @alisonjacquesgallery Luce Turnier (1924–94) @harlesdenhighstreet Ismael Nery (1900–34) @danielian_galeria Bahman Mohassess (1931–2010) @bahman.mohassess @ab_anbar Robert Hubert Payelle (1891–1971) @agnewslondon Judy Chicago @judy.chicago @galeriealbertapane Claude Cahun (1894–1954) @galeriealbertapane Lee Bontecou (1931–2022) @marcselwynfineart Court cabinet commemorating the Surrender of Augsburg to Gustavus Adolphus during the Thirty Years’ War, 1632 @kunstkammergeorglaue Ana Pellicer (1946–2025) @masagaleria Nahum B. Zenil @masagaleria Ithell Colquhoun (1906–88) @benhunter.gallery Pablo Picasso (1881–1973) @baillygallery Lucio Fontana (1899–1968) @larkinerdmann Pieter Harmensz Verelst (1618–78) Salomon Lilian Odilon Redon (1840–1916) @hauserwirth Anonymous Master of the Southern Netherlands, active in Brussels c.1500 @dejonckheerefinearts by @burlingtoncontemporary
Highlights from day one of Frieze London @friezeofficial Joanna Piotrowska @janka_piotrowska @phillidareid_grapestreet Poppy Jones @poppymjones @herald_st Salman Toor @salman.toor @thomasdanegallery Lawrence Abu Hamdan @lawrenceabuhamdan @maureenpaley Jorge González Santos @jigs_pr @embajadada Paul Robas @paul.robas @_aliceamati Amanda Moström @amandamostrom_ @roseeaston223 Suleman Aqeel Khilji @suleman_khilji @jhavericontemporary Holly Hendry @h.ollyh.endry @joshlilleygallery Carolyn Lazard @insicknessandstudy @trautweinherleth Lonnie Holley @lonnieholleysuniverse @edelassanti Miriam Cahn @@galeriejocelynwolff Sung Tieu @sungtieu @sfeirsemlergallery Steph Huang @theinvisibleisland @public.gallery John Maclean @johnbetamac @approachgallery Joanne Burke @___joanneburke___@soft_opening Juan Uslé @frithstreetgallery Helena Almeida @galeriafranciscofino Laila Majid @helloo0o0o0oo0oo0oooo00o00o0o @niruratnamgallery Okiki Akinfe @okikiakinfe @ginnyonfrederick by @burlingtoncontemporary
'This approach – of simultaneously addressing the fraught sociopolitical history of a nation marked by Cold War division and its parallel developments in art and culture – runs throughout the German Pavilion. Curated by Kathleen Reinhardt, "Ruin" brings together works by Sung Tieu and Henrike Naumann that relate personal histories to broader developments in twentieth-century Germany. The two-person exhibition offers a poignant response to the theme of Koyo Kouoh’s Biennale, In Minor Keys, which the late curator described as "the tunes of the fugitives recovering from the ruins, the harmonies of those repairing wounds and worlds". According to Reinhardt, "with their layered formal, political, social, and historical implications", Tieu’s and Naumann’s work contribute to Kouoh’s theme by "consistently stimulating polyphonically-conceived pasts, presents, and futures". Their installations also bring to the fore disciplines and materials rarely seen at the Biennale. By shifting the scale and proportion of often-overlooked objects, the exhibition draws attention to marginalised narratives that have played out in the background and continue to shape contemporary society'.⁠ ⁠ Our Editorial Assistant, Yi Ting Lee @ytlee6012, reviews the German Pavilion, 'Ruin' @deutscherpavillon @labiennale, with works by @sungtieu and @henrikenaumann. Link in bio to read.⁠ ⁠ Images: Detail of 'War' from 'Die Innere Front' ('The Home Front'), by Henrike Naumann. 2026. Mixed-media installation. (Courtesy the artist; photograph Jens Ziehe).⁠ ⁠ Detail of 'They Have Eyes, But They See Not, They Have Ears, But They Hear Not', by Sung Tieu and Vũ Thị Hạnh. 2026. Aluminium foil, aluminium, wood, magnets and lacquer, dimensions variable. (Courtesy the artist; photograph Andrea Rossetti). by @burlingtoncontemporary
From the Burlington Contemporary archive⁠ ⁠ 'The work of Mike Nelson might usefully be prefaced by invoking an alternative universe – one where works of art appear unpredictably, without attribution or announcement. This might, for instance, involve the spontaneous decision to try the handle of an unremarkable door, which leads to the discovery of a room containing an ensemble of contents that are subtly strange and compelling, but also betray a kind of artifice: a dense "tissue of citations" drawn from places within "the thousand sources of culture", to recycle an already overly recycled phrase from Roland Barthes’s "The death of the author"'. ⁠ ⁠ In April 2023 Rachel Withers reviewed Mike Nelson's survey exhibition @hayward.gallery. Link in bio to read.⁠ ⁠ Nelson's new exhibition, 'Double Negative (The Clown)' @modernartoxford celebrates the museum's 60th anniversary and includes elements from his previous projects. The exhibition, which opened earlier this month, will be on view until April 11th, 2027.⁠ ⁠ Images: 'Triple Bluff Canyon (the woodshed)', by Mike Nelson. 2004. Mixed media installation, dimensions variable. (Courtesy the artist and Hayward Gallery, London; photograph Matt Greenwood).⁠ ⁠ 'I, IMPOSTOR', by Mike Nelson. 2011. Mixed media installation, dimensions variable. (Courtesy the artist and Hayward Gallery, London; photograph Matt Greenwood). by @burlingtoncontemporary
'John Donne famously cajoled and argued with an "unruly sun" in his irreverent aubade "The sun rising" (1633). Donne features alongside a small galaxy of suns in the exhibition "some fundamental forces" by Isabel Nolan at Southwark Park Galleries, London. Nolan, who is currently representing Ireland at the 61st Venice Biennale, has been navigating ideas about the cosmos, humanity and its contribution to the world throughout her career. The product of a truly enquiring mind, "some fundamental forces" is an idiosyncratic and eccentric gathering of historical fragments and human vignettes. It is a whirlwind tour of the universe, philosophy, faith, human invention, grand ideas and small moments, in which deep time and the death of the sun rub shoulders with knock knees and feet portraits'.⁠ ⁠ Becky Hoghton (@beckyhoghton), winner of the 2026 Burlington Contemporary Central Saint Martins Postgraduate Writing Commission, reviews Isabel Nolan's @nolanisabel solo exhibition @southwarkparkgalleries. Link in bio to read.⁠ @mafineartcsm @fine_art_csm @csm_news⁠ ⁠ Image: Installation view of 'Isabel Nolan: some fundamental forces' at Southwark Park Galleries, London, 2026, showing 'The Light Poured Out Of You', by Isabel Nolan. 2016. Mild steel, paint, fabric and dye, 300 by 134 by 134 cm. (© Isabel Nolan; photograph Rita Silva). by @burlingtoncontemporary

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