William Kentridge at the Whitechapel Gallery: my list is rather central, but both the East (Edward Burtynsky and Thilo Heinzmann for example) and South (Amalia Ulman and Roman Ondack come to mind) also have plenty of interest. The obvious pick is the six large-scale installations of Kentridge’s ‘Thick Time’.
To 26 Oct (by appointment): firstname.lastname@example.orgAndrew Curtis has tended to configure modernism as an alien presence in suburbia: now the two merge in one-to-one scaled silver paintings of six garage doors propped against the walls rather like their models, all of which were metal garage doors which Curtis found abandoned in the urban landscape. Frank Stella comes to mind in the pleasingly various parallel lined compositions, actually achieved with tremulous patience by painting several layers of aluminium around the still-exposed cotton duck.Thilo Heinzmann: To Be And To Be @ Carl Freedman Gallery, 29 Charlotte Rd – ShoreditchTo 23 Oct: www.carlfreedman.comViolence and beauty often combine to effect in abstract painting. There’s a double dose now: not just Gunther Uecker’s fine show at Dominique Levy, but also Thilo Heinzman’s new work. The Berlin artist takes an axe to the back of a sheet of white aluminium to make variably oriented incisions in the wake of Fontana, then invokes Miro and Sam Francis in the delicacy with which he pools on colours which respond to the placement of the cuts without ever feeling determined by them. The effect is celestial and floral, and Heinzmann’s own mix of pure pigments with liquid resin has the added attraction that they still look deceptively wet.
_________________Marta Marcè: Passages @ Riflemaker, 79 Beak St – SohoTo mid Oct: www.riflemaker.org/s-Marta%20Marce
Now & Ever 76, 2016
Berlin-based Spaniard Marta Marcè’s native language is Catalan, but fortunately, having lived in London for several years, she speaks English to me. Her paintings share that fluency across languages: she used to derive abstraction directly from game, now geometric structures hint at meaning – are they portals, or magical symbols? – but the play goes on beneath: casual taping as generator of bleeding line; explorative layering and mixing of colours; the subversion of her shapes’ apparent striving for purity. In that context, showing against Riflemaker’s rough boarding makes sense, though I’d like to see how Marcè would look at, say, David Zwirner.
_________________Kelvin Okafor: Interludes @ Albemarle Gallery, 49 Albemarle St – Central
To 1 Oct: www.albemarlegallery.com