The world – well Gagosian Gallery, anyway – has gone dotty for Damien Hirst’s spot paintings. In an unprecedented move, Gagosian is showing a single artist across all its sites, and not just a single artist but a single strand of that artist’s work. The Complete Spot Pantings 1986-2011 is on now at all 11 Gagosian spaces globally. Why? What’s it all about?
Mike Nelson, Coral Reef, 2000
There’s a slightly shabby door in Tate Britain that leads into another world. It’s a world that allows me in but never makes me feel welcome. It’s a world I wouldn’t want to live in, or even be in when anyone’s home, but one I love to visit. And, if the Tate website is accurate (not something that can guaranteed given its longstanding confusion about the whole thing), it’s a world that is only accessible until Sunday.
Pierre Huyghe, Recollection, 2011 (live marine ecosystem, glass tank, filtration system)
In these early days of the year, I want to think back to work I’ve seen in the last year to see what’s stayed with me. A good starting point for that is to think about the big stuff: the days when art overload is a significant threat. Days like Frieze Art Fair. I don’t always get to Frieze; some years I just can’t face it. The scale of the thing puts me off somewhat and I’m really not a fan of the art world en masse. It’s possible I’m just slightly allergic to art fairs. Art needs time and at Frieze the pressure to see everything can be overwhelming so last year I decided to browse in a really unsystematic way and just spend time with the things I chanced upon that interested me most. Perhaps inevitably that means that what I remember most clearly are some of the things that were tucked away in corners, works that could be seen in isolation rather than against the backdrop of the fair.