Art / Exhibitions

Freedom Has No Script

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Iniva, Gallery London, until 17 May

The title of Burak Delier's show is inspired by recent social movements. The artist argues, "When we consider the recent uprisings in Istanbul, Tahrir Square and Occupy New York, we can see that the rioters don't have a programme. Nobody knows exactly how we'll become free."

Burak is a Turkish artist living in Istanbul who has been politically engaged for many years. This is his first exhibition in Britain.

Cezanne and the Modern

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Ashmolean Museum, Oxford, until 22 June

This is the first European exhibition of the Pearlman collection of Impressionist and Post-Impressionist art, and it's a real treat.

Henry Pearlman was a rich American businessman who was as proud of the wheeler-dealing it took to acquire the paintings as he was of the paintings themselves, but don't let that put you off.

Richard Hamilton

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Tate Modern, London, until 26 May

Just what is it that makes Tate Modern's current retrospective exhibition of Richard Hamilton's work so different, so appealing? Of course this is a rather tongue in cheek reworking of the title of Hamilton's now iconic 1956 piece, "Just what is it that makes today's homes so different, so appealing?" Hamilton was, I would argue, one of the most interesting, innovative and enjoyable artists working in Britain from the late 1940s until his death in September 2011.

Kino/Film

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Gallery for Russian Art and Design (GRAD), London, until 29 March

Cinema was in its infancy when revolution in Russia toppled the old order in 1917. From the beginning photography and film were seen as important educators by the new workers' government.

Lenin argued that finance for film should be divided between the popular and a cinema that widened the base of the revolution. For millions film brought the outside world into the their lives. Film could only be "real".

Hannah Hoch

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Whitechapel Art Gallery, London, until 23 March

Hannah Hoch was one of the great revolutionary artistic innovators of the early 20th century. Along with Raoul Hausmann, George Grosz and John Heartfield she led the way in developing what has become known as photomontage or collage.

The avant-garde Berlin Dadaist group, of which Hoch was a member, was the most politically developed of the Dadaist groupings that sprang up across Europe and the US from around 1916. The Berlin Dadaists would use their new method of working not as a mere innovative technique in their "art practice" but, crucially, as a weapon.

Women at Work and Sylvia Pankhurst

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Tate Britain
Both until 23 March

Tate Britain reopened in November. The oldest part of the building has been restored, combining some of its most architecturally impressive parts with new elements. New learning studios and archive space follow the opening in May of new galleries to display "the best of British art."

£45 million has been spent on the overhaul and it's clear that a lot of the cash has come from big business. One space has been named the Sackler Octagon, while rooms that focus on particular artists or themes are given to us by BP.

Paul Klee

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Tate Modern, London. Until 9 March 2014

Paul Klee has been described as "the left's favourite artist". This reputation stems in no small part from the use by the German critic and writer Walter Benjamin, in a typically poetic analogy, of one of Klee's works in his Thesis on the Philosophy of History:

Lowry and the Painting of Modern Life

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If you are brought up in the North like me, you tend to be force-fed Lowry as a symbol of Northern grit and working class art in contract to the fancy art of the London establishment.

His work is seen as straight talking stuff and "much loved" - no art school rubbish here. I naturally grew up loathing him.

This exhibition shows him in a wider context. In fact, nearly all I thought about him was wrong. He was not working class but brought up very upper middle class and only fell into the lower middle when he was in his 20s. He was not self taught and based his art on late French impressionism - until the 1940s he was shown more in Paris than in Britain.

The Power of Print: Leonard Beaumont Rediscovered

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By day Leonard Beaumont was a newspaper printer - by night an artist who caught the mood of the times. Beaumont, who worked in the art department of the Sheffield Telegraph in the early part of the last century, spent his evenings making art. The self-taught prolific artist's skilful etchings and vibrant modernist linocuts have rarely been seen.

But now an exhibition in his home city belatedly shows off the best of his graphic and dynamic prints and etchings.

It is his prints, influenced by Futurism and the Vorticists, which are by far the most exciting.

A fine example is the 1932 lino print called Grinders, a striking monochrome image of two men sharpening knives which is clearly symbolic of Sheffield's steel industry.

The work has a real sense of rhythm typical of movements that revelled in the speed of modern life and the triumph of mechanisation.

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