Arts Radar: 6th December

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Do you ever get so angry you wanna punch a wall or... bulldoze a house? We don't advocate violence over at Dojo HQ but the photos of Gordon Matta-Clark's building bashing on show this week are quite the visual treat. Then, if you wanna soften your heart after all that destruction, head on over the National Gallery to ogle at a true D.I.L.F (Deer, not Dad).
This show at the David Zwirner looks over Matta-Clark's radical art that took the urban environment and confronted it with experimental social investigation. Structures are removed, altered and broken by a pioneering man that saw creation and space where others saw destruction.
For those of you who had their sexual awakenings watching Simba from the Lion King transform from a cute cub into an absolute stud of a cartoon lion, get ready for your next furry crush. Having travelled down from Edinburgh where he usually resides, this sexy stag now stands pride and centre in the National Gallery, and frankly we’ll never feel the same about watching Bambi. There’s also some drawings and other highland landscapes dotted around to legitimise this whole show, but we all know the reason you’re going...
Minimalists beware - the gloriously detailed post-apartheid universe of South African artist Athi-Patra Ruga is a cacophony of colour and noise. Here, Ruga has created a fantasy world called ‘Azania’, a utopic safe space defined by unity and togetherness away from the racist divisions of the apartheid state, filled with mythical, queer and beautiful characters.
Welcome to the wonderful world of Kris Lemsalu, where animals are humans, beauty is ugliness and the strange figures which inhabit this show are a cross between fetishist taxidermy and ancient totemic statues. Concerned with the processes of birth, death, and what she terms 'the bit in-between’, we are made to examine life from the sometimes humorous, sometimes macabre lens of Lemsalu’s eye.
Flo Brooks shows a fake cleaning company called, ‘Scrubbers’, as they work their way through a number of familiar institutional spaces. This show shines a light on the way the body is manipulated to stay clean, functioning as a metaphor for transgender Brooks’s transition and the particular acts he’s exercised in a bid to recover his ‘authentic’ self.
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