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The Guardian - UK
The Guardian - UK
Lifestyle
Laura Cumming

When Forms Come Alive; Beyond Form: Lines of Abstraction 1950-70 review – a restless triumph and a badly lit jumble sale

A group of pastel coloured, entrail-like shapes suspended from the ceiling.
‘You are viscerally aware of being caught in some nameless system’: Pumping (2019) by Eva Fàbregas at the Hayward Gallery. Photograph: Jo Underhill/Courtesy the Hayward Gallery

A riot, a trip, an ever-changing adventure: the new spring show at the Hayward Gallery is a blast from first to last. Superbly curated by Ralph Rugoff, gallery director, its theme is sculpture from the past 60 years. But nothing rigid, geometric or recondite, nothing stock-still in bronze or carved marble – everything here is breaking free, escaping convention, vividly and often literally restless.

Clouds of twinkling white foam descend almost imperceptibly down the wall, emitting from French artist Michel Blazy’s intricate contraption for conjuring cumuli of puffs, crests and spirals. Blow gently and the lowest clouds shiver. Dancing up and down, from high above, white silk parachutes open and close like fast-blooming flowers in a bewitching kinetic ballet by Dutch duo Studio Drift.

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