In August 2015 Hales Gallery London is delighted to invite Choreographer and Director Holly Blakey to present Some Greater Class, a newly imagined live performance work exploring the complexities and contradictions of contemporary performance and its context.
Lucas Price makes his debut appearance at Lazarides Rathbone this August with a major new solo exhibition entitled Dumb Poetry.
This stunning group exhibition showcases the work from both emerging and established painters, including Hurvin Anderson, Francis Bacon, Gary Hume and Alexander Tinei among others such as Dale Adcock, Alison Blickle and Scott Anderson. This beautifully constructed line up celebrates the position in which abstract representational painting finds itself in today.
Jess de Wahls
Janis Lee Johnson
Ronchini Gallery is pleased to present Hashtag Abstract, a group exhibition that brings together new works by international artists Oliver Clegg, Richard Höglund, Christopher Kuhn and Kasper Sonne. For his inaugural exhibition as a curator, London based collector Kamiar Maleki presents work exploring trends and current developments in abstract painting.
Hashtag Abstract explores the phenomenon of news traveling fast in the digital era and the impact of social media as well as the power of the individual as a critic. Addressing how trends emerge organically, Hashtag Abstract invites the viewer to interact with the works through social media in a critical and engaging way, moving beyond the barrier of mere observation and advocating the power of the image as a tool of engagement.
Los Angeles based painter Christopher Kuhn’s works combine gestural abstraction with geometrical designs. Kuhn’s recent paintings depict a multitude of techniques within a canvas referencing the changing and fast-paced art world. For his new work at the show Kuhn studies the techniques and devices that Old Masters employed, such as the 17th century Dutch painter Gerrit Dou, in creating the illusion of depth while accentuating the flatness of the picture plane. Brooklyn based, Danish artist Kasper Sonne’s works are also examples of divergent trends. His work of revolves around conceptual strategies, invoked with a certain sense of poetics, melancholia and doubt. Sonne explores how individual and cultural references influence the way we read the world around us, and how meaning is determined by the viewer's own active construction. British born, New York based Oliver Clegg uses figuration for his basis of abstraction. Deconstructed figures take on new meaning as they become abstracted. Paris based Richard Höglund’s works use language and mark making as a starting point for his works, turning linear forms into melodic abstract compositions.
Hashtag Abstract demonstrates the current diversity and range of techniques within the genre of contemporary painting. The artworks become the triggering element for a debate around the very definition of a trend and whether anything is really trending.
Summer is the season of festivals par excellence, and few days ago have been held in Barcelona a must-annual event such as Sonar. With a total of almost 119,000 visitors, far more than the 6,000 people who attended the weekend of the first edition that took place 21 years ago, this one has become one of the best editions of Sonar. While this year's line-up apparently seemed more diluted than in previous events, the end result has been a series of solid and impressive concerts to the delight of all attendees.
One aspect that each year takes more prominence is Sonar+D, a parallel festival that coexists with the concerts of Sonar by Day, dedicated to new technologies and where people plays with the synthesizers, tries out the new developments empowered by the crowdfunding platform Kickstarter or participates in the scheduled sessions such as the Music Hack Day.
This time Sonar+D participation exceeded expectations from both the MarketLab and the Realities+D area, dedicated to virtual reality. Scheduled conferences and workshops have had more than 4,000 attendees and there were nearly 500 scheduled meetings between experts, creators, entrepreneurs and investors in the areas of networking.
As for the concerts, the opening came from Chemical Brothers, a show only reserved for a privileged few who got their free invitations through a well-known Spanish beer brand. The band presented their new album "Born In The Echoes" in an unprecedented show that would be repeated on the same stage SonarClub two nights later with a careful visual experience taken to detail that caught the audience and carried throughout the show.
If I had to pick just one show, that would be Friday night’s performance by the Irish Róisín Murphy (former lead singer of Moloko), who presented the songs from his new album "Hairless Toys" besides presenting old hits in a show full of glamor, peculiar costume changes and plenty of scenic presence.
Also, discovering Die Antwoord from the zero line at the pit of the stage was quite an experience with their energetic and mesmerizing show taken to the extreme that made the audience (and especially photographers) like crazy. Thug life indeed.
For those who still had energy left after so much jumping in the previous concert, they had a second opportunity to listen to Hot Chip (who already acted on Thursday at Sonar Day) and also the expected DJ set from Skrillex to finish off a long and well spent second day. Skrillex made the people mad with his dubstep and drops, playing a bit of everything from “The Lion King” to “Sweet Dreams”, always spiced with the producer and DJ’s own style. But what surprised us the most was his version of Freddie Mercury and Montserrat Caballe’s “Barcelona”, which amazed everyone in Sonar, wherever they were.
As in most editions, Sonar reserves a corner for nostalgia and this time came from the hand of Duran Duran, who were responsible for opening the last night of the festival with a collection of classics like “The Wild Boys”, “Hungry Like The Wolf”, “The Reflex” and “Rio”, among many others. Simon Le Bon and his crew demonstrated that despite the years they have not lost their touch.
Yet one more meeting with Sonar, one of the most complete and solid years of his career, where is impossible to get bored and with an organization of 9.5 out of 10 (the remaining half point was missed by having to cross twice the Sonar Night enclosure to manage to get outside). Next year there will be more and we do not know if it will be better, but I’m pretty sure that they will keep the same level.
Meanwhile, travelers who love music, you will not miss save the following dates on your agenda:
Sonar São Paulo
24-28 November 2015
Espaço das Americas
The Chemical Brothers, Hot Chip, Brodinski, Evian Christ...
Sonar Buenos Aires
December 3, 2015
Complex Al Rio
The Chemical Brothers, Hot Chip, Brodinski, Recondite, Poncho, Evian Christ, Pional, Leandro Fresco..
December 5, 2015
Suricato hangars, former Los Cerrillos Airport
The Chemical Brothers, Hot Chip, Brodinski, Recondite, Evian Christ, Pional...
December 7, 2015
The Chemical Brothers, Hot Chip, Bomba Estereo, Brodinski, Recondite, Evian Christ, Pional...
18, 19 and 20 February 2016
Harpa Concert House
19 and February 20, 2016
26 and February 27, 2016
Stockholm Waterfront Congress Center
16, 17 and 18 June
Fira Montjuic and Fira Gran Via
Photos and text: Anna Ferry
This year, LISTE's Performance Project focuses on the voice, language, sound, choreography and dance. It features solo and group performances, works in public and private spaces, theatrical performances as well as presentations where the viewer becomes an integral part of the work. The Project commissions new work in addition to restaging pre-existing works for the first time in Switzerland. Each artist or group of artists presents their work in distinct locations throughout the city of Basel creating personalized pockets of public performance amid the activity of the art fair.
Mazzoleni London is pleased to present an exhibition of works by Italian conceptual artist Alighiero Boetti from 5 June – 31 July 2015. Curated by Rinaldo Rossi and Corinna Turati, the exhibition re-creates Il Muro, a specific wall from Boetti's Piazza di Sant’Apollonia flat in Rome that the artist filled with a hang of objects he found inspiring.
Displaying art and artefacts selected by Rinaldo Rossi - a friend, collaborator and long-time assistant of Boetti – the exhibition pays tribute to the artist and provides an intimate glimpse into his life through cards, unseen photographs, drawings, handwritten letters and found objects. Contextualising the artist’s work within the realms of his private life and giving insight into his thoughts, inspirations and curiosities, Il Muro adds to the appreciation of Boetti’s oeuvre. The exhibition presents a rare opportunity to view works from several important stages in the artist’s life, including many which have never before been publically exhibited.
Alighiero Boetti, was born in Turin in 1914 and died in Rome in 1994. Boetti was a key member of the Arte Povera movement and is one of the most influential Italian artists of the twentieth century. Working in his hometown of Turin in the early 1960s, alongside young artists such as Luciano Fabro, Mario Merz, Giulio Paolini, and Michelangelo Pistoletto, Boetti used simple materials associated with the city’s growing industrial economy in radical new ways. He made work using postage stamps, biro pens and magazine covers and later became globally recognised for his colourful embroideries of world maps and iconic photographic self-portraits. The first Arte Povera artist to be acknowledged with a solo exhibition at Tate Modern (2012), Boetti continues to have a significant impact on younger artists today.
How would you draw a picture of the Internet; through the machines and ‘their’ language that broadcast and store ‘our’ messages, or through the affect and power relations that those messages and their movement produce?
Presented as part of the year-long Art In The Age Of… exhibition series, Art In The Age Of… Planetary Computation investigates how quantification, telecommunications, and our ever-expanding information apparati not only inform contemporary artistic production, but also how contemporary art can hold a mirror up to these processes and formations. The participating artists explore the fissure between literal infrastructure—code, machines, wires, and other like-vocabularies—and the subjective socio-political interactions fostered by using these devices. Guided not only by what can be seen on the computer screen, and the various other black mirrors we stare into day in and day out, this exhibition will also look at what happens behind these screens. Moving from objects to subjects, we ask, how do these positions impact daily life, or said in another way: what does it mean to be 'screened'?
Artists: Aram Bartholl, Rossella Biscotti, Nina Canell, John Gerrard, Femke Herregraven, Antonia Hirsch, Vanessa Hodgkinson, Trevor Paglen, Lucy Raven, Julia Weist, and others.
Art In The Age Of… Planetary Computation is the second iteration of the Art In The Age Of…, a three-part presentation series that investigates future vectors of art production in the 21st century. Art In The Age Of… will run throughout 2015.
"We have only to look at the force of one of the Opens...to feel the complexity of observation the painter requires of himself and the viewer." *
"...a subtle but firmly asserted spatial ambiguity that gives the picture a deep resonance and an aura of mystery."**
Andrea Rosen Gallery is delighted to announce a comprehensive exhibition of Robert Motherwell's seminal Open series. The gallery has an ongoing commitment to timely presentations of historical material, in this case highlighting a point in the artist's trajectory when a confluence of institutional, intellectual, and market attention brings renewed appreciation to a significant body of work. The gallery is particularly interested in creating historical exhibitions that expand the reading and understanding of an artist's work. While Motherwell's significance may have been perceived primarily through the gestural Elegies, presenting the Opens now not only allows us to compare these masterworks against the present-day focus on abstraction, but also encourages us to reconcile the breadth of Motherwell's rigor and clarity. They are undeniably fresh, beautiful, and bold.
Typically composed as single-color surfaces on which he has painted three charcoal lines, the Opens were a primary occupation for Motherwell from 1967 through the 1970s, and briefly into the 1980s. Although it has been common practice to locate Motherwell alternately within the histories of midcentury American painting and Minimalism, the Opens exemplify the cerebral, content-fueled character that sets his work apart: the fragmentary rectangles offer an intense conceptual engagement with dualities of interior and exterior, and with perceptions of nature and space.
Coinciding with the centennial of Motherwell's birth, the exhibition comes amid a groundswell of appreciation of his significance. In 2012, the Dedalus Foundation (founded by Motherwell in 1981) and Yale University Press published a major catalogue raisonné of Motherwell's work. The Art Gallery of Ontario and The Solomon R. Guggenheim Foundation in New York have also produced remarkable studies on Motherwell in recent years, and the Opens themselves are the subject of a dedicated collection of essays and scholarly criticism published in 2010. In February of this year, the Metropolitan Museum of Art in New York opened an exhibition of Motherwell's monumental paintings, collages, prints, and illustrated books drawn from its holdings and those of the Dedalus Foundation.
*Mary Ann Caws
** Jack Flamm
Both are inspired by Chinese culture and traditional techniques to better mingling Western elements and create mixed works, reciprocal passages from one world to another.
The large three-dimensional floral fields Zhuang Hong Yi combine rice paper, Chinese ink and acrylic.Dynamic mixtures of textures and colors, tactile and delicate universe, they carry in their traditional Chinese substrates references to Western Impressionism but also contemporary conceptualism. The works of Zhuang Hong Yi oscillating between pure and controlled planning emotion. They are both meditation and color on analyzing the nature and form.
Lu Luo, she finds the source of his creations in traditional Chinese opera costumes. Cut out and pasted on the canvas, antique kimono becomes an icon with a multiplicity of viewpoints. The artist skillfully uses a wide variety of European processes and sometimes incorporates costumes in scenery painted in homage to some great masters of Western painting, as Matisse.
Exhibition Zhuang Lu Hong and Luo
From 1 to May 31, 2015 at Absolute Art Gallery
Open from 11 to 18.30, also on Sundays and public holidays
Closed on Wednesdays
The Whitechapel Gallery presents the first UK retrospective of American artist Christopher Williams, one of the most influential artists working with photography and the production and display of images.
Christopher Williams’ recent photographs reveal the unexpected beauty and cultural resonance of commercial, industrial and instructional photography, and also adopts their production methods. Often working in collaboration with set designers, models and technicians, the resulting technically precise photographs recall imagery from 1960s advertising, the Cold War era, as well as the histories of art, photography and cinema. However, closer inspection reveals that flaws and aberrations which would usually be removed in production or postproduction, such as a model's dirty feet or a bruise on a ripe apple, remain in the final images. Williams also sees the photographs themselves as part of a larger system of display which includes exhibition design, walls, books, posters, videos, vitrines, and signage, and uses these elements playfully within the exhibition.
The Production Line of Happiness brings together over 50 photographs from Williams’ 35-year career, and is on show from 29 April 2015. Five new works never seen before in the UK go on display including a pristine image of a broken Citroen car headlight, an image influenced by British and European Pop art. The photographs are displayed in an architectural installation specially conceived by the artist and inspired by histories of display. Temporary walls come from art institutions in the Rheinland region of Germany, where Williams currently lives and works and are both a reference to and a partial reprisal of a 2009 exhibition at the Bonner Kunstverein made in collaboration with Austrian artist Mathias Poledna.
Part I - Performances: 24 – 30 April, 2015, 7pm each night
Part II - Exhibition: 7 May – 20 June 2015
Autograph ABP presents Whip It Good: Spinning From History’s Filthy Mind, the first UK solo exhibition by Danish-Trinidadian artist Jeannette Ehlers.
Presented in two parts, seven evening performances in the gallery followed by a seven-week exhibition, Whip it Good: Spinning From History’s Filthy Mind retraces the footsteps of colonialism and maps the contemporary reverberations of the triangular slave trade via a series of performances that will result in a body of new ‘action’ paintings.
Jeannette Ehler’s practice takes the form of simple actions, which erase, enhance or animate historical spaces, raising complex questions about memory, race and colonialism. In Whip It Good, Ehlers fiercely confronts national and personal histories in an effort to critically reimagine and challenge racist systems of power and domination.
During each performance, the artist radically transforms the whip - a potent sign and signifier of violence against the enslaved body - into a contemporary painting tool, evoking within both the spectators and the participants the physical and visceral brutality of the transatlantic slave trade. Deep black charcoal is rubbed into the whip, directed at a large-scale white canvas, and – following the artist’s initial ritual - offered to members of the audience to complete the painting.
However, the themes that emerge from Whip It Good trace beyond those of slavery: Ehlers' actions powerfully disrupt historical relationships between agency and control in the contemporary. The ensuing ‘whipped’ canvases become transformative bearers of the historical legacy of imperial violence, and through a controversial artistic act re-awaken critical debates surrounding gender, race and power within artistic production. What the process generates for the artist, is an intensely focused space in which to make new work as part of a cathartic collaborative process. Ehlers seven newly produced paintings will then be displayed in the second part of the exhibition, Spinning from History’s Filthy Mind, from May 7 through to June 20, alongside a selection of earlier moving image works made by the artist.
Drawing on film, photography and video, Ehler’s moving image works weave facts and images into potent triggers for forgotten memories or lived experiences. Waves (2009), a manipulated photograph and looped video projection, presents a hypnotic mediation on the trade in humans across the Atlantic. In The March (2012), Ehlers uses the portal of the past to reflect on herself the present. Inspired by one of the landmark events of the American Civil Rights Movement, namely the Right to Vote March of 1965, when 600 African Americans marched from Selma to Montgomery, Ehlers combines 3D animation scans of her brain with a haunting soundtrack of chanting voices. In so doing, she poetically references her own rise to political consciousness, with a powerful historical moment of defiant collective action. Off The Pig (2012) represents an ode to liberation struggles and the civil rights movement, and features the voices of Angela Davis, Huey Newton and the Black Panthers – here, the juxtaposition of militant voices and frantic chanting produces a rousing, hallucinogenic mini-documentary. Black Bullets (2012) is greatly influenced by the Haitian revolution led by Toussaint Louverture and shot at the Citadel in Haiti. In The Invisible Empire (2009), Ehlers provocatively places the figure of an elderly migrant (the artist’s father) as the protagonist of a sculptural video piece that highlight pertinent issues such as the plight of those caught up in human trafficking and modern day slavery. Using an archaeological approach to history, Ehler’s dreamlike eulogies to freedom and resistance force us to think about global liberation and the collective well-being of marginalised people in the world today.
Whip It Good: Spinning From History’s Filthy Mind is guest-curated by Karen Alexander.
‘Performing Whip It Good over seven days will be both physically and mentally challenging. For me, this act represents a personal attempt to identify with a brutal past while trying to make sense of the present.’ - Jeannette Ehlers, 2015
‘Jeannette Ehlers fearlessly unmasks the pain and sorrow of black lives, while also celebrating occasional triumphs, as she reinterprets colonial cultural histories and reimagines them in the realm of the visual.’ – Karen Alexander, 2015
Whip It Good was originally commissioned in 2013 by The Art Labour Archives in Berlin.
The exhibition's title 'Spinning From History’s Filthy Mind' is borrowed from the poem 'Black Bullets' by Krista Franklin.
"My fate is to live amid varied and confusing storms. But for you perhaps, if as I hope and wish, you will live long after me, there will follow a better age. This sleep of forgetfulness will not last forever. When the darkness has been dispersed, our descendants can come again in the former pure radiance”
- Petrarca (1304 - 1374)
On the 24th day of April 2015, kunstenaarsinitiatief beyoncé will open The Castle.
A refuge in times of crisis, a place for artists and visitors as homo universalis.
k.i. beyoncé has transformed W139 into a medieval castle. The Castle is an ode to romance as well as historical entertainment for the history loving. It tries to deal with notions of the past and expectations of the future.
k.i. beyoncé is a collective consisting of 5 artists; Elke Baggen, Lukas Hoffmann, Susan Kooi, Lot Meijers and Nikki Oosterveen en was founded in 2013.
k.i. b. started in a former snackbar, where they organized exhibitions in the damp basement. As a collective, they make exhibitions and performances.
We welcome you to our Castle; the oldest castle of Amsterdam, Holland, Europe and the World.
The Castle will be open for all. It is a place to admire centuries-old craftsmanship, gaze at the view, read poetry, make a wish at the well and enjoy community feasts. These will take place on Thursday evenings and Sunday afternoons;
Friday the 24th of April: The Castle: boom!
Hayao & Cuckoo by Alexander Höglund and Jay Yoon
Live medieval music and DJ Thomas van Aquino
Thursday the 30th of April: Hellfun´s Walpurgis Night
Awakening Walpurgis’ Knights by HellFun (Josefin Arnell & Max Göran) and Florentina Holzinger
Sunday the 3rd of May: Marketplace + Botanical magic
Medieval Market and Botanical workshop by Hans Donderwinkel with guidance by Hildegard von Bingen
Sunday the 10th of May: New Medievalism
k.i. beyoncé has invited a specialist to talk about the New Middle Ages
Thursday the 14th of May: Martial Arts and Poetry evening
Medieval sword fighting choreography by Rúna Magnússon and Jaline Schaaij, live music and poetry by Rens van der Knoop
Thursday the 17th of May: Human Comma Being
Performance / video by Dafna Maimon
Sunday the 24th of May: Extravagant Renaissance Dinner
A feast to celebrate the end of the dark times and thank all who have blood on their hands.
The Man Looks Up At The Screen, Then DROPS His Cup Of Coffee And Forgets His Name Past, present and future meet in spandex. By Maurits de Bruijn en Justin Gosker
Attendance possible by reservation (firstname.lastname@example.org) and péage.
The gates of The Castle will be open daily between 12.00 and 18.00.
k.i. beyoncé wil be present.
The Castle is kindly supported by the AFK.
Chisenhale Gallery presents a major new commission by the Istanbul, Amsterdam and Berlin based Kurdish artist Ahmet Öğüt. For Happy Together: Collaborators Collaborating Öğüt will stage a public discussion at Chisenhale Gallery, bringing together people of various professions and nationalities with whom he has previously collaborated. The gallery will be transformed into a TV studio for the duration of the exhibition with a specially constructed set used to stage the discussion and, afterwards, to present a film documenting the event. The project opens with a performance of Reverb, a concert by the artist in collaboration with Fino Blendax, to welcome the collaborators to Chisenhale.
This is the first solo exhibition in a UK public institution by Öğüt and is commissioned as part of How to work together, a shared programme of contemporary art commissioning and research devised by Chisenhale Gallery, The Showroom and Studio Voltaire. The other commissioned artists for 2015 are Sanya Kantarovsky at Studio Voltaire (16 April – 7 June and Wendelien van Oldenborgh at The Showroom (29 April – 20 June). This second round of exhibitions builds on the success of last year’s commissions by Gerry Bibby (The Showroom), Céline Condorelli (Chisenhale Gallery) and Ella Kruglyanskaya (Studio Voltaire).
Ahmet Öğüt, Happy Together: Collaborators Collaborating is commissioned by Chisenhale Gallery. The commission is supported by SAHA Association, Mondriaan Fund, Maya and Rasamny and Yana and Stephen Peel.
Chisenhale Gallery's Exhibition Programme 2015-16 is supported by Nicoletta Fiorucci.
How to work together is supported by a capacity building and match funding grant from Arts Council England through Catalyst Arts, with additional funding in the second year from Bloomberg, Jerwood Charitable Foundation, Resolution Property and Bilge & Haro Cumbusyan. For more information visit www.howtoworktogether.org.
Reverb is commissioned and produced by Van AbbeMuseum, Eindhoven, as part of the exhibition Ahmet Öğüt: Forward (7 March – 14 June 2015).
David Zwirner is pleased to present an exhibition of recent paintings and pastels by Lisa Yuskavage, on view at 533 West 19th Street in New York.
Yuskavage’s works merge popular culture and a deep engagement with the history of art. Widely associated with a re-emergence of the figurative in contemporary painting, she has always maintained the primacy of color, with her narratives intricately based in her use of paint. In this new selection of works, atonal and prismatic spectrums appear as personifications of themselves, and her characters become like embodiments of various tones.
The exhibition takes its conceptual and chronological point of departure in Hippies, a painting from 2013 of five intersecting nudes. Behind a pale woman, four male figures fan out from her on either side, almost like a Hindu deity, each a different hue. The rainbow-like effect is reminiscent of the cangiantismo technique advanced in the Renaissance, in which tonal variations were used to indicate the presence of the supernatural in otherwise realistic subject matter. The effect is achieved against a muted, neutral background—here a dark landscape—where grisaille, an almost monochrome color scheme, is applied.
By Allegra Pacheco and Mark Harwood
What divides the self from its creations?
Does nature function as a machine? Does reality? How does our perception of reality shape reality itself?
Micro Macro, artist Allegra Pacheco's new work presented in Londonewcastle Project Space, is a bold investigation into questions of self, identity and structure both the internal and external presented as an exploration of the symbiosis of all matter, the organic and the inanimate.
Radical shifts in science and technology are re-directing the traditional sense of self and order of the surrounding environment. Arms can be printed at home, glasses can record everything we observe. If all our movements and thoughts are backed-up on hardware and our bodies start to wear these machines it becomes more difficult to discern the gap between the master and the tool.
The works on display deal with a mixture of hand and machine crafted wares, as Pacheco stands by the notion that our capacity to make and create is what shapes our environment and is intrinsically what makes us human.
“It is the making of art that acts as an anchor to our physical reality” states Pacheco.
Compared with the perfection of the machine assembled, craft and manual labor stand out as an emblem of human individuality. Flaws are intrinsically human and are one of the keystones that divide us from machines.
Micro Macro shows a mixture of hand-crafted and machine-made work which coexist in a symbiotic dialogue. Texture alongside attention to detail and the inevitable human error are present and welcome. Objects, which we associate as machine made are hand-made, and vice versa, common conceptions are turned upside-down. Hand crafted rugs look like psychedelic fur on one side and a microchip on the other; our parameters of what is “normal” are tested in a playful and inviting manner, full of possibility, yet not ignoring the reality that holds the concepts behind them together.
In Pacheco’s work the specimens depicted evoke thoughts of amputated digital limbs, partially dead, vivisected and displayed. The grid, a skin, mixed with the underbelly of the structure’s torso act as relics of a digital bi-product-the remains of a post-human landscape.
The lack of scale and context in the works make the viewer ask his or herself; Is this a section of a mega-structure? Or a miniaturized limb from a digital bug?
Ambiguity is key to the cubic volumes depicted as the unresolved invites an open interpretation and asserts it’s own force from the discomfort of the unsettled narrative. The structures depicted serve as an abstraction of human achievement and follie; unpalatable and ambiguous, they are the remains of a no longer pulsating system.
The New York Philharmonic has a sound like few other orchestras, and continues to push boundaries and broaden the horizons of American orchestral music with director Alan Gilbert.
Their 2015 Barbican International Associate Residency showcases the dynamism of this versatile orchestra, with cutting-edge work from their contemporary CONTACT! series, a show-stopping concert of late-Romantic showpieces with Joyce DiDonato, and a spectacular production of Petrushka with theatre company Giants Are Small.
Giants Are Small and the New York Philharmonic / Petrushka
Barbican International Associate Residency
19 Apr 15 / 19:30 / Hall
Richard Woods has built an international reputation for his signature architectural transformations, painting and sculpture that fold the history of the decorative arts, functional design and graphic language into intoxicatingly witty plays with image and surface. His architectural interventions are chiefly concerned with the re-surfacing of existing structures, proposing an absurd twist on the cult of home improvement and DIY aesthetics.
For Chapter, Woods has created Inclosure Acts a new exhibition that is inspired by both the history of the building – sited as it is on a former cattle market – and by the Acts (1604-1914) that radically transformed open fields and common land in the countryside. Wall-based works reference the suburban in a series of monoprints. Based on hard-edged renditions of Mock Tudor decoration, the paintings are suburbia meets Neo Geo – the past made future.
In the café, Woods’ works Bad Bricks are beautifully simple sculptures made from wood and resembling cartoon bricks. Their vibrant colours, bright white mortar and thick black edges offer a joyous celebration of these most mundane of building materials.
Project for an Unidentified Political Object is an exhibition and performance of all new photographic and sculptural work by the artist Gordon Shrigley. It is our pleasure to announce that for the 2015 General Election, Shrigley is to stand as a prospective member of Parliament, under the banner of Campaign.
Twenty fives years ago, Capitalism basked under the belief, that with the fall of Communism, the West had effectively won the Cold War. However, in 2008 we all watched in amazement as the edifice of our unassailable wealth and prosperity virtually disappeared overnight.
Since these events the artist Gordon Shrigley has been patiently searching for radical new forms of popular ideology to make sense of the present malaise, which are not based on what he sees as either outmoded 19th century political ideas or laissez-faire forms of postmodern aporia. Failing to discover anything new, Shrigley published Without Residue, A Preliminary Introduction to a Manifesto for An Unidentified Political Object (2010). His manifesto is a clarion call for all citizens to embrace the limitless space of the imagination as a path to discovering “… a mode of space-less thinking, an oxymoronic territory of a-temporality, without horizon, that proceeds without the need to affirm on the basis of that which bounds. Simply a fugitive kind of abandon.” The questions outlined in Without Residue are to be played out through the form of a political physical theatre of everyday life that seeks to appropriate the electoral process as a frame for exposition.
Ian Stevenson takes over KK Outlet’s gallery exhibition space during April 2015 with Click Here to Unsubscribe. Ian’s a London based illustrator, quick witted, with an irreverent stance. He paints on rubbish, takes the piss and has exhibited at Tate Modern. Expect brand new, never seen before, illustrative works from this pencil wielding linear master.
Turning trash into treasure, Ian’s work is both engaging and enlightening. Influenced by his immediate surroundings, everyday life and the TV from which he reflects the reality of living in the 21st Century. Ian re-directs his twisted and joshing take on the world to create distorted characters, murals, alternative slogans, animations, sculptures, customised photographs plus anything from coffee cups to record sleeves.
A recent collaboration with Russell Brand, to promote his book Revolution, saw Ian’s artwork on the Village Underground’s wall in Shoreditch. A larger than life sized mural, jam-packed with blissful characters and hilarious, satirical slogans.
The exhibition's grand opening is going to be a blast!
The beer is free. Everybody is invited. See you there.
Join Sweet ‘Art in March for their next hotly anticipated show Y Not?, a multi media exhibition in aid of International Women’s Day. Y Not? will explore the theme of femininity, feminine identity and women’s day with a focus on the female form, gender identity, feminist issues, social and political issues and constructs and personal accounts and perspectives. Works will celebrate, critique, challenge, ridicule and reflect notions of femininity in our society and internationally, created by artists identifying as any gender.
Sweet'Art is a non-profit arts organisation based in London, dedicated to the promotion of upcoming and established artists through exciting pop up art events with a difference. Their launch event in 2012 was a celebration of women’s day and they are now going back to their roots in hosting Y Not?
Five years in the making, Daisy Bentley’s ‘Found Notes’ collection is an engaging and often humorous unbiased social commentary on the lives of people living in the 21st century. From her vast collection, Daisy has selected just over 150 of the notes to be showcased at Stour Space in her most ambitious display of the project so far.
“This exhibition showcases a selection of my Found Notes collection. This is the result of over five years of note collecting; of scanning the floor everywhere I go which has resulted in accumulating over 1000 notes. I love to make assumptions about the authors of these notes, imagining all of the things forgotten when the list was lost and all of the letters where we’ll never know if they were lost or discarded by the writer or the recipient. Visitors should expect to find the notes engaging, humorous and often emotional.” – Daisy Bentley
Returning to his roots for his upcoming solo show ‘Romance of Canada’, artist and illustrator Ryan Heshka presents a series of illustrations playfully exploring Canadian culture and stereotypes with a fifties style sci-fi twist.
Hales Gallery is pleased to announcean exhibition of pen, ink, and graphite works on paper by Martin Wilner. This is his second one-person exhibition with the gallery. Wilner is also an Assistant Clinical Professor of Psychiatry at Weill Cornell Medical College. A unifying theme in both of his professional realms is the use of observation–in art, for the creation of his work, and in clinical practice, as a means to facilitate dynamic change and conflict resolution in individuals seeking consultation.
Making History is a time-based project initiated in January of 2002 that utilizes the convention of the Roman calendar to telegraph the notion of the passage of time over the course of each month. Wilner selects a daily subject of interest to him from a variety of media sources and visualizes them each day as a drawing that would coalesce into a completed work by the end of each month. Elements of cartoon, cartography, text, micrography, and music have evolved into essential aspects of his creative vocabulary. On the verso of each drawing are descriptive texts or images that are integral to the work.
Upon completion of a decade of this project in 2012, Wilner elected to push the creative envelope of this parameter-based body of work by inviting individuals familiar with his work to correspond with him daily for a month-long period and send him messages describing what they found of compelling interest to them on each day of their assigned month. He would then visualize each correspondence daily to produce the composite work by month's end.
Aside from the exciting new challenges posed to his drawing practice, it introduced a relational situation of a defined intensive nature that has become the basis of this work. As such, the work has shifted from a subjective visual history into an unusual form of biographical portraiture over a discrete time period, a portrait of a state of mind in time. The process of producing each work, in addition to the conventions and rigors of drawing, thus entails an examination of the correspondence not simply by its manifest content, but also a consideration of latent meanings and relationships between the thoughts over the course of a period of time. Fundamental psychoanalytic principles must be applied to the task of processing the correspondence, including resistances, transference and countertransference. The drawing itself becomes an attempt to address and resolve these matters in a sublimated visual form for the purpose of art rather than therapeutic intervention. The monthly works are, in effect, case studies of a most unusual nature.
Dr. Robert Michels, one of the most prominent contemporary psychoanalysts and the subject of July 2014, described it well in his first correspondence to Wilner: “… My first observation is my awareness of the effect of knowing that I will be reporting to you–I am aware of seeking perceptions and experiences, and as a result the world seems different.”
In an effort to address Freud’s unanswered, politically incorrect famous question, “What does a woman want?”, Wilner selected an array of women as subjects for his 2013 Case Studies. He thought it only appropriate to follow that up with a year of men to address the corollary question, “What does a man want? The subjects ranged from a 9-year-old Mensa scholar to art curators, artists of different disciplines, art collectors, an antiquarian manuscript dealer, to a 92-year old venerated art gallerist.
For 2014, Wilner introduced the use of color into what were, until now, black and white works, feeling that the work was ready for the introduction of this new parameter. The works range from subtle trichomal approaches to unusual blendings of watercolor-based inks. This latest development brings an additional dimension of richness to these already highly complex works.
Also presented are recent works from Wilner’s other ongoing project, Journal of Evidence Weekly, an observational in vivo documentation of every trip he has made on the subways of New York since 1998. Itis the improvisational jazz that informs the more classically composed Making History.
Rare copies of publications by revolutionary writers and artists William Blake, Lewis Carroll and the Marquis de Sade will go on show at Modern Two this spring, as part of a new display exploring the roots of the ground-breaking Surrealist movement. Surreal Roots: From William Blake to André Breton will combine 18th and 19th century publications, rarely shown to the public, with 20th century publications by key Surrealist figures such as Salvador Dalí.
The Marquis de Sade (1740-1814), Blake (1757-1827) and Carroll (1832-1898) were controversial figures whose writings challenged the religious and sexual taboos of their time. Some of the Marquis de Sade’s most controversial texts, including 120 Days of Sodom (1785) and Justine (1791), will be on display as part of the selection of boundary-pushing works that inspired the Surrealists.
Surrealism started in the 1920s in Paris, led by the French writer André Breton. The movement included artists Salvador Dalí and Rene Magritte, and was partly characterised by the scepticism of the generation that experienced the First World War. Surrealists drew on Freud’s work with psychoanalysis, specifically his theory that our memories and most basic instincts are stored in a layer of the human mind he called the unconscious, and looked to explore these through writing and art.
The poet and printmaker William Blake is another key figure whose visionary imagination appealed to the Surrealists. Surreal Roots will feature a rare 1797 copy of fellow poet Edward Young’s The Complaint: or, Night-Thoughts on Life, Death, & Immortality, for which Blake produced striking engravings based on his delicate watercolours. Blake produced a series of 537 watercolours, of which only 43 were selected for publication; the Surrealist poet André Breton described Young’s Night-Thoughts as ‘surrealist from end to end’. Two additional works on paper by Blake, on loan from the Scottish National Gallery collection, will compliment this rare first edition.
Other rare works included in the display will be Lewis Carroll’s original publications from the 1870s, such as Alice’s Adventures in Wonderland and Through the Looking Glass, and What Alice Found There. Carroll helped popularise the genre of literary nonsense with his use of other-worldly situations, and riddles which defy logic and language conventions. His writing appealed to a number of writers and artists in the Surrealist group, and these books will be shown alongside writing and illustrations by André Breton, Salvador Dalí, Hans Bellmer and Max Ernst.
The works on show draw primarily from the library of Roland Penrose (1900–1984), artist and patron closely involved in the Surrealist movement. Penrose forged friendships with writers and artists including Max Ernst, Paul Eluard and Joan Miró. Coming from a wealthy Quaker banking family, he inherited a number of antiquarian books from his grandfather, Baron Peckover, including works by William Blake, Milton, Dante and Oscar Wilde. Penrose built upon this literary foundation, adding to the library works by those writers and artists who inspired the Surrealists, as well as publications by the Surrealists themselves.
Simon Groom, Director of the Scottish National Gallery of Modern Art, said: “Surreal Roots will showcase some of the highlights of our special books collection, with publications by subversive writers such as William Blake, the Marquis de Sade and Lewis Carroll, shown alongside the revolutionary texts and illustrations by the Surrealists which they inspired.”
Clara Govier, Head of Charities at People’s Postcode Lottery, commented: “We’re delighted that support from players of People’s Postcode Lottery has been used to enable the National Galleries of Scotland to bring so many exhibitions and activities to life, and we’re particularly looking forward to Surreal Roots – a very rare treat. The special books collection at the Scottish National Gallery of Modern Art is a world-class resource, and we are thrilled that players’ support is helping the Galleries showcase some of these truly enchanting works.”