ArtSlant - Recently added http://www.artslant.com/ew/Events/show en-us 40 Tomek Niewiadomski - Dvorak Sec Contemporary - September 25th - October 10th <p>Tomek Niewiadomski was born in 1974. Currently he lives and works in Warsaw, Poland. His most recent project BLUE is an overview through his whole photographic journey. The founding theme of Blue is human contact with water. Corporal as well as spiritual, actually rid of the practical value. Most of the photographs show the spot where water touches land, where elements meet, the beginning and end, the line of the waves on the beach, the shoreline, the rocks. People are of small size in comparison to the waves, they look deeply into the water, they float on its surface, dive into the blue depths. Images of solitude happen there, and power of the elements, walls of water and oceanic depths. There also happen images where water is contained, tamed it serves people in oceanariums or aquariums. Blue does not stop at that at the level of documenting. Here we will find a series of issues connected to art, photography, human attitude toward nature. While in contact with these photographs the viewer becomes both relaxed and filled with longing for the vast spaces, longing for freedom as if he felt the iodine in the air as well. Tomek Niewiadomski most often uses platinum/palladium print-making technique in his work.</p> Thu, 18 Sep 2014 05:08:06 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Marc Quinn - Centro de Arte Contemporáneo de Málaga - September 12th - November 30th <p>The first major solo museum presentation in Spain of British artist Marc Quinn at CAC M&aacute;laga will include a selection of new and recent works that continue Quinn&rsquo;s investigation into some of the key concerns of our age.&nbsp;Violence and Serenity&nbsp;curated by Fernando Franc&eacute;s,&nbsp;focusing on such wide-ranging themes as notions of identity, mapping and our biological and cultural evolution, Quinn&rsquo;s work incorporates a range of media including sculpture, painting, tapestry, photography and drawing. Marc Quinn lives and works in London. In collaboration with the British Council.</p> <p>Quinn first came to international prominence in the 1990s when he produced some of the period&rsquo;s most iconic works such as&nbsp;Self&nbsp;(1991), a sculptural self-portrait made using his own blood, and&nbsp;Incarnate&nbsp;(1996), which is included in this exhibition. Since then, an uncompromising use of materials and a conceptual rigour combine in works that address, head-on, our biological mortality, the diminishing state of the natural world and the overriding power of human desire.</p> <p>For Fernando Franc&eacute;s, Director of the CAC M&aacute;laga: &ldquo;The natural course of life and scientific advances intended to avoid destruction and death come face-to-face in Marc Quinn&rsquo;s work and his oeuvre precisely reflects what reality prefers not to reveal. Military conflicts taking place around the world are notably present in his latest series (&hellip;) Beauty in death and violence, representations of bodies and living beings impossible to find in nature, displaying themselves to the human eye as they have never done before, portraits made from DNA: in sum, Marc Quinn&rsquo;s work invites us to constantly challenge the principles and pillars of human knowledge. The viewer enters a laboratory in which science succumbs before art and death before eternal beauty&rdquo;.</p> <p>This exhibition will centre around a new body of work entitled&nbsp;The Toxic Sublime, distorted landscapes that blur the boundaries between painting and sculpture. In these works, Quinn begins with a contradictory process: a sublime image of a beautiful sunrise, applied to a sheet of aluminium, is submitted to a process of &lsquo;toxic&rsquo; disintegration, alteration and decay through a layer of spray paint and repetitive sanding. As part of this lengthy process, Quinn adds in elements to his composition from the &lsquo;real&rsquo; world of the street, such as chains or pothole covers, which are placed under the work during the sanding so that their ghostly outlines appear in the image. Moreover, holes, lines and striations in the surface of the work are amplified by a process of bending and folding the aluminium. The resulting paintings &ndash; although retaining the elements of a landscape or seascape, with their horizontal, tonal gradations &ndash; have the physical presence of sculpture, appearing more like discarded remnants from a physical disaster or simply gnarled detritus gathered from our immediate environment.</p> <p>In&nbsp;The Creation of History&nbsp;and&nbsp;History Painting&nbsp;series, which comprises oil paintings on canvas and jacquard tapestries, Quinn again returns to an ancient form of art, the history painting, but brings it right into the present day by focusing on how our subjective response to and collective memory of contemporary events can create our historical past. In these works, Quinn selects familiar media images of recent conflict &ndash; such as images of masked rioters in Istanbul, protestors in Rio de Janeiro, and anti-austerity demonstrators in Greece &ndash; and repaints them in large-scale canvases. Individuals are focused on and singled out with fluid and exuberant splashes of colour which both obscures and heightens the tension within each image. Although the works comment, in some way, on the all-pervasive and intrusive nature of our media, they nonetheless remain intimate portraits of individuals who are actively caught up in history. Quinn&rsquo;s tapestries continue this idea, being an almost literal manifestation of the notion of history as an interweaving of different threads or stories, as well as a modern-day, analogue version of the pixelated, media image.</p> <p>Notions of identity and control, aggression and submission are present in&nbsp;Labyrinth&nbsp;Painting (MQ300 CR)&nbsp;(2012) and in the iris paintings and sculptures, in which detailed images of a human iris are transformed into a kind of microscopic map of an individual&rsquo;s identity. The&nbsp;Labyrinth&nbsp;paintings also incorporate a form of identification, our fingerprint, referencing the relentless attempts to control individual movement and freedom in an uncontrollable world.</p> <p>Themes of mapping continue in&nbsp;Towards a New Geography (Orebody)&nbsp;(2014), which presents the world as contingent, its map simply a metaphor for something that is constantly fluid and evolving. These new geographical zones, which are painted in black oil paint but appear similar to the stains of real oil itself, tentatively suggest the effects of ongoing national and geographic change, whereby economic and political forces haphazardly shape, and reduce, the natural world.</p> <p>The work&nbsp;Self Portrait after Zurbar&aacute;n (The Shadow)&nbsp;(2014) forms part of a series of paintings in oil on canvas where the artist depicts himself in various street guises, either with his own eyes or with the eyes of others. These self-portraits call into question how certain choices of clothing and &lsquo;uniforms&rsquo; of street culture can elicit immediate responses in the mind of the viewer, framing the sitter as a recognisable &lsquo;type&rsquo;, regardless of who the actual person really is. Likewise, Quinn&rsquo;s recent series of concrete sculptures such as&nbsp;Id&nbsp;(2012),&nbsp;Zombie Boy (City)&nbsp;(2011) and&nbsp;The Beauty of Healing&nbsp;(2014) depict contemporary anti-establishment figures such as rioters in masks, &lsquo;hoodies&rsquo; or tattooed travellers. In&nbsp;Life Breathes the Breath (Inspiration)&nbsp;(2012), Quinn portrays himself as a Buddha-like glowing figure, sitting cross-legged on the floor, dressed in the uniform of urban youth &ndash; jeans, hoodie and a cap &ndash; contemplating an upturned skull as if looking straight into the abyss of his own mortality.</p> <p>These notions of mortality, flesh and death as well as the concerns of still life as&nbsp;memento mori&nbsp;are&nbsp; continued in both the&nbsp;Flesh painting&nbsp;series and the new &lsquo;carving&rsquo; sculptures formed from different types of precious stone. The&nbsp;Flesh Paintings&nbsp;point to one of Quinn&rsquo;s most consistent themes: our reliance on and relationship to nature and to our own mortality. In these works, animal flesh is painted in close-up, creating purely abstract works that emphasise the beauty of nature&rsquo;s own patterning but, at the same time, bringing the viewer face to face with their own fears and repulsion from death. The painting depicts dead meat in a literal manner, but in such close-up that the unctuous folds and detailed marbling make for beautiful and opulent images. Similarly, in&nbsp;The Invention of Carving&nbsp;(2013), a sculpture of an oversized Spanish Serrano ham in pink onyx inspired by the meat sculptures of the Ch&rsquo;ing dynasty (1644-1911), Quinn marries the idea of our appetite for food with our appetite for art, questioning both their evolution and mutual correlation.</p> <p>In&nbsp;Stealth Desire (Etymology)&nbsp;(2013)&nbsp;and&nbsp;The Architecture of Life&nbsp;(2013),&nbsp;Quinn also uses the forms of natural &lsquo;ready-mades&rsquo; which he modifies through the process of recent three-dimensional technology.&nbsp;&nbsp;The Architecture of Life&nbsp;adopts one of the most perfect pre-existing sculptural forms: a shell, which is enlarged and cast in bronze. The inside of the sculpture is highly polished, its reflective depths contrasting with the textured rings on the outside which represent its natural age, creating a synchronisation of past and present in one unique form.</p> <p>Marc Quinn is one of the leading artists of his generation. His sculptures, paintings and drawings explore the relationship between art and science, the human body and the perception of beauty, among other things. In 1991 Quinn came to prominence with his sculpture&nbsp;Self&nbsp;(1991); a cast of the artist&rsquo;s head made from his own frozen blood. Other acclaimed works include&nbsp;Alison Lapper Pregnant&nbsp;(2005), exhibited on the fourth plinth at Trafalgar Square, London, and&nbsp;Siren&nbsp;(2008) a solid gold sculpture of Kate Moss displayed at The British Museum, London. He has shown internationally in museums and galleries including Tate Gallery, London (1995), Mus&eacute;e Oc&eacute;anographique, Monaco (2012) and Arter, Space for Art, Istanbul (2014).</p> Thu, 18 Sep 2014 04:59:00 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - NASHER SCULPTURE CENTER - September 16th 6:00 PM - 8:00 PM <p>Artist Janeil Engelstad begins with her inspirations drawn from nature and traces her experiences as an artist and fire-starter working toward social change. In her activism and founding of the organization Make Art With Purpose, she has used art installations and projects to engage younger artists and build community. To see her talk on You Tube:&nbsp;http://www.youtube.com/watch?v=kph6P-hzu6Y</p> Tue, 16 Sep 2014 17:38:20 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list John James Audubon, Mark Catesby, Alexander Wilson, Martin Johnson Heade, Karl Bodmer - Crystal Bridges Museum of American Art - September 27th - January 5th, 2015 <p>This focus exhibition explores Audubon and fellow naturalist-artists&rsquo; interest in documenting America&rsquo;s wildlife and plants. In addition to works by John James Audubon, the exhibition includes works by Mark Catesby, Alexander Wilson, Martin Johnson Heade, and Karl Bodmer. These artists had in common a willingness to take risks and face challenges during their expeditions to remote unexplored areas, and a commitment to create detailed studies of America&rsquo;s flora and fauna based on first-hand observation.</p> <p>The main focus of the exhibition is a major new art acquisition: John James Audubon&rsquo;s oil painting&nbsp;<em>Wild Turkey Cock, Hen and Young</em>&nbsp;(1826). Audubon created oil paintings of his watercolor studies of birds to raise funds and to recruit subscribers for his famous publication&nbsp;<em>The Birds of America</em>&nbsp;(1827&ndash;1838).&nbsp;<em>Wild Turkey cock, Hen and Young</em>, painted during his promotional tour in Edinburgh, Scotland in 1826, was one of his earliest oil paintings related to this major work. The American wild turkey was Audubon&rsquo;s favorite subject and is the largest species in his publication.&nbsp;<em>Wild Turkey&nbsp;</em>(ca. 1845), on loan from the Gilcrease Museum, is an almost identical copy of the first plate of his book. The exhibition also features the New York Historical Society&rsquo;s portrait of Audubon by his son John Woodhouse Audubon, as well as Crystal Bridges&rsquo; double elephant folio copy of Audubon&rsquo;s&nbsp;<em>Birds of America</em>, re-issued by his son in 1861.</p> Sun, 14 Sep 2014 21:54:20 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Crystal Bridges Museum of American Art - September 13th - January 19th, 2015 <h2>The Journey</h2> <p>The ultimate road trip, to a thousand destinations, for one unforgettable exhibition. In 2013, Crystal Bridges Museum of American Art&rsquo;s curatorial team hit the road to investigate what&rsquo;s happening in American art today. Over the course of a year, the team logged more than 100,000 miles, crisscrossing the United States to visit nearly 1,000 artists.</p> <p>Traveling to communities large and small, the Museum sought to discover artists whose work has not yet been fully recognized on a national level. On their travels, museum curators conducted hundreds of hours of one-on-one conversations with artists in their studios.</p> <h2>The Exhibition</h2> <p>The result of this unprecedented journey is a one-of-a-kind exhibition that draws from every region of the US, offering an unusually diverse look at American art.&nbsp;<em>State of the Art</em>&nbsp;brings together the artwork of more than 100 artists, ranging from works on canvas and paper to photography and video to installation and performance art, and more. The exhibition examines the ways in which today&rsquo;s artists are informed by the past, innovating with materials old and new, and engaging deeply with issues relevant to our times.</p> Sun, 14 Sep 2014 21:47:17 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Willie Doherty - De Pont Museum of Contemporary Art - September 20th - January 18th, 2015 <p>The exhibition will provide a critical overview of Willie Doherty&rsquo;s photographs and videos made on the streets of his native city of Derry in Northern Ireland and its surrounding hinterland, presenting new insight into the artist&rsquo;s working methods and rationale.</p> <p>Since 1985 Doherty has recorded the way in which the city has been shaped and altered in response to unfolding political events as he explored its streets through the simple acts of walking and looking. The title of the exhibition,&nbsp;<strong>UNSEEN</strong>, refers to Doherty&rsquo;s self-conscious method of using the camera in a context where it was imperative for him to avoid undue attention and to minimize the risk of being mistaken for a photojournalist or a tourist. The exhibition will reveal how Doherty has used the techniques of photojournalism, documentary landscape photography and the appropriation of images and texts to create a body of photographic work that explores the fine line between fiction and non-fiction.</p> <p><strong>UNSEEN</strong>&nbsp;will present approximately twenty photographic and four video works from throughout Doherty&rsquo;s career and will examine how the artist evolved the use of image and text in his early black and white works (1985-92) to engage with the complexities of representing a contested landscape.</p> <p>A number of works from&nbsp;<em>Lapse</em>, a series of black and white photographs made in the 1980s and early 1990s will be shown for the first time; Doherty here investigating how these neglected or 'lost' images shift between the present (and our knowledge and understanding of) the past.</p> <p>Doherty&rsquo;s large colour cibachromes (1993-99), exploit the heightened colour of this particular photographic process to create a body of work that plays with the promise of narrative potential, as the images oscillate unsteadily between the staged and the found, the before and after.</p> <p><strong>UNSEEN</strong>&nbsp;will showcase a number of Doherty&rsquo;s most important video installations that place some of Derry&rsquo;s best-known and more hidden sites as locations for his narratives. One of the works&nbsp;<em>Remains</em>&nbsp;(2013), was recently acquired by De Pont, after having debuted at Art Unlimited at Basel 2013.&nbsp;<em>Remains</em><strong><em>&nbsp;</em></strong>was made in a number of locations in Derry that have been used since the early 1970&rsquo;s to carry out kneecappings, a form of punishment shooting used to control drug use and other forms of so called &lsquo;anti-social behaviour&rsquo;.</p> <p><strong>UNSEEN</strong>&nbsp;will provide a unique opportunity to appraise the photographic and video work of Willie Doherty in the context where it was produced. The work will be subjected to a different scrutiny, one that has been shaped by an understanding of how things have turned out but is subject to the fallibility of human memory and like photography itself, cannot be relied upon to provide a full account of what happened.</p> <p><strong>Publication</strong><br />The exhibition will be accompanied by a 250 pp publication,&nbsp;with full colour and duotone photographs that will for the first time illustrate all of the photographic works that Willie Doherty has made in Derry between 1985 and 2013.</p> <p>The exhibition&nbsp;<em>Willie Doherty: UNSEEN&nbsp;</em>is curated by Matt&rsquo;s Gallery, London and The Nerve Centre, Derry. For the show in Tilburg new works have been added.</p> Sun, 14 Sep 2014 00:11:01 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Robert Zandvliet - De Pont Museum of Contemporary Art - August 30th - January 4th, 2015 Sun, 14 Sep 2014 00:08:06 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Ria van Eyk - De Pont Museum of Contemporary Art - August 30th - October 26th <p><strong>2014 Visual Art Prize of Prins Bernhard Cultuurfonds Noord-Brabant awarded to Ria van Eyk</strong></p> <p>Ria van Eyk (1938) is considered an exceptional pioneer in the abstract<strong>&nbsp;</strong>textile art that began to flourish during the late 1970s. She was therefore among those key figures who paved the way for an emancipation of textile art, particularly due to her monumental employment of textiles in architecture. The culmination is her&nbsp;<em>Sterrenhemeltapijt</em>(Starry Sky Carpet) (1997-1998) which was commissioned by the Building Department of the Dutch government for Amsterdam's Royal Palace. Since the mid 1980s Van Eyk has also been producing paintings and works on paper in which she expresses, with color and gold leaf, her fascination with and fondness of the Italian Renaissance.</p> <p>At the opening of this exhibition in De Pont on 30 August, the prize will be granted to Ria van Eyk by the Royal Commissioner in the Province of Noord-Brabant. The prize has been awarded for her consistent and balanced body of work, as well as its distinct and cogent points of departure: the 'grid', 'color, 'line' and 'light'. Her oeuvre is characterized by simplicity and clarity in terms of form and material, both in her textile work and&mdash;from the mid 1980s onward&mdash;in her paintings. Another unusual aspect is her search for the field of tension between pure form and personal lyricism.</p> <p>Throughout her long and consistent career, Ria van Eyk has continued to seek new approaches. Her efforts to take textile art beyond the context of craft, and to regard it as a full-fledged visual medium, have also played a role in her nomination for this prize. Her teaching posts at art schools within the Netherlands and abroad have moreover allowed her to play a significant role, both as a person and as an artist, for later generations.</p> <p><strong>Annual Art Prize</strong></p> <p>With the annual granting of the prize, the Prins Bernhard Cultuurfonds Noord-Brabant focuses on artists who have managed to continue expressing their independent outlook in the medium which they have mastered. Because of this, these artists truly influence our way of seeing and our understanding of life.</p> <p>The prize rotates among different disciplines (visual art, theater, music and dance) every four years. Within the visual arts the prizes are distinguished into an incentive prize, a recognition prize and an oeuvre prize.</p> Sun, 14 Sep 2014 00:05:47 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Inge Riebeek, Martin Riebeek - De Pont Museum of Contemporary Art - August 30th - October 26th <p>The seeds for the installation&nbsp;<em>The Essential&nbsp;</em>were sown in 2002, while Martin and Inge Riebeek were working on a piece commissioned by a juvenile penitentiary in Veenhuizen:&nbsp;<em>Heaven at 4 am.</em>&nbsp;This installation consists of an interactive treadmill. The runner is filmed and plays the lead role in an imaginary escape. Depending on the time at which he begins running and the pace chosen, he is shown various film images of the world outside the penitentiary. Should the runner opt for a quiet walk, for instance, he gets to see images of old people sitting on benches in city parks or of sandy white beaches. But if he makes a sprint, he ends up in a disco or watching a striptease act.</p> <p>The Riebeeks devised a route for the virtual escape that ultimately leads to the southernmost tip of Italy. Along the way to this destination, they shot film in twelve European cities. But as they filmed people without asking for their permission, they soon began to feel like voyeurs. When permission was given, the spontaneity vanished. So they decided to engage passersby in conversation by asking them 'What is your dream? What does your paradise look like?' That resulted in remarkable portraits with all sorts of wishes. People dreamed of eternal love, of being allowed to be who they are, of having lots of money, a fascinating career or lots of booze, drugs or sex. And there are differences: in Nairobi people dream of a home with a garden; in Turkey and America the accent lies with the well-being of one's family. A prestigious job is important in Shanghai, while passion and desire play a significant role in Rio de Janeiro.</p> <p>These encounters, which once began as the gathering of dreams for young people in a penitentiary, became an end in themselves for this artist couple. The format is always clear and shot in a single take: a person walks up to a fixed camera, looks into the lens and tells a story. No use is made of zooming in, or of other filmic devices and special effects. It's just the camera and the reality of the person and his or her story.&nbsp;</p> <p>In recent years the artists have been posing other questions? 'What, to you, is the essence of life right now? What or whom has shaped your character?' This has led to mini-documentaries in which a life is compressed into a few minutes. The tone, in comparison to the responses elicited from 'What is your paradise?', is different from the start. There people were sharing their desires, but here they tell about what has happened to them. It's moving to see just how open those being interviewed are in front of the camera. Especially when you consider the fact that they've met Martin or Inge simply by chance out on the street, and that this encounter never lasted more than a few hours, including perhaps four or five takes. People tell the Riebeeks stories that they normally tell only to very close friends, and sometimes not even to them. The selection, made by Inge and Martin on returning from their travels, provides us with a glimpse of the other and of what is essential to him or her. But there is more. Taking inspiration from the philosophy of Emmanuel Levinas, in which 'the Other' gives meaning to our existence, they provide us through their work with a glimpse of the essence of our own being. &nbsp;</p> Sun, 14 Sep 2014 00:02:04 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Mead Art Museum - September 13th - January 4th, 2015 <p>On the heels of a period of rapid modernization, the Sino-Japanese War (1894&ndash;1895) established Japan as the preeminent imperial power in East Asia. It also revitalized the centuries-old woodblock publishing industry in Japan, providing artists with exciting new subject matter, including explosions, naval battles, and advanced weaponry, and gave an eager public an action-packed view of the front lines. This special exhibition draws exclusively from Ruth S. Nelkin&rsquo;s donation of prints to the Mead Art Museum.</p> Sat, 13 Sep 2014 05:40:31 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Mead Art Museum - May 13th - October 12th <p>Animals played many roles in ancient societies of the Americas. Their frequent depiction in figurines, on pottery, and in woven textiles emphasizes their importance to the indigenous inhabitants of Central and South America. This installation features 18 works of art from the Maya, Moche, Chim&uacute;, and Aztec cultures, many exhibited for the first time. The variety of animals represented, including alpacas, jaguars, deer, and fish, reflects the diverse natural environments of the Americas, which range from soaring mountains to arid coastal plains.&nbsp;</p> Sat, 13 Sep 2014 05:37:47 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Mead Art Museum - August 26th - September 28th <p>In conjunction with the&nbsp;Amherst Schubert Project, the Mead presents a &ldquo;Schubert Sound Installation&rdquo; in the wood paneled Rotherwas Room. Five speakers, positioned on stands in a large oval configuration, each play one of the five parts of Schubert's Cello Quintet (1828), previously recorded by the Brentano Quartet and Michael Kannen, director of chamber music at the Peabody Institute of The Johns Hopkins University. Moving from one speaker to the next, the building blocks of Schubert&rsquo;s composition can be heard individually, in various combinations, or all together.</p> Sat, 13 Sep 2014 05:34:40 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Conor Kelly - CCA - Centre for Contemporary Arts (Glasgow) - September 19th - October 4th <p><em>Do You Feel Like We Do?</em>&nbsp;presents a new body of work by Glasgow-based artist Conor Kelly. For Intermedia, Kelly has produced work that embraces the enchanted origins of painting and points to the social potential of the art object in a de-materialised 21st century.</p> Sat, 13 Sep 2014 05:17:39 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Gregor Wright - CCA - Centre for Contemporary Arts (Glasgow) - September 19th - November 2nd <p>Gregor Wright is an artist based in Glasgow. His work is informed by a variety of interests including science fiction narratives, early computer games, gambling culture, philosophy of mind and &ldquo;a passing interest in the occult&rdquo;. These interests, linked by the premises of chance, logic and fantasy, also guide the artist&rsquo;s approach to making work, acting as indirect conditions for the production of paintings, sculpture, relief and installation. The result is a focused experimentation with materials and an expansive practice which explores meaning in relationship to colour, objects and external influences.</p> <p>Wright&rsquo;s work is often entirely abstract, combining line, colour and space with occasional representational references. As the title suggests, he is concerned with unsystematic processes typified by the notion of &lsquo;luck&rsquo;, exploring how ideas of chance and control might function within his compositions. At the same time, Wright is open to historical and formal triggers and many of his works are decisively planned and wrought.</p> <p>In recent months, Wright has been working in a vast temporary studio space within an empty Victorian office complex on Buchanan Street in Glasgow, allowing his working process to spread out along a long corridor of rooms. For this show, Wright will present a new group of works borne out of this work space; life-sized foam figures, clay sculptures, dinosaurs, wall drawings, sculptural paintings and rubble; a prolific output of works exploring extinction, destruction, perception and intention.</p> <p>&ldquo;It turns out that an eerie type of chaos can lurk just behind a fa&ccedil;ade of order &ndash; and yet, deep inside the chaos lurks an even eerier type of order.&rdquo; - Douglas Hofstadter,&nbsp;<em>Metamagical Themas: Questing For The Essence of Mind And Pattern</em>.</p> Sat, 13 Sep 2014 05:15:20 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Nasirun - Mizuma Art Gallery - ICHIGAYA TAMACHI - September 10th - October 11th <p>Mizuma Art Gallery is delighted to announce the exhibition &ldquo;The Breath of Nasirun: The Metamorphosis of Tradition&rdquo; opening on Wednesday 10th September 2014.<br /><br />Nasirun was born in 1965 in Cilacap on the island of Java, Indonesia.<br /><br />He has been recognized as one of the most significant artists at work in Indonesia today. In 2013 alone, he held exhibitions internationally and was commissioned to produce a large-scale installation for inclusion in the Singapore Biennale. His works have been favourably received by Indonesian people. This is his first solo show in Japan.<br />Indonesia, like Japan, is an island nation engulfed in rich natural scenery. Also like Japan it has a long-held tradition of belief in spirits, and many Indonesians follow a creed of local animistic gods known as Kejawen. As an artist raised in this environment, Nasirun is not attracted by one particular religion in his work, but by the sincerity with which mankind has faith in these kinds of spirits.<br />Nasirun&rsquo;s works depict his own mental world as a Javanese person, and his thoughts and emotions regarding the many encounters within daily life there. The metaphors with which he expresses these ideas are the unique visual language with which his pieces take form.<br />We warmly welcome you to the first solo show in Japan of one of Indonesia&rsquo;s most well-known, well-loved artists.&nbsp;</p> Sat, 13 Sep 2014 04:18:51 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Deb Mansfield - Stills Gallery - September 24th - October 25th <p>In Deb Mansfield&rsquo;s new series of photo-tapestries,<strong><em>And dive into the sea,</em></strong>&nbsp;the precarious nature of travel is explored through internet-found images of island crossings and early forays into space. Mansfield is renowned for immersing herself in littoral regions of her research&mdash;the geographic spaces that are borders, edges and in-betweens. Through her photography, tapestry and installation works, we have roved with her into the mangroves of Louisana and Queensland, the extreme snows and icy coasts of Newfoundland, and the Tasmanian mountains, at the precipice of a gorge. But beyond the physical, her works also tread the linguistic in-betweens of metaphor and mind&mdash;exploring the edges of our consciousness, the intrepid travels of our imaginations.</p> <p><strong><em>And dive into the sea</em>&nbsp;</strong>thrusts further into this territory of spatial unknowns and the exploration of fantasy frontiers. Now Mansfield&rsquo;s in-between space is the social imagination of shared images and the immersive digital landscape, along with the choppy seas and jutting islands, transformed within her tapestries.</p> <p>Circular frames enclose two of these works, creating the sense of glimpsing through the spherical windows of boats and planes. In&nbsp;<em>Ibid&nbsp;</em>(2013), for instance, we observe the world&rsquo;s largest volcanic stack Balls Pyramid Island. The texture of the tapestry recreates the scratched surface of a porthole, smudging and etching our view to outside. Yet unlike the nondescript grey tones of passenger craft interiors, Mansfield&rsquo;s monochrome imagery is punctuated with flashes of pink, green, and gold, rejuvenating the seemingly dated craft of tapestry with a touch of Pop Art kitsch. So too, the made-to-order-online process, and single-colour weaved threads, recall Pop artist Andy Warhol&rsquo;s colour-blocked screen-printing, and the mass-production practices he celebrated in his studio &lsquo;The Factory&rsquo;.</p> <p>But while Warhol used excess and repetition to reflect our desensitisation to mass-mediated images, Mansfield&rsquo;s tapestries offer respite from the visual excesses of network culture. Her appropriations arehighly selective, her digital interventions highly refined. Now, &ldquo;there are artists who are navigating the Web&rsquo;s choppy info-ocean&rdquo;, observes writer Simon Reynolds (2011), epitomized by Mansfield&rsquo;s sifting and searching through images of floating debris from the 1986 Space Shuttle<em>Challenger</em>&nbsp;disaster.</p> <p>In devastating recent history, airplane tragedies have shifted us from complacency toward global travel to a newfound fear of flight. These photo-tapestries don&rsquo;t aim to desensitise us to this reality. Rather they are beautiful, quirky and complex objects that speak to human abstractions&mdash;the allure of the unknown, the boundlessness of imagination and a timeless fear of failing.</p> Sat, 13 Sep 2014 04:05:44 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list