ArtSlant - Openings & events en-us 40 Emyr Williams - APT Gallery - April 24th 6:45 PM - 7:15 PM <p>To coincide with SLAM Last Fridays</p> Wed, 22 Apr 2015 11:28:07 +0000 Maggie Learmonth - APT Gallery - April 24th 5:30 PM - 6:15 PM <p style="text-align: justify;">These conversations, organised by Tim Cousins, are part of a series of dialogues between the artist, the questioner and the audience directly though an artwork in the studio. The sixth and final &lsquo;conversation&rsquo; of the second season will relate to a painting produced early this year by Maggie Learmonth. Maggie&rsquo;s work explores various meanings that surface from the landscape and its built environment.</p> <p style="text-align: justify;">Please arrive in the Gallery before 5.30pm</p> Wed, 22 Apr 2015 11:30:50 +0000 Emma Talbot - DOMOBAAL - April 24th 6:00 PM - 8:00 PM Tue, 24 Feb 2015 05:21:23 +0000 Abigail Reynolds - Rokeby - April 24th 6:30 PM - 8:30 PM <div> <div style="text-align: justify;">ROKEBY presents Abigail Reynolds first solo exhibition at the gallery, &nbsp;8<strong>&nbsp;/</strong>&nbsp;&infin;.&nbsp;<br />&nbsp;</div> <div style="text-align: justify;">Using the countryside and cityscape as a site for discovery and interpretation, Abigail Reynolds&rsquo; practice can be placed within the context of the British landscape tradition.&nbsp;With roots in the history of collage the artist releases images from their original context to unearth new meanings and relationships; offering alternative possibilities or interpretations.<br />&nbsp;</div> </div> <div style="text-align: justify;">The exhibition launches on Friday 24.04.2015, 18.30 - 20.30, please join us for drinks. &nbsp;As part of&nbsp;&nbsp;London Gallery Weekend the gallery will be open Saturday 25 April.</div> <div style="text-align: justify;">&nbsp;</div> <p style="text-align: justify;">As an artist who uses the countryside and cityscape as a site for discovery and interpretation, one can locate Abigail Reynolds&rsquo; practice within the context of the British landscape tradition. Reynolds understands and explores the concept of place; considering our surroundings as historic, social, political, cultural and personal sites. <br /> <br /> Historically Reynolds has mined books and photographs that she collects for images, which are then removed and deployed in different forms and configurations. In so doing the secondhand images not only serve as her initial place of research but ultimately become the material of her work.<br /> <br /> With its roots in the history of collage the artist releases images from their original contexts, bringing new associations to them, unearthing new meanings and relationships and uniting past with present to consider alternative possibilities or interpretations. Often working intuitively Reynolds will make decisions based purely on formal or material considerations bringing disparate forms and content into co-existence. Images may be united due to a shared line of perspective or because formal shapes align; aesthetic coincidences that destabilize the power structures inherent in a photograph expose multiple new narratives.<br /> <br /> In a similar vein sculpture and assemblage has been an important aspect of Reynolds practice for some time. The artist animates her selected elements into spatial configurations that ultimately have a direct, physical relationship with the viewer. In a recent move Reynolds has reprinted the images she finds on a larger scale, shifting the relationship not only with the viewer but also to the architecture of the spaces in which they are presented. For her exhibition at the gallery the artist will further investigate these spatial concerns and continue her recent explorations that extend the work into the physical space.</p> <p style="text-align: justify;">In the artist&rsquo;s recent solo exhibition - Box A: Accidents &ndash; at Kestle Barton, Reynolds worked directly with the gallery space, splitting and doubling it in a similar manner to the way she disrupts and doubles the photographs that she has chosen. The exhibition also included a performance in collaboration with St Keverne Brass Band who marched in the wildflower meadow of the gallery. <br /> <br /> Abigail Reynolds gradated from Goldsmiths in 2002. In 2013 she completed a two-year residency with Rambert Dance, which culminated in Double Fold a performance at Rambert&rsquo;s new home on the South Bank. Other recent solo exhibitions include Ein Zeit-Punkt, Raum Mit Licht, Vienna, First Light, Plymouth College of Art, UK, Extraction/Exchange, Exchange Gallery Penzance and A Common Treasury, Ambach and Rice, Los Angeles. The artist&rsquo;s work has been included in group exhibitions at The Sir John Soane's Museum, London, Baltic 39, Newcastle, The Newly Art Gallery, Cornwall, Djanogly Gallery, Nottingham, Manchester City Art Gallery, Manchester and K3, Zurich, amongst others. <br /> <br /> The artist&rsquo;s exhibition at the gallery follows a residency in Los Angeles. <br /> <br /> The exhibition opens on Friday 24.04.2015 and there will be an event at the gallery on Saturday 25.04.2015 to tie-in with London Gallery Weekend.&nbsp;</p> <div style="text-align: justify;">&nbsp;</div> Sat, 18 Apr 2015 18:28:26 +0000 - CHARLIE SMITH london - April 25th 4:00 PM - 6:00 PM <p align="center">You are cordially invited to view and discuss the current exhibition&nbsp;<em>Anti-Social Realism</em>&nbsp;with co-curator Juan Bolivar.</p> <p align="center">Saturday 25 April&nbsp;4.00-6.00pm</p> <p align="center"><a href="" target="_blank"><strong><em>Anti-Social Realism</em></strong></a></p> Sat, 25 Apr 2015 06:31:29 +0000 - Chisenhale Gallery - April 25th 3:00 PM - 4:00 PM <p style="text-align: justify;">Chisenhale Gallery presents a major new commission by the Istanbul, Amsterdam and Berlin based Kurdish artist Ahmet &Ouml;ğ&uuml;t. For&nbsp;<em>Happy Together: Collaborators Collaborating</em>&nbsp;&Ouml;ğ&uuml;t 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&nbsp;<em>Reverb</em>, a concert by the artist in collaboration with the band Fino Blendax, to welcome the collaborators to Chisenhale.&nbsp;<br /><br /><em>Happy Together: Collaborators Collaborating</em>&nbsp;is a new work, comprising a live event and a film installation, but it also functions as a form of retrospective, collectively formed through the memories and experiences of &Ouml;ğ&uuml;t&rsquo;s collaborators. Ten collaborators, including an auctioneer, a firefighter, a hairdresser, a stuntman, a lip reader and a sports caster, have been invited to Chisenhale Gallery to share their experiences of collaborating with &Ouml;ğ&uuml;t and to collectively generate a new idea for an artwork on behalf of the artist. The collaborators will take the stage whilst &Ouml;ğ&uuml;t will position himself amongst the audience. Revisiting past collaborations in this new work, he explores the agency of those who participate in a work&rsquo;s production and the nature of collaboration itself.&nbsp;<br /><br />Collectively &Ouml;ğ&uuml;t&rsquo;s collaborators represent a selection of his work spanning almost a decade. A Berlin based barber, Alexander Peikert, represents the earliest project:&nbsp;<em>Another Perfect Day</em>, first presented at Pist, Istanbul in 2006, with subsequent presentations at the 5th Berlin Biennale (2008) and Sofia Contemporary (2013). Peikert cut hair by the light of a motorcycle headlight in a performance that made reference to the creativity and improvisation employed in the everyday lives of people living and working in unstable political and economic environments. Some of &Ouml;ğ&uuml;t&rsquo;s most recent work is represented by Amsterdam based mixologist Tess Posthumus and London based musician Deniz Belendir of Fino Blendax.&nbsp;<br /><br />With this highly experimental exhibition format, &Ouml;ğ&uuml;t revisits some of the work for which he is best known. For&nbsp;<em>Fahrenheit 451: Reprinted</em>&nbsp;(2013), &Ouml;ğ&uuml;t reversed the role of the fire fighters in Ray Bradbury&rsquo;s eponymous novel from 1953: instead of burning banned books, they were printed and distributed from a re-purposed fire truck by members of the Fire Department from Espoo, near Helsinki, one of whom &ndash; Jaakko Liesivouro &ndash; will take part in the event at Chisenhale.&nbsp;<em>The Silent University</em>&nbsp;is a knowledge exchange platform initiated by &Ouml;ğ&uuml;t in 2012 and operated by asylum seekers and refugees who are legally prevented from carrying out their professions in the countries where they are currently based. It will be represented at Chisenale by Mulugeta Fikadu, an Eritrean-Cuban physiotherapist based in London.&nbsp;<br /><br />&Ouml;ğ&uuml;t often employs humour to address complex issues, weaving loose narratives that connect collective memories, local histories and cultural identities. His work is rooted in the reality of everyday life and he uses the symptoms of social and political ideologies, systems and histories to produce ambitious projects that enact subtle shifts in perspective. In&nbsp;<em>Happy Together: Collaborators Collaborating</em>, &Ouml;ğ&uuml;t foregrounds the status and value of labour within the production of art, provoking a critical consciousness that calls into question the ethical and relational implications of the role of the artist and their work within the world.&nbsp;<br /><br />Ahmet &Ouml;ğ&uuml;t (born 1981, Diyarbakir, Turkey) is a Kurdish artist living and working in Istanbul, Amsterdam and Berlin. Recent solo exhibitions include&nbsp;<em>We Won&rsquo;t Leave!</em>, Parking Gallery VANSA, Johannesburg;&nbsp;<em>Apparatuses of Subversion</em>, Horst-Janssen-Museum, Oldenburg;&nbsp;<em>Strategies for Radical Democracy</em>, The Blackwood Gallery at University of Toronto (all 2014); and<em>Fahrenheit 451: Reprinted</em>, Checkpoint Helsinki (2013). He has participated in numerous group exhibitions, including 8th Shenzhen Sculpture Biennale (2014); Performa 13, New York (2013); 7th Liverpool Biennial (2012); and the 12th Istanbul Biennial (2011). &Ouml;ğ&uuml;t was artist in residence at the Rijksakademie, Amsterdam, 2007&ndash;2008, and at Delfina Foundation, London, in collaboration with Tate, 2012. He has taught in Dutch Art Institute, Netherlands, 2012 and the Finnish Academy of Fine Arts, Finland, 2011 and 2013. His solo exhibition,<em>Forward</em>, opens at the Van Abbemuseum, Eindhoven, in March 2015.&nbsp;<br /><br />The public discussion at Chisenhale Gallery will be chaired by Andrea Phillips, Reader in Fine Art and Director of PhD programmes in the Art Department at Goldsmiths. The film of the event will be produced by the UK educational charity WORLDwrite, which encourages young people to use film and new media technologies. &nbsp;&nbsp;<br /><br />This is the first solo exhibition in a UK public institution by Ahmet &Ouml;ğ&uuml;t and is commissioned as part of<strong><em>&nbsp;<a href="" target="_blank">How to work together</a></em></strong>, 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 &ndash; 7 June) and Wendelien van Oldenborgh at The Showroom (29 April &ndash; 20 June). This second round of exhibitions builds on the success of last year&rsquo;s commissions by C&eacute;line Condorelli (Chisenhale Gallery), Gerry Bibby (The Showroom) and Ella Kruglyanskaya (Studio Voltaire). &nbsp;&nbsp;<br /><br /><em>Happy Together: Collaborators Collaborating</em>&nbsp;provides an opportunity for collaboration with Van Abbemuseum, Eindhoven, which presents the exhibition<em>Ahmet &Ouml;ğ&uuml;t: Forward</em>&nbsp;(7 March &ndash; 14 June 2015). Van Abbemuseum Curator Annie Fletcher will be in conversation with &Ouml;ğ&uuml;t as part of the programme of public events accompanying the exhibition at Chisenhale Gallery.&nbsp;<em>Reverb</em>&nbsp;is commissioned and produced by Van AbbeMuseum, Eindhoven.<br /><br />Ahmet&nbsp;&Ouml;ğ&uuml;t,&nbsp;<em>Happy Together: Collaborators Collaborating</em>&nbsp;is commissioned by Chisenhale Gallery. The commission is supported by Mondriaan Fund, SAHA Association, Maya and Ramzy Rasamny and Yana and Stephen Peel. &nbsp;&nbsp;<br /><br />Chisenhale Gallery's Exhibition Programme 2015-16 is supported by Nicoletta Fiorucci. &nbsp;&nbsp;<br /><br /><em>How to work together</em>&nbsp;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 &amp; Haro Cumbusyan. For more information visit&nbsp;<strong><a href="" target="_blank"></a></strong>.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong><strong>Opening performance: Thursday 23 April, 7pm&nbsp;</strong><br /><strong>Public discussion: Saturday 25 April, 3pm</strong></strong></p> Thu, 02 Apr 2015 16:04:32 +0000 - Institute of Contemporary Arts (ICA) - April 25th 2:00 PM - 3:00 PM <div class="panel-pane pane-entity-field pane-node-body"> <p style="text-align: justify;">Thirty years after the ICA&rsquo;s 1984/85 Jean-Michel Basquiat exhibition, the artist&rsquo;s only UK solo presentation, art historian and senior Jungian analyst Irene Cioffi Whitfield presents a lecture on the psychological life and work of this artist. This is given in partnership with the <a href="" target="_blank">Guild of Analytical Psychologists</a>.</p> <p style="text-align: justify;"><em>Jean-Michel Basquiat: A Matter of Life and of Death</em> examines an explosive genius who created a full oeuvre of over 1,000 paintings and 1,000 drawings in his short lifetime. For Basquiat, painting was no slow reflective process &mdash; he lived, loved, thought, and painted at the speed of sound.</p> <p style="text-align: justify;">Considered from a psychological perspective, Basquiat&rsquo;s images appear to burst straight out from the unconscious without much interruption by the conscious ego complex. Perhaps the heroin he ingested into his system, which eventually extinguished his young life, may have been a necessary compensation, slowing down this psychic whirlwind.</p> <p style="text-align: justify;"><strong>Irene Cioffi Whitfield</strong> is a native New Yorker who received her Ph.D in Art History from the Institute of Fine Arts, New York University. Irene subsequently trained as a Jungian analytical psychologist with IGAP, London, where she is a Senior Analyst, and she is also a full member of the JPA in New York City. &nbsp;Her special interest is in the interface between art and psychology and in the dynamic nature of the creative process.</p> <p style="text-align: justify;"><a href=""><strong>The Guild of Analytical Psychologists (G.A.P.</strong></a>) is a psychotherapy training organisation offering courses in Analytical Psychology. At the heart of its training is the connection between Analytical Psychology and spirituality. G.A.P. also provides access to psychotherapy, in-depth analysis and short-term therapy through its membership.</p> <div style="text-align: justify;">&nbsp;</div> </div> <div class="panel-pane pane-entity-field pane-node-field-sponsors"> <div class="field-collection-container clearfix"> <div class="field-collection-view clearfix view-mode-full field-collection-view-final"> <h3 style="text-align: justify;">In partnership with</h3> <ul class="sponsors"> <li><a href="" target="_blank"> <img src="" alt="" width="150" height="124" /> </a></li> </ul> </div> </div> </div> <p>&nbsp;</p> Sun, 22 Mar 2015 16:55:44 +0000 - Victoria and Albert Museum - April 25th 10:00 AM - 5:45 PM <p style="text-align: justify;"><strong>A V&amp;A and Crafts Council Exhibition</strong></p> <p style="text-align: justify;">What is Luxury? will interrogate ideas of luxury today. It will address how luxury is made and understood in a physical, conceptual and cultural capacity. Extraordinary works of craftsmanship will be on display including a couture gown by fashion designer Iris van Herpen and fine examples of haute horlogerie by British watchmaker George Daniels, alongside more unexpected projects which explore the cultural value of materials such as gold, diamonds and plastic. The future of luxury will be explored, asking questions about the role that time, space, privacy, well-being, social inclusivity and access to resources and skill may play in determining our choices and aspirations.</p> Sun, 11 Jan 2015 12:05:39 +0000 - Whitechapel Gallery - April 25th 3:00 PM - 5:00 PM <p style="text-align: justify;">Panel discussion with Jennifer Higgie, Jason Farago and Jo Melvin, convened by Antony Hudek and Alex Sainsbury</p> <p style="text-align: justify;">Peter Townsend inherited the century-old&nbsp;<em>Studio</em>&nbsp;magazine in 1965, and over the following ten years transformed it into one of the most progressive art journals in Europe, pioneering many of the editorial strategies we take for granted today &ndash; including artists&rsquo; commissions, &lsquo;curated&rsquo; issues and multi-part critical essays.</p> <p style="text-align: justify;">Jennifer Higgie, writer and co-editor of&nbsp;Frieze,&nbsp;Jason Farago, writer and founding editor of the new art magazine&nbsp;<em>Even</em>, and&nbsp;Jo Melvin,&nbsp;curator of&nbsp;<em>Five Issues of Studio International</em>&nbsp;at Raven Row, discuss what it takes to (re)create a magazine from scratch &ndash; then and now &ndash; as well as foster the&nbsp;networks of artists, writers and readers needed to sustain it. They are&nbsp;joined by&nbsp;Alex Sainsbury&nbsp;and&nbsp;Antony Hudek&nbsp;from Raven Row.</p> <p style="text-align: justify;">This event coincides with the current exhibition&nbsp;<a href="" target="_blank"><em>Five Issues of Studio International</em></a>&nbsp;at Raven Row, until 3 May.</p> Sat, 25 Apr 2015 06:28:31 +0000 Charlotte Moth - fig-2 - April 27th 6:00 PM - 8:00 PM <p><span style="color: #000000; font-family: 'times new roman', times, baskerville, georgia, serif;">Coinciding with Charlotte Moth&rsquo;s new commission at Tate Britain, fig-2 premiers a recent body of work in the UK. &lsquo;The Story of a Different Thought&rsquo;, 2014 is a trilogy on the construction of reality, building of environments and elucidation of cross-references. A condition of three possibilities that spring from three versions of a word, continues in three ways to tell a story about a bird with three eyes. Moth</span>&rsquo;<span style="color: #000000; font-family: 'times new roman', times, baskerville, georgia, serif;">s installation composed of a film, series of silk screen prints and two sculptures, denote a treatment for a film; a film about fluidity of concepts that influence a fa&ccedil;ade, a sculpture, a way of living, a city built around coal mines and early industrialisation, a building with ability to grow, a painter with a loss and a poet deciphering religious teachings. Amidst all lies a mapping that includes Max Ernst, Rathaus Marl, Donatello, Patricia Lake, Joshua Edwards among others.</span></p> Sat, 25 Apr 2015 14:08:32 +0000 Francesco Clemente - Blain|Southern - London Hanover Square - April 28th 6:00 PM - 8:00 PM <p align="center"><em>There are 108 beads in the japa mala Hindus and Buddhists &nbsp;use to meditate. This is a meditative series, and it powerfully conjures India, where at one time, artists were often pilgrims, even secular-minded ones&hellip;&rdquo;</em></p> <p align="center">Kiran Desai</p> <p style="text-align: justify;">Blain|Southern&nbsp;is delighted to present an exhibition of new watercolours by<a href="" target="_blank">&nbsp;Francesco Clemente</a>. Bringing together 108 works on paper, all of which are delicately and intimately scaled,&nbsp;<em>Emblems of Transformation</em>&nbsp;continues the artist&rsquo;s long-standing relationship with the medium of watercolour, and also with India.</p> <p style="text-align: justify;">Clemente first travelled to India in 1973,&nbsp;and has lived and worked there at&nbsp;different phases of his life.&nbsp; Drawing from the contemplative traditions and&nbsp;urban visual culture of India, his practice is characterised by a syncretic approach and the constant revitalisation of sources, mediums and formats. The featured paintings include miniature elements chosen and suggested by Clemente, and executed by a family of Indian miniaturist painters from a workshop from Rajasthan. This continues the artist&rsquo;s long-history of working with Indian craftspeople.</p> <p style="text-align: justify;">The 108 paintings in the suite reference the&nbsp;number of beads in the&nbsp;<em>japa&nbsp;mala</em>, commonly used by Hindus and Buddhists during prayer. Like the beads of the mala the paintings are linked and flow seamlessly from one to the next. Each is like a fragment of a whole and yet presents a space or context in its own right; they drift through the worlds of waking and sleeping, becoming fluid and interchangeable as symbols and images of love, war, landscape and personal mythology recur and interact.</p> <p style="text-align: justify;">Alongside the often sumptuous colours of these watercolours &ndash; where at times rainbows fill the picture plane, offset by gold and silver fragments &ndash; a small group of works are notably muted, a monotone mood of rich sepia or ochre tones recalling faded photographs. Here, again, one form flows into another and ambiguity surrounds the subjects. Fish and&nbsp;humans might be kissing or devouring one another; a woman either penetrates the jaws of a monster or possibly explores the cavity within its body.</p> <p style="text-align: justify;">Francesco Clemente aims to reconcile all apparent oppositions - life and death, earth and water, light and dark, internal and external - and in doing so he looks at timeless questions of the self. He is interested in the objectivity of imagination, as opposed to sentimental fantasy, and he takes a descriptive stance rather than a prescriptive one. His stories therefore stand as reminders of the transformative power of art making and of the imagination.</p> <p style="text-align: justify;">The exhibition is accompanied by a full-colour exhibition catalogue including essays by the Man Booker Prize winning author Kiran Desai.</p> Thu, 16 Apr 2015 17:28:44 +0000 Ken Cox - CHELSEA space - April 28th 6:00 PM - 8:30 PM <p style="text-align: justify;">CHELSEA space is pleased to announce <strong>Ken Cox: <em>Poetry Machines</em> </strong>asthesecond exhibition in our spring programme<em>. </em>A highly influential sculptor of the British concrete poetry movement, Ken Cox was a creator of kinetically powered poetry machines that made words move in space as material objects. Cox&rsquo;s career was cut tragically short in November 1968 when he was fatally injured in a car accident, just months after his first solo show at the Lisson Gallery. This is the first time his works have been shown in London since then, re-asserting Cox as a significant figure in the concrete poetry movement.</p> <p style="text-align: justify;">The exhibition reactivates works such as <em>Seasons Clock </em>(1965), thehanging multiple,<em> Suncycle</em> (1968), <em>The Three Grace</em>s (1966 -68) (Latin Version) and one of the five <em>Elemental Balloon Poems </em>(1967)<em>. </em>These works explore the wide range of formal possibilities of the material of language within the spatial and kinetic dimensions of art. Here letters do not correspond to semiotic language, but instead show a curiously textual approach to sculpture, in which words are not so much read as felt. In a review from July 1968, Guy Brett wrote of the <em>Elemental Balloon Poems</em>:&nbsp;</p> <p style="text-align: justify;">&lsquo;One room is entirely filled by large, soft coloured balloons. They are revolving on stands which keep them full of air at a low pressure and light them up inside. The orange Balloon is ringed at its centre by the word &ldquo;earth&rdquo; printed without gaps so it spells &ldquo;heart&rdquo; as the balloon circles. The green one has ocean bobbing up and down just below the center and so on. These objects dispense with descriptive words, and try to intensify a single word by linking it to an easily grasped experience of space and interval&rsquo;</p> <p style="text-align: justify;">Also exhibited is <em>Shadow Box </em>(1965), Cox&rsquo;s first poetry machine initially shown at the OXPO 2<sup>nd</sup> International Exhibition of Experimental Poetry, Oxford in 1965. Thrown into the river by Oxford students protesting the farcical nature of the exhibition, the work has been revived and will feature alongside other rarely seen drawings and ephemera. Also included is documentation relating to the 30ft high floating version of <em>The Three Graces (Love, Beauty, Passion)</em> (1967). Made for the <em>Concrete Poetry Exhibition</em>, Brighton Festival, it&nbsp;was destroyed&nbsp;in a storm after being at sea for 10 days.&nbsp;</p> <p style="text-align: justify;"><strong>Kenelm (Ken) Cox</strong> studied at Bristol Art College and later at Camberwell School of Arts and Crafts. A native of Gloucestershire, Cox returned in 1962 to Kingscote and began teaching at the Gloucester College of Art in 1964. During this time Cox became an early member of the GLOucestershire groUP or GLOUP &ndash; &lsquo;Glo&rsquo;ster Gro&rsquo;up of Concrete and Kinetic Poets&rsquo;. The members of GLOUP comprised of the artists and poets John Furnival, Ken Cox, Dom Sylvester Hou&eacute;dard, Charles Verey and Thomas A Clark. It was from this fertile ground that Cox developed his very particular orientation in concrete poetry.</p> <p style="text-align: justify;">Ken Cox was included in various significant exhibitions of concrete poetry and experimental art, including <em>OXPO 2<sup>nd</sup> International Exhibition of Experimental Poetry</em>, St. Catherine&rsquo;s College, Oxford (1965), <em>Between Poetry and Painting </em>curated by Jasia Reichardt at the ICA (1965), <em>Concrete Poetry Exhibition</em>, Brighton Festival (1968) and the groundbreaking <em>Cybernetic Serendipity</em>, also curated by Jasia Reichardt at the ICA (1968).</p> <p style="text-align: justify;"><strong>Ken Cox: <em>Poetry Machines</em></strong> has been curated by the concrete poetry specialist William Allen and CHELSEA space, with assistance from the Cox Estate.&nbsp;</p> Sun, 05 Apr 2015 13:35:26 +0000 Bogdan Lascar - Saatchi Gallery - April 28th 7:00 PM - 9:30 PM <p class="Body">Automobile Bavaria Group (BMW) is delighted to introduce to the UK Romania&rsquo;s leading artist and recipient of the UNESCO Gold Medal for outstanding contribution towards advancing the arts, <strong>Bogdan Lascar.</strong></p> <p class="Body">For <em>Neuro-Epics </em>Lascar will be showing nine works; five sculptures and four paintings, which form an arresting blend of the figurative and abstract, collage and fantasy. These works introduce to the UK the artist&rsquo;s groundbreaking concept of &ldquo;<em>Neurophysiologic shapings</em>&rdquo;. The subject matter for both sculptures and paintings begin with forms including wild horses, human figures and elegant automobiles. These shapes are embedded in a blaze of colour, applied in semi-transparent layers of oil calling to mind a living &lsquo;skin&rsquo; on the surface of the painting.</p> <p class="Body">According to celebrated writer and art critic <strong>Edward Lucie-Smith,</strong><em>&ldquo;</em><em>Lascar seems to say some of the images we carry within ourselves are intricately entangled with our own physical being.&rdquo;</em></p> <p class="Body">Bogdan Lascar&rsquo;s work is rooted in his background. Born in 1974 in Bacau, northern Romania, Lascar&rsquo;s father was a doctor and his grandfather a sculptor, working mainly in wood - the young Lascar inherited many of his tools which he used in his early works.&nbsp;</p> <p class="Body">After graduating from the Academy of Fine Arts in Bucharest, where he specialised in sculpture, Lascar went on to study medicine for three years at the University of Bucharest. This was not to affect a change of career but to &ldquo;open another door&rdquo; in the exploration of his art.&nbsp;</p> <p class="Body">However, the biggest influence on his artistic approach was the Romanian revolution of 1989, when the dictator Nicolae Ceaucescu was toppled, ending 42 years of Communist rule. He was the last of the European Communist leaders to fall and the only one to be executed. Lascar was 15 at the time. <em>&ldquo;It had a great effect on my art,&rdquo;</em> he says. <em>&ldquo;I came to understand the shaping of society.&rdquo;</em></p> <p class="Body">The revolutionary fervour that erupted on to the streets of towns and cities all over Romania, and which Lascar experienced himself as an impressionable youngster, has informed his art in a very abstract, visual way. There are parallels between the shapings of society that he witnessed during those turbulent times, and the constant evolutionary changes taking part within the human body. Colour was an inescapable aspect too of the revolution, not only in the blood that was spilled but in the colourful mass protests. The colour of his pieces also reflect that of the human body&rsquo;s interior and the colourful nature of society in general. Evolution was thus inspired by revolution.</p> <p class="Body"><strong>Lucie-Smith</strong> writes:</p> <p class="Body"><em>&ldquo;A striking phenomenon in the visual arts, since the fall of Soviet Communism and that of the satellite regimes allied to the Soviet sphere, has been the emergence of new kinds of avant-garde art, visibly allied to the creative impulses that manifested themselves in the early years of the 20<sup>th</sup> century, but also subtly different, sometimes with the kind of tragic resonance one senses here. The idea may, quite literally, be that certain kinds of creative originality have to be paid for in blood &ndash; and need to be celebrated by being framed in gold.&rdquo;</em></p> <p class="Body">Lascar&rsquo;s work is held in numerous public and private collections internationally including the Museum of Art, Constanta, Romania and the National Museum of Contemporary Art, Bucharest, Romania.</p> Wed, 22 Apr 2015 12:01:34 +0000 Theaster Gates - White Cube, Bermondsey - April 28th 6:00 PM - 8:00 PM <p style="text-align: justify;">White Cube is pleased to present an exhibition of new work by Theaster Gates. Gates&rsquo; practice is wide-ranging and polysemous, attempting to bridge the gap between art and life and catalyse social and economic change through direct artistic agency. For this exhibition, entitled &lsquo;Freedom of Assembly&rsquo;, Gates explores the theme of assembly in its widest sense, enmeshing ideas of an autonomous art object with notions of individual freedom and the empowerment of place. In particular, Gates refers to the First Amendment of the United States Constitution, which protects freedom of speech, the right to peaceably assemble, and the free exercise of religion.</p> <p style="text-align: justify;">&lsquo;Freedom of Assembly&rsquo; includes several new series of sculptures, a large-scale presentation of tar paintings and a body of work that foregrounds, for the first time, Gates&rsquo; long-term involvement with clay production. Notions of assembly become evident in works that draw on personal memory, politics, and the history and resonance of material objects within our culture.</p> <p style="text-align: justify;">These themes are syncopated in works that transform materials culled from disused buildings in the artist&rsquo;s own neighbourhood in the South Side of Chicago. A series of wooden vitrines combine various elements obtained from a closed-down hardware store &ndash; a cornerstone of the community that ceased trading in the face of conglomerate competition &ndash; alongside lamps, pots, glass and sculptural objects. These colourful visual assemblages attempt to transmute the presence of a place and site now disbanded, while exuding a sense of loss and reduction. In&nbsp;Ground Rules&nbsp;(2015), Gates invokes the narrative of art through his interrogation of painting, and, in particular, the history of modernist abstraction. These works transform strips of a wooden gym-floor into delicate, minimal compositions. Like his earlier &lsquo;Civil Rights Tapestries&rsquo; which repurposed old fire hose into pastel-hued fabric works, these sculptures reignite the significance and poetry of found materials through a process of reassembly and re-composition.</p> <p style="text-align: justify;">Personal and political themes are explored in a new series of large-scale tar paintings, where rubber and tar is applied to wood panels creating monochrome, textural compositions. In these works, Gates makes his decisions based on the procedure of roofing, not painting, a process the artist describes as: &lsquo;borrowing good roofing strategies, through formal engagement with it, to arrive at painting or at least to get to the essence of roofing&rsquo;. With their thick impasto and shiny reflective surface, the tar creates a surface that visibly reflects the movement of the hand across the canvas, linking these works to Japanese calligraphy as well as to a history of gestural abstraction. In other works, sections of flat roofing are displayed like shaped two-dimensional canvases, covered with delicate wooden feather-like tiles. Conceived as an index of roofs &ndash; rather than as individual paintings &ndash; these works suggest a collective presence and relate strongly to Gates&rsquo;, whose father tarred roofs for a trade.</p> <p style="text-align: justify;">Gates furthers these ideas in a collection of clay works that include a group of small figures, stacks of ceramic bricks, and pots that combine clay with tar and other materials from the roofing canon. In these poetic sculptures, Gates&rsquo; history with clay is married to his history with labour to create an inspired new body of work.</p> <p style="text-align: justify;">Alongside his presentation at White Cube Bermondsey, Theaster Gates will exhibit a new body of work in the Arsenale at the 56th Venice Biennale from 9 May &ndash; 22 November 2015.</p> Thu, 02 Apr 2015 15:56:09 +0000 Michael Armitage - White Cube, Bermondsey - April 28th 6:00 PM - 8:00 PM Thu, 02 Apr 2015 15:57:56 +0000 Anton Zolotov - Hannah Barry Gallery - April 29th 6:30 PM - 9:00 PM Sat, 25 Apr 2015 15:25:05 +0000