ArtSlant - Openings & events en-us 40 Guillermo Kuitca - Hauser & Wirth London - May 31st 6:30 PM - 8:00 PM <p>On the occasion of the exhibition &lsquo;<a href="" target="_blank">Guillermo Kuitca</a>&rsquo;</p> <p>RSVP&nbsp;by Tuesday 24 May 2016 to&nbsp;<a href=""></a>&nbsp;or +44 207 287 2300</p> <p>&lsquo;Guillermo Kuitca&rsquo; is on display until 30 July 2016</p> Sun, 22 May 2016 16:36:58 +0000 Karl Holmqvist - Camden Arts Centre - June 1st 7:00 PM - 8:00 PM <p style="text-align: justify;">To coincide with his exhibition <a href="" target="_blank"><em>READ DEAR</em></a> on view at Camden Arts Centre until Sunday 5 June, Karl Holmqvist organises an evening of talks and spoken word readings in our Garden, 'bringing poetry and thoughts to the flowers and the trees and the people that love them.'</p> <p style="text-align: justify;">There will be talks, readings and performances by Harry Burke (with audio by SADAF), Roger Cook, Karl Holmqvist and Sophia Le Fraga with picnic blankets made by Karl Holmqvist in collaboration with Mundi Vondi.</p> <p style="text-align: justify;">A limited number of free posters will be given away at this event with contributions from Jeremy Deller and the artists involved in the evening.&nbsp;</p> <p style="text-align: justify;">This is a free event. Please arrive early to avoid disappointment because there is a limited capacity.<br /> <br /> #karlholmqvist </p> <div id="logo"><a title="Camden Arts Centre" href="">Camden Arts Centre</a></div> <ul> <li class="first home"><a title="Home" href="">Home</a></li> <li class="whats-on active-whats-on"><a title="What's On" href="">What's On</a></li> <li class="visit"><a title="Visit" href="">Visit</a></li> <li class="archive"><a title="Archive" href="">Archive</a></li> <li class="support"><a title="Support" href="">Support</a></li> <li class="shop"><a title="Shop" href="">Shop</a></li> <li class="contact"><a title="Contact" href="">Contact</a></li> </ul> <form id="search-form" action="/search" method="get"><input type="text" name="q" /></form> <div id="header-wrapper">&nbsp;</div> <div id="subnav"> <h1>What's On</h1> <ul> <li><a title="Current" href="">Current</a></li> <li><a title="Exhibitions" href="">Exhibitions</a></li> <li><a title="Residencies " href="">Residencies </a></li> <li><a title="Events" href="">Events</a></li> <li><a title="Projects" href="">Projects</a></li> <li><a title="Courses" href="">Courses</a></li> </ul> </div> <p class="category">Event</p> <h1>Live: Karl Holmqvist: What is it that comes crawling in the morning?</h1> Thu, 26 May 2016 16:43:23 +0000 Alex Katz - Serpentine Gallery - June 1st 6:30 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">The Serpentine presents the work of renowned American painter Alex Katz (b. 1927, Brooklyn, New York). This exhibition will bring together Katz&rsquo;s extraordinarily productive output of recent years alongside works from across his career in an installation that responds and relates to the unique context of the Serpentine Gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Coming of age as an artist in 1950s New York, Katz developed his unique approach to contemporary representational painting during the height of Abstract Expressionism.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Over the five and a half decades since his first exhibition in 1954, Katz has produced a celebrated body of work, including paintings, drawings, sculpture and prints. Establishing himself as a pre-eminent painter of modern life, he was influenced by films, billboard advertising, music, poetry and his close circle of friends and family. His portraits and landscapes are characterised by their flatness of colour and fluidity of line, reinventing both genres within the context of abstract painting and contemporary image-making.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Serpentine exhibition takes landscape as its focus, bringing together Katz&rsquo;s extraordinarily productive output of recent years alongside select works from the past two decades. Katz&rsquo;s landscape paintings exemplify his life-long quest to capture the present tense in paint. Regardless of their scale, Katz describes these paintings as &lsquo;environmental&rsquo; in the way in which they envelop the viewer. Defined by temporal qualities of light, times of the day and the changing of the seasons, these paintings respond and relate to the unique context of the Serpentine Gallery in Kensington Gardens. The exhibition will also include a recent series of portraits and expand beyond the walls of the gallery into the park with a new cut-out sculpture.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Katz draws parallels between his approach to painting and his interest in poetry, both equally concerned with stripping away unnecessary detail to leave only the essential information. This relationship between language and the painting process is echoed in the work of painter, poet and filmmaker Etel Adnan<em>,</em> showing in parallel at the Serpentine Sackler Gallery, whose landscapes are similarly defined by their bold colour and simplified form that is nevertheless rooted in keen observation of the world around her.</span></p> <h3 class="label-above fvc" style="text-align: justify;"><span style="font-size: small;">Artist</span></h3> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <div class="field-collection-view clearfix view-mode-full field-collection-view-final"> <h2 class="node-title" style="text-align: justify;"><span style="font-size: small;">Alex Katz</span></h2> <div class="main-body"> <div class="body-text"> <p style="text-align: justify;"><span style="font-size: small;">Alex Katz (b. 1927, New York) lives and works in New York and Maine. He graduated from the Cooper Union School of Art, New York in 1949 and the Skowhegan School of Painting and Sculpture, Maine in 1950.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Selected solo exhibitions include: The High Museum, Atlanta; Guggenheim, Bilbao (2015&ndash;6); Tate St Ives; Turner Contemporary, Margate (both 2012); The National Portrait Gallery, London (2010); Irish Museum of Modern Art, Dublin (2007); Albertina, Vienna (2010); Saatchi Gallery, London (1998); P.S.1 / Institute for Contemporary Art, New York (1997-8); Instituto Valenciano de Arte Moderno, Valencia (1996); Staatliche Kunsthalle, Baden-Baden (1995); Brooklyn Musuem (1988); Vancouver Art Museum (1977).</span></p> </div> </div> </div> Sun, 22 May 2016 16:48:19 +0000 Etel Adnan - Serpentine Sackler Gallery - June 1st 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Serpentine Galleries presents the works of painter, essayist and poet Etel Adnan, who was born in 1925 in Beirut, Lebanon. In her first solo exhibition in a UK public institution, the Serpentine shows work from across her career and including paintings, drawings, poetry, film and tapestry.</span></p> <p style="text-align: justify;"><span style="font-size: small;">After studying at the Sorbonne and then Harvard, in the late 1950s Adnan taught philosophy at the University of California and started to paint.</span></p> <p style="text-align: justify;"><span style="font-size: small;">While these early works were largely abstract compositions - with squares of colour applied directly from the tube - she was interested in the immediate beauty of colour. Her earliest paintings were suggestive of landscapes and included forms that referenced specific places. In the 1970s she moved to the area near Mount Tamalpais in California, which became the central subject matter of numerous paintings and poems. &nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">From the 1960s until the present day Adnan has also made tapestries, inspired by the feeling and colour of the Persian rugs of her childhood. Never translating existing paintings into tapestries, she uses specific designs for her textile works. Over the course of the 1960s, Adnan moved away from purely abstract forms and, in 1964, discovered &lsquo;leporellos&rsquo;, accordion-folded sketchbooks in which she could mix drawing with writing and poetry. Often working in series, her painting continued to move between recognisable and imagined forms, revealing her sensitivity to colour and shape extracted from the environments in which she found herself.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Her writing, too, contains multiple references and responses to the politics and violence in the world around her. From her earliest poem in English, which addressed the Vietnam War, to her award-winning 1978 novel <em>Sitt Marie-Rose</em>, she explores the political and personal dimensions of violence and articulates her experience of exile from familiar landscapes and languages.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Adnan&rsquo;s artworks feature in numerous collections, including Centre Pompidou, Paris; Mathaf, Doha, Qatar; Royal Jordanian Museum; Tunis Modern Art Museum; Sursock Museum, Beirut; Institut du Monde Arabe, Paris; British Museum, London; World Bank Collection, Washington D.C.; National Museum for Women in the Arts, Washington D.C. In 2014, Adnan was awarded France's highest cultural honour, the Ordre de Chevalier des Arts et des Lettres.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Adnan has participated in a number of Serpentine events during the past six years including the <em>On Edgware Road</em> group exhibition in 2012; the Map Marathon (2010); the Garden Marathon (2011); the Memory Marathon (2012), and the Extinction Marathon (2015).&nbsp;</span></p> <h3 class="label-above fvc" style="text-align: justify;"><span style="font-size: small;">Artist</span></h3> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <div class="field-collection-view clearfix view-mode-full field-collection-view-final"> <h2 class="node-title" style="text-align: justify;"><span style="font-size: small;">Etel Adnan</span></h2> <div class="main-body"> <p class="summary-text" style="text-align: justify;"><span style="font-size: small;"><a href="" target="_blank"><strong>Etel Adnan</strong></a> (b. 1925, Beirut) is a poet, essayist and visual artist who divides her time between Lebanon, France and the USA. She retired from a permanent teaching position in the late 1970s and now devotes herself to her art and writing. A powerful voice in feminist and antiwar movements, Adnan has published several works of poetry and fiction, among which are Sitt Marie Rose (1978), The Arab Apocalypse (1989) and Master of the Eclipse (2009).</span></p> <p style="text-align: justify;"><span style="font-size: small;">As part of the Serpentine Gallery's Park Nights series, on Friday 3 September 2010, <strong>Etel Adnan</strong> convened an evening of readings and music celebrating the Edgware Road Project, in the Serpentine Gallery Pavilion 2010 designed by Jean Nouvel. During this evening, Adnan read from her poetry collection, <em>Seasons</em> (2005) and her memoir, <em>In the Heart of the Heart of another Country</em> (2005). The evening also included music from composer Gavin Bryars' song cycle, <em>Adnan Songbook</em> (1996), which set to music a group of eight of Adnan's love poems from her collection, <em>The Indian Never Had a Horse and Other Poems</em> (1985).</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a href="" target="_blank">Find out more about Etel Adnan's Park Nights</a></span></p> </div> </div> Sun, 22 May 2016 16:49:30 +0000 Paul Maheke - South London Gallery - June 1st 7:00 PM - 8:00 PM <p style="text-align: justify;">Paul Maheke discusses how dance has been key in his practice and life to articulate and engage with&nbsp; decolonial and feminist thoughts.&nbsp; <br /><br /><em><strong><em><strong>Book your tickets&nbsp;</strong></em></strong><strong><em><strong><a href="">online</a>&nbsp;or call 020 7703 6120.</strong></em></strong></em>&nbsp;&nbsp;<br /><br /></p> <p style="text-align: justify;"><em><strong>The date of this event has changed from Wed 18 May to Wed 1 Jun. We will be in touch with visitors with pre-booked tickets. Please contact the gallery on 020 7703 6120 if you have any queries.</strong></em></p> <p style="text-align: justify;"><strong>Biography<br /><a href="" target="_blank">Paul Maheke</a></strong>&nbsp;is the fifth South London Gallery Graduate Resident and will be in residence at the SLG's Outset Artists' Flat for 6 months from November 2015&nbsp;and will exhibit in the first floor galleries in late spring 2016.</p> <p style="text-align: justify;">Maheke has recently completed a programme of study at&nbsp;<a href="">Open School East</a>, after receiving an MA in Art Practice at l&rsquo;&Eacute;cole Nationale Sup&eacute;rieure d&rsquo;Arts de Paris-Cergy (FR) in 2011.</p> <p style="text-align: justify;">His practice is grounded in emancipatory and decolonial thought with an emphasis on cultural identities and new subjectivities. His current research focuses &ndash; through video, installation, sculpture and furtive interventions &ndash; on the body as both an archive and a territory, as a utopia to be reimagined through different strategies of resistance. With particular attention to dance, he proposes to defuse the power relations that shape Western imaginations and to rearticulate the representations that emerge from them.</p> <p style="text-align: justify;">Over the past year Maheke has pursued his research initiating a series of public conversations, at Open School East, entitled&nbsp;<em>Beyond Beyonc&eacute;: Use It Like a Bumper!,</em>&nbsp;which considered Hip-Hop cultures through the lens of Queer and Black Feminist theory. Other selected group exhibitions and residencies include;&nbsp;<em>Ruptures</em>, ABI, cur. Katy Orkisz, London (2015); artist-in-residence at Darling Foundry, Montreal, Canada (2015);&nbsp;<em>ODRADEK</em>, Les Instants Chavir&eacute;s, cur. Mikaela Assolent + Flora Katz, Montreuil, France (2015);&nbsp;<em>Re-former le monde visible</em>, Le 116, cur. Marl&egrave;ne Rigler, Montreuil, France (2014);&nbsp;<em>59th Salon de Montrouge</em>, Montrouge, France (2014); artist-in-residence at CIAP - &Icirc;le de Vassivi&egrave;re, France (2014);&nbsp;<em>Videoakt</em>, French Institute, Barcelona, Spain (2013);&nbsp;<em>VIVA!</em>, at Centre CLARK, Montreal, Canada (2012);&nbsp;<em>&laquo;Pratiques Furtives&raquo; : fragments d&rsquo;une enqu&ecirc;te</em>, cur. Patrice Loubier, Skol art center, Montreal, Canada (2012).&nbsp;</p> <p style="text-align: justify;">Upcoming projects include:&nbsp;<em>Green Ray Turns Out To Be Mauve</em>, Green Ray, London (March 2016, solo show); performance at The Rebel Man Standard Festival, Guest Projects, London (April 2016);&nbsp;<em>I Would&rsquo;ve Done Everything for You / Gimme More, cur. C&eacute;dric Fauq, London (May 2016, group show); Festival de l&rsquo;Inattention, Paris (June 2016, group show)</em>;&nbsp;<em>Take the Weight</em>, SixtyEight Art Institute, cur. Tom Clark + Iben Elmstrom, Copenhagen, Denmark (2017, group show).</p> Sun, 22 May 2016 11:14:28 +0000 Lygia Clark - Alison Jacques Gallery - June 2nd 6:00 PM - 8:00 PM <p>Alison Jacques Gallery is pleased to announce a historical survey exhibition of works from the 1950s by Lygia Clark. This will be the artist&rsquo;s first solo presentation since the critically acclaimed retrospective <em>Lygia Clark: The Abandonment of Art 1948-1988</em> curated by Connie Butler and Luis P&eacute;rez-Oramas, at the Museum of Modern Art, New York (2014). It also follows the installation of <em>Fantastic Architecture</em>, at The Henry Moore Foundation (2014) and<em> Lygia Clark: Organic Planes </em>curated by Lisa Le Feuvre, at The Henry Moore Institute, Leeds (2014-2015).&nbsp;</p> <p>Born in Brazil, Lygia Clark (1920-1988) is one of the most pioneering artists of the twentieth century. Clark's groundbreaking work radically innovated the relationship between the art object and audience and has become a reference point for generations of artists pushing the limits of sculpture today. Her work has been acquired for major museum collections including Tate, London; The Museum of Modern Art, New York; The Art Institute of Chicago; Centre Pompidou, Paris and The Reina Sofia Museum, Madrid&nbsp;</p> <p>Lygia Clark was part of the neo-concrete movement, a splinter group of the 1950s Brazilian concrete art movement, calling for a greater sensuality, colour and poetic feeling in concrete&nbsp;art. In focusing on her work from the 1950s, we see the influence of her first visit to Paris in 1950 where she studied with key artists including Fernand L&eacute;ger. The drawing <em>Escadas (Stairs),</em>1951 is a clear indication of L&eacute;ger&rsquo;s influence on Clark but also of her interest in movement and a desire to break out from the restrictions of a static plane and strive for work that was more organic. It is this trajectory that we see in the graphite works from the early 1950s that continues into the group of 1957 monochrome gouaches <em>Planos em Superf&iacute;cie Modulada </em>(<em>Planes in Modulated Surface</em>). Throughout the decade, we see Clark&rsquo;s interest in colour via vibrant gouache works and a large turquoise painting <em>Superficie Modulada</em> (<em>Modulated Surface</em>)1955-57 made with industrial paint on board.</p> <p>From 1955, Clark showed her interest in three dimensional work and architecture through her painted wooden maquettes of interiors: <em>Maquete para interior nos.1 and 2</em> <em>(Maquette for interior no.1 and no.2).</em> These clearly reveal Clark&rsquo;s desire to expland from a two dimensional surface and fuse painting with architecture. Also on view is Clark&rsquo;s maquette for <em>Construa voc&ecirc; mesmo o seu espa&ccedil;o de viver (Build your own living space)</em>,1955 in which Clark shows her dream for an entire building in which the visitor can change the configuration of rooms via a series of sliding walls, demonstrating her vision of audience participation and a living or organic sculpture. &nbsp;</p> <p>In the late 1950s, Clark made her first study for a <em>Casulo (Cocoon)</em> in which a relief starts to lift off the wall, reflecting the idea of movement. All the works in the show lead to a crucial moment in 1959 when Clark made a balsa wood study for what would become her first <em>Bicho </em>(<em>Critter or Animal</em>) sculpture called <em>Caranguejo</em> (<em>Crab</em>). The <em>Bicho</em> series, which Clark went on to develop throughout the early 1960s, was formed from a series of metal plates joined by hinges. Laid flat, they formed a plane but when manipulated by an observer or participant, the hinges served as a backbone and the form of the <em>Bicho</em> changed according to the viewer&rsquo;s manipulation of the work. A <em>Casulo</em>, balsa wood study and the unique <em>Bicho </em>maquette for <em>Caranguejo</em> (<em>Crab</em>), all made in 1959, are included in this exhibition&nbsp;</p> <p>Important solo and group exhibitions during Clark&rsquo;s lifetime include the early S&atilde;o Paulo Biennials (1953-1967), the&nbsp;<em>Second Pilot Show of Kinetic Work,</em>&nbsp;curated by Guy Brett at Signals Gallery, London (1962);&nbsp;and a presentation, alongside Mira Schendel, at the Venice Biennale (1968)&nbsp;</p> <p>The only posthumous solo exhibitions outside Brazil before the MOMA, New York retrospective (2014) were<em> Lygia Clark</em>,&nbsp;Fundaci&oacute; T&agrave;pies Major, Barcelona (1997) which travelled to Marseille MAC; Serralves Foundation, Porto; Palais des Beaux-Arts, Brussels and the Imperial Palace, Rio de Janeiro; and <em>Lygia Clark: Estudos e Maquete</em>, Alison Jacques Gallery, London (2010). Clark was recently included in <em>Adventures of the Black Square, Abstract Art and Society 1915-2015</em>, curated by Iwona Blazwick and Magnus Petersens, Whitechapel Art Gallery, London (2015) and <em>Life Itself</em>, curated by Daniel Birnbaum, Moderna Museet, Stockholm.</p> <p>Forthcoming museum shows include: <em>Making and Unmaking</em>, curated by Duron Olowu, Camden Arts Centre, London (June &ndash; September 2016) and a major presentation of work as part of <em>The Shadow of Color</em> curated by Rita Kersting (December 2016 &ndash; April 2017), The Israel Museum, Jerusalem.&nbsp;</p> Tue, 03 May 2016 16:27:30 +0000 AAS, Verity Birt, David Burrows, Elliot Dodd, Joey Holder, Luke McCreadie - IMT Gallery - June 2nd 6:00 PM - 9:00 PM <p>&ldquo;Kim, if you had your choice, would you rather be a poisonous snake or a non-poisonous snake?&rdquo; &ndash; &ldquo;Oh, poisonous, sir, like a green mamba or spitting cobra&rdquo; &ndash; &ldquo;Why?&rdquo; &ndash; &ldquo;I&rsquo;d feel safer, sir&rdquo; &ndash; &ldquo;And that&rsquo;s your idea of heaven?, feeling safer?&rdquo; &ndash; &ldquo;Yes, sir.&rdquo; <em>William Burroughs, The Place of Dead Roads</em><br /><br />Recently Kim&rsquo;s been thinking about preparing for an apocalypse. There&rsquo;s a lot in the news that bothers him. It always has. Sure Kim isn&rsquo;t going ever to be any safer, but perhaps he can feel safer. So he&rsquo;s been reading a book called Preppers by Lynda King that tells him that cataclysmic and catastrophic events often lead to major innovations, presenting the example of the Great Blizzard of 1888 giving birth to the subway systems in Boston and New York. He&rsquo;s been thinking about the art he reads about and some of the posts he&rsquo;s seen on Facebook about being innovative. He&rsquo;s been thinking about art galleries. How they seem to be interested in preserving a culture, some dependability in the face of other stuff that&rsquo;s not so good, like survivalists preparing for a mass extinction. How galleries can seem like cultural lagoons, almost invisible from the street unless you know they are there. As when O&rsquo;Doherty says in that old book from the reading list how the galleries are secretly thinking that, "the outside world must not come in." Even how publically accessible events are often called private views. IMT Gallery is like that. Just off the road, hidden by honeysuckles and scaffolding. Halfway between the Metropolis strip club and the Museum of Childhood. That&rsquo;s where he should have his exhibition. It&rsquo;ll be of beans, bullets and BAND-AIDs&hellip; a survivalist&rsquo;s tomb. But now he&rsquo;s worried. Lacking basic understanding of plumbing he&rsquo;s worried about how he&rsquo;s going to dispose of all that human waste.<br /><br />He remembers seeing Lars Movin and Steen M&oslash;ller Rasmussen&rsquo;s Words of Advice&nbsp; at IMT Gallery a few years ago in which a guy showed the camera a jar of resin containing a preserved turd he&rsquo;d fished out of William Burroughs&rsquo; drain. He picks up SCUM&nbsp; by Valerie Solanas and reads what she says about culture: &ldquo;&hellip;Lacking faith in their ability to change anything, resigned to the status quo, they have to see beauty in turds because, so far as they can see, turds are all they&rsquo;ll ever have&hellip;&rdquo; And he&rsquo;d planned to stockpile culture! Stockpile performance! Stockpile pornographic materials! Store art like batteries for when the grid is cut off and he can&rsquo;t access his cloud storage, and when the solar flares delete his memories and connections! What should he do? He likes art a lot, but this stuff about turds bothers him. So he will make an exhibition. He will see if AAS can help, and Maggie Roberts also. This seems like their area of expertise. And David Burrows. Yes, Burrows will know. And Joey Holder and Elliot Dodd. And Verity Birt, she watched civilisations being destroyed and she made it into art. And Luke McCreadie, he will know all about what to do at the beginning of a new history. And I bet he&rsquo;s good at plumbing.</p> <p><br />#feelingsafer</p> Fri, 06 May 2016 13:10:22 +0000 Lawrence Abu Hamdan - Maureen Paley - June 2nd 6:30 PM - 8:30 PM <p style="text-align: justify;">Maureen Paley is pleased to announce a solo project by Lawrence Abu Hamdan that will include the presentation of the live audio visual essay <em>Contra Diction: Speech Against Itself</em> on the opening evening. The two channel video installation <em>Contra Diction (speech against itself)</em> (2015) will remain on view for the next three days.</p> <p style="text-align: justify;">Lawrence Abu Hamdan is an artist and &lsquo;private ear&rsquo; whose projects have taken the form of audiovisual installations, performances, graphic works, photography, Islamic sermons, cassette tape compositions, essays, and lectures. Abu Hamdan&rsquo;s interest in sound and its intersection with politics originate from his background in DIY music. He is currently a fellow at the Vera List Center for Art and Politics at the New School, NYC. In 2013 Abu Hamdan&rsquo;s audio documentary The Freedom of Speech Itself was submitted as evidence at the UK asylum tribunal where the artist himself was called to testify as an expert witness. He continues to make sonic analyses for legal investigations and advocacy - most recently his work was prominently part the No More Forgotten Lives campaign for Defence for Children International. The artist&rsquo;s forensic audio investigations are conducted as part of his research for Forensic Architecture at Goldsmiths College London where he is also a PhD candidate and associate lecturer.</p> <p style="text-align: justify;"><em>Contra Diction: Speech Against Itself</em> is a live audio essay employing a series of sonic manipulations and pre-recorded samples to explore the concept and practice of Taqiya. This is a form of communication and political practice forged at remote altitudes, at the fringes of failed states, in buffer zones and on ceasefire lines. Focusing on the stories of alleged mass conversions of the Druze minority in northern Syria by Wahhabi groups Abu Hamdan investigates how such minor speech acts can help us re-appraise the precision of speaking, the multiple ways of remaining silent and the inherently unfaithful nature of ones voice.</p> <p style="text-align: justify;"><em>Contra Diction (speech against itself)</em> (2015) realises the performance as a two channel video installation in which one of the screens is a teleprompter, the speech apparatus from which the political lie often originates, and formally as a video playback device it symbolizes both duplicity and transparency.</p> <p style="text-align: justify;">A new monograph <em>[inaudible] a politics of listening in Four acts</em> by Lawrence Abu Hamdan will be published by Portikus and Kunst Halle Sankt Gallen later in 2016 and comprises a series of transcripts of live speech from sermons, monologues, testimonies and interviews made during the course of the last five years.</p> <p style="text-align: justify;">Lawrence Abu Hamdan was born in 1985 in Anman, Jordan. He lives and works in Beirut, Lebanon.</p> <p style="text-align: justify;">Selected solo exhibitions include Earshot, Portikus, Frankfurt, 2016; تقيه (taqiyya), Kunsthalle St Gallen, 2015; Tape Echo, Beirut in Cairo and Van AbbeMuseum, Eindhoven, 2013; The Freedom Of Speech Itself, The Showroom, London and The Whole Truth, Casco, Utrecht, 2012. Additionally his works have been exhibited and performed in The New Museum Triennial, 2015; The Shanghai Biennial, 2014; The Whitechapel Gallery, London; MACBA Barcelona; Tate Modern London; M HKA Antwerp; The Beirut Art Center and The Taipei Biennial, all 2012. Abu Hamdan&rsquo;s writing can be found in Forensis Sternberg Press, Manifesta Journal and Cabinet Magazine.</p> <p style="text-align: justify;"><strong><em>performance and book launch: Thursday 2 June 6:30 &ndash; 8:30pm</em></strong><br /> <strong><em>performance at 7:00 pm</em></strong></p> Sun, 15 May 2016 16:19:10 +0000 - Peckham Platform - June 2nd 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif;"><strong>Platform Press House</strong>&nbsp;goes to print at Peckham Platform. Together the Youth Platform and Harold Offeh form the editorial board of a publishing house that will present work from within the group alongside contributions from the wider Peckham community.</span></p> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif;">Platform Press House aspires to build on the rich legacy of radical, small independent publishing houses in London and beyond that have created opportunities for artists, writers and creative thinkers.</span></p> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif;">Peckham Platform will be transformed into Platform Press House. This summer residency and exhibition will redefine and question the contemporary role of the publishing house, animating the gallery as a live publication in text, image, video and audio. The content will reflect the editorial board&rsquo;s diverse interests across poetry, art, music, dance, politics and social issues and will exhibit material produced by the editorial team alongside guest publications including local zines, reproductions of books and articles and political pamphlets. A live production space will encourage visitors to contribute to the development of a run of new publications that will take shape across the exhibition. Visitors to the gallery will be able to explore the resources and respond to provocations from the editors as they make their own contributions to the project.</span></p> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif;">Developed through a series of workshops with Offeh, the group&rsquo;s initial conversations were framed by the cultural practice of Call and Response. Call and Response is a form of communication and dialogue associated but not exclusively from Africa. Most commonly occurring in musical genres like: Jazz, Blues, Gospel &amp; Hip-hop, it sets up a framework to look at forms of communications, knowledge, power and agency.</span></p> Sat, 14 May 2016 07:32:48 +0000 Chris King - Raven Row - June 2nd 6:30 PM - 8:00 PM <p style="text-align: justify;">Artist Chris King leads a live demonstration of early media art and video synthesis technologies, working with a selection of different techniques used by the Vasulkas and other video artists during the 1970s and 80s.</p> <p style="text-align: justify;">London-based artist Chris King uses electronic video and audio synthesis techniques to perform live visual music. A collector and archivist of early media art periodicals, he also teaches workshops on video techniques and the history of electronic intermedia and visual music practice.&nbsp;His blog,&nbsp;<em><a href="" target="_blank">Video Circuits</a></em>, explores early abstract and synthetic image making practices such as video synthesis, experimental animation, graphic scores and DIY television.</p> <p style="text-align: justify;">&nbsp;</p> Sun, 15 May 2016 16:36:08 +0000 Megan Rooney - Seventeen - June 2nd 6:00 PM - 8:00 PM Thu, 26 May 2016 15:30:27 +0000 Felipe Pantone - StolenSpace Gallery - June 2nd 6:00 PM - 8:00 PM <p class="p1">StolenSpace Gallery is proud to present &lsquo;Data Somersault&rsquo; a new solo show from Felipe Pantone.</p> <p class="p2">&nbsp;Felipe Pantone&rsquo;s bright graphic style is at the forefront of street and urban contemporary art. Using strong colours, sharp edges and bold shapes, his work draws you in to his own dynamic aesthetic.</p> <p class="p1"><em>"I keep on with my quest for immediacy, connection, quick transition, travel and technological advancement. We live in exciting times where everything passes in front of our eyes at the speed of a glance, and much becomes data that relentlessly fills the cyberspace. This series of &nbsp;works challenges me to find solutions, put ideas in order, and solve graphic mysteries, all of which takes me closer to belonging to the times that we live in."</em></p> <p class="p1">Pantone has developed his own personal avant-garde artistic style. His use of shape and colour draws the viewer into his hypnotic and vibrant world, reminding us of a garish 80s atmosphere; synth pop and SMPTE colour bars on the TV.</p> <p class="p1">Pantone draws his influences on modern-day concerns of the digital age and fast and never-ending development of technology, in which way he is discovering a new visual language in which to communicate.</p> Sat, 14 May 2016 17:43:36 +0000 Alex Yanes - StolenSpace Gallery - June 2nd 6:00 PM - 8:00 PM <p class="p1">StolenSpace is proud to present &lsquo;Way-Out&rsquo;, the inaugural London solo show by American artist, Alex Yanes.</p> <p class="p1">Whimsical and yet relatable, Alex Yanes&rsquo; art embodies innovative use of colour and imaginative subject matter and speaks to collectors and new art lovers, alike. His work is now a staple in Miami&rsquo;s Wynwood art district, his hometown, and he is now showing his work internationally with his first UK solo show at StolenSpace Gallery. Along with bold 3D shapes, Alex uses vivid colours and intricate detail to create truly unique works. Influenced by his life in Miami, Alex takes references from his cultural surroundings and transforms them into his distinctive artwork.&nbsp;</p> <p class="p1">&lsquo;I have a vivid memory of drawing a blueprint and building a three foot tall launch ramp for my friends and I to skate on during summer break in June of 1991, I was 13 years old. It was the first object I ever envisioned and brought from my brain to reality, not knowing that this thought process and formula would evolve into what my art is today. With this new body of work I am revisiting this experience 25 years later, tracing back to where my creative process began and a simple action that moulded my life. The sense of accomplishment and satisfaction in creating something out of nothing that I felt that day is what I chase in my work today.&rsquo;</p> <p class="p1">This new body of work sees Yanes develop his unique style with a more &lsquo;weathered&rsquo; or &lsquo;aged&rsquo; look as a homage to this cherished memory. To achieve this, Yanes has used distressed or reclaimed wood for all of the pieces, using the same tools used to build skate ramps, creating works derived from skateboard graphics and music from his teenage years.</p> Sat, 14 May 2016 17:46:40 +0000 Bettina von Zwehl - Freud Museum London - June 3rd 12:00 PM - 5:00 PM <p style="text-align: justify;"><em>Invitation to Frequent the Shadows</em> is a new exhibition by Bettina von Zwehl responding to the archive of Anna Freud. The work quietly infiltrates the stairwell, study and upstairs rooms of the Museum with the delicate small silhouettes of a young girl, shadowy portraits of women and an immersive light installation. </p> <p style="text-align: justify;">Von Zwehl is the first artist to respond directly to the archive of Anna Freud and <em>Invitation to Frequent the Shadows</em> evolved from a residency undertaken by the artist at the Museum from 2013 to 2014. The exhibition is also an homage to the artist&rsquo;s closest friend, Natalie Ciletti, a child psychoanalyst who died tragically in 2009.</p> <p style="text-align: justify;"><strong>Bettina von Zwehl</strong> lives and works in London, and is best known for her subtle, distinctive photographic portraits. Her work has featured in many exhibitions including at the National Portrait Gallery, The Photographers&rsquo; Gallery and Victoria and Albert Museum in London and galleries and museums in Europe and the USA.</p> Sun, 17 Apr 2016 17:28:58 +0000 Nick Relph - Herald St - June 3rd 6:00 PM - 8:00 PM Thu, 26 May 2016 17:07:06 +0000 - CHELSEA space - June 7th 6:00 PM - 8:30 PM <p>Over two decades, Nigel Greenwood Inc Ltd presented an extraordinary group of artists including Bernd and Hilla Becher, Bill Beckley, Marcel Broodthaers, Marc Camille Chaimowicz, Rita Donagh, Gilbert &amp; George, Richard Hamilton, Alan Johnston, David Lamelas, Christopher Le Brun, Keith Milow, Bruce Nauman, Ed Ruscha, John Stezaker, David Tremlett, Richard Tuttle and John Walker.</p> <p>&nbsp;</p> <p>From 1972 to 1985, Greenwood ran the gallery from 41 Sloane Gardens, London, where he also lived. Visitors would encounter ground-breaking shows and enthusiastic conversation about the &lsquo;now&rsquo; art on display. The exhibition will explore the special atmosphere of 41 Sloane Gardens, as a public exhibition space and home for Greenwood and an intimate, international group of visiting artists, friends and colleagues. Joel Fisher will be collaborating with students from the Chelsea MA Curating and Collections course to re-create his large-scale <em>Apograph</em> wall drawing (1973) and Marc Camille Chaimowicz has been invited to revisit his 1979 exhibition, <em>Screens</em>, incorporating original public/private domestic artifacts from the gallery and home.</p> <p>&nbsp;</p> <p>The exhibition will include material from the Nigel Greenwood Inc Ltd archive which has never been displayed before in public. Works and documentation will revisit landmark shows and publications by Bernd and Hilla Becher, Rita Donagh, Gilbert and George, David Lamelas, Ed Ruscha, John Stezaker, David Tremlett and the influential group exhibition, <em>The Book as Artwork </em>(1972).</p> <p>&nbsp;</p> <p><strong>The exhibition will be accompanied by a publication edited by Phoebe Greenwood including original contributions from Gilbert &amp; George, Lynda Morris, Richard Cork, Ed Ruscha and Kynaston McShine.</strong></p> Thu, 05 May 2016 15:26:49 +0000