ArtSlant - Openings & events en-us 40 Juliette Blightman - South London Gallery - August 25th 7:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-family: verdana, geneva, sans-serif;">Juliette Blightman's year-long film&nbsp;</span><a href=";id=cc9332fa14&amp;e=3e10da6494" target="_blank" data-saferedirecturl=";q=;source=gmail&amp;ust=1471275673020000&amp;usg=AFQjCNF7E-kK0irEc9An0ZCNn5MXoD2ZuQ"><em>Portraits &amp; Repetition</em></a><span style="font-family: verdana, geneva, sans-serif;">&nbsp;is brought to a close with a&nbsp;performative&nbsp;lecture by the&nbsp;artist.</span><br /><br /><span style="font-family: verdana, geneva, sans-serif;">Over the course of a year Blightman documented her life through painting, drawing, text, photography and film. Abolishing a hierarchy for any specific medium whilst playing with the restrictions and expectations of the Internet, specifically in relation to memory and how we can manipulate it.<br /><br />The project&nbsp;website&nbsp;</span><span style="font-family: verdana, geneva, sans-serif;">changed constantly throughout the year, revealing only one fragment of the entire film at any given time. Each presented item, whether an audio clip, image or film, had its own duration, a malleable portion of time that stretched from a couple of seconds to days or weeks at a time.&nbsp;</span><br /><br /><em>Supported by The Elephant Trust &nbsp;</em></p> <p style="text-align: justify;"><em><em><strong>Book your ticket online&nbsp;<a href=";id=716bf71a17&amp;e=3e10da6494" target="_blank" data-saferedirecturl=";q=;source=gmail&amp;ust=1471275673020000&amp;usg=AFQjCNFL6fJ7r01aqlD89PBYJ5KyAbqDrg">here</a>&nbsp;or call 020 7703 6120</strong></em></em></p> Sun, 14 Aug 2016 16:22:21 +0000 Ben Jenner, Sarah Petitt, Jo Volley - APT Gallery - August 28th 2:00 PM - 4:00 PM <p style="text-align: justify;">With exhibiting artists Ben Jenner, Sarah Petitt and Jo Volley, co-founder (with Gary Woodley) of the&nbsp;<a href="" rel="nofollow" target="_blank">Materials Research Project</a>&nbsp;of Slade School of Fine Art.&nbsp;</p> Mon, 18 Jul 2016 08:43:03 +0000 Nicolas Deshayes - Modern Art - August 31st 6:00 PM - 8:00 PM Mon, 08 Aug 2016 18:09:29 +0000 Dorothea Tanning - Alison Jacques Gallery - September 1st 6:00 PM - 8:00 PM <div class="description"> <p style="text-align: justify;">Alison Jacques Gallery is delighted to exhibit Dorothea Tanning&rsquo;s final paintings, which will be, shown together for the first time since 1999. Conceived as a series of 12, these imaginary blooms were painted in 1997-98 and published together with poems written by contemporary poets in an anthology the artist called <em>Another Language of Flowers </em>(1998). Nearly 20 years since they were made, Alison Jacques Gallery will exhibit the six flower paintings that remained in Tanning&rsquo;s collection at the time of her death in 2012.</p> <p style="text-align: justify;">In the months before beginning this series, at the age of 86, the artist thought she had finished painting in her New York studio but then remembered a set of stretched Lefebvre-Foinet canvases, which she had purchased years earlier while living in Paris, and was compelled to use one. Her discovery provoked &ldquo;a burst of energy and obsession that lasted the better part of eight months and was responsible for 12 outsized, hauntingly erotic flower paintings&rdquo; (Jane Kramer, <em>The New Yorker</em>, 2004). &ldquo;I had a vision of a mauve flower,&rdquo; Tanning says of that time, &ldquo;Then more and more wanted to be painted. I could hardly finish one before I&rsquo;d start the next one&rdquo; (<em>Boston Globe</em>, 1999). Using preliminary sketches as &ldquo;touchstones on the way to the flowers,&rdquo; the artist represented &ldquo;naked, precise depictions of visions as real to me as botanical specimens are to the scientist&rdquo; (<em>Another Language of Flowers, </em>1998).</p> <p style="text-align: justify;">Tanning painted 12 flowers over the course of a year, from June 1997 until April 1998; one for each month of the year, or one for each hour of the day or night. Her preoccupation with the female figure, which is evident throughout her work from the 1940s onwards, remains present in these last paintings, where bodies and limbs embrace the flowers or blend into her dream-like landscapes. Tanning&rsquo;s hybrid flowers take us on a journey through a never-before-seen garden, which she described as a &ldquo;foray into imaginary botany&rdquo;. As she wrote, each flower &ldquo;had the good fortune to be identified and blessed with the words of twelve poets, friends of the artist, who have given them their voices&rdquo; (<em>Another Language of Flowers, </em>1998). With the exception of James Merrill, who is quoted posthumously, the poets were inspired by the images themselves to write poems and create fictitious Latin names, sometimes with a faux-translation in English: <em>Agripedium vorax Saccherii (Clog Herb);</em> <em>Siderium exaltatum (Starry Venusweed</em>); <em>Zephirium apochripholiae (Windwort); Pictor mysteriosa (Burnt Umbrage); Victrola floribunda; </em>and<em> Convolotus alchemilia (Quiet-willow window)</em>.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Dorothea Tanning was born in Galesburg, Illinois (1910) and died in New York (2012), aged 101. She lived in Chicago, New York, Arizona, and for nearly 30 years in France with her husband Max Ernst, returning to New York after his death. Her diverse oeuvre encompasses painting, sculpture, printmaking, and designs for ballet and theatre, as well as poetry. Although she is often linked with the Surrealist movement, it is evident that her career, which spanned over six decades, evolved and developed its own unique vocabulary. Her works have been acquired by major institutions including Tate, London; Centre Georges Pompidou, Paris; Philadelphia Museum of Art; Museum of Modern Art, New York; San Francisco Museum of Modern Art; Museum of Contemporary Art, Chicago; the Whitney Museum of American Art, New York; the Menil Collection, Houston; and Moderna Museet, Stockholm.<em> <br /></em></p> <p style="text-align: justify;">Key solo shows in Tanning&rsquo;s lifetime include Centre Georges Pompidou, Paris (1974); Camden Arts Centre, London (1993); Malm&ouml; Konsthall, Malm&ouml; (1993); and Philadelphia Museum of Art (2000). Organised in collaboration with The Destina Foundation, New York, the show at Alison Jacques Gallery will overlap with <em>Making and Unmaking: An Exhibition Curated by Duro Olowu, </em>Camden Arts Centre, London (19 June &ndash; 18 September 2016), which will feature two works by Tanning.&nbsp;</p> </div> Sun, 14 Aug 2016 16:45:50 +0000 Abdoulaye Konaté - Blain|Southern - London Hanover Square - September 1st 6:00 PM - 8:00 PM <p>Known for his large-scale textile installations,&nbsp;<a href="" data-cke-saved-href="" rel="nofollow">Abdoulaye Konat&eacute;</a>&rsquo;s first exhibition Blain|Southern&nbsp;London will feature all new works, which continue his exploration of formal colour composition. Inspired by the hues found in rocks and minerals, abstract works with subtle gradations of colour and embroidered accents predominate.</p> <p>Konat&eacute;&rsquo;s vivid, thought-provoking installations have their roots in his Malian homeland. The materials he uses, woven and dyed cotton, are integral to the country&rsquo;s culture and by extension, to his practice. &nbsp;&lsquo;I use textiles in the same way other artists use paint, steel or marble - it is my colour palette and medium for artistic expression.&rsquo;</p> Fri, 29 Jul 2016 16:06:41 +0000 Cary Kwok - Herald St - September 1st 6:30 PM - 8:30 PM Sun, 21 Aug 2016 03:45:39 +0000 Andrew Gillespie, Andrew Lacon, Joanne Masding - IMT Gallery - September 1st 6:00 PM - 9:00 PM <p class="p1">&nbsp;Works by Andrew Gillespie, Andrew Lacon and Joanne Masding come together in an invitation to present a show realised as an eponymous exhibition. IMAGE MUSIC TEXT&nbsp; is an exhibition by Division of Labour at IMT gallery with artists making work through the merging of ideas, methods and material across disciplines. This collaborative project could be thought of as exhibition-making as a process of mining in which construction materials are, through an efficient division of labour, organised or redefined as image, music and text:</p> <p class="p1">image, music and text as aggregates photo-copied, torn-out, ripped-off / the stock is marble, broken concrete, holograms and polythene clouds / pop music and high renaissance excavated from seams of educational documentation&hellip; veins of NME&hellip; lodes of museum catalogues / antiquity scoured and frack&rsquo;d</p> <p class="p1">All of the artists live and work in Birmingham, with studios in Studio Capri and Grand Union, strong clusters of artists and curators engaged in research and making.</p> <p class="p2">Andrew Gillespie (b. 1984) lives and works in Birmingham. Andrew studied History of Art at St John&rsquo;s College, University of Cambridge and Fine Art, at the Ruskin School of Fine Art and Drawing, Oxford. Much of his work revolves around the application of print and the appropriation of imagery. His work adopts different forms, adhering itself to surfaces and structures. Recent exhibitions include: Looking at People, looking at art, Division of Labour, curated by Mark Essen, 2016; Mask, Hunter Whitfield, London, 2016; The Spirit of the Staircase, The Sunday Painter, London, 2015; Birmingham Show, Eastside Projects, Birmingham, 2015; CO (with Tom Godfrey), Nottingham Contemporary 2014; Conversation #5 (with Jack Lavender and Hannah Lees), Millington|Marriott, London, 2014. He has a forthcoming solo exhibition at the New Art Gallery Walsall, 2017.</p> <p class="p2">Andrew Lacon (b. 1985) lives and works in Birmingham. Andrew studied Fine Art at the Royal College of Art, London. Andrew works materially, embracing his experiences of art in his formative years, where municipal museums and churches were his encounters, and contemporary art was experienced almost explicitly through images. These experiences inform his physical responses, trying to grasp all that gets lost in the image. Recent exhibitions and projects include: Radical Sabbatical, Eastside Projects and University of Birmingham, 2016; Sculpture Garden, Recent Activity, Oxford, 2016; Research Residency, Soma, Mexico (British Council &amp; Grand Union), 2015; Display Show, Temple bar Gallery, Dublin, 2015; Andrew Lacon (Solo show), Edel Assanti, London, 2015; Reference Works (Stuart Whipps collaboration), Guangzhou Library, China, 2014/15.</p> <p class="p2">Joanne Masding (b. 1985) lives and works in Birmingham. Joanne&rsquo;s work is made to investigate the worth, ownership and production of physical stuff, and how this translates to a world that is growing increasingly digital, immaterial and reproducible. Recent exhibitions include: stuffs wander off, a shape steps in, Two Queens, Leicester, 2016 (solo); The Place of the Scene, Bloc Projects, Sheffield, 2015; Birmingham Show, Eastside Projects, Birmingham, 2015. She has been artist in residence at 501 Artspace, Chongqing, China; Temple Bar Gallery and Studios, Dublin, Ireland, Airspace Gallery, Stoke on Trent, and online residency, Digital Artist Residency. In 2015 she developed a residency with Berlin-based artist Katharina Ludwig, in collaboration with Grand Union, Birmingham.</p> <p class="p2">Division of Labour, Worcester and London, work with artists who follow themes concerned with production, labour, and collaboration and who are interested in ideas formed from the social, political and economic structures that surround them.</p> <p class="p1">&nbsp;#DoLdoesIMT</p> <p class="p1">&nbsp;</p> Thu, 04 Aug 2016 12:18:43 +0000 Uri Aran - Sadie Coles HQ - Kingly Street - September 1st 6:00 PM - 8:00 PM Tue, 09 Aug 2016 15:14:07 +0000 Yun Hyong-keun - Simon Lee - September 5th 6:00 PM - 8:00 PM <p class="Default" style="text-align: justify;">Simon Lee Gallery is proud to present a concise survey exhibition of paintings by Korean artist Yun Hyong-keun, one of the leading figures of Dansaekhwa, in his first posthumous solo presentation in the UK.</p> <p class="Default" style="text-align: justify;">The series of large <em>Burnt Umber &amp; Ultramarine Blue </em>oil on linen works included in the exhibition date from between 1990 &ndash; 1993 and reflect a transformative moment in the artist&rsquo;s career, when the abstract forms in the work grew larger, darker and fewer in number.</p> <p class="Default" style="text-align: justify;">Inspired by nature and influenced by the work of the scholar and calligrapher Kim Jeong-hui, Yun&rsquo;s paintings combine the colour of earth and water in surfaces reminiscent of traditional ink-wash painting, infused with vitality. Restricting his palette in this body of work to these two colours, Yun diluted the paint with turpentine and allowed it to wash over the canvas, layering it over days, weeks or months to create intense fields of velvety, intense darkness. The paintings embody time through an accumulation of procedures enacted in different encounters with the work in the same space. Each layer of pigment seeped into the fibres at a different rate, resulting in blurred edges along the unmarked expanses of canvas. In the 1990s, these boundaries gradually became more defined, eventually sharpening into hard edges in the final decade of the artist&rsquo;s life.</p> <p style="text-align: justify;">In recent years major international museums and academics have revisited Yun's work and his key contribution to Dansaekhwa. His works characterise the elements of tactility, spirituality and performance common to first generation Dansaekwha artists, including Chung Sang-Hwa, Ha Chong-Hyun, Chung Chang-Sup, KIM Whanki and Park Seo-Bo. Emerging from a period deeply affected by the Korean War, their work reflected Korean sentiments and aesthetics through investigating themes of flatness, materiality and mediation. Rhythmic actions repeatedly performed on the canvas were intended to build a sense of unity between materials, object and the self. Whilst never officially a movement and diverse in their outputs, the Dansaekwha artists&rsquo; work shares a common commitment to investigating the materiality and act of painting.</p> <p class="Default" style="text-align: justify;">&nbsp;</p> <p class="Default" style="text-align: justify;"><strong>Notes for Editors</strong></p> <p class="Default" style="text-align: justify;">Yun Hyong-keun was born in Miwŏn, Korea, in 1928 and died in 2007. In 1947 he attended Seoul National University to study Western painting, but abandoned his studies after he was imprisoned for his involvement with the leftist student movement. He returned to his hometown, Cheongju, where he worked as a teacher. Eight months later, the Korean War (1950-53) broke out. Yun survived the war and in 1954 joined Hongik University where he met Kim Whanki, a renowned painter and his future father-in-law, and forged a close relationship with the art students who would be exponents of Dansaekhwa. He graduated from the Department of Painting, Hongik University, Seoul, in 1957. He has been the subject of numerous solo exhibitions in Korea, Japan, Germany, France and the United States, including at the Judd Foundation, New York (1993), and the Chinati Foundation, Marfa, TX (1994). The Museum of Modern and Contemporary Art, Strasbourg, France, held a major retrospective in 2002. His work has also been celebrated in landmark surveys such as Dansaekhwa: Korean Monochrome Painting, National Museum of Contemporary Art, Gwacheon (2012); Korean Abstract Art: 1958&ndash;2008, Seoul Museum of Art (2008); Gwangju Biennale (2000); Venice Biennale (1995); Working With Nature: Traditional Thought in Contemporary Art from Korea, Tate Liverpool (1992); and the S&atilde;o Paulo Biennial (1969, 1975).</p> <p style="text-align: justify;">This exhibition is presented in collaboration with the Estate of Yun Hyong-keun and PKM Gallery, Seoul.</p> Sun, 21 Aug 2016 05:23:05 +0000 Hang Chunhui, Xu Hualing, Peng Jian, Chen Jun, Ma Lingli - Royal College of Art - September 7th 11:00 AM - 7:00 PM <p style="text-align: justify;">Chinese ink art has a time - honoured tradition, a tradition that has, since the day&nbsp;it was born, been going through relentless changes, mainly driven by its intrinsic&nbsp;movements before the 20th century as there was neither desire nor channel for&nbsp;the Chinese culture to interact with those of other countries against the&nbsp;backdrop of China&rsquo;s self-closed cultural environment.<br /><br />The beginning of the 20th century witnessed the most dramatic changes in&nbsp;history to China, which led to, among others, ruptures and fragmentation of&nbsp;Chinese cultural traditions with the increasing influence of the west on China.&nbsp;The ink art, as one of the symbols of Chinese cultural traditions, since then&nbsp;embarked on a path of the so-called &ldquo;transformation&rdquo;, with modernization as the&nbsp;purpose and learning from the west the approach.<br /><br />This transformation has been accompanied by disputes until the 1980s, a period&nbsp;that saw the prominence of a contemporary sense of questioning in the creation&nbsp;of Chinese ink art. The creators, while stressing the &ldquo;micro-times&rdquo; and &ldquo;micro-trends&rdquo; in the context of &ldquo;macro-times&rdquo; and &ldquo;macro-trends&rdquo;, began to show&nbsp;diversities and personalities. What remained the same about the ink artists then&nbsp;were the principles of &ldquo;I&rsquo;m expressing my own inner world&rdquo; and &ldquo;harmony butnot conformity&rdquo;, although some of them tended to envy the unrestrainedness of&nbsp;western expressionist art, and some others preferred to go back to the&nbsp;traditional &ldquo;brush and ink play&rdquo; of ancient Chinese literati painting.<br /><br />It is undoubted that the Chinese ink at of the early 21st century will be nothing&nbsp;but a flash throughout its tremendously long history. It is now showing more&nbsp;enhanced diversities and personalities with the involvement of young ink artists.&nbsp;The tradition of Chinese ink art has been more inclusive thanks to the efforts of&nbsp;the past generations of ink artists, and it is based on this inclusiveness that&nbsp;Chinese ink art is starting to be experimental and avant-garde.<br /><br />For the young artists, ink is either the material they feel comfortable with, or an&nbsp;apposite medium they use to express their own opinions, or a route of time&nbsp;travel for them to connect with ancient artists. That&rsquo;s why they have been so&nbsp;captivated by the creations and experiments of ink art, which count as the most&nbsp;direct and easiest modes to express themselves as well as their attitudes about&nbsp;the current era.<br /><br />It is our pleasure to bring the creations of such a group of young artists to&nbsp;London, the culturally diverse metropolis where we would like to unveil the&nbsp;contemporary Chinese ink art. Belonging to the new generation of contemporary&nbsp;Chinese ink artists, the several young artists featured in this exhibition, who are&nbsp;known for their practice art out of unrestrained will, have all chosen ink art as if&nbsp;by prior agreement. For them, ink art is where the vitality lies, and their mission&nbsp;of artistic creation is to tell the story of &ldquo;themselves&rdquo; or reveal the spirit of their&nbsp;generation in the contemporary cultural context, instead of continuing the&nbsp;tradition of ink art.</p> Mon, 22 Aug 2016 07:37:28 +0000 Catherine Ferguson - APT Gallery - September 8th 7:00 PM - 9:00 PM <div style="text-align: justify;"><em>'Ingredients, Method, Serving Suggestion'</em>&nbsp;is a two month exhibition curated by artist Alaena Turner. It explores the ways in which contemporary artists have engaged with the format of the recipe, questioning the relationship between process and product, and testing the potential of the recipe as a model for collaboration and sharing of knowledge. The exhibition features new work by 18 emerging and major UK visual artists, including contributions by Dan Howard-Birt, Katrina Blannin, Jane Bustin, Kieran Drury, Eddie Farrell, Ben Jenner, Sarah Kate-Wilson, Natasha Kidd, Jo McGonigal, Sarah Mcnulty, Sarah Pettit, Robert Rivers, Damian Taylor, Alaena Turner, Gary Woodley, Susannah Worth, Jack Vickridge and Jo Volley.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>Ingredients, Method, Serving Suggestion</em>&nbsp;is kindly sponsored by the A.P.T Curatorial Fellowship Award, WRoCAH network (White Rose College of the Arts and Humanities- Knowledge Exchange Partnership Award) and CePRA (Centre for Practice-Led Research in the Arts, University of Leeds). We would also like to thank Danish Art Workshops for supporting the production of new work for this exhibition.</div> Mon, 18 Jul 2016 08:45:12 +0000 Araya Rasdjarmrearnsook - Gimpel Fils Gallery - September 8th 6:00 PM - 8:00 PM Sun, 21 Aug 2016 05:06:17 +0000 Samson Kambalu - Kate MacGarry - September 8th 6:00 PM - 8:00 PM Mon, 08 Aug 2016 17:53:39 +0000 Gretchen Faust - Greengrassi - September 9th 6:30 PM - 8:30 PM Mon, 08 Aug 2016 17:19:43 +0000 - Almine Rech Gallery - September 12th 6:00 PM - 8:00 PM <p>In Erik Lindman&rsquo;s new works, the artist creates fresh abstract forms with a fine attunement to painterly details, constellated around various found surfaces and their treatment as compositional elements, surfaces, and supports. The majority of these new works are on primed or linen-wrapped panel that are affixed with thin sheets of aluminum or steel sheetmetal, which are disguised and revealed to varying degrees by the application of paint on and around them. Colors and forms tend to accrete in the center of the painting, framed by white or unpainted space.</p> Sat, 23 Jul 2016 11:16:58 +0000 Peter Wächtler - Chisenhale Gallery - September 15th 6:30 PM - 8:30 PM <p style="text-align: justify;">The first solo exhibition in a UK institution by the Berlin and Brussels-based artist Peter W&auml;chtler. Working in animated film, ceramics and drawing, W&auml;chtler explores the introverted experience of labour, with his prolific writing and prose poems often providing source material. Through idiosyncratic imagery, which merges personal biography and fiction, W&auml;chtler&rsquo;s work presents a contemporary treatment of melancholia, employing comic absurdity in literary and cinematic modes.&nbsp;<br /><br /></p> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column" style="text-align: justify;">Peter Wächtler (born 1979, Hannover) lives and works in Brussels and Berlin. Recent solo exhibitions include <em>9</em>, KIOSK, Ghent (2016); <em>Secrets of a Trumpet</em>, The Renaissance Society, Chicago (2016); Westfälischer Kunstverein, Münster (2014); Reena Spaulings, New York (2014); dépendance gallery, Brussels (2013); Kunsthalle Wien, Vienna (2013). Selected group exhibitions include <em>Surround Audience</em>, New Museum Triennial, New York (2015); <em>A needle Walks into a Haystack</em>, Liverpool Biennial, Liverpool (2014); <em>Meanwhile... Suddenly and Then</em>, Lyon Biennale (2013); <em>Pride Goes Before a Fall &ndash; Beware of a Holy Whore</em>, Artists Space, New York (2013). Sternberg Press published a collection of Wächtler&rsquo;s texts in 2013, entitled <em>Come On</em>.</div> </div> </div> Sun, 21 Aug 2016 05:05:01 +0000