ArtSlant - Openings & events en-us 40 - The Agency gallery - September 25th 2:00 AM - 3:30 AM <p>Discussion Event‭: ‬Negritude‭, ‬Antillanit&eacute; and Caribbean Art</p> <p>Speakers‭: ‬Aminat Awal Lagoro‭, ‬Alinta Sara‭ / ‬Performance by N&egrave;fta Poetry and Le petit New York</p> <p>&nbsp;</p> <p>The Agency is pleased to announce &lsquo;<em>Divinations of Worlds to Come&rsquo;</em>, the second event of the Afrokarib&rsquo;s series initiated by <strong>BOKANTAJ </strong>collective, which will explore Caribbean cultural and social existence.</p> <p><em>&lsquo;Divinations of Worlds to Come&rsquo;</em> by <strong>BOKANTAJ</strong> is part of the Agency&rsquo;s event programme and will follow on from the event &lsquo;<em>Look! A Negro</em>&rsquo; (after Frantz Fanon&rsquo;s Black Skin, White Masks) held at The Photographers&rsquo; Gallery on Saturday 24th September 2016.</p> <p>&nbsp;</p> <p><strong>BOKANTAJ</strong> is a collaborative initiative that aims to raise greater awareness about the historical trajectories and universal themes that connect seemingly disparate communities, and in so doing help to foster greater dialogue and collaboration.</p> <p><strong>Aminat Awal Lagoro</strong> is an independent researcher with interests in African and African Diasporic themes. Her current research is a confluence of history, ritual, and urban spaces in Lagos (Nigeria). She is co-founder of BOKANTAJ.</p> <p><strong>Alinta Sara</strong> is a teacher and a freelance art educator working with various organisations and galleries in London such as the October Gallery, Lon-Art. From both Martinican and Guinean heritage her research focuses in the cultural links between Africa and the Diaspora. She is co-founder of BOKANTAJ.</p> <p>&nbsp;</p> Fri, 16 Sep 2016 14:08:59 +0000 Ron Arad - Ben Brown Fine Arts Ltd - September 26th 6:00 PM - 8:00 PM <p style="text-align: justify;">Ben Brown Fine Arts is pleased to announce their first solo exhibition in London of internationally acclaimed artist, designer and architect Ron Arad.&nbsp;<em>Summer Exhibition</em>&nbsp;is the culmination of Arad&rsquo;s most recent work, spanning sculpture, hand-crafted studio pieces and industrial design, and showcasing the artist&rsquo;s constant experimentation with the boundaries and possibilities of materials, from metals to wood and glass.&nbsp;<br /><br />An eye-catching installation of Arad&rsquo;s brand new&nbsp;<em>Puddles</em>&nbsp;(2016) &ndash; 32 unique mirror polished stainless steel tables created specifically for the exhibition &ndash; challenges the viewer&rsquo;s sense of reality versus illusion through a subtle game of reflections. Combining intelligent and beautiful design with the artist's pervasive sense of humour, the amorphous shapes of&nbsp;<em>Puddles</em>&nbsp;form a whirlpooled labyrinth as they curve around the gallery space, up the walls and around corners, reminiscent of&nbsp;<em>L&rsquo;Esprit du Nomade</em>(Cartier Foundation, 1994),&nbsp;<em>38 Tables</em>&nbsp;(Triennale Milan, 1995) and&nbsp;<em>Paved with Good Intentions</em>&nbsp;(Miami, 2005). Other new, unique pieces fuse metal sculptural elements and hand-blown glass;&nbsp;<em>Standard Stoppages</em>&nbsp;and&nbsp;<em>Hedgehog</em>&nbsp;(both 2016) take their names and the shape of their metal frameworks from Marcel Duchamp&rsquo;s iconic works of the early 1900s.<br /><br />Movement is a central theme in Arad&rsquo;s oeuvre. His works often encourage interaction, expressed both in his functional designs and purely aesthetic pieces. Drawing inspiration from William Morris&rsquo;s infamous quote &lsquo;Have nothing in your house that you do not know to be useful, or believe to be beautiful&rsquo;,&nbsp;<em>Useful, Beautiful, Love.</em>&nbsp;(2016) reveals Arad&rsquo;s ingenuity with materials, transforming a 900 kg cedar log into a seemingly weightless glider. The movement of the glider itself is echoed in the organic forms and gestural lines of Arad&rsquo;s handwriting, carved into the curve of the cedar bench, combining cutting-edge techniques with expert craftsmanship.<br /><br />The poly-mirror stainless and COR-TEN steel&nbsp;<em>Free Standing China</em>&nbsp;(2009) appears to balance on one point, the island of Hainan, as Arad skilfully exploits the perfectly mirrored steel; this radical re-conception of the form and structure of objects and buildings has put Arad at the forefront of contemporary design and architecture. This sculptural bookshelf in the shape of the map of China and its provinces retains its essential function while questioning perceived limitations. Form and function are fused in the sculptural pair&nbsp;<em>Even the Oddballs</em>&nbsp;(2008), which recall the shape of Arad&rsquo;s iconic&nbsp;<em>Big Easy</em>&nbsp;chair from 1988. A further step in the artist's long exploration of what computers and machines are able to achieve, these chairs are precise positive and negative versions of the same reflective stainless steel silhouette &ndash; one chair features holes and the other is comprised of the gaps between the holes.&nbsp;<br /><br /><em>Summer Exhibition</em>&nbsp;at Ben Brown Fine Arts will coincide with the unveiling of three major public artworks in London by Ron Arad in the summer of 2016;&nbsp;<em>Spyre</em>, in the courtyard of the Royal Academy of Arts (8 June),&nbsp;<em>Thought of Train of Thought</em>, winner of the Terrace Wires public sculpture series at St. Pancras International (7 July), and&nbsp;<em>Curtain Call</em>, a 360&deg; interactive installation at the Roundhouse (6-28 August).</p> Sun, 14 Aug 2016 15:47:18 +0000 Sheila Rock - CHELSEA space - September 27th 6:00 PM - 8:00 PM <p>CHELSEA space is very happy to present the exhibition <strong>Sheila Rock:<em> From Punk to the English Sea</em></strong>as its first exhibition in the autumn 2016 programme.</p> <p>Many of the exhibitions celebrating the 40th anniversary of punk rock in 2016 have displayed a tendency towards depicting this movement as a largely testosterone fueled tribal youth culture. Reflective and knowledgeable of this subject, <strong>Sheila Rock</strong>&rsquo;s photographs instead insist on a more sophisticated reading of her subjects, allowing and revealing a far more nuanced collection of portraits. By exploring her subjects outside of these established contexts, Rock has photographed some of the more gently subversive aspects of punk (sub) culture, through attire, environment and attitude.</p> <p>Central to installation at <strong>CHELSEA space</strong> are a series of new portraits of the female punk icon, <strong>Jordan</strong>, commissioned especially for this exhibition. In the forty years since Sheila Rock first photographed Jordan both have developed and evolved; the new portraits are a powerful photographic statement of undiminished beauty and the empathy between photographer and subject.</p> <p>Jordan is synonymous with Malcolm McLaren and Vivien Westwood&rsquo;s shop SEX, however, her influence was far more wide reaching, as she inspired not only fashion, but was also the muse for artists including Derek Jarman. Her performance as Britannia in his 1977 feature film, <em>Jubilee</em>, and in the Super 8 films <em>Jordan&rsquo;s Dance</em> (1977), <em>Jordan&rsquo;s Jubilee Mask,</em> (1977), <em>Every Woman For Herself and All for Art,</em> (1978) and <em>Jordan&rsquo;s Wedding</em>, (1981), illustrate her innate power and poise. Interviewed in the publication &lsquo;England&rsquo;s Dreaming&rsquo; by Jon Savage, Jordan states, &rdquo;I started ballet when I was about four and carried on until I was about eighteen. It gives you a sense of physical confidence when you&rsquo;ve done a tight discipline like that. I liked to treat myself as a painting&rdquo;.</p> <p>Also accompanying the exhibition are a selection of recent photographic portraits from the series entitled <em>Tough and Tender,</em> that were made in seaside towns around England. Although initially interested in the aesthetics of seascapes when starting on this series, Rock&rsquo;s dignified and stoic portraits reflect a quiet politics, documenting subjects and environments on the economic margins of the early 21st Century.</p> <p>&nbsp;</p> <p><strong>Sheila Rock</strong> came to the UK from America in 1970, and began a series of successful careers; firstly as a primary documenter of the punk era, then as a successful commercial photographer in advertising and editorial and more recently as the author of photographic books featuring works of her own private passions. The Face magazine launched her career, and she later contributed to a variety of diverse titles including German Vogue, Elle, Glamour, Architectural Digest, Sunday Times, Telegraph Magazine, Brides, Time Magazine and Rolling Stone Magazine. Her book <strong><em>PUNK +</em></strong>, published in 2013, is a document of the London 1970s punk scene that was also accompanied by a series of exhibitions in London, Paris and Berlin and later, Tokyo, Shanghai, Hong Kong and Singapore.</p> <p>&nbsp;</p> <p><strong>Jordan </strong>(Pamela Rooke) is from Seaford, East Sussex. She was a model and actress noted for her work with Vivienne Westwood and the SEX boutique in the Kings Road, London in the mid-1970s that formalised the punk movement in terms of its style and attitude. Manager of Adam and the Ants in 1977, Jordan also starred in various films made by Derek Jarman, including <em>Jordan&rsquo;s Dance</em> (1977) and <em>Jubilee </em>(1978).&nbsp;</p> Wed, 03 Aug 2016 10:58:13 +0000 Paula Rego - Marlborough Fine Art - September 27th 6:00 PM - 8:00 PM <p class="BODY"><strong>Marlborough Fine Art is pleased to present a major exhibition of works by Paula Rego across two floors of its London gallery. Considered one of the leading figurative artists today, Rego draws inspiration from many sources including literature and fairy tales to create mysterious and narrative works. </strong></p> <p class="BODY">On display in the lower level gallery, is Rego&rsquo;s large-scale pastel series<em> Dancing Ostriches</em> <em>from Disney&rsquo;s &lsquo;Fantasia&rsquo;</em><em>,</em> originally commissioned for the exhibition <em>Spellbound</em> at the Hayward Gallery, London in 1996 and then acquired by Saatchi Gallery. Marking the centenary of cinema in Britain, artists and film-makers were commissioned to create works portraying the relationship between art and cinema. Both enthralled and terrified by the films of Walt Disney as a child, Rego derived the series from the &lsquo;Dance of the Ostriches&rsquo; in Fantasia, a scene that particularly stood out in her memory. Citing Disney as a major artistic influence, Rego regarded his films as a modern counterpart to traditional fairy tales told to her as a child.</p> <p class="BODY">Drawing both from memory and her assistant Lila as a life model, Rego replaces the animals with robust women in purposely awkward stances. Striving against the odds, the lumbering dancers challenge attitudes towards the female body and Disney&rsquo;s idealized cartoon characters. Rego states, <em>&ldquo;The Ostriches couldn&rsquo;t have been done if I hadn&rsquo;t been the age I am. A younger woman wouldn&rsquo;t know what it was like; longing for things that are not gone, because they&rsquo;re inside one, but that are inaccessible.&rdquo; </em></p> <p class="BODY">Paula Rego consistently challenges herself, embracing new ideas, stories and media. On view in Marlborough&rsquo;s first floor gallery is a new large-scale work, her first tapestry, <em>Eagles Daughter </em>(2016). Based on an 16<sup>th</sup> century folk tale, it tells the story of a beautiful young girl&rsquo;s life, born to a man who was raised by eagles, and betrayed by an ugly, wicked old woman.&nbsp; Produced with textile design at Factum Arte in Madrid, the work was woven by Flanders Tapestries in Belgium. The tapestry is shown alongside a selection of etchings and lithographs including the critically acclaimed series <em>The</em> <em>Pendle Witches </em>(1996) and <em>Peter Pan </em>(1992).</p> <p class="BODY">Rego&rsquo;s expressive works invite the viewer into a world of disconcerting realism and innocence, told through both familiar and imagined stories which are open to interpretation and blur the lines between the grotesque, sinister and beautiful.</p> <p class="BODY">A fully illustrated catalogue will be available with an introduction by Jan Dalley, Arts Editor of the Financial Times and author.</p> <p class="BODY">The exhibition coincides with a solo display devoted to Paula Rego&rsquo;s works from the 1980&rsquo;s at Frieze Masters, 6 &ndash; 9 October 2016. It includes important works from the <em>Vivian Girls</em> series inspired by the Outsider artist Henry Darger, much admired by Rego. This constitutes the fourth in a series of single-artist booths presented by Marlborough Fine Art at the fair, following the presentation of Frank Auerbach in 2015, Francis Bacon in 2014 and Victor Pasmore in 2013.</p> <p class="BODY">Rego (b. 1935, Lisbon) trained at the Slade School of Fine Art (1952-56). In 1990, she was appointed artist-in-residence at the National Gallery, London. Her work has been exhibited in many of the major museums world-wide.&nbsp; In 2004 she was awarded the Gr&atilde; Cruz da Ordem de Sant'Iago da Espada by the President of Portugal and a museum dedicated to Rego's work, the Casa das Hist&oacute;rias Paula Rego, was opened in Cascais, Portugal in 2009. In 2010, Rego was made a Dame of the British Empire. Her work is part of numerous public collections including the Arts Council, London, England; Berardo Collection, Lisbon; National Gallery, London; National Portrait Gallery, London; Tate Gallery, Liverpool; and the Whitworth Art Gallery, Manchester. She lives and works in London.</p> Fri, 22 Jul 2016 09:51:51 +0000 Yinka Shonibare MBE - Stephen Friedman Gallery - September 27th 6:00 PM - 8:00 PM <div style="text-align: justify;">Opening for Frieze week in October 2016,&nbsp;<strong>Yinka Shonibare MBE</strong>&nbsp;presents his sixth solo exhibition at Stephen Friedman Gallery titled&nbsp;<strong>'...and the wall fell away'</strong>.<span style="font-size: 1.17em;">&nbsp;</span></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The show marks a pivotal moment in the artist's practice with the complete absence of the Dutch wax Batik textiles for which he is known. Shonibare removes the fabric altogether and employs the batik designs in new forms; mural painting, bronze sculpture, screen prints on canvas and the appropriation of classical sculpture.<span style="font-size: 1.17em;">&nbsp;</span></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Shonibare uses the patterns of the batik fabrics as a device to interrupt the canon of classical and renaissance art and Western religious iconography. The intention to challenge and dismantle the boundaries of Western understanding is indicated in the title of the show. By leaving the 'trace' of his trademark batik motifs, Shonibare gives a personal insight into the complexities of identity, nationality and colonial history.<span style="font-size: 1.17em;">&nbsp;</span></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The exhibition is divided into two parts: Gallery One is focused on ideas of rationality in classical art and Gallery Two, on religious hybridity.<span style="font-size: 1.17em;">&nbsp;</span></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Upon entering Gallery One, we are struck by the absence of sculpture. Instead, an expansive wall painting is framed by the white walls of the gallery. Unlike previous iterations of these impressive installations, here there are no sculptural elements. This work sets the tone for the show as the wax batik pattern is stripped from the fabric and painted directly onto the wall.<span style="font-size: 1.17em;">&nbsp;</span></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The intersecting circles of the monumental hand-painted installation will deliberately echo the same motif currently displayed on Shonibare's commission 'The Family Album' of the Royal Academy's fa&ccedil;ade on Burlington Gardens.<span style="font-size: 1.17em;">&nbsp;</span></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Inspired by Leonardo da Vinci's 'Vitruvian Man', the wall painting in the front space of the gallery is completed by an accompanying floor drawing rendered in gold and red and these two elements form one immersive work. Da Vinci's drawing was intended to demonstrate the humanist perspective that man is the measure of all things. Shonibare's proposal of a new measure is a black figure, and a hybrid of both man and woman.</div> <div style="text-align: justify;"><span style="font-size: 1.17em;">&nbsp;</span></div> <div style="text-align: justify;">In the following gallery three sculptures recognisable as Venus de Milo, Discobolus of Myron (Discus Thrower) and Michelangelo's David are hand painted with batik patterns. Much like the artist's series of 'Self Portraits (after Warhol)' in which he superimposed batik patterns onto his own face, the sculptures are transformed with the patterns 'tattoed' directly onto the sculptures. Using sculptural archetypes of sexuality, masculinity and athleticism, Shonibare manipulates the aesthetics of these forms to challenge the accepted definition of the idealised body.</div> <div style="text-align: justify;"><span style="font-size: 1.17em;">&nbsp;</span></div> <div style="text-align: justify;">Dutch wax batik fabric was inspired by Indonesian design, mass-produced by the Dutch and British and eventually sold to the colonies in West Africa. In the 1960s the material became a new symbol of African identity and independence. Since the early 1990s, Shonibare has used it to represent the flexibility of identity as much as the implications of trade and colonialism.</div> <div style="text-align: justify;"><span style="font-size: 1.17em;">&nbsp;</span></div> <div style="text-align: justify;">The series of imposing screen-prints on canvas in Gallery Two is Shonibare's largest to date. A key feature of Shonibare's work is its visual appeal, and these are immediately seductive with colour and beauty. Figures from Christian and African religious iconography merge into fantastical hybrids. Shonibare is able to make these works by using new technology drawing on a large tablet. This is the first instance in which we see Shonibare drawing himself, what the artist describes as 'hand expression', enlarged to such a grand scale. Each work begins with a drawing of an image of a European saint, Shonibare then collages this with clashing elements of Dutch wax Batik patterns, African ritual masks and extracts of stocks and shares from the Financial Times.<span style="font-size: 1.17em;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: 1.17em;">&nbsp;</span></div> <div style="text-align: justify;"><em>"First of all [I] think about picture making itself: the history of Modernism and the aesthetic of the mask in Modernist painting. So we are going back to Picasso. And then taking that signifier of religious ritual, which is the mask, and overlapping one religious symbol with another religious symbol"</em>. By combining powerful imagery with their respective mythologies, Shonibare creates a hybrid ideology: what he calls 'a third myth'.</div> <div style="text-align: justify;"><span style="font-size: 1.17em;">&nbsp;</span></div> <div style="text-align: justify;">Shonibare's presentation of new work seduces and undermines the expectations of the audience. Removing the textiles for which he is known, using the mimesis of the fabric is an important move for the artist. Shonibare sees the material as a metaphor for interdependence: complexity and ambiguity are the cornerstones of his artistic narrative. His specific concerns here; art history, the power of iconography and religion, are powerfully brought together. With each of them he interrupts familiar references by overlaying the image with the wax batik pattern. In doing so he exercises individual agency and aesthetic creativity, which are ideas that are central to humanism. This has long been present in Shonibare's work. This exhibition should be read as a celebration of human expression, achievement, beauty and the pursuit of intellectual and religious liberty, regardless of race and time. '...and the wall fell away' demonstrates an irreverent disregard for the binaries presented in Western understandings and offers a contemporary deconstruction of the classics.</div> Sun, 14 Aug 2016 16:35:33 +0000 Victoria Adam, Adriano Amaral, Noah Barker, Luis Miguel Bendaña, Patrizio Di Massimo, Justin Fitzpatrick, Lisa Holzer, Isaac Lythgoe, Vanessa Safavi - Seventeen - September 29th 6:00 PM - 8:00 PM <p style="text-align: justify;" dir="ltr">'No one can imagine &ndash; simply &ndash; merely; one must imagine within words or paint or metal, communicating genes or multiplying numbers. Imagination is its medium realized. You are your body &ndash; you do not choose the feet you walk in &ndash; and the poet is his language. He sees his world, and words form in his eyes just like the streams and trees there. He feels everything verbally. Objects, passions, actions...&nbsp;</p> <p style="text-align: justify;" dir="ltr">I am only a string of noises, after all &ndash; nothing more really &ndash; an arrangement, a column of air moving up and down, a queer of growth like a gall on a tree, a mimic of movement in silent readers maybe, a brief beating of wings and cooing of a peaceful kind, an empty swing still warm from your bloomers &hellip; ummm &hellip; imagine the imagination imagining &hellip; and surely neither male or female &ndash; there&rsquo;s nothing female about a column of air, a gall on a tree &ndash; surely both, like bloomers on the swing&rsquo;s seat&hellip; so I&rsquo;m a spiky bush at least, I like to think, knotty and low growing, scratchy though flowering, a hawthorne would suit me.'&nbsp;</p> <p style="text-align: justify;" dir="ltr">- William H. Gass, "Willie Masters&rsquo; Lonesome Wife"</p> <p style="text-align: justify;" dir="ltr">&nbsp;</p> <p style="text-align: justify;" dir="ltr">The exhibition <em>Lonesome Wife</em> takes its title from "Willie Masters&rsquo; Lonesome Wife", a 1989 book by the experimental American novelist William H. Gass.&nbsp;</p> <p style="text-align: justify;" dir="ltr">The book is narrated through the voice of Babs Masters, the lonesome wife of the title. Disappointed by her inattentive husband, she engages in a breezy display of the varieties and visual qualities of language &ndash; diverse typefaces, speech bubbles, typographical experiments, in order to seduce a clandestine new lover, who is slowly revealed through the book as the Reader themself.&nbsp;</p> <p style="text-align: justify;" dir="ltr">Using text as a starting point, Gass creates a parallel between a concrete use of language and the female body of Babs Masters, both employed as tools of persuasion, absorbing the reader-viewer in a game of intimate eclipse and revelation.</p> <p style="text-align: justify;" dir="ltr">The exhibition looks at the multiple ways in which seduction can serve as narrative tool as well as an antidote to boredom and disinterest. The exhibited works hint at the body, the physicality of text and the linguistic capacity of objects. They move between the registers of form, process and content, to be read or to be felt.</p> Mon, 19 Sep 2016 17:32:21 +0000 Roman Ondák - South London Gallery - September 29th 6:00 PM - 8:00 PM <p style="text-align: justify;">For his first solo show in London for more than a decade, internationally acclaimed artist Roman Ondak presents an exhibition lasting one hundred days that brings together a new body of work exploring ideas around the passage of time and the intertwining of present and past. Symbolising a period of one hundred years, on each day of the show a pre-sawn disk is separated from the trunk of an oak tree to reveal the delineation in ink of one of its age-defining rings and a key historical event which occurred in that year which has been stamped onto the wood in ink. The artist&rsquo;s inevitably subjective selection of events to highlight exposes the impossibility of an objective, unbiased history, as well as the impact of the teaching on our understanding and interpretation of the past.&nbsp;</p> <p style="text-align: justify;">Gradually evolving over the course of the show as the oak tree is incrementally transferred from floor to wall, this central sculpture creates a notional calendar, setting the tone for other works in which the historic collides with the contemporary. High up on the gallery walls, illustrations from pages of <em>Teaching the Language</em>, a 1960s children&rsquo;s text book issuing instructions on social codes of behaviour which Ondak found in a second-hand bookshop, are reproduced on a huge scale. They create a backdrop for scores of 12-18 year old adolescents living locally to the South London Gallery to daub them with comments and drawings, given free reign to express whatever they choose to in the public arena of the gallery space. Another work is comprised of four salvaged blackboards from Ondak&rsquo;s native Slovakia, injecting a hint of autobiographical content into the show, but primarily embodying the passing down of knowledge from one generation to the next. Inserted into each of the boards is the bowl of a ladle, positioned in sequence to symbolise four phases of the moon in a further reference to the passage of time.&nbsp;&nbsp;</p> <p style="text-align: justify;">The exhibition title, <em>The Source of Art is in the Life of a People</em>, is taken from the inscription on the South London Gallery&rsquo;s original nineteenth century <a href="">marquetry floor designed by Walter Crane</a>. Usually hidden from public view, Ondak has uncovered the floor to reveal it to the public for the first time in many years, harnessing the coincidence of past and present which characterises all the works within it.&nbsp;</p> <p style="text-align: justify;">Roman Ondak lives and works in Bratislava and is a leading conceptual artist whose work explores patterns of behaviour and alternative social and political possibilities, often born of observations of post-communist society in his native Slovakia.&nbsp;</p> <p style="text-align: justify;"><em>Exhibition supported by the Henry Moore Foundation and kurimanzutto.</em><em>&nbsp;<br />&nbsp;</em></p> <p style="text-align: justify;"><strong>Artist Biography<br /></strong>Roman Ondak (b. 1966 Slovakia) plays with ideas of relocation, representation, and the duplication of experience, shifting and sharpening the viewer&rsquo;s attention to everyday life. Growing up under the communist regime of former Czechoslovakia, the artist became attentive to systems of inclusion and exclusion that ordered this particular society. Ondak explores the potential for different orders&mdash;new patterns of behaviour, and ultimately, alternative social and political possibilities. His work is often quite subtle, infiltrating the spectator&rsquo;s surroundings in imaginative and quiet ways, suggesting a renegotiation with reality. Adopting an almost anthropological approach, he recombines aspects of the quotidian with his incisive artistic wit, opening up space to challenge the rules of the everyday through his poetic alterations. Ondak&rsquo;s work is not only curious about the rituals and assumptions that govern our lives; he is playfully interrogative of the art system as well as society at large, urging us to greater awareness.&nbsp;</p> <p style="text-align: justify;">Roman Ondak studied graphic design and painting at the Academy of Fine Arts in Bratislava from 1988 to 1994. He also studied at Slippery Rock University, Pennsylvania (1993); Collegium Helveticum in Zurich (1999&ndash;2000); the CCA in Kitakyushu (2004); he has had grants from the DAAD in Berlin (2007/08) and the Villa Arson in Nice (2010).&nbsp;</p> <p style="text-align: justify;">His most important exhibitions include: <em>Roman Ondak: Storyboard</em>, Guangdong Times Museum, Guangzhou, China (2015); <em>Roman Ondak</em>, Museo Nacional Centro de Arte Reina Sof&iacute;a, Palacio de Cristal, Madrid, Spain (2013); <em>Roman Ondak: Some Thing</em>, The Common Guild, Glasglow, United Kingdom (2013); <em>do not walk outside this area</em>, Deutsche Guggenheim, Berlin, Germany (2012); <em>Roman Ondak</em>, Mus&eacute;e d&rsquo;art moderne de la Ville de Paris, Paris France (2012); <em>Enter the Orbit</em>, Kunsthaus Z&uuml;rich, Z&uuml;rich Switzerland (2011); <em>Time Capsule</em>, Modern Art Oxford, Oxford, United Kingdom (2011); <em>Before Waiting Becomes Part of Your Life</em>, Salzburger Kunstverein, Salzburg, Germany (2011); <em>Loop</em>, Czech and Slovak Pavilion of the 53rd Biennale di Venezia, Venice, Italy (2009); <em>Measuring the Universe</em>, The Museum of Modern Art, New York, United States (2009); <em>Path</em>, CCA Wattis Institute, San Francisco, United States (2008); <em>It Will All Turn Out Right in the End</em>, Tate Modern, United Kingdom (2006).</p> <p style="text-align: justify;">Moreover, his work has been included in group exhibitions at institutions such as the Tate Modern, London, United Kingdom (2016, 2006); MALBA Museo de Arte Latinoamericano de Buenos Aires (2015); Museum of Contemporary Art Detroit, Detroit, United States (2013); Kunsthalle N&uuml;rnberg, Germany (2012); MoMA PS1, New York United States (2011); Stedelijk Museum, Amsterdam, Neatherlands (2010, 2005); ICA, Boston United States (2008); Frankfurter Kunstverein, Frankfurt Germany (2005), among others.&nbsp;</p> <p style="text-align: justify;">He has participated in the following biennials: the 54th and 50th Venice Biennale, Venice, Italy (2011 &amp; 2003); the 5th Moscow Biennial, Moscow, Russia (2013); Documenta 13, Kassel, Germany (2012); the 5th Liverpool Biennial. Liverpool, United Kingdom (2008); the 8th Panama Art Biennial. Panama City, Panama (2008); the 27th Bienal S&atilde;o Paulo, S&atilde;o Paulo, Brazil (2006) and the Prague Biennial, Prague Chec Republic (2003).&nbsp;</p> <p style="text-align: justify;">Roman Ondak currently lives and works in Bratislava.</p> Sun, 04 Sep 2016 16:39:04 +0000 Julie Cockburn - The Photographers' Gallery - September 29th 10:00 AM - 8:00 PM Tue, 06 Sep 2016 06:35:48 +0000 Virginia Overton - White Cube, Bermondsey - September 29th 6:00 PM - 8:00 PM Mon, 08 Aug 2016 18:59:55 +0000 Antony Gormley - White Cube, Bermondsey - September 29th 6:00 PM - 8:00 PM Mon, 08 Aug 2016 19:00:20 +0000 Donna Huanca - Zabludowicz Collection - September 29th 6:00 PM - 9:00 PM <p style="text-align: justify;">We are proud to announce that this year&rsquo;s Annual Commission will be undertaken by American artist Donna Huanca. This will be her first solo exhibition in the UK.&nbsp;</p> <p style="text-align: justify;">Huanca stages surreal architectural collages activated by live performers. She uses socially coded artefacts of the body such as cosmetics and found clothing to create paintings and sculptures, which become backdrops for these durational performances. Painted models, presented as canvases, move glacially through the installation; their morphing tableaux vivants leaving behind scars and ghostly remnants. For her exhibition in London, Huanca will be extending her investigations into representations of presence and absence with a sound installation that will amplify the spaces of 176 Prince of Wales Rd, responding to the movement of bodies through the building.&nbsp;</p> <p style="text-align: justify;">Donna Huanca (b. 1980 Chicago, USA) studied at the St&auml;delschule, Frankfurt as well as the Skowhegan School of Painting and Sculpture, Maine and has been the recipient of the DAAD Artist Grant and a Fulbright research grant. Recent exhibition venues include the Malm&ouml; Konsthalle, Moma PS1 Printshop, New York and Peres Projects, Berlin.</p> Wed, 14 Sep 2016 19:05:54 +0000 Luke McCreadie - Zabludowicz Collection - September 29th 6:00 PM - 9:00 PM <p style="text-align: justify;">Luke McCreadie works across video, installation and performance to explore structures and forms of language, architecture and behaviour. Pursuing ideas of slippage and translation, he creates sculpture, scripts film narratives, and orchestrates performances in which verbal communication and sound might morph from the immaterial into material existence. Archaeological artefacts, vinyl record sleeves, painted clothing, and post-apocalyptic landscapes all feature in McCreadie&rsquo;s subtle yet absurdist perspective on human and object relations.</p> Wed, 14 Sep 2016 19:06:49 +0000 Tony Cragg - Lisson Gallery - September 30th 6:00 PM - 8:00 PM <p style="text-align: justify;">This exhibition is&nbsp;<a href="" target="_blank">Tony&nbsp;Cragg</a>&rsquo;s fourteenth with Lisson Gallery since his first solo show in 1979. Spanning both London venues, it will feature the latest works in Cragg&rsquo;s career-long pursuit of his interest in developing specific groups of sculptural themes and forms. As always, Cragg&rsquo;s radical and experimental approach to making sculpture produces surprising new forms and meanings that add congruently to his already considerable oeuvre.&nbsp;</p> <p style="text-align: justify;">A process of continual enquiry infuses Cragg&rsquo;s practice with a restless energy, manifest in his continuing exploration of a multitude of materials and ways of reshaping the world around us. His axiom is that &ldquo;There are many more things that do not exist than things that do exist&rdquo; and with this he points to a deep well of things and forms that are as yet beyond our perception. Sculpture is for Cragg a method to unlock this enormous potential not just for new forms but the new meanings, dreams and language that will become associated to them. For him it is a method for discovering the as yet unseen.</p> <p style="text-align: justify;">The exhibition shows several new departures, including works entitled&nbsp;<em>Industrial Nature</em>&nbsp;resulting from the collision and fusion of organic and artificial elements within and without contained volumes. The juxtaposition of geometries with organic forms has been a constant theme in Cragg&rsquo;s earlier works and represents for him the dual nature of most things we see around us, given that our own mindset is inherently and necessarily rational, in order to build coherent forms, but is also obviously complex and subjective enough to be described as organic.</p> <p style="text-align: justify;">Very different approaches to related themes can be found in the monumental bronze sculptures&nbsp;<em>Willow</em>,&nbsp;<em>Skull</em>&nbsp;and&nbsp;<em>Migrant</em>. While the wooden sculpture&nbsp;<em>Spear</em>&nbsp;and&nbsp;<em>Sail</em>&nbsp;in white onyx open new lines of investigation that derive from his&nbsp;<em>Versus</em>&nbsp;series. A new body of glass works made in Venice and aggregate, seed-like casts of the sculptor&rsquo;s own head (<em>Identity</em>) are exhibited next to the latest developments of three of Cragg&rsquo;s larger groups of work&nbsp;<em>Early Forms</em>,&nbsp;<em>Rational Beings&nbsp;</em>and&nbsp;<em>Manipulations</em>. All of which have evolved far from their origins in the 1980s and surprise again in this exhibition with new twists and turns.</p> <p style="text-align: justify;">Cragg never forgets the path he has taken to arrive at his latest works that still find references in some of his earliest works, such as the stacks, assemblages and his figurative collages made from discarded materials. This latest body of work, however, once again affirms the contemporaneous nature of the artist&rsquo;s practice.</p> <p style="text-align: justify;">If nothing is as it first seems in this exhibition &ndash;&nbsp;materials, forms and resonances fool the eye and confound the viewer &ndash;&nbsp;then these disorienting sensations reflect Cragg&rsquo;s own conscious, dense layering of visual phenomena and historical references, one on top of another. This creation of an enhanced and extruded reality as experienced through technology and the multiple perspectives afforded to us by the pace and prisms of modern life, is further evidence of a sculptor working at the height of his powers.</p> <p style="text-align: justify;">The artist has recently been the subject of a major career retrospective &lsquo;Parts of the World&rsquo; in Germany, at the&nbsp;<a href="" target="_blank">Von der Heydt Museum</a>&nbsp;(19 April &ndash; 14 August 2016) near his studio and sculpture park in Wuppertal. Next year Cragg is to be honoured with his largest exhibition to date in the United Kingdom at&nbsp;<a href="" target="_blank">Yorkshire Sculpture Park</a>&nbsp;(4 March &ndash; 3 September 2017).</p> Sun, 14 Aug 2016 16:57:36 +0000 Art & Language, Ilya Kabakov - Sprovieri - September 30th 10:00 AM - 6:00 PM <p style="text-align: justify;">Sprovieri is pleased to present Art &amp; Language and Ilya Kabakov in THE NON-OBJECTIVE WORLD. The exhibition revisits the radical, early 20th century theoretical departure spelled out by Kasimir Malevich in his book,&nbsp;<em>The Non-Objective World</em>, not through his original Black Square paintings, but through related works by the important living conceptual artists, Art &amp; Language (Michael Baldwin and Mel Ramsden) and Ilya Kabakov. As conceptual artists each has absorbed, over the last 50 years, the impact which Malevich has had on modern art and turned it into something of their own. For the first time, in a joint collaboration between Sprovieri and Jill Silverman van Coenegrachts, this connection between the greatest and most original abstract artist with leading conceptual artists of our time is explored.&nbsp;</p> <p style="text-align: justify;">Malevich&rsquo;s book on Suprematism&nbsp;<em>The Non-Objective World</em>, was first published by the Bauhaus Press in German in 1927, but not in English until 1959. Michael Baldwin bought a copy in 1965. &ldquo;Malevich had a certain glamour, the glamour of radicality, which every twenty year-old is searching for in their own spotty way&hellip;&rdquo; he explains in an interview with Silverman van Coenegrachts. Baldwin, after reading the Malevich book, was inspired to make a series of installation works based on ideas from the text. Three of which are currently in private and institutional collections, the remaining three installations from 1965 &ndash;&nbsp;<em>Two Suprematist Squares</em>&nbsp;in two variations and&nbsp;<em>Ten Suprematist Squares</em>&nbsp;&ndash; have come directly from the artist's studio for the first time and will be included in this exhibition. These will be shown on a large scale as installations painted directly onto the gallery walls. It is noteworthy they were conceived three years before Sol Lewitt made his first wall drawing in 1968.&nbsp;</p> <p style="text-align: justify;">In addition, there are seven drawings each entitled&nbsp;<em>Two Black Squares</em>, by Mel Ramsden made between 1966-67 in New York, including three from his studio archives, the last examples available for sale. There will also be seven other Black Square works on paper by Mel Ramsden on loan from MACBA (Barcelona) from The Philippe M&eacute;aille Collection.&nbsp;</p> <p style="text-align: justify;">The Moscow conceptualist, Ilya Kabakov, came across Malevich in Russia in the early 1970s, when, as Silverman van Coenegrachts herself had experienced at the height of the Cold War, it was dangerous even to speak of Malevich&rsquo;s&nbsp;<em>Black Square</em>&nbsp;paintings in Russia. Kabakov later referred to him in an article published in Paris in 1983, as: &ldquo;A great artist. An inspirer of terror. A great boss. To sum up; the way ahead is with Malevich alone.&rdquo; Long after his relocation to America in 1986 and his first sightings of a<em>Black Square</em>&nbsp;painting and the<em>&nbsp;The Non-Objective World&nbsp;</em>in 1989, Kabakov made specific reference to the introduction of pure abstract, geometrical form as art in his series&nbsp;<em>An Alternative History of Art,&nbsp;</em>which include a number of his&nbsp;<em>Black Corner&nbsp;</em>paintings (2002-2008). Four of these paintings, white monochromes with black borders on two adjoining sides, will be exhibited at Sprovieri in juxtaposition with the Art &amp; Language works. The dialogue between them is the way in which each addresses the concept of radical abstraction.&nbsp;</p> <p style="text-align: justify;">The exhibition will also include a selection of Michael Baldwin&rsquo;s 1965 manuscripts about Malevich, and the project is accompanied by a 120-page illustrated book, edited by Jill Silverman van Coenegrachts and with texts by Art &amp; Language, Matthew Jesse Jackson, Ilya Kabakov, Rod Mengham and Andrei Nakov, the author of the Malevich catalogue raisonn&eacute;.&nbsp;</p> <p style="text-align: justify;"><br />About the artists<br /><strong>Art &amp; Language</strong>:&nbsp;<strong>Michael Baldwin</strong>, born 1945, Chipping Norton, Oxfordshire;&nbsp;<strong>Mel Ramsden</strong>, born 1944, Ilkeston, Derbyshire. The group was founded in Coventry, England by Michael Baldwin, David Bainbridge, Terry Atkinson and Harold Hurrell. The late critic and art historian Charles Harrison and the artist Mel Ramsden both became associated with the group in 1970. They have had international gallery and museum exhibitions continuously since 1967 including:&nbsp;MACBA, Barcelona (2014); Dhondt-Dhaenens, Belgium (2013); CAC, M&aacute;laga (2004); Migros Museum, Zurich (2003); Villeneuve d&rsquo;Ascq (2002); ZKM, Karlsruhe (2000); PS1, New York (1999); Tapies Foundation, Barcelona (1999); Jeu de Paume, Paris (1992); Palais des Beaux Arts Brussels (1987); Tate Gallery, London (1985); Musee d&rsquo;art moderne Toulon (1982); Van Abbemuseum, Eindhoven (1980). They participated in documenta 5, 7, X and the Venice Biennale (1976 and 2003).</p> <p style="text-align: justify;"><strong>Ilya Kabakov,</strong>&nbsp;born 1933, Dnepropetrovsk, USSR;&nbsp;<strong>Emilia Kabakov,&nbsp;</strong>born 1945, Dneptropetrovsk, USSR. They live and work in New York. They have received numerous public art commissions and prestigious awards: Legion of Honour, France (2014);&nbsp;Imperial Prize, Japan (2008); Oskar Kokoschka Prize, Austria (2002); Joseph Beuys Prize, Germany (1983). The Kabakovs' work is included in the collections of most of the world&rsquo;s major museums such as the Museum of Modern Art, New York; Tate Modern, London, and The Centre Pompidou in Paris. Their installation&nbsp;<em>The Strange City&nbsp;</em>was selected as the Monumenta 2014 exhibition at the Grand Palais in Paris.&nbsp;Their work has also been the subject of many international exhibitions, The Power Station of Art, Shanghai (2015); the Sprengel Museum, Hannover (2013); The National Gallery of Scotland, Edinburgh (2011); the Louvre, Paris (2010); the Museum of Contemporary Art, Rome (2010); the Guggenheim Museum, New York (2010 and 2005); the Serpentine Gallery, London (2005), and the Museum of Modern Art, New York (2005). The Kabakovs will have a major exhibition at Tate Modern in October 2017, which will travel in 2018 to&nbsp;the State Hermitage Museum, St Petersburg and the State Tretyakov Gallery, Moscow.</p> Mon, 19 Sep 2016 15:58:43 +0000 Jamian Juliano–Villani - Studio Voltaire - September 30th 6:00 PM - 8:00 PM <div class="colSpan12 nudgeContainer marginBottom50"> <div class="introParagraph"> <p style="text-align: justify;">In October&nbsp;2016 Studio Voltaire will present a major new commission by American painter Jamian Juliano-Villani, her first solo presentation in a public institution outside the US.</p> </div> <p style="text-align: justify;">Jamian Juliano-Villani&rsquo;s (b. 1987, New Jersey) paintings teem with cultural references, both populist and obscure; animation, advertising and video games jostle with Reggae album artwork and delinquent characters from art history. By layering appropriated imagery she creates aberrations, with figures growing, shrinking and dissolving into one another. Her paintings often reflect a curious slippage between the prosaic and surreal, converting the familiar into the uncanny.</p> <p style="text-align: justify;">Juliano-Villani&rsquo;s bold and graphic style has become categorised by her use of cartoon imagery, however, she has repeatedly specified it is not cartoons aesthetic but their populist nature that interests her. She is mining a shared collective memory to express intimate and subjective issues that can be read through the universal language of cartoons. The communicative potential of her work is key for Juliano-Villani, and her unrestricted use of mainstream appropriation makes it legible on a number of levels.</p> <p style="text-align: justify;">For her commission at Studio Voltaire Juliano-Villani will work in situ and create a new body of work in response to the idiosyncrasies of the gallery space. She will build on the developments in her more recent work, moving away from her complex, dynamic Hieronymus Bosch-esque tableaus, where chaos was the main character, and instead focus on the psychological atmosphere of her paintings in a more personal, intimate way.</p> <p style="text-align: justify;">There is a clear duality in Juliano-Villani&rsquo;s work; it is comic but also visceral, violent, perverse and at times erotic. Her work is simultaneously appealing and yet repulsive. She examines common cultural memories via the myths derived from television and advertising, however she re-contextualises these, and as a result imbues them with new meaning, and critically new value. Her works are affective and angst ridden, filled with moral dilemmas and personal visions. Juliano-Villani&rsquo;s works can all be read as self-portraits, but ones composed with a shared visual language.</p> </div> Sun, 21 Aug 2016 05:27:49 +0000 Richard Serra - Gagosian Gallery - Britannia Street - October 1st 6:00 PM - 8:00 PM <p>Gagosian Gallery is pleased to present three recent large-scale steel sculptures by Richard Serra.</p> <p style="text-align: justify;"><strong>Richard Serra </strong>was born in San Francisco in 1938 and has lived in New York since 1966. He studied at the University of California (Berkeley and Santa Barbara) and at Yale University. He was awarded the insignia of Chevalier de la l&eacute;gion d'honneur by the French government in June 2015.</p> <p style="text-align: justify;">Institutional collections include The Museum of Modern Art, New York; Whitney Museum of American Art, New York; Dia Art Foundation, Beacon, New York; National Gallery of Art, Washington, D.C.; LACMA, Los Angeles; The Broad, Los Angeles; Tate Modern, London; Stedelijk Museum, Amsterdam; Serralves Foundation, Oporto, Portugal; Neue Nationalgalerie, Berlin; and Guggenheim Museum Bilbao, Spain, among many others.</p> <p style="text-align: justify;">Serra's earliest solo exhibitions were held at Galleria La Salita, Rome (1966), and Leo Castelli Warehouse, New York (1969). His first solo museum exhibition was presented at The Norton Simon Museum (formerly Pasadena Art Museum) in 1970. Selected recent solo institutional exhibitions include &ldquo;Richard Serra: Weight and Measure Drawings,&rdquo; American Academy in Rome, Italy (2000); &ldquo;Sculpture and Drawing by Richard Serra,&rdquo; The Pulitzer Foundation for the Arts, St. Louis, Missouri (2003); &ldquo;Richard Serra: Focus Installation,&rdquo; St. Louis Museum of Art, Missouri (2003); &ldquo;Richard Serra,&rdquo; Museo Archeologico Nazionale di Napoli, Naples, Italy; &ldquo;Richard Serra: The Matter of Time,&rdquo; Guggenheim Museum Bilbao, Spain (2005); &ldquo;Richard Serra Sculpture: Forty Years,&rdquo; The Museum of Modern Art, New York (2007); &ldquo;Richard Serra, Drawings: Work Comes Out of Work,&rdquo; Kunsthaus Bregenz, Austria (2008); &ldquo;Promenade,&rdquo; Monumenta, Grand Palais, Paris (2008); &ldquo;Richard Serra Drawing: A Retrospective,&rdquo; The Metropolitan Museum of Art, New York (2011, travelled to San Francisco Museum of Modern Art, California; and the organizing venue, The Menil Collection, Houston); &ldquo;Richard Serra: Drawings for The Courtauld,&rdquo; The Courtauld Gallery, London (2013); &ldquo;Richard Serra,&rdquo; Qatar Museum Authority, Doha (2014); and &ldquo;Richard Serra: Drawings in the G&aacute;vea House,&rdquo; Instituto Moreira Salles, Rio de Janeiro (2014).</p> <p style="text-align: justify;">Serra participated in Documenta in 1972, 1977, 1982, and 1987; and La Biennale di Venezia in 1980, 1984, 2001, and 2013. He was awarded the Golden Lion in 2001. In 2005, <em>The Matter of Time</em> (1994&ndash;2005), a series of eight monumental sculptures, was permanently installed at the Guggenheim Museum Bilbao. In 2014, <em>East-West/West-East</em> (2014) was permanently installed in the desert of the Brouq Nature Reserve in Western Qatar.</p> <p>Since 1983, Gagosian Gallery has presented more than thirty major exhibitions of Serra's sculptures and drawings in the United States and Europe.</p> Sun, 21 Aug 2016 03:21:30 +0000