ArtSlant - Openings & events en-us 40 Isa Genzken - Institute of Contemporary Arts (ICA) - June 30th 6:00 PM - 9:00 PM <p style="text-align: justify;">Isa Genzken is one of the most important and influential artists of the last forty years. Since the early 1970s, Genzken has developed an extraordinary practice as evidenced through museum shows such as her recent retrospective at MoMA, New York. Increasingly ambitious displays of the artist&rsquo;s work have tended toward a focus on large-scale sculptures, installations and impressive wall mounted panel works. Lesser known are her paintings.</p> <p style="text-align: justify;">Having experimented with a variety of different materials and art forms, to include assemblage and photography, film and video, Genzken also produced two prominent series of paintings spanning the late 80s and early 90s. This included her <em>MLR (More Light Research)</em> works from the early nineties, and the <em>Basic Research</em> paintings produced between 1989-1991. The latter have rarely been shown in isolation, or in the context of a freestanding painting show.</p> <p style="text-align: justify;">The <em>Basic Research</em> paintings are compelling in that they invite scrutiny from the micro to macro, revealing themselves as close-up impressions of urban architecture, to aerial views of alien landscapes. These works are sometimes compared to the abstract paintings of Gerhard Richter, due to Genzken&rsquo;s relationship with the artist at that time. By contrast, Genzken&rsquo;s approach to abstract painting is emboldened through a more straightforward and direct approach, using a limited palette that rarely strays from a range of dark hues such as dark green or brown.</p> <p style="text-align: justify;"><em>Isa Genzken: Basic Research Paintings</em> was kindly supported by the Isa Genzken Exhibition Supporters Group including Fatima Maleki. The exhibition was also made possible with the help and support of Galerie Buchholz Berlin/Cologne. We would also like to extend our thanks to Daniel Buchholz, Katharina Forero and all those at Galerie Buchholz who helped organise this show. The exhibition was curated by Gregor Muir and originally featured as part of the ICA touring exhibition <em>Beware Wet Paint</em> held at the Fondazione Sandretto Re Rebaudengo in 2014-15.</p> <p style="text-align: justify;">Supported by the Isa Genzken Exhibition Supporters Group including Fatima Maleki.</p> <div class="panel-pane pane-entity-field pane-node-field-sponsors"> <div class="field-collection-container clearfix"> <div class="field-collection-view clearfix view-mode-full field-collection-view-final"> <h3 style="text-align: justify;">Media Partner</h3> <ul class="sponsors"> <li><a href="" target="_blank"> <img src="" alt="" width="150" height="150" /> </a></li> </ul> </div> </div> </div> <p>&nbsp;</p> Fri, 29 May 2015 16:32:49 +0000 Eloise Hawser - Institute of Contemporary Arts (ICA) - June 30th 6:00 PM - 9:00 PM <p style="text-align: justify;">The ICA, London, is pleased to present the first UK solo institutional exhibition, <em>Lives on Wire</em>, by British artist Eloise Hawser. Hawser's work reconfigures and repurposes commonplace materials applied in industrial processes to create sculptures and installations that subtly demonstrate the inherent mutability of everyday objects.</p> <p style="text-align: justify;">For&nbsp;<em>Lives on Wire</em>&nbsp;Hawser presents a site-specific installation featuring new sculpture and a digital video work, developed through her investigative research into the life-span of the cinema organ.&nbsp;Invented in the early 20th century by the British telephone engineer Robert Hope Jones, it was ubiquitous during the silent-movie era, prior to the film industry&rsquo;s introduction of synchronised sound. Employing&nbsp;the principles of the telephone exchange, it was developed to replace cinema orchestras and reduce manpower with an individual console and organist. The device worked by&nbsp;issuing electric and pneumatic signals from&nbsp;a keyboard console to a remote rank of pipes and instruments established within the infrastructure of the cinema building. Many of these instruments, due to their scale and complexity, remain silently embedded within the architecture of former cinemas to this day.</p> <p style="text-align: justify;">The exhibition title derives from a passage of text in a silent documentary about the John Compton Organ factory in London. Presented in a font typical of the era, this evocative statement describes the cabling section area of the factory, and attributes human form to the machinery that &lsquo;lives on wire&rsquo;.&nbsp;The documentary encapsulates the paradox of an instrument that was briefly in fashion, although it embodied a wealth of electromechanical mechanisms and principles still prevalent today. Hawser&rsquo;s new work seeks to analyse the theoretical and physical attributes of a&nbsp;variable electronic resistor&nbsp;used to illuminate the art deco surround of the instrument during cinematic performances, known as the cinema organ colour changer.</p> <p style="text-align: justify;">For the exhibition, the relationship between the colour changer mechanism and the illuminated console is re-established and demonstrated using the ICA&rsquo;s Lower Gallery lighting system, to control the colour and intensity of the gallery's lights. In doing so, Hawser explores the potential for obsolete objects to be appropriated and transformed for contemporary use, a process often referred to as skeuomorphism. Accompanying the re-animated colour-changer is a digital video work that surveys and examines an existing cinema organ in its original installation, a building which has now become a Regent's Street store, illustrating the disembodiment of the machine from cultural consciousness and its passage from sound-producing object to silent relic.</p> <p style="text-align: justify;">Eloise Hawser graduated from The Ruskin School of Art, Oxford in 2007 and continued her studies at Stadelschule, Frankfurt under Tobias Rehberger (2009-2012). Recent shows include 2015&nbsp;<em>Weight of Data&nbsp;</em>(group show), Tate Britain, London;&nbsp;<em>Surround Audience, Triennial</em>&nbsp;(group show), New Museum, New York, NY; 2014&nbsp;<em>Europe, Europe</em>, Astrup Fearnley Museum, Oslo (group show);&nbsp;<em>Don&rsquo;t You Know Who I Am? Art after Identity Politics&nbsp;</em>(group show), M HKA, Antwerp, Belgium. 2013;&nbsp;<em>Burn These Eyes Captain and Throw Them in the Sea&nbsp;</em>(group show), Rodeo, Istanbul, Turkey;&nbsp;<em>Soft Wear&nbsp;</em>curated by Philip Zach, Sandy Brown, Berlin, Germany;&nbsp;<em>One After One</em>, (group show), Vilma Gold, London, UK<em><span style="text-decoration: line-through;">.</span></em>&nbsp;Solo Presentations at Frieze Art Fair, Frame section, London, UK, Liste 18, Basel with VI, VII (Oslo); and&nbsp;<em>Haus der Braut</em>, VI, VII (Oslo).</p> <p style="text-align: justify;">Supported by the Eloise Hawser Exhibition Supporters Group including Halo Lighting and The Zabludowicz Collection.</p> <div class="panel-pane pane-entity-field pane-node-field-sponsors"> <div class="field-collection-container clearfix"> <div class="field-collection-view clearfix view-mode-full field-collection-view-final"> <h3 style="text-align: justify;">Media Partner</h3> <ul class="sponsors"> <li><a href="" target="_blank"> <img src="" alt="" width="150" height="150" /> </a></li> </ul> </div> </div> </div> Fri, 29 May 2015 16:34:50 +0000 - Phillips de Pury & Company - June 30th 2:00 PM - 3:00 PM Wed, 17 Jun 2015 06:15:10 +0000 John Waters - Sprüth Magers London - June 30th 6:00 PM - 8:00 PM <p style="text-align: justify;">Spr&uuml;th Magers is delighted to present John Waters' first ever exhibition in London,&nbsp;<em>Beverly Hills John</em>, a fresh set of affectionate barbs about the movie biz. While he hasn&rsquo;t lost his mordant wit or sense of mischief,&nbsp;<em>Beverly Hills John</em>&nbsp;finds Waters in a more reflective mood, asking the question: &lsquo;Since celebrity is the only obscenity left in the art world, where do I fit in?&rsquo; He also hopes to resolve issues about childhood fame, false glamour, the horrors of nouveau-riche excess, his ongoing sexual attractions and the possible risk of &lsquo;careericide&rsquo; with dignity.&nbsp;<br /><br />After decades of flouting cinematic conventions with movies such as&nbsp;<em>Pink Flamingos</em>&nbsp;(1972) and&nbsp;<em>Hairspray</em>&nbsp;(1988), Waters embarked on his photo-based work in the early 1990s. He might start a work by taking a group of snapshots while watching a movie, often off a TV. He renders these into storyboard-like sequences, transforming favourite or forgotten films into what he calls &lsquo;little movies&rsquo;. These playful acts of appropriation and juxtaposition create condensed stories or testimonies that never hesitate to revel in the crudest possible taste, while setting off a range of possible new meanings.&nbsp;<br /><br />In the main gallery,&nbsp;<em>Shoulda!</em>&nbsp;(2014) depicts, in classic exploitation movie tradition, the faces of five famous women, from Whitney Houston to Amy Winehouse, with Princess Diana in the middle. On the left, looming like the title treatment of a B-movie, we see &lsquo;She Shoulda Said NO!&rsquo; Whose voice provides this late notice, tinged with gossip and indignation? Showing these tragic female figures accompanied by a kind of vox-pop sermon, Waters creates a mood between sympathy and sacrilege. Yet sometimes a single image is alarming enough.<em>Beverly Hills John</em>&nbsp;(2012), the work from which the show derives its title, shows the artist as a freakish product of plastic surgery, with cheekbones like giant fungi, bulging lips and a lustrous carpet of copper hair. Despite the grotesquerie, the transformation is almost believable. When he applies the same principle to Hollywood&rsquo;s most lovable pooch in&nbsp;<em>Reconstructed Lassie</em>&nbsp;(2012), the result is downright bizarre. But when we see the face of Justin Bieber all smooth and bloated with silicone in&nbsp;<em>Justin&rsquo;s Had Work</em>&nbsp;(2012), our credulity is challenged once again.&nbsp;<br /><br />Waters excels at striking a balance between brutality and humour, defamation and care.&nbsp;<em>Grim Reaper</em>&nbsp;(2014) shows President John F. Kennedy and his wife, Jackie, descending from Air Force One at the height of their pomp and popularity. Hot on their heels, however, is the figure of Death from Ingmar Bergman&rsquo;s&nbsp;<em>The Seventh Seal</em>&nbsp;(1957). If&nbsp;<em>Grim Reaper</em>&nbsp;offers an irreverent take on the traditional&nbsp;<em>memento mori</em>,<em>Cancel Ansel</em>&nbsp;(2014) is ghastlier. The grid of doctored Ansel Adams black-and-white photos show, among other things, a giant cruise ship ploughing through a lake in Yosemite National Park, a high-rise apartment block obscuring the view of a waterfall and a sinister-looking clown flipping off the viewer from behind an evergreen tree. The brutish forces of Waters&rsquo; modernity have invaded the American west, defiling its untouched nature. But what, exactly, is being parodied here? The dreams of a more innocent era or what was once considered fine art photography? Innocence is almost restored with&nbsp;<em>Kiddie Flamingos</em>&nbsp;(2015), a 74-minute video based on Waters&rsquo; cult film&nbsp;<em>Pink Flamingos</em>&nbsp;(1972). Rewritten as a children&rsquo;s movie with an all-kid cast performing a table-read of the purposely censored script, it&rsquo;s almost as if these kids were just doing their homework. Waters hopes that this defanged and desexualized sequel is yet more perverse than the original.&nbsp;<br /><br />John Waters lives and works in Baltimore, Maryland. He has had numerous solo exhibitions, including a retrospective,&nbsp;<em>John Waters: Change of Life</em>, at the New Museum, New York (2004) and, most recently, at the Marianne Boesky Gallery, New York (2015). In August of this year, Kunsthaus Zurich will present&nbsp;<em>How Much Can You Take?</em>, featuring 39 works donated by Matthias Brunner. In September 2015, the British Film Institute, London, will host a month-long retrospective of the director&rsquo;s films entitled&nbsp;<em>It Isn&rsquo;t Very Pretty...The Complete Films of John Waters (Every Goddam One of Them...)</em>.&nbsp;</p> Fri, 12 Jun 2015 11:32:04 +0000 Grant Watson - The Showroom - June 30th 6:30 PM - 8:30 PM <p>Inspired by an interview with Michel Foucault published in Vanity Fair in 1983, entitled&nbsp;<em>How We Behave</em>, Watson&rsquo;s long-term project focuses on the central question that Foucault posed in this interview &ndash; why can&rsquo;t life be &lsquo;the material for a work of art?&rsquo;.</p> <p>At The Showroom a selection from a series of filmed portraits, taken from Watson&rsquo;s ongoing research that has seen him conduct more than fifty interviews with individuals in New York, Sao Paulo, Los Angeles, San Francisco, London and Amsterdam, will be presented on monitors in the gallery space.</p> <p>The concern here is not with &lsquo;lifestyle&rsquo; or the link between life and art, but with what Foucault considered to be an urgent question for our time - how people make their subjectivity and invent new ways of life and relations to others, as a form of resistance.&nbsp;</p> Fri, 19 Jun 2015 11:13:12 +0000 Antonio Quinet - Freud Museum London - July 1st 7:00 PM - 8:30 PM <h4>The Unconscious on Stage Company returns to the Museum for three nights of their hugely successful performance about the acclaimed American poet HD (Hilda Doolittle)&rsquo;s analysis with Freud, on 1st, 2nd and 3rd of July.</h4> <p>The play is based on HD&acute;s book Tribute to Freud, the letters she exchanged with Freud and her literary circle, as well as some of her poetry; Hilda, was forty seven years old when she met Freud, then in his late seventies, in 1930s Vienna. It was the beginning of a startling "love affair",, with exchanges of gifts, letters and flowers, within and beyond the psychoanalytical setting. During the presentation, the audience will accompany Hilda on her visit to Freud&acute;s residence, soon after his death in London, guided by the Narrator on this tour around the house as through the chambers of her mind. During her visit Hilda revives moments of her life and analysis, which she defined as a "free verse relationship&rdquo; with Freud. In a psychoanalytical, non-conventional, treatment, she works through her war traumas as well as her illuminating cosmic and oceanic epiphanies.</p> Tue, 26 May 2015 14:38:03 +0000 Group Show - Londonewcastle Project Space - July 1st 6:00 PM - 10:00 PM <p style="text-align: justify;">Parade is a pop-up exhibitions programme set up by Benjamin Lebus and Milo Astaire in 2013, which provides a platform for talented young British artists.</p> <p style="text-align: justify;">Since its inception, Parade has staged two highly successful exhibitions, showcasing work from some of the country&rsquo;s most cutting-edge young artists. Expanding their repertoire even further, Parade&rsquo;s third project is an art prize.</p> <p style="text-align: justify;">Open to anyone under the age of 25, the Parade Presents: Art Prize received an overwhelming 450 applications. The applicants were judged by a panel of distinguished leading art world figures, including fashion photographer Miles Aldridge, art curator and Founder of Paddle 8, Hikari Yokoyama, Head of Contemporary Art Day Sale at Philips, Henry Highley and Founder of Narcissus &nbsp;Arts, Nick Campbell, who identified 23 artists as exciting, original and relevant. The selected artists will be shown in the highly anticipated one-night exhibition next month.</p> <p style="text-align: justify;">The Art Prize Final will be held on Wednesday the 1st July in the illustrious Londonewcastle Project Space, in Shoreditch. It will be an introduction to a selection of the most promising young artists in the UK, and a pivotal event for collectors of emerging art. The evening will conclude with the announcement of the winner of the &pound;1000 grand prize generously donated by Orlebar Brown.</p> <p style="text-align: justify;">Alongside the exhibition, there will be a series of live musical performances and tastings from some of London&rsquo;s most exciting food and drinks projects, which will ensure the attendance of an eclectic, creative and current London crowd.</p> <p style="text-align: justify;">The artists who will be exhibited are as follows: Adam Fenton, Alice Jacobs, Alice Lazarus, Ao Jing, Aphra Lupita, Austin Chaston, Christabel MacGreevy, Eva Goldwyn-Simpkins, Hannah Clarkson, Harry Hurlock, Jamie Shaw, Jesse Rivers, Josef Zachary Jackson, Julius Roberts, Lia Chiarin, Livvy Turner, Michael Cox, Oliver Bass, Pip Marshall, Raphael Giannesini, Rosanna Reed, Sam Creasey, Tabitha Tohill-Reid.</p> <p style="text-align: justify;">For more information on the artists, press, sponsors or the event please email</p> Thu, 18 Jun 2015 14:03:07 +0000 - National Portrait Gallery - July 1st 10:00 AM - 6:00 PM <p style="text-align: justify;"><em>Creative Connections</em> is a four-year project connecting young people with contemporary artists to create a series of new artworks inspired by the Gallery&rsquo;s Collection.</p> <p style="text-align: justify;">The spotlights for the third year of the project are the London borough of Camden and the portraits and biographies of people who have local connections. The project partner is Haverstock school and the artist is photographer Kate Peters. Together they explored the Gallery and its photographic Collection, the history of the borough and created new portraits in response to these. The students and Kate&rsquo;s work will be shown alongside the Gallery Collection in the display.</p> <p style="text-align: justify;"><em>Creative Connections </em>is generously supported by the Palley family</p> Fri, 29 May 2015 17:37:18 +0000 Nicholas Mangan - Chisenhale Gallery - July 2nd 6:30 PM - 8:30 PM <p style="text-align: justify;">Chisenhale Gallery presents a major new film installation by Melbourne-based artist Nicholas Mangan that continues his recent investigations into the relationship between energy and social transformation. <em>Ancient Lights </em>is the first solo exhibition of Mangan&rsquo;s work in the UK and comprises two new films, presented within a specially conceived installation powered entirely by an on-site solar PV system. This new work is the culmination of Mangan&rsquo;s extended research into the physical and conceptual power of the sun, and the role that it has played in human economy, culture and technology throughout history.<br /><br /> <em>Ancient Lights </em>explores connections between the Aztec Sun Stone, rediscovered at Z&oacute;calo, Mexico City where it was buried following the Spanish Conquest; the concentric mirrors of the Gemasolar Thermosolar Plant in Southern Spain; and pioneering advances in dendrochronology carried out by A. E. Douglass at the Laboratory of Tree-Ring Research at the University of Arizona. In one film, Mangan brings together footage shot on location in Spain and Arizona with audiovisual data gathered by NASA&rsquo;s Solar and Heliospheric Observatory project. This work positions the sun at the centre of a series of cyclic systems, both geophysical and cultural. Drawing on Aztec ritual and the research of Soviet scientist Alexander Chizhevsky, who linked sun spots and the eleven year solar cycle to periods of revolutionary activity, Mangan examines the relationship between entropy &ndash; as sacrifice or loss &ndash; and the perpetual movement of the sun.<br /><br /> The exhibition is powered by energy harnessed using solar panels on the roof of Chisenhale&rsquo;s building, which feed a set of batteries installed in the gallery. The off-grid system operates as a closed circuit, enabling light from the sun to be transformed into projected light. A second film acts as a sculptural vignette, depicting a Mexican ten-peso coin spinning in slow motion. The coin loses and regains momentum in a continuous loop, as if in a state of thermodynamic equilibrium.<br /><br /> <em>Ancient Lights </em>expands on Mangan&rsquo;s recent work into the complex relationship between culture and nature, which includes the acclaimed <em>Nauru: Notes from a Cretaceous World </em>(2010); included in the New Museum Triennial in 2015. Mangan investigates the economic and political implications of our engagement with the material world, in order to facilitate new understandings of the structures and systems that govern our environment. At this time of increased global anxiety about energy supply, food security and extreme weather patterns, <em>Ancient Lights </em>reflects on the intersections of scientific and mythological attempts to understand our relationship to the sun in this Anthropocene era. <br /><br /> Nicholas Mangan (born 1979) lives and works in Melbourne. Recent exhibitions include <em>Art in the Age of&hellip;</em>, Witte de With, Rotterdam; <em>Anthropocene Moment</em>, Les Abattoirs, Toulouse (both 2015); Octopus, Gertrude Contemporary, Melbourne; Concrete, Monash Museum of Art, Melbourne; <em>Melbourne Now</em>, National Gallery of Victoria, Melbourne (all 2014). He participated in the 2015 New Museum Triennial: <em>Surround Audience</em>, New York; 9th Bienal do Mercosul, Porto Alegre; and the 13th Istanbul Biennial (both 2013). <br /><br /> Nicholas Mangan&rsquo;s commission is produced in partnership with Artspace, Sydney, where it will be presented as part of his solo exhibition, <em>Other Currents</em>, in September 2015. <br /><br /><em>Ancient Lights </em>is supported by the Australia Council for the Arts; the Keir Foundation; Monash University, Faculty of Art Design &amp; Architecture; and the Nicholas Mangan Supporters&rsquo; Circle. <br /><br />Chisenhale Gallery&rsquo;s Exhibition Programme 2015-16 is supported by Nicoletta Fiorucci. <br /><br /> With special thanks to Bright Green Energy, Gemasolar Thermosolar Plant and the Laboratory of Tree-Ring Research, University of Arizona.</p> Thu, 21 May 2015 07:23:19 +0000 - IMT Gallery - July 2nd 6:00 PM - 9:00 PM <p><strong><em>In Barry Bonds I See The Future</em></strong><strong> is an exhibition of new works by fourteen artists who are either represented by or have exhibited with IMT Gallery. The exhibition is part of year-long celebration of IMT Gallery&rsquo;s ten years in operation, and is produced in partnership with Paddle 8.</strong></p> <p>In 2007 Kenneth Goldsmith said he saw the future of poetry in Barry Bonds as much for his super-human capabilities as for his daily existence as part man and part machine. In 2015, IMT Gallery sees the future of art in the artists who also strike this balance, bringing together new forms, new mediums, and new ways of thinking the future of art in the world today.&nbsp;</p> <p>The artists included in the show are connected by their innovative methods for art making and explorations of new technologies. Rob Smith hones light that has traveled from Mars to make extraterrestrial photographs. Lotte Rose Kj&aelig;r Skau reemerges with a series of digital collages, the first in a set of new works since her debut solo show at IMT in early 2014. Laura Oldfield Ford masters classical portraiture with ball-point biro. Let Me Feel Your Finger First reexamines and collages the figures of classical animation to reveal their more intolerant contours. NaoKo TakaHashi adds characteristic whimsy to minimalist sculpture and elegant line drawing. Hyun-Min Ryu captures the fantasy of invention and exploration in his exquisite photographs. Brought together, the artists equally speak to the strengths of IMT Gallery&rsquo;s ten years in forward-thinking and rigorous curatorial programming.</p> <p><em>In Barry Bonds I See The Future</em> is a not-to-be-missed chance to collect some of the artists that have helped make IMT Gallery one of London&rsquo;s top five galleries for media art. The exhibition brings together artworks in a range of mediums such as photography, drawing, sculpture, painting, and mixed media. All artworks will be available for purchase in the gallery and via Paddle 8&rsquo;s online auction website.</p> Fri, 19 Jun 2015 14:44:04 +0000 Richard Avedon, Cecil Beaton, Terry O’Neill, Norman Parkinson, Irving Penn - National Portrait Gallery - July 2nd 6:00 PM - 8:00 PM <div class="narrowest-text"> <p style="text-align: justify;">This fascinating photographic exhibition will illustrate the life of actress and fashion icon Audrey Hepburn (1929-1993). From her early years as a chorus girl in London&rsquo;s West End through to her philanthropic work in later life, <em>Portraits of an Icon</em> will celebrate one of the world&rsquo;s most photographed and recognisable stars.</p> <p style="text-align: justify;">A selection of more than seventy images will define Hepburn&rsquo;s iconography, including classic and rarely seen prints from leading twentieth-century photographers such as Richard Avedon, Cecil Beaton, Terry O&rsquo;Neill, Norman Parkinson and Irving Penn. Alongside these, an array of vintage magazine covers, film stills, and extraordinary archival material will complete her captivating story.</p> <p style="text-align: justify;"><strong><a href=";src=typd" target="_blank">#Hepburn</a></strong></p> <p style="text-align: justify;">Supported by the<em> Audrey Hepburn </em>Exhibition Supporters Group</p> <p style="text-align: justify;">Organised with support from the Audrey Hepburn Estate / Luca Dotti &amp; Sean Hepburn Ferrer</p> </div> Fri, 29 May 2015 17:21:04 +0000 Aaron Angell - Studio Voltaire - July 2nd 6:30 PM - 8:30 PM <p style="text-align: justify;">Studio Voltaire presents a new large-scale commission of sculpture and painting by British artist Aaron Angell.<br /><br />Angell (b.1987 Kent) works primarily with ceramics, producing sculptural tableau referencing hobbyist cultures, naturalistic forms, and the underground hand built ceramics of Britain from the 1970s and 80s. Although often appearing deliberately amateurish, Angell utilises a highly skilled production process for his sculptures, making use of glazing techniques that are both antique and state-of-the-art.<br /><br />Angell is interested in marginal forms of image making and hopes to encourage new ways of thinking about the culturally nuanced history of ceramics by focusing on the material as a vehicle for sculpture. This exhibition comes at a time when folk and craft practices are finding increasing relevance and appreciation in the UK. Angell is eager to contribute to a wider understanding of ceramics within an artistic framework that sits outside a traditional craft-based discourse. In his own words Angell wants to &lsquo;flatten the material&rsquo;, looking beyond the medium to view the works as autonomous sculptures, and rehabilitating ceramics not as a material suffused with its own history, but as one of pragmatism, economy, and intuition.<br />&nbsp;<br />For his Studio Voltaire commission, Angell presents his most ambitious body of work to date. Angell demonstrates the variety of his practice by experimenting with a range of previously unexplored materials and processes to produce new works in cork, welded aluminium and painted steel, including two giant steel sculptures based on vernacular dog-chew designs, as well as a new series of paintings. The large vaulted gallery space has been rigged with mustard-coloured short awnings in plain tweed, which form a display system for Angell&rsquo;s sculptures, featuring embroidered imagery that stems from research surrounding plant fossils, amongst other concerns.<br />&nbsp;<br />In the artist&rsquo;s own words, the exhibition is &lsquo;mostly about the chalk horse at Cherhill and its connections with my ancestor Farmer Angell, the only four magnolia seed fossils ever found in England, D.M. Black&rsquo;s poem Without Equipment and Bram Stoker&rsquo;s awful final novel The Lair of the White Worm&rsquo;. Angell is interested in manipulating imagery from a &lsquo;psychic compost&rsquo; in which elements are rejected, fermented and rotted down to form a dense stream of co-dependent motifs. In this case, material ranges from references to a glass eye installed by a &lsquo;Farmer Angell&rsquo; on a chalk geoglyph in Wiltshire, to the non-human minds of the ancient magnolia grove that was Mesozoic Croydon. Present too are literary references to psychedelic poetry about pipes, organs and underground laboratories as well as turgid Victorian fiction in which a giant serpent from the novel seems to negatively affect the author&rsquo;s prose as the text drags on.<br />&nbsp;<br />Steel plant stand-like structures in the centre of the room act as another display structure for works, which include defunct museum hygrothermographs, cork sculptures and metal works &ndash; almost botanically displayed in a system of sculptural taxonomy.<br />&nbsp;<br />Grotwork is a colloquial term referring to the 18th Century horticultural trend of accumulating Stucco and imported Italian Tufa to produce artificial grottoes. Grotwork also acts as an allegory of Angell&rsquo;s practice, as one of systematic accretion and editing, and as a physical allegory to his reverse&nbsp;painted glasses, which are painted via hundreds of flecked layers of paint.</p> <p style="text-align: justify;"><strong>About the artist:</strong><br />&nbsp;<br />Aaron Angell, born 1987 in Kent, lives and works in London. &nbsp;Recent solo shows include&nbsp;<em>Bumpkin</em>, Rob Tufnell (2012);&nbsp;<em>Put John Barleycorn in the old brown jug,&nbsp;</em>Croy Nielsen Berlin (2012); and&nbsp;<em>The Devil&rsquo;s Arse</em>,&nbsp;SPACE (2011). Forthcoming exhibitions include: British Art Show 8, Leeds Art Gallery, October 2015; and Tate St Ives, summer 2016.<br />&nbsp;<br />Angell is the founder and director of Troy Town Art Pottery hosted by Open School East, a radical and psychedelic ceramic workshop for artists founded in response to dwindling ceramics access in London, and to frustration with the established models of ceramic production. Angell&nbsp;is represented by Rob Tufnell, London.&nbsp;<br />&nbsp;<br />Angell&nbsp;was awarded the<a>&nbsp;</a>Hospitalfield Autumn Residency 2014<a href=";id=cb591a09dd&amp;e=502d7e182c" target="_blank">,&nbsp;</a>funded by Creative Scotland under their Creative&nbsp;Futures strand. Angell used this residency and production bursary to prepare for his Studio Voltaire commission. This commission is supported by Arts Council England, Grants for the arts; The Henry Moore Foundation; and Hospitalfield Arts.</p> Fri, 26 Jun 2015 19:41:36 +0000 Martin Creed - Zabludowicz Collection - July 2nd 7:00 PM - 9:00 PM <p style="text-align: justify;">Simultaneously subtle and spectacular, austere and playful, the artist joins us for a part performance, part talk delivered in his own highly original style. Expect the unexpected.<br /><br />&lsquo;Like something between Steve Reich and The Ramones&rsquo;,&nbsp;<em>The Guardian</em><br /><br />The Turner Prize-winning artist and musician Martin Creed will talk about his work and perform tracks from his second and newly released album&nbsp;<em>Mind Trap</em>. Over the past two-and-a-half decades, Creed has cut an extraordinary path through the arts with his non-conformist approach and meditations on the invisible structures that shape our lives. As with Creed&rsquo;s art work, his music is minimalist and hard-hitting, yet full of wit and surprise.<br /><br />Admission is FREE but booking is advisable.&nbsp;<a href=";id=2ba8dba368&amp;e=6ad53714e6" target="_blank">Click here to book</a></p> Fri, 19 Jun 2015 14:36:20 +0000 Ariel Narunsky - arebyte gallery - July 7th 6:00 PM - 9:00 PM <p>arebyte is delighted to present <strong>Judgement</strong> a solo exhibition by Ariel Narunsky.&nbsp;<strong>Judgement </strong>is an attempt to utilize the perception of stadiums as social monuments to create a mirror or monument to our contemporary society and the human condition.</p> <p>The project establishes concepts and views regarding motive, meaning, satisfaction, control, punishment and utopia, while all along grafting it with an internal monologue aimed towards the art world. The work offers a proposal for the UK&rsquo;s largest artwork, public or otherwise, that will be erected out of the existing infrastructure of the London 2012 Olympic stadium at the Queen Elizabeth Park.</p> <p>In the exhibition of Judgement the work of judgement is unveiled; the new work will offer a giant spiralled three-lane running track enveloped by a spiral wall. At its centre the track will continue underground through a tunnel, which eventually ejects you back on to the streets of London and back to your life. The construction, once erect, aims to be open around the clock for all to come and take part freely as a spectator or runner alike. Offering itself as a daily activity in the life of a community.</p> <p>The exhibition draws on the aesthetics and ideas of information centres and visitors&rsquo; centres and will be using these elements to form the basis of the installation. The installation will fill the gallery space with 3D printed models, as well as architectural plans and animated renderings; these are accompanied by what might be described as promotional posters, catalogues and screening of a film, &ldquo;Unknown Game With Ultimate things&rdquo; a video filmed in the stadium showing the early stages of construction of Judgement.</p> <p>This chosen language enables the ideas to shift between realms and fields, putting into question the parameters of the work itself. The manner of sincerity in which it is presented clashes with the idea it proposes; an idea, which sways between futility, humour, punishment and depth of heart; a joke, a critical observation or sincere solution.</p> <p>The gallery will have a small coffee table and some chairs, the installation will offer a place for the audience to sit and rest, have a drink and talk while immersing themselves in the work. From the sublunary to the phantasmal, salvation or hoax; this is our monument and our moment, this is Judgement and all of its derivatives.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>Ariel Narunsky (born 1987) is a young upcoming artist. He graduated from Bezalel academy of art and design with a Bachelor of Fine Arts. His work is not based in any specific medium; it is based on ideas by result of observation. Narunsky&rsquo;s works are often sparked by search for solutions, humour and his love for information. He deals with perceptions of society and existence; awakening issues of meaning, satisfaction, power and control; tackling the place of art in society, the artist as a prophet and the relation between artist, art and the public.</p> <p>His work is not limited in its fields of interest, and offers an accumulation of knowledge and concepts distilled into simple ideas. For his diverse body of work and thoughts he has been paired with many descriptions and nicknames that portray him as being medium-surpassed and a &lsquo;sweatless&rsquo; artist (an artist that does not sweat).</p> <p><strong>&nbsp;</strong></p> <p>---------------------------------------------------------------------------------------------------------------------------</p> <p>For press enquiries and images contact:</p> <p><strong>Tine Scharffenberg</strong></p> <p>Assistant Curator, arebyte</p> <p>E:</p> <p>T: +44 7591 442106</p> <p>----------------------------------------------------------------------------------------------------------------------------</p> <p><strong>&nbsp;</strong></p> Thu, 25 Jun 2015 16:04:42 +0000 Chen Zhen - Frith Street Gallery, Golden Square - July 8th 6:00 PM - 8:00 PM <p style="text-align: justify;">Chen Zhen was born in Shanghai in 1955 and died in Paris in 2000. He is regarded as one of the leading exponents of the Chinese avant-garde and an emblematic figure in the field of international contemporary art. This exhibition provides a rare opportunity for London audiences to see at first hand the work of this exceptional artist.</p> <p style="text-align: justify;">Combining an intense sensitivity to material and craft with the humanist rationality of a philosopher, Chen Zhen&rsquo;s sculptural installations and constructions are at once physically grounded and mysteriously auratic. Through his own lived experience of the dichotomies of health and illness, and of cultural displacement and connectedness, the artist attained a heightened sensitivity towards the complex and fragile systems of human existence. After moving to Paris in 1986, he experienced constant changes in his cultural environment, which inspired him to incorporate the &ldquo;experience of assimilation and transcendence&rdquo; into his work to create an idiosyncratic style, combining traditional Chinese philosophy and Western practices.</p> <p style="text-align: justify;">A central theme in Chen&rsquo;s work is creating harmony through difference. Using the human body, illness, and medicine as metaphors, Chen explores the intricate and often paradoxical relationship between the material and the spiritual, community and individual, and interior and exterior. Using his concept of the organic whole, derived from Chinese medical theory, Chen constructs complete entities from disparate components, referencing the human body or an architectural model.</p> <p style="text-align: justify;">This exhibition presents a number of significant late sculptural pieces, including Lumi&egrave;re Innocente and Crystal Landscape of Inner Body as well the sound piece Instrument Musical and a number of wall-mounted Alters.</p> <p style="text-align: justify;">***</p> <p style="text-align: justify;">A major exhibition of Chen Zhen&rsquo;s work &lsquo;Without going to New York and Paris, life could be internationalized&rsquo;, is currently on show at Rockbund Art Museum, Shanghai until 10 September 2015.</p> <p style="text-align: justify;">With thanks to Galleria Continua, San Gimignano / Beijing / Les Moulins</p> Fri, 26 Jun 2015 19:04:26 +0000 Nico Muhly, Jamie xx, Gabriel Yared, Chris Watson, Janet Cardiff, George Bures Miller, Susan Philipsz - National Gallery - July 8th 10:00 AM - 6:00 PM <p class="intro" style="text-align: justify;">Hear the painting. See the sound</p> <p style="text-align: justify;">&lsquo;Soundscapes&rsquo; has commissioned musicians and sound artists to select a painting from the collection and compose a new piece of music or sound art in response. Immersive and site-specific, the experience encourages visitors to &lsquo;hear&rsquo; the paintings and &lsquo;see&rsquo; the sound.</p> <p style="text-align: justify;">The artists are:</p> <p style="text-align: justify;"><strong>Nico Muhly</strong> is a composer of chamber, orchestral, and sacred music, as well as opera and ballet. His work includes commissions from the Metropolitan Opera, English National Opera, New York City Ballet, St John&rsquo;s College, Cambridge, and Wigmore Hall. Muhly&rsquo;s chosen painting is <span class="amax-link-ConObject-574">The Wilton Diptych</span> (about 1395&ndash;9).<br /><br /><strong>Susan Philipsz OBE</strong> is a Turner Prize-winning sound artist. Known for her installations that explore the relationship between sound and architecture, she has been presented at institutions across the world from MoMA to the Sydney Biennale. Philipsz&rsquo;s chosen painting is Holbein&rsquo;s <span class="amax-link-ConObject-227">Ambassadors</span> (1533).<br /><br /><strong>Jamie xx</strong> is a DJ, music producer, and member of Mercury Prize-winning band, The xx. His producer credits include collaborations with Drake, Rihanna, and Alicia Keys as well as &lsquo;We&rsquo;re New Here&rsquo;, his reworking of Gil Scott-Heron&rsquo;s last studio album. Jamie&rsquo;s debut solo album &lsquo;In Colour&rsquo; is released in June. Jamie&rsquo;s chosen painting is Van Rysselberghe&rsquo;s <span class="amax-link-ConObject-2518">Coastal Scene</span> (about 1892).<br /><br /><strong>Gabriel Yared</strong> is an Oscar-winning film composer, whose work includes the scores for &lsquo;Betty Blue&rsquo; (1986), &lsquo;The English Patient&rsquo; (1996), &lsquo;The Talented Mr Ripley&rsquo; (1999), and &lsquo;Cold Mountain&rsquo; (2003). Yared&rsquo;s chosen painting is C&eacute;zanne&rsquo;s <span class="amax-link-ConObject-78">Bathers</span> (about 1894&ndash;1905).<br /><br /><strong>Chris Watson</strong> is one of the world's leading recorders of wildlife and natural phenomena. He won BAFTA Awards for David Attenborough&rsquo;s &lsquo;Life&rsquo; and &lsquo;Frozen Planet&rsquo; BBC series, and has worked on other major film, radio, and TV projects. Watson&rsquo;s chosen painting is Gallen-Kallela&rsquo;s <span class="amax-link-ConObject-952">Lake Keitele</span> (1905).<br /><br /><strong>Janet Cardiff and George Bures Miller</strong> are internationally renowned installation and sound artists. Based in Grindrod, Canada, the duo incorporates audio tracks with installations to create three-dimensional spaces with sound. Cardiff and Miller&rsquo;s chosen painting is Antonello da Messina&rsquo;s <span class="amax-link-ConObject-1741">St Jerome in his Study</span> (about 1475).</p> <p style="text-align: justify;"><img class="amax-conmediafile-23086 amax-conmediafile-image" src="" alt="inspires exhibition stamp" width="319" height="26" /></p> <p style="text-align: justify;">'Soundscapes' is part of the &lsquo;National Gallery Inspires&rsquo; programme of exhibitions. Drawn from the National Gallery collection, the exhibitions take a fresh view of National Gallery paintings. In this instance, we have merged paintings with commissioned music and sound art from a broad range of artists.</p> <p style="font-size: 90%; margin-bottom: 8px; text-align: justify;"><strong>Supported by</strong></p> <p style="font-size: 80%; margin-bottom: 5px; text-align: justify;"><strong>The National Gallery Development Committee: Tim and Caroline Clark, Sir Michael Hintze AM, James and Catarina Leigh-Pemberton, John and Caroline Nelson, Carolyn and Michael Portillo, June and Ian Powell, Tim and Judith Wise</strong></p> <p style="font-size: 80%; margin-bottom: 5px; margin-top: 15px; text-align: justify;"><img class="amax-conmediafile-23969 amax-conmediafile-image" src="" alt="Blavatnik Family Foundation" width="235" height="28" /></p> <p style="font-size: 80%; margin-bottom: 10px; text-align: justify;"><strong>Susan and John Singer </strong></p> <p style="font-size: 80%; margin-bottom: 10px; text-align: justify;"><strong>With additional support from Miss Dasha Shenkman OBE </strong></p> <p style="font-size: 80%; margin-bottom: 10px; text-align: justify;"><strong>Audio equipment generously provided by</strong></p> <p style="font-size: 80%; margin-bottom: 10px; text-align: justify;"><strong><img class="amax-conmediafile-23979 amax-conmediafile-image" src="" alt="Bowers and Wilkins" width="124" height="21" /><br /></strong></p> <p style="font-size: 80%; margin-bottom: 5px; text-align: justify;"><strong>With thanks to TiMax 3D Sound programming</strong></p> <p>&nbsp;</p> Fri, 29 May 2015 17:00:37 +0000