ArtSlant - Openings & events en-us 40 Alex Katz - Timothy Taylor Gallery - February 27th 6:00 PM - 8:00 PM <div class="page" title="Page 1"> <div class="section"> <div class="layoutArea"> <div class="column"> <p>Following a survey of works spanning 1970s&ndash;1990s in 2014, Timothy Taylor Gallery is pleased to present an exhibition of new paintings by Alex Katz. This is the artist&rsquo;s seventh exhibition with the gallery.</p> <p>Set against black backgrounds, what is striking about these new portraits is both the depth and diversity of black, as well as dramatic studio lighting. The isolated figures, located within quasi &lsquo;widescreen&rsquo; format, are both cinematic and theatrical, yet maintain Katz&rsquo;s cool sensibility.</p> <p>Katz&rsquo;s paintings are at once figurative and abstract. His larger-than-life portraits often bear down on their observers. However with these new works, rather than an entire face filling each frame, subjects are assigned to the margins, with black space occupying most of each canvas. The figures resemble performers on stage, caught mid-motion in a spotlight.</p> <p>In 2000, Katz created the large-format painting <em>Ada&rsquo;s Garden</em>, comprised of a group of people against a black background. While composed using the same technique &ndash; where Katz first &lsquo;sketches&rsquo; subjects on his 16 x 12 inch boards (studies) before developing large images on canvas &ndash; these new portraits are instead isolated moments or fragments, less staged and more dynamic. Even where two figures occupy the same frame, there is the distinct sense the subjects were never present in the same room at the same time. The subjects are lost in their own thoughts, their own contemplation. There is no background, no narrative, other than what the viewer brings to each work.</p> <p>This is essential for Katz&rsquo;s tension &ndash; where the lack of a specific story enables the viewer to complete the picture. It also allows Katz to create very contemporary images, as he states: &ldquo;I&rsquo;m trying to paint the now. And narrative is a story, and once you get into the story it's no longer in the real present tense.&rdquo;</p> <p>Barry Schwabsky has recently observed that Katz&rsquo;s choice of subject also contributes to the openness of his work, in the way the artist&rsquo;s subjects verge on celebrity but remain for the most part unidentifiable &ndash; except in the social group to which they belong. At the same time it is this almost recognisability that makes Katz&rsquo;s subjects, and subsequently his pictures, so desirable. On the other hand, some familiar subjects reappear, not least of all Ada, who Katz has been painting for almost 60 years.</p> <p>Alex Katz was born in Brooklyn, New York in 1927. After graduating from the Cooper Union Art School in Manhattan in 1949, he was awarded a scholarship by the Skowhegan School for Painting and Sculpture in Maine. In 1968, Katz moved into an artists&rsquo; cooperative building in SoHo, New York, where he has lived and worked ever since, spending his summers in Lincolnville, Maine.</p> <p>The exhibition is accompanied by a fully illustrated catalogue, including a conversation between Alex Katz and Iwona Blazwick, Director, Whitechapel Gallery, London.&nbsp;</p> </div> </div> </div> </div> Thu, 12 Feb 2015 17:32:51 +0000 - Institute of Contemporary Arts (ICA) - February 28th 2:00 PM - 3:00 PM <p style="text-align: justify;">On the occasion of ICA Fox Reading Room exhibition <em><a href="" target="_blank">First Happenings: Adrian Henri in the &lsquo;60s and '70s</a></em>, this panel explores Adrian Henri's work in poetry, music and art.<br />&nbsp;<br />Envisaging his embrace of Total Art as a template for interdisciplinary art practice, panellist re-evaluate Henri's work and his broader significance beyond the labels of &lsquo;Liverpool Poet&rsquo; and &lsquo;Pop painter&rsquo;.<br />&nbsp;<br />Speakers include <em>First Happenings</em> curator and Paris-based art historian Catherine Marcangeli, Professor in Performance Studies at Aberystwyth University Heike Roms, writer Barry Miles and researcher Oliver Gilbert.</p> Sun, 11 Jan 2015 15:44:45 +0000 Group Show - Zabludowicz Collection - March 1st 3:00 PM - 6:00 PM <p style="text-align: justify;">oin us for the first UK exhibition by The Still House Group, a New York based artists studio. Founded in 2007 as an online platform, Still House has grown in to an innovative and self-supporting artist-led organisation, hosting residencies and exhibitions alongside the facilitation and promotion of work by its key members.<br />&nbsp;<br />This exhibition offers a snapshot of the group as a model of an artist&rsquo;s cooperative. It presents recent works by Still House artists and their extended network alongside new, site-responsive works by Joe Graham-Felsen, Zachary Susskind and Augustus Thompson. Part of this year&rsquo;s annual&nbsp;<em>Testing Ground for Art and Education</em>&nbsp;season, the exhibition reveals the scope of the group&rsquo;s activities and the breadth of individual artists&rsquo; practices.<br />&nbsp;<br />The exhibition will be accompanied by a new publication featuring specially commissioned artists pages by each of the exhibiting artists and an extensive interview with Still House co-founder Isaac Brest.</p> <p style="text-align: justify;">&nbsp;</p> Fri, 20 Feb 2015 17:15:35 +0000 Deborah Coughlin, Gaggle - fig-2 - March 2nd 6:00 PM - 8:00 PM <p>Deborah Coughlin with Gaggle bring music and speech performed by women. Claiming the fig-2 space to generate ideas and positions taken by women today, the week will cultivate performances and speeches delivered live. Coughlin has invited significant female figures for series of speeches, which are interspersed by live performances from Gaggle&rsquo;s new track, &lsquo;MAKE LOVE NOT WAR&rsquo;. In celebration of International Women&rsquo;s Day, the project reinforces the significance of women&rsquo;s speech today and through history and charges the space with sounds and voices. Speakers include presenter Ruth Barnes, feminist and sci-fi writer Ama Josephine, singer Charlotte Church, founder of Clit Rock Dana Jade, and performance and video artist Paula Varjack.</p> <div class="m_accordion-content"> <p>On Thursday a new group of women singers and sound artists are invited for a performance at 6.30 to create and record a series of sounds with artist Michael Shaw. The dichotomy of vocal expression will activate the soundscapes of fig-2 with a strong visual manifestation of female personas.</p> </div> Thu, 26 Feb 2015 15:03:38 +0000 Gregor Hildebrandt - Almine Rech Gallery - March 3rd 6:00 PM - 8:00 PM <p>Almine Rech Gallery is pleased to present the first solo exhibition by Berlin artist Gregor Hildebrandt at its London space, and the artist&rsquo;s fifth solo with the gallery. The show is comprised of new canvases, photographs, works in granite and sculptures.</p> <p><em>In wei&szlig;en Str&auml;u&szlig;en lie&szlig; den Duft der Sterne schneien</em>, which lends the exhibition its title, is a small photograph depicting an out-of-focus reflection of an opulent flower bouquet in a narrow vase, reflected in a canvas covered with black VHS tape ribbon. The title comes from the German translation of&nbsp;<em>Apparition</em>, an 1862 poem by the symbolist poet St&eacute;phane Mallarm&eacute;, that offers a yearning description of an evening encounter and ends with the words&nbsp;"Neiger de blancs bouquets d'&eacute;toiles parfum&eacute;es" ["Snow-white clusters of perfumed stars"]. Music, which plays a central role in Hildebrandt&rsquo;s practice, is as disembodied as the fragrance of the stars, caught in white bouquets. Music is especially connected to his paintings. Here, the artist records a chosen piece of music on cassette tape ribbon which he then glues onto canvas, using the data storage medium as an artistic medium, thereby reducing it to its very surface. Although formally reduced and rigorous, Hildebrandt&rsquo;s works are nonetheless charged and personal in terms of content. Paintings, photographs, sculptures and installations refer not just to selections of music, but also to texts, films, and motifs from art history and popular culture that have influenced or inspired him. Only&nbsp;<em>Der wei&szlig;e Spiegel</em>&nbsp;turns the viewer back on him/herself. Hildebrandt left the tape empty and viewers see merely themselves in the strongly reflective surface, filling the empty space through their own imaginations. Elsewhere in his pieces, artwork titles may reveal a specific reference and offer the beholders of the abstract, seemingly hermetic works, a means of access to the work&rsquo;s content.&nbsp;&nbsp;</p> <p>It is precisely this difficult-to-grasp quality that is addressed in the song&nbsp;<em>Grundst&uuml;ck</em>&nbsp;by the Berlin industrial band Einst&uuml;rzende Neubauten, which serves as the basis of two floral works by Hildebrandt. Both &lsquo;cassette paintings&rsquo; display the same motif: a delicate, dense cluster of wild plants in front of a wall. In their delicacy, they are reminiscent of D&uuml;rer&rsquo;s&nbsp;<em>Das gro&szlig;e Rasenst&uuml;ck</em>&nbsp;(1503). This motif is modelled after a photograph from the YouTube video of the song; using a unique rip-off process, Hildebrandt transferred the image onto the canvases: the positive&nbsp;<em>Was ich in deinen Tr&auml;umen suche? (Grundst&uuml;ck &ndash; Einst&uuml;rzende Neubauten)</em>&nbsp;thus shows black vegetation on a white background and consists of cassette ribbons on which&nbsp;<em>Grundst&uuml;ck</em>&nbsp;is recorded. Hildebrandt then created the negative&nbsp;<em>Bis ich deine Tr&auml;ume im Dunkeln Leuchten seh&rsquo;... (Einst&uuml;rzende Neubauten &ndash;&nbsp;Grundst&uuml;ck)</em>&nbsp;of white vegetation on a&nbsp;black background. The title of the positive is the first line of the song; the negative&rsquo;s title is the last line. The light background becomes darker towards the right, and the dark background lightens towards the right &ndash; darkness as well as the brightness of dreams is contained in these pictures. Hildebrandt&rsquo;s poetic appropriations stand in contrast to the rationality and clear structure of his works of art. Gluing the tape has an ordering element, both in terms of gesture and content; it is repetitive. Like an archivist of his own personal cultural history, Hildebrandt records on tape after tape, then attaches them to canvas, section by section, side by side. &ldquo;I don&rsquo;t seek anything, I&rsquo;m tidying up,&rdquo; Blixa Bargeld sings in&nbsp;<em>Grundst&uuml;ck</em>.&nbsp;</p> <p>Through small variations in the way he produces his artworks, Hildebrandt creates a wide spectrum of canvases. For the large abstract triptych, the artist fashioned the surface through his choice of magnetic tape ribbons and their specific colouring, from the gradual black and white contrast of the left panel to the grey and brown tones in the middle, followed by the compact fields of the right panel with the colourful leader tape.&nbsp;<em>Es ist ein Stoppelfeld, in das ein wei&szlig;er Regen f&auml;llt</em>&nbsp;is a compilation of music Hildebrandt listened to as a student, and each cassette corresponds to one song. The title is inspired by Georg Trakl&rsquo;s 1913 poem&nbsp;<em>De</em>&nbsp;<em>Profundis</em>. On the other hand, Hildebrandt&rsquo;s diptych<em>&nbsp;Keine Tr&auml;nen f&uuml;r die Kreaturen des Tags und der Nacht (T)</em>&nbsp;is reminiscent of a silkscreen. While the outlines of the cassette and video tapes often provide rhythm to his works, these two canvases are covered by an irregular and clear gri d; in the upper right hand corner, a sprayed &lsquo;X&rsquo; stands out. Here, too, we are dealing with a positive and a negative. The white positive canvas, however, is much larger than its black counterpart, which underlines the dichotomy of negative and positive, day and night. The small surface dots come from a film of adhesive circles that Hildebrandt used to apply the tape to the canvas. In this case, it is a recording of the song&nbsp;<em>No Tears (For the creatures of the night</em>) by the avant-garde Californian band Tuxedomoon, yet another melancholy register in this exhibition. &nbsp;&nbsp;</p> <p>The artist&rsquo;s ongoing series of engraved granite works stands in contrast to the reduced, abstract pieces and the dark still lifes. Hildebrandt often dedicates them to his icons. They are reminiscent of tomb slabs. The two smaller granite slabs in the exhibition are portraits of Stefan George and Georg Trakl, two pioneers of modern German poetry. The Trakl work on Labrador granite differs from the George due to the gleaming crystal flecks that are distinctive to this stone. Finally, there is the large granite work&nbsp;<em>Greta in Urgro&szlig;mutters Garten</em>, a portrait of the artist&rsquo;s daughter as a young girl. A cousin photographed Greta at Easter in his grandmother&rsquo;s garden; she holds an egg in her left hand. It is a classic half figure, as Greta turns towards the photographer and gazes pensively into the camera. In the background, coming from the bottom left corner, a dense, dark bush with a few light buds strives toward the centre of the image. A branch frames Greta's silhouette. She adds something redeeming to this exhibition that is dominated by darkness and melancholia. Like Mallarm&eacute;&rsquo;s apparition, she shines in an atmosphere of dusk &ndash; even if only slightly hidden.</p> <p><br />Nele Heinevetter</p> <p><br />_________________________________</p> <p>Gregor Hildebrandt was born in 1974 in Bad Homburg, Germany.&nbsp;Recent solo exhibitions include&nbsp;<em>Jetzt und in der Stunde</em>&nbsp;(with Alicja Kwade), Hinter der V&ouml;geln, Berlin&nbsp;(2014);&nbsp;and&nbsp;<em>N&auml;chtliches Konzert</em>&nbsp;(with Jorinde Voigt), Museum Van Bommel van Dam, Netherlands (2012). Recent institutional group exhibitions include&nbsp;<em>One Way: Peter Marino</em>, Bass Museum, Miami (2014);&nbsp;<em>A history. Art, architecture, design from the 80s to now</em>, Centre Pompidou, Paris (2014);&nbsp;<em>Man in the Mirror,&nbsp;</em>Vanhaerents Art Collection, Brussels (2014);&nbsp;<em>Booster&nbsp;</em>&ndash;&nbsp;<em>Kunst Sound Maschine</em>, Marta Herford, Herford (2014);&nbsp;<em>Love Story &ndash; Anne and Wolfgang Titze Collection</em>, Vienna (2014);&nbsp;<em>Klaus Nomi &ndash; 2013</em>, Neuer Aachener Kunstverein, Aachen (2013);<em>&nbsp;Gestohlene Gesten&nbsp;</em>(curated by Ludwig Seyfarth)<em>,&nbsp;</em>Kunsthaus N&uuml;rnberg, Nuremberg (2013);&nbsp;<em>Landeskunstausstellung SaarART 2013,&nbsp;</em>Saarland Museum, Saarl and (2013); and&nbsp;<em>Decenter, An Exhibition on the Centenary of the 1913 Armory Show</em>,<em>&nbsp;</em>Arbrons Arts Center, New York (2013). Gregor Hildebrandt lives and works in Berlin.</p> Tue, 27 Jan 2015 15:06:15 +0000 Agnes Martin - Tate Modern - March 3rd 10:00 AM - 6:00 PM <p style="text-align: justify;">This will be the first retrospective of the seminal American painter <a href="" target="_blank">Agnes Martin</a> since her death in&nbsp;2004.</p> <p style="text-align: justify;">Martin was renowned for her subtle, evocative canvases marked out in pencil grids and pale colour washes. Her apparently <a href="" target="_blank">minimal</a> approach belied a deep conviction in the emotive and expressive power of&nbsp;art.</p> <p style="text-align: justify;">This major exhibition will cover the full breadth of Martin&rsquo;s practice, reasserting her position as a key figure in the traditionally male-dominated fields of 1950s and 1960s <a href="" target="_blank">abstraction</a>.</p> <p style="text-align: justify;">The show will trace her career from early experiments to late work, as well as demonstrate her profound influence on subsequent generations of&nbsp;artists.</p> <div class="field field-name-field-sponsor-info field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;"><em>Exhibition organised by Tate Modern in collaboration with Kunstsammlung Nordrhein-Westfalen, D&uuml;sseldorf, Los Angeles County Museum of Art and Solomon R Guggenheim Museum, New&nbsp;York</em></p> </div> </div> </div> Thu, 26 Feb 2015 16:09:28 +0000 - Thomas Dane Gallery - March 3rd 7:00 PM - 8:30 PM <p style="text-align: justify;"><strong>A roundtable discussion convened by Urbanomic&nbsp;in the context of John Gerrard:&nbsp;<em>Farm</em>&nbsp;and setting out from Gilles Ch&acirc;telet's prescient dystopian tract&nbsp;<em>To Live And Think Like Pigs</em>.&nbsp;</strong></p> <p style="text-align: justify;">Following his denial of access by Google Inc., artist John Gerrard hired a helicopter and produced a detailed photographic survey of one the key physical sites of the internet - a Google data farm in Oklahoma. This survey was the starting point of his new work entitled&nbsp;<em>Farm (Pryor Creek, Oklahoma), 2015</em>.</p> <p style="text-align: justify;">What dislocations of the subject, what disruptions of the process of individuation are administered by a global system of 'self-organization' piloted from blank, inaccessible facilities such as the one modelled in&nbsp;<em>Farm</em>? What new species of virtual subject is being reared in massive data centres whose processes operate well below the threshold of human perception?</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Robin Mackay&nbsp;</strong>Director of Urbanomic, translator of&nbsp;<em>To Live and Think Like Pigs&nbsp;</em>by&nbsp;Gilles Ch&acirc;telet</p> <p style="text-align: justify;"><strong>Jay Owens&nbsp;</strong>Researcher in social media at global strategic insight agency FACE</p> <p style="text-align: justify;"><strong>Manabrata Guha&nbsp;</strong>Research fellow in Security Futures, Univeristy of Bath, author of&nbsp;<em>Reimagining War in the 21st Century</em></p> <p style="text-align: justify;"><strong>Benedict Singleton&nbsp;</strong>Strategist with a background in design and philosophy</p> <p style="text-align: justify;"><strong>Adam Kleinman&nbsp;</strong>Curator,&nbsp;Chief Editor of Witte de With's online magazine&nbsp;<em>WdW Review</em>&nbsp;and former dOCUMENTA (13) Agent for Public Programming</p> <p style="text-align: justify;"><strong>Matthew Fuller&nbsp;</strong>Professor of Cultural Studies at the Digital Culture Unit, Centre for Cultural Studies, Goldsmiths, University of London</p> Fri, 27 Feb 2015 15:47:18 +0000 Dor Guez - Institute of Contemporary Arts (ICA) - March 4th 6:30 PM - 8:00 PM <div class="panel-pane pane-entity-field pane-node-body"> <p style="text-align: justify;">To coincide with Dor Guez&rsquo; first UK solo exhibition at the ICA, the artist gives a talk on his practice, discussing his new body of work <a href="" target="_blank"><em>The Sick Man of Europe</em></a>. Guez's most ambitious project to date, this reflects on the military history and current political climate of the Middle East through the creative practices of individual soldiers from the region.</p> <p style="text-align: justify;"><strong>Dor Guez</strong> (b.1983 Jerusalem) is an artist, scholar, and founder of the Christian Palestinian Archive (CPA). In March 2014, Bezalel Academy of Arts and Design Jerusalem has appointed Guez as Head of the Photography Department, making Guez the youngest department head in the history of the academy. His latest research project about archives, Pre-Israeli Orientalism, is due to appear this coming year.</p> <p style="text-align: justify;">Guez's work has been the subject of over 20 solo exhibitions. In 2010, the KW Institute for Contemporary Art, Berlin, held his first European solo exhibition, making Guez the youngest artist to have had a solo show in the institute's history. In 2012, The Rose Art Museum in Boston hosted Guez's first Overview show. Guez presented in numerous international exhibitions and biennials including the 12th Istanbul Biennial, Istanbul; 17th and 18th&nbsp; International Contemporary Art Festival, Videobrasil, S&atilde;o Paulo; the 3rd Moscow International Biennale, Moscow; Biennale Benin, Cotonou; Palais de Tokyo, Paris; Tokyo Metropolitan Museum of Photography; Maxxi Museum, Rome, and more. Guez&rsquo;s most recent installation, <em>40-Days</em> was exhibited at The Mosaic Rooms, London.</p> </div> Sun, 11 Jan 2015 15:40:37 +0000 - National Gallery - March 4th 10:00 AM - 6:00 PM <p style="text-align: justify;">&ldquo;Without him,&rdquo; said Monet &ldquo;we wouldn&rsquo;t have survived.&rdquo;</p> <p style="text-align: justify;">So universally popular are the Impressionists today, it&rsquo;s hard to imagine a time when they weren&rsquo;t. But in the early 1870s they struggled to be accepted. Shunned by the art establishment, they were even lambasted as &lsquo;lunatics&rsquo; by one critic.<br /><br />One man, however, recognised their worth from the beginning. Paul Durand-Ruel, an entrepreneurial art dealer from Paris, discovered this group of young artists &ndash; including <span class="amax-link-ConConstituent-353">Monet</span>, <span class="amax-link-ConConstituent-139">Degas</span>, <span class="amax-link-ConConstituent-314">Manet</span>, <span class="amax-link-ConConstituent-447">Renoir</span>, <span class="amax-link-ConConstituent-417">Pissarro</span> and <span class="amax-link-ConConstituent-506">Sisley</span> &ndash; and gambled.<br /><br />Realising the fashionable potential of their derided &lsquo;impressions&rsquo; of urban and suburban life, Durand-Ruel dedicated the rest of his life to building an audience for their work &ndash; creating the modern art market in the process. <br /><br />Such was his perseverance, Durand-Ruel nearly bankrupted himself twice, before successfully globalising his operation with outposts in London, Brussels and New York, and establishing the one-man show as the international norm for exhibitions.</p> <p style="text-align: justify;">The &lsquo;Impressionists&rsquo; &ndash; a term first used derogatively by critics &ndash; was to become the household name that stands today.<br /><br />In a unique collaboration with the Mus&eacute;e d&rsquo;Orsay, Paris, and the Philadelphia Museum of Art, &lsquo;Inventing Impressionism&rsquo; features 85 masterpieces from the movement, all but one having passed through Durand-Ruel&rsquo;s hands, including three of Renoir&rsquo;s famous &lsquo;Dances&rsquo; and five from Monet&rsquo;s &lsquo;Poplars&rsquo; series, alongside rare photographs from Durand-Ruel&rsquo;s life.</p> <p style="font-size: 30%; text-align: justify;">&nbsp;</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;">Eurotunnel</p> <p style="font-size: 80%; margin-bottom: 5px; text-align: justify;">Philippe and Stephanie Camu</p> <p style="font-size: 80%; margin-bottom: 5px; text-align: justify;">The Jacaranda Trust</p> <p style="font-size: 80%; margin-bottom: 5px; text-align: justify;">And several anonymous donors</p> Sun, 11 Jan 2015 15:51:15 +0000 Leon Golub - Serpentine Gallery - March 4th 6:30 PM - 9:30 PM <p style="text-align: justify;">Serpentine Galleries presents <em>Leon Golub: Bite Your Tongue &nbsp;</em>at the Serpentine Gallery this spring. This survey exhibition of the American figurative painter, his first in London since 2000, will highlight key aspects of the artist&rsquo;s oeuvre from the 1950s until his death in 2004.</p> <p style="text-align: justify;">Throughout his career Golub was guided by his belief that art should have relevance. His works are profoundly psychological and emotive &ndash; often painted on a huge scale &ndash; and return again and again to themes of oppression, violence and the misuse of power. His paintings from the 1950s depict universal images of man and reference the classical figure found in antiquity, while his highly political series of the 1970s and &lsquo;80s draws on the Vietnam War, American foreign policy and the rise of paramilitary soldiers in places such as South Africa and Latin America. His work from the 1990s incorporates slogans, text, graffiti and symbols into dystopian scenes of urban existence.</p> <p style="text-align: justify;">Golub experimented with scale, and the works assembled for this exhibition range in size from the smaller works on paper to monumental, unstretched canvases that will extend from floor to ceiling at the Serpentine Gallery.</p> <p style="text-align: justify;">Born in Chicago in 1922, Golub began painting in the figurative style in the early 1950s. Labelled as a &lsquo;Chicago Imagist&rsquo;, he was a member of the post-war artists&rsquo; group known as Monster Roster. Several members of the group, including Golub, served in World War II, subsequently obtaining fine arts degrees as a result of the American GI Bill. During a time when abstraction was hailed as the future of contemporary painting, the group created works rooted in the external world, with the human figure and contemporary events informing their style and content.</p> <p style="text-align: justify;">This exhibition at the Serpentine Gallery is part of the Serpentine&rsquo;s Spring Programme, which includes an exhibition by Cameroon-born artist<a href="" target="_blank"> Pascale Marthine Tayou</a> presented concurrently at the Serpentine Sackler Gallery.</p> Thu, 12 Feb 2015 06:06:51 +0000 Pascale Marthine Tayou - Serpentine Sackler Gallery - March 4th 6:30 PM - 9:30 PM <p style="text-align: justify;">Serpentine Galleries presents the first solo show in London by Cameroon-born, Belgium-based artist Pascale Marthine Tayou. The exhibition will include new work made specifically for the Serpentine and introduces audiences to a range of works that demonstrate the artist&rsquo;s unique ability to combine issues of individual and national identity and global consumption.</p> <p style="text-align: justify;">The exhibition, his first in the UK since 2008, will see the Serpentine Sackler Gallery populated by a diverse mix of sculptural forms that demonstrate Tayou&rsquo;s unique visual language based on archetypes, made and found objects and traditional craft. Mysterious human forms and fantastical beasts &ndash; such as the 100 metre snake of <em>Africonda</em> &ndash; incorporate materials such as cloth, wood, plastic, glass, organic matter and consumer waste combined with an artisanal skill.</p> <p style="text-align: justify;">Tayou, who began studying law before deciding instead to become an artist, began exhibiting in the early 1990s &ndash; a time of political and social upheaval across West Africa. With works often produced <em>in situ</em>, Tayou is renowned for combining found and discarded objects and materials &ndash; often sourced locally &ndash; with a skilled and playful sense of craftsmanship.</p> <p style="text-align: justify;">Tayou has exhibited internationally, including solo exhibitions at the Fowler Museum at UCLA (2014); Kunsthaus Bregenz (2014); MACRO, Rome (2012); MUDAM Luxembourg (2011); Mac Lyon (2011); Malm&ouml; Konsthall (2010).</p> <p style="text-align: justify;">This exhibition at the Serpentine Sackler Gallery is part of the Serpentine&rsquo;s Spring Programme, which includes a major survey by American artist <a href="" target="_blank">Leon Golub</a> that runs concurrently at the Serpentine Gallery.</p> Thu, 12 Feb 2015 06:06:06 +0000 Redmond Entwistle - South London Gallery - March 4th 7:00 PM - 8:00 PM <div class="itemHeader"> <p class="leadQuote" style="text-align: justify;">(In collaboration with Andreas Reihse, sound)</p> </div> <div id="Overview" class="tab Overview"> <p style="text-align: justify;">A new performance by artist Redmond Entwistle inspired by the life of US soldier Edward Pimental, who was murdered by left-wing terrorists for his ID card in West Germany in 1985. The work comprises a sound composition by Andreas Reihse made from field recordings of locations from Pimental&rsquo;s life in the US and Germany, combined with a series of visual scores by Entwistle, elaborating on the multiple narratives that circulate around the murder.</p> <p style="text-align: justify;">Taking a cue from biographical details of Pimental's growing intellectual and artistic curiosity in the army, in the film he begins to experiment with sound recording around his base in the weeks leading up to his murder.&nbsp;<em>The General Line</em>&nbsp;allows for the realisation of the piece of music he is making, but draws on a wider set of recordings that extend to the places of his childhood and youth; a technical high school in Queens, a missile training site in Alabama, and the abandoned sites of old US army bases in the former West Germany.</p> <p style="text-align: justify;"><em>The General Line</em>&nbsp;is a companion piece to Redmond Entwisle&rsquo;s artists feature film&nbsp;<em>Lockvogel (Decoys)</em>&nbsp;and serves as both an addendum to, and a complication of the film.<br /><br />Film Review, Carolin Weidner<br />Translations, Amy Patton and Christiana Haack<br />Poster design, Annette Grund<br />Printing, Max Color/Medialis/Pixelgrain<br />Recording Assistant, Laura Varela</p> <p style="text-align: justify;"><em>The performance is a co-production between the Centre Pompidou/Hors Pistes, the SLG and Centre D&rsquo;Art Centemporain La Synagogue De Delme.&nbsp;<br /><br />Made possible with additional support from The Elephant Trust and Arts Council England</em></p> <p style="text-align: justify;"><em><strong>Booking is essential.&nbsp;<a href="">Book online</a>&nbsp;or call 020 7703 6120.</strong></em>&nbsp;<br /><br /><strong>Biographies<br />Redmond Entwistle</strong>&nbsp;(1977, London) has made seven short and medium length artist films, as well as performances and installations that have shown at festivals and museums internationally, including the Whitechapel Art Gallery, London; Serpentine Gallery, London; Walker Art Center, Minneapolis; PS1 MoMA, NY; and the ICA, London. His last film Walk-Through was the focus of solo exhibitions at Cubitt Gallery, Tramway Gallery and International Project Space in 2012. His previous film Monuments premiered in Rotterdam Film Festival's Tigers Shorts Competition in 2010, and his medium length film and sound work Paterson - Lodz won Best International Film at Images Festival in 2008. In 2013, short retrospectives of his work were presented at Hors Pistes (Centre Pompidou) and BAFICI (Buenos Aires Independent Film Festival), and included in the survey of UK artists film Assembly at Tate Britain. His work has been nominated for the Jarman Award 2014, and a solo exhibition of his films will be presented at MIT List Visual Arts Center in January 2015.</p> <p style="text-align: justify;"><strong>Andreas Reihse&nbsp;</strong>is a Berlin based musician and artist.&nbsp;Since 1994 he is best known in his role as (founding) member of the internationally&nbsp;acclaimed electronic band Kreidler.&nbsp;As a solo artist he releases mostly electronic, often club-music. As a composer and performer of music for artists -&nbsp;for films, for plays, for performances, and for installations he has worked with Rosemarie&nbsp;Trockel, Hamish Morrow, Maximilian Zentz Zlomowitz, Thea Djordjadze, Giles&nbsp;Round, Andreas Gursky, Awst &amp; Walther, Frances Scholz / Mark von Schlegell,&nbsp;Astrid Klein or Mike Franz / Nadim Vardag.&nbsp;Recent activities include the video/sound installation&nbsp;<em>Volkan&nbsp;</em>(House of&nbsp;Extravaganza, Stromboli, 2013),&nbsp;<em>Long Lines Andropov's Ears</em>&nbsp;- a contribution to a&nbsp;project about radical architecture (2014), the Entropie Soundtrack LP with Isaac B.Trogdon (2014/15), three ongoing projects with Dalia Neis, a cross-media&nbsp;collaboration with Annika Henderson, and the latest Kreidler album&nbsp;<em>ABC</em>&nbsp;(2014,&nbsp;Bureau-b) which incorporates a co-op with Lior Shamriz accompanying the record&nbsp;with a film in six chapters, and<em>2+2=22 [The Alphabet],</em>&nbsp;a full length film by Heinz Emigholz, the basis of which is the recording session for&nbsp;<em>ABC</em>&nbsp;in Tbilisi/Georgia.&nbsp;</p> </div> Fri, 27 Feb 2015 16:11:41 +0000 Giorgio Andreotta Calò - Sprovieri - March 4th 6:00 PM - 8:00 PM Thu, 19 Feb 2015 16:10:16 +0000 - arebyte gallery - March 5th 6:00 PM - 9:00 PM <p>Opening our 2015 program, artist Alisa Leimane, will create an immersive installation researching the construction of our online identities and try to challenge these ideas through a series of experiments, interviews and performances.</p> <p>&nbsp;</p> <p>&lsquo;Like Me Labs&rsquo; is a live exhibition presented in a pseudo-casting agency&rsquo;s setting, looking to investigate the methods and ways in which our online identities and personas are constructed and manifested through online and social media platforms such as Facebook, Twitter, Tinder, LinkedIn and others. The information age has opened up&nbsp;online and social media platforms where your identity can be altered and structured in new ways.&nbsp;The configuration of this alternate self depends heavily on how the users project themselves on these online arenas. &nbsp;</p> <p>&nbsp;</p> <p>&nbsp;As part of the residency at arebyte, Leimane will subject her new identity to an over-exposure on the various dominant platforms and will experiment with the means of representation of the self in a contemporary relationship. Leimane will explore ideas of narcissism, exhibitionism and voyeurism and will subject herself to various experiments; made by herself and the audience.</p> <p>&nbsp;</p> <p>Continuing a wide cross-disciplinary debate on the implications of digital technologies on our behaviours, practices and social activities, Leimane and her pseudo-identity will push the boundaries of virtual life and the computer-individual relationship, and will explore the physiological, psychological and moreover the social implications of our online activities.</p> <p>&nbsp;</p> <p>The Project will invite the public to take an active part in the research through a series of meetings, interview and auditions.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>Alisa Leimane is a Performance Artist, Theatre Maker, Larper, Spy and Community Researcher based in London. Her work challenges the artist's and audience relationship by creating ways&nbsp;for the audience to&nbsp;actively&nbsp;participate&nbsp;in the development of the piece. The work evolves from personal experiences and takes various forms from intimate one to one experiences, to pieces of invisible theatre in public spaces. As an artist Leimane is interested in blending personal life with the artistic practice.</p> <p>&nbsp;</p> <p>Her previous work includes a one to one performance, &lsquo;Little Scream&rsquo; (Lost Theatre, Lived Art Festival)&nbsp;where the audience was invited to share their opinions of motherhood whilst needing loaves of bread and &lsquo;Hide and Seek&rsquo; (Dirty Deal Teatro, Latvia) a one of show about its audience's views on public, private and personal information.</p> <h1>&nbsp;</h1> Mon, 09 Feb 2015 19:35:23 +0000 Group Show - Kate MacGarry - March 5th 6:00 PM - 8:00 PM <h2 style="text-align: justify;"><span style="font-size: small;">A TV wall curated by Iain Forsyth &amp; Jane Pollard</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Last year Iain Forsyth and Jane Pollard made their first feature film,&nbsp;<em>20,000 Days on Earth</em>, a fictitious documentary about the musician Nick Cave. In the ensuing interviews, they repeatedly returned to talking about their early cinematographic influences. For their fourth exhibition at Kate MacGarry, Forsyth and Pollard have curated a TV wall of short films which have inspired their practice since they started working together at Goldsmiths in 1992.&nbsp; The exhibition includes their very first film and self-portrait,&nbsp;<em>Chain Smoker Tap Dancer</em>. As a new double-act at art college, they wanted to bring something of their lives before they met in front of the camera. &lsquo;At the time it was a deliberately stupid idea, an idiotic gesture&rsquo; say Forsyth and Pollard, &lsquo;but seeing it again now, we&rsquo;re surprised by how much it looks like &lsquo;art&rsquo;.&rsquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">The films included in the exhibition range from stop animations to static single takes, performances to found footage. Some reference the noise and nature of television, others simply invite enquiry. All of them however, resonate in today&rsquo;s contemporary YouTube-obsessed culture. They are short, pithy and hard-hitting and are reminders to Forsyth and Pollard of why they first picked up a video camera. &lsquo;We want to pause for a moment&rsquo;, they say, &lsquo;and build a big, black monument to the Idiot Box in the corner.&rsquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">IAIN FORSYTH born 1973 in Manchester, JANE POLLARD born 1972 in Newcastle. Both live and work in London.&nbsp;<em>20,000 Days on Earth</em>&nbsp;was nominated for Best Documentary at the 2015 BAFTA Awards, for the 2014 JARMAN award and won the World Documentary Directing Award and Editing Award at Sundance Film Festival in 2014. Solo exhibitions include&nbsp;<em>EDIT,&nbsp;</em>Tyneside Cinema, Newcastle, 2014,&nbsp;<em>Jumpers (What Must I do to be Saved),&nbsp;</em>Live at LICA, Lancaster, 2013,&nbsp;<em>Publicsfear</em>, South London Gallery, 2011;&nbsp;<em>Silent Sound</em>, AV Festival, Middlesbrough Town Hall, 2010;&nbsp;<em>An Abandoned Work</em>, BFI Southbank Gallery, London and&nbsp;<em>Performer. Audience. Fuck Off</em>. Site Gallery, Sheffield, 2009.</span></p> Sat, 21 Feb 2015 06:26:40 +0000 James Bridle - The Photographers' Gallery - March 5th 6:30 PM - 8:30 PM <p style="text-align: justify;"><a href="" target="_blank">James Bridle</a>&nbsp;discusses his new commission&nbsp;<a href="" target="_blank">Seamless Transitions</a>, and his use of 3D architectural visualisation to create photographic renderings of three UK politicised immigration sites where cameras are prohibited, in conversation with TPG Curator (Digital Programme) Katrina Sluis.</p> Sun, 11 Jan 2015 11:55:21 +0000