ArtSlant - Openings & events en-us 40 Tomoaki Suzuki - Corvi-Mora - September 16th 6:30 PM - 8:30 PM <p style="text-align: justify;">Tommaso Corvi-Mora is pleased to present a solo exhibition of work by Tomoaki Suzuki.<br /> <br /> Tomoaki Suzuki has lived in London since the late Nineties and for the last fifteen years his practice has consisted of a deceivingly simple work: full-figure, scaled-down portraits of friends and acquaintances. Through this very simple means he has managed to touch many different issues: the changing face of youth culture and fashion and the different strategies people use to define their individuality through the clothes they wear; he has explored his continued interest in analysing the relationship between the work, the viewer and their surroundings by always presenting the sculptures on the floor of the exhibition spaces; he has injected new life in traditional wood-carving techniques without slipping into kitsch or faux-naive vernacular; all the while putting together a personal history of youth culture in the East End and more specifically in Dalston, where he has lived for many years, by creating a gallery of portraits of its inhabitants, like a 3-D, contemporary August Sander. His work has recently been celebrated in a fifteen-year survey at the CAPC, Centre for Contemporary Art, Bordeaux (2014) and with a site-specific commission by the Art Institute of Chicago (2013).<br /> <br /> In this exhibition, Tomoaki Suzuki presents a new strand of his work: bas-reliefs of heads in profile, depicting the same models that feature in his 3-D work. This technique allows him to explore the individual features of his models in more detail, creating works that feel at the same time timeless and rooted in the &ldquo;here and now&rdquo;.</p> Fri, 29 Aug 2014 18:59:17 +0000 Giuseppe Gabellone - Greengrassi - September 16th 6:30 PM - 8:30 PM Mon, 04 Aug 2014 18:25:26 +0000 MOHAMMED QASIM ASHFAQ - Hannah Barry Gallery - September 16th 6:30 PM - 9:00 PM <p style="text-align: justify;">Mohammed Qasim Ashfaq&rsquo;s work is an invitation to look at the world as a space of pluralism and unity. Drawing inspiration from the visual culture of mysticism, he reinvents it, using it as a toolbox for sculptural experiences that can be located somewhere between fiction and meditation.</p> <p style="text-align: justify;">Geometrical forms are freed from their initial patterns and find themselves being constantly redefined: the artist alters our notion of such well-known geometries as the pyramid or the star. Every time, new components are added to the usual properties and relations of points, lines, surfaces, solids, changing the aspect of these elementals of visual culture, telling us to look again and to look better - shapes we considered stable are deconstructed and reconstructed, as if they were the stuff of a metaphysical game. Each of them is different, and each expands the borders of the very idiosyncratic visual language the artist has been consistently expanding.</p> <p style="text-align: justify;">And yet, all these reinvented shapes are nothing but an entry into the unity of transcendence: they pave the way for viewers to engage with the intensity of line and plane, with the depth of the black monochrome or silver, and with the presence in space of shapes conceived as sculptures.</p> <p style="text-align: justify;">Viewers are invited to engage with abstraction: to accept the fact that every single object the artist makes is a highly crafted, and yet extremely fragile rendition of an abstraction that exists in a space beyond the life of every party involved in the experience of the artwork, where there is no sculpture but ideas. The possibility to contemplate these abstractions and ideas in an extreme and pure form is Mohammed Qasim Ashfaq&Atilde;&cent;&Acirc;€&Acirc;™s great gift to the viewer.</p> Mon, 25 Aug 2014 09:46:00 +0000 Marina Abramovic - Lisson Gallery - September 16th 6:00 PM - 8:00 PM <p style="text-align: justify;">Taking its title from an early, immersive sound environment, <em>White Space</em> presents a range of historic works by Marina Abramović, most of which have never been exhibited before. Featuring two important sound pieces, previously unseen video documentation of seminal performances and a number of newly discovered photographs, all dating from 1971-1975, the exhibition reveals the artist's first forays into a performance-based practice dealing with time and the immaterial, themes which have again become central to her current work.<br /><br />First realised in 1972 at The Student Cultural Centre in Belgrade, <em>White Space</em> was a room lined with white paper containing a tape recording of the artist repeating the phrase &ldquo;I love you&rdquo;. Visitors were instructed to &ldquo;Enter the space. Listen.&rdquo; Never since recreated, this work forms the centrepiece of this display of rare, formative Abramović works, which nevertheless relate thematically to her recent decision to strip down her practice to its essence and empty out the Serpentine Gallery for her long-durational performance there, entitled <em>512 Hours</em>. A second audio work installed in its own environment, <em>The Tree</em> (1971) can be heard just outside the gallery, in its central courtyard, where a number of speakers blare out an artificially amplified repetition of birds chirping, the insistent recording perhaps referring to the recorded pronouncements of Josip Broz &lsquo;Tito&rsquo;, Yugoslavia&rsquo;s revolutionary socialist leader of the time, whom Abramović&rsquo;s parents fought with and eventually served under, as military officers in the Communist government.<br /><br />Consisting of a series of 28 photographic works partially obscured by white correction fluid, also played on an accompanying slide projection, <em>Freeing the Horizon</em> (1973) represents Abramović&rsquo;s enigmatic and systematic erasure of a number of important buildings from the Belgrade skyline, many of which, coincidentally, the artist later discovered were physically obliterated by the NATO bombings of 1999 as part of the Kosovo War. Three other later works from this series will be presented in new formats: <em>Freeing the Memory</em> is a film projection with sound, depicting Abramović&rsquo;s attempt to recall every Serbian word she can, in a continuous stream of language, for over an hour. <em>Freeing the Voice</em> sees her lying prone on a white mattress with her head tilted back, screaming until she loses her voice, while <em>Freeing the Body</em> (all 1975) follows another of her own tightly-scripted scenarios: &ldquo;I move to the rhythm of the black African drummer. I move until I am completely exhausted. I fall.&rdquo;<br /><br />Also on show in her second solo exhibition with the gallery is a newly remastered and previously unseen film version of <em>Rhythm 5</em> (1974), which was captured by the artist&rsquo;s brother, Velmir Abramović. As the artist lays on the floor, in the middle of a burning five-point star (the symbol of Yugoslav Partisans), she loses consciousness due to a lack of oxygen resulting from the fire and has to be rescued by concerned onlookers. Then, as now, Abramović reveals, through her performative works and experiential situations, how heightened states of being and awareness can be achieved simply through the conjunction of her body, her voice and her presence in a space &ndash; or, conversely, through the absence of all of the above.</p> <p style="text-align: justify;"><strong>27 Bell Street</strong></p> Fri, 05 Sep 2014 08:38:21 +0000 Hans Berg, Nathalie Djurberg - Lisson Gallery - September 16th 6:00 PM - 8:00 PM <p style="text-align: justify;">A new series of works and a new direction marks this inaugural exhibition of Nathalie Djurberg and Hans Berg at Lisson Gallery. Sculptural interventions, projections, neon, film and music are interwoven throughout the spaces in an immersive installation, eschewing video screens or static objects for animated surfaces and pulsating environments. Merging audio-visual and multimedia elements, Djurberg &amp; Berg&rsquo;s debut show with the gallery melds together as one continuous or total work of art, albeit constructed of discrete events and individual experiences.<br /><br />One room presents an installation of 10 waist-high urns, standing in two rows, entitled <em>Gas, Solid, Liquid</em>. Each pot contains a small, unique animation relating to the possible contents, as well as a specially composed piece of music, which vibrates and resonates deep within the ceramic vessel. In another gallery, light, projection and beat-laden musical soundtracks transform four functional-looking white tables into luminescent, performing sculptures, collectively known as <em>Fever Dreams</em>. Their horizontal tops are impregnated and enlivened by flowing depictions of amoebic organisms, malleable matter and clouds liquefying back to rain and seawater, while the table legs appear to be leaching out the film&rsquo;s corresponding colours. Both of these bodies of work relate to a previous exhibition called <em>The Black Pot</em>, shown at the Garage Center for Contemporary Culture, Moscow in 2013, when the artists began experimenting with newly abstracted animations and ambient electronica within a darkened, womb-like environment, in order to depict the cycle of life.<br /><br />The central installation at Lisson Gallery, entitled <em>The Gates of the Festival</em>, reveals the importance of Berg&rsquo;s music as a unifying force for their collaborative work, his scores and compositions having accompanied Djurberg&rsquo;s work for the past decade. In this exhilarating, multi-sensory, surround-sound work, 12 neon shapes hung from the ceiling are illuminated according to notes or tones programmed by Berg, with different frequencies performing certain actions &ndash; the sounds seemingly controlling or &lsquo;playing&rsquo; the installation. Across the walls, three abstract, crayon-drawn video animations add to the all-enveloping atmosphere, punctuated by the moving image of a gangly claymation bird, being projected in the round on a slowly revolving carousel.<br /><br />Feathery, flying creatures of this kind &ndash; created from wire, foam, clay and fabric &ndash; featured in Djurberg &amp; Berg&rsquo;s previous touring exhibition <em>Parade</em>, which featured 80 bird-like sculptures as well as stop-motion films, but also represent their abiding interest in the darker niches of the natural world, further glimpsed here in a smaller animation of the morphing wings of a butterfly, given a psychological depth by its visual relationship to squirming Rorschach blots. Just as Djurberg &amp; Berg produce art symbiotically to create their own singular and beguiling world, the ideas, sounds and images they conjure also propose a synaesthetic interrelationship between the realms of the visible, the audible and the imaginary.</p> <p style="text-align: justify;">52 Bell Street</p> Fri, 05 Sep 2014 08:38:40 +0000 Sigalit Landau - Marlborough Fine Art - September 16th 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Marlborough Contemporary</strong>&nbsp;is pleased to present&nbsp;an exhibition of new works by&nbsp;<strong>Sigalit Landau</strong>.</span><br /><br /><span style="font-size: small;">Landau&rsquo;s practice addresses&nbsp;the complexities of its location and attempts to build bridges. Her tactile art explores the symbols and signs that are shared across cultures.</span><br /><br /><span style="font-size: small;">The title of the exhibition,&nbsp;<em>Knafeh,</em>&nbsp;refers to Landau&rsquo;s new video work, which will be presented for the first time and demonstrates the almost painterly art of making knafeh, an Arabic sweetmeat that is loved throughout the Middle East. The film is typical of Landau&rsquo;s work, as knafeh itself is emblematic of shared Middle Eastern traditions and further evidence of her continued engagement with cultural hybridity.</span><br /><br /><span style="font-size: small;">This attempt to expose and transcend established boundaries and borders is seen throughout her work, reaching its pinnacle in her&nbsp;<em>Salt Bridge Project</em>. This project, which is her most ambitious to date, will see the artist physically cross the gap between Israel and Jordan, with the creation of a crystalised salt bridge on the Dead Sea.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition will also include a new series&nbsp;of&nbsp;works made from sand:&nbsp;<em>Dusk</em>,&nbsp;<em>Dawn</em>&nbsp;and&nbsp;<em>Tide&nbsp;</em>(2014), and<em>&nbsp;Sand Flag</em>&nbsp;(2013).&nbsp;These works engage with the history of painting in their format, and their point of origin in their materials.&nbsp;Landau will also present recent salt works, including&nbsp;<em>Crystal Dreamcatcher</em>&nbsp;(2014), that have gone through a salt crystalisation process. This ongoing technique&nbsp;sees Landau immerse objects in the Dead Sea, leaving them to accumulate the sea&rsquo;s salts and minerals, to be transformed through a controlled but unpredictable organic process. Landau has extensively&nbsp;exploited this technique, submerging items such as rope nooses and&nbsp;evocative domestic items, all of which will feature in this exhibition. The artist speaks about the magic of the Dead Sea and the mystery surrounding the process itself.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition will also feature marble sculptures, from a series carved in the forms of differently posed breastfeeding cushions. Undoubtedly linked to modern traditions that go back to Henry Moore or Louise Bourgeois, these works are representative of Landau&rsquo;s experience of the body, a recurring and important theme throughout her work.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Knafeh</strong>&nbsp;continues at Marlbrough Contemporary until&nbsp;1 November.</span><br /><br /><span style="font-size: small;"><strong>Sigalit Landau</strong>&nbsp;(born Jerusalem, 1969, lives and works in Tel Aviv) is one of the most important Israeli artists working today.&nbsp;She graduated from Bezalel Academy of Art and Design in 1994. She first represented Israel at the Venice Biennale in 1997 in a group presentation, followed by a solo presentation in the pavilion in 2011. &nbsp;She has featured in numerous exhibitions and museums, such as Documenta X in 1997 and MoMA, New York in 2008. Her work is found in many major collections, including MoMA and Centre Pompidou. A wide overview of her video works will be given at the exhibition at Museu d'Art Contemporani de Barcelona opening in November 2014.</span></p> Thu, 11 Sep 2014 10:03:04 +0000 - The Nunnery - September 16th 7:00 PM - 8:30 PM <p style="text-align: justify;">Join curator Gary Haines and Carolynda MacDonald, niece of artist Noel Gibson for an informal conversation on the life and work of Noel.</p> <p style="text-align: justify;">A fantastic chance to find out more about the life and times of the fascinating man behind the current exhibition at the Nunnery Gallery.</p> <p style="text-align: justify;">Limited number of tickets available online here<br /><a href="" target="_blank"></a></p> Mon, 08 Sep 2014 07:23:08 +0000 Yayoi Kusama - Victoria Miro Gallery - September 16th 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Victoria Miro is delighted to present a new body of sculptures and paintings by Japanese artist Yayoi Kusama dedicated to her iconic depiction of pumpkins.</span><br /><br /><span style="font-size: small;">The exhibition, which opens on 16 September 2014 comprises of two elements: the main gallery will house a new body of paintings and large scale mosaic pumpkins which will be on show until 4 October; whilst a major new series of bronze sculptures will be on display in the gallery's unique water garden until 20 December. The bronze pumpkins have been two years in the making and mark the first time the artist has worked with bronze on such a large scale.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Since her earliest formative years, in a family who made their living cultivating plant seeds, Kusama has been fascinated by the natural world. She has always had an affinity with nature, particularly vegetal and floral life, but the pumpkin continues to occupy a special place in her iconography and is a motif she has returned to repeatedly throughout her career.</span><br /><br /><span style="font-size: small;">The plant appears in some of her paintings and works on paper as early as 1948. After her return from New York to Japan in the 1970s she rediscovered the theme, and began making serial works depicting the pumpkin in various media: paintings; prints; sculpture; installation; and environmental works. She has made tiny pumpkins no bigger than a key ring, and monumental pumpkins that dwarf the viewer with their scale. She has placed pumpkins in box structures and in mirror rooms, and used the</span><br /><span style="font-size: small;">distinctive knobbly patterning of their skins as inspiration for her unique dot-patterned paintings and textiles. In 1993 pumpkins formed part of her presentation in the Japanese Pavilion at the Venice Biennale. In 1994 her iconic exterior sculpture of a large yellow and black pumpkin was sited at the Benesse Art Site Naoshima, an island in Japan&rsquo;s inland sea dedicated to displaying art within nature.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The artist has a strong personal identification with the pumpkin, and has described her images of them as a form of selfportraiture. She admires pumpkins for their hardiness and everyday quality, as well as for their unique and pleasing physical qualities. She has written:</span><br /><br /><span style="font-size: small;">&ldquo;&lsquo;Pumpkin head&rsquo; was an epithet used to disparage ugly, ignorant men, and the phrase &lsquo;Put eyes and a nose on a pumpkin&rsquo; evoked a pudgy and unattractive woman. It seems that pumpkins do not inspire much respect. But I was enchanted by their charming and winsome form. What appealed to me most was the pumpkin&rsquo;s generous unpretentiousness. That and its solid spiritual base&rdquo; (Yayoi Kusama, Infinity Net: The Autobiography of Yayoi Kusama, trans. Ralph McCarthy, London 2011, p.76).</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Paintings &amp; Sculptures until 4 October </strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Bronze Sculptures until 19 December</strong></span></p> Mon, 21 Jul 2014 07:01:17 +0000 Jon Thompson - Anthony Reynolds Gallery - September 17th 6:00 PM - 8:00 PM <p style="text-align: justify;">Anthony Reynolds Gallery is proud to present an exhibition of new paintings by Jon Thompson.<br />&nbsp;<br />During the last four years Thompson has made paintings that use simple vertical and horizontal divisions of the canvas. While continuing to work with a four-fold division, Thompson&rsquo;s new paintings explore certain minimal modifications of corner-to-corner diagonals. This has allowed him to incorporate a five-fold division representing the senses, what Jean-Francois Lyotard refers to as &lsquo;the five woundings&rsquo;. Generated from a common centre or zero point, these two systems - working together - allow for the creation of colour-forms which appear to bend and twist away from the picture plane. They seem almost to inhabit the space of the viewer. The starting point for this extraordinary new series of works are Lyotard&rsquo;s unfinished commentaries on the<em>Confessions of St.Augustine</em>&nbsp;in which he adopts a phenomenological approach to the relationship between body and spirit, sensing and thinking.&nbsp;Taking their cue&nbsp;from geometric theories of different kinds, Lyotard&rsquo;s commentaries are packed with vivid imagery of enclosure and unfurling, of filling and emptying out. Thompson&rsquo;s understanding of these structures, coupled with his brilliance as a colourist makes for &lsquo;<em>simple&rsquo;</em>&nbsp;paintings of great complexity; sophisticated, beautiful and profound.<br />&nbsp;<br />Thompson&rsquo;s new work is always eagerly anticipated. Recent paintings have been acquired by collectors in the USA, Brazil, Belgium, Canada, France, South Korea and the UK.<br />&nbsp;<br />Jon Thompson&nbsp;<em>The Lyotard Suite</em>&nbsp;will open on&nbsp;17 September at 6 pm.<br /><br />Biographical note<br />&nbsp;<br />Born in 1936, Thompson has exhibited internationally since the 1960&rsquo;s and is represented in major collections including Tate. In addition to his work as a painter he has been a uniquely influential educationalist, curator and writer. &nbsp;&nbsp;Responsible, as Dean of Fine Art, for the development of Goldsmiths College as the hotbed of new talent in this country and afterwards Head of Fine Art at the Jan Van Eyck Akademie in Maastricht, Thompson was also curator of many important exhibitions, including&nbsp;<em>Falls the Shadow</em>&nbsp;(1986, with Barry Barker) and&nbsp;<em>Gravity and Grace</em>&nbsp;(1993) at the Hayward Gallery.&nbsp; Most recently, he curated &nbsp;the exhibition&nbsp;<em>Inner Worlds Outside</em>&nbsp;(2006) at the Whitechapel Gallery and the Irish Museum of Modern Art.&nbsp; Thompson is also author of numerous artist monographs and other texts and essays, many of which are published in&nbsp;<em>&lsquo;The Collected Writings of Jon Thompson&rsquo;</em>, (Ridinghouse, 2011).</p> Fri, 15 Aug 2014 07:58:25 +0000 - Camden Arts Centre - September 17th 7:00 PM - 8:00 PM <p style="text-align: justify;">Vivien Lovell, visual arts curator and founder of Modus Operandi, leads a talk on Shelagh Wakely&rsquo;s public artworks.</p> <p style="text-align: justify;">Modus Operandi brokers art and architecture commissions in the public realm.<br /><br />Broadcast live at&nbsp;<a href="" target="_blank"></a></p> <p style="text-align: justify;">#shelaghwakely</p> Sat, 06 Sep 2014 16:40:24 +0000 Ed Fornieles - Chisenhale Gallery - September 18th 6:30 PM - 8:30 PM <p style="text-align: justify;">Chisenhale Gallery presents a major new body of work by the London and Los Angeles-based artist Ed Fornieles for his first solo exhibition in a UK institution. A new online work forms the basis of the commission and will be presented alongside sculpture and performance within an ambitious installation environment.</p> <p style="text-align: justify;"><em>Modern Family </em>skews the material logic of home improvement, sitcom architecture and the shopping mall, taking us on a journey to a distant yet familiar suburban land. Fornieles invites you to join the family BBQ as an artificial Californian sun sets over the gallery. The exhibition evokes a distorted &lsquo;Pinterest reality&rsquo; derived from the aspirational online image-sharing platform, which, along with home decor magazines, has come to present a contemporary definition of the American &lsquo;good life&rsquo;. The installation plays with scale and spatial perspective to create a cartoonish landscape of sculptures, combining high-spec finishes and new technology with breakfast cereal, DIY home tiling techniques and a &lsquo;living room materiality&rsquo;.</p> <p style="text-align: justify;">A cast of archetypal family members &ndash; characters tapped from TV shows, film genres and L.A. suburbs &ndash; are evoked throughout the installation. Periodically, they are embodied by a series of performers who activate the exhibition through movements choreographed from lifestyle-based behaviours. Fornieles&rsquo;s interest in the family unit relates to the question of its role as a device for the replication and perpetuation of social norms and its provision of a responsive, resilient model for the safe assertion of individual subjectivity, within the cultural hegemony of middle class America.</p> <p style="text-align: justify;">For Fornieles, the family provides a baseline narrative, in which everyone is assigned a role and against which we are compelled to define ourselves. Fornieles creates exhibitions and performances that enact a collapse between online and offline spaces. Central to his exhibition at Chisenhale Gallery, the new website uses search terms to draw on live content, aggregating news feeds and social media profiles in real time, as stories unfold and people interact online. Fornieles utilises the huge amounts of freely available personal and public data feeding our attention economy, where value is determined by likes, shares and reposts. Tumblr, Instagram, Twitter and Google generate a shifting backdrop to the installation; one which is ever-contemporary and continuously updated, sustained by new trends, current events and personal lives.</p> <p style="text-align: justify;">This new work builds on Fornieles&rsquo;s recent sculptures, installations and web-based projects &ndash; such as the &lsquo;Facebook sitcom&rsquo;, <em>Dormdaze </em>(2011) and <em>Maybe New Friends </em>(2013), an ongoing performance by Twitterbots &ndash; which explore the impact of the virtual on the physical world. Whereas these previous forms of internet-based work have focused on the interactive potential of the medium and the empowerment and optimism that this implies, with <em>Modern Family</em> Fornieles adopts a position normally inhabited by marketing companies or government programs like the US-based PRISM. Operating in this complex territory, this new body of work mirrors a reality constructed from our own collective desires and subjectivities, confronting the mechanics of the Internet and revealing the dichotomy between dystopic banality and the pleasure of excess.</p> <p style="text-align: justify;">Ed Fornieles (born 1983, Petersfield) lives and works in Los Angeles. Recent solo exhibitions and projects include <em>Despicable Me 2</em>, Mihai Nicodim Gallery, Los Angeles (2013), <em>The Dreamy Awards</em>, Park Nights, Serpentine Gallery, London (2012), <em>Characterdate</em>, Frieze Frame, Frieze London (2012) and <em>Happy Days </em>in Basel, Theater Basel (2012). Recent performances include <em>New York New York Happy Happy (NY NY HP HP) </em>(2013) for Rhizome, New Museum, New York (2013) and <em>Pool Party Plays Itself</em>, MOCAtv, Los Angeles (2013). Fornieles participated in <em>Meanwhile...</em> <em>Suddenly, and Then</em>, the 12th Biennale de Lyon (2013).</p> <p style="text-align: justify;">Ed Fornieles&rsquo;s commission is supported by the Genesis Prize, BERTHOLD, Anita Zabludowicz, Yana Peel, Alexandra Economou and the Ed Fornieles Supporters Circle. With thanks to Carlos/ Ishikawa.</p> <p style="text-align: justify;">Chisenhale Exhibitions Partner 2014: Fiorucci Art Trust</p> Mon, 11 Aug 2014 14:51:21 +0000 Ben Rivers - Kate MacGarry - September 18th 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Kate MacGarry is pleased to present a new film by Ben Rivers in his third exhibition at the gallery.&nbsp;<em>Things</em>&nbsp;is a lyrical analysis of the objects we gather around us, split into sections loosely based on the seasons. It begins with&nbsp;<em>Winter</em>, shot on black and white film developed by the artist in his kitchen. This cottage industry approach to filmmaking lends the film a raw and imperfect touch and sets the tone for the personal nature of the film.&nbsp;Rivers has used as his subject a collection of objects, sounds and images that hold fascination for him in some way. These range from Lascaux cave paintings to scraps of music, stills of magicians and American amateur actors.&nbsp;The apparent simplicity of the&nbsp;<em>Winter</em>&nbsp;section points towards primitive image making and is notably inspired by early cinema. In one scene,&nbsp;the image of an eclipse is distorted and set against black noise. As the camera tracks back, a simple cinematic trick is revealed which nods to the world of trickery and illusion in cinema. As the seasons change, parallels and associations&nbsp;are made with things previously seen; an intricate web of clues to a life there to be unpicked.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Things&nbsp;</em>recalls Xavier de Maistre&rsquo;s 1794 novel&nbsp;<em>Voyage Around my Room</em>&nbsp;in its attention to the minutiae of life and the way in which poetic imaginings can be revealed in the ultralocal. The film is a collision of individual fragments of video and sound, which together complete an abstract yet intimate picture.&nbsp; One of the most memorable scenes in the film occurs in the<em>Summer</em>&nbsp;section where we witness a squirrel circling a coconut model of another squirrel: quizzical enquiry gradually turns to all out attack. In its attention to small moments, Rivers' film&nbsp;is a rumination of the things we gather around us.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ben Rivers, born in 1972 in Somerset, England, lives and works in London. He has been awarded the 2013 Artangel Open Commission, the product of which will be presented in 2015. Recent exhibitions include&nbsp;<em>Ben Rivers</em>&nbsp;at Temporary Gallery, Cologne, 2014;&nbsp;<em>Ah Liberty!</em>&nbsp;at The Douglas Hyde Gallery, Dublin, 2013;&nbsp;<em>Phantoms of a Libertine</em>&nbsp;at Kate MacGarry, London, 2012;&nbsp;<em>Ben Rivers</em>at the Hepworth Wakefield, 2012;&nbsp;<em>Sack Barrow</em>&nbsp;at The Changing Room, Sterling and Hayward Project Soace, London in 2011 and&nbsp;<em>Slow Action</em>&nbsp;at Picture This, Bristol in 2010.&nbsp;&nbsp;<em>A Spell to Ward off the Darkness</em>, by Ben Rivers and Ben Russell, will be released in cinemas in the UK on12 September 2014&nbsp;by SODA Pictures. An LP of the soundtrack will be released by op50.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Things</em>&nbsp;was commissioned by Film and Video Umbrella as part of&nbsp;<em>Stay Where You Are</em>. With thanks to Arts Council England, Jerwood Charitable Foundation, Gareth Evans and Aldeburgh Music.</span></p> Fri, 12 Sep 2014 15:21:22 +0000 Catherine Goodman - National Portrait Gallery - September 18th 7:00 PM - 8:00 PM <p style="text-align: justify;">Artist Catherine Goodman, whose portraits from life are currently on display, discusses the relationship between artists and sitter with Rachel Campbell-Johnston, Chief Art Critic at&nbsp;<em>The Times</em>&nbsp;and the Gallery&rsquo;s Contemporary Curator, Sarah Howgate.</p> <p style="text-align: justify;">Catherine Goodman was born in 1961 and studied at Camberwell School of Art and the Royal Academy Schools, where she won the RA Gold Medal. In 2002 Goodman won the National Portrait Gallery's BP Portrait Award for her portrait of Dom Anthony Sutch (a new portrait of whom can be seen in this exhibition), and her BP commissioned portrait of Dame Cicely Saunders was reproduced as a Royal Mail stamp in 2006. She is represented by Marlborough Fine Art. Goodman exhibited drawings from Veronese at Colnaghi this May, as part of her ongoing investigation of the artist's work through drawing. She is Artistic Director of The Prince's Drawing School (, one of The Prince's Charities, which she co-founded with HRH The Prince of Wales in 2000. Goodman currently lives and paints in London and India.</p> <p style="text-align: justify;">Sarah Howgate has been Contemporary Curator at the National Portrait Gallery since 2001. She has curated two major exhibitions for the Gallery: David Hockney Portraits in 2006 and Lucian Freud Portraits in 2012. Before joining the Gallery Sarah worked for Angela Flowers Gallery first in London and then in Santa Monica, California, where she set up a new space specialising in British figurative art.</p> <p style="text-align: justify;">Rachel Campbell Johnston is the art critic for&nbsp;<em>The Times</em>.</p> <p>&nbsp;Book&nbsp;<a href="" target="_blank">online</a>&nbsp;or visit the Gallery in person.</p> Fri, 05 Sep 2014 08:16:56 +0000 - The British Museum - September 18th 10:00 AM - 5:30 PM <div class="long-text grid_7 suffix_1 alpha omega"> <p class="pullOut" style="text-align: justify;">This major exhibition will explore a golden age in China&rsquo;s history.</p> <p style="text-align: justify;">Between AD 1400 and 1450, China was a global superpower run by one family &ndash; the Ming dynasty &ndash; who established Beijing as the capital and built the Forbidden City. During this period, Ming China was thoroughly connected with the outside world. Chinese artists absorbed many fascinating influences, and created some of the most beautiful objects and paintings ever made.</p> <p style="text-align: justify;">The exhibition will feature a range of these spectacular objects &ndash; including exquisite porcelain, gold, jewellery, furniture, paintings, sculptures and textiles &ndash; from museums across China and the rest of the world. Many of them have only very recently been discovered and have never been seen outside China.</p> <p style="text-align: justify;">Art Exhibitions China &ndash; principal Chinese contributor</p> </div> Sat, 16 Aug 2014 08:15:05 +0000 - Whitechapel Gallery - September 18th 7:00 PM - 9:00 PM <p style="text-align: justify;">Curator and Professor of Art Theory at the Merz Academy in Stuttgart,&nbsp;<strong>Helmut Draxler</strong>, discusses his 1994 exhibition&nbsp;<em>Services: Conditions and Relations of Project Oriented Artistic Practice</em>. Following a presentation, he will be joined in conversation by<strong>Helena Vilalta</strong>,&nbsp;Managing Editor of Afterall Journal and Afterall Online.</p> <p style="text-align: justify;">In collaboration with Afterall</p> Thu, 28 Aug 2014 08:21:04 +0000 Janek Schaefer - The Agency gallery - September 19th 6:00 PM - 9:00 PM <p style="text-align: justify;">the Agency is pleased to present a cross-&shy;‐section of recent works by Paul Eachus in Gallery 1. In Gallery 2 Janek Schaefer will present new sound installations.</p> <p style="text-align: justify;"><strong>&lsquo;Ecstatic Entropy&rsquo;</strong> by sound artist Janek Schaefer is his second solo exhibition at the Agency. A room installation will combine a floor and a wall piece, both incorporating boomboxes with remote FM transmitters. Schaefer frequently uses the motif of a circle as a formal device referencing both vinyl media and the popular culture of the dance floor. Circles also enable the dissemination of sound in the gallery space through speakers and resulting acoustic ripples. Schaefer&rsquo;s work invites the audience to immerse themselves. The sonic waves he transmits from device to device bring fluidity to the work, which is echoed in his use of reflective surfaces-&shy;‐ vinyl fragments, glitter and chrome. Schaefer has been described as &lsquo;mastering the art of sound collage and being an avant-&shy;‐garde "turntablist"&rsquo; (Piero Scaruffi). His compositions work with clusters of foundsound recordings and morphing spaces and his installations and assemblages increasingly reflect the minimalism and immersive quality of his music. &lsquo;Ecstatic Entropy&rsquo; examines our ephemeral nature. Broadcast on classic hi-&shy;‐fi equipment the composition invites us to enjoy the endorphins and transcendence of sounds, while beautifully deconstructing them so they appear like distant fragments of a forgotten archive.</p> <p style="text-align: justify;"><strong> Janek Schafer</strong> who received the Paul Hamlyn Award for composers and the British Composer of the Year Aaward, both in 2008, has also been chairman of the jury for British Composer of the Year 2013 and 14. He is Visiting Professor &amp; Research Fellow, Oxford Brookes -&shy;‐ Sonic Art Research Unit. In 2015 he will realise a new music commission for the Huddersfield Contemporary Music Festival in collaboration with William Basinski.</p> Mon, 08 Sep 2014 14:57:11 +0000