ArtSlant - Openings & events en-us 40 Evelyn O’Connor, Atsuo Okamoto, Troika, Douglas White - Art First Contemporary Art - September 3rd 6:00 PM - 8:00 PM <p style="text-align: justify;">This group exhibition centres on notions of chance and of 'letting go' within the creative process. In the works selected there is a certain aspect of either introducing or submitting to an element of the unknown. The title refers to this quality within each artist's practice - where the resultant work is as much discovered as determined.</p> <p style="text-align: justify;">In the case of works by Okamoto and the artists&rsquo; collective TROIKA this manifests itself in deliberate acts, with a clear line drawn at which point the process of creation is turned over to fate.&nbsp;</p> <p style="text-align: justify;">With Okamoto's&nbsp;<em>Volume of Lives</em>&nbsp;and&nbsp;<em>Faraway Mountain</em>&nbsp;pieces the works are created as immaculate granite sculptural objects, carefully and obsessively carved and smoothed. The letting go begins with the employment of the traditional 'wari modoshi' stone splitting method, which produces wavering un-even fractures through the stone, and then culminates in Okamoto releasing each broken piece of the whole to 'live' with willing hosts for 5 years. After their period of travel / adoption the small pieces are returned and reassembled into the whole. Some remain immaculate, others are chipped or discoloured, a few never return at all.&nbsp;</p> <p style="text-align: justify;">In TROIKA's&nbsp;<em>Calculating the Universe</em>&nbsp;the action decided upon, that allows the creative process out of the makers hands,&nbsp;is the introduction of an algorithm, which determines the outcome of the work. The intervention of 'chance' here is somewhat illusory, as the algorithm acts on its subjected material (thousands of neatly assembled black and white dice) not in an arbitrary way but with perfect mathematical certainty. The element of the unknown for the creators here lies in the lack of control over the resulting pattern that ensues &ndash; sometimes chaotic, sometimes neatly resolved and continuing in orderly fashion into infinity.</p> <p style="text-align: justify;">The line of determination between maintenance and relinquishing of control is less clearly defined in the work of Evelyn O'Connor and Douglas White. Rather than imposing a series of firm decisions - effectively creating a system - upon their work, they are more continually and intuitively led by the properties and peculiarities of their medium. In O&rsquo;Connor&rsquo;s case this results in a practice that is very much about allowing her works to create/define themselves after she has prepared the ground for them &ndash; in a way it would be as well to describe her &lsquo;medium&rsquo; as her &lsquo;ingredients&rsquo;.</p> <p style="text-align: justify;">Douglas White also works intuitively with his chosen materials, though in a more conscious way &ndash; permitting the stubborn boundaries of his source material to remain, and even to guide his hand, but also extracting and imposing new qualities into the end form &ndash; creating evocative sculptural works that play on our anthropomorphising instincts.</p> Fri, 14 Aug 2015 07:51:43 +0000 Graeme Williams - Art First Contemporary Art - September 3rd 6:00 PM - 8:00 PM <p style="text-align: justify;">Williams&rsquo; award winning photographs offer a compelling view of post-apartheid South Africa. &nbsp;<em>As the Grass Grows</em>&nbsp;is a collection of portraits of the first generation born after the end of apartheid &ndash; eligible and free to vote in the 2014 elections. &nbsp;Nicknamed &lsquo;Born Frees&rsquo; their life stories convey the paradox of the aspirations of young South Africans, and the soaring unemployment rate and shockingly imploded school education system - revealed as being the worst out of 148 countries surveyed in a World Economic Forum report.</p> <p style="text-align: justify;"><em>Marking Time</em>&nbsp;is focused on unfinished, abandoned, re-imagined and re-invented structures within a swiftly shifting South African landscape. These, suggest Williams, reflect the &lsquo;state of the nation&rsquo;. The brevity of the captions captures the reality of a society in a state of impermanence and incompleteness. Using a square format and bleached light, the tonal images such as shared electricity supply poles, football pitches, old farm entrances near expanding townships, are familiar, or not &ndash; depending on who&rsquo;s looking.</p> <p style="text-align: justify;">Between 1989 and 1994 Williams covered South Africa&rsquo;s transition to democracy for Reuters and other news organizations, since when he has produced a distinctive and contemporary body of work.</p> <p style="text-align: justify;">His work featured in the 2011<em>&nbsp;Figures and Fictions</em>&nbsp;exhibition at the Victoria and Albert Museum,&nbsp;<em>Apartheid and After&nbsp;</em>at The Huis Marseille in Amsterdam (2014), and a series of images was showcased in&nbsp;<em>The World Atlas of Street Photography</em>&nbsp;published by Yale University Press and Thames and Hudson in 2014.</p> Fri, 14 Aug 2015 07:53:26 +0000 Tom Butler, Tessa Farmer, Marie von Heyl, Eric Manigaud, Wendy Mayer, Dominic Shepherd, Gavin Tremlett - CHARLIE SMITH london - September 3rd 6:00 PM - 8:00 PM <p align="justify">In 1919 Sigmund Freud published his essay&nbsp;<em>The Uncanny</em>, which followed Ernst Jentsch&rsquo;s 1906 text&nbsp;<em>On the Psychology of the Uncanny</em>. Beginning with a linguistic appraisal of the uses of the words heimlich and unheimlich in the German language, Freud outlines the roots and meaning of the terms. Heimlich, we are told, means the familiar, the homely. Its antonym unheimlich means unease, fear, horror, eerie or the uncanny. But heimlich can also be read to mean concealed or hidden, which is fundamental to the notion of the uncanny: to be something that is strange but familiar, or hidden but apparent, otherwise termed as cognitive dissonance.</p> <p align="justify">The selection of artists presented here is based on the strong and underlying sense of the uncanny within their work. Combining painting, drawing, sculpture and video, the exhibition is curated in order to create an experience for the audience that is simultaneously compelling and unsettling, where the familiar is employed in order to unlock the peculiar.</p> <p align="justify"><strong>Wendy Mayer&rsquo;s</strong>&nbsp;small scale waxwork figures are illustrative of the proposition, leading on from the novelist E.T.A. Hoffman, that &lsquo;intellectual uncertainty&rsquo; (the feeling of the uncanny) is &lsquo;aroused as to whether something is animate or inanimate, and whether the lifeless bears an excessive likeness of the living&rsquo;. But although as adults we might postulate a fear of the inanimate coming to life, Freud asserts that the feeling of the uncanny caused by waxworks or automatons actually derives from &lsquo;an infantile wish, or simply from an infantile belief&rsquo; for the inanimate to become living.</p> <p align="justify"><strong>Tessa Farmer</strong>&nbsp;also asserts an animate / inanimate anomaly. Insects, animal bones and carcasses are presented in combination with tiny winged skeletal humanoids that are handmade with incredible delicacy from plant roots and insect wings. We are presented with an imagined world where malevolent fairies seek to attack and overcome progressively larger prey. Instilling fear and curiosity in the audience, Farmer&rsquo;s complex installations and animations echo the natural world, revealing the often violent fight for survival and supremacy that takes place beneath our feet.</p> <p align="justify">Freud goes on to discuss the idea of the &lsquo;double&rsquo;, where the self might be &lsquo;duplicated, divided and interchanged&rsquo;. He paraphrases Otto Rank, who &lsquo;explores the connections that link the double with mirror-images, shadows, guardian spirits, the doctrine of the soul and the fear of death&rsquo;. The idea of the immortal soul, in order to deny the power of death, is suggested as the &lsquo;first double of the body&rsquo;. In<strong>Gavin Tremlett&rsquo;s</strong>&nbsp;paintings beauty vies with deformity as his classically rendered, often mask-like visages both obscure as well as disclose. This rendering of face as mask is often coupled with abstract, painterly marks that serve to obfuscate the subject, thus interfering with the totality of an ideal self. There is a denial of the whole but also a doubling in process here, both physically and symbolically.</p> <p align="justify">Performance group&nbsp;<strong>The Cult of RAMM:&Sigma;LL:Z&Sigma;&Sigma; (with Yange Younghee)</strong>harness much of the above in their performance and videos. Acting as a virtual cargo cult, The Cult of RAMM:&Sigma;LL:Z&Sigma;&Sigma; translate internet clips of New York graffiti history into physical ritual, in this case in collaboration with Korean calligraphy performance artist Yange Younghee and her performance artist daughter Hyeyoung Ku. Through the ritual The Cult respond to a YouTube interview with the late iconic one armed abstract graffiti artist Case 2, who in conversation with mass transit graffiti documentary photographer, Henry Chalfont (author of the graffiti bible &lsquo;Subway Art&rsquo;) professes &lsquo;We&rsquo;re like ancient fossils Henry- We don&rsquo;t leave time- time leaves us&rsquo;. The Cult channel the late nasal rapper and graffiti philosopher RAMM:&Sigma;LL:Z&Sigma;&Sigma;&rsquo;s Gothic Futurist ethos of letter liberation into their performance at an abandoned Lido on the seafront, framed by the chalk cliffs of Margate, an abundant source of ancient fossils.</p> <p align="justify"><strong>Marie von Heyl</strong>&nbsp;also refers to the ritualistic and repetitive in performance, video and other media but to vastly different effect. Her work derives from the poetic friction and productive misunderstandings that emerge when different models of reality collide, overlap or don&rsquo;t quite fit together. Of particular relevance are objects that serve as mediators between different belief systems or carriers of sentimental value, such as cult objects, fetishes, heirlooms and souvenirs. Von Heyl uses drawing, collage, film and text to point to the beautiful, trace the uncanny and explore the absurd. 'The Ease of Handling' is a video installation that pushes the subject-object relationship that emerges from the process of taking care of objects. &lsquo;You cannot know what an object really is until you dust it every day&rsquo;, wrote Gertrude Stein in 'The Autobiography of Alice B Toklas', and by doing so suggested that knowledge can not only be gained through sensual interaction but has to be maintained or questioned through a daily care taking ritual. 'The Ease of Handling' displays an object that is stroked by a pair of gloved hands - a performance that is evocative of art handling, care taking and pantomime and in doing so becomes overtly erotic.</p> <p align="justify">Freud goes on to discuss how a living person can be called uncanny. Animism leads to genius which leads to insanity: &lsquo;The uncanny effect of epilepsy or madness has the same origin.&rsquo; In the Middle Ages manifestations of insanity were attributed to the influence of demons, and Freud notes our unease at observing that in others we &lsquo;can dimly perceive in remote corners of [our] own personality&rsquo;. The pencil drawings of&nbsp;<strong>Eric Manigaud</strong>&nbsp;are devastating in their execution as well as their emotive content. Manigaud collects 19th century photographs of asylum and hospital inmates and renders each piece in pencil on large scale paper. These awe inspiring drawings are alluring, poignant, unsettling and deeply moving.</p> <p align="justify">Balanced delicately between beauty and the grotesque,<strong>Tom Butler</strong>&nbsp;works seamlessly over the faces of subjects in Victorian calling cards, where they become overtaken by hair; feathered or mottled surfaces; and more recently bandages or geometric patterns. Occasionally features of the subject remain unpainted, asserting the presence of the subject from beneath some parasitic growth that appears to emanate from within. There are clear allusions to a visualisation of the unconscious where the monstrous becomes apparent. Freud&rsquo;s theories were contemporaneous to the use of cabinet cards, as was public interest in freak shows, and Butler recalls these areas of interest simultaneously.</p> <p align="justify"><strong>Dominic Shepherd&rsquo;s</strong>&nbsp;folkloric paintings illustrate perfectly Freud&rsquo;s notion of cognitive dissonance. His paintings represent an idiosyncratic reappraisal of cultural history, signs and symbols that utilise familiar reference points in order to create a personal mythology. This clash operates within a landscape environment where figures and motifs dissolve into or emanate from the environment. We are urged, therefore, to experience an inconsistent place that is enveloped by familiarity, mystery, reality and illusion.</p> Thu, 20 Aug 2015 09:16:39 +0000 Razvan Boar - Ibid. - September 3rd 6:00 PM - 8:00 PM <p style="text-align: center;">Ibid. London is pleased to invite you to our next exhibition</p> <p style="text-align: center;"><strong>Razvan Boar</strong></p> <p style="text-align: center;"><em>STUMP LUNCH</em></p> <p><em>&nbsp;</em></p> Sat, 29 Aug 2015 16:09:05 +0000 150 emerging and established contemporary artists - IMT Gallery - September 3rd 6:00 PM - 9:00 PM <p class="p1">I'M Ten is a benefit auction and exhibition of over 150 emerging and established artists, brought together to celebrate IMT Gallery's 10 year anniversary. All artworks will be auctioned off on Paddle8 at a starting price of &pound;50 from the 17th of September - 2nd October 2015, and on show at IMT Gallery in London. Proceeds from the benefit auction will go towards continuing IMT Gallery's work in supporting the exhibition and commissioning of contemporary art.</p> <p class="p2">We are grateful to our I'M Ten nominators for their thoughtful artist selections. They include: Oreet Ashery (Artist), Stuart Brisley (Artist), Mark Doyle (Independent Art Consultant), Elisabetta Fabrizi (Curator, Tyneside Cinema), Kenneth Goldsmith (Poet and Founding Editor of UbuWeb), Sean Griffiths (Architect and Founder of FAT), Kelly Large (Curator, Zabludowicz Collection), Ana Ventura Miranda (Director, Arte Institute) and Aura Satz (Artist).</p> <p class="p2">For more information and a full list of artists, please visit:</p> <p class="p2">Follow the exhibition and auction on #IMTen2015</p> <p class="p2">Partners:&nbsp;</p> <p class="p2"><a href="" rel="nofollow">Paddle8<br /><br /></a><a href="" rel="nofollow">John Jones</a></p> <p class="p3"><a href="" rel="nofollow">The Five Points Brewing Co</a></p> Thu, 06 Aug 2015 11:59:37 +0000 Jennifer Rubell - Stephen Friedman Gallery - September 3rd 6:00 PM - 8:00 PM <p style="text-align: justify;"><strong>Stephen Friedman Gallery</strong>&nbsp;is excited to launch the autumn program with<strong>&nbsp;'Not Alone',</strong>&nbsp;an ambitious exhibition by the American artist&nbsp;<strong>Jennifer Rubell</strong>. Installed in both gallery spaces, the show includes interactive sculpture, food performance, film and painting. Through a series of immersive and participatory works, Rubell offers viewers the possibility of physical engagement with the art object. The audience will be invited to cosset, consume and even disrobe in front of the works they encounter. This is Rubell&rsquo;s most wide-ranging and significant gallery exhibition to date and follows the artist's presentation of the monumental work, &lsquo;Portrait of the Artist' at Frieze in 2013 and her much celebrated solo exhibition, &lsquo;Engagement', at Stephen Friedman Gallery in 2011.</p> <p style="text-align: justify;">Created during the three years following the birth of Rubell's second child, the works in the exhibition are unapologetically vulnerable and yet rooted firmly in a wider feminist artistic practice. Drawing strong parallels between art-making and motherhood, the art object becomes indistinguishable in its neediness from the dependent child; the viewer becomes caretaker, companion and witness.&nbsp;<br /><br />In Gallery One,&nbsp;<strong>'Us'</strong>, a hand-blown glass sculpture of a newborn baby is passed directly from one visitor to another. The artist trusts the viewer to take personal responsibility for the sculpture, using the viewer&rsquo;s physical and emotional attachment to complete the work. The sculpture is more physically legible through touch than through sight. In the following gallery space is<strong>'Forever'</strong>,&nbsp;an interactive installation which invites a more sombre engagement and reflective meditation on themes of solitude and parenthood.&nbsp;<br /><br />Punctuating the next space is an installation which connects to Rubell&rsquo;s widely known food and performance practice. In<strong>'Them'</strong>,&nbsp;the audience can help themselves to hard-boiled eggs and season them using salt and pepper shakers from Rubell&rsquo;s personal collection. Each pairing represents a different form of companionship: a mouse and cheese; a bride and groom; a drunkard and bottle. This playful but thought-provoking work resonates in its exploration of nourishment, conception and interdependency.<br /><br />In Gallery Two is a series of monumental equestrian portraits attributed to the fictional painter&nbsp;<strong>'Brad Jones'</strong>, born out of the collaboration between Rubell and American painter&nbsp;<strong>Brandi Twilley</strong>. For the last two and a half years, Rubell has been posing nude three times a week for Twilley in Rubell&rsquo;s studio with Twilley making all of the decisions concerning the paintings. Together Rubell and Twilley address questions of authorship and subjecthood in figurative painting.&nbsp;&nbsp;<br /><br />In the adjacent gallery is the film installation<strong>&nbsp;'Posing'</strong>. Viewers are invited into a private anteroom to undress and then stand in close proximity to the film of Rubell sitting nude on a horse for this series of&nbsp;<strong>'Brad Jones'&nbsp;</strong>&nbsp;portraits. The viewer&rsquo;s exposure mirrors Rubell&rsquo;s own experience of posing, creating the possibility of the double self-portrait, with artist and viewer acting as equal subjects in the work.<br /><br />The viewer's participation in the exhibition marks both the completion of the works themselves and the satisfaction of the artist's search for a complicit, empathetic other. The viewer is placed in a position of compassion, uncertainty, responsibility and self-reflection.<em>&nbsp;Looking at</em>&nbsp;combines with&nbsp;<em>being with</em>&nbsp;to yield an experience that is equally autobiographical for the artist and the viewer.</p> <p style="text-align: justify;">WATCH THE TEASER TRAILER&nbsp;<strong><a href="" target="_blank">HERE</a></strong></p> <p style="text-align: justify;"><strong><br /></strong><strong>Jennifer Rubell&nbsp;</strong>(b. 1970) lives and works in New York City. Recent notable projects include &lsquo;So Sorry&rsquo; performed at The Power Plant Contemporary Art Gallery, Toronto (2015); &lsquo;FECUNDITAS and Creation&rsquo;, for Performa, the New York performance-art festival, New York (2014 and 2009); &lsquo;Brad Jones &ndash; Diptychs&rsquo; in collaboration with Brandi Twilley at Sargent&rsquo;s Daughters Gallery, New York (2014); &lsquo;Engagement&rsquo;, her iconic waxwork of Prince William, at both Stephen Friedman Gallery and the Saatchi Gallery, London (2011); &lsquo;The de Pury Diptych&rsquo; at the Saatchi Gallery, London (2010); &lsquo;Icons&rsquo; at the Brooklyn Museum, New York (2010); and &lsquo;Old&ndash;Fashioned&rsquo; at the LA County Museum of Art, Los Angeles (2010). Her work was also recently included in the landmark group show &lsquo;Twentieth Anniversary Exhibition&rsquo; at Stephen Friedman Gallery, London (2015). In all these projects, viewers have been encouraged to acknowledge and then violate the normal boundaries found between spectator and revered artwork. A hybrid of performance, installation art and sculpture, Rubell&rsquo;s iconic works have resolutely demanded audience participation.<br /><br /><strong>Brandi Twilley</strong>&nbsp;(b. 1982) lives and works in Brooklyn, NY. She received her B.F.A. from the Art Institute of Boston at Lesley University, Boston and her MA in 2006. She received her M.F.A. in Painting and Printmaking from Yale School of Art at Yale University, New Haven. Recent projects include &lsquo;Diptychs&rsquo; in collaboration with artist Jennifer Rubell at Sargent&rsquo;s Daughters Gallery, New York (2014). Her work has been exhibited at 109 Gallery and Sikkema Jenkins &amp; Co. in New York. Upon earning her M.F.A., she received the Blair Dickinson Memorial Prize.</p> Mon, 24 Aug 2015 07:57:40 +0000 - StolenSpace Gallery - September 3rd 6:00 PM - 10:00 PM <p style="text-align: justify;">From LA to London, StolenSpace Gallery &amp; ThinkSpace LA are joining forces to co- curate a group show this September in London at&nbsp;StolenSpace Gallery.<br /><br />With a roster of over 100 incredible artists between us, this is due to be a show to remember!&nbsp;</p> <p style="text-align: justify;">Featuring 12 x12 inch (30x30cm) works from:<br />Aaron Nagel<br />Adam Caldwell<br />Alex Yanes<br />Alexis Diaz<br />Allison Sommers<br />Amanda Marie<br />Andrew McAttee<br />Andy Kehoe<br />Angry Woebots<br />Anthony Clarkson<br />Arth Daniels<br />Atsuko Goto<br />Baghead<br />Beau Stanton<br />Bec Winnel<br />Ben Frost<br />Ben Turnbull<br />Brian Mashburn<br />bumblebeelovesyou<br />Carl Cashman<br />Casey Weldon<br />Charles Krafft<br />Charlie Anderson<br />Chie Yoshii<br />Chris Stead<br />Christine Wu<br />Cinta Vidal<br />Cleon Peterson<br />Craig 'Skibs' Barker<br />Cryptik<br />Crystal Wagner<br />Curtis Kulig<br />David Bray<br />David Cooley<br />Derek Gores<br />Drew Leshko<br />Drew Young<br />EINE<br />Ekundayo<br />Erik Siador<br />Evoca1<br />Frank Gonzales<br />Fumi Nakamura<br />Haroshi<br />Herakut<br />Hueman<br />Jacub Gagnon<br />James Bullough<br />Jana &amp; JS<br />Jason Thielke<br />Jeff Ramirez<br />Jeremy Fish<br />Jeremy Hush<br />Jim Houser<br />Joanne Nam<br />Jolene Lai<br />Jorge Rodriguez-Gerada<br />Joseph Martinez<br />Josie Morway<br />Kari-Lise Alexander<br />Kelly Vivanco<br />Ken Flewellyn<br />Kevin Peterson<br />Ki Sung Koh<br />Kikyz1313<br />Kojiro Ankan Takakawa<br />Kozyndan<br />Kwon Kyung-Yup<br />Kyle Stewart<br />Lauren Napolitano<br />Lindsey Carr<br />Linnea Strid<br />Liz Brizzi<br />London Police<br />Low Bros<br />Luke Chueh<br />Mari Inukai<br />Mary Iverson<br />Matt Linares<br />Matt Small<br />Matthew Grabelsky<br />Meggs<br />Meryl Donoghue<br />Mike Egan<br />Monica Canilao<br />Mysterious Al<br />Nosego<br />Nychos<br />Nylon<br />Okuda<br />Ozabu<br />Pam Glew<br />Paul Barnes<br />Paul Stephenson<br />Persue<br />Peter Adamyan<br />Ramon Maiden<br />Reka<br />Rone<br />Ronzo<br />Ryan Callanan<br />Sandra Chevrier<br />Scott Listfield<br />Sean Mahan<br />Sebastian Wahl<br />Shepard Fairey<br />So Youn Lee<br />Snik<br />Stinkfish</p> <div>Sylvia Ji<br />Tony Philippou<br />Tran Nguyen<br />Troy Lovegates<br />Twoone<br />Von<br />Will Barras<br />X-O<br /><br />Plus larger 32x32 inch (81x81cm) works also on view from:<br />Audrey Kawasaki<br />Alexis Diaz<br />C215<br />Curiot<br />Cyrcle<br />D*Face<br />David Cooley<br />Erik Jones<br />Joram Roukes<br />Kai &amp; Sunny<br />Kevin Peterson<br />Low Bros<br />Maya Hayuk<br />Nosego</div> <div>The London Police<br />Word To Mother</div> Fri, 31 Jul 2015 05:28:59 +0000 Evren Tekinoktay - The Approach - September 3rd 6:00 PM - 9:00 PM <p style="text-align: justify;">The Approach is pleased to present <em>Ulalume</em>, Evren Tekinoktay&rsquo;s third solo show at the gallery. The exhibition is comprised of new neon constructions, collage and projected animations.&nbsp;</p> <p style="text-align: justify;">Assembled visibly by the hand rather than digitally, the three projected animations presented by Tekinoktay are her first foray into what she describes as &lsquo;moving collages&rsquo;. Tekinoktay considers them collages with a respiratory tract, a sigh. The handcrafted neon reliefs also have moving mechanical elements and in a sense perform an electrified breathing within the blacked out space of the gallery.</p> <p style="text-align: justify;">In the past, Tekinoktay&rsquo;s collages and paintings have been disarming multi-layered images that mix a retro sensibility of female craft traditions and naive child-like markings with a gritty sophistication and knowing feminist undertone. This voice continues in these new works with Tekinoktay further exploring the construction of a female identity through the lens of a series of hermaphroditic images. By exploring hermaphroditism as subject matter, Tekinoktay seeks to dissect the plasticity of gender and sexuality to better inform an understanding of how we come to know and perceive our gendered identities.</p> <p style="text-align: justify;">With her blend of low-gloss magazine images, coy sketches, paper cutouts and painting combined with neon lights, Tekinoktay creates a feeling of the figure even within the abstract moments. Through delving into this material realm Tekinoktay draws you into her fertile world of associative references and constructions of identity, time, place and memory.</p> <p style="text-align: justify;"><em>Ulalume </em>is derived from the eponymous ballad by Edgar Allen Poe. Set in October, a vague and melancholy environment is described in which the poem&rsquo;s forlorn narrator ponders ideas of the body and soul. In a dreamlike state he wanders through a surreal creative landscape in conversation with his personified psyche, guided with hope to an unknown destination by a bright star. All the while a feeling of vague and uncertain loss builds until the memory of the death of his beloved Ulalume, exactly one year ago to the day, is suddenly revived when led to her tomb.</p> <p style="text-align: justify;">The lack of clarity experienced by the narrator is counteracted in the poem through the creation of an imagined world where encounters with painting and music help to gain clarity and meaning. The rhythmic recitation of the poem&rsquo;s verses is crucial to its reading and serves as the soundtrack to Tekinoktay&rsquo;s animation of the same title. Here we listen to a woman reciting the poem with purpose, stumbling awkwardly through some lines, inhabiting the role of the male narrator and perhaps giving voice to the repeated figure in the animated imagery and to the memorialised Ulalume herself. This gesture, combined with the playful kinetic components of the other work, the electricity and vibrancy of the installation and the soft pastel painted neon reliefs imbues this sentiment and offers the viewer a modern take on <em>Ulalume</em>.</p> <p style="text-align: justify;">Evren Tekinoktay (b. 1972, Copenhagen, Denmark) lives and works in Copenhagen. Selected exhibitions include <em>MOON SILK LUCID WALK</em>, Den Frie, Copenhagen, Denmark (2015); <em>The Inhabitants, Apart</em>, Hotel Kong Arthur, Copenhagen, Denmark (2012); <em>Purple Head,</em> Galerist, Istanbul, Turkey (2011); <em>U</em>, Imo projects, Copenhagen, Denmark (2011); <em>Lysets Land</em>, Projekt Skagen, GI.Skagen, Copenhagen, Denmark (2011); <em>Eldorado, </em>Galerist, Istanbul, Turkey (2009); <em>Material</em>, Operation Room Gallery, American Hospital, Istanbul, Turkey (2009); <em>Til V&aelig;gs</em>, Charlottenborg, Copenhagen, Denmark (2009); <em>A slightly pregnant man</em>, The Approach, London, UK (2008); <em>Rooming In</em>, Patricia Low Gallery, Gstaad, Switzerland (2008); <em>Kunst Giver Liv</em>, Kunstindustrimuseet, Copenhagen, Denmark (2008).</p> Mon, 31 Aug 2015 15:55:06 +0000 Ella Kruglyanskaya - Thomas Dane Gallery - September 3rd 6:00 PM - 8:00 PM <p style="text-align: justify;">&lsquo;Fancy Problems&rsquo;, Ella Kruglyanskaya&rsquo;s first exhibition at Thomas Dane Gallery, marks a return&nbsp;to London after her debuts at Studio Voltaire in April of last year.&nbsp;</p> <p style="text-align: justify;">The New York painter&rsquo;s flagrant attitude is loud and unapologetic, nostalgic,&nbsp;sardonic, at the same time voyeuristic and confrontational, unsettlingly bittersweet yet enduring.&nbsp;</p> <p style="text-align: justify;">Kruglyanskaya&rsquo;s paintings exist in an echo chamber of images saturated with yellows and chalky flesh tones, exaggerated croppings of cartoonish distortions and trompe-l&rsquo;oeils. This is a world of women: callipygous women, women running away and toward the surfaces while dancing and showing off their stuff. Women in action and in repose, reluctant, animated, defiant, lounging, sunbathing or simply looking back at the viewer with petulance.&nbsp;</p> <p style="text-align: justify;">Firmly invested in possibilities of representation in painting, Kruglyanskaya mines the histories of painting, textile design and graphic arts. When a patterned scarf and a pair of shoes make an appearance, they allude at once to real fashion and the humble genre of still life painting. The bold flat colors and framing devices in which the figures are situated, simultaneously acknowledge early 20th&nbsp;century painting and film posters of the 50s and 60s.</p> <p style="text-align: justify;">To walk the fine line between sketchiness and assurance, between pseudo-gauche and rigour, Kruglyanskaya grounds her practice in relentless draftsmanship.&nbsp;She fills her studio with hundreds of drawings. These&nbsp;reappear,&nbsp;scaled-up in the paintings: illusions of drawing, allusions to drawings. Posit here Alfred Hitchcock&rsquo;s comment that &ldquo;self-plagiarism is style&rdquo;, in the way that constant repetition and self-quotation create&nbsp;a blend of focus and tension.&nbsp;</p> <p style="text-align: justify;">Born in 1978 in Latvia, Ella Kruglyanskaya now lives and works in New York. Kruglyanskaya completed her MFA at Yale School of Art in 2006. On the occasion of her solo exhibition at Studio Voltaire in 2014 &lsquo;How to work together&rsquo;, Studio Voltaire and Koenig Books published the monograph&nbsp;Ella Kruglyanskaya. Other recent solo exhibitions include &lsquo;Grafika&rsquo; at The Power Station, Dallas, Texas.&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">An opening reception will take place on 3 September from 6-8pm at 3 Duke Street, St. James&rsquo;s</p> Tue, 04 Aug 2015 10:07:57 +0000 Eduardo Terrazas - Timothy Taylor - September 3rd 6:00 PM - 8:00 PM Fri, 07 Aug 2015 09:37:20 +0000 - CHELSEA space - September 4th 6:00 PM - 8:30 PM <p style="text-align: justify;">Works from a range of international artists and designers curated by the students from the&nbsp;<strong>MA Curating &amp; Collections&nbsp;</strong>course.</p> Fri, 24 Jul 2015 05:31:13 +0000 Group Show - David Zwirner, London - September 4th 6:00 PM - 8:00 PM <p style="text-align: justify;">David&nbsp;Zwirner is pleased to present a comprehensive exhibition of paintings and sculptures by the Cuban group of abstract painters&nbsp;<em>Los Diez Pintores Concretos</em>&nbsp;(Ten Concrete Painters), which was active from 1959 to 1961.&nbsp;<em>Concrete&nbsp;Cuba</em>&nbsp;is the first presentation in the United&nbsp;Kingdom to highlight the origins of concretism in Cuba during the 1950s, and will include important works by the artists who were at different times associated with the short-lived group: Pedro &Aacute;lvarez, Wifredo&nbsp;Arcay, Mario&nbsp;Carre&ntilde;o, Salvador&nbsp;Corratg&eacute;, Sand&uacute;&nbsp;Dari&eacute;, Luis&nbsp;Mart&iacute;nez&nbsp;Pedro, Alberto&nbsp;Menocal, Jos&eacute;&nbsp;Mijares, Pedro&nbsp;de&nbsp;Ora&aacute;, Jos&eacute;&nbsp;&Aacute;ngel&nbsp;Rosabal, Lol&oacute;&nbsp;Soldevilla, and Rafael&nbsp;Soriano.</p> Sat, 29 Aug 2015 16:21:18 +0000 Moyra Davey - Greengrassi - September 4th 6:30 PM - 8:30 PM Sat, 29 Aug 2015 16:06:00 +0000 Jess Fuller - Herald St - September 4th 6:30 PM - 8:30 PM Mon, 31 Aug 2015 15:58:53 +0000 John Miller - Institute of Contemporary Arts (ICA) - September 4th 1:00 PM - 2:00 PM <div class="panel-pane pane-entity-field pane-node-body"> <p style="text-align: justify;">Artist <strong>John Miller</strong> is in conversation with designer <strong>Kim Colin</strong>, discussing Mike Kelley&rsquo;s artwork <em>Educational Complex</em>&nbsp;(1995), an architectural model of every school Kelley attended. This marks the launch of John Miller&rsquo;s book <em>Mike Kelley: Educational Complex</em> (2015, Afterall), which offers an illustrated examination of this milestone work that marked a significant change in Kelley&rsquo;s practice. In this, Miller considers the representation of Kelley&rsquo;s schools (and his childhood home) as architectural models; popular fantasies associated with false memory syndrome; and the liberal democratic premises underpinning education. A trained architect, Kim Colin headed the production of Mike Kelley&rsquo;s <em>Educational Complex.</em></p> <p style="text-align: justify;"><strong>John Miller</strong>, Professor of Professional Practice in the Department of Art History at Barnard College, is an artist and critic whose work has been exhibited internationally. He was Mike Kelley&rsquo;s friend and colleague from 1978 until Kelley&rsquo;s death in 2012. John Miller&rsquo;s exhibition <em>Counterpublics </em>is on show at Campoli Presti, London, 4 September until 5 October, 2015.</p> </div> Sun, 26 Jul 2015 09:52:16 +0000 Group Show - Seventeen - September 4th 6:00 PM - 8:00 PM <h1><span style="font-size: medium;">Basic Instinct</span></h1> <p><span style="font-size: medium;"><img src="" alt="Jala Wahid Stomach_1" /></span></p> <div class="block">Image: Jala Wahid,&nbsp;<em>My serous lining</em>, 2015</div> <div class="block">&nbsp;</div> <div class="block">5th September &ndash; 3rd October 2015<br />PV: Friday 4th September 6pm <p>Zoe Barcza, Gabriel Hartley, Beatrice Marchi, Reija Merilainen, Oa4s,&nbsp;Jaakko Pallasvuo, Megan Rooney, Yves Scherer, Davide Stucchi, Jala Wahid</p> <p>Organised by Attilia Fattori Franchini</p> <p style="text-align: justify;">Eros is an issue of boundaries. He exists because certain boundaries do. In the interval between reach and grasp, between glance and counter glance, between &lsquo;I love you&rsquo; and &lsquo;I love you too,&rsquo; the absent presence of desire comes alive. But the boundaries of time and glance and I love you are only aftershocks of the main, inevitable boundaries between you and me. And it is only, suddenly, at the moment when I would dissolve that boundary, I realise I never can.</p> <p style="text-align: justify;">Infants begin to see by noticing the edges of things. How do they know an edge is an edge? By passionately wanting it not to be. The experience of eros as lack alerts a person to the boundaries of himself, of other people, of things in general. It is the edge separating my tongue from the taste for which it longs that teaches me what an edge is. Like Sappho&rsquo;s adjective&nbsp;<em>glukupikron,&nbsp;</em>the moment of desire is one that defies proper edge, being a compound of opposites forced together at pressure. Pleasure and pain at once register upon the lover, in as much as the desirability of the love object derives, in part, from its lack. To whom is it lacking? To the lover. If we follow the trajectory of eros we consistently find it tracing out this same route: it moves out from the lover toward the beloved, then ricochets back to the lover himself and the hole in him, unnoticed before. Who is the real subject of most love poems? Not the beloved. It is that hole.</p> <p style="text-align: justify;">Anne Carson, Eros The Bittersweet, Princeton University Press, 1986</p> <p style="text-align: justify;">&mdash;</p> <p style="text-align: justify;">[Catherine Tramell uncrosses her legs and it can be seen she&rsquo;s wearing no underwear]<br />Nick: You like playing games don&rsquo;t you?<br />Catherine: I have a degree in psychology.</p> <p style="text-align: justify;">Basic Instinct, 1992, Dir. Paul Verhoeven, Writ. Joe Eszterhas</p> <p style="text-align: justify;">&nbsp;</p> </div> <div class="block" style="text-align: justify;">&nbsp;</div> Mon, 31 Aug 2015 16:02:03 +0000