ArtSlant - Openings & events en-us 40 Elysia Crampton - South London Gallery - October 26th 7:30 PM - 8:30 PM <p style="text-align: justify;">Ahead of her sold out&nbsp;live performance of&nbsp;<em><a href=";id=57ac80a9c5&amp;e=3e10da6494" target="_blank" data-saferedirecturl=";q=;source=gmail&amp;ust=1476894676476000&amp;usg=AFQjCNGxTYXKTt6FWGXuBJD_R64FEL-94A">Dissolution Of The Sovereign</a></em>&nbsp;at the South London Gallery&nbsp;on&nbsp;29 Oct, Elysia Crampton presents an illustrated talk on her practice, accompanied by examples of her sound and performance works.</p> <p style="text-align: justify;"><em>Silver Mouth Of The One They Call Ukurunku</em>&nbsp;explores the legacy of indigenous trans and queer history in Crampton's&nbsp;work and life, and how using music as a means of communication has allowed for survival and preservation amidst oppressive hegemonic power structures.</p> <p style="text-align: justify;">A collaborative event between&nbsp;<a href=";id=fc0138746a&amp;e=3e10da6494" target="_blank" data-saferedirecturl=";q=;source=gmail&amp;ust=1476894676476000&amp;usg=AFQjCNHW4-sQZwCM1Wgr93eSE4_TuKo6rw">Thirty&nbsp;Three Thirty&nbsp;Three</a>&nbsp;and&nbsp;<a href=";id=0bbde906e0&amp;e=3e10da6494" target="_blank" data-saferedirecturl=";q=;source=gmail&amp;ust=1476894676476000&amp;usg=AFQjCNGD4wDkjbsZjVmGKHqSWIh5N0RAoQ">Janus</a>, a club night and record label founded in Berlin. As part of a series of exploratory intermedia performances and innovative collaborations presented by Thirty&nbsp;Three Thirty&nbsp;Three in partnership with the South London Gallery.</p> <p style="text-align: justify;"><em><strong>Book your tickets&nbsp;<a href=";id=8e475b2c15&amp;e=3e10da6494" target="_blank" data-saferedirecturl=";q=;source=gmail&amp;ust=1476894676476000&amp;usg=AFQjCNGM1Ph_jwHO_w5BioA_J-bfK6gWeA">online&nbsp;here&nbsp;</a>or call 020 7703 6120.</strong></em></p> Tue, 18 Oct 2016 17:00:48 +0000 Paul Nash - Tate Britain - October 26th 10:00 AM - 6:00 PM <p style="text-align: justify;">Uncover the surreal and mystical side of English landscapes through one of the most distinctive British&nbsp;painters</p> <p style="text-align: justify;"><a href="">Paul Nash</a> was fascinated with Britain&rsquo;s ancient past and spent time in southern England exploring the downs and coastal areas. Equally inspired by the equinox and the phases of the moon, he used all these influences in his work, interpreting his environment according to a unique, personal mythology, evolving throughout his&nbsp;career.</p> <p style="text-align: justify;">Featuring a lifetime&rsquo;s work from his earliest drawings through to his iconic Second World War paintings, this exhibition reveals Nash&rsquo;s importance to British modern art in the most significant show of his work for a&nbsp;generation.</p> <p style="text-align: justify;">&nbsp;</p> Tue, 27 Sep 2016 18:02:57 +0000 Suzanne Treister - Annely Juda Fine Art - October 27th 5:30 PM - 6:15 PM <div style="text-align: justify;">Artist Suzanne Treister will give an exclusive tour of her current exhibition, '<a href="" target="_blank">HFT The Gardener</a>', at Annely Juda Fine Art. &nbsp;&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Don't miss this opportunity to gain insight into the creation of this extensive and fascinating body of work and the fictional character of Hillel Fischer Traumberg, banker turned Outsider Artist.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">"Her exhibition has it all: drugs, advanced technology and a very strange banker."</div> <div style="text-align: justify;">Jonathan Jones, The Guardian&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Please book your free place by contacting&nbsp;<a shape="rect"></a>&nbsp;/&nbsp;<a href="tel:%2B44%20%280%29%20207%20629%207578" target="_blank">+44 (0) 207 629 7578</a>.</div> <div style="text-align: justify;"> <div>HFT The Gardener comprises multiple bodies of work by the fictional character Hillel Fischer Traumberg. Traumberg is an algorithmic high-frequency trader (HFT) who experiments with psychoactive drugs and explores the ethno-pharmacology of over a hundred psychoactive plants. He uses gematria (Hebrew numerology) to discover the numerological equivalents of the plants' botanical names with companies in the Financial Times Global 500 Index.</div> <div>&nbsp;</div> <div>Primarily a painter through the 1980s, Treister has - since the 1990's - been a pioneer in the field of new media art, developing fictional worlds and international collaborative organisations. Utilising various media, including video, the Internet, interactive technologies, photography, drawing and watercolour, Treister has evolved a large body of work which engages with eccentric narratives and unconventional bodies of research. Often spanning several years, her projects comprise fantastic reinterpretations of given taxonomies and histories that examine the existence of covert, unseen forces at work in the world, whether corporate, military or paranormal.</div> <div>&nbsp;</div> <div><strong><strong>Follow Suzanne Treister's instagram takeover, telling the story of HFT The Gardner, at</strong></strong> <div><a href=";c=Qwc21e2HDUV6rHz0FYWJNL10-veyfV999jwKjtekM5wyJIIIpGWHyg==&amp;ch=ud5QKes-2DxDhaUAA037NE9uKwEtcucPqOYrsRRqaFAaWU676cU79w==" shape="rect" target="_blank" data-saferedirecturl=";q=;source=gmail&amp;ust=1476894246082000&amp;usg=AFQjCNHuZjlStSQIpD1oFKkQ9nyZwqkz0w"></a></div> </div> </div> Tue, 18 Oct 2016 17:21:55 +0000 homas Wing-Evans, Michael Perkins - APT Gallery - October 27th 6:00 PM - 8:00 PM <p style="text-align: justify;">Across the breadth of our short existence, humankind has forged relationships with ice in the name of adventure, wisdom, conflict and religion. Present-day geology has enabled us to examine these frozen giants, but failed to dislodge our unshakeable awe in knowing the natural and phenomenal moving landscapes that existed long before humankind. Glaciers, defined by being able to move under their own weight, are flowing timelines; a transparent archive of past, present and future territories. Now, more rapidly than ever, they are transforming.<br /><br />Thomas Wing-Evans and Michael Perkins&nbsp;undertook a photographic exploration of Iceland to reveal new topographies created by shifting ice. Thematically exploring the remoteness, scale and migration of the glaciers meant the pair adopted a nomadic attitude, sleeping in bivouacs and carrying all supplies and technical equipment on foot.<br /><br />The resulting exhibition interweaves these two narratives into a dyad at opposing scales; the human and the geological. Using both digital media and print, MOVING, MELTING, MOUNTAIN investigates these separate characters against themes of transformation, migration, and eventually extinction.&nbsp;</p> <div style="text-align: justify;" align="center">&nbsp;&nbsp;</div> <div style="text-align: justify;">Private View&nbsp;|&nbsp;Thursday 27 October 6pm - 8pm</div> <div style="text-align: justify;">South London Art Map Last Friday&nbsp;&nbsp;Friday 28 October 6pm - 8pm&nbsp;</div> <div style="text-align: justify;">Project Talk&nbsp;|&nbsp;Saturday&nbsp;29 October&nbsp;2pm - 3pm</div> <div style="text-align: justify;"><br /><strong><a href="" target="_blank" data-saferedirecturl=";q=;source=gmail&amp;ust=1476896043987000&amp;usg=AFQjCNESTgwhyIss8oRgNKRML7ARJa_fbg">Facebook Event</a></strong></div> Tue, 18 Oct 2016 16:57:33 +0000 Sean Scully - Timothy Taylor - November 1st 6:00 PM - 8:00 PM Sat, 15 Oct 2016 17:04:46 +0000 Alice Walton - Tintype - November 1st 6:30 PM - 8:30 PM <p><strong>ALICE WALTON</strong><br /><strong>Almost All the Girls Raise Their Hands</strong><br /><br />2 November - 3 December<br />Preview: Tuesday 1 November, 6.30 &ndash; 8.30pm&nbsp;<br /><br /><br />Tintype is pleased to present&nbsp;<em>Almost All the Girls Raise Their Hands</em>, Alice Walton&rsquo;s third solo-show at the gallery.&nbsp;<br /><br />Alice Walton&rsquo;s work is centred around the staging of representational images, usually from magazines and books, within sculptural installations. Her practice is concerned with the relationship between image and object: found images are re-presented to shake-shift perceptions and suggest alternative readings.&nbsp;<br /><br /><em>Almost All the Girls Raise Their Hands</em>&nbsp;presents a series of distinct works that set up a choreographed correspondence across the gallery space. Images are mounted on sculptural objects that are fabricated in commonplace building materials such as plaster board, insulation material, and timber.&nbsp;<br /><br />Walton uses reflective and translucent materials that implicate the viewer in the work; their physical presence continually interrupting the artwork in the process of engaging with it. It is this fluidity and resonance that interests Walton: &ldquo;my willingness to welcome the influence of the audience is perhaps a desire to myself be unsettled, moved on from a place of familiarity to somewhere less known, less sure. It is this live exchange at the point of presentation where I feel I learn about the work.&rdquo;&nbsp;<br /><br />In&nbsp;<em>Almost All the Girls Raise Their Hands</em>&nbsp;Alice Walton further tests out the notion of other people animating her work; an exhibition as a space for possibilities to unfold &ndash; a kind of stage or set that additional ideas might inhabit. Walton is collaborating with writer and poet Eileen Daly to produce a limited edition publication that juxtaposes her visual images with Daly&rsquo;s poems, and this in turn becomes central to a recital on 17 November in which the exhibition becomes a backdrop to a performance of Daly&rsquo;s poems as well as selected works by invited guests.&nbsp;<br /><br />Alice Walton studied at KIAC (Canterbury) and Wimbledon School of Art. Selected shows include: Except the Mirror, Format Festival International Photography, Derby, 2015; Not Her Real Name, Tintype, London 2014; An Unnatural Theatre, Aid &amp; Abet, Cambridge 2013; Album2, Five Years, London 2013; Black Rabbit, White Hole, Samuel Freeman Gallery, Los Angeles, 2013; London Art Fair (Art Projects), 2013; Crazee Golf, Tintype, London 2012; In the Pleasing, Tintype, London 2012; Album, Five Years London, 2010; Jo Addison and Alice Walton, Centrum Berlin, 2010; Too Much is Never Enough, The Two Jonnys, London, 2010; Free Association, Area 53 Vienna, 2010; That was a Good Day, Five Years London, 2009.&nbsp;</p> <p><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; text-align: justify;">&nbsp;</span></p> Thu, 20 Oct 2016 12:41:30 +0000 Bonnie Camplin - Camden Arts Centre - November 2nd 7:00 PM - 8:00 PM <p style="text-align: justify;">Bonnie Camplin in trialogue with Dr David Luke, Senior Lecturer of Psychology&nbsp;at the University of Greenwich and Hypnotherapist Michele Occelli, looking at altered states of consciousness and exceptional human experience, thinking about how perception and reality fold into and out of one another.</p> <p style="text-align: justify;"><strong>Bonnie Camplin</strong> (b. 1970, London), lives and works in London. Her solo exhibitions include Salty Water/What of Salty Water Portikius, Frankfurt (with Paulina Olowska, 2007) and Lightbox, Tate Britain, London (2008). Camplin was included in Strange Things Permit Themselves the Luxury of Occuring curated by Steve Claydon, Camden Arts Centre (2007). In 2015 she was nominated for the Turner Prize for her 2014 presentation at South London Gallery as part of Anxiety Arts Festival.</p> <p style="text-align: justify;"><strong>Dr David Luke</strong> is Senior Lecturer in Psychology at the University of Greenwich where he teaches an undergraduate course on the Psychology of Exceptional Human Experience. His research focuses on transpersonal experiences, anomalous phenomena and altered states of consciousness, especially via psychedelics, having published more than 100 academic papers in this area, including five books, most recently <em>Neurotransmissions: Essays on Psychedelics</em> (2015) and <em>Talking with the Spirits: Ethnographies from Between the Worlds </em>(2014). He has studied techniques of consciousness alteration from South America to India, from the perspective of scientists, shamans and Shivaites, but increasingly has more questions than answers.</p> <p style="text-align: justify;"><strong>Michele Occelli</strong>&rsquo;s approach to hypnotherapy utilizes a combination of Ericksonian and ideo-dynamic techniques to enable processes of change and self-discovery. After years of academic research in both eastern and western philosophy (SOAS, King&rsquo;s College and Goldsmiths College), he trained as a whirling dervish with the Mevlevi Order of Konya. The study and practice of Hypnotherapy came because of a desire to engage both mind and body as a unity, which is the basis for any form of understanding of both self and the world.</p> <p style="text-align: justify;">This talk will be broadcasted live by <a href="" target="_blank">this is tomorrow</a>.</p> Tue, 27 Sep 2016 15:59:27 +0000 Peter Wächtler - Chisenhale Gallery - November 3rd 7:00 PM - 9:00 PM <p style="text-align: justify;">Peter W&auml;chtler&rsquo;s film&nbsp;<em>Tim and Racky&nbsp;</em>(2011) is screened in conjunction with First Thursdays, when the gallery remains open until 9pm on the first Thursday of each month. Emma Moore, Offsite and Education Curator at Chisenhale Gallery, provides an introduction to the&nbsp;</p> <p style="text-align: justify;"><em>This event is free to attend but booking is recommended. To reserve a&nbsp;place please visit our&nbsp;<a href="">Eventbrite page&nbsp;</a></em><a href=""><em>here</em></a><em>.</em></p> Mon, 19 Sep 2016 17:28:58 +0000 John Keane - Flowers | Kingsland Road - November 3rd 6:00 PM - 8:00 PM <p style="text-align: justify;">Flowers Gallery is pleased to announce an exhibition of new paintings by former official British War Artist John Keane.&nbsp;On view will be a series of new paintings produced in response to the commemoration of the 1994 genocide in Rwanda, following Keane&rsquo;s recent investigations of the country&rsquo;s Lieux de M&eacute;moire or Sites of&nbsp;Memory.</p> <p style="text-align: justify;">Keane is currently Artist in Residence at the School of International Relations, University of St Andrews. He visited Rwanda in 2015 with a group of postgraduate students of Peace and Conflict Studies, led by Dr Hazel Cameron. The visit, which was designed to examine the causes and legacy of the genocide, took Keane to several of the many locations around the country where more than 800,000 people were slaughtered in the space of 100 days, to meet both survivors, and perpetrators still serving their sentences in&nbsp;prison.</p> <p style="text-align: justify;">Large numbers of Lieux de M&eacute;moire, present throughout the Rwandan countryside, serve as both formal and unofficial public memorials to the victims, often in the form of visceral displays of human remains, or clothes and personal possessions. Working in response to the imagery found within the sites, Keane has developed a body of work that reflects upon the role of collective memory in the recovery of a post-conflict&nbsp;society.</p> <p style="text-align: justify;">A small series of paintings incorporating fabric continues a method of practice that Keane first developed during a period spent working in Southern Africa ten years previously, when he visited projects within the war-torn country of Angola with the international development agency Christian Aid (which resulted in a 2006 touring exhibition <em>Children in Conflict</em>). In the present paintings, items of clothing are pressed against the canvas, collaged from scraps of brightly printed textiles, their two dimensional forms addressing the haunting absence of the human figure. Swathes of thickened, semi-translucent oil paint appear to encase the fabric, as though applied as a preservative, gathering and congealing in dark pools that heighten the emphasis of folds and creases within the&nbsp;cloth.</p> <p style="text-align: justify;">Keane has sought to reflect on the disparity between the outward appearance of life in the countryside, known as Le Pays des Mille Collines (Land of a Thousand Hills), and the atrocities that have shaped it&rsquo;s recent history. The painting <em>Neighbour</em>, which is based on an arbitrarily-composed snapshot captured from the window of a bus, depicts the lush vegetation surrounding an ordinary rural Rwandan house. The surface of the work, which is scraped with a layer of dark oil paint, suggests the effects of ink seeping through a newspaper image, filling the everyday scene with an uneasy&nbsp;tension.</p> <p style="text-align: justify;">The words <em>&ldquo;If you Knew Me. If you Knew Yourself. You Would Not Kill Me&rdquo;</em>, which lend the show its title, were found on a banner suspended within a church memorial site, reflecting the country's ongoing observation of its shared loss as part of the process of rehabilitation from a formerly divided&nbsp;society.</p> <p style="text-align: justify;">Keane has said: <em>&ldquo;During my visit to Rwanda I was deeply impressed by the way it has sought to come to terms with the appalling events of 1994. Partly this is through commemoration, which takes many forms, and does not seek to hide or shrink from the enormity of what happened. The legacy of these events is fundamental in driving the imperative that such things should never happen again in Rwanda or indeed any other&nbsp;country.&rdquo;</em></p> <p style="text-align: justify;">To coincide with the exhibition, a selection of recent monoprints by John Keane will be on display in the upstairs&nbsp;gallery.</p> <p style="text-align: justify;"><a href="" target="_blank">RSVP here for the exhibition opening on Thursday 3rd November, 6-8pm at Flowers Gallery, Kingsland&nbsp;Road.</a></p> Sat, 22 Oct 2016 15:48:47 +0000 Noel Forster - Hales Gallery - November 3rd 6:00 PM - 8:00 PM Sat, 22 Oct 2016 15:53:36 +0000 Niv Acosta, Hannah Black, Evan Ifekoya, E. Jane, Devin Kenny, Tabita Rezaire, Fannie Sosa - IMT Gallery - November 3rd 6:00 PM - 9:00 PM <p>A call-and-response to &ldquo;<a href=";utm_medium=email&amp;utm_campaign=dailygood" rel="nofollow">The Peril of Black Mobility</a>&rdquo;, a critical essay by Doreen St. Félix, &ldquo;<strong>Wandering / WILDING: Blackness on the Internet</strong>&rdquo; presents the work of seven artists&mdash;<strong>Niv Acosta</strong>, <strong>Hannah Black</strong>, <strong>Evan Ifekoya</strong>, <strong>E. Jane</strong>, <strong>Devin Kenny</strong>, <strong>Tabita Rezaire</strong>, and <strong>Fannie Sosa</strong>&mdash;whose work mobilizes an exploration of race via the material of the Internet.</p> <p><em>Wandering</em> points to the socio-cultural identity of the <em>flâneur</em>, mused on by Baudelaire as &ldquo;a roving soul in search of a body&rdquo;, later reintroduced into the academy by Walter Benjamin as a mark of modernity distinctly threatened by developments of an impending Industrial Revolution. Alternately, <em>wilding</em> is a slang word which came into mainstream use in 1980s New York, a dog-whistle term used to describe the gang assault of strangers that rose out of the controversial Central Park jogger case in 1989 wherein five teenagers of color were accused of and jailed for a crime they did not commit. In relation to this event &ldquo;WILDING&rdquo; was the cover headline of New York&rsquo;s <em>Daily News</em> on April 22<sup>nd</sup>, 1989 and became part of the fear-mongering language used to mark the collective socialising of black and brown bodies as inherent public threat and, in turn, justify increased profiling and policing of such bodies throughout New York City. With ongoing media attention turned to #BlackLivesMatter, a global movement that continues to grow online and out in the world in the U.S., U.K., and beyond, the reality of such policing as international phenomena has sparked a much-needed discussion surrounding freedom of movement, as well as race and class tied to the exercising of civil liberties.</p> <p>Thus &ldquo;Wandering / WILDING&rdquo; presents a challenging dichotomy and essential opportunity for discourse, situating a spotlight on the privileged white body that Baudelaire&rsquo;s &ldquo;roving soul&rdquo; has historically inhabited and that American culture has inherited and built int the consciousness of its cultural mythology with the ongoing desire to be &ldquo;on the road&rdquo;, the same roads and streets that are not equally carefree nor safe for all bodies that traverse them. What can the Internet do for the black <em>flâneur</em>? What freedoms can be found in the &ldquo;publics&rdquo; realized via the digital for bodies of color? In what way do artists make new spaces for black lives to matter, online? <strong>Wandering / WILDING: Blackness on the Internet</strong> and the artists therein aim to inspect, and investigate.</p> <p><em>&nbsp;</em></p> <p align="right"><em>Exhibition essay by Aria Dean</em></p> Tue, 27 Sep 2016 15:59:34 +0000 Evoca1 - StolenSpace Gallery - November 3rd 6:00 PM - 9:00 PM <p class="p1">StolenSpace Gallery is proud to present &lsquo;Through the Perils of Our Youth&rsquo;, the new solo show by Evoca1.</p> <p class="p1">Dominican born Evoca1 is a figurative painter and muralist based in South Florida. As an autodidact, he has received his art education from the compulsive study of the old masters works and techniques. His works are a personal reflection on life as well as from observation, focusing on human behaviours and social struggles.</p> <p class="p1">This new body of work is based on a series Evoca1 has been working on for the past couple of years.</p> <p class="p2">&nbsp;&lsquo;This exhibition of oil paintings, and drawings will reflect on what we endure through our lives overcoming childhood struggles and experiences. The stories portrayed in the work are based on personal child experiences and from observations during my travels. These circumstances that range from corporal punishment/discipline to child labor, have been the main focus of my work and have been a means to shine a light on these social issues that children involuntarily endure around the world.&rsquo;</p> <p class="p3">Evoca1&rsquo;s beautiful free style and delicate detail creates beautiful portraits which tell compelling stories. We are excited to see this new body of work from such a talented artist and with such a poignant subject matter.&nbsp;</p> Wed, 19 Oct 2016 12:59:15 +0000 Jason Woodside - StolenSpace Gallery - November 3rd 6:00 PM - 9:00 PM <p class="p1">&nbsp;</p> <p class="p2">StolenSpace is proud to present &rsquo;Strike Me With Your Lightning&rsquo; the new solo show by New York based artist, Jason Woodside.</p> <p class="p2">Jason Woodside&rsquo;s work is characterised by vivid colours and contrasting layers of simple, geometric patterns. Taking inspiration from textiles and clothing, Woodside plays with various bold textures in an attempt to generate visual cohesion.</p> <p class="p2">Well known for creating huge murals,&nbsp;Jason Woodside brings the bright colours to the concrete jungle of his hometown of New York City and around the world. Widely recognised as a leader go the &lsquo;post-graffiti movement&rsquo;, he pushes the boundaries of what traditional urban art is. His slick modern aesthetic makes his work fit as well in a contemporary art gallery as on an urban wall.&nbsp;</p> <p class="p2">There is an optimism in Woodside&rsquo;s work, one that&rsquo;s clear in the artist&rsquo;s personal day-to-day ethos, and one that has attracted the attention of private collectors, galleries and museums alike.</p> <p class="p1">&nbsp;In this new body of work, we see Woodside continue with his bold signature style, experimenting with patterns and depth to create kinetic works which play with the viewers perception of colour and shape.</p> Wed, 19 Oct 2016 13:08:39 +0000 Patrick Caulfield - The Approach - November 3rd 6:00 PM - 9:00 PM <p style="text-align: justify;">The Approach in association with Waddington Custot is delighted to present <em>Stillness &amp; Drama</em>, a solo exhibition of selected works from the esteemed British painter Patrick Caulfield (1936&ndash;2005). The exhibition will include a group of both small and large paintings produced between the late 1980s and mid 1990s, reflecting Caulfield&rsquo;s personal affection with public spaces and the still lives invoked within. Possessing a deep yet often nostalgic and melancholic mood through distinctive use of light, shadow and colour, the paintings resonate within their physical context (situated in the gallery above The Approach Tavern) through their reflective celebration of uninhabited social environments. Here, the atmospheric tone of Caulfield&rsquo;s interiors is actualised through the spatial environment of the gallery and its neighbouring habitat.</p> <p style="text-align: justify;">Writer, novelist and curator <strong>Michael Bracewell</strong> on <strong>Patrick Caulfield</strong>:</p> <p style="text-align: justify;"><em>&ldquo;Of the young artists to emerge in London during the first half of the 1960s loosely grouped under the generic heading of Pop art, Patrick Caulfield now seems like the joker in the pack. For a while he is supremely Pop &ndash; one of the great visual interpreters of a mass-produced, mass-mediated modernity &ndash; one also feels he is constantly distancing the temper of his interpretations away from what are regarded as the principle characteristics of Pop art.</em></p> <p style="text-align: justify;"><em>Caulfield is a poet, in this respect, and mimicking a robot presence, his works can appear to have the charm and simplicity of illustrations in the margin of a medieval manuscript, while at the same time transmitting their air of progressive modernity as though with a low-electronic pulse. Such meticulous tension, as conveyed in Caulfield&rsquo;s signature style of flat, dense colours encased in thick black lines, has the effect of describing a timeless sense of the contemporary. His subjects appear drawn from some infinite catalogue of modern devices and phenomena; they seem to present themselves quite free of any additional rhetoric &ndash; their extraordinary intensity deriving in part from their mute, uncompromising statement of singularity. The ultimate effect &ndash; and here comes the twist &ndash; are works of such mesmeric poise that their very stillness acquires an epic sense of drama.</em></p> <p style="text-align: justify;"><em>It is in this constant algebra of opposites, I think, that Caulfield is revealed as a key pioneer of modern visual culture. For all the reference to the flat surfaces of his work, there is a profound psychological depth to their impact. In their economy and tension, their ambiguities and drama, these paintings take their places as studies of consciousness &ndash; our empathetic relationship to our own experience of the modern world, so often defined by our roles as consumers, passers-by, tourists or customers. The modern world is shot through with intimacy regulators, and an aspect of the art of Patrick Caulfield is to convey the simultaneous experience of intimacy and distance: our own awareness of ourselves looking on.&rdquo;</em></p> <p style="text-align: justify;">Extracts from Michael Bracewell, &lsquo;Patrick Caulfield,&rsquo; The Space Between: Selected Writings on Art, Ridinghouse, pp. 79&ndash;84<br /> First published: Afterall, no.12, November 2005, pp.29&ndash;34</p> <p style="text-align: justify;">Patrick Caulfield was born in 1936, London, UK and died in 2005, London, UK. Important retrospectives of his work have been held at the Walker Art Gallery, Liverpool and Tate Gallery, London (1981) and at the Serpentine Gallery, London (1992&ndash;93). A major retrospective of Caulfield&rsquo;s paintings, organised by the British Council, was shown at the Hayward Gallery, London, in 1999, and subsequently toured to the Mus&eacute;e National d&rsquo;Histoire et d&rsquo;Art, Luxembourg, the Calouste Gulbenkian Foundation, Lisbon, and the Yale Center for British Art, New Haven, Connecticut (1999&ndash;2000). In 2013, Tate Britain hosted a major survey exhibition of Caulfield&rsquo;s work.</p> <p style="text-align: justify;">For images or further information please contact Antonio de la Hera: <a href=""></a></p> Sat, 15 Oct 2016 17:00:57 +0000 Magnus Plessen - White Cube, Mason's Yard - November 3rd 6:00 PM - 8:00 PM Sat, 22 Oct 2016 16:19:01 +0000 Leah Capaldi - Matt's Gallery - November 6th 3:00 PM - 6:00 PM <p style="text-align: justify;"><em>Lay Down</em>&nbsp;is the first major solo show by artist Leah Capaldi. The exhibition opens Matt&rsquo;s Gallery&rsquo;s new temporary space in Bermondsey, marking a new era for the gallery as it moves south of the river.<span style="text-align: left;">&nbsp;</span></p> <p style="text-align: justify;"><em>Lay Down</em>&nbsp;is an entirely new work by Capaldi, a site-specific installation inspired by her time in the deserts of the American West. Here, Capaldi met a Utah cowboy and his horse, a film exploring their relationship and the vast, performative landscape that surrounds them forms the core of the installation.&nbsp;<em>Lay Down</em>&nbsp;asks how power is constructed and understood, this question arising throughout the installation, in the iconic figure of the American cowboy, the influence of the sublime landscape and the authority of the screen.</p> <p style="text-align: justify;">The crossover area between the disciplines of sculpture and performance are of particular interest to Leah Capaldi&rsquo;s practice, with echoes of the seminal performance work of the late 1960s and early 70s. Capaldi&rsquo;s work explores the pivotal relationship between object or subject, encouraging the audience to question themselves in relation to the work and playing with notions of surveillance and spectatorship.</p> <p style="text-align: justify;">Leah Capaldi:&nbsp;<em>Lay Down</em>&nbsp;at Matt&rsquo;s Gallery is generously supported by&nbsp;<a class="mattsgreen" href="" target="_blank">The University of Brighton</a>&nbsp;and&nbsp;<a class="mattsgreen" href="" target="_blank">Arts Council England</a>.&nbsp;<span style="text-align: left;">&nbsp;</span></p> Mon, 17 Oct 2016 13:56:17 +0000