ArtSlant - Recently added http://www.artslant.com/lon/Events/show en-us 40 Takuro Kuwata - Alison Jacques Gallery - October 7th - November 5th <p><em>&ldquo;I&rsquo;m not trying to break the rules&hellip; I just want to apply a contemporary sensibility to pottery. I believe I can create something truly new, work that reflects our time&rdquo;</em> Takuro Kuwata, 2013&nbsp;</p> <p>Alison Jacques Gallery is delighted to present new ceramic work by Japanese artist Takuro Kuwata. This will be Kuwata&rsquo;s first solo exhibition in London, following his participation in the group show <em>Organic Sculpture</em> at Alison Jacques Gallery in 2015. &nbsp;</p> <p>Takuro Kuwata (born 1981) lives and works in Toki City, Gifu, Japan and it is from this mountainous terrain that the artist finds the stones prominent in his sculptures. One of the traditional Japanese techniques he uses is called <em>ishi-haze </em>or <em>stone explosion, </em>in which stones are allowed to overheat in the kiln to the point where they rupture<em>. </em>Conventionally, this technique employs small stones in the making of tea ceramics; however Kuwata uses oversized rocks to distort his forms as the stones melt or explode. Kuwata also employs <em>kairagi, </em>another Japanese technique, which is used to create imperfections in the glaze caused by shrinking and cracking. Kuwata is drawn to the imperfections resulting from this process, which he employs to its extreme so that the outer layer of the sculpture is fractured and appears to be slipping away from the colour beneath. The uncertainty of the method does not allow Kuwata complete control over the resulting form, enhancing the organic nature and dysfunctionality of his objects.</p> <p>This exhibition contains a number of large-scale works made when Kuwata was resident artist in Shigaraki, Japan, earlier this year. Upon entering the gallery, the viewer is confronted with a large stalagmite sculpture beside a small tea bowl. The main space contains a variety of large vessels and standing sculptures, encrusted with sherbert-hued colours, or gold and silver glazes, which appear like rings of icing around heavy ceramic bases. In the side space Kuwata exhibits a series of small, brightly coloured tea bowls that span the length of the wall. Kuwata often refers to these as drip bowls, with beads of glaze hand painted onto their exteriors that could appear to be coloured droplets of sweat emanating from within.</p> <p>Kuwata&rsquo;s practice is firmly rooted in Japanese history and aesthetics. The characteristics of the Japanese philosophy <em>wabi-sabi,</em> which focuses on imperfect and incomplete beauty, including asymmetry and asperity, are all evident in Kuwata&rsquo;s work. Born in Hiroshima, but removed from the aftermath of World War II, Kuwata is offering a contemporary view of postwar Japanese anxiety as well as demonstrating a correlation between Japan&rsquo;s recent natural and social disasters. The natural world plays an active role in Kuwata&rsquo;s practice, with bursting stones and broken glazes acting as metaphors for erupting volcanoes and earthquakes, engendering beauty through destruction.</p> <p>Takuro Kuwata graduated from Kyoto Saga Art College, Department of Fine Arts, Ceramic Arts in 2001 and started an apprenticeship under ceramic artist Zaima Susumu in 2002. He graduated from Tajimi City Pottery Design and Technical Center in 2007. Kuwata has been shown extensively in Japan, including <em>Art Crafting Towards The Future</em> at the 21st Century Museum of Contemporary Art, Kanazawa, Japan, 2012, and <em>Japanese Kōgei | Future Forward</em>&nbsp;at the Museum of Arts and Design, New York, 2015. In 2017, Kuwata will have a solo show at CAM / Contemporary Art Museum, St. Louis curated by Jeffrey Uslip.</p> <p>&nbsp;Museums and foundations that have acquired Kuwata&rsquo;s work include: Rubell Family Collection, Miami; Takahashi Collection, Tokyo; 21<sup>st</sup> Century Museum of Contemporary Art, Kanazawa; The Palm Springs Art Museum, Palm Springs; University of Michigan Museum of Art, Ann Arbour.</p> <p><strong>FOR INFORMATION, INTERVIEWS OR IMAGES PLEASE CONTACT BRIDIE HINDLE: E: </strong><a href="mailto:BRIDIE.HINDLE@ALISONJACQUESGALLERY.COM" rel="nofollow"><strong>BRIDIE.HINDLE@ALISONJACQUESGALLERY.COM</strong></a><strong> / T: +44 (0) 20 7631 4720 </strong><strong>WWW.ALISONJACQUESGALLERY.COM</strong></p> Fri, 26 Aug 2016 16:54:38 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Karolina Brzuzan, Jamie Crewe, Jackie Karut and Priyesh Trivedi. - Gasworks - September 24th 12:00 PM - 6:00 PM <p>Open Studios 12-6pm<br />Artist Talks 4.30pm</p> <p>Drop by and get to know the visiting artists at this free event&nbsp;offering London audiences a unique opportunity to see, hear about and discuss the research and work-in-progress that they&nbsp;have been developing over the past three months.</p> <p>Artists:</p> <p>Karolina Brzuzan&nbsp;(Poland),&nbsp;Jamie Crewe&nbsp;(UK),&nbsp;Jackie Karuti&nbsp;(Kenya) and&nbsp;Priyesh Trivedi&nbsp;(India).</p> Fri, 26 Aug 2016 14:54:08 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list - Gasworks - September 22nd - December 11th <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Gasworks presents A Body Reduced to Brilliant Colour, the first UK solo exhibition by American artist Candice Lin.</p> <p>The exhibition explores how histories of slavery and colonialism have been shaped by human attraction to particular colours, tastes, textures and drugs. Lin presents a new commission, a living sculpture assembled from hacked household objects, which will work constantly to transform historically loaded goods such as tea and sugar into a new substance, a brownish -red fluid which will collect and congeal on the gallery floor throughout the exhibition.</p> <p>Focusing on how the desire to wear, become enraptured by, or ingest certain plants and substances preceded the will to trade them as commercial goods, the exhibition traces the materialist urges at the root of colonial violence. Living processes, from fermentation to the generation of an electrical current through bacterial digestion, join with objects, organic matter and DIY mechanics to constitute a ritualistic act in which ceaseless movement echoes the histories of trade that entangle them.</p> <p>Tubing, plastic and glass containers, porcelain filters, hot plates, and other household objects boil, ferment, distil, dye and pump liquid containing colonial trade goods such as cochineal, sugar and tea. The system created by these diverse elements surrounds a large, waterproof basin of Vitruvian proportions. &lsquo;Fed&rsquo; two litres of water each day, this work &ndash; which the artist describes as a &lsquo;flayed</p> </div> </div> </div> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <p>circulatory system&rsquo; &ndash; constantly produces a brownish-red fluid, which collects in the basin and is gradually siphoned off, congealing in a pool on a marble-effect laminate floor in the adjacent gallery. By transforming prized, historically-loaded goods into a stain reminiscent of murder, faeces or menstrual blood, the work speaks to these fraught histories of conquest, slavery, torture and theft, while at the same time exploring what happens when materials so burdened with history and meaning are situated in &ndash; and produce &ndash; new systems of relations.</p> <p>--<br /> A series of events accompanies the exhibition including The Intricate Speech of Intimate Objects on 24 Sept in which Los-Angeles based artist and psychic Asher Hartman will lead a demonstration and workshop in psychometry; and Eating the Edifice on 12 November 2016,an illustrated lecture/demonstration by food historian and artist Ivan Day which outlines the evolution of edible table art from the early Renaissance to the 19th century.</p> <p>For artist / curator interviews and for high resolution images visit:</p> <p>http://www.gasworks.org.uk/about-us/press/ or email sheena@gasworks.org.uk +44 (0)207 091 1636&nbsp;</p> </div> </div> </div> Thu, 25 Aug 2016 15:23:10 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Lucia Nogueira - Annely Juda Fine Art - September 23rd - October 29th <p style="text-align: justify;">In collaboration with Anthony Reynolds Gallery<br />&nbsp;</p> <div style="text-align: justify;">An artist of Brazilian heritage but who relocated to London in 1975, Nogueira&rsquo;s work comprises installation, sculpture, video and drawing. Her art eludes classification. Despite frequently suggesting a Brazilian sensibility, it does not sit comfortably within the paradigm of most Brazilian art, but neither does it reflect what was taking place in London at the time. A fascination with the structure of language infiltrated her work but also expressed the particular force of her bilingual ambivalence. Her work is suspended in a complex cultural partnership and encapsulates relationships that are at the root of our attempts to negotiate experience. Neither representational nor narrative, Nogueira&rsquo;s work concerns the range of poetic and philosophical stimuli that are generated by a single, precise point of connectivity.<br />&nbsp;</div> <p style="text-align: justify;">&nbsp;<br />A fully illustrated 64 pp catalogue will be available</p> Mon, 22 Aug 2016 10:14:14 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Xu Hualing, Hang Chunhui, Peng Jian, Chen Jun, Ma Lingli - Royal College of Art - September 7th - September 13th <p style="text-align: justify;">Chinese ink art has a time - honoured tradition, a tradition that has, since the day&nbsp;it was born, been going through relentless changes, mainly driven by its intrinsic&nbsp;movements before the 20th century as there was neither desire nor channel for&nbsp;the Chinese culture to interact with those of other countries against the&nbsp;backdrop of China&rsquo;s self-closed cultural environment.<br /><br />The beginning of the 20th century witnessed the most dramatic changes in&nbsp;history to China, which led to, among others, ruptures and fragmentation of&nbsp;Chinese cultural traditions with the increasing influence of the west on China.&nbsp;The ink art, as one of the symbols of Chinese cultural traditions, since then&nbsp;embarked on a path of the so-called &ldquo;transformation&rdquo;, with modernization as the&nbsp;purpose and learning from the west the approach.<br /><br />This transformation has been accompanied by disputes until the 1980s, a period&nbsp;that saw the prominence of a contemporary sense of questioning in the creation&nbsp;of Chinese ink art. The creators, while stressing the &ldquo;micro-times&rdquo; and &ldquo;micro-trends&rdquo; in the context of &ldquo;macro-times&rdquo; and &ldquo;macro-trends&rdquo;, began to show&nbsp;diversities and personalities. What remained the same about the ink artists then&nbsp;were the principles of &ldquo;I&rsquo;m expressing my own inner world&rdquo; and &ldquo;harmony butnot conformity&rdquo;, although some of them tended to envy the unrestrainedness of&nbsp;western expressionist art, and some others preferred to go back to the&nbsp;traditional &ldquo;brush and ink play&rdquo; of ancient Chinese literati painting.<br /><br />It is undoubted that the Chinese ink at of the early 21st century will be nothing&nbsp;but a flash throughout its tremendously long history. It is now showing more&nbsp;enhanced diversities and personalities with the involvement of young ink artists.&nbsp;The tradition of Chinese ink art has been more inclusive thanks to the efforts of&nbsp;the past generations of ink artists, and it is based on this inclusiveness that&nbsp;Chinese ink art is starting to be experimental and avant-garde.<br /><br />For the young artists, ink is either the material they feel comfortable with, or an&nbsp;apposite medium they use to express their own opinions, or a route of time&nbsp;travel for them to connect with ancient artists. That&rsquo;s why they have been so&nbsp;captivated by the creations and experiments of ink art, which count as the most&nbsp;direct and easiest modes to express themselves as well as their attitudes about&nbsp;the current era.<br /><br />It is our pleasure to bring the creations of such a group of young artists to&nbsp;London, the culturally diverse metropolis where we would like to unveil the&nbsp;contemporary Chinese ink art. Belonging to the new generation of contemporary&nbsp;Chinese ink artists, the several young artists featured in this exhibition, who are&nbsp;known for their practice art out of unrestrained will, have all chosen ink art as if&nbsp;by prior agreement. For them, ink art is where the vitality lies, and their mission&nbsp;of artistic creation is to tell the story of &ldquo;themselves&rdquo; or reveal the spirit of their&nbsp;generation in the contemporary cultural context, instead of continuing the&nbsp;tradition of ink art.</p> Mon, 22 Aug 2016 07:37:24 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list - Michael Hoppen Contemporary - September 28th - November 6th <div class="description"> <p style="text-align: justify;">Part of the fascination with all photography is that the medium is firmly grounded in the documentary tradition. It has been used as a record of crime scenes, zoological specimens, lunar and space exploration, phrenology, fashion and importantly, art and science. It has been used as &lsquo;proof&rsquo; of simple things such as family holidays and equally of atrocities taking place on the global stage. Any contemporary artist using photography has to accept the evidential language embedded in the medium.</p> <p style="text-align: justify;">In this exhibition the Michael Hoppen Gallery exhibits a myriad of different images including 19<sup>th</sup>, 20<sup>th</sup> c. and contemporary works of art.&nbsp; Seemingly disparate these images have a shared gravitas, a weightiness that emanates from their documentary function. Many of the images were originally taken to provide empirical evidence of a theory or record of an event. Dislocated from their original context and distanced by time, they do not so much provide an answer, rather question the viewer afresh.</p> <p style="text-align: justify;">It is interesting that the majority of photographs in this exhibition were never intended as beautifully crafted or well-composed images. They were required to prove a point, solve a mystery or simply to inform with clarity. The identity of a face, the location of a cell<strong>,</strong> the shape of a skull as confirmation of evolution, the coaxial lighting down a gun to show the twist of the barrel. All these images were made to illustrate a fact. Even a picture of a Russian schoolgirl&rsquo;s calculus covered thighs provides amusing evidence of her cheating in a math&rsquo;s exam. The image was taken as proof of her misdemeanor but isolated from its original context, as with many of these images, it acquires a beauty and significance independent of it&rsquo;s original function.</p> <p style="text-align: justify;">Most of these images once served a specific purpose, which has now passed. What therefore makes these disparate images still so important and also so collectable? One understands very quickly how extraordinary some of these pieces are, not only from an informative point of view, but also aesthetically. Many are unique and the chances of them having been saved in good condition, for posterity is often just pure chance. The minds that thought up ways to record this evidence, sometimes in the face of cultural or academic adversity, was also an achievement. Look at Jules Etienne Mar&eacute;e&rsquo;s &nbsp;series of the naked man walking. This is possibly the earliest &lsquo;giff&rsquo; in the world! What he was able to do is still being practiced today in cinema special effects.</p> <p style="text-align: justify;">Equally, the photographs Francis Bacon used to create some of his great canvases could have ended up in a waste paper bin, but are here for all to see. Scholars need this material to work with and it is this search for the truth that leads us neatly to where we are today with a plethora of fascinating pictures to sample, savor and marvel at.</p> </div> Sun, 21 Aug 2016 05:34:43 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Jamian Juliano–Villani - Studio Voltaire - September 30th - November 1st <div class="colSpan12 nudgeContainer marginBottom50"> <div class="introParagraph"> <p style="text-align: justify;">In October&nbsp;2016 Studio Voltaire will present a major new commission by American painter Jamian Juliano-Villani, her first solo presentation in a public institution outside the US.</p> </div> <p style="text-align: justify;">Jamian Juliano-Villani&rsquo;s (b. 1987, New Jersey) paintings teem with cultural references, both populist and obscure; animation, advertising and video games jostle with Reggae album artwork and delinquent characters from art history. By layering appropriated imagery she creates aberrations, with figures growing, shrinking and dissolving into one another. Her paintings often reflect a curious slippage between the prosaic and surreal, converting the familiar into the uncanny.</p> <p style="text-align: justify;">Juliano-Villani&rsquo;s bold and graphic style has become categorised by her use of cartoon imagery, however, she has repeatedly specified it is not cartoons aesthetic but their populist nature that interests her. She is mining a shared collective memory to express intimate and subjective issues that can be read through the universal language of cartoons. The communicative potential of her work is key for Juliano-Villani, and her unrestricted use of mainstream appropriation makes it legible on a number of levels.</p> <p style="text-align: justify;">For her commission at Studio Voltaire Juliano-Villani will work in situ and create a new body of work in response to the idiosyncrasies of the gallery space. She will build on the developments in her more recent work, moving away from her complex, dynamic Hieronymus Bosch-esque tableaus, where chaos was the main character, and instead focus on the psychological atmosphere of her paintings in a more personal, intimate way.</p> <p style="text-align: justify;">There is a clear duality in Juliano-Villani&rsquo;s work; it is comic but also visceral, violent, perverse and at times erotic. Her work is simultaneously appealing and yet repulsive. She examines common cultural memories via the myths derived from television and advertising, however she re-contextualises these, and as a result imbues them with new meaning, and critically new value. Her works are affective and angst ridden, filled with moral dilemmas and personal visions. Juliano-Villani&rsquo;s works can all be read as self-portraits, but ones composed with a shared visual language.</p> </div> Sun, 21 Aug 2016 05:28:44 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Yun Hyong-keun - Simon Lee - September 6th - September 29th <p class="Default" style="text-align: justify;">Simon Lee Gallery is proud to present a concise survey exhibition of paintings by Korean artist Yun Hyong-keun, one of the leading figures of Dansaekhwa, in his first posthumous solo presentation in the UK.</p> <p class="Default" style="text-align: justify;">The series of large <em>Burnt Umber &amp; Ultramarine Blue </em>oil on linen works included in the exhibition date from between 1990 &ndash; 1993 and reflect a transformative moment in the artist&rsquo;s career, when the abstract forms in the work grew larger, darker and fewer in number.</p> <p class="Default" style="text-align: justify;">Inspired by nature and influenced by the work of the scholar and calligrapher Kim Jeong-hui, Yun&rsquo;s paintings combine the colour of earth and water in surfaces reminiscent of traditional ink-wash painting, infused with vitality. Restricting his palette in this body of work to these two colours, Yun diluted the paint with turpentine and allowed it to wash over the canvas, layering it over days, weeks or months to create intense fields of velvety, intense darkness. The paintings embody time through an accumulation of procedures enacted in different encounters with the work in the same space. Each layer of pigment seeped into the fibres at a different rate, resulting in blurred edges along the unmarked expanses of canvas. In the 1990s, these boundaries gradually became more defined, eventually sharpening into hard edges in the final decade of the artist&rsquo;s life.</p> <p style="text-align: justify;">In recent years major international museums and academics have revisited Yun's work and his key contribution to Dansaekhwa. His works characterise the elements of tactility, spirituality and performance common to first generation Dansaekwha artists, including Chung Sang-Hwa, Ha Chong-Hyun, Chung Chang-Sup, KIM Whanki and Park Seo-Bo. Emerging from a period deeply affected by the Korean War, their work reflected Korean sentiments and aesthetics through investigating themes of flatness, materiality and mediation. Rhythmic actions repeatedly performed on the canvas were intended to build a sense of unity between materials, object and the self. Whilst never officially a movement and diverse in their outputs, the Dansaekwha artists&rsquo; work shares a common commitment to investigating the materiality and act of painting.</p> <p class="Default" style="text-align: justify;">&nbsp;</p> <p class="Default" style="text-align: justify;"><strong>Notes for Editors</strong></p> <p class="Default" style="text-align: justify;">Yun Hyong-keun was born in Miwŏn, Korea, in 1928 and died in 2007. In 1947 he attended Seoul National University to study Western painting, but abandoned his studies after he was imprisoned for his involvement with the leftist student movement. He returned to his hometown, Cheongju, where he worked as a teacher. Eight months later, the Korean War (1950-53) broke out. Yun survived the war and in 1954 joined Hongik University where he met Kim Whanki, a renowned painter and his future father-in-law, and forged a close relationship with the art students who would be exponents of Dansaekhwa. He graduated from the Department of Painting, Hongik University, Seoul, in 1957. He has been the subject of numerous solo exhibitions in Korea, Japan, Germany, France and the United States, including at the Judd Foundation, New York (1993), and the Chinati Foundation, Marfa, TX (1994). The Museum of Modern and Contemporary Art, Strasbourg, France, held a major retrospective in 2002. His work has also been celebrated in landmark surveys such as Dansaekhwa: Korean Monochrome Painting, National Museum of Contemporary Art, Gwacheon (2012); Korean Abstract Art: 1958&ndash;2008, Seoul Museum of Art (2008); Gwangju Biennale (2000); Venice Biennale (1995); Working With Nature: Traditional Thought in Contemporary Art from Korea, Tate Liverpool (1992); and the S&atilde;o Paulo Biennial (1969, 1975).</p> <p style="text-align: justify;">This exhibition is presented in collaboration with the Estate of Yun Hyong-keun and PKM Gallery, Seoul.</p> Sun, 21 Aug 2016 05:23:04 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Mert & Marcus - Phillips de Pury & Company - October 24th - November 3rd <p style="text-align: justify;">In association with <a href="http://www.artpartner.com/" target="_blank">Art Partner</a>, Phillips presents the first major exhibition of the dynamic artist duo Mert &amp; Marcus. Since landing their first cover with <em>Dazed &amp; Confused</em> in 1997, Mert &amp; Marcus have had their distinctive and powerful photographs featured in such established magazines as <em>Vogue</em>,<em> Interview</em>, <em>Vanity Fair</em> and <em>W</em> as well as in campaigns for Christian Dior, Versace, Yves Saint Laurent and more. As part of the 20th anniversary celebration of Mert &amp; Marcus' collaboration, 18 works - 9 black-and-white and 9 colour - will be made available for sale for the first time. The landmark exhibition debuts at Phillips' London headquarters in Mayfair before traveling to Paris.</p> Sun, 21 Aug 2016 05:16:28 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Group Show - Phillips de Pury & Company - July 29th - August 13th Sun, 21 Aug 2016 05:13:23 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Araya Rasdjarmrearnsook - Gimpel Fils Gallery - September 8th - November 5th Sun, 21 Aug 2016 05:06:16 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Peter Wächtler - Chisenhale Gallery - September 16th - December 11th <p style="text-align: justify;">The first solo exhibition in a UK institution by the Berlin and Brussels-based artist Peter W&auml;chtler. Working in animated film, ceramics and drawing, W&auml;chtler explores the introverted experience of labour, with his prolific writing and prose poems often providing source material. Through idiosyncratic imagery, which merges personal biography and fiction, W&auml;chtler&rsquo;s work presents a contemporary treatment of melancholia, employing comic absurdity in literary and cinematic modes.&nbsp;<br /><br /></p> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column" style="text-align: justify;">Peter Wächtler (born 1979, Hannover) lives and works in Brussels and Berlin. Recent solo exhibitions include <em>9</em>, KIOSK, Ghent (2016); <em>Secrets of a Trumpet</em>, The Renaissance Society, Chicago (2016); Westfälischer Kunstverein, Münster (2014); Reena Spaulings, New York (2014); dépendance gallery, Brussels (2013); Kunsthalle Wien, Vienna (2013). Selected group exhibitions include <em>Surround Audience</em>, New Museum Triennial, New York (2015); <em>A needle Walks into a Haystack</em>, Liverpool Biennial, Liverpool (2014); <em>Meanwhile... Suddenly and Then</em>, Lyon Biennale (2013); <em>Pride Goes Before a Fall &ndash; Beware of a Holy Whore</em>, Artists Space, New York (2013). Sternberg Press published a collection of Wächtler&rsquo;s texts in 2013, entitled <em>Come On</em>.</div> </div> </div> Sun, 21 Aug 2016 05:04:59 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Olivia Plender - Maureen Paley - September 9th - October 1st <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>9 September &ndash; 1 October 2016<br /> private view and book launch: Friday 9 September 6.30 &ndash; 8.30 pm</p> <p>Maureen Paley is pleased to announce a solo show at the gallery by Olivia Plender. The exhibition addresses the subject of national identity, global finance and protest movements. Architectural models, posters, drawings and costumes will be included that are informed by Plender&rsquo;s interest in the 1924 British Empire Exhibition, the Suffragettes, the Women&rsquo;s Social and Political Union and the Kibbo Kift Kindred. Plender&rsquo;s research based practice questions the ideological framework around the narration of history. Her recent projects have explored the means by which alternative systems of knowledge production are proposed by fringe social and religious movements. Drawing on social history, Plender questions how official historical narratives are constructed, and the hierarchies behind the &lsquo;voice of authority&rsquo; that is traditionally produced by institutions in the public sphere, such as the museum, the academy and the media.</p> <p>During the private view the gallery will launch Rise Early Be Industrious - the new monograph published by Sternberg Press in collaboration with MK Gallery, Milton Keynes; Arnolfini, Bristol; The Banff Centre, Banff and Centre for Contemporary Arts, Glasgow. Edited by Remco de Blaaij, Gerrie van Noord and Olivia Plender, with texts by Angus Cameron, Maeve Connolly, Lars Bang Larsen, Olivia Plender and Tirdad Zolghadr</p> <p>Design by Nuno da Luz. ISBN 978-3-95679-174-1</p> <p>In 2014 Plender curated an exhibition of Sylvia Pankhurst&rsquo;s art works at Tate Britain, London (with The Emily Davison Lodge). Earlier solo shows include Rise Early And Be Industrious (touring) MK Gallery, Milton Keynes, Arnolfini, Bristol and Centre for Contemporary Arts, Glasgow, 2012; Aadieu, Adieu Apa (Goodbye Goodbye Father), Gasworks Gallery, London, 2009; Information, Education, Entertainment, Marabouparken Annex, Stockholm 2007; and The Folly of Man Exposed or the World Turned Upside Down, Frankfurter Kunstverein, Frankfurt, 2006.</p> <p>Selected group shows include the El Teatro Del Mundo, Museo Tamayo Arte Contemporáneo, Mexico City, 2014; The Crime was Almost Perfect, Witte de With, Netherlands, 2014; Arbeidstid, Henie Onstad, Oslo, 2013; British Art Show 10, Hayward Gallery, London, 2011; Folkestone Triennial, Kent, 2011; Taipei Biennial, 2010; Altermodern: Tate Triennial, Tate Britain, London, 2009; Bucharest Biennial, 2010; The Greenroom, Hessel Museum of Art, CCS Bard, Annandale-on-Hudson and The Great Transformation, Frankfurter Kunstverein, Frankfurt, 2008; Tate Triennial Tate Britain, London and Busan Biennial, 2006; BMW: 1X Baltic Triennial of International Art, CAC, Vilnius, 2005; Romantic Detachment, PS1/ MoMA, New York, 2004.</p> </div> </div> </div> Thu, 25 Aug 2016 16:39:46 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Cary Kwok - Herald St - September 2nd - September 25th Sun, 21 Aug 2016 03:45:39 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Richard Serra - Gagosian Gallery - Davies Street - September 15th - December 17th <p>Gagosian Gallery is pleased to present new <em>Composite Drawings</em>by Richard Serra.</p> <p style="text-align: justify;"><strong>Richard Serra</strong> was born in San Francisco in 1938 and has lived in New York since 1966. He studied at the University of California (Berkeley and Santa Barbara) and at Yale University. He was awarded the insignia of Chevalier de la l&eacute;gion d'honneur by the French government in June 2015.</p> <p style="text-align: justify;">Institutional collections include The Museum of Modern Art, New York; Whitney Museum of American Art, New York; Dia Art Foundation, Beacon, New York; National Gallery of Art, Washington, D.C.; LACMA, Los Angeles; The Broad, Los Angeles; Tate Modern, London; Stedelijk Museum, Amsterdam; Serralves Foundation, Oporto, Portugal; Neue Nationalgalerie, Berlin; and Guggenheim Museum Bilbao, Spain, among many others.</p> <p style="text-align: justify;">Serra's earliest solo exhibitions were held at Galleria La Salita, Rome (1966), and Leo Castelli Warehouse, New York (1969). His first solo museum exhibition was presented at The Norton Simon Museum (formerly Pasadena Art Museum) in 1970. Selected recent solo institutional exhibitions include &ldquo;Richard Serra: Weight and Measure Drawings,&rdquo; American Academy in Rome, Italy (2000); &ldquo;Sculpture and Drawing by Richard Serra,&rdquo; The Pulitzer Foundation for the Arts, St. Louis, Missouri (2003); &ldquo;Richard Serra: Focus Installation,&rdquo; St. Louis Museum of Art, Missouri (2003); &ldquo;Richard Serra,&rdquo; Museo Archeologico Nazionale di Napoli, Naples, Italy; &ldquo;Richard Serra: The Matter of Time,&rdquo; Guggenheim Museum Bilbao, Spain (2005); &ldquo;Richard Serra Sculpture: Forty Years,&rdquo; The Museum of Modern Art, New York (2007); &ldquo;Richard Serra, Drawings: Work Comes Out of Work,&rdquo; Kunsthaus Bregenz, Austria (2008); &ldquo;Promenade,&rdquo; Monumenta, Grand Palais, Paris (2008); &ldquo;Richard Serra Drawing: A Retrospective,&rdquo; The Metropolitan Museum of Art, New York (2011, travelled to San Francisco Museum of Modern Art, California; and the organizing venue, The Menil Collection, Houston); &ldquo;Richard Serra: Drawings for The Courtauld,&rdquo; The Courtauld Gallery, London (2013); &ldquo;Richard Serra,&rdquo; Qatar Museum Authority, Doha (2014); and &ldquo;Richard Serra: Drawings in the G&aacute;vea House,&rdquo; Instituto Moreira Salles, Rio de Janeiro (2014).</p> <p style="text-align: justify;">Serra participated in Documenta in 1972, 1977, 1982, and 1987; and La Biennale di Venezia in 1980, 1984, 2001, and 2013. He was awarded the Golden Lion in 2001. In 2005, <em>The Matter of Time</em> (1994&ndash;2005), a series of eight monumental sculptures, was permanently installed at the Guggenheim Museum Bilbao. In 2014, <em>East-West/West-East</em> (2014) was permanently installed in the desert of the Brouq Nature Reserve in Western Qatar.</p> <p>Since 1983, Gagosian Gallery has presented more than thirty major exhibitions of Serra's sculptures and drawings in the United States and Europe.</p> Sun, 21 Aug 2016 03:23:22 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Richard Serra - Gagosian Gallery - Britannia Street - October 1st - February 25th, 2017 <p>Gagosian Gallery is pleased to present three recent large-scale steel sculptures by Richard Serra.</p> <p style="text-align: justify;"><strong>Richard Serra </strong>was born in San Francisco in 1938 and has lived in New York since 1966. He studied at the University of California (Berkeley and Santa Barbara) and at Yale University. He was awarded the insignia of Chevalier de la l&eacute;gion d'honneur by the French government in June 2015.</p> <p style="text-align: justify;">Institutional collections include The Museum of Modern Art, New York; Whitney Museum of American Art, New York; Dia Art Foundation, Beacon, New York; National Gallery of Art, Washington, D.C.; LACMA, Los Angeles; The Broad, Los Angeles; Tate Modern, London; Stedelijk Museum, Amsterdam; Serralves Foundation, Oporto, Portugal; Neue Nationalgalerie, Berlin; and Guggenheim Museum Bilbao, Spain, among many others.</p> <p style="text-align: justify;">Serra's earliest solo exhibitions were held at Galleria La Salita, Rome (1966), and Leo Castelli Warehouse, New York (1969). His first solo museum exhibition was presented at The Norton Simon Museum (formerly Pasadena Art Museum) in 1970. Selected recent solo institutional exhibitions include &ldquo;Richard Serra: Weight and Measure Drawings,&rdquo; American Academy in Rome, Italy (2000); &ldquo;Sculpture and Drawing by Richard Serra,&rdquo; The Pulitzer Foundation for the Arts, St. Louis, Missouri (2003); &ldquo;Richard Serra: Focus Installation,&rdquo; St. Louis Museum of Art, Missouri (2003); &ldquo;Richard Serra,&rdquo; Museo Archeologico Nazionale di Napoli, Naples, Italy; &ldquo;Richard Serra: The Matter of Time,&rdquo; Guggenheim Museum Bilbao, Spain (2005); &ldquo;Richard Serra Sculpture: Forty Years,&rdquo; The Museum of Modern Art, New York (2007); &ldquo;Richard Serra, Drawings: Work Comes Out of Work,&rdquo; Kunsthaus Bregenz, Austria (2008); &ldquo;Promenade,&rdquo; Monumenta, Grand Palais, Paris (2008); &ldquo;Richard Serra Drawing: A Retrospective,&rdquo; The Metropolitan Museum of Art, New York (2011, travelled to San Francisco Museum of Modern Art, California; and the organizing venue, The Menil Collection, Houston); &ldquo;Richard Serra: Drawings for The Courtauld,&rdquo; The Courtauld Gallery, London (2013); &ldquo;Richard Serra,&rdquo; Qatar Museum Authority, Doha (2014); and &ldquo;Richard Serra: Drawings in the G&aacute;vea House,&rdquo; Instituto Moreira Salles, Rio de Janeiro (2014).</p> <p style="text-align: justify;">Serra participated in Documenta in 1972, 1977, 1982, and 1987; and La Biennale di Venezia in 1980, 1984, 2001, and 2013. He was awarded the Golden Lion in 2001. In 2005, <em>The Matter of Time</em> (1994&ndash;2005), a series of eight monumental sculptures, was permanently installed at the Guggenheim Museum Bilbao. In 2014, <em>East-West/West-East</em> (2014) was permanently installed in the desert of the Brouq Nature Reserve in Western Qatar.</p> <p>Since 1983, Gagosian Gallery has presented more than thirty major exhibitions of Serra's sculptures and drawings in the United States and Europe.</p> Sun, 21 Aug 2016 03:21:26 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list