ArtSlant - Recently added en-us 40 Group Show - Fiumano Projects - November 4th - November 12th <p style="text-align: center;">SO. . . IS THERE SUCH A THING AS TECHNO ART?</p> <p><span style="text-align: justify;">As often happens, questions can be more important than answers. When we began this process, we were&nbsp;</span><span style="text-align: justify;">more interested in the journey; we wanted to explore a theme rather than finding an easy solution to sell.</span></p> <p style="text-align: justify;">To be honest, we looked for small treasures, as opposed to the Eldorado. It was with this spirit that we opened a call for proposals to attract emerging artists. At the same time, we took a proactive approach and went on a virtual journey to find other gems.</p> <p style="text-align: justify;">The map we had gave us some indications. With the rise of the digital, innovative media has transformed the art world. There are no fixed objects and we had to look for hybrids. Sonic art mixed with visual art, objects that made sounds, machines turned into sculptures, techno-performers, robotic languages, soundscapes, electric canvases. As if this was not enough, we realised that not only the concept of what art actually is was stretching, but space too.</p> <p style="text-align: justify;">All of the artefacts we encountered had a special relationship to the urban space from where they originated. Like in an assemblage, we saw different cities merging together and beyond boundaries we could see other cities running through the local urban fabric. We also realised that the journey is full of threats. Corporate sheriffs like to destroy autonomous spaces, so we found that our mission is also to fight back, resist, and by doing so, create and push the boundaries of our imagination. Thus, this exhibition will also be a moment of celebrating this battle, a break between journeys.</p> <p style="text-align: justify;">We received many fantastic proposals, some that we are not able to accommodate this time. We are already looking for a bigger venue to organise a second event. Hopefully, the exhibition itself will travel across different cities. &ldquo;Techno and the City&rdquo; features mostly wall-based art. YҮou can expect time for discussion and a soundtrack to sustain it. We hope that for a few hours, a space dedicated to Techno Art will be a platform for meeting like-minded sonic travellers...and staying (dis)connected.</p> Fri, 21 Oct 2016 11:40:51 +0000 Alice Walton - Tintype - November 2nd - December 3rd <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 12:41:22 +0000 Jason Woodside - StolenSpace Gallery - November 4th - November 27th <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 13:08:37 +0000 Evoca1 - StolenSpace Gallery - November 4th - November 27th <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 Bruce McLean - Bernard Jacobson Gallery - December 2nd - January 28th, 2017 <p class="Default">Bernard Jacobson Gallery is delighted to announce an exhibition of new work by acclaimed British action sculptor, painter and ceramicist, Bruce McLean. <br /> <br /> Featuring works produced over the past year, including 6 &lsquo;Shade&rsquo; Paintings; a series of vivid works which explore light and shadows, as well as a six meter long minimalist &ldquo;Sunset&rsquo; painting and a group of new mono-prints on wood.<br /> <br /> McLean has gained considerable international recognition for his work in many different media, which ranges from paintings and ceramics to innovative work with film and theatre. This year, Mclean was one of the central figures of Conceptual Art in Britain 1964&ndash;1979, which featured his seminal work Pose Work for Plinths 3 (1971).</p> <p class="Default"><br /> McLean uses the absurd to confront the pretensions of the art world at time when it is ever more necessary, as well as amply demonstrating a love and mastery of the medium of paint. The new works by McLean at Bernard Jacobson Gallery combine virtuoso technique and dramatic use of colour with a large dash of humour - as one might expect from the artist who proclaimed &ldquo;I like the idea of Barnett Newman in collision with Liberace&rdquo;.</p> Wed, 19 Oct 2016 12:05:53 +0000 Monica Ross - CHELSEA space - November 16th - December 16th <p>British artist <strong>Monica Ross</strong> died in 2013 leaving an influential 40-year body of pioneering, socially-engaged, feminist and performative art practice that has profound significance for contemporary art and society.</p> <p>The exhibition titled <strong><em>A Critical Fine Art Practice</em></strong> reflects on a diverse body of work across decades of production, and will include archival material and works from 1970-2013 comprising early feminist collaborative works, drawings made at Greenham Common in the 1980s, poster designs for the anti-nuclear movement, works relating to the writings of Walter Benjamin and documentation from the 60 performances of <em>Anniversary-an act of memory, solo, collective and multi-lingual recitations from memory of the Universal Declaration of Human Rights</em> (2008-13) which concluded with a final collaborative performance at the UN in Geneva on the day of Ross' death.</p> <p>A monograph on the artist, published by Sternberg, will be launched at the exhibition.</p> <p><strong>&nbsp;</strong></p> <p><strong>Monica Ross</strong> (1950-2013) was an artist who worked with video, drawing, installation, text and performance who first came to prominence as a Feminist artist and organiser. Ross was co-responsible for collective initiatives such as the seminal <em>Women&rsquo;s Postal Art Event</em> (<em>Feministo: Representations of the Artist as Housewife</em>, ICA, London, 1977, Kunstlerinnen International 1877-1977, Schloss Charlottenberg, Berlin, 1977) and the touring project <em>Fenix</em> with Kate Walker and Sue Richardson. Both projects made visible the conditions and constraints of the working class female artist with Fenix (1978-80) making studio practice public by appropriating galleries as workspaces. <em>Fenix</em> was included in the group exhibition <em>Issue</em>, curated by Lucy Lippard and Margaret Harrison at the ICA, London in 1980. Ross then co-established the <em>Sister Seven</em> group which operated as a national network for the distribution of poster art and performances in church halls, libraries, on the streets and at peace camps including Greenham Common.&nbsp;</p> <p>Monica Ross curated exhibitions, published critical essays and text works and was Senior Lecturer in Fine Art at Saint Martins School of Art (now Central Saint Martins), London 1985-1990, later becoming leader of the innovative Critical Fine Art Practice course from 1990 - 1998. Ross was Guest Professor at Institut f&uuml;r Kunst in Kontext, Universit&auml;t der K&uuml;nste, Berlin 2004, and an AHRB Research Fellow in Fine Art at the University of Newcastle 2001-2004. In 2008, to mark the 60th anniversary of the Universal Declaration of Human Rights, Ross performed the first of 60 recitations in her series <em>Anniversary </em><em>&ndash; an act of memory: solo, collective and multi-lingual recitations from memory of the Universal Declaration of Human Rights.</em></p> <p>&nbsp;</p> <p>In 2014 the <strong>British Library</strong> acquired the digital archive of Monica Ross into their collection. The archive documents Monica Ross&rsquo;s early work from the 1970s through to <em>Anniversary - an act of memory</em> (2008-2013), a performance series in 60 acts of solo, collective and multilingual recitations from memory of the entire Universal Declaration of Human Rights (UDHR).</p> Wed, 19 Oct 2016 10:21:09 +0000 Group Show - Calvert 22 - November 4th - December 18th <p style="text-align: justify;">A Calvert 22 Foundation initiative supported by&nbsp;<em>The Calvert Journal</em>, the Prize champions contemporary perspectives on the people and countries of the New East (Eastern Europe, the Balkans, Russia and Central Asia), welcoming the work of professional and non-professional photographers alike. Its inaugural edition closed for submissions on Friday 19 August 2016 with a total of 1,030 entries from 25 New East countries.<br /><br />The finalists have been nominated by an international panel of leading industry professionals and their work reflects a range of approaches and subject matters encompassing the use of video, portraiture and landscape photography.</p> Tue, 18 Oct 2016 17:28:42 +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 Rachel Maclean - Tate Britain - November 14th - April 2nd, 2017 <p style="text-align: justify;">Rachel Maclean is a Glasgow-based multi-media artist who creates artificial visions using green-screen technology. Within her fantastical settings Maclean parodies fairy tales, children&rsquo;s television programmes, beauty product advertising, internet videos, and pop culture playing all the extravagantly costumed characters herself. &nbsp;At once seductive and nightmarish, glossy and grotesque, her films destabilise power dynamics and consumer&nbsp;desires.</p> <p style="text-align: justify;"><em>In partnership with&nbsp;HOME, University of Salford Art Collection, Artpace, Zabludowicz Collection, Frieze Film and Channel 4 Random&nbsp;Acts.</em></p> <p style="text-align: justify;"><em>Supported by Mr Nelson Woo, with additional support from Zabludowicz Collection.</em>&nbsp;</p> <h2 style="text-align: justify;"><em>About Art&nbsp;Now</em></h2> <p style="text-align: justify;"><em>Art Now</em>&nbsp;is a series of exhibitions at Tate Britain focusing on new and recent work by emerging&nbsp;artists.</p> Tue, 18 Oct 2016 17:07:46 +0000 Sophie Michael - Tate Britain - July 11th - October 30th <div class="content__standfirst"> <p style="text-align: justify;">Delve into artist-filmmaker Michael's exploration of our relationship to the past</p> </div> <div class="content__body-text"> <p style="text-align: justify;">Sophie Michael is a London-based artist-filmmaker who creates 16mm films that examine ideas around nostalgia and&nbsp;innocence.</p> <p style="text-align: justify;">Her work with the moving image draws on early experimental filmmaking and mid-twentieth century design to question our relationship to the past through the lens of the&nbsp;present.</p> <h3 style="text-align: justify;"><em>99 Clerkenwell Road</em>&nbsp;(2010)</h3> <p style="text-align: justify;">16mm film, colour, silent, 8&nbsp;min</p> <p style="text-align: justify;">This early silent 16mm film revisits the work of German abstract animation filmmaker Oskar Fischinger (1900&ndash;67). Shot at night in an empty shop, the semi-abstract film captures the simplicity of light and colour in motion. Moving the camera almost blindly in the space, and using the analogue technique of multiple exposure, Michael intermittently reveals the architectural space and outside urban elements, in a constant back and forth between abstraction and&nbsp;reality.</p> <h3 style="text-align: justify;"><em>Chapters One to Five</em>&nbsp;(2012)</h3> <p style="text-align: justify;">16mm film, colour/sound, 15&nbsp;min</p> <p style="text-align: justify;">This is the third film in the Astrid series 2010&ndash;14, made with the young Astrid Everall over the ages of seven to eleven. Astrid responds to different sets that re-construct interiors from 1950s Charles and Ray Eames designs to 1970s home improvement magazines. It takes inspiration from educational materials and re-enacts demonstration films made at that time, depicting and promoting an idealistic lifestyle. Indulging in a sense of nostalgia, in a similar way to a piece of repro-furniture which imitates a past style, Michael stages a contemporary projection of lost times and&nbsp;youth.</p> <h3 style="text-align: justify;"><em>The Watershow Extravaganza</em>&nbsp;(2016)</h3> <p style="text-align: justify;">16mm film, colour/sound, 10&nbsp;min</p> <p style="text-align: justify;">The Watershow Extravaganza is an attraction at Watermouth Castle in North Devon, built for the 1951 Festival of Britain before being installed in the theme park in the 1980s. The show choreographs water and coloured light to music played by a 1920&rsquo;s mechanical organ. Using in-camera editing techniques in her film, Michael re-weaves together the elements of the performance by superimposing imagery. Creating a secondary layer of&nbsp;<a href="" target="_blank">synaesthesia</a>&nbsp;between light and sound, she evokes early 20th century experiments with colour organs. Michael continuously explores the&nbsp;</p> <p style="text-align: justify;">contradiction of our contemporary responses to the past, and how vanished eras can be at once fascinating, outdated and&nbsp;slippery.</p> <p style="text-align: justify;">&nbsp;</p> <h3 style="text-align: justify;">About&nbsp;<em>Art&nbsp;Now</em><span style="font-size: 12px;">&nbsp;</span></h3> <p style="text-align: justify;"><em>Art Now</em>&nbsp;is a series of exhibitions at Tate Britain focusing on new and recent work by emerging artists. Since the early 1990s,&nbsp;<em>Art Now</em>&nbsp;has recognised talent at its outset and provided a launching platform for artists who went on to become established figures in the British and international art&nbsp;scene.</p> </div> Tue, 18 Oct 2016 17:05:57 +0000 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 homas Wing-Evans, Michael Perkins - APT Gallery - October 27th - October 30th <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 16:57:29 +0000 Mai-Thu Perret - Simon Lee - November 23rd - February 4th, 2017 <p class="Default" style="text-align: justify;">Simon Lee Gallery is delighted to announce Mai-Thu Perret&rsquo;s second solo exhibition and her first at the London gallery.</p> <p class="Default" style="text-align: justify;">Mai&ndash;Thu Perret creates interdisciplinary works that combine the languages of feminism, politics, theatre, nature, religion and art history.</p> <p class="Default" style="text-align: justify;">The exhibition <em>Zone </em>expands on Perret&rsquo;s own fictional narrative <em>The Crystal Frontier</em>, which the artist has been writing since 1999, that follows a group of women who form a commune New Ponderosa Year Zero in the remote desert of South Western New Mexico, in an attempt to escape capitalism and patriarchal convention. Perret&rsquo;s new body of work draws on French avant-garde writer and feminist theorist Monique Wittig&rsquo;s novel <em>Les Gu&eacute;rill&egrave;res </em>(first published in 1969) that imagines a society run by a tribe of warrior lesbian women.</p> <p class="Default" style="text-align: justify;">Wittig&rsquo;s layered, interconnected style of writing and Dada collage techniques are referenced in the scale and range of works in this exhibition, reflecting Perret&rsquo;s interest in formal strategies of disruption, combining incongruous elements and materials to explore different histories, political situations and how objects function within and influence the social systems they inhabit. The exhibition&rsquo;s title <em>Zone </em>can simultaneously refer to a meditative, mindful space and a war zone.</p> <p class="Default" style="text-align: justify;">Visitors to the gallery are greeted by an armed, faceless, seated female figure from Perret&rsquo;s series <em>Les Gu&eacute;rill&egrave;res, </em>who seemingly acts as an idle guard over a series of new works, including a ceramic fountain, a wicker sculpture and ceramic wall based reliefs (all 2016).</p> <p style="text-align: justify;">Extending a body of work Perret developed for her solo exhibition at the Nasher Sculpture Center in Dallas, the figurative sculpture is a direct reference to Wittig&rsquo;s text and inspired by soldiers in the YPJ, a female-only Kurdish militia currently fighting in the Syrian civil war. With a body collaged from papier-m&acirc;ch&eacute;, found clothes and feet of bronze, this subject resembles a store mannequin or puppet, implying animation or movement. Materially reflecting the complexities of individual and collective identity, <em>Les Gu&eacute;rill&egrave;res </em>also evokes the uncanny formal ruptures employed by Dadaist artists in the aftermath of World War I. Perret&rsquo;s figure in repose occupies the time and space between action and inaction; whilst guns pose a key threat to societies of our time, here this cast resin gun is candy-like, fetishised, temporarily immobilised yet still harbouring potential. With a pastel pink circle emblazoned across her face, Perret&rsquo;s solitary soldier queers our strategies of perception and the legibility of the objects in the gallery.</p> <p class="Default" style="text-align: justify;"><em>Raw Sophie, </em>an abstract form made from wicker, further animates the exhibition. Referencing Sophie Tauber's Dada Heads, this supersized portrait is featureless, mute and locked in silent alterity. As an artist leading the development of modern art in Europe, Tauber embodies a new vision of the roles of art and women. Perret was drawn to the Heads&rsquo; doll-like shapes, identity free and object-like, with their lack of mouths summoning a &ldquo;<em>silent scream in the vacuum of explosive Europe"</em><em>1</em>. Although wicker is a feminized, ancient craft, the scale of the sculpture and its rigorous shape suggests a vectorized, 3D rendering materialized and further complicates our reading and gendering of objects and technology.</p> <p class="Default" style="text-align: justify;">Ceramic wall reliefs run the visual gamut, from ductile, fluid shapes bearing the imprint of hands and gestures, to sharp, hard-edge works constructed from diamond shaped geometric forms. Once again employing a material associated with craft and immediacy, Perret is interested in how the soft and malleable clay body is transformed by fire into a hard, reflective and impermeable surface. The geometric works are hieroglyphic, intimating a cryptic language of elemental forms. Throughout the exhibition abstraction is presented not as a negation of figuration and the bodily, but as something that happens to the body - a process, a language - through which the body must pass.</p> <p class="Default" style="text-align: justify;">These works form a path to an alter-like fountain <em>Zone </em>at the heart of the exhibition: a truncated cube covered in hand-made white ceramic tiles, partially encrusted with sharp, pointed ceramic lotus leaves, moulded from a reflexology mat. Suggesting spas, hammam architecture, morgue tables or minimalist sculpture, this work speaks of bodies being washed or cared for and recalls the way objects and architecture shape our bodies and selves. The reflexology flowers promise relaxation, but they are sharp and potentially painful. The implication of the pressing of bodies here (echoed in the ceramic wall reliefs) complicates the blankness and emptiness implied in the minimalist construction. Decor or prop-like, the fountain serves to activate the gallery as a site for a performance or ritualistic action. The meditative lull of running water echoes through the gallery, reminding us that we are, like nature, ever changing and impermanent.</p> <p class="Default" style="text-align: justify;"><em>Their peregrinations are cyclical and circular. Whatever the itinerary, whatever point of departure they choose, they end up at the same place. The paths are parallel, equidistant, narrower and narrower as they approach the centre of the figure. If they follow the path from the interior to the exterior they must traverse the widest of the circles before finding the cross-passage that leads them to the centre. The system is closed. No radius starting from the centre allows of any expansion or of breaking through. At the same time it is without limit, the juxtaposition of the increasingly widening circles configures every possible revolution. It is virtually that infinite sphere whose centre is everywhere, circumference nowhere. </em>Monique Wittig<em>, Les Gu&eacute;rill&egrave;res </em></p> <p class="Default" style="text-align: justify;">NOTES TO EDITORS</p> <p class="Default" style="text-align: justify;">Mai-Thu Perret was born in Geneva and studied at Cambridge University, Cambridge, UK and the Whitney Independent Study Program, New York, NY. She has been awarded both the 2011 Zurich Art Prize and le Prix Culturel Manor (2011) and took part in ILLUMInations (curated by Bice Curiger) at the 54th Venice Biennale. Solo exhibitions include Nasher Sculpture Center, Dallas, TX (2016), Kunsthaus Aarau, Aarau, Switzerland (2011), MAMCO, Geneva, Switzerland (2011), Haus Konstruktiv, Zurich, Switzerland (2011), Le Magasin, Grenoble, France (2011), University of Michigan Museum of Art, Ann Arbor, MI (2010), The Aspen Art Museum, Aspen, CO (2009), San Francisco Museum of Modern Art, San Francisco, CA (2008), The Kitchen, New York, NY (2008) and The Renaissance Society, Chicago, IL (2006). Group exhibitions include Bonnefantenmuseum, Maastricht, MA (2015), Swiss Institute, New York (2015), Centre d'art contemporain de La Ferme du buisson, Noisiel, France (2014), Mus&eacute;e d'Art Moderne, Paris, France (2013), Eli and Edythe Broad Art Museum, East Lansing, MI, Museum of Contemporary Art, Denver, CO (2013), CCS Bard Hessel Museum, Annandale-on-Hudson, NY (2012), Kunsthalle Bern, Bern, Switzerland (2012) and Haus der Kunst, Munich, Germany (2010).</p> <p class="Default" style="text-align: justify;">For further press information, images and interview requests please contact Julia Kelly Kennedy: / 020 7491 0100.</p> <p style="text-align: justify;">1 Designing Identity: Sophie Taeuber, Dada, and the (re)Construction of the Fragmented Self, by Elizabeth Benjamin</p> Tue, 18 Oct 2016 16:54:18 +0000 Huma Bhabha - Stephen Friedman Gallery - November 22nd - January 21st, 2017 <p style="text-align: justify;">Opening in November, Huma Bhabha will be holding her second solo exhibition at Stephen Friedman Gallery. The presentation will include a series of four new photographs, made at the same time as the imposing assemblage sculpture for which she is known. There will be three new totem cork sculptures, including Bhabha's first ever sculptural head. The photos share many of the same concerns as her sculptures with the focus being figuration - her haunting characters draw you in with their unexpected beauty.</p> Tue, 18 Oct 2016 16:40:52 +0000 - Chisenhale Gallery - November 12th 2:00 PM - 3:00 PM <p style="text-align: justify;">Paul Teasdale leads a tour of Peter W&auml;chtler&rsquo;s exhibition, placing W&auml;chtler&rsquo;s new work in relation to his previous animation, sculpture and text pieces. Paul Teasdale is a London-based writer and editor of&nbsp;;<em>This event is free to attend but booking is recommended. To reserve a&nbsp;place please visit our&nbsp;<a href="" target="_blank">Eventbrite page&nbsp;</a></em><a href=""><em>here</em></a><em>.</em></p> Tue, 18 Oct 2016 16:38:48 +0000 - Chisenhale Gallery - October 20th 9:00 AM - 10:30 AM <p style="text-align: justify;">An early morning viewing of Peter W&auml;chtler&rsquo;s exhibition with an&nbsp;introduction to the show by Ellen Greig, Exhibitions and Events Curator at&nbsp;Chisenhale Gallery. Coffee and cakes are generously provided by the&nbsp;East End Women&rsquo;s Institute.</p> Tue, 18 Oct 2016 16:36:51 +0000