ArtSlant - Recently added en-us 40 Emiliano Zelada, Pier Luigi Tazzi, Jonathan Lahey Dronsfield, Francesca Banchelli - Wilkinson Gallery - April 20th 7:00 PM - 8:00 PM <p style="text-align: justify;"><em>Before the name</em>&nbsp;is a live performance/shooting inspired by&nbsp;<em>La danse comme m&eacute;taphore de la pens&eacute;e</em>&nbsp;(Dance as a Metaphor for Thought), part of the &ldquo;Handbook of Inaesthetics&rdquo;, written by the French philosopher Alain Badiou - Alberto Toscano (trans.), Stanford University Press, 2005. Badiou&rsquo;s presence/absence in Francesca Banchelli&rsquo;s performance embodies the desire to confront ourselves with the thought of one of the great living philosophers through dance. Via the intensity of movement, sound and words, the happening/event questions the meaning of a collective action, by creating a minimal multilayered connection between artists, thinkers and the public.</p> <p style="text-align: justify;">Badiou&rsquo;s thoughts resonate in the form of an echo in the empty space, along with the live music of artist and composer Emiliano Zelada, and the experience of young dancers from different backgrounds responding to the philosopher&rsquo;s words. They will occupy the space with their movements, trying to reach their own understanding of&nbsp;<em>density</em>&nbsp;levels, engaged with Badiou&rsquo;s figure. The symmetrical binomial produced by the philosopher&rsquo;s appearance/disappearance, and the dancers&rsquo; visual strength formed by movement and mind, will be cut by a non-narrative perspective introduced and lead by the influential Italian art critic and curator Pier Luigi Tazzi, with the kind help of Kornkrit Jainpinidnan. His presence opens the boundaries of the performance&rsquo;s territory, transforming it into direct actions.</p> <p style="text-align: justify;">The focus on &ldquo;dance as metaphor for thought&rdquo; departs its starting point, only to collide with a real entourage, connected to life and experience. Dance, as a concept, is now dissolved into movement, travel, life, debris, and powerful objects, infinite images. The collective nature of the performance will be ignited by the interventions of artist-philosopher Jonathan Lahey Dronsfield, interacting with Badiou&rsquo;s words, thus establishing a dialogue in time creating a resonance in the space. A minimal thread of variants connected to Badiou&rsquo;s theory will open up the performance territory to one of a debate. The public can affect this tension, modifying the making of the performative territory, following or interfering with the course of its process, carrying it on until the moment when it might be transformed into an &ldquo;event&rdquo;.</p> <p style="text-align: justify;">Alain Badiou is a philosopher who has clearly exposed the potentiality of the concept of an &ldquo;event&rdquo;, and its importance in an individual&rsquo;s awareness. This necessity goes beyond art&rsquo;s and philosophy&rsquo;s boundaries, touching a newer generation&rsquo;s desire to regain individual responses and shared languages. Movements, conjectured to intensity of thought and music will be filmed to create a statement connecting artistic practice with philosophy, while engaging with life&rsquo;s consistency.</p> Sat, 18 Apr 2015 18:21:16 +0000 Gillian Ayres - Alan Cristea Gallery- 34 Cork St - April 13th - May 30th <p style="text-align: justify;">Gillian Ayres' exhibition is now open. New paintings and prints are exhibited alongside a select group of historic paintings, spanning Ayres' 65 year career.&nbsp;</p> Sat, 18 Apr 2015 17:53:08 +0000 Gillian Ayres - Alan Cristea Gallery - 31 Cork St - April 13th - May 30th <p style="text-align: justify;">Gillian Ayres' exhibition is now open. New paintings and prints are exhibited alongside a select group of historic paintings, spanning Ayres' 65 year career.&nbsp;</p> Sat, 18 Apr 2015 18:01:01 +0000 Sophie von Hellermann - Vilma Gold - May 23rd - June 20th Thu, 16 Apr 2015 17:50:36 +0000 Idris Khan - Victoria Miro Mayfair - May 1st - June 6th <p style="text-align: justify;">Victoria Miro is delighted to announce an exhibition of new work by&nbsp;Idris&nbsp;Khan in the artist's fourth solo presentation with the gallery.<br /><br />Working across mediums including sculpture, painting and photography, Khan is well known for his large-scale works, which use techniques of layering to arrive at what might be considered the essence of an image, and to create something entirely new through repetition and superimposition. For his exhibition at Victoria Miro Mayfair, Khan has produced large-scale composite photographs made from a series of oil stick paintings. These have gone through an intensive process of overlaying lines of writing repeatedly painted onto a minimal ground, until the language becomes obscured. Documenting the journey of the paintings, Khan collects details of the line from every angle, and in doing so has the&nbsp;</p> <div class="content-replace scrollpane jspScrollable"> <div class="jspContainer"> <div class="jspPane"> <div class="scroll_inner"> <p style="text-align: justify;">ability to constantly change its nature. The words are a response to the barrage of media images of conflict that are 'un-escapable'&nbsp;in today's world. By using&nbsp;Roland Barthes' theory of the 'punctum', Khan writes about a certain personal touching detail of an object or person that jumps out of the photograph and holds his gaze.<br /><br />The exhibition also includes a series of five 12 x 16 inch platinum prints, whereby&nbsp;a negative is made the same size as the finished image; it is then contact printed onto a sheet of paper painted with platinum and iron salts, and finally exposed in daylight. Titled 'Church Walk Studio', these delicate, richly toned images have the quality of watercolour, which furthers Khan's intrigue into&nbsp;pushing the boundary between a painting and a photograph.<br /><br />Idris&nbsp;Khan's work is a continuous process of creating and erasing, adding new layers whilst retaining traces of what has been. Often addressing philosophical or metaphysical themes in his work by superimposing thousands of photographic moments into one single image, he creates an expanded sense of time. The&nbsp;final&nbsp;photographs show Khan's ability to capture the impossibility of seeing every stage of a painting.<br /><br />The exhibition will be accompanied by a fully illustrated catalogue with a poem by Imtiaz Dharker.</p> </div> </div> <div class="jspVerticalBar">&nbsp;</div> </div> </div> <div class="list-navigation">&nbsp;</div> Thu, 16 Apr 2015 17:49:53 +0000 Paul Lee - Stuart Shave/Modern Art - May 1st - May 23rd Thu, 16 Apr 2015 17:47:20 +0000 - Stephen Friedman Gallery - May 1st - May 30th <p style="text-align: justify;">For this exhibition, the gallery will be transformed into a fictional mid-century art dealership created to evoke the values and aesthetic of an earlier era. Masterpieces from the early to mid twentieth century will feature alongside later modern and contemporary works. The juxtaposition of artists like Picasso, Mondrian, and Schwitters with more contemporary practitioners such as Gego, Jiro Takamatsu, and Jack Whitten, will demonstrate that great art from varied periods and geographies has a binding and profound synergy.</p> Thu, 16 Apr 2015 17:43:09 +0000 Angela Bulloch - Simon Lee - May 1st - May 30th <p class="Default" style="text-align: justify;">Simon Lee Gallery is pleased to announce an exhibition of new sculptures by acclaimed artist Angela Bulloch. Stacked columns of polyhedra, formed in steel, corian or MDF, populate the gallery space. Conceived and designed within a digital imaging program, this new body of sculptures, with their stylized geometry, electronic glow and manufactured surface sheen, might seem to channel New Wave Science Fiction - a genre typified by its imaginative, futuristic and often inaccurate notions of science and technology. Just as that genre&rsquo;s writers accelerated the age&rsquo;s visions of modernism, these geometric stacks suggest Brancusi&rsquo;s Endless Column as if refracted through vector graphics, reinforcing a sense of &lsquo;retro-futurity&rsquo;. The temporality is confusing. Today, when much sculpture seems to be looking back toward the purity of minimalism, these works seem to refer to a later moment, when culture took imaginative leaps forward, postulating a world of stark angles and saw-tooth synthesizers.</p> <p class="Default" style="text-align: justify;">The ambiguity of the word &lsquo;digits&rsquo; - implying fingers, numerals or data - provides a point of entry to one of the fundamental themes of Bulloch&rsquo;s practice - the integration of the human subject with technology. Her interest in cybernetics, a field of study that links biological, social and technological systems, has been apparent in previous installations in which technology mediated our interaction with the work, in effect making us co-producers. In these works the interrelation is nuanced and layered - the sculptures are subtly anthropomorphic, suggesting bodies or parts of bodies. Two of the sculptures entitled &lsquo;<em>Anima&rsquo; </em>and &lsquo;<em>Animus&rsquo; </em>make reference to Jung&rsquo;s theory of archetypes: the male and female qualities that we subconsciously attribute to inanimate objects. From a cybernetic perspective this reference creates an intriguing paradox; could there be a trace element of the human within the non-living world, or is it merely psychological projection?</p> <p class="Default" style="text-align: justify;">The works in the exhibition reveal another sense of indeterminacy; the flat planes and angles of each sculpture appear to animate as one moves around them, creating a disorienting illusion of shifts between two and three dimensions. As with other works in her corpus, this playful optical effect belies a complexity; the sculptures are essentially generated by perfect equations, their flattening out into patterned surface points toward their origins as endlessly replicable simulations of depth and volume. This slippage between the real and the virtual is perhaps melancholic, invoking an idealised space beyond our apprehension.</p> <p class="Default" style="text-align: justify;">Concurrently with the exhibition, an outdoor sculpture in steel will be installed on Mount Street, Mayfair, at the entrance to Mount Street Gardens.</p> <p style="text-align: justify;">Angela Bulloch was born in Ontario, Canada and lives and works in Berlin. Her work is represented in major institutions and private collections worldwide, including Tate, London, Lenbachhaus, Munich, Kunstmuseum Bonn, Le Consortium Dijon, De Pont, Tilburg, and Guggenheim Abu Dhabi. Solo museum exhibitions include: Witte de With, Center for Contemporary Art, Rotterdam (2012); Stadtische Galerie Wolfsburg (2011); Lenbachhaus Munich (2008), Le Consortium, Dijon (2005). Major institutional group shows include <em>Seeing Through Light: Selections from the Guggenheim Abu Dhabi Collection</em>, Manarat Al Saadiyat, Abu Dhabi (2014); <em>New Generation</em>, FRAC Nord-Pas de Calais, Dunkirk, (2014); <em>The New D&eacute;cor</em>, Hayward Gallery, London (2011); <em>Theanyspacewhatever</em>, Guggenheim Museum, New York (2008). Bulloch was recently commissioned to create a permanent installation for the new Cancer Centre at London&rsquo;s Guy&rsquo;s &amp; St Thomas&rsquo; Hospital, which will be unveiled next year.</p> Thu, 16 Apr 2015 17:38:10 +0000 Todd James - Lazarides Rathbone Place - May 1st - May 28th <p style="text-align: justify;">Lazarides Rathbone is pleased to present&nbsp;<em>Fantasy Island</em>, a provocative new solo exhibition by New York-based artist&nbsp;<a href="" target="_blank">Todd James.</a>&nbsp;The vivid body of hyper-coloured works extends the artist's exploration into current socio-political affairs, continuing to stretch the boundary between the obscene and the humorous.</p> <p style="text-align: justify;">The large-scale paintings depict a fantastical reality far removed from the safety of Western existence, seducing the viewer with a seamless mix of luminous compositions and graffiti-infused erotica. The satirical showcase features a striking cast of modern-day Somali pirates, UN soldiers and scantily-clad females, adorned with AK47s and over-sized sunglasses whilst basking against tropical backdrops of never-ending sunsets. James illuminates contradictions in our contemporary landscape with playful scenes loaded in metaphor; armed soldiers balancing cups of tea in armchairs and sexualised women brandishing &nbsp;heavy weaponry. The duality of the work is key to the American artist's long-term practice, carefully balancing stylised animations against the stark reality of the times we live in.</p> <p style="text-align: justify;">Alongside the main gallery presentation James is set to transform a vintage Chevrolet van positioned outside the gallery doors, expanding on childhood references first curated in his&nbsp;<a href=",todd-james-reas-world-domination/installation" target="_blank">Vandal's Bedroom</a>, installed at LA's MOCA and re-constructed during Lazarides'&nbsp;<a href=",todd-james-reas-world-domination" target="_blank">World Domination</a>&nbsp;in 2013. The artist's manifestation of personal spaces draws on fantasy art influences from the analogue age of his youth, comprised of a customised cluster of all-American 1970's ephemera. The Fantasy Island Chevy will play host to the exclusive launch of James' most recent self-released book. The new publication, entitled Beyond The Gates, features a myriad of heavy metal-inspired swords and sorcery girls in a haze of fluid lines and sensual scenes.</p> Thu, 16 Apr 2015 17:33:17 +0000 Francesco Clemente - Blain|Southern - London Hanover Square - April 29th - June 27th <p align="center"><em>There are 108 beads in the japa mala Hindus and Buddhists &nbsp;use to meditate. This is a meditative series, and it powerfully conjures India, where at one time, artists were often pilgrims, even secular-minded ones&hellip;&rdquo;</em></p> <p align="center">Kiran Desai</p> <p style="text-align: justify;">Blain|Southern&nbsp;is delighted to present an exhibition of new watercolours by<a href="" target="_blank">&nbsp;Francesco Clemente</a>. Bringing together 108 works on paper, all of which are delicately and intimately scaled,&nbsp;<em>Emblems of Transformation</em>&nbsp;continues the artist&rsquo;s long-standing relationship with the medium of watercolour, and also with India.</p> <p style="text-align: justify;">Clemente first travelled to India in 1973,&nbsp;and has lived and worked there at&nbsp;different phases of his life.&nbsp; Drawing from the contemplative traditions and&nbsp;urban visual culture of India, his practice is characterised by a syncretic approach and the constant revitalisation of sources, mediums and formats. The featured paintings include miniature elements chosen and suggested by Clemente, and executed by a family of Indian miniaturist painters from a workshop from Rajasthan. This continues the artist&rsquo;s long-history of working with Indian craftspeople.</p> <p style="text-align: justify;">The 108 paintings in the suite reference the&nbsp;number of beads in the&nbsp;<em>japa&nbsp;mala</em>, commonly used by Hindus and Buddhists during prayer. Like the beads of the mala the paintings are linked and flow seamlessly from one to the next. Each is like a fragment of a whole and yet presents a space or context in its own right; they drift through the worlds of waking and sleeping, becoming fluid and interchangeable as symbols and images of love, war, landscape and personal mythology recur and interact.</p> <p style="text-align: justify;">Alongside the often sumptuous colours of these watercolours &ndash; where at times rainbows fill the picture plane, offset by gold and silver fragments &ndash; a small group of works are notably muted, a monotone mood of rich sepia or ochre tones recalling faded photographs. Here, again, one form flows into another and ambiguity surrounds the subjects. Fish and&nbsp;humans might be kissing or devouring one another; a woman either penetrates the jaws of a monster or possibly explores the cavity within its body.</p> <p style="text-align: justify;">Francesco Clemente aims to reconcile all apparent oppositions - life and death, earth and water, light and dark, internal and external - and in doing so he looks at timeless questions of the self. He is interested in the objectivity of imagination, as opposed to sentimental fantasy, and he takes a descriptive stance rather than a prescriptive one. His stories therefore stand as reminders of the transformative power of art making and of the imagination.</p> <p style="text-align: justify;">The exhibition is accompanied by a full-colour exhibition catalogue including essays by the Man Booker Prize winning author Kiran Desai.</p> Thu, 16 Apr 2015 17:28:42 +0000 - Herald St - April 18th - May 24th Thu, 16 Apr 2015 17:17:40 +0000 Jacopo Miliani - fig-2 - April 20th - April 26th <p>Jacopo Miliani creates a choreographic score as exhibition, responding to fig-2&rsquo;s performative and time based structure. Miliani has been in London for the last two months and has been following the fig-2 programme closely. The choreography will be composed of seven states over seven days, manifested through the configuration of the mobile wall structures, plexiglass modules, photocopies alongside textile components. The indeterminate body of the score will be complemented by a number of accumulating vases of flowers, appearing daily. One element informing the other, the different configurations will emerge, where representation of a gesture will be read into a movement that surfaces as a still pose that the exhibition holds daily. Please book your tickets for the talk &lsquo;Uttering the Spectacle: Exhibition as Score, Costume as Movement&rsquo; by Jacopo Miliani, Marketa Uhlirova and Fatos &Uuml;stek&nbsp;<a href="" target="_blank" rel="nofollow">here</a>.</p> Thu, 16 Apr 2015 11:33:12 +0000 Bogdan Lascar - Saatchi Gallery - April 29th - May 3rd <p class="Body">Automobile Bavaria Group is delighted to introduce to the UK Romania&rsquo;s leading artist and recipient of the UNESCO Gold Medal for outstanding contribution towards advancing the arts, <strong>Bogdan Lascar.</strong></p> <p class="Body">For <em>Neuro-Epics </em>Lascar will be showing nine works; five sculptures and four paintings, which form an arresting blend of the figurative and abstract, collage and fantasy. These works introduce to the UK the artist&rsquo;s groundbreaking concept of &ldquo;<em>Neurophysiologic shapings</em>&rdquo;. The subject matter for both sculptures and paintings begin with forms including wild horses, human figures and elegant automobiles. These shapes are embedded in a blaze of colour, applied in semi-transparent layers of oil calling to mind a living &lsquo;skin&rsquo; on the surface of the painting.</p> <p class="Body">According to celebrated writer and art critic <strong>Edward Lucie-Smith,</strong><em>&ldquo;</em><em>Lascar seems to say some of the images we carry within ourselves are intricately entangled with our own physical being.&rdquo;</em></p> <p class="Body">Bogdan Lascar&rsquo;s work is rooted in his background. Born in 1974 in Bacau, northern Romania, Lascar&rsquo;s father was a doctor and his grandfather a sculptor, working mainly in wood - the young Lascar inherited many of his tools which he used in his early works.&nbsp;</p> <p class="Body">After graduating from the Academy of Fine Arts in Bucharest, where he specialised in sculpture, Lascar went on to study medicine for three years at the University of Bucharest. This was not to affect a change of career but to &ldquo;open another door&rdquo; in the exploration of his art.&nbsp;</p> <p class="Body">However, the biggest influence on his artistic approach was the Romanian revolution of 1989, when the dictator Nicolae Ceaucescu was toppled, ending 42 years of Communist rule. He was the last of the European Communist leaders to fall and the only one to be executed. Lascar was 15 at the time. <em>&ldquo;It had a great effect on my art,&rdquo;</em> he says. <em>&ldquo;I came to understand the shaping of society.&rdquo;</em></p> <p class="Body">The revolutionary fervour that erupted on to the streets of towns and cities all over Romania, and which Lascar experienced himself as an impressionable youngster, has informed his art in a very abstract, visual way. There are parallels between the shapings of society that he witnessed during those turbulent times, and the constant evolutionary changes taking part within the human body. Colour was an inescapable aspect too of the revolution, not only in the blood that was spilled but in the colourful mass protests. The colour of his pieces also reflect that of the human body&rsquo;s interior and the colourful nature of society in general. Evolution was thus inspired by revolution.</p> <p class="Body"><strong>Lucie-Smith</strong> writes:</p> <p class="Body"><em>&ldquo;A striking phenomenon in the visual arts, since the fall of Soviet Communism and that of the satellite regimes allied to the Soviet sphere, has been the emergence of new kinds of avant-garde art, visibly allied to the creative impulses that manifested themselves in the early years of the 20<sup>th</sup> century, but also subtly different, sometimes with the kind of tragic resonance one senses here. The idea may, quite literally, be that certain kinds of creative originality have to be paid for in blood &ndash; and need to be celebrated by being framed in gold.&rdquo;</em></p> <p class="Body">Lascar&rsquo;s work is held in numerous public and private collections internationally including the Museum of Art, Constanta, Romania and the National Museum of Contemporary Art, Bucharest, Romania.</p> Thu, 16 Apr 2015 10:16:13 +0000 Nasan Tur - Blain|Southern - London Hanover Square - April 20th 6:30 PM - 8:00 PM <p><span style="font-size: small; font-family: tahoma, arial, helvetica, sans-serif;"><a href="" rel="nofollow">Nasan Tur</a>&nbsp;will be in conversation with Tessa Jackson (CEO, Iniva) at Blain|Southern on Monday 20th&nbsp;April. They will be discussing the German artist&rsquo;s second show with the gallery, as well as Tur&rsquo;s practice more generally. Bringing together new and recent works the exhibition explores the notion of failure and fragility, both in relation to the individual and society more broadly.</span></p> <p><span style="font-size: small; font-family: tahoma, arial, helvetica, sans-serif;">Tessa Jackson Bio:</span></p> <p><span style="font-size: small; font-family: tahoma, arial, helvetica, sans-serif;">Tessa Jackson, OBE , is currently the Chief Executive Officer of Iniva (The Institute of International Visual Arts), a position she has held since 2009.&nbsp; She was the director of The Scottish Arts Council (1999 to 2001), and a director of the public art gallery Arnolfini (1991 to 1999). &nbsp;More recently, she has curated exhibitions by NS Harsha and Chen Chieh-jen as well as Zineb Sedira. She was awarded an OBE in 2006 &nbsp;for her services to art.</span></p> <p><span style="font-size: small; font-family: tahoma, arial, helvetica, sans-serif;">Nasan Tur Bio</span></p> <p><span style="font-size: small; font-family: tahoma, arial, helvetica, sans-serif;">Nasan Tur was born in Germany in 1974, and graduated from the Academy of Arts and Design Offenbach, Germany (2003). His work reflects the social conditions in which it is produced, often exploring political ideologies, subliminal messages, and the symbols of power and dissent that are present throughout the urban landscape.&nbsp; An exploration of the tension between public action and inaction is intrinsic to his practice, with a participatory element often implicating the subjectivity or presence of the viewer. The boundaries of communication, as well as the tentative, or fragile nature of perception, are both driving forces behind the practice of the artist, and many of the situations that that he creates.</span></p> Tue, 14 Apr 2015 09:18:24 +0000