ArtSlant - Recently added en-us 40 Tony Bevan - Marlborough Fine Art - February 4th - February 28th Fri, 30 Jan 2015 16:04:45 +0000 Group Show - Marlborough Fine Art - January 21st - February 27th <div style="text-align: justify;"><em>I never thought I&rsquo;d see you again.&nbsp;</em><br /><em>Where have you been until now?&nbsp;</em><br /><em>Well how are you? how have you been?&nbsp;</em><br /><em>It&rsquo;s a long time since we last met.&nbsp;</em><br />Roxy Music, &ldquo;Chance Meeting&rdquo;&nbsp;</div> <div style="text-align: justify;"><br />&ldquo;I never thought I&rsquo;d see you again&rdquo; is not exactly about history painting. Neither obliged to any style, nor explicitly referential to particular precedents, the exhibition begins with the premise that painting, more than any medium, is always driven by its own genres.<br /><br />Painting is persistent in the history of art precisely because of the specificity of the styles and idioms it adopts or quotes. Even if contemporary painting is underpinned by a conceptual framework, it is almost impossible to avoid some reference to that almost infinite list of established modes - landscape, portrait, still life, formalist, expressionist, to name a few.&nbsp;</div> <p style="text-align: justify;">But rather than painting being a reiteration of its past, the recognition of, and resistance to, these conventions makes it a site of constant renewal. No longer bound to such polarities as figuration or abstraction, contemporary practice takes the idea of painting as a given. It co-opts genres without hierarchy or priority, and as a type of shorthand or economy of expression. That is to say, we recognise something in the &lsquo;style&rsquo; of the painting.<br /><br />We speak its language, because many of the conventions of painting are all around us in the visual information we negotiate every day. We recognise the conventions, from perspective to painterly gesture, even if those conventions are put to work for different purposes. And it is less about what an image in the painting might convey, than the means through which that image or gesture is achieved.<br /><br />The exhibition does not try to find a unified style for painting today, but recognises that there are modes in which the painter may operate, perhaps without long-term commitment, but also without irony. Painting is never without reference, context or precedent. It always carries with it many memories and legacies and at the same time appears thoroughly regenerated.</p> Thu, 29 Jan 2015 11:55:46 +0000 Luc Tuymans - David Zwirner, London - January 30th - April 2nd <p style="text-align: justify;">David Zwirner is pleased to present an exhibition of new paintings by Luc Tuymans. On view at the London gallery, which Tuymans inaugurated in October 2012 with the exhibition&nbsp;<em>Allo!</em>,&nbsp;<em>The Shore&nbsp;</em>includes work specifically made for this space.</p> <p style="text-align: justify;">Widely credited with having contributed to the revival of painting in the 1990s, Tuymans continues to assert its relevance by addressing a diverse range of topics. Quiet, restrained, and at times unsettling, his works engage equally with questions of history and its representation as with quotidian subject matter cast in unfamiliar and eerie light. Painted from pre-existing imagery, they often appear slightly out-of-focus and sparsely colored, like third-degree abstractions from reality. Whereas earlier works were based on magazine pictures, drawings, television footage, and Polaroids, recent source images include material accessed online and the artist&rsquo;s own iPhone photos, printed out and sometimes re-photographed several times.</p> <p style="text-align: justify;">In&nbsp;<em>The Shore</em>, Tuymans&rsquo;s twelfth solo show with the gallery, the cool light of digital screens reverberates with the color scheme of many of the paintings. On the ground floor, portraits of three Scottish Enlightenment thinkers originally painted by Henry Raeburn, one of Scotland&rsquo;s most acclaimed artists from that time, fill out the small canvases, the flesh of their faces tinted pale blue, and the rest of their bodies and scholarly backgrounds dispersed. Captivated by Raeburn since an excursion to a museum in Ghent as a teen, Tuymans visited the art collection of the University of Edinburgh just prior to the 2014 independence referendum, and found in those works &ldquo;an element of disruption&rdquo; that matched the current political climate.&nbsp;Tuymans&rsquo;s portraits will be shown alongside Raeburn&rsquo;s originals in a forthcoming exhibition hosted by&nbsp;the Talbot Rice Gallery at the University in the fall of 2015.</p> <p style="text-align: justify;">The intensity of the close-up portraits is countered by two near-monochrome paintings depicting an obelisk in a wooded landscape and a single, puffy cloud respectively. Based on the wallpaper of a luxury hotel that Tuymans also visited on his Edinburgh trip, their serene, if stifling aestheticism seems to suggest how the perils of isolationism and class indifference may stall the radical ideas of forward-looking members of society.</p> <p style="text-align: justify;">Enlightenment ethics become juxtaposed with a notion of impending horror in the monumental title painting of the exhibition, kept entirely in a dark hue except from a narrow strip occupied by minuscule people. Based on the opening scene of the colonially-inspired 1968 film&nbsp;<em>A Twist of Sand</em>, the unidentifiable individuals are seconds away from being gunned down by an invisible source. Tuymans has noted that he strived to make a &ldquo;really dark&rdquo; painting for a long time, and&nbsp;<em>The Shore</em>&nbsp;relays the profound, if gradual, influence of Francisco Goya on his work. With his own victims unspecified and undifferentiated, the dramas evoked in the Spanish painter&rsquo;s&nbsp;<em>Black Paintings&nbsp;</em>and&nbsp;<em>The Third of May 1808&nbsp;</em>(1814) are echoed here on a larger scale, the slaughter as meaningless as it is universal. In&nbsp;<em>Issei Sagawa</em>, horror is suggested on a personal level in a portrait with uncharacteristically loose and gestural brushwork by the artist. Sagawa is notoriously known for killing and eating a fellow student at the Sorbonne University in Paris in the early 1980s, but is a free man today following the end of his prison sentence. It is the third time that Tuymans paints his portrait.</p> <p style="text-align: justify;">Far from the intensity of such incidents,&nbsp;<em>Bedroom</em>&nbsp;shows a light from the perspective of the artist&rsquo;s own bed. While Tuymans has previously depicted places and objects from his immediate, local vicinity, the large painting offers little in the way of biographical details, and the bleached light appears impenetrable. Sources of illumination, both direct and reflected, play an important role in his works over the past decade, and a particular kind of mediatized luminescence is apparent across the diverse subjects represented in this exhibition. It adds an unexpected illusionary quality to the canvases&mdash;rather than offering the impression of depth, their surfaces become reminiscent of the light that emanates from digital screens. As such, the paintings construct a new context in which historical subjects are presented as if part of the contemporary moment, just as current events are inevitably filtered through their appearance in the mass media, with its often hidden structures and regulations.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Born in 1958 in Morstel, near Antwerp,&nbsp;<strong>Luc Tuymans&nbsp;</strong>was one of the first artists to be represented by David Zwirner. Since joining the gallery in 1994, he has had ten solo exhibitions at David Zwirner in New York, which include&nbsp;<em>The Summer is Over</em>&nbsp;(2013),&nbsp;<em>Corporate</em>&nbsp;(2010),&nbsp;<em>Forever, The Management of Magic</em>&nbsp;(2008),&nbsp;<em>Proper</em>(2005),&nbsp;<em>Fortune</em>&nbsp;(2003),&nbsp;<em>Mwana Kitoko: Beautiful White Man</em>&nbsp;(2000),&nbsp;<em>Security</em>&nbsp;(1998),&nbsp;<em>The Heritage</em>&nbsp;(1996),<em>Francis Picabia and Luc Tuymans: Paintings</em>&nbsp;(1995), and&nbsp;<em>Superstition</em>&nbsp;(1994), which marked his United States debut. In 2012,&nbsp;<em>Allo!</em>&nbsp;inaugurated the gallery&rsquo;s first European location on 24 Grafton Street in London, and&nbsp;<em>The Shore</em>&nbsp;will mark his second solo show at this location.</p> <p style="text-align: justify;">Work by the artist is on view as part of two group exhibitions in Poland:&nbsp;<em>Progress and Hygiene&nbsp;</em>at Zachęta National Gallery of Art in Warsaw (through February 15, 2015) and&nbsp;<em>DE. FI. CIEN. CY: Andrzej Wr&oacute;blewski, Ren&eacute; Dani&euml;ls, Luc Tuymans&nbsp;</em>at Art Stations Gallery in Poznań (through February 28, 2015). In 2014, Tuymans was awarded an honorary doctorate from the University of Arts in Poznań.&nbsp;A solo show of his printed works, dating from 1989 to the present, will be exhibited at Centre de la Gravure et de l&rsquo;Image imprim&eacute;e in La Louvi&egrave;re, Belgium (February 7 &ndash; May 10, 2015).</p> <p style="text-align: justify;">In 2013, a solo presentation of the artist&rsquo;s portraits,&nbsp;<em>Nice. Luc Tuymans</em>, was held at The Menil Collection in Houston, Texas. In 2009, his work was the subject of a retrospective co-organized by the Wexner Center for the Arts, Columbus, Ohio and the San Francisco Museum of Modern Art. It traveled from 2010 to 2011 to the Dallas Museum of Art; Museum of Contemporary Art Chicago; and Palais des Beaux-Arts, Brussels. Previous major survey shows of the artist&rsquo;s work include those organized by Moderna Museet Malm&ouml;, Sweden in 2009 and Tate Modern, London in 2004. Other venues that have presented recent solo exhibitions include Kunsthalle Bremerhaven, Germany (2012); Centro de Arte Contempor&aacute;neo de M&aacute;laga, Spain (2011); Haus der Kunst, Munich; Zachęta National Gallery of Art, Warsaw (both 2008); Műcsarnok Kunsthalle, Budapest (2007); and Museu Serralves, Porto, Portugal (2006).</p> <p style="text-align: justify;">Tuymans was the curator of the 2013 group exhibition&nbsp;<em>Constable, Delacroix, Friedrich, Goya. A Shock to the Senses</em>&nbsp;at Albertinum in Dresden. He previously organized&nbsp;<em>A Vision of Central Europe&nbsp;</em>in 2010 at Brugge Centraal, Bruges, Belgium, as well as&nbsp;<em>The State of Things: Brussels/Beijing</em>&nbsp;in 2009 at Palais des Beaux-Arts, Brussels, which traveled to the National Art Museum of China, Beijing.</p> <p style="text-align: justify;">A catalogue raisonn&eacute; of the artist&rsquo;s paintings is currently being prepared by David Zwirner in collaboration with Studio Luc Tuymans. Compiled and edited by art historian Eva Meyer-Hermann, the catalogue raisonn&eacute; will illustrate and document approximately five hundred paintings by the artist from 1975 to the present day.</p> <p style="text-align: justify;">In 2001, the artist represented Belgium at the 49th Venice Biennale. His works are featured in museum collections worldwide, including The Art Institute of Chicago; Centre Georges Pompidou, Paris; Los Angeles County Museum of Art; The Museum of Modern Art, New York; Pinakothek der Moderne, Munich; Solomon R. Guggenheim Museum, New York; and Tate Gallery, London. In 2012, Tuymans donated his portrait of Her Majesty Queen Beatrix of The Netherlands to Stedelijk Museum, Amsterdam. He lives and works in Antwerp.</p> Thu, 29 Jan 2015 10:31:45 +0000 Rebecca Birch - Institute of Contemporary Arts (ICA) - February 2nd - February 8th <p style="text-align: justify;">Rebecca Birch&rsquo;s ongoing investigation around a lichen-covered stick takes on a new stage at fig-2 premises. &lsquo;Lichen Hunting on the West Coast&rsquo;, is an expanding multiple channel media and drawing installation, accompanied by a series of conversational encounters between the artist and audience. A particular lichen-covered stick has travelled with Birch since 2011, after casting a shadow across her dashboard during a road trip performance work with artist Dan Coopey. Birch produces the incident as re-enactments, anecdotes, narratives that are performed in dialogue with the audience. This new body of work informed by following trace-lines of the stick emerges as performance in two parts, the first to take place at the opening night&nbsp;on Monday between 6 and 8 pm, and the latter on five consequent afternoons between&nbsp;3 and 6 pm. The projections produced during the second part through one-to-one encounters will be added onto the body of the installation.&nbsp;Thursday&nbsp;late at fig-2 will host a studio visit to Birch, where she will give a talk about her exhibition and her new research on waulking songs and weaving communities in Scotland between&nbsp;7 and 8 pm.</p> <p style="text-align: justify;">Please book your 15-minute one-to-one session forTuesday&nbsp;-&nbsp;Saturday&nbsp;by emailing&nbsp;<a href="" target="_blank"></a></p> <p style="text-align: justify;">fig-2 opens each&nbsp;Monday 6 &ndash; 8 pm, and continues from Tue &ndash; Sun&nbsp;11 am &ndash; 6 pm. fig-2 is open late on Thursdays until&nbsp;9 pm&nbsp;to coincide with the ICA late openings. fig-2, ICA Studio, The Mall, London SW1Y 5AH.&nbsp;As the ICA is closed on Mondays, to reach the Studio please use the ramp entrance to the Studio from Carlton House Terrace, at the top of the Duke of York Steps. For more information visit&nbsp;<a href=";id=472e05eaf8&amp;e=e75a9edd17" target="_blank"></a></p> <p style="text-align: justify;">fig-2 at the ICA in association with Outset</p> Thu, 29 Jan 2015 10:25:53 +0000 GULER ATES - Art First Contemporary Art - February 4th - March 7th <p style="text-align: justify;">For her second solo exhibition with Art First Projects, G&uuml;ler Ates presents a sumptuous group of photographs from her residency in Rajasthan at the end of 2012. This took place at the City Palace Museum in Udaipur, a building founded in 1559 by Maharana Udai Singh II. Using as her model a Classical Indian dancer, Ates was given free reign of the palatial rooms, adorned with wall paintings, mirrors and coloured glass, giving onto interior courtyards and sanctuaries where the women of the family once lived.</p> <p style="text-align: justify;">Ates&rsquo; subject matter explores themes of female identity, diaspora and cross-&shy;‐cultural displacement, where contemporary readings of the veil in particular play a central role. Previously in <em>Threshold,</em> (Art First 2012) Ates placed her fully veiled female figures in the context of a 16th Century English royal hunting lodge, and at Leighton House, home of the Victorian artist, Frederic, Lord Leighton. Using natural light only, her evocative tableaux examined the tensions and sympathies within our current ideas of the exotic.</p> <p style="text-align: justify;">The new work however, has its own exotic setting in India. The figure remains ambiguous &ndash; the only feature we ever glimpse is a hand. By setting her alone in uninhabited traditional spaces, Ates trumps the Orientalist trope of the harem scene, focusing instead on the privacy of an individual, at ease, away from the public eye and alone within the rooms, able to move freely between one space and another.</p> <p style="text-align: justify;">The textiles offer clues. Chosen by Ates from Udaipur&rsquo;s local markets and a textile factory, the typical saturated vermilions, azure blues, explosive pinks of reams of silk play a decorative yet resonant role of their own within each of the stately rooms, where patterned walls and rich floor coverings reveal some of the ravages of time.</p> <p style="text-align: justify;">The model is often shown from the back as a silhouette, upon which the cloth folds and falls in beautiful arrangements cascading onto the floor. She occupies the space, enlivening it through her presence. The dazzling, jewelled brilliance of the newly manufactured silks amplifies the sense that she is a contemporary figure, independent and confident, animating her poses now and then with Indian dance gestures. Yet the overall impression is also one of fusion, of timelessness, something like the atmosphere of calm portrayed by 18th and 19th miniatures from the Mughal Courts, and from the painting schools of Rajasthan &ndash; Malwa, Kota or Jaipur for example, where folk and classic motifs became increasingly intermingled.</p> <p style="text-align: justify;"><em>Stilled</em> is a refreshing, intelligent, gently feminist portrayal of an India imagined and experienced by a Turkish artist with sympathy and understanding of the constancies, as well as the rapidly changing, provocative and challenging realities of modern, western dominated cultures and the impact they have within more ancient, traditional worlds.</p> <p style="text-align: justify;">Born in 1977 in Eastern Turkey, Ates moved to London and graduated in 2008 from the Royal College of Art with an MA in Printmaking. Currently she is Digital Print Tutor at the Royal Academy Schools. A key aspect of her work springs from international residencies such as the month in Udaipur, generously supported by Maharana of Mewar Charitable Foundation, Udaipur and resulting in this exhibition. In April 2014 there followed a momentous residency in Rio de Janeiro, in the wake of the Olympics, and later that year in Turkey (Art Suites International Workshops). By dramatic contrast, her current residency is at Eton College, at the Headmaster&rsquo;s Lodge. Ates has exhibited in the Royal Academy&rsquo;s Summer Exhibition, in Amsterdam, Rio de Janiero, Istanbul, Japan and the USA. Her work is collected internationally and has entered the print collections of the Victoria &amp; Albert Museum, the Royal Academy of Art and the MAR.</p> Thu, 29 Jan 2015 10:23:28 +0000 Group Show - Art First Contemporary Art - February 4th - March 7th Thu, 29 Jan 2015 10:10:16 +0000 Antony Micallef - Lazarides Rathbone Place - February 13th - March 19th <p style="text-align: justify;">Lazarides Rathbone is pleased to present a major new body of meditative self-portraits by <a href="" target="_blank">Antony Micallef</a> entitled <strong>Self</strong>.</p> <p style="text-align: justify;">In an era when the selfie is ubiquitous, his long-awaited solo return unveils a series of energetic self-portraits on canvas and paper, presenting the ultimate commentary on this contemporary norm.</p> <p style="text-align: justify;"><strong>Self</strong> highlights a departure in style and language from the artist's earlier series Impure Idols (2007), <a href=",antony-micallef-becoming-animal" target="_blank">Becoming Animal</a> (2009) and <a href=",antony-micallef-happy-deep-inside-my-heart" target="_blank">Happy Deep Inside My Heart</a>(2011). Stripping away the excess prevalent in this earlier work, Micallef has parted ways with the colourful pop language that dominated these previous series in exchange for a set of self-scrutinizing works that turns the looking glass upon himself and his medium.</p> <p style="text-align: justify;">The paradoxical notion that the self can be uncovered through the most narcissistic of gestures is explored through his relationship with the paint. The self-analytical dialogue is enacted through mark-making, the artist's hands and brush carefully constructing layer by layer in a vicious attack of the canvas. Set against Rembrandt-like backdrops of pastel and colourfully marbled hues, thick brushstrokes overlap, bleed and fuse into one another constituting a unique and authentic persona.</p> <p style="text-align: justify;">Antony Micallef's ultimate self-portrait, <strong>Self</strong> subverts the selfie paradox and presents a wiser artist in deep reflection.</p> <p style="text-align: justify;">Ruminating on the transformational trajectory that has coloured his career, Micallef explains: &ldquo;William Blake said that the road of excess leads to the palace of wisdom &ndash; you never know what is enough until you know what is more than enough. I became the very thing I was painting about without me realizing. I morphed into this world of excess and it completely took over. This is my way of stripping it right back and getting back to the basics. In this age of self-glorification and self-promotion, we advertise ourselves like a shop window. Every shot on social media is carefully choreographed to send out a message of how we want to be perceived. I feel with this work I&rsquo;ve stripped away the veneer and showed what lies beneath.&rdquo;</p> <p style="text-align: justify;">&nbsp; <strong>About Antony Micallef</strong></p> <p style="text-align: justify;">Antony Micallef lives and works in London, exhibiting in solo and group showcases worldwide in locations including Los Angeles, London, New York and Tokyo. The British artist studied under John Virtue, who in turn was taught by the legendary Frank Auerbach, both of which have heavily influenced his passionate approach to painting. Micallef&rsquo;s contemporary art breakthrough came after being awarded second prize at the National Portrait Gallery&rsquo;s 2000 BP Portrait Prize, he later went on to make his solo debut It&rsquo;s A Wonderful World with Lazarides in 2006, quickly followed by his sold-out 2007 Hollywood showcase Impure Idols.</p> <p style="text-align: justify;">Micallef&rsquo;s works were later shown at Lazarides&rsquo; 2008 pop-up group spectacular The Outsiders, New York. The previous year the highly acclaimed artist was commissioned to create travelling exhibition, Journey, in association with the UN, the Mayor of New York&rsquo;s Office, Emma Thompson and the Roddick Foundation. From November 2008 to January 2009, Antony Micallef&rsquo;s outdoor sculptures and painting took prominent positions at the Royal Academy&rsquo;s Burlington Gardens as part of GSK Contemporary. Exhibitions that followed included group showcases at the Royal Academy, Tate Britain, Lazarides&rsquo; Eurotrash in June 2010 as well as Hells Half Acre in 2011. The following year saw Micallef contributing works to Lazarides Bedlam, held at The Old Vic Tunnels, as well as London&rsquo;s Institute of Contemporary Art&rsquo;s Peace One Day group exhibition.</p> <p style="text-align: justify;">Previous sold-out solo exhibitions include 2009&rsquo;s Becoming Animal and most recently 2011&rsquo;s Happy Deep Inside My Heart at Lazarides&rsquo; flagship Fitzrovia space. Over the past year Micallef has exhibited in Lazarides&rsquo; off-site group showcase BRUTAL, contributed artwork to Art Below&rsquo;s public art initiative and Dallas Contemporary&rsquo;s MTV RE:DEFINE charity auction.</p> <p>&nbsp;</p> Wed, 28 Jan 2015 16:29:10 +0000 Ali Banisadr - Blain|Southern - London Hanover Square - February 11th - March 21st <p style="text-align: justify;">&lsquo;<em>People are always afraid of what they don&rsquo;t understand, but&nbsp;</em><em>artists have to step into the void &ndash; the unknown. The unknown territory&nbsp;</em><em>is where it&rsquo;s worth exploring</em>.&rsquo;</p> <p style="text-align: justify;">Ali Banisadr, 2014</p> <p style="text-align: justify;">The directors of Blain|Southern are delighted to present <em>At Once</em>, an exhibition of oil paintings created over the last two years by the celebrated New York-based artist Ali Banisadr. This is his first-ever solo show in the UK and includes a 7-metre long triptych, his largest work to date.</p> <p style="text-align: justify;">Oscillating between the abstract and the figurative, Banisadr&rsquo;s paintings feature fantastical landscapes populated with grotesque hybrids in a perpetual state of frenzy. These characters &ndash; conflations of animal, god, machine and human &ndash; are deftly captured in whirling, exuberant brushstrokes. Frequently there is a sense of a heaven and earth: in the lower half, we witness temporal struggles, physical conflict and angst, while above the characters seem more at peace; as if they have surrendered themselves to the ether.</p> <p style="text-align: justify;">Take <em>The Lesser Lights</em>, 2014, in which Banisadr&rsquo;s hybrids are engaged in some chaotic communion. What is actually taking place is ambivalent &ndash; it could be a battle, or a place of pilgrimage or simply a bacchanal &ndash; its title, an allusion drawn from the Book of Genesis and other writings, suggests the setting is hell, which is reinforced by the dripping, lilac pink sky descending on the figures. Another work, <em>The Lower Depths</em>, 2014, features a lake of acidic yellows, greens and blues, from which a giant animal struggles to escape. In the foreground a gaited human leg is smothered by what appears to be a prehistoric bird, while a female figure, naked from the midriff, flies above a beast&rsquo;s head. As with much of Banisadr&rsquo;s work, the viewer is left feeling that the scene before them may dissolve at any point; the luscious brushstrokes and layered washes conveying a strong sense of movement and instability suggestive of a world in flux.</p> <p style="text-align: justify;">Banisadr&rsquo;s art-historical inspirations are extensive; Persian miniaturists, Kandinsky, Marinetti,Veronese, Richter, Abstract Expressionism and the nightmarish visions of Bosch and Brueghel. Alongside these are a range of literary influences, as well as contemporary motifs drawn from comic books, films and music. Sound is integral to Banisadr&rsquo;s practice; indeed, the power of his work is attributable to the synaesthesia he experiences while painting. This began when he was a child growing up in Tehran during the Iran-Iraq war, where he drew the sounds of bombing and air-raids to make sense of what was happening. He says: &lsquo;<em>When I begin a painting, it is always based on an internal sound. As soon as I apply the brush, the sound begins, and I am able to compose the work based on the sounds I hear as I&rsquo;m painting. It is the force that drives the whole painting and helps me compose the work and pull everything together</em>.&rsquo;</p> <p style="text-align: justify;">For Banisadr, painting is evidently not just painting, but a means to reflect visually on his thoughts, memories and imagination. While intensely personal, it is a line of enquiry that allows him to chip away at artistic, political, cultural and religious shibboleths. It is significant that he invariably eschews the Western tradition of including a central focal point or protagonist. In doing so he allows the beholder to commune with a bigger idea of humanity itself and imbues his work with a universal quality, offering an invitation to the viewer to renew not just their own visual and psychological references, but also to question larger conventional orthodoxies.</p> <p style="text-align: justify;">The exhibition will be accompanied by a fully-illustrated catalogue, including colour plates of more than one hundred Banisadr paintings, along with an essay by art historian and curator Dr Robert Hobbs and an interview between the artist and philosopher, critic and media theorist, Dr Boris Groys.</p> Wed, 28 Jan 2015 16:23:40 +0000 Gregor Hildebrandt - Almine Rech Gallery - March 4th - April 11th <p>Almine Rech Gallery London is pleased to announce Gregor Hildebrandt&rsquo;s fifth solo exhibition with the gallery and the artist&rsquo;s first solo show in the UK. Comprised entirely of new works, the&nbsp;exhibition will run from March 4 to April 11, 2015.&nbsp;&nbsp;</p> <p>Gregor Hildebrandt was born in 1974 in Bad Homburg, Germany.&nbsp;Recent solo museum exhibitions and biennales include&nbsp;<em>Interior and the collectors</em>, Biennale de Lyon, France (2013);&nbsp;<em>Ein Koffer aus Berlin</em>, Saarl&auml;ndisches K&uuml;nstlerhaus, Saarbr&uuml;cken (2012); and&nbsp;<em>N&auml;chtliches Konzert</em>&nbsp;(with Jorinde Voigt), Museum Van Bommel van Dam, Netherlands (2012).</p> <p>Recent institutional group exhibitions include&nbsp;<em>One way: Peter Marino</em>, Bass Museum, Miami (2014);&nbsp;<em>A history. Art, architecture, design from the 80s to now</em>, Centre Pompidou, Paris (2014);&nbsp;<em>Man in the Mirror,&nbsp;</em>Vanhaerents Art Collection, Brussels (2014);&nbsp;<em>Booster&nbsp;</em>&ndash;&nbsp;<em>Kunst Sound Maschine</em>, Marta Herford, Herford (2014);&nbsp;<em>Frank Badur. Die Sammlung im Dialog</em>, Saarlandmuseum, Saarbr&uuml;cken (2014);&nbsp;<em>Love Story &ndash; Anne and Wolfgang Titze Collection</em>, Vienna (2014);&nbsp;<em>Karl May: Schut und Feder, (&lsquo;Weltenschopfer&rsquo; Max Klinger, Richard Wagner),&nbsp;</em>Museum der bildenden Kunste Leipwig, Leipzig (2013);&nbsp;<em>Landeskunstausstellung SaarART 2013,&nbsp;</em>Saarland Museum, Saarland (2013); and&nbsp;<em>Decenter, An Exhibition on the Centenary of the 1913 Armory Show</em>,<em>&nbsp;</em>Arbrons Arts Center, New York (2013).</p> <p>Gregor Hildebrandt lives and works in Berlin.&nbsp;</p> Tue, 27 Jan 2015 15:06:14 +0000 Daniela Gullotta - Marlborough Fine Art - February 4th - February 28th <p style="text-align: justify;">The Directors of Marlborough Fine Art are delighted to announce their forthcoming exhibition of paintings by the renowned Bolognese artist Daniela Gullotta.&nbsp;</p> <p style="text-align: justify;">Following on from Gullotta&rsquo;s very successful exhibition in 2011, <em>Views of Rome: a personal tribute to Piranesi</em>, the artist has moved location to come and study London.&nbsp; Some of these views will be known to many: Battersea Power Station, Tower Bridge, St. Paul&rsquo;s, the Soane Museum; Lloyds of London and the Chapter House at Westminster Abbey.&nbsp; Daniela, however, has travelled further afield to paint the Millenium Mills in the east end of London, the entrance to the Crystal Palace underground, the Trellick Tower and abandoned factories.&nbsp;</p> <p style="text-align: justify;">As James Miller writes in the catalogue introduction: &ldquo;Daniella Gullotta's new pictures of London give the viewer a timeless evocation of sights so familiar that they normally seem transient. Battersea Power Station becomes majestic; the interiors of&nbsp; the John Soane Museum become as timeless as his architecture; Lloyds of London the iconic building in the city. These beautiful re-creations transform ones' perception of the well known. What a triumph!&rdquo;&nbsp;</p> <p style="text-align: justify;">Daniela&rsquo;s technique involves mixed media on wood, using oil, acrylic, sand, pencil, charcoal and often overlaid with patches of canvas.&nbsp; The exhibition will comprise some 30 paintings of differing sizes. &nbsp;</p> <p style="text-align: justify;">A fully illustrated catalogue will be published with an introduction by art historian James Miller.&nbsp; Daniela will be in London for the opening and available for interviews.</p> Fri, 30 Jan 2015 15:53:20 +0000 Simon Welsh - Institute of Contemporary Arts (ICA) - January 26th - February 1st <p style="text-align: justify;"><span style="color: #000000; font-family: 'times new roman', times, baskerville, georgia, serif;">fig-2 is hosting a week of encounters with poet, environmental activist and public speaker Simon Welsh, who will be delivering a series of forty&ndash;two minute lectures, starting on Monday at 7pm; Tuesday, Wednesday and Friday at 5pm. Welsh&rsquo;s lectures incorporate his world view on the interconnecting forces that are at play in humanity today, embarking upon margins of new spirituality and cultural mythology. fig-2 will host a poetry cafe on Thursday evening between 6:30 &ndash; 8:30pm where Welsh delivers immediate poems for the individual members of the audience responding to their set of choices. Welsh&rsquo;s project will conclude with fifteen minute long poetic portrait</span><span style="color: #000000; font-family: 'times new roman', times, baskerville, georgia, serif;">&nbsp;sessions held on Saturday and Sunday between 2 and 6pm. Please book your place for the poetic portrait sessions by emailing&nbsp;<a href="" target="_blank"></a>.</span></p> <p style="text-align: justify;"><span style="color: #000000; font-family: 'times new roman', times, baskerville, georgia, serif;">fig-2 opens each Monday 6 &ndash; 8 pm, and continues from Tue &ndash; Sun 11 am &ndash; 6 pm. fig-2 is open late on Thursdays until 9 pm to coincide with the ICA late openings. fig-2, ICA Studio, The Mall, London SW1Y 5AH.&nbsp;As the ICA is closed on Mondays, to reach the Studio please use the ramp entrance to the Studio from Carlton House Terrace, at the top of the Duke of York Steps. For more information visit&nbsp;<a href=";id=aafb33531e&amp;e=e75a9edd17" target="_blank"></a></span></p> <p style="text-align: justify;"><span style="color: #000000; font-family: 'times new roman', times, baskerville, georgia, serif;">fig-2 at the ICA in association with Outset</span></p> Sat, 24 Jan 2015 07:44:05 +0000 - Zabludowicz Collection - February 12th 7:00 PM - 8:00 PM <p style="text-align: justify;">In conversation with the&nbsp;<em>Partial Presence</em>&nbsp;exhibition curators, Nayia Yiakoumaki, Curator: Archive Gallery at Whitechapel Gallery, explores how curatorial practices engage with archives and collections to reactivate stored and archived artworks. Taking themes in the show as a starting point, they will discuss the impact archival practices, preservation and documentation process have on shaping the legacy of an artwork.</p> <p style="text-align: justify;">Nayia Yiakoumaki is an artist and the Curator: Archive Gallery at Whitechapel Gallery. She recently completed her PhD,&nbsp;<em>Curating Archives, Archiving Curating</em>, at Goldsmiths College.</p> Sat, 24 Jan 2015 07:36:34 +0000 - Zabludowicz Collection - February 19th 6:30 PM - 8:30 PM <p style="text-align: justify;">To accompany the&nbsp;<em>Partial Presence</em>&nbsp;exhibition Zabludowicz Collection screens&nbsp;<em>Solaris</em>&nbsp;(1972), a sci-fi film by Russian director Andrei Tarkovsky, that explores the nature of memory and humanity.</p> <p style="text-align: justify;">The film is set on a space station orbiting the ocean-covered planet Solaris, where cosmonaut Chris Kelvin arrives to investigate a series of mysterious and bizarre occurrences among the crew. What he discovers are supernatural phenomena that cause repressed and haunting memories to take physical form, including that of Kelvin's late wife. Through her, Kelvin attempts to communicate with the forces responsible, which appear to be emanating from the mysterious planet itself. &nbsp;(Taken from the&nbsp;<a href="" target="_blank">Artificial Eye</a>website). &nbsp;</p> <p style="text-align: justify;">SOLARIS (1972)<br />Dir. Andrei Tarkovsky<br />Russian with English subtitles<br />Running time: 159 mins. approx.<br />Classification: U</p> <p style="text-align: justify;">Drinks from 6pm<br />Screening starts at 6.30pm<br />FREE<br />&nbsp;</p> <p style="text-align: justify;">The screenings will take place in the Zabludowicz Collection gallery which seats 50 people approx. As capacity is limited advance booking is recommended.</p> Sat, 24 Jan 2015 07:34:36 +0000 Athena Papadopoulos - Zabludowicz Collection - March 8th 3:00 PM - 4:00 PM <p style="text-align: justify;">To coincide with her Invites exhibition, artist Athena Papadopoulos talks about her practice with curators Leopold Thun and Jasmine Picot-Chapman.</p> Sat, 24 Jan 2015 07:32:01 +0000 Group Show - Zabludowicz Collection - January 29th - February 22nd <p style="text-align: justify;">Now in its 7th year, Testing Ground for Art and Education is an annual season focussed on opportunities for the creative and professional development of emerging artists and curators. A continuously evolving programme, Testing Ground collaborates with educational and artist-led organisations to develop experimental exhibitions and events that facilitate a consideration and testing out of new ideas and modes of practice. This exhibition is the culmination of a three month collaboration with students of the MFA Curating courses at Goldsmiths College and The Cass, London Metropolitan University.</p> <p style="text-align: justify;"><em>Partial Presence</em>&nbsp;takes at its core the idea that artworks possess varying degrees of physical and conceptual presence during their lifespan. Journeying from the initial stages of creative conception and fabrication, an artwork enters maturity and self-awareness through exhibition in dialogue with other objects, then physically degrades over time and loses currency, before reconstituting through physical restoration, documentation and historicisation. Interpreting &lsquo;presence&rsquo; as the materiality, affect and meaning that constitutes a work of art, the exhibition considers how an artwork&rsquo;s presence is in a perpetual state of flux. Exhibiting artists include Francis Al&yuml;s, Ed Atkins, Miroslaw Balka, Matthew Barney, Laurel Nakadate, Wolfgang Tillmans and Gillian Wearing, alongside a selection of artists invited by the curators.<br /><br /><em>Partial Presence</em> is collectively curated by Tamar Clarke-Brown, W. Giovanni Gonzales, Jen MacLachlan, Thandi Mbire, Eilidh McCormick, Cecily Rainey, Mateusz Sapija, Anna Viani, Emma Rae Warburton and Bar Yerushalmi.</p> <p style="text-align: justify;">The exhibition is accompanied by a public programme of weekly curator-led exhibition tours, family workshops, talks and film screenings.</p> Sat, 24 Jan 2015 07:28:57 +0000 Matthew Darbyshire - Zabludowicz Collection - February 2nd 7:00 PM - 8:00 PM <p style="text-align: justify;">Testing Ground: Master Class invites leading international artists to share their expertise with a small group of emerging artists from around the country over a week long intensive, led by artist Doug Fishbone.</p> <p style="text-align: justify;">Join us each evening for a public lecture by the artists.<br />Tonight: Matthew Darbyshire<br /><br />Matthew Darbyshire (b. 1977) graduated from Slade School of Fine Art in 2000 and the RA Schools in 2005. His solo presentations in 2014 included<em>Renaissance City</em>, Stanny House, Suffolk;&nbsp;<em>Public Workshop</em>, Krolikarnia National Museum, Poland;&nbsp;<em>Bureau</em>, Herald St, London;&nbsp;<em>Oak Effect</em>, Shipley Gallery, Gateshead, and&nbsp;<em>Captcha</em>, Jousse Entreprise, Paris. In 2013 he exhibited with Hepworth Gallery, Wakefield; Bloomberg Space, London, and Frac Nord pas de Calais, France. In 2012 Darbyshire was awarded the Stanley Picker Fellowship in Fine Art by Kingston University, London, and presented solo-exhibitions&nbsp;<em>T Rooms</em>&nbsp;at Tramway, Glasgow, and&nbsp;<em>T Rooms Pt II&nbsp;</em>at Zabludowicz Collection, London. He has forthcoming solo shows at Manchester Art Gallery and Lisa Cooley, New York. He currently teaches at Slade School of Fine Art and is represented by Herald Street Gallery, London.<br />&nbsp;</p> Sat, 24 Jan 2015 07:23:08 +0000