ArtSlant - Recently added en-us 40 David Cheeseman - Tintype - May 20th - June 18th <p><span style="font-size: small;"><strong>DAVID CHEESEMAN</strong></span><br /><span style="font-size: small;"><strong>Slime Mould Logic</strong></span></p> <p>20 May &ndash; 18 June 2016<br />PREVIEW: Thursday 19 May 2016, 6.30-8.30pm</p> <p>Tintype is pleased to announce David Cheeseman&rsquo;s forthcoming solo show <em>Slime Mould Logic</em>.<br />&nbsp;David Cheeseman primarily works with sculpture, installation and photography and his work often has an interdisciplinary focus.</p> <p><em>Slime Mould Logic</em> refers to mould organisms that can live freely as single cells but aggregate together to form multicellular reproductive &lsquo;slime&rsquo; structures. Slime mould is the common name for these amorphous, delicate and changeable amalgams.</p> <p>Studies of slime mould have tracked how the organisms are able to navigate towards foods or hosts in an incredibly resourceful way, almost as if they have an emergent intelligence.</p> <p>David Cheeseman was struck by the fact that although slime mould is a highly sophisticated process, it is the result of basic behaviour emerging from simple processing systems; a binary intelligence that both underpins biology and forms the essential algorithmic process of the computer. &nbsp;</p> <p><em>Slim Mould Logic</em> references this emerging organic and artificial computing process. The works are constructed from ancient bog oak, silver birch, steel, bronze gauze, glass, neodymium magnets and magnetic putty. Cheeseman&rsquo;s installation of sculpture is informed by specific links and analogies &ldquo;They pay homage to Duchamp&rsquo;s <em>Comb</em> and <em>Three Standard Stoppages </em>whilst interpolating the mathematical theory and periodic tiling of Roger Penrose&rdquo;.&nbsp;</p> <p>Cheeseman links Penrose &ndash; the eminent mathematical physicist and his discovery of a remarkable family of geometric forms (Penrose tiles) &ndash; &shy;with Duchamp&rsquo;s early conceptual works, teasing out a belief in process over substance.</p> <p><span style="font-size: x-small;">David Cheeseman is particularly interested in the methodologies and materiality of science. He was awarded the Gulbenkian Rome Scholarship in Sculpture and The Henry Moore Fellow in Sculpture at Coventry University. Last year he completed a residency at The Lydney Park Estate in association with Matts Gallery London and also presented a Fig.2 at the ICA in collaboration with Ole Hagan and astrophysicist Roberto Trotta.<br /><br /></span></p> <p>T I N T Y P E<br />107 Essex Road, London N1 2SL, UK&nbsp;&nbsp; <br />Tel: 00 44 (0) 207 354 4360<br /><a href="" rel="nofollow"></a>&nbsp;|</p> <p><span style="font-size: x-small;">&nbsp;</span></p> Fri, 06 May 2016 16:00:58 +0000 AAS, Verity Birt, David Burrows, Elliot Dodd, Joey Holder, Luke McCreadie - IMT Gallery - June 3rd - July 10th <p>&ldquo;Kim, if you had your choice, would you rather be a poisonous snake or a non-poisonous snake?&rdquo; &ndash; &ldquo;Oh, poisonous, sir, like a green mamba or spitting cobra&rdquo; &ndash; &ldquo;Why?&rdquo; &ndash; &ldquo;I&rsquo;d feel safer, sir&rdquo; &ndash; &ldquo;And that&rsquo;s your idea of heaven?, feeling safer?&rdquo; &ndash; &ldquo;Yes, sir.&rdquo; <em>William Burroughs, The Place of Dead Roads</em><br /><br />Recently Kim&rsquo;s been thinking about preparing for an apocalypse. There&rsquo;s a lot in the news that bothers him. It always has. Sure Kim isn&rsquo;t going ever to be any safer, but perhaps he can feel safer. So he&rsquo;s been reading a book called Preppers by Lynda King that tells him that cataclysmic and catastrophic events often lead to major innovations, presenting the example of the Great Blizzard of 1888 giving birth to the subway systems in Boston and New York. He&rsquo;s been thinking about the art he reads about and some of the posts he&rsquo;s seen on Facebook about being innovative. He&rsquo;s been thinking about art galleries. How they seem to be interested in preserving a culture, some dependability in the face of other stuff that&rsquo;s not so good, like survivalists preparing for a mass extinction. How galleries can seem like cultural lagoons, almost invisible from the street unless you know they are there. As when O&rsquo;Doherty says in that old book from the reading list how the galleries are secretly thinking that, "the outside world must not come in." Even how publically accessible events are often called private views. IMT Gallery is like that. Just off the road, hidden by honeysuckles and scaffolding. Halfway between the Metropolis strip club and the Museum of Childhood. That&rsquo;s where he should have his exhibition. It&rsquo;ll be of beans, bullets and BAND-AIDs&hellip; a survivalist&rsquo;s tomb. But now he&rsquo;s worried. Lacking basic understanding of plumbing he&rsquo;s worried about how he&rsquo;s going to dispose of all that human waste.<br /><br />He remembers seeing Lars Movin and Steen M&oslash;ller Rasmussen&rsquo;s Words of Advice&nbsp; at IMT Gallery a few years ago in which a guy showed the camera a jar of resin containing a preserved turd he&rsquo;d fished out of William Burroughs&rsquo; drain. He picks up SCUM&nbsp; by Valerie Solanas and reads what she says about culture: &ldquo;&hellip;Lacking faith in their ability to change anything, resigned to the status quo, they have to see beauty in turds because, so far as they can see, turds are all they&rsquo;ll ever have&hellip;&rdquo; And he&rsquo;d planned to stockpile culture! Stockpile performance! Stockpile pornographic materials! Store art like batteries for when the grid is cut off and he can&rsquo;t access his cloud storage, and when the solar flares delete his memories and connections! What should he do? He likes art a lot, but this stuff about turds bothers him. So he will make an exhibition. He will see if AAS can help, and Maggie Roberts also. This seems like their area of expertise. And David Burrows. Yes, Burrows will know. And Joey Holder and Elliot Dodd. And Verity Birt, she watched civilisations being destroyed and she made it into art. And Luke McCreadie, he will know all about what to do at the beginning of a new history. And I bet he&rsquo;s good at plumbing.</p> <p><br />#feelingsafer</p> Fri, 06 May 2016 13:10:17 +0000 - CHELSEA space - June 8th - July 15th <p>Over two decades, Nigel Greenwood Inc Ltd presented an extraordinary group of artists including Bernd and Hilla Becher, Bill Beckley, Marcel Broodthaers, Marc Camille Chaimowicz, Rita Donagh, Gilbert &amp; George, Richard Hamilton, Alan Johnston, David Lamelas, Christopher Le Brun, Keith Milow, Bruce Nauman, Ed Ruscha, John Stezaker, David Tremlett, Richard Tuttle and John Walker.</p> <p>&nbsp;</p> <p>From 1972 to 1985, Greenwood ran the gallery from 41 Sloane Gardens, London, where he also lived. Visitors would encounter ground-breaking shows and enthusiastic conversation about the &lsquo;now&rsquo; art on display. The exhibition will explore the special atmosphere of 41 Sloane Gardens, as a public exhibition space and home for Greenwood and an intimate, international group of visiting artists, friends and colleagues. Joel Fisher will be collaborating with students from the Chelsea MA Curating and Collections course to re-create his large-scale <em>Apograph</em> wall drawing (1973) and Marc Camille Chaimowicz has been invited to revisit his 1979 exhibition, <em>Screens</em>, incorporating original public/private domestic artifacts from the gallery and home.</p> <p>&nbsp;</p> <p>The exhibition will include material from the Nigel Greenwood Inc Ltd archive which has never been displayed before in public. Works and documentation will revisit landmark shows and publications by Bernd and Hilla Becher, Rita Donagh, Gilbert and George, David Lamelas, Ed Ruscha, John Stezaker, David Tremlett and the influential group exhibition, <em>The Book as Artwork </em>(1972).</p> <p>&nbsp;</p> <p><strong>The exhibition will be accompanied by a publication edited by Phoebe Greenwood including original contributions from Gilbert &amp; George, Lynda Morris, Richard Cork, Ed Ruscha and Kynaston McShine.</strong></p> Thu, 05 May 2016 15:26:46 +0000 Daniel Mullen - Anise Gallery - June 9th - July 16th <p>Anise Gallery is delighted to present Holland-based artist Daniel Mullen for his first show at the gallery, &lsquo;Constructing the Future&rsquo;, which sees the artist develop his practice exploring space, line and form. There are clear aesthetic influences from futurism and the Dutch &lsquo;de Stijl&rsquo; movement, bringing both in line with contemporary messages and contexts.</p> <p><br />Mullen&rsquo;s work transcends the flat space of the canvas and invites the viewer into a new realm which is not explicit, creating access into a wider spectrum of the possible, and the imaginary. Again employing concepts developed by the likes of Mondrian in the De Stijl movement, we see the artist&rsquo;s work materialising the term &lsquo;neo-plasticism&rsquo;, referring to a branch of abstraction which uses horizontal and vertical lines and mostly primary colours.</p> <p><br />&lsquo;What is reality?&rsquo; is a question which emerges repeatedly in Mullen&rsquo;s work, as in contemporary society the line between our perception of reality and illusion becomes increasingly blurred. Highlighting the friction between the stability of structure and fragility in weightlessness is prevalent in this body of work. Mullen says: &ldquo;I paint an illusion to be recognised as exactly that, therefore raising the question of perception, like the shadows on the wall in the analogy of Plato&rsquo;s cave&rdquo;. Plato stated that the role of the philosopher is to communicate in such a manner that man would recognise the shadows in the cave as an illusion. Perhaps without Plato&rsquo;s grandiose statement, this communication of perception is evident in &lsquo;Constructing the Future&rsquo;.</p> <p><br />The artist speaks of his inspiration and motivation succinctly in that &ldquo;it is my Universe and I am the architect at play&rdquo;, asking a salient question about ownership of his work and influences: can we, as the viewer, be something of a curator in the world of Daniel Mullen&rsquo;s work? We can certainly identify geometric and dynamic themes relating to the urban domain.</p> <p><br />&lsquo;Constructing the Future&rsquo; is the latest exhibition for the artist, where his work has been shown internationally, however Anise Gallery are pleased to be the first to exhibit Mullen in the UK. His work is in numerous corporate and private collections globally. Recently he was long-listed for the Aesthetica art prize and in 2014 short-listed for the prestigious Royal Dutch Prize for Painting.</p> Thu, 05 May 2016 12:58:00 +0000 Lygia Clark - Alison Jacques Gallery - June 3rd - July 30th <p>Alison Jacques Gallery is pleased to announce a historical survey exhibition of works from the 1950s by Lygia Clark. This will be the artist&rsquo;s first solo presentation since the critically acclaimed retrospective <em>Lygia Clark: The Abandonment of Art 1948-1988</em> curated by Connie Butler and Luis P&eacute;rez-Oramas, at the Museum of Modern Art, New York (2014). It also follows the installation of <em>Fantastic Architecture</em>, at The Henry Moore Foundation (2014) and<em> Lygia Clark: Organic Planes </em>curated by Lisa Le Feuvre, at The Henry Moore Institute, Leeds (2014-2015).&nbsp;</p> <p>Born in Brazil, Lygia Clark (1920-1988) is one of the most pioneering artists of the twentieth century. Clark's groundbreaking work radically innovated the relationship between the art object and audience and has become a reference point for generations of artists pushing the limits of sculpture today. Her work has been acquired for major museum collections including Tate, London; The Museum of Modern Art, New York; The Art Institute of Chicago; Centre Pompidou, Paris and The Reina Sofia Museum, Madrid&nbsp;</p> <p>Lygia Clark was part of the neo-concrete movement, a splinter group of the 1950s Brazilian concrete art movement, calling for a greater sensuality, colour and poetic feeling in concrete&nbsp;art. In focusing on her work from the 1950s, we see the influence of her first visit to Paris in 1950 where she studied with key artists including Fernand L&eacute;ger. The drawing <em>Escadas (Stairs),</em>1951 is a clear indication of L&eacute;ger&rsquo;s influence on Clark but also of her interest in movement and a desire to break out from the restrictions of a static plane and strive for work that was more organic. It is this trajectory that we see in the graphite works from the early 1950s that continues into the group of 1957 monochrome gouaches <em>Planos em Superf&iacute;cie Modulada </em>(<em>Planes in Modulated Surface</em>). Throughout the decade, we see Clark&rsquo;s interest in colour via vibrant gouache works and a large turquoise painting <em>Superficie Modulada</em> (<em>Modulated Surface</em>)1955-57 made with industrial paint on board.</p> <p>From 1955, Clark showed her interest in three dimensional work and architecture through her painted wooden maquettes of interiors: <em>Maquete para interior nos.1 and 2</em> <em>(Maquette for interior no.1 and no.2).</em> These clearly reveal Clark&rsquo;s desire to expland from a two dimensional surface and fuse painting with architecture. Also on view is Clark&rsquo;s maquette for <em>Construa voc&ecirc; mesmo o seu espa&ccedil;o de viver (Build your own living space)</em>,1955 in which Clark shows her dream for an entire building in which the visitor can change the configuration of rooms via a series of sliding walls, demonstrating her vision of audience participation and a living or organic sculpture. &nbsp;</p> <p>In the late 1950s, Clark made her first study for a <em>Casulo (Cocoon)</em> in which a relief starts to lift off the wall, reflecting the idea of movement. All the works in the show lead to a crucial moment in 1959 when Clark made a balsa wood study for what would become her first <em>Bicho </em>(<em>Critter or Animal</em>) sculpture called <em>Caranguejo</em> (<em>Crab</em>). The <em>Bicho</em> series, which Clark went on to develop throughout the early 1960s, was formed from a series of metal plates joined by hinges. Laid flat, they formed a plane but when manipulated by an observer or participant, the hinges served as a backbone and the form of the <em>Bicho</em> changed according to the viewer&rsquo;s manipulation of the work. A <em>Casulo</em>, balsa wood study and the unique <em>Bicho </em>maquette for <em>Caranguejo</em> (<em>Crab</em>), all made in 1959, are included in this exhibition&nbsp;</p> <p>Important solo and group exhibitions during Clark&rsquo;s lifetime include the early S&atilde;o Paulo Biennials (1953-1967), the&nbsp;<em>Second Pilot Show of Kinetic Work,</em>&nbsp;curated by Guy Brett at Signals Gallery, London (1962);&nbsp;and a presentation, alongside Mira Schendel, at the Venice Biennale (1968)&nbsp;</p> <p>The only posthumous solo exhibitions outside Brazil before the MOMA, New York retrospective (2014) were<em> Lygia Clark</em>,&nbsp;Fundaci&oacute; T&agrave;pies Major, Barcelona (1997) which travelled to Marseille MAC; Serralves Foundation, Porto; Palais des Beaux-Arts, Brussels and the Imperial Palace, Rio de Janeiro; and <em>Lygia Clark: Estudos e Maquete</em>, Alison Jacques Gallery, London (2010). Clark was recently included in <em>Adventures of the Black Square, Abstract Art and Society 1915-2015</em>, curated by Iwona Blazwick and Magnus Petersens, Whitechapel Art Gallery, London (2015) and <em>Life Itself</em>, curated by Daniel Birnbaum, Moderna Museet, Stockholm.</p> <p>Forthcoming museum shows include: <em>Making and Unmaking</em>, curated by Duron Olowu, Camden Arts Centre, London (June &ndash; September 2016) and a major presentation of work as part of <em>The Shadow of Color</em> curated by Rita Kersting (December 2016 &ndash; April 2017), The Israel Museum, Jerusalem.&nbsp;</p> Tue, 03 May 2016 16:27:26 +0000 Piero Manzoni, Marianne Vitale - Ibid. - April 26th - May 7th <p style="text-align: justify;">Ibid Gallery London is pleased to present&nbsp;<em>focus (1-8)</em>, a show of fortnightly rotating works by modern and contemporary artists in intimate dialogue.</p> <p style="text-align: justify;">The works shown from Ibid Gallery&rsquo;s collection will be chosen for their visual or conceptual ties with the historical work they are presented alongside. With this platform, the influence that the selected 20th century masters have had on recently established artists is acknowledged and a new dialogue is created between works decades apart by tracing the lineage of ideas. Furthermore, in placing these pieces in proximity to each other but simultaneously giving the viewer space to focus on each work individually, a deeper, imaginative experience is made possible and associations can be questioned.</p> <p style="text-align: justify;">Every two weeks there will be a new two-person show with themes of its own and in all instances of two artists who have never before been shown together on such a level. Ibid Gallery invites the viewer to revisit the space throughout the duration of the show and will be announcing the schedule on the website and Instagram.</p> <p style="text-align: justify;">The opening week will present Piero Manzoni&rsquo;s&nbsp;<em>Achrome (1960-61)&nbsp;</em>and Marianne Vitale&rsquo;s&nbsp;<em>Tongue and Groove (2)</em>, (2012).&nbsp;</p> Sat, 30 Apr 2016 17:53:29 +0000