ArtSlant - Recently added en-us 40 Carlo Carrà - Blain|Southern - London Hanover Square - July 8th - August 20th <p>Curated by Ester Coen, Blain|Southern presents&nbsp;an exhibition of paintings and drawings by Carlo Carr&agrave;. The Italian avant garde artist is renowned for his integral role in both Futurist and Metaphysical painting. At the centre of the exhibition are Carr&agrave;&rsquo;s paintings, many from public and private collections and rarely shown publically.</p> Tue, 24 May 2016 16:14:12 +0000 Stanley Whitney - Lisson Gallery - May 20th - July 2nd <p class="p1">For his first exhibition in London, Stanley Whitney presents a series of oil paintings and gouache on paper works made over the last few months in response to global events, literature and music, among other sources of inspiration. One of the American artist&rsquo;s new works, Radical Times, lends its name to the exhibition, suggesting both a portentous moment in history and the potential for political or social upheaval. Deep Water was painted in the wake of witnessing migrants arriving in Greece from a war-torn Middle East, while titles such as Wandering and Wondering, Nightlife and Dreamtime (all works 2016) point to moments of leisure, reflection and rest amid the chaotic nature of the world.</p> Mon, 23 May 2016 13:00:17 +0000 Etel Adnan - Serpentine Sackler Gallery - June 2nd - September 11th <p style="text-align: justify;"><span style="font-size: small;">Serpentine Galleries presents the works of painter, essayist and poet Etel Adnan, who was born in 1925 in Beirut, Lebanon. In her first solo exhibition in a UK public institution, the Serpentine shows work from across her career and including paintings, drawings, poetry, film and tapestry.</span></p> <p style="text-align: justify;"><span style="font-size: small;">After studying at the Sorbonne and then Harvard, in the late 1950s Adnan taught philosophy at the University of California and started to paint.</span></p> <p style="text-align: justify;"><span style="font-size: small;">While these early works were largely abstract compositions - with squares of colour applied directly from the tube - she was interested in the immediate beauty of colour. Her earliest paintings were suggestive of landscapes and included forms that referenced specific places. In the 1970s she moved to the area near Mount Tamalpais in California, which became the central subject matter of numerous paintings and poems. &nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">From the 1960s until the present day Adnan has also made tapestries, inspired by the feeling and colour of the Persian rugs of her childhood. Never translating existing paintings into tapestries, she uses specific designs for her textile works. Over the course of the 1960s, Adnan moved away from purely abstract forms and, in 1964, discovered &lsquo;leporellos&rsquo;, accordion-folded sketchbooks in which she could mix drawing with writing and poetry. Often working in series, her painting continued to move between recognisable and imagined forms, revealing her sensitivity to colour and shape extracted from the environments in which she found herself.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Her writing, too, contains multiple references and responses to the politics and violence in the world around her. From her earliest poem in English, which addressed the Vietnam War, to her award-winning 1978 novel <em>Sitt Marie-Rose</em>, she explores the political and personal dimensions of violence and articulates her experience of exile from familiar landscapes and languages.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Adnan&rsquo;s artworks feature in numerous collections, including Centre Pompidou, Paris; Mathaf, Doha, Qatar; Royal Jordanian Museum; Tunis Modern Art Museum; Sursock Museum, Beirut; Institut du Monde Arabe, Paris; British Museum, London; World Bank Collection, Washington D.C.; National Museum for Women in the Arts, Washington D.C. In 2014, Adnan was awarded France's highest cultural honour, the Ordre de Chevalier des Arts et des Lettres.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Adnan has participated in a number of Serpentine events during the past six years including the <em>On Edgware Road</em> group exhibition in 2012; the Map Marathon (2010); the Garden Marathon (2011); the Memory Marathon (2012), and the Extinction Marathon (2015).&nbsp;</span></p> <h3 class="label-above fvc" style="text-align: justify;"><span style="font-size: small;">Artist</span></h3> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <div class="field-collection-view clearfix view-mode-full field-collection-view-final"> <h2 class="node-title" style="text-align: justify;"><span style="font-size: small;">Etel Adnan</span></h2> <div class="main-body"> <p class="summary-text" style="text-align: justify;"><span style="font-size: small;"><a href="" target="_blank"><strong>Etel Adnan</strong></a> (b. 1925, Beirut) is a poet, essayist and visual artist who divides her time between Lebanon, France and the USA. She retired from a permanent teaching position in the late 1970s and now devotes herself to her art and writing. A powerful voice in feminist and antiwar movements, Adnan has published several works of poetry and fiction, among which are Sitt Marie Rose (1978), The Arab Apocalypse (1989) and Master of the Eclipse (2009).</span></p> <p style="text-align: justify;"><span style="font-size: small;">As part of the Serpentine Gallery's Park Nights series, on Friday 3 September 2010, <strong>Etel Adnan</strong> convened an evening of readings and music celebrating the Edgware Road Project, in the Serpentine Gallery Pavilion 2010 designed by Jean Nouvel. During this evening, Adnan read from her poetry collection, <em>Seasons</em> (2005) and her memoir, <em>In the Heart of the Heart of another Country</em> (2005). The evening also included music from composer Gavin Bryars' song cycle, <em>Adnan Songbook</em> (1996), which set to music a group of eight of Adnan's love poems from her collection, <em>The Indian Never Had a Horse and Other Poems</em> (1985).</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a href="" target="_blank">Find out more about Etel Adnan's Park Nights</a></span></p> </div> </div> Sun, 22 May 2016 16:49:28 +0000 Alex Katz - Serpentine Gallery - June 2nd - September 11th <p style="text-align: justify;"><span style="font-size: small;">The Serpentine presents the work of renowned American painter Alex Katz (b. 1927, Brooklyn, New York). This exhibition will bring together Katz&rsquo;s extraordinarily productive output of recent years alongside works from across his career in an installation that responds and relates to the unique context of the Serpentine Gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Coming of age as an artist in 1950s New York, Katz developed his unique approach to contemporary representational painting during the height of Abstract Expressionism.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Over the five and a half decades since his first exhibition in 1954, Katz has produced a celebrated body of work, including paintings, drawings, sculpture and prints. Establishing himself as a pre-eminent painter of modern life, he was influenced by films, billboard advertising, music, poetry and his close circle of friends and family. His portraits and landscapes are characterised by their flatness of colour and fluidity of line, reinventing both genres within the context of abstract painting and contemporary image-making.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Serpentine exhibition takes landscape as its focus, bringing together Katz&rsquo;s extraordinarily productive output of recent years alongside select works from the past two decades. Katz&rsquo;s landscape paintings exemplify his life-long quest to capture the present tense in paint. Regardless of their scale, Katz describes these paintings as &lsquo;environmental&rsquo; in the way in which they envelop the viewer. Defined by temporal qualities of light, times of the day and the changing of the seasons, these paintings respond and relate to the unique context of the Serpentine Gallery in Kensington Gardens. The exhibition will also include a recent series of portraits and expand beyond the walls of the gallery into the park with a new cut-out sculpture.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Katz draws parallels between his approach to painting and his interest in poetry, both equally concerned with stripping away unnecessary detail to leave only the essential information. This relationship between language and the painting process is echoed in the work of painter, poet and filmmaker Etel Adnan<em>,</em> showing in parallel at the Serpentine Sackler Gallery, whose landscapes are similarly defined by their bold colour and simplified form that is nevertheless rooted in keen observation of the world around her.</span></p> <h3 class="label-above fvc" style="text-align: justify;"><span style="font-size: small;">Artist</span></h3> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <div class="field-collection-view clearfix view-mode-full field-collection-view-final"> <h2 class="node-title" style="text-align: justify;"><span style="font-size: small;">Alex Katz</span></h2> <div class="main-body"> <div class="body-text"> <p style="text-align: justify;"><span style="font-size: small;">Alex Katz (b. 1927, New York) lives and works in New York and Maine. He graduated from the Cooper Union School of Art, New York in 1949 and the Skowhegan School of Painting and Sculpture, Maine in 1950.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Selected solo exhibitions include: The High Museum, Atlanta; Guggenheim, Bilbao (2015&ndash;6); Tate St Ives; Turner Contemporary, Margate (both 2012); The National Portrait Gallery, London (2010); Irish Museum of Modern Art, Dublin (2007); Albertina, Vienna (2010); Saatchi Gallery, London (1998); P.S.1 / Institute for Contemporary Art, New York (1997-8); Instituto Valenciano de Arte Moderno, Valencia (1996); Staatliche Kunsthalle, Baden-Baden (1995); Brooklyn Musuem (1988); Vancouver Art Museum (1977).</span></p> </div> </div> </div> Sun, 22 May 2016 16:48:17 +0000 Jim Hodges - Stephen Friedman Gallery - June 10th - July 23rd <p style="text-align: justify;">Multi-disciplinary American artist Jim Hodges presents a new body of work comprised of sculpture, drawings and paintings. These works chart new directions for Hodges, building on his continual rearranging of concepts of nature. Works will be installed in both gallery spaces.</p> <p style="text-align: justify;">This exhibition follows from his Major retrospective at Dallas Museum of Art, Walker Art Centre, Minneapolis, the Institute of Contemporary Art, Boston and Hammer Museum, Los Angeles (2014-2015).</p> Sun, 22 May 2016 16:41:00 +0000 Guillermo Kuitca - Hauser & Wirth London - May 31st 6:30 PM - 8:00 PM <p>On the occasion of the exhibition &lsquo;<a href="" target="_blank">Guillermo Kuitca</a>&rsquo;</p> <p>RSVP&nbsp;by Tuesday 24 May 2016 to&nbsp;<a href=""></a>&nbsp;or +44 207 287 2300</p> <p>&lsquo;Guillermo Kuitca&rsquo; is on display until 30 July 2016</p> Sun, 22 May 2016 16:36:58 +0000 Guillermo Kuitca - Hauser & Wirth London - May 27th - July 30th <p style="text-align: justify;">Hauser &amp; Wirth London presents an exhibition of recent paintings by Argentine artist Guillermo Kuitca, whose unique cubistoid style masterfully reconciles abstraction with an illusionist form of figuration. Shifting from gestural mark-making to linear precision and incorporating diverse motifs &ndash; most often fragmented cartographies and architectural plans &ndash; his work mines different aesthetic styles and histories. This recent group of paintings is redolent of earlier bodies of work from the 1980s and 1990s in which stage-like spaces and architectural components are prominent. It also signposts a return to depicting the human figure.</p> <p style="text-align: justify;">The artist&rsquo;s cubistoid style was initially developed for his Desenlace group of paintings, exhibited at the Argentine Pavilion at the 2007 Venice Biennale. Whilst recalling an ambiguous cubist aesthetic, Kuitca&rsquo;s segmented forms and angular patterns eschew figurative references; instead they are the organising principle of the composition. To make them, he allowed human movement at its most elementary to choreograph the work. Pacing to and fro, he marked the canvases with short diagonal strokes as he walked, echoing a revelation he experienced at the age of 19: seeing the theatre of the avant-garde choreographer Pina Bausch in Buenos Aires, he was struck by her dictum, &lsquo;walking is enough&rsquo;. The smallness of human movement plays against an awareness of the vastness of the unknown.</p> <p style="text-align: justify;">The exhibition&rsquo;s focal point is &lsquo;Untitled (Exodus)&rsquo; (2015), a major large-scale canvas over six metres in length in which Kuitca builds an expansive rhythmic landscape of marks interrupted by a threshold, alluding to another space beyond the painting. Kuitca deftly transitions between the wholly abstract and the surreally figurative, blending these planes to create a subtle paradox. The opening creates a schism in the undulating, complex interplay of colourful marks and gestures, suggesting the presence of unseen realities and unreachable depths. A second untitled canvas, on a more diminutive scale, mirrors the composition and palette of &lsquo;Untitled (Exodus)&rsquo;, only here the clearly defined triangular forms have been replaced by loose daubs of colour. Kuitca envisages the work as a painting on the reverse of &lsquo;Untitled (Exodus)&rsquo;, implying two sides of the same wall or the opportunity to see &lsquo;backstage&rsquo;. One side is a raw alphabet of materials, an image as yet unformed, whereas the other depicts a fully delineated environment. Viewed together, these paintings represent two contrasting but equally ambiguous pictorial worlds.</p> <p style="text-align: justify;">Portals, doorways and transitional spaces recur throughout Kuitca&rsquo;s recent body of work. This is, in part, a response to his completion of a number of wall paintings. These include a mural in his studio in Buenos Aires, a commission inside Durslade Farmhouse at Hauser &amp; Wirth Somerset, and installations in New York and at Fondation Cartier pour l&rsquo;art contemporain, Paris, France. These murals encouraged Kuitca to begin working on a larger scale and to bring elements of real spaces into his canvases, offering a resolution of two- and three-dimensional modes of working. The integration of architectural features also stems from his longstanding involvement with the theatre. The ambiguous architectures and spatial variations created by Kuitca in these works are more like stage sets than studies of inhabitable scenes; space is flattened and rather than mimetic representations, the doorways are merely black expanses.</p> <p style="text-align: justify;">Kuitca&rsquo;s preoccupation with topography is also present within the new paintings, most prominently in a large-scale canvas that was 12 years in the making. In &lsquo;Untitled&rsquo; (2003 &ndash; 2015), a fractured wave of densely pigmented shapes reverberates down the canvas, engulfing a bright yellow base plotted with regimented rectangular forms. Governed by the rigid lines of a floor plan, his colourful marks dance and ripple across the canvas spilling into the network of barriers. In Kuitca&rsquo;s L&rsquo;Encyclop&eacute;die series, the edges of maps were dissolved by water or ruptured through the delamination of multiple layers of paper and ink. In &lsquo;Untitled&rsquo; these two styles converge to create a rich cacophony of colour and movement.</p> <p style="text-align: justify;">In other paintings, figures emerge. These take the form of women clad in flowing black dresses, the head of Christ wearing eyeshadow and a crown of thorns, and the man in the moon. The women are from another realm, their floor-length, voluminous dresses in dark colours imbue them with mystery, recalling a range of images from late 19th-century Symbolism. The women are from another realm, their floor-length, voluminous dresses in dark colours imbue them with mystery, recalling a range of images from late 19th century Symbolism. In &lsquo;Untitled&rsquo; (2015), a deep blue-black canvas dissected by a pale, thin ribbon of vertical striations and the long, horizontal painting &lsquo;Untitled (Yo Mujer)&rsquo; (2015), female silhouettes are immersed in an indefinite space of seemingly endless reflections resonant of scenes in the work of European filmmakers of the 1960s such as Ingmar Bergman and Michelangelo Antonioni. Recently the figure has been present in Kuitca&rsquo;s work only through suggestion, implied human presence in his choice of subject matter &ndash; floor plans, map and theatre interiors. In a number of the new paintings, a woman is pictured from behind drawing the viewer into her path, as in the artist&rsquo;s politically motivated series from 1982, Nadie olveda nada (Nobody Forgets Anything). The female forms inhabit an indeterminate location devoid of reference points either to time or place, their contours merging into the darkened entrances in front of them. Permanence and solidity melt into ethereal and melancholic washes of light colour, so that the figure occupies a liminal space between the plane depicted in the painting and the indeterminate space beyond its limits.</p> <p style="text-align: justify;">The exhibition is accompanied by a new monograph co-published by Snoeck and Hauser &amp; Wirth Publishers with a contribution by Michael FitzGerald, Professor of Fine Arts at Trinity College in Hartford CT. Among many publications and exhibitions, FitzGerald curated &lsquo;Post-Picasso: Contemporary Reactions&rsquo; for the Museu Picasso, Barcelona in 2014.</p> <p style="text-align: justify;"><a href="" target="_blank">Kuitca is in conversation with Hans Hurch, Director of Vienna International Film Festival, at Hauser &amp; Wirth London on Tuesday 31 May, from 6.30 pm.</a>&nbsp;Admission is free but booking is recommended. Please email&nbsp;<a href="mailto:rsvp@hauserwirth">rsvp@hauserwirth</a>&nbsp;by 24 May to reserve a place.</p> Sun, 22 May 2016 16:35:14 +0000 Phillip Lai - Modern Art - June 30th - August 6th Sun, 22 May 2016 16:25:27 +0000 George Shaw - The National Gallery - May 11th - October 30th <p class="intro"><a class="amax-link-ConWebDoc-3503 amax-site-1" href="">George Shaw</a>&nbsp;unveils the culmination of his two-year studio residency at the National Gallery</p> <p style="text-align: justify;">Our current&nbsp;<a href="" target="_blank">Associate Artist</a>, George Shaw, has been busy creating new work in response to the collection since autumn 2014.</p> <p style="text-align: justify;">A former Turner Prize-nominee, Shaw is renowned for his highly detailed approach and suburban subject matter, and for his idiosyncratic medium &ndash; Humbrol enamel paint, typically used to colour model trains and aeroplanes.</p> <p style="text-align: justify;">Alluding to the theme of woodland in the collection, &lsquo;My Back to Nature&rsquo; resonates with Shaw&rsquo;s own experience of walking in the forest near his home town as a teenager, with the feeling that "something out of the ordinary could happen at any time there, away from the supervision of adults".</p> <p style="text-align: justify;">The Associate Artist Scheme is supported by the Rootstein Hopkins Foundation&nbsp;<br />The Sunley Room exhibition programme is supported by the Bernard Sunley Charitable Foundation</p> Sun, 22 May 2016 16:16:22 +0000 Ambrosius Bosschaert the Elder, Jan van Huysum, Rachel Ruysch - The National Gallery - April 6th - August 29th <p style="text-align: justify;">Explore the evolution of Dutch flower painting over the course of two centuries</p> <p style="text-align: justify;">Coinciding with the flower shows at Chelsea and Hampton Court, the exhibition explores Dutch flower painting from its beginnings in the early 17th century to its peak in the late 18th century, and is the first display of its kind in 20 years.</p> <p style="text-align: justify;">'Dutch Flowers' presents an overview of the leading artists in the field, such as&nbsp;Ambrosius Bosschaert the Elder,&nbsp;Jan van Huysum, and&nbsp;Rachel Ruysch, providing a chance to admire their stylistic and technical characteristics, and the&nbsp;exquisite details of&nbsp;their paintings.</p> <p style="text-align: justify;">Featuring works from the collection alongside long-term loans, the exhibition also draws connections between the development of flower painting in the Netherlands to increased interest in botany, horticulture, and the phenomenon of &lsquo;tulip mania&rsquo; in the Dutch Golden Age.&nbsp;</p> Sun, 22 May 2016 16:14:50 +0000 Edwina Ashton - Whitechapel Gallery - April 26th - August 14th <p style="text-align: justify;">Drawing inspiration from 19th century novels and natural history illustrations, British artist&nbsp;Edwina Ashton&nbsp;(b. 1965) presents darkly humorous films, drawings and sculptures. Renowned for her interest in animals, zoology and our perceptions of nature, the artist uses her invented creatures to explore human emotions, foibles and world-views. Her characters emerge from sketches, overheard conversations and experiments with second-hand materials. Most of her creatures appear in films and occasionally they appear in public.</p> <p style="text-align: justify;">Ashton is fascinated by how animals think, how language shapes our world and how materials suggest the imaginary. While recognising that humans are animals, she explores the subtle relationships between them, interweaving scientific and poetic sensibilities. Alongside this commission Ashton worked with primary school children: looking at how they gather ideas, sounds and images.</p> <p style="text-align: justify;"><a href="" target="_blank">Find out more&nbsp;</a>about Whitechapel Gallery Children&rsquo;s Commissions.</p> Sun, 22 May 2016 15:41:05 +0000 Joana Hadjithomas and Khalil Joreige, Mona Hatoum, Khaled Hourani, Mohammed Kazem, Maha Maamoun, Basim Magdy, Michael Rakowitz, Abdul Hay Mosallam Zarara - Whitechapel Gallery - April 26th - August 14th <p style="text-align: justify;"><a href="" target="_blank">The Barjeel Art Foundation</a>&nbsp;holds an extensive collection of art from the Arab world. This display looks at the rise of media-based practices among a generation of artists who emerged in the 1990s. Dealing with issues of migration, the aftermath of war and media representations of history and culture, artists such as Lebanon-born&nbsp;Walid Raad&nbsp;(b. 1967) and&nbsp;Akram Zaatari&nbsp;(b. 1966) construct real and imagined archives out of Beirut and Cairo, while&nbsp;Yto Barrada&nbsp;(b. 1971) maps and photographs her hometown of Tangier tracking border crossings and those who hope for a better life across the Mediterranean.</p> <p style="text-align: justify;">The display features artists from Egypt, Lebanon, Morocco, Palestine, United Arab Emirates and the United States and includes&nbsp;Joana Hadjithomas&nbsp;and&nbsp;Khalil Joreige, Mona Hatoum,&nbsp;Khaled Hourani,Mohammed Kazem,&nbsp;Maha Maamoun,&nbsp;Basim Magdy,&nbsp;Michael Rakowitz&nbsp;and Abdul Hay Mosallam Zarara.&nbsp;</p> Sun, 22 May 2016 15:39:33 +0000 Kim Longinotto - South London Gallery - May 22nd 4:00 PM - 8:00 PM <p style="text-align: justify;"><em>South by South</em>&nbsp;is the SLG&rsquo;s quarterly&nbsp;screening of bold and&nbsp;innovative African Cinema, programmed by Joseph Adesunloye. This iteration presents&nbsp;<em>Rough Aunties&nbsp;</em>(2008) a documentary directed by Kim Longinotto about a group of women who protect and care for abused, neglected and forgotten children in Durban, South Africa.&nbsp;&nbsp;</p> <p style="text-align: justify;">The screening is accompanied by a masterclass for aspiring filmmakers with director Kim Longinotto, who will also&nbsp;join us for a Q&amp;A after the film. (Those who attend the masterclass can see the film for free).&nbsp;<br /><br /><em><strong>Booking is essential, to reserve a place on the masterclass book&nbsp;<a href=";id=bcb7a5193b&amp;e=3e10da6494" target="_blank">here</a>&nbsp;and for tickets to the film screening book&nbsp;<a href=";id=e41e5b041d&amp;e=3e10da6494" target="_blank">here</a></strong></em>&nbsp;<em><strong>or call&nbsp;020 7703 6120.&nbsp;</strong></em></p> Sun, 22 May 2016 11:18:04 +0000 Sally Golding - South London Gallery - May 25th - May 29th <p style="text-align: justify;">Australian British artist Sally Golding presents two new audiovisual installations which conclude her year long Embedded residency, delivered in partnership with Sound and Music and the South London Gallery (SLG).<br /><br />The installations explore Golding&rsquo;s interest in perception and phenomenology, and consider audiovisual art as a participatory experience. Golding&rsquo;s work questions states of reality, challenging notions of narrative and the act of perceiving through the deployment of sonic and visual fragments, and the reworking of the bare components of audiovisual media such as light, substrate, and amplification.&nbsp;<br /><br />The new works involving multisensory projection, optical sheeting, reflection, lighting, and sonic composition extend upon her repertoire of live expanded cinema performances, multimedia installations and sound recordings. During her residency, Golding accessed the Grade II listed former Peckham Road Fire Station, recently gifted to the SLG, as means of exploring geodislocation, representation and the double.&nbsp;<br /><br /><em>&lsquo;Embedded&rsquo; is a Sound and Music composer and creative artist development programme funded by the Esm&eacute;e Fairbairn Foundation.&nbsp;<a href=";id=378f26ff82&amp;e=3e10da6494" target="_blank">;</a></em></p> <p style="text-align: justify;"><em><strong>Artist Biography</strong><br />Sally Golding is a multimedia artist combining film projection, lighting and sonic composition to create expanded cinema performances and participatory installations. Golding&rsquo;s audiovisual performance work focuses on the experience of the audience, pushing the boundaries of visual and auditory perception through the breakdown of the cinematic system into flicker, waveforms and colour fields; while her installations have harnessed the presence of the audience themselves by incorporating their reflected image into projections within immersive spaces.<br /><br />Known internationally for her expanded cinema performances, Golding&rsquo;s live sets are edgy and intense, driven by a minimalist approach to horror aesthetics leading her to explore science and superstition, philosophy and pulp. Her sonic work revolves around a custom system of printing complex optical sound compositions onto 16mm film, and performing with light sensitive audio devices and amplified lighting. Cacophonic in form and content, Golding&rsquo;s performances transcend chaos and enter a hypnotic zone, while her installation work evokes acts of self-perceiving leading to meditative and transgressive states.<br /><br />Through the curatorial outlets of Unconscious Archives (London) and OtherFilm (Australia), Golding presents live audiovisual and sound art performance as a means of examining: &lsquo;liveness&rsquo;; the synaesthetic concerns of audiovisual art; and the contemporary role of the audience.&nbsp;<br /><br />Since 2004 Golding has performed and exhibited at Tate Britain; Digital Culture Centre, Mexico City; Institute of Modern Art, Australia; CA2M Centro de Arte Dos de Mayo, Madrid; Rotterdam International Film Festival; Sound of Stockholm; Cable Festival, Nantes; BEAM: Brunel Electronic &amp; Analogue Music Festival, UK; Kraak, Belgium; Colour Out of Space, Brighton; Fylkingen, Stockholm; Sonica, Slovenia; Open Frame (Room40), Brisbane; FlexFest, Florida; Supernormal Festival; Edinburgh International Film Festival; San Francisco Cinematheque; Abandon Normal Devices, UK; Contemporary Art Centre, Lithuania; NowNow Festival, Sydney; Australian Centre for the Moving Image; Melbourne International Film Festival; Contemporary Art Tasmania; Audiograft, Oxford; Experimenta, India; The Stone, NYC; Cafe OTO, London; New Zealand Film Archives; Liquid Architecture, Australia; Transacoustic, Auckland; and What is Music?, Australia.<br /><a href=";id=9c83d0e83c&amp;e=3e10da6494" target="_blank"></a>&nbsp;&nbsp;<br /><br /><strong>Credits</strong><br />Custom software by UK electronic music producer and creative technologist Spatial.<a href=";id=55bbe4b7c6&amp;e=3e10da6494" target="_blank"></a><br />Technical installation by multivisual designer Dizqo.<br /><a href=";id=233b5d8589&amp;e=3e10da6494" target="_blank"></a></em></p> Sun, 22 May 2016 11:13:26 +0000 Hyunjoo Heaven Baek (Korea), Barbora Kleinhamplová (Czech Republic), Engel Leonardo (Dominican Republic) and David Mutiloa (Spain). - Gasworks - June 25th 12:00 PM - 6:00 PM <p>Open Studios: 12-6pm&nbsp;<br />Artists' Talks: 4 &ndash; 5.30pm</p> <p>Drop by and get to know the visiting artists at this free event&nbsp;offering London audiences a unique opportunity to see, hear about and discuss the research and work-in-progress that they&nbsp;have been developing over the past three months.</p> Wed, 18 May 2016 15:22:51 +0000 Wilson Díaz (Colombia), Teresa Burga (Peru), Peggy Ahwesh (USA), Nilbar Güres (Turkey), William E Jones (USA), Candice Lin and Patrick Staff (USA/UK), Emilia Prieto Tugores (Costa Rica), Cecilia Vicuña (Chile), Osías Yanov (Argentina) and others TBC. - Gasworks - June 23rd - September 4th <p>A group show exploring how artists disrupt conventional chronologies to address the social and sexual prejudices produced by conceptions and use of time in everyday life under patriarchal capitalism.</p> <p><strong>Artists: Peggy Ahwesh</strong>(USA)<strong>, </strong><strong>Teresa Burga</strong> (Peru), <em>Wilson D&iacute;az</em>&nbsp;(Colombia), Nilbar <em>G&uuml;reş</em>(Turkey), <strong>Emilia Prieto</strong>(Costa Rica), Cecilia Vicu&ntilde;a (Chile), <em>Os&iacute;as Yanov</em> (Argentina) and others.&nbsp;</p> Wed, 18 May 2016 15:18:47 +0000