ArtSlant - Recently added en-us 40 Francesco Clemente - Blain|Southern - London Hanover Square - April 29th - June 27th <p><strong></strong></p> <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>Blain|Southern&nbsp;is delighted to present an exhibition of new watercolours by<a href="" rel="nofollow">&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>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>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>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>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>The exhibition is accompanied by a full-colour exhibition catalogue including essays by the Man Booker Prize winning author Kiran Desai.</p> Mon, 27 Apr 2015 09:48:32 +0000 Christopher Gee - James Freeman Gallery - April 23rd - May 9th <p class="maintext" style="text-align: justify;" align="justify">We are pleased to present a solo exhibition by the young English painter Christopher Gee.</p> <p class="maintext" style="text-align: justify;" align="justify">Gee's compact paintings are reminiscent of a collection of old photographs whose original context, their meanings and relationships, have long been lost to the past. Executed in a manner that is both painterly and graphic, his work has a naive simplicity that is both endearing in its directness, and also somehow mysterious and unsettling. Celestial phenomena such as eclipses or comets appear time and and again in his images, like a mystic portent of some long-forgotten event. Figure portraits are unguarded and sincere; images of towers, churches and other old structures, places that might once have represented security, appear deserted amidst forested landscapes where day is about to pass into night. Every element is depicted in saturated tones echoing the light on the cusp of a storm, or beneath the shadow of a solar eclipse. Viewed together, Gee's paintings create a sense of elusive narrative that is cryptic and half-hidden, like a window onto a lost era at the moment on the point of irreverisible change. Its details, its stories and its meanings, we can only guess at through his eerie yet innocent images.</p> <p class="maintext" style="text-align: justify;" align="justify">The title<em> Into the Night</em> refers to Romantic sources both old and recent. One is Novalis' Hymn to the Night, where the German poet explores the night as the threshold between the worlds of life and death. Another is Julee Cruise's Into the Night, a song written by David Lynch for his seminal series Twin Peaks which captured a sense of haunting that typified much of the magical appeal of the series. In both, Gee finds the same sense of mystery and magic that runs like a silver thread through his own work.</p> Sun, 26 Apr 2015 17:45:37 +0000 Diango Hernández - Marlborough Fine Art - April 28th - June 5th <p style="text-align: justify;"><strong>Marlborough Contemporary</strong>&nbsp;is pleased to announce&nbsp;<strong>The Book of Waves</strong>, an exhibition of new works by Cuban artist&nbsp;<strong>Diango Hern&aacute;ndez</strong>.<br /><br /><em>The Book of Waves</em>&nbsp;will consist of three new bodies of work that investigate problematic external perceptions of the country as well as its internal representations.<br />&nbsp;<br />Since leaving Cuba, D&uuml;sseldorf-based Hern&aacute;ndez has actively engaged with the country, frequently exploring the ways in which socialist ideology denies or promotes an aesthetic or spiritual experience. The themes of nature and the histories&nbsp;of socialism and&nbsp;art&nbsp;will be brought together by the three bodies of work in the exhibition.<br />&nbsp;<br />The first body of work, which lends its name to the exhibition, will comprise a set of paintings that all depict regular, diagrammatic waves. Hern&aacute;ndez has designed a font in which each letter is represented by a wave and this font is then used to quote Fidel Castro on canvases of varying sizes. The quotations depicted have been taken from Castro&rsquo;s landmark 1961 speech&nbsp;<em>Words to Intellectuals</em>, which included the famous phrase, &lsquo;Inside the Revolution, everything; outside, nothing&rsquo;. The early years of Castro&rsquo;s rule spelled a period of increasing control of artistic life in Cuba and the most notable feature of Hern&aacute;ndez&rsquo;s font is that each of the characters looks the same. This means that the narrative and the artwork are translated into a repetitive image that cannot be &lsquo;read&rsquo; except in painterly terms.</p> <p style="text-align: justify;">The wave&nbsp;works constitute a noticeably painterly attempt at new forms, and this&nbsp;strategy will be applied on a much larger scale for a project at ArtBasel Unlimited in June 2015. In his accompanying text&nbsp;Hern&aacute;ndez writes&nbsp;&lsquo;for the first time&rsquo; about the &lsquo;90 miles between Cuba and Florida&rsquo; which are so &lsquo;different from many others.&rsquo;&nbsp;<br />&nbsp;<br />The second body of work will consist of a series of fruit sculptures on which the skins of lemons are painted with international maritime signal flags. Abstract in their execution, like the waves, these are visual codes whose meaning is not immediately readable to the viewer. These new works show Hern&aacute;ndez&rsquo;s fascination with raw materials and extend a preoccupation with the fruit motif recently seen in last year&rsquo;s major solo exhibitions at Landesgalerie, Linz and Kunstverein, N&uuml;rnberg.</p> <p style="text-align: justify;">Fruit carries complicated associations in the Cuban national consciousness, comprising ambiguities that denote sweetness and pleasure but also carry associations with colonialism, exoticism, exploitation and slavery. The works hint at the United Fruit Company&rsquo;s lasting impact on the Cuban economy, and echoes of&nbsp;a form of American imperialism. Hern&aacute;ndez began working with fruit after seeing street-sellers return to Cuba. Indeed, all of his work engages in a discourse between the personal and the political, examining the relationship between origins and destinations, statements and silence.<br /><br />The final body of work consists of a sequence of watercolours entitled&nbsp;<em>Sunsets</em>. Vibrant and symbolic setting suns, at various stages of visibility, are painted onto the separated pages of a first edition of Ernesto &lsquo;Che&rsquo; Guevara&rsquo;s&nbsp;<em>Guerilla Warfare.</em>Together&nbsp;with a&nbsp;landscape sketch based on an illustration from the same book, affixed directly onto a gallery wall,&nbsp;Che&rsquo;s guerrilla manual becomes the site of aesthetic pleasure.</p> <p style="text-align: justify;"><strong>The Book of Waves</strong>&nbsp;continues at Marlbrough Contemporary until&nbsp;5&nbsp;June 2015.<br /><br /><strong>Diango Hern&aacute;ndez</strong>&nbsp;was born in 1970 in Sancti Sp&iacute;ritus, Cuba, where he studied industrial design. His path changed when he opted for an artistic career and decided to travel abroad, before settling in D&uuml;sseldorf, Germany, where he currently lives and works. In parallel to his own practice, he has an ongoing curatorial project,<em>Lonelyfingers</em>, with German artist Anne Poehlmann, through which they collaborate with other artists. Lonelyfingers has recently been showcased at Museum Abteiberg, M&ouml;nchengladbach.<br />&nbsp;<br />His work has been included in many group shows in international institutions such as MOMA in New York and the Hayward Gallery in London, and has been presented at the 2005 Venice Biennale, the 2006 Biennales in S&atilde;o Paulo and Sydney and the 2010 Liverpool Biennial. A major solo exhibition will take place in the Kunsthalle M&uuml;nster in the summer.</p> Sat, 25 Apr 2015 15:20:49 +0000 Joram Roukes - StolenSpace Gallery - May 22nd - June 28th <p class="p1">&lsquo;The Great Beyond&rsquo; is a new body of work by Joram Roukes touching on the subjects of exploration and escapism.</p> <p class="p1">Having relocated from the small city of Groningen, The Netherlands to Los Angeles in 2013, Roukes draws partly from his personal nomadic experiences and touches on the wider sense of the subject as well. What lies beyond the here and now is a question many adventurous spirits are burdened with as it's ongoing search for truth instills a restlessness and a sense of dissatisfaction. The grass clearly isn't always greener, but the inspiration and opportunities of finding the next place can be its own reward. &lsquo;The Great Beyond&rsquo; reflects on this concept of dissatisfaction in society as a whole.</p> <p class="p1">For this show, Roukes created a series of mostly large oil paintings in his familiar collage-like, re-contextualized approach that allows him to explore his subject in a loose, but at the same time cohesive narrative.</p> <p class="p1">Originally from The Netherlands, 32-year-old painter Joram Roukes is inspired by his unique and ever-evolving view of the world. Inherently nomadic, Roukes has travelled to, and lived in many places across the world, and is an adventurous explorer by nature. His juxtaposed style of painting reflects that exploratory trait, as it also never can remain stagnant. His artwork often shifts and changes perspective, subject or style, and in turn, forces the viewer's perception to shift and change, provoking the viewer to question what they see vs. what they know. His narratives are complex and layered, much like his aesthetic. With an extensive background in art history and global cultures, Roukes often pulls from a wide range of popular culture references and influences, readily seen in his schizophrenic painting habits. With his varying qualities and techniques taking turns in his collage-style painting, he is able to utilize his many influences in art and in culture, to represent his take on the world, while confusing the viewer just enough to make them see the many realities of Roukes' painted world.</p> <p class="p1">He received a startstipendium from Fonds BKVB in 2008 to set up a 4 month artist residency in Brooklyn, NY. In 2013 Roukes moved to the city of Los Angeles where he currently lives and works.</p> <p class="p1">Joram Roukes is building a strong international profile and has shown his work extensively across the globe. With projects in Hong Kong, Paris, New York, Berlin, Amsterdam, Los Angeles, Copenhagen and London to name a few. May 2015 will mark his second solo show at Stolen Space Gallery in London.</p> Sat, 25 Apr 2015 14:44:12 +0000 Charlotte Moth - fig-2 - April 27th - May 3rd <p><span style="color: #000000; font-family: 'times new roman', times, baskerville, georgia, serif;">Coinciding with Charlotte Moth&rsquo;s new commission at Tate Britain, fig-2 premiers a recent body of work in the UK. &lsquo;The Story of a Different Thought&rsquo;, 2014 is a trilogy on the construction of reality, building of environments and elucidation of cross-references. A condition of three possibilities that spring from three versions of a word, continues in three ways to tell a story about a bird with three eyes. Moth</span>&rsquo;<span style="color: #000000; font-family: 'times new roman', times, baskerville, georgia, serif;">s installation composed of a film, series of silk screen prints and two sculptures, denote a treatment for a film; a film about fluidity of concepts that influence a fa&ccedil;ade, a sculpture, a way of living, a city built around coal mines and early industrialisation, a building with ability to grow, a painter with a loss and a poet deciphering religious teachings. Amidst all lies a mapping that includes Max Ernst, Rathaus Marl, Donatello, Patricia Lake, Joshua Edwards among others.</span></p> Sat, 25 Apr 2015 14:08:26 +0000 - CHARLIE SMITH london - April 25th 4:00 PM - 6:00 PM <p align="center">You are cordially invited to view and discuss the current exhibition&nbsp;<em>Anti-Social Realism</em>&nbsp;with co-curator Juan Bolivar.</p> <p align="center">Saturday 25 April&nbsp;4.00-6.00pm</p> <p align="center"><a href="" target="_blank"><strong><em>Anti-Social Realism</em></strong></a></p> Sat, 25 Apr 2015 06:31:29 +0000 Lucy Williams - Timothy Taylor Gallery - May 18th 6:00 PM - 8:00 PM Sat, 25 Apr 2015 06:18:03 +0000 Frances Stark - Greengrassi - April 30th - June 20th Wed, 22 Apr 2015 14:09:01 +0000 Ishiuchi Miyako - Michael Hoppen Contemporary - May 13th - July 12th <div class="artist-quote"> <p style="text-align: justify;">"They are so much like a photograph&hellip; They are visible events recorded in the past"</p> </div> <div class="artist-quotename" style="text-align: justify;"> <p>- ISHIUCHI MIYAKO</p> </div> <p style="text-align: justify;"><em>Frida</em>&nbsp;by Ishiuchi Miyako (2013) is a photographic record of Mexican artist Frida Kahlo&rsquo;s wardrobe and belongings. Following Kahlo&rsquo;s death in 1954 her husband Diego Riviera began placing her personal effects into the bathroom of their Mexico City house, &ldquo;The Blue House&rdquo;, which later became the Museo Frida Kahlo. Riviera gave instructions that this room should remain sealed until fifteen years after his death and it in fact remained unopened until 2004 when the museum decided to organise and catalogue the contents. Ishiuchi Miyako was invited to photograph these artefacts, over 300 unseen relics of Kahlo&rsquo;s life.&nbsp;</p> <p style="text-align: justify;">As a project Frida is both a departure from Ishiuchi Miyako&rsquo;s normal practice and a natural conceptual progression. While moving away from the Japanese subject matter of her earlier series, the work reveals Ishiuchi Miyako&rsquo;s continued obsession with the traces we leave behind both as individuals and as a society. In her earlier series, Mother&rsquo;s (2000-2005) and ひろしま/ Hiroshima (2007-), she photographed previously worn garments, evoking the lives and memories of the people who wore them as well as the social climate of post-war Japan. In documenting Frida, Ishiuchi Miyako again respectfully sifts through the ephemera left behind by an individual and in doing so makes intimate revelations about one of the twentieth century&rsquo;s greatest artists. Frida Kahlo (1907 -1954) was an invalid throughout her life. Having protracted polio as a child she was then involved in a near fatal automobile accident at the age of 18, which resulted in numerous surgical interventions. In the aftermath of her accident Khalo constructed her iconic wardrobe to camouflage her physical ailments. Ishiuchi Miyako&rsquo;s images document the traditional Tehuana dresses that both concealed the damage to her lower body and acted as a feminist salute to the matriarchal society from which they are derived. 1 Through her photographs Ishiuchi came to recognise the parallel between these traditional garments and the kimonos of her own country, an &ldquo;ephipany&rdquo; that is evident in the images themselves. Throughout the photographs there is a particular awareness, a tenderness that is inherent to a woman looking through another woman&rsquo;s intimate possessions. As she painstakingly catalogues the chic of Kahlo&rsquo;s sunglasses, the intimacy of her darned tights and the corsets that were to be the armature by which she survived.&nbsp;</p> <p style="text-align: justify;">Many friends noted that the more incapacitated Kahlo became the more elaborate her costumes. Throughout her life she decorated her casts and corsets elevating them from medical necessities to visual armour. The final blow was the amputation of her leg in 1953,&nbsp;from which she never recovered. Even in this affliction she designed a prosthetic leg adorned with a boot covered in chinese embroidery and a little bell. Captured in natural light with a 35mm Nikon, Ishiuchi Miyako&rsquo;s portrayal of these objects can seem deceptively simple. Reviewed together however these relics become a composite &ldquo;portrait&rdquo;, an insight into a woman who used fashion to channel her physical difficulties into a courageous statement of identity, strength and beauty.&nbsp;</p> <p style="text-align: justify;">Ishiuchi Miyako knew very little of Frida Kahlo, the artist, when she arrived in Mexico. She came to know her through her photographs, obsessing over the traces that Kahlo as a woman left on her belongings; the paint stains and stitching which bear the imprint of their owner. There are echoes of her past projects throughout, the same focus cast on the puckered darning of Frida&rsquo;s wardrobe as previously seen in her documentation of her mother&rsquo;s scars prior to her death. Flesh or fabric the scars are the same, in Ishiuchi Miyako&rsquo;s own words she is drawn to them &ldquo;because they are so much like a photograph&hellip; They are visible events recorded in the past&rdquo;. As in her previous work the power of the portrait that emerges lies in the absence of the subject. The images reflect the viewer, acknowledging the fragile traces we all impart upon our environment and belongings.</p> Wed, 22 Apr 2015 14:15:20 +0000 William Tillyer - Bernard Jacobson Gallery - May 1st - May 30th <p style="text-align: justify;">Bernard Jacobson Gallery is very pleased to announce that our second exhibition in our new space on Duke Street St James&rsquo;s will be a series of paintings by one of Britain&rsquo;s leading painters William Tillyer.</p> <p style="text-align: justify;">The Palmer paintings continue Tillyer&rsquo;s long engagement with the English landscape and in particular his lifelong obsession with clouds. The Palmer of the title is Samuel Palmer 1805-81 the visionary British Romantic landscape painter who, like Tillyer, had an almost mystical view of man&rsquo;s relationship with the landscape and who has long been an influence and inspiration for Tillyer. (The subtitle is from a line from Psalm 65:11).</p> <p style="text-align: justify;">Abstracted dreamlike cloudscapes bathed in a golden light, these paintings combine Tillyers&rsquo;s Romantic as well as his materialist sensibilities. The paintings are produced using a unique technique whereby Tillyer pushes acrylic paint through a fabric mesh that he hangs from the ceiling of his studio. Working from behind as well as from the front he gives a third dimension to his painting, breaking through the grid-like picture plane implied by the mesh and into the real world.</p> <p style="text-align: justify;">In these works, according to the American poet and art critic John Yau, &ldquo;Tillyer has achieved an intensity that surpasses his earlier work. He has brought the visionary insights of William Blake and Samuel Palmer into the 21st century&hellip;.The Palmer paintings are apocalyptic and ravishing, sublime and mysterious.&rdquo;</p> <p style="text-align: justify;">Tillyer has recently been working with the acclaimed British poet Alice Oswald who won the T.S. Eliot prize for poetry for her book length poem Dart which celebrates the Devon river. Sharing a similar love of the landscape and an interest in updating our ways of looking at it, Oswald has written a poem reflecting on one of the Palmer paintings to accompany the exhibition.</p> <p style="text-align: justify;">This will be the first exhibition in London since Tillyer was given the largest single artist exhibition at mima in Middlesbrough. The exhibition went on to become the most visited in the museum&rsquo;s history.</p> <p style="text-align: justify;">Tillyer&rsquo;s work is in many major collections worldwide including Tate and the MoMA, New York.</p> <p style="text-align: justify;">Bernard Jacobson Gallery&rsquo;s new premises are in a converted car park in Duke Street St James&rsquo;s, London, opposite the Royal Academy. Designed by Nick Gowing architects, the gallery occupies the ground and lower ground floor of an extensive, contemporary exhibition space.

 Bernard Jacobson Gallery was founded in1969 as a publisher and dealer in prints. Over the last 45 years the gallery has exhibited many great British, American and European artists including: Ben Nicholson, Bruce McLean, Graham Sutherland, Peter Lanyon, William Scott, Frank Stella, Kenneth Noland, James Rosenquist, Pierre Soulages, Lee Krasner, Marc Vaux, Bram Bogart, William Tillyer, Jules Olitski, Helen Frankenthaler and Robert Motherwell. Forthcoming exhibitions for 2015 include an exhibition focusing on Robert Motherwell&rsquo;s use of black in June, 
Frank Stella, to coincide with the Whitney restrospective, in October and Sam Francis in December. &nbsp;</p> Wed, 22 Apr 2015 13:43:05 +0000 Maggie Learmonth - APT Gallery - April 24th 5:30 PM - 6:15 PM <p style="text-align: justify;">These conversations, organised by Tim Cousins, are part of a series of dialogues between the artist, the questioner and the audience directly though an artwork in the studio. The sixth and final &lsquo;conversation&rsquo; of the second season will relate to a painting produced early this year by Maggie Learmonth. Maggie&rsquo;s work explores various meanings that surface from the landscape and its built environment.</p> <p style="text-align: justify;">Please arrive in the Gallery before 5.30pm</p> Wed, 22 Apr 2015 11:30:50 +0000 Emyr Williams - APT Gallery - April 24th 6:45 PM - 7:15 PM <p>To coincide with SLAM Last Fridays</p> Wed, 22 Apr 2015 11:28:07 +0000 Emyr Williams - APT Gallery - April 23rd - April 26th <p style="text-align: justify;">These drawings are made with a shellac based Indian ink - a beautiful but unforgiving medium. They have an 'on-off' approach; either it's &nbsp;black ink or white paper. I have avoided atmospheric washes. Although I see the drawings as autonomous works, they have enabled me to look at wider issues such as weighting, contrast and spatial relationships - not forgetting surprise and discovery too, as nothing is planned out. &nbsp;</p> <p style="text-align: justify;">I use certain marks or phrases almost as characters which I take on journeys that build into larger areas. I have to deal with the challenge of the transition from one section to another as the drawing takes shape. With time, the possibilities for these characters reveal themselves to me, and a fresh impetus to explore their potential further, is created.</p> Wed, 22 Apr 2015 11:26:40 +0000 Group Show - The Crypt Gallery - May 6th - May 10th <p><strong>13 contemporary artists,&nbsp;13 highly skilled craftsmen, 1 extraordinary collaborative exhibition&nbsp;inspired by&nbsp;the overarching theme of the inaugural&nbsp;<a href="" target="_blank" rel="nofollow">London Craft&nbsp;Week</a>: 'London&rsquo;s Hidden Craft&rsquo;</strong></p> <p>MAKE / CREATE will feature&nbsp;13 craft&nbsp;scholars from&nbsp;<a href="" rel="nofollow">Queen Elizabeth Scholarship&nbsp;Trust (QEST)</a>&nbsp;and&nbsp;13&nbsp;fine artists, selected by Griffin Gallery,&nbsp;in dialogue with each other.&nbsp;&nbsp;The spirit of the exhibition lies in the desire to demonstrate the contemporary nature of craft, and the craft involved in contemporary art &ndash; changing perceptions of both.</p> <p>The&nbsp;selected&nbsp;craftsmen&nbsp;and artists were&nbsp;placed in pairs&nbsp;by a judging panel&nbsp;that included&nbsp;Julia Robinson of QEST,&nbsp;Becca Pelly-Fry, Director of Griffin Gallery, Rebecca Byrne, Events Manager of Griffin Gallery, Steve Macleod, photographer and Director of Metro Imaging,&nbsp;and&nbsp;Richard Edwards,&nbsp;Visual Arts and&nbsp;Craft Lead for Arts Council England.</p> <p>&nbsp;</p> Tue, 21 Apr 2015 11:09:48 +0000