ArtSlant - Recently added en-us 40 Matthias Sperling - Wellcome Collection - October 8th 1:00 PM - 6:00 PM <p>Times: 1pm&ndash;2.30pm &amp; 4.30pm&ndash;6pm <br /><strong>Booking open on 30 Sept via Wellcome Collection</strong></p> <p>Choreographer Matthias Sperling and cognitive neuroscientist Guido Orgs will be discussing Sperling&rsquo;s most recent choreographic work, <em>Now that We Know</em>, exploring cultural shifts that might happen in response to future developments in the brain sciences. The performance lecture considers what will change if scientists discover precisely how our bodies give rise to our minds, and how dance and choreography can be expanded by this new understanding.</p> Sat, 24 Sep 2016 14:26:17 +0000 Charlie Morrissey - Wellcome Collection - October 6th 3:00 PM - 8:30 PM <p>Times: 3pm&ndash;4.30pm &amp; 7pm&ndash;8.30pm<br /> Booking open on 30 Sept via Wellcome Collection</p> <p>Dance artist Charlie Morrissey and neuroscientist Anil Seth explore the relationship between our actions and our experience of actions.</p> <p>In a playful performance, Morrissey proposes an informal taxonomy of actions that explore different aspects of mind-body relations. Seth will respond to Morrissey by discussing what neuroscience has to say about embodied awareness, action and agency.</p> Sat, 24 Sep 2016 14:21:04 +0000 Material Conjectures with Gary Woodley | Emily Motto - Beaconsfield - October 5th - November 27th <p>Material Conjectures and Emily Motto are innovative, early career artists working from different philosophical perspectives and linked here through the shared modernist working practice of subverting everyday materials to a new purpose, creating fresh sculptural entities. Whilst Motto works in an intuitive, sensual tradition with texture and colour as guiding principles, Material Conjectures work with a pre-determined concept rooted in political concerns &ndash; the &lsquo;superadjacency&rsquo;<a title="" href="#_ftn1" rel="nofollow">[1]</a> of displacement architectures is their theme for this exhibition.</p> <p>&nbsp;</p> <p>Showing in the same venue, in two vast spaces with diverse architectural features, two distinct environments emerge within these built spaces. For this project Material Conjectures have invited Gary Woodley to respond to their construction <em>Abandoned Crisis Treatment Facility</em> with his distinctive approach to articulating architectural space.</p> <p>&nbsp;</p> <div><br clear="all" /><hr align="left" size="1" width="33%" /> <div> <p><a title="" href="#_ftnref1" rel="nofollow">[1]</a> Superadjacency is the outcome of contradictory forces and violent pressures acting upon and against each other within the rigid framework of architectonic structures&hellip; &lsquo;Superadjacency is inclusive rather than exclusive&hellip; Superadjacency can exist between distant elements.&rsquo;</p> <p>&nbsp;</p> </div> </div> Wed, 21 Sep 2016 16:16:59 +0000 Georges Adéagbo - Vilma Gold - October 4th - October 29th Mon, 19 Sep 2016 17:35:08 +0000 Lynn Hershman Leeson - Vilma Gold - October 4th - October 29th Mon, 19 Sep 2016 17:34:27 +0000 Victoria Adam, Adriano Amaral, Noah Barker, Luis Miguel Bendaña, Patrizio Di Massimo, Justin Fitzpatrick, Lisa Holzer, Isaac Lythgoe, Vanessa Safavi - Seventeen - September 30th - November 5th <p style="text-align: justify;" dir="ltr">'No one can imagine &ndash; simply &ndash; merely; one must imagine within words or paint or metal, communicating genes or multiplying numbers. Imagination is its medium realized. You are your body &ndash; you do not choose the feet you walk in &ndash; and the poet is his language. He sees his world, and words form in his eyes just like the streams and trees there. He feels everything verbally. Objects, passions, actions...&nbsp;</p> <p style="text-align: justify;" dir="ltr">I am only a string of noises, after all &ndash; nothing more really &ndash; an arrangement, a column of air moving up and down, a queer of growth like a gall on a tree, a mimic of movement in silent readers maybe, a brief beating of wings and cooing of a peaceful kind, an empty swing still warm from your bloomers &hellip; ummm &hellip; imagine the imagination imagining &hellip; and surely neither male or female &ndash; there&rsquo;s nothing female about a column of air, a gall on a tree &ndash; surely both, like bloomers on the swing&rsquo;s seat&hellip; so I&rsquo;m a spiky bush at least, I like to think, knotty and low growing, scratchy though flowering, a hawthorne would suit me.'&nbsp;</p> <p style="text-align: justify;" dir="ltr">- William H. Gass, "Willie Masters&rsquo; Lonesome Wife"</p> <p style="text-align: justify;" dir="ltr">&nbsp;</p> <p style="text-align: justify;" dir="ltr">The exhibition <em>Lonesome Wife</em> takes its title from "Willie Masters&rsquo; Lonesome Wife", a 1989 book by the experimental American novelist William H. Gass.&nbsp;</p> <p style="text-align: justify;" dir="ltr">The book is narrated through the voice of Babs Masters, the lonesome wife of the title. Disappointed by her inattentive husband, she engages in a breezy display of the varieties and visual qualities of language &ndash; diverse typefaces, speech bubbles, typographical experiments, in order to seduce a clandestine new lover, who is slowly revealed through the book as the Reader themself.&nbsp;</p> <p style="text-align: justify;" dir="ltr">Using text as a starting point, Gass creates a parallel between a concrete use of language and the female body of Babs Masters, both employed as tools of persuasion, absorbing the reader-viewer in a game of intimate eclipse and revelation.</p> <p style="text-align: justify;" dir="ltr">The exhibition looks at the multiple ways in which seduction can serve as narrative tool as well as an antidote to boredom and disinterest. The exhibited works hint at the body, the physicality of text and the linguistic capacity of objects. They move between the registers of form, process and content, to be read or to be felt.</p> Mon, 19 Sep 2016 17:32:15 +0000 Peter Wächtler - Chisenhale Gallery - November 3rd 7:00 PM - 9:00 PM <p style="text-align: justify;">Peter W&auml;chtler&rsquo;s film&nbsp;<em>Tim and Racky&nbsp;</em>(2011) is screened in conjunction with First Thursdays, when the gallery remains open until 9pm on the first Thursday of each month. Emma Moore, Offsite and Education Curator at Chisenhale Gallery, provides an introduction to the&nbsp;</p> <p style="text-align: justify;"><em>This event is free to attend but booking is recommended. To reserve a&nbsp;place please visit our&nbsp;<a href="">Eventbrite page&nbsp;</a></em><a href=""><em>here</em></a><em>.</em></p> Mon, 19 Sep 2016 17:28:58 +0000 Peter Wächtler - Chisenhale Gallery - October 7th 12:00 PM - 1:00 PM <p style="text-align: justify;">Peter W&auml;chtler is joined in conversation by Polly Staple, Director of Chisenhale Gallery, to discuss his new exhibition,<a href="" target="_blank">&nbsp;<em>Far Out</em></a>. &nbsp;&nbsp;</p> Mon, 19 Sep 2016 17:23:38 +0000 - Raven Row - October 5th - December 18th <p style="text-align: justify;">During its short life from 1953 to 1968, the Ulm School of Design (HfG Ulm) in Southern Germany pioneered an interdisciplinary and systematic approach to design education &ndash; known as the Ulm Model &ndash; that was to become universal. This is the first exhibition in the UK to represent the achievements of the school, including the foundation work in drawings and models by the students as well as the radical designs famously commissioned from the school by corporate clients such as Braun and Lufthansa.&nbsp;</p> <p style="text-align: justify;">From radiographs and weighing machines to traffic lights, petrol cans, bed frames and kitchenware, the exhibition will gather and correlate objects designed for diverse industries at HfG Ulm. Braun GmbH is providing the exhibition with the last remaining units of their iconic D55 display structure, designed at the school in 1955 to exhibit its modernist reinvention of Braun&rsquo;s audio sets.&nbsp;</p> <p style="text-align: justify;">On the face of it, the HfG Ulm had little to do with art. Design work was mostly collectivised and rationalised, the idea of the designer as intuitive 'artist' emphatically rejected, and the designer's role understood as only one amongst the many specialisms of industrial production. But this exhibition suggests that the School continued the projects of the artistic avant-gardes, especially Constructivism, in that objects were systematically designed to project ideal social relations.&nbsp;</p> <p style="text-align: justify;">The exhibition is curated by Peter Kapos. Its display furniture is designed by David Kohn Architects.</p> Mon, 19 Sep 2016 17:02:20 +0000 Marcel Dzama, Raymond Pettibon - David Zwirner, London - October 5th - November 12th <p style="text-align: justify;">David Zwirner is pleased to present&nbsp;<em>Let us compare mythologies</em>, an exhibition of collaborative works by Marcel Dzama and Raymond Pettibon, two artists who have both been represented by the gallery since the mid-1990s. On view at THE UPPER ROOM at the gallery&rsquo;s London location, this presentation follows their show earlier this year, titled&nbsp;<em>Forgetting the Hand</em>, at David Zwirner, New York.&nbsp;</p> <p style="text-align: justify;">Dzama and Pettibon&rsquo;s collaboration began in the summer of 2015 with the artists swapping the first of a series of drawings to be completed by the other. In a variation of the &ldquo;exquisite corpse&rdquo; method&ndash;&ndash;wherein a partner is only given portions of an otherwise concealed drawing to work on&ndash;&ndash;they developed each other&rsquo;s compositions through improvisational illustration, collage, and writing. Following in the playful model of the Surrealists, who used this collaborative technique in the early twentieth century, the drawings on view combine the two artists&rsquo; distinct styles in a revealing and seamless manner. In several works, it is nearly impossible to determine who made what, which indicates how both strove to assimilate the other&rsquo;s vision or anticipate his response.&nbsp;</p> <p style="text-align: justify;">As a continuation of the artists&rsquo; collaboration, this exhibition includes drawings originally made for the zine published by David Zwirner Books to coincide with Printed Matter&rsquo;s New York Art Book Fair at MoMA PS1 (September 2015), works produced jointly for the show in New York, as well as new compositions made together for the presentation in London. Also on view will be a mural-sized work on paper,&nbsp;<em>I</em><em>t is big big business (or We s&rsquo;port&hellip;and necessitate one another, thought to brush, word to image hand in hand&hellip;for the greatest interest&hellip;of writing thou art)</em>,&nbsp;featuring Pettibon&rsquo;s depictions of surfers engulfed in enormous waves intertwined with Dzama&rsquo;s illustrations of costumed characters.&nbsp;</p> <p style="text-align: justify;">The exhibition will be accompanied by a new limited edition zine published by David Zwirner Books, marking the artists&rsquo; third collaborative publication to date. The original sold-out zine from 2015 was reprinted in 2016 as a revised and expanded edition on the occasion of&nbsp;<em>Forgetting the Hand</em>. Artist books form a significant part of both artists&rsquo; practices, and Pettibon, in particular, has been making his own zines since the late 1970s.&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Marcel Dzama&nbsp;</strong>was born in 1974 in Winnipeg, Canada, where he received his B.F.A. in 1997 from the University of Manitoba. Since 1998, his work has been represented by David Zwirner, and he has exhibited widely both in the United States and internationally. The New York City Ballet&rsquo;s&nbsp;<em>The Most Incredible Thing</em>, a performance based on Hans Christian Andersen&rsquo;s fairy tale for which Dzama created the costume and stage design (choreographed by Justin Peck; music by Bryce Dessner), premiered in February 2016. In 2010, a major survey of the artist&rsquo;s work was presented at the Mus&eacute;e d&rsquo;art contemporain de Montr&eacute;al. Other recent solo exhibitions include the World Chess Hall of Fame and Museum in St. Louis (2015); Kunstmuseum Thun, Switzerland (2014); Centro de Arte Contempor&aacute;neo de M&aacute;laga, Spain; Museo de Arte de Zapopan (MAZ), Zapopan, Mexico (both 2012); Gemeentemuseum, The Hague; Kunstverein Braunschweig, Germany (both 2011); Pinakothek der Moderne, Munich (2008); Ikon Gallery, Birmingham, England (2006); and Le Magasin &ndash; Centre National d&rsquo;Art Contemporain de Grenoble, France (2005). Dzama&rsquo;s work is held in museum collections worldwide, including the Corcoran Gallery of Art, Washington, D.C.; Dallas Museum of Art; Mus&eacute;e d&rsquo;art contemporain de Montr&eacute;al; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; National Gallery of Canada, Ottawa; Solomon R. Guggenheim Museum, New York; Tate Gallery, London; and the Vancouver Art Gallery.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Born in 1957 in Tucson, Arizona, and now based in New York,&nbsp;<strong>Raymond Pettibon&nbsp;</strong>graduated with a degree in economics from the University of California, Los Angeles in 1977. Around the same time, he joined his brother in the punk band Black Flag and contributed artwork for their album covers, flyers, and t-shirts, as well as for their label, SST Records. His work has been exhibited widely throughout the United States and abroad. In November 2016, the Museum der Moderne Salzburg will host&nbsp;<em>Homo Americanus</em>, a major museum survey, which is accompanied by a comprehensive publication by David Zwirner Books created in close collaboration with Pettibon. The show was first on view at the Deichtorhallen Hamburg &ndash; Sammlung Falckenberg in Hamburg. Other recent venues including the Kunstmuseum Luzern, Lucerne, Switzerland (2012); Kestnergesellschaft, Hanover (2007); Kunsthalle Wien, Vienna; Centro de Arte Contempor&aacute;neo de M&aacute;laga, Spain (both 2006); Museum of Contemporary Art San Diego, La Jolla, California; and the Whitney Museum of American Art, New York (both 2005). In 1998, his first American museum presentation was organized by The Renaissance Society at the University of Chicago in collaboration with the Philadelphia Museum of Art, and traveled to The Drawing Center, New York and the Museum of Contemporary Art, Los Angeles. Pettibon&rsquo;s work is held in the permanent collections of the Centre Georges Pompidou, Paris; Hamburger Bahnhof &ndash; Museum f&uuml;r Gegenwart, Berlin; The Israel Museum, Jerusalem; San Francisco Museum of Modern Art; Tate Gallery, London; Whitney Museum of American Art, New York; among others.</p> Mon, 19 Sep 2016 16:54:35 +0000 Neo Rauch - David Zwirner, London - October 5th - November 12th <p style="text-align: justify;">David Zwirner is pleased to present an exhibition of new paintings by Neo Rauch. On view at the gallery&rsquo;s London location, this marks the German artist&rsquo;s debut solo presentation in the UK. Widely recognized for his distinctive combination of figurative painting and surrealist abstraction, his work has been represented by David Zwirner since 2000.&nbsp;</p> <p style="text-align: justify;">Born in 1960 in Leipzig, Rauch spent his youth in the Eastern Bloc at a time when Socialist realism was the predominant aesthetic. As a reaction, he developed his own highly individual style, which came to symbolize a broader generational break with the existing canon. His enigmatic compositions employ an eccentric iconography of human characters, animals, and hybrids within familiar-looking but imaginary settings. They frequently incorporate references to the creative process, music, and manual labor, but ultimately eschew fixed meaning. The artist&rsquo;s treatment of scale is deliberately arbitrary and non-perspectival, and often seems to allude to different time zones or planes of existence.&nbsp;</p> <p style="text-align: justify;">This exhibition brings together large and small format paintings in which figures are depicted against backdrops of suburban architecture, industrial structures, and obscure interiors. While Rauch develops each work instinctively without a preconceived idea of the finished result, there is visual coherence to the overall group of paintings on view, both in their similar palettes of strong, complementary colors as well as in recurring subjects, such as fire, the inexplicable integration of organic and non-organic elements, and dramatic, saturated skies.&nbsp;</p> <p style="text-align: justify;">The multiple storylines that characterize the large-scale works in particular, combined with their striking use of light and emphasis on the human figure, evoke Old Master painting. In Rauch&rsquo;s case, however, the compositions emerge like self-contained fables, whose subjects are beyond immediate grasp. Episodes of repetition within a single work reinforce the impression of dreamlike narratives. One canvas,&nbsp;<em>Der Auftakt</em>, shows a winged man in a suit posing for an artist, while a percussionist, wearing a horned hat, appears three times; in&nbsp;<em>Der St&ouml;rfall</em>, in which an immobile nude body is tended to, a boy with a torch can be seen twice.&nbsp;<em>Die Kur</em>&nbsp;depicts the same modern-day building from slightly different perspectives, as several men in clothes from bygone times crowd the foreground; and numerous intersecting lines in&nbsp;<em>Zustrom</em>&nbsp;repeat the symbol of the cross within a sunny, pastoral setting. Defying a traditional sense of realism while retaining a degree of plausibility, these paintings create their own mythologies.&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Neo Rauch</strong>&nbsp;lives and works in Leipzig, where he studied at the Hochschule f&uuml;r Grafik und Buchkunst. Since 2000, his work has been represented by David Zwirner.&nbsp;Previous solo exhibitions at the gallery in New York include&nbsp;<em>At the Well&nbsp;&nbsp;</em>(2014),&nbsp;<em>Heilst&auml;tten</em>&nbsp;(2011),&nbsp;<em>Neo Rauch</em>&nbsp;(2008),&nbsp;<em>Renegaten</em>&nbsp;(2005),&nbsp;<em>Neo Rauch</em>&nbsp;(2002), and&nbsp;<em>Neo Rauch&nbsp;</em>(2000), which marked his United States debut.&nbsp;</p> <p style="text-align: justify;">Rauch&rsquo;s work has been the subject of solo exhibitions at prominent institutions internationally, most recently in 2013 at BOZAR &ndash; Centre for Fine Arts in Brussels. In 2010, his first major museum survey was co-hosted by the Museum der Bildenden K&uuml;nste Leipzig and the Pinakothek der Moderne, Munich. A version of this survey was shown at the Zachęta National Gallery of Art, Warsaw in 2011. Other venues which have presented solo exhibitions over the past decade include the Kunstsammlungen Chemnitz, Germany (2012); Museum Frieder Burda, Baden-Baden, Germany; Essl Museum, Klosterneuburg, Austria (both 2011); The Metropolitan Museum of Art, New York; Galerie Rudolfinum, Prague (both 2007); Mus&eacute;e d&rsquo;art contemporain de Montr&eacute;al; Kunstmuseum Wolfsburg, Germany (both 2006); Centro de Arte Contempor&aacute;neo de M&aacute;laga, Spain (2005); Albertina, Vienna (2004); and the Bonnefantenmuseum, Maastricht, The Netherlands (2002).&nbsp;</p> <p style="text-align: justify;">The Grafikstiftung Neo Rauch opened in June 2012 in the artist&rsquo;s hometown of Aschersleben, Germany. The foundation is dedicated to maintaining and preserving Rauch&rsquo;s entire graphic oeuvre.&nbsp;</p> <p style="text-align: justify;">Museum collections which hold works by the artist include the Gemeentemuseum, The Hague; Hamburger Bahnhof &ndash; Museum f&uuml;r Gegenwart, Berlin; Kunstmuseum Wolfsburg, Germany; The Metropolitan Museum of Art, New York; Museum der Bildenden K&uuml;nste Leipzig; Museum Ludwig, Cologne; The Museum of Modern Art, New York; Pinakothek der Moderne, Munich; Solomon R. Guggenheim Museum, New York; and the Stedelijk Museum, Amsterdam.&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Martin Roth</strong>&nbsp;has been Director of the Victoria and Albert Museum since 2011. He was formerly Director General of the Dresden State Art Collections (Staatliche Kunstsammlungen Dresden), overseeing twelve museums and galleries. From 1996 to 2001, Roth was a member of the senior management of the Expo 2000 in Hanover and Director of Thematic Exhibitions. He was President of the German Museums Association from 1995 to 2003, and a member of the German Ministry of Foreign Affairs&rsquo; Advisory Board in Berlin until his relocation to London in 2011.</p> Mon, 19 Sep 2016 16:50:47 +0000 Gabriel Orozco - South London Gallery - October 1st - January 8th, 2017 <p style="text-align: justify;">The South London Gallery is to open a new permanent garden designed by Gabriel Orozco this October.&nbsp;</p> <p style="text-align: justify;">Created over the past two years by the artist, with support from&nbsp;<a href="" target="_blank">6a architects</a>&nbsp;and horticulturists at the&nbsp;<a href="" target="_blank">Royal Botanic Gardens, Kew</a>, this extraordinary garden will be open to the public every weekend and used by invited groups during the week. It introduces a new, planted entrance to the garden for residents of Sceaux Gardens housing estate, where the SLG has run art programmes for a number of years. The opening of the garden marks a pivotal moment in the SLG&rsquo;s history of working with artists on ambitious and challenging projects which aim to inspire, attract and connect with large and diverse audiences.</p> <p style="text-align: justify;">Gabriel Orozco has never before designed a garden, but embraced the challenge of transforming a largely inaccessible paved area of land at the back of the SLG&rsquo;s main building into a unique sculptural garden as part of his artistic practice.<br />&nbsp;<br />Spanning sculpture, drawing, photography and video, much of Orozco&rsquo;s work stems from his idiosyncratic observations of contemporary urban environments, revealing poetry in unexpected locations or the often playful combination of everyday objects. The recurrence of circles in his work, whether in nature or man-made objects (puddles, balls, wheels), or within paintings and drawings, is carried through to his design for the garden. Establishing a tension between symmetry and assymetry, a geometry of intertwining circles intricately outlined in brick dimensioned york stone subtly maps a series of discreet spaces or notional rooms. Each is lent its own distinctive character through slight shifts in form or by being at different levels, variously planted or featuring seating, a sink, water butt or welcome bowl built up from the york stone. The various levels and spaces can be used interchangeably for sitting, eating, playing or showing work by other artists, reflecting the multiple activities the garden will be used for. The choice of materials was drawn from the language of the gallery&rsquo;s Victorian building and includes bricks from the newly opened up rear facade. Playing on the idea of an urban ruin, the garden will gradually evolve to become rambling and overgrown with different grasses, low level creepers and fragrant plants chosen with expert advice from horticulturists at the Royal Botanic Gardens, Kew.<br />&nbsp;<br />About the project Gabriel Orozco said; &ldquo;<em>The invitation to create a garden at the SLG as a permanent art work presented a unique opportunity to extend my work into new territory. From my first visit I was impressed by the SLG&rsquo;s commitment to its local community and neighbourhood and intrigued by the relationship between the garden space and its different audiences, and the idea of creating something which could provide an inspiring platform for all of them. I started to think about various geometries emerging from the architecture surrounding the space and how they might be re-integrated into it as the basis of a design. It has been a fascinating process working directly with the gallery, architects and horticulturalists to develop the plans for the work which I am excited to see become a reality.</em>&rdquo;<br />&nbsp;<br />6a architects have a history of working with the South London Gallery, having designed its award-winning&nbsp;<a href="" target="_blank">2010 expansion</a>&nbsp;into a neighbouring house and new Clore education space. The practice is also &nbsp;working on the renovation of the former&nbsp;<a href="" target="_blank">Peckham Road Fire Station</a>, donated to the South London Gallery by an anonymous benefactor and due to open in 2018.&nbsp;<br />&nbsp;<br />In celebration of the garden&rsquo;s opening, working drawings and a film capturing the transformation of the garden over the past year are shown in the first floor galleries from&nbsp;<strong>1 October 2016 until 8 January 2017</strong>.<br />&nbsp;<br /><em>With thanks to Arts Council England, Art Fund, Marian Goodman Gallery, Outset Young Production Fund, Cockayne &ndash; Grants for the Arts, Edwin Fox Foundation, The Henry Moore Foundation, Southwark Council&rsquo;s 'Cleaner Greener Safer&rsquo; programme, The Ampersand Foundation, Finnis Scott Foundation, The London Community Foundation, The Panton Trust, Vicky Hughes, Catherine Petitgas and other donors.</em></p> Mon, 19 Sep 2016 16:27:20 +0000 Paolo Gioli - Wilkinson Gallery - September 16th - November 13th <p style="text-align: justify;">Over the course of his four-decade career, Paolo Gioli has produced work that constantly pushes the limits of a given medium, be it photography, film, drawing or painting. This exhibition focuses on a particular moment in the 1970s when Gioli was experimenting intensely with film and photography alongside his painting practice. In 1967 he spent a year in New York where he came across the experimental films of American New Cinema, including the work of Stan Brackage and Jonas Mekas. This was a turning point in Gioli's career as he discovered the possibilities offered by film, and indeed photosensitive materials in general, both to produce and to analyse images.&nbsp; He saw that film could be processed in an artisanal manner, which was in many ways similar to the solitary work of the painter in his studio, and he went on to spend many hours in the darkroom developing a range of new processes.</p> <p style="text-align: justify;">The exhibition presents films, photographs and paintings that illustrate Gioli's investigative approach to material and content in a constant search for the origins of images, the genesis of form. He continued throughout his career to use both found images and images created by hand-made cameras (displayed here as a preamble to the exhibition). The footage from&nbsp;<em>Immagini Disturbate da un Intenso (Images disturbed by and Intense Parasite),&nbsp;</em>1970, for instance, was shot entirely from a television set.&nbsp;<em>Filmstenopeico (Pinhole film)</em>, 1973, was made with a device that was custom-made using a tiny button, a camera free from optics and mechanics, which he used it to film his friends and life around him. Gioli made films from photographs and paintings from film-footage.</p> <p style="text-align: justify;">As he traces the history of a medium in order to extend its possibilities Gioli effectively destabilises any sense of chronology or linearity; his interest in the history of cinema is not just about revisiting cinema's past.&nbsp; His works regularly expose the materiality of their making and their medium - the cut of the film, the frame and chemical surface of the photograph or the bare canvas of a painting - and the eye is often drawn to the edge of the object in question. His retrieval and re-examination of found imagery and received technological processes has less to do with the postmodernist recycler than with the new media archaeologist, in that he explores novel uses of already existing media.&nbsp; Rather than either fetishising innovations in technology or repeating proven techniques Gioli makes works in which aesthetic experimentation might lead to an evolved sense-perception through the historical analysis of material culture.</p> <p style="text-align: justify;">For more information please contact&nbsp;<a href="" target="_blank"></a>.</p> Mon, 19 Sep 2016 16:22:44 +0000 Christo, Neil Macgregor, Genesis P-Orridge, Edna O'Brien, Es Devlin - Serpentine Sackler Gallery - October 8th 10:00 AM - 10:00 PM <p style="text-align: justify;">Our annual festival of ideas is back! This year Adri&aacute;n Villar Rojas, Jacqueline Rose,<strong>&nbsp;</strong>Andrew O'Hagan and over 60 practitioners from&nbsp;the fields of art, architecture, literature, music, philosophy, theology and science come together for a weekend of live discussion, events and broadcast. Join us to explore the themes of miracles, ritual, imagination and magical thinking.<br /><br />The Marathon will be broadcast live throughout the weekend on&nbsp;<a href=";id=0ac41c250c&amp;e=e0debd5a8d" target="_blank" data-saferedirecturl=";q=;source=gmail&amp;ust=1474384069606000&amp;usg=AFQjCNE-xXjnFYkSkZkA-e6xSB1Si0EYSQ">Serpentine Radio</a>.&nbsp;The first day takes place at the Serpentine Galleries and the second day takes place at the cultural venue and workspace&nbsp;<a href=";id=86ec837fa9&amp;e=e0debd5a8d" target="_blank" data-saferedirecturl=";q=;source=gmail&amp;ust=1474384069606000&amp;usg=AFQjCNEhosN_ZgHLEsfzUTT1N_gAiwrh9A">Second Home</a>.<br />&nbsp;<br />Further confirmed participants include&nbsp;artists&nbsp;<strong>Etel Adnan</strong>,&nbsp;<strong>James Bridle</strong>,<strong>&nbsp;Syowia Kyambi</strong>,<strong>&nbsp;Gustav Metzger</strong>,<strong>&nbsp;</strong><strong>Beatriz Santiago Mu&ntilde;oz&nbsp;</strong>and<strong>&nbsp;Meri&ccedil; Alg&uuml;n Ringborgz</strong>; writers&nbsp;<strong>A. Igoni Barrett</strong>,&nbsp;<strong>Mario Bellatin</strong>,&nbsp;<strong>Marie NDiaye&nbsp;</strong>and&nbsp;<strong>Adam Thirlwell</strong>; thinkers and theorists&nbsp;<strong>Timothy Morton</strong>,&nbsp;<strong>Jussi Parrika&nbsp;</strong>and&nbsp;<strong>Mark Cousins</strong>; mathematician&nbsp;<strong>Marcus du Sautoy</strong>; poets&nbsp;<strong>Bhanu Kapil</strong>&nbsp;and&nbsp;<strong>Ruth Padel</strong>; film-maker and theorist&nbsp;<strong>Manthia Diawara</strong>; musician&nbsp;<strong>Lekan Babalola</strong>, urban and media theorist&nbsp;<strong>Norman M. Klein</strong>; physicist&nbsp;<strong>Carlo Rovelli</strong>&nbsp;and scientist<strong>Riccardo Sabatini</strong>.&nbsp;Performances and presentations from&nbsp;<strong>Sophia Al-Maria</strong><strong>, Calla Henkel &amp; Max Pitegoff&nbsp;</strong><strong>and</strong><strong>Kemang Wa Lehulere&nbsp;</strong>with many others yet to be announced.&nbsp;<br /><br /><strong>#miraclemarathon</strong><br /><br /><a href=";id=5551d1fbca&amp;e=e0debd5a8d" target="_blank" data-saferedirecturl=";q=;source=gmail&amp;ust=1474384069606000&amp;usg=AFQjCNH0-6E_usJ2ESXPOC5lbneoSp0Fww"><span style="text-decoration: underline;">WATCH THE TRAILER</span></a></p> Mon, 19 Sep 2016 16:17:07 +0000