ArtSlant - Openings & events en-us 40 - Design Museum - June 3rd, 2012 10:00 AM - 5:45 PM <p style="text-align: justify;"><span style="font-size: small;">Where better to celebrate the Diamond Jubilee Pageant than at the Design Museum's stunning Thames-side location. The museum’s Riverside Hall will be decked out in street-party-splendour as the backdrop to your royally festive day. Following a complimentary glass of Pimms or fruit cocktail you can see the <a href="">current exhibitions</a>, take part in informal family friendly activities and enjoy the all day BBQ and bar. Further details about the Diamond Jubilee Pageant can be found <a href="" rel="external"></a></span><br /><span style="font-size: small;"> • Tickets include entry to the museum, current exhibitions, access to the riverfront and one free glass of Pimms or fruit cocktail</span><br /><span style="font-size: small;"> • Food will be available to purchase from museum cafe and river terrace BBQ. It is not permitted to bring your own food and drink into the museum.</span><br /><span style="font-size: small;"> • Museum opening hours are 10am - 5.45pm</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>TICKETS:</strong></span><br /><span style="font-size: small;"> Adult £50</span><br /><span style="font-size: small;"> Child (under 16) £25</span><br /><span style="font-size: small;"> Family (max 2 adults &amp; 3 child) £150</span><br /><span style="font-size: small;"> Members £25</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>BOOKING</strong> </span><br /><span style="font-size: small;"> W <a href=";query=detail&amp;event=493201&amp;interface=designmuseum" rel="external">Ticketweb</a> (booking fee applies)</span><br /><span style="font-size: small;"> T 020 7940 8783</span><br /><span style="font-size: small;"> E <a href=""></a></span></p> <p style="text-align: justify;"><span style="font-size: small;">Given the museum's location next to the River Thames and its proximity to the Royal Pageant, the Design Museum is required to pass on the contact details of all persons visiting the museum on Sunday 3 June to the event security company retained on behalf of the Royal Pageant prior to this day. It is likely that you will be asked to verify your identification at some form of security cordon prior to arrival at the Museum.</span></p> <p style="text-align: justify;"><span style="font-size: small;">No access to the Design Museum or wharf area will possible on the day without current photographic ID. </span><br /><span style="font-size: small;"> Acceptable forms of ID are:</span><br /><span style="font-size: small;"> Passport</span><br /><span style="font-size: small;"> European Identity Card</span><br /><span style="font-size: small;"> British Driving Licence</span></p> Thu, 17 May 2012 17:18:46 +0000 Anna Camner - Faggionato Fine Art - June 7th, 2012 6:00 PM - 8:00 PM <p>Faggionato Fine Arts is pleased to announce the first solo exhibition in the UK of new paintings by the Swedish artist Anna Camner. The show titled <em>Dust, Dirt and Dingy Weeds </em>builds upon the recent success Camner has achieved, exhibiting internationally in Europe and America.</p> <p>On the outskirts of Stockholm, Sweden, Camner’s childhood home became the arena from which she began to explore the wonders of the natural world. It is these experiences that sowed the seeds and continue to inform her representation of the magic central to her childhood. She noticed that as winter gave way to spring, and the blossoms and leaves of summer were addressed by the autumn fall, that vital to this cycle was the decay of beauty. In this context, the animistic interpretation of the natural environment is almost impossible to avoid.</p> <p>Camner’s paintings are neither purely botanical, nor fantastical: not wholly naturalistic, and yet not completely symbolic. Her paintings evoke the uncomfortable world of fables, mythology and the surreal distanced just far enough from the objective verisimilitude of traditional still life or landscape painting. There is a curious synthesis to her labour, a belief that things can be brought to life by the paint that re-presents them.</p> <p>Painting in oil on board, Camner primes it in solid black, graduating the background in a hue of pale blue, with the timbre of dawn locked in yellow or the illumination of night with purple tints on charcoal. The illusion of space is complimented by a polished rendering of light and dark. This embosses the organic temperament of the scene, focussing the viewer’s attention <br />on the details of her subject, willing us to accept the world in which she has invested her <br />emotional and spiritual travails.</p> <p>Philosophically, these small intense, and elegant paintings deal with a breadth of subjects. But there is one symbolic association in Camner’s rendering of decay. The forms that arise from this cyclical event appear as discarded scraps of mammalian body tissue. Severed from the body beyond recourse, de-figurised, one could be forgiven for seeing a frontal lobe growing like fungus from out of the base of a leaf or the sinews of our collective nervous system draped over the junction of a branch. Here Camner sets to work to indict matter in general, playing with the building blocks of life with an absurdist’s imaginative touch.</p> <p>Born in 1977, Anna Camner received her MFA from The Royal Academy of Art in Stockholm in 2003. Her works are included in a number of prominent private and public collections, such as the Magasin 3 Stockholm Konsthall and The National Art Council in Sweden. Anna Camner lives and works in Stockholm.</p> Fri, 20 Apr 2012 16:41:59 +0000 Jodi Bieber - FOTO8 Gallery - June 7th, 2012 7:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">This is part of the</span><a href="" rel="nofollow"> London Festival of Photography</a></p> <h3 style="text-align: justify;"><span style="font-size: small;">Fresh from a year of international exhibitions and workshops after having won the coveted World Press Photo Award in 2011 for her work on Bibi Aisha in Afghanistan, Jodi Bieber will talk candidly about the trials and tribulations involved in shooting award-winning photography. </span></h3> <p style="text-align: justify;"><span style="font-size: small;">The festival is proud to offer this rare opportunity to hear Jodi Bieber speak about the project that made her name around the world. Bieber will discuss her whirlwind year since winning the World Press Photo Award and about her books <em>Between Dogs &amp; Wolves</em> (2006) and <em>Soweto </em>(2010).</span></p> <p style="text-align: justify;"><span style="font-size: small;">Bieber became the centre of international attention recently, winning what is arguably photography's top prize, the World Press Photo with her haunting story about Bibi Aisha in Afghanistan, which featured on the cover of <em>Time</em> magazine. Bibi was 18 and from the southern Afghan province of Oruzgan. In 2009 she fled her husband's house, complaining of beatings and abuse. She escaped to the only place she could go, back to her family home. It was here that the Taliban arrived one night and demanded that the girl be handed over to face justice. She was taken away to a mountain clearing, where she was held down by her brother-in-law, while her husband first sliced off her ears and then cut off her nose.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jodie Beiber will speak about her encounter with Bibi Aisha and the impact that her work has had as a result. She will also discuss her early life and experiences growing up in South Africa and how these have shaped her as a photographer.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>I was born, as were my parents, in South Africa and lived there most of my life. When Hector Peterson was killed in the Soweto uprising in 1976, I was ten years old. Living in a middle-class suburb, I didn’t have much political understanding of what was really going on in our country. It was only by chance and great fortune that I found photography. With its discovery I found a vehicle to explore my country and the people I knew so little about.<br /> <br /> I was selected as a trainee at </em>The Star<em> newspaper. This was in September 1993, during the run-up to the first democratic elections in 1994 – an important and historic time –intense, exciting, volatile, and traumatic. It pulled me deep into things I had been protected from throughout my youth. The coming of democracy brought jubilation but I was also to experience several deaths during that period. Ken Oosterbroek, former chief photographer at </em>The Star<em> and the man who gave me my first break, was killed, as was Abdul Shariff. Kevin Carter and Gary Bernard were to follow. Both took their own lives. All (members and associates of the <strong>Bang Bang Club</strong>) were colleagues of mine...</em></span></p> Thu, 24 May 2012 16:20:01 +0000 Slawa Harasymowicz - Freud Museum London - June 7th, 2012 6:30 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;">The Freud Museum is delighted to announce an exhibition of works by Polish artist Slawa Harasymowicz. The show combines an installation of silkscreen prints and drawings, including images from the recently published graphic novel ‘The Wolf Man’, alongside items from the Freud Museum collection. These items collectively document Freud’s attempts to unravel the source of the Russian aristocrat, Sergei Pankejeff’s, crippling neurosis. The exhibition reveals Harasymowicz’s own working methods, which explore ideas around repetition, collation and the reworking of images. Set in the house of Sigmund Freud, the works and their groupings are suggestive of the ambiguity of communication, multiple loose sheets of drawings are pulled together, offering different comprehensions of analytical processes, proposing implications of repetition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Wolf Man – Graphic Freud, written by Richard Appignanesi &amp; illustrated by Harasymowicz accompanies the exhibition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition is curated by Sarah Jury.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Pankejeff's dream would play a major role in Freud's theory of infantile sexuality, and along with Irma's injection (Freud's own dream, which launched dream analysis), it was one of the most important dreams for the development of Freud's theories. Additionally, Pankejeff became the main case used by Freud to prove the validity of psychoanalysis. It was the first detailed case study that brought together the main aspects of catharsis, the unconscious, sexuality, and dream analysis put forward by Freud in his Studies on Hysteria (1895), The Interpretation of Dreams (1899), and his Three Essays on the Theory of Sexuality (1905).</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Sława Harasymowicz</strong> has lived and worked in London since 1998, completing an MA in Communication Art and Design, Royal College of Art London, in 2006. Harasymowicz has exhibited widely and her work is held in the Victoria and Albert Museum prints and drawings collection, National Museum Poznan, Poland, Warsaw Poster Museum, Academy of Fine Art, Krakow, Poland and various private collections. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Artist’s website – <a href=""></a></span></p> <p style="text-align: justify;"><span style="font-size: small;">The Wolf Man graphic novel, published by <a href="">Self Made Hero</a> (original author Sigmund Freud, written by Richard Appignanesi, illustrated by Slawa Harasymowicz), March 2012 London.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Copies signed by the artist are available from the <a href="">Freud Museum shop.</a></span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition is kindly supported by <strong>The Polish Cultural Institute</strong> and<strong> The </strong><strong>University of Bedfordshire.</strong></span></p> Thu, 17 May 2012 17:39:44 +0000 Miranda Pennell - IMT Gallery - June 7th, 2012 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>The first in the new series of Filmarmalade presents&hellip; is a screening of work by Miranda Pennell</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Pennell&rsquo;s&nbsp;<em>Why Colonel Bunny Was Killed</em>, narrates the 1908 memoirs of Theodore Leighton Pennell,&nbsp;<em>Among the Wild Tribes of the Afghan Frontier</em>. The film work is entirely constructed from period still photographs forensically examined and probed by Pennell&rsquo;s camera to reveal the beauty and charm of Army life on the North West frontier of British India, whilst the Afghans, who occupy the shadowy nitrate background, observe yet another colonial misadventure.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Miranda Pennell recently screened work at the Glasgow Short Film Festival, the Oberhausen Kurzfilmtage, Germany, the London Film Festival and was awarded Best International Film/Video 2011, at the Courtisane Festival of Film, Ghent. She was born in the United Kingdom and lives and works in London.</span></p> <p style="text-align: justify;"><span style="font-size: small;">After the screenings there will be a round table discussion with the artist, the curator Mark Jackson and the artist Gordon Shrigley, founder of Filmarmalade.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Throughout 2012 IMT Gallery will be screening the following artists film and video works published by Filmarmalade: Miranda Pennell, Adam Roberts, Francisca Benitez and Luciano Zubillaga</span></p> <p style="text-align: justify;"><span style="font-size: small;">Filmarmalade is an artist run project established by the artist Gordon Shrigley to publish on DVD selected artistsʼ films and video works, so as to encourage a wider access to the moving image and to allow a greater understanding, through specially commissioned interviews.</span></p> Fri, 02 May 2014 15:29:50 +0000 - National Maritime Museum - June 7th, 2012 11:00 AM - 1:00 PM <p style="text-align: justify;"><span style="font-size: small;">Celebrating Her Majesty the Queen’s Diamond Jubilee and the <a href="">National Maritime Museum’s 75th anniversary</a>, <a href="">Royal River</a> explores the relationship between the monarch, the City and the people, as it was brought to life on the Thames – London’s greatest thoroughfare. Discover more about this special history through this series of related lectures.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>31 May:</strong> <em>The Tudors in Greenwich</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">Author, journalist and historian <strong>Dr Graham Phillips</strong> will set out the importance of the Tudors in Greenwich, and explore why Greenwich was a favourite destination of the Tudor royal family.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>7 June:</strong> <em>East of the Tower of London</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Tom Wareham</strong>, historian, writer, sailor and Curator of Community and Maritime History at the <a href="">Museum of London</a>, will be talking about the riverside east of the Tower of London, and the development of the dock systems there.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>14 June:</strong> <em>The Lady Elizabeth: The Virgin Queen`s Perilous Path to the Throne</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">Historian <strong>Alison Weir</strong> recounts the early life of Henry VIII's celebrated daughter, Elizabeth, who would grow up to become one of England’s greatest monarchs. Power-driven politics, a disputed succession, and the grievous example of her sister, ‘Bloody’ Queen Mary, all cemented Elizabeth’s resolve in matters of statecraft and love, and set the stage for her transformation into the iconic Virgin Queen.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>21 June:</strong> <em>The Old and New Life of the London Thames</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Professor Sarah Palmer</strong>, <a href="">University of Greenwich</a>, will be talking about the changing ways in which the Thames has been used, <em>circa</em> 1800–2010.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Booking: </strong>(Debit / Credit Card only). You can use the 'Book now' button on this page or telephone Bookings on 020 8312 6608.</span></p> <p style="text-align: justify;"><span style="font-size: small;">National Maritime Museum; Ground floor; Lecture Theatre</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a href=";eventId=174&amp;hasPromo=0" class="eventBookingModal" rel="nofollow"><img src="" alt="Book Now!" height="77" width="79" /></a></span></p> Fri, 18 May 2012 17:04:08 +0000 Grayson Perry - Victoria Miro Gallery - June 7th, 2012 7:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Victoria Miro</strong> is delighted to announce its fourth solo exhibition with <strong>Grayson Perry</strong>.</span><br /><br /><span style="font-size: small;">In <i>The Vanity of Small Differences</i> Grayson Perry explores his fascination with taste and the visual story it tells of our interior lives in a series of six tapestries at Victoria Miro and three programmes, All in the Best Possible Taste with Grayson Perry, for Channel 4.  The artist goes on a safari amongst the taste tribes of Britain, to gather inspiration for his artworks, literally weaving the characters he meets into a narrative partly inspired by Hogarth's A Rake's Progress.</span><br /><br /><span style="font-size: small;">Grayson Perry comments: "The tapestries tell the story of class mobility, for I think nothing has as strong an influence on our aesthetic taste as the social class in which we grow up. I am interested in the politics of consumerism and the history of popular design but for this project I focus on the emotional investment we make in the things we choose to live with, wear, eat, read or drive. Class and taste run deep in our character - we care. This emotional charge is what draws me to a subject".</span><br /><br /><span style="font-size: small;">Perry has always worked with traditional media; ceramics, cast iron, bronze, printmaking and tapestry.  He is interested in how each historic category of object accrues over time intellectual and emotional baggage. Tapestry is the art form of grand houses: depicting classical myths, historical and religious scenes and epic battles. In this series of works Perry plays with idea of using this ancient allegorical art to elevate the commonplace dramas of modern British life.</span><br /><br /><span style="font-size: small;">The artist's primary inspiration was <i>A Rake's Progress</i>  (1732 -33) by William Hogarth, which in eight paintings tells the story of Tom Rakewell, a young man who inherits a fortune from his miserly father, spends it all on fashionable pursuits and gambling, marries for money, gambles away a second fortune, goes to debtors' prison and dies in a madhouse.</span><br /><br /><span style="font-size: small;"><i>The Vanity of Small Differences</i> tells the story of the rise and demise of Tim Rakewell and is composed of characters, incidents and objects Perry encountered on journeys through Sunderland, Tunbridge Wells and The Cotswolds. Hogarth has long been an influence on Perry's works, his Englishness, his robust humour and his depiction of, in his own words, 'modern moral subjects'. The secondary influence comes from Perry's favourite form of art, early Renaissance painting.</span><br /><br /><span style="font-size: small;">Each of the six images, to a greater or lesser extent, pays homage to a religious work.  Including Masaccio's<i>Expulsion from the Garden of Eden</i>, Matthias Grünewald's <i>Isenheim Altarpiece</i>, Rogier Van de Weyden's <i>Lamentation</i> and three different paintings of<i>The Annunciation</i> by Carlo Crivelli,  Grünewald and Robert Campin.  The images also reference the pictorial display of wealth and status in <i>The Arnolfini Portrait</i> by Jan Van Eyck and <i>Mr &amp; Mrs Andrew</i>s by Thomas Gainsborough.  Woven into each tapestry are snatches of text, each one in the voice of a participant in the scene illustrated. Each image also features a small dog, reminiscent of Hogarth's beloved pug, Trump.</span><br /><br /><span style="font-size: small;"><i>The Vanity of Small Differences</i> is at Victoria Miro from 7 June - 11 August 2012.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Day Viewing 10am - 6pm</strong></span></p> <p style="text-align: justify;"><strong style="font-size: small;">6.30pm Informal talk by Grayson Perry</strong></p> <p style="text-align: justify;"><span style="font-size: small;">Limited space, for tickets email</span></p> <p style="text-align: justify;"><a href="" rel="nofollow" target="_blank" style="font-size: small;"></a></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Evening Viewing 7 - 9pm</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Exhibition Continues until 11 August 2012</span></p> <p style="text-align: justify;"><span style="font-size: small;"><br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Channel 4's new three-part series, </span><i style="font-size: small;">All in the Best Possible Taste with Grayson Perry</i><span style="font-size: small;"> starts on Tuesday 5 June at 10pm.</span></p> Fri, 25 May 2012 17:48:46 +0000 - Whitechapel Gallery - June 7th, 2012 7:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Eisler Curator and Head of Curatorial Studies Daniel F. Herrmann leads a tour of Gillian Wearing's solo exhibition at the Gallery. </span><br /><br /></p> <p style="text-align: justify;"><span style="font-size: small;">Concessions and members are kindly asked to show proof or ID when collecting tickets on the night.</span><br /><br /></p> <p style="text-align: justify;"><span style="font-size: small;">With BSL interpretation. Free for BSL users to attend, please email <a href=""></a> to book. </span></p> Wed, 30 May 2012 16:59:35 +0000 Polly Morgan - All Visual Arts - June 8th, 2012 7:00 PM - 10:00 PM <p>Inspired by a recent visit to the Serengeti, this new exhibition is a vibrant parable that confronts the viewer with the uncompromising cycle of life; the predator, the parasite and the prey.</p> <p><i>Endless Plains </i>interprets this vast expanse of land, at once barren and teeming with life, in perverted and unusual ways. The result is an unflinching portrait of the savagery of nature, where the sacrifice of one life for dozens more is a vital and constant exchange. </p> Sun, 03 Jun 2012 20:51:46 +0000 Grace Adam - National Portrait Gallery - June 8th, 2012 6:30 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;">How does the way an image is made affect the viewer’s response to it? Inspired by <em>The Queen: Art &amp; Image</em> experiment with painting and collage, with artist Grace Adam.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tickets: £10</span><br /><span style="font-size: small;"> Book <a href="">online</a> or call 020 7306 0055</span></p> Fri, 18 May 2012 17:43:56 +0000 Erin Shirreff, Jim Hodges, Iran do Espirito Santo, Sarah Braman - Stephen Friedman Gallery - June 8th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><strong style="font-size: small;">Stephen Friedman Gallery</strong><span style="font-size: small;"> is delighted to announce its summer exhibition, </span><em style="font-size: small;">Shapeshift</em><span style="font-size: small;">, a group presentation in two gallery spaces. The exhibition brings together the work of four contemporary artists: Sarah Braman, Iran do Espírito Santo, Jim Hodges and Erin Shirreff.  Although diverse in their formal undertakings, these four artists are united in the subtle, powerful and poetic ways in which they handle their chosen materials. </span></p> <p style="text-align: justify;"><span style="font-size: small;">The power of transformation – or, the very point at which one entity </span><em style="font-size: small;">shifts</em><span style="font-size: small;"> its mode of existence and becomes another - is the underlying theme in this exhibition. Whether this be transforming one’s perception in Espírito Santo’s all-engulfing wall drawings, or even transforming one’s image in Hodge’s mosaic mirrors, each of the artists shown here uses this powerful skill to tantalizing effect. The exhibition has been extended until 28 July 2012.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jim Hodges returns to the gallery for the fourth time presenting four new mirrors in a series entitled </span><em style="font-size: small;">The Betweens</em><span style="font-size: small;"> (2012)</span><em style="font-size: small;">.</em><span style="font-size: small;"> Each of the five foot square canvases are covered in a multitude of hand-cut mosaic glass squares that vary in tone from silver to grey to black. Random patterns and shapes emerge as these colours collide on the canvas. Installed as paintings in one room, these mirrors reflect and refract light and the surrounding environment. In their fractured surfaces, images multiply.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Hodges first used mirror in his work in 1996, when he smashed the back of a supported reflective glass to create a web of lines on the shattered front.   The medium has been a recurring presence in the artist’s practice ever since and is a keen illustration of his powerful ability to transform the ubiquitous into something unique and enduring.  When presented with one’s own fractured reflection in these tessellated surfaces, the works are completed. As such, Hodges’ fascination with self-reflection and personal history comes full circle in this new series.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Joining Hodges is American artist Erin Shirreff who presents four sculptures and a five-part photographic work. </span><em style="font-size: small;">Untitled (Standing Shadows)</em><span style="font-size: small;"> (2012)</span><em style="font-size: small;"> </em><span style="font-size: small;">is a large, black abstract monument made in pigmented plaster.  Formed from twenty-nine individual components stacked against one another, the whole resembles a row of books, or an archive of casts. These enticing forms bear the traces of their production including fingerprints and indentations. The undulating horizon line of this rhythmic sculpture stands above juxtaposed geometries and their accompanying silhouettes.   </span></p> <p style="text-align: justify;"><span style="font-size: small;">In </span><em style="font-size: small;">Monograph (no.2)</em><span style="font-size: small;"> (2012) Shirreff presents five archival pigment prints in individual frames. Each print has a centre fold, which either rests on the mount or protrudes towards the glass, resembling a page from a book or a folded leaf of newspaper.  The photographed subjects resemble the sculptural forms: abstract, dark and geometrically challenging. There is a constant dialogue between photography and sculpture throughout Shirreff’s work. The objects are presented at a remove from their original function, bringing to the fore their unwavering form.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In another gallery, American born artist Sarah Braman presents two works that exploit the potential of the found object; in this case, that of the iconic American vehicle, the camper van.  </span><em style="font-size: small;">Our Morning (Summer)</em><span style="font-size: small;"> (2012) combines scrap panels from old vehicles to create a sharp Minimalist volume in striking juxtaposition with the soft lilac and grey tinted pastel colours painted atop. </span><em style="font-size: small;">I Can’t Seem To Drink You Off My Mind</em><span style="font-size: small;"> (2012) combines plexiglass and aluminium in an off-kilter cube, which balances on the floor.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Braman has stated before that the layering of colour upon plexiglass is very much linked to the feeling of being contained within a car, observing the reflections on the windows and the exterior world moving past. Under her hand, found materials are wilfully transformed and shared memories of both voyage and home are evoked.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Alongside Braman, Brazilian artist Iran do Espírito Santo presents a series of works that further question the expected structures of art and its boundaries with the audience. </span><em style="font-size: small;">Untitled</em><span style="font-size: small;"> (2012) is a large-scale site-specific painting spanning the entire back-wall of the gallery. Appearing as a mirage of mechanical brushstrokes applied in graduating grey, the painting creates a subtle optical illusion as the colours dissolve into the gallery walls and manipulate our trust in its structure. By instigating a play of depth that amalgamates natural light in a three-dimensional space, Espírito Santo transforms the way we experience the work, creating a complex conceptual interplay.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Alongside this site-specific work, the sculpture </span><em style="font-size: small;">Untitled (Folded Mirror) 5</em><span style="font-size: small;"> (2011) sharply bends against the floor and the wall reflecting and transforming our approach. Featuring mirrored glass, the sculpture appears to be bent in half, simultaneously reflecting and refracting the light and space around it. In turn, both works act as interventions of the traditional gallery space. Through the artworks’ unconventional and illusionist materials, the artist turns alchemist as forms melt, dissolve and reappear out of the white cube.</span></p> <p style="text-align: justify;"><em style="font-size: small;">Shapeshift</em><span style="font-size: small;"> marks a poignant interception of artists who are exploring form and function in a myriad of materials. In the four gallery spaces, each work metamorphoses and </span><em style="font-size: small;">shapeshifts, </em><span style="font-size: small;">simultaneously critiquing and playing with our perceptions of how we see ourselves and how we look at art. </span></p> <hr /> <p style="text-align: justify;"><strong style="font-size: small;">Jim Hodges</strong><span style="font-size: small;"> (born 1957) lives and works in New York, USA.  He will be the subject of a major retrospective at the Walker Arts Centre, Minneapolis, USA in 2013. Recent major solo exhibitions include </span><em style="font-size: small;">New Work</em><span style="font-size: small;">, Dieu Donne Papermill, New York, USA (2010); </span><em style="font-size: small;">Love et cetera</em><span style="font-size: small;">, Centre Pompidou, Paris, France; toured to the Camden Art Centre, London, England and Bevilacqua La Masa Foundation, Venice, Italy (2009); </span><em style="font-size: small;">You Will See Things</em><span style="font-size: small;">, Aspen Art Museum, Aspen, Colorado, USA (2009); </span><em style="font-size: small;">Directions – Jim Hodges, </em><span style="font-size: small;">Hirschhorn Museum and Sculpture Garden, Washington, D.C., USA and </span><em style="font-size: small;">Don’t be Afraid,</em><span style="font-size: small;"> Worcester Art Museum, Worcester, Massachusetts, USA (2004).  Recent notable group exhibitions include </span><em style="font-size: small;">San Antonio Collects: Contemporary</em><span style="font-size: small;"> , San Antonio Museum of Art, Texas, USA (2012); </span><em style="font-size: small;">All that Glisters</em><span style="font-size: small;">, Stephen Friedman Gallery, London, England (2011); </span><em style="font-size: small;">Floating a Boulder: Works By Felix Gonzalez-Torres and Jim Hodges</em><span style="font-size: small;">, FLAG Art Foundation, New York, USA (2009); and </span><em style="font-size: small;">I Remember Heaven: Jim Hodges and Andy Warhol</em><span style="font-size: small;">, Contemporary Art Museum, St. Louis, Missouri, USA (2007). </span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Erin Shirreff</strong>  (born 1975) lives and works in New York, USA. Recent solo exhibitions include <em>A Promise is a Cloud,</em> MetroTech Center, Brooklyn, USA (2011); and <em>Still, Flat, Far, </em>Institute of Contemporary Art, Philadelphia, USA (2010). Major group shows include <em>The Anxiety of Photography</em>, Aspen Art Museum, Colorado, USA (2011);  and<em> Greater New York, </em> MoMA PS1, New York, USA (2010).</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Iran do Espírito<em> </em>Santo</strong> (born 1963), currently lives and works in São Paulo, Brasil.  Notable solo exhibitions include <em>Iran do Esp</em><em>írito Santo, </em>Pinacoteca do Estado, São Paulo, Brazil (2007); toured to MAXXI (Museo Nazionale delle Arti del XXI Secolo) and a further self-titled show at the Irish Museum of Modern Art, Dublin, Ireland (2006). The artist was recently included in the group show <em>TRANSactions: Contemporary Latin American and Latino Art</em>, Sheldon Memorial Art Gallery, Nebraska, USA (2008) and represented Brazil in the 2007 Venice Biennale.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Sarah Braman</strong> (born 1970), currently lives and works in Brooklyn, New York and Amherst, Massachusetts, USA. Recent solo exhibitions include <em>Sarah Braman,</em> China Art Objects, Los Angeles, USA,  (2012) and <em>Lay Me Down, </em> MACRO, Rome, Italy (2011). Sarah Braman will feature at a forthcoming group exhibition called<em>Abstract Everyday - Everyday Abstract</em> at James Cohan Gallery, New York, USA. Other group shows include  <em>Memories Are Made of This </em>at Museum 52, New York, USA (2011).  </span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;"> </span></p> Mon, 14 May 2012 17:40:42 +0000 Jefford Horrigan, Stefanos Tsivopoulos, LEONIE LACHLAN, Are Blytt, Rebecca Birch, Sovay Berriman, Appau Junior Boakye-Yiadom - The Agency gallery - June 8th, 2012 6:00 PM - 9:00 PM Sat, 23 Jun 2012 12:34:26 +0000 Group Show - Institute of Contemporary Arts (ICA) - June 9th, 2012 7:00 PM - 8:00 PM <p><b>Auto Italia LIVE at the ICA</b></p> <p>Live TV episode produced by artists and broadcast online.</p> <p><b>Broadcast live at 7pm 9</b><b><sup>th</sup></b><b> June 2012</b></p> <p></p> <p>Auto Italia South East presents Auto Italia LIVE, an artist-run Live TV show performed before a studio audience and broadcast live over the internet. Working in collaboration with Auto Italia, artists will develop new work for this one-off episode, engaging directly with the format of Live Television.</p> <p>Featuring a full camera crew, lighting technicians, directors, performers, script writers, production designers and set builders, artists will engage with all aspects of Live TV production.</p> <p>Auto Italia LIVE is engaging directly in contemporary broadcast culture and how physical communities use the Internet to distribute ideas and also as a space for new work. Reflecting on the opportunities this opens up to artists, the episode will engage with the formal techniques of Live TV – its camera moves, soundtrack, catch phrases and live-editing – in order to create a new space and to critically engage with what it means to be making Live TV now.</p> <p>Focusing specifically on Live TV and its mechanisms, this episode will explore and exploit the idiosyncrasies of this format, its potential and its language. Working within the constraints and limitations of Live TV, the episode will create a televisual space completely removed from the ICA Theatre it physically inhabits and will explore the possibility for TV to create new territories and realities in which to make work. Auto Italia LIVE aims to create its own context and be a proposal for how artists can produce live broadcast work in collaboration. The episode will be a unique place for artists to create their collectve context and distribute their work.</p> <p><b>PARTICIPATING ARTISTS AND FILMAKERS</b></p> <p>Nathan Budzinski, Benedict Drew, Robert Carter, Simon Guzylack, Andrew Kerton, Leslie Kulesh, Huw Lemmy, Francesco Pedraglio, Lorenzo Tebano Jess Weisner.</p> <p></p> <p>In collaboration with: Giorgio Bosisio, Luke Collins, Theo Cook, Paul Crompton, Aoife Flynn, Marianne Forrest, Mette Juhl, George Moustakas, Elly Nakajima, Henry Petrides, Laurence Price, Radiance Audio, Sonia Rodriguez Serrano, Matt Welch.</p> <p></p> <p><b>VISITING INFORMATION</b></p> <p>Institute of Contemporary Arts</p> <p>The Mall,</p> <p>London,</p> <p>SW1Y 5AH</p> <p>Admission : £5/Free to ICA members</p> <p><b>AUTO ITALIA SOUTH EAST</b></p> <p>Auto Italia South East is an artists run project space that commissions new work collaborating directly with emerging artists. It aims to provides a framework for developing alternative approaches to practice and exhibition formats.</p> <p></p> <p>Founded in 2007 the programme includes online and off site projects, provides opportunities for participation, discussion and debate, and aims to establish and develop links between growing peer groups of artists both in the UK and also internationally.</p> <p></p> <p><b>PRESS INFORMATION</b></p> <p>For further press information, photographs or to arrange interviews, please contact:</p> <p>Marianne Forrest, Project Coordinator,</p> Thu, 26 Apr 2012 16:19:42 +0000 Wasma Mansour, Olivia Arthur, Antonio Olmos, Mishka Henner, David Moore - Kings Place Gallery - June 9th, 2012 10:00 AM - 5:00 PM <p style="text-align: justify;">This is part of the <strong> <a href="">London Festival of Photography</a>.</strong></p> <h3 style="text-align: justify;"><span style="font-size: small;">This one-­day event will reflect on various interpretations of the festival theme, with contributions from practitioners, academics and curators. </span></h3> <p style="text-align: justify;"><span style="font-size: small;">This year, the festival's theme is <strong>Inside Out: Reflections on the Public and the Private</strong>. Considering the role of photography as a tool for documentation, expression and collaboration, this one day event will bring together practitioners, academics and writers to discuss the theme in its broadest interpretation.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Panel discussions, lectures and slide show presentations will explore topics including:</span></p> <ul style="text-align: justify;"> <li><span style="font-size: small;">the social media revolution and "the new family album"</span></li> <li><span style="font-size: small;">the changing boundaries of public and private land, what this means for personal freedoms and the ways in which people inhabit these opposing spaces</span></li> <li><span style="font-size: small;">the effects and ethics of putting a very private photographic image on public display</span></li> <li><span style="font-size: small;">censorship of images</span></li> <li><span style="font-size: small;">the democratisation of visual journalism and how the public have become mass purveyors of information</span></li> <li><span style="font-size: small;">found and domestic photography in art</span></li> </ul> <h2 style="text-align: justify;"><span style="font-size: small;">Sessions and talks will include:</span></h2> <p style="text-align: justify;"><span style="font-size: small;"><strong>Wasma Mansour &amp; Olivia Arthur: Photographing Saudi Women</strong></span><br /><span style="font-size: small;"> Wasma Mansour and Olivia Arthur discuss the issues and negotiations they have encountered while photographying Saudi Arabian women for their recent works. Mansour's project <em>Single Saudi Women</em>, is on show at the Hardy Tree Gallery during the festival, and Olivia Arthur will talk about her debut publication <em>Jeddah Diary </em>(Fishbar, April 2012).</span><br /> <br /><span style="font-size: small;"> <strong>Personal Stories Made Public</strong><strong>: a Firecracker Presentation </strong></span><br /><span style="font-size: small;"> Fiona Rogers, founder of Firecracker will chair this talk with several female photographers, all of whom feature in her exhibition as part of the festival. The exhibition will look at very personal work which has been relocated to the public realm and will explore notions of identity, culture, family and immersive participation. Exhibiting artists include: Celine Marchbank, Natasha Caruana and Laura Hynd.</span><br /> <br /><span style="font-size: small;"> <strong>James Bridle: The New Aesthetic</strong></span><br /><span style="font-size: small;"> Photography is increasingly performed, and its products manipulated, by automated systems, devices and networks, from unmanned aerial vehicles, satellites and Google's Streetview cars to Instagram and Facebooks' facial recognition algorithms. What does this mean for the public, the private, and the space in between?</span><br /> <br /><span style="font-size: small;"> <strong>Artist Presentations: </strong></span><br /> <br /><span style="font-size: small;"> <strong>Antonio Olmos </strong>will present and discuss his award-winning series <em>The Landscape of Murder</em>, which documents the site of every murder which took place in London in the last year. He visits the crime scene usually after other press have left, recording the symbols of remembrance, occasional glimpses of forensics teams, just empty streets or passers by. This is a rare chance to hear Antonio discuss this project ahead of his book which will be published next year.</span><br /> <br /><span style="font-size: small;"> <strong>Mishka Henner </strong>will discuss his various recent projects notably <em>Dutch Landscapes</em>, <em>51 US Military Outposts</em>, <em>No Man's Land</em>, and <em>Children of the Metropolis</em>. His presentation will focus on appropriation, data mining and the use of web-based visual technologies as a means with which to produce contemporary documentary work. Testing the boundaries between the public and private is an intrinsic aspect of these works, many of which raise important questions about image ownership at a personal and artistic level.</span><br /> <br /><span style="font-size: small;"> Artist and educator <strong>David Moore </strong>will present his ongoing photographic investigations into apparatus of the state, in particular, 28 Days for which Moore was granted unique access to Paddington Green High Security Prison where suspects are held under the Counter-Terrorism Act.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Olivia Arthur</strong> was born in London in 1980 and received a degree in Mathematics from Oxford University. She undertook a diploma at the London College of Printing and then received a scolarship to FABRICA in 2006. In 2008 she joined Magnum as a nominee and became an associate in 2011. Awards include: Vic Odden Award (2010), Laureate Photographe, Fondation Jean-Luc Lagardere (2008), OjodePez-PhotoEspana Award for Human Values (2008), National Media Museum Bursary (2007), Inge Morath Award, Magnum Photos. She has been widely exhibited internationally and her work is included in the collections of Camera Museum, Vevey, Switzerland and the National Media Museum, Bradford.</span><br /><span style="font-size: small;"> <a href="" target="_blank"></a></span><br /> <br /><span style="font-size: small;"> <strong>James Bridle</strong></span><br /><span style="font-size: small;"> James is a publisher, writer and technologist. Since 2007 he’s maintained <a href="" target="_blank"></a>, exploring the intersections of literature and technology. A former fiction editor, he founded <a href="" target="_blank">Bookkake</a>, <a href="" target="_blank">bkkeepr</a>, and <a href="" target="_blank">Open Bookmarks</a>, and clients have included independent and multinational publishers, national arts organisations and digital agencies. He <a href="" target="_blank">makes things</a> with books and the internet, and talks about them at conferences worldwide.</span><br /><span style="font-size: small;"> <a href="" target="_blank"></a></span><br /> <br /><span style="font-size: small;"> <strong>Mishka Henner</strong></span><br /><span style="font-size: small;"> Mishka Henner (b.1976, Belgium) is a photographer and artist living and working in Manchester, England. He operates in the genres of social documentary and appropriation art and embraces the self-published artist’s book as a means of transmitting his work. His work has been published and commissioned by international print media including Der Spiegel, the Independent, and the Telegraph Magazine and his artist’s book, <em>Winning Mentality</em> was acquired by the Tate Gallery in 2010. In the summer of 2011, he will be a featured artist representing the new age of photography at Les Rencontres d’Arles in France. Henner is a Profile photographer with Panos Pictures and is a member of the ABC Artists Book Cooperative.</span><br /><span style="font-size: small;"> <a href="" target="_blank"></a></span><br /> <br /><span style="font-size: small;"> <strong>Wasma Mansour</strong> was born in Jeddah Saudi Arabia in 1980. She is currently completing her practice-based Phd at the London College of Communications and is a current researcher at The Photography and Archive Research Centre (PARC). Mansour is exhibiting her long term project <a href="" target="_blank">Single Saudi Women</a> as part of the festival at the Hardy Tree Gallery.</span><br /><span style="font-size: small;"> <a href="" target="_blank"></a></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>David Moore</strong> is a London based photographer who has exhibited and published internationally. He has been working as a photographer and educator since graduating from West Surrey College of Art and Design, Farnham, in 1988. His work challenges and observes institutional power in different manifestations and is held in many collections. He is currently Senior Photography lecturer at Central Saint Martins College, London, having co-written the MA Photography course there. His most recent publication, The Last Things was published by Dewi Lewis in 2008. His latest photographic series, 28 days, was exhibited, for the first time, at The Bluecoat Gallery, Liverpool during May and July 2011, as part of <a href="" style="text-decoration: none; color: #000000;">Look11</a>.</span><br /><span style="font-size: small;"> <a href="" target="_blank"></a></span><br /> <br /><span style="font-size: small;"> <strong>Antonio Olmos</strong> is a Photojournalist born in Mexico, who has worked covering issues concerning Human Rghts, The Environment and Conflict. His images appeared in all the UK Broadsheet Weekend Magazines including The Observer Magazine. He has worked extensively in the Americas, The Middle East and Africa for Newspapers and Magazines around the world as leading NGOs.</span><br /><span style="font-size: small;"> <a href="" target="_blank"></a></span></p> Thu, 24 May 2012 15:18:27 +0000 - Tate Britain - June 9th, 2012 10:00 AM - 3:00 PM <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;"><span style="font-size: small;">Drop in to Tate Britain and experience Art Fair – an interactive event for families of all ages. Shape and create sound performances, take a binaural tour of the gallery, explore a fictional art fair and contribute to the live press booklet.</span></p> </div> </div> </div> <div class="field field-name-field-sponsor-info field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;"><span style="font-size: small;">Sponsored by BP</span></p> </div> </div> </div> Fri, 18 May 2012 18:35:16 +0000 - Whitechapel Gallery - June 9th, 2012 3:00 PM - 4:00 PM <p style="text-align: justify;"><span style="font-size: small;">Images of artists’ studios, such as the paint-encrusted chaos of Francis Bacon’s rooms, have become the stuff of popular imagination. But as contemporary art has radically changed since the 1960s, is the traditional idea of the studio in part obsolete? <strong>Jens</strong> <strong>Hoffmann</strong>, Director of the CCA Wattis Institute for Contemporary Arts, San Francisco and Curator of the 12th Istanbul Biennial and 9th Shanghai Biennial, looks at the studio as a window to the artist, and the latest debates and perspectives on the studio.</span><br /><br /><span style="font-size: small;">This event launches the latest anthology in the<em>Documents of Contemporary Art</em> series: <em>The Studio</em>(Whitechapel Gallery and MIT Press).</span><br /><br /></p> <p style="text-align: justify;"><span style="font-size: small;">Concessions and members are kindly asked to show proof or ID when collecting tickets on the day.</span></p> Thu, 07 Jun 2012 08:18:57 +0000