ArtSlant - Closing soon en-us 40 Alex Katz, Bridget Riley, Fiona Rae, Cecily Brown, Antoni Tàpies, Jonathan Lasker, Sean Scully - Timothy Taylor - May 17th, 2012 - June 13th, 2012 <p style="text-align: justify;"><em style="font-size: small;">Outside In</em><span style="font-size: small;"> explores how artists reinvent traditional genres including landscape, still life and interiors, and the relationship between these in their current and recent practice – reinvesting these traditional categories with new dynamism and interpretations.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition takes its title from a work by <strong>Sean Scully</strong>, <em>Outside In (Yellow)</em>, 2009, in which a ‘window’ within the painting is filled with an ochre and brown canvas, strongly suggestive of an autumn landscape. Several panoramic paintings feature in the exhibition; their extended forms reminiscent of cinema and of the popular illusory paintings of landscape views created in the 19th century.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In <em>Harbor # 8</em>, 1999, <strong>Alex Katz</strong> creates an exuberant beach scene. His wife, Ada, sits squarely in the centre of the work, while the sand and sea bisect the canvas laterally in dramatic colour blocks. The panorama format continues in <strong>Bridget Riley</strong>’s <em>Painting with Verticals (Cadence 2)</em>, 2006, which reveals Riley’s interest in French 19th century and Impressionist landscapes, with its vibrant, interlocking forms. <strong>Fiona Rae</strong>’s <em>Untitled (white, orange and yellow)</em>, 1995, is a whirling, dynamic abstract that nevertheless suggests natural and organic forms. Meanwhile <strong>Cecily Brown</strong> continues the pastoral theme with her <em>In, Out, Under, Through</em>, 2005, a cleverly abstracted homage to Manet’s <em>Déjeuner sur L’herbe</em>, 1862-63.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Other works in the exhibition look in the opposite direction: towards the interior and the metaphor of the self as interior. Doors literally mark the place of a threshold; symbolically they often refer to the passage between one state or another. In <strong>Antoni Tàpies</strong>’s <em>Tres Portes</em>, 1995, the three white doors are full of poetic power and suggestive potential. In <strong>Jonathan Lasker</strong>’s <em>An Image of the Self</em>, 2009, we read the abstract bodies immediately as figures – reflecting versions of the self in their differentiated repetition.</span></p> Thu, 31 May 2012 15:46:06 +0000 Caroline Jane Harris - arebyte gallery - May 5th, 2012 - June 15th, 2012 <p>PLAN.OPEN. Hidden/Exposed<br clear="all" />  <br clear="all" /> PLAN.OPEN is an innovative series of group exhibitions at the new Arbeit Gallery near London’s infamous Old Street. International and UK based emerging artists working in 2D and 3D are invited to submit work on a nominated topic, juried and curated by Arbeit representatives. The exhibitions are open to everyone with a low submission fee of £10 (£5 concession) to create equal opportunities.<br clear="all" /> <br clear="all" /> Following the success of the first PLAN.OPEN. Formation, the second show invites artists to explore and stretch the dichotomy between the Hidden, the Exposed and everything in-between in PLAN.OPEN. Hidden/Exposed.<br clear="all" /> <br clear="all" /> The Exhibition will be in early August 2012.<br clear="all" /> <br clear="all" /> The selection will be foremost based on the quality of the work entered, over previous experience or awards. For the second exhibition artists are invited to submit work on their interpretation of the theme of Hidden/Exposed.<br clear="all" /> <br clear="all" /> PLAN.OPEN will be awarding solo exhibitions to outstanding candidates, as well as feature pages on the website, newsletter and a low standard industry commission on sales for all exhibitors. Arbeit creates an affordable platform to showcase artwork and forge interdisciplinary relationships with other artists, as well as gaining exposure from the gallery’s involvement with East London’s First Thursdays.<b></b></p> <p><b>The deadline for submission is 5pm on 15/06/2012</b></p> <p><br clear="all" /> There is a £10 (£5 concession) administration fee for entering up to three works (three images).</p> <p>Please follow this link for terms and conditions and how to enter:</p> Sun, 10 Jun 2012 02:09:27 +0000 Group Show - Olyvia Fine Art - May 17th, 2012 - June 15th, 2012 <p>*A Chinese contemporary group show at its best</p> Fri, 11 May 2012 17:55:36 +0000 Max Clendinning - CHELSEA space - May 16th, 2012 - June 16th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>CHELSEA space</strong> presents a rare opportunity to see the painted plywood furniture of renowned architect and interior designer <strong>Max Clendinning</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Born in 1924 in County Armagh, Northern Ireland, Clendinning’s designs, painted in flat, occasionally bright, gloss colours are highly original, enigmatic, and difficult to classify and have been variously described as ‘Postmodernist’, ‘Pop’ or ‘Late Modern’. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Clendinning has an international reputation as an architect and designer and came to prominence in the 1960s with past clients including Christian Dior and designs sold through such established retailers as Liberty and Co. Often compared with the postmodernist Memphis Design group, Clendinning’s furniture combines glossy flat surfaces with dynamic curves, a playful almost toy-like quality, and intriguing design solutions. His innovative constructions are well made, but time consuming (and therefore expensive) to manufacture. As a result they did not survive the consumer driven economics of the late 20<sup>th</sup> Century and had all but disappeared from view except amongst the cognoscenti.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The pieces in the CHELSEA space exhibition come from the collection of musician and artist Nick Cash, former drummer with the cult band Fad Gadget and a determined Clendinning enthusiast, and from Max Clendinning’s own private collection. The show will include cut painted plywood furniture, a unique papier maché lamp, a series of maquettes, and some rare abstract paintings on paper from the early 1960’s.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This presentation of Clendinning’s designs also tacitly tells the story of Nick Cash’s obsessive journey to find and own furniture by Max Clendinning, the twists and turns of the second hand furniture market, and the series of accidental connections that led to their eventual meeting and their subsequent shared discourse around Max Clendinning’s life and work.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Since Nick Cash’s rare sighting and eventual purchase of his first Max Clendinning piece over twenty years ago, the world has slowly begun to catch up and there has been a recent renewed interest in  Clendinning’s furniture to the point that his work was recently acquired by the Victoria and Albert Museum and he is currently featured in the V&amp;A landmark exhibition British Design 1948 – 2012. It is thanks to Nick Cash’s foresight and Max Clendinning’s generosity that CHELSEA space can make this unique solo exhibition of one of the most innovative and original designers of a generation.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><br /></span></p> <p style="text-align: justify;"></p> <div class="ap-whitebox-body description"> <p style="text-align: justify;"><span style="font-size: small;">Exhibition of design and paintings by Architect and Interior designer Max Clendinning.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Chairs, drawings, photographs of interiors, maquettes of chairs and a unique lamp made from Papier Mache. Also included, six paintings that have never been seen.</span></p> <p style="text-align: justify;"><span style="font-size: small;">An intriguing collection put together by aficionado of Clendinnigs work, Nick Cash, drummer with cult electro punk band Fad Gadget.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A free publication can be obtained at the gallery charting Cash's search for Clendinnings work and his subsequent meeting with him. A timely solo show now Max is included in the V&amp; A's retrospective of design from post war period.</span></p> </div> <p style="text-align: justify;"><span style="font-size: small;"><br /></span></p> Mon, 04 Jun 2012 12:03:44 +0000 Glenn Sorensen - Corvi-Mora - April 26th, 2012 - June 16th, 2012 Fri, 20 Apr 2012 15:35:50 +0000 Sean Landers - Greengrassi - April 26th, 2012 - June 16th, 2012 Mon, 16 Apr 2012 15:50:17 +0000 Pavel Büchler - Max Wigram Gallery - May 11th, 2012 - June 16th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Private view: 10<sup>th</sup> May 2012, 6.30 – 8.30pm</span><br /><br /><span style="font-size: small;"><em>The world is full of objects, more or less interesting, I do not wish to add any more   <br /></em>Douglas Huebler, 1969</span><br /><br /><br /><span style="font-size: small;">Pavel Büchler has always insisted that his series of ‘Modern Painting’ is purely a matter of bringing something out of something rather than something out of nothing. <em>NO NEW WORK</em> at Max Wigram Gallery extends his approach to the found paintings he has used in the past. He maintains that instead of making something new he is indeed carrying on with something that already exists, playing with a notion that has much more to do with re-stating what is already there than minimalism.</span><br /><br /><span style="font-size: small;">Büchler is changing his relationship to the paintings he uses because this time he is dealing with the work of just one person, that of Eddie Wolfram, an enigmatic artist, critic and music producer, who moved to England from Germany in 1948. A large number of Wolfram’s paintings were shown at a posthumous exhibition in a Manchester Oxfam shop in 2010. Büchler will show one of the paintings stretched back to front, with the original artist’s signature on the back of the canvas becoming as viable an image as the reconvened paint on the others.</span><br /><br /><span style="font-size: small;">The exhibition title alludes directly to the fact that everything in the show has already been there; that instead of an expectation that new art work is in fact the very latest in artistic terms, this re-making of paintings, through a meticulous, labour intensive method bereft of aesthetic and artistic considerations, has much more to do with production, uniformity and manufacture. The six ‘Modern Paintings’ themselves, still nonetheless, carry the logic, colour and material of painting and function in the same way as any painting, and questionably much better than some.</span><br /><br /><br /><span style="font-size: small;"><strong>For further information please contact Sidonie Motion on 44(0)20 7495 4960 or<br /><br /><br /></strong><strong>Notes to Editors <br /><br /></strong>Pavel Büchler (b.1952 Prague, Czechoslovakia) is an artist, lecturer and writer, based in Manchester.  He is the winner of the 2009 Northern Art Prize and has had solo exhibitions at Contemporary Art Museum St. Louis, St. Louis, USA (2011) and Kunstparterre, Munich, Germany (2010) as well as multiple solo presentations at Max Wigram Gallery, London, Tanya Leighton, Berlin and Annex14, Bern. Other projects have included a large retrospective of his work at DOX, Prague (2010) and a group show Luc Tuymans: A Vision of Central Europe in Bruges, Belgium (2010). Büchler also exhibited as part of The Human Stain exhibition at Centro Gallego de Arte Contemporánea, Santiago de Compostela, Spain.</span></p> <p style="text-align: justify;"><span style="font-size: small;">To list only a selection of exhibitions that Büchler has participated in since 2011; Dark Matters, The Whitworth Art Gallery, Manchester, UK; After Silence, La Casa Encendida, Madrid, Spain (curated by Pedro Portellano); Under Destruction, Swiss Institute, New York, USA (curated by Chris Sharp and Gianni Jetzer); Image Projected Until It Vanishes, Museion, Bolzano, Italy (curated by Mihnea Mircan) and Les Marques Aveugles, Centre D’Art Contemporain, Geneva, Switzerland (curated by Katya García-Antón and Emilie Bujès). In 2012, Büchler will be exhibiting at Schinkel Pavillon, Berlin, Germany; Denver Museum of Contemporary Art, Denver, CO, USA, (curated by Andrea Andersson) and Critique and Crisis: Art in Europe Since 1945, 30th Council of Europe Art Exhibition, Deutsches Historisches Museum, Berlin, Germany (Curated by Prof. Doc. Monika Flacke and Henry Meyric Hughes)</span></p> Mon, 14 May 2012 18:00:24 +0000 - Warrington Museum and Art Gallery - March 10th, 2012 - June 16th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Celebrating the Queen's Diamond Jubilee with an exhibition of objects, memories, historical events and trivia from the last 60 years.</span></p> Tue, 06 Mar 2012 18:21:32 +0000 Alejandro Cesarco, Gianluca and Massimiliano De Serio, Aleksandar Jestrovic Jamesdin - Whitechapel Gallery - March 28th, 2012 - June 16th, 2012 <p style="text-align: justify;"><span style="font-size: small;">This season of artists’ films meditates on ideas of migration, displacement and journeying through individual stories informed by wider socio-economic and political conditions.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Alejandro Cesarco</strong>’s recent film <em>Zeide Isaac </em>(2009) features the artist’s grandfather<em> </em>performing a script written by the artist but based on his grandfather’s personal story as a Holocaust survivor, allowing for the<em> </em>gap between first-hand testimony and third<em> </em>generation re-telling to be explored.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>STANZE </em>(2010) by <strong>Gianluca and Massimiliano De Serio </strong>is based on the<strong> </strong>accounts of young political refugees from<strong> </strong>Somalia. Housed in a notorious former<strong> </strong>barracks in Turin, they re-visit through<strong></strong>storytelling and re-enactment Italy’s<strong></strong>colonial past in the Horn of Africa and its<strong></strong>ongoing repercussions on their own<strong> </strong>efforts to fi nd a ‘home’.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In <em>Gipsy Style </em>(2009), <strong>Aleksandar Jestrovic Jamesdin </strong>uses a low-tech video camera<strong> </strong>to record an 80 day ‘vacation’ during which<strong> </strong>the artist swims his way through public<strong> </strong>fountains in major European cities, playing<strong> </strong>on ideas of tourism and travel, and in <em>The</em><strong> </strong><em>Last Tango </em>(2011) records the moments in<strong> </strong>a plane just before take-off.</span></p> <p style="text-align: justify;"><span style="text-decoration: underline; font-size: small;">Admission free</span></p> <p style="text-align: justify;"><span style="font-size: small;">Artists’ Film International showcases international artists working with film, video and animation, selected by 12 partner organisations around the world. Alejandro Cesarco is selected by Fundaçion PROA, Buenos Aires, Argentina; Gianluca and Massimiliano De Serio by GAMeC, Bergamo, Italy and Aleksandar Jestrovic Jamesdin by Belgrade Cultural Centre, Belgrade, Serbia.</span></p> <p></p> Sun, 20 May 2012 17:10:42 +0000 - arebyte gallery - June 11th, 2012 - June 17th, 2012 <p><b>Re:Thinking the City</b><br /> <br /> <br /> The New Wolf is a mixed-media online magazine that explores new, topical and arcane subjects, existing to showcase writers, artists, musicians and filmmakers. As a part of that continuing endeavour, we are curating an exhibition of art and illustrated articles representing the best of the work we have published over the last eighteen months. The exhibition is presented in conjunction with Arbeit – an interdisciplinary gallery and workspace situated next to St Luke's, Old Street.<br /> <br /> <br /> <br /> From June 11 - 16 2012 – The New Wolf’s online forum is made physical. Re:Thinking the City features a selection of works featured in the Observatory, our online gallery of up-and-coming artists from around the world, as well as written articles with accompanying images from our illustrators, particularly John Mcloughlin, whose comic strip serial will also be on display.<br /> <br /> <br /> <br /> From the Observatory the incredible illustrated light boxes of Hogarth Brown will be present. Taken from his Trophallaxis collection, Hogarth explores the collective cultural stomach of humanity. Mark Smith’s idiosyncratic illustrations have made covers and columns for wide-ranging publications from the Guardian, the New Yorker, TimeOut, Penguin books to Nature. Fellow illustrator Rosie Gainsborough, also published in publications of repute, The New York Times and Oh Comely included. Beatrix Jourdan, a photographer based in Senegal, brings her subtle capturing of the customs and traditions of Senegalese people. And HIN, an illustrator and street artist, renowned for his distinctive contradiction art style that can be seen on walls and doorways across East London.<br /> <br /> <br /> <br /> The title of the exhibition reflects a theme of a reimagination of our city spaces - a need for greater integration of art and creativity in the urban milieu and an encouragement of a culture of participation. We hope to confirm an evening of short talks and discussion on these subjects within the week of the exhibition. News of this to follow.<br /> <br /> <br /><br /> <br /> <br /> Mon – Sat, 11am-6pm<br /> <br /> <br /> <a href="" rel="nofollow" target="_blank"></a><br /> <br /></p> Wed, 06 Jun 2012 18:50:12 +0000 Tomás Saraceno - Hayward Gallery - June 16th, 2012 - June 17th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Hayward Gallery Room 3 </span></p> <p style="text-align: justify;"><strong><span style="font-size: small;">Tomás Saraceno (b. 1973, San Miguel de Tucumán, Argentina)</span></strong><br /><span style="font-size: small;">In view of the predicaments facing planet Earth - the accelerating ecological crisis, overpopulation, the social and political effects of globalisation - Tomás Saraceno considers art as 'a space to imagine possible futures. It's a necessity to really think about how we want to live.' His experimental work encompasses utopian architectural proposals, inflatable sculptures and environmental installations that explore visionary ideas for a sustainable metropolis in the sky. These are manifested in his on-going project, Air-Port-City. Saraceno's clusters and constellations of transparent, balloon-like biospheres are inspired by structures and configurations found in nature - clouds, soap bubbles, spider webs, sponges - and his interdisciplinary interests and approaches have led him to collaborate with scientists at NASA as well as with engineers, chemist, botanists, astrophysicists and arachnologists. 'Utopia needs to include everyone and everything,' Saraceno believes. 'We all need the courage to dream, to share the responsibility of not only one, but many possible futures.' </span></p> <p style="text-align: justify;"><span style="font-size: small;"><img src="" /><br /></span></p> <p></p> Thu, 17 May 2012 18:43:32 +0000 - National Portrait Gallery - December 8th, 2011 - June 17th, 2012 <blockquote> <p style="text-align: justify;"><span style="font-size: small;">Will anyone, a hundred years from now, consent to live in the houses the Victorians built, travel by their roads and railways, value the furnishings they made to live among or esteem, except for curious or historical reasons, their prevalent art and the clipped and limited literature that satisfied their souls?’</span></p> <p style="text-align: justify;"><span style="font-size: small;">H.G. Wells, <em>The New Machiavelli</em>, 1911</span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;">Writing a hundred years ago, Wells presaged the hostility to all things Victorian that dominated the first part of the twentieth century.  But his longer term prophecy has of course proved incorrect.  The national infrastructure created by the Victorians has endured to a remarkable degree while, since the 1960s, Victorian art and literature has enjoyed a revival. </span></p> <p style="text-align: justify;"><span style="font-size: small;">This display examines four examples of prominent Victorians inspiring or influencing four well-known individuals of today.  They range across different walks of life.  The novelist A.S. Byatt’s lifelong admiration for Robert Browning provided her with the model for the fictitious Victorian poet in her novel <em>Possession</em> while Bill Morris identified a fellow black political leader in the Chartist William Cuffay.  For Richard Dawkins Charles Darwin’s theory of natural selection was ‘arguably the most powerful idea ever’.  In the visual arts Andrew Lloyd Webber’s precocious enthusiasm for Victorian painting at a time when it was still unfashionable led him to form a major collection in adult life with the work of Edward Burne-Jones at its heart.</span></p> Sun, 05 Feb 2012 17:13:38 +0000 - Royal Academy of Arts - February 4th, 2012 - June 17th, 2012 <p style="text-align: justify;"><span style="font-size: small;">350 years after his birth, the architecture of Nicholas Hawksmoor (1662–1736) continues to inspire and provoke the imagination. This exhibition brings Hawksmoor’s legacy to life by juxtaposing a range of images with quotes from architects, writers and critics, all relating to or inspired by Hawksmoor and his work. Represented are a diverse a range of figures including Sir John Soane RA, Charles Dickens, Peter Ackroyd, John Piper, Alan Moore and Leon Kossoff, along with film interviews with architect <strong>Ptolemy Dean</strong>, novelist <strong>Philip Pullman</strong> and poet <strong>Iain Sinclair</strong>, to dramatically bring to light the imaginative legacy of this most original architect.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Opening times</strong></span><br /><span style="font-size: small;">10am–6pm every day except Friday and Saturday</span><br /><span style="font-size: small;">10am–10pm Friday and Saturday</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>In the Architecture Space</strong></span></p> Mon, 12 Mar 2012 16:45:47 +0000 - Wellcome Collection - March 29th, 2012 - June 17th, 2012 <p style="text-align: justify;" class="NoSpacing"><span style="font-size: small;">Our major new free exhibition seeks to explore what humans have done to brains in the name of medical intervention, scientific enquiry, cultural meaning and technological change.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Featuring over 150 artefacts including real brains, artworks, manuscripts, artefacts, videos  and photography, 'Brains' follows the long quest to manipulate and decipher the most unique and mysterious of human organs, whose secrets continue to confound and inspire.</span></p> <p style="text-align: justify;" class="NoSpacing"><span style="font-size: small;">'Brains' asks not what brains do to us, but what we have done to brains, focusing on the bodily presence of the organ rather than investigating the neuroscience of the mind.</span></p> <p style="text-align: justify;" class="NoSpacing"><span style="font-size: small;">The quest to decipher and manipulate the brain has been long and often inconclusive, partly because its tissue is quick to decay and difficult to dissect. More than 2000 years ago, the Athenian philosopher Aristotle thought it less important than the heart and liver. By the Middle Ages, however, the doctrine that the brain was the seat of the memory and intellect was widespread among Islamic and Christian scholars.</span></p> <p style="text-align: justify;" class="NoSpacing"><span style="font-size: small;">The development of anatomy in Europe from the 16th century onwards enabled great advances in the description of visible brain structures. Brains, especially of famous or notorious individuals, were later collected, measured and preserved in the search for the material basis of genius, depravity and human variation. Today, equipped with powerful new visual technologies, the neurosciences again hold out the prospect of an objective account of consciousness – the soul or mind as nothing but intricately connected flesh.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Presented in four sections, Measuring/Classifying, Mapping/Modelling, Cutting/Treating and Giving/Taking, the exhibition explores attempts to survey the brain, including early microscopic staining and dubious phrenological and anthropometric practices, the images and models used to represent the brain in art and science, the history of surgical intervention, and the collecting or harvesting of brains for research.</span></p> <p style="text-align: justify;" class="NoSpacing"><span style="font-size: small;">The brain contains 100 billion nerve cells and some 100 trillion synapses or neural connections. 'Brains' takes a journey around the spectacular form, structure and condensed volume of this organ and the ambiguous emotions and ethical difficulties associated with the manipulation and dissection of the delicate substance of consciousness.</span></p> Fri, 13 Apr 2012 23:00:52 +0000 Gillian Wearing - Whitechapel Gallery - March 28th, 2012 - June 17th, 2012 <p style="text-align: justify;"><span style="font-size: small;">The films and photographs of British artist <strong>Gillian Wearing </strong>(b. Birmingham, 1963) explore our public personas and private lives. This Turner Prize winner’s remarkable works draw on fly-on-the-wall documentaries, reality TV and the techniques of theatre, to explore how we present ourselves to the world.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Wearing’s portraits and mini-dramas reveal a paradox, given the chance to dress up, put on a mask or act out a role, the liberation of anonymity allows us to be more truly ourselves.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition begins with the artist herself, dancing in a shopping mall, blissfully unaware of her bemused audience. The idea of performance continues with works including Wearing’s 1997 masterpiece, <em>10–16</em>. Adults lip synch the voices and act out the physical tics of seven children in a captivating  film which moves from the breathless excitement of a ten year old to the existential angst of an adolescent.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Other highlights include Wearing’s iconic 1992 series, <em>Signs that say what you want them</em> <em>to say, and not Signs that say what someone</em> <em>else wants you to say </em>where strangers are offered paper and pen to communicate their message. In the upper galleries we enter the inner world of subjectivity. An advert - <em>Confess All On Video. Don’t Worry, You Will Be</em> <em>In Disguise. Intrigued? Call Gillian… </em>(1994) attracted a series of disturbing disclosures. Wearing jettisons her own identity to adopt the guise of family members or artists such as <strong>Diane Arbus </strong>or <strong>Andy Warhol</strong>, so revealing her own background and influence.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This comprehensive survey, which also premieres new films and sculptures, shows how Wearing is both political - often focusing on the dispossessed or the traumatised – and poetic, finding the extraordinary in us all.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Tickets: </strong></span><br /><span style="font-size: small;"> £9.50/7.50 concessions (incl. Gift Aid donation)</span><br /><span style="font-size: small;"> £8.50/6.50 (excl. Gift Aid)</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Book Now</strong>: </span><br /><span style="font-size: small;"> T +44 (0)844 412 4309</span><br /><span style="font-size: small;"> <a href="">Book tickets online</a> (no booking fee)</span></p> <p style="text-align: justify;"><span style="font-size: small;">Free admission for you and a friend with <a href="">Whitechapel Gallery Membership</a>.</span><br /><span style="font-size: small;"> Free for under 16s.Free for local residents on 24 April and 29 May.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Dawn to dusk opening:</strong></span><br /><span style="font-size: small;"> Friday 15 June, 8am–Midnight.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Late night openings:</strong></span><br /><span style="font-size: small;"> Every Thursday and Friday until 9pm.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition is supported by a fully illustrated catalogue, with essays by David Deamer, Daniel F. Herrmann, Doris Krystof and Bernhart Schwenk. Special exhibition price £24.95. With thanks to Maureen Paley, London. Organised with Kunstsammlung Nordrhein-Westfalen, Düsseldorf. Touring to Pinakothek der Moderne, Munich. Exhibition supported by Vicky Hughes and John Smith.</span></p> <p></p> <h1 style="text-align: justify;"><span style="font-size: small;">Galleries 1, 8 &amp; Gallery 9</span></h1> Tue, 24 Jul 2012 18:33:37 +0000 Marcin Maciejowski - Wilkinson Gallery - April 27th, 2012 - June 17th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><b>Wilkinson Gallery</b> (Lower Gallery) is pleased to present its second solo exhibition with Polish artist <b>Marcin Maciejowski.</b>  For this exhibition,  Maciejowski has developed a group of paintings that continue to deal with the social environment of the art world and society at large,  and subsequent questions associated with his role within it.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Maciejowski  is  a great observer of modern  life.  Transforming the  vernacularisms of our  image-economy into paintings, he manages  to decode and interpret the complexities of post-capitalist society’s medias whilst also playfully satirising the medium of paint itself.</span></p> <p style="text-align: justify;"><span style="font-size: small;">He appropriates images from newspapers, magazines and the Internet, re-fashioning the unspectacular, jocular and  otherwise forgotten images of our time into realist paintings. His paintings appropriate the ‘fast’ imagery associated with photography but pause the process of looking through the ‘slow’ analogue process of painting. He combines a crude flashiness reminiscent of comics with a meticulous technique, a mechanism that serves to undress the precocity of the European avant-garde and painting at large. </span></p> <p style="text-align: justify;"><span style="font-size: small;">There is a sculptural quality to these pictures that is surprising considering the true physical flatness of  the  paintings.  The combination of blurring and hard lines, which achieves this, is however one of Maciejowski’s trademarks. The underlying tone of satire that exists in these paintings is perhaps most obviously aligned with societal issues but can also be seen as a mocking gesture at painting itself. Take for example <i>Could Renoir really be wrong?,</i> 2011, the smooth texture and mild colour transitions within this painting, whose monochromatic tone is prototypical of Maciejowski’s ‘historical’ canvases, affords the painting the character of an aesthetic object for contemplation. But this ornamentalism  is  faux  and  emblematic  of the artist’s  tongue-in-cheek wit and concerns with self-aggrandisement, the formation of canons and ultimately the myth of the artist in European culture, which Maciejowski’s Renoir seems to be contemplating himself. The ideogram and title of the painting is a wry and direct product of Maciejowski’s brevity and ultimate interest in the mechanisms of ‘truth’ and preconception within the history of art. Oddly then, we are also left to ponder,  with the seriousness we would afford an old master, the trivialities of contemporary celebrity in a work like <i>Seated Bather</i>, 2012.  Maciejowski’s technique manages to calm the disorder of our image overload but simultaneously highlight  the  pomposity,  but  also power, of painting whilst satirising the vacuity of so much contemporary imagery.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Maciejowski doesn’t bore us with the usual tropes associated with the relevance of painting today, he is firmly aware of the legitimacy of other image producing mechanisms. Indeed the sources of his images – comics, posters, computer games, his own snapshots, the internet –  are all  mediums that belittle the relevancy of the  individual.  Subsequently, Maciejowski  highlights his own situation as an artist in the contemporary world and his relationship between his practice and other equally valid methods of image production. By thus believing in the ability of painting to reflect on other methods of depiction, he makes a virtue of the stillness of the medium itself.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The artist’s  hybridisation  of  mass  culture,  high  art  and  images  of  the  everyday  engages  a  critical  revelation  of  the  complex interactions existing within our image-economy and the subjective mechanisms of image  making.  Likewise,  his  laconic  narratives and paired down aesthetic offer us an antidote to the over proliferation of image and information and provide a space for subjective interpretation. The resultant images are satirical documents of our time as defined by Maciejowski’s own cynical brand of humour and his vision of a society progressively oblivious. In many ways we can understand Maciejowski  as  a  modern   day  allegorist; understanding and describing a complex and decentralized world through its most banal and simple events. Marcin Maciejowski was born in 1974 in Babice near Krakow, Poland where he lives and works. In 1996 he founded Grupa Ladnie with Rafal Bujnowski, Marek Firek, Wilhelm Sasnal, and Josef Tomczyk Kurosaw. Recent important solo exhibitions include a retrospective at  The National Museum in Krakow, Poland ‘Tak Jest’ (2010) and ‘Are you really from the art world?’ at Kunstforum Ostdeutsche Galerie, Regensburg (2010). Recent group exhibitions include ‘History  in  Art’  at  MOCAK ,  Krakow(2011); ‘The Power of Fantasy: Modern and Contemporary Art from Poland’ at Centre for Fine Arts, Brussels; ‘Schism,  Pol ish  Art of the 1990s’ at Centre for Contemporary Art, Warsaw (2009)  and  ‘The  Ma k ing  of  Art’  at  Schir n  Kunsthalle ,   Frankfurt (2009). He is also inc luded  in  ‘Vitamin  P2’ publi shed by  Phaidon  (2011). </span></p> Tue, 24 Jul 2012 18:33:23 +0000