ArtSlant - Openings & events en-us 40 Ellen von Unwerth - Michael Hoppen Contemporary - June 20th, 2012 6:30 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Michael Hoppen Gallery</strong> is delighted to present an exclusive, new body of work from <strong>Ellen von Unwerth</strong> entitled "<em>Do Not Disturb!</em>". Straight from the camera to the wall, this latest series of photographs has all the sexy motifs of Ellen's signature style. The Madonna Inn, LA, sets the scene for these highly stylised and richly coloured images of women, who range from the delicate coquette to robust dominatrix. Each of the rooms in this renowned LA hotel features imaginative and fantastical interior design, as individual as the characters that occupy them, lending to the seductive fantasy narrative of a wild weekend away. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Ellen von Unwerth has become one of the world's most notable fashion photographers. Her provocative and playful images of models, music stars and movie icons have lead to her own iconic status as a photographer with a unique eye. Adored by the fashion industry, Ellen is listed as one of Time Magazine's 100 Fashion Icons and has photographed major campaigns for designers such as Guess, Dior, Lacoste, Alberta Ferretti; as well as album covers for Rihanna, Christina Aguilera and Janet Jackson; and fashion spreads for major publications such as Vogue, ID and Vanity Fair.</span></p> <p style="text-align: justify;"><span style="font-size: small;">All the work exhibited will be limited edition prints for sale.</span></p> Wed, 16 May 2012 16:32:06 +0000 John Currin - Sadie Coles HQ - South Audley St - June 20th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">In his latest show at Sadie Coles HQ, <strong>John Currin</strong> presents a new series of paintings centred on the female nude. These latest works combine the explicitness of his pornographic paintings of the last five years with a new level of psychological realism. In contrast to those works, which drew upon 1970s magazines, the majority were painted directly from life in the artist’s studio. They show reclining women who appear ambiguously caught between the art-historical trope of the female nude and an appearance of earthy naturalism.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Paradigms of ideal womanhood (milky skin, alluring smiles) run up against incongruous details such as underarm hair and overabundant flesh. Otiose strings of pearls and expanses of lustrous fabric offset the ephemeral bodies in the fashion of <em>memento mori</em>. At the same time, there is a knowing parallel between the awkward artifice of the women’s postures and nakedness, and the phoney luxury of their accoutrements and surroundings.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Reflecting these shifts between the generic and the individualised, Currin has punctuated the anonymous series with a small portrait of his wife. But as with other models, her expression conveys an air of ethereal inscrutability. The women’s smiles are frequently as enigmatic as the timeless ‘archaic smiles’ of Greek statuary, while elsewhere their expressions are slipping into barely-concealed grimaces – as if directed back at the notional prurience and voyeurism of the viewer.</span></p> <p style="text-align: justify;"><span style="font-size: small;">An element of caricature recurs in many works, linking them with the faintly grotesque personae of Currin’s earlier output. In a large-scale picture – a tableau, in contrast to the single portraits which dominate the exhibition – a nude woman sits flanked by suited, leering men and a half-naked female companion. Through this compressed narrative, which suggests a modern-day reworking of the chauvinistic scene in Manet’s <em>Dejeuner sur l’herbe</em> (1863), the artist throws light on the sordid underbelly of contemporary American society.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Currin has spoken of pornography in art as a “cliché of transgression”. The transmutation of ‘rude’ pornography into the ‘polite’ idiom of old-masterly painting is furthermore a foil for an underlying element of subversion in his works – their strange dualism of ‘bad’ drawing and virtuoso painting. His figures’ elongated limbs and awkward postures introduce a note of expressionism – echoing the more overt distortions of Otto Dix or George Grosz. In one painting, a figure is curled almost into the posture of a praying mantis on top of a bed of green plush.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Currin’s new body of work responds to the grand sweep of art history in a dual spirit of caricature and veneration, playing upon the conceits and absurdities of painting at the same time as affirming its vitality. Through his often-explicit content, he unravels the elements of sexuality or tawdriness which lurk implicitly within many masterpieces of the Renaissance and after. A host of unresolved tensions – virtuosic painting and awry drawing; elegance and vulgarity; sincerity and irony – are at work in Currin’s latest works. Beneath their surface bravura, the canvases re-examine some of the enduring and vital contradictions of western painting.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>John Currin</strong> was born in Boulder, Colorado, in 1962 and obtained a B.F.A. from Carnegie Mellon University (1984) followed by an M.F.A. from Yale University (1986). He lives and works in New York. He has exhibited internationally with recent major exhibitions including those at DHC / ART Foundation for Contemporary Art, Montreal, Canada (2011); and in 2003 a mid-career survey of his painting which travelled between the Serpentine Gallery, London, the Whitney Museum of American Art, New York, and the Museum of Contemporary Art, Chicago. The same year, a travelling exhibition of drawings was organised by the Des Moines Art Center. His work has also been included in group exhibitions including <em>Absentee Landlord</em>, Walker Art Center, Minneapolis, USA (2012); <em>Celebrating the Golden Age</em>, Frans Hals Museum, Amsterdam (2011); and <em>What is Painting?- Contemporary Art from the Collection</em>, Museum of Modern Art, New York (2007). A major monograph on John Currin was published by Rizzoli in 2006, and a book on his recent work was published in 2011 by Gagosian Gallery.</span></p> Tue, 12 Jun 2012 02:33:35 +0000 Stephen Willats - South London Gallery - June 20th, 2012 7:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">RGAP publishers invite you to the launch of Stephen Willats' new book,<em> Artwork as Social Model: A Manual of Questions and Propositions</em>, which includes texts, interviews and artwork from the last five decades of his career. <em>Artwork as Social Model</em> describes Willats' radical approach to making art that challenges the overt determinism of our surrounding social infrastructure, from the remote architecture of so many of the buildings that form our daily environment to the nature of the art museum and gallery.</span></p> Thu, 10 May 2012 13:12:45 +0000 Sarah Sze - Victoria Miro Gallery - June 20th, 2012 10:00 AM - 6:00 PM <p style="text-align: justify;"><span size="2" style="font-size: small;"><strong>Victoria Miro</strong> is delighted to announce an exhibition of new work by <strong>Sarah Sze</strong>, her second solo show with the gallery. Characteristic of Sze's expansive practice, the exhibition will comprise several interrelated installations - conceptual constellations of everyday objects.<br /><br />Over both floors, Sze's latest body of work re-imagines the gallery as a kind of laboratory where processes of observation, examination, and exploration are in progress. In the lower gallery, a series of discrete works serve as accumulated evidence of a project - each sculpture it's own portable, temporary site, a complex system marking a location with an individual, precisely choreographed gesture. In the upper gallery, from across a darkened expanse a single, illuminated large-scale installation becomes an archaeology of its own: an elaborate concave assemblage seemingly captured in a moment of either construction or ruin. <br /><br />Preoccupied with conceptions of how we continually locate ourselves within space, Sze's works unfold as investigations of the psychological, and even emotional, understandings of our environment. We are always finding ourselves in space, oscillating between orientation and disorientation, and with each location we experience accompanies an evolving history. <br /><br />In the works, references to instruments of measure and mapping are drawn, as are the worlds they strive to ascertain. The act of looking prompted by Sze's intricately constructed sculptures and the detail of her materials is underscored here as a unique, yet shared, encounter with place: a moment of discovery, a remnant of an experience.<br /><br />Biographical information: Sarah Sze will represent the United States of America at the 55th Venice Biennale in 2013.  Sze has exhibited internationally, with solo presentations at MUDAM, Luxembourg (2012); Asia Society, New York (2011-2012); Musée d'Art Moderne et d'Art Contemporain, Nice, France (2011); Baltic Centre for Contemporary Art, Newcastle, UK (2009); Maison Hermès Forum, Tokyo (2008); Malmö Konsthall, Sweden, (2006); Whitney Museum of American Art, New York, (2003); Walker Art Center, Minneapolis (2002); Fondation Cartier in Paris (1999); Museum of Contemporary Art, Chicago (1999); and ICA London (1998). Recent permanent installations include Still Life with Landscape (Model for a Habitat), The High Line, New York and The Distances Where Magnets Pull, University of California, San Francisco, both (2011).  Sarah Sze was born in Boston in 1969 and currently lives and works in New York.</span></p> Sat, 16 Jun 2012 18:13:12 +0000 Leia Bevilacqua - Corvi-Mora - June 21st, 2012 6:30 PM - 8:30 PM Wed, 13 Jun 2012 16:25:02 +0000 - Freud Museum London - June 21st, 2012 7:00 PM - 8:00 PM <h4 style="text-align: justify;"><span style="font-size: small;">Lisa Appignanesi in conversation with Susie Orbach</span></h4> <p style="text-align: justify;"><span style="font-size: small;"><br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">What can psychoanalysis tell us about love? In her recent book, <em><strong>All About Love: Anatomy of an Unruly Emotion</strong></em>, author and Chair of the Freud Museum, Lisa Appignanesi grapples with this mysterious and oft-ungovernable emotion in its many manifestations from passion, to parenting, to friendship. With psychoanalyst Susie Orbach, author of the ground-breaking <em>What Do Women Want </em>and <em>The Impossibility of Sex</em>, she teases out some of the muddles and meanings of love in our lives and times - in this special conversation for the Freud Museum.\</span></p> <p style="text-align: justify;"><span style="font-size: small;"><br /></span></p> <p>£10, £7 concessions or <a href="">Members of the Museum</a></p> <p>Book online <a href="">here</a></p> <p><strong>Advance booking strongly recommended</strong></p> <p>For further information contact <a href=""> </a>or +44 (0)20 7435 2002</p> <p><strong>Ticket cancellation policy:</strong> Please note we are unable to refund tickets, or transfer the booking to another talk, less than 48 hours before the event.</p> <p></p> <p style="text-align: justify;"><span style="font-size: small;"><br /></span></p> Thu, 17 May 2012 17:32:03 +0000 Ellen Gronemeyer - Greengrassi - June 21st, 2012 6:30 PM - 8:30 PM Wed, 20 Jun 2012 15:50:05 +0000 Richard Deacon - Lisson Gallery - June 21st, 2012 12:30 PM - 1:30 PM <p style="text-align: justify;"><span face="Arial, Verdana, sans-serif" color="#111111" size="3" style="color: #111111; font-family: Arial, Verdana, sans-serif; font-size: small;">Lisson Gallery is proud to present a programme of occasional free lunchtime talks that offer a unique opportunity to hear Lisson Gallery artists, cultural figures and gallery staff discuss art and related topics. <br /><br />The sixteenth in the series will be a conversation between artist, Richard Deacon, curator, writer and editor, Teresa Gleadowe and Lisson Gallery’s Curatorial Director, Greg Hilty, about works in Deacon's current solo show at Lisson Gallery, Association.<br /><br />Each talk gives the opportunity to discover first-hand the thoughts, processes and insights behind the artists' work. Each lecture is free but booking is essential as there are a limited number of places available. <br /><br />Throughout his practice, Deacon has employed diverse materials including wood, aluminium, plastic, steel, ceramic, glass, rubber, resin, polycarbonate, leather and cloth: exploiting their potential to create complex and challenging forms. It is a radical vocabulary that encompasses the organic, amorphous, geometric, rectilinear, intimate and monumental. Along with his continued interest in material exploration, Association illustrates Deacon’s fascination with the relationship of the individual component to the structural whole and new works in ceramic, aluminium and steel evidence this investigation. <br /><br />Born in Wales in 1949, Richard Deacon’s first one-man show was held in 1978 at The Gallery, Brixton, London. This led to a string of solo exhibitions, both nationally and internationally, notably at the Riverside Studios in 1984, Tate Gallery, London, in 1985, the Whitechapel Art Gallery, London, in 1988, and at Tate Gallery Liverpool in 1999. He was one of three artists representing Wales at the 52nd Bienniale of Art in Venice. Deacon has participated in many key group exhibitions throughout the world. A major retrospective of his work The Missing Part was shown at the Museum of Contemporary Art in Strasbourg in  2010, travelling to the Sprengl Museum In Hanover in 2011. Tate Britain will mount a major retrospective in 2014. Richard Deacon won the Turner Prize,  Tate Gallery, in 1987 and the Robert Jakobsen Prize, Museum Wurth, Kunzelsau, Germany in 1995. In 1997 he was awarded Chevalier des Arts et des Lettres, France, and in 1998 was elected a Royal Academician. Deacon was made CBE in 1999. In 2005 the University of Leicester awarded him an honorary doctorate. He was elected a member of the Akademie der Kunst in Berlin in 2010. He lives and works in London. <br /><br />Richard Deacon 'In Conversation' with Teresa Gleadowe and Greg Hilty<br /><br />Thursday 21st June<br />12.30 – 13.30<br /><br />29 Bell Street, London NW1 5DA<br />Free admission. Booking is essential.<br /><a href="" target="_blank">RSVP</a><br /><br />Teresa Gleadowe is a curator, writer and editor. She worked within the Visual Arts Department of the British Council from 1977 to 1989 when she was appointed Head of Information at the Tate Gallery. In 1992 she joined the academic staff of the Royal College of Art to develop and direct the first UK-based full-time MA in Curating Contemporary Art, jointly initiated by the Royal College of Art and the Arts Council.<br /><br />Since 2006 she has worked freelance undertaking roles including, Research Consultant and Series Editor for the Exhibition Histories book series published by Afterall; Lecturer on curatorial programmes at California College of the Arts, San Francisco; de Appel, Amsterdam; the London Consortium MA Film Curating; the MA Curating at Chelsea College of Art and Design and on the Curatorial Intensive run by Independent Curators International in New York in July 2011. She has also advised on curating programmes at the Courtauld Institute, University of East London and Norwich University College of the Arts.<br /><br />Teresa Gleadowe is also a Chair of Nottingham Contemporary; a member of the Advisory Board of Peer; a Trustee of Paris Calling and a member of the ICA’s Artists Advisory Committee. She has undertaken consultancies for the Whitechapel Art Gallery, Ikon Gallery, Arts Council South West, Arts Council London and The British Council.</span></p> Fri, 18 May 2012 06:03:12 +0000 Gerard Rancinan - Londonewcastle Project Space - June 21st, 2012 6:30 PM - 8:30 PM <div class="text_exposed_root text_exposed" id="id_4fde104991b401e22017430">To celebrate the unveiling of the final work in Gérard Rancinan and Caroline Gaudriault's 'Wonderful World' (shot entirely on-site at the gallery during the exhibition) The Future Tense invites you to a dynamic Q&amp;A panel session discussing the current state of play in fin...e art photography.<br /> <br /> Chaired by Sue Steward, photography critic for the Evening Standard, the panel will also include Sebastien Montabonel (Phillips de Pury / Alaska Editions), photographer Gérard Rancinan and author / journalist, Caroline Gaudriault.<br /> <br /> The esteemed panel of industry experts will cover all aspects of the rise and rise of contemporary fine art photography, including opinions on future trends, before fielding questions from the audience.<br /> <br /> Immediately after the panel session, Gérard Rancinan will introduce the final work from the Wonderful World series, thereby concluding the Trilogy of the Moderns.<br /> </div> Sat, 22 Feb 2014 16:01:29 +0000 Ruth Beale, Michelle Deignan, Ian Hamilton Finlay, Alexander & Susan Maris, Annika Ström - Maria Stenfors - June 21st, 2012 6:00 PM - 9:00 PM <p>Not in the Corners is a group exhibition featuring film, sculpture, drawing, painting and print. This exhibition presents artworks that address the inseparability of the personal from the political, exploring the ground between the private act of artistic creation and its collective resonance in the public realm.<br /> <br /><b>Michelle Deignan</b> presents new film <i>Her Fanciful Digression</i> (2012). The film’s narrative questions the supposed singularity of artists working within the Romantic tradition, placing emphasis upon relationships between painters and political thinkers. <i>Her Fanciful Digression</i> re-visits the shared, often multi-disciplinary form of collective creativity taking place at this time. <br /> <br />Inlaid with leaves, <b>Ian Hamilton Finlay’s</b> <i>Panzer MK IV: Homage to Poussin</i> (1976) alludes to the poet and artist’s enduring interest in the complex, often contradictory relationship between nature and culture. The motif of the tank is used throughout Hamilton Finlay’s work, often seen in his gardens - sites viewed by the artist as provocative of poetic, philosophic and political thought.<br /> <br /><b>Ruth Beale</b> presents diptych <i>Acid Utopia / An Epoch of Rest</i> (2011). These are re-workings of a nineteenth century frontispiece and a date stamp page, from two library copies of William Morris’ 1890 book ‘News from Nowhere’. Rendered in psychedelic colours, Beale’s re-imagining of Morris’ tome alludes to moments of personal release and hallucination. Also referencing an intimate relationship to literature is <b>Alexander &amp; Susan Maris</b>’ two panel work, <i>Extracts from the TRUTH IN PAINTING </i>(1990-1993 (revised 2006)). One canvas has been painted with a mix of acrylic medium and book ash from an unread volume of Jacques Derrida’s ‘The Truth in Painting’. The second is similarly painted, yet using the ash of a read volume.<br /> <br />The solipsistic artistic confessions of <b>Annika Ström</b> resonate beyond their seemingly personal parameters. Avoiding parody and direct critique, their homely appeal engages a shared response by evoking moments of private empathy.</p> Wed, 06 Jun 2012 14:50:56 +0000 - National Maritime Museum - June 21st, 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 17:05:33 +0000 - National Portrait Gallery - June 21st, 2012 10:00 AM - 6:00 PM <div class="contentColumn"> <p style="text-align: justify;"><span style="font-size: small;"><strong>BP Portrait Award 2012 and BP Travel Award 2011</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">The BP Portrait Award showcases the very best in contemporary portrait painting from around the world. For thirty-three years the exhibition has presented outstanding and innovative new work in a variety of styles and approaches, and it continues to be a highlight of the annual art calendar.</span></p> <p style="text-align: justify;"><span style="font-size: small;">From informal and personal studies of friends and family, to revealing paintings of famous faces, this year’s exhibition features fifty-five works selected from 2,187 international entries. These include the four shortlisted artists – Aleah Chapin for <em>Auntie</em>, Alan Coulson for <em>Richie Culver</em>, Ignacio Estudillo for <em>El abuelo (Agustín Estudillo)</em> and Jamie Routley for <em>Tony Lewis</em> – as well as the work of the BP Travel Award 2011 winner Jo Fraser.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For the third year the exhibition will be complemented by the <em>BP Portrait Award: </em><em>Next Generation</em> project. Inspired by the London 2012 Olympic and Paralympic Games, a series of workshops and online resources offer young people new opportunities for learning and creativity through portraiture. For more on how to get involved please <a href="" target="_blank">click here</a>.</span></p> <div class="imageOptions"></div> </div> Fri, 18 May 2012 17:18:04 +0000 - National Portrait Gallery - June 21st, 2012 7:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Journalist Andrew Marr and historian Sarah Bradford examine the Queen's sixty year reign from personal, public and political angles.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Part of <em>The Queen: Art and Image</em> exhibition</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tickets: £5 (£4 concessions and Gallery Supporters)</span><br /><span style="font-size: small;"> Book <a href="">online</a> or call 020 7306 0055</span></p> Fri, 18 May 2012 17:48:51 +0000 - Parasol unit foundation for contemporary art - June 21st, 2012 7:00 PM - 8:00 PM <p style="text-align: justify;" class="bodytext">David Campany will reflect on the moving image in the picture gallery, in the context of David Claerbout: <em>The time that remains</em>, Parasol unit’s current exhibition. What relations are there between beholding pictures and beholding 'motion pictures'? Can pictures move and still be pictures? David Campany is a writer, curator and  artist. His books include Art and Photography (Phaidon, 2003), Photography and Cinema (Reaktion, 2008) and Jeff Wall: Picture for Women (Afterall/MIT, 2011). He writes for Frieze, Source and Aperture. In 2010 he co-curated Anonymes: unnamed America in Photography and Film for Le Bal, Paris.</p> <p style="text-align: justify;" class="bodytext"><br />Limited places, booking recommended</p> <p style="text-align: justify;" class="bodytext">£5 Full Price</p> <p style="text-align: justify;"></p> <form action="" method="post" target="paypal" style="padding-left: 10px;"><input name="submit" src="" alt="Pay Now" border="0" type="image" /></form> <p class="bodytext">£4 Concessions</p> <p></p> <form action="" method="post" target="paypal" style="padding-left: 10px;"><input name="submit" src="" alt="Pay Now" border="0" type="image" /></form> Fri, 18 May 2012 18:08:36 +0000 Anita Dube, Chitra Ganesh, Mithu Sen, Nida Abidi and Jaishri Abichandani - Rossi & Rossi London - June 21st, 2012 6:00 PM - 8:00 PM <p style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 10px; text-align: -webkit-auto;">Rossi &amp; Rossi is pleased to present <strong><em>Stargazing</em></strong> – an exhibition bringing to London a discriminating body of works by five prolific Indian women artists: <strong>Anita Dube</strong>, <strong>Chitra Ganesh</strong>, <strong>Mithu Sen</strong>, <strong>Nida Abidi</strong> and <strong>Jaishri Abichandani</strong>. Provocatively addressing issues of gender, race and power, Stargazing is a fantastical contemplation on hidden realities at the personal and cosmic level. The exhibition includes installation, sculpture, drawings and prints, with new works created for the show and a full-colour catalogue featuring a critical essay by <em>Stargazing’s</em> curator Jaishri Abichandani.</p> <p style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 10px; text-align: -webkit-auto;">Applying a Hindu tantric lens, the artists approach their work with a sensual, subversive and dark femininity akin to the energy of Kali, the fierce goddess associated with empowerment. </p> <p style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 10px; text-align: -webkit-auto;">With a hint of black magic and science fiction, <em>Stargazing’s</em> works reverberate between the mortal and mythic, seductive and repulsive, personal and political, interrogating the body, transformation and fantasies of power.</p> Mon, 28 May 2012 16:13:36 +0000 Rudolf Stingel - Sadie Coles HQ (off-site) - June 21st, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Rudolf Stingel’s 2012 exhibition with Sadie Coles HQ takes place in a Grade II-listed Georgian townhouse whose interior looks back to French palatial architecture of the Renaissance. In the chandeliered first-floor ballroom, Stingel has installed a specially-designed carpet which spreads throughout the space. This site-specific installation is the latest in a twenty-year series in which the artist uses expansive carpets to dramatise and collapse the relationship between painting and its architectural contexts – for instance an orange plush carpet which covered a wall at the 1993 Venice Biennale, or <em>PLAN B</em> (2004), a kitsch floral design filling Grand Central Station in Manhattan.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For this exhibition, Stingel has reproduced a terracotta-coloured oriental design which chimes with – and magnifies – the opulence of the room’s tall windows, gold cornicing and chandeliers, while at the same time recalling the vast carpets of mosques. Yet its mechanical stitching and fitted format are at strange odds with its antique pattern, which evokes hand-woven and portable textiles. Moreover, the carpet’s granular appearance and fragmentary scheme make clear that it has been reproduced from composite digital images – as in a similar installation at Berlin’s Neue Nationalgalerie in 2010, sections have been repeated and variously magnified, and often end abruptly at the walls with no apparent concession to the proportions of the space.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Stingel therefore obscures any sense of an ‘original’ while retaining an unlikely aura of romantic opulence, which stands in contrast to the emptiness of the exhibition space. Like the artist’s room-sized installations of Celotex insulation board which visitors are invited to inscribe with graffiti, Stingel’s carpet introduces a participatory dimension to the exhibition. Visitors are inveigled into a horizontal picture plane – impelled both to survey and traverse the carpet, which muffles their footsteps while inducing an amplified self-consciousness similar to that experienced in a sacred building. In contrast to the Celotex works, the traces they leave are faint and ephemeral. The process of walking on a surface is explicitly played out elsewhere in Stingel’s practice, notably in his series of works on Styrofoam, whose surfaces he has walked across in boots covered in lacquer thinner to leave trails of footprints.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Untitled</em> (2012) hangs alone in an alcove in the manner of an altarpiece or devotional icon. This monumental self-portrait is painted from a photograph of Stingel illuminated by candlelight, which was taken by photographer Roland Bolego. Once again, there is a disjunction between the grand scale of the work and its content: the artist is shown unkempt and looking askance. In line with the other photorealist works Stingel has produced since 2005, the painting faithfully reproduces the discoloration and distress suffered by the photographic print on which it is based: ring marks and rips made by bottles are painted onto the surface, with Stingel’s image half-occluded beneath a wine-coloured film of underexposure and surface damage.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The layers of re-presentation at work in the painting (a hand-painted copy of a mechanically-produced portrait), invert the process of mediation compressed in the carpet, in which hand-woven designs have been mechanically enlarged and reprinted. But in both, there is a vivid sense of the imperfections inherent in translation and of the distortions wrought by time. These are manifested in the painting’s visible brushwork and at times impasto application of paint. Simultaneously in this work, Stingel’s career-long examination of painting – its contexts (both spatial and historical) and its limitations – merges with a sense of psychological self-examination or self-reckoning.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Rudolf Stingel</strong> was born in 1956 in Merano, Italy. He has exhibited internationally, with recent solo shows including those at Secession, Vienna (2012); and <em>LIVE</em> at the Neue National Galerie, Berlin (2010); and a major retrospective at the Museum of Contemporary Art, Chicago and the Whitney Museum of American Art, New York (2007). Other major solo shows include those at the Museum für Moderne Kunst, Frankfurt (2004) and the Museo d’Arte Moderna e Contemporanea, Trento, Italy (2001). His work has featured in group shows such as <em>Mapping the Studio: Artists from the François Pinault Collection</em>, Palazzo Grassi, Venice, Italy (2009); <em>Day for Night: Whitney Biennial 2006</em>, Whitney Museum of American Art, New York, and <em>Universal Experience: Art, Life, and the Tourist’s Eye</em>, Museum of Contemporary Art, Chicago, which travelled to the Hayward Gallery, London, 2005. His work was included in the 2003 and 1999 Venice Biennales. Rudolf Stingel lives and works in New York and Merano, Italy.</span></p> Thu, 14 Jun 2012 15:51:38 +0000