ArtSlant - Recently added en-us 40 Magnus Plessen - White Cube, Mason's Yard - November 4th - January 14th, 2017 Sat, 22 Oct 2016 16:19:00 +0000 Maria Nepomuceno - Victoria Miro Mayfair - November 11th - January 7th, 2017 <div class="panel_content"> <div class="panel_intro_text"> <p style="text-align: justify;">Vibrant and seductive floor- and wall-based sculptural works feature in this exhibition, the artist&rsquo;s first at Victoria Miro Mayfair. Displaying a characteristically dynamic approach to form, these new works expand upon the Rio de Janeiro-based artist&rsquo;s methods of rope weaving and straw braiding, in which pre-existing and found elements such as branches, twigs, seed pods and paint brushes, merge with the organic forms of the sculptures.&nbsp;Nepomuceno&rsquo;s works are chromatically, culturally and metaphorically rich, suggesting animals, plants, the human body and landscapes ranging from the microscopic to the macrocosmic.&nbsp;That the sculptures appear anthropomorphic and organic is essential to a reading of her work: the spiralling central to her process relates to the spirals occurring naturally throughout the universe, giving shape to entire galaxies as well as the blueprint for existence, DNA.&nbsp;</p> </div> </div> Sat, 22 Oct 2016 16:14:52 +0000 Tom Roberts, Arthur Streeton, Charles Conder, John Russell - The National Gallery - December 7th - March 26th, 2017 <p style="text-align: justify;">Discover Australia&rsquo;s significant and distinctive Impressionist movement in the first UK exhibition to focus on the subject</p> <p style="text-align: justify;">Introducing Impressionism as it manifested itself in the unique Australian context &ndash; &nbsp;closely related to yet entirely distinct from its French and British counterparts &ndash; 'Australia&rsquo;s Impressionists' considers the role artists played in defining a new sense of national identity.</p> <p style="text-align: justify;">Showcasing Australia&rsquo;s four major exponents of Impressionism &ndash; Tom Roberts (1856&ndash;1931), Arthur Streeton, Charles Conder (1868&ndash;1909), and John Russell (1858&ndash;1930)&nbsp;&ndash; the exhibition comprises some forty loans, many never previously shown in the UK.</p> <p style="text-align: justify;">Lenders include some of Australia&rsquo;s leading public galleries, as well as private collectors there and in the UK.</p> <p style="text-align: justify;">This exhibition is organised by the National Gallery, in collaboration with Art Gallery of New South Wales.</p> Sat, 22 Oct 2016 16:11:03 +0000 Fray Juan Bautista Maíno - The National Gallery - September 28th - January 29th, 2017 <p style="text-align: justify;">Experience two outstanding masterpieces by Spanish painter Ma&iacute;no, on display in the UK for the first time</p> <p style="text-align: justify;">The loan of two remarkable paintings from the Museo Nacional del Prado in Madrid provides a rare opportunity to present the work of the Spanish painter Fray Juan Bautista Ma&iacute;no&nbsp; &ndash;&nbsp;an artist of exceptional talent whose name remains largely unfamiliar outside of Spain.</p> <p style="text-align: justify;">'The Adoration of the Shepherds'&nbsp;and 'The Adoration of the Kings' originally formed part of a vast 'retablo'&nbsp;(altarpiece) for the high altar of the church in the Dominican house of San Pedro M&aacute;rtir in Toledo. Painted from&nbsp;1612&nbsp;to 1614, following his return to Spain after an extended stay in Italy, they are among Ma&iacute;no&rsquo;s greatest works.&nbsp;The paintings combine the naturalism of Caravaggio, whose revolutionary paintings Ma&iacute;no would have seen at first hand in Rome, with the refined palette of Orazio Gentileschi and the more classicising style of Annibale Carracci and Guido Reni, both of whom Ma&iacute;no knew personally.</p> <p>Ma&iacute;no&rsquo;s two Adorations are highly significant in the context of Caravaggio&rsquo;s extended influence across Europe &ndash; a subject explored in depth in the concurrent exhibition <a title="Beyond Caravaggio" href="" target="_blank" data-id="77908">Beyond Caravaggio</a>.</p> Sat, 22 Oct 2016 16:08:17 +0000 Michelangelo Merisi da Caravaggio - The National Gallery - October 12th - January 15th, 2017 <p style="text-align: justify;">&lsquo;Beyond Caravaggio&rsquo; is the first major exhibition in the UK to explore the influence of <a title="Michelangelo Merisi da Caravaggio" href="" data-id="57602">Caravaggio</a> on the art of his contemporaries and followers.<br /><br />After the unveiling of Caravaggio&rsquo;s first public commission in 1600, artists from across Europe flocked to Rome to see his work. Seduced by the pictorial and narrative power of his paintings, many went on to imitate their <a title="Naturalism" href="" target="_blank" data-id="59196">naturalism</a> and dramatic lighting effects.<br /><br />Paintings by Caravaggio and his followers were highly sought after in the decades following his untimely death at the age of just 39. By the mid-17th century, however, the <a title="Caravaggesque" href="" target="_blank" data-id="79340">Caravaggesque</a> style had fallen out of favour and it would take almost three hundred years for Caravaggio&rsquo;s reputation to be restored and for his artistic accomplishments to be fully recognised.<br /><br />Bringing together exceptional works by Caravaggio and the Italian, French, Flemish, Dutch, and Spanish artists he inspired, &lsquo;Beyond Caravaggio&rsquo; examines the international artistic phenomenon known as <a title="Caravaggism" href="" target="_blank" data-id="79341">Caravaggism</a>.<br /><br />This exhibition is a collaboration between the National Gallery, London, the National Gallery of Ireland, and the National Galleries of Scotland.</p> Sat, 22 Oct 2016 16:05:10 +0000 Noel Forster - Hales Gallery - November 4th - December 16th Sat, 22 Oct 2016 15:53:36 +0000 John Keane - Flowers | Kingsland Road - November 4th - December 10th <p style="text-align: justify;">Flowers Gallery is pleased to announce an exhibition of new paintings by former official British War Artist John Keane.&nbsp;On view will be a series of new paintings produced in response to the commemoration of the 1994 genocide in Rwanda, following Keane&rsquo;s recent investigations of the country&rsquo;s Lieux de M&eacute;moire or Sites of&nbsp;Memory.</p> <p style="text-align: justify;">Keane is currently Artist in Residence at the School of International Relations, University of St Andrews. He visited Rwanda in 2015 with a group of postgraduate students of Peace and Conflict Studies, led by Dr Hazel Cameron. The visit, which was designed to examine the causes and legacy of the genocide, took Keane to several of the many locations around the country where more than 800,000 people were slaughtered in the space of 100 days, to meet both survivors, and perpetrators still serving their sentences in&nbsp;prison.</p> <p style="text-align: justify;">Large numbers of Lieux de M&eacute;moire, present throughout the Rwandan countryside, serve as both formal and unofficial public memorials to the victims, often in the form of visceral displays of human remains, or clothes and personal possessions. Working in response to the imagery found within the sites, Keane has developed a body of work that reflects upon the role of collective memory in the recovery of a post-conflict&nbsp;society.</p> <p style="text-align: justify;">A small series of paintings incorporating fabric continues a method of practice that Keane first developed during a period spent working in Southern Africa ten years previously, when he visited projects within the war-torn country of Angola with the international development agency Christian Aid (which resulted in a 2006 touring exhibition <em>Children in Conflict</em>). In the present paintings, items of clothing are pressed against the canvas, collaged from scraps of brightly printed textiles, their two dimensional forms addressing the haunting absence of the human figure. Swathes of thickened, semi-translucent oil paint appear to encase the fabric, as though applied as a preservative, gathering and congealing in dark pools that heighten the emphasis of folds and creases within the&nbsp;cloth.</p> <p style="text-align: justify;">Keane has sought to reflect on the disparity between the outward appearance of life in the countryside, known as Le Pays des Mille Collines (Land of a Thousand Hills), and the atrocities that have shaped it&rsquo;s recent history. The painting <em>Neighbour</em>, which is based on an arbitrarily-composed snapshot captured from the window of a bus, depicts the lush vegetation surrounding an ordinary rural Rwandan house. The surface of the work, which is scraped with a layer of dark oil paint, suggests the effects of ink seeping through a newspaper image, filling the everyday scene with an uneasy&nbsp;tension.</p> <p style="text-align: justify;">The words <em>&ldquo;If you Knew Me. If you Knew Yourself. You Would Not Kill Me&rdquo;</em>, which lend the show its title, were found on a banner suspended within a church memorial site, reflecting the country's ongoing observation of its shared loss as part of the process of rehabilitation from a formerly divided&nbsp;society.</p> <p style="text-align: justify;">Keane has said: <em>&ldquo;During my visit to Rwanda I was deeply impressed by the way it has sought to come to terms with the appalling events of 1994. Partly this is through commemoration, which takes many forms, and does not seek to hide or shrink from the enormity of what happened. The legacy of these events is fundamental in driving the imperative that such things should never happen again in Rwanda or indeed any other&nbsp;country.&rdquo;</em></p> <p style="text-align: justify;">To coincide with the exhibition, a selection of recent monoprints by John Keane will be on display in the upstairs&nbsp;gallery.</p> <p style="text-align: justify;"><a href="" target="_blank">RSVP here for the exhibition opening on Thursday 3rd November, 6-8pm at Flowers Gallery, Kingsland&nbsp;Road.</a></p> Sat, 22 Oct 2016 15:48:40 +0000 Philippe Parreno - Tate Modern - October 4th - April 2nd, 2017 <p style="text-align: justify;"><span style="font-size: small;">The Turbine Hall is transformed&nbsp;into an immersive experience, challenging your perception of time and space</span></p> <p style="text-align: justify;"><span style="font-size: small;">Prepare to have your senses activated and stimulated by a spectacular choreography of acoustics, sound lighting, flying objects and film, each connected to the other and playing their part in a far bigger score. Tate&rsquo;s Turbine Hall becomes a universe of inter-related and connected events and parallel realities. Events will unfold&nbsp;anywhen.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Anywhen</em>&nbsp;is a site-specific exhibition that changes throughout the day and that will evolve during the six-month period of the commission. The exhibition is conceived as an automaton which guides the public through a constantly changing play of moving elements, light configurations and sound environments. The artist states that &lsquo;the exhibition is a construction of situations or sequences in a non-linear&nbsp;narrative&rsquo;.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The commission responds to the Turbine Hall&rsquo;s position at the centre of the museum, an open space connected to the city itself. The artist combines aspects of chance and control: the sequences of events are triggered by software which is informed by micro-organisms. These react to and activate elements of the commission through a bioreactor visible at the far end of the Turbine&nbsp;Hall.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Included in&nbsp;<em>Anywhen</em>&nbsp;is&nbsp;<em>Another Day with Another Sun</em>&nbsp;2014 by&nbsp;<a href="" target="_blank">Liam Gillick</a>&nbsp;and Philippe&nbsp;Parreno.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Curated by Andrea Lissoni, Senior Curator, International Art (Film), with Vassilis Oikonomopoulos, Assistant&nbsp;Curator</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a href="" target="_blank">Find out about the collaborators</a>&nbsp;[PDF, 153&nbsp;KB]</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">About the&nbsp;artist</span></h2> <p style="text-align: justify;"><span style="font-size: small;"><a href="" target="_blank">Philippe Parreno</a>&nbsp;is a French avant-garde artist who came to prominence in the 1990s and is perhaps most widely known for his&nbsp;feature film&nbsp;<em>Zidane: A 21st Century Portrait</em>.&nbsp;Parreno works across film, video, sound, sculpture, performance and information technology and collaborates extensively with musicians, scientists, architects and writers. Cutting-edge musicians Factory Floor and the award-winning sound designer Nicolas Becker are just some of the many collaborators involved with this year&rsquo;s&nbsp;commission.</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">About&nbsp;Hyundai&nbsp;Commission</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Hyundai Commission is a series of site-specific installations by contemporary artists in Tate Modern&rsquo;s iconic&nbsp;<a href="" target="_blank">Turbine Hall</a>. It is made possible by a unique long-term partnership between Tate and Hyundai&nbsp;Motor.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The series began with&nbsp;<em><a href="" target="_blank">Abraham Cruzvillegas:&nbsp;Empty Lot</a>,</em>&nbsp;a vast sculpture consisting of 240 wooden planters filled with over 23 tonnes of soil from parks and gardens across London, currently on display at Tate Modern until 3 April&nbsp;2016.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tate Modern&rsquo;s&nbsp;Turbine Hall&nbsp;has hosted some of the world&rsquo;s most memorable and acclaimed works of contemporary art, enjoyed by an audience of millions each year. The annual Hyundai Commission will give artists an opportunity to create new work for this unique&nbsp;context.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Find out more about&nbsp;<a href="" target="_blank">Hyundai Motor&rsquo;s global art initiative and various activities</a>.</span></p> Sat, 22 Oct 2016 09:12:05 +0000 Group Show - Fiumano Projects - November 4th - November 12th <p style="text-align: center;">SO. . . IS THERE SUCH A THING AS TECHNO ART?</p> <p><span style="text-align: justify;">As often happens, questions can be more important than answers. When we began this process, we were&nbsp;</span><span style="text-align: justify;">more interested in the journey; we wanted to explore a theme rather than finding an easy solution to sell.</span></p> <p style="text-align: justify;">To be honest, we looked for small treasures, as opposed to the Eldorado. It was with this spirit that we opened a call for proposals to attract emerging artists. At the same time, we took a proactive approach and went on a virtual journey to find other gems.</p> <p style="text-align: justify;">The map we had gave us some indications. With the rise of the digital, innovative media has transformed the art world. There are no fixed objects and we had to look for hybrids. Sonic art mixed with visual art, objects that made sounds, machines turned into sculptures, techno-performers, robotic languages, soundscapes, electric canvases. As if this was not enough, we realised that not only the concept of what art actually is was stretching, but space too.</p> <p style="text-align: justify;">All of the artefacts we encountered had a special relationship to the urban space from where they originated. Like in an assemblage, we saw different cities merging together and beyond boundaries we could see other cities running through the local urban fabric. We also realised that the journey is full of threats. Corporate sheriffs like to destroy autonomous spaces, so we found that our mission is also to fight back, resist, and by doing so, create and push the boundaries of our imagination. Thus, this exhibition will also be a moment of celebrating this battle, a break between journeys.</p> <p style="text-align: justify;">We received many fantastic proposals, some that we are not able to accommodate this time. We are already looking for a bigger venue to organise a second event. Hopefully, the exhibition itself will travel across different cities. &ldquo;Techno and the City&rdquo; features mostly wall-based art. YҮou can expect time for discussion and a soundtrack to sustain it. We hope that for a few hours, a space dedicated to Techno Art will be a platform for meeting like-minded sonic travellers...and staying (dis)connected.</p> Fri, 21 Oct 2016 11:40:51 +0000 Alice Walton - Tintype - November 2nd - December 3rd <p><strong>ALICE WALTON</strong><br /><strong>Almost All the Girls Raise Their Hands</strong><br /><br />2 November - 3 December<br />Preview: Tuesday 1 November, 6.30 &ndash; 8.30pm&nbsp;<br /><br /><br />Tintype is pleased to present&nbsp;<em>Almost All the Girls Raise Their Hands</em>, Alice Walton&rsquo;s third solo-show at the gallery.&nbsp;<br /><br />Alice Walton&rsquo;s work is centred around the staging of representational images, usually from magazines and books, within sculptural installations. Her practice is concerned with the relationship between image and object: found images are re-presented to shake-shift perceptions and suggest alternative readings.&nbsp;<br /><br /><em>Almost All the Girls Raise Their Hands</em>&nbsp;presents a series of distinct works that set up a choreographed correspondence across the gallery space. Images are mounted on sculptural objects that are fabricated in commonplace building materials such as plaster board, insulation material, and timber.&nbsp;<br /><br />Walton uses reflective and translucent materials that implicate the viewer in the work; their physical presence continually interrupting the artwork in the process of engaging with it. It is this fluidity and resonance that interests Walton: &ldquo;my willingness to welcome the influence of the audience is perhaps a desire to myself be unsettled, moved on from a place of familiarity to somewhere less known, less sure. It is this live exchange at the point of presentation where I feel I learn about the work.&rdquo;&nbsp;<br /><br />In&nbsp;<em>Almost All the Girls Raise Their Hands</em>&nbsp;Alice Walton further tests out the notion of other people animating her work; an exhibition as a space for possibilities to unfold &ndash; a kind of stage or set that additional ideas might inhabit. Walton is collaborating with writer and poet Eileen Daly to produce a limited edition publication that juxtaposes her visual images with Daly&rsquo;s poems, and this in turn becomes central to a recital on 17 November in which the exhibition becomes a backdrop to a performance of Daly&rsquo;s poems as well as selected works by invited guests.&nbsp;<br /><br />Alice Walton studied at KIAC (Canterbury) and Wimbledon School of Art. Selected shows include: Except the Mirror, Format Festival International Photography, Derby, 2015; Not Her Real Name, Tintype, London 2014; An Unnatural Theatre, Aid &amp; Abet, Cambridge 2013; Album2, Five Years, London 2013; Black Rabbit, White Hole, Samuel Freeman Gallery, Los Angeles, 2013; London Art Fair (Art Projects), 2013; Crazee Golf, Tintype, London 2012; In the Pleasing, Tintype, London 2012; Album, Five Years London, 2010; Jo Addison and Alice Walton, Centrum Berlin, 2010; Too Much is Never Enough, The Two Jonnys, London, 2010; Free Association, Area 53 Vienna, 2010; That was a Good Day, Five Years London, 2009.&nbsp;</p> <p><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; text-align: justify;">&nbsp;</span></p> Thu, 20 Oct 2016 12:41:22 +0000 Jason Woodside - StolenSpace Gallery - November 4th - November 27th <p class="p1">&nbsp;</p> <p class="p2">StolenSpace is proud to present &rsquo;Strike Me With Your Lightning&rsquo; the new solo show by New York based artist, Jason Woodside.</p> <p class="p2">Jason Woodside&rsquo;s work is characterised by vivid colours and contrasting layers of simple, geometric patterns. Taking inspiration from textiles and clothing, Woodside plays with various bold textures in an attempt to generate visual cohesion.</p> <p class="p2">Well known for creating huge murals,&nbsp;Jason Woodside brings the bright colours to the concrete jungle of his hometown of New York City and around the world. Widely recognised as a leader go the &lsquo;post-graffiti movement&rsquo;, he pushes the boundaries of what traditional urban art is. His slick modern aesthetic makes his work fit as well in a contemporary art gallery as on an urban wall.&nbsp;</p> <p class="p2">There is an optimism in Woodside&rsquo;s work, one that&rsquo;s clear in the artist&rsquo;s personal day-to-day ethos, and one that has attracted the attention of private collectors, galleries and museums alike.</p> <p class="p1">&nbsp;In this new body of work, we see Woodside continue with his bold signature style, experimenting with patterns and depth to create kinetic works which play with the viewers perception of colour and shape.</p> Wed, 19 Oct 2016 13:08:37 +0000 Evoca1 - StolenSpace Gallery - November 4th - November 27th <p class="p1">StolenSpace Gallery is proud to present &lsquo;Through the Perils of Our Youth&rsquo;, the new solo show by Evoca1.</p> <p class="p1">Dominican born Evoca1 is a figurative painter and muralist based in South Florida. As an autodidact, he has received his art education from the compulsive study of the old masters works and techniques. His works are a personal reflection on life as well as from observation, focusing on human behaviours and social struggles.</p> <p class="p1">This new body of work is based on a series Evoca1 has been working on for the past couple of years.</p> <p class="p2">&nbsp;&lsquo;This exhibition of oil paintings, and drawings will reflect on what we endure through our lives overcoming childhood struggles and experiences. The stories portrayed in the work are based on personal child experiences and from observations during my travels. These circumstances that range from corporal punishment/discipline to child labor, have been the main focus of my work and have been a means to shine a light on these social issues that children involuntarily endure around the world.&rsquo;</p> <p class="p3">Evoca1&rsquo;s beautiful free style and delicate detail creates beautiful portraits which tell compelling stories. We are excited to see this new body of work from such a talented artist and with such a poignant subject matter.&nbsp;</p> Wed, 19 Oct 2016 12:59:15 +0000 Bruce McLean - Bernard Jacobson Gallery - December 2nd - January 28th, 2017 <p class="Default">Bernard Jacobson Gallery is delighted to announce an exhibition of new work by acclaimed British action sculptor, painter and ceramicist, Bruce McLean. <br /> <br /> Featuring works produced over the past year, including 6 &lsquo;Shade&rsquo; Paintings; a series of vivid works which explore light and shadows, as well as a six meter long minimalist &ldquo;Sunset&rsquo; painting and a group of new mono-prints on wood.<br /> <br /> McLean has gained considerable international recognition for his work in many different media, which ranges from paintings and ceramics to innovative work with film and theatre. This year, Mclean was one of the central figures of Conceptual Art in Britain 1964&ndash;1979, which featured his seminal work Pose Work for Plinths 3 (1971).</p> <p class="Default"><br /> McLean uses the absurd to confront the pretensions of the art world at time when it is ever more necessary, as well as amply demonstrating a love and mastery of the medium of paint. The new works by McLean at Bernard Jacobson Gallery combine virtuoso technique and dramatic use of colour with a large dash of humour - as one might expect from the artist who proclaimed &ldquo;I like the idea of Barnett Newman in collision with Liberace&rdquo;.</p> Wed, 19 Oct 2016 12:05:53 +0000 Monica Ross - CHELSEA space - November 16th - December 16th <p>British artist <strong>Monica Ross</strong> died in 2013 leaving an influential 40-year body of pioneering, socially-engaged, feminist and performative art practice that has profound significance for contemporary art and society.</p> <p>The exhibition titled <strong><em>A Critical Fine Art Practice</em></strong> reflects on a diverse body of work across decades of production, and will include archival material and works from 1970-2013 comprising early feminist collaborative works, drawings made at Greenham Common in the 1980s, poster designs for the anti-nuclear movement, works relating to the writings of Walter Benjamin and documentation from the 60 performances of <em>Anniversary-an act of memory, solo, collective and multi-lingual recitations from memory of the Universal Declaration of Human Rights</em> (2008-13) which concluded with a final collaborative performance at the UN in Geneva on the day of Ross' death.</p> <p>A monograph on the artist, published by Sternberg, will be launched at the exhibition.</p> <p><strong>&nbsp;</strong></p> <p><strong>Monica Ross</strong> (1950-2013) was an artist who worked with video, drawing, installation, text and performance who first came to prominence as a Feminist artist and organiser. Ross was co-responsible for collective initiatives such as the seminal <em>Women&rsquo;s Postal Art Event</em> (<em>Feministo: Representations of the Artist as Housewife</em>, ICA, London, 1977, Kunstlerinnen International 1877-1977, Schloss Charlottenberg, Berlin, 1977) and the touring project <em>Fenix</em> with Kate Walker and Sue Richardson. Both projects made visible the conditions and constraints of the working class female artist with Fenix (1978-80) making studio practice public by appropriating galleries as workspaces. <em>Fenix</em> was included in the group exhibition <em>Issue</em>, curated by Lucy Lippard and Margaret Harrison at the ICA, London in 1980. Ross then co-established the <em>Sister Seven</em> group which operated as a national network for the distribution of poster art and performances in church halls, libraries, on the streets and at peace camps including Greenham Common.&nbsp;</p> <p>Monica Ross curated exhibitions, published critical essays and text works and was Senior Lecturer in Fine Art at Saint Martins School of Art (now Central Saint Martins), London 1985-1990, later becoming leader of the innovative Critical Fine Art Practice course from 1990 - 1998. Ross was Guest Professor at Institut f&uuml;r Kunst in Kontext, Universit&auml;t der K&uuml;nste, Berlin 2004, and an AHRB Research Fellow in Fine Art at the University of Newcastle 2001-2004. In 2008, to mark the 60th anniversary of the Universal Declaration of Human Rights, Ross performed the first of 60 recitations in her series <em>Anniversary </em><em>&ndash; an act of memory: solo, collective and multi-lingual recitations from memory of the Universal Declaration of Human Rights.</em></p> <p>&nbsp;</p> <p>In 2014 the <strong>British Library</strong> acquired the digital archive of Monica Ross into their collection. The archive documents Monica Ross&rsquo;s early work from the 1970s through to <em>Anniversary - an act of memory</em> (2008-2013), a performance series in 60 acts of solo, collective and multilingual recitations from memory of the entire Universal Declaration of Human Rights (UDHR).</p> Wed, 19 Oct 2016 10:21:09 +0000