ArtSlant - Openings & events en-us 40 Tom Leighton - The Cynthia Corbett Gallery - September 24th, 2012 6:00 PM - 9:00 PM <p>Solo exhibition presented by The Cynthia Corbett Gallery</p> <p>Gallery 27, Cork Street, London</p> <p>24th September – 6th October 2012</p> <p></p> <p style="text-align: justify;">The Cynthia Corbett Gallery is delighted to announce the solo show of new works by artist Tom Leighton.</p> <p style="text-align: justify;">Tom Leighton’s new works reveal the poetic beauty that can result from painstaking digital manipulation. Leighton has travelled through Europe, Asia and North America, building up an impressive body of photographic images that he then combines to make fantastical landscapes. The resulting works test our instincts. Do I recognise that building? Where are those mountains?</p> <p style="text-align: justify;">The exhibition title, Collective View hints at some of the many themes of Leighton’s work. A ‘collective’ is essentially a group, or something describing the group. Leighton’s images abound with groups of buildings, people, objects – like in <i>Golden Gate </i>or<i> Paris 1</i>. But there is also a strange congruence - ‘collective’ also means making a whole.</p> <p style="text-align: justify;">Many of the buildings are famous; symbols that allow Leighton to juxtapose themes such as classical civilisation (the Roman Forum) and today’s financial sector (London’s Gherkin); work and leisure, city and country. Classical architecture demonstrates how much the world has changed, and on another level, how ancient buildings have lost their original functions and evolved into tourist sites. Leighton’s images point at how our landscapes and the buildings within reflect our past, present and futures.</p> <p style="text-align: justify;"> </p> <div style="text-align: justify;"> <p><b>About Tom Leighton</b></p> </div> <p style="text-align: justify;">Tom Leighton graduated from the Royal College of Art in 2006 and has since shown internationally. His work has been acquired by Museum &amp; Foundation collections as well as a number of corporate and private international collections. In 2009 the Tate organised a Tate Patrons visit to his studio hosted by The Cynthia Corbett Gallery. His 2010 Solo exhibition received a 5* Review in the Independent.</p> <p style="text-align: justify;">In 2006 he won the John Purcell Paper Prize and the Thames &amp; Hudson Book Prize. He has exhibited in London, Paris, Tokyo and the United States. Collections include The Sandor Family Collection, Chicago, MuCEM (French National Museum of European and Mediterranean civilizations), Tiroche Collection, UK/Israel, The Shein Family Collection of Pennsylvania, Felix Robyns, 12 Advisors Group, London/Brussels, Nicholas Topiol, President of Christian Lacroix, Paris, The UBS Art Collection, JCA Group, London &amp; The Victoria and Albert Museum, London.</p> Wed, 18 Jul 2012 11:25:14 +0000 Bjarne Melgaard - Institute of Contemporary Arts (ICA) - September 25th, 2012 11:00 AM - 11:00 PM <p style="text-align: justify;"><span style="font-size: small;"><em>Bjarne Melgaard: A House to Die In</em> is the result of a close collaboration between Bjarne Melgaard and award winning architectural firm Snøhetta. Since 2011, Melgaard and Snøhetta have exchanged architectural dawings, models and documents as they work towards the realisation of a purpose built house, where Melgaard will live and work, scheduled to be built in 2014 in Oslo, Norway.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For his exhibition in the ICA Upper and Lower Galleries, Melgaard presents a 1:1 facade of the proposed building, alongside models and drawings that form part of a wider body of research.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The collaborative process between Melgaard and Snøhetta is a positive struggle in which both parties are constantly challenged, notably in Snøhetta's interpretation of Melgaard’s two-dimensional and analogue drawings through three-dimensional digital renderings of the objects. Various processes of mathematical abstraction have led to multiple stages of representation of the original information, namely Melgaard’s vision of a house ‘to die in’, a project outside their comfort zone. Snøhetta’s focus is primarily architectural; whilst Melgaard’s foremost fear is to end up inhabiting the territory of ‘pure architecture’. In this process Snøhetta seek a new approach to constructing built forms.</span></p> <p style="text-align: justify;"><span style="font-size: small;">At the same time there is a fine balance between thinking and simply producing in this process, as the aim is to maintain the inherent quality and identity of Melgaard’s work in the end result. The works in the Upper Galleries will further examine the relationship between mental health and production, displaying a body of works developed in partnership between Melgaard and a group of schizophrenic artists who have responded directly to the artist’s existing works.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>The house is commissioned by the Selvaag family and Sealbay AS.  </em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Exhibition supported by The Henry Moore Foundation</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em><img src="" alt="Henry Moore" title="Henry Moore" border="0" height="38" width="146" /></em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Additional support from</em></span></p> <div class="webblerimage" style="width: 230px;"><img src="" border="0" height="42" width="193" /></div> <p>With thanks to Guido Baudach</p> Wed, 22 Aug 2012 05:53:55 +0000 Maurizio Cattelan - Whitechapel Gallery - September 25th, 2012 11:00 AM - 6:00 PM <p style="text-align: justify;"><span style="font-size: small;">Italian artist <strong>Maurizio Cattelan </strong>(b.1960) is known as the art world’s agent provocateur, using what seem to be stunts to address universal themes around the nature of dogma, power and death. This solo display includes one of his earliest works - a miniature family kitchen featuring a squirrel that has committed suicide. <em>Bidibidobidiboo </em>(1996), after the fairy godmother’s song in Disney’s <em>Cinderella</em>, encapsulates Cattelan’s acerbic wit and his melancholic worldview.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Elsewhere a heavy duty carrier bag filled to bursting point contains rubble from Milan’s Contemporary Art Pavilion destroyed by a Mafia-related bomb attack. In another sculpture the emblem of the 1970s terrorist group Brigate Rosse is turned into a neon Christmas greeting. A wax effigy of Cattelan himself, dressed in the iconic artist Joseph Beuys’ signature grey felt suit and hanging by the neck from a clothes rack, satirizes the role of the artist as saviour. He comments ‘maybe I’m just saying that we are all corrupted in a way; life itself is corrupted, and that’s the way we like it’. Cattelan’s work is part of a return of the figure in contemporary art. By contrast with classical statuary however, the body today may be surreal, performative, mythic or abject.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This is just one of the themes reflected within the Collection Sandretto Re Rebaudengo from Turin of which this is the first display. This collection reflects and defines the dominant forms and ideas in European, US and Latin American art since the 1990s and is part of the Whitechapel Gallery’s programme of rarely seen public and private collections.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Exhibition patron: Fondazione Sandretto Re Rebaudengo.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Whitechapel Gallery’s programme of collection displays is supported by:</span></p> <p style="text-align: justify;"><span style="font-size: small;"> <img width="100" height="49" title="" alt="" src="" /></span></p> Wed, 05 Sep 2012 17:15:07 +0000 Jesse Wine - Limoncello Gallery - September 26th, 2012 6:30 PM - 8:30 PM Wed, 19 Sep 2012 21:25:16 +0000 - Raven Row - September 26th, 2012 6:30 PM - 8:30 PM <div class="mb_sngl"> <p style="text-align: justify;"><span style="font-size: small;">This will be the first retrospective of the pioneering artists' organisation Artist Placement Group, or APG, conceived by Barbara Steveni in 1965 and established a year later by Steveni and John Latham along with Barry Flanagan, David Hall, Anna Ridley and Jeffrey Shaw, among others.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Between 1966 and the turn of the 1980s, APG negotiated approximately fifteen placements for artists lasting from a few weeks to several years; first within industries (often large corporations such as British Steel and ICI) and later within UK government departments such as the Department of Health and the Scottish Office. APG arranged that artists would work to an ‘open brief’, whereby their placements were not required to produce tangible results, but that the engagement itself could potentially benefit both host organisations as well as the artists in the long-term. Artists' work in proposing and carrying out placements will be represented here in diverse ways, in films, photographs, texts and correspondence and sometimes in art objects.</span></p> <p style="text-align: justify;"><span style="font-size: small;">APG was a milestone in Conceptual Art in Britain, reinventing the means of making and disseminating art, and anticipating many of the issues facing cultural workers today. It represented itself in a number of exhibitions and events, notably in the exhibition 'Art and Economics' at the Hayward Gallery in 1971 with artistic interventions by Garth Evans, Barry Flanagan, John Latham and others. Emulating APG's emphasis on the discursive, the exhibition will host frequent public discussions relating to art and social organisation.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition is curated by Antony Hudek and Alex Sainsbury, in consultation with Barbara Steveni.</span></p> </div> Thu, 20 Sep 2012 08:54:08 +0000 Frank Gerritz - Bartha Contemporary - September 27th, 2012 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">For his third solo-exhibition at <strong>Bartha Contemporary</strong>, German artist <strong>Frank Gerritz</strong> (B. 1964) will premiere a suite of works entitled ”<strong><em>Dark Spaces / Light Spaces</em></strong>” alongside two recent paint-stick on anodised aluminium wall-sculptures. The exhibition juxtaposes two distinct bodies of works, which showcase the artist’s unparalleled ability to capture light, either within a highly constructed composition or as in his latest work though a subtle move towards a painterly practice. A recent drawing on paper completes the installation.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Gerritz has been working with an extremely refined language of forms for many years. Derived from his early floor-sculptures, the artist has established two main series of wall-relieves; pencil drawings on MDF and oil-stick drawings on anodised aluminium; two works on aluminium will feature in this exhibition. Both pieces are examples of his most radical work to date, exceptionally minimal in their arrangement, these paint-stick relieves are densely drawn, the underlying aluminium outlining painted sections.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Alongside these wall-sculptures several series of drawings on paper as well as monumental wall-drawings have defined the artist’s oeuvre over the past two decades. Equally constructed from a consciously limited geometric vocabulary.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Most recently the artist has expanded his practice and embraced a more intuitive working process. Despite the fact that these works are often smaller in scale they have pushed the artist to the physical limits. They will form the main focus of this exhibition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Spackled rather then drawn or painted these works are made by applying oil paint-stick with a knife, the resulting works are of a single colour, but far from monochrome. Black “Dark Spaces” and for the first time in Frank Gerritz’s career white “Light Space” works harbour the same exceptional light encapsulating quality of his previous works. As with his previous works these pieces teeter on the edge between wall sculpture or relief, drawing and painting. By applying the knowledge gained from several decades of working in a restrained fashion that Gerritz is able to create modulated surfaces, which reflect, describe and render light in an ever-changing process defined by daylight and the surrounding space.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">Works by Frank Gerritz are currently exhibited as part of “Expanded Drawing” a group exhibition at Casal Solleric at Fundacio Palma Espai D’Art, Pama de Mallorca (until January 2013), recent group exhibitions featuring works by Frank Gerritz (all 2012) at Sammlung Falckenberg, Hamburg, Sammlung Schroth at Kloster Wedinghausen, The Old College Gallery, University of Delaware, Newark, Centre d’Art Contemporain, Annemasse. A work similar to the pieces that form part of this exhibition featured in “Minimal and Beyond” at the Hamburger Kunsthalle, this group-exhibition coincided with the artist’s solo exhibition “Time Code” at the Hamburger Kunsthalle. Frank Gerritz is the 2011 recipient of the Edwin-Scharff-Preis, previous recipients include Ulrich Rückriem, Andreas Slominski and Daniel Richter.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <h4 style="text-align: justify;"><strong>September Edition of Fitzrovia Lates 27.9.</strong></h4> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="text-align: justify;">On the last Thursday of the month galleries in Fitzrovia will open until 9pm, giving visitors to the area the opportunity to view exhibitions and attend special artist talks, performances and curator- led tours programmed especially for Fitzrovia Lates.<br /><br />Fitzrovia is framed by Euston Road to the north, Oxford Street to the south, Portland Place to the west and Tottenham Court Road to the east. As an area known historically for its artist communities, it has in recent years become home to many cutting edge galleries and a new and expanding hub for the visual arts in London.<br /><br />Fitzrovia Lates helps visitors to navigate this area by communicating its boundaries and mapping out the growing number of galleries opening within its borders.</p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> Sun, 23 Sep 2012 15:45:09 +0000 Eric Bainbridge - Camden Arts Centre - September 27th, 2012 6:30 PM - 8:30 PM <p></p> <section> <p style="text-align: justify;"><span style="font-size: small;">For his first solo exhibition in London for over ten years,<strong> Eric Bainbridge</strong> brings together a series of new sculptural works made from steel and other materials. Using steel for the first time, Bainbridge has drawn himself close to a conversation with 1950s and 1960s modernist abstraction particularly embodied by sculptors David Smith and Anthony Caro. These new works combine formal, absurd and unexpected elements and highlight the duality which has run through Bainbridge’s career.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Always interested in the surface of things, since the 1970s Bainbridge has used various materials, including fake fur and melamine. Often described as kitsch, his preferred objects and materials are found in everyday life, second hand shops, scrap metal yards and DIY stores – readily available and cheap. He has blown objects up to outsize proportions, covered them and piled them up in a variety of balancing acts. Bainbridge incorporates multiple components and reference points, including concepts and inspiration from art history and today’s cultural field.</span></p> </section> Wed, 26 Sep 2012 16:04:41 +0000 Simon Martin - Camden Arts Centre - September 27th, 2012 6:30 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;">For <strong><em>UR Feeling</em></strong>, <strong>Simon Martin</strong> brings together a selection of objects and images from artists and designers including Ettore Sottsass, Scott Burton and Stephen Shore. It is an investigation into affect and the state between knowing and sensing, in relationship to materiality and the built environment. Martin’s collection forms an open ended dialogue around the ideas and influences which form the basis of his artistic research.</span></p> <section id="description"> <p style="text-align: justify;"><span style="font-size: small;">Martin’s work reflects upon material culture; he is interested in how we understand ourselves through social structures, mythologies and collective memory evidenced in art objects, mass media, popular culture and the built environment. The exhibition will be punctuated by discussions, performances and film screenings involving writers and artists.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>UR Feeling</em> also acts as the prequel for a new film which Martin is developing.</span></p> </section> Wed, 26 Sep 2012 16:03:49 +0000 Phyllida Barlow, Eric Bainbridge, Simon Martin - Camden Arts Centre - September 27th, 2012 5:45 PM - 6:30 PM <p>Artist Phyllida Barlow leads an introductory tour of the exhibitions <i> <a href="">Steel Sculptures</a>  </i>and <i> <a href="">UR Feeling</a> </i>  and a discussion with Eric Bainbridge and Simon Martin.</p> Wed, 26 Sep 2012 16:09:18 +0000 Miguel Ángel Rojas, Rosario López, Fernell Franco - Mummery + Schnelle - September 27th, 2012 6:00 PM - 9:00 PM <p align="justify" style="text-align: justify;"><span style="font-size: small;">This exhibition brings together three artists from different generations working in Colombia and interested in exploring the themes of identity and place through the use of photography. </span><br /><br /><span style="font-size: small;">In the 1970s a generation of Colombian artists sought to separate themselves from the established modern canons of art that were taught at universities and hung in museums. Figures such as Antonio Caro (b. 1950), Oscar Muñoz (b. 1951), and Miguel Ángel Rojas (b.1946) stood at the forefront of experimental visual art practices in Colombia during the 70s and 80s. Their concerns converged on the search for a notion of self through the continuous questioning of their immediate surroundings, a sense of self found through a connection with place. </span><br /><br /><span style="font-size: small;">Their search was practical as well as conceptual, challenging the way in which art was produced, displayed and received. The 60s witnessed the arrival of pop culture in Latin America, and by the 70s its influence was undeniable in every aspect of culture, especially in the arts. Experimental art practices using photography and printmaking were a stand against the better-regarded techniques of drawing and painting, taking direct influence from pop art, music and the drug-infused hippy revolution.</span></p> <blockquote> <p><span style="font-size: small;"><em>¨What helped you ¨slide¨ towards art? Was it The Beatles records?</em></span><br /><span style="font-size: small;">That was the music of the moment, but above all, its spirit, the spirit of change that swept in, in May 1968.” </span><br /><br /><span style="font-size: small;">Gutierrez, Natalia, <em>Miguel Ángel Rojas: Essential</em>, Editorial Planeta with Paralelo10, 2010, p54</span></p> </blockquote> <p align="justify" style="text-align: justify;"><span style="font-size: small;">Miguel Ángel Rojas’ works from the 1970s are evidence of a voyage of self-discovery through the meticulous observation of himself and his surroundings. His practice at the time encompassed photography, drawing and printmaking, experimenting with their intersections to discover a language of his own.</span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;">Amongst his best-known works are the series of long exposure photographs taken at B-movie cinemas where anonymous encounters between men took place. They later became the basis of two key installations entitled <em>Via Lactea</em> (1981) and <em>Paquita</em>(1997). Rojas’ work with photographic reductions and installation is not only a search for personal identity and belonging, but also a poignant revision of the voyeuristic gaze. His installations bring back a lost intimacy with the photographic image and ultimately with photography itself.</span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;">One can find a number of connections between Rojas’ images and the works by Fernell Franco (1942-2006). Part of the same generation of artists, Franco lived in a different city, Cali, a smaller and much warmer place, but also more open and daring than the capital Bogotá. During the 70s Franco worked as a commercial photographer, but at the same time he explored the grimmer, undiscovered aspects of the city. His best known series are <em>Prostitutas</em> (1970), <em>Demoliciones</em> (1989) and <em>Amarrados</em> (1976-94).</span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;"><em>Demoliciones </em>is a series about the construction and defacement of Cali and its relation to the drug trade, which made the city a war zone during the 1980s and 90s. Through a very personal photographic practice that involved an elaborate and experimental use of the darkroom, Franco was able to get under the skin of the city, finding its elusive spirit.<br /><br />Twenty years later one can find connections with the work by Rosario López, a representative of a generation that was either taught, or heavily influenced by the aforementioned artists. Her art practice, a consistent questioning of the nature and essence of space, evidences the inherited concerns connecting her work to Franco and Rojas. Lopez’s work gained recognition in the international art scene with her appearance at the 2007 Venice Biennale with her piece <em>Abyss</em>. <br /><br />In 2000, more than a decade after Rojas and Franco's gaze on the city, López produced <em>Esquinas Gordas</em> (Fat Corners) using photography to approach a series of space alterations in Bogotá.<br /><br />Part local resourcefulness, part public policy, “fat corners” were a way of preventing homeless people from setting up shelters in the city’s central candelaria borough and using the corners of its buildings as lavatories. The cement filled spaces where later assimilated into their surroundings, painted over or even decorated. The consistence of her approach transforms the images into a dialogue with space, and how its essence is defined by spontaneous interventions.</span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;">It is interesting to view all the works as different approaches to the same concern, especially when it constitutes an act of resistance and divergence from the more commonly associated topics of political violence and geographical idiosyncrasy in Latin American art. To enter into a close dialogue with a place is at the same time an introspective exploration, a definition of self through a disciplined and conscious observation of the world.<br /><br />Photography is a common ground where the different generations can establish a dialogue of peers. As photographic images, these works share an exploratory nature; they are the record of a time and space but also of a spirit, a mutual affection between<em>ser </em>(to be) and <em>estar </em>(to be in).</span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;"> </span></p> Fri, 21 Sep 2012 16:00:49 +0000 Hew Locke - National Portrait Gallery - September 27th, 2012 7:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Artist Hew Locke talks about his work and the changing nature of royal portraiture with Curator Paul Moorhouse.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The discussion will include Hew’s  iconic work <em>Medusa</em>, which is currently in The Queen exhibition, and the way it was created.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Hew Locke’s work investigates areas such as royal and swagger portraiture, coats-of-arms, trophies, weaponry and costume. He describes his work as ‘essentially about Power – who had it, who has it and who desires it". He is interested in visual expressions of power, globalisation, the movement of peoples, and the creation and packaging of cultures.  His ongoing series House of Windsor began as portraits of members of the British Royal family, but now exclusively uses a portrait of Elizabeth II.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ondaatje Wing Theatre</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tickets: £5 (£4 concessions and Gallery Supporters) Book <a href="">online</a> or call 020 7306 0055</span></p> Wed, 22 Aug 2012 07:17:30 +0000 Rashid Johnson - South London Gallery - September 27th, 2012 6:30 PM - 8:30 PM <p style="text-align: justify;"><span face="Verdana,Arial,Helvetica,sans-serif" color="#000000" size="2" style="color: #000000; font-family: arial, helvetica, sans-serif; font-size: small;">For his first solo exhibition in London, Chicago-born, New York-based artist <strong>Rashid Johnson</strong> presents an entirely new body of work and creates an immersive environment in the South London Gallery’s main space. Over the past decade Johnson has become known for works into which he integrates materials familiar from other contexts, such as wooden flooring, rugs, mirrors, shelves, books and shea butter, through a process which he describes as ‘high-jacking the domestic’. Questioning established definitions of the art object and its limitations, or otherwise, Johnson’s works also draw on his own personal history, often making direct references to the literature, music, cultural and political figures which inform it, in an ongoing exploration of the relationship between individual and shared cultural experience.</span></p> <p style="text-align: justify;"><span face="Verdana,Arial,Helvetica,sans-serif" color="#000000" size="2" style="color: #000000; font-family: arial, helvetica, sans-serif; font-size: small;">Entitled <strong><em>Shelter</em></strong>, Johnson’s South London Gallery exhibition takes as its starting point an imagined society in which psychotherapy is a freely-available drop in service, accessible to all through group sessions. He sets the scene for visitors to ponder the potential of such a scenario through the creation of a salon incorporating large-scale paintings, hanging plants, Persian rugs and six wooden day beds. In some respects this is a soothing place, where the carpeted floor, greenery and Victorian ceiling lantern, which brings an expanse of sky into the room, lend notes of comfort and calm to a space in which the carefully placed day beds encourage self-reflection as well as providing vantage points from which to view the wall-mounted works. The blackened, gouged, branded and splintered surfaces of the surrounding paintings, however, hint at a darker frame of mind and the hidden depths of the individual and collective psyche. Together they take Johnson’s enquiry into the nature and possibilities of painting, and the creative potential of reductive processes, several steps further.</span></p> <p style="text-align: justify;"><span face="Verdana,Arial,Helvetica,sans-serif" color="#000000" size="2" style="color: #000000; font-family: arial, helvetica, sans-serif; font-size: small;">In many of his works Johnson shifts familiar materials from one arena into another, testing assumptions about those materials, and also about the nature of art. Sections of parquet flooring take the place of canvas; mirrors are fractured and blackened to become the stuff of abstract paintings, shot through with figuration in the form of viewers’ reflections; and Persian rugs, objects of extraordinary beauty but firmly located within the canon of craftsmanship and design rather than fine art, take on a new and ambiguous status in the context of the contemporary art gallery. Here the rugs are suggestive of cultural ‘otherness’, referring to the Western history of romanticising notions of ‘the oriental’, whereas Johnson’s covering of the branded wooden day beds in zebra skins was a deliberate move to cite ideas of ‘the exotic’ by shrouding items of furniture loaded with associations of Western privilege in a material with distinctively African associations. Inspired in part by Johnson’s musing on what kind of day bed a post-colonial African leader might recline on, having recently read a book about former Congolese Prime Minister, Patrice Lumumba, the day beds typify Johnson’s capacity to mine and merge multiple sources to create something new with its own distinctive voice. </span></p> <p style="text-align: justify;"><span face="Verdana,Arial,Helvetica,sans-serif" color="#000000" size="2" style="color: #000000; font-family: arial, helvetica, sans-serif; font-size: small;">Johnson also curates the exhibition in the SLG’s first floor galleries, bringing together abstract paintings by three artists living and working in the USA: Robert Davis, Sam Gilliam and Angel Otero.<br /><strong><a href="" target="_blank"><br /></a></strong><em>With thanks to Hauser &amp; Wirth.</em></span></p> <p style="text-align: justify;"><span face="Verdana,Arial,Helvetica,sans-serif" color="#000000" size="2" style="color: #000000; font-family: arial, helvetica, sans-serif; font-size: small;"><em> </em></span></p> <p style="text-align: justify;"><span face="Verdana,Arial,Helvetica,sans-serif" color="#000000" size="2" style="color: #000000; font-family: arial, helvetica, sans-serif; font-size: small;"><strong>Exhibition Tours<br /></strong><strong>Every Sat, 3pm, &amp; Last Fridays, 7pm, Free<br /></strong>Gallery assistants lead informal drop-in tours of the exhibition. <br /><strong><br />Notes to Editors<br /></strong><strong>Rashid Johnson</strong> was born in Chicago in 1977 and currently lives in Brooklyn, New York. He has a BA in photography from Columbia College and attended graduate school at the School of the Art Institute of Chicago. His work is in the collections of the Museum of Contemporary Art Chicago, Art Institute of Chicago, Whitney Museum of American Art, Seattle Art Museum, Brooklyn Museum of Art, and Detroit Institute of Art. Solo exhibitions include <em>Message to Our Folks, </em>which opened at MCA Chicago early this year, touring to Miami Art Museum this autumn, and <em>RUMBLE</em>, Johnson's first exhibition at Hauser &amp; Wirth New York (2012).</span></p> <p style="text-align: justify;"><span face="Verdana,Arial,Helvetica,sans-serif" color="#000000" size="2" style="color: #000000; font-family: arial, helvetica, sans-serif; font-size: small;">His work has been featured in major group exhibitions including <em>30 Americans: The Rubell Collection </em>(2008); <em>Only Skin Deep: Changing Visions of the American Self  </em>at the International Center of Photography (2003); and <em>Freestyle</em> at the Studio Museum in Harlem (2001); and in 2011 was featured at the International Pavilion of the 54th Venice Biennale. He is one of the nominees for the Guggenheim’s Hugo Boss Prize 2012, and the winner of the 2012 High Museum’s David C. Driskell prize that honours excellence in African-American art and scholarship.</span></p> Tue, 04 Sep 2012 15:06:59 +0000 Boris Charmatz - Tate Modern - September 27th, 2012 10:00 AM - 6:00 PM <div class="field-date-exhibition"> <div style="text-align: justify;" class="date-tate-render date-from-view"><span style="font-size: small;">Free open rehearsals: daytime 27, 28 &amp; 29 September 2012; ticketed performance 28 &amp; 29 September 2012, 20.00</span></div> </div> <div style="text-align: justify;" class="field-price-full"><span style="font-size: small;">£20, concessions available</span></div> <p style="text-align: justify;"><span style="font-size: small;">Ticket price is for the performances on 28 &amp; 29 September. Daytime open rehearsals are free.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Choreographer and dancer Boris Charmatz explores contemporary movement and its complex histories. Taking David Vaughan’s 1997 book <em>Fifty Years</em>, which charts Merce Cunningham’s choreography over 50 years, Charmatz invited different groups of dancers – from ex-members of Cunningham’s company to amateur practitioners – to learn and perform Vaughan’s images as a speeded-up version of Cunningham’s language. </span></p> <h4 style="text-align: justify;"><span style="font-size: small;">Performance Credits:<em> Flip Book</em></span></h4> <p style="text-align: justify;"><span style="font-size: small;"><strong>Conception: </strong>Boris Charmatz</span><br /><span style="font-size: small;"><strong>With: </strong>Raphaëlle Delaunay, Olga Dukhovnaya, Christophe Ives, Olivia Grandville, Mani A. Mungai</span><br /><span style="font-size: small;"><strong>Sound: </strong>Pascal Quéneau</span><br /><span style="font-size: small;"><strong>Light: </strong>Yves Godin</span><br /><span style="font-size: small;"><strong>Duration: </strong>40’</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Free interpretation from the photographs <em>Merce Cunningham, un demi-siècle de danse</em> by David Vaughan, directed by Melissa Harris, Ed. Plume, 1997</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Production:</strong> Musée de la danse / Centre chorégraphique national de Rennes et de Bretagne directed by Boris Charmatz, is supported by the French Ministry of Culture and Communication - the Direction régionale des Affaires Culturelles, the city of Rennes, the regional Council of Brittany and the General Council of lle-et-Vilaine.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Institut français regularly contributes to the international touring of the Musée de la danse-Dancing Museum. <span class="ga-tracked"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Thanks to: </strong>LiFE (St Nazaire), HZT (Berlin), Centre de Développement Chorégraphique (Toulouse), Cécile Tonizzo and to Institut Français, London.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Part of the series <em></em><i><a href="">The Tanks: Art in Action</a></i></span></p> Sat, 18 Aug 2012 08:09:10 +0000 - Institute of Contemporary Arts (ICA) - September 28th, 2012 1:00 PM - 2:00 PM <p style="text-align: justify;"><span style="font-size: small;">Join Will Gompertz in conversation with Gregor Muir for a lunchtime talk at the ICA. Will Gompertz joined the BBC as arts editor in December 2009. Gompertz' newly-created role marked a beginning of BBC’s new commitment to wider broadcasting of the arts and improved collaboration with art institutions.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Prior to joining BBC Gompertz spent 7 years working for Tate. As director of Tate Media he was responsible for Tate Online, the UK’s most popular art website, and <em>Tate Etc</em>, the UK’s highest-circulation art magazine. He also set up a TV and film production unit devoted to creating arts programmes for Channel 4, ITV, Aardman Animation and many more.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Gompertz has worked within the arts since early 1980s and has been covering on arts for major publications such as the <em>Times</em> or the <em>Guardian</em>. He was a co-founder of Purple House and Shots, a publishing company devoted to the moving image.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Will Gompertz was named one of the world’s top 50 creative thinkers by New York-based <em>Creativity</em> magazine. His new book <em>What Are You Looking At?</em> is published by Penguin.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>With thanks to Maryam and Edward Eisler.</em></span></p> Thu, 27 Sep 2012 10:48:45 +0000 Fred Daniels - National Portrait Gallery - September 28th, 2012 10:00 AM - 9:00 PM <p style="text-align: justify;" class="Pa0"><span style="font-size: small;">This first solo display at the National Portrait Gallery celebrates the career of Fred Daniels, pioneer of British ‘Stills’ and portrait photography, and coincides with the publication of the first monograph on his work.</span></p> <p style="text-align: justify;" class="Default"><span style="font-size: small;">One of Daniels’s early important commissions as a photographer came in 1929 when he was recruited by director E.A. Dupont to take stills and publicity portraits for <em>Piccadilly</em>, starring Anna May Wong and Gilda Gray. By 1940, Daniels had established his own studio at 17 Coventry Street, Piccadilly, close to London’s theatre district. In 1941, Daniels met filmmakers Michael Powell and Emeric Pressburger, collectively known as The Archers, and worked on many of their key films, including <em>A Canterbury Tale </em>(1944), <em>A Matter of Life and Death </em>(1946), and <em>Black Narcissus </em>(1947). This display includes photographs of Elisabeth Bergner, Leslie Howard, Kay Kendall, Vivien Leigh, James Mason, John Mills, Anna Neagle, Sheila Sim and Anna May Wong.</span></p> Thu, 27 Sep 2012 15:17:50 +0000 Charlotte Prodger - Studio Voltaire - September 28th, 2012 7:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Studio Voltaire</strong> presents a new exhibition by <strong>Charlotte Prodger</strong>. The presentation will be the artist’s first solo exhibition outside of Glasgow where she is currently based.</span><br /><br /><span style="font-size: small;">Prodger’s practice spans 16mm film, video, audiotape and sculpture; often acting in unison within installations. Working as a DJ to sustain her art practice, she cites this as an influence whereby individual works are approached as remixes of each other. Motifs, materials and anecdotes get repurposed and reconconfigured and, as the body of work amasses, it gathers new components.  </span><br /><br /><span style="font-size: small;">For her show at Studio Voltaire, Prodger will create a new installation using multi-channel technology, ripped YouTube videos and recorded spoken word. This work uses spatial dialogue between objects (speakers, monitors, boombox) to agitate the materiality of image and sound.</span><br /><br /><span style="font-size: small;"><em>Prodger (born 1974 in Bournemouth, England, now lives and works in Glasgow) has had recent solo exhibitions  at Intermedia/CCA, Glasgow (2012) and Kendall Koppe, Glasgow (2011).  The artist had a two person show with Jason Loebs at Essex Street, New York this summer.  Prodger is represented by Kendall Koppe, Glasgow. </em></span><br /><br /><span style="font-size: small;">Supported by The Elephant Trust and Bilge &amp; Haro Cumbusyan</span><br /><span style="font-size: small;">With kind assistance from The Block </span></p> <p style="text-align: justify;"><strong><span style="font-size: small;">(Special Frieze week opening: 8 – 15 October, everyday, 10am – 6pm)</span></strong></p> Tue, 09 Oct 2012 14:56:08 +0000