ArtSlant - Current exhibits en-us 40 Jacqueline Kooter, Wai Kit Lam, Susana Lopez Fernandez, Thea Jentjens, Shirley Wiebe, Wai Yi Lai - 1a Space - September 21st, 2012 - December 22nd, 2012 <div></div> <div style="text-align: center;"><span style="font-family: 'arial black', 'avant garde'; font-size: large;"></span></div> <div style="text-align: center;"><span size="4" face="'arial black', 'avant garde'" style="font-family: 'arial black', 'avant garde'; font-size: large;"> </span></div> <div> <div style="text-align: justify;">I<span style="font-family: verdana, geneva; font-size: small;">n November 2009, when the city of Berlin was celebrating the 20th anniversary of the fall of the Berlin Wall, a twist of the fate brought together six international artists: Jacqueline Kooter, Shirley Wiebe, Susana Lopez F, Thea Jentjens, Wai Kit Lam and Wai Yi Lai. </span><br /><br /><span style="font-family: verdana, geneva; font-size: small;">1a Space presents <b>Destination Berlin</b>, a group exhibition about the search for individual and collective identity through the work that was created during their shared art residency in the city of Berlin.</span></div> <div style="text-align: justify;"></div> <div style="text-align: justify;"><span style="font-family: verdana, geneva; font-size: small;">We start a journey through their different views and we explore different art techniques from graphite to paint to multimedia art, and we travel to investigate the different faces and interpretations of identity.</span></div> <div style="text-align: justify;"></div> <div style="text-align: justify;"><span style="font-family: verdana, geneva; font-size: small;">Jacqueline, Shirley, Susana, Thea, Kit and Yi investigate concepts such as communication and integration in a city where the unfamiliar language of German made them vulnerable. At the same time, these circumstances help them to go within in order to express and respond to new complexities.</span></div> </div> <div style="text-align: justify;"></div> <div style="text-align: justify;"><span style="font-family: verdana, geneva; font-size: small;">二零零九年十一月,當柏林市在慶祝柏林圍牆倒塌二十週年,轉折的命運聚合了六個國際藝術家:Jacqueline Kooter,Shirley Wiebe,Susana Lopez F,Thea Jentjens,林慧潔及黎慧儀。</span><br /><br /><span style="font-family: verdana, geneva; font-size: small;"> 1a空間呈獻《<b>DESTINATION BERLIN</b>》,一個始於柏林藝術家駐留計劃,關於尋找個人及集體身分的展覽。</span><br /><br /><span style="font-family: verdana, geneva; font-size: small;">由我們不同的看法開始旅程,從石墨繪製到多媒體藝術創作,我們探索不同的藝術技巧,前往研究不同臉孔和身分釋義。</span><br /><br /><span style="font-family: verdana, geneva; font-size: small;">Jacqueline, Shirley, Susana, Thea, 林慧潔及黎慧儀一同探索城市中的通訊與整合概念,面對陌生的德文成為他們一個弱點,但同時間,這境況驅使他們走在一起,去發表及回應新鮮而又錯錯綜複雜的事物。</span></div> <div style="text-align: justify;"></div> <div style="text-align: justify; padding: 0px; margin: 0px;"></div> <div style="text-align: justify;"></div> Mon, 04 Mar 2013 10:38:01 +0000 Daniele Cestari - Albemarle Gallery - September 1st, 2012 - October 6th, 2012 <div class="exhibitionboxtop">Daniele Cestari: Tessuto Urbano <br />31 Aug - 29 Sep 2012 <br />Daniele Cestari was born in 1983. Following his studies at the liceo scientifico in his hometown, he completed a degree in Architecture and Urban Environment Planning. He lives and works in Ferrara. Cestari insists that one must understand his work, first and foremost, as that of ‘an architect who paints’. Having never undertaken any formal art training, Cestari renders onto the canvas his architectural passions – his fascination with the energy of the urban environment. His carefully crafted perspectives invite the viewer into the all-consuming momentum of the cityscape, alive with texture. The dynamism of Cestari’s loose brushstrokes and blurred canvases evoke the city as a living entity, constantly in flux. Yet they also lend his scenes a wonderful sense of opacity; keeping the observer at arm’s length, they are the perfect acknowledgment of the impersonal nature of the metropolis, with its hidden away existences and shuttered private lives. Cestari uses various mediums together - oils, pencils, acrylic and varnishes – to create a work as varied as the city itself. Often he begins his work with less than pristine canvases – old, degraded, stitched and imbued with their own history – and he works to unite these pre-existing traces into his work. For Cestari, we are the paintbrushes and pencils within our own cities, each footstep down a street adding to the history of traces left before.</div> <div class="exhibitionbottom"><a href=";backgroundColor=%23313131" rel="nofollow" target="_blank"><img class="rollover" src="" border="0" /></a></div> Mon, 03 Sep 2012 12:21:12 +0000 Oriano Galloni - Albemarle Gallery - October 1st, 2012 - November 3rd, 2012 <p>Oriano Galloni - Arts For India</p> <p>01 Oct - 03 Nov 2012</p> <p></p> <p>The Albemarle Gallery is proud to present a collection of 30 sculptures by Oriano Galloni in support of Arts for India. Each meticulously sculpted figure is comprised of both Carrara marble and solid wood and stands approximately 116 cm (46 in) high. This stunning body of works, collectively entitled <i>Silent Souls, </i>are available for sale both individually and in multiple configurations.</p> <p>A large percentage of all sales (60%) will go towards supporting the registered charity Arts for India.</p> Tue, 25 Sep 2012 09:38:39 +0000 Alessandro Raho - Alison Jacques Gallery - September 7th, 2012 - October 6th, 2012 <blockquote> <p style="text-align: justify;"><span style="font-size: small;">'<em>Since the mid-1990s, Alessandro Raho has been advancing and refining a manner of figurative painting in which the sentience of human presences synonymous with a profound, existential and spiritual sense of being...The figures in his portraits possess the sense of having been re-born – as though cleansed beyond death – or of being seen as platonically 'realised', beyond the less substantial shadow versions of themselves that go about their terrestrial business.' </em></span></p> <p style="text-align: justify;"><span style="font-size: small;">Michael Bracewell,<em> Alessandro Raho</em>, Lund Humphries, 2011</span><br /><br /><span style="font-size: small;"><em></em></span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;">This is <strong>Alessandro Raho</strong>'s second solo show at <strong>Alison Jacques Gallery</strong>. The subjects he depicts – whether self-portraits, friends or family – are presented in pared down form: each figure centred and isolated on a monochrome ground. Raho's use of harsh, artificial, frontal lighting in studio photoshoots is carried through to the look of his canvases. The patterned or blocked colour of his subjects' clothing deliberately contrasts with the reoccurring white or pastel tones of his backgrounds. This attention to abstract composition might objectify the sitters, if it wasn't for Raho's ability to render the subtlest traces of their mood in the direction of a gaze, or the slight up or downward curve of a person's mouth. His figures are presented with an unapologetic frontality, free from context or narrative, so as to make the subjects' straightforward presence tangible.</span><br /><br /></p> <p style="text-align: justify;"><span style="font-size: small;">Whilst the portraits look to be of the 'everyday', and indeed many of Raho's paintings show sitters in their own clothes, he has increasingly come to select what they wear for the pictures. By controlling this element, the artist can both source contemporary fashion and photography and experiment with incorporating paintings within paintings. <em>Lizzy</em> (2011), a girl in a top that through Raho's translation resembles a Mary Heilmann abstract oil painting, holds an assertive pose that nevertheless appears somewhat tentatively borrowed from fashion magazine pages. In two portraits of <em>Jessica</em> (both 2012), Raho has dressed his model in a T-shirt reproduction of a Warhol Marilyn and in a top with a kitsch, 1980s imitation of a Pollock splash, finding new ways of assimilating the art historical canon into his own language of painting. These are not academic games with history, however. Raho is fascinated by the challenges of populism: <em>Jessica</em> (2011) gazes into the deep distance, at odds with the Mickey Mouse cartoon on her chest, and <em>Adham</em> (2011) has an understated, melancholic presence that contrasts with the pop iconic I Love NY T-Shirt.</span><br /><br /></p> <p style="text-align: justify;"><span style="font-size: small;">An important subject in this exhibition was a defining figure in Raho's artistic career – his tutor at Goldsmiths College in the early '90s, the artist Michael Craig-Martin. Raho portrays his mentor in his own clothes, which are entirely black, with his hands in his pockets. His gaze is informal but piercingly engaged. In a pose that couldn't contrast more, the professional dancer <em>Ben</em> (2012) holds a contemporary dance position that sees all of his limbs fully extended and poised, so as to quarter the canvas. Ben – who is not so much wearing a painting as having become one himself – is clad in a white unitard with a prominent black square, as though Malevich's<em>Black Square</em> (1915), has been set in motion.</span><br /><br /></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Alessandro Raho</strong> (b. Bahamas, 1971) graduated from Goldsmiths College, London, in 1994. Museum exhibitions include <em>Wall Rockets</em>, FLAG Art Foundation, New York (2008); <em>Great Britons: Treasures from the National Portrait Gallery, London</em>, National Portrait Gallery, Smithsonian Institution, Washington (2007);<em>Painting on the Move</em>, Kunsthalle Basel, Basel (2002); and <em>Brilliant! New Art from London</em>, Walker Art Center, Minneapolis (1995). Public collections include: Museum of Modern Art, New York; Walker Art Center, Minneapolis; the Berardo Collection, Lisbon; and a commission of Dame Judi Dench for the National Portrait Gallery, London. In 2011 Lund Humphries published a monograph, <em>Alessandro Raho</em>, which includes essays by Michael Bracewell, Nicholas Cullinan and Catherine Wood. Raho lives and works in London.</span></p> Fri, 03 Aug 2012 15:21:08 +0000 Wolfe von Lenkiewicz - All Visual Arts - September 7th, 2012 - October 4th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Wolfe von Lenkiewicz has transformed Bosch’s <i>Garden of Earthly Delights</i> into a post-historic, trans-cultural manuscript. At first glance von Lenkiewicz’s work appears to be a faithful reproduction of the original, but on closer inspection it is ‘contaminated’ with imagery from a wide range of historical and contemporary sources, both art historical and pop cultural. Diverse and contradictory images have been smuggled into the already dense and multilayered scene; from a screaming head by Bacon to clusters of brightly coloured Pokémon characters. They share the space of a painted universe but are unknowing of each other’s existence.</span></p> <p style="text-align: justify;"><span style="font-size: small;">There is no fixed narrative, any symbolic resonances are coincidental and the selection of disparate imagery is rigorously arbitrary. The artist is playing with our expectations, like a conjurer, he leads us to believe there is some esoteric connection between the elements of the painting, but the true subject of the work is at once Bosch’s powerful and valuable art historical artefact, and more pertinently, the problem of the subject in art and the notion of originality and authorship.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Preview: 6<sup>th</sup> September 7- 9 pm</span></p> Tue, 26 Feb 2013 15:48:07 +0000 Fergus Heron, Sachiyo Nishimura - Anise Gallery - September 15th, 2012 - October 14th, 2012 <p></p> <p align="justify">The exhibition Infrastructures brings together works by artists Fergus Heron and Sachiyo Nishimura. The practices of both artists imagine and reconstruct relationships between urban landscape and seascape through photography in connected and distinct ways.</p> <p align="justify">The Thames side location of Anise Gallery in an area of London once central to the logistics of maritime global trade is significant in presenting this exhibition of works with a focus upon relationships between motorways, railways, rivers and the sea as historical and contemporary spaces of communication and transport infrastructure between different cities.</p> <p></p> <p align="justify">In their cityscape and waterscape works, Fergus Heron and Sachiyo Nishimura focus upon the photograph itself as a structured image; Heron’s meticulous formal attention to the internal pictorial structure of the single photograph as part of an ongoing series complements Nishimura’s extension of the single photograph towards complex image configurations.</p> <p></p> <p align="justify">Both place the photograph in a relationship to time and history where the absence of human activity in their work intensifies questions of when as much as where the photograph is made.</p> <p></p> <p align="justify">Together, Heron and Nishimura reconsider infrastructures as possibilities of depicting urban landscape and seascape, and, perhaps more importantly, as renewed processes of seeing.</p> <p></p> <p align="justify">The photography of Fergus Heron explores connections between landscape and architecture. Works from Heron’s different ongoing series Motorways and Coasts contrast nature with infrastructure. Motorways, at once somewhere and nowhere, depict rural and urban convergence. Coasts depict where land meets water in nature and explore the potential of the sea to absorb our gaze. Both series consider such spaces to be historical, mapped, charted and navigable. Together, they propose the coast and the motorway as photographic subjects that structure our seeing in pictures.</p> <p></p> <p>Sachiyo Nishimura abstracts and complicates the image of urban landscape through monochrome photomontages that reconstruct elements central to the development of contemporary cities. In her work, elements of transport infrastructure, industry and waterscape, unrelated to any specific locale and therefore acquiring an anonymous profile, are brought together in a mathematical photographic re-composition. Nishimura proposes complex possibilities of imagining and remembering the city and the riverbanks.</p> <p></p> Thu, 23 Aug 2012 11:56:54 +0000 John Golding - Annely Juda Fine Art - September 6th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Annely Juda Fine Art</strong> is pleased to exhibit five paintings by <strong>John Golding</strong>. These were painted in 1971 and were previously exhibited at the Museum of Modern Art Oxford in the same year. The sixth painting, which completes the series, has recently entered the Tate Collection and will be exhibited at Tate Britain.</span><br /> <br /><span style="font-size: small;"> This group of large paintings, ranging between 10ft and 15ft long, were chosen to be exhibited in our gallery by John Golding, who died on 9 April 2012. In his mind they define the 'working space' and this was something that Golding felt was fundamental to each painting. Each painting "had to have the space to grow into and expand into".</span><br /> <br /><span style="font-size: small;"> His early work was figurative and Golding noted at his show at Yale in 1989 that his transition in the early 1960s from figure paintings into abstraction was strongly marked by his admiration for Signorelli and Orozco, to colour field-style abstraction as a process of "moving...up and into the body imagery of my painting."</span><br /> <br /><span style="font-size: small;"> Golding was born in England, educated in Mexico and Canada before returning to England to complete his research and teach both art history and painting. He was also well known as an art historian, teacher and curator, especially for his work on Picasso and Cubism, however it was for his painting that he wanted to be remembered.</span><br /> <br /><span style="font-size: small;"> There will be a memorial reception at Tate Britain at Gallery 93 on Level 1 on 6 September from 4pm. The private view for the exhibition will be at Annely Juda Fine Art on 6 September from 6-8pm.</span><br /> <br /><span style="font-size: small;"> A 32-page fully illustrated catalogue accompanies the exhibition. The exhibition will be shown on the fourth floor of the gallery.</span></p> Mon, 24 Sep 2012 09:08:41 +0000 David Nash - Annely Juda Fine Art - September 6th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Annely Juda Fine Art</strong> is pleased to present an exhibition of works on paper by <strong>David Nash</strong>.</span><br /> <br /><span style="font-size: small;"> In this exhibition we will be showing Nash's works on paper exclusively. The exhibition consists of over 40 drawings and gives a unique insight into David Nash's work through the medium of drawing. He uses traditional media like charcoal and pastel, but also materials from his surroundings such as mud which he smudges on the paper linking his drawings directly to the places they originate from.</span><br /> <br /><span style="font-size: small;"> David Nash is one of Britain's foremost sculptors. In a career spanning 40 years he has explored the living nature of wood, it's resistance, vulnerability symbolism, and colour, and few artists are so identified with their material of choice. Drawing has also always been a fundamental part of David Nash's work. This can be in the form of a geneology of his ideas or his response to sculptures he has created, initial ideas for future works or his observance of his planted works. Nash has been working with these living sculptures, like Ash Dome (twenty-two ash saplings planted in a circle, that have been guided and fletched to grow into a dome in March 1977), since the 1970s and they form an important part of his working practice.</span><br /> <br /><span style="font-size: small;"> David Nash's current exhibition at The Royal Botanic Gardens, Kew will be running until April 2013. In this exhibition he is showing sculptures across the gardens as well as in the glasshouses and exhibition spaces. Also, Nash has been working at Kew on a 'wood quarry', creating new pieces for the exhibition using trees from the gardens that have come to the end of their natural life. This ongoing work will form part of the exhibition and the finished works will be exhibited from October 2012. For further information on this exhibition: <span class="text"></span></span></p> Mon, 24 Sep 2012 09:08:49 +0000 Peter Gallo - Anthony Reynolds Gallery - September 20th, 2012 - October 27th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Anthony Reynolds Gallery is proud and excited to present the first solo exhibition outside the of the work of based artist </strong><strong>Peter Gallo</strong><strong>.</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">“<i>A melancholic world-view akin to that of Joy Division</i>” (Matthew Higgs, <i>Frieze, </i>February 2006).</span></p> <p style="text-align: justify;"><span style="font-size: small;">These are works that appeal direct to the emotions but uncomfortably stir the mind. Gallo has the ability to wire up extraordinary material sensitivity with a telling philosophical perception. Disarming musings of mind and matter that linger like incendiary embers.</span></p> <p style="text-align: justify;"><span style="font-size: small;">“<i>…intensely referential work that embraces Freud, Roland Barthes, Dusty , gay pornography and ornithology. Mr<b>. Gallo</b>’s work has an insider-outsider look that can, in other hands, turn precious and generic, but he makes it work</i>.” – Cotter, <i>The New York Times</i>, December 2007</span></p> <p style="text-align: justify;"><span style="font-size: small;">A construction of painterly abstraction is assembled into the Apollo spacecraft, an image landing on its scarred timber surface as gently as Apollo touches down on the surface of the moon. A god created by man. Human enterprise embracing a dream of humanity.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Two little canvas stars, stapled and awkward, hang from twisty wires. In their pastel blue paint, one bears the word ANGUISH, the other UTOPIA. A succinct articulation of the social and political conditions defining modern life.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><i>Stultifera Navis</i>; the ship of fools; fools with dreams and lost souls, flying Dutchmen and Ancient Mariners. A recurring motif in <b>Gallo</b>’s work, the three-masted schooner moving slowly through the waves, picking up thinkers, a vessel for their reflections.</span></p> <p style="text-align: justify;"><span style="font-size: small;">These works have an intensity and intelligence that belies their apparent basic rawness.<b>Gallo</b> has the ability to turn the discarded into the indispensable; the trivial and the fleeting into the profound and the lasting.</span></p> <p align="right"><i>With thanks to the Horton Gallery, New York</i></p> <p><strong>Frieze opening hours:</strong></p> <p><strong>Tuesday - Saturday, 10am - 6pm</strong></p> <p align="right"><strong><i> </i></strong></p> Fri, 05 Oct 2012 07:04:36 +0000 Bridget Macdonald - Art First Contemporary Art - September 6th, 2012 - October 6th, 2012 <p style="text-align: justify;">“In May 2011 I visited Arcadia in Greece for the first time. On the coast it was hot and orange blossom scented the air but in the mountains of Arcadia it was an earlier season of plum and apple blossom, walnut orchards were just coming into leaf and there were small flocks of sheep and goats, even an old shepherd with a ragged flock. In October we returned for a road trip which took in Delphi, Olympia, and the temple to Apollo at Bassae in Arcadia. It was still warm enough to swim in the Gulf of Corinth but in Arcadia there were wild storms followed by a sharp frost. An old woman running a tiny roadside cafe in her front room gave us her own walnuts, raki and bread. On the television in the corner we could see rioting in Athens, smoke, cars overturned, politicians gesticulating. The troubles which were building up in May had reached boiling point by October but there were few signs of strife in the countryside. “</p> <p style="text-align: justify;">(from the artist's introductory essay)</p> <p style="text-align: justify;">Macdonald's drawings in charcoal and graphite evoke the space and light of these remote landscapes and find associations in the English countryside. She traces our relationship with the rural scene back to its roots in Ancient Greece through a series of oblique connections. The living presence of animals and humans make their appearance, or man's occupancy is implied by a crumbling stone wall in Mycenae, the broken pediment in <em>Epidaurus</em>, or the classically inspired greenhouse at Croome Park, near her home. While places are significant for Macdonald, so is a core inner landscape of connections, memories and associations.</p> <p style="text-align: justify;">She grew up on the Isle of Wight and now lives and works on the Herefordshire/Worcestershire borders where rivers, hills and farms reflect the ideal pastoral landscape. In an essay .The Inherited Tradition' the writer Sheila McGregor reminds us that Macdonald is acutely aware of the long and complex process of literary and pictorial exchange which shaped the Arcadian tradition.</p> <p style="text-align: justify;">Sometimes she suggests a darker side of landscape, its status as a place in which human emotions and conflicts are played out. It is the tension between things observed and things remembered, between the immediacy of a specific visual stimulus and a process of retrospective distillation, that gives her work its power.</p> <p style="text-align: justify;">While Greece remains at the forefront of the current Euro crisis, with an angered and divided populace, Macdonald's contemplative body of drawings and a few exquisite small paintings of bay leaves, recall what Greece has offered European culture in the past, and serve perhaps as an ironic reminder of how the brittle and impatient demands or needs of a modern culture can overwhelm and alter the present.</p> <p style="text-align: justify;">Bridget Macdonald trained in Fine Art in the mid 80's at the School of Art and Design, Wolverhampton Polytechnic, and lives and works in Great Malvern, Worcestershire. Her work is in the collections of the Birmingham Museum and Art Gallery, Wolverhampton Art Gallery, Worcester City Art Gallery, The new House of Lords building, Millbank, and in private collections in the UK, the USA, Italy and France.</p> <p style="text-align: justify;">An illustrated catalogue accompanies this exhibition. For a printed copy please contact the gallery, or for your convenience, there is an online link:<br /></p> Thu, 23 Aug 2012 09:46:32 +0000 Güler Ates - Art First Contemporary Art - September 6th, 2012 - October 6th, 2012 <p style="text-align: justify;"><strong>AF Projects</strong> is pleased to present its first exhibition of photographic works by<strong> Güler Ates</strong>. This new series of darkly elegant images is the result of two residencies that Ates undertook in 2010/11, both in historically significant buildings: Great Fosters . A royal hunting lodge built in the 1550's (now a hotel) and Leighton House--home of the renowned Victorian artist Frederic, Lord Leighton.</p> <p style="text-align: justify;">The work with Leighton House is especially resonant for Ates, whose art school background was in painting and who is consistently sensitive to the absorption of oriental and middle--]eastern influences in our culture. Leighton House's Orientalism is a 19th century manifestation of that painterly and cultural cross-fertilisation also evidenced in the Greco-Byzantine traces running through the use of colour in the early Italian painters such as Duccio and Simone Martini. This clearly governs Atesf choices and interest in each colourfs impact.</p> <p style="text-align: justify;">The works themselves--shot in entirely natural light--have a cinematic quality, capturing the gestural movements or carefully posed stillness of the professional model Ates employs as her subject. From the rich visual material available to her Ates weaves a series of evocative tableaux that through the intervention of her model, swathed in silk, explore the sympathies and tensions in our current idea of the exotic, and of the historical significance of cross-cultural visual awareness. Past and present concerns merge as the arabesque tapestries and furnishings of the C15th interiors are juxtaposed against contemporary readings of the veil.</p> <p style="text-align: justify;">Born in Mus in eastern Turkey, Ates studied painting at the University of Marmara in Istanbul before moving to the UK and completeing her BA at Wimbledon School of Art in 2004. She went on to graduate in Printmaking (MA) from the Royal College in 2008.</p> <p style="text-align: justify;">Her work has been exhibited internationally, showing in museum &amp; gallery spaces in the UK, USA, Brazil, Japan, India, France and the Netherlands, and is in the collection of several major institutions, including the Royal Academy of Arts and the V&amp;A.</p> Thu, 23 Aug 2012 09:53:47 +0000 Group Show - Barbican Art Gallery - September 13th, 2012 - January 13th, 2013 <p style="text-align: justify;"><span style="font-size: small;">This major photography exhibition surveys the medium from an international perspective, and includes renowned photographers from across the globe, all working during two of the most memorable decades of the 20<sup>th</sup> century. <strong><em>Everything Was Moving: Photography from the 60s and 70s </em></strong>brings together over 400 works, some rarely seen, others recently discovered and many shown in the UK for the first time. </span><br /><br /><span style="font-size: small;">It features 12 key figures including<strong> Bruce Davidson</strong>, <strong>William Eggleston</strong>,<strong> David Goldblatt</strong>, <strong>Graciela Iturbide</strong>,<strong> Boris Mikhailov</strong>, <strong>Sigmar Polke,</strong> <strong>Malick Sidib</strong><strong>é, </strong><strong>Shomei Tomatsu</strong>, and <strong>Li Zhensheng</strong> as well as important innovators whose lives were cut tragically short such as <strong>Ernest Cole</strong>, <strong>Raghubir Singh</strong> and <strong>Larry Burrows</strong>. </span><br /><br /><span style="font-size: small;">The world changed dramatically in the 1960s and 1970s. From the Cultural Revolution to the Cold War; from America’s colonialist misadventure in Vietnam to the indelible values of the civil rights movement; this was the defining period of the modern age. It also coincided with a golden age in photography: the moment when the medium flowered as a modern art form. </span><br /><br /><span style="font-size: small;"><i><strong>Everything Was Moving: Photography from the 60s and 70s</strong> </i>presents some of the most inspiring voices in 20<sup>th</sup> century photography, in order to reflect on the world then – and now. </span></p> <p style="text-align: justify;"><span style="font-size: small;"><b>Barbican Art Gallery in London presents major exhibitions by leading international figures in the heart of the City of London</b></span></p> <table border="0" cellpadding="0" cellspacing="0"> <tbody> <tr> <td colspan="2"><b>Supported by</b></td> </tr> <tr> <td style="padding-right: 8px;"><br /><img src="" alt="" border="0" height="110" width="166" /></td> <td><br /><img src="" alt="" border="0" height="110" width="166" /></td> </tr> <tr> <td style="padding-right: 8px;"><br /><img src="" alt="" border="0" height="110" width="166" /></td> <td><br /><img src="" alt="" border="0" height="110" width="166" /></td> </tr> </tbody> </table> <p><b> </b></p> Mon, 27 Aug 2012 15:06:10 +0000 Frank Gerritz - Bartha Contemporary - September 28th, 2012 - November 10th, 2012 <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 15:46:21 +0000 Tamsyn Challenger - Beaconsfield - June 29th, 2012 - February 3rd, 2013 <p><strong><span style="font-size: small;">Commission and Residency</span></strong> </p> <p>Monoculture is a new project conceived by Tamsyn Challenger to focus on the homogenised nature of global culture and to explore alternatives.</p> <p>Looking at traditional ritual and its relationship to homogenity, a series of public performances and events will build towards a new body of work embracing themes of habitual performance, viral infiltration and feminine identity.</p> <p><b>Tamsyn Challenger</b> takes up residency with Beaconsfield between June 2012 and February 2013 – as a continuation of Beaconsfield’s <a href="" rel="nofollow">TestBed</a> series.</p> <p><!--StartFragment--><span face="Verdana, Helvetica, Arial" style="font-family: Verdana, Helvetica, Arial;">Monoculture will be closed Saturdays during December ( 8, 15 &amp; 22).</span> <!--EndFragment--></p> <p><!--StartFragment--><span face="Verdana, Helvetica, Arial" style="font-family: Verdana, Helvetica, Arial;">Beaconsfield will be closed for our Christmas break from Saturday 22 December 2012, reopening Wednesday 9th January 2013.</span> <!--EndFragment--></p> <p><!--StartFragment--><span face="Verdana, Helvetica, Arial" style="font-family: Verdana, Helvetica, Arial;"><b></b><br />  </span> <!--EndFragment--></p> <p></p> Thu, 22 Nov 2012 16:14:33 +0000 Robert Motherwell - Bernard Jacobson Gallery - September 12th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Bernard Jacobson</strong> is delighted to present an exhibition of limited edition prints by the American artist <strong>Robert Motherwell</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Throughout his long and distinguished career, Robert Motherwell produced a remarkable body of work that ranks among the most notable achievements in postwar American art. In addition to his celebrated paintings, drawings and collages, Motherwell was a renowned and innovative printmaker.</span></p> Fri, 17 Aug 2012 11:05:58 +0000 Josh Smith, Reena Spaulings, Fredrik Værslev, Matias Faldbakken - Blain|Southern London Hill Street - September 7th, 2012 - October 5th, 2012 <p style="text-align: justify;"><span style="font-size: small;">The directors of Blain|Southern are delighted to present <em>Concatenation. Signature, Seriality, Painting</em>, a group show curated by Peter J. Amdam which brings together a number of new works by the artists <strong>Matias Faldbakken, Josh Smith, Reena Spaulings and Fredrik Værslev</strong>. All of the participating artists examine the protocols of painting, albeit in their own very different ways, deploying the medium’s contingency and pushing at the boundaries of contemporary modalities of painting.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Concatenation is defined as ‘the action of linking things together in a series’, or ‘a series of interconnected things or events … unlikely to recur.<em>’</em> Series, signature, facture, mark and trace are all terms commonly used to describe painting. Each term could be included in what we might imagine to be a generalised practice of painting; and yet, of course, merely combining them would not be representative of painting as a whole.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Concatenation. Signature, Seriality, Painting </em>experiments with, or creates an experience of what happens if an artist’s ‘signature’ or agency is called into question. By creating tentative dialogues of sorts between the selected works, the axiom of painting is subverted. The group itself appears not as a selection of individual works, but as a whole, open for continuous reconfiguration; seriality therefore becomes, in a sense, infinite.</span></p> <p style="text-align: justify;"><span style="font-size: small;">“<em>The exhibition raises questions over how we might consider painting as an entity in its own right. It presents a mutated, abstract vision of painting which is open-ended, non-subjective and radically immanent – a non-summative seriality which circumvents representation and the idea of painting, to perform something which touches the ‘Real’. Indeed, the ‘Real’ could quite simply be a number, one that cannot be reduced to a concept but is foreclosed to thought, yet infinitely effable</em>.” Peter J. Amdam</span></p> <p style="text-align: justify;"><span style="font-size: small;">For a decade, Josh Smith has relentlessly and rigorously mutated and distorted notions of signature and painting. The artist is known for his extreme prolificacy, and for exploring ideas of authorship and originality. Fittingly, in the new series of stop signs presented here, he links together works with a signified meaning unlikely to be replicated; it is arresting, in and of itself.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Matias Faldbakken presents a new series of works which essentially vandalise and re-contextualise appropriated forms of packing or moving boxes. This violently negates and reconfigures the very basis of an artwork which might otherwise have been understood to ‘contain’ certain identifiable information. To paraphrase the French thinker François Laruelle: the artist is turning his back against the wall while he’s simultaneously trying to find the very limit that is the wall.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Fredrik Værslev also presents a new body of work for the exhibition. In a highly original way, his Canopy Paintings “plug into” the world rather than merely re-present parts of it.</span></p> <p style="text-align: justify;"><span style="font-size: small;">These paintings make immanent the diagram, look, and temporality of the suburban architectural canopy – the result is a somehow democratic discovery of how this kind of painterly materiality amplifies or implicates the world of the arbitrary, functional and even prefabricated.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In a move that distantly resembles the deployment of cardboard containers found in Faldbakken, the fictional artist and gallerist Reena Spaulings transforms pizza boxes into monochromatic forms, upon which vectors are inscribed. Thus the concept of political and artistic agency is enigmatically and playfully explored.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="text-decoration: underline; font-size: small;"><strong>Artist Bios</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Josh Smith was born in 1976 and trained at the University of Tennessee in Knoxville. Recent solo exhibitions of his work have been mounted at The Brant Foundation Art Study Center, Greenwich, CT, USA (2012) and the Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria (2008). His work is held in many public and private collections including the Astrup Fearnley Museet for Moderne Kunst, Oslo, Norway, The Museum of Modern Art, New York, and the Whitney Museum of American Art, New York.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Matias Faldbakken was born in 1973 in Hobro, Denmark,and graduated from The Academy of Fine Art, Bergen, in 1998. Solo exhibitions of his work have been shown at The Power Station, Dallas, US (2011), IKON Gallery, Birmingham, UK(2009) and The National Museum of Art, Design and Architecture, Oslo, Norway (2009). Group exhibitions include <em>Documenta(13)</em>, Kassel (2012). His work can be found in a variety of public and private collections including The Astrup Fearnley Museum of Modern Art, Oslo, The National Museum of Art, Design and Architecture, Oslo,and The Speyer Family Collection, New York.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Fredrik Værslev was born in 1979 in Moss, Norway, and graduated from the Malmö Art Academy, Malmö in 2010. Recent solo exhibitions include <em>Lanterne Rouge</em>, STANDARD (OSLO), Oslo, Norway (2012), <em>LISTE 16</em>, Johan Berggren Gallery, Basel, Switzerland (2011), and <em>The Secrets of Aging Well</em>, CIRCUS Gallery, Berlin, Germany (2011). He has also curated a number of projects including <em>Something Old Something New, Something Borrowed, Something Blue</em>, for Landings, Kornhaüschen, Aschaffenburg e.V., Germany (2011).</span></p> <p style="text-align: justify;"><span style="font-size: small;">The collective Reena Spaulings was founded in 2004. They have had a number of solo exhibitions including to date including <em>;-)</em>, Galerie Chantal Crousel, Paris, France (2012), <em>Reena Spaulings</em>, Galerie Daniel Buchholz, Berlin, Germany (2010), <em>Front Room</em>, St. Louis Contemporary Art Museum, St. Louis, USA (2008), <em>How To Cook a Wolf</em>, Kunsthalle Zurich, Switzerland (2007), and <em>The One &amp; Only</em>, Haswellediger &amp; Co. Gallery, New York, USA (2005).</span></p> Mon, 20 Aug 2012 08:35:16 +0000