ArtSlant - Openings & events en-us 40 J.G. Ballard, Francis Baudevin, Stéphane Dafflon, Philippe Decrauzat, Jeremy Deller, Sylvie Fleury, Scott King, Adam McEwen - Bischoff/Weiss - October 3rd, 2012 6:00 PM - 9:00 PM <p style="text-align: justify;" align="justify"><span style="font-size: small;">The exhibition hopes to reveal the commonalities, mysterious to this day, that connect two regions, London and the Lake Geneva region, despite their geographical distance. Organised according to a specific typology - adverts, inserts, covers, titles, headlines - it gathers a heterogeneous mix of artists. While brandishing its authoritative banner, this conservative organisation hopes, paradoxically, to allow artistic projects to show their uniqueness in their particular relation to the media. In this stratification, writer James Graham Ballard's work weaves a leitmotiv through these central and peripheral intrigues.</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Whereas some of Adam McEwen's paintings alternate between abstraction and figuration, despicable everyday life and air traffic disasters, Francis Baudevin's abstractions upturn the dream of transforming the mundane through art, borrowing the graphic compositions of everyday products' packaging, from the kitchen to the first-aid box. Jeremy Deller's indexing processes (folk collection, reenactment) have little to do with Philippe Decrauzat's perceptive processes. Both artists, however, share the concept of "dehierarchisation" and "declusterisation" of culture into a constellation within which both artists drift - from montage to montage - to unveil unknown stories. Nearby, whether nurturing an environmental concept of painting or bringing it to his doorstep, Stéphane Dafflon experiences art's stylistic elasticity. The exhibition could borrow the slogan "Yes To All", a phrase particularly close to Sylvie Fleury's heart, which aims to conceive art in a blurry opening on to consumerism and underground practices as many subjection and emancipation processes, while Scott King weakens "diagrammatical" authority through various discursive strategies.</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Writer J. G. Ballard (1930-2009) is often associated with the "science fiction" genre - a labelling to be handled with care. The term "science fiction" enters everyone's vocabulary as early as the late 1920's with the very popular pulp magazines. The launch of Sputnik in 1957 and the live transmission on television of Kennedy's assassination in particular have motivated Ballard to redefine the relation between science fiction and imagery.</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Amongst photocopy collage experiments (<i>Project For A New Novel</i>, 1958) and the first dummy advertisement as an insert in the <i>Ambit </i>magazine (1967), the novel The Drowned World (1962) depicts a world set in 2040, oppressed by an increased global warming. In a mobile biological testing station a couple, Kerans and Beatrice Dahl, strive to enjoy their passionate love amidst physiological upheaval, emergency and natural disaster. This novel unfolds along the principle of reversal. Here, narrator Kerans hypothesises that a painting by Max Ernst can influence the moods of its owner, the beautiful Beatrice. Elsewhere, the advancing drowning alters all taxonomies. On this point Bodkin, a colleague of Kerans's, posits, "I'm convinced that as we move back through geophysical time so we re-enter the amniotic corridor and move back through spinal and archaeopsychic time ... a total reorientation of personality". Civilisation would go back up the course of evolution, in other words, an "entropy".</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">With this same reversal principle, Ballard has fundamentally redefined science fiction by redirecting the focus usually on outer space towards the depth of the soul. Following the principle of generalised reversal, Ballard also re-established the connections between art and reality. Just as Max Ernst's landscape exerts an influence on Beatrice's temperament, so do the works in the exhibition described in <i>The Atrocity Exhibition</i> testify to the ubiquitous global cataclysm as the artists and patients are clearly affected by the nursing staff's general depression. The external landscapes are therefore the reflection of the internal catastrophe. At the same moment, Travis, a character of many names, gathers various images in turn scientific, surrealistic and of disasters.</span></p> <p style="text-align: justify;" align="justify"></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">"For the first time [in the 1960s] the public dream of Hollywood and of the spectator's private imagination overstimulated by television have merged into one."</span></p> <p style="text-align: justify;" align="justify"></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Conscious of the falsification of the world submerged in media hyperrealism, Ballard relentlessly described this loss of reality in order to build<b> </b>a variety of poetic systems<b>.</b> In <i>The Atrocity Exhibition</i>, Travis attempts to make his wife's body coincide with that of a TV celebrity. Talbot follows a bomber pilot up to a "tableau sculpture representing a Saigon street execution", "a labyrinth of billboards".</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">The same year, the writer creates <i>The Assassination Weapon</i> (1969), an exhibition at the London ICA, the programme of which announces a "performance [or] a transmedia search 'for reality'", "an extraordinary sound-and-image theatre presentation" where "a rotating circular screen catches the sliding images of Ballard's narrative, mixing ... fantasy/fact elements of inner and outer reality" in "a kaleidoscope of fact and fiction" for "a meditative experience". The following year, he presented a second exhibition, "<i>New Sculpture"</i> at the New Arts Laboratory Gallery (London), displaying a series of crashed cars. The writer describes this exhibition as a scientific experiment challenging the viewer with a car crash, a phenomenon involving the most advertised commercial product. In his famous <i>The Mechanical Bride. Folklore of Industrial Man</i> (1951), looking at media production, Marshall McLuhan compares the discontinuity of articles on a first page of the <i>New York Times</i> with that of Picasso and Joyce and calls it "one thousand and one nights entertainment". About the media, Ballard would have easily agreed with McLuhan on conceiving it as "a phantasmagoria" halted for contemplation.</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;"> </span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;"></span></p> <p><strong>During Frieze week, BISCHOFF/WEISS will be open at the following times:</strong></p> <p style="text-align: justify;" align="justify"><strong><span style="font-size: small;"></span></strong></p> <p><strong>Wednesday 3rd: 9.30am - 7pm</strong></p> <p style="text-align: justify;" align="justify"><strong><span style="font-size: small;"></span></strong></p> <p><strong>Thursday 4th: 10am - 7pm</strong></p> <p style="text-align: justify;" align="justify"><strong><span style="font-size: small;"></span></strong></p> <p><strong>Friday 5th: 10am - 7pm</strong></p> <p style="text-align: justify;" align="justify"><strong><span style="font-size: small;"></span></strong></p> <p><strong>Saturday 6th: 10am - 6pm</strong></p> <p style="text-align: justify;" align="justify"><strong><span style="font-size: small;"> </span></strong></p> Wed, 26 Sep 2012 16:19:21 +0000 Ed Atkins - Chisenhale Gallery - October 3rd, 2012 9:00 AM - 10:00 AM <p style="text-align: justify;"><span style="font-size: small;">A coffee morning and special viewing of Ed Atkins's exhibition. Cakes are generously provided by the East End Women's Institute.</span></p> Fri, 28 Sep 2012 10:26:57 +0000 Mario Testino - National Portrait Gallery - October 3rd, 2012 10:00 AM - 6:00 PM <p style="text-align: justify;"><span style="font-size: small;">Photographs of the Royal Family taken between 2003 and 2010, including the engagement photographs of the Duke and Duchess of Cambridge.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The eight portraits on display include the official engagement portraits of the Duke and Duchess of Cambridge taken in London in 2010. The earliest image on display is of HRH The Prince of Wales from 2003 which was commissioned as an official portrait and another of HRH Prince William, taken in the same year to mark his 21st birthday. The official commission to mark HRH Prince Henry’s 21st birthday will also be on display as well as a portraits of HRH The Prince of Wales and The Duchess of Cornwall, commissioned by British Vogue in 2006, and another photograph of this royal couple in their car, taken in 2010, from Testino’s personal work.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Mario Testino, born in Peru in 1954, is one of the outstanding photographers of his generation. He is perhaps best known for his work in fashion photography, which has been featured across the globe in magazines from Vogue to Vanity Fair, as well in advertising campaigns for clients including Burberry, Gucci, Dolce &amp; Gabbana and Versace. In 1981, when standing with the crowds in London celebrating the marriage of HRH the Prince of Wales and Lady Diana Spencer,  Testino took his first spontaneous royal portrait when Her Majesty Queen Elizabeth the Queen Mother and her grandson, Prince Edward, passed by. Since then he has taken many celebrated formal photographs of many members of the House of Windsor.</span></p> Thu, 27 Sep 2012 15:42:48 +0000 Dante Rendle Traynor, Lulu MacDonald, Sean Steadman - Parasol unit foundation for contemporary art - October 3rd, 2012 7:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">EXPOSURE 12 Award winners Lulu MacDonald, Sean Steadman and Dante Rendle Traynor will be in conversation with Slade School of Fine Art lecturer Graham Gussin. A practicing artist working in various media including text, sound and installation, Gussin’s 2012 projects include exhibitions at New Art Centre, Roche Court and Siobhan Davies Studios, London. Join us for a unique insight into the award winners practice and their experience of the EXPOSURE 12 Award. This event is kindly supported by Arts Council England. <strong><br /></strong></span></p> Wed, 22 Aug 2012 07:33:17 +0000 Spartacus Chetwynd - Tate Britain - October 3rd, 2012 6:30 PM - 8:00 PM <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;"><span style="font-size: small;">Turner Prize nominee Spartacus Chetwynd talks about her practice which draws upon historical and cultural histories to create carnivalesque performances and sculptural installations.</span></p> </div> </div> </div> <div class="field field-name-field-exhibits field-type-node-reference field-label-hidden"> <div class="field-items"> <div style="text-align: justify;" class="field-item even"><span style="font-size: small;">This event is related to the exhibition <i><a href="">Turner Prize 2012</a></i></span></div> </div> </div> Thu, 27 Sep 2012 15:57:38 +0000 Fergus Heron & Sachiyo Nishimura - Anise Gallery - October 4th, 2012 6:30 PM - 8:30 PM <p>Please join us for a a talk  and drinks with artists Sachiyo Nishimura and Fergus Heron. Together they will be discussing their works exhibited at 'Infrastructures' and their artistic practices.</p> <p>To book your place please email<strong></strong></p> Thu, 20 Sep 2012 12:33:05 +0000 f-twentytwo - FOTO8 Gallery - October 4th, 2012 6:30 PM - 9:00 PM <p><b>Third Effect</b> presents the work of <i>f-twentytwo</i>, an international photography collective involved in a visual exploration of the urban environment. The exhibition will run from 4-12 of October, including a talk by the artists on the 11<sup>th</sup> October.</p> <p><b>Third Effect</b> brings together inter-disciplinary visual perspectives on everyday life in the city. All the artists come from different backgrounds, disciplines and theoretical positions. Through a variety of genres that range from landscape to portraiture, from street photography to documentary, the photographs contribute to contemporary discussions on the representation of place and identity.</p> <p>The event will open the <b>UrbanPhotoFest 2012</b>, and is organised in partnership with the Centre for Urban and Community Research (CUCR), Goldsmiths, University of London; Birkbeck College; and Kingston University. It is also part of Photomonth 2012.</p> <p>In conjunction with the festival, <i>f-twentytwo</i> will host a talk; Urban Photography that Speaks? with a selection of the exhibiting artists discussing photographic practice as a visual method of analyzing and navigating the city.</p> <p><b>Urban Photography that Speaks?</b></p> <p>11<sup>th</sup> October 2012, 18:30</p> Mon, 17 Sep 2012 13:23:17 +0000 Simon O’Sullivan - IMT Gallery - October 4th, 2012 6:00 PM - 9:00 PM <p>To coincide with the exhibition <a href="" rel="nofollow"><em>Henrik Schrat | Report on Probability B</em></a>, IMT Gallery will be hosting a launch of the forthcoming book <em>On the Production of Subjectivity</em> with a talk by the book’s author Simon O’Sullivan, in which he shall be introducing the themes and drawing the five key diagrams.</p> <p>The book will be available to purchase during the event for £27.50, 50% off the cover price.</p> <p><em>On the Production of Subjectivity: Five Diagrams of the Finite-Infinite Relation</em> (Palgrave, 2012): How might we produce our subjectivity differently? Indeed, what are we capable of becoming? This book addresses these questions with a particular eye to ethics, understood as a practice of living, and aesthetics, understood as creative experimentation and the cultivation of a certain style of life. Central to the enquiry are the writings of Felix Guattari and Gilles Deleuze separately and in collaboration, as well as their philosophical precursors, Spinoza, Nietzsche and Henri Bergson. Each of these, it is argued, offer powerful resources for thinking subjectivity beyond its habitual and typical instantiations specifically in relation to opening up a different temporality of and for the subject today. Alongside this Deleuze-Guattarian trajectory the book also brings into encounter the writings on aesthetics and ethics of Michel Foucault and Jacques Lacan, and pitches Deleuze against Alain Badiou’s own theory of the subject. At stake in this philosophical and psychoanalytical exploration is the drawing of a series of diagrams of the finite/infinite relation, and a further development of Guattari’s ethico-aesthetic paradigm for thinking the production of subjectivity as a speculative, but also pragmatic and creative practice.</p> <p>Simon O’Sullivan is Senior Lecturer in art history/visual culture in the department of Visual Cultures at Goldsmiths College, University of London. He is the editor, with Stephen Zepke, of both <em>Deleuze, Guattari and the Production of the New</em> (London: Continuum, 2008) and <em>Deleuze and Contemporary Art</em> (Edinburgh: Edinburgh University Press, 2010). His first monograph, <em>Art Encounters Deleuze and Guattari: Thought Beyond Representation</em> was published by Palgrave 2005. He also makes art, with David Burrows, under the name Plastique Fantastique, who are represented by IMT Gallery.</p> Wed, 26 Sep 2012 11:45:01 +0000 Yasmin Mueller - Maria Stenfors - October 4th, 2012 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">Maria Stenfors is proud to present 'Copia: Modern disbelief', Yasmin Müller's second solo</span> <span style="font-size: small;">presentation at the gallery. The installation is embodied in the title word copia, meaning a </span><span style="font-size: small;">mass, copiousness, and also a wealth of knowledge and ideas.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Like an expanse of open ocean, constantly shifting in shape and unquantifiable, multiple</span> <span style="font-size: small;">abstract light patterns fill the volume of the room, continuously moving focus from artwork to </span><span style="font-size: small;">room. A confusing and disorientating space, that is darkened and unknown, illuminated in </span><span style="font-size: small;">passing moments. These light shapes create an endless moving mass, a copious pattern that </span><span style="font-size: small;">conducts the perception.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Central in the space are two geometrically shaped sculptures, erected like columns. These</span> <span style="font-size: small;">columns and piercings of light are Müller's reconfiguration of razzle dazzle, a pattern created </span><span style="font-size: small;">by Norman Wilkinson and utilised by 20th century warfare engineering. Designed not so much</span> <span style="font-size: small;">to camouflage but to disorientate, it blurs the perception of depth, contour and edge. it doesn't</span> <span style="font-size: small;">hide, but is more of a visual disruption, making it impossible to estimate size and shape.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Placed throughout the installation are objects of pictorial chaos plucked from the everyday</span> <span style="font-size: small;">images of modern life and cultural trends, copies of copies, an evolution of the original, and all</span><br /><span style="font-size: small;">framed and constrained by hard minimalist shapes: exquisitely angled diamonds and sharp </span><span style="font-size: small;">edged lightboxes. Familiar patterns merge with common place fashion styles confined by </span><span style="font-size: small;">geometrically perfect dimensions, as seen in the clothing of the figurative lightbox images, and </span><span style="font-size: small;">visual emblems like the parrot, featured on multiple canvases, each copy being an evolution, a</span> <span style="font-size: small;">mutation of the former, allowing the copy to perhaps stand stronger than the original.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Yasmin Muller was born in 1977, studied at the Staatliche Akademie der bildenden Künste</span> <span style="font-size: small;">Karlsruhe, and lives and works in Berlin. </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">For further information or images please contact Nathan Jenkins,</span></p> Thu, 04 Oct 2012 18:35:02 +0000 Susan Collis - Seventeen - October 4th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">This new exhibition by <strong>Susan Collis</strong> contains three works touching on thwarted intention, where the physical flaws or material shortcomings of their construction become the show's focus.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Collis visited the Tretyakov Gallery in Moscow in order to document <i>Black Suprematic Square</i> (1915) by Malevich, one of four versions he produced. Her resulting work is a one-to-one scale pencil drawing that delineates the painting's heavily fractured surface. Black Suprematic Square was a work intentionally about a zero of form and representation but has since been inadvertently undermined by the lattice of cracks that time has imposed upon it.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><i>Bespoke </i>(2012) is an arrangement of items against a wall, covered in black splash marks, a now familiar motif within Collis' practice. The work is a jigsaw of separately produced goods, that when aligned, demonstrate a coherent unifying mark across their surface. The production of the mark-bearing materials has been broken down into several small commissions, produced by commercial manufacturers ranging from small-scale designer-makers to large industrial companies. The firm, Formica, has produced two custom laminates, variants of their County Cherry and Classic Walnut that are interrupted by black drips and splashes. Collis commissioned a hand woven herringbone Tweed to resemble the grey packing blanket used by art handlers, with flecks of colour inserted into the fabric. The black splash is woven into the sheet, and continues from the printed vinyl wall banner, over veneered boards, to a screen printed dust-sheet and hand glazed ceramic tiles below.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The final component is a large structure that appears to be shoring up one of the gallery walls. The leaning beam, though reminiscent of some sort of architectural support, is covered in hundreds of small sea-shells, arranged in patterns and painted. Using shells Collis has employed a material with connotations of the hobbyist, likely to be used by a child in a collage. The patterned shells are consciously graceless, rendering the beam not just structurally redundant but also decoratively abhorrent.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Susan Collis is currently on show at Honigbrot, Cologne, and will be showing at <i>Lifelike</i>, New Orleans Museum of Art from 11th November 2012.</span></p> <p></p> Mon, 24 Sep 2012 10:10:48 +0000 Theo Burt, Daniel Shanken, oliver sutherland, Thom O’Nions - Seventeen - October 4th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Also exhibiting in October will be <i>Sound Spill</i>, a project initiated by Thom O'Nions, Haroon Mirza and Richard Sides investigating the curatorial issue of sound in the context of the group exhibition.The exhibition will feature sounds works by various artists, curated by O'Nions, Mirza and Sides, and will run concurrently with Susan Collis.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Sound Spill is an ongoing project by Haroon Mirza, Thom O'Nions and Richard Sides. This is the fourth manifestation of the project in which four elements are brought together; artworks by Theo Burt, Daniel Shanken and Oliver Sutherland, and a text work by Thom O'Nions.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">The Sound Spill project sets out to examine the way in which sound inhabits an exhibition space, particularly the way in which it spills or bleeds into and between works. The interaction of sound dictates and structures the arrangement of the works; a composition based on a careful selection of works that is sensitive to their acoustics. The model allows for unexpected relationships and relation between works in contrast to a more traditional thematic approach.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Theo Burt</strong> works with computer sound and image, live performance and installation. His ongoing audio-video projects Colour Projections and Tiling Sessions concentrate on developing perceptual relationships between sound and image, setting up tensions between the intelligibility of processes and the intuitive experiencing of their results. He is currently collaborating with Tim Wright (Germ/Tubejerk) on a new sound and light project Bastard Structures 2. His sound works for the Automatics Group have included Auto 17 (physical indeterminacies in an EMS VCS3 synth) with Peter Worth on Or/Touch and Summer Mix (automatic transformations of anthemic Eurotrance) on Entr'acte.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Daniel Shanken</strong> is from Los Angeles, California and currently lives and works in London. He received a BFA in Fine Art from Art Center College, Pasadena in 2006 and he is a recent graduate from the MFA program at Goldsmiths University, London.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Oliver Sutherland</strong> currently lives and works in London, where he has just completed a Master of Arts in Sculpture at the Royal College of Art. Utilising software and hardware Sutherland’s work questions the usage and intelligence of technology and how it is understood and accepted while simultaneously disregarded. Content, tools and the user are seen not as independent forces but rather as a mass that continually shapes itself, propagating new elements. Recent exhibitions include: PRIMO ANNIVERSARIO, Lucky PDF, Peckham, London (2012); My Friends Speak HTML, Nrml, San Pedro Garza Garcia, Mexico (2011); Trade Routes (Part 1), PiArts, Istanbul (2011); Nothing for Chromakey, Trade Gallery, Nottingham (2010) and URGENCY / AGENCY, Delfina Foundation, London (2010).</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> Mon, 24 Sep 2012 10:11:06 +0000 Nina Beier - Tate Modern - October 4th, 2012 12:00 PM - 12:30 PM <p style="text-align: justify;"><span style="font-size: small;">Tuesday 2 October – Thursday 4 October 2012, 12.00 – 12.30, 15.00 – 15.30 and 17.00 – 17.30</span></p> <p style="text-align: justify;"><span style="font-size: small;">The subject of much of Nina Beier’s work is history and how it can be accessed through performance. Her interests range from popular culture – such as her ‘re-make’ of a Tintin cartoon, <em>The Broken Ear Restored</em> 2012, by ripping it up and piecing it back together as a collage or jigsaw – to ‘higher’ forms of art such as modern choreography.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In The Tanks, Beier will stage <em>The Complete Works</em>, a performance where she invites a retired dancer to dance every piece of choreography that they have learnt, enacted in chronological order. The piece is simultaneously a history of a choreographic vocabulary, collectively recognisable, whilst also invoking the personal history of the dancer’s experiences. Beier will work with three dancers from different companies.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Nina Beier</strong> (born 1975, Denmark) lives and works in Berlin. She has an MA from the Royal College of Art, London and recent solo exhibitions include Shirts vs Skins, Laura Bartlett Gallery, London (2012) and Kunsthal Charlottenborg, Copenhagen (2011).</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> Thu, 04 Oct 2012 08:31:17 +0000 Matt Stokes - Whitechapel Gallery - October 4th, 2012 7:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">The artist talks about his new film with scriptwriter <strong>Syed Rahman</strong>, community organiser <strong>Sotez Choudhury</strong> and <strong>John Newbigin, </strong>chair of Creative England.</span></p> Thu, 27 Sep 2012 13:58:48 +0000 Luc Tuymans - David Zwirner, London - October 5th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>David Zwirner</strong> is pleased to present an exhibition of new paintings by </span><span style="font-size: small;"><strong>Luc Tuymans</strong>, which will inaugurate the gallery’s first European location on </span><span style="font-size: small;">24 Grafton Street in Mayfair, London.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Belgian artist joined David Zwirner in 1994 and this marks his ninth solo </span><span style="font-size: small;">show with the gallery and the first in London since his 2004 retrospective at the </span><span style="font-size: small;">Tate Modern. A forthcoming catalogue published on the occasion of Tuymans’s </span><span style="font-size: small;">tenth show, The Summer is Over (opening in New York on November 1 this </span><span style="font-size: small;">year), will present a detailed overview of each gallery exhibition as well as a </span><span style="font-size: small;">conversation between the artist and David Zwirner.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tuymans is widely credited with having contributed to the revival of painting in </span><span style="font-size: small;">the 1990s. His sparsely colored, figurative works speak in a quiet, restrained, and </span><span style="font-size: small;">at times unsettling voice, and are typically painted from pre-existing imagery </span><span style="font-size: small;">which includes photographs and video stills. His canvases, in turn, become </span><span style="font-size: small;">third-degree abstractions from reality and often appear slightly out-of-focus, </span><span style="font-size: small;">as if covered by a thin veil or painted from a failing memory. There is almost </span><span style="font-size: small;">always a darker undercurrent to what at first appear to be innocuous subjects: </span><span style="font-size: small;">Tuymans has, in this way, explored diverse and sensitive topics including the </span><span style="font-size: small;">Holocaust, the effects of images from 9/11, the ambiguous utopia of the Disney </span><span style="font-size: small;">empire, the colonial history of his native Belgium, and the phenomenon of the corporation.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">The present exhibition comprises a series of paintings entitled Allo! While an initial source of inspiration was Joseph Conrad’s </span><span style="font-size: small;">Heart of Darkness (1899), the visual reference for the works was the final scene in the 1942 film The Moon and Sixpence, which </span><span style="font-size: small;">itself is an adaptation of W. Somerset Maugham’s eponymous novel from 1919. The plot is loosely based upon the life of Paul </span><span style="font-size: small;">Gauguin and revolves around a stockbroker who leaves his job and family to become an artist, eventually settling in Tahiti. </span><span style="font-size: small;">Following his death several years later, his doctor travels to the primitive studio he left behind and discovers his paintings—</span><span style="font-size: small;">swirly, colorful landscapes and nudes—moments before the late artist’s Tahitian widow sets fire to everything. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Tuymans’s interest in this topic has to do with a general negation of modernism and Hollywood’s longstanding idealization of </span><span style="font-size: small;">the artist as a romantic savage. Along with the colonial context of Heart of Darkness, which is based in the Belgian Congo, the </span><span style="font-size: small;">indirect reference to Gauguin evokes recent critiques of the early avant-garde’s fascination with lesser industrially developed </span><span style="font-size: small;">civilizations as the “other.” The works are titled after a talking parrot’s greeting to patrons of an Antwerp bar near the city’s red </span><span style="font-size: small;">light district, a tongue-in-cheek reference, perhaps, to modernist artists’ fascination with the exotic.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Yet Tuymans’s presentation of the film stills complicates a straightforward reading of the subject matter. His works successively </span><span style="font-size: small;">depict the doctor in the darkened interior with the partially illuminated artworks, which in original screenings of the blackand-white film were dramatically rendered in Technicolor, a now obsolete process that was widely used in Hollywood until the </span><span style="font-size: small;">early 1950s. The doctor becomes merged with the background narrative, while a further presence is subtly indicated by a dark </span><span style="font-size: small;">shadowy outline—that of Tuymans himself, whose reflection was visible in the photographs he took of the stills.</span></p> <p style="text-align: justify;"><span style="font-size: small;">While the sequential series is reminiscent of graphic illustrations or cartoons, the multiple layers of representations featured </span><span style="font-size: small;">within a single composition draws attention to the medium and exercise of painting itself. By exposing the formal construction </span><span style="font-size: small;">of his works—paintings of facsimile paintings reproduced on film and in turn photographed from a computer screen—Tuymans </span><span style="font-size: small;">at once creates a trompe l’oeil effect in which all media appear simulated, while also exaggerating their technical differences. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Other works in the exhibition likewise engage with issues of copying, reproduction, and layering. The source material for two </span><span style="font-size: small;">paintings—Peaches and Technicolor (both 2012)—was an early commercial shot in Technicolor, and their almost fluorescent </span><span style="font-size: small;">glow was produced with the same color palette as the Allo! works. Two further paintings—10 PM and Social Housing (both </span><span style="font-size: small;">2012)—stand out from the brighter works and present shadowy views of a city garden and a social housing project, respectively. </span></p> <p style="text-align: justify;"><span style="font-size: small;">While the former is Tuymans’s own backyard, the latter has more sinister undertones and was inspired by a documentary on a </span><span style="font-size: small;">self-contained community scheme developed by the Nazis in wartime Germany. Also painted from photographs (and in the </span><span style="font-size: small;">case of the latter, a photograph of a television screen), they appear both figurative and abstract, as if turning a longstanding </span><span style="font-size: small;">dialectic about surface and depth into a new painterly challenge that concerns/affirms the medium’s uniqueness in the mass </span><span style="font-size: small;">media age.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Born in 1958 in Morstel, near Antwerp, Belgium, Luc Tuymans was one of the first artists to be represented by David Zwirner. </span><span style="font-size: small;">He joined the gallery in 1994 and had his first American solo exhibition that same year. Tuymans’s work was recently the </span><span style="font-size: small;">subject of a retrospective co-organized by the Wexner Center for the Arts, Columbus, Ohio, and the San Francisco Museum of </span><span style="font-size: small;">Modern Art. It traveled from 2010 to 2011 to the Dallas Museum of Art; Museum of Contemporary Art Chicago; and the Palais </span><span style="font-size: small;">des Beaux-Arts, Brussels. Previous major solo exhibitions include those organized by the Moderna Museet Malmö, Sweden, </span><span style="font-size: small;">in 2009, and the Tate Modern, London, in 2004. Other recent solo exhibitions include the Centro de Arte Contemporáneo de </span><span style="font-size: small;">Málaga, Spain (2011); Haus der Kunst, Munich; Zach ˛eta National Gallery of Art, Warsaw (both 2008); M ˝ucsarnok Kunsthalle, </span><span style="font-size: small;">Budapest (2007); Museu Serralves, Porto, Portugal; and the Musée d’art moderne et contemporain, Geneva (both 2006).</span> </p> <p style="text-align: justify;"><span style="font-size: small;">In 2009, Tuymans was the curator of The State of Things: Brussels/Beijing at the Palais des Beaux-Arts, Brussels, which traveled </span><span style="font-size: small;">to the National Art Museum of China, Beijing, and A Vision of Central Europe at the Brugge Centraal, Bruges, Belgium, in </span><span style="font-size: small;">2010. A catalogue raisonné of the artist’s paintings is currently being prepared by David Zwirner in collaboration with Studio </span><span style="font-size: small;">Luc Tuymans. Compiled and edited by art historian Eva Meyer-Hermann, the catalogue raisonné will illustrate and document </span><span style="font-size: small;">approximately 500 paintings by the artist from 1975 to the present day.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The artist represented Belgium at the 49</span><span style="font-size: small;">th </span><span style="font-size: small;">Venice Biennale (2001) and his works are featured in museum collections worldwide, </span><span style="font-size: small;">including The Art Institute of Chicago; Centre Georges Pompidou, Paris; Los Angeles County Museum of Art; The Museum of </span><span style="font-size: small;">Modern Art, New York; Pinakothek der Moderne, Munich; Solomon R. Guggenheim Museum, New York; and the Tate Gallery, </span><span style="font-size: small;">London. Tuymans recently donated his portrait of Her Majesty Queen Beatrix of The Netherlands to the Stedelijk Museum, </span><span style="font-size: small;">Amsterdam. He lives and works in Antwerp.</span></p> <p><strong>To coincide with Frieze &amp; Frieze Masters, the gallery will be open </strong><strong>Sunday, October 14, 11 AM – 5 PM</strong></p> Thu, 21 Mar 2013 07:03:39 +0000 - Institute of Contemporary Arts (ICA) - October 5th, 2012 3:00 PM - 4:00 PM <p style="text-align: justify;"><span style="font-size: small;">As a response to Bjarne Melgaard’s exhibition, <i><a href="">A House to Die In</a></i>, cultural critic Ben Highmore and architect and theorist Adrian Lahoud join Charles Rice to discuss pattern and scale as key concepts in understanding relations between art and architecture. </span><br /><br /><span style="font-size: small;">Ben Highmore is Reader in Cultural Studies at the University of Sussex. His most recent books are <em>A Passion for Cultural Studies</em> (Palgrave, 2009) and <em>Ordinary Lives: Studies in the Everyday</em> (Routledge, 2011), and the edited collection <em>The Design Culture Reader</em> (Routledge, 2009).</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">Adrian Lahoud is an architect and teacher. A regular contributor to academic and mainstream architectural publications, in 2010 he co-edited a special issue of <em>Architectural Design</em> titled <em>Post-traumatic Urbanism</em>. His work has been exhibited at the Prague Quadrennial (2011) and in Korea at the Design Biennale Gwanju (2011) co-curated by Ai Weiwei. Currently he is Director of the March Urban Design at The Bartlett and Coordinator of the MA in Research Architecture at Goldsmiths.</span><br /> <br /><span style="font-size: small;">Professor Charles Rice is an architectural historian, theorist and critic, and is Head of the School of Art and Design History at Kingston University. Charles’ research considers questions of the interior across the arts. He is author of <em>The Emergence of the Interior: Architecture, Modernity, Domesticity</em> and editor of <em>The Journal of Architecture</em>. </span><br /> <br /> <br /><em><span style="font-size: small;">In collaboration with Kingston University</span> <br /></em></p> Thu, 27 Sep 2012 10:36:37 +0000 Liam Gillick, JJ Charlesworth - Institute of Contemporary Arts (ICA) - October 5th, 2012 1:00 PM - 2:00 PM <p style="text-align: justify;"><span style="font-size: small;">Join artist Liam Gillick in conversation with JJ Charlesworth, for a lunchtime talk at ICA.</span><br /><br /><span style="font-size: small;">Probably best known for his multicoloured and modular sculptural interventions, Liam Gillick examines the social role and function of art through experimenting with constructed situations based upon familiar realities. In adopting conceptualist tendencies, Gillick uses his work as a platform to question ideas of active participation, discussion and social exchange. An influential artist, writer, critic and curator, Gillick’s discursive mode of practice employs a wide range of media such as text-based proposals, wall drawings, films and book forms. </span><br /><br /><span style="font-size: small;">After graduating from Goldsmiths College of Art in 1987, Gillick initially emerged as part of the generation of Young British Artists (YBAs) that shaped the art scene during the 80s and 90s. With many successful solo exhibitions, including shows at the Whitechapel Gallery in London (2002), Palais de Tokyo (2005), and most recently, a major mid-career retrospective project <em>Three Perspectives and a short scenario</em>, at Witte de With in Rotterdam, Kunsthalle Zurich, and the Museum of Contemporary Art in Chicago (2008-2010), he was nominated for the Turner Prize in 2002 and in 2008.</span><br /><br /><span style="font-size: small;">Liam Gillick now lives and works between London and New York and teaches at both Columbia University (New York) and the Centre for Curatorial Studies at Bard College.</span><br /><br /><span style="font-size: small;">JJ Charlesworth is an art critic, curator, artist and lecturer. Writing about contemporary art since he left Goldsmith’s in 1996, his critical concerns centre around social and political contexts, and the changing values of aesthetic discourse in contemporary art production. An Associate Editor for Art Review magazine, Charlesworth is also a regular contributor to Art Monthly, Modern Painters and Time Out London. In 2003 he was a selector for the Bloomberg New Contemporaries exhibition, and currently teaches at the Royal College of Art.</span></p> Thu, 27 Sep 2012 10:39:42 +0000