ArtSlant - Recently added en-us 40 - Whitechapel Gallery - May 10th 11:30 AM - 6:00 PM <p style="text-align: justify;"><span style="font-size: small;">A series of presentations, screenings and discussions respond to the theme of memory, illustrating how the concept is interwoven throughout Marker&rsquo;s life and work. Providing new approaches to understanding Marker&rsquo;s practice, contributors to the first day include&nbsp;<strong>Raymond Bellour</strong><strong>, Chris Darke,&nbsp;</strong><strong>Richard Hollis&nbsp;</strong>and&nbsp;<a href="" target="_blank"><strong>Daniel Potter</strong></a>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Organised with and supported by the AHRC-funded Memory Network.</span></p> Thu, 17 Apr 2014 07:03:02 +0000 Swoon, Jake and Dinos Chapman, Kai and Sunny, Nancy Fouts, The Connor Brothers, Keaton Henson, Paul Stephenson - Pertwee Anderson & Gold - May 16th, 2013 - June 14th, 2013 Wed, 16 Apr 2014 15:30:43 +0000 Group Show - APT Gallery - April 24th - April 27th Wed, 16 Apr 2014 07:29:40 +0000 - Zabludowicz Collection - April 24th 7:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">To co-incide with her&nbsp;<a href="" target="_blank">Infinite City micro-residency</a>&nbsp;artist&nbsp;<a href="" target="_blank">Frances Scott</a>&nbsp;hosts a screening of short films, including&nbsp;works selected from the Zabludowicz Collection.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong><em>Another way of reading</em>&nbsp;is a partnership between the Zabludowicz Collection and London Borough of Camden Council.</strong></span></p> Wed, 16 Apr 2014 07:13:18 +0000 Group Show - APT Gallery - May 1st - May 18th <p style="text-align: justify;"><em>Penumbra&nbsp;</em>is the inaugural art exhibition of young curatorial collective VERB. This show will present a selection of 11 emerging artists&rsquo; work that demonstrates the beauty, vitality and contradictions inherent within transitional states. The exhibition will run from 1-18 May 2014 at A.P.T Gallery in Deptford, London, and will be followed by a publication. The public events programme includes tours, artist talks, performances, a panel discussion and curatorial workshops for children.</p> <div> <div style="text-align: justify;"> <p><strong>Penumbra</strong></p> <p><em>noun.</em>&nbsp;An area in which something exists to a lesser or uncertain degree. A fringe region of half shadow. An outlying surrounding region; a periphery.</p> </div> <div> <p style="text-align: justify;"><em>Penumbra&nbsp;</em>will explore liminality; the moment of transition from one state to another. This uncertain state has long been associated with danger, but also contains the potential for a positive transformation. Liminality has been a buzz word in the art world for years, however its continued relevance to artists indicates a greater importance than mere trendiness.&nbsp;</p> <div style="text-align: justify;"> <p>The artists were selected from an open call on the subject of the uncertain, which received over 300 applications from across the UK and beyond. The current phenomenon of the young taking longer to reach a position of stability can be seen as a defining feature of our age. Emerging artists caught in this extended transitory period can offer an insight into the potential of uncertainty as well as its struggles. The presented works are diverse in both materials and approach to the subject, displaying a multiplicity of perspectives on the in- between; forming an intriguing and cohesive collection of innovative, quality works. The show will focus on three strands of liminality: spacial, temporal and transformative. However, as befits a show centred around the &lsquo;in-between&rsquo; and the ambiguous, many works bridge the divide between these areas.</p> <p><strong>Artists</strong></p> <p>The artists exhibiting in&nbsp;Penumbra&nbsp;are Megan Broadmeadow, Anton Burdakov, Greta Eacott, Elizabeth Hudson, Anna Hussey, Lydia Julien, Helen McGhie, Alex McNamee, Clare Price, Collette Rayner and YuYu.</p> <p><strong>Events</strong></p> </div> <div> <div style="text-align: justify;"> <p>A series of free public events will complement the exhibition, these aim to generate discourse on the subject of the exhibition, demystify the curatorial process and provide insights into the artworks.</p> </div> <div style="text-align: justify;"> <p>The panel discussion is on the subject&nbsp;The Progressive Potential of Uncertainty&nbsp;and will feature curator and critic Helena Reckitt as chair, and academic Dr. Eric Prenowitz, artist Lise Hovesen, a VERB curator and a Penumbra artist as panellists.</p> </div> <div style="text-align: justify;"> <p><strong>Key dates</strong></p> Thur 01/05/2014: Exhibition preview from 18:00 (including Greta Eacott's performance)<br />Fri 02/05/2014: Curator&rsquo;s tour, 17:00<br />Thur 08/05/2014: Panel Discussion: The Progressive Potential of Uncertainty, 18:30<br />Fri 09/05/2014: Greta Eacott performance, 14:00 - 16:00<br />Sat 10/05/2014: Curatorial children&rsquo;s workshop, all day drop-in<br />Wed 14/05/2014: Curator&rsquo;s tour, 17:00<br />Sun 18/05/2014: Artists&rsquo; talk and performance, drop-in from 13:00</div> </div> </div> </div> Tue, 15 Apr 2014 17:45:06 +0000 Tim Cousins - APT Gallery - April 25th 5:30 PM - 6:15 PM <p style="text-align: justify;" align="center"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">These conversations will consist of a dialogue between the artist and audience, directly through a painting on a studio wall. Each month the painting will change.<br /> </span></p> <p style="text-align: justify;" align="center"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Seating in the studio is limited. Please arrive in the A.P.T Gallery before 5.30pm to be escorted upstairs. </span></p> Tue, 15 Apr 2014 02:26:02 +0000 Group Show - Timothy Taylor Gallery - May 1st - May 28th <p>Timothy Taylor Gallery presents a group show of black and white works in various mediums.</p> Tue, 15 Apr 2014 02:21:25 +0000 - Serpentine Sackler Gallery - April 10th - April 21st <p style="text-align: justify;"><span style="font-size: small;">As a parallel programme to accompany the exhibition <a href="" target="_blank"><strong>Martino Gamper: design is a state of mind</strong></a>, Serpentine Galleries have produced a series of short films, linking the collections on loan with the individuals who have loaned them. The films, consisting of interviews led by design curator and writer Emily King, focus on the personal connections that the collectors have forged with these objects.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">The films are directed by London-based studio Pundersons Gardens.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Emily King</strong>&nbsp;is a London-based design historian who divides her time between writing and curating.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&lsquo;You analyze the sleeve&rsquo; - with a special emphasis on records, <strong>Paul Neale</strong> speaks on his interest in print and the physicality of objects.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&lsquo;You take things out of their chaotic everyday existence&rsquo; <strong>Michael Marriott</strong> comments on the chance afforded by contemplative space to look for meaning in everyday things.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&lsquo;Once I feel like a hoarder, I have to let go&rsquo; - <strong>Bethan Wood</strong> talks about her purposeful collection of sample materials, transferred from studio to gallery for Martino Gamper&rsquo;s show.</span></p> <p style="text-align: justify;"><span style="font-size: small;">'It's like the book has found you' - <strong>Simon Prosser </strong>describes the lunchtime hours he spends hunting for second-hand gems in bookshops' dusty basements.</span></p> Tue, 15 Apr 2014 02:15:02 +0000 Jesse Wine - Serpentine Sackler Gallery - May 10th 3:00 PM - 5:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Jesse Wine</strong> is an artist currently working in ceramics. Wine is interested in human behaviour and human interaction, using clay and exhibition construction to explain ideas and narratives around these subjects.&nbsp;Recent and forthcoming exhibitions include <em>Chester Man</em>, Mary Mary Gallery, Glasgow;<em> You can't beat nature,</em> Oriel Mostyn Gallery, Llandudno; <em>Travelling White Man</em>, C02 Gallery, Turin; <em>Pleasure Principles</em>, Lafayette Foundation, Paris;<em> Hey, I'm Mr. Poetic</em>, Wysing Arts Centre, Cambridge; <em>Notes Toward a Sculpture Cycle</em>, Nomas Foundation, Rome; Ceramic fellow 2014, Camden Arts Centre. Born 1983, Jesse lives and works in London.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Kathy Noble</strong> is a writer and curator, who is currently Artists and Programmes Curator at Wysing Arts Centre. She was previously Head of Exhibitions at Nottingham Contemporary, and prior to that, Curator (Interdisciplinary Projects) at Tate Modern. There she co-curated The Tanks programme, Tate Modern Live, the online programme Performance Room, and a number of exhibitions and projects.&nbsp;She writes for magazines such as <em>Frieze </em>and <em>Art Monthly </em>and recent catalogue essays include Tania Bruguera, Geoffrey Farmer, Tala Madani, Haegue Yang and Emma Hart. Kathy is a Trustee of Michael Clark Company and Chair of Trustees of Auto Italia South East.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Saturdays Live </strong>explore ideas and practices connected to Serpentine Galleries exhibitions through performances, interventions and participatory actions.</span></p> Tue, 15 Apr 2014 02:06:40 +0000 - Serpentine Sackler Gallery - May 17th 3:00 PM - 5:00 PM <p style="text-align: justify;">Poets&nbsp;<strong>Eugene Ostashevsky </strong>and&nbsp;<strong>Holly Pester&nbsp;</strong>present readings in the Serpentine Sackler Gallery's Powder Room, within the exhibition curated by Martino Gamper,&nbsp;<em>design is a state of mind</em>. &nbsp;Ostashevsky and Pester will be joined by several other poets throughout this afternoon, which is programmed in collaboration with&nbsp;<a href="" target="_blank"><em>The White Review</em></a>. Please check back for information updates.&nbsp;</p> <p style="text-align: justify;">Russian-American poet <strong>Eugene Ostashevsky </strong>is renowned for his physically animated, ventriloquistic performances of poems on subjects as varied as Continental philosophy and pirates' conversations with their parrots. His books of poetry Iterature and <em>The Life and Opinions of DJ Spinoza </em>are published by Ugly Duckling Presse, and he is the editor of <em>OBERIU: An Anthology of Russian Absurdism</em>. Ostashevsky teaches in the liberal studies programme at New York University. He contributed an excerpt from <em>The Pirate Who Does Not Know the Value of Pi</em> to <a href="" target="_blank"><em>The White Review 8</em></a>.&nbsp;</p> <p style="text-align: justify;"><strong>Holly Pester</strong> is a poet and multidisciplinary writer. She has worked as an archivist, lecturer and practice-based research with performances and sound installations featuring in events in Mexico City, dOCUMENTA 13, the Text Festival, and the Serpentine Gallery Poetry Marathon. Holly Pester&rsquo;s poetry collection, <em>Hoofs</em>, was released with if p then q press in 2011 and her next collection, <em>Folkslop </em>is due out with Veer Books in late 2014. She is currently artist in residence at the Women&rsquo;s Art Library.</p> Tue, 15 Apr 2014 02:05:10 +0000 Ansel Krut - Stuart Shave/Modern Art - May 2nd - May 24th Tue, 15 Apr 2014 01:59:19 +0000 John Virtue - Marlborough Fine Art - April 30th - May 31st <p style="text-align: justify;"><span style="font-size: small;">The Sainsbury Centre for Visual Arts is delighted to present <strong>John Virtue &ndash;<em> The Sea</em></strong>, an exhibition featuring a spectacular new body of work by this renowned British painter. The nine canvases, 25 drawings and 70 sketchbooks, all executed in the last three years, will be displayed in two galleries.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The second part of the exhibition will be shown from <strong>30 April to 31 May 2014 at Marlborough Fine Art</strong>, in London.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a href="" target="_self"> &nbsp;</a></span></p> Tue, 15 Apr 2014 01:50:08 +0000 Luke Gottelier, Max Lamb - Kate MacGarry - May 2nd - June 7th Tue, 15 Apr 2014 01:45:25 +0000 Alessandro Pessoli - Greengrassi - May 13th - June 7th Tue, 15 Apr 2014 01:40:28 +0000 Aleksandra Mir - Drawing Room - May 27th - July 19th <div class="body"> <p style="text-align: justify;">A major new commission by internationally renowned, London-based artist <strong>Aleksandra Mir</strong>. The project <strong><em>Drawing Room</em></strong> responds to the exploding energy of the fast-developing London skyline and explores drawing as a collective activity.</p> <p style="text-align: justify;">Taking over the gallery as a production space, Mir and her team of ten assistants will create a live drawing installation, using only &lsquo;Sharpie&rsquo; marker pens. &nbsp;The work will be based on the architecture of London, and include expansive street scenes and intimate interior views that invite you to enter these spaces. Working directly onto a specialist canvas backdrop, commonly used in theatre, the resulting mural will be 4 metres high and will extend to over 24 metres in length. After completion, the resulting installation will remain on exhibition for an additional six weeks.</p> <p style="text-align: justify;">Mir says:<em> &lsquo;It will be a collective live drawing extravaganza resulting in one mural sized work, choreographed by me and performed together with a group of assistants who will be working with me in the gallery space in full public view.&nbsp; My objectives are to push drawing beyond the confines of the small-scale, manageable sheet of paper towards a larger unruly reality; at once a stage set, a choreography and a performative act. It will blend many art forms into one continuous process and activity where a lot is determined beforehand, but as much left to the energies and personalities of the people who will occupy the space and the daily goings on there.&rsquo;</em></p> <p style="text-align: justify;">Working with a team Mir seeks to foster an ethos of shared achievement while creating an analogy to the collective life of the city. The process of collaboration and the use of atypical materials &ndash; in this case the &lsquo;Sharpie&rsquo; marker pen &ndash; are similarly integral to the artist&rsquo;s working practice. Mir has drawn with the &lsquo;Sharpie&rsquo; pen on a large scale for many years, transforming this popular everyday marker pen into a tool for experimentation. She manages to achieve complex patterns and painterly effects with the fading marker, creating works that are imbued with intense energy and remain a record of the physical labour required to make them.</p> <p style="text-align: justify;"><em>&lsquo;I simply love the medium of drawing for its brutal honesty&rsquo;</em>, Mir says.</p> <p style="text-align: justify;">This is Aleksandra Mir&rsquo;s first collaborative drawing project in London and one of her most ambitious drawing projects to date. For Drawing Room this is the first presentation of large-scale drawing made in situ by an artist.</p> <p style="text-align: justify;">_</p> <p style="text-align: justify;"><em>Aleksandra Mir lives in London. Recent solo exhibitions and projects include The Space Age, M &ndash; Museum, Leuven; Discoteca, Magazzino, Rome; Visionaries of St. Pauli, Betongalerie, Hamburg (2013); Justice, Triple A, Los Angeles (2012); The Seduction of Galileo Galilei, Mercer Union, Toronto and Whitney Museum, New York (2011); Triumph, Schirn Kunsthalle, Frankfurt (2009); Switzerland and Other Islands, Kunsthaus, Zurich (2006). Group exhibitions include Energy and Process, Tate Modern, London (2013); 9 Bienal du Mercosul, Porto Alegre (2013); Monuments, Lismore Castle (2013); Pursuit of Perfection, South London Gallery (2012); ArtandPress, Martin Gropius Bau, Berlin (2012); Once Upon a Time, Deutsche Guggenheim, Berlin (2011); Plus Ultra, MACRO Testaccio, Rome (2010); 53 Venice Biennale (2009).</em></p> <h5 style="text-align: justify;">-&nbsp;Drawing Room Bursary Award has been supported by CASS ART - London&rsquo;s leading independent art stores and provider of the world&rsquo;s top creative art materials. Cass Art is committed to encouraging everyone to realise their creative talents, supporting numerous art initiatives and prizes across the capital.</h5> </div> Tue, 15 Apr 2014 01:38:52 +0000 David Hockney - Annely Juda Fine Art - May 8th - July 12th <p style="text-align: justify;"><span style="font-size: small;"><strong>Annely Juda Fine</strong> is will be exhibiting <strong>David Hockney</strong>'s&nbsp;series of 16&nbsp;iPad drawings; The Arrival of Spring. These bold and striking iPad drawings have been printed on paper in an edition of 25. A further four prints have been printed in large format and&nbsp;mounted on dibond in an edition of 10.&nbsp;</span><br /> <br /><span style="font-size: small;"> In addition to the iPad drawings the film&nbsp;Woldgate Woods, November 26th&nbsp; 2010&nbsp;will be shown: 9 digital videos will be shown synchronised on 9 video monitors showing a slow progress through a snowy wooded landscape in East Yorkshire.</span><br /> <br /><span style="font-size: small;"> Showing on the 3rd floor gallery will be a group of charcoal drawings showing 5 seperate views:</span><br /> <br /><span style="font-size: small;"> <em>I decided to do an arrival of spring in black and white (and greys) at the beginning of 2013. A change from the color I had used in 2011. I almost gave up on them a few times, but persevered with them, and finished about the end of May 2013. The Chinese say black and white contains colour, and so it can.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>They are five separate views of Woldgate, and with each one I had to wait for the changes to happen. Some were too close to the previous ones and I realised I was being impatient. I had to wait for a bigger change. I thought it was an exciting thing to do. It made me look much harder at what I was drawing.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>The totems were drawn immediately on my return from my exhibition in Cologne in November 2012. I drove out on Woldgate and noticed it had been deliberately sawn through. A bit before this I was sent photographs of graffiti that had been painted on it. Annoying but I thought the winter would take them away. I was at first very sad and went to bed for two days a bit depressed by the vandalism. Then I decided to draw it. I had had a very minor stroke that had kept me in London, and the first drawing after it took me two days to draw (the days are a lot shorter in November).</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>The minor stroke only manifested itself in my speech. I found I couldn't finish sentences, and although it came back after about a month I find now I talk a lot less. But it did not affect my drawing, I think it even made me concentrate more. I thought, well I'm OK so long as I can draw, I don't really need to say much anymore; I thought, I've said enough already.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>When I sent the drawings to California Gregory said straight away he thought there was a difference he could see. Anyway all I did for the next six months was draw with charcoal. I made about twenty-five portrait drawings that took two days each to do, and kept up The Arrival of Spring drawings, which I was very keen to show in San Francisco in my Bigger Exhibition at the end of last year.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>The color prints are from the iPad. These were drawn in 2011 and first shown at the Royal Academy in 2012, and so I have made just small editions of them. Some took two or three days to draw, and they were all drawn knowing they would be printed bigger. They were deliberately made for printing.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">David Hockney, March 2014</span></p> Tue, 15 Apr 2014 01:36:46 +0000