ArtSlant - Recently added en-us 40 - Annely Juda Fine Art - December 18th 6:00 PM - 8:00 PM <p style="text-align: center;">We would like to pay tribute to Roger with a gathering at the gallery on</p> <p style="text-align: center;">&nbsp;<strong>Thursday 18 December 2014 from 6pm to 8pm</strong></p> Wed, 01 Oct 2014 17:38:20 +0000 - Hollybush Gardens - October 9th 7:00 PM - 8:00 PM <p style="text-align: justify;"><strong>Marina Vishmidt</strong>&nbsp; Dither and Ooze: The Dialectics of Matter at a Standstill&nbsp;</p> <p style="text-align: justify;">How can we describe the relationship between art and capital in the current phase of crisis? The logic of speculation makes them increasingly convergent, both dedicated to the erasure of labor and open-ended expansion-subsumption as their spontaneous ideology. Vishmidt argues that that speculation is a paradoxical mode in the sense that, just as capitalism itself was once judged to have a progressive side through power to abstract and dissolve, we can see a propositional and&nbsp;<em>negative&nbsp;</em>side - negative in the sense of corrosive to the status quo - in the speculative movement of contemporary art.&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Danny Hayward</strong>&nbsp;will read from his recently published collection,&nbsp;<em>People&nbsp;</em>(MTN Press 2013), a compendium of poems, essays and drama.</p> <p style="text-align: justify;"><em>&ldquo;And so it was that I came to turn from the path, the longest to walk down, which, forking again and again into a surplus of ecstatic arteries, multiplying in excess of the mind, and spreading inexorably away from the heart, at last bled into dark platforms; hooded stages; a million scaffolds, each with its own speaker, playing on repeat forever its incandescent naked scream for a true and unfaltering unity.&rdquo;&nbsp;</em>&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Marina Vishmidt is a London-based writer, editor and critic occupied mainly with questions around art, labour and value. She is the author of&nbsp;<em>Speculation as a Mode of Production</em>&nbsp;(Brill, early 2016) and&nbsp;<em>A for Autonomy</em>(with Kerstin Stakemeier) (Textem, late 2014). She often works with artists and contributes to journals such as<em>Mute</em>,&nbsp;<em>Afterall</em>,&nbsp;<em>Texte zur Kunst</em>,&nbsp;<em>Ephemera</em>,&nbsp;<em>South Atlantic Quarterly</em>,&nbsp;<em>Parkett</em>, and&nbsp;<em>OPEN!</em>&nbsp;as well as working with artists' moving image in critical and exhibition contexts such as feminist film distributor Cinenova and Full Unemployment Cinema.<br />&nbsp;</p> <p style="text-align: justify;">Danny Hayward is a writer and poet based in London and his poetry has been published in&nbsp;<a href=";id=5095bb78f1&amp;e=ffaadd52b0" target="_blank">Friends 1</a>,<a href=";id=fa6b2d12be&amp;e=ffaadd52b0" target="_blank">Viersomes 0</a>, and&nbsp;<a href=";id=db9b17b432&amp;e=ffaadd52b0" target="_blank">Hi Zero 1</a>. His numerous contributions to radical journals and pamphlets include: &lsquo;Two Essays: Best and Worst in Poetry / Perfect Capitalism&rsquo; from&nbsp;<a href=";id=128db72db2&amp;e=ffaadd52b0" target="_blank">Veer Books</a>; 'Adventures in the Sausage Factory: A Cursory Overview of UK University Struggles, November 2010 - July 2011' in&nbsp;<a href=";id=c4884b724d&amp;e=ffaadd52b0" target="_blank">Mute</a>; 'John Maynard Nothing' in&nbsp;<a href=";id=25be339b03&amp;e=ffaadd52b0" target="_blank">Mute</a>; 'The Essential Standpoint of Man: An Autopsy, in Three Parts' in&nbsp;<a href=";id=156f8b26b9&amp;e=ffaadd52b0" target="_blank">World Picture Journal 6</a>; 'Exit Strategies: Some Problems of Commitment in Keston Sutherland's&nbsp;<em>The Proxy Inhumanity of Forklifts</em>' in&nbsp;<a href=";id=ea17865307&amp;e=ffaadd52b0" target="_blank">The Journal of British and Irish Innovative Poetry 3:1</a>.</p> Wed, 01 Oct 2014 17:36:36 +0000 - Marlborough Fine Art - October 13th 9:00 AM - 12:00 PM <p style="text-align: center;"><strong>The Directors of Marlborough London<br />invite you to an informal breakfast viewing:</strong></p> <p style="text-align: center;"><strong><br /></strong>PAULA REGO<br />at Marlborough Fine Art</p> <p style="text-align: center;">SIGALIT LANDAU<br />at Marlborough Contemporary</p> <p style="text-align: center;"><strong>RSVP&nbsp;</strong>by&nbsp;Thursday 9 October<br /><a href="" target="_blank"></a><br /><a href="tel:%2B44%2020%207629%205161" target="_blank">+44 20 7629 5161</a></p> Wed, 01 Oct 2014 17:29:42 +0000 - Matt's Gallery - July 6th - December 14th <p style="text-align: justify;"><a href="" target="_blank">X Marks the B&ouml;kship</a>&nbsp;is a bookshop and project space for independent publishers in London run by Eleanor Vonne Brown. It specialises in small press publications by artists and designers. It promotes contemporary publishing activity through book launches, events and production resources that bring together individual practitioners to create a local publishing community.</p> <p style="text-align: justify;">X Marks the B&ouml;kship is partnering with Matt&rsquo;s Gallery specially for REVOLVER II to open a small bookshop and project space in the gallery foyer. This live space will host a series of performances, reading groups and discussions on the themes of the exhibition, all free to attend. During this time Eleanor Vonne Brown will begin &lsquo;Publishing the B&ouml;kship&rsquo; revisiting, consolidating and distributing material on independent publishing.</p> <p style="text-align: justify;"><strong>Open Thursday and Friday 12-6pm &amp; evenings for events</strong></p> Wed, 01 Oct 2014 17:26:24 +0000 Lucia Nogueira, Patrick Goddard, Jaki Irvine - Matt's Gallery - November 19th - December 14th <p style="text-align: justify;"><strong>REVOLVER II</strong>&nbsp;comprises a fast-paced three-part series of group exhibitions to investigate the manifestation of knowledge in relation to artists who work with or reference text and publishing. All selected works over the series of the three parts combine to create a dialogue exploring the conditions in which a concept or object can manifest as knowledge within the human mind and what constitutes as uncertainty or &lsquo;unknowing&rsquo;.</p> <p style="text-align: justify;">&nbsp;</p> Wed, 01 Oct 2014 17:24:01 +0000 - Royal College of Art - November 5th - December 22nd <p style="text-align: justify;">In 1963 the first ever exhibition of graphic design took place at the Royal College of Art. &lsquo;GraphicsRCA: Fifteen Year's Work of the School of Graphic Design&rsquo; looked back to the founding of the School in 1948, and a period when the School taught some of the most recognisable names in the profession &ndash; amongst them Alan Fletcher, Ridley Scott, David Gentleman and Len Deighton.<br /><br />&lsquo;GraphicsRCA: Fifty Years&rsquo; will tell the story from the point where the 1963 exhibition left off and traces the development of the School, through the impact of digitisation, the influence of RCA graduates on the creative industries and the role of graphic design in the future.</p> <p style="text-align: justify;">The exhibition will feature original, rarely seen works from the RCA archive. Graduates selected for the exhibition include established names such as John Pasche who as an RCA student in 1971 designed the Rolling Stones lips logo; Graphic Thought Facility; Why Not Associates; Kerr Noble; Studio Dumbar; Sophie Thomas and Morag Myerscough through to a new generation of designers: A Practice for Everyday Life, &Aring;b&auml;ke and Troika.</p> Wed, 01 Oct 2014 17:18:03 +0000 Matthew Barney - Sadie Coles HQ - Kingly Street - October 10th - December 13th Mon, 29 Sep 2014 15:19:39 +0000 Patrick Hughes - Flowers | Kingsland Road - October 17th - November 22nd <blockquote> <div style="text-align: justify;"><em>"My pictures seem to move as you move. They come to life when we bring them to life. This is because they are made in perspective the wrong way round, in reverspective. If you bob down in front of them, it is as if you have gone up, and as you walk past to the right it is as if you have gone to the left and vice versa."-</em> Patrick Hughes.</div> </blockquote> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;">Fifty years after the exhibition of his first reverse perspective painting, the <em>Sticking-out Room</em>, and on the occasion of the artist's 75th birthday, Flowers Gallery is delighted to announce an exhibition of compelling new works by Patrick Hughes, which expand on his lifelong theme of paradoxical perception.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Since his breakthrough discovery of reverse perspective, Hughes has continued to confound viewers with his three-dimensional paintings, by presenting those parts of the picture that seem farthest away at the nearest point. The visual effect of his works is one of constant motion, determined by the shifting position of the viewer. As Professor Dawn Ades describes in the opening essay for the Patrick Hughes book, A New Perspective: <em>"These really have to be experienced physically, in the flesh, for they are only activated fully by the spectator's movement. They thus take their place, with Duchamp's Large Glass and Etant donn&eacute;s, Dal&iacute;'s paranoiac-critical room (Mae West's Face Which May Be Used as a Surrealist Apartment), or the now-vanished surrealist installations, as creations that need the physical presence of a spectator to be complete, engaging the body as well as the eye and the mind."</em></div> <div style="text-align: justify;"><em>&nbsp;</em></div> <div style="text-align: justify;">The new series of works on view at Flowers Gallery are in the artist's own words <em>"as unusual as usual"</em>. Spanning a wide range of subjects, Hughes pays homage to a hero in <em>The Pleasure of Escher</em>; reimagines Peggy Guggenheim's Museum in Venice in <em>The Palace of Peggy</em>; and even anthologizes his own work in Hughestory, in which the artist represents ten three-dimensional works from his past.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Hughes' enduring fascination with Venice continues with <em>Eye Level</em>, presenting a new view of the city's waterways;<em> In</em> <em>Black and White</em>, painted in exquisite chiaroscuro; and <em>Venice in Peril</em> in which, displaying a rare critique of modern life, Hughes paints a towering cruise ship dwarfing the grand palazzos.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Hughes brings a Renaissance studiolo to life in <em>A Study of the Studiolo</em>, re-presenting in post-modern terms the first important steps in the re-birth of pictorial space that we now take for granted in photography and film. Murray McDonald described Hughes' reverspectives as"the first breakthrough in perspective for over five hundred years," after Brunelleschi's invention of perspective in 1420.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Hughes continues to explore and refine new geometries upon which to paint. The deceptively simple composition of <em>Setting the Stage</em> is, on closer inspection, composed of a complex variety of interlocking, protruding shapes, including a stage set in forced perspective; while further experimentation is evident in<em> Hughestory</em>, in which miniature reverspectives placed at the ends of its corridors pose an additional challenge to the spectator's perception of perspectival space.</div> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;">Of Hughes' paintings, Colin Blakemore, Professor of Neuroscience, University of Oxford, says:<em> "I shall never forget the first time I saw one of Patrick Hughes' large Reverspective paintings&hellip; It almost literally knocked me over. I've spent much of my working life thinking about the way in which the brain puts together different sources of evidence about the 3-D world. But while I think, Patrick explores. He has unashamedly trekked through the no-man's-land between Art and Science, demonstrating the brain's remarkable powers not with brain scanners and fancy equipment, but with stunning images that are personal in a very special way - responding to the command of every viewer. His work can be judged, and enjoyed, at so many levels. It raises questions just as profound about the mechanisms in our brains as it does about the nature of an artistic representation."</em></div> Mon, 29 Sep 2014 15:10:09 +0000 Gillian Wearing - Maureen Paley - October 13th - November 16th Mon, 29 Sep 2014 15:01:57 +0000 Andrea B├╝ttner - Hollybush Gardens - October 13th - November 15th Mon, 29 Sep 2014 14:57:28 +0000 Pablo Bronstein, Amalia Pica, Matthew Darbyshire, Nicole Wermers - Herald St - Golden Sq - September 27th - October 4th Mon, 29 Sep 2014 14:51:43 +0000 - Gimpel Fils Gallery - October 16th - November 22nd Mon, 29 Sep 2014 14:44:30 +0000 Irma Blank - Alison Jacques Gallery - October 17th - November 15th <p>&lsquo;<em>I free writing from sense and highlight its structure, its skeleton, the nude sign, the sign that is such and does not refer back to anything but itself. It refers to the energy reserve, the initial drive, the source-giving urge, the desire to reveal itself, to emerge from the secret, closed place of night. Non-verbal writing, writing that remains in silence, original truth. Writing becomes image, a manifestation of being, of being there, in the absolute without form. An open text. A text for all. For those who know how to read and for those who do not know how to read. I shift from the literature to the visual art.</em>&rsquo; &ndash; Irma Blank, 2001</p> <p>Alison Jacques Gallery is proud to present our first solo exhibition of Milan based artist Irma Blank (born 1934 in Germany) in collaboration with Gallery P420, Bologna.</p> <p>Irma Blank began to explore the intersections of linguistic and visual representation in the late 1960&rsquo;s. Practicing at the same time as conceptual artists such as Mel Bochner, Lawrence Weiner and Joseph Kosuth, Blank began investigating the various possibilities through which a sign could represent existence. Her desire was to record time and create a form of writing not related to knowledge but to <em>being</em>, stripped of meaning and imbued with new values. This retrospective includes work from several series that Blank has completed over the past 40 years: <em>Eigenschriften (Self writings), Trascrizioni (Transcriptions), Radical Writings, Avant-testo (Before-text), Hyper-Text</em>,<em> Global Writings</em>, and <em>Ebla Archiv (Ebla Archive).</em></p> <p><em>Eigenschriften</em>&nbsp;are some of Blank&rsquo;s earliest works, composed of dense scriptural signs recording the artist&rsquo;s mental state at a distinct point in time. The <em>Trascrizioni</em> series are reductions of pre-existing texts, tracings of the typographic layouts of poetry, newspapers and books from which they were taken. In<em>&nbsp;Radical Writings</em>&nbsp;Blank links her breathing to the gesture of writing, repeating a single action: drawing a line corresponding to one single breath. While the gesture of the <em>Radical Writings</em> articulates a long horizontal breath, the gesture of the <em>Avant-testo</em> series is chaotic and convulsive, recalling a primordial sign free of structure and purely about action. Clutching a bundle of ballpoint pens the artist traces signs with rotary movements coming from and returning to the body. The end result is a dense, saturated and impenetrable surface that only becomes transparent at the very edge, offering the viewer a small glimpse of her process.</p> <p>In 2012 Blank began&nbsp;<em>Ebla archiv</em>, part of&nbsp;the&nbsp;<em>Global Writings</em>&nbsp;series.&nbsp;Using carbon paper to transfer her markings the artist repeated portions of words&nbsp;(a reduced alphabet of only eight letters) onto the page.</p> <p>Irma Blank&rsquo;s work will be exhibited next month at the Kunsthalle Wien. Past exhibitions include Centre Pompidou in Paris (2013), Palazzo Reale Milano (2010), Museion in Bolzano (2002, 2009), Kunstmuseum D&uuml;sseldorf (1997), PAC in Milan (1992), Folkwang-Museum in Essen (1992), MoMA in New York (1992), Heidelberger Kunstverein (1990), Bonner Kunstverein (1981), Documenta 6, Kassel (1977). Later this year the artist will have a solo exhibition at Museum Mostyn, Llandudno, North Wales.</p> Fri, 26 Sep 2014 16:33:28 +0000 Ludo - Lazarides Rathbone Place - October 10th - November 13th <p class="Default" style="text-align: justify;">Lazarides Rathbone welcomes Parisian artist Ludo to the gallery with a comprehensive body of new work titled The Chaos Theory. The artist&rsquo;s debut solo exhibition in London follows widely acclaimed openings in New York and outdoor installations spanning Paris&rsquo; Georges Pompidou&rsquo;s square, alongside a series of global street campaigns across Asia, Europe and the Caribbean earlier this year.</p> <p class="Pa0" style="text-align: justify;">Arriving from the urban influenced sphere but blooming on the contemporary scene, the French artist continues to expand upon his distinctive aesthetic, effortlessly merging the realms of advanced technology with the naturalistic world. Using his distinguished monochrome colour palette and neon green trademark Ludo is set to transform the upper levels of the gallery with a series of large-scale canvases and unique experiential installation.</p> <p class="Pa0" style="text-align: justify;">Launching the first floor exhibition space to the public this October <em>The Chaos Theory</em> presents a culmination of Ludo&rsquo;s practice to date, conveying an assortment of contemporary issues with an army of mechnical hybrids. Through his battalion of butterflies, Ludo references the accelerated pace of life in which people continually strive to keep up with the ongoing race against the clock. The stereotypical ephemeral butterfly image is reincarnated by Ludo&rsquo;s solid and anatomical depictions, constructing creatures that possess strength and durability and emit images of war and combat weaponry. Ludo&rsquo;s stylised futuristic bugs are reminiscent of detailed diagrams from traditional anatomy manuals with a contemporary and ultra-modern veneer. His lepidoptera adapt themselves in order to better fight and come to light far from ideological theories of chaos, no longer representing chaos but transcending it and reappropriating our perception with their technologic metamorphosis.</p> <p class="Pa0" style="text-align: justify;"><strong>About the Artist </strong></p> <p class="Pa0" style="text-align: justify;">Ludo&rsquo;s practice connects the world of plants and animals with our technological universe and quest for modernism. It speaks about contemporary issues that surrounds us, what affects us and tries to highlight some form of humility.</p> <p class="Pa0" style="text-align: justify;">Drawn with the precision of botanical illustrations, Ludo&rsquo;s new order of hybrid organisms are both elegant and fierce. Armoured vehicles spawn stag beetle horns; carnivorous plants bare rows of hunting-knife teeth; bees hover, hidden behind gas masks and goggles; automatic weapons crown the head of sunflowers; human skulls cluster together like grapes. Ludo&rsquo;s work aspires to jolt us out of a longstanding collective denial: despite repeated natural disasters, we refuse to acknowledge our own fragile and fleeting state.</p> <p style="text-align: justify;">After studying in Milan Ludo now lives and works in Paris, regularly exhibiting worldwide whilst continuing ambitious street art expeditions globally.</p> <p>&nbsp;</p> Fri, 26 Sep 2014 07:41:27 +0000 - Drawing Room - November 19th 7:00 PM - 9:00 PM <p style="text-align: justify;">A&nbsp;<em>Film Study Group</em>&nbsp;<a href=";id=c73599346f&amp;e=5f5292ff73" target="_blank">screening</a>&nbsp;of&nbsp;<em>Bad Timing&nbsp;</em>(1980). The film has been selected and will be introduced by&nbsp;<strong>David Austen</strong>, artist and co-curator of&nbsp;<em>The Nakeds</em>.&nbsp;</p> <p style="text-align: justify;"><br />- &pound;6/&pound;5 conc&nbsp;<a href=";id=375ceb15f7&amp;e=5f5292ff73" target="_blank">book here</a>&nbsp;</p> Fri, 26 Sep 2014 07:20:54 +0000 David Austen, Jon Bird, Gemma Blackshaw, Simon Grant, Stewart Helm, Chantal Joffe - Drawing Room - November 10th 2:00 PM - 6:00 PM <p>A&nbsp;<a href=";id=b87015c878&amp;e=5f5292ff73" target="_blank">seminar</a>&nbsp;exploring contemporary artists&rsquo; representation of the naked body. Speakers include&nbsp;<strong>David Austen</strong>,&nbsp;<strong>Jon Bird</strong>,&nbsp;<strong>Gemma Blackshaw</strong>,&nbsp;<strong>Simon Grant</strong>,&nbsp;<strong>Stewart Helm</strong>&nbsp;and&nbsp;<strong>Chantal Joffe</strong>.</p> <p><br />- &pound;18/&pound;16 conc./&pound;14.40 network members&nbsp;<a href=";id=5b925f6c8a&amp;e=5f5292ff73" target="_blank">book here</a></p> Fri, 26 Sep 2014 07:19:28 +0000