ArtSlant - Openings & events en-us 40 - The Photographers' Gallery - October 7th, 2012 2:00 PM - 5:00 PM <p style="text-align: justify;"><span style="font-size: small;">An opportunity for children and adults to look at the exhibitions, talk, experiment and make things together.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Drop in anytime between 14.00 and 17.00.</span></p> <p style="text-align: justify;"></p> Thu, 27 Sep 2012 17:52:11 +0000 John Riddy - Whitechapel Gallery - October 7th, 2012 3:00 PM - 4:00 PM <p style="text-align: justify;"><span style="font-size: small;">Ten per cent of all the photographs ever taken have been taken in the last twelve months. In an age defined by ever increasing numbers of photographic images in art and visual culture, how do we value the contemporary power and importance of photography? Is there a necessary divide between photography as an art form and photography as an agent for social change and mass communication? </span><br /><br /><span style="font-size: small;">Art historian and critic <strong>Michael Fried</strong>, Photography Critic for The Financial Times <strong>Francis Hodgson</strong>, sustainability expert <strong>Leo Johnson</strong> and artist <strong>John Riddy</strong> debate the distinctive authority of photography within and beyond the gallery walls. </span><br /><br /><span style="font-size: small;">In association with <a href="">Prix Pictet</a>. </span><br /><br /><span style="font-size: small;">Supported by Pictet &amp; Cie.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Concessions and members are kindly asked to show proof or ID when collecting tickets on the day</span>.</p> Thu, 27 Sep 2012 14:01:51 +0000 Franz West - Gagosian Gallery - Britannia Street - October 8th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Gagosian Gallery</strong> is pleased to announce a major sculpture exhibition by the late <strong>Franz West</strong>. West was actively engaged with the preparation of this exhibition up until his untimely death earlier this summer.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;">Belonging to the generation of artists exposed to Actionist and Performance Art of the 1960s and 70s, West instinctively rejected the traditionally passive nature of the relationship between artwork and viewer. Being equally opposed to the physical ordeal and existential intensity insisted upon by his performative forbears, he made work that was vigorous and imposing yet free and light-hearted, where form and function were roughly compatible rather than mutually exclusive. In the seventies, he produced the first of the small, portable, mixed media sculptures called </span><em style="font-size: small;">Adaptives (Passstücke)</em><span style="font-size: small;">. These "ergonomically inclined" objects become complete as artworks only when the viewer holds, wears, carries or performs with them. Transposing the knowledge gained with these formative works, he explored sculpture increasingly in terms of an ongoing dialogue of actions and reactions between viewers and objects in any given exhibition space, while probing the internal aesthetic relations between sculpture and painting.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ever more daring and imaginative configurations resulted, and the freshness and immediacy of his aesthetic approach made him a favorite of the contemporary exhibition circuit. In a stream of sculptural situations, each one more distinctive and unforgettable than the next, he transformed public spaces into sociable aesthetic environments while his furniture designs and subversive collages further challenged the boundaries between art and life.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> <span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;">In a forest oftanding sculptures the size of small people, West's persistent irreverence with the principles of classical sculpture is evident. Lumpen totems, built from papier-mâché, polystyrene, and the odd cardboard box, are splashed, smeared, brushed, and dribbled every which way with bright clashes of paint. They have immense and individualistic personalities, like exotic meteorites come to land. Each one is fashioned into a top-heavy form teetering on a spindly stem, a sculptural formula in which contingency and equilibrium grapple to improbable effect.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;">In contrast with these sculptures, four immense fiberglass assemblages for indoor or outdoor placement suggest the patchworked manufacture of old Lockheed aircraft. But their sugar-almond tones and goofy, cartoonish shapes, which coil skyward or snake along the ground--such as the jokey three-dimensional extrusion of Ludwig Wittgenstein's signature--parody both the streamlined forms of industrialized objects and the bombastic nature of much public sculpture.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> <span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;">In a large vitrine of "models," diminutive cardboard human figures appear together with West's own maquettes for large-scale sculptural projects, both past and future. A <em>Kunstkammer</em> of sorts, it presents a realized conception of bodies interacting directly with art objects, while rejecting the traditionally passive relationship between artwork and audience. Completing the mis-en-scène of this exhibition are West's distinctive collages, which combine sketchily overpainted advertisements and magazine pages manipulated to absurdist effect, one of which provided the charming and evocative title for the exhibition--of a man immortalized at play.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;"> <span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition has been prepared in close collaboration with the Franz West Privatstiftung.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;"> <span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;">The accompanying exhibition catalogue includes the account of a visit over time to West's studio by Matthias Goldman, as well as a tribute in images to the generous exuberance and breadth of West's inimitable oeuvre.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;"> <span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Franz West</strong> was born in Vienna in 1947 and studied at the Academy of Applied Arts, Vienna.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <div> <p style="text-align: justify;"><span style="font-size: small;">He died in Vienna in July of this year. West's work has been a fixture in countless international survey exhibitions such as Documenta and Biennales all over the world, and it is included in major public collections including Centre Pompidou, Paris; Museum Ludwig, Cologne, the Museum of Modern Art, New York; and MAXXI, Rome. Recent solo exhibitions include "We'll Not Carry Coals," Kunsthaus Bregenz, Austria (2003); "Recent Sculptures," Lincoln Center, New York (2004); Vancouver Art Gallery (2005); MAK, Vienna (2008); "To Build A House You Start with the Roof: Work, 1972-2008," Baltimore Museum of Art (2008-09, traveled to Los Angeles County Museum of Art in 2009); and "Franz West: Autotheater," Museum Ludwig, Cologne (2010, traveled to MADRE, Naples and Universalmuseum, Graz, Austria in 2010-11).</span></p> </div> Fri, 28 Sep 2012 11:12:49 +0000 Mike Bouchet - Hotel - October 8th, 2012 8:00 PM - 10:00 PM <div class="half_column exhibit"></div> <p style="text-align: center;">performance</p> <p style="text-align: center;">MIKE BOUCHET <br />The Plants Alternative <br />Two live engagements of the Third Season <br />and Eighteenth Episode of The Big Bang Theory</p> <p style="text-align: center;">Monday 8th October at 8pm <br />and <br />Saturday 13th October at 8pm</p> Mon, 08 Oct 2012 09:40:34 +0000 Heimo Zobernig - Simon Lee - October 8th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Simon Lee Gallery</strong> is proud to announce a solo exhibition of new work by <strong>Heimo Zobernig</strong>, the gallery’s second with the artist.</span><br /><br /><span style="font-size: small;">The re-imagining, quotation and appropriation of languages and structures drawn from the histories of modernism has been a central and recurring strand of Zobernig’s work of the past 25 years. Moving nimbly between painting, sculpture, work in installation and video, architectural intervention and performance, Zobernig has made reference to a plethora of movements in modern art, including abstraction, constructivism, minimalism, post minimalism and conceptual art. His paintings specifically have drawn on the formal languages developed by Piet Mondrian and Blinky Palermo, Ad Reinhardt and Yves Klein, as well as the monochrome project associated with artists such as Josef Albers.</span><br /><br /><span style="font-size: small;">The precise nature of the relationship of the works Zobernig makes to their antecedents and referents is elusive. His touch is light, poised between reverence and irony, but committing to neither. It is in this uncertain space between his works and the modernist imperatives from which they stem, that the meanings of Zobernig’s project emerge. What his work seems to do above all is to re-direct our gaze, whether from the regularity of the painted grid onto the snaking lines which fracture it, or onto the gallery fittings and fixtures which might articulate one of his architectural interventions. All is concerned with making the invisible visible, bringing the overlooked into plain sight. What defines his economy of means is that the very marks and diversions which subvert the language of his originals are made of the same stuff as their antecedents. The snaking line which interrupts the grid is painted not in freehand but on a taped and masked canvas. </span><br /><br /><span style="font-size: small;">For this exhibition Zobernig will present a new body of paintings, all dated 2012, in which he turns his attention to the work of Picasso. Inspired by the 2010/11 Picasso exhibition for the Kunsthaus Zurich, which took place concurrently with Zobernig’s own exhibition at the Kunsthalle in the same city, this series of works makes reference to a group of paintings by Picasso. The quotations are sometimes immediately apparent, at other times looser and more abstract. All the works combine Zobernig’s own characteristic painterly language – with its acknowledgement of the materiality of its substance and the traces of its process – with a coded and re-imagined reference to the simplicity, directness and freedom of Picasso’s line. The Kunsthaus exhibition was itself a re-creation of a seminal exhibition of Picasso’s work staged at the museum in 1932. In drawing on this source Zobernig seems to be commenting on the inevitable debt that post-modernism owes to its modernist antecedents, on the inevitable failure of Pound’s modernist dictum ‘making it new’, while at the same time doing exactly that.</span><br /><br /><span style="font-size: small;"><strong>Heimo Zobernig</strong> was born in Austria in 1958, and currently lives and works in Vienna. He studied at the Akademie der bildenden Künste, Wien from 1977-1980, and at the Hochschule fur Angewandte Kunst, Wien from 1980-1983. He has exhibited extensively across the world, with recent exhibitions at the Kunsthalle Zurich and the Essl Museum, Vienna (2011) at the Centre Pompidou in Paris, the Fundação Calouste Gulbenkian in Lisbon, and CAPC, Musée d’art Contemporain, Bordeaux (2009) and Tate St Ives (2008),</span></p> Mon, 24 Sep 2012 10:12:57 +0000 Lari Pittman - Thomas Dane Gallery - October 8th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">‘The painting is saying: “I am showing you what I look like, so now you show me yours’ - L. Pittman </span><br /><br /><span style="font-size: small;">In an impossible attempt to summarize, or introduce Lari Pittman’s paintings, the writer Klaus Kertess describes them as “splendid enigmas in the desert of mistrust for the imagination’s power”, revelling in a “staggeringly and stunningly detailed hyper-decorative Pop/folk agitation”. (K. Kertess “ The Meaning of Untitled”, in ‘Lari Pittman – Paintings and works on paper’, 2005-2008, New York 2008, p.7) </span><br /><br /><span style="font-size: small;">Significantly Pittman (b. 1952) divides his time between Los Angeles and San Miguel de Allende in central Mexico. He consistently breaks the boundaries of accepted tastes, as if ignoring codes, edges and frontiers of cultures, such as the ones lying between his two countries of choice. </span><br /><br /><span style="font-size: small;">For a body of work that thrives so eruditely on art history (either mainstream, peripheral or folk), it seems to indeed resist all classification into genres and styles, and rather perversely displays Symbolist riddles and sensual abandon – what Pittman himself calls “highly perfumed” works. </span><br /><br /><span style="font-size: small;">At the precise moment Pittman’s paintings seem to be graspable and de-codable, they slip away again into fresh palette and structure and a new orgy of iconography. </span><br /><br /><span style="font-size: small;">Since his last exhibition in London, eight years ago, Pittman’s cartoon-ish faces and eyes, the sardonic-strips, the kaleidoscopic and seemingly volcanic exuberance have made place for more and more esoteric palettes of beiges, purples, dark turquoises and greens, onto which the fluorescent outlines and networks of silhouettes and objects further break the background/foreground hierarchies. </span><br /><br /><span style="font-size: small;">In recent years, the paintings have become even richer, and if at all possible, even more daring, in the way they seem to be capable of representing the hypothetical (and jubilatory) clash of a Mexican Piñata and a Russian Teapot. </span><br /><br /><span style="font-size: small;">In ‘Thought-Forms’, human figures have almost entirely disappeared. In their place, birds, bells, belts, hanging ropes, shoes (and many more unrecognizable, mysterious motifs), fight and coexist in meticulous chaos. The deceptively rigorous system of lines, frames within frames, cameos and punch-holes slowly shifts and drifts into yet another unchartered territory. </span><br /><br /><span style="font-size: small;">Here we are presented with an exuberant series of concealing, elliptical, almost musical, variations of tempo, the reading of which requires both complete innocence and deep cultural references, and in which Symmetry and Logic - or more accurately, the subtle alteration (and subversion) of Symmetry and Logic – seems to take central stage. </span><br /><br /><span style="font-size: small;">As often, Pittman’s titles seem to hold the key not so much as an explanation of the work, but rather they function as a literal description what is being presented visually: “Thought-Form of Choreography, Classification and Spectral Experiences”, repeated in six smaller panels; or “Thought-Form of Image Patterns Revealed at the Time of Death” and its parent piece, “Thought-Form of Image Patterns Revealed at the Time of Birth” for example. Each of Pittman's 'Thought-Form' seem to be taking its cues from the ideas laid-out in its title, as if retroactively putting words into images, and as an open-ended invitation to re-imagine the way we look at painting. </span><br /><br /><span style="font-size: small;">Lari Pittman's work has been the subject of several exhibitions throughout Europe and the United States. Solo exhibitions include Villa Arson, Nice; ICA, London; Centre d'Art Contemporain, Geneva; Los Angeles County Museum of Art, Los Angeles; Contemporary Arts Museum, Houston; and Corcoran Museum, Washington DC. Pittman has been awarded the J. Paul Getty Trust Fund for the Visual Arts Fellowship Grant in Painting, NEA Fellowship Grants in Painting, and the Skowhegan Medal for Painting. A comprehensive monograph on Lari Pittman's work was published by Rizzoli in 2011.</span></p> <p style="text-align: justify;"><strong><span style="font-size: small;">The gallery will be open from 10am - 6pm on Saturday 13 October</span></strong></p> Tue, 09 Oct 2012 08:14:43 +0000 Tim Noble & Sue Webster - Blain|Southern - London Hanover Square - October 9th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">The Directors of Blain|Southern are delighted to present <em>Nihilistic Optimistic</em>, Tim Noble &amp; Sue Webster’s first major solo exhibition in London since 2006. Featuring six large-scale works, the show builds upon the artists’ sustained investigation into self-portraiture, further deconstructing the relationship between materiality and form which has been so intrinsic to their practice. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Constructed principally from discarded wood and other materials, the artists describe these sculptures as ‘street compositions’. Each work appears abstracted or even unfinished as the debris of the artists’ studio – gathered sawdust, wood shavings and tools – lie scattered around the sculptures. A sense of urban chaos is implicit within the construction of the surrounding gallery environment; this is not an isolated white cube space, but one which remains connected to the studio and the streets – to the source of these artworks.</span></p> <p style="text-align: justify;"><span style="font-size: small;">“<em>There was a kind of deliberate choice not to use such recognisable objects any more, and to start fracturing things up - splintering things. So the mind has to wander in a different way, like you’re giving and taking, and it’s as much about the gaps and holes in between</em>.” Tim Noble</span></p> <p style="text-align: justify;"><span style="font-size: small;">When illuminated, a number of works cast shadow portraits upon the wall; the artists are represented both together and alone, as a unit and as individuals. In <em>My Beautiful Mistake</em> (2012), this light source is poignantly omitted, throwing the focus on the tentative material composition of the sculpture itself, and its sense of impending destruction.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition’s dualistic title, <em>Nihilistic Optimistic</em>, responds to the oppositional forces present within these works, and indeed within the artists themselves; the show is at once constructive and destructive, hopeful and despairing. Light and shadow, form and absence, figuration and abstraction all inform one another and exist in a constant state of tension.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A catalogue accompanies the exhibition, featuring contributions by Gustav Metzger, Hans Ulrich Obrist and Jon Savage. In collaboration with The Vinyl Factory, Tim Noble &amp; Sue Webster have also produced a limited edition artwork in the form of a 10-inch record.</span></p> Mon, 24 Sep 2012 09:27:11 +0000 Ian Homerston - Cole - October 9th, 2012 6:00 PM - 9:00 PM <p><strong>Ian Homerston - TRANSPARENT MEANS</strong><br /><br />Preview 9 October, 6-9 pm<br />10 October - 3 November<br /><br />Ian Homerston's paintings explore the peripheries of painting, employing a means of production that is more akin with a photographic approach than a painterly one. Homerston has always sought to achieve a distance in his work, a distance between the viewer and the work that calls into question the perception of the surface. In previous work he has used a range of chemicals, from solvents, adhesives and detergents, to build and remove surface information.<br /><br />If the blending of chemicals is suggestive of how a photographic image might be created, then the new body of work takes the process a step further. For this body of work Homerston has used a photographic screen printing emulsion, which is mixed with paint and applied to the canvas surface. Once dry, the surface is covered with a transparent film to which black paint has been applied. This is then exposed to a light source, with the areas on the canvas not covered by the black paint developing under the light. The resulting work represents a negative of the transparent film that was applied to it.<br /><br />Ian Homerston b. 1984 Truro, UK, lives and works in London, studied at Royal College of Art (2009). Recent exhibitions include<em> Young London</em>, V22 Workspace, London (2011), <em>What If It’s All True? What Then? (Part II)</em>, Mummery + Schnelle, London (2011),<em> Needed By Things</em>, Furnished Space, London (2011), <em>New Contemporaries 2010</em>, A Foundation, Liverpool/ ICA, London (2010), <em>The Drifting Canvas</em>, Cole, London (2010).<br /><br /></p> Wed, 03 Oct 2012 15:57:37 +0000 Giuseppe Penone - Gagosian Gallery - Davies Street - October 9th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><em>The stretching of a branch through space in search of light has the same structure as a glance.</em></span><br /><span style="font-size: small;">—Giuseppe Penone</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Gagosian Gallery</strong> is pleased to present <strong><em>“Intersecting Gaze /Sguardo Incrociato</em></strong>,” an exhibition of works by <strong>Giuseppe Penone</strong>. This is his first exhibition with the gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In sculptures, drawings, photographs and installations Penone makes manifest the subtle dynamics between man and nature.  A key member of the Arte Povera movement, he began to develop his praxis in the forests near his hometown of Garessio, Italy in the late 1960s. By recognizing, altering, recreating and interacting with the natural cycles of the forest, he blurred the distinction between his physical self and the trees that surrounded him.  In his work, respiration, growth, aging and other such involuntary processes of life create a congruence between human and tree, solidifying their shared status as living sculpture. The lines that contour his compositions, inform his drawings, and shape his sculpture are sourced from naturally occurring patterns, such as wood grain or fingerprints. A distinct and poetic augmentation of Arte Povera’s radical break with the inherited conventions of art making, Penone’s artful expressions entail a serene and meditative return to an innate state of being.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For this exhibition, Penone has engaged with the vitrine-like architecture of the Davies Street gallery to develop an installation about the act of looking. In <em>Contatto—occhio destro di R...</em> (2009) and <em>Contatto—occhio sinistro di R...</em> (2009), thorns delineate the shape of enlarged human eyes; the thorns underlining the points of contact between the skin of the eyes and the canvas surface like nerve terminals. By relating the Acacia tree thorns to the human eye, he brings out the subtle yet intrinsic similarities between subject and material: the eye captures images with light, while the tree exists because of the light; an element vital to its survival.  <em>Pelle di foglie—sguardo incrociato</em> (2005) is a large-scale standing sculpture comprised of delicately arranged tree branches and leaves defined in bronze. On each side of the sculpture, the branches and leaves are positioned to conceal a human face. Two long branches jut outwards in the place of eyes in a projective act of looking. These works recall Penone's long held fascination with the process of seeing, evident in such iconic works as <em>Reverse One’s Eyes</em> (1970)—in which the artist photographed himself wearing mirrored contact lenses—and the subsequent <em>Eyelid </em>(1989–91), comprised of eighteen calligraphic sheets showing the magnified terrain of the artist’s eyelid. (An accompanying plaster cast of the artist’s face, with a smudged fingerprint on the eye, re-embodied the earlier gesture of <em>Reverse One’s Eyes</em>). Penone continues to explore nuances in scale and medium, and core themes of optical perception and universal patterns, such as the dendritic forms linking botany and human anatomy.</span><br /> <br /><span style="font-size: small;"> <strong>Giuseppe Penone</strong> was born in 1947 in Garessio, Italy. He lives and works in Paris and Turin. His work is included in many important public and private collections worldwide, including the Tate Museum, London and the Museum of Modern Art, New York. Recent exhibitions include the 2007 Venice Biennale; “Penone,” Toyota Municipal Museum of Art, Tokyo, Japan (2008), “Giuseppe Penone,” Ikon Gallery, Birmingham (2009) and “Giuseppe Penone,” Musée des Arts Contemporains, Grand-Hornu, Belgium (2011). Penone’s work Ideas of Stone (2004–10) was inaugurated at Documenta 13, which opened in Kassel, Germany in June 2012. Penone has been selected for the 2012 annual Bloomberg Commission, which will opens September 5 at the Whitechapel Gallery, London, and in 2013 his work will be the subject of major solo exhibitions at the Château de Versailles and the Kunstmuseum Winterthur.</span></p> Mon, 10 Sep 2012 09:22:57 +0000 Shana Moulton - Gimpel Fils Gallery - October 9th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Shana Moulton</strong> will be screening new videos in her ongoing saga of Cynthia, Moulton's alter-ego. Over several years, in a cycle of videos, Cynthia looks for enlightenment from counter-cultural and alternative sources. During the course of her rather confused life, Cynthia accumulates a clutter of amulets, charms and occult paraphernalia. She seeks out psychic readers and encounters those who claim to have mystic powers. Yet the gentle, ever-perplexed Cynthia, played by Shana Moulton, appears never to find the right solution to her quest. This quest is filmed in a complex, multi-faceted, psychedelic and layered sequence of images, frequently involving the artist in live performances which interacts with her filmic self as Cynthia, a parallel life played out in projected form alongside Moulton's live presence on stage.</span><br /><br /><span style="font-size: small;">Shana Moulton's new show at Gimpel Fils is entitled <i>Prevention</i>. The title refers to an American health magazine that has been published for decades and deals with different aspects of health, such as nutrition and exercise. This magazine features ads for products from the pharmaceutical industry and in having Cynthia interact with these, Moulton is extending her critical practice into an area already fraught with claim and counterclaim. In a series of collages, Moulton abstracts logos from the various drugs and, in one case, Cynthia encounters a character called Lyrica, based on a product and logo of this name. Moulton characterises the industry advertising as 'omnipresent and aggressive' yet manages to neutralise this by transforming their image into something idiosyncratic, personal, surreal and occult.</span><br /><br /><span style="font-size: small;">For the first time, Gimpel Fils will also be displaying a number of the artist's artworks which feature in the films, including mandala-like staffs made from walking canes and pill holders, as well as the collages whose imagery is culled from the magazine.</span><br /><br /><span style="font-size: small;"><strong>Shana Moulton</strong> was born 1976 in Oakhurst, California. She lives and works in New York City. Moulton earned her BA from University of California, Berkeley in Art and Anthropology and her MFA from Carnegie Mellon University. She has been an artist-in-residence at the LMCC Workspace Program, The Skowhegan School of Painting and Sculpture, Harvestworks, De Ateliers in Amsterdam and The Sommerakademie in Bern. Moulton has exhibited or performed at The New Museum, SFMOMA, MoMA P.S.1, LACMA, Performa 2009, The Kitchen, Electronic Arts Intermix, Art in General, The Andy Warhol Museum, The Wexner Center for the Arts, Wiels Center for Contemporary Art in Brussels, The Migros Museum in Zurich, De Appel in Amsterdam, Kunstnernes Hus in Oslo, The Times Museum in Guangzhou and The 29th Ljubljana Biennial. Moulton's work has been reviewed in the Village Voice, Artforum, the Brooklyn Rail, The New York Times, Artnet Magazine, Frieze Magazine, Artpress and Flash Art. Her work has been featured on Arte TV and Art21.e for biographical history.</span></p> Tue, 25 Sep 2012 00:16:41 +0000 Alan Davie - Gimpel Fils Gallery - October 9th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">A selection of fine paintings accompanies <strong>Shana Moulton</strong>'s exhibition and is on view in the Lower Gallery. In the nineteen seventies, Alan Davie moved away from the rapid, expressionist brushstrokes of his earlier years, and entered a quieter period. Inspired in part by decorations he had made directly onto the wall in his daughter's bedroom, he produced a long series of works on paper and oils entitled 'Ideas for a Children's Wall'. A salient feature of the series is the use of a box-like spatial demarcation, using horizon lines to delineate a receding space, as in early Renaissance landscapes. The converging lines did not necessarily follow a strict perspective, rather they suggested a fluid and incomplete cavity in which various painted wall surfaces might be depicted.</span><br /> <br /><span style="font-size: small;"> The second feature of these works is the citing of clear symbols floating above, or in front of the imagined space. Carefully painted as separate elements, they differ from the earlier paintings, where the occasional use of symbols were overpainted, obscured or distorted. In the current exhibition, these religious and shamanistic symbols echo those of Shana Moulton's, which feature both in her films and as artworks. For Alan Davie, these motifs are the visible markers from a wide range of religions that derive from his interest in non-Western art and artefacts.</span></p> Tue, 25 Sep 2012 00:17:54 +0000 Bob and Roberta Smith, Tim Newton - Hales Gallery - October 9th, 2012 7:00 PM - 8:00 PM <p>7.00pm - <i>Shooting Pablo </i>by Tim Newton [Performance] (15 minutes) <br /> 7.30pm - <i>Trimming Pablo</i> by Tim Newton [Film screening] (19 minutes)<br /> 8pm - <i>Letter to Michael Gove</i> [Performance] by Bob and Roberta Smith </p> Thu, 04 Oct 2012 18:45:58 +0000 Hannah Sawtell - Institute of Contemporary Arts (ICA) - October 9th, 2012 11:00 AM - 11:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Hannah Sawtell</strong> has been specially commissioned to create two linked, site-specific exhibitions, <em>Osculator</em> at the ICA, and <em>Vendor</em> at Bloomberg SPACE. These exhibitions of video work and installation mark Sawtell’s first solo projects in the UK. Both exhibitions employ material developed from Sawtell's experience of the Bloomberg office space during her current residency.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Over the next few months the artist will compile material from the digital realm, sourcing images from the internet and live screen-shots of news footage on Bloomberg's office monitors. Her visual inventory of ‘contemporary material’ or ‘surfaces’, explore the boundaries of image production and consider the culture of over-proliferation. Sawtell’s parallel semi-archival projects will investigate the politics of seduction as well as the idea of the ‘market’ through spatial and visual devices. By categorising and recording certain images, the artist reveals new relationships between objects and creates playful but critical dialectical encounters.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Operating as ‘real-time’ collages, Sawtell’s video and image-based works reconstruct contemporary media as fragmentary documents that collide visual tones with digital noise. By utilising generic editing programmes to cut digital information and formats, Sawtell initiates a process that designates the computer and its screen as a lens.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Hannah Sawtell</strong> was born in London in 1971. Sawtell has been included in group shows at Vilma Gold, London, International Project Space, Birmingham, Dependance, Brussels, and Limoncello, London. She most recently participated in a project for the Clocktower Residencies, New York. Her forthcoming solo shows include Vilma Gold, London and Focal Point Gallery, Southend-on-Sea. She lives and works in London.</span></p> Wed, 22 Aug 2012 05:55:49 +0000 TROJAN - Institute of Contemporary Arts (ICA) - October 9th, 2012 11:00 AM - 11:00 PM <p style="text-align: justify;"><span style="font-size: small;">A self-taught artist, make-up artist and occasional fashion designer Trojan, who took his name from a record label, was always looking for a startling originality in everything he did. He was thrilled by extremes, deformities, the garish and grotesque. Crafted in biro and cheap pens, his drawings remain raw and uncompromising and incorporate surprising techniques such as newspaper headlines transferred onto paper using Scotch Tape and lighter fuel. Immersed in the late-80s club scene, Trojan found himself at the centre of a group of highly creative individuals, including fashion designer Rachel Auburn, dancer Michael Clark, Leigh Bowery, and experimental filmmaker John Maybury.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In his drawings, Trojan chronicles encounters with a number of bizarre characters, such a woman knitting with gin for brains, a one-legged cake eater, and tabloid villains. Many of the drawings are studies for paintings, often used to map out areas of colour. Inserted into kitsch plastic frames, the finished paintings were at once comical and absurd, featuring ready-made appendages such as plastic fried eggs and fake turds acquired from his favourite magic shop. The exhibition also includes previously unseen photo albums loaned by John Maybury and Sue Tilley.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Trojan, aka Gary Barnes, was born in 1966 in Croydon, South London, and later died of a drug overdose in 1986.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>We would like to express our gratitude to John Maybury for making this exhibition possible.</em></span></p> Wed, 22 Aug 2012 05:57:08 +0000 Anish Kapoor - Lisson Gallery - October 9th, 2012 6:30 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Lisson Gallery</strong> is proud to announce a major exhibition of new works by <strong>Anish Kapoor</strong>. Spanning both the gallery’s spaces on Bell Street, London, the exhibition marks 30 years of Lisson Gallery working together with the Turner-prize winning artist and provides an indepth investigation of Kapoor’s most recent work.</span><br /><br /><span style="font-size: small;">The first living artist to be the subject of a solo exhibition at London’s Royal Academy of Arts (2009), Kapoor was born in Bombay in 1954, and first rose to prominence in the 1980s with his brightly coloured, pigment-coated sculptures. The biomorphic forms of the seminal 1000 Names series soon became an iconic part of his extensive oeuvre, heralding what was to become a three-decade long exploration of colour, form and a fascination with dualities.</span><br /><br /><span style="font-size: small;">Later works saw larger-scale installations negotiating and negating space, sometimes seeming to swallow the ground whole, at other times collapsing in on themselves into a void, or creating a new space hovering between the work and its viewer. Kapoor’s sculptures of the past decade, often made of highly-polished metals including stainless steel, gold, bronze and copper, warp and distort not only the viewer’s vision of them, but the very landscape and environment in which they are sited. </span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">The mobility of Kapoor’s visual language has been matched by a profound engagement with physical matter – both natural materials including granite and marble, and man-made substances such as wax and fibreglass. Kapoor proposes a complex dialogue between extremes – the earthbound and the transcendental, the colourful and the austere, entropy and the sublime.</span><br /><br /><span style="font-size: small;">Kapoor’s new Lisson Gallery exhibition presents several groups of entirely new works created over the past year. On the one hand, he takes his interest in the transcendental qualities of colour to new levels of luminosity and independent existence. In parallel, he works directly with materials and forms from the earth – mud, cement and metallic pigments.</span><br /><br /><span style="font-size: small;">Germano Celant aptly described Kapoor’s early work as representing a “dialogue between spirit and matter, above and below, masculine and feminine… the duality [in which] the energy of transformation and evolution lies,” This description still holds true in his recent work, while the new work shows the continuing richness of this artistic field of perceptual enquiry for new ideas and forms.</span></p> Wed, 26 Sep 2012 15:43:41 +0000 Bharti Kher - Parasol unit foundation for contemporary art - October 9th, 2012 3:00 PM - 5:00 PM <p style="text-align: justify;"><span style="font-size: small;">Exhibiting artist Bharti Kher will be signing copies of her new publication, published by Parasol unit to accompany the current exhibition. Join us for this special event to celebrate Frieze art fair 2012 on Tuesday 9 October, 3 – 5 pm.</span></p> Thu, 27 Sep 2012 14:53:40 +0000