ArtSlant - Openings & events en-us 40 Ian Kiaer - Alison Jacques Gallery - October 11th, 2012 6:00 PM - 8:00 PM <blockquote> <p style="text-align: justify;"><span style="font-size: small;"><em>If Kiaer's work consisted of formal arrangements of elements, its beauty would be too easily won, as if the studio or gallery were to become the surface for a poignant collage. Rather, the way it is disposed summons questions concerning why the pieces or fragments matter - how the insignificant, the marginal, the used-up, the abject and the tiny are no less important than the monumental, and perhaps infinitely more so.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">Michael Newman, Ian Kiaer, Aspen Art Museum catalogue, 2012</span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">In his fourth solo presentation at <strong>Alison Jacques Gallery</strong>,<strong> Ian Kiaer</strong> revisits a premise he has explored through a number of years and museum shows: Alexandre Dumas', <em>The Black Tulip</em>. Like the 19th Century novelist, Kiaer is attracted by the idea of continually returning to what could ultimately be a redundant endeavour. For Dumas' Dutch protagonist this was to attempt to breed an unnaturally-hued, perfectly black flower. For Kiaer, it is to question what painting might be.</span><br /><br /><span style="font-size: small;">Throughout his recent practice - most notably in solo shows at Aspen Art Museum and the Kunstverein Munich - Kiaer has turned his attention to notions of refinement and redundancy in minor forms of painting. In so doing, he has made paintings without necessarily painting, instead selecting and arranging materials, models and found objects where motifs promise to inform while prompting thought of absent texts and gaps in knowledge.</span><br /><br /><span style="font-size: small;">The visitor to this exhibition first encounters a large, intensely yellow double-sided projection, of a fly passing across what is later recognisable as the surface of a painting, evincing Kiaer's interest in the pursuit of a colour that speaks beyond chromatic value to what might be a particular association or tone. Beyond this, smaller canvasses, film projections, hand-made miniature architectural models and apparently prosaic objects have been arranged with meticulous attention to their relationships with each other, the floor and walls. While made up of individual works, the entire exhibition has become a kind of still-life - a fragmented, intricate embodiment of Kiaer's interest with this minor form of painting. If one of his attractions to this genre is that it's traditionally unburdened by didactic narrative, Kiaer knows that the strength of the greatest still-lifes lies in an attention to proximity, syntax and association.</span><br /><br /><span style="font-size: small;">Being sensitive to making nuanced alterations and refinements stems from Kiaer's attitude to the studio. He doesn't see the studio as a privileged place for high-artistic creation, nor believe in abandoning it altogether. Kiaer treats it as somewhere for gradual disclosure, where he and the objects are set aside from their daily functions for quiet poiesis - in his own words "allowing things to happen" instead of forcing them. Rather than deny the anxieties of the studio, Kiaer finds periods of inactivity - doing nothing, lying, sitting, waiting - an important alternative to the demand for production. In this exhibition, the painting on which the fly walks previously served as the covering for his work table. As someone who is preoccupied by past and current failures, Kiaer has always found value in discarded objects and ideas, exploring what remains possible within them, even an artist's sense of impotence.</span><br /><br /><span style="font-size: small;"><strong>Ian Kiaer</strong> (b. London, 1971) lives and works in London. His work is currently exhibited at Tate Modern and Tate Britain, London and is currently on view at the 2012 Rennes Biennial. Recent museum solo shows include Aspen Art Museum, Aspen (2012); Kunstverein Munich (2010); and GAM (Galleria d'Arte Moderna e Contemporanea), Turin (2009); Group shows include <em>All of this and Nothing</em>, Hammer Museum, Los Angeles (2011), <em>British Art Show 7</em>, Hayward Gallery London (2010-11),The 10th Lyon Biennale (2009); the 4th Berlin Biennial (2006); and the 50th Venice Biennale (2005). Forthcoming museum shows include Centre International d'Art &amp; du Paysage, île de Vassivière. His work is in the collections of Tate, London; Museum fur Moderne Kunst, Frankfurt; Pinakothek, Munich; and Galleria Civica di Arte Moderna e Contemporanea (GAM), Turin.</span></p> Thu, 20 Sep 2012 15:08:51 +0000 Yujung Chang - Art First Contemporary Art - October 11th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">For her first solo exhibition in the UK, the young South Korean artist<strong> Yujung Chang</strong> will create a new installation for AF Projects. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Chang's work takes many forms . from small, delicately manipulated photographic panels to large-scale installations and interventions . but maintains a clear focus on a set of central concerns: humanityfs role in recreating and reimagining the natural world, and the artistfs role in shaping memory and devising new realities within our created environment. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Yujung Chang studied for her MFA in sculpture at Ewha Womenfs University, Seoul, before graduating from Goldsmiths University, London in 2007. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Her work has been recently exhibited in South Korea, USA, China and Germany. Her new installation work "Cultivated Portion" was recently exhibited at the Gyeonggi Museum (Seoul) .</span></p> Wed, 10 Oct 2012 15:46:27 +0000 Jill Mason - Art First Contemporary Art - October 11th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Mason completed her postgraduate studies at the Royal Academy Schools in 2008 and has continued her practice from her London studio, exhibiting in shows selected by Sacha Craddock, Danny Rolph and Saatchi Gallery, as well as featuring in the 2010 edition of Jerwood Contemporary Painters. </span></p> <p style="text-align: justify;"><span style="font-size: small;">We are delighted to present this first solo exhibition of Jill Mason’s paintings here at Art First. It includes a momentous group of larger canvases representing an extension from her well‐known earlier series of small diaristic panels, whilst similar subject and spatial ambiguities remain central concerns.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> Mason writes:<em> “My paintings are awkward and mutable, often appearing to me as makeshift camps. They are temporary home to fading epiphanies where urgent feeling can be forced to bed down next to catatonic indifference.” </em></span></p> <p style="text-align: justify;"><span style="font-size: small;">Historic antecedents are a co­‐incidental mix of 1930’s British surrealism, Philip Guston and US West Coast painting of recent times. The influences appear subliminal as the paintings consistently challenge interpretation. We do not need to treat them as figuration and look for literal narrative but we are guided into a reading under Mason’s ambivalent control.</span></p> Fri, 28 Sep 2012 15:42:34 +0000 - FOTO8 Gallery - October 11th, 2012 6:30 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">What are the ways photography is used today? Images can be a witness to shared experiences acquired through encounters and engagements as well as the embodiment of personal journeys. They can be used to explore urban subcultures and identities and reveal social phenomena as manifested in London and other modern cities.</span><br /><br /><span style="font-size: small;">This talk, organised to coicide with the <em>Third Effect</em> exhibition at Foto8, comprises a series of presentations by young photographers. They will examine the way the medium can be used to investigate and communicate contemporary ideas and views around society today.</span><br /><br /><span style="font-size: small;">This event is free but places must be booked by following the link below. </span><br /><br /><span style="font-size: small;">Third Effect is on at Foto8 Gallery from 4 - 12 October 2012.</span></p> <table cellpadding="0" cellspacing="0" class="moduletable"> <tbody> <tr> <td> <div><a href="" title="Book Online"><img alt="Book Online" src="" /></a></div> </td> </tr> </tbody> </table> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> Fri, 07 Sep 2012 14:35:35 +0000 - Frieze London - October 11th, 2012 12:00 PM - 7:00 PM <h4>Opening Hours</h4> <p>Thursday 11 October 12 – 7pm<br /> Friday 12 October 12 – 7pm<br /> Saturday 13 October 12 – 7pm<br /> Sunday 14 October 12 – 6pm</p> <p><span style="font-size: small;"><b>Admissions</b></span></p> <p>One Day £27<br />Concessions £20<br />Four Days £70</p> <p><strong><span style="font-size: small;">Galleries</span></strong></p> <ul> <li>303 Gallery</li> <li>Galería Juana de Aizpuru</li> <li>Galería Helga de Alvear</li> <li>Andersen's Contemporary</li> <li>The Approach</li> <li>Laura Bartlett Gallery</li> <li>Galerie Catherine Bastide</li> <li>Galerie Guido W. Baudach</li> <li>Marianne Boesky Gallery</li> <li>Tanya Bonakdar Gallery</li> <li>Bortolami</li> <li>BQ</li> <li>The Breeder</li> <li>Broadway 1602</li> <li>Gavin Brown's enterprise</li> <li>Buchholz</li> <li>Cabinet</li> <li>Campoli Presti</li> <li>Canada</li> <li>Galerie Gisela Capitain</li> <li>Sadie Coles HQ</li> <li>Contemporary Fine Arts</li> <li>Pilar Corrias Gallery</li> <li>Corvi-Mora</li> <li>Galerie Chantal Crousel</li> <li>Thomas Dane Gallery</li> <li>Massimo De Carlo</li> <li>Elizabeth Dee</li> <li>Allied Editions</li> <li>Galerie Eigen + Art</li> <li>galerie frank elbaz<br /> Konrad Fischer Galerie</li> <li>Foksal Gallery Foundation</li> <li>Galeria Fortes Vilaça</li> <li>Marc Foxx</li> <li>Carl Freedman Gallery</li> <li>Stephen Friedman Gallery</li> <li>Frith Street Gallery</li> <li>Gagosian Gallery</li> <li>Annet Gelink Gallery</li> <li>A Gentil Carioca</li> <li>Gerhardsen Gerner</li> <li>Greene Naftali</li> <li>greengrassi</li> <li>Galerie Karin Guenther</li> <li>Jack Hanley Gallery</li> <li>Hauser &amp; Wirth</li> <li>Herald St</li> <li>Hotel</li> <li>Ingleby Gallery</li> <li>International Art Objects Galleries</li> <li>Taka Ishii Gallery</li> <li>Alison Jacques Gallery</li> <li>Galerie Martin Janda</li> <li>Johnen Galerie</li> <li>Annely Juda Fine Art</li> <li>Casey Kaplan</li> <li>Georg Kargl Fine Arts</li> <li>Galleri Magnus Karlsson</li> <li>Paul Kasmin Gallery</li> <li>Kerlin Gallery</li> <li>Anton Kern Gallery</li> <li>Galerie Peter Kilchmann</li> <li>Tina Kim Gallery</li> <li>David Kordansky Gallery</li> <li>Tomio Koyama Gallery</li> <li>Andrew Kreps Gallery</li> <li>Galerie Krinzinger</li> <li>Kukje Gallery</li> <li>kurimanzutto</li> <li>Yvon Lambert</li> <li>Lehmann Maupin Gallery</li> <li>Lisson Gallery</li> <li>Long March Space</li> <li>Kate MacGarry</li> <li>Mai 36 Galerie</li> <li>Giò Marconi</li> <li>Matthew Marks Gallery</li> <li>Mary Mary</li> <li>Galerie Meyer Kainer</li> <li>Meyer Riegger</li> <li>Victoria Miro</li> <li>Stuart Shave/Modern Art</li> <li>The Modern Institute</li> <li>Murray Guy</li> <li>Galleria Franco Noero</li> <li>Galleria Lorcan O’Neill</li> <li>Pace</li> <li>Maureen Paley</li> <li>Galerie Perrotin</li> <li>Galerie Francesca Pia</li> <li>Galerija Gregor Podnar</li> <li>Galerie Eva Presenhuber</li> <li>Project 88</li> <li>Rampa</li> <li>Galleria Raucci/Santamaria</li> <li>Almine Rech Gallery</li> <li>Regina Gallery</li> <li>Anthony Reynolds Gallery</li> <li>Galerie Thaddaeus Ropac</li> <li>Andrea Rosen Gallery</li> <li>Salon 94</li> <li>Aurel Scheibler</li> <li>Esther Schipper</li> <li>Galerie Rüdiger Schöttle</li> <li>Micky Schubert</li> <li>Sfeir-Semler</li> <li>Sies + Höke</li> <li>Galeria Filomena Soares</li> <li>Sommer Contemporary Art</li> <li>Reena Spaulings Fine Art</li> <li>Sprüth Magers Berlin London</li> <li>Standard (Oslo)</li> <li>Stevenson</li> <li>Galeria Luisa Strina</li> <li>Galerie Micheline Szwajcer</li> <li>T293</li> <li>Timothy Taylor Gallery</li> <li>Team Gallery</li> <li>The Third Line</li> <li>Vermelho</li> <li>Vilma Gold</li> <li>Vitamin Creative Space</li> <li>Waddington Custot Galleries</li> <li>Wallspace</li> <li>Galerie Barbara Weiss</li> <li>Fons Welters</li> <li>Michael Werner</li> <li>White Cube</li> <li>Wien Lukatsch</li> <li>Max Wigram Gallery</li> <li>Wilkinson</li> <li>Alex Zachary Peter Currie</li> <li>Zeno X Gallery</li> <li>David Zwirner</li> <li>47 Canal</li> <li>Arcade</li> <li>The Box</li> <li>Bureau</li> <li>Carlos/Ishikawa</li> <li>La Central</li> <li>Galerie Crèvecoeur</li> <li>Experimenter</li> <li>Galerie Cinzia Friedlaender</li> <li>François Ghebaly Gallery</li> <li>Kisterem</li> <li>Ignacio Liprandi Arte Contemporáneo</li> <li>Maisterravalbuena</li> <li>Mendes Wood</li> <li>Galerie Mor Charpentier</li> <li>mother's tankstation</li> <li>Take Ninagawa</li> <li>NON</li> <li>Ramiken Crucible</li> <li>Société</li> <li>SVIT</li> <li>Algus Greenspon</li> <li>Altman Siegel</li> <li>Ancient &amp; Modern</li> <li>Jessica Bradley Art + Projects</li> <li>Casas Riegner</li> <li>Chatterjee &amp; Lal</li> <li>Chert</li> <li>dépendance</li> <li>Elastic Gallery</li> <li>Fonti</li> <li>Hollybush Gardens</li> <li>Karma International</li> <li>Kimmerich</li> <li>Andreiana Mihail Gallery</li> <li>MOT International</li> <li>Office Baroque Gallery</li> <li>One And J. Gallery</li> <li>Galeria Plan B</li> <li>RaebervonStenglin</li> <li>Raster</li> </ul> <p align="center"></p> Thu, 13 Sep 2012 05:35:24 +0000 - Frieze London - October 11th, 2012 12:00 PM - 7:00 PM <h4>Opening Hours</h4> <p>Thursday 11 October 12 – 7pm<br /> Friday 12 October 12 – 7pm<br /> Saturday 13 October 12 – 7pm<br /> Sunday 14 October 12 – 6pm</p> <p><b>Admissions</b></p> <p>One Day £27<br />Concessions £20<br />Four Days £70</p> <p><strong><span style="font-size: small;">Projects</span></strong></p> <h4>Thomas Bayrle</h4> <div style="float: right; margin: 0 0 10px 15px; padding: 0;"></div> <p>Thomas Bayrle will present two patterned works along the entrance to the fair and in the public squares using designs originally conceived in 1967. Working since the mid-sixties, Bayrle is now recognized as key figure in European ‘Pop Art’, sometimes referred to as Grey Pop.</p> <p></p> <h4>Aslı Çavuşoğlu</h4> <div style="float: right; margin: 0 0 10px 15px; padding: 0;"></div> <p><em>Murder in Three Acts</em> is inspired by the representation of art in popular media, particularly in television crime series.</p> <p></p> <h4>DIS magazine</h4> <div style="float: right; margin: 0 0 10px 15px; padding: 0;"></div> <p>DIS is a post-Internet lifestyle magazine about art, fashion and commerce with collaborators from the worlds of fashion, art, music and technology.</p> <p></p> <h4>Grizedale Arts / Yangjiang Group</h4> <div style="float: right; margin: 0 0 10px 15px; padding: 0;">.</div> <p>For Frieze London, Grizedale and Frieze Foundation will host a programme of food-related performance, discussion, representation and retail.</p> <p></p> <h4>Joanna Rajkowska</h4> <div style="float: right; margin: 0 0 10px 15px; padding: 0;"></div> <p><em>Forcing a Miracle</em> is a project that is intended to make the ground - soil, grass and stones - burn and produce smoke.</p> <p></p> Thu, 13 Sep 2012 05:26:59 +0000 - Frieze London - October 11th, 2012 6:00 PM - 8:00 PM <h4>Opening Hours</h4> <p>Thursday 11 October 12 – 7pm<br /> Friday 12 October 12 – 7pm<br /> Saturday 13 October 12 – 7pm<br /> Sunday 14 October 12 – 6pm</p> <p><b>Admissions</b></p> <p>One Day £27<br />Concessions £20<br />Four Days £70</p> <p><br /><strong><span style="font-size: small;">Talks Program</span></strong></p> <h4>Kasper König in conversation with Jochen Volz</h4> <div style="float: right; margin: 0 0 10px 15px; padding: 0;"></div> <p class="category">Thursday 11 October: 1.30pm</p> <p>As a co-founder of Sculpture Projects Munster and Director of Cologne’s Museum Ludwig, Kasper König has been a central figure in art since the 1960s. Jochen Volz is the new Head of Programmes at London’s Serpentine Gallery after eight years at Instituto Inhotim, Brazil. Here they discuss five decades of curating and how art has been transformed from a small world<br /> into a big industry.</p> <ul> <li><strong>Kasper König</strong> (Director, Museum Ludwig, Cologne)</li> <li><strong>Jochen Volz</strong> (Head of Programmes, Serpentine Gallery and Contributing Editor, <em>frieze</em>, London)</li> </ul> <h4>Art and Life</h4> <div style="float: right; margin: 0 0 10px 15px; padding: 0;"></div> <p class="category">Thursday 11 October: 5pm</p> <p>Brian O’Doherty is an influential artist, critic, editor and Booker-shortlisted novelist whose career has spanned over five decades. For his talk, O’Doherty discusses the evolution of his ideas and the central role both creativity and research play in his work.</p> <ul> <li><strong>Brian O’Doherty</strong> (Artist,Critic and Novelist, New York and Todi, Italy)</li> </ul> <h4>Deeply Superficial</h4> <div style="float: right; margin: 0 0 10px 15px; padding: 0;"></div> <p class="category">12 October 2012: 1.30pm</p> <p>The panel focuses on the aesthetic and economic phenomenon of the stock image, increasingly adopted as source material for art. With particular focus on its use in sculpture and installation, the panel asks what meaning this kind of recuperation may have and how it might lead to new ways<br /> of understanding the rhetorical, digitally modified image.</p> <ul> <li><strong>Lauren Cornell</strong> (WriterandCurator,NewYork)</li> <li><strong>Oliver Laric</strong> (Artist, Berlin)</li> <li><strong>Martin Westwood</strong> (Artist,London)</li> <li>Chair: <strong>Isobel Harbison</strong> (Curator and Writer, London)</li> </ul> <h4>Lynne Tillman</h4> <div style="float: right; margin: 0 0 10px 15px; padding: 0;"></div> <p class="category">Friday 12 October: 5pm</p> <p>Lynne Tillman is a fiction writer and cultural critic. Her novels include <em>American Genius, A Comedy</em> (2006), <em>No Lease on Life</em> (1998), <em>Cast in Doubt</em> (1992), <em>Motion Sickness</em> (1991) and <em>Haunted Houses</em> (1987). She has published three volumes of short stories, the latest of which, <em>Someday This Will Be Funny</em> (2011), was made into an artist’s edition by Jim Hodges. As a critic she has written extensively on art and is a regular columnist for <em>frieze</em> magazine. For Frieze Talks she speaks about the relationship between imagination and criticism.</p> <ul> <li><strong>Lynne Tillman</strong> (Critic and Novelist, New York )</li> </ul> <h4>Being Difficult: a panel on Refusal and Responsibility</h4> <div style="float: right; margin: 0 0 10px 15px; padding: 0;"></div> <p class="category">Saturday 13 October: 1.30pm</p> <p>Where there is no consensus among artists, critics and curators on professional standards or ethical principles, how does refusal come to define responsibility and vice versa? When does refusal protect the work that artists do, and when does it become an excuse masking other motives, particularly in the Middle East?</p> <ul> <li><strong>Hassan Khan</strong> (Artist, Cairo)</li> <li><strong>Akram Zaatari</strong> (Artist, Beirut)</li> <li><strong>Vasif Kortun</strong> (Director of Research and Programs, SALT, Istanbul)</li> <li>Chair: <strong>Kaelen Wilson-Goldie</strong> (Writer, Beirut)</li> </ul> <h4>Sturtevant in conversation with John Waters</h4> <div style="float: right; margin: 0 0 10px 15px; padding: 0;"></div> <p class="category">Saturday 13 October: 5pm</p> <p>Since the 1960s, American artist Sturtevant – recipient of the Golden Lion at the Venice Biennale and whose major solo exhibition ‘Image Over Image’ was held at the Moderna Museet, Stockholm, this year – has made work that radically explores issues of originality, reproduction, repetition and visual illusion. Sturtevant talks to film director, writer and artist,JohnWatersonthetopicofstupidity.</p> <ul> <li><strong>Sturtevant</strong> (Artist, Paris)</li> <li><strong>John Waters</strong> (Film Director and Artist, Baltimore)</li> </ul> <h4>Attention! Criticism and its Distractions</h4> <div style="float: right; margin: 0 0 10px 15px; padding: 0;"></div> <p class="category">Sunday 14 October: 1.30pm</p> <p>Writing about art is a way of paying attention to the world, but also a distraction from it. At a time when we are frequently told that traditional modes and spans of attention are in decline, the panel asks what kinds of concentration and what sorts of distraction are at work in art criticism today.</p> <ul> <li><strong>Orit Gat</strong> (Writer, Editor and Translator, Brooklyn)</li> <li><strong>Alexander Provan</strong> (Writer and Editor, <em>Triple Canopy</em>, NewYork)</li> <li><strong>Marina Warner</strong> (Writer, Novelist and Critic, London)</li> <li>Chair: <strong>Brian Dillon</strong> (Writer and UK Editor, <em>Cabinet</em>, London)</li> </ul> <h4>Tino Sehgal in conversation with Jörg Heiser</h4> <div style="float: right; margin: 0 0 10px 15px; padding: 0;"></div> <p class="category">Sunday 14 October: 4pm</p> <p>With his current project at Tate Modern’s Turbine Hall, Tino Sehgal brings his distinctive artistic approach to London. The artist works with nothing but ‘interpreters’, as he prefers to call them, acting out concrete gestures and utterances in the exhibition space. Jörg Heiser joins Sehgal to discuss the way he has transformed the relationship between conceptualism, choreography and theartobject.</p> <ul> <li><strong>Tino Sehgal</strong> (Artist, Berlin)</li> <li><strong>Jörg Heiser</strong> (Co-Editor, <em>frieze</em>, Berlin)</li> </ul> Thu, 13 Sep 2012 05:30:19 +0000 - Frieze London - October 11th, 2012 12:00 PM - 6:00 PM <h4>Opening Hours</h4> <p>Thursday 11 October 12 – 7pm<br /> Friday 12 October 12 – 7pm<br /> Saturday 13 October 12 – 7pm<br /> Sunday 14 October 12 – 6pm</p> <p><b>Admissions</b></p> <p>One Day £27<br />Concessions £20<br />Four Days £70</p> <p>Frieze Film is a programme of artist films screened to coincide with Frieze London. Curated by Sarah McCrory, this year’s commissions include five new films.</p> <p>The artists commissioned to make new work for Frieze Film are: <strong>Bertrand Dezoteux</strong>, <strong>Patricia Esquivias</strong>, <strong>Jimmy Merris, John Smith</strong> and <strong>Wu Tsang &amp; Nana Oforiatta-Ayim</strong>.</p> <p></p> <p><strong>Bertrand Dezoteux</strong>: <em>The History of France in 3D</em><br /> Bertrand Dezoteux’s film <em>The History of France in 3D </em>is a CGI animation project that presents a non-chronological history of France. The narrative structure of the film follows a journey on the French rail network in a train peopled with significant characters from French history, among them Roland Barthes, Jules Michelet and Juliette Foucault, the chief conductor of the train. Christopher Columbus and Saint Francis of Assisi will also get on board in Le Mans. Rather than being specifically about France, Dezoteux’s film suggests that France exists both as a tangible territory and as a virtual entity. The History of France in 3D offers the spectator a journey in a synthetic world that is ‘made of France’, just as a table is ’made of wood ‘.</p> <p>Bertrand Dezoteux (b.1982) is a French artist based in Bayonne. Recent solo shows and projects include ‘Txerri’, le Carré, Bayonne (2012); ‘Le Corso’, Palais de Tokyo, Paris (2010) and ‘Roubaix 3000’, Espace Croisé, Roubaix (2007). Group shows include: ‘Low Mountains’, Dar Bellarj Foundation, Marrakech (2012); ‘Dynasty’, Palais de Tokyo et Musée d’Art Moderne de la Ville de Paris, Paris (2010) and ‘Reset’, Fondation d’Entreprise Ricard, Paris (2010). Forthcoming shows will be at FRAC Aquitaine, Bordeaux (2012) and Sala Rekalde, Bilbao (2012).</p> <p><strong>Patricia Esquivias</strong>: <em>111-119 Generalísimo/Castellana</em><br /> Patricia Esquivias will present a video that revolves around a specific apartment block in Madrid that dates from the late 1950s and has decorative tiles on its façade and balconies, featuring a different pattern for each apartment. In this new work, Esquivias will try to read the building like a book; to sit in privacy and work out what happened in this specific building. She imagines situations which she hopes actually took place, weaving them into the images of the building - but usually the reality that she finds does not match her fantasies.</p> <p>Patricia Esquivias (b.1979) is a Venezuelan artist based in Madrid. Recent solo exhibitions and projects include Hammer Projects, Hammer Museum, Los Angeles (2011); ‘Todo lo que no es ración, es agio’, Museo Nacional Centro de Arte Reina Sofía, Madrid and ‘Reads like the Paper, 2005-2009’, Midway Center for Contemporary Art, Minneapolis (both 2009). Group exhibitions include: ‘Stories in Between’, Stiftelsen 314, Bergen; ‘LifeStories’, Museum of Contemporary Art, Detroit, (both 2011); ‘Les Faux Amis’, Galerie Nationale du Jeu de Paume, Paris (2010); and ‘Younger than Jesus’, New Museum, New York (2009).</p> <p><strong>Jimmy Merris</strong> <em>Oh Lord, why didst Thou make Peckham so beautiful and the life of an artist so short?</em><br /> Jimmy Merris will make a new video work by using a bamboo stick with a camera sellotaped to its end – an improvised steadicam. The work will be shot in and around his studio in south London and will be the first time the artist has filmed outside the studio for an extended period – but will still encompass his typical ad-hoc production methods; ‘the camera will then move back inside, perhaps through an open window, to record a series of domestic interiors, a new set of portraits, and joyful encounters with friends, neighbours, animals, and familiar objects which are just kicking around the yard here in South London’</p> <p>Jimmy Merris (b.1983) is a British artist based in London. Recent solo exhibitions include ‘Deep Joy on Home Soil’, Studio Voltaire, London (2012), ‘Economics 101’ (with Terry Dennett), SPACE, London and ‘Finding Your Feet In The Times Of The Worried Man’ Seventeen Gallery, London (both 2011).</p> <p><strong>John Smith</strong>: <em>Dad’s Stick</em><br /> John Smith’s film, <em>Dad’s Stick</em> begins with three objects shown to him by his father shortly before he died. Two of these were well-used objects that had become so steeped in history that their original forms and functions were almost completely obscured. A third object seemed to be instantly recognisable, but it turned out to be something else entirely. Taking these ambiguous artefacts as its starting point, <em>Dad’s Stick</em> will create a dialogue between abstraction and literal meaning, exploring the contradictions of memory and history to hint at the perceived character of a dead father and his relationship with his son</p> <p>John Smith (b.1952) is a British artist based in London. Recent solo shows and projects include ‘Horizon’, Turner Contemporary, Margate (2012); ‘Bildstörung’, Kestnergesellschaft, Hanover (2012); ‘Worst Case Scenario’, Weserburg Museum of Modern Art, Bremen (2012) and ‘unusual Red cardigan, PEER, London (2011). Group shows include: ‘Image Counter Image’, Haus der Kunst, Munich (2012); ‘Locus Solus: Impressions of Raymond Roussel’, Museo Reina Sofia, Madrid (2011) and Serralves Museum, Porto (2012); ‘Descriptive Acts’, San Francisco Museum of Modern Art (2012) and ‘Has the Film Already Started’, Tate Britain, London (2011). Forthcoming shows include Ferens Art Gallery, Hull (2012) and Espai, Barcelona (2012).</p> <p><strong>Wu Tsang &amp; Nana Oforiatta-Ayim</strong>: <em>Tied and True</em><br /> Wu Tsang &amp; Nana Oforiatta-Ayim will present a short film that explores narratives of inclusion and otherness in a world in which relativity has liberated our sense of difference, de-centered the margins, and where, paradoxically, inequality and racism are more prevalent than ever. The film is set in a hybrid landscape made up of St Louis, Senegal and Los Angeles, USA and inspired by films including Douglas Sirk’s <em>All That Heaven Allows</em> and Rainer Fassbinder’s <em>Ali: Angst Essen Seele Auf</em>. The main characters include a Senegalese royal and a British working-class interloper. Their love, illicit in the eyes of the world, at first triumphs, then falters, the pressures of the outside world internalised, leaving us to question whether the equaliser of love and connection can win out against the constructions of difference and self. A Frieze Film &amp; UKS Co-Production</p> <p>Wu Tsang (b.1982) is an American artist based in Los Angeles. Recent group exhibitions include ‘The Whitney Biennial 2012’, Whitney Museum of American Art, New York; ‘The Ungovernables: The 2012 New Museum Triennial’, New Museum, New York (both 2012) and ‘Performa 11’, New York (2011). His recent feature film, Wildness, world premiered at MoMA’s ‘Documentary Fortnight’, Museum of Modern Art, New York (2012). Tsang is a 2012 Louis Comfort Tiffany Fellow and has received support from the Good Works Foundation, Frameline, the Wexner Center for the Arts, the IFP Documentary Lab, Art Matters, and the Andy Warhol Foundation for the Visual Arts.</p> <p>Nana Oforiatta-Ayim is a writer, filmmaker and cultural historian, currently based in Senegal. Her work has been presented in ‘The Ungovernables: The 2012 New Museum Triennial’ New Museum, New York (2012); the Neue Gesellschaft für Bildende Kunst, Berlin; Vela Gallery, London; The Museum of African Diaspora, San Francisco, and will be shown at the Kunstmuseene Bergen, Norway later this year.</p> Thu, 13 Sep 2012 05:33:57 +0000 - Frieze Masters - October 11th, 2012 12:00 PM - 7:00 PM <p><strong>Opening Hours</strong></p> <p>Thursday 11 October 12 – 7pm<br /> Friday 12 October 12 – 7pm<br /> Saturday 13 October 12 – 7pm<br /> Sunday 14 October 12 – 6pm</p> <p><b>Admissions</b></p> <p>One Day £27<br />Concessions £20<br />Four Days £70</p> <p><strong>Galleries</strong></p> <ul> <li>Galerie 1900-2000</li> <li>Acquavella Galleries</li> <li>Galeria Raquel Arnaud</li> <li>Galleria d'Arte Maggiore G.A.M</li> <li>Bacarelli and Botticelli</li> <li>Jean-Luc Baroni</li> <li>Beck &amp; Eggeling</li> <li>Katrin Bellinger at Colnaghi</li> <li>Bernheimer</li> <li>Galerie Daniel Blau</li> <li>Blum &amp; Poe</li> <li>Brimo de Laroussilhe</li> <li>Broadway 1602</li> <li>Galería Caylus</li> <li>Cheim &amp; Read</li> <li>Coll &amp; Cortés Fine Arts</li> <li>Colnaghi</li> <li>Corbett vs. Dempsey</li> <li>Alan Cristea Gallery</li> <li>Thomas Dane Gallery</li> <li>Donald Ellis Gallery</li> <li>Ben Elwes Fine Art</li> <li>Entwistle</li> <li>The Gallery of Everything</li> <li>Faggionato Fine Arts</li> <li>Richard L. Feigen &amp; Co.</li> <li>Sam Fogg</li> <li>Eric Franck Fine Art</li> <li>Gagosian Gallery</li> <li>Francesca Galloway</li> <li>Thomas Gibson Fine Art</li> <li>Galerie Gmurzynska</li> <li>Galería Elvira González</li> <li>Hauser &amp; Wirth</li> <li>James Hyman</li> <li>Jablonka Galerie</li> <li>Bernard Jacobson Gallery</li> <li>Alison Jacques Gallery</li> <li>Ben Janssens Oriental Art</li> <li>Derek Johns Ltd.</li> <li>De Jonckheere</li> <li>Daniel Katz Gallery</li> <li>Koetser Gallery</li> <li>Michael Kohn Gallery</li> <li>Lowell Libson Ltd.</li> <li>Lisson Gallery</li> <li>Marlborough Fine Art</li> <li>Barbara Mathes Gallery</li> <li>McCaffrey Fine Art</li> <li>Anthony Meier Fine Arts</li> <li>Galerie Meyer Oceanic Art</li> <li>Victoria Miro</li> <li>Moretti Fine Art</li> <li>Gallery Moshe Tabibnia</li> <li>Frederick Mulder</li> <li>Edward Tyler Nahem Fine Art</li> <li>Helly Nahmad Gallery</li> <li>Jill Newhouse</li> <li>David Nolan Gallery</li> <li>Stephen Ongpin Fine Art</li> <li>Osborne Samuel Gallery</li> <li>Pace</li> <li>Robilant + Voena</li> <li>Salomon Lilian</li> <li>Schönewald Fine Arts</li> <li>Bruce Silverstein Gallery</li> <li>The Sladmore Gallery</li> <li>Stair Sainty</li> <li>Timothy Taylor Gallery</li> <li>Galerie Thomas Modern</li> <li>Tomasso Brothers Fine Art</li> <li>Ubu Gallery</li> <li>Van de Weghe Fine Art</li> <li>Axel Vervoordt</li> <li>Emanuel von Baeyer</li> <li>Rupert Wace Ancient Art</li> <li>Wienerroither &amp; Kohlbacher</li> <li>Adam Williams Fine Art</li> <li>Galerie Hubert Winter</li> <li>David Zwirner</li> <li>àngels barcelona</li> <li>Anita Beckers</li> <li>Ruth Benzacar Galería de Arte</li> <li>Bernier/Eliades</li> <li>Luciana Brito Galeria</li> <li>galerie frank elbaz</li> <li>espaivisor</li> <li>Henrique Faria Fine Art</li> <li>Galeria Graça Brandão</li> <li>Ivan Gallery</li> <li>Leo Koenig Inc.</li> <li>Andrew Kreps Gallery</li> <li>Osage Gallery</li> <li>Parra &amp; Romero</li> <li>Franklin Parrasch Gallery</li> <li>Rampa</li> <li>Galeria Nara Roesler</li> <li>Karsten Schubert</li> <li>Sfeir-Semler</li> <li>Sperone Westwater</li> <li>Galerie Barbara Thumm</li> </ul> <p><strong> </strong></p> Thu, 13 Sep 2012 06:01:22 +0000 - Frieze Masters - October 11th, 2012 12:00 PM - 7:00 PM <h4>Opening Hours</h4> <p></p> <p>Thursday 11 October 12 – 7pm<br /> Friday 12 October 12 – 7pm<br /> Saturday 13 October 12 – 7pm<br /> Sunday 14 October 12 – 6pm</p> <p><b>Admissions</b></p> <p>One Day £27<br />Concessions £20<br />Four Days £70</p> <p><strong><span style="font-size: small;">Talks Program</span></strong></p> <div class="item"> <h2>Cecily Brown in conversation with Nicholas Penny</h2> <ul class="horizontal"> <li><time>Thursday, 11 October 3:00pm</time></li> </ul> <div class="item_content"> <p>British-born painter Cecily Brown talks to Nicholas Penny, Director of the National Gallery, London.</p> <ul class="nav_vertical"> <li><strong>Cecily Brown</strong> (Artist, New York)</li> <li><strong>Nicholas Penny</strong> (Director, National Gallery, London)</li> </ul> </div> </div> <div class="item"> <h2>Luc Tuymans in conversation with Dominique de Font-Réaulx</h2> <ul class="horizontal"> <li><time>Friday, 12 October 3:00pm</time></li> </ul> <div class="item_content"> <p>Luc Tuymans, a leading exponent of figurative painting during the 1990s talks to Senior Curator at the Musée du Louvre, Dominique de Font-Réaulx.</p> <ul class="nav_vertical"> <li><strong>Luc Tuymans</strong> (Artist, Antwerp)</li> <li><strong>Dominique de Font-Réaulx</strong> (Senior Curator, Musée du Louvre, Paris)</li> </ul> </div> </div> <h2>Glenn Brown in conversation with Bice Curiger</h2> <ul class="horizontal"> <li><time>Saturday, 13 October 3:00pm</time></li> </ul> <div class="item_meta">Painter and Turner Prize 2000 nominee, Glenn Brown talks to Bice Curiger, Curator of the of the Kunsthaus, Zürich.</div> <ul class="nav_vertical"> <li><strong>Glenn Brown</strong> (Artist, London)</li> <li><strong>Bice Curiger</strong> (Curator, Kunsthaus Zürich and Editor-in-Chief, Parkett)</li> </ul> Thu, 13 Sep 2012 06:05:30 +0000 Bob and Roberta Smith - Hales Gallery - October 11th, 2012 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;"><b>BOB AND ROBERTA SMITH INVITE YOU TO JOIN THE ART PARTY</b></span></p> <p style="text-align: justify;"><span style="font-size: small;">… To better articulate the importance of art!</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a target="_blank" href="" title="What is the Art Party of the USA?"><b><br /></b></a><b></b></span></p> <p style="text-align: justify;"><span style="font-size: small;">The Art Party is not a political party but a forum for explaining to politicians contemplating cutting the Arts why they should think again! It was launched by Bob and Roberta Smith in 2011. A formative moment for the Art Party was Bob and Roberta's Letter to Michael Gove in July 2011. Artists, teachers and concerned individuals have written their own letters to Michael Gove inspired by this letter.</span></p> <p style="text-align: justify;"><span style="font-size: small;">---</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><b><i>Bob and Roberta Smith's Letter to Michael Gove MP - 25th July 2011<br /> <br /> </i></b></span></p> <p style="text-align: justify;"><span style="font-size: small;"><b>In memory of Lucien Freud and Amy Winehouse who died this weekend.</b><b> </b><b>Your destruction of Britain's ability to draw, design and sing.</b><b></b></span></p> <p style="text-align: justify;"><span style="font-size: small;">Dear Michael Gove</span></p> <p style="text-align: justify;"><span style="font-size: small;">Art, images, artefacts, songs; culture are the principal means by which human beings define themselves.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Michael, a look at your tie and shirt combination in images of you online informs me you are not a visually minded person. You do not care how you look. Like many men of your generation you probably disdain the modern media's obsession with 'image'.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Look around you. What do you see? Everything is made. Everything has been fashioned by human beings who have considered all aspects of what they have made. Human beings consider the function in the system of commerce of what they make but at the same time their work creates images. Image is everything; visual worth, commercial value, moral virtue, authority and integrity.</span></p> <p style="text-align: justify;"><span style="font-size: small;">From birth Human beings seek to understand, find their place in society and control their worlds. Through looking and understanding the child interprets the world. Give a child a piece of paper, a brush and some colour and you put them in control. Children's art is so appealing because they have no problem with being in control of images. As school progresses, poor teaching in some schools, impresses on the child that they are not in control. Not only are they not in control, but they are the most insignificant cog in a system of control in which they may never play an important part. From Galileo to Darwin, from Caravaggio to Amy Winehouse creativity is rebellion.  Even Free Market economists recognise that wealth creation is based on questioning, innovation and improvement. Creativity is non-acceptance of the status quo, and rejection of the Academy. Your initiative awards conformity and will cause stagnation.  EBacc creates orthodoxy where your un-evidenced view of what will be important to future generations is given an unnatural emphasis. EBacc is more suited to a planned economy.   The rebellious child, the innovator, the inventor, the engineer, the artist, the architect clings on to their prowess with paper, does art at school, goes to art school, studies design or enrols at Imperial College and contributes to the library of images and forms. The relationship between sheets of blank paper, pencils and innovation is undeniable. Art should be the centre of a National curriculum based on creative thinking. Pity the obedient child in a system of Education obsessed with 'vocational skills'. He or she caves in. The child who becomes inhibited is inducted into the mediocre majority of the visually illiterate of which you, Michael Gove, (in your ill-fitting shirt and unmatched tie) are a part.  But even those who have creativity beaten out of them by educational systems of the type you advocate, need, enjoy and consume images. EBacc least serves, what people in the media call 'content provision'.  The ability to fill 'new media' with images will determine who has power. Everything is made. Everything is visual. Art, yes but also design, money, numbers: even the ebb and flow of commerce has to be made visual. The English landscape is a creation of human design. In your language 'Brand Britain' is visual and cultural. In recent years China has opened 400 schools of art and design. Your Government has whittled Britain's once diverse, varied culture of schools of Art to just 12 institutions. This reduction is a disaster for British design, British commerce, British Art and Britain's ability to compete in the world. Does Britain's image mean nothing to you? Your reforms will cripple future British design. In advance of your reforms Roehampton University has withdrawn its courses training art and design teachers, this is disgraceful.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Take Art out of the National curriculum and belittle art in your distorted EBacc system of categorisation of significant subjects and you will emasculate British Culture. Where are our future designers, architects, craftsmen, engineers, technicians, software designers and mathematicians going to come from if no one can draw? Your thinking and the thinking of your Government is provincial. You want to jump onto a 'Far Eastern' bandwagon that has already left town. The crazy dream of turning the UK economy into Singapore is not available to you. You should realise Britain is amazing. In cultural, visual, democratic, musical, design, product development and literary terms Britain is a giant. Art is now part of the language of freedom and democracy.  Repressive, ideological regimes restrict Artists. You must realise that art is not a choice made at secondary school rather we are all cultural beings. Your creation of EBacc promotes modern languages. This is a good thing. On holiday in Italy you will have visited regional museums.  The Italians cram their children into museums, they say, 'look, this is Italy, this is your culture, you are Italian'.  Human beings have culture.  Your government's adoption of the last government's 'Mandelsonian' Browne review with is desire to monetize the episteme and its assault on the Arts and Humanities coupled with, your inclination to remove Art from the national curriculum is deeply concerning. You will be opposed by all people interested in Art, design, free speech, freedom and democracy  and probably also by a few bankers and investors interested in British products and exports who are concerned about the colour of their money.  Michael Gove, ditch EBacc. It is mistaken; Education is about sewing seeds not setting standards for the shape of bananas.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;"><b>Bob and Roberta Smith - Artist</b></span></p> <p style="text-align: justify;"><span style="font-size: small;">Bob and Roberta's work has been exhibited internationally. Solo exhibitions include shows at Hayward Gallery (London, UK), Whitechapel Gallery (London, UK), Pierogi (New York, USA) and Galleria (Torino, Italy). Selected group exhibitions include Tate Britain (UK), Hayward Gallery (UK), Serpentine Gallery (UK), Tate Liverpool (UK), CCAC (San Francisco), National Gallery in Copenhagen (Denmark), CIMA Gallery (Calcutta) and many more. Works by the artist are part of the Tate Collection, UK
Arts Council Collection, UK
British Council Collection and others. Bob and Roberta Smith live and work in London.</span></p> Mon, 24 Sep 2012 09:31:38 +0000 Bjarne Melgaard - Institute of Contemporary Arts (ICA) - October 11th, 2012 6:30 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><em>Narcotecture</em> describes an ostentatious style of architecture built by large scale distributors of illegal narcotics. Bjarne Melgaard, Kjetil T. Thorsen, Creative Director of internationally renowned architecture firm Snøhetta, and Ina Blom, University of Oslo discuss these new architectural influences on Bjarne Melgaard’s on-going collaboration with the firm. The talk is accompanied by the launch of the exhibition catalogue <em>A House to Die In.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Bjarne Melgaard</strong> (b. 1967, Sydney, Australia) has had more than forty-five solo exhibitions in leading galleries around the world, and his work is held in several international collections. In 2011, Melgaard represented Norway at the 54th Venice Biennale with <em>Beyond Death: Viral Discontents</em> and <em>Contemporary Notions about AIDS</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">He is a frequent curator and collaborator, has written more than a dozen novels, and produced seven films. Bjarne Melgaard lives and works in New York.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Ina Blom </strong>is an art critic, curator and art historian. Since 2001 she has been an Associate Professor at the Department of Philosophy, Classics, History of Art and Ideas at the University of Oslo, Norway, specialising in modernism and avant-garde studies, and contemporary art and aesthetics, with a particular focus on media art practices and media aesthetics.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A former music critic, she has also worked extensively as an art critic and curator, contributing to <em>Frieze</em>, <em>Parkett</em>, <em>Afterall</em>, and <em>Artforumand</em> <em>Texte zur Kunst</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Kjetil Trædal Thorsen</strong> is an architect. He was born in the Norwegian city of Haugesund and spent most of his childhood on the neighbouring coastal island of Karmøy. In 1985 he co-founded the first Norwegian Gallery for architecture, Gallery ROM. In 1987 he co-founded the multidisciplinary architectural practice Snøhetta Arkitektur- Landskap in Oslo, Norway and in 1989 he became founding partner and director in the international company Snøhetta.</span></p> <p style="text-align: justify;"><span style="font-size: small;">He is a frequent lecturer internationally and from 2004 to 2008 he was professor of architecture at the Institute of Experimental Architecture at the University of Innsbruck, Austria.</span></p> Thu, 27 Sep 2012 10:43:00 +0000 Frank Auerbach - Marlborough Fine Art - October 11th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">“Painting is a dumb activity, none of this talk helps to make pictures” Despite this stricture from Frank Auerbach, John Wonnacott discusses Auerbach’s approach to art in his letter introducing this new show at Marlborough.*</span></p> <p style="text-align: justify;"><span style="font-size: small;">Auerbach’s manner of making pictures is mostly well known; the reworking of the entire composition at each session and never a mark made without the sitter’s presence. The landscapes of course demand a different methodology and this exhibition will focus on the newly finished large landscape painting, <em>Next Door</em>, and will attempt to show Auerbach’s working practise by including some 40 sketches made for this painting and the two other smaller format canvasses of the same subject. Drawings are made early every morning and pinned up beside the easel for the day’s work. “There’s a bit of an element of recording at the beginning, and it seems to me to be rather important that one should accept the haphazard because that’s what it’s for. Otherwise you get something that’s even and rhythmic and predictable.”¹ Most of the sketches serve as an aide memoire or visual note of an idea and are then destroyed; however, those which stand up in their own right as a coherent work are preserved. “I wouldn’t be able to start in the morning if I didn’t have an idea in my head as to what to do with the painting. Drawing outside gives me an idea to start with.”²</span></p> <p style="text-align: justify;"><span style="font-size: small;">Until recently, Auerbach as a subject has been a fairly rare one for Auerbach the artist. Excitingly, three new self-portrait drawings will be included in the exhibition. The graphite and chalk on paper medium tantalisingly reveals the partially erased mark making of previous working sessions; these earlier “ghosts” becoming integral to the finished likenesses which are intimate, raw and profoundly moving.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Marlborough Graphics will expand the theme of Auerbach’s working methods by concentrating on the artist’s etching technique. Examples of the various progressive stages of Auerbach’s print making will be shown. Starting with a drawing of the sitter from life and continuing through the various proof stages to the final editioned print.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">¹William Feaver Frank Auerbach Rizzoli, New York, 2009, p.229</span><br /><span style="font-size: small;">² Ibid</span><br /><span style="font-size: small;">*John Wonnacott’s letter will be published in the exhibition catalogue. For further information, please contact Geoffrey Parton or Frankie Rossi on 0207 629 5161</span></p> Wed, 26 Sep 2012 15:52:25 +0000 Richard Woods, Cameron Platter, Eric Yahnker, Huang Rui, Tjorg Douglas Beer - Multiplied - The Editions Art Fair at Christie's South Kensington - October 11th, 2012 6:00 PM - 10:00 PM <p>Since its founding in 2009, LRRH_ has merged textile and art to create limited editions <br />in collaboration with both renown  and developing contemporary artists. <br />The editions are expertly produced and enriched with manual techniques <br />making them prized as valued collectables. <br />Presented as tapestry, framed, or worn as sculpture; the works are unique<br />embodiments of contemporary fine art.</p> Wed, 03 Oct 2012 21:37:15 +0000 - Royal College of Art - Battersea, Dyson Building - October 11th, 2012 12:00 PM - 5:00 PM <p style="text-align: justify;"><span style="font-size: small;">The exhibition in the newly opened Dyson Building’s gallery brings together the 17 works acquired for the painting collection form 2009-11 as part of the Outset Acquisitions Fund. Presented as a group of works, the exhibition reveals the range of practices and approach over the last three years.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The fund, which allowed the RCA to acquire works by graduates, was the first initiative of its kind for the collection - which is primarily comprised of gifts and works left by students. Alongside the paintings, drawings, photography and installations will be archival display showing documents relating to key moments in the collection's history, placing these works and the Acquisitions Fund itself, in a wider artistic, historical and institutional context.</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>open 12 noon – 5pm (closed Sunday 14 October)</strong></span></p> Tue, 09 Oct 2012 18:20:44 +0000 Cinthia Marcelle - Sprovieri - October 11th, 2012 6:30 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Sprovieri</strong> is pleased to announce <em><strong>Automóvel (Automobile)</strong></em> a new video work by <strong>Cinthia Marcelle</strong>, which will be presented as part of the artist’s second solo show at the gallery.</span><br /><br /><span style="font-size: small;">Marcelle uses video and photography to document the effects that her interventions have on the usual order of things. Particularly, Marcelle’s work is inspired by the chaos and the turmoil of possibilities which can be found in everyday life. Her actions create situations that challenge our notions of conventional behaviour by introducing humorous coincidences and connections.</span><br /><br /><span style="font-size: small;">Representing the constant flow of vehicles on a two-way urban street, the video Automóvel (Automobile) focuses on the pace of life on any normal working day.  Yet when the owners of those cars become slaves to their vehicles, what you get is a scene reminiscent of Sisyphus. Condemned to pushing their vehicles ever forward, the drivers are slowly enveloped by the night.</span><br /><br /><span style="font-size: small;">Automóvel (Automobile) was produced in 2012 by Katásia Filmes and 88.</span><br /><br /><span style="font-size: small;">Cinthia Marcelle lives and works in Belo Horizonte, Brazil, and graduated in Fine Arts from the Universidade Federal de Minas Gerais (1996-1999).</span><br /><br /><span style="font-size: small;">Marcelle's work has been part of significant group exhibitions including Prelúdio, Casa de Vidro, São Paulo (2012), Dundee Contemporary Art, Dundee, Scotland (2012), New Museum Triennial, New York (2012),Tate Modern Level2, London (2012), 29ª São Paulo Biennial (2010), Kölnischer Kunstverein, Germany (2009), 9ª Biennial of Lyon, France (2007), Panorama da Arte Brasileira, São Paulo (2007) and Madrid, (2008), 9ª Bienal de La Habana, Cuba (2006). Her solo exhibitions include Pinchuk Art Center, Kiev (2011), Galeria Vermelho, São Paulo (2011), Camberwell College of Arts, London (2009), Sprovieri Gallery, London (2009), Ikon Gallery, Birmingham (2008), Box 4, Rio de Janeiro (2007), Museu de Arte da Pampulha, Belo Horizonte (2004). </span><br /><br /><span style="font-size: small;">Cinthia Marcelle was awarded relevant International Prizes such as the Future Generation Prize from the Victor Pinchuck Foundation in 2011 and the TrAIN artist in residency award at Gasworks, London, in 2009.</span></p> Fri, 28 Sep 2012 15:52:47 +0000