ArtSlant - Recently added en-us 40 Tracey Emin RA, Marc Quinn, Gavin Turk, Idris Khan, Xavier Mascaro - Saatchi Gallery - October 1st 6:00 PM - 9:00 PM <p>&nbsp;</p> <p><span style="font-family: georgia,palatino;">I have the great pleasure and honour no mention that "Another Face of My Fears" Limited Edition Print has been selected and fully donated in the support of an amazing cause to raise vital funds for children with life -limiting illnesses.Also my latest work of art "Blossom Escape"the first dress made out of paint,the first wearable landscape has been selected to be showcased in this amazing event.You cant imagen how extremely happy I feel to see that my work is getting the attention it deserves.<br /><br /><strong><br /></strong><strong>BE INSPIRED &ndash; Contemporary Art Auction in aid of The Prince&rsquo;s Foundation for Children &amp; the Arts</strong><br /><br /> <br />An exciting and irresistible selection of contemporary art from artists such as Tracey Emin, Marc Quinn, Gavin Turk, Idris Khan and Xavier Mascaro will be auctioned online by Paddle8 from 17th September to 1st October, culminating in a live auction on Wednesday 1st October at the Saatchi Gallery, London.<br /><br /> The BE INSPIRED Auction is being hosted by leading independent Private Investment Office, Floreat Group, to raise vital funds for inspirational arts engagement programmes run for disadvantaged children by The Prince's Foundation for Children &amp; the Arts (Children &amp; the Arts).<br /><br /> Every piece sold will allow more children to take part in Children &amp; the Arts' programmes, with a particular emphasis on the <em>Start Hospices programme</em>, which enables children with a life limiting illness to enjoy special organised family days out at local galleries, museums and theatres; bringing families together away from &nbsp;their usual day-to-day routine of clinical care and support at their local hospice. <br /></span></p> <p>&nbsp;</p> Mon, 15 Sep 2014 17:39:22 +0000 Anselm Kiefer - Royal Academy of Arts - September 27th - December 14th <p style="text-align: justify;">In September 2014, the Royal Academy will present the first major retrospective of work to be held in the UK by Honorary Royal Academician, Anselm Kiefer.</p> <p style="text-align: justify;">Over the last decade, our single artist shows have captured the imagination of the public. Always large in scale, ambitious in scope and astonishing in execution, we&rsquo;ve seen artists including Anish Kapoor and David Hockney take on our Main Galleries. Now, this autumn, it&rsquo;s the turn of a man described as "a colossus of contemporary art" to make his mark: Anselm Kiefer.</p> <p style="text-align: justify;">This will be the most significant exhibition of the German artist&rsquo;s work ever held in the UK, spanning his entire 40 year career and unveiling new work created in direct response to our spaces.</p> <p style="text-align: justify;">Kiefer&rsquo;s extraordinary body of work includes painting, sculpture and quite simply monumental installations. Uncompromising in the subject matter he tackles, Kiefer&rsquo;s work powerfully captures the human experience and draws on history, mythology, literature, philosophy and science.</p> <p style="text-align: justify;">Full of brave and provocative work, this exhibition will be a testament to the career of a man driven to confront himself and the audience with the big and complex issues of our world&rsquo;s past, present and future.</p> <div class="item" style="height: auto; text-align: justify;"> <p>Sponsored by BNP Paribas</p> <a href=""> <img src=",w_150/qbldopfkg9x2mxd7zsvk.jpg" alt="Qbldopfkg9x2mxd7zsvk" /> </a></div> <div class="item" style="height: auto;"> <p>Media Partner</p> <img src=",w_150/d5mypi8w16pt91fgcaxf.jpg" alt="D5mypi8w16pt91fgcaxf" /></div> <div> <p><a href="" target="_blank">Sponsor statement</a></p> </div> <p>&nbsp;</p> Mon, 15 Sep 2014 09:17:39 +0000 Glenn Ligon - Camden Arts Centre - October 10th - January 11th, 2015 <p style="text-align: justify;">Over the autumnal months, Camden Arts Centre presents Glenn Ligon: <em>Call and Response</em>, the first exhibition in a UK public gallery for the celebrated American artist.</p> <p style="text-align: justify;">One of America's most distinguished contemporary artists, Ligon (b.1960) has been deeply engaged with the written word throughout his career. Drawing attention to the problems of language and representation, he addresses pressing and challenging topics of race, language and sexuality. His works reconsider and re-present American history, especially narratives of slavery and civil rights, within a contemporary context. Best known for his stencilled text based paintings, he weaves together wide-ranging influences from literature, visual arts and popular culture. Over the past 10 years, Ligon has also been dedicated to interrogating these themes through his prolific and astute writing and interviews.<br /> <br /> For his exhibition at Camden Arts Centre, Ligon presents a new series of large paintings based on the 1966 seminal taped-speech work, <em>Come Out</em>, by Minimalist composer Steve Reich. <em>Come Out</em> is drawn from the testimony of six black youths arrested for committing a murder during the Harlem Race Riot of 1964. Known as the &lsquo;Harlem Six&rsquo;, the case galvanised civil rights activists for a generation, bringing to attention police brutality against black citizens. Echoing Reich&rsquo;s overlapping repetition of words and phrases, Ligon&rsquo;s silkscreen paintings overlay the words to create slowly shifting and rhythmic effects.</p> <p style="text-align: justify;">Ligon is creating a new neon work, which draws on the words of Daniel Hamm, one of the &lsquo;Harlem Six&rsquo;, describing the police beatings. Neon letters, suspended for visitors to walk amongst, blink on and off in a cycle reflecting Reich&rsquo;s work. Ligon&rsquo;s neon works continue his interest in pushing text and speech to the point of abstraction. As with his paintings, they encourage the viewer to oscillate between reading and looking.</p> <p style="text-align: justify;">A new multi-screen video work uses footage of comedian Richard Pryor's 1982 stand-up performance, <em>Live on Sunset Strip</em>. Ligon has reorganised and refilmed the recorded material to emphasise Pryor&rsquo;s emphatic body language, movement and expressions, removing articulated words to focus on body language and the performative delivery of speech.</p> Mon, 15 Sep 2014 09:10:06 +0000 - Camden Arts Centre - September 28th 3:00 PM - 4:00 PM <p style="text-align: justify;">Gina Buenfeld, Exhibitions Organiser at Camden Arts Centre will lead a closing tour of the Shelagh Wakely exhibition.</p> <p style="text-align: justify;">Shelagh Wakely: <a href="" target="_blank"><em>A View from a Window</em></a></p> <p style="text-align: justify;">#shelaghwakely</p> Mon, 15 Sep 2014 09:07:07 +0000 - Royal College of Art - October 15th - October 15th <p><strong>Charity exhibition and sale of works, by London's leading artists.</strong></p> <p><strong>Anonymous sale of postcard-sized works - &pound;30 each. Is that a Hockney ??? A Peter Blake ??</strong></p> Mon, 15 Sep 2014 09:02:43 +0000 Jonas Burgert - Blain|Southern - London Hanover Square - October 14th - November 22nd <p style="text-align: justify;">Blain|Southern is delighted to present a new body of work by the acclaimed German artist Jonas Burgert &ndash; his first solo show in London in over five years.</p> <p style="text-align: justify;">Entitled <em>ST&Uuml;CK HIRN BLIND</em>, the exhibition includes his largest painting to date, a monumental work spanning eight metres, together with two figurative sculptures, each modelled from clay, cast in bronze and hand-painted by the artist.</p> <p style="text-align: justify;">Burgert&rsquo;s paintings present a world in which time is suspended, once removed from our perception of the every-day. In this paradigm &ndash; an environment which is in constant flux &ndash; human beings are depicted as unique, contorted creatures both familiar and fantastical. Often naked, sometimes splashed with the artist&rsquo;s trademark fluorescent colours &ndash; a melange of acid yellows, electric blues, purples, pinks and reds &ndash; each appears to be engaged in some form of quest, the purpose of which is not immediately apparent to the viewer or, it seems, to themselves. They appear as dream-like figures, frozen in a moment of time &ndash; on the cusp of a revelation or point of awakening.</p> <p style="text-align: justify;">The effect on the viewer is unsettling, creating a climate in which they themselves are drawn into an examination of their own temporal struggles. One of the smaller paintings featured in <em>ST&Uuml;CK HIRN BLIND</em>,<em> Immer </em>(2014), is illustrative of this. A serene face is framed in a headdress constructed of black bandages. While this unsettles, it is the unwavering gaze of a single eye &ndash; the other concealed &ndash; which draws in the viewer. Its effect is disquieting, but also immersive, exploring the notion of the ego and sense of self, both conscious and unconscious, thus forcing the question: how do I see myself and how might I define my identity in relation to others?</p> <p style="text-align: justify;">By contrast, <em>Puls F&uuml;hrt</em> (2014) appears to construct a story indicating a period of calm following a dramatic storm. Lying upon the floor is a horse, blindfolded and collapsed in the midst of a barren landscape void. Where is he going, or where has he come from? A similar conundrum is set up by the show&rsquo;s two sculptural works, both of which look as if they have crawled from a Burgert painting. In one, a suited man has a branch fixed to his head by a tourniquet. It is without reason, surreal and disturbing. In contrast, the second figure appears relaxed; however his corpulent body is covered in bandages, suggestive of injury or restraint.</p> <p style="text-align: justify;">The exhibition&rsquo;s largest canvas is described by Burgert as &lsquo;an abstract mountain of trash&rsquo; that becomes distorted through the accumulation of multiple layers of paint. It is as if the detritus of mankind has suddenly fallen from the sky, or erupted from the earth, leaving a few surviving humans to contemplate what sequence of events led to this disaster.</p> <p style="text-align: justify;">Considered within the context of imaginative figurative painting, from Hieronymus Bosch through to portraits by Rembrandt and Van Dyke, Burgert is unparalleled in his contemporary construction of the figurative realm. However, while the paintings are unique spectacles in themselves, they exist only to allow the artist to meditate on the myriad complexities and conflicts of the human psyche. As Burgert says: &lsquo;It seems to me that we are human beings that recognise ourselves without actually understanding ourselves. This leads to a grotesque situation: man&rsquo;s battle with his own mirror image, struggling to define himself.&rsquo;&sup1;</p> <p style="text-align: justify;">A full-colour plate publication will accompany the exhibition, including texts by the writer Will Self and psychoanalyst Anouchka Grose.</p> <p style="text-align: justify;">A limited vinyl edition record will also be produced alongside the exhibition by The Vinyl Factory. An edition of 100, the cover of each will be hand-painted by the artist. If placed alongside each other they will form one unified image. The record itself features, on one side, music as composed by Burgert&rsquo;s late father, Achim Burg (Hans Joachim Burgert), and on the other, a remix by the Berlin-based DJ, Roxymore.</p> <p style="text-align: justify;">&sup1; A Great Story: The Creator of New Worlds &amp; Strange Stages. Jonas Burgert: Hitting Every Head, 2009.</p> <p style="text-align: justify;">Jonas Burgert graduated from the Universit&auml;t der K&uuml;nste, Berlin, in 1996, and subsequently studied for a postgraduate title (Meistersch&uuml;ler) under Professor Dieter Hacker in Berlin. Recent solo exhibitions include: <em>Jonas Burgert: Enigmatic Narrative</em>, Victoria H. Myhren Gallery, University of Denver (2008); <em>Jonas Burgert</em>, Arndt &amp; Partner, Berlin (2008); <em>Jonas Burgert: Hitting Every Head</em>, Haunch of Venison, London (2009); <em>Jonas Burgert: Lebendversuch</em>, Kunsthalle T&uuml;bingen, Germany (2010); <em>Jonas Burgert: Lebendversuch</em>, Kunsthalle Krems, Austria (2011); <em>Jonas Burgert: Tricksplitt</em>, Gemalte Geschichten; <em>Gift gegen Zeit / Poison Against Time</em>, Blain|Southern, Berlin (2012); <em>Sticht: Jonas Burgert</em>, Produzentengalerie, Hamburg and <em>Schutt und Futter</em>, Kestnergesellschaft, Hannover (both 2013). Burgert lives and works in Berlin.</p> Mon, 15 Sep 2014 08:39:05 +0000 Naomi Fitzsimmons - Bearspace - October 3rd - October 11th <p style="text-align: justify;">BEARSPACE presents Naomi Fitzsimmons in conjunction with Acme Studios Residency &amp; Awards Programme. Naomi graduated from Chelsea College of Art in 2013 and was selected for the Chelsea Studio Award, <a href=""></a>, which provides a rent free studio for one year, a bursary of &pound;2,500, mentoring and culminates in an Autumn show at BEARSPACE.</p> <p style="text-align: justify;">Naomi's practice deals with the interaction between artist and audience and the space in which this reciprocal exchange takes place. Working primarily in performance, there is an obvious interrogation into the physicality of this relationship, and her work values the live encounters and communication that it generates. &nbsp;&nbsp;</p> <p style="text-align: justify;">Assuming the role of director, Naomi often chooses to work with a variety of cross disciplinary performers, including actors, dancers, sports commentators, singers and fortune tellers; all of whom become co-authors to the final product.&nbsp;This collaborative process is as important as the end result and allows her work to embrace the gap between intention and interpretation.&nbsp;</p> <p style="text-align: justify;">Her interest in theatricality and staging assimilates the exhibition framework and she often regards the private view as a metaphorical stage.&nbsp; Drawing influence from Erving Goffman&rsquo;s theory on individual performance in a social context, Naomi's practice explores the role of audience as actor and the consideration of all performance as a meta-performance.&nbsp;</p> <p style="text-align: justify;">Through the meticulous choreography of a live event, her practice is simultaneously controlled and spontaneous, creating an experience that is all at once real and simulated and exploring the notion of contingency. &nbsp;&nbsp;</p> <p style="text-align: justify;">In association with</p> <p><img src="" alt="" width="287" height="68" /></p> <p>&nbsp;</p> Mon, 15 Sep 2014 08:34:31 +0000 Sam Taylor-Johnson - Saatchi Gallery - September 12th - October 4th <p style="text-align: justify;"><strong>A photographic exhibition by Sam Taylor-Johnson</strong> <br /><br /> Sam Taylor-Johnson's photographic exhibition 'Second Floor', will feature a series of 34 photographs capturing the private rooms of Mademoiselle Chanel at 31 Rue Cambon in Paris. <br /><br /> "Shooting at Coco Chanel's apartment was an unexpectedly absorbing experience," says Taylor-Johnson. "The essence of Chanel is firmly rooted there in all of her possessions and I truly believe that her spirit and soul still inhabits the second floor." <br /><br /> Starting from the hallowed mirrored staircase leading up to the apartment, the Turner Prize nominee has captured this intimate world, artfully immortalizing objects and furniture that were so treasured by Mademoiselle Chanel. <br /><br /> The photographs illustrate the numbers, patterns, colours and emblematic animals that are synonymous with Mademoiselle Chanel's creative vocabulary <br /><br /> From the white satin-covered berg&egrave;re on which Chanel was photographed by Horst in 1937, the Coromandel lacquered screens, gilt Venetian mirrors, and walls stacked with leather bound editions including Shakespeare, Voltaire, Byron and Bronte, to the salon's rock-crystal chandeliers, which on closer inspection reveal the blossoming of camellias, not forgetting the number 5, the double C, and the initials G for Gabrielle and W for Westminster, every detail has been brought to the fore. <br /><br /> Mademoiselle Chanel surrounded herself with treasured objects, like crystal balls, pairs of animals - like terracotta camels, deers, and earthenware horses - and, of course, her majestic and symbolic gilded lions that represented her star sign Leo. These valued talismans co-exist with the more austere lines of natural materials and muted colours. <br /><br /> Mademoiselle's apartment provides an atmosphere, which, is both personal and mysterious and is a testament to her modern style. "The apartment is beautifully stylish. It feels like she had meticulously chosen every object, "says Sam Taylor-Johnson. <br /><br /> To accompany the exhibition, a book entitled &lsquo;Second Floor&rsquo; published by 7L will be available to buy from Saatchi Store at Saatchi Gallery as well as other book stores. A limited edition box set of ten prints chosen by the artist will also be available. <br /> <br /><br /> PRESENTED BY: <br /><br /> <img src="" alt="" /></p> <p>&nbsp;</p> Sat, 13 Sep 2014 06:31:30 +0000 Xavier Mascaro - Saatchi Gallery - September 3rd - October 5th <p style="text-align: justify;"><strong>SP Koren Art presents the debut UK solo exhibition of Spanish artist Xavier Mascar&oacute;</strong> <br /><br /> Mascar&oacute;, who lives and works in Madrid and Mexico City has exhibited in Buenos Aires, Los Angeles, Madrid, New York and Paris and will exhibit a range of sculptural works showcasing his adventurous experimentation with traditional casting techniques. <br /><br /> Fascinated by the symbolism and iconography of boats - from the Egyptian funerary boats that took the departed on their eternal journey, to the recent exodus of people fleeing war, deprivation and poverty in the Mediterranean and South American regions, <strong>Departure</strong> will include a poignant and imposing installation of boats made from bronze and iron which are evocative of long-forgotten shipwrecks. <br /><br /> Alongside the installation, the exhibition will include arresting iron portraits of a young woman from Mascar&oacute;'s Eleonora series reminiscent of the profiles on ancient coins, and delicate metal works resembling votive figures from his Idols series which address cult imagery and veneration.</p> Sat, 13 Sep 2014 06:29:52 +0000 - Carpenters Workshop Gallery - Mayfair - September 5th - October 3rd <p style="text-align: justify;">&ldquo;Cats,<br />We love our cats Paula &amp; Jambe Blanche.<br />&lsquo;Paula&rsquo; is an orphan from a village called &lsquo;Echt&rsquo; in the southern part of The Netherlands.<br />&lsquo;Jambe Blanche&rsquo; is a 17 year old belle dame. She was born in the basement of our first studio and has four white legs but that may not be a surprise. Both our cats are black and white, spotted like Dutch cows.&nbsp;</p> <p style="text-align: justify;">In fact, we only allow black and white spotted cats into our house in the forest. But even more importantly, they must be female. In Dutch a female cat is pronounced &lsquo;poesje&rsquo; which is a sweet nickname for a &lsquo;vagina&rsquo;.</p> <p style="text-align: justify;">&nbsp;To a certain level, I believe, cats are autistic. They can&rsquo;t really understand people&rsquo;s emotions and can be quite ruthless. They kill birds, butterflies, mice and sometimes a mole, then they come home and sleep in our bed. Some say that cats are closely related to humans. Do they have a point?</p> <p style="text-align: justify;">Peut-&ecirc;tre que oui, peut-&ecirc;tre que non...&rdquo;</p> <p>&nbsp;</p> <p style="text-align: right;">Job Smeets, Summer 2014</p> Fri, 12 Sep 2014 16:45:22 +0000 Chris Evans - Piper Keys - October 18th - November 23rd Fri, 12 Sep 2014 14:57:45 +0000 Lucy Stein - Piper Keys - September 13th - October 12th <p style="text-align: justify;">Lucy Stein exhibits a group of new paintings which take the form of potato prints. Each composition has emerged from combinations of multi-coloured washes and block printing.</p> <p style="text-align: justify;">Across this series freshly cut potatoes splat and slide over unprimed canvases, which become matted with paint-velum.</p> <p style="text-align: justify;">Each potato&rsquo;s marks describe an erratic yet thinking route around the painting. The works are left around, to pick up studio muck (feathers, lumps of pigment), trodden in by slippers, becoming thread bare at their edges like hessian sack.</p> <p style="text-align: justify;">This is the collusion of the organic in synthesised nature: drugs, visions (seeing things), biting into a raw potato, the tangy intoxicating smell of aerosol. Stein is influenced by ecclesiastical art and its closeness to the natural world, stain glass, tapestry. Though contrary to her predecessors, like the British Neo-Romantics, she turns this kind of imagery through late-capitalist trauma: we might think of genetically modified crops or potato-shaped pills.</p> <p style="text-align: justify;">In her paintings Stein locates certain symbols, charismatic objects: eggs, o&rsquo;s, feathers. These symbols carry basic historic meanings, but like those of the dark arts are now sullied. Morose faces appear in stains, yolk brains leak out of an egg head. Inanimate objects receive augmentations: an eye here, a nose there. Instead of simple allegorical paintings there is iconoclastic meltdown.</p> <p style="text-align: justify;">Lucy Stein has exhibited widely since 2005, holding solo exhibitions at Galerie Gregor Staiger, Zurich; Broadway 1602, New York; Gimpel Fils, London; Stedelijk Museum Bureau, Amsterdam; Jerwood Space, London (with Jo Robertson); Collective Gallery, Edinburgh (with Jo Robertson). She studied at De Ateliers, Amsterdam (2004-06) and BA Fine Art at Glasgow School of Art (2001-04). Stein lives and works in London. She performs in the band Death Shanties, and hosts a radio show for NTS called &lsquo;Squirming The Worm&rsquo;.</p> <p style="text-align: justify;">Piper Keys is supported using public funding by the National Lottery through Arts Council England.</p> Fri, 12 Sep 2014 14:57:20 +0000 Sigalit Landau - Marlborough Fine Art - September 17th - November 1st <p style="text-align: justify;"><span style="font-size: small;"><strong>Marlborough Contemporary</strong>&nbsp;is pleased to present&nbsp;an exhibition of new works by&nbsp;<strong>Sigalit Landau</strong>.</span><br /><br /><span style="font-size: small;">Landau&rsquo;s practice addresses&nbsp;the complexities of its location and attempts to build bridges. Her tactile art explores the symbols and signs that are shared across cultures.</span><br /><br /><span style="font-size: small;">The title of the exhibition,&nbsp;<em>Knafeh,</em>&nbsp;refers to Landau&rsquo;s new video work, which will be presented for the first time and demonstrates the almost painterly art of making knafeh, an Arabic sweetmeat that is loved throughout the Middle East. The film is typical of Landau&rsquo;s work, as knafeh itself is emblematic of shared Middle Eastern traditions and further evidence of her continued engagement with cultural hybridity.</span><br /><br /><span style="font-size: small;">This attempt to expose and transcend established boundaries and borders is seen throughout her work, reaching its pinnacle in her&nbsp;<em>Salt Bridge Project</em>. This project, which is her most ambitious to date, will see the artist physically cross the gap between Israel and Jordan, with the creation of a crystalised salt bridge on the Dead Sea.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition will also include a new series&nbsp;of&nbsp;works made from sand:&nbsp;<em>Dusk</em>,&nbsp;<em>Dawn</em>&nbsp;and&nbsp;<em>Tide&nbsp;</em>(2014), and<em>&nbsp;Sand Flag</em>&nbsp;(2013).&nbsp;These works engage with the history of painting in their format, and their point of origin in their materials.&nbsp;Landau will also present recent salt works, including&nbsp;<em>Crystal Dreamcatcher</em>&nbsp;(2014), that have gone through a salt crystalisation process. This ongoing technique&nbsp;sees Landau immerse objects in the Dead Sea, leaving them to accumulate the sea&rsquo;s salts and minerals, to be transformed through a controlled but unpredictable organic process. Landau has extensively&nbsp;exploited this technique, submerging items such as rope nooses and&nbsp;evocative domestic items, all of which will feature in this exhibition. The artist speaks about the magic of the Dead Sea and the mystery surrounding the process itself.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition will also feature marble sculptures, from a series carved in the forms of differently posed breastfeeding cushions. Undoubtedly linked to modern traditions that go back to Henry Moore or Louise Bourgeois, these works are representative of Landau&rsquo;s experience of the body, a recurring and important theme throughout her work.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Knafeh</strong>&nbsp;continues at Marlbrough Contemporary until&nbsp;1 November.</span><br /><br /><span style="font-size: small;"><strong>Sigalit Landau</strong>&nbsp;(born Jerusalem, 1969, lives and works in Tel Aviv) is one of the most important Israeli artists working today.&nbsp;She graduated from Bezalel Academy of Art and Design in 1994. She first represented Israel at the Venice Biennale in 1997 in a group presentation, followed by a solo presentation in the pavilion in 2011. &nbsp;She has featured in numerous exhibitions and museums, such as Documenta X in 1997 and MoMA, New York in 2008. Her work is found in many major collections, including MoMA and Centre Pompidou. A wide overview of her video works will be given at the exhibition at Museu d'Art Contemporani de Barcelona opening in November 2014.</span></p> Thu, 11 Sep 2014 10:03:01 +0000 Susan Hiller - Royal College of Art - Battersea, Dyson Building - December 2nd 6:30 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><span style="font-family: Arial;">Artist Susan Hiller grew up in America but currently works and lives in London. After attaining her PhD in Anthropology, she decided to pursue artistic interests. Hiller&rsquo;s work derives from a process of collecting, cataloguing and transforming cultural artefacts as a means of exploring the subconscious and unconscious mind. Inspired by feminism, popular culture and psychoanalysis, she works with a wide range of media including sculpture, performance, video, photography, drawing, and installation. Her most recent solo exhibition is&nbsp;</span><em><span style="font-family: Arial;">Channel,</span></em><span style="font-family: Arial;">&nbsp;which was shown at the Adelaide Festival, Australia, Matt&rsquo;s Gallery in London, and Centre d&rsquo;Art Contemporain La Synagogue de Delme in France.&nbsp;Hiller is also represented in a number of international public collections including the Tate Britain, London and the Centre Georges Pompidou, Paris.</span></span></p> Tue, 09 Sep 2014 17:14:43 +0000 - Royal College of Art - Battersea, Dyson Building - November 25th 6:30 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><span style="font-family: Arial;">Curator Mihnea Mircan will be discussing his recent research in relation to current archaeological discoveries. He is the artistic director of Extra City Kunsthal, Antwerp, where he is preparing the long-term research project &ldquo;Allegory of the Cave Painting&rdquo;. Mircan has also curated exhibitions at several institutions including the National Museum of Contemporary Art, Bucharest; David Roberts Art Foundation, London; and Fondation Ricard, Paris.&nbsp; In addition, he was the editor of the book&nbsp;</span><em><span style="font-family: Arial;">Hans van Houwelingen: Undone</span></em><span style="font-family: Arial;">&nbsp;and has contributed works to journals such as Mousse, Manifesta Journal, and Afterall, and to the publications Visible (Sternberg Press) and Six Lines of Flight (SF MOMA).</span></span></p> Tue, 09 Sep 2014 17:15:19 +0000 - Royal College of Art - Battersea, Dyson Building - October 28th 6:30 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><span style="font-family: Arial;">American artist Joseph Kosuth is often referred to as &ldquo;the father of conceptual art&rdquo;. He is credited with initiating appropriation strategies, language based works, and the use of photography in the 1960&rsquo;s. Through his practice and writing, Kosuth consistently explores the role of language and meaning within art. His most renowned work is&nbsp;</span><em><span style="font-family: Arial;">One and Three&nbsp;</span></em><span style="font-family: Arial;">Chairs and his recent solo exhibitions include:&nbsp;</span><em><span style="font-family: Arial;">Ni Apparence, Ni Illusion</span></em><span style="font-family: Arial;">&nbsp;in the Musee du Louvre, Paris and&nbsp;</span><em><span style="font-family: Arial;">An Interpretation of this Title. Nietzsche, Darwin and the Paradox of Content,</span></em><span style="font-family: Arial;">&nbsp;for the Edinburgh International Festival.</span></span></p> <p style="text-align: justify;"><span style="font-family: Arial; font-size: small;">Hans Ulrich Obrist is a Swiss curator and currently holds the positions of Co-director of Exhibitions and Programmes, and the Director of International Projects at the Serpentine Gallery in London.&nbsp; Since 1991, Obrist has curated over 150 international exhibitions in venues such as the Musee d&rsquo;Art Moderne de la Ville de Paris and the Museum in Progress in Vienna.&nbsp; In addition to curatorial work, Obrist is known as the artworld&rsquo;s &ldquo;Studs Terkel&rdquo; or its default oral historian as he has many interviews saved as video exhibitions or in book series.&nbsp;</span></p> Tue, 09 Sep 2014 17:12:42 +0000