ArtSlant - Recently added en-us 40 Toby Ziegler - Simon Lee - October 6th 6:30 PM - 8:00 PM <p style="text-align: justify;">Dr. Lev Manovich is the author and editor of eight books including <em>Data Drift </em>(RIXC, 2015), <em>Software Takes Command</em>, (Bloomsbury Academic, 2013), <em>Soft Cinema: Navigating the Database </em>(The MIT Press, 2005), and <em>The Language of New Media </em>(The MIT Press, 2001) which was described as "the most suggestive and broad ranging media history since Marshall McLuhan." He appeared on the list of "25 People Shaping the Future of Design" in 2013 and the list of "50 Most Interesting People Building the Future" in 2014. Manovich is a Professor of Computer Science at The Graduate Center, CUNY, and a Director of the Software Studies Lab that uses methods from computer science, media design and humanities to analyze big cultural data such as millions of Instagram images. The lab&rsquo;s most recent projects were commissioned by MoMA, New Public Library, and Google. <em>Selfiecity </em>won Golden Award in Best Visualization Project category in the global competition in 2014; <em>On Broadway </em>project received Silver Award in the same category in 2015.</p> <p style="text-align: justify;">This event is a special collaboration with Artsy OnSite - a global series of events featuring the world&rsquo;s most critically-acclaimed contemporary artists and current exhibitions. In collaboration with Artsy's network of globally-renowned partner galleries, museums and other non-profit institutions, over thirty events have taken place since the initiative was launched in April 2015. OnSite events are conversations with artists, curator-led exhibition tours, studio visits, panel discussions, performances, film screenings, and book launches. Events have taken place in New York, Los Angeles, London, Brussels, Berlin, Munich, and Hong Kong.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Event 6.30pm arrival for 7pm start, Simon Lee Gallery, 12 Berkeley Street, London W1J 8DT</p> <p style="text-align: justify;">RSVP essential:</p> Tue, 27 Sep 2016 18:56:31 +0000 Toby Ziegler - Simon Lee - October 5th - November 12th <p style="text-align: justify;">Simon Lee Gallery is proud to announce a solo exhibition of new work by Toby Ziegler, his fourth exhibition with the gallery.</p> <p style="text-align: justify;">Matisse&rsquo;s <em>Large Reclining Nude (The Pink Nude)</em>, 1936 provides the starting point for Ziegler&rsquo;s new series of paintings and a new two channel video work (all 2016). Ziegler was drawn to the painting&rsquo;s embodiment of a shift from figuration to abstraction. The development of Matisse&rsquo;s painting between May and October 1935 was documented in a series of 22 black and white slides that illustrate the painting&rsquo;s evolution from illusionistic to two dimensional space. Through this surviving documentation we can see how Matisse edited, cropped, flattened and stretched the body in its context to greater effect in the painting, retaining the human figure, whilst tightening and streamlining the motif like a piece of typography or a logo.</p> <p style="text-align: justify;">This analogue animation of two dimensional work and the painterly process is echoed in Ziegler&rsquo;s two channel video. Looping simultaneously on two large freestanding LED screens, the first screen depicts digital images of <em>The Pink Nude </em>which Ziegler sourced through Google image searches. Using a digital technique of progressive pixellation, Ziegler presents a systematic degradation and abstraction of the reproduction of Matisse&rsquo;s painting. The second screen shows the results of Ziegler resubmitting each modified <em>Pink Nude </em>image back into Google image. We witness the imaginary painted body disintegrate as perversely Google summons fleshy corporeal images such as sickly sweet pink mouths, feet, and make-up whilst the next screen fades to reveal images of Chinese currency, clouds and idyllic skies.</p> <p style="text-align: justify;">Ziegler homes in on our predisposition to find resonance and meaning in incongruous images and forms; the slow pace of transformation of the films&rsquo; frames enhances our ability and desire to make connections whilst simultaneously seducing, repulsing and evoking ambivalence. This is Google as Delphic Oracle, I Ching or collective unconscious, revealing the associations that a particular configuration of colour and tone provoke in the hive-mind of Google users. This transfiguration performed by Google, from image to pure data and back again, acts as an analogy for Ziegler&rsquo;s process as a painter. Meticulously painting and reproducing the <em>Pink Nude </em>image on large scale aluminium supports, Ziegler brings art history in and out of focus, utilising analogue means to zoom in and out of the image, inverting it, tessellating it, saturating or paring back the colours to black and white, before further subjection to painting on top of the image and sanding it back with a rotary sander.</p> <p style="text-align: justify;">This process echoes how computers process images, losing information and data through translation of the image and recreating a facsimile that perpetuates a new visual currency for us to consume and disseminate. This homage and corrosion of the image sets up a playful surface tension that is utterly compelling and of its time.</p> <p style="text-align: justify;">The resultant paintings shimmer and glow, with the scale, process and layers of painting and light reflective sanding marks simultaneously recalling Roman graphics, pixels and screen resolutions &ndash; a marriage of past, present, future that situate and question the body in relation to technology, the object and the image.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Toby Ziegler was born in 1972 in London where he studied at Central St Martin&rsquo;s College of Art and Design, and currently lives and works in London. Major solo institutional exhibitions include <em>Expanded Narcissistic Envelope</em>, Hepworth Wakefield, UK (2014) and <em>Toby Ziegler</em>, New Art Centre at Roche Court Sculpture Park, Salisbury, UK (2014). Other solo exhibitions include <em>The Cripples</em>, at Old Burlington car park, London (2012); <em>The Alienation of Objects</em>, Zabludowicz Collection, London, which travelled to Sarisalvo, Finland, New Art Gallery, Walsall, UK and Museum of Contemporary Art Kiasma, Helsinki, Finland (2011-2012).</p> <p style="text-align: justify;">Major institutional group shows include <em>My Abstract World</em>, me Collectors Room Berlin / Olbricht Collection, Berlin, Germany; <em>Conflict and Collisions: New Contemporary Sculpture</em>, The Hepworth Wakefield, Wakefield, UK (2014); <em>Private Utopia: Contemporary Works from the British Council Collection</em>, Tokyo Station Gallery, Tokyo, Japan (exh. cat.), which travelled to Itami City Museum of Art, Itami, Japan, Kochi Museum of Art, Kochi, Japan, and Okayama Museum of Art, Okayama, Japan (2015); <em>The Red Queen</em>, Museum of Old and New Art, Tasmania, Australia (2013); <em>Gold</em>, Belvedere, Vienna, Austria (2012); <em>The Future Demands Your Participation</em>, Minsheng Art Museum, Shanghai, China (2010); <em>Newspeak: British Art Now</em>, The State Hermitage, St. Petersburg, Russia and The Saatchi Gallery, London (2009-2010); <em>Hamsterwheel</em>, initiated by Franz West, Malm&ouml; Konsthall, Sweden (2008); <em>Recent Abstraction, British Art Displays 1500-2007 </em>at Tate Britain, London (2007).</p> <p style="text-align: justify;">His work is part of major private and public collections including The Arts Council of England; The British Council; Tate Britain; Saatchi Gallery; Fran&ccedil;ois Pinault Foundation; Zabludowicz Collection; Goss-Michael Foundation; Kadist Art Foundation; British Airways Collection; Hudson Valley Centre for Contemporary Art and Museum of Old and New Art, Tasmania.</p> Tue, 27 Sep 2016 18:53:57 +0000 - Serpentine Sackler Gallery - October 1st 3:00 PM - 4:00 PM <p>Curator, Amira Gad, leads a tour of the exhibition, <a href="" target="_blank">Helen Marten: Drunk Brown House</a>.</p> Tue, 27 Sep 2016 18:50:07 +0000 - Serpentine Gallery - November 19th 3:00 PM - 4:00 PM <p style="text-align: justify;">Curator, Melissa Blanchflower, leads a tour of the exhibition, <a href="" target="_blank">Marc Camille Chaimowicz: An Autumn Lexicon</a>.</p> Tue, 27 Sep 2016 18:44:54 +0000 - Serpentine Gallery - October 22nd 3:00 PM - 4:00 PM <p style="text-align: justify;">Assistant curator, Agnes Gryczkowska, leads a tour of the exhibition, <a href="" target="_blank">Marc Camille Chaimowicz: An Autumn Lexicon</a>.</p> Tue, 27 Sep 2016 18:42:04 +0000 Marc Camille Chaimowicz - Serpentine Gallery - September 29th - November 20th <p style="text-align: justify;"><span style="font-size: small;">This autumn, the Serpentine presents an exhibition by artist Marc Camille Chaimowicz (b. post-war, Paris). Increasingly influential for younger generations of artists, his work explores the space between public and private, design and art, and includes painting, sculpture and photography with prototypes for everyday objects, furnishings and wallpapers.</span></p> <p style="text-align: justify;"><span style="font-size: small;">'We should resist the tyranny of linear time for one which is much more elusive, labyrinthian, gracious and once understood, perhaps even kindly. Once we recognise that it can fold in on itself &ndash; wherein, for example, recent events can seem distant and more distant ones seem closer &ndash; we then have a greater fluidity of means.' &nbsp;Marc Camille Chaimowicz</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition <em>An Autumn Lexicon </em>will span Chaimowicz&rsquo;s career offering a pr&eacute;cis of his artistic vocabulary. It will draw upon ideas of memory and place in a newly conceived installation that responds to the architecture, natural surroundings and history of the Serpentine which was converted from a 1930s park caf&eacute; to a gallery in 1970. Chaimowicz will re-stage the pioneering early work <em>Enough Tiranny </em>first presented at the Serpentine Gallery in 1972. Described by the artist as a &lsquo;scatter environment&rsquo;, it combines art historical references with glam rock popular culture in an immersive installation filtered by coloured lights and a soundtrack.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Since these early installations and performances, Chaimowicz has continued to develop a broad visual language embracing materials and forms from both fine and applied art. For Chaimowicz, domestic objects and interiors are heavily invested with cultural, literary and biographical references, and configurations of his works take on the form of an expanded and ever-shifting still life. The exhibition will combine wallpapers, screens and curtains with paintings, collages and a new site-specific wall mural. It will also include the large-scale commission <em>For MvdR</em> (2008) comprising nine painted marble panels, a work that acknowledges Chaimowicz&rsquo;s early training in painting.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The choreography of objects, images and colours in the exhibition will unfold as a mediation on remembrance, <em>d&eacute;j&agrave;</em>-vu and time. <em>An Autumn Lexicon </em>will also host work by guest artists whom Chaimowicz has invited and selected to be part of the exhibition. The accompanying catalogue, designed by Fraser Muggeridge studio, will feature new texts by Michael Bracewell and Mason Leaver-Yap with an essay by Stuart Morgan first published in 1983.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Serpentine Galleries in London and Triennale di Milano are delighted to dedicate two exhibitions to Marc Camille Chaimowicz. From 13 October 2016 - 9 January 2017, Triennale di Milano presents Maybe Metafisica, his first solo exhibition in an Italian public venue, an exhibition design linked to the history and architecture of the Palazzo dell&rsquo;Arte.</span></p> <div class="field-collection-view clearfix view-mode-full field-collection-view-final"> <h2 class="node-title" style="text-align: justify;"><span style="font-size: small;">Marc Camille Chaimowicz</span></h2> <div class="main-body"> <p style="text-align: justify;"><span style="font-size: small;">Marc Camille Chaimowicz (b. post-war, Paris) lives and works in London and Burgundy.&nbsp;Selected solo exhibitions include: Flat Time House, London (2016); Indipendenza, Rome (2016); Andrew Kreps Gallery, New York (2014); Focal Point Gallery, Southend-on-Sea (2012); MD72, Berlin (2011) Nottingham Contemporary (2011); Inverleith House, Edinburgh (2011); Secession, Vienna (2009); Artists Space, New York (2009);De Appel, Amsterdam (2008) and Cabinet, London (2000).&nbsp; Recent group exhibitions include: Nouveau Mus&eacute;e National de Monaco (2014); Manifesta 10, State Hermitage Museum, St. Petersburg (2014); Mus&eacute;e d'Art Moderne de la Ville de Paris, (2014); Tate Modern, London (2012); SculptureCentre, New York (2011); Hayward Gallery, London (2010); Staatliche Kunsthalle Baden-Baden (2009) and the 5th Berlin Biennial (2008).</span></p> </div> </div> Tue, 27 Sep 2016 18:38:21 +0000 Maureen Gallace - Maureen Paley - October 6th - November 20th <p style="text-align: justify;">Maureen Paley is delighted to announce the third solo exhibition at the gallery by Maureen Gallace. The group of new paintings Gallace has selected for the show depict carefully adjusted visions of the houses and landscapes that she has visited and reimagined as a subject over many years. Focusing her attention on specific aspects of the weather, the beach shore, architectural details and plants that grow in these areas - Gallace&rsquo;s oil paintings are realized with wet-on-wet brushwork into formal compositions and completed on small wooden panels.</p> <p style="text-align: justify;">&lsquo;<em>Gallace&rsquo;s filtering of detail doesn&rsquo;t follow an Impressionist&rsquo;s logic of light and distance; it&rsquo;s a product of her own compelling algorithm&hellip; While many artists devote a lifetime to the potentially breathtaking project of minor variation within sharp constraints, the enduring, unpinpointable coolness of Gallace&rsquo;s work always makes one wonder if there is not an element of durational performance in her persistence</em>.&rsquo;</p> <p style="text-align: justify;">Fateman, Johanna., September 2015.</p> <p style="text-align: justify;">'<em>Besides suggesting kinships to Edward Hopper&rsquo;s scenes of solitude and the meditative still-lifes of the Italian modern master Giorgio Morandi, Gallace&rsquo;s way of painting&mdash;it hardly seems a style&mdash;has affinities with a New York tradition of painterly realism that was developed in the nineteen-fifties by Fairfield Porter&hellip;</em>&rsquo;</p> <p style="text-align: justify;">Schjeldahl, Peter. America At The Edges, The New Yorker, October 19, 2015.</p> <p style="text-align: justify;">Maureen Gallace lives and works in New York and has been exhibited internationally, including solo exhibitions at La Conservera, Murcia, Spain, 2011; The Art Institute of Chicago, 2006; Douglas Hyde Gallery, Dublin, 2004; Dallas Museum of Art, 2003; and Museum Schloss-Hardenberg, Velbert, Germany, 1996. Group shows in which she has participated include September 11, MoMA PS1, New York, 2011; Whitney Biennial 2010, New York; and Ideal Standard Life at Spiral/Wacoal Art Center, Tokyo, 1996. Gallace&rsquo;s paintings are included in the collections of the Whitney Museum of American Art, the Art Institute of Chicago, Dallas Museum of Art, Wadsworth Atheneum, and the Fondazione Di Vignola, Italy, among others.</p> Tue, 27 Sep 2016 18:24:23 +0000 Silke Otto-Knapp - Greengrassi - October 13th - December 23rd Tue, 27 Sep 2016 18:17:51 +0000 - Tate Britain - November 24th 6:30 PM - 8:00 PM <div class="grid-col--66"> <div class="content__standfirst"> <p style="text-align: justify;">Hear Turner Prize winners Assemble explore their recent&nbsp;project</p> </div> <div class="content__body-text"> <p style="text-align: justify;">Assemble discuss their recent commission, by Art on the Underground, to enhance the station entrance at Seven Sisters tube station in north London. Their work as an 18-person collective is considered in the context of the <em><a href="" target="_blank">Paul Nash</a></em> exhibition at Tate Britain and Unit One, the group of British modernist painters, sculptors and architects founded by <a href="" target="_blank">Paul Nash</a>.</p> <p style="text-align: justify;">Chaired by Assistant Curator Inga&nbsp;Fraser.</p> </div> </div> Tue, 27 Sep 2016 18:14:38 +0000 - Tate Britain - November 18th 6:30 PM - 9:00 PM <div class="grid-col--66"> <div class="content__standfirst"> <p style="text-align: justify;"><span style="font-size: small;">Explore the ideas arising from the&nbsp;<a href="" target="_blank"><em>Turner Prize 2016</em>&nbsp;</a>exhibition</span></p> </div> <div class="content__body-text"> <p style="text-align: justify;"><span style="font-size: small;">Join Alex Farquharson, Director of Tate Britain, and artists nominated for this year&rsquo;s Turner Prize for a lively conversation about the exhibition. Followed by a Private View of the show featuring live&nbsp;performance.</span></p> </div> </div> Tue, 27 Sep 2016 18:12:04 +0000 - Tate Britain - September 2nd - November 27th <p style="text-align: justify;"><span style="font-size: small;">Can a machine make us look afresh at great art through the lens of today&rsquo;s&nbsp;world?</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Recognition</em>, winner of&nbsp;<a href="" target="_blank">IK Prize</a>&nbsp;2016 for digital innovation, is an artificial intelligence program that compares up-to-the-minute photojournalism with British art from the Tate&nbsp;collection.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a href="" target="_blank">Visit the virtual gallery</a>&nbsp;as it evolves online and help re-train the algorithm in an installation at Tate&nbsp;Britain.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Over three months, <em><a href="">Recognition</a></em> will create an ever-expanding virtual gallery by searching through Tate&rsquo;s collection of British art and archive material online, comparing artworks with news images from Reuters based on visual and thematic similarities twenty-four hours a day. Making unforeseen comparisons across history, geography and culture, the result will be a time capsule of the world represented in diverse types of images, past and&nbsp;present.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Recognition</em> incorporates multiple artificial intelligence technologies, including computer vision capabilities such as object recognition, facial recognition, colour and composition analysis; and natural language processing of text associated with images, allowing it to analyse context and subject matter and produce written descriptions of image&nbsp;comparisons.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">The display at Tate Britain accompanies the online project offering visitors the chance to interrupt the machine&rsquo;s selection process. The results of this experiment &ndash; to see if an artificial intelligence can learn from the many personal responses humans have when looking at images &ndash; will be presented on the virtual gallery site at the end of the&nbsp;project.</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">IK Prize&nbsp;2016</span></h2> <p style="text-align: justify;"><span style="font-size: small;">The <a href="" target="_blank">IK Prize</a> is presented annually by Tate for an idea that uses digital technology to innovate the way we discover, explore and enjoy British art in the Tate&nbsp;collection.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The 2016 IK Prize, in partnership with Microsoft, challenged digital creatives to use artificial intelligence to explore, investigate or &lsquo;understand&rsquo; British art in the Tate collection. Selected as the winner for Recognition, Fabrica received a &pound;15,000 prize, &pound;90,000 production budget and support from Tate and Microsoft. Fabrica collaborated with artificial intelligence specialists and web developers Jolibrain to turn their idea into&nbsp;reality.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Fabrica</span></h3> <p style="text-align: justify;"><span style="font-size: small;">Fabrica is a communication research centre based in Treviso, Italy, part of the Benetton Group. Established in 1994, Fabrica offers to young researchers from around the world a one-year scholarship within disciplines such as design, visual communication, photography, interaction, video, music and&nbsp;journalism.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">JoliBrain</span></h3> <p style="text-align: justify;"><span style="font-size: small;">JoliBrain are artificial intelligence specialists based in Toulouse, France. JoliBrain is the editor of the DeepDetect deep learning API and server used in a variety of industries. JoliBrain are experts across the field of A.I. and its applications in a range of industries, from image recognition to NLP applications and cyber&nbsp;security.</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Disclaimer</span></h2> <p style="text-align: justify;"><span style="font-size: small;"><em>Recognition</em> is an autonomously operating software programme. All reasonable steps have been taken to prevent publication of challenging, offensive or infringing content and Tate will be monitoring the project&rsquo;s progress closely. Comparisons between artistic works and other material are made by the software programme and are for the purpose of stimulating debate about art, expression and representation. Tate invites online discussion about these comparisons and encourages users to treat copyright material appropriately according to their local&nbsp;law.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">If you would like to contact Tate regarding content produced by <em>Recognition</em>, email <a href=""></a></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>IK Prize in partnership with Microsoft. 2016 winning project Recognition created by Fabrica and JoliBrain. Content Provider:&nbsp;Reuters.</em></span></p> Tue, 27 Sep 2016 18:07:38 +0000 Paul Nash - Tate Britain - October 26th - March 5th, 2017 <p style="text-align: justify;">Uncover the surreal and mystical side of English landscapes through one of the most distinctive British&nbsp;painters</p> <p style="text-align: justify;"><a href="">Paul Nash</a> was fascinated with Britain&rsquo;s ancient past and spent time in southern England exploring the downs and coastal areas. Equally inspired by the equinox and the phases of the moon, he used all these influences in his work, interpreting his environment according to a unique, personal mythology, evolving throughout his&nbsp;career.</p> <p style="text-align: justify;">Featuring a lifetime&rsquo;s work from his earliest drawings through to his iconic Second World War paintings, this exhibition reveals Nash&rsquo;s importance to British modern art in the most significant show of his work for a&nbsp;generation.</p> <p style="text-align: justify;">&nbsp;</p> Tue, 27 Sep 2016 18:02:55 +0000 Helen Marten, Anthea Hamilton, Michael Dean, Josephine Pryde - Tate Britain - September 27th - January 2nd, 2017 <p style="text-align: justify;">Discover the four artists shortlisted for this year&rsquo;s&nbsp;award</p> <p style="text-align: justify;">The Turner Prize is awarded annually to an artist under fifty, born, living or working in Britain, for an outstanding exhibition or public presentation of their work anywhere in the world in the previous year. The four shortlisted artists for the Turner Prize 2016&nbsp;are:</p> <ul> <li style="text-align: justify;"><a href="" target="_blank">Michael Dean</a>&nbsp;</li> <li style="text-align: justify;"><a href="" target="_blank">Anthea&nbsp;Hamilton&nbsp;</a></li> <li style="text-align: justify;"><a href="" target="_blank">Helen&nbsp;Marten</a></li> <li style="text-align: justify;"><a href="" target="_blank">Josephine&nbsp;Pryde</a></li> </ul> Tue, 27 Sep 2016 18:00:37 +0000 Pref, Gary Stranger - StolenSpace Gallery - October 7th - October 30th <div id="moz-reader-content" class="line-height4" style="display: block;"> <div id="readability-page-1" class="page"> <div class="wpb_text_column wpb_content_element "> <div class="wpb_wrapper"> <p class="p1" style="text-align: justify;">Pref is a British graffiti artist with a unique, multi-layered lettering style which he uses to portray popular phrases and expressions. The different words can be hard to distinguish but that&rsquo;s what makes his pieces so interesting to examine. Having started out as a graffiti artist some 20 years ago, he is truly a master of his craft. His immaculate lines and crisp style make Pref&rsquo;s typographical works absorbing and brilliantly constructed, you find yourself staring intently trying to decipher the layers of letters, but when you see it for what it is, it finally becomes all so clear.</p> <p class="p3" style="text-align: justify;">Both artists have recently worked independently with the idea of sayings with dual purpose and so used that as a natural starting point to expand upon together for the show. Working collaboratively where possible, the pieces are designed to communicate with one another.</p> <p class="p4" style="text-align: justify;">We are very excited to see what these two come up with in their new joint show.</p> <p class="p3" style="text-align: justify;">To register your interest in this show please email <a href=""></a></p> </div> </div> </div> </div> Tue, 27 Sep 2016 17:53:50 +0000 Marisa Merz - Thomas Dane Gallery - September 28th - November 12th <div id="moz-reader-content" class="line-height4" style="display: block;"> <div id="readability-page-1" class="page"> <div class="column"> <p style="text-align: justify;">&lsquo;<em>Art is in reality the rediscovery of stone, of wood, of gold,&hellip;&rsquo;</em></p> <p style="text-align: justify;">- Il filosofo (Mario Merz)</p> <p style="text-align: justify;">Alchemical does not even start to describe Marisa Merz&rsquo;s Art. In fact, to remain true and reverent to her jealously guarded secret, one should resist over-interpreting and over-rationalising her creations, but rather let them take us on an enchanting and poetic path.</p> <p style="text-align: justify;">In her realm, it is not what we know that matters, but definitely what we don&rsquo;t. And in a Western World that has, since the Middle-Ages, increasingly sought explanation and structure, Marisa Merz offers us a remedy of Byzantine mystery and Animist ambiguity.</p> <p style="text-align: justify;">Her works seem to always answer with a question. Often undated, unlabelled or uncatalogued, they are meant to create their own history, their own chronology and their own historicity: in her hands, objects are not mere illustration or product of an artistic mind or practice, but the hushed, living proof of it. In other words, Merz does not make Art from paper, stone, clay or copper, but makes copper, clay, stone or paper &lsquo;out of Art&rsquo;.</p> <p style="text-align: justify;">In describing how he twice encountered the work of Marisa Merz, in the midst of otherwise bombastic, male-dominated group exhibitions, Richard Flood stressed how she and her work almost hid in the smallest spaces, the corners and the margins; and how &ldquo;this woman has saved my life in two exhibitions. Twice she has taught me the meaning of silence and twice she has taught me the meaning of peace&rdquo;.</p> <p style="text-align: justify;">Merz, in her 90s, still at work in her home in Turin, is indeed the only woman within Arte Povera, a genius label applied to the group of artists - including Marisa Merz&rsquo;s formidable husband, Mario - who revolutionized Italian (and European) Art in the late Sixties and early Seventies, with their rebellious stance and use of seemingly &lsquo;un-artistic&rsquo; materials. Arte Povera did not really glorify or solely privilege the use of impoverished or refused things, but rather made a fetish of them in order to re-position them within an either collapsed or linear (Art) history and society. Crucially, Marisa Merz&rsquo;s works are only fetishistic insofar as revealing the innate powers of rituals, repetition and secrecy.</p> <p style="text-align: justify;">The human face is prominent: in exquisite drawings and paintings on wood, card, paper or alabaster, ex-voto busts in unfired clay and wax, on pedestals or wall-mounted, with their starry eyes - seemingly empty and yet always watching - and with their delicate, ever-shifting features. They are as much female figures, veiled madonnas, Medieval creatures and hieratic gestures, as they are animated souls. For Merz, these figures and heads are alive. Sometimes they speak and sometimes they don&rsquo;t. Sometimes &ldquo;they don&rsquo;t have anything to say&rdquo;, but could just be waiting to become alive, with the right light, and under the right gaze.</p> <p style="text-align: justify;">This will be Thomas Dane Gallery&rsquo;s first show with Marisa Merz. Born in 1926, Merz lives and works in Turin, Italy. Among the institutions that have dedicated solo exhibitions to her work are Centre Internationale d&rsquo;art et du Paysage, &Icirc;Ie de Vassivi&egrave;re, France; Serpentine Gallery, London; Museo d'Arte Contemporanea Donnaregina, Naples, Italy; Stedelijk Museum, Amsterdam; Kunstmuseum Winterthur, Switzerland; and the Centre Georges Pompidou, Paris.&nbsp;Merz work has been included in countless group exhibitions all over the world, including:</p> <p style="text-align: justify;">Kunstmuseum Liechtenstein; CCS Bard/Hessel Museum of Art, New York; Tate Modern, London; and the Hirshhorn Museum, Washington, D.C. Merz has participated five times in the Venice Biennale, and in her fifth showing in 2013, received the Golden Lion for Lifetime Achievement. In 2017, the Metropolitan Museum of Art in New York and Hammer Museum in Los Angeles will co-organise a retrospective of Marisa Merz&rsquo;s oeuvre.</p> <p style="text-align: justify;"><strong>No.11 Duke Street, St James's</strong></p> </div> </div> </div> Tue, 27 Sep 2016 16:53:11 +0000 Akram Zaatari - Thomas Dane Gallery - September 23rd - November 5th <p style="text-align: justify;">In the summer of 1982, a rumor made the rounds of a small city in South Lebanon, which was under Israeli occupation at the time. It was said that a fighter pilot in the Israeli air force had been ordered to bomb a target on the outskirts of Saida, but knowing the building was a school, he refused to destroy it. Instead of carrying out his commanders&rsquo; orders, the pilot veered off course and dropped his bombs in the sea. It was said that he knew the school because he had been a student there, because his family had lived in the city for generations, because he was born into Saida&rsquo;s Jewish community before it disappeared.</p> <p style="text-align: justify;">As a boy, Akram Zaatari grew up hearing ever more elaborate versions of this story, for his father had been the director of the school for twenty years. In many ways, the Israeli invasion of Lebanon had been the backdrop to his education as an artist, as he began documenting the world around him by photographing explosions and recording the sounds of fighter jets. Decades later, during a public conversation with the Israeli filmmaker Avi Mograbi, Zaatari retold the pilot&rsquo;s story in his own words, turning it into a fable and perhaps a truthful fiction. Then, after the transcript of the talk was published in a book, Zaatari discovered it wasn&rsquo;t a rumor. The pilot was real.</p> <p style="text-align: justify;"><strong>No.3 Duke Street, St James's</strong></p> Tue, 27 Sep 2016 16:52:34 +0000