ArtSlant - Openings & events http://www.artslant.com/lon/Events/show en-us 40 Sturtevant, SECONDEDITIONS - CHELSEA space - January 22nd, 2013 6:00 PM - 8:30 PM <p><b><i>second reflection / symmetrical contents</i></b><b> </b><br /> <b>STURTEVANT and SECONDEDITIONS</b><br /> <b>22.01.13 – 9.03.13 </b><br /> <br /> CHELSEA space presents an exhibition by American artist STURTEVANT and UK-based partnership SECONDEDITIONS featuring installed video works and objects.</p> <p>The result of a correspondence between STURTEVANT and SECONDEDITIONS initiated in 2002, the exhibition follows two strands of thought:<br /> <b><i>second reflection</i></b>, the considered experience of repetition, the continuous process of rethinking the nature of art and <b><i>symmetrical contents</i></b>, the mirrored relationships between material and thought presented in the work and the discussions of the artists involved. </p> Thu, 13 Dec 2012 15:07:49 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Colective Paideia - Gasworks - January 22nd, 2013 7:00 PM - 9:00 PM <p></p> <p>As part of Playing Truant, join us for a one-off screening of Paideia, Escuela Libre, a short observational documentary about the Paideia anarchist free school in Merida, south-west Spain, translated to English for the first time. Founded in 1977 by a collective of anarchists, teachers and child psychologists, Paideia began as a preschool and eventually broadened its intake in the mid-1980s, currently catering for children between 2 and 15 years of age.</p> <p> </p> <p>Free, but booking is recommended.</p> <p>To book please email <a href="mailto:booking@gasworks.org.uk" rel="nofollow">booking@gasworks.org.uk</a> or call 020 7587 5202.</p> <p> </p> <p>For more information please visit <a href="http://gasworks.org.uk/events/detail.php?id=831" rel="nofollow">http://gasworks.org.uk/events/detail.php?id=831</a></p> Wed, 09 Jan 2013 13:07:56 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Juergen Teller - Institute of Contemporary Arts (ICA) - January 23rd, 2013 11:00 AM - 6:00 PM <p style="text-align: justify;"><span style="font-size: small;">Considered one of the most important photographers of his generation,<strong> Juergen Teller</strong> is one of a few artists who has been able to operate successfully both in the art world and at the centre of the commercial sphere. This exhibition will provide a seamless journey through his landmark fashion and commercial photography from the 90s, presenting classic images of celebrities such as Lily Cole, Kate Moss and Vivienne Westwood, as well as more recent landscapes and family portraits.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Teller entered the London photography scene through the music industry taking photographs for record covers, it was Teller’s photograph of Sinéad O’Connor for her single <em>Nothing Compares 2 You</em> that marked an important moment in his career. Teller’s photographs first appeared in fashion magazines in the late 80s, and included portraits of Kate Moss when she was just fifteen years old. Teller’s images could be described as the antithesis of conventional fashion photography seen perhaps most markedly in his campaigns for Marc Jacobs.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Picture and Words</em> introduces a series from his controversial weekly column in the magazine of Die Zeit which often provoked outcry amongst readers, and the exhibition will feature many of the letters of complaint that the magazine received. <em>Irene im Wald</em> and <em>Keys to the House</em> are Teller’s most recent bodies of work, revealing the photographer’s more personal world in his hometown in Germany and family home in Suffolk.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Teller’s provocative interventions in celebrity portraiture subvert the conventional relationship of the artist and model. Whatever the setting, all his subjects collaborate in a way that allows for the most surprising poses and emotional intensity. Driven by a desire to tell a story in every picture he takes, Teller has shaped his own distinct and instantly recognisable style which combines humour, self-mockery and an emotional honesty.</span></p> Tue, 26 Feb 2013 17:42:10 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Nancy Holt - Whitechapel Gallery - January 23rd, 2013 7:00 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;">Known for her role in the Land Art movement of the late 1960s, artist <strong>Nancy Holt </strong>recollects the sites that have influenced her work – from the desolate American wilderness to the ancient woodlands of England.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In association with Haunch of Venison.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Booking essential.</span><br /><br /><span style="font-size: small;">*Proof of concession or membership to be presented on the door.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> Thu, 27 Dec 2012 18:14:57 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Michael Reisch - Bischoff/Weiss - January 24th, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">BISCHOFF/WEISS is pleased to present a solo exhibition of photographic work by Michael Reisch. </span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>"The ideas of the sublime and the beautiful stand on foundations so different, that it is hard, I had almost said impossible, to think of reconciling them in the same subject, without considerably lessening the effect of the one or the other upon the passions</em>" - Edmund Burke, A Philosophical Enquiry into the Sublime and Beautiful, 1767.</span><br /><br /><span style="font-size: small;">In Michael Reisch's photography, what Edmund Burke deemed impossible comes into fruition. With an expert awareness of scale, he creates subjects so vast and imposing as to render the drama of the sublime, yet does so in a manner so technically and conceptually accomplished that one cannot deny the beauty of the results.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Michael Reisch, born in 1964 in Aachen, Germany.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Forthcoming solo exhibition: Museum Kurhaus, Kleve, Germany. Solo exhibitions include: Galerie Hengesbach (2013, 2010), Peter Lav Gallery, Copenhagen, Denmark (2012), BISCHOFF/WEISS (2011), Kunsthalle Erfurt, Germany (2008), Scottish National Portrait Gallery, Edinburgh, Scotland (2007), Fotomuseum im Stadtmuseum, Munich (2006). Group exhibitions include: Points of View. Orte der Fotografie, Kunstverein Hildesheim with Roemer-und-Pelizaeus Museum, Hildesheim, Germany (2012), Unbestimmtheitsstellen, Kunstraum Alexander Bürkle, Freiburg, Germany (2012, 2009), Realismus - Das Abenteuer der Wirklichkeit Kunsthalle Emden; Kunsthalle der Hypo-Kulturstiftung, Munich, Kunsthal Rotterdam (2010), Zwischen Konstruktion und Wirklichkeit, Suermondt-Ludwig-Museum, Aachen (2002).</span></p> Thu, 21 Feb 2013 15:07:54 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Charles Atlas - Bloomberg Space - January 24th, 2013 6:30 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small; font-family: arial, helvetica, sans-serif;">For his collaboration with Bloomberg SPACE and the South London Gallery, video artist and film director Charles Atlas creates a 360 degree multi-channel video installation using fabricated images, abstract material and found footage from a variety of sources including the Bloomberg digital archives. Projected images scroll across the large windows and walls of the gallery to create an immersive environment in which a choreographed storm of numbers, letters and continuously looping collaged footage inhabit the space. Punctuated by vertical sweeping bars of light, the images are revealed as if in layers beneath a horizontal swatch of interference which occasionally interrupts the window projection, descending from the ceiling like 'TV snow'. Vertical sections of footage and segmented images proliferate rhythmically throughout to create a vertiginous experience. The presentation is an amalgamation and continuation of Atlas’ recent large scale installation work, also echoing elements of live video performances at the Whitney Museum of American Art, New York and the South London Gallery. </span></p> <p style="text-align: justify;"><span face="Verdana,Arial,Helvetica,sans-serif" color="#000000" size="2" style="color: #000000; font-family: arial, helvetica, sans-serif; font-size: small;">The <strong>South London Gallery </strong>has an international reputation for its programme of contemporary art exhibitions and live art events, with integrated education projects for children, young people and adults. Exhibitions profile the work of established international figures such as Alfredo Jaar, Gabriel Kuri, Rivane Neuenschwander, Tatiana Trouvé and Superflex; as well as that by younger and mid-career British artists such as Ryan Gander, Eva Rothschild and George Shaw. Group shows bring together works by established and lesser known British and international artists. The gallery’s live art and film programme has included presentations by Charles Atlas, Rachel Gomme, Nathaniel Mellors, Gail Pickering and Gisele Vienne.</span></p> <p style="text-align: justify;"><span face="Verdana,Arial,Helvetica,sans-serif" color="#000000" size="2" style="color: #000000; font-family: arial, helvetica, sans-serif; font-size: small;"><strong>About Bloomberg’s commissioning programme</strong><br />Bloomberg SPACE’s collaboration programme brings together two philanthropic passions of supporting institutions and commissioning new works. Since 2002 Bloomberg SPACE has worked with more than 360 artists and has commissioned over 170 new works. This direction towards collaborative curatorial practice will open up new opportunities for artists and organisations to take on projects they thought were otherwise impossible.</span></p> Tue, 18 Dec 2012 06:26:08 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Alejandro Ospina - IMT Gallery - January 24th, 2013 6:00 PM - 9:00 PM <p>IMT Gallery is pleased to present <em>Megalopolis</em>, an exhibition of all new work by Colombian artist Alejandro Ospina, and his second solo exhibition at IMT Gallery.</p> <p>In previous work Ospina has taken portraits from the web profiles of a tech-savy youth, literate in the manipulations and visual vocabulary of contemporary image-making. Having reframed these portraits via painting as an interaction between identity, technology and media, Ospina now pans back to present the world these avatars inhabit. The Megalopolis is an environment in which recognisable landmarks are smothered by the overdeveloped filters of Photoshop extremists, riot scenes fold in to bedroom interiors, architectural spaces collapse into landscapes from news reports and rearranged elements from other artists’ work; it is an environment forged by the vagaries of the users of social media and the products that define them.</p> <p>Ospina’s work uses architectures of painting as a way of negotiating contemporary problems of image-making and artistic production in a networked world of complex relationships, inconsistent representations, and of technologies that have produced a flow of information at a magnitude and rate that is literally super-human. He says: “I try to work in ways that reflect continuous changes in attention at a rate and method that would have seemed absurd before the arrival of the Internet, simulating what happens in our minds when we jump from image to image accumulating and merging layers of visual information. I want the work to reflect how the Internet has mutated the way we look at sets of images or contemplate a stream of information.”</p> <p><em>Megalopolis</em> is ultimately a record of how the Internet has transformed our relationship to images, to space and to each other in bizarre and unprecedented ways.</p> <p>Alejandro Ospina (Born 1970 in Bogotá, Colombia) studied at the Slade School of Fine Art, the New York Studio School and Duke University, USA. He has exhibited widely in the UK and abroad including Paradise Row, London; Witzenhausen Gallery, New York; Galería Jenny Vilà, Cali; Biblioteca Luis Ángel Arango, Bogotá, and at the Centro Cultural Salamanca. Ospina has completed a residency at Altos de Chavón, Dominican Republic, participated in an exchange program at the Parsons School of Design, Paris and is currently undertaking a studio residency at the Departure Foundation, London. Ospina recently performed with Eva Recacha at Bloomberg Space, London, in 2011 and exhibited his Algorithms series in a solo presentation curated by Carlos Blanco at the Centro Colombo-Americano in Bogotá.</p> Sun, 20 Jan 2013 11:47:07 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Peter Clarke - Iniva (Institute of International Visual Arts) - January 24th, 2013 6:30 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Internationally acclaimed writer Zoe Wicomb reads from her work - short stories and novels, set in both apartheid and post-apartheid South Africa - and reflects on key issues in relation to Peter Clarke's work.</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Peter Clarke</span></h2> <p style="text-align: justify;"><span style="font-size: small;">One of the most accomplished and versatile visual South African artists, Peter Clarke was born in 1929. In his early twenties he declared that he would make his living as an artist, which was a highly unusual ambition for a young black South African at the time. Over the last sixty years, Clarke has reflected on his country's social and political history and is often referred to as the ‘quiet chronicler'. His work constitutes a subtle critique of apartheid and its social consequences as well as more recently, aspects of the ‘new' South Africa. </span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Booking enquiries</span></h2> <p style="text-align: justify;"><span style="font-size: small;"><a href="http://www.eventbrite.co.uk/event/5073318432" target="_blank">Book online here</a>. If you have enquiries please call 0207 749 1240 or email <a href="http://www.iniva.org/events/2013/bookings@rivingtonplace.org" target="_blank">bookings@rivingtonplace.org</a>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For a concessionary rate (students, over 60s, unemployed) please enter the promotional code iniva_concession. For group bookings of more than 4 people please contact Rivington Place reception.</span></p> Tue, 01 Jan 2013 18:52:27 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Paula Rego - Marlborough Fine Art - January 24th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">The Directors of Marlborough Fine Art are delighted to announce their forthcoming exhibition of new paintings and hand coloured etchings by <strong>Paula Rego</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The centre piece of the exhibition will be a series of six large pastels inspired by Alexandre Herculano’s 19th century story, <em>A Dama Pé-de-Cabra, romance de um jogral</em> (The Goat-Footed Lady, romance of a minstrel), a powerful and captivating tale originally dating back to the XIth Century. This series was shown in collaboration with Adriana Molder (b. 1975) at the Casa das Historias Paula Rego in Cascais from July – October 2012.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Paula Rego has said that her art deals with “the beautiful grotesque”—a contradiction in terms, a synthesis of opposites, at once ironic and absurd--but the figures in her visual re-telling of “Dama per de cabre” however obviously grotesque some are—distorted into unnatural ugliness, so that they seem irreparably monstrous—remain all-too-human, all the more so because they are emotionally unsavoury not simply physically strange. The Goat-Feet Lady is the devil in female form—her goat-feet betray her devilishness, and confirm that the devil is a hybrid of animal and human, strange but after all not so strange, for the devil is also a hybrid of male and female. Like the equally absurd Sphinx, the Goat-Feet Lady is a surreal creature who lives in the dark grotto of the unconscious, but comes to light in dreams.</span><br /><span style="font-size: small;">The eight new paintings that Paula has produced are inspired by different subjects including the poem<em> Do you remember an Inn, Miranda?</em> by Hilaire Belloc and Pierrot from the Commedia dell’Arte.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Paula will also be exhibiting for the first time one of the sculptural maquettes,<em> The Playground</em>, that she constructs to create her pastels.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A fully illustrated catalogue of the exhibition will be published with an introduction by Donald Kuspitt.</span></p> Fri, 04 Jan 2013 11:06:18 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list - Parasol unit foundation for contemporary art - January 24th, 2013 7:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">This adult workshop focuses on the ‘cut up’ writing method introduced by Beat Culture writer William Burroughs. Come along and create your own piece of creative writing with artist educator Alexandra Hughes.</span></p> Sat, 12 Jan 2013 08:38:21 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list - Royal College of Art - Battersea, Dyson Building - January 24th, 2013 12:00 PM - 6:00 PM <div style="text-align: justify;"><span style="font-size: small;">Organised as a series of presentations and panel discussions with artists, curators and critics, this conference – organised by Calvert 22 and the Critical Writing in Art &amp; Design programme at the RCA – takes the work of Sanja Iveković as a point of departure to discuss urgent matters in feminism today. Panel discussions include Historical Amnesia: Invisible Heroines and Unheard Voices; Art as a Radical Transformative Encounter; and Agency – Activism, Feminist Strategies, Looking to the Future.</span></div> <div></div> Wed, 06 Feb 2013 15:52:05 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Angus Fairhurst - Sadie Coles HQ - South Audley St - January 24th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">In January 2013, <strong>Sadie Coles HQ</strong> presents <strong><em>Un-titled</em></strong>, an exhibition of works by <strong>Angus Fairhurst</strong> (1966-2008). The concept of ‘undoing’ pervaded Fairhurst’s art – absence was an ever-present motif. Words such as ‘unwritten’, ‘undone’, and ‘untouched’ formed many of his titles. This exhibition, Un-titled, paraphrases these terms of negation and reversal. Encompassing a variety of media including sculpture, painting, collage and photography, the exhibition brings to the fore the cycles and oppositions that were at the core of his thinking – doing and undoing, absence and presence, thinking and feeling.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The gallery is wallpapered with black-and-white imagery from Fairhurst’s 1998 series of thirty silkscreen paintings, Underdone / Overdone. Executed in different combinations of prime colours, these were based on black-and-white photographs of thickets in Epping Forest. Three examples of the silkscreened Underdone / Overdone paintings which used the black-and-white images as a departure demonstrate the conflict between Fairhurst’s pastoral imagery and his tendency towards abstraction. He repeated the woodland imagery in increasing layers throughout the series, moving from recognisable depictions of crisscrossing trees to near-abstract accumulations of thick colour.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The rural subject matter is reflected (literally and thematically) in three mirrored sculptures of ponds,<em> Untouched</em> (2004), <em>Unseen</em> (2004) and <em>Unwit</em> (2006), whose mottled black banks and sparse rushes were originally modelled in clay and subsequently cast in bronze or bioresin. Implying pristineness, seclusion and oblivion in their titles, the works collectively suggest a kind of unbounded pastoral hinterland. Another work made in the same period,<em> The Birth of Consistency</em> (2004), showed a gorilla – one of the recurring motifs of Fairhurst’s work – contemplating itself in a similar mirrored pool and wrenching the reflective surface towards itself. These unpopulated versions glance more obliquely at the classical myth of Narcissus and closely ‘reflect’ one another formally: Unwit serves as a comic metaphor for the self-reflexive artwork folding in on itself.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The theme of nature reappears in two large-scale newspaper collages, <em>Unwritten</em> (January 18th 2002) and <em>Unwritten</em> (January 29th 2002), consisting of newspaper front pages gathered on the days referenced in the titles, and assembled in grids. Images and text have been systematically redacted or ‘unwritten’, suggesting a minimalist precept of formulaic repetition. This is offset by the circular garlands of flowers which Fairhurst drew across each grid, injecting a non-mechanical note of romanticism.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Angus Fairhurst</strong> (1966-2008) was one of the influential members of the group of artists associated with London’s Goldsmiths College in the late 1980s. He participated in the seminal exhibition, <em>Freeze</em> (1988), which set the tone for contemporary art in the UK over the next two decades. Fairhurst graduated from Goldsmiths College in London in 1989. Following <em>Freeze</em>, he exhibited in most of the landmark group exhibitions of his generation, including <em>Gambler</em> (1991) at Building One, London, <em>Brilliant</em> at the Walker Art Centre, Minneapolis (1995), Some Went Mad, Some Ran Away at the Serpentine (1994), <em>Apocalypse</em> at the Royal Academy, London (2000), Casino 2001 at SMAK, Ghent (2001), and I<em>n-a-Gadda-da-Vida</em>, with Sarah Lucas and Damien Hirst, at Tate Britain, London (2004). Music performances by Fairhurst’s band, originally called<em> Low Expectations</em>, took place at an international range of venues from 1995-2001. From 2009-11, a touring retrospective of his work travelled between Arnolfini, Bristol; Waddesdon Manor, Buckinghamshire; M Museum, Leuven, Belgium; and Westfälischer Kunstverein, Muenster, Germany. <em>A Couple of Differences Between Thinking and Feeling</em> (2003) is on view at Great St Helen’s Sculpture Space, London, until July 31, 2013.</span></p> Mon, 14 Jan 2013 09:53:38 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Bojan Šarčević - Stuart Shave/Modern Art - January 24th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Stuart Shave/Modern Art</strong> is delighted to announce a solo exhibition of new work by <strong>Bojan Šarčević,</strong> <i>Gyrobifastigium</i>. This is Šarčević’s second solo show with Modern Art.</span><br /> <br /><span style="font-size: small;"> Ideas of abstraction, in the conceptual and formal senses, rest at the core of Bojan Šarčević’s practice. Šarčević’s aesthetic propositions and quite particular material relationships assert a sense of clarity and convey precise gestural intent. His work offers an invitation for close, attentive interpretation - a starting point for the perceptual encounter and experience of form that defers certainty, revealing questions of empirical, theoretical and sensual understandings of the world, and relating to the potential for artistic gesture to be imagined in a wider or politicised social sphere. </span><br /> <br /><span style="font-size: small;"> In this exhibition at Modern Art, Šarčević presents works made from elemental and evocative sculptural materials - onyx, wax, and fire - that realise beautiful expressions of abstract and mathematical geometric form. On the floor of one room rests a candle burning atop an onyx polyhedron that has been made from a flat sheet of stone as if folded according to the rules of a particular subset of polyhedra known in geometry as ‘Johnson Solids’ (convex polyhedra whose faces are formed from regular, but non-uniform polygons). On the walls, the hard and heavy fragments of this same stone hang with their mineral surfaces partially occluded with an uneven surface of poured white wax. A large and flat slab of polished onyx has been cut and reassembled from tessellating pentagonal pieces according to a pattern known as ‘Cairo’, after the ancient paving pattern found on that city’s streets.</span><br /> <br /><span style="font-size: small;"> Bojan Šarčević was born in Belgrade in 1974. He studied at L’Ecole des Beaux-Arts, Paris, France, graduating in 1997, and undertook postgraduate study at Rijksakademie, Amsterdam, Netherlands, 1999-2000. He lives and works in Berlin and Paris. In 2012 Bojan Šarčević’s work was the subject of survey exhibitions <i>A Curious Contortion in the Method of Progress</i>, Kunstmuesum Liechtenstein, Vaduz, Liechtenstein, and <i>l’ellipse d’ellipse</i>, Institut d’Art Contemporain, Villeurbanne, France. Recent solo institutional exhibitions include <i>Rhombic Oath</i>, Leopold Hoesch Museum and Kirche Sankt Anna, Duren, Germany (2012); <i>Eventuellement</i>, Le Grand Café Centre d’art Contemporain, St Nazaire, France (2010); <i>Involuntary Twitch</i>, De Vleeshal, Middelburg, Netherlands (2010); <i>Only After Dark</i>, Kunstverein Hamburg, Hamburg, Germany (2008); <i>Already Vanishing</i>, MAMBO, Bologna, Italy (2008); <i>Kissing the back of your hand makes a sound like a wounded bird</i>, BAWAG Contemporary, Vienna, Austria (2007); and <i>To what extent should an artist understand the implication of his or her findings?</i>, Project Arts Centre, Dublin, Ireland (2006). Bojan Šarčević’s work was included in the 50th Venice Biennale, Venice, Italy (2003), the 3rd Berlin Biennial, Berlin, Germany (2004); and Manifesta 2, Luxembourg (1998). His work has been included in museum exhibitions at Tate, St. Ives (2009); Thyssen-Bornemisza Art Contemporary, Vienna, Austria (2009); ZKM, Karlsruhe, Germany (2008); Kunstmuseum Bonn, Bonn, Germany (2006); Museum of Contemporary Art, Chicago, USA (2005); Centre Cultural Andratx, Mallorca, Spain (2005); Tate Modern, London (2004); New Museum, New York, USA (2004); Modern Art Oxford, Oxford (2004); and Witte de With, Rotterdam, Netherlands (2004).</span></p> Sat, 19 Jan 2013 05:17:04 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list - Whitechapel Gallery - January 24th, 2013 7:00 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;">Launching a new series recalling exhibitions through the personal accounts of curators, <strong>Ute Meta Bauer</strong>, Dean of the School of Fine Art at the Royal College of Art, talks to Whitechapel Gallery Director <strong>Iwona Blazwick</strong>. Co-organised with research and publishing organisation Afterall.</span><br /> <br /><span style="font-size: small;"> Ute Meta Bauer is Dean of the School of Fine Art at the Royal College of Art. Previously, she served as the Founding Director of the Program in Art, Culture, and Technology in the School of Architecture and Planning from October 2009 to January 2012, and was Director of the MIT Visual Arts Program from 2005–9.</span><br /> <br /><span style="font-size: small;"> From 1996 until 2006, Bauer was Professor of Theory and Practice of Contemporary Art at the Academy of Fine Arts in Vienna (Austria), where she also served as Head of the Institute of Contemporary Art, 1996–2001, and as Head of the Institute for Art and Cultural Science, 2003–5). In 2002–3 she was Vice Rector and responsible for International Affairs.</span><br /> <br /><span style="font-size: small;"> Working as an independent curator, Bauer began her institutional career as Artistic Director of the Kuenstlerhaus Stuttgart e.V. in 1990, where she curated numerous exhibitions by emerging artists, as well as historical exhibitions that linked to contemporary discourses. At Kuenstlerhaus Stuttgart she also organised symposia of international scope: 'A new spirit in curating?' (1992), and 'Radical Chic' (1993). Bauer also curated section '?' along with artist Fareed Armaly for the exhibition <em>NowHere</em> at the Louisiana Museum of Modern Art on the occasion of Copenhagen Cultural Capital of Europe 1996. In 2001 she curated <em>First Story – Women Building/New Narratives for the 21st Century</em> for Porto 2001 – Cultural Capital of Europe and <em>Architecture of Discourse</em> for the Fundació Antoni Tàpies, Barcelona. She was a Co-Curator of <em>Documenta11</em> (2001/2) on the team of Okwui Enwezor and the Artistic Director of the 3rd <em>Berlin Biennale for Contemporary Art</em> (2004). In 2005 she curated the <em>Mobile_Transborder Archive</em> for InSite05, Tijuana / San Diego, and in 2008 she was the Director of SITAC VI (Symposio International Arte Contemporanea, Mexico City).</span><br /> <br /><span style="font-size: small;"> Bauer served as Founding Director of the Office For Contemporary Art Norway (OCA) from 2002–5 and was the Commissioner for the Scandinavian Pavilion at the 50th Venice Biennale (2003) and for the official Norwegian contribution for the 26th São Paulo Biennale (2004).</span><br /> <br /><span style="font-size: small;"> She was the Chairwoman of the Art Advisory Board of the Goethe Institutes and served as General Secretary for the International Curators Association (IKT). Currently, she is a member of the International Scientific Board of the Bauhaus Foundation in Dessau (Germany), of the Advisory Board of the LIST Visual Art Center at MIT, and of the Advisory Board of the newly established Bergen Assembly (Norway).</span><br /> <br /><span style="font-size: small;"> Bauer has edited numerous publications in the field of contemporary art, including: <em>What’s left… What remains?</em>, SITAC VI (Mexico City, 2009), 3rd Berlin Biennial for Contemporary Art, Komplex Berlin (Cologne, 2004), <em>Education, Information, Entertainment. New Approaches in Higher Artistic Education</em> (Vienna, 2001), and the art periodicals <em>META 1-4 </em>(Stuttgart, 1992–94), <em>case </em>(Barcelona, 2001; Porto, 2002), and <em>Verksted</em> # 1–6 (Oslo, 2003–6). </span><br /> <br /><span style="font-size: small;"> Image: 'Architectures of Discourse' curated by Ute Meta Bauer at the Fundació Antoni Tàpies, Barcelona, September 18 – November 11, 2001. Installation view into the library of the Fundació Antoni Tàpies. On the back mezzanine wall you can see <em>Cloud</em> (2001) by Fareed Armaly.  The red string in the foreground is also by Fareed Armaly - he did a work that included all exhibition designs, <em>ID-entity</em>, (2001). The wall works hung below are <em>Approaching the Library as Activists: An Exercise in Speculative Erraticism</em> (2001)<em> </em>by madeinbarcelona. Photograph © Ute Meta Bauer </span></p> <p></p> <p style="text-align: justify;"><span style="font-size: small;">Booking essential.<br /><br /><strong>*Proof of concession/membership required on the door.</strong></span></p> Wed, 09 Jan 2013 16:58:32 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Dan Witz - Lazarides Rathbone Place - January 25th, 2013 11:00 AM - 7:00 PM <p style="text-align: justify;"><b><i>Prisoners 2012-2013</i></b>, a solo exhibition by New York-based artist <b>Dan Witz </b>(USA, b. 1957) displaying paintings from both his <i>Prisoner</i> and<i> Mosh Pit </i>series, will open at Lazarides Rathbone at the end of January 2013.</p> <p style="text-align: justify;">Dan Witz has been at the forefront of artists working on the street since the late 1970s. Combining the latest in digital reproduction with the old master’s technique of illusionism, the artist’s lifelike figures appear as if from nowhere on sign-posts, walls, windows and manhole grates across the world. Painting and layering over digital photographs, each image is designed to surprise the viewer, taking them aback from the expected into an alarming state of disbelief. This ‘shock factor’ became integral to Witz after reading the work of French philosopher Guy Debord who maintained: “The artist generates moments that jar the spectator out of passivity, making him the co-creator of a more creative-less passive life.”</p> <p style="text-align: justify;">The breadth of Witz’s style and subject matter can be seen in the <i>Mosh Pit</i> series. These crowded multi-figure paintings depict the height of mosh pits at music concerts.  Figures intertwine and climb over one another at different parts of the painting reflecting the energy of the Mosh Pit.</p> <p style="text-align: justify;">For the adjacent<i> Prisoners</i> series Witz partnered with <b>Amnesty International</b>, the world’s largest human rights organisation, and travelled to Frankfurt to participate in their awareness campaign<i> Wailing Walls</i>, Witz states:</p> <p style="text-align: justify;"><i>“I’d already been painting prisoners, but the hook was--and here’s the intervention from beyond--now these would literally be prisoners. With names and case histories. More than symbols, or simulations, these were real people. They even had names. And case histories. Inspiring case histories.”</i></p> <p style="text-align: justify;">As a symbolic reference to their real-life struggles, each of these imprisoned individuals is portrayed with few clothes, masked or with their hands tied. Working with Amnesty Witz has highlighted their cause across the urban cityscape of Frankfurt as part of the <i>Wailing Walls</i> project. For his first solo exhibition in London since 2008, the artist will be dispersing his unique stamp on the British streets by installing his prisoner images onto London phone boxes. </p> Sat, 22 Feb 2014 15:42:15 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list John Davies - Museum of London - January 25th, 2013 10:00 AM - 6:00 PM <p style="text-align: justify;"><span style="font-size: small;">Photographer John Davies explores how London’s major arterial roads have changed over the past 1o years in new exhibition <strong>Highways</strong>. Best known for his unflinching black and white images of post-industrial Britain, these images attempt to document the multi-layered character of six London thoroughfares, photographed just before the Congestion Charge was introduced to London a decade ago.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>How do you think London’s roads have changed since 2003? Tell us via twitter <a href="http://twitter.com/museumoflondon">@museumoflondon</a> or use hashtag #highways.</strong></span></p> Tue, 26 Feb 2013 18:17:18 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list