ArtSlant - Recently added en-us 40 - fig-2 - September 7th - September 13th <p style="text-align: justify;">Eva Grubinger concentrates on the medium of sculpture, and through processes of estranging and encoding, shifts of material, scale and context, she investigates spatial qualities in relation to currencies of socio-political, architectural contexts and visual arts language often referencing Minimalism and Conceptual Art. Her first solo exhibition in London entitled &lsquo;Black Diamond Bay&rsquo;, explores a cluster of abiding interests: the maritime as a metaphor, colonial adventuring, correspondence between the world of a century ago and that of today, and associations of darkness. The exhibition responds directly to its location, as does the title, which references an imaginary place in Joseph Conrad&rsquo;s Victory (1915) and the 1976 song by Bob Dylan.&nbsp;</p> <p style="text-align: justify;">&nbsp;&lsquo;Black Diamond Bay&rsquo;, is the third of four fig-2 projects that utilises two venues at the ICA; the Theatre and the Studio, and in both of these spaces explores the continuing appeal and risk of travelling to unknown territories. Triggering the idea of a psychological landscape and a physical or mental journey, the installation evokes ideas of escapism and the search for the self, adventure, testing limits, inner states of transgression, conquest, delimitation, drift and danger. On the occasion of the exhibition, Grubinger will be in conversation with Fatos &Uuml;stek at&nbsp;<a href="" target="_blank" rel="nofollow">ArtReview Live</a>&nbsp;on 9 September, please book your places at&nbsp;<a href="" rel="nofollow"></a>.</p> <p style="text-align: justify;">This exhibition is generously supported by the Austrian Chancellor&rsquo;s office,&nbsp;<a href="" target="_blank" rel="nofollow">L40 Kunstverein am Rosa-Luxemburg-Platz</a>, and the Berlin Senate Cultural Affairs Department. Special thanks to&nbsp;<a href="" target="_blank" rel="nofollow">Austrian Cultural Forum</a>,&nbsp;<a href="" target="_blank" rel="nofollow">Delfina Foundation</a>&nbsp;and&nbsp;<a href="" target="_blank" rel="nofollow">Westbury Hotels</a>.</p> <p style="text-align: justify;">Please join us for the weekly Last Chance Exhibition Tour on Sunday at 5 pm.</p> Wed, 02 Sep 2015 19:57:49 +0000 Hartmut Böhm - Bartha Contemporary - September 10th - October 10th <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Bartha Contemporary is delighted to announce Hartmut Böhm&rsquo;s third solo exhibition with the gallery. Entitled &lsquo;Works with Grid &ndash; Works without Grid&rsquo;, the exhibition showcases Hartmut Böhm&rsquo;s continued interest in seemingly simple compositions and arrangements, which reveal their complex underlying structure over time.</p> <p>Hartmut Böhm (b. 1938) is widely regarded as one of the most important German non-figurative artists of his generation. From his early systematic works, which draw on a European geometric tradition to the artist&rsquo;s more recent installation based practice, Hartmut Böhm&rsquo;s works are best described within the context of Minimalism rather than European Constructivism.</p> <p>The works chosen for this exhibition represent both a continued interest in mathematical systems as well as the dismissal of rigid structures as sole compositional element. The juxtaposition exemplifies the artist&rsquo;s increasing unease with the dogmatic nature of geometric art and German constructivism in particular.</p> <p>Proportional systems and progressions lay at the heart of many of the artist&rsquo;s works. Their repetitive nature is intentional, often describing the starting-point for a composition that could expand infinitely.</p> <p>A small selection of seminal works from the past four decades are shown in the office, intended as an overview these works complete the installation.</p> <p>Hartmut Böhm participated in several ground-breaking exhibitions, including the 1964 exhibition &ldquo;Nouvelle Tendance&rdquo; at the Musée des Arts Décoratives at the Palais du Louvre and in Zagreb 1965. Shortly thereafter &ldquo;this Kenetica&rdquo; at the Museum des 20. Jahrhunderts in Vienna, the first important survey exhibition of Kinetic-art in Europe.</p> <p>Most recently his work was included in the Daimler Collection survey exhibition &ldquo;Minimalism in Germany&rdquo;, a solo- presentation at Daimler Collection is scheduled to take place early next year.&nbsp;</p> </div> </div> </div> Wed, 02 Sep 2015 12:43:42 +0000 Michael Krebber - Maureen Paley - September 5th - October 4th <p>&nbsp;press release</p> <p>&nbsp;</p> <p><strong>MICHAEL KREBBER</strong></p> <p><strong><em>&nbsp;</em></strong></p> <p><strong>5 September &ndash; 4 October 2015</strong></p> <p><strong><em>private view: Saturday 5 September 6.30 &ndash; 8.30pm</em></strong></p> <p><strong><em>&nbsp;</em></strong></p> <p><strong><em>&nbsp;</em></strong></p> <p>&nbsp;</p> <p>Maureen Paley is pleased to present the fifth solo exhibition at the gallery of new work by Michael Krebber.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>producing a Krebber, being organized.</p> <p>&nbsp;</p> <p>First Level</p> <p>Second Level</p> <p>Third Level&nbsp;</p> <p>fourth&nbsp;</p> <p>fifth</p> <p>&nbsp;</p> <p>what a painting cannot do</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>Michael Krebber has long ex&shy;plored the premis&shy;es, chal&shy;lenges, and pos&shy;si&shy;bil&shy;i&shy;ties of paint&shy;ing and has made investigative con&shy;tri&shy;bu&shy;tions to this dis&shy;course. He is a professor at the St&auml;delschule since 2002 and was awarded the 2015 Wolfgang Hahn Prize, along with R. H. Quaytman, earlier this year.</p> <p><strong>&nbsp;</strong></p> <p><strong>&nbsp;</strong></p> <p>Selected solo exhibitions include: <em>Systemic Relevance</em>, Galerie Buchholz, Berlin, Germany, 2014; <em>STOPICE</em>, d&eacute;pendance, Brussels, Belgium, 2013; <em>Les escargots ridiculis&eacute;s</em>, CAPC, mus&eacute;e d&rsquo;art contemporain, Bordeaux, France, 2012; <em>C-A-N-V-A-S, Uhutrust, Jerry Magoo and Painting</em>, Greene Naftali, New York, USA, 2011; <em>FROM MCB TO MBC</em>, Richard Telles Fine Art, Los Angeles, USA, 2010; <em>Pubert&auml;t in der Lehre/Puberty in Teaching</em>, K&ouml;lnischer Kunstverein, Cologne, Germany, 2008; Galerie Chantal Crousel, Paris, France, 2007; <em>sometimes it snows in april,</em> presentation with Rachel Harrison, The McAllister Institute, New York, USA, 2006; <em>Michael Krebber,</em> Secession, Vienna, Austria, 2005; <em>warm up (how I hit a snob)</em>, Richard Telles Fine Art, Los Angeles, USA, 2004.</p> <p>&nbsp;</p> <p>Selected group exhibitions include: <em>R. H Quaytman and Michael Krebber</em>, Museum Ludwig, Cologne, Germany, and <em>Call and Response</em>, Gavin Brown&rsquo;s Enterprise, New York, USA, 2015; <em>We not</em>, Galerie Buchholz, Cologne, Germany, 2014; <em>Hamlet, Mise-En-Sc&egrave;ne, Jack Smith in Frankfurt</em>, Portikus, Frankfurt am Main, Germany, 2012; <em>Provisional Painting</em>, Modern Art, London, UK, 2011<em>;</em> <em>Gambaroff, Krebber, Quaytman, Rayne</em>, Bergen Kunsthall, Bergen, Norway, 2010; <em>At Home/Not At Home: Works from the Collection of Martin and Rebecca Eisenberg</em>, CCS Bard Hessel Museum of Art, Annandale-on-Hudson, NY, USA, 2010; <em>The Most Contemporary Picture Show</em>, <em>Actually</em>, Kunsthalle Nuernberg, Germany, and <em>Grey Flags</em>, Sculpture Center, New York, USA, curated by Anthony Huberman and Paul Pfeiffer, 2006; <em>Conditions of Display</em>, The Moore Space, curated by Gean Moreno, Miami, USA, 2007; <em>Formalismus</em>, Kunstverein Hamburg, Germany, and <em>Rhinegold: Art from Cologne</em>, Tate Liverpool, Liverpool, UK, 2004; <em>Hier ist dort 2</em>, Secession, Vienna, Austria, 2002.</p> <p>&nbsp;</p> Wed, 02 Sep 2015 11:52:15 +0000 Francesco Vezzoli - Almine Rech Gallery - September 8th - October 3rd <p><strong>Francesco Vezzoli: Eternal Kiss</strong></p> <p>Almine Rech Gallery is pleased to present Francesco Vezzoli&rsquo;s second solo exhibition with the gallery. The exhibition will be on view from the 8<sup>th</sup> of September to the 3<sup>rd</sup> of October, 2015.</p> <p>The strategies of aesthetic and conceptual play at work throughout Francesco Vezzoli&rsquo;s expansive oeuvre are predominantly dedicated to dissecting received notions of beauty. Laced with humour, much of Vezzoli&rsquo;s work interrogates how and why beauty has been attributed to certain artworks and artifacts at different times. For his new sculpture, &lsquo;Eternal Kiss&rsquo;, exhibited for the first time at Almine Rech Gallery, Vezzoli acquired two life size marble heads at auction: a Roman portrait of a man (circa the 2<sup>nd</sup> Century A.D), and a Roman portrait of a woman (Imperial, Hadrianic, circa&nbsp;117-138 A.D). Both heads have been restored to their original status through a meticulous process of fabrication underpinned by specialist advice from eminent archeologists in the field. In this sense, &lsquo;Eternal Kiss&rsquo; further develops the ideas of beauty and the artifact explored in Vezzoli&rsquo;s &lsquo;Teatro Romano&rsquo; presentedat PS1 in New York earlier this year.</p> <p>Vezzoli explains how &ldquo;the main objective of &lsquo;Eternal Kiss&rsquo; is to use the process of aesthetic restoration to reenact a fictional kiss from two thousand years ago.&rdquo; &lsquo;Eternal Kiss&rsquo; has, Vezzoli continues, two main aims: &ldquo;the first is to restore to the heads the notion that originally they were made to function as objects of desire; the second, and more ambitious, aim of the work is to create the most ancient sculpture of a kiss in existence."</p> <p>The fabrication process through which the &lsquo;Eternal Kiss&rsquo; has been realized is an unusually aggressive one for such rarified ancient artifacts. Vezzoli elucidates on how he is &ldquo;acting like a facial surgeon &ndash; giving the heads back their beauty by mending broken elements, like noses. A sort of nip and tuck,&rdquo; says Vezzoli, &ldquo;allowing the heads to be in sensual dialogue with one another. It is as if I&rsquo;m preparing them for a selfie,&rdquo; he says.</p> <p>By way of contrast to the aesthetic and conceptual play driving the conception and the production of the work, Vezzoli explains how &ldquo;consulting with specialist archaeologists gives the fabrication process - and consequently the finished work - an edge it would otherwise lack. To paint over and remodel the heads without any sense of historical context would be merely gratuitous.&rdquo; For Vezzoli, these very different approaches are congruent with their respective professions: &ldquo;I&rsquo;m an artist,&rdquo; he states, &ldquo;and they are archaeologists: while I&rsquo;m there to explore certain emotions, they are there to identify and then verify historical facts.&rdquo; Without this tension &lsquo;Eternal Kiss&rsquo; would lack the sense of conceptual precision so crucial to Vezzoli&rsquo;s work.</p> <p>Vezzoli&rsquo;s method of approaching ancient sculptures draws on the way early collectors and curators prioritized aesthetic effect over scientific accuracy: by, for instance, attaching a Renaissance body to an ancient head to recreate a sense of beauty that a mutilated head would not convey. Even a highly respected scholar like Johann Winklemann took this approach as late as the mid-eighteenth century. Vezzoli describes how he &ldquo;takes for granted the fact that this approach was normal practice a few hundred years ago when museums did not yet have such a hyper protective attitude to the ancient artifacts in their collections.&rdquo;</p> <p>For the present exhibition, every detail of the heads and their presentation has been placed under scrutiny. &ldquo;Because of this attention to the minutia of detail,&rdquo; says Vezzoli, &ldquo;the exhibition will focus on the objects themselves. &lsquo;Eternal Kiss&rsquo; will become nothing less than the most ancient sculpture of a kiss in existence. It&rsquo;s as simple &ndash; or as complicated &ndash; as that,&rdquo; concludes Vezzoli.</p> <p><strong>Alex Coles</strong></p> Tue, 01 Sep 2015 14:51:27 +0000 Adam Gillam - Tintype - September 9th - October 3rd <p>The first part of Tintype's three month-show in three frames, interlinking the work of Adam Gilllam (Frame 1), Oona Grimes (Frame 2), and Jo Addison (Frame 3).</p> <p>Revelling in material and visual flippancy, Adam Gillam fidgets, probes and tweaks the discarded dark matter of studio experimentation and pound-shop tat. The resulting accumulations present a potential momentary resolution between improvisation and refinement.</p> Tue, 01 Sep 2015 06:41:36 +0000 Ai Weiwei - Royal Academy of Arts - September 19th - December 13th <p style="text-align: justify;">In September 2015 major&nbsp;artist and cultural phenomenon Ai Weiwei takes over our main galleries with brave, provocative and visionary works.</p> <p style="text-align: justify;">Our most recent single artist shows have seen some of the true greats of contemporary art animate our Main Galleries with unforgettable, powerful work. Hockney, Kapoor, Kiefer &ndash; you need to be a special artist to embrace the immensity of our historic spaces. Who better then to take up the challenge this autumn than Ai Weiwei, one of China&rsquo;s most influential artists.</p> <p style="text-align: justify;">Ai became widely known in Britain after his sunflower seeds installation in Tate Modern&rsquo;s Turbine Hall in 2010 but this will be the first major institutional survey of his work ever held in the UK and it will bridge over two decades of his extraordinary career.</p> <p style="text-align: justify;">Curated in collaboration with Ai Weiwei from his studio in Beijing, the RA will present some of his most important works from the time he returned to China from the US in 1993 right up to present day. Among new works created specifically for our galleries and courtyard will be a number of large-scale installations, as well as works showcasing everything from marble and steel to tea and glass.&nbsp;</p> <p style="text-align: justify;">With typical boldness, the chosen works will explore a multitude of challenging themes, drawing on his own experience to comment on creative freedom, censorship and human rights, as well as examining contemporary Chinese art and society.</p> Mon, 31 Aug 2015 18:33:55 +0000 Group Show - David Zwirner, London - September 5th - October 3rd <p style="text-align: justify;">David&nbsp;Zwirner is pleased to present a comprehensive exhibition of paintings and sculptures by the Cuban group of abstract painters&nbsp;<em>Los Diez Pintores Concretos</em>&nbsp;(Ten Concrete Painters), which was active from 1959 to 1961.&nbsp;<em>Concrete&nbsp;Cuba</em>&nbsp;is the first presentation in the United&nbsp;Kingdom to highlight the origins of concretism in Cuba during the 1950s, and will include important works by the artists who were at different times associated with the short-lived group: Pedro &Aacute;lvarez, Wifredo&nbsp;Arcay, Mario&nbsp;Carre&ntilde;o, Salvador&nbsp;Corratg&eacute;, Sand&uacute;&nbsp;Dari&eacute;, Luis&nbsp;Mart&iacute;nez&nbsp;Pedro, Alberto&nbsp;Menocal, Jos&eacute;&nbsp;Mijares, Pedro&nbsp;de&nbsp;Ora&aacute;, Jos&eacute;&nbsp;&Aacute;ngel&nbsp;Rosabal, Lol&oacute;&nbsp;Soldevilla, and Rafael&nbsp;Soriano.</p> Sat, 29 Aug 2015 16:21:16 +0000 - Whitechapel Gallery - September 17th - November 29th <p style="text-align: justify;">Tickets are now on sale for&nbsp;<em>Music for Museums</em><em>,&nbsp;</em>a season of live experimental music featuring works by ground-breaking composers and artists. Divided into six themes, from Fluxus to Electonica and Sonic Spaces, events are on Thursday evenings and Saturday afternoons, with an accompanying programme of free film screenings.<br /><a href=";id=4fdf937dec&amp;e=2edb4146d7" target="_blank">Book now.</a></p> Sat, 29 Aug 2015 16:12:39 +0000 Razvan Boar - Ibid. - September 4th - October 3rd <p style="text-align: center;">Ibid. London is pleased to invite you to our next exhibition</p> <p style="text-align: center;"><strong>Razvan Boar</strong></p> <p style="text-align: center;"><em>STUMP LUNCH</em></p> <p><em>&nbsp;</em></p> Sat, 29 Aug 2015 16:09:04 +0000 Michael Mcmillan - Peckham Platform - September 17th - November 22nd <p style="text-align: justify;">2015 marks twenty years since Nigerian writer and activist Ken Saro-Wiwa was executed, alongside eight colleagues, for crimes he did not commit. They were campaigning against Shell&rsquo;s exploitation and environmental destruction of the Ogoni land which twenty years on, remains unchecked. Peckham is at the heart of London&rsquo;s Nigerian and Ogoni diaspora so to coincide with this important anniversary, Peckham Platform has commissioned artist and writer Michael McMillan for a commemorative exhibition that will take place at the gallery from&nbsp;17 September &ndash; 22 November 2015.&nbsp;</p> <p style="text-align: justify;">In June, the global Action Saro-Wiwa tour (organised by Platform London) brought Sokari Douglas Camp&rsquo;s Battle Bus to Peckham Square &ndash; the living memorial created by the Nigerian artist in 2005. The Battle Bus is a large-scale mobile interactive steel sculpture topped by oil drums and etched with the words of one of Saro-Wiwa&rsquo;s final speeches. Working with Theatre Peckham, McMillan created a performance piece that used The Battle Bus as a site and took place on the square onSaturday 27th June. It triggered memories for Nigerians and local people in Peckham of Ken Saro-Wiwa as a symbol for ordinary people resisting oppression and fighting for freedom across Africa and the world.&nbsp;</p> <p style="text-align: justify;">For the exhibition, wallpaper made from large-scale photographs taken inside and outside The Battle Bus will line the gallery evoking a sense in visitors of being present in the sculpture. Kiosks will display materials form Nigerian shops and communities in Peckham including food and &lsquo;Nollywood&rsquo; videos such as 70s sitcom &lsquo;Basi &amp; Co&rsquo; which was written by Ken Saro-Wiwa. Film of the performance of McMillan&rsquo;s work on Peckham Square and a montage of passers-by reading passages from Saro-Wiwa&rsquo;s final speech &lsquo;I Accuse&rsquo; inside The Battle Bus will be projected into the gallery, creating multiple layers that reflect the impact of The Battle Bus&rsquo; presence now it has departed on its journey to its permanent home in the Niger Delta.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Hashtag: #IAccuse</p> Sat, 29 Aug 2015 14:34:06 +0000