ArtSlant - Recently added http://www.artslant.com/lon/Events/show en-us 40 Yinka Shonibare MBE - Victoria and Albert Museum - March 20th 7:00 PM - 8:00 PM <p style="text-align: justify;">Yinka Shonibare MBE reflects on his work and talks about his studio project space, Guest Projects in an artist talk at Victoria and Albert Museum in London.</p> <p style="text-align: justify;">Since Yinka Shonibare's ship in a bottle commission in Trafalgar Square, his work has expanded into the public realm. In this talk,the artist will discuss the different ways in which he works, from his early paintings in the 1990s to his use of costume, photography and performance in film and his most recent series of public sculptures - Wind Sculptures.</p> <p style="text-align: justify;">The talk will be on Friday 20 March at 19:00 at the Lydia and Manfred Gorvy Lecture Theatre.</p> Thu, 05 Mar 2015 16:05:25 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Roman Signer - Barbican Art Gallery - March 4th - May 31st <p style="text-align: justify;">Internationally renowned for sculptural installations and video works, Swiss artist&nbsp;<strong>Roman Signer</strong>&nbsp;presents&nbsp;<em>Slow Movement</em>, a new installation for the Curve using the kayak, a longstanding symbol and form in his work for three decades. Specifically made for this show, a kayak navigates the 90-metre long gallery as if moving through a canal.<br />&nbsp;<br />The exhibition extends out to the foyer and lakeside, with two other kayaks installed across the centre in unexpected ways, reflecting Signer&rsquo;s playful and surreal approach to his subject.&nbsp;<br /><em><br />Slow Movement</em>&nbsp;also includes a selection of earlier films featuring the kayak to explore the multiple facets of his innovative practice through his ongoing interest in this object.<br /><br />The exhibition is presented in association with Dundee Contemporary Arts.<br /><br /><br />Coinciding with the exhibition,&nbsp;<strong>The Mill Co. Project</strong>&nbsp;&amp;&nbsp;<strong>Create</strong>are hosting an installation by art critic&nbsp;<strong>Rachel Withers</strong>&nbsp;based on the contents of Signer&rsquo;s library.&nbsp;<strong>Rachel Withers: Roman Signer's Library of Marvels (Fast Version)</strong>&nbsp;is on show at the Rose Lipman Building from 5 March to 4 April 2015. For more information, please visit www.themillcoproject.co.uk/roman-signer</p> Thu, 05 Mar 2015 15:23:37 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Ken Cox - CHELSEA space - April 29th - May 5th <p>&nbsp;</p> <p>CHELSEA space is pleased to announce <strong>Ken Cox: <em>Poetry Machines</em> </strong>asthesecond exhibition in our spring programme<em>. </em>A highly influential sculptor of the British concrete poetry movement, Ken Cox was a creator of kinetically powered poetry machines that made words move in space as material objects. Cox&rsquo;s career was cut tragically short in November 1968 when he was fatally injured in a car accident, just months after his first solo show at the Lisson Gallery. This is the first time his works have been shown in London since then, re-asserting Cox as a significant figure in the concrete poetry movement.</p> <p>The exhibition reactivates works such as <em>Seasons Clock </em>(1965), thehanging multiple,<em> Suncycle</em> (1968), <em>The Three Grace</em>s (1966 -68) (Latin Version) and one of the five <em>Elemental Balloon Poems </em>(1967)<em>. </em>These works explore the wide range of formal possibilities of the material of language within the spatial and kinetic dimensions of art. Here letters do not correspond to semiotic language, but instead show a curiously textual approach to sculpture, in which words are not so much read as felt. In a review from July 1968, Guy Brett wrote of the <em>Elemental Balloon Poems</em>:&nbsp;</p> <p>&lsquo;One room is entirely filled by large, soft coloured balloons. They are revolving on stands which keep them full of air at a low pressure and light them up inside. The orange Balloon is ringed at its centre by the word &ldquo;earth&rdquo; printed without gaps so it spells &ldquo;heart&rdquo; as the balloon circles. The green one has ocean bobbing up and down just below the center and so on. These objects dispense with descriptive words, and try to intensify a single word by linking it to an easily grasped experience of space and interval&rsquo;</p> <p>Also exhibited is <em>Shadow Box </em>(1965), Cox&rsquo;s first poetry machine initially shown at the OXPO 2<sup>nd</sup> International Exhibition of Experimental Poetry, Oxford in 1965. Thrown into the river by Oxford students protesting the farcical nature of the exhibition, the work has been revived and will feature alongside other rarely seen drawings and ephemera. Also included is documentation relating to the 30ft high floating version of <em>The Three Graces (Love, Beauty, Passion)</em> (1967). Made for the <em>Concrete Poetry Exhibition</em>, Brighton Festival, it&nbsp;was destroyed&nbsp;in a storm after being at sea for 10 days.&nbsp;</p> <p><strong>Kenelm (Ken) Cox</strong> studied at Bristol Art College and later at Camberwell School of Arts and Crafts. A native of Gloucestershire, Cox returned in 1962 to Kingscote and began teaching at the Gloucester College of Art in 1964. During this time Cox became an early member of the GLOucestershire groUP or GLOUP &ndash; &lsquo;Glo&rsquo;ster Gro&rsquo;up of Concrete and Kinetic Poets&rsquo;. The members of GLOUP comprised of the artists and poets John Furnival, Ken Cox, Dom Sylvester Hou&eacute;dard, Charles Verey and Thomas A Clark. It was from this fertile ground that Cox developed his very particular orientation in concrete poetry.</p> <p>Ken Cox was included in various significant exhibitions of concrete poetry and experimental art, including <em>OXPO 2<sup>nd</sup> International Exhibition of Experimental Poetry</em>, St. Catherine&rsquo;s College, Oxford (1965), <em>Between Poetry and Painting </em>curated by Jasia Reichardt at the ICA (1965), <em>Concrete Poetry Exhibition</em>, Brighton Festival (1968) and the groundbreaking <em>Cybernetic Serendipity</em>, also curated by Jasia Reichardt at the ICA (1968).</p> <p><strong>Ken Cox: <em>Poetry Machines</em></strong> has been curated by the concrete poetry specialist William Allen and CHELSEA space, with assistance from the Cox Estate.&nbsp;</p> Thu, 05 Mar 2015 13:44:10 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list christian Rosa - White Cube, Mason's Yard - March 20th - May 23rd Wed, 04 Mar 2015 10:49:18 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list N.S. Harsha - Victoria Miro Mayfair - March 26th - April 25th <p style="text-align: justify;">Victoria Miro is delighted to present Upward Movement, NS Harsha's second solo exhibition with Victoria Miro and his first in the Mayfair gallery. One of the most significant Indian artists of his generation, Harsha draws on a broad spectrum of Indian artistic and figurative painting traditions and popular arts as well as the western art canon. He has worked across a range of media including painting, sculpture, installation and performance.<br /><br />For his exhibition at Victoria Miro Mayfair, Harsha has produced a series of paintings that explore notions of ascent. Each canvas features variations on the motif of a particular human, animal or hybrid figure engaged in a singular activity, which may involve physical elevation, technological innovation or spiritual transcendence. These figures are striving to reach something above or beyond, acknowledging and attempting to connect with unknown regions.<br /><br />Individual paintings focus on musicians and dancers and on langur monkeys and cows, both of which are venerated in Hindu culture. The figures are depicted in a flat, shallow space on backgrounds featuring a single strong colour. There is a musical connotation to the compositions; the figures, in orderly rows, suggest notes on musical staves, and their recurrence and variety can be seen as a visual analogy for chanting and other repetitive or cyclical musical structures.</p> <p style="text-align: justify;">Harsha has said of this series, 'Slowly I feel my thoughts are moving towards a kind of abstraction while keeping the absurd narrative as its central engagement'. He has cited Samuel Beckett's <em>Waiting for Godot</em> as a point of reference, and the paintings emphasise how a quest for higher meaning sits alongside the absurdity of everyday existence.<br /><br /><em>Raha Dikhanaywalay Thay Hai Rahengay (Path Showers Were/Are/Will Be There)</em> features langurs around and atop scriptural stone formations inspired by the arrangements of rocks in Japanese landscape painting. The monkeys are pointing upwards, suggesting the desire to transcend earth-bound concerns. This work followed on from Harsha's large 2013 installation <em>Tamasha</em>, made during the artist's residency at the DAAD, which featured life size langur sculptures scaling the fa&ccedil;ade of a building in Berlin-Mitte. As in the installation, in the painting the monkeys' long tails are entwined; this posture is drawn from German mythology related to rat kings, groups of the rodents conjoined by their tangled tails.<em><br /><br />Mooing Here and Now</em> and <em>Only Way is through Milking Way</em> were inspired by Harsha's visits to dairy farms near his home in Mysore in southern India and in Germany. Viewing the rapid adaptation of technology by the farming industry and the interactions between cattle and humans, he conceived the 'absurd dairyscape' of <em>Mooing Here and Now</em>, which gently satirises the increasingly remote scientific relationship between people and cows on industrial farms. Conversely, <em>Only Way is through Milking Way</em> pictures a more poetic, bucolic vision of dairy farming, showing the simple act of people milking cows by hand. Harsha reduces this ancient tradition to its purest form, removing even the containers in which the milk would be collected. In both paintings the action is interrupted by a charging elephant. This surreal intervention was drawn from an incident in Mysore in 2011 in which two wild elephants went on a rampage killing a man and several cows.<br /><br /><em>Chirp peep chirp peep...</em> exemplifies the ambiguity of contemporary scientific and industrial development. A rank of parrot-headed figures crowd around telescopes and microscopes, symbols of the incessant human desire to explore the macrocosmic and the microcosmic. Like workers on an assembly line of eureka moments they seem fated to continue their search indefinitely. These absurdist figures are punctuated by musicians, who suggest an alternative method of discovery, and the enduring need for artists to provide a context and commentary around scientific journeys.<br /><br />These musicians, specifically veena players, recur in <em>Chamber Concert</em>. Each player is isolated from the others, seemingly playing alone yet perhaps longing for a connection with other musicians and listeners. After many years of travelling, Harsha spent all of 2014 in Mysore, where he spent time at concerts with local musicians. Black on black footprints on the strips on either side of the canvas suggest how internal 'journeys in darkness' provide a conducive atmosphere to focus on the finest details of communication from elsewhere.<br /><br />In <em>Time and Again Upward Movement Beautiful Beautiful</em>, Harsha explores the human figure in an extreme posture, with the leg extended above the head. This position, familiar from classical Indian dance and sculpture, has been used historically to denote upward movement and a quest to reach out into the unknown. The painting features a parade of figures in this posture, emphasising the beauty of continually reaching out into the unknown. Harsha includes a nod to depictions of a similar spiritual and philosophical quest in western Renaissance art in the top right corner of the composition, replicating the figures of Plato and Aristotle from Raphael's Vatican fresco <em>The School of Athens</em>. Brahma, a Hindu icon for creation of the world, also appears as an observer of this ballet.<strong> <br /></strong></p> Wed, 04 Mar 2015 10:45:21 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Sanya Kantarovsky, Ieva Misevičiūtė - Studio Voltaire - April 17th - June 7th <p style="text-align: justify;">Sanya Kantarovsky will bring together his own work with that of Lithuanian artist Ieva Misevičiūtė whose performances combine action theatre, dance and stand-up comedy. Kantarovsky will take Michael Bulgakov&rsquo;s seminal novel Master and Margarita as a point of departure and will work with Misevičiūte to choreograph a set of movements in response the characters in the novel &ndash; gestures which will form the basis of Kantarovsky&rsquo;s paintings. Kantarovsky&rsquo;s expansive paintings will be on the scale of a theatrical set, referencing the sumptuous backdrops of the Ballet Russe. Misevičiūtė will interact with these props during two live performances at Studio Voltaire. <br /><br />Sanya Kantarovsky (b. 1982, Moscow, Russia) produces video installations and sculptures, though he is best known for his paintings, which often have thinly applied, wiped, or scraped layers of paint, and feature narrative scenes populated by isolated, sinewy figures. His work frequently includes indirect social-political commentary and a critical look at the idea of the suffering artistic genius. <br /><br />Kantarovsky lives and works in New York. He received his BFA from the Rhode Island School of Design in 2004) and MFA from UCLA in 2011. Recent solo and two person exhibitions include: &ldquo;Allergies&rdquo;, Casey Kaplan, New York, 2014; &ldquo;Little Vera&rdquo; with Ella Kruglyanskaya, KIM?, Riga, 2014; &ldquo;You Are not an Evening&rdquo;, GAK, Bremen, 2013. He participated in the group exhibition &ldquo;Notes and Neo Camp&rdquo; at Studio Voltaire, London in 2013. Recent special projects include Research and Reporting at KW, Berlin 2014 and LAX fa&ccedil;ade, Los Angeles, 2013. <br /><br />This new commission forms part of &lsquo;How to work together&rsquo;, a shared programme of contemporary art commissioning and research organised by Studio Voltaire, The Showroom and Chisenhale Gallery. Together, over three years, &lsquo;How to work together&rsquo; is producing a series of artists&rsquo; commissions, exhibitions, events and an online think tank.<br /><br /><a href="http://www.studiovoltaire.org/programmes/forthcoming/www.howtoworktogether.org" target="_blank">www.howtoworktogether.org<br /><br /></a>Sanya Kantarovsky&rsquo;s commission is supported by Arts Council England through Catalyst Arts: capacity building and match-funding, Bloomberg, Jerwood Charitable Foundation and the How to work together Artist Commissions Production Fund.<br /><a href="http://www.studiovoltaire.org/programmes/forthcoming/www.howtoworktogether.org" target="_blank"><br /></a>With generous assistance from Yana and Stephen Peel.<a href="http://www.studiovoltaire.org/programmes/forthcoming/www.howtoworktogether.org" target="_blank"><br /></a></p> <p style="text-align: justify;">Performances: Thursday 16 April 2015, 7.30pm &amp;&nbsp;Saturday 18 April 2015,&nbsp;6.30pm</p> Wed, 04 Mar 2015 10:41:58 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Isa Genzken - Hauser & Wirth (Savile Row) - March 26th - May 16th <p style="text-align: justify;">In a new series of paintings unveiled at Hauser &amp; Wirth London, Genzken employs motifs from the language of capitalism to explore themes of self- and social-examination. Since the 1970s, Genzken&rsquo;s diverse practice has encompassed sculpture, photography, found-object installation, drawing and painting. Her work borrows from the aesthetics of Minimalism, punk culture and assemblage art to confront the conditions of human experience in contemporary society and the uneasy social climate of capitalism. Although her approach varies greatly, Genzken has maintained a striking common thread and internal truth to both her vision and her works of art themselves.</p> <p style="text-align: justify;">In the Geldbilder works, Genzken takes money as a painterly medium itself, affixing notes and coins of various currencies and denominations to the canvas. She uses the very tools of a profit-driven society in her most direct and literal engagement with its principles. Genzken disassociates money from its role as currency, and encourages an appreciation of it as a material object, as a social artefact, and for its symbolic connotations. Genzken plays on the concept of art as investment, with the suggestion that these notes and coins might be removed and re-used in times of hardship. The paintings physically &lsquo;hold&rsquo; capital, acting as stable assets even in the most volatile market. These poetic and chaotic paintings make explicit reference to the monetary value of art, and the systems that underpin society at large. Genzken has also incorporated money into her earlier, more abstract paintings of the 1990s, in which she laid coins onto a canvas and coated the surface with lacquer, before removing them to reveal only the imprint of the coins&rsquo; shape left behind. Her three artist books entitled &lsquo;I Love New York, Crazy City&rsquo; (2006) represent information overload, and the stimulation and urban pace of the city at a time in which she was working through her own unsettled emotions after a divorce. The books are comprised of layers of ephemeral papers such as newspaper clippings, receipts, photographs, cigarette packets, and include a number of $500 bills.</p> <p style="text-align: justify;">The new series possesses a raw, aggressive energy. Genzken has roughly covered each canvas in a combination of vivid, unmixed colours, using either a large-bristle brush or spray can, sometimes dripping the paint in thick, random gestures, with the impressions of the canvas&rsquo; supports and areas of unmarked surface still visible. The coins and notes are applied in seemingly random patterns; stacked, grouped to create shapes or arranged in lines traversing the surface of the painting. Elsewhere she scrawls her name in large, graffiti-style letters in spray paint, as an outlandish version of the artist&rsquo;s signature and a reference to the autobiographical element that is ever-present throughout her practice. Exploring the dynamic of personal versus social anxiety, Genzken integrates photographs of herself amongst the material adorning the Geldbilder paintings, continuing her interest in representations of the body, and of herself in particular.</p> <p style="text-align: justify;">The Geldbilder paintings include found objects reappropriated for artistic use. An anthropologist of her own environment, Genzken incorporates aspects of her immediate surroundings into the artworks as a contextual reference point, including promotional leaflets for products and services in Berlin, where she lives and works. In the manner of Robert Rauschenberg&rsquo;s Combines, small plastic animals are glued to a painting&rsquo;s surface, or a feather, fabric pouch or wooden ruler in the shape of a toy gun are suspended from the bottom of the canvases. With the inclusion of these ubiquitous objects the works come to resemble tableaux of contemporary society. Genzken&rsquo;s ongoing interest in modernist architecture pervades her new body of work; as a reference point to the aesthetics of construction, Genzken applies striations of industrial tape to the surfaces of the paintings, and the shape of the canvases recall skyscrapers and building blocks.</p> <p style="text-align: justify;">The Geldbilder paintings are contextualised within the exhibition by earlier examples of Genzken&rsquo;s work, including a group of concrete sculptures from the early 1980s.</p> <p style="text-align: justify;">This exhibition coincides with a major presentation of new work by Genzken at MMK Museum f&uuml;r Moderne Kunst Frankfurt am Main, Frankfurt, Germany. In June, the Institute of Contemporary Arts, London, England will present an exhibition of Genzken&rsquo;s Basic Research paintings.</p> <p style="text-align: justify;"><strong>About the Artist</strong></p> <p style="text-align: justify;">Isa Genzken has long been considered one of Germany&rsquo;s most important and influential contemporary artists. Born in Bad Oldesloe, Germany, Genzken studied at the renowned Kunstakademie D&uuml;sseldorf whose faculty at the time included Joseph Beuys, Bernd and Hilla Becher, Benjamin H.D. Buchloh and Gerhard Richter. Genzken had her first major retrospective in 2009. &lsquo;Isa Genzken: Open Sesame!&rsquo; opened at the Whitechapel Art Gallery, London, England (2009) and travelled to Museum Ludwig, Cologne, Germany (2009). Other important solo exhibitions include &lsquo;Hallelujah&rsquo;, Schinkel Pavillon, Berlin, Germany (2012); Museion Bozen, Bolzano, Italy (2010); &lsquo;Ground Zero&rsquo;, Hauser &amp; Wirth London (2008); and Wiener Secession, Vienna, Austria (2006). In 2007, Genzken was chosen to represent her country in the 52nd Venice Biennale. Also in 2007, Genzken&rsquo;s works were featured for the third time in Skulptur Projekte M&uuml;nster, Munster, Germany. Genzken&rsquo;s work has also been included in three Documenta exhibitions: documenta XI (2002); documenta IX (1992); and documenta VII (1982).</p> <p style="text-align: justify;">In 2013, a touring retrospective opened at MoMA Museum of Modern Art, New York NY and travelled to The Dallas Museum of Art, Dallas TX and the Museum of Contemporary Art, Chicago IL in 2014.</p> Wed, 04 Mar 2015 10:38:13 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Diana Thater - Hauser & Wirth (Savile Row) - March 26th - May 16th Wed, 04 Mar 2015 10:36:22 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Davide Balliano - Timothy Taylor Gallery - March 7th - April 2nd <p>For his first solo exhibition in the United Kingdom, Davide Balliano has brought together a selection of recent paintings and ceramics produced during a 2014 residency at Nuove, in the Bassano region of Italy.&nbsp;</p> <p>Drawing references from architecture, nature, monuments and icons, Balliano&rsquo;s work is the product of an ongoing investigation into the relationship between the individual and the macrocosm. Using geometry as a tool of translation, these paintings and sculptures take their form through a process defined by structure, repetition and reduction. For Balliano, the act of removing all excess offers the possibility of reaching an equilibrium between presence and absence where the object can exist in its most essential state.</p> <p>By employing gesso, plaster and lacquer as his materials, Balliano develops his paintings as if they were the surface of a wall; layering plaster onto a wooden board, sanding it back, and drawing out geometric forms in gesso. The process is repeated until the work arrives at its resolution, where the image has become ingrained in the surface rather than placed upon it.</p> <p>When encountering Balliano&rsquo;s work it is hard to dispel visual associations with the masters of the Early Renaissance, specifically the frescos and altarpieces of Masaccio and Fra Angelico. Balliano&rsquo;s paintings and sculptures evoke their use of Classical architectural elements and compositions designed according to golden ratio geometry as a way to relate the human figure to the universe at large. Equally, there are echoes of religious icons and altarpieces, which were constructed on wooden boards and framed with arched borders in raised relief. In anticipation of rendered sophisticated perspective, the three-dimensionality of these works meant that the depicted image (and therefore its spiritual content) was extended into the immediate surrounding environment. Balliano&rsquo;s work reflects upon this transcendence of an intangible omnipresent force into the realm of the physical, although his content relates to a universal condition as opposed to religious reverence.</p> <p>Within a more contemporary framework, Balliano&rsquo;s work extends to the language of Minimalism and its discussion of spatial conditions. As in Robert Morris&rsquo;s <em>Untitled&nbsp;</em>(1965/1971), comprised of mirrored boxes, Balliano&rsquo;s sculptures act as anchors which serve to activate the space around them. Striving for a site of &lsquo;openness&rsquo; in the interpretation of his works, Balliano considers these ceramic sculptures to be as important in their encasement of a void as in the positive forms that they occupy. As he states, &ldquo;it&rsquo;s like creating a donut to be able to talk about the hole in the middle&rdquo;.</p> <p>Davide Balliano was born in Turin in 1983 and currently lives and works in New York. Recent solo exhibitions include Four o Four at Room East, New York (2014), No Flock for Blind Shepherds at Galerie Rolando Anselmi, Berlin, and Picatrix at Michel Rein Gallery, Paris (both 2013).&nbsp; His work has been included in group exhibitions at Sean Kelly Gallery, New York (2010 and 2014), Madre Museum, Naples (2012), the Quadrilateral Biennial in Rijeka, Croatia (2011), The Watermill Centre, New York (2009 and 2011), MoMA PS1, New York, the Tate Modern, London and the Espai d&rsquo;Art Contemporani de Castell&oacute;, Castell&oacute;n (all 2010).</p> <p>&nbsp;</p> Wed, 04 Mar 2015 10:34:42 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list John Stezaker - The Approach - March 11th - March 19th <p style="text-align: justify;">The Approach is pleased to announce an exhibition of new silkscreens by British artist John Stezaker. Best known for his collage work re-appropriating found film stills, actor&rsquo;s portraits and postcards, Stezaker has returned to making large-scale monochromatic silkscreen prints which he was producing alongside the collage works during the mid 1980s and early 1990s.&nbsp;</p> <p style="text-align: justify;">The Roman philosopher Pliny the Elder&rsquo;s legend concerning the origins of painting has it that the first painting came about through an act of projection. The inventor of painting, Dibutades, on the eve of the departure of her lover for the Trojan wars, decided to make permanent the silhouette of his shadow cast onto the wall of her home by lamplight. In doing so, she inaugurated a history of pictorial representation in which projection and the fixing of shadow are always interconnected from painting to photography and cinema.&nbsp;</p> <p style="text-align: justify;">1940s and 1950s cinema in particular, seems to be making a transition between the blinding light of the spectacle of early cinema and the shadowy underworld to which film became increasingly attached in the post-war period. Stezaker&rsquo;s attachment to the image of a particularly British version of film-noir seems fascinated with exactly that transition from light to dark. The collages and silkscreens incise the stilled moments of cinema with spatial metaphors of its light: the projector beam, the spotlight or the illuminated screen, otherwise the absent space of darkness in his &lsquo;shadow&rsquo; figures.</p> <p style="text-align: justify;">These new canvas works pick up where the late 1980s silkscreens left off with the opposing absences of darkness and light. Through the process of large-scale silkscreen printing on canvas, Stezaker explores the &lsquo;larger than life&rsquo; quality of the projected image.</p> <p style="text-align: justify;">John Stezaker (b. 1949,&nbsp;Worcester) lives and works in London. Stezaker has been influential to a number of developments in art over the last three decades, from Appropriation to Conceptual art, through to the&nbsp;re-emergence&nbsp;of collage. Stezaker won the Deutsche B&ouml;rse Photography Prize in 2012. Recent exhibitions include: 2015: <em>Collages</em>, The Netherlands Fotomuseum, Rotterdam, The Netherlands. 2014: <em>John Stezaker: New Silkscreens</em>, Petzel Gallery, New York, USA;<em> 19th Biennale of Sydney</em>, Sydney, Australia. 2013: <em>John Stezaker</em>, Centre de la Photographie Gen&egrave;ve, Switzerland; <em>John Stezaker: Working from the Collection</em>, Les Rencontres Arles Photographie, France; <em>John Stezaker: One on One</em>, Tel Aviv Museum of Art, Israel; <em>Marriage</em>, Haggerty Museum of Art, Marquette University, Milwaukee, USA. 2011: <em>John Stezaker</em>, The Whitechapel Gallery, London, touring to MUDAM, Luxembourg and Kemper Art Museum, St. Louis, USA. 2010: <em>Lost Images</em>, Kunstverein Freiburg, Germany.</p> Wed, 04 Mar 2015 10:28:54 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Nicole Wermers - Herald St - February 28th - April 2nd Wed, 04 Mar 2015 10:24:32 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Maaike Schoorel - Maureen Paley - March 14th - April 12th <p>Maureen Paley is pleased to present the fourth solo exhibition at the gallery by Maaike Schoorel.</p> <p>Maaike Schoorel&rsquo;s work is informed by her research into the human mind&rsquo;s ability to perceive and understand the visual world. The subjects of her paintings appear at once recognisable and elusive. Using photographic source material of people, places and objects Schoorel&rsquo;s compositions simultaneously appear and dissolve into the canvas.</p> <p><em>The perceptual systems of the brain enable individuals to see the world around them as stable, even though the sensory information is typically incomplete and rapidly varying. Human and animal brains are structured in a modular way, with different areas processing different kinds of sensory information. Some of these modules take the form of sensory maps, mapping some aspect of the world across part of the brain's surface. These different modules are interconnected and influence each other.</em></p> <p><em>The process of perception begins with an object in the real world, termed the distal stimulus or distal object. By means of light, sound or another physical process, the object stimulates the body's sensory organs. These sensory organs transform the input energy into neural activity&mdash;a process called transduction. This raw pattern of neural activity is called the proximal stimulus. These neural signals are transmitted to the brain and processed. The resulting mental re-creation of the distal stimulus is the percept. Perception is sometimes described as the process of constructing mental representations of distal stimuli using the information available in proximal stimuli.</em></p> <p><em>Psychologist Jerome Bruner has developed a model of perception. According to him people go through the following process to form opinions:</em></p> <p><em>- When we encounter an unfamiliar target we are open to different informational cues and want to learn more about the target.</em></p> <p><em>- In the second step we try to collect more information about the target. Gradually, we encounter some familiar cues, which help us categorise the target.</em></p> <p><em>- At this stage, the cues become less open and selective. We try to search for more cues that confirm the categorisation of the target. We also actively ignore and even distort cues that violate our initial perceptions. &nbsp;Our perception becomes more selective and we finally paint a consistent picture of the target.</em></p> <p>wikipedia.org/wiki/Perception</p> <p>&nbsp;</p> <p>Born 1973, Santpoort, The Netherlands. Maaike Schoorel has recently returned from New York to the Netherlands and now lives and works in Amsterdam. Residencies include: The American Academy in Rome, 2015 (forthcoming) and the International Studio and Curatorial Programme, New York, 2013.</p> <p>Selected solo exhibitions include: Fondazione Memmo, Rome, Italy, 2015 (forthcoming); Frans Hals Museum, Haarlem, The Netherlands, 2012; <em>Maaike Schoorel - Zelfportretten &amp; Stillevens</em>, the Embassy of the Kingdom of the Netherlands, London, UK, 2011; <em>Album</em>, Museum de Hallen, Haarlem, The Netherlands, 2008.</p> <p>Selected group exhibitions include: <em>Landscape: the Virtual, the Actual, the Possible?</em> Guangdong Times Museum, Guangzhou, Guangdong, China, touring to: Yerba Buena Center for the Arts, San Francisco, USA,<em> How Soon is Now?,</em> Manifesta Foundation &amp; DutchCulture, Amsterdam, The Netherlands, <em>Variations: Conversations in and Around Abstract Painting, </em>LACMA, Los Angeles, USA, <em>The Peacock</em>, Grazer Kunstverein, Graz, Austria, 2014; <em>Nothing, Like Something Happens Anywhere</em>, Chapter, Cardiff, Wales, 2012; <em>Museum of Old and New Art</em>, Tasmania, Australia; <em>Saatchi Gallery in Adelaide: British Art Now</em>, Art Gallery of South Australia, Adelaide, Australia, 2011, <em>Painted Over/Under</em>, LACE, Los Angeles Contemporary Exhibitions, Los Angeles, USA, <em>Painting Between the Lines</em>, CCA Wattis Institute for Contemporary Art, California College of the Arts, San Francisco, USA, 2011; <em>British Art Show 7:</em><em> In the Days of the Comet</em>, Hayward Touring Exhibitions, United Kingdom, 2010; <em>Visible Invisible: Against the Security of the Real</em>, Parasol Unit, London, United Kingdom, 2009; <em>Eyes Wide Open &ndash; New to the Collection</em>, Stedelijk Museum, Amsterdam, The Netherlands, 2008.</p> Tue, 03 Mar 2015 17:46:25 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list - Royal Academy of Arts - March 8th 3:00 PM - 4:00 PM <p>Celebrate International Women&rsquo;s Day at the Royal Academy and join us for the inter-generational panel discussion, '<a href="https://www.royalacademy.org.uk/event/how-it-looks-from-here" rel="nofollow">How It Looks From Here: Women in Today&rsquo;s Art World</a>', moderated by Kirsty Lang and featuring Royal Academicians Eileen Cooper, Tess Jaray and Cathie Pilkington,&nbsp;and RA Schools student Gergana Georgieva,&nbsp;where they explore what it is like to be a woman in today&rsquo;s art world.&nbsp;</p> <p>Panel Discussion | 3-4pm | Reynolds Room, Burlington House&nbsp;</p> Mon, 02 Mar 2015 23:05:27 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list - Royal College of Art - Battersea, Dyson Building - March 12th - March 20th <p style="text-align: justify;">Stewarts Law RCA Secret turns 21 this year and is celebrating coming of age with a bold new collaboration that sees us working with some of industry&rsquo;s top curators, bringing in a whole new breadth of talent to the exhibition.</p> <p style="text-align: justify;">Twenty-three curators from around the world have been invited to commission three artists to make postcards for the sale. With contributors including industry leaders and the most exciting new names in contemporary curation, the programme mirrors the exhibition's ethos of placing established names next to the stars of the future.</p> <p style="text-align: justify;">Among the curators involved are&nbsp;Laurence Sillars, chief curator of the Baltic Centre for Contemporary Art; David Falkner, Gallery Director at Stanley Picker Gallery; Laura Sillars, Artistic Director at Site Gallery; Ingrid Swenson, Director of PEER; Alistair Hudson, Director of Middlesbrough Institute of Modern Art; Rosie Cooper,&nbsp;Project Curator at Liverpool Biennial; and Chris Clark critic and Senior Curator at Lewis Glucksman Gallery.</p> <p style="text-align: justify;">The exhibition is the most ambitious yet with postcards already received from some of the world&rsquo;s most renowned contemporary artists and designers including: Bob &amp; Roberta Smith, Maggi Hambling, Zandra Rhodes, Richard Long, Susan Hiller, Christo, David Bailey, Yinka Shonibare, Ryan Gander, Paula Rego, Nick Park, Norman Ackroyd, Paul Smith and Joseph Kosuth.</p> <p style="text-align: justify;">Stewarts Law RCA Secret gives you the chance to purchase art works that would be the envy of any collector for only &pound;55.</p> <p style="text-align: justify;">So what&rsquo;s the&nbsp;secret?&nbsp; All of the postcards are displayed anonymously so you have to guess which artist or designer has made the work before you hand over your cash.&nbsp;&nbsp;But don&rsquo;t worry if you&rsquo;re not an art expert; chances are you&rsquo;ll go home with something you&rsquo;ll love, whether it is by a famous name or a young art student (who could go on to be the next Tracey Emin!). All profits go towards helping emerging artists at a formative stage in their careers.&nbsp;</p> <p style="text-align: justify;">For further information on the event and how to register as a collector visit:&nbsp;www.rca.<a href="http://ac.uk/" target="_blank">ac.uk/</a>secret.</p> <p><strong>Exhibition open: 12 March &ndash; 20 March 2014,&nbsp;11am-6pm&nbsp;daily (late night opening on&nbsp;19 March&nbsp;until&nbsp;9pm)</strong></p> <p><strong>Sale day: Saturday 21 March 2014,&nbsp;8am-6pm</strong></p> Fri, 27 Feb 2015 17:58:22 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Redmond Entwistle - South London Gallery - March 4th 7:00 PM - 8:00 PM <div class="itemHeader"> <p class="leadQuote" style="text-align: justify;">(In collaboration with Andreas Reihse, sound)</p> </div> <div id="Overview" class="tab Overview"> <p style="text-align: justify;">A new performance by artist Redmond Entwistle inspired by the life of US soldier Edward Pimental, who was murdered by left-wing terrorists for his ID card in West Germany in 1985. The work comprises a sound composition by Andreas Reihse made from field recordings of locations from Pimental&rsquo;s life in the US and Germany, combined with a series of visual scores by Entwistle, elaborating on the multiple narratives that circulate around the murder.</p> <p style="text-align: justify;">Taking a cue from biographical details of Pimental's growing intellectual and artistic curiosity in the army, in the film he begins to experiment with sound recording around his base in the weeks leading up to his murder.&nbsp;<em>The General Line</em>&nbsp;allows for the realisation of the piece of music he is making, but draws on a wider set of recordings that extend to the places of his childhood and youth; a technical high school in Queens, a missile training site in Alabama, and the abandoned sites of old US army bases in the former West Germany.</p> <p style="text-align: justify;"><em>The General Line</em>&nbsp;is a companion piece to Redmond Entwisle&rsquo;s artists feature film&nbsp;<em>Lockvogel (Decoys)</em>&nbsp;and serves as both an addendum to, and a complication of the film.<br /><br />Film Review, Carolin Weidner<br />Translations, Amy Patton and Christiana Haack<br />Poster design, Annette Grund<br />Printing, Max Color/Medialis/Pixelgrain<br />Recording Assistant, Laura Varela</p> <p style="text-align: justify;"><em>The performance is a co-production between the Centre Pompidou/Hors Pistes, the SLG and Centre D&rsquo;Art Centemporain La Synagogue De Delme.&nbsp;<br /><br />Made possible with additional support from The Elephant Trust and Arts Council England</em></p> <p style="text-align: justify;"><em><strong>Booking is essential.&nbsp;<a href="http://www.southlondongallery.org/page/redmond-entwistle-2">Book online</a>&nbsp;or call 020 7703 6120.</strong></em>&nbsp;<br /><br /><strong>Biographies<br />Redmond Entwistle</strong>&nbsp;(1977, London) has made seven short and medium length artist films, as well as performances and installations that have shown at festivals and museums internationally, including the Whitechapel Art Gallery, London; Serpentine Gallery, London; Walker Art Center, Minneapolis; PS1 MoMA, NY; and the ICA, London. His last film Walk-Through was the focus of solo exhibitions at Cubitt Gallery, Tramway Gallery and International Project Space in 2012. His previous film Monuments premiered in Rotterdam Film Festival's Tigers Shorts Competition in 2010, and his medium length film and sound work Paterson - Lodz won Best International Film at Images Festival in 2008. In 2013, short retrospectives of his work were presented at Hors Pistes (Centre Pompidou) and BAFICI (Buenos Aires Independent Film Festival), and included in the survey of UK artists film Assembly at Tate Britain. His work has been nominated for the Jarman Award 2014, and a solo exhibition of his films will be presented at MIT List Visual Arts Center in January 2015.</p> <p style="text-align: justify;"><strong>Andreas Reihse&nbsp;</strong>is a Berlin based musician and artist.&nbsp;Since 1994 he is best known in his role as (founding) member of the internationally&nbsp;acclaimed electronic band Kreidler.&nbsp;As a solo artist he releases mostly electronic, often club-music. As a composer and performer of music for artists -&nbsp;for films, for plays, for performances, and for installations he has worked with Rosemarie&nbsp;Trockel, Hamish Morrow, Maximilian Zentz Zlomowitz, Thea Djordjadze, Giles&nbsp;Round, Andreas Gursky, Awst &amp; Walther, Frances Scholz / Mark von Schlegell,&nbsp;Astrid Klein or Mike Franz / Nadim Vardag.&nbsp;Recent activities include the video/sound installation&nbsp;<em>Volkan&nbsp;</em>(House of&nbsp;Extravaganza, Stromboli, 2013),&nbsp;<em>Long Lines Andropov's Ears</em>&nbsp;- a contribution to a&nbsp;project about radical architecture (2014), the Entropie Soundtrack LP with Isaac B.Trogdon (2014/15), three ongoing projects with Dalia Neis, a cross-media&nbsp;collaboration with Annika Henderson, and the latest Kreidler album&nbsp;<em>ABC</em>&nbsp;(2014,&nbsp;Bureau-b) which incorporates a co-op with Lior Shamriz accompanying the record&nbsp;with a film in six chapters, and<em>2+2=22 [The Alphabet],</em>&nbsp;a full length film by Heinz Emigholz, the basis of which is the recording session for&nbsp;<em>ABC</em>&nbsp;in Tbilisi/Georgia.&nbsp;</p> </div> Fri, 27 Feb 2015 16:11:41 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Ken Cox - CHELSEA space - April 29th - June 5th <p style="text-align: justify;">CHELSEA space is pleased to announce&nbsp;<strong>Ken Cox:&nbsp;<em>Poetry Machines&nbsp;</em></strong>as the second exhibition in our spring programme. A highly influential sculptor of the British concrete poetry movement, Kenelm (Ken) Cox (1927-1968) was a creator of kinetically powered poetry machines that made words move in space as material objects.&nbsp; Cox&rsquo;s career was cut tragically short in 1968, not long after the opening of his first solo exhibition at the Lisson Gallery, London. This is the first time his works have been shown in London since then, re-asserting Cox as a significant figure in the concrete poetry movement.</p> <p style="text-align: justify;"><strong>Ken Cox:&nbsp;<em>Poetry Machines</em></strong>&nbsp;has been curated by the concrete poetry specialist William Allen and CHELSEA space, with assistance from the Cox Estate.&nbsp;</p> Fri, 27 Feb 2015 16:08:57 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list