ArtSlant - Current exhibits en-us 40 Christiane Baumgartner, Michael Craig-Martin, Dexter Dalwood, Ian Davenport, Howard Hodgkin, Allen Jones, Paul Winstanley - Alan Cristea Gallery - 31 Cork St - January 5th, 2013 - February 9th, 2013 <p>Highlights from our 2012 publishing programme and new works.</p> Mon, 10 Dec 2012 15:42:12 +0000 Christiane Baumgartner, Michael Craig-Martin, Dexter Dalwood, Ian Davenport, Howard Hodgkin, Allen Jones, Paul Winstanley - Alan Cristea Gallery- 34 Cork St - January 5th, 2013 - February 9th, 2013 <p>Highlights from our 2012 publishing programme and new works. </p> Fri, 14 Dec 2012 14:46:42 +0000 Richard Harrison - Albemarle Gallery - February 7th, 2013 - March 9th, 2013 <p>Richard Harrison</p> <p>07 Feb - 09 Mar 2013</p> <p></p> <p>New works by Richard Harrison: There are few artists today whose work reaches into the inner soul stirring our basic emotional instincts whilst evoking responses of amazement and admiration. His abstract landscapes are rich in colour and texture with generous lashings of paint, which ebb and flow on the canvas reflecting turbulence and often violent upheaval.</p> Mon, 28 Jan 2013 13:28:34 +0000 Maxwell Doig, Iain Faulkner, Stuart Luke Gatherer, Harry Holland, Alexander Klingspor, Enrico Robusti, Peter Welford - Albemarle Gallery - February 7th, 2013 - March 9th, 2013 <p>07 Feb - 09 Mar 2013 </p> <p></p> <p>Albemarle Gallery is pleased to announce a series of collective exhibitions, which will showcase a number of works by artists represented by the gallery. Under the banner of Albemarle Collective these shows will run in conjunction with solo exhibitions with the aim of introducing a larger variety of works by our artists throughout the year. </p> <p>Featured Artists:</p> <p>Maxwell Doig, Iain Faulkner, Stuart Luke Gatherer, Harry Holland, Alexander Klingspor, Enrico Robusti, Peter Welford</p> Mon, 28 Jan 2013 13:31:25 +0000 Birgit Jürgenssen, Ana Mendieta, Hannah Wilke - Alison Jacques Gallery - January 22nd, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>'Feminist art of the 1970s sometimes has a reputation for being combative and crass, but these women demonstrate that they are strong artists and voices, tackling difficult subject matter with wit, assertiveness, and beauty.'</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">, February 2013</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">The early 1970s saw <strong>Birgit Jürgenssen </strong>(1949-2003), <strong>Ana Mendieta</strong> (1948-85) and <strong>Hannah Wilke</strong> (1940-93) shaping their distinctive artistic languages in Vienna, Iowa and New York respectively. And while each artist developed independently, they shared the same concern of creating works that are intractably bound to their own bodies. At a time when feminist activism and the sexual revolution saw political engagement and fundamental questions about art's relevance sweep across Europe and America, each chose the most resonant approach to confronting the pains and pleasures of contemporary female experience: using their own physical identities as their primary medium. Echoing Wilke's 1975 statement, 'I become my art, my art becomes me', this exhibition brings together rare and unseen works in new conversations which reiterate that, despite their untimely deaths, Jürgenssen, Mendieta and Wilke, now represent three of the most radical and enduring female voices of late twentieth-century practice.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition's title <em>'Body I Am'</em> is from the opening stanza of a poem <strong>Ana Mendieta</strong> wrote in 1981. In <em>Untitled (Self Portrait with Blood),</em> (1973), Mendieta splattered her face and upper torso in blood for a series of six photographic self-portraits. Her desire to explore violence against women had been triggered in part by a rape and murder case during her time at the University of Iowa, but in this series she is anything but a victim: defiant, engaged and wholly addressing the viewer's gaze. In the second space of the gallery, the films <em>Mirage</em> and<em>Mirage 1</em> (both 1974) are being seen together for the first time. In a scene befitting the idyllic imagery associated with expectant mothers in the mid-'70s, a naked, apparently pregnant Mendieta sits in a sunny Iowan field staring at her reflection in a mirror. She suddenly reaches for a long knife and slices into what we then realize is a prosthetic belly, ritually removing handfuls of white feathers from 'within her' and placing them on the long grass. Each film has a different intensity and level of violence but, however shocking their narrative, in both films Mendieta's composure, control and symbolic ownership of her body sits powerfully with her fascination with Santeria, the Cuban and West African system of beliefs, revisiting pagan rituals and ceremonies.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Birgit Jürgenssen</strong>'s Polaroid self portraits (1978-79) are also ritualistic, in this case through the artist painting her skin, then tying animal skulls to her forehead or looming from behind a death-mask cast from her own face and painted with skeletal features. In this group Jürgenssen dwelt not only on the notion of the 'beautiful corpse' but the idea in Austrian culture of 'Frau Welt', the personification of the idea of 'woman', whom patriarchal folklore viewed as being both fearful of death and a source of fatal disease. As alluring self-fetishised 'woman', Jürgenssen is both critiquing and counter-examining these destructive stereotypes, and those of occidental pictorial traditions. She takes this fetishisation further with two coloured-pencil anatomical studies in which parts of the body are reformed: in <em>Backbone Alteration,</em> (1974) her arched spine is broken into two columns, tearing her skin up the length of her torso, while in <em>Muscle Shoe</em> (1976) foot ligaments have become attached to a high heel and sole and become the shoe itself. In an adjacent porcelain sculpture, the foot has grown a spiked heel, while its toes try to squeeze into a crocheted gold glove. Nearby in <em>Pregnancy Shoe</em>, a worn, stained pink silk sculpture of a shoe includes a silk fetal form instead of a decorative buckle.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A key component of this exhibition is a group of terracotta sculptures from the late '60s and early '70s. They represent the genesis of the central sculptural innovation of <strong>Hannah Wilke</strong>'s early practice: a formal language which centred on the 'gestural fold' creating a form evocative of vaginal imagery but also one alluding to vessels or flowers. These rare, early examples show how Wilke strove to create pieces that were not merely representations of female genitalia, but compellingly, unapologetically beautiful sculptures in their own right. When Wilke spoke about her work being manifest in terms of 'living sculpture', presenting herself as both subject and object, she referred to all the media she explored, including drawing, performance, film and photography. She employs her wry Duchampian humour in two further works in the exhibition, which take pieces by her male artist contemporaries as their premise. In <em>Period</em> (1991), Wilke draws a number of her iconic vulva emblems across four Ed Ruscha postcards, shifting the intention of the word from punctuation to menstruation. <em>So Help Me Hannah:</em> <em>What Does This Represent / What Do You Represent (pink)</em> (1978) cites the original quotes from Ad Reinhardt's celebrated 1947 cartoon. But instead of merely adding another riff to his layered humour, Wilke subverts his words by printing them across an image of herself in the corner of a room, wearing nothing but high heels with her legs spread, surrounded by toy guns, Mickey Mouse dolls and other symbolic detritus. Wilke's direct stare demands that you answer what have now become her questions, pointing a finger more powerfully than the painting in Reinhardt's cartoon ever could.</span><br /><br /><span style="font-size: small;"><strong>Birgit Jürgenssen</strong> (b. Vienna, 1949; d. Vienna, 2003) is currently included in <em>Privacy</em>, Schirn Kunsthalle, Frankfurt, (until 3 November 2013) and <em>Re.act.feminism #2</em>, Fundacio Antoni Tapies, Barcelona (until 17 February 2013).</span><br /><span style="font-size: small;"><strong><br />Ana Mendieta</strong> (b. Havana, 1948; d. New York, 1985) is the subject of two substantial solo exhibitions this year:<em>Ana Mendieta. She Got Love,</em> Castello di Rivoli, Turin (until 5 May 2013) and a retrospective at the Hayward Gallery, London from September 2013. Her work is also included in the group show <em>A Bigger Splash</em>: <em>Painting After Performance</em> at Tate Modern, London (until 1 April 2013).</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Hannah Wilke</strong> (b. New York, 1940; d. Houston, 1993) work was recently included in <em>Tracing the Century: Drawing as a Catalyst for Change</em>, Tate Liverpool and <em>Elles </em>at the Seattle Art Museum, travelling from Centre Pompidou, Paris. Hannah Wilke is included in <em>Glam! The Performance of Style,</em> which runs until 12 May 2013 at Tate, Liverpool.</span></p> Wed, 13 Feb 2013 07:33:54 +0000 Pieterjan Ginckels - ANDOR - January 19th, 2013 - March 9th, 2013 <p>S.P.A.M. OFFICE is the first UK exhibition by Belgian artist Pieterjan Ginckels.   <br /><br />S.P.A.M. OFFICE appears to be a traditional modernist office setting; uniform office furniture has been made from cheap, low quality materials. S.P.A.M. Officers check e-mails, detect spam, print and file content in the S.P.A.M. Archive, poetically supporting the decorum of bureaucracy. They wear the uniform and logo of the ‘firm’, and monotonously disarm the spam to which the office is subjected.<br /><br />S.P.A.M. Officers become performers but also work for the artist. The officers' selections and archiving of spam messages enables Pieterjan Ginckels to reproduce the content and context of spam in his artworks. <br /><br />The exhibition's audience is invited to forward all their spam email to <a href="" rel="nofollow"></a>, as well as to come and watch the office at work.<br /><br />The performance of S.P.A.M. OFFICE was organised at Be-Part Center for Contemporary Art, Waregem, Belgium, (May 7th till May 15th 2011) and has been documented in the S.P.A.M. BOOK, published by Art Paper Editions.<br /><br />S.P.A.M. OFFICE at ANDOR represents Pieterjan Ginckels' first exhibition in the UK. Born in 1982 Pieterjan Ginckels lives and works in Brussels. He received the Center for Fine Arts Award at the 2011 Young Belgian Painters Award and has recently delivered solo projects in Aachen, Amsterdam, Antwerp, Cologne, Heerlen and Oostende. Ginckels first designed his characteristic ‘families’ of artworks in ‘1000 Beats’ (first built in 2008) and ‘PISTE’ (2010): installations with pronounced circular, multi-layered and cooperative aspects that generate metaphors in sound and image. He is represented in Amsterdam by Galerie de Expeditie where his solo exhibition runs until the 22nd of February, coinciding with Art Rotterdam where he has been selected as the <a href="" title="Art Rotterdam" rel="nofollow" target="_blank">Artist in Focus for 2013</a>. </p> Thu, 07 Feb 2013 17:17:36 +0000 David Austen, Ian Breakwell, Rudolf Fila, Peter Gallo, Leon Golub, Andrew Mansfield, Jon Thompson, Amikam Toren, Mark Wallinger - Anthony Reynolds Gallery - January 18th, 2013 - March 2nd, 2013 Mon, 04 Feb 2013 16:55:56 +0000 Partou Zia - Art First Contemporary Art - January 9th, 2013 - February 23rd, 2013 <blockquote> <p style="text-align: justify;"><span style="font-size: small;"><em>Like a poem, a painting is a festival, a holiday. A painting is a pause that celebrates or makes a place for Remembrance. Memory in itself cannot be transforming or transfiguring. The act of poetic alchemy changes one thing -­‐ the real experience -­‐ into another thing, a new or unknown thing. It is the imagination that acts as the director of this Ceremony of Remembrance… For me that is how painting proceeds: slow, doubtful, strange to the mind's eye, and ever dictatorial in its demands that I remain alert to the sudden, and the not yet known.</em> – Partou Zia 2005</span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;">In the five years following her residency as the first recipient of Tate St Ivesf pioneering programme at the historic Porthmeor Studios in 2003, Partou Ziafs painting flourished into a new, expressive phase of maturity. <em>Entering the Visionary Zone</em> was a prescient title for the exhibition and its accompanying catalogue, which followed, at Tate. Nobody could have guessed however that within two years her exuberant life of writing, painting and reading would have to channel itself into a narrow passage of time, intense in its dedication, where every moment mattered as she fought to survive a life-]threatening illness.</span></p> <p style="text-align: justify;"><span style="font-size: small;">An innate storyteller, Partou evolved a personal mythology focusing on an astonishingly vivid series of self-portrait paintings. Set in luminous, shimmering landscapes, the predominant presence has an increasingly spiritual quality, suffusing the many guises in which she depicts herself with an otherworldly sensibility.</span></p> <p style="text-align: justify;"><span style="font-size: small;">References to Italian Renaissance artists such as Andrea Mantegna, the Bellinis and Titian, enrich the late paintings (<em>My Flag</em> <em>2008</em>), together with the abiding influence of William Blake, whose archives she studied during her Tate residency. Partoufs Persian background with a love of the poetry and illuminated manuscripts of that Middle Eastern culture constantly nourished the visionary, dream-like quality of her art.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In her essay on Partou’s work for <em>The Grey Syllable</em> exhibition in 2005, Penny Florence described the paintings as messengers: “Paintings are messengers in the sense that, like all art they bring understanding from the far greater realm into that of the senses.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">Later, for the Memorial exhibition<em> In the Face of Wonder</em> at The Exchange in Penzance, Penny Florence expanded on the arresting quality of the figures in the strange and beautiful world of these paintings: </span></p> <p style="text-align: justify;"><span style="font-size: small;">“Making paintings that lead us to the right questions is the achievement of the visionary artist. And with it comes the visionary’s smile. For all their seriousness, for all that they deal with the great questions of life and death, these works, taken together, are not heavy. They may be weighty, even solemn sometimes, but that is as it should be in the face of wonder. But those little details – the floating slippers, the little pots of paintbrushes and artist’s impedimenta… (as In The Beginning, 2008) anchor us in the here and now, gently alluding to the material conditions of even the most elevated persons.”</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Portraits Beyond Self</em> seeks to present an artist who was a poet-­‐painter and who was forced to lay down her brushes just as she reached the height of her powers towards her fiftieth Birthday, when the cancer she so nearly overcame, took her away. The eloquence of her work is inspirational, and it is time now for it to be seen by a wider audience. Partou’s exquisite writing -­‐ from her <em>Extracts from The Notebooks of Eurydice</em> and beyond are also in the process of being brought to a wider readership, and the beginnings are present on the Art First website. Also viewable on the website are the paintings from the exhibition, and a new text by Penny Florence (Prof. Emerita, The Slade School of Fine Art, UCL).</span></p> <p style="text-align: justify;"><span style="font-size: small;">Partou Zia (1958 – 2008) emigrated from Tehran to England in 1970. She studied Art History at the university of Warwick, Fine Art at the Slade and was awarded a PhD for her writing and painting by the University of Plymouth. Exhibitions include Tate St Ives, The Newlyn Gallery, the Exchange, Penzance and Art First. Her work is in the collection of the British Museum, and New Hall Art Collection, Cambridge University.</span></p> Thu, 20 Dec 2012 09:47:52 +0000 Random International - Barbican Art Gallery - October 4th, 2012 - March 3rd, 2013 <p></p> <table border="0" cellpadding="0" cellspacing="0" width="340"> <tbody> <tr valign="top"> <td colspan="2" width="340"> <h1>Random International: Rain Room</h1> 4 October 2012 - 3 March 2013<br /> The Curve</td> </tr> <tr width="230" valign="top"> <td width="220"> <div style="width: 220px; float: left;"><b>Tickets</b>:<br /> <a style="color: #000000;" href="">Admission Free</a> <br /> <br /> <b>Times</b>: <br /> <a style="color: #000000;" href=""><br /> View gallery opening hours</a><br /> Open daily 11am - 8pm; Thu until 10pm; 1 Jan 12-8pm (last admission to the queue approximately two hours before closing) <strong></strong><br /> <br /> Current queuing time approx 3 hours<br /> <br /> It is possible that you may get wet especially if wearing dark clothing<br /> <br /> Flat shoes are advisable<br /> <br /> <br /> <br /> <br /><br /> subject to availability</div> </td> <td class="artform" width="120"> <div style="width: 120px;"> <div style="text-align: left; padding-left: 19px; height: 30px; position: relative;"></div> <div style="height: 23px; text-align: left; padding-left: 22px;"><a title="ShareThis via email, AIM, social bookmarking and networking sites, etc." class="stbutton stico_default">share this</a></div> </div> </td> </tr> <tr valign="top"> <td class="artform" colspan="2"><br /> <br /> <div id="nav-tab-area"> <div class="nav-tab-current">Description</div> <div class="nav-tab"><a href=";pg=4091"><b>Visitor info</b></a></div> <div class="nav-tab"><a href=";pg=4168"><b>Wayne McGregor</b></a></div> <div class="nav-tab"><a href=";pg=4180"><b>Press</b></a></div> </div> </td> </tr> <tr valign="top"> <td colspan="2" class="afbody"><br /> <strong></strong><br /><br /><strong>Random International</strong> invites you to experience what it’s like to control the rain. Visitors can choose to simply watch the spectacle or find their way carefully through the rain, putting their trust in the work to the test. <br /><br />More than the technical virtuosity necessary for its success, the piece relies on a sculptural rigour, with the entire Curve transformed by the monumental proportions of this carefully choreographed downpour and the sound of water. <br /><br />Random International are known for their distinctive approach to digital-based contemporary art. Their experimental artworks come alive through audience interaction and staged performance. <br /><br />Random International are represented by Carpenters Workshop Gallery, London and Paris. <br /><br /><strong>In order for visitors to enjoy the sensory experience of <i>Rain Room</i>, there is a limited capacity of 5 people at a time in the rain. <br /></strong><br /><strong>Please be aware that due to the popularity of <i>Rain Room</i>, the queue time currently stands at around two hours, at peak times including evenings and weekends up to three hours.<br /><br />We advise visitors to arrive as early in the day as possible, a minimum of two hours before closing time. Entry to the queue is subject to the number of visitors already waiting. Anyone arriving later may not be allowed to join the queue as we are unable to admit visitors after the gallery closes. Thank you for your patience.</strong><br /> </td> </tr> </tbody> </table> Tue, 08 Jan 2013 03:10:03 +0000 - Beaconsfield - January 9th, 2013 - February 16th, 2013 <p><b>FlatScreen</b> 1 &amp; 2 Canteen Gallery</p> <p>A rolling programme of experiments in film, video, performance and dance existing free-to-view in the digital realm.</p> <p>Selected by David Crawforth and Naomi Siderfin</p> Thu, 17 Jan 2013 16:18:24 +0000 Ed Ruscha - Bernard Jacobson Gallery - January 10th, 2013 - February 23rd, 2013 <p style="text-align: justify;"><span style="font-size: small;">Bernard Jacobson Graphics is pleased to announce its forthcoming exhibition of prints by the renowned American artist<strong> Ed Ruscha</strong>. <strong><em>I'm Amazed</em> </strong>will provide unique insight into the celebrated graphic output of this important American artist, focusing on his world of words. Following in the tradition of artists who used words in their work, from the Dadaists and Surrealists who used them in a nonsensical way or as a psychological tool to the Conceptual artists who focused on the meaning of words, Ed Ruscha is part of the first generation of pop artists who explored words as a formal or aesthetic device. He uses words as abstract shapes, which don't necessarily have a literal meaning:</span></p> <p style="text-align: justify;"><span style="font-size: small;">"They just occur to me, sometimes people say them and I write them down and then I paint them. Sometimes I use a dictionary."</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition at Bernard Jacobson Graphics presents some of the most iconic images by Ruscha, beginning with the screenprint <em>Hollywood</em>. Ruscha was able to view the famous Hollywood sign from his studio, and painted it in different versions over the next twenty years. Even though these signs are an iconic symbol for the spirit of Southern California and the pop and celebrity culture of the United States, the artist uses them only as words. "Words are pattern-like, and in their horizontality they answer my investigation into landscape. They're almost not words - they are objects that become words."</span></p> <p style="text-align: justify;"><span style="font-size: small;">Coming from the midwestern city of Oklahoma, Ruscha moved in his late teens to Los Angeles, which offered him a wealth of material for his artistic expressions. On his journeys home to Oklahoma he passed the petrol stations, which became the subject of a series of paintings and prints exhibited here. Ruscha included the photos from these trips to Oklahoma in his first artist's book; he later created a portfolio with prints of his artist's book covers, which also feature here.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In some of his later works, Ruscha became bored with the typographical restrictions of his words, and he began what he calls his "romance with liquids." The now free-floating letters written with spilled liquid gave Ruscha more freedom in his use of them, as for example with <em>Lisp</em>. He further extended his artistic experiments with what could be called his "romance with materials." Ruscha started to use organic materials and foodstuff for his prints, such as chocolate syrup, baked beans, and caviar, as in his London-inspired portfolio <em>News, Mews, Pews, Brews, Stews, Dues</em>. In his painting <em>Evil</em> he even used his own blood. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Surrealist ideas, especially from Magritte and Dali, were of great interest for Ruscha. The often-explored fears and fantasies in the Surrealist movement are to be found in his <em>Insect</em> portfolio, with ants and cockroaches which are reminiscent of Luis Bunuel's film <em>Un Chien Andalou</em>. The insects in Ruscha's portfolio are nevertheless shown as meticulously copied insects with detailed bodies and wings, rather than as frightening or threatening objects.</span></p> <p style="text-align: justify;"><span style="font-size: small;">One of his oversized insect prints reads "I'm Amazed"; this was one of the first prints where the artist used sentences with a literal meaning in his work. Like many other works in the exhibition, it was published by Bernard Jacobson. Bernard Jacobson's portfolio <em>Man walking away from it all </em>was recently exhibited in a major show of Ed Ruscha's art at the Los Angeles County Museum of Art. His work is exhibited worldwide, the latest instance being this past summer at the Kunsthaus Bregenz, Austria. A forthcoming exhibition of prints and photographs opens in 2013 at the Kunstmuseum Basel.</span></p> Wed, 06 Feb 2013 15:27:05 +0000 Kurt Schwitters - Bernard Jacobson Gallery - January 28th, 2013 - April 3rd, 2013 <blockquote> <p style="text-align: justify;"><span style="font-size: small;">"I could see no reason why used tram tickets, bits of driftwood, buttons and old junk from attics and rubbish heaps should not serve well as materials for paintings; they suited the prupose just as well as factory-made paints... It is possible to cry out using bits of old rubbish, and that's what I did, gluing and nailing them together."</span><br /><span style="font-size: small;">-Kurt Schwitters</span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;"><strong>Bernard Jacobson Gallery</strong> is proud to announce its forthcoming exhibition of collages and assemblages by the German painter, sculptor, typographer and writer <strong>Kurt Schwitters</strong> (1887 Hanover - 1948 Kendal), one of the pioneers of European Modernism. The exhibition will run from 28th January to 30th March 2013 and coincide with the Tate's <em>Schwitters in Britain</em> exhibition opening to the public on 30th January.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Schwitters was a significant figure in European Dadaism. Influenced by Expressionism and Cubism, he created his own form of Dada in Hanover called <em>Merz</em>, after the syllable 'merz' taken from an ad for the <em>Kommerz- und Privatbank</em>. <em>Merz</em> soon became a catch-all phrase to describe all of his creative activities covering not only art, but also abstract drama and poetry, cabaret, music, photography and architecture. He was a noted performer and a prolific writer, also publishing the innovative Merz journal that appeared intermittently from 1923-32.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Schwitters is most famous for his abstract collages which he began to make in the winter of 1918/19 using found and everyday objects such as labels, bus tickets, fabric and bits of broken wood. They were born out of his post-war feeling: 'Everything had broken down and new things had to be made out of the fragments; and this is Merz.'</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition will comprise around twenty works dating from 1920 to 1947. Highlights include his collages from the 1920s such as <em>Untitled (Katan or 703)</em>, c.1921;<em>Mz 26, 45 Sch</em>., 1925-26 and <em>JOS.MA</em>, 1927. Works from this period are characterized by a gradual move to more rectilinear, simpler compositions with cleaner, sharper lines and the use of large blocks of single colours, taking inspiration from the new generation of Constructivists from Eastern Europe and the Netherlands, especially his friends El Lissitzky and Theo van Doesburg. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Other highlights include later works such as <em>Collage with playing card</em>, 1940 and <em>C50 Last Birds and Flowers</em>, 1946, incorporating fragments from packaging and newspapers reflecting British life as well as assemblages such as <em>Eye on Cheese</em>, 1944-47 and <em>Golf Tee</em>, 1947 incorporating organic material and objects found on a beach, such as wax, drift wood and pebbles, replacing the mass produced ephemera of previous years reflecting his move away from London to rural Cumbria in 1945. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Schwitters' undogmatic and non-elitist art, by elevating the rejected, the discarded and the useless to fine art, inspired such post-war pioneers as Jasper Johns, Robert Rauschenberg, Eduardo Paolozzi, Richard Hamilton and Joseph Beuys; and he is now seen as the grandfather of many post-1945 art movements, from Pop Art to Conceptual, Installation and Performance Art.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Work by Kurt Schwitters can be seen in many art museums, including the Museum of Modern Art in New York; the Centre Pompidou in Paris; Museum Ludwig in Cologne; the Tate in London and the Armitt Museum in Ambleside. The largest and most important collection of his work, along with a reconstruction of the first Merzbau room, can be found in the Sprengel Museum in Hanover, Germany, which also has an extensive Kurt Schwitters archive.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Schwitters in Britain</em> can be seen at Tate Britain, London, from 30th January to 12th May 2013. The exhibition focuses on the artist's British period, from his arrival in Britain as a refugee in 1940 until his death in Cumbria in 1948 and includes over 150 collages, assemblages and sculptures.</span></p> <p style="text-align: justify;"><span style="font-size: small;">*Easter Closure: Friday 29 March - Monday 1 April</span></p> Mon, 01 Apr 2013 16:56:04 +0000 Michael Reisch - Bischoff/Weiss - January 25th, 2013 - March 9th, 2013 <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 15:07:53 +0000 Charles Atlas - Bloomberg Space - January 25th, 2013 - March 31st, 2013 <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> Mon, 25 Mar 2013 22:41:01 +0000 Sanja Iveković - Calvert 22 - December 14th, 2012 - February 24th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The <strong>South London Gallery </strong>and<strong> Calvert 22</strong> present<strong> <em>Unknown Heroine</em></strong>, the first exhibition in the UK of Croatian artist,<strong>Sanja Iveković</strong> (b. 1947, Zagreb). The importance of Iveković’s pioneering work in collage, film, performance and installation, which tackles issues of female identity, consumerism and historical amnesia, has recently been acknowledged by her inclusion in dOCUMENTA (13), as well as through major retrospective exhibitions at Mudam, Luxembourg and MoMA, New York. This timely retrospective, curated by Lina Džuverović and spanning both the SLG and Calvert 22, introduces work made over a period of four decades against a background of political unrest. </span></p> <p style="text-align: justify;"><span style="font-size: small;">At the South London Gallery, works from the mid-1970s such as <em>Double Life</em> and <em>Tragedy of a Venus </em>explore the appropriation of female identity by the media and issues of consumerism more generally. <em>Double Life,</em> 1975, originally published as an artist’s book, pairs photographs of women cut out from glossy magazines with those of the artist taken at different stages of her life. Mirroring each other in pose, gesture, situation or prop, the alignment of images highlights the discrepancy between the realities of everyday life and the highly stylised version promoted in the media. Taking this idea into the realm of celebrity, in <em>Tragedy of a Venus</em>, 1975, Iveković places pictures of Marilyn Monroe alongside those depicting scenes from her own life, again questioning the equivocal, constructed status of women and the division between public and private narratives.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Works at Calvert 22 focus on questions of historical amnesia. <em>Ponos (Pride)</em>, 2003, for example, examines the inextricable links between politics and public space through the renaming of shops, public buildings and streets. <em>Ponos (Pride)</em> is a replica of an original neon shop sign from a textile shop in Zagreb, now renamed to eliminate the socialist undertones of the title. <em>GEN XX</em>, 1997-2001, similarly explores history and memory, appropriating magazine adverts of glamorous women which, upon closer inspection, reveal names of partisan heroines from socialist times. The banal advertising copy is replaced with the charges and execution dates of young, female anti-fascist militants of World War Two, documenting the erasure of these unknown heroines from the official history.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Always politically engaged, Iveković’s practice invariably embodies issues of civil liberty and dissent. In <em>Triangle</em>, 1979, a provocative action carried out during a visit by President Tito, Iveković drew attention to the oppression and machismo associated with political leaders and their entourages. In more recent works her activism has been more direct, collaborative and often focusing on violence against women. <em>Women’s House (Sunglasses)</em> was started in 2002 and is an on-going collaboration with women who have suffered domestic abuse. Advertisements for well-known brands of sunglasses are altered to incorporate short but searing statements by battered women, shifting our reading of the glasses from fashion accessory to cover-up mechanism. Disseminated through posters, billboards and pamphlets, this collaboration has so far been realised with women’s centres in Poland, Croatia, Italy, Luxembourg and the Netherlands.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Covering a career of over 35 years, <em>Unknown Heroine</em> offers a comprehensive and fascinating view into the politics of power, gender and collective memory that continue to challenge, provoke and unsettle.</span></p> Thu, 01 Nov 2012 16:34:48 +0000 - Camden Arts Centre - July 11th, 2012 - July 31st, 2013 <p style="text-align: justify;"><span style="font-size: small;">This year pupils from The Bridge School, Jack Taylor School and The Village School have been exploring the theme of buildings and architecture with artists Judith Brocklehurst and Georgie Manly. We recognise the achievements of the pupils, teachers and artists with a week-long exhibition in the Artists’ Studio.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Over the course of the year pupils have been using performance and role play as a way of testing building materials and tools. Each session has produced a series of playful works in response to Camden Arts Centre and their school environments.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A private view and drinks reception for this exhibition will take place on Tuesday 10 July, after a unique ‘In Conversation’ event, to celebrate the tenth year of delivering this collaborative arts project between artists and special educational needs schools.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Get the Message is currently supported by The Paul Hamlyn Foundation and Esmée Fairbairn Foundation.</span></p> <p style="text-align: justify;"></p> <section id="description"> <p><strong>Tuesday 10 July, 6.30 - 8.30pm</strong></p> <p>Join us to celebrate 10 years of Get the Message and to acknowledge the work of this year's pupils, teachers and artists.</p> </section> <p></p> Mon, 01 Jul 2013 17:29:30 +0000