ArtSlant - Openings & events en-us 40 Mat Collishaw - Blain|Southern - London Hanover Square - February 13th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">For his second solo exhibition at <strong>Blain|Southern,</strong> <em>THIS IS NOT AN EXIT</em>, the British artist <strong>Mat Collishaw</strong> returns to the medium of oil painting. However, as is usual with his practice, nothing is literal; the primary source material - magnified images drawn from the pages of glossy magazines - is a simple metaphor, one part of a prism conceived to examine moral questions provoked by the excessive binge culture that preceded the global financial crisis.</span></p> <p style="text-align: justify;"><span style="font-size: small;">When seen from a distance, these large-scale works appear to be abstract paintings constructed on a classic modernist grid; closer inspection reveals them to be scraps of advertisements for luxury goods culled from ‘lifestyle’ magazines like <em>Tatler </em>and <em>Vogue</em>. But this is only partially the case; they are in fact facsimiles of the precisely folded, origami-like ‘wraps’ used by drug dealers to package cocaine, complete with powdery traces of the narcotic.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Our susceptibility to sensational imagery has long been central to Collishaw’s work, and these sumptuous paintings continue this tradition. For all their apparent swagger, they are in reality depictions of nothingness, revealing the symbiotic space that exists between illusion and reality, absence and presence. More prosaically, they are emblematic of the craven, insatiable aspect of human nature that will pursue something to its very end whatever the consequences, and yet inevitably remain unfulfilled. It is this unending vicious cycle to which Collishaw alludes in the exhibition’s title; there is no escape – this is not an exit – the words used at the close of Bret Easton Ellis’ novel <em>American Psycho</em>, which satirised the excesses of Wall Street in the 1980s.</span></p> <p style="text-align: justify;"><span style="font-size: small;">As with all of Collishaw’s oeuvre, multiple layers of meaning exist; the grid structure teasingly feeds into the theories propounded by the French philosopher Gilles Deleuze in his seminal work <em>The Fold</em>, in which he argues that the world can be interpreted as a body of infinite folds and surfaces that twist and weave through compressed time and space. Meanwhile, in taking magazine images first used to advertise consumerist dreams, then for selling cocaine, and finally as artworks hanging on the walls of a commercial gallery, Collishaw offers a wry comment on the all-devouring nature of capitalism.</span></p> <p style="text-align: justify;"><span style="font-size: small;">His use of <em>trompe l’oeil</em>, making the squares of paper appear three-dimensional, meditates further on the idea of illusion and reality, while his harnessing of the geometric styles of Modernist painting contradict this. Indeed, Collishaw sees the exhibition, in part, as a debasement of the medium of painting, the most traditional art historical medium.‘You can’t just paint – you have to address the whole history of painting and then make some sort of paradigm shift,’ he says. ‘I’ve been trying to find a way to do this, and this is my solution.’</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>THIS IS NOT AN EXIT </em>will be marked by the most comprehensive publication of Collishaw’s practice to date, including an essay by art historian Sue Hubbard and interview by Rachel Campbell-Johnson.</span></p> Tue, 23 Jul 2013 17:53:20 +0000 Bojan Šarčević, Sara Barker, Anna Barriball, Alice Channer, Aleana Egan, Knut Henrik Henriksen, Dan Shaw-Town - Drawing Room - February 13th, 2013 6:00 PM - 8:30 PM <p style="text-align: justify;" class="style75"><span style="font-size: small;">Late Night opening Friday 22 February and Friday 29 March until 8pm<strong></strong></span></p> <p style="text-align: justify;" class="style75"><span style="font-size: small;">The exhibition explores whether the languages of drawing and sculpture are intertwined or simply parallel.</span></p> <p style="text-align: justify;" class="style75"><span style="font-size: small;">Drawing has always been an essential tool to the sculptor, and many sculptors have carried their experimentation with materials into work on paper.  For many sculptors there is a clear demarcation between the two disciplines, and many sculptors make drawings that are autonomous, and independent of their work in three dimensions. The practice of drawing and of sculpture is intimately linked in the practice of these international artists.  The point at which an artwork becomes a sculpture as distinct from a drawing can, in instances, be blurred.  Some of the artists produce works on paper that fall within the more traditional definition of drawing.  Yet it is rare for these works on paper to be exhibited in isolation from the 3-D work - there is reciprocity between the two.</span></p> <p style="text-align: justify;" class="style2"><strong>Anna Barriball </strong>and<strong> Dan Shaw-Town</strong> share an employment of repetitive graphite mark-making.  This attention to process and the passage of time is countered by the formal strategies of Minimalism such as the employment of rectilinear shapes, the grid and serialisation.  <strong>Sara Barker</strong> and <strong>Aleana Egan</strong> use line to negotiate responses to visual and literary influences and to conjure open yet resolved forms.  <strong>Knut Henrik Henriksen</strong> has an interest in questioning and redefining architectural spaces, paying particular attention to the in-between and contradictory, and leaving the work open to adaption to different environments. <strong>Alice Channer </strong>and<strong> Bojan Šarcevic</strong> create works that are hard to define, incorporating a wide range of materials and procedures that pay attention to details, combining the domestic, the body and the mechanical.</p> <p style="text-align: justify;" class="style75">The artists are using prosaic, timeless materials such as cardboard, graphite, fabric, soot, paint, brass, thread and watercolour.  The pre-fabricated and the hand-made are combined seamlessly in works that challenge artifice and celebrate how the work is constructed. The works appeal to the tactile and optical dimensions that drawing and sculpture share.  In the work of each artist there is a fusing of opposites – inside and outside, objective and subjective, bodily and ascetic – and a consideration of in between, discursive spaces.   The works articulate a contest between formalism and conceptualism and the exhibition investigates the interplay between an attention to surface and material and attention to line and form. </p> <p></p> <table border="0" width="626"> <tbody> <tr valign="top"> <td width="170"><a href=""><img src="" border="0" height="125" width="125" /></a></td> <td width="23"> </td> <td width="167"><a href=""><img src="" border="0" height="75" width="170" /></a></td> <td width="99"><a href=""><img src="" border="0" height="61" width="100" /></a></td> <td width="13"></td> <td width="128"></td> </tr> <tr valign="top"> <td><a href=""><img src="" border="0" height="56" width="150" /></a></td> <td> </td> <td><a href=""><img src="" border="0" height="41" width="100" /></a></td> </tr> </tbody> </table> <p></p> Wed, 06 Feb 2013 16:05:43 +0000 Richard Artschwager - Sprüth Magers London - February 13th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Monika Sprüth and Philomene Magers are delighted to present an exhibition of work by the American artist Richard Artschwager. The artist’s first solo show at the London gallery will focus on a recent series of portraits, displayed alongside the sculpture Exclamation Point (Orange), 2012. The exhibition provides an introduction to Artschwager’s use of mediums, including sculpture and painting, through which the artist challenges assumptions about perception and the aesthetic, material and spatial experience of art. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Artschwager’s work is typically characterized by playful and provocative slippages between different media, conflating the visual world of images, which can be apprehended but not physically grasped, and the tactile world of objects. This dynamic relationship between pictorial representation and sculptural practices in the artist’s work is evident in his paintings, which provide the focus of the exhibition. While his sculptures are defined as much by coloration and their painterly elements as they are by their forms and materials, Artschwager’s paintings rely on texture and surface to acquire meaning. For over 40 years, Richard Artschwager has been applying the traditional media including charcoals, acrylics, pastels and paints, to Celotex, a rigid compound board formed from pressed fibres and generally used in construction. Although it has a smooth side, Artschwager executes the image on the texture’s reverse, exploiting the rough surface as an active participant that is essential to the work’s imagery, expression and meaning, as it kind of animates the pictorial surface. Artschwager borders the portraits with partly heavy, wooden or mirrored frames, propelling his paintings further into the three-dimensional realm. </span><br /><br /><span style="font-size: small;">The basis of his work is the use of photographs and newspaper images enlarged to the size of easel paintings (as in Generation IV, 2003), but also he constructs the imagery from memory. The magnification of the photographs, combined with the highly textured surfaces, cause the images to appear grainy and blurred, a hallmark of his style, yet retain a heavy, sculptural quality. The grisaille techniques deployed in portraits such as Was me, (2008) and Sixty + (2008) also work to invoke a photorealist aesthetic, prompting a non-subjective, and more object-like way of approaching the painting and the figure depicted. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Artschwager uses the form of portraiture to explore the human condition. The disconcerting perspectives and scales deployed in these compositions give the work a dissonance and internal disorientation that implies the limited nature of human understanding and the impossibility of gaining a full grasp on reality. In Self Portrait with Green Background , (2009) the figure seems energized by the rich green background, a colour of renewal, yet a sense of melancholy pervades the image, the face appearing empty and grey. The haziness of the image functions as a mask, a means by which to maintain distance, and infuses the grisaille paintings with ambiguity. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Richard Artschwager was born in 1923 in Washington D.C. He first studied chemistry, biology, and mathematics at Cornell University, and then informal art studies under Amedée Ozenfant. In the early 1950s he became involved in cabinet-making, producing simple pieces of custom made furniture. After a ruinous workshop fire at the end of the decade, he began making sculpture using leftover industrial materials, then followed with paintings, drawings, site-specific installation, and photographic-based work. His first exhibition took place at the Art Directions Gallery, New York in 1959. His work has been the subject of many important surveys, including the Centre Pompidou, Paris (1984); Deutsche Guggenheim, New York (1966); Kunstmuseum Winterthur in Switzerland (2003), and the Whitney Museum of American Art, New York (2012). It is also represented in many museum collections worldwide, including the Tate in London; the Museum of Modern Art, New York; the  Art Institute of Chicago; Museum Ludwig Cologne; and Fondation Cartier, Paris. </span></p> Mon, 14 Jan 2013 10:02:08 +0000 Martin Boyce - Whitechapel Gallery - February 13th, 2013 7:00 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;">Turner Prize-winning artist <strong>Martin Boyce </strong>discusses the role of the modernist concrete tree as an ongoing form in his work.</span><br /> </p> <p style="text-align: justify;"><span style="font-size: small;">Booking essential.</span><br /> <br /><span style="font-size: small;"> *Proof of concession or membership to be shown on the doors.</span></p> Wed, 09 Jan 2013 17:02:11 +0000 Simon Roberts, Nicola Green - Flowers | Kingsland Road - February 14th, 2013 6:00 PM - 8:00 PM <p>Flowers Gallery present an exhibition uniting two iconic bodies of work by their most recently represented artists; Nicola Green and Simon Roberts. The exhibition precedes major solo exhibitions by both artists to be presented later this year. Viewers are encouraged to examine the role of the artist in recording political events and election campaigns through two different mediums and starkly contrasting visual languages.</p> Mon, 14 Jul 2014 16:41:01 +0000 Rehana Zaman, Emma Hedditch, Conal McStravick - Studio Voltaire - February 14th, 2013 7:00 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;">Since Autumn 2011 Studio Voltaire has been running <em>Not Our Class,</em> a new programme of education and participatory projects that through research and practice take the work of Jo Spence as a starting point for investigating the legacy and potentials of her work in relation to contemporary culture and life.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><br /><span style="font-size: small;">This discussion event will invite Rehana Zaman, Emma Hedditch and Conal McStravick to talk in relation to working within the context of <em>Not Our Class </em>and methods for collaborative practice.</span></p> Wed, 30 Jan 2013 08:03:51 +0000 John Stezaker - The Approach - February 14th, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>The Approach</strong> is pleased to announce the debut of a new moving image work and series of accompanying collages by <strong>John Stezaker</strong>. This marks the first occasion that Stezaker’s recent work with the moving image is shown in a gallery exhibition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The film 'Blind' is made up of a vast amount of the artist’s personal collection of film stills rephotographed and projected at 24 images per second. The fast moving arbitrary sequence of historical film stills leave the viewer blind to any comprehensive narrative and spatial continuity, creating an ambiguous status of archive and film simultaneously. All films are collections of images that are apprehended at an ungraspable speed. Only by having an incremental difference between frames is the illusion of spatial continuity normally created. No such relation exists between the frames of ‘Blind’. As a viewer, we are blind to the individual components (frames) of cinema and since we cannot apprehend individual images at this speed, each viewing and repeat viewing rewards a different experience. By going into his archive and mobilising the resources of the whole of cinema history Stezaker creates a spectacle of discontinuity to almost overwhelming effect.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In the viewing room hangs a selection of collage works from the new series ‘Imposter’. Though executed in a different medium, these works are also about the space between images making them close to the experience of ‘Blind’. The series is composed of cut and layered film stills that feature at least one dominant and more ‘intact’ figure engaged in some kind of interaction or exchange with another collaged and therefore fragmented figure. This composite character is cast as the ‘imposter’. Further emphasising the feeling of imposture is the idea that a naturalistic figure is confronting a composite- as if the character is encountered in his duplicity. Through the fragmentation and rejoining of parts a slight scale disparity is often effected suggesting the enlarged heads or diminished bodies of caricature, imbuing the many of the pieces with a comic pathos. Perhaps due to the shifts in scale or the dramatic nature of the images from a new collection of German and Swedish film stills, these figures seem somehow exposed; not quite right for the space in which they are fixed, revealed as the imposters they are.</span></p> <p style="text-align: justify;"><span style="font-size: small;">John Stezaker was born in 1949 in England. Recent solo shows include: John Stezaker: One on One, Tel-Aviv Museum of Art, Israel (2013); Galerie Gisela Captain, Cologne, Germany (2012); The Whitechapel Gallery, London, UK (2011) then touring to MUDAM, Luxembourg, and Kemper Art Museum, St. Louis, USA (2012); Friedrich Petzel Gallery, New York, USA (2011); The Nude and Landscape, curated by Sid Sachs, University of The Arts, Philadelphia, USA (2011); Lost Images, Kunstverein Freiburg, Germany Richard Gray Gallery, Chicago (2010); Tabula Rasa, The Approach, London, UK (2010); Galerie Gisela Capitain, Cologne (2009); Friedrich Petzel, New York (2009); GAK, Bremen (2009); A Palazzo Gallery, Brescia (2008); Galerie Dennis Kimmerich, Düsseldorf (2008); Masks, The Approach, London (2007); Marriages, Karsten Schubert, London (2007); John Stezaker, The Rubell Family Collection (2007). Recent group shows include: Taj Mahal Travellers, Galerie Nordenhake, Stockholm (2009); The Quick and The Dead, Walker Art Gallery, Minneapolis (2009); Source Codes, Sprüth Magers, Berlin (2009); Le sang d’un poète, FRAC des Pays de la Loire (2009); Collage: The Unmonumental Picture, New Museum, New York (2008); Martian Museum of Terrestrial Art, Barbican Art Gallery, London (2008); Past- Forward,176, The Zabludowicz Collection, London (2008).</span></p> Wed, 06 Feb 2013 15:17:57 +0000 Gerard Byrne, Phil Coy - Whitechapel Gallery - February 14th, 2013 7:00 PM - 10:00 PM <p style="text-align: justify;"><span style="font-size: small;">Screenings and discussions that offer a journey into the mind and masterpieces of Samuel Beckett, whose work has had a profound influence on Gerard Byrne.</span><br /><br /><span style="font-size: small;">Participants include artists <strong>Gerard Byrne</strong> and <strong>Phil Coy</strong>, actress <strong>Lisa Dwan</strong>, literary critic <strong>Nicholas Lezard</strong>, Curator <strong>Kirsty Ogg</strong>, Senior Lecturer <strong>Derval Tubridy</strong> and writer <strong>Judith Wilkinson</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Booking essential.<br /><br />*Proof of concession or membership to be shown on the doors.</span></p> Wed, 06 Feb 2013 16:35:51 +0000 Anna Parkina - Wilkinson Gallery - February 14th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><strong><span style="font-size: small;">FACTS KNOWN ABOUT OBERIU</span></strong></p> <p style="text-align: justify;"><span style="font-size: small;">A short-lived avant-garde collective of writers, musicians, and artists in the 1920s and 1930s</span></p> <p style="text-align: justify;"><span style="font-size: small;">Coalesced in the context of the “intense centralization of Soviet Culture” and the decline of the avant-garde culture of Leningrad</span></p> <p style="text-align: justify;"><span style="font-size: small;">Daniil Ivanovich Yuvachev was born in St. Petersburg in 1905. In high school he invented a new surname for himself: Kharms. Kharms is pronounced with a hard “H,” much like how you’d pronounce “Hanukkah” if you were Jewish.</span></p> <p style="text-align: justify;"><span style="font-size: small;">There was a redheaded man who had no eyes or ears. He didn’t have hair either, so he was called a redhead arbitrarily. He couldn’t talk because he had no mouth. He didn’t have a nose either. He didn’t even have arms or legs. He had no stomach, he had no back, no spine, and he didn’t have any insides at all. There was nothing! So, we don’t even know who we’re talking about. We’d better not even talk about him any more. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Interestingly, OBERIU’s members mastered poetry, prose, and theatre, but had no experience in the visual arts  “Daniil Kharms is probably one of the best Absurdist Russian writers I've read from the OBERIU class. And this book is the best selection from Kharms that I've read. If you read this you can't help but laugh. You either take him too seriously or don't understand the genre. Every piece is thoroughly laced with the absurdist style. If you've read the Diapsalmata from Kierkegaard's Either/Or and enjoyed that, this is for you.” (A five-star review by Amazon user Andrew Rothwell)</span></p> <p style="text-align: justify;"><span style="font-size: small;">Nikolai Oleinikov was madly in love with a fly</span></p> <p style="text-align: justify;"><span style="font-size: small;">Nikolai Oleinikov wrote under many pseudonyms, such as Makar the Fierce, Chief Engineer of the Mausoleums, and Peter Shortsighted.</span></p> <p style="text-align: justify;"><span style="font-size: small;">-------- had four sons and they were all idiots. One of them couldn't even sit on his chair and kept falling off. -------- himself was not very good at sitting on his chair either, to be honest. It used to be quite hilarious: they'd be sitting at the table, at one end -------- would keep falling off his chair, and at the other end, his son.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Nikolai Oleinikov was an editor of children’s books and gave his friends jobs writing nonsense poetry.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Alexander Vvedensky was arrested in 1931, accused of being an anti-Soviet children's writer. They said he encoded anti-Soviet messages in nonsense poetry.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For OBERIU nonsense is neither the destruction of meaning nor a reflection of the meaningless of the world around us, but rather the primordial semiotic material from which all words and their meanings harden.</span></p> <p style="text-align: justify;"><span style="font-size: small;">“What is Frother?” Alexander Vvedensky asked. “And the pillow now fluttered, now soared into the heavens like a candle, now ran through the room like the Dnieper. Father sat over the cow-wheat writing desk, and the sons stood against the wall like umbrellas.  That’s what Frother is.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">The names OBERIU and  <i>chinari</i> are somewhat interchangeable in the scholarship OBERIU is an acronym that stands for Association of Real Art.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><strong><span style="font-size: small;">FACTS KNOWN ABOUT ANNA PARKINA</span></strong></p> <p style="text-align: justify;"><span style="font-size: small;">(Fewer facts are known about Anna Parkina than about OBERIU due to: not as old, just one person, still alive)  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Founder of the Institute of White Time A document found (written?) by Anna Parkina: “We have recently discovered a secret correspondence which happened during the 5 World War … concerning the return of the clandestine territories back to natural reserve. If we had discovered this correspondence in time, billion of lives would have been saved and many weapons kept for the good.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">“In her works Anna Parkina explores human ability to create subjective reality. It largely depends on the visual angle and distance between object and our eyes. It's hard to imagine that layers which we're unable to see and which therefore don't exist for us are hiding behind visible images: the tree is out of sight because the wall is covering it.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">The way Anna Parkina makes collages, fragments become patterns. Incidental objects in one environment determine the topography of another.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Her collages used to have a lot of text in them. These days not so much  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Born in Moscow in 1979</span></p> <p align="right"><span style="font-size: small;"><i>Brian Droitcour</i></span></p> Sat, 09 Feb 2013 07:27:52 +0000 - Barbican Art Gallery - February 15th, 2013 7:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Join exhibition curator, <strong>Carlos Basualdo </strong>(the Keith L. and Katherine Sachs Curator of Contemporary Art at Philadelphia Museum of Art) and internationally acclaimed contemporary artist <strong>Philippe Parreno </strong>in conversation with leading Duchamp scholar <strong>Paul B. Franklin</strong>, as they discuss the legacy of Duchamp today.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><b>Tickets</b>:<br /> £8 online/£10 on the door<br /> <br /> 50p online booking fee, 60p telephone booking fee per transaction - <a href=""><span style="text-decoration: underline;">click here</span></a> for more information on booking fees<br /><br /> subject to availability</span></p> Fri, 01 Feb 2013 17:34:03 +0000 Julie Béna, Pauline Curnier Jardin, Hippolyte Hentgen, Invernomuto - NETTIE HORN - February 15th, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">The exhibition brings together works that relate to mythologies within a frame of expanded practices. From Ancient and Modern references, the artists reshape new figures of fascination and wonder as storytellers – jigsaw knights, the Venus of W, The Mermaid-monkey or the mysterious B.O.B… They lean towards performativity within composite media displays – film, sculpture, tapestry, photographs – challenging the cinema apparatus as well as experimenting with media synthesis and collages of disparate fragments of vision.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Narrativity seems to be generalized as normative to define the ordinary human experience and used as a weapon of mass distraction. In the context of the "narrative” where marketing agencies and political strategists worship the power of the individual story, the artists formulate their narratives through a kaleidoscopic approach of idiosyncrasy to figure ways to reconsider fantasy. They often work with four hands therefore challenging the potential of originality and their projects expand beyond the exhibition space with trailers, costumes, accessories, drawings or texts as tactics to dismantle linearity.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Julie Béna</strong> works with objects, video, drawing and photography and predominantly produces in-situ installations. Her work considers the relationship between display and textuality - how a simple layout of elements with a title can unravel complex narrative streams. The artist relates this duality with the universe of theatre. As on a stage set, she develops ambiances and visual universes with symbolic objects interacting as an assemblage of Meta-stories.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Invernomuto</strong>'s projects evolve within various researches on local stories and myths in popular and underground culture. Their work explores the frontiers between fiction and fantasy, a sort of impenetrable zone, “thick like glue”, with video works, sculptures often involving performances with music. In the B.O.B. project, taken from the mainstream series “<em>The Dukes of Hazzard</em>” as well as other references, they created a fiction involving three characters, one imaginay (B.O.B.), one fictional (Uncle Jesse) and one real (Glen Danzig). We will only see the trailers with a voice-over by a storyteller, playing with the ordinary expectation of a cinematic plot.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Pauline Curnier Jardin</strong> presents a subversive approach to the representation of the feminine revelation in <em>Grotta Profunda,</em> inspired by the life of Saint Bernadette Soubirou. Bernadette sees and hears the Invisible which encourages her to look for the Truth about the origins of Humanity inside a cave, instead of taking its apparition as a response. There, mythological figures appear from a revised occidental cosmogony in front of the “wide open eye” of Bernadette. Pauline defines herself as a teller of tales. She mostly works with live arts, film, drawing and music through assemblage and collage processes.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Hippolyte Hentgen</strong> plays with drawing, blending miscellaneous references from comic books to modern art and experiencing different types of materials. They work with four hands on each drawing in order to make it impossible to decipher the style of one or the other. As they consider the practice of drawing today to be dependent on the reproduction of pre-existing styles, they withdraw from the idea of idiosyncrasy to instead explore a performative approach to the practice as a duo, who also work with sculptures, tapestries and stage creations.</span></p> Mon, 28 Jan 2013 14:47:37 +0000 Barbara Nessim - Victoria and Albert Museum - February 15th, 2013 10:00 AM - 10:00 PM <p style="text-align: justify;"><span style="font-size: small;">This display provides an overview of the career of the American artist and designer Barbara Nessim, from the 1960s to the present day. In addition to producing a wide range of highly distinctive artworks, Nessim has also worked as an illustrator and fashion designer, creating everything from shoes and textiles to commercial graphics. She has produced cover illustrations for Time, Rolling Stone and the New York Times magazine, plus adverts for Levis and Ralph Lauren. The display includes sketchbooks, prints, drawings, photographs, computer graphics, ceramics, artist’s books and other printed publications.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A book with the same title is published by Abrams in 2013, in association with the V&amp;A.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This display has been supported by the American Friends of the V&amp;A through the generosity of DLJ Real Estate Capital Partners and an anonymous donor in honour of Patric Prince.</span></p> Wed, 09 Jan 2013 16:36:03 +0000 Judith Brocklehurst, Georgie Manly - Camden Arts Centre - February 16th, 2013 2:00 PM - 4:30 PM <p> <section id="description"> <p style="text-align: justify;"><span style="font-size: small;">How Can Art? is a series of interactive sessions on Saturdays, for young people interested in art. The sessions are run by artists Judith Brocklehurst and Georgie Manly and invite students to come along with work they are making already or with ideas they would like to discuss in a supportive environment. The project aims to open up a dialogue between students and introduce aspects of contemporary practice and the possibilities that lie within the arts.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The practical activities run for six weeks at a time, and are free to attend. Those attending are expected to engage regularly so that the benefits are further reaching, however we understand if young people cannot commit every weekend. Please also note that there is no space for storing art projects, these must be able to be transported to and from Camden Arts Centre after every session.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The first session takes place on Saturday 9 February, 2.00 - 4.30pm. Subsequent sessions are on 16 &amp; 23 February and 9 &amp; 23 March. Registrations will be taken upon arrival.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For more information about How Can Art? or to register in advance, please email</span></p> <p style="text-align: justify;"><span style="font-size: small;">Nisha Matthew</span><br /><span style="font-size: small;"></span></p> </section> </p> Mon, 11 Feb 2013 17:07:22 +0000 Boyd and Evans - Flowers | Kingsland Road - February 16th, 2013 2:00 PM - 4:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Flowers Gallery</strong> presents <strong><em>Boyd &amp; Evans Paintings</em></strong>, the exhibition will comprise works from 1970s to the present day. Boyd &amp; Evans' longstanding artistic collaboration began in 1968 and was celebrated with an extensive and well received survey of their work at Ikon Gallery, Birmingham in July 2012. </span></p> <p style="text-align: justify;"><span style="font-size: small;">With a creative career that spans over four decades Boyd &amp; Evans' work has been through many noteworthy changes to subject, influence and execution. Encompassing media that include spray painted acrylic and stencil through to brushes and oil. Their work ranges from early portrayals of British hinterlands and smaller extracts of urban areas to vast depictions of North America's South West.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The influence of photography has proved paramount in Boyd &amp; Evans' painting practice. The 1990s saw a shift from their spray painting technique, which mainly explores interiors and familial relationships of people, to vast landscapes devoid of human presence.  This diversion from the subject of British life has seen them travel extensively on research trips from Borneo to the American South West obtaining new source material for an ever growing photographic library that feeds their painting.</span></p> Mon, 01 Apr 2013 17:18:05 +0000 Robert Rauschenberg - Gagosian Gallery - Britannia Street - February 16th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><em>Even though the [</em>Jammers<em>] are still quite romantic, my job was to impose a great amount of restraint upon myself…Nearly everything that I could think to do previously would have violated what these pieces wanted to be. And so with the fabrics, it was another kind of adventure, almost like going out and picking up garbage.</em></span><br /><span style="font-size: small;">—Robert Rauschenberg</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Gagosian Gallery</strong> is pleased to present <strong>Robert Rauschenberg</strong>’s<strong> <em>Jammers</em></strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Rauschenberg’s protean oeuvre ushered in a new era of postwar American art in the wake of Abstract Expressionism, with a free and experimental approach that drew inspiration from conceptual, materialist, and gestural approaches to art making. His restlessly inventive spirit pushed him to explore a wealth of materials and processes, thus collapsing the distinctions between medium, genre, abstraction and representation, while his invention of the “flatbed picture plane” forever changed the relationship between artist, image, and viewer. </span></p> <p style="text-align: justify;"><span style="font-size: small;">In the early 1970s, Rauschenberg moved his permanent studio from New York City to Captiva Island, off the Gulf coast of Florida (Today, this site is in use as the artists’ residency program of the Robert Rauschenberg Foundation). This relocation marked a shift from the gritty urban detritus that had been the basis of much of the earlier work to a rhapsodic embrace of color and geometric abstraction in a wholly new vernacular language. The <em>Jammers </em>series (1975–76), its title a direct reference to the Windjammer sailing vessel, is Rauschenberg’s salute to his new island life. In 1975, he also went to India to investigate textiles and papermaking, and the inspiration of this new and exotic context is evident in the use of vivid colors and nuanced textures of cotton, muslin, and silk.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For the most part, the <em>Jammers </em>comprise stitched fabrics in pure, solid colors, affixed to rattan poles or hung directly and loosely on the wall; whereas in works such as <em>Sprout </em>(1975) and <em>Caliper </em>(1976), the unadorned poles are the principal formal element, propped against the wall. Departing from Rauschenberg’s densely collaged imagery or muscular, layered materials, the <em>Jammers </em>are simple and light, focusing on the transparency and seductiveness of veil-like fabrics, that are lent sculptural structure by the cloth-covered poles or other found objects.  In <em>Quarterhorse </em>(1975), segments of blue, green, tan and yellow cloth evoke sandy beaches, palm trees, and bright sunshine.  In <em>Index </em>(1976), widths of gleaming azure and white satin drape together, a diptych of clouds and sea. The hot, saturated hues of <em>Pimiento III</em> (1976) and <em>Mirage </em>(1976) attest to more exotic influences; while <em>Coin </em>(1976) incorporates found tin cans, stripped of their labels, gleaming mysteriously inside a gauze bag that sags under their weight. </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Robert Rauschenberg</strong> was born in 1925, in Port Arthur, Texas and died on Captiva Island, Florida in 2008. He has had numerous exhibitions worldwide, including “Robert Rauschenberg: A Retrospective,” Solomon R. Guggenheim Museum, New York (1997, traveled to Menil Collection, Contemporary Arts Museum, and Museum of Fine Arts, Houston, Museum Ludwig, Cologne and Guggenheim Museum, Bilbao, through 1999); “Combines,” Metropolitan Museum of Art, New York (2005, traveled to Museum of Contemporary Art, Los Angeles, Centre Pompidou, Paris, and Moderna Museet, Stockholm in 2007); “Cardboards and Related Pieces,” Menil Collection, Houston (2007); “Traveling ‘70–‘76”, Museu de Arte Contemporânea de Serralves, Porto (2008, traveled to Haus der Kunst, Munich, and Madre, Naples in 2009); “Gluts,” The Peggy Guggenheim Collection, Venice (2009, traveled to The Tinguely Museum, Basel, Guggenheim Museum Bilbao, and Villa e Collezione Panza, Varese in 2010); and “Botanical Vaudeville”, Inverleith House, Royal Botanic Garden, Edinburgh (2011). Gagosian Gallery first exhibited Robert Rauschenberg’s work in 1986</span>.</p> Sat, 26 Jan 2013 15:14:25 +0000 Michael Krebber - Maureen Paley - February 16th, 2013 6:30 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Maureen Paley</strong> is pleased to announce a solo presentation of new work by <strong>Michael Krebber</strong>. This will be his fourth exhibition at the gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Would you confirm that ‘painting’ is used / explored by you as a filter?</strong> Might that question ask about a possible program of ‘painting’? Its application? In that case: painting, as well as any other activity, runs as an application that regularly and constantly changes, from for one person communicating with himself, to 2 people or more. Like society, here the programs runs wild, everyone might be in a different program, either actively or passively, and this is why I called this exhibition The ridiculized snails.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Is ‘painting’ still seen as a controversial activity?</strong> 
Jack Smith said that buying and possessing art was wrong, it was against the idea of art. Here lies the contradiction.But painting is also qualified as an image of the enemy, it therefore can easily seem to be used as a controversial activity. This became kind of common knowledge for the ‘knowing ones’ and I think I benefit a bit from that. And it is still an open game.
Please read my text “Puberty in Painting”.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Do you have to ‘defend’ artistically the use of painting as a medium?</strong> 
I think “Puberty in Painting” says it all and I do not want to defend or preserve it.
Instead of ‘defending’, I would prefer to throw in the idea of: identification with the aggressor.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Is painting an idea? A concept? A category?</strong> 
There is the issue of painting’s production against the issue of the institution of painting.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>What type of information does your painting contain?</strong>
 Depends on who will look at it. Mixed in with all kinds of personal issues of mine. This could also become a game, if somebody wanted to play.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Anecdotes, references, social networks have become an integrated visible part in your work. Does it belong to the ‘painting’?</strong> 
I heard somebody using the term ‘expanded painting’. In his text “Painting beside itself”, David Joselit quotes Martin Kippenberger who said in an interview about a painting, that not only the painting was important, but everything around it too, the people that the painter talked to, his whole network and also the noodles that he ate.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Michael Krebber in conversation, CAPC musée d’art contemporain, Bordeaux, France, 2012.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Born in 1954, Michael Krebber lives and works in Cologne, Germany. He is currently a Professor at the Städelschule, Frankfurt am Main.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Recent solo exhibitions include Les escargots ridiculisés, CAPC musée d’art contemporain, Bordeaux, France, 2012©; C-A-N-V-A-S, Uhutrust, Jerry Magoo and Painting, Greene Naftali, New York, USA, 2011; Here Comes The Sons, Real Fine Arts, New York, USA, 2011; FROM MCB TO MBC, Richard Telles Fine Art, Los Angeles, USA, 2010; Miami City Ballet, Galerie Daniel Buchholz, Berlin, Germany, 2010 and Pubertät in der Lehre/Puberty in Teaching, Kölnischer Kunstverein, Cologne, Germany, 2008©. Selected group exhibitions include Gambaroff, Krebber, Quaytman, Rayne, Bergen Kunsthall, Bergen, Norway, 2010©; Morror, Michael Krebber and Michaela Eichwald, International Project Space, Birmingham, UK, 2010; Held Up By Columns, Renwick Gallery, New York, USA, 2010; At Home/Not At Home: Works from the Collection of Martin and Rebecca Eisenberg, CCS Bard Hessel Museum of Art, Annandale-on-Hudson, NY, USA, 2010; Conditions of Display, The Moore Space, curated by Gean Moreno, Miami, USA, 2007; It Takes Something to Make Something: The Rausch Collection, Portikus, Frankfurt am Main, Germany, 2007; Dracularising, Neue Alte Brucke, Frankfurt am Main, Germany, 2007; The Most Contemporary Picture Show, Actually, Kunsthalle Nuernberg, Germany, 2006; Formalismus, Kunstverein Hamburg, Germany, 2004 and Rhinegold: Art from Cologne, Tate Liverpool, Liverpool, UK, 2004.</span></p> Sat, 09 Mar 2013 13:07:27 +0000