ArtSlant - Recently added en-us 40 Ben Johnson, Hwang Seon-Tae, Lee Jeonglok, Moto Waganari - Albemarle Gallery - May 14th - June 6th <p>Masters of Light</p> <p>14 May - 06 Jun 2015</p> <p>&nbsp;</p> <p>The art works included in this exhibition are very different from one another, but they do have one characteristic in common. They report on the magic of light &ndash; to venture on a tautology: they reveal its power to reveal. The Korean artist <strong>Hwang Seontae</strong> and the British painter <strong>Ben Johnson</strong> depict interior spaces that are defined and moulded by the light that fills them. <strong>Moto Waganari</strong>&rsquo;s network sculptures are penetrated by light. His figures cast shadows, doubles of themselves, against the wall. <strong>Lee Jeonglok</strong>, also Korean, uses photography to make images of trees that seem to be illuminated by the force of the life pulsing within them &ndash; trunks, branches, twigs, leaves, all ablaze with a violent life force.</p> <div>&nbsp;</div> Tue, 05 May 2015 10:07:20 +0000 Dominic Shepherd - CHARLIE SMITH london - May 15th - June 20th <p style="text-align: justify;" align="left">&lsquo;To make sure of what I already suspected, I leaned out over the water and I lifted the lantern, and out of the black watery mirror a face peered up at me, a face with severe and solemn features and grey eyes, an old knowing face, and it was I.&rsquo;&nbsp;<br />Hermann Hesse,&nbsp;<em>Flute Dream</em></p> <p style="text-align: justify;" align="left">The bare foot prophet lives in the wilds, against the mainstream. Proto hippies such as Karl Wilhelm Diefenbach and Gustav Nagel lived by their own codes, intentionally positioning themselves against convention. Embracing nature; rejecting the institutional; reinterpreting the commonplace, the bare foot prophet finds truth in nature and formulates his own mythologies.</p> <p style="text-align: justify;" align="left">In this exhibition Dominic Shepherd responds to the progress of our times, channelled via his own idiosyncratic circumstances. Edging towards the end of an idyll, where development has come to interrupt a fifteen year reverie, the artist states: &lsquo;this new body of work has been made to the sound of chainsaws and burning of trees that glow in the night&rsquo;. Shepherd&rsquo;s paintings during this period have become a personal record of an attempt to live apart from everyday contemporary society, where the woods have provided a canopy wherein have lain dream, imagination, fantasy and contemplation.</p> <p style="text-align: justify;" align="left">Shepherd&rsquo;s method is to fuse life and work, refracting information from the ages with prismatic effect. Folkloric and cult cyphers are blended with the personal as Shepherd freezes time, casting his masquerading subjects in a fictionalized place that might just be real. There is a slippage of time and place where it becomes impossible to unravel reality from illusion. Shepherd&rsquo;s paintings combine to elucidate a personal mythology populated by his very own deities, heroes, ancestors, and progeny.</p> Mon, 04 May 2015 16:32:59 +0000 Alessandro Raho - Alison Jacques Gallery - June 10th - July 4th <p style="text-align: justify;"><em>The potent mix of abstraction and figuration in Raho&rsquo;s work elucidates one of the key aspects of his approach to painting, in which he makes the issue of &lsquo;style&rsquo;, in all its senses, a central element. The way Raho toys with different modes of painting, adopting either hard-edged, photo-based realism or misty romanticism in the pastoral tradition of Constable and Turner, mirrors the politics of taste and style as played out by his sitters. The figures&rsquo; manner of dress and pose, the repeated reference to fashion imagery and the geographical array of places all tend to convey the fantasy of aspiration as much as reality. Raho not only captures who we are but, more importantly, who we want to be or who we want to appear to be. In this sense, Raho is truly a painter of modern life.&rsquo;</em></p> <p style="text-align: justify;">- &nbsp;Nicholas Cullinan.&nbsp;<em>Alessandro Raho.&nbsp;</em>London: Lund Humphries, 2011</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Alison Jacques Gallery is pleased to announce a solo exhibition of recent paintings by Alessandro Raho (b. Nassau, Bahama, 1971). This will be the artist&rsquo;s fourth exhibition at the gallery.&nbsp;</p> <p style="text-align: justify;">Alessandro Raho&rsquo;s paintings include portraits of his friends or members of his family, portrait commissions, and landscapes. Using oil paint Raho works from photographically derived images which he renders in his own unique style. A sense of design underpins the strong naturalism apparent in all of his work. By carefully selecting every element of his subject&rsquo;s attire from blue nail polish to vintage Louis Vuitton dresses to baby blue Snoopy T-shirts Raho&nbsp;cleverly integrates urban culture and iconography with classical portraiture.&nbsp;</p> <p style="text-align: justify;">Against his signature contemporary white background Raho focuses closely in on select details whilst subtly fading other others out. &nbsp;He captures a gaze, expression, or an article of clothing in a unique and simplified way, purposefully flattening the image whilst simultaneously exposing his process of painting. In&nbsp;<em>Bryan Ferry</em>&nbsp;(2014) Raho depicts his tweed coat with shorthand, indicating the stitches he had observed in Frans Hals and Edouard Manet paintings. Ferry&rsquo;s slightly pensive pose exposes a blue tie and jacket, suggested with a single stroke of yellow ochre. In&nbsp;<em>Ben</em>&nbsp;(2013) the subject is wearing a pink T-shirt, consumed with a red &lsquo;Moschino&rsquo; heart. The bright red heart and equally vibrant blue pants seem to pop forwards in primary contrast whilst the pinkness of his shirt is reflected in his cheeks and lips. In&nbsp;<em>Jessica</em>(2013) the black lines of her geometrically pattered dress direct the viewer across the composition - to black tights, white ballet flats and a direct and confidant gaze.&nbsp;</p> <p style="text-align: justify;">Alessandro Raho was born in Nassau, Bahamas in 1971 and graduated from Goldsmiths College, London in 1994. Recent exhibitions include&nbsp;<em>I Cheer A Dead Man's Sweetheart</em>, De La Warr Pavilion, Bexhil-on-Sea (2014);&nbsp;<em>Knock Knock</em>, Jerwood Gallery, Hastings (2013);&nbsp;<em>Painting Show</em>, Eastside Gallery, Birmingham (2011). Currently Patrick De Brock Gallery in Knokke is exhibiting new paintings by Alessandro Raho in his first solo show at the gallery. Raho&rsquo;s work is included in public collections such as the Museum of Modern Art, New York, the Seattle Art Museum and the National Portrait Gallery, London where Raho&rsquo;s Portrait of Judi Dench is currently being exhibited. In 2011, Lund Humphries published a monograph on the work of Alessandro Raho&nbsp;with essays by Michael Bracewell and Nicholas Cullinan,&nbsp;recently appointed Director of the National Portrait Gallery, London.</p> Mon, 04 May 2015 16:29:30 +0000 - South London Gallery - May 23rd 5:00 PM - 6:00 PM <p style="text-align: justify;">Chosil Kil and Marie Lund invite artist and writer Jesper List Thomsen and musician Johannes Lund for the sixth instalment of&nbsp;<em>One Hour Long Exhibition</em>. Unscripted and unrehearsed, the performance explores the temporality of an exhibition through a natural sequence of actions.</p> <p style="text-align: justify;"><em><strong>Booking is essential. Book&nbsp;<a href="" target="_blank">online</a>&nbsp;or call&nbsp;020 7703 6120.</strong></em>&nbsp;</p> Mon, 04 May 2015 16:21:46 +0000 Kapwani Kiwanga - South London Gallery - May 20th 7:00 PM - 8:00 PM <p style="text-align: justify;">For this lecture-performance, presented in conjunction with the exhibition&nbsp;<em><a href="" target="_blank">Kinjiketile Suite</a></em>, Kapwani Kiwanga takes us on a journey between fact and fiction whilst revealing forgotten accounts and fantastical stories associated with the legacy of the Maji Maji rebellion.<br /><br /><em><strong>Booking is essential. Book&nbsp;<a href="" target="_blank">online</a>&nbsp;or call&nbsp;020 7703 6120.</strong></em></p> Mon, 04 May 2015 16:19:17 +0000 Flora Hauser - Ibid. - May 6th - June 27th Mon, 04 May 2015 16:09:39 +0000 Group Show - Ambika P3 - May 30th - June 3rd <p>University of Westminster - BA (hons.) Mixed Media Fine Art Degree show 2015<br /><br />&ldquo;NAMES&rdquo;<br /><br />PRIVATE VIEW 2ND JUNE 6:30-8:30PM<br />AMBIKA P3; UNIVERSITY OF WESTMINSTER; 35 Marylebone Road, London NW1 5LS (entrance through gate at right hand side of building)<br /><br />FREE DRINKS<br /><br />AFTERPARTY AT &lsquo;THE GLOBE&rsquo; PUB ON MARYLEBONE ROAD<br /><br />EXHIBITION OPEN TO THE PUBLIC 30 MAY &ndash; 4 JUNE; 11:00AM &ndash; 6:00PM DAILY (enter through main university complex)<br /><br />We are pleased to invite you to the Private View event for the BA (hons.) Mixed Media Fine Art end of Degree exhibition at the University of Westminster; &ldquo;NAMES&rdquo; at Ambika P3, Marylebone Road in June 2015. Ambika P3 is one of the largest exhibition spaces in central London at 14000 sq. ft. Our aim is to make the exhibition an ambitious and thought-provoking presentation of our art practices across various media, which have developed over three years of study and practical engagement. The exhibition will present the culmination of three years&rsquo; hard work and will feature 44 talented young graduating artists. Due to the mixed media nature of the course, the show will feature work across a variety of creative disciplines and mediums; Westminster students continually strive to push the boundaries of contemporary art practice and self-expression.&nbsp;<br />BA (Hons) Mixed Media Fine Art is a 3 year, full time degree course that culminates in a final exhibition featuring a body of work by each graduating artist. With the show fast approaching, planning, organisation and fundraising are now in full swing; the show is an exciting project for us and provides both closure and a chance to exhibit our work in a professional, ambitiously scaled environment. &ldquo;Names&rdquo; will bridge the gap between the study of fine-art practice and our future careers as artists.&nbsp;<br /><br />For a chance to support the show financially by donating towards exhibition costs please visit:<br /><br /><a href=";h=7AQF26XIs&amp;enc=AZNnPn6h2-y_sm50rk91Ii7ta4nvBN_bE1vjoBVLrWTUEvSrY1Tbs8oopIZliEKSrR8&amp;s=1" rel="nofollow" target="_blank"></a><br /><br /><br />More Information:<br /><br /><a href=";h=AAQEs1WxU&amp;enc=AZPiNQ_P0U9e4utfvOT1jpyFiabBcU4HEL4_5ZoEpXdXpyAs_uqtlifiF_yJ8zDlWoI&amp;s=1" rel="nofollow" target="_blank"></a><br /><a href=";h=YAQFo9ZAU&amp;enc=AZP3Gqd025w43EI0l9tjX2V5AKRZ_V0f1IxWFr5UrRetxj1LMCs5keHTc5pJjSZRzU8&amp;s=1" rel="nofollow" target="_blank"></a><br /><a href=";h=9AQFp5mcg&amp;enc=AZMtrZ0gMekZ3aXI782w7adPgt7nGT91PWMK620bBmM0dZdNCxU_gnMmZLNsbpsjcyg&amp;s=1" rel="nofollow" target="_blank"></a></p> Sat, 02 May 2015 18:25:53 +0000 Shirazeh Houshiary - Lisson Gallery - May 22nd - July 4th <p style="text-align: justify;">Cross-sensory perception quickens and multiplies in<em>&nbsp;Smell of First Snow</em>, Shirazeh Houshiary&rsquo;s eighth exhibition at Lisson Gallery. Through painting, drawing and sculpture, Houshiary approaches the intangible and evanescent, articulating a metaphysical reality that lies beyond mere form and surface.<br /><br />A diaphanous mesh of pencilled words traces its way across Houshiary&rsquo;s canvases like spiralling strands of DNA. Each word is precisely written yet cumulatively becomes illegible, individual meanings giving way to vibrations that invoke a plethora of non-verbal associations. Migratory currents, the minute structures of living matter, shifting atmospheres and the whorls of fingerprints are simultaneously summoned in the written topographies that swirl and crystallise across the picture surface, conveying turbulent energies and the processes of the universe.<br /><br />In the vast central diptych,&nbsp;<em>A Deluge</em>&nbsp;(2015), a tissue formed of innumerable tiny words and powdered cobalt and violet pigments form a fine tracery evocative of the muted luminosity of a clouded sky. The monumental structure of the image, immersing the viewer in its sea of meticulously organised atoms, is near symmetrical while suggesting endless flux. Telescoping biological and cosmic scales, it grants a glimpse of infinity within the limits of its dual panels.<br /><br />Smaller works such as&nbsp;<em>Zero</em>&nbsp;and&nbsp;<em>Seed</em>&nbsp;(both 2014) likewise evince a protean energy. Proceeding from the binary starting point of a black or white aquacryl ground, these paintings possess a numinous quality, their teeming eddies of words being inscribed with precision yet feeling as though they arrived pre-formed &mdash; as organic as language, as effortless and essential as breath. Describing what is known rather than seen, felt via overlapping senses and via memory, Houshiary&rsquo;s canvases are manifestations of mindfulness in which the artist&rsquo;s touch translates into being.<br /><br />Accompanying the paintings are sculptures made this year. Two wall-based works,&nbsp;<em>Allegory of Sight</em>&nbsp;and&nbsp;<em>Allegory of Sound</em>, explicitly strive after synaesthesia. Resembling dancing ribbons or darting wavelengths, these cast stainless steel sculptures are coated in dense black and evanescent white paint respectively, creating a dialectical evocation of these vital senses. Lit from above and attached to the wall, they traverse not only between two- and three-dimensionality, but also between the physical and immaterial worlds, throwing shadows whose echoing delineations form a continuation of the works.</p> Thu, 30 Apr 2015 16:52:13 +0000 Sérgio Camargo - Lisson Gallery - May 22nd - July 4th <p style="text-align: justify;">&ldquo;Perhaps innate, these structures derive from their own anteriorities or interiorities, however you wish&hellip; They are only what they know how to be.&rdquo; Sergio Camargo<br /><br />Lisson Gallery presents a solo show of Brazilian sculptor Sergio Camargo (1930-90), his first in London for over 30 years. Best known in his own country and internationally for wall-based reliefs, public sculptures and architectural commissions, this exhibition focuses on Camargo&rsquo;s works in white and black marble (<em>m&aacute;rmore</em>), including small-scale tabletop works and large freestanding pieces. Simultaneously exploring rationality and chaos, his characteristic three-dimensional constructions of geometric shapes are governed by a self-imposed rigour in regards to colour, material and form. Although distinctly minimalist in order and means, these elegant objects &ndash; assembled from cylindrical, cuboid and ovoid motifs &ndash; are equally generous and expansive in their study of volume, light and space.<br /><br />Camargo worked with master craftsmen in France and Italy to achieve his desired effects in marble, employing the contrasting shades of either the milky-white, un-veined Carrara or the pitch-black Belgian stone. Despite Camargo&rsquo;s conceptual and geometric precision &ndash; progressing from idea to drawing, then from maquette to the final work &ndash; there are obvious organic qualities to the repeating, projecting forms, including undulating and serpentine wave-like curves, as well as the bodily lean encountered in a tall upright structure. Even the elegantly terraced, planar fa&ccedil;ades of the architectonic pieces suggest an inherent rhythm or an internal cadence to the marble works that belies their solid, polished exteriors.<br /><br />Artistically, Camargo has often been linked with either the Neo-Concrete constructivism or Op Art kineticism of Brazilian colleagues such as Lygia Clark, Mira Schendel and H&eacute;lio Oiticica (a trio he introduced to Signals Gallery in London, after he showed there himself in 1964), but he was never clearly aligned with any one movement. Consequently, Camargo stands apart from many of his contemporaries, although he found a kindred spirit and a frequent collaborator in the father figure of Brazilian modernist architecture, Oscar Niemeyer &ndash; for whose Foreign Ministry building in Bras&iacute;lia (1965-67) he produced a 25-metre long wall composed of jagged, angular protrusions. Camargo made connections beyond Brazil early on in his career, encountering the likes of Lucio Fontana, Constantin Brancusi, Hans Arp and Henri Laurens among others, while internationally his pared-down practice mirrored those of Sol LeWitt and Robert Ryman in America.<br /><br />This exhibition has been conceived in association with the artist&rsquo;s estate and Galeria Raquel Arnaud, S&atilde;o Paulo.<br /><br /><strong>About the artist</strong><br /><br />Hailed as one of Brazil&rsquo;s greatest sculptors, Sergio Camargo gained renown for his modular geometric constructions, assembled from cuboid and cylindrical forms in wood, terracotta, stone and marble. Using angled sections cut from dowel rods, Camargo began making monochromatic collages in sharp relief, the painted white surfaces intermittently disrupted through the interjections of shadow and line. While he saw colour as decoration and figuration as another barrier to understanding the formal and abstract relationships he was creating, there is an organic, almost molecular purity to Camargo&rsquo;s non-referential structures. He said of this essential sense of design that, &ldquo;The artist works to grasp a truth he knows intuitively. This cognitive process produces the works.&rdquo;<br /><br />Sergio Camargo (1930-1990) was born in Rio de Janeiro and studied at the Academia Altamira in Buenos Aires, before attending the Sorbonne in Paris, under the tutelage of Gaston Bachelard. After a period of producing bronze figures, he began working with abstraction in the early 1950s and produced the first of his emblematic reliefs (Relevos) in 1963 after moving his studio from Brazil to France, where he remained until 1974. Camargo achieved international recognition at the Venice Biennale (1966 and 1982) and Documenta IV (1968). He was awarded the International Sculpture Prize at the 1963 Paris Biennale and the same honour at the VII Bienal de S&atilde;o Paulo in 1965. He completed several works for public spaces, among these the structural wall for the Ministry of Foreign Relations Palace in Bras&iacute;lia and the Homage to Brancusi column for the College of Medicine in Bordeaux, France.&nbsp;</p> Thu, 30 Apr 2015 16:49:54 +0000 Alex Olson - Laura Bartlett Gallery - May 22nd - July 12th Thu, 30 Apr 2015 16:42:25 +0000 Group Show - APT Gallery - May 7th - May 31st <p style="text-align: justify;">A.P.T&rsquo;s two CREEKSIDE&nbsp;<strong>OPEN</strong>&nbsp;exhibitions are a snapshot of the breadth and diversity of contemporary visual art in the UK today.<strong>&nbsp;</strong>Lisa Milroy and Richard Deacon have independently selected recent work by 113 artists from one anonymous submission for two shows which will be held at the A.P.T Gallery, Deptford in May and June 2015.<br /><br />The first exhibition has been selected by Lisa Milroy and includes work by sixty three artists.&nbsp;<br /><br />A.P.T set up the CREEKSIDE OPEN in 2005 and over the past ten years it has become one of the UK's foremost open competitions for visual artists.</p> <p style="text-align: justify;"><strong>CREEKSIDE OPEN 2015 selected by Lisa Milroy&nbsp;</strong></p> <p style="text-align: justify;"><strong>Prize-giving and Opening Event&nbsp;&nbsp; |&nbsp; Saturday 9 May 2015 at 3pm</strong></p> Thu, 30 Apr 2015 16:17:07 +0000 Kathryn Elkin - fig-2 - May 4th - May 10th <p>Kathryn Elkin&rsquo;s new commission &lsquo;The Elephants in the Room&rsquo; merges modes of improvisation with immediacy of response in the form of a collaboration between the artist and the musician Okkyung Lee. As a conversation point and a reference for Lee&rsquo;s improvisation they worked through the adagietto from Mahler&rsquo;s 5th Symphony, which was famously used in Visconti&rsquo;s masterpiece Death in Venice. Elkin worked with artist Lucy Parker shooting the film, with cellist Richard Thomas acting as a sound recordist. Parker and Thomas lend their own interpretations of Elkin&rsquo;s intentions in documenting the sessions with Lee, each negotiating their own role in the studio set-up. Lee&rsquo;s canny understanding of Elkin&rsquo;s interest in the score and its associations as well as her understanding of the dualism of her role in the film at hand - as composer and as performer/subject - makes for a broad range of collaborative harmonies and dissonances. &lsquo;The Elephants in The Room&rsquo;, features two performances entitled Mud, a 22 minute vocal work that accompanies the video, on the opening evening and on Sunday 10th. Please book your tickets for the Sunday performance&nbsp;<a href="" target="_blank" rel="nofollow">here</a>.</p> <p>Commissioned by fig-2 and&nbsp;<a href="" rel="nofollow">CCA Glasgow</a>. Generously supported by&nbsp;<a href="" rel="nofollow">Outset Scotland</a>.</p> Wed, 29 Apr 2015 17:05:32 +0000