ArtSlant - Closing soon en-us 40 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 - 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 - CHARLIE SMITH london - January 11th, 2013 - February 16th, 2013 <div class="module combo-right"> <table width="554"> <tbody> <tr> <td width="554"> <div class="madmimi-text-container"> <h1>YOUNG GODS</h1> <h2>2012 London Graduates</h2> <h2>Curated by Zavier Ellis</h2> <p>IN ASSOCIATION WITH:<br /> <br /> Winsor &amp; Newton <br /> Liquitex <br /> Conté à Paris <br /> Griffin Gallery <br /> CHARLIE SMITH london<br /> Tiger of Sweden </p> <p><strong>The Griffin Gallery</strong></p> <p>Private View <br />Wednesday January 9th 2013 6.30-8.30pm</p> <p>Exhibition Dates <br />Thursday January 10th – Friday February 15th 2013</p> <p>Gallery Hours <br />Monday–Friday 2pm–5pm or by appointment</p> <p><em>The Griffin Gallery, The Studio Building, 21 Evesham Street, London, W11 4AJ</em></p> <p><strong>Artists</strong></p> <p>Steven Allan (Royal College of Art) <br />Eyal Edelman (Camberwell College of Arts) <br />Andrew Leventis (Goldsmiths College) <br />Sikelela Owen (Royal Academy Schools) <br />George Rae (Central Saint Martins) <br />Christopher Kulendran Thomas (Goldsmiths College) <br />Sheila Wallis (City &amp; Guilds of London Art School)</p> <p><strong>CHARLIE SMITH london</strong></p> <p>Private View <br />Thursday January 10th 2013 6.30-8.30pm</p> <p>Exhibition Dates <br />Friday January 11th – Saturday February 16th 2013</p> <p>Gallery Hours <br />Wednesday–Saturday 11am–6pm or by appointment</p> <p><em>CHARLIE SMITH london, 336 Old Street, 2nd Floor, London, EC1V 9DR</em></p> <p><strong>Artists</strong></p> <p>Eyal Edelman (Camberwell College of Arts) <br />Peter Georgallou (Royal College of Art) <br />Salome Ghazanfari (Goldsmiths College) <br />Adele Morse (Royal Academy Schools) <br />Jessica Rayner (Royal College of Art) <br />Christopher Kulendran Thomas (Goldsmiths College)</p> <p>Contact <br />+44 (0)20 7739 4055 <br /><a href="" rel="nofollow"></a> <br /><a href="" rel="nofollow" target="_blank"></a></p> </div> </td> </tr> </tbody> </table> </div> <div class="module divider"> <table width="554"> <tbody> <tr> <td width="554"> <div class="madmimi-divider-container"><img src="" alt="***" /></div> </td> </tr> </tbody> </table> </div> <div class="module text"> <table width="554"> <tbody> <tr> <td width="554"> <div class="madmimi-text-container"> <p>The 2012 edition of annual exhibition <em>Young Gods</em> will take place simultaneously across two locations in west and east London. Selected and curated by Zavier Ellis, director of Shoreditch gallery CHARLIE SMITH london and co-founder of <em>THE FUTURE CAN WAIT</em>, the exhibition will be a multi-disciplinary presentation of London’s most exciting graduates from the summer of 2012. <em>Young Gods</em>is presented in conjunction with the Griffin Gallery, supported by fine art brands Winsor &amp; Newton, Conté à Paris and Liquitex.</p> <p>Focusing on the theme of artists’ materials at the Griffin Gallery, this exhibition will include four painters in Steven Allan, Andrew Leventis, Sikelela Owen and Sheila Wallis. Sculptor George Rae will recreate his life-size clay tree <em>Quercus Robur</em>, and Eyal Edelman will produce a real time interactive performance / sound / projection piece that encourages the audience to interact critically and directly with the other work on show.</p> <p>Forming a bridge between the two sites, Edelman’s <em>Everyone’s a Critic</em> will be documented, edited and presented as a stand-alone video at CHARLIE SMITH london, alongside Peter Georgallou, who will make a floor to ceiling cycle driven loom that manufactures tweed; Salome Ghazanfari, who draws on street cults to make performance / video / installation; Adele Morse, who will present video and installation based on her search for the Orang Pendek species; and Jessica Rayner, whose multi-disciplinary work centres on expeditions to investigate the relationship between science, ecology and the human condition. Also showing at both sites will be Christopher Kulendran Thomas, whose complex political work draws partially on two main themes that run between the two shows: the nature of art in itself, and globalization.</p> <p>The exhibition promises to be a relevant focus on London’s most exciting future talent. Previous selections have included David Blandy, Leah Capaldi, Oliver Clegg, Ines de Coo, Annie Kevans, Alexis Milne, Nika Neelova, Ryan Riddington and Douglas White.</p> <p>Please contact <a href="" rel="nofollow">CHARLIE SMITH london</a> for images and further information (for thumbnails of artists' work please scroll down).</p> </div> </td> </tr> </tbody> </table> </div> Tue, 25 Dec 2012 18:34:11 +0000 Fred Sandback - David Zwirner, London - January 10th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">For the second exhibition at its new gallery in Mayfair, the gallery will present an exhibition of work by American minimalist artist Fred Sandback (1943 – 2003) who has been shown by David Zwirner since 2004. Featured will be a selection of important sculptures and drawings, spanning the 1970s to the early 2000s, exemplifying the scope of the artist’s influential career. Though he used metal rod and elastic cord early in his artistic practice, Sandback soon dispensed with those materials to employ acrylic yarn to create works that address their physical surroundings. By stretching yarn horizontally, vertically, or diagonally at different lengths, scales, and in varied configurations, the artist developed a singular body of work that elaborated on the phenomenological experience of space and volume with unwavering consistency and ingenuity.</span></p> Thu, 21 Mar 2013 07:03:38 +0000 Jason Rhoades, Martin Kippenberger, Prem Sahib, Isa Genzken, Roger Hiorns, John Divola, Alexandra Bircken - David Zwirner, London - January 17th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>Days in Lieu</em> inaugurates THE UPPER ROOM at David Zwirner in London. THE UPPER ROOM, a second floor viewing room, will feature curated shows of works by the gallery’s roster and beyond.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Days in Lieu</em> brings together diverse international artists whose works reflect on the mundane and routine activities of everyday life, either through self-referentiality or by allusions to the idiosyncrasies of consumer culture. Evocative of days off, relaxation, and the pursuit of hobbies, the title also implicitly references labour and overtime. Works in the show allude to particular environments, lifestyles, and personal spaces, while hinting at everyday performances played out alone and dramas endured in private. Artists include Alexandra Bircken, John Divola, Isa Genzken, Roger Hiorns, Martin Kippenberger, Jason Rhoades, and Prem Sahib.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition is curated by Rodolphe von Hofmannsthal, Associate Director at David Zwirner, London</span>.</p> Thu, 21 Mar 2013 07:03:38 +0000 Sharon Kivland - Domobaal - January 18th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">In '<strong><em>Reproductions II</em></strong>' <strong>Sharon Kivland</strong> exhibits new works from the collection, echoing her last exhibition, with a little deviation. Works include postcards of Rome turned into clumsy negatives; more carefully done drawings of underwear, copied from magazines of the 1950s, immobile and fixed, removed from any supporting body; photographs of belts or waists, bodies or fashion accessories (so difficult to tell sometimes); a knee–length skirt, which appears both constraining and oddly liberating; truncated bodies in attractive trousers and defining belts or in lovely dresses (day and one evening); postcards of stars of the cinema, already fading, embellished (the painted addition may be all that remains); another Nana, ghostwritten this time, describing herself through the words of others. It is, one might say, a matter of structure, as well as one of meticulous cataloguing or insistent representation. Material that has had a life already is reorganised, yet the re–ordering leads to a certain disorder, a somewhat paradoxical economy. It may be rather hard to distinguish perversity from perversion, for example, in certain works (re)presented here, wherein there is both malice and jouissance.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition will be accompanied by two essays written especially for Sharon Kivland's new body of work, by Jan Campbell and Steve Pile. Dr. Jan Campbell is a Reader in English Literature and Psychoanalysis in the Department of English at the University of Birmingham. She was also a member of the Cultural Studies Department at Birmingham until its abrupt closure in 2002. Jan Campbell has also worked clinically for thirteen years as a psychoanalyst, as well as writing widely on psychoanalysis in relation to feminism, queer theory, autobiography, social and cultural theory, literature, and film. Her most recent book is on the telepathic movement of a maternal form, which she argues is the necessary transferential sublimation of the repressed 'Freudian Passions: Psychoanalysis, Form and Literature' is forthcoming from Karnac in the Spring of 2013.Professor Steve Pile teaches Geography in the Faculty of Social Sciences at The Open University. He has published on issues concerning place and the politics of identity. He is author of 'Real Cities: modernity, space and the phantasmagorias of city life' (2005) and 'The Body and The City: psychoanalysis, subjectivity and space' (1996). His many collaborative projects include the forthcoming collection, 'Psychoanalytic Geographies' (edited with Paul Kingsbury). He is currently working on early Freudian psychoanalysis and geographies of the body.</span></p> Tue, 01 Jan 2013 18:38:35 +0000 Mela Yerka - Maria Stenfors - January 11th, 2013 - February 16th, 2013 <div title="Page 1" class="page"> <div class="layoutArea"> <div class="column"> <p>What red blue is in?</p> <p>Painting resides in a sphere of abstract thinking, irrespective of whether it is figurative or abstract. In Mela Yerka’s new series of work, she experiments with a variety of materials, paints and techniques. Exploring different historical motifs and extending on her previous studies, Yerka demonstrates how her work expands on the possibilities and notion of painting, challenging herself, our ways of looking and art history.</p> <p>The exhibition centres on the biographies of feral children, their stories spanning over time and continents. Years of fascination with these stories and children stem from not only how their perception of the world differs, but also how their carers and society are fascinated by them and try to ‘re-civilise’ the children, often only to fuel our own rescue fascination. With failure a crucial part of an artist’s practice, what is displayed can be seen as the limits of depiction, the futility of conveying aspects of our subjective perceptions.</p> </div> </div> </div> <div title="Page 2" class="page"> <div class="layoutArea"> <div class="column"> <p>Most of the feral children have lacked abstract thinking and as painting is an abstract concept, the children cannot see what is depicted. In viewing the paintings, what is portrayed is not simply the story and historical background of these children, but the different, subjective, perhaps inconceivable way that they look. In viewing painting, we do not see the paint, the canvas or the shape, but the complete notion of a painting. With the ability to speak and look formed at the critical period of infancy, it is perhaps not that these children are lacking the ability to perform certain tasks, but more that – no one is able to separate themselves from or distinguish between what has been learnt and what is innate.</p> <p>With 'Finding of Moses after Luigi Garzi', the canvas is unprimed and paint is replaced with bleach. Where painting is conceived as a process of adding to the canvas, here the process is reversed, with the removal of substance becoming the tool for depiction.<br /> A further absence is seen in 'Genie', where the canvas is a section of velvet, devoid of paint. Brushstrokes on the surface of the velvet leave traces of lines and shading, and the image remaining is both difficult to conceive and temporal. Other works, painted with a more familiar technique of oil and egg tempera, borrow landscapes from historical paintings, copying in older references that are present from our preceding exposure to landscape paintings from years past.</p> <p>Mela Yerka was born in Poland and lives and works in London. After studying at the Academy of Fine Arts, Warsaw, she graduated from Central St Martins College of Art, London, in 2011. For further information and images, please contact Nathan Jenkins, </p> </div> </div> </div> Fri, 21 Dec 2012 18:40:29 +0000 Sachin Kaeley - Seventeen - January 10th, 2013 - February 16th, 2013 <p style="text-align: justify;">Sachin Kaeley will present a series of new works for his first exhibition with the gallery, opening Thursday 10th January 2013.</p> Sat, 19 Jan 2013 14:50:20 +0000 Rehana Zaman - Studio Voltaire - February 7th, 2013 - February 16th, 2013 <div style="text-align: justify;"><span style="font-size: small;"><strong>Studio Voltaire</strong> presents a new commission by London based artist <strong>Rehana Zaman</strong>.<i> <strong> I, I, I, I, and I</strong> </i>will be Zaman’s first solo presentation of work and is the first exhibition produced through the gallery's new programme <i>Not Our Class</i>.</span></div> <div style="text-align: justify;"><br /><span style="font-size: small;"><i>I, I, I, I, and I</i> is a video work and installation that presents an abstracted account of the collaborative attempts of a group of people alongside a bizarre and twisted narrative featuring a pig, a dog and Adolf Hitler.</span><br /><br /><span style="font-size: small;">Over the course of 2012, Rehana Zaman has been examining the workshop as a site of 'the social' with a group of young people from Body &amp; Soul, a UK charity dedicated to transforming the lives of people affected by HIV. Improvisation games, collaborative techniques and performance strategies drawn from political theatre and actor's workshops have been integrated into sessions leading towards the production of a video work to be shown within the exhibition at Studio Voltaire.</span><br /><br /><span style="font-size: small;">The work emerges from an ongoing interest in the impact of social structures on the self from familial relations to broader constructs around community and identity as explored in previous works such as<i> Like an Iron Maiden Trapped Between a Rock and a Hard Place</i> (2010) and <i>Pig</i> (2012). Constructing the workshops as a site of research, central to the process of<i> I, I, I, I and I</i> have been the questions, how might a group of people collectively create a work? And to what extent is this at odds with the desires and impulses of the individual?</span><br /><br /><span style="font-size: small;">Initiated in 2011 <i>Not Our Class </i>began 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. Through a series of commissions, offsite projects, workshops, public events and reading groups situated both within Studio Voltaire’s neighbourhood and contemporary art discourse the programme explores the new turn towards education and participation within contemporary art practice. </span><br /><br /><span style="font-size: small;">Rehana Zaman (b. 1982) composes anecdotes, vignettes and short stories drawn from specific socio-political contexts, as videos, performances and texts. Narratives are abstracted and carefully staged to examine how individuals and groups relate. Recent exhibitions include 'The GDR Goes On', The Showroom; 'The London Open', Whitechapel Gallery, London; 'We Love You', Limoncello, London; Outpost Open Film, Outpost plus UK tour (all 2012); 'Other People's Problems', Project Space Leeds (2011) and 'Of Many One', Scaramouche Gallery, New York, (2010). Rehana was a recipient of the Red Mansion Art Prize in 2012. She completed her MFA in Fine Art at Goldsmiths College in 2011 and is currently participating in the LUX Associate Artist Programme</span><br /><br /><span style="font-size: small;">Supported by Bloomberg and by the National Lottery through Arts Council England.  </span><br /><span style="font-size: small;">With kind assistance from Vanessa and Jonathan Curry &amp; Raven Row.</span><br /><span style="font-size: small;">Rehana Zaman would like to thank The Elephant Trust.</span></div> Wed, 30 Jan 2013 07:57:57 +0000 Group Show - Studio Voltaire - February 6th, 2013 - February 16th, 2013 <div style="text-align: justify;"><span style="font-size: small;">Studio Voltaire has developed a strong reputation for producing innovative and affordable editions and portfolios by leading international artists.  These have been collected by both individuals and institutions including:- Tate Collection, British Council Collection, Government Art Collection, South London Gallery, The New Art Gallery Walsall, Le Consortium and Migros Museum.</span><br /><br /><span style="font-size: small;">A selection of Studio Voltaire editions and portfolios will be on show including Cory Arcangel, Pablo Bronstein, Alice Channer, Anthea Hamilton, Cary Kwok, Oscar Murillo, Ryan McGinley, Paulina Olowska, Elizabeth Price and Prem Sahib.</span></div> <p style="text-align: justify;"></p> <div></div> <div></div> <div></div> <p><span></span></p> Wed, 30 Jan 2013 08:01:53 +0000 Jean-Luc Moulène - Thomas Dane Gallery - November 23rd, 2012 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The Directors of <strong>Thomas Dane Gallery</strong> are pleased to present an exhibition of new works by the seminal French artist<strong> Jean-Luc Moulèn</strong>e. This comes in the wake of a year-long survey at the Dia Art Foundation, Beacon, NY (until 31 December) and his first UK museum show at Modern Art Oxford (until 25 November).</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Over three decades, Moulène has slowly built a body of work, which is characterised by the absence of a unifying aesthetic signature. His photographs (Documents) and sculptures (Objects) frustrate classification and form part of loose compendia, which he builds according to his idiosyncratic logic.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition includes a number of works produced during a recent residency at CIRVA, Marseilles (Centre International de Recherche sur le Verre et les Arts Plastiques) where Moulène pushed the structural and conceptual boundaries of glassmaking. A three-colour blown glass object, <em>Blown Knot 6<sup>3</sup><sub>2</sub> (Borromean) Varia 3,</em> is part investigation into the physics of turbulence, part performative document and part metaphysical tool. Two birdcages enclosing 'lungs' of blue glass make allusions to his preoccupations with the body and it's dematerialisation.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">Extending the knot taxonomy which is his present focus - </span><em style="font-size: small;">Knot Knot</em><span style="font-size: small;"> - is larger and more imposing than any Moulène object to date, bar one (the monumental </span><em style="font-size: small;">Body</em><span style="font-size: small;">, in Dia Beacon). It carries with it references to architectural models and prototypes for monuments, melding both the geometric and the organic of much of his previous 3-D work. Other more human-scaled objects in the exhibition are set on tables, on the floor or on the walls. These reveal Moulène's utopia of the 'artist-constructor', which may be the by-product of a decade spent as an artist embedded in the naval behemoth, Thomson-Sintra Activités Sous-Marines.    </span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">The photographic presences in the exhibition all spring from his first and only stay in New York last year. They constitute an informal record keeping of the city that had been relatively alien to him until recently. These documents brush against, but still escape, the historical pantheon and academic photography classifications of the still-life (<em>Grand Street)</em>, the landscape <em>(Figure (Tree)</em>), the portrait<em>(New York Catalogue Girl)</em> hinting at an infinitely wider, yet less trustworthy, universe of possible images.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">A suite of four monochrome panels '<em>Echantillons (Samples)'</em> - laboriously 'painted' with black, blue, green and red BIC ink are an homage to standardised industrial production while at the same time acknowledging the more obvious artistic precedents of Yves Klein, Robert Ryman, Alighiero Boetti and recent preoccupations with abstraction in photography.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Jean-Luc Moulène was born in Reims in 1955. He studied literature and philosophy at the Sorbonne University where he was awarded a doctorate. He lives and works in Paris. This will be his third exhibition at the gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Jean-Luc Moulène was in conversation with Chris Dercon, Director Tate Modern, at Modern Art Oxford on 25 October.  Video documentation can be found on their website.</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>He will also be in conversation with Briony Fer in the Culture Now series, ICA London on Friday 23 November.</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Tickets are available though the ICA website</strong>.</span></p> <p> </p> Mon, 14 Jan 2013 10:04:10 +0000 Dorothy Bohm - Museum of London - November 16th, 2012 - February 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Discover a new display of colour photographs by acclaimed photographer Dorothy Bohm, showing the varied lives of London women from the 1990s to the present.</span></p> <div style="text-align: justify;" class="box-left"></div> <p style="text-align: justify;"><span style="font-size: small;">With an aim to capture the many roles of women in society, Bohm juxtaposes the images of women that surround us in advertising, artworks and shop windows with real women living and working in the capital – revealing the contrasts, similarities and gaps between ideals and expectations of the feminine and real life women in everyday situations.</span><br /><br /><br /></p> Thu, 27 Sep 2012 11:00:05 +0000 Alma Haser, Spencer Murphy, Jennifer Pattison, Jordi Ruiz Cirera - National Portrait Gallery - November 8th, 2012 - February 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The <em>Taylor Wessing Photographic Portrait Prize</em> presents the very best in contemporary portrait photography, showcasing the work of talented young photographers and gifted amateurs alongside that of established professionals and photography students.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Through editorial, advertising and fine art images, entrants have explored a range of themes, styles and approaches to the contemporary photographic portrait, from formal commissioned portraits to more spontaneous and intimate moments capturing friends and family.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">This year the competition attracted 5,340 submissions by over 2,350 photographers from around the world. The selected sixty works for the exhibition, many of which are on display for the first time, include the four shortlisted images and the winner of the first John Kobal New Work Award.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <h1 style="text-align: justify;">Shortlisted Artists</h1> <p style="text-align: justify;">Four photographers have been shortlisted for the £12,000 <em>Taylor Wessing Photographic Portrait Prize.</em> The prize winners and the winner of the <em>John Kobal New Work Award</em> will be announced at an award ceremony at the National Portrait Gallery on Monday 5 November 2012.</p> <h3 style="text-align: justify;"><strong>Alma Haser</strong> for<strong> <em>The Ventriloquist</em></strong></h3> <p style="text-align: justify;">Born into an artistic family in the Black Forest, Germany in 1989, Alma Haser moved to the UK in 1995 and gained a BA in Photography from Nottingham Trent University. Her shortlisted portrait, taken in her shared house in South London, is of friends Luke and James who have known each other since they were 12. Struck by their hairstyles, Haser initially planned to take separate portraits but it was difficult to get them to concentrate so she decided to photograph them together.</p> <p style="text-align: justify;">She says, <em>‘I asked them to sit on a tiny, wobbly coffee table, forcing them to almost cling onto each other. Ultimately I wanted to turn their verbal banter into a visual image. The title is designed to help viewers make up their own stories about what is going on.’</em></p> <p style="text-align: justify;">Chosen by the British Journal of Photography as one of the four best graduates of 2010, her work has featured in 10 exhibitions internationally and she received third place in the People’s Choice at Foto8 Summer Show 2012.</p> <h3 style="text-align: justify;"><strong>Spencer Murphy</strong> for<strong> <em>Mark Rylance</em></strong></h3> <p style="text-align: justify;">Spencer Murphy, born in 1978, grew up in Kent and studied at the Kent Institute of Art and Design before gaining a BA in Photography at the Falmouth College of Arts. His shortlisted portrait is of actor Mark Rylance and was commissioned for the cover of the Telegraph Magazine to mark the actor’s return to the Globe to play Richard III.</p> <p style="text-align: justify;">Murphy says, <em>‘I’ve always enjoyed working with actors as there’s no awkwardness or discomfort in front of the camera and they are able to understand direction and react to it very easily. Mark was no exception.’</em></p> <p style="text-align: justify;">The recipient of many awards and shortlisted for the Sony World Photography Awards in both 2010 and 2011, Murphy’s work has been exhibited internationally. His work has been exhibited as part of the Taylor Wessing Photographic Portrait Prize six times, although this is the first time he has been shortlisted.</p> <h3 style="text-align: justify;"><strong>Jennifer Pattison</strong> for<strong> <em>Lynne, Brighton</em></strong></h3> <p style="text-align: justify;">Born in Hertfordshire in 1978, Jennifer Pattison gained a BA in Photography at the London College of Printing before beginning a career as a photographic agent and producer. Her shortlisted portrait is of her friend Lynne and was taken in the empty bedroom of a derelict house in Brighton. It is part of a currently untitled series of naked portraits and landscapes.</p> <p style="text-align: justify;">Pattison says, <em>‘There is an interesting shift in the consciousness of the sitter during the slow process of making these portraits; a moment in the quiet where they become unaware that they are naked. I capture them as they drift to another place. With no direction Lynne adopted this straightforward pose, bare and undaunted, looking straight down the lens and beyond.’</em></p> <p style="text-align: justify;">Pattison has worked for many photographers including David Sims and interned in the photographs department at the Victoria &amp; Albert Museum, and is currently focusing on her own career as a photographer.</p> <h3 style="text-align: justify;"><strong>Jordi Ruiz Cirera</strong> for<strong> <em>Margarita Teichroeb</em></strong></h3> <p style="text-align: justify;">Born in Spain in 1984, Jordi Ruiz Cirera studied Design at Elisava College, Barcelona before moving to the UK and gaining an MA in Photojournalism and Documentary Photography at the London College of Communication. His shortlisted portrait of Margarita, a Mennonite from the Swift Current Colony in Bolivia, is part of his long term project portraying the daily life of this community.</p> <p style="text-align: justify;">He says, <em>‘Almost all of the houses have tables in front of their windows giving fantastic light to the scene. Sitting in front of the camera was not easy for Margarita, photography is forbidden for Mennonites and having her direct portrait taken was quite difficult so I could only take two frames of her. Even though we were enjoying the situation, Margarita posed with this sort of awkward expression.’</em></p> <p style="text-align: justify;">Ruiz Cirera’s work has been included in numerous exhibitions and this year he has won the AOP Student Awards as well as the Deutsche Bank Award in Photography.</p> <p style="text-align: justify;">The competition was judged on an equal and anonymous basis from original prints by:</p> <p style="text-align: justify;"><strong>Emma Hardy</strong>, Photographer<strong><br />Lauren Heinz</strong>, Editor, Foto8<strong><br />Glyn Morgan</strong>, Partner, Taylor Wessing LLP<strong><br />Sandy Nairne</strong>, Director, National Portrait Gallery (Chair)<strong><br />Sean O’Hagan</strong>, Writer on Photography for the Observer and the Guardian<strong><br />Terence Pepper</strong>, Curator of Photographs, National Portrait Gallery</p> <p style="text-align: justify;"><strong>John Kobal New Work Award</strong><br />New for this year, the <em>John Kobal New Work Award</em> will be awarded to a photographer under the age of 30 selected for the exhibition. The winning photographer will receive a cash prize of £4,000 to include undertaking a commission from the Gallery to photograph a sitter connected with the UK film industry. The <em>Award</em> was judged by Simon Crocker, Chairman of the John Kobal Foundation.</p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> Thu, 27 Sep 2012 15:10:49 +0000 Mark Hampson - Royal Academy of Arts - November 1st, 2012 - February 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Since 2010, artist <strong>Mark Hampson</strong> has been working 'in residence' at the Royal Academy and from his studio in Kent on a collaboration with the RA Collections, Library and Archives. Exploring the RA’s holdings during this two-year period, he has created a satirically inspired 'archaeological' response to its complexities of information and histories. The resulting work exploits and distorts the 'official' biography of the RA, corrupting the apparent facts to produce newly imagined narratives that are rooted in the lives and works of some of the great artists who have been connected with the Academy.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Hampson’s imaginings take concrete form in a series of mock-historical artworks combining image and text, made in collaboration with commercial sign-makers. Alongside these, the artist offers up alternative versions of art societies, unions and academies that encourage us to ask why places like the RA exist, how its history has shaped it, and how different it might have been had it been subjected to other influences and ideas. Registering the enormous impact that individual personalities have had on the institution, he explores the clichéd image of the Romantic artist as eccentric, obsessive and self-mythologising. Throughout, however, Hampson’s satire is balanced by a deep affection for the institution and those who have made it, a feeling which has only grown the deeper he has probed its history.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Bringing together high and folk art, the fairground and the museum, history and anachronism, fact and fakery, Hampson has produced what he describes with characteristic ambiguity as 'almost real art'.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Opening times</strong></span><br /><span style="font-size: small;">Tuesday–Sunday, 10am–6pm</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Admission</strong></span><br /><span style="font-size: small;">Complimentary entry with a valid Royal Academy exhibition ticket or £3 General Admission ticket. RA Friends go free.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>In the Tennant Gallery</strong></span></p> <p style="text-align: justify;"></p> <p><a href=""><img src="" width="90" height="91" alt="Designated Rgb" /></a><strong>Artist’s Talks</strong><br />Tuesday 4 December 2012<br />Tuesday 5 February 2013<br />Mark Hampson gives an informal introduction to his work. <br />Meet at 3.30 pm in the Tennant Gallery. Free with an exhibition ticket.</p> Thu, 18 Oct 2012 16:14:16 +0000 John Constable, Thomas Gainsborough, JMW Turner, Richard Wilson, Michael Angelo Rooker, Paul Sandby - Royal Academy of Arts - December 8th, 2012 - February 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">This exhibition presents works by the three towering figures of English landscape painting - John Constable RA, Thomas Gainsborough RA and JMW Turner RA - and explores the development of the British school of landscape painting. The display includes 150 works of art, including paintings, prints, books and archival material.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Since the foundation of the Royal Academy of Arts in 1768, its Members have included artists committed to landscape painting, addressing the changing meaning of ‘truth to nature’ and the discourses surrounding the beautiful, the sublime and the picturesque.</span></p> <p style="text-align: justify;"><span style="font-size: small;">During the 18th and 19th centuries there was a shift in style in landscape painting, represented here in the works of Gainsborough, the emotionally charged and sublime landscapes of Turner and Constable’s sentimental, romantic scenes.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Showcasing major works from the Royal Academy Collections, the exhibition features highlights such as Gainsborough’s <em>Romantic Landscape</em> (c.1783), Constable’s <em>The Leaping Horse</em> (1825) and <em>Boat Passing a Lock</em> (1826) alongside Turner’s brooding diploma work, <em>Dolbadern Castle</em> (1800). </span></p> <p style="text-align: justify;"><span style="font-size: small;">A number of works by their contemporaries Richard Wilson, Michael Angelo Rooker and Paul Sandby are also exhibited, with prints made after 17th century masters whose work served as models: Claude, Poussin, Gaspard Dughet and Salvator Rosa. Letters by Gainsborough, Turner’s watercolour box and Constable’s palette are on display, bringing their artistic practice to life.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>The John Madejski Fine Rooms and Weston Rooms</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><img src="" alt="Lowell Libson Ltd Logo 2" height="48" width="184" /></span></p> <p style="text-align: justify;"><span style="font-size: small;">"Spectacular" - <em>The Times</em></span><br /><span style="font-size: small;">"Fascinating" - <em>The Arts Desk</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Opening times</strong></span><br /><span style="font-size: small;">Monday – Thursday 10am–4.30pm</span><br /><span style="font-size: small;">Friday 10am–10pm</span><br /><span style="font-size: small;">Saturday &amp; Sunday 10am–6pm</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em class="highlight">Please note last entry to the exhibition Monday – Thursday is at 4pm, last entry on Fridays is at 9.30pm and last entry on weekends is at 5.30pm.</em></span></p> Mon, 04 Feb 2013 16:31:08 +0000 - Royal College of Art - February 13th, 2013 - February 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Students from the programmes of Architecture and Interior Design exhibit their work in progress. </span></p> Wed, 06 Feb 2013 15:22:31 +0000