ArtSlant - Current exhibits en-us 40 Julian Opie - Alan Cristea Gallery- 34 Cork St - February 14th, 2013 - March 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The <strong>Alan Cristea Gallery</strong> is proud to present a solo exhibition of works by <strong>Julian Opie</strong> from 14 February - 16 March 2013, at 34 Cork Street. The show will comprise original editions from Opie's series <em>Winter</em>. and marks fifteen years of close collaboration between the artist and Alan Cristea. The Alan Cristea Gallery is the worldwide exclusive publisher of Julian Opie's limited edition prints and animations.</span></p> <p style="text-align: justify;"><span style="font-size: small;">One of the leading figures in contemporary art, for over three decades Julian Opie has pushed the boundaries of portraiture, painting, and sculpture, seeking to break down what he believes to be illogical barriers between the disciplines. He has developed a unique formal language that combines the vernacular of everyday life with motifs inspired by art history. His restless fascination with and desire to utilise new techniques have long been supported by Alan Cristea, a gallerist focused on developing enduring and successful partnerships between artists and creative fabricators.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Opie takes the physical world as the starting point for his artistic practice, be it nature or human beings, which he first captures through an innovative drawing process using a camera and computer technology as his tools. Opie draws under and over digital photographs he takes from nature, creating multi-layered images with great depth. The highly distinctive depictions of the modern world that arise from this process juxtapose modern and classic sources, examining the nature of representation through a variety of media, including silkscreen, granite, and computer animation. Past works have seen Opie draw from influences as diverse as billboard signs, 18th-Century portraiture, popular comics and Japanese woodblock prints.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition at the Alan Cristea Gallery is an extension of the artist's recent film <em>Winter</em>. (2012) and sees him blend a similarly eclectic range of influences, from Google Maps Street View to 17th-Century Dutch landscape painting. Opie presents 75 prints laminated to glass, representing 75 sequential steps on a circular walk taken by the artist through the French countryside on a harsh but beautiful winter's day. Echoing the poetic ambience of the film, the exhibition is accompanied by the film's specially commissioned score written by Paul Englishby (award winning composer for A<em>n Education</em> and <em>Miss Pettigrew Lives for a Day</em>) and featuring vocals by the artist's wife, Aniela Opie.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Each panel measures 68 x 121 cm and is in an edition of three, with an additional artist's proof of each work. The use of lamination to glass references the architectural use of glass generally within the public realm and specifically within in Heathrow Airport's Terminal 5. The gallery walls will be almost completely panelled in glass for the exhibition, creating a surrounding panorama that is at once a pastoral landscape and a slick architectural surface. Viewed together, the panels also correspond to each still from Opie's film, enabling the viewer to explore the elegiac journey over and over again.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition will be accompanied by a flip book illustrating all of the landscapes thereby allowing the reader to reanimate the circular walk. Copies of this book will be available to purchase through the gallery's <strong><a href="" target="_blank">online bookshop</a></strong> and through Opie's online shop <strong><a href="" target="_blank"></a></strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For more information, please <strong><a href="">contact us</a></strong>.</span></p> Thu, 07 Feb 2013 15:34:00 +0000 Richard Harrison - Albemarle Gallery - February 7th, 2013 - March 9th, 2013 <p>Richard Harrison</p> <p>07 Feb - 09 Mar 2013</p> <p></p> <p>New works by Richard Harrison: There are few artists today whose work reaches into the inner soul stirring our basic emotional instincts whilst evoking responses of amazement and admiration. His abstract landscapes are rich in colour and texture with generous lashings of paint, which ebb and flow on the canvas reflecting turbulence and often violent upheaval.</p> Mon, 28 Jan 2013 13:28:34 +0000 Maxwell Doig, Iain Faulkner, Stuart Luke Gatherer, Harry Holland, Alexander Klingspor, Enrico Robusti, Peter Welford - Albemarle Gallery - February 7th, 2013 - March 9th, 2013 <p>07 Feb - 09 Mar 2013 </p> <p></p> <p>Albemarle Gallery is pleased to announce a series of collective exhibitions, which will showcase a number of works by artists represented by the gallery. Under the banner of Albemarle Collective these shows will run in conjunction with solo exhibitions with the aim of introducing a larger variety of works by our artists throughout the year. </p> <p>Featured Artists:</p> <p>Maxwell Doig, Iain Faulkner, Stuart Luke Gatherer, Harry Holland, Alexander Klingspor, Enrico Robusti, Peter Welford</p> Mon, 28 Jan 2013 13:31:25 +0000 Pieterjan Ginckels - ANDOR - January 19th, 2013 - March 9th, 2013 <p>S.P.A.M. OFFICE is the first UK exhibition by Belgian artist Pieterjan Ginckels.   <br /><br />S.P.A.M. OFFICE appears to be a traditional modernist office setting; uniform office furniture has been made from cheap, low quality materials. S.P.A.M. Officers check e-mails, detect spam, print and file content in the S.P.A.M. Archive, poetically supporting the decorum of bureaucracy. They wear the uniform and logo of the ‘firm’, and monotonously disarm the spam to which the office is subjected.<br /><br />S.P.A.M. Officers become performers but also work for the artist. The officers' selections and archiving of spam messages enables Pieterjan Ginckels to reproduce the content and context of spam in his artworks. <br /><br />The exhibition's audience is invited to forward all their spam email to <a href="" rel="nofollow"></a>, as well as to come and watch the office at work.<br /><br />The performance of S.P.A.M. OFFICE was organised at Be-Part Center for Contemporary Art, Waregem, Belgium, (May 7th till May 15th 2011) and has been documented in the S.P.A.M. BOOK, published by Art Paper Editions.<br /><br />S.P.A.M. OFFICE at ANDOR represents Pieterjan Ginckels' first exhibition in the UK. Born in 1982 Pieterjan Ginckels lives and works in Brussels. He received the Center for Fine Arts Award at the 2011 Young Belgian Painters Award and has recently delivered solo projects in Aachen, Amsterdam, Antwerp, Cologne, Heerlen and Oostende. Ginckels first designed his characteristic ‘families’ of artworks in ‘1000 Beats’ (first built in 2008) and ‘PISTE’ (2010): installations with pronounced circular, multi-layered and cooperative aspects that generate metaphors in sound and image. He is represented in Amsterdam by Galerie de Expeditie where his solo exhibition runs until the 22nd of February, coinciding with Art Rotterdam where he has been selected as the <a href="" title="Art Rotterdam" rel="nofollow" target="_blank">Artist in Focus for 2013</a>. </p> Thu, 07 Feb 2013 17:17:36 +0000 David Austen, Ian Breakwell, Rudolf Fila, Peter Gallo, Leon Golub, Andrew Mansfield, Jon Thompson, Amikam Toren, Mark Wallinger - Anthony Reynolds Gallery - January 18th, 2013 - March 2nd, 2013 Mon, 04 Feb 2013 16:55:56 +0000 Partou Zia - Art First Contemporary Art - January 9th, 2013 - February 23rd, 2013 <blockquote> <p style="text-align: justify;"><span style="font-size: small;"><em>Like a poem, a painting is a festival, a holiday. A painting is a pause that celebrates or makes a place for Remembrance. Memory in itself cannot be transforming or transfiguring. The act of poetic alchemy changes one thing -­‐ the real experience -­‐ into another thing, a new or unknown thing. It is the imagination that acts as the director of this Ceremony of Remembrance… For me that is how painting proceeds: slow, doubtful, strange to the mind's eye, and ever dictatorial in its demands that I remain alert to the sudden, and the not yet known.</em> – Partou Zia 2005</span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;">In the five years following her residency as the first recipient of Tate St Ivesf pioneering programme at the historic Porthmeor Studios in 2003, Partou Ziafs painting flourished into a new, expressive phase of maturity. <em>Entering the Visionary Zone</em> was a prescient title for the exhibition and its accompanying catalogue, which followed, at Tate. Nobody could have guessed however that within two years her exuberant life of writing, painting and reading would have to channel itself into a narrow passage of time, intense in its dedication, where every moment mattered as she fought to survive a life-]threatening illness.</span></p> <p style="text-align: justify;"><span style="font-size: small;">An innate storyteller, Partou evolved a personal mythology focusing on an astonishingly vivid series of self-portrait paintings. Set in luminous, shimmering landscapes, the predominant presence has an increasingly spiritual quality, suffusing the many guises in which she depicts herself with an otherworldly sensibility.</span></p> <p style="text-align: justify;"><span style="font-size: small;">References to Italian Renaissance artists such as Andrea Mantegna, the Bellinis and Titian, enrich the late paintings (<em>My Flag</em> <em>2008</em>), together with the abiding influence of William Blake, whose archives she studied during her Tate residency. Partoufs Persian background with a love of the poetry and illuminated manuscripts of that Middle Eastern culture constantly nourished the visionary, dream-like quality of her art.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In her essay on Partou’s work for <em>The Grey Syllable</em> exhibition in 2005, Penny Florence described the paintings as messengers: “Paintings are messengers in the sense that, like all art they bring understanding from the far greater realm into that of the senses.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">Later, for the Memorial exhibition<em> In the Face of Wonder</em> at The Exchange in Penzance, Penny Florence expanded on the arresting quality of the figures in the strange and beautiful world of these paintings: </span></p> <p style="text-align: justify;"><span style="font-size: small;">“Making paintings that lead us to the right questions is the achievement of the visionary artist. And with it comes the visionary’s smile. For all their seriousness, for all that they deal with the great questions of life and death, these works, taken together, are not heavy. They may be weighty, even solemn sometimes, but that is as it should be in the face of wonder. But those little details – the floating slippers, the little pots of paintbrushes and artist’s impedimenta… (as In The Beginning, 2008) anchor us in the here and now, gently alluding to the material conditions of even the most elevated persons.”</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Portraits Beyond Self</em> seeks to present an artist who was a poet-­‐painter and who was forced to lay down her brushes just as she reached the height of her powers towards her fiftieth Birthday, when the cancer she so nearly overcame, took her away. The eloquence of her work is inspirational, and it is time now for it to be seen by a wider audience. Partou’s exquisite writing -­‐ from her <em>Extracts from The Notebooks of Eurydice</em> and beyond are also in the process of being brought to a wider readership, and the beginnings are present on the Art First website. Also viewable on the website are the paintings from the exhibition, and a new text by Penny Florence (Prof. Emerita, The Slade School of Fine Art, UCL).</span></p> <p style="text-align: justify;"><span style="font-size: small;">Partou Zia (1958 – 2008) emigrated from Tehran to England in 1970. She studied Art History at the university of Warwick, Fine Art at the Slade and was awarded a PhD for her writing and painting by the University of Plymouth. Exhibitions include Tate St Ives, The Newlyn Gallery, the Exchange, Penzance and Art First. Her work is in the collection of the British Museum, and New Hall Art Collection, Cambridge University.</span></p> Thu, 20 Dec 2012 09:47:52 +0000 Random International - Barbican Art Gallery - October 4th, 2012 - March 3rd, 2013 <p></p> <table border="0" cellpadding="0" cellspacing="0" width="340"> <tbody> <tr valign="top"> <td colspan="2" width="340"> <h1>Random International: Rain Room</h1> 4 October 2012 - 3 March 2013<br /> The Curve</td> </tr> <tr width="230" valign="top"> <td width="220"> <div style="width: 220px; float: left;"><b>Tickets</b>:<br /> <a style="color: #000000;" href="">Admission Free</a> <br /> <br /> <b>Times</b>: <br /> <a style="color: #000000;" href=""><br /> View gallery opening hours</a><br /> Open daily 11am - 8pm; Thu until 10pm; 1 Jan 12-8pm (last admission to the queue approximately two hours before closing) <strong></strong><br /> <br /> Current queuing time approx 3 hours<br /> <br /> It is possible that you may get wet especially if wearing dark clothing<br /> <br /> Flat shoes are advisable<br /> <br /> <br /> <br /> <br /><br /> subject to availability</div> </td> <td class="artform" width="120"> <div style="width: 120px;"> <div style="text-align: left; padding-left: 19px; height: 30px; position: relative;"></div> <div style="height: 23px; text-align: left; padding-left: 22px;"><a title="ShareThis via email, AIM, social bookmarking and networking sites, etc." class="stbutton stico_default">share this</a></div> </div> </td> </tr> <tr valign="top"> <td class="artform" colspan="2"><br /> <br /> <div id="nav-tab-area"> <div class="nav-tab-current">Description</div> <div class="nav-tab"><a href=";pg=4091"><b>Visitor info</b></a></div> <div class="nav-tab"><a href=";pg=4168"><b>Wayne McGregor</b></a></div> <div class="nav-tab"><a href=";pg=4180"><b>Press</b></a></div> </div> </td> </tr> <tr valign="top"> <td colspan="2" class="afbody"><br /> <strong></strong><br /><br /><strong>Random International</strong> invites you to experience what it’s like to control the rain. Visitors can choose to simply watch the spectacle or find their way carefully through the rain, putting their trust in the work to the test. <br /><br />More than the technical virtuosity necessary for its success, the piece relies on a sculptural rigour, with the entire Curve transformed by the monumental proportions of this carefully choreographed downpour and the sound of water. <br /><br />Random International are known for their distinctive approach to digital-based contemporary art. Their experimental artworks come alive through audience interaction and staged performance. <br /><br />Random International are represented by Carpenters Workshop Gallery, London and Paris. <br /><br /><strong>In order for visitors to enjoy the sensory experience of <i>Rain Room</i>, there is a limited capacity of 5 people at a time in the rain. <br /></strong><br /><strong>Please be aware that due to the popularity of <i>Rain Room</i>, the queue time currently stands at around two hours, at peak times including evenings and weekends up to three hours.<br /><br />We advise visitors to arrive as early in the day as possible, a minimum of two hours before closing time. Entry to the queue is subject to the number of visitors already waiting. Anyone arriving later may not be allowed to join the queue as we are unable to admit visitors after the gallery closes. Thank you for your patience.</strong><br /> </td> </tr> </tbody> </table> Tue, 08 Jan 2013 03:10:03 +0000 Robert Rauschenberg, Jasper Johns, Marcel Duchamp - Barbican Art Gallery - February 14th, 2013 - June 9th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Exploring one of the most important chapters in the history of contemporary art, <i>The Bride and the Bachelors: Duchamp with Cage, </i><i>Cunningham, </i><i>Rauschenberg and Johns</i> focuses on <strong>Marcel Duchamp </strong>’s American legacy, tracing his relationship to four great modern masters – composer, <strong>John Cage</strong>, choreographer, <strong>Merce Cunningham, </strong>and visual artists<strong> Robert Rauschenberg </strong>and <strong>Jasper Johns</strong>. </span><br /><br /><span style="font-size: small;">Encountering Duchamp and his work in the early stages of their careers, each of the younger artists embraced key elements of his ideas and practice, resulting in a seismic shift in the direction of art in the 1950s and ‘60s. Characterised by the integration of art and life, the work of Cage, Cunningham, Rauschenberg and Johns heralded the advent of Pop Art. </span><br /><br /><span style="font-size: small;"><i>The Bride and the Bachelors </i>features around 90 works, some by Rauschenberg and Johns are being shown in the UK for the first time. The selection reflects the artists’ multiple levels of engagement across the disciplines of art, dance, and music. </span><br /><br /><span style="font-size: small;">Leading contemporary artist <strong>Philippe Parreno </strong>has devised a dynamic experiential staging of the exhibition inspired by the choreography of Cunningham and music of Cage, featuring two Yamaha Disklavier pianos playing live Cage scores, while the ‘ghost’ of the dancers can be heard pounding the floor. The soundscape is also punctuated by Parreno’s own interpretation of Cage’s famous 4’ 33”. </span><br /><br /><span style="font-size: small;">Live dance ‘Events’ are performed on Thursday evenings and weekends throughout the duration of the exhibition by students and graduates from<strong> London Contemporary Dance School </strong>and dancers from <strong>Richard Alston Dance Company</strong>. </span><br /><br /><span style="font-size: small;">Special ticketed dance events taking place in the gallery setting include Cunningham's <i>RainForest</i> (1968), presented by Rambert Dance Company and Richard Alston Dance Company performing mixed pieces of his repertoire. Both are followed by a Q&amp;A with Mark Baldwin and Richard Alston respectively. </span><br /><br /><span style="font-size: small;">The exhibition is curated by Carlos Basualdo and organised by the Philadelphia Museum of Art in association with Barbican Art Gallery. The exhibition has been developed with the full co-operation of Jasper Johns, Robert Rauschenberg Foundation, John Cage Trust, Merce Cunningham Trust and Association Marcel Duchamp. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Dance Curator: Jeannie Steele. Presented in association with The Place, with the kind assistance of Richard Alston Dance Company and London Contemporary Dance School.</span> </p> Tue, 01 Jan 2013 17:59:39 +0000 Jill Baroff, Stefana McClure, Winston Roeth, Phil Sims, Hadi Tabatabai, Beat Zoderer - Bartha Contemporary - February 8th, 2013 - March 23rd, 2013 <p style="text-align: justify;">Bartha Contemporary Ltd. &amp; Joost van den Bergh Ltd. are delighted to announce a joint exhibition of Tantric drawings and objects juxtaposed with recent works by contemporary artists Jill Baroff, Rudolf de Crignis, Stefana McClre, Mike Meiré, Winston Roeth, Kate Shepherd, Phil Sims, Hadi Tabatabai and Beat Zoderer. The exhibition will be held at Bartha Contemporary’s space at 25 Margaret Street, off Regent Street.<br /><br />The Indian term tantra is generally linked with mystery and mysticism as well as with sex, magic and hocus-pocus in the West.<br /><br />Indeed, tantrism is connected with all these and even more. Buddhism, Hinduism,
Taoism, Jainism, Vajrayana, Bönpo, Ayurveda and Shamanism are some of the
philosophies, religions and sciences that were somehow influenced by tantrism.<br /><br />Tantras expand doctrines on the creation and destruction of the universe, the worship of certain deities, spiritual exercises, secret rituals, magical powers and meditation.<br /><br />Three words in Indian tantrism are related, also phonologically: tantra (the philosophy), mantra (the knowledge through sound) and yantra (the means to leading a tantric existence).<br />Many of the diagrams, mandalas and symbols, represented in Indian tantrism are of Jain origin and deal mainly with cosmographic themes. Jains have always made clear diagrams and maps of the world (Jambudvipa) and the cosmos (Lokapurusa). Jains described in the smallest of detail the macro as well as the micro-cosmos, using notions equivalent to light-years and atoms, long before western scientists discovered them.<br /><br />For this exhibition we have chosen to juxtapose selected tantric objects and drawings with works by contemporary artists, which both directly or indirectly relate and reflect on some of the notions of tantric art.<br /><br />Abstract in appearance the circular tide drawings by the New York artist Jill Baroff are depictions of tidal movements at specific geographic locations. Similar to the
astrological studies these drawings render and explore natural phenomena of cosmic origins.<br /><br />The late Swiss painter Rudolf de Crignis who together with his partner Michael Paoletta collected tantric drawings for many years is a perfect example how the study of yantra has attracted and bridged artistic practices over many centuries.<br /><br />Hence it comes as no surprise that reviews and essays concerning the work of American painters James Howell, Phil Sims, Winston Roeth and Kate Shepherd refer to apparent aesthetic similarities between their paintings and early tantric art.<br /><br />Literal references equally play an important role; Mike Meiré has been referencing
Indian philosophical writing for the titles of his work, which is routed in tantrism.
Equally much of Beat Zoderer’s early work shown here is heavily influenced by his experience traveling in India at the beginning of his career.<br /><br />This exhibition is the result of a shared passion for both Indian Tantric and Western Contemporary Art.</p> <p style="text-align: justify;">Hence it comes as no surprise that reviews and essays concerning the work of American painters James Howell, Phil Sims, Winston Roeth and Kate Shepherd refer to apparent aesthetic similarities between their paintings and early tantric art.</p> <p style="text-align: justify;">Literal references equally play an important role; Mike Meire has been referencing Indian philosophical writing for the titles of his work, which is routed in tantrism. Equally much of Beat Zoderer's early work shown here is heavily influenced by his experience traveling in India at the beginning of his career.</p> <p style="text-align: justify;">This exhibition is the result of a shared passion for both Indian Tantric and Western Contemporary Art.</p> Wed, 06 Feb 2013 16:29:25 +0000 CANDIDA HÖFER - Ben Brown Fine Arts Ltd - February 12th, 2013 - April 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">German photographer <strong>Candida Höfer</strong> will make a noticeable return to London with a major solo show featuring thirteen new monumental works at Ben Brown Fine Arts. Magnificent interiors of palaces, opera houses, libraries, theatres from Northern Italy are the focus of this new series, produced over the past two years, which follows her earlier group of works made in Southern Italy in 2009.  These photographs highlight Northern Italy’s most pivotal architectural spaces in Mantova, Vicenza, Sabbioneta, Venice and Carpi. As in her previous series, these photographs are devoid of human presence, yet the interiors are public spaces created with the intention of holding large numbers of people. Höfer instinctually chooses these locations with respect to their history, architecture and functionality.</span></p> Wed, 23 Jan 2013 16:35:40 +0000 Ed Ruscha - Bernard Jacobson Gallery - January 10th, 2013 - February 23rd, 2013 <p style="text-align: justify;"><span style="font-size: small;">Bernard Jacobson Graphics is pleased to announce its forthcoming exhibition of prints by the renowned American artist<strong> Ed Ruscha</strong>. <strong><em>I'm Amazed</em> </strong>will provide unique insight into the celebrated graphic output of this important American artist, focusing on his world of words. Following in the tradition of artists who used words in their work, from the Dadaists and Surrealists who used them in a nonsensical way or as a psychological tool to the Conceptual artists who focused on the meaning of words, Ed Ruscha is part of the first generation of pop artists who explored words as a formal or aesthetic device. He uses words as abstract shapes, which don't necessarily have a literal meaning:</span></p> <p style="text-align: justify;"><span style="font-size: small;">"They just occur to me, sometimes people say them and I write them down and then I paint them. Sometimes I use a dictionary."</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition at Bernard Jacobson Graphics presents some of the most iconic images by Ruscha, beginning with the screenprint <em>Hollywood</em>. Ruscha was able to view the famous Hollywood sign from his studio, and painted it in different versions over the next twenty years. Even though these signs are an iconic symbol for the spirit of Southern California and the pop and celebrity culture of the United States, the artist uses them only as words. "Words are pattern-like, and in their horizontality they answer my investigation into landscape. They're almost not words - they are objects that become words."</span></p> <p style="text-align: justify;"><span style="font-size: small;">Coming from the midwestern city of Oklahoma, Ruscha moved in his late teens to Los Angeles, which offered him a wealth of material for his artistic expressions. On his journeys home to Oklahoma he passed the petrol stations, which became the subject of a series of paintings and prints exhibited here. Ruscha included the photos from these trips to Oklahoma in his first artist's book; he later created a portfolio with prints of his artist's book covers, which also feature here.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In some of his later works, Ruscha became bored with the typographical restrictions of his words, and he began what he calls his "romance with liquids." The now free-floating letters written with spilled liquid gave Ruscha more freedom in his use of them, as for example with <em>Lisp</em>. He further extended his artistic experiments with what could be called his "romance with materials." Ruscha started to use organic materials and foodstuff for his prints, such as chocolate syrup, baked beans, and caviar, as in his London-inspired portfolio <em>News, Mews, Pews, Brews, Stews, Dues</em>. In his painting <em>Evil</em> he even used his own blood. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Surrealist ideas, especially from Magritte and Dali, were of great interest for Ruscha. The often-explored fears and fantasies in the Surrealist movement are to be found in his <em>Insect</em> portfolio, with ants and cockroaches which are reminiscent of Luis Bunuel's film <em>Un Chien Andalou</em>. The insects in Ruscha's portfolio are nevertheless shown as meticulously copied insects with detailed bodies and wings, rather than as frightening or threatening objects.</span></p> <p style="text-align: justify;"><span style="font-size: small;">One of his oversized insect prints reads "I'm Amazed"; this was one of the first prints where the artist used sentences with a literal meaning in his work. Like many other works in the exhibition, it was published by Bernard Jacobson. Bernard Jacobson's portfolio <em>Man walking away from it all </em>was recently exhibited in a major show of Ed Ruscha's art at the Los Angeles County Museum of Art. His work is exhibited worldwide, the latest instance being this past summer at the Kunsthaus Bregenz, Austria. A forthcoming exhibition of prints and photographs opens in 2013 at the Kunstmuseum Basel.</span></p> Wed, 06 Feb 2013 15:27:05 +0000 Kurt Schwitters - Bernard Jacobson Gallery - January 28th, 2013 - April 3rd, 2013 <blockquote> <p style="text-align: justify;"><span style="font-size: small;">"I could see no reason why used tram tickets, bits of driftwood, buttons and old junk from attics and rubbish heaps should not serve well as materials for paintings; they suited the prupose just as well as factory-made paints... It is possible to cry out using bits of old rubbish, and that's what I did, gluing and nailing them together."</span><br /><span style="font-size: small;">-Kurt Schwitters</span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;"><strong>Bernard Jacobson Gallery</strong> is proud to announce its forthcoming exhibition of collages and assemblages by the German painter, sculptor, typographer and writer <strong>Kurt Schwitters</strong> (1887 Hanover - 1948 Kendal), one of the pioneers of European Modernism. The exhibition will run from 28th January to 30th March 2013 and coincide with the Tate's <em>Schwitters in Britain</em> exhibition opening to the public on 30th January.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Schwitters was a significant figure in European Dadaism. Influenced by Expressionism and Cubism, he created his own form of Dada in Hanover called <em>Merz</em>, after the syllable 'merz' taken from an ad for the <em>Kommerz- und Privatbank</em>. <em>Merz</em> soon became a catch-all phrase to describe all of his creative activities covering not only art, but also abstract drama and poetry, cabaret, music, photography and architecture. He was a noted performer and a prolific writer, also publishing the innovative Merz journal that appeared intermittently from 1923-32.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Schwitters is most famous for his abstract collages which he began to make in the winter of 1918/19 using found and everyday objects such as labels, bus tickets, fabric and bits of broken wood. They were born out of his post-war feeling: 'Everything had broken down and new things had to be made out of the fragments; and this is Merz.'</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition will comprise around twenty works dating from 1920 to 1947. Highlights include his collages from the 1920s such as <em>Untitled (Katan or 703)</em>, c.1921;<em>Mz 26, 45 Sch</em>., 1925-26 and <em>JOS.MA</em>, 1927. Works from this period are characterized by a gradual move to more rectilinear, simpler compositions with cleaner, sharper lines and the use of large blocks of single colours, taking inspiration from the new generation of Constructivists from Eastern Europe and the Netherlands, especially his friends El Lissitzky and Theo van Doesburg. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Other highlights include later works such as <em>Collage with playing card</em>, 1940 and <em>C50 Last Birds and Flowers</em>, 1946, incorporating fragments from packaging and newspapers reflecting British life as well as assemblages such as <em>Eye on Cheese</em>, 1944-47 and <em>Golf Tee</em>, 1947 incorporating organic material and objects found on a beach, such as wax, drift wood and pebbles, replacing the mass produced ephemera of previous years reflecting his move away from London to rural Cumbria in 1945. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Schwitters' undogmatic and non-elitist art, by elevating the rejected, the discarded and the useless to fine art, inspired such post-war pioneers as Jasper Johns, Robert Rauschenberg, Eduardo Paolozzi, Richard Hamilton and Joseph Beuys; and he is now seen as the grandfather of many post-1945 art movements, from Pop Art to Conceptual, Installation and Performance Art.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Work by Kurt Schwitters can be seen in many art museums, including the Museum of Modern Art in New York; the Centre Pompidou in Paris; Museum Ludwig in Cologne; the Tate in London and the Armitt Museum in Ambleside. The largest and most important collection of his work, along with a reconstruction of the first Merzbau room, can be found in the Sprengel Museum in Hanover, Germany, which also has an extensive Kurt Schwitters archive.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Schwitters in Britain</em> can be seen at Tate Britain, London, from 30th January to 12th May 2013. The exhibition focuses on the artist's British period, from his arrival in Britain as a refugee in 1940 until his death in Cumbria in 1948 and includes over 150 collages, assemblages and sculptures.</span></p> <p style="text-align: justify;"><span style="font-size: small;">*Easter Closure: Friday 29 March - Monday 1 April</span></p> Mon, 01 Apr 2013 16:56:04 +0000 Michael Reisch - Bischoff/Weiss - January 25th, 2013 - March 9th, 2013 <p style="text-align: justify;"><span style="font-size: small;">BISCHOFF/WEISS is pleased to present a solo exhibition of photographic work by Michael Reisch. </span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>"The ideas of the sublime and the beautiful stand on foundations so different, that it is hard, I had almost said impossible, to think of reconciling them in the same subject, without considerably lessening the effect of the one or the other upon the passions</em>" - Edmund Burke, A Philosophical Enquiry into the Sublime and Beautiful, 1767.</span><br /><br /><span style="font-size: small;">In Michael Reisch's photography, what Edmund Burke deemed impossible comes into fruition. With an expert awareness of scale, he creates subjects so vast and imposing as to render the drama of the sublime, yet does so in a manner so technically and conceptually accomplished that one cannot deny the beauty of the results.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Michael Reisch, born in 1964 in Aachen, Germany.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Forthcoming solo exhibition: Museum Kurhaus, Kleve, Germany. Solo exhibitions include: Galerie Hengesbach (2013, 2010), Peter Lav Gallery, Copenhagen, Denmark (2012), BISCHOFF/WEISS (2011), Kunsthalle Erfurt, Germany (2008), Scottish National Portrait Gallery, Edinburgh, Scotland (2007), Fotomuseum im Stadtmuseum, Munich (2006). Group exhibitions include: Points of View. Orte der Fotografie, Kunstverein Hildesheim with Roemer-und-Pelizaeus Museum, Hildesheim, Germany (2012), Unbestimmtheitsstellen, Kunstraum Alexander Bürkle, Freiburg, Germany (2012, 2009), Realismus - Das Abenteuer der Wirklichkeit Kunsthalle Emden; Kunsthalle der Hypo-Kulturstiftung, Munich, Kunsthal Rotterdam (2010), Zwischen Konstruktion und Wirklichkeit, Suermondt-Ludwig-Museum, Aachen (2002).</span></p> Thu, 21 Feb 2013 15:07:53 +0000 Mat Collishaw - Blain|Southern - London Hanover Square - February 14th, 2013 - March 30th, 2013 <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> Sun, 10 Mar 2013 19:24:03 +0000 Charles Atlas - Bloomberg Space - January 25th, 2013 - March 31st, 2013 <p style="text-align: justify;"><span style="font-size: small; font-family: arial, helvetica, sans-serif;">For his collaboration with Bloomberg SPACE and the South London Gallery, video artist and film director Charles Atlas creates a 360 degree multi-channel video installation using fabricated images, abstract material and found footage from a variety of sources including the Bloomberg digital archives. Projected images scroll across the large windows and walls of the gallery to create an immersive environment in which a choreographed storm of numbers, letters and continuously looping collaged footage inhabit the space. Punctuated by vertical sweeping bars of light, the images are revealed as if in layers beneath a horizontal swatch of interference which occasionally interrupts the window projection, descending from the ceiling like 'TV snow'. Vertical sections of footage and segmented images proliferate rhythmically throughout to create a vertiginous experience. The presentation is an amalgamation and continuation of Atlas’ recent large scale installation work, also echoing elements of live video performances at the Whitney Museum of American Art, New York and the South London Gallery. </span></p> <p style="text-align: justify;"><span face="Verdana,Arial,Helvetica,sans-serif" color="#000000" size="2" style="color: #000000; font-family: arial, helvetica, sans-serif; font-size: small;">The <strong>South London Gallery </strong>has an international reputation for its programme of contemporary art exhibitions and live art events, with integrated education projects for children, young people and adults. Exhibitions profile the work of established international figures such as Alfredo Jaar, Gabriel Kuri, Rivane Neuenschwander, Tatiana Trouvé and Superflex; as well as that by younger and mid-career British artists such as Ryan Gander, Eva Rothschild and George Shaw. Group shows bring together works by established and lesser known British and international artists. The gallery’s live art and film programme has included presentations by Charles Atlas, Rachel Gomme, Nathaniel Mellors, Gail Pickering and Gisele Vienne.</span></p> <p style="text-align: justify;"><span face="Verdana,Arial,Helvetica,sans-serif" color="#000000" size="2" style="color: #000000; font-family: arial, helvetica, sans-serif; font-size: small;"><strong>About Bloomberg’s commissioning programme</strong><br />Bloomberg SPACE’s collaboration programme brings together two philanthropic passions of supporting institutions and commissioning new works. Since 2002 Bloomberg SPACE has worked with more than 360 artists and has commissioned over 170 new works. This direction towards collaborative curatorial practice will open up new opportunities for artists and organisations to take on projects they thought were otherwise impossible.</span></p> Mon, 25 Mar 2013 22:41:01 +0000 Sanja Iveković - Calvert 22 - December 14th, 2012 - February 24th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The <strong>South London Gallery </strong>and<strong> Calvert 22</strong> present<strong> <em>Unknown Heroine</em></strong>, the first exhibition in the UK of Croatian artist,<strong>Sanja Iveković</strong> (b. 1947, Zagreb). The importance of Iveković’s pioneering work in collage, film, performance and installation, which tackles issues of female identity, consumerism and historical amnesia, has recently been acknowledged by her inclusion in dOCUMENTA (13), as well as through major retrospective exhibitions at Mudam, Luxembourg and MoMA, New York. This timely retrospective, curated by Lina Džuverović and spanning both the SLG and Calvert 22, introduces work made over a period of four decades against a background of political unrest. </span></p> <p style="text-align: justify;"><span style="font-size: small;">At the South London Gallery, works from the mid-1970s such as <em>Double Life</em> and <em>Tragedy of a Venus </em>explore the appropriation of female identity by the media and issues of consumerism more generally. <em>Double Life,</em> 1975, originally published as an artist’s book, pairs photographs of women cut out from glossy magazines with those of the artist taken at different stages of her life. Mirroring each other in pose, gesture, situation or prop, the alignment of images highlights the discrepancy between the realities of everyday life and the highly stylised version promoted in the media. Taking this idea into the realm of celebrity, in <em>Tragedy of a Venus</em>, 1975, Iveković places pictures of Marilyn Monroe alongside those depicting scenes from her own life, again questioning the equivocal, constructed status of women and the division between public and private narratives.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Works at Calvert 22 focus on questions of historical amnesia. <em>Ponos (Pride)</em>, 2003, for example, examines the inextricable links between politics and public space through the renaming of shops, public buildings and streets. <em>Ponos (Pride)</em> is a replica of an original neon shop sign from a textile shop in Zagreb, now renamed to eliminate the socialist undertones of the title. <em>GEN XX</em>, 1997-2001, similarly explores history and memory, appropriating magazine adverts of glamorous women which, upon closer inspection, reveal names of partisan heroines from socialist times. The banal advertising copy is replaced with the charges and execution dates of young, female anti-fascist militants of World War Two, documenting the erasure of these unknown heroines from the official history.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Always politically engaged, Iveković’s practice invariably embodies issues of civil liberty and dissent. In <em>Triangle</em>, 1979, a provocative action carried out during a visit by President Tito, Iveković drew attention to the oppression and machismo associated with political leaders and their entourages. In more recent works her activism has been more direct, collaborative and often focusing on violence against women. <em>Women’s House (Sunglasses)</em> was started in 2002 and is an on-going collaboration with women who have suffered domestic abuse. Advertisements for well-known brands of sunglasses are altered to incorporate short but searing statements by battered women, shifting our reading of the glasses from fashion accessory to cover-up mechanism. Disseminated through posters, billboards and pamphlets, this collaboration has so far been realised with women’s centres in Poland, Croatia, Italy, Luxembourg and the Netherlands.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Covering a career of over 35 years, <em>Unknown Heroine</em> offers a comprehensive and fascinating view into the politics of power, gender and collective memory that continue to challenge, provoke and unsettle.</span></p> Thu, 01 Nov 2012 16:34:48 +0000