ArtSlant - Openings & events en-us 40 Beatriz Santiago Muñoz - Gasworks - February 25th, 2013 7:00 PM - 9:00 PM <p>Beatriz Santiago Muñoz discusses her practice and the development of <em>The Black Cave</em> with Gasworks’ exhibitions curator Robert Leckie. This is followed at 8pm by a group listening session focusing on the artist’s personal collection of music about landscape.</p> Tue, 19 Feb 2013 12:46:00 +0000 Julia Pfeiffer - Maria Stenfors - February 26th, 2013 6:30 PM - 8:30 PM <p>Pfeiffer’s work is a symbiotic practice of ceramics and black &amp; white photography. The ceramic sculptures are vessels, figurative and abstract objects. Made with different techniques and both glazed and unglazed. The ceramic objects are often echoes of utilitarian objects or a replacing the action of the body, with a strong connection to art history. The photographs are staged in the artist’s studio and incorporate the remains and evidence of the process of making ceramics, often against a painted backdrop that creates a fictitious depth and architectural space. Taken with a long shutter speed, they record the artist’s motion, as she moves through the frame moving light sources and objects to produce light trails and duplication.<br /><br />Julia Pfeiffer lives and works in Berlin, after studying at Hochschule für Gestaltung Karlsruhe. Recent exhibitions have included NADA Miami 2012, Desaga Gallery, Cologne and Horse, Berlin. ‘Figures of the Thinkable’ is her second solo exhibition at Maria Stenfors.<br /><br />Exhibition Dates 27th Feb - 6th Apr, 2013<br /><br />For full press release, images and further information please contact<br /><br />On Friday 1st March at 7pm, writer and curator Chris Fite-Wassilak will lead a talk on the work of Julia Pfeiffer. The event is free and open to all, if you would like to attend please email</p> Wed, 13 Feb 2013 10:31:10 +0000 Helen MacAlister - Art First Contemporary Art - February 27th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"> ‘This exhibition penetrates deep into language. In so doing, it creates a new medium of itself that leaps gaps and generations… There are core elements of concrete poetry and the choice essentials of cryptic clues…’</p> <p style="text-align: justify;">Roddy Murray, Director of An Lanntair, Stornoway, commissioned MacAlister’s exhibition over 6 years ago and gave it time to evolve before launching it in the Summer of 2012. The extract above is from his introduction to an illustrated online catalogue (see link below) in which Duncan Macmillan’s essay and the artist’s illuminating reference notes expand eloquently on the ‘cryptic clues’. </p> <p style="text-align: justify;">MacAlister's elegant, reductive work is part of her overall exploration of a specific distilled cultural/political history. This substantial body of work . paintings, drawings, prints and glass . reflects her poetic use of language in which Gaelic and Scots are part of her subject matter. From the fact of language, built--]in bilingualisms and esentence landscapesf, the mountains, braes, roads and bays align themselves with single words or phrases in a visual encapsulation that fuses word with image.</p> <p style="text-align: justify;"> The large landscapes are monochrome, in a range of muted colours. <em>Bealach nam Ba</em> is a rich brown, for instance, while <em>The Lido, Campbeltown bay is golden yellow</em>. In this case the colour is a compound of translingual and verbal- visual pun playing on 'bay', the Gaelic <em>buidhe</em>, yellow, and <em>buidheachas</em>, gratitude. The paintings themselves consist of a layer of multiple marks, of signs, light and dark, and in detail chaotic, but which, overlaid on the raw image behind them, reveal its outlines. The drawings, which sometimes relate directly to the paintings, work the same way with a mass of fine pencil marks from whose confusion the image emerges. </p> <p style="text-align: justify;">Small glass pieces with words sandblasted onto them take the same horizontal post card format as the prints, yet their transparent simplicity, as Macmillan suggests, is wonderfully telling: <em>Cold air in the nostrils</em> is an eloquent, poetic metaphor, indivisibly word and image. The wavy surface of ice-blue glass embodies the words.</p> <p style="text-align: justify;"> From a group of three proverbs, we have the spare black and white digital prints, such as: </p> <p style="text-align: justify;"><em>Dh'ith e chuid den bhonnach-shodail- he ate his share of the flattery bannock.</em></p> <p style="text-align: justify;"> The visual/verbal potency of these tiny prints embody the same charge as the choice of specific landscape in the dominant two meter wide paintings. Ben Dorain is hung with its ‘diptych’ if one can call it that, the small canvas at its side, painted with the words of the exhibition’s title <em>At the Foot o’ Yon Excellin’ Brae</em>. This phrase is taken from Hamish Henderson’s essay of the same title, on the language of Scots Folksong, and is one of the keys to MacAlister’s whole project. </p> <p style="text-align: justify;">Helen MacAlister trained in Fine Art at Duncan of Jordanstone College of Art, Dundee. Subsequent awards and scholarships enabled her to work in Paris and Rome, with further residencies in Italy and the States, including Bellagio and MacDowell. She is represented by Art First and has work in public and private collections in the UK and the USA.</p> Thu, 07 Feb 2013 15:46:46 +0000 William Stein - Art First Contemporary Art - February 27th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;">William Stein’s practice as a painter centres on the tension between rigid formalism and intuitive, ‘automatic’,-­‐mark-­‐making.-­‐These-­‐conflicting disciplines combine in exquisite compositions of line and colour across the smooth surfaces of Stein’s gessoed panels. Stein also weaves the written word into his work through a kind of concrete poetry that feeds into drawing. The paintings themselves bear echoes of this as lines of pseudo ‘text’ float across the planes of colour and geometric form.</p> <p style="text-align: justify;">Each panel reaches its point of completion only after a process of near total obliteration and re--] imagination. Layers of paint and pigment are sanded back, scored into and obsessively reworked. The resulting paintings, quiet and elegantly poised, belie the violence inherent in their creation.</p> <p style="text-align: justify;"> In works such as <em>Domain</em> – the largest in the show and an experiment in scale for Stein on these new gesso surfaces – the elements of sharply defined and purposeful cubic and circular forms cluster together, overlapping and interrupting one another to create a complex network of pencil line and score-­‐ marks. This latticework hovers in and out of focus with the overarching bold brushstrokes that dominate the painting’s foreground. The work as a whole suggests the struggle between elements of the psyche to push themselves to the fore, and as both a painting and a message the work shifts as the viewer’s gaze drifts across its cloud-­‐like surface.</p> <p style="text-align: justify;">This ambiguity and interplay of forces asserts itself in a more singular way in the smaller panels – in the audacity and sharp edged brilliance of the raised square of yellow and titanium white that intrudes on the otherwise muted and delicate surface of the work Soon, and in the poured, monotone, roughly sanded backdrop to the exacting and brightly highlighted linear forms that balance lightly on the surface of the work <em>Dream</em>.</p> <p style="text-align: justify;">That poetry and the written word enter and inspire the work is not surprising, as each painting is composed almost as a poem – hinting at meaning through its repeated form and symbolism – without ever allowing itself to be pinned down. An artists’ book edition accompanies Stein’s paintings and drawings, and in the brief glimpses of single, gestural words isolated on the page there is an echo of Stein’s intention in paint – to create entire landscapes, but to leave open the route and the journey through them.</p> <p style="text-align: justify;">William Stein studied for his MFA in painting at the Slade School of Fine Art, graduating with Distinction in 2009. He has been shortlisted for the Jerwood Painting Fellowship, the Marmite Prize for painting, the BOC Emerging Artist Award and the Adrian Carruthers Studio Award (Slade). He was awarded the Euan Uglow Memorial Scholarship (2008) and the Arts Council of England Award in 2004.</p> Thu, 07 Feb 2013 15:51:18 +0000 Carsten Nicolai - Ibid. - February 27th, 2013 6:30 PM - 8:30 PM Thu, 14 Feb 2013 16:33:15 +0000 - Kinetica Art Fair - February 27th, 2013 6:30 PM - 9:00 PM <div id="heading"> <h3>Opening &amp; Closing</h3> </div> <p>Wednesday 27 February: PV Launch Event : 6.30pm - 9pm</p> <p>Thursday 28 February: 10am - 8pm</p> <p>Friday 1 March: 10am – 8pm</p> <p>Saturday 2 March: 10am - 8pm</p> <p>Sunday 3 March: 10am - 6pm</p> <h3>Ticket prices</h3> <p><strong>LAUNCH EVENT (limited availability)</strong></p> <div class="left "> <ul> <li>£25 (advance sales only) <p><strong>FAIR TICKET</strong></p> </li> <li>Art Fair day entrance only</li> <li>£16 on the door / £12 in advance</li> <li>Concessions and children under 16 : £12 at the door / £10 in advance. <p><strong>ALL ACCESS TICKET</strong></p> </li> <li>Includes fair, talks and performances</li> <li>£16 in advance, £20 on the door</li> <li>Concessions and children under 16: £15 on the door / £12 in advance.</li> </ul> <div class="left"> <div class="categorylist"> <h3>Exhibitors</h3> <ul> <li>Toer</li> <li>Dan Dodds</li> <li>AA Alexandria</li> <li>Alex Allmont</li> <li>All Visual Arts</li> <li>Baileybots</li> <li>Alexnder Berchert</li> <li>Maab - Michael Biasi</li> <li>Rémi Brun</li> <li>Laurent Debreaux</li> <li>AA DLAB</li> <li>Xiaofei Dyson</li> <li>Mechanical Flipbook</li> <li>Artur Fidalgo Galeria</li> <li>Edwins Gallery</li> <li>Triumph Gallery</li> <li>Aether &amp; Hemera</li> <li>University of Hertfordshire</li> <li>Colour Holographic</li> <li>Holotronica</li> <li>Jonty Hurwitz</li> <li>Krzystzof Jagielo</li> <li>Piotr Jedrzejewski</li> <li>University of Lincoln</li> <li>The Mad Museum</li> <li>Kinetica Museum</li> <li>John Popadic</li> <li>Design Quarter</li> <li>Anouk Wipprecht &amp; Daniel Schatzmayr</li> <li>Matthieu Schönholzer</li> <li>Trope Scope</li> <li>Ravensbourne/Computer Arts Society</li> <li>Sharisharishari &amp; Takumi</li> <li>Leonardo Ulian</li> <li>Rainbow Winters</li> </ul> </div> </div> </div> Sun, 24 Feb 2013 01:22:11 +0000 Keith Coventry - South London Gallery - February 27th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Artist Keith Coventry discusses the relationship between architecture and his paintings with critic Owen Hatherley and writer Michael Bracewell. Margot Heller, director of the South London Gallery, chairs the discussion.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Taking as their starting point the schematic plans outside housing estates, Keith Coventry’s <em>Estate Paintings </em>employ the visual vocabulary of the Russian avant garde to show that the utopian ideals that led to the creation of widespread social housing have their roots in artistic abstraction. In these stark and compelling paintings, Coventry contends that the ultimate failing of the Modernist project was its inability to make real space for human living.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This talk coincides with the exhibition <em>Keith Coventry: Twentieth Century Estates</em> at <a href="" target="_blank">Modern Collections</a>, London.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Booking is essential. </strong><strong><a href="" target="_blank">Book online</a> or call 020 7703 6120.</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Biographies </strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Keith Coventry</strong> (born Burnley, 1958) is one of the most respected and widely known British painters of his generation. He was educated at Brighton Polytechnic and Chelsea College of Art. Included in the Royal Academy's seminal <em>Sensation</em> exhibition in 1997, Coventry's work is now held in distinguished private and museum collections worldwide. These include the British Council; Tate Modern; Arts Council of England; Walker Art Center, Minneapolis; and The Museum of Modern Art, New York. In 2010 Coventry was the recipient of the prestigious John Moores Painting Prize. He lives and works in London.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Owen Hatherley</strong> was born in Southampton in 1981. He is a freelance writer on architecture and cultural politics, and is the author of four books - <em>Militant Modernism</em> (Zero, 2009), <em>A Guide to the New Ruins of Great Britain</em> (Verso, 2010), <em>Uncommon – An Essay on Pulp </em>(Zero, 2011),<em>A New Kind of Bleak – Journeys through Urban Britain</em> (Verso 2012), and an e-book on squares in eastern Europe, <em>Across the Plaza </em>(Strelka, 2012).</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Michael Bracewell</strong> is the author of six novels and three works of non-fiction, including the much acclaimed <em>England Is Mine</em>. His writing has appeared in <em>The Penguin Book of Twentieth Century Fashion Writing</em> and<em>The Faber Book of Pop</em>. He also writes widely on modern and contemporary British art, and is a regular contributor to Frieze magazine. His recent publications include catalogue texts on the work of Richard Hamilton, Bridget Riley, Gilbert &amp; George, John Stezaker and Damien Hirst. He was the co-curator of <em>The Secret Public: The Last Days of The British Underground, 1977-1988</em>, at Kunstverein Munchen in 2006, and<em>Germany Is Your America</em> at Broadway1602, New York in 2011. His most recent book, <em>The Space Between: Selected Writings on Art</em>, Edited by Doro Globus, was published by Ridinghouse in 2012.</span></p> Tue, 23 Jul 2013 18:01:34 +0000 Federico Barocci - The National Gallery - February 27th, 2013 10:00 AM - 6:00 PM <p style="text-align: justify;" class="intro"><span style="font-size: small; color: #000000;">Experience the charm and sensitivity of Barocci’s masterpieces – never before seen outside Italy.</span></p> <p style="text-align: justify;"><span style="font-size: small; color: #000000;"><span class="amax-link-ConConstituent-22">Federico Barocci</span> (1535–1612) is celebrated as one of the most talented artists of late 16th century Italy. Fascinated by the human form, he fused charm and compositional harmony with an unparalleled sensitivity to colour.</span><br /><br /><span style="font-size: small; color: #000000;">The exhibition will showcase Federico Barocci’s most spectacular altarpieces, including his famous 'Entombment' from Senigallia and 'Last Supper' from Urbino Cathedral, thanks to the cooperation of the Soprintendenze delle Marche.</span><br /><br /><span style="font-size: small; color: #000000;">In total 14 of his most important altarpieces and devotional paintings and four of his finest portraits will be on display alongside their preparatory drawings and oil sketches, revealing the fertility of Barocci’s imagination, the diversity of his working methods and the sheer beauty and grace of his art. </span></p> <h2 style="color: #ffffff; text-align: justify;"><span style="font-size: small; color: #000000;">About the artist</span></h2> <p style="text-align: justify;"><span style="font-size: small; color: #000000;">Barocci’s works, drawn from life and inspired by the people and animals that surrounded him, are characterised by a warmth and humanity that transform his religious subjects into themes with which all can identify.</span><br /><br /><span style="font-size: small; color: #000000;">He was an incessant and even obsessive draughtsman, preparing every composition with prolific studies in every conceivable medium.</span></p> <p style="font-size: 80%;"><span style="color: #000000;">Supported by The Joseph F McCrindle Foundation</span></p> Fri, 11 Jan 2013 17:57:57 +0000 - Art14 London - February 28th, 2013 6:00 PM - 9:00 PM <h3>Opening Times</h3> <table class="styled"> <tbody> <tr> <td><em>Thursday 28 February <br /></em></td> <td align="right" valign="bottom">6pm-9pm</td> <td></td> </tr> <tr> <td>Friday 1 March</td> <td align="right">11am-6pm</td> <td></td> </tr> <tr> <td>Saturday 2 March</td> <td align="right">11am-6pm</td> <td></td> </tr> <tr> <td>Sunday 3 March</td> <td align="right">11am-5pm</td> <td></td> </tr> </tbody> </table> <h3>Ticket Prices</h3> <table class="styled"> <tbody> <tr> <td>Adult</td> <td></td> <td>£16</td> <td></td> </tr> <tr> <td>First Night</td> <td></td> <td>£30</td> <td></td> </tr> <tr> <td>Concessions, Groups<strong><br /> </strong></td> <td></td> <td>£13</td> <td></td> </tr> <tr> <td></td> <td></td> <td></td> <td></td> </tr> <tr> <td>Children (Under 16yrs)</td> <td></td> <td>Free</td> </tr> </tbody> </table> <h3>GALLERIES 2013</h3> <ul> <li>2902 Gallery, Singapore, Singapore /<strong> H12</strong></li> <li>Akinci, Amsterdam, the Netherlands / <strong>H9</strong></li> <li>Albemarle Gallery, London, UK / <strong>C11</strong></li> <li>Art Sawa, Dubai, UAE / <strong>E10</strong></li> <li>Artspace Dubai | London, UAE/ UK /<strong> D9</strong></li> <li>aye gallery, Beijing, China / <strong>E6</strong></li> <li>Jack Bell Gallery, London, UK / <strong>H17</strong></li> <li>Boers-Li, Beijing, China / <strong>C6</strong></li> <li>Brancolini Grimaldi, Florence/ Rome/ London, Italy/ UK / <strong>A2</strong></li> <li>Nadja Brykina Gallery, Zurich/ Moscow, Switzerland/ Russia /<strong> B8</strong></li> <li>Cais Gallery, Hong Kong/ Seoul, Hong Kong/ South Korea / <strong>B10</strong></li> <li>Cda-Projects, Istanbul, Turkey / <strong>G9</strong></li> <li>Circle Culture Gallery, Berlin/ Hamburg, Germany / <strong>H4</strong></li> <li>Cynthia-Reeves, Hanover/ New York, USA / <strong>H13</strong></li> <li>DAM Gallery Berlin|Frankfurt, Berlin/ Cologne, Germany / <strong>C2</strong></li> <li>Dark Matter Studio, London, UK /<strong> D11</strong></li> <li>Deweer Gallery, Otegem, Belgium / <strong>F6</strong></li> <li>Domobaal, London, UK / <strong>E9</strong></li> <li>Eleven, London, UK / <strong>D12</strong></li> <li>FaMa Gallery, Verona, Italy / <strong>G1</strong></li> <li>Selma Feriani Gallery, London, UK / <strong>I4</strong></li> <li>The Fine Art Society Contemporary, London, UK / <strong>B2</strong></li> <li>Flowers, London/ New York, UK/ USA /<strong> B4</strong></li> <li>Fold Gallery, London, UK / <strong>I7</strong></li> <li>Galleria Fumagalli, Milan, Italy / <strong>A6</strong></li> <li>Gajah Gallery, Singapore, Singapore / <strong>F3</strong></li> <li>Gana Art, Seoul, South Korea / <strong>H16</strong></li> <li>Gazelli Art House, London/ Baku, UK/ Azerbaijan / <strong>C12</strong></li> <li>Geukens &amp; De Vil, Antwerp/ Knokke, Belgium / <strong>D8</strong></li> <li>Michael Goedhuis, London, UK /<strong> B9</strong></li> <li>HackelBury Fine Art, London, UK /<strong> F4</strong></li> <li>Hakgojae, Seoul, South Korea / <strong>A4</strong></li> <li>Purdy Hicks Gallery, London, UK / <strong>B11</strong></li> <li>Kashya Hildebrand, Zurich, Switzerland /<strong> F7</strong></li> <li>Michael Hoppen Gallery, London, UK / <strong>E5</strong></li> <li>Rebecca Hossack Art Gallery, London/ New York, UK/ USA / <strong>G4</strong></li> <li>Hua Gallery, London, UK / <strong>H18</strong></li> <li>Jealous Gallery, London, UK / <strong>B12</strong></li> <li>Amelia Johnson Contemporary, Hong Kong / <strong>D6</strong></li> <li>Ivo Kamm, Zurich, Switzerland / <strong>H1</strong></li> <li>Robin Katz Fine Art, London, UK / <strong>E4</strong></li> <li>Kleinschmidt Fine Photographs, Wiesbaden, Germany / <strong>H14</strong></li> <li>Pearl Lam Galleries, Shanghai/ Singapore/ Hong Kong, China/ Singapore/ Hong Kong / <strong>A3</strong></li> <li>Lazarides, London, UK / <strong>C3</strong></li> <li>Leehwaik Gallery, Seoul, South Korea /<strong> C4</strong></li> <li>Levy Galerie, Hamburg, Germany / <strong>E7</strong></li> <li>Diana Lowenstein Gallery, Miami, USA / <strong>H2</strong></li> <li>maerzgalerie, Leipzig/ Berlin, Germany /<strong> I2</strong></li> <li>Kálmán Makláry Fine Arts, Budapest, Hungary / <strong>C5</strong></li> <li>Primo Marella Gallery, Milan/ Beijing, Italy/ China / <strong>C9</strong></li> <li>Laura Mars, Berlin, Germany / <strong>I1</strong></li> <li>John Martin Gallery, London, UK / <strong>G5</strong></li> <li>Meshkati / Austin Desmond, London, UK / <strong>D5</strong></li> <li>Metro Gallery, Armadale, Australia / <strong>D3</strong></li> <li>Galerie Van Der Mieden, Brussels, Belgium / <strong>D1</strong></li> <li>Galerie Minsky, Paris, France / <strong>C8</strong></li> <li>Galerie du Monde, Hong Kong/ Macau, Hong Kong/ Macau / <strong>H11</strong></li> <li>Anna Nova Art Gallery, St Petersburg, Russia / <strong>C10</strong></li> <li>Alexander Ochs Galleries Berlin | Beijing, Berlin/ Beijing, Germany/ China / <strong>C7</strong></li> <li>October Gallery, London, UK / <strong>H5</strong></li> <li>The Outsiders, London/ Newcastle, UK / <strong>D10</strong></li> <li>Paragon, London, UK / <strong>B5</strong></li> <li>Galerie Paris-Beijing, Paris/ Beijing/ Brussels, France/ China/ Belgium / <strong>H10</strong></li> <li>ph-projects, Berlin, Germany / <strong>D2</strong></li> <li>Pifo Gallery, Beijing, China / <strong>F5</strong></li> <li>Galerie Ramakers, The Hague, The Netherlands /<strong> H16</strong></li> <li>Everard Read, Johannesburg, South Africa /<strong> G6</strong></li> <li>Riflemaker, London, UK / <strong>F2</strong></li> <li>Ronchini Gallery, London, UK / <strong>G10</strong></li> <li>Rossi &amp; Rossi, London, UK / <strong>B7</strong></li> <li>Galerie RX, Paris/ Ivry sur Seine, France / <strong>H6</strong></li> <li>Galerie Vincenz Sala, Berlin/ Paris, Germany/ France / <strong>E2</strong></li> <li>Richard Saltoun, London, UK / <strong>E3</strong></li> <li>Karsten Schubert, London, UK / <strong>E3</strong></li> <li>Carrie Secrist Gallery, Chicago, USA / <strong>E8</strong></li> <li>Alon Segev Gallery, Tel Aviv, Israel / <strong>H8</strong></li> <li>Paul Stolper Gallery, London, UK / <strong>D7</strong></li> <li>Galerie Heike Strelow, Frankfurt, Germany / <strong>G2</strong></li> <li>Gallery Sumukha, Bangalore/ Chennai, India / <strong>G3</strong></li> <li>Sundaram Tagore, New York/ Beverly Hills, USA/ Hong Kong/ Singapore /<strong> B3</strong></li> <li>Galerie Tanit, Munich/ Beirut, Germany/ Lebanon / <strong>G11</strong></li> <li>Tolarno Galleries, Melbourne, Australia / <strong>G7</strong></li> <li>Torch, Amsterdam, The Netherlands /<strong> F9</strong></li> <li>Vanguard Gallery, Shanghai, China / <strong>C1</strong></li> <li>Galerija Vartai, Vilnius, Lithuania /<strong> I5</strong></li> <li>Volte Gallery, Mumbai, India /<strong> E1</strong></li> <li>Galerie Olivier Waltman, Paris/ Miami, France/ USA /<strong> I6</strong></li> <li>Workshop | Michela Bruzzo, Venice, Italy / <strong>I3</strong></li> <li>XVA Gallery, Dubai, UAE / <strong>F8</strong></li> <li>ZieherSmith, New York, USA / <strong>D4</strong></li> <li>Galeri Zilberman, Istanbul, Turkey / <strong>G8</strong></li> <li>Zipper Galeria, São Paulo, Brazil / <strong>H15</strong></li> <li>Jerome Zodo Contemporary, Milan, Italy / <strong>H3</strong></li> <li>Faur Zsófi Gallery, Budapest, Hungary /<strong> H7</strong></li> </ul> <h3>LONDON FIRST</h3> <ul> <li>Aranapoveda Gallery, Madrid, Spain /<strong> LF15</strong></li> <li>Athr Gallery, Jeddah, Kingdom of Saudi Arabia /<strong> LF13</strong></li> <li>Brundyn + Gonsalves, Cape Town, South Africa /<strong> LF6</strong></li> <li>Chan Hampe Galleries, Singapore / <strong>LF9</strong></li> <li>Galerie Dukan, Paris, France / <strong>LF5</strong></li> <li>Gallery Em, Seoul, Korea / <strong>LF17</strong></li> <li>Patrick Heide Contemporary Art, London, UK / <strong>LF11</strong></li> <li>IMT Gallery, London, UK / <strong>LF2</strong></li> <li>Galerie Martin Kudlek, Cologne, Germany / <strong>LF10</strong></li> <li>Lawrie Shabibi, Dubai, UAE / <strong>LF14</strong></li> <li>Ani Molnár Gallery, Budapest, Hungary / <strong>LF16</strong></li> <li>Galerie Tatjana Pieters, Gent, Belgium / <strong>LF8</strong></li> <li>rahncontemporary, Zurich, Switzerland / <strong>LF12</strong></li> <li>Scaramouche, New York, USA / <strong>LF1</strong></li> <li>Temnikova &amp; Kasela, Tallinn, Estonia / <strong>LF4</strong></li> <li>Yeo Workshop, London, Singapore /UK / <strong>LF7</strong></li> <li>Galerie Zimmermann Kratochwill, Graz, Austria/ Philippines / <strong>LF3</strong></li> </ul> <h3>Participating Young Galleries 2013</h3> <ul> <li>16th Line, Rostov-on-Don, Russia / <strong>YG14</strong></li> <li>Aando Fine Art, Berlin, Germany / <strong>YG15</strong></li> <li>Magda Danysz Gallery, Paris/ Shanghai, France/ China / <strong>YG7</strong></li> <li>Galerie E.G.P., Paris/ London, France/ UK / <strong>YG12</strong></li> <li>Eb&amp;Flow, London, UK / <strong>YG6</strong></li> <li>Hada Contemporary, London, UK / <strong>YG5</strong></li> <li>Ceri Hand Gallery, London, UK / <strong>YG4</strong></li> <li>The International 3, Manchester, UK / <strong>YG1</strong></li> <li>alexander levy, Berlin, Germany / <strong>YG9</strong></li> <li>Man&amp;Eve, London, UK / <strong>YG8</strong></li> <li>mc2gallery, Milan, Italy / <strong>YG2</strong></li> <li>Pertwee, Anderson &amp; Gold, London, UK / <strong>YG10</strong></li> <li>Daniela da Prato Gallery, Paris, France / <strong>YG3</strong></li> <li>Hidde van Seggelen Gallery, London, UK /<strong> YG13</strong></li> <li>Gallery SoSo, Seoul, South Korea / <strong>YG11</strong></li> <li>Maria Stenfors, London, UK / <strong>YG18</strong></li> <li>Salon Vert, London, UK / <strong>YG16</strong></li> <li>Viltin Galéria, Budapest, Hungary / <strong>YG17</strong></li> </ul> <h3>Not-For-Profit Institutions</h3> <ul> <li>Cass Sculpture Foundation, UK / <strong>M9</strong></li> <li>Daegu Art Museum, South Korea / <strong>M10</strong></li> <li>Dundee Contemporary Arts, UK / <strong>M4</strong></li> <li>Iniva, UK / <strong>M5</strong></li> <li>The Photographers’ Gallery, UK / <strong>M3</strong></li> <li>Positive View Foundation, UK / <strong>A5</strong></li> <li>Royal Academy of Arts, UK / <strong>M7</strong></li> <li>Saatchi Gallery Store, UK / <strong>A1</strong></li> <li>Serpentine Gallery, UK / <strong>M1</strong></li> <li>UCCA Limited Editions, China / <strong>MG</strong></li> <li>Whitechapel Gallery, UK / <strong>M8</strong></li> <li>Zabludowicz Collection, UK / <strong>M2</strong></li> </ul> <p><strong> </strong></p> <p><strong> </strong></p> <p><strong> </strong></p> Sun, 17 Feb 2013 03:26:23 +0000 Joseph Walsh - Chisenhale Gallery - February 28th, 2013 7:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;"><em>21st Century</em> is a research-based programme of regular events by emerging artists in our studio space.</span><br /><br /><span style="font-size: small;"><strong>Joseph Walsh<br />Thursday 28 February 2013, 7pm</strong></span><br /><br /><span style="font-size: small;">A performance and screening by Joseph Walsh presenting ideas for a new film. The subject of the film is a man Walsh knows who has built his own archive of DVDs on black history. This archive is combined with scripted text and theatrical devices to create a live film trailer.</span><br /><br /><span style="font-size: small;">Walsh sees his moving image work as a series of 'video portraits'. He is interested in this format as a means to construct a character by proxy, through external objects and ideas, and how this can be used to describe an emerging subject.</span><br /><br /><span style="font-size: small;">Joseph Walsh (born 1978, Surrey) lives and works in London. Recent solo exhibitions include <em>Evolution of the Meringue</em>, Five Years, London (2011), <em>Track 5</em>, The Old Police Station, London (2011), and he participated in a presentation as part of <em>Latent Cinema</em>, Zabludowicz Collection, London (2012). Recent group exhibitions include <em>Testbed1</em>, Beaconsfield, London (2010) and <em>Time Machine and Anywhere Door</em> at IT Park, Taipei (2010).</span><br /><br /><span style="font-size: small;"><em>Booking advised. Please contact <a href="" target="_blank"> </a>for further information or to make a reservation.</em></span></p> Thu, 14 Feb 2013 17:10:09 +0000 Richard Slee - Hales Gallery - February 28th, 2013 6:00 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Hales Gallery</strong> is pleased to present its second solo exhibition of new works by <strong>Richard Slee</strong>, one of Britain's most important ceramic artists.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Slee rarely approaches an exhibition with a focused idea or agenda. Instead, he prefers to intuitively select objects and forms to act as starting points for his vast array of sculptures. The works come together to form instinctively produced installations and are adapted to suit the space in which they are to be shown. In preparation for his show at Hales Gallery, Slee has assembled in his Kiln room a ludicrously sporadic selection of objects including snakes, brightly coloured tin cans, functionless old fashioned telephones, walking-sticks and umbrellas (one in the guise of a giant carrot) and a giant nose, made in the form of a hammer. At first glance, there is little that draws these spurious objects together; however on closer examination it quickly becomes clear that dysfunction and futility form a common thread.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><i>Fit for Purpose</i> sees Slee create his very own psychologically broken down environment where nothing operates as it should. Everything looks cheerful, with brightly glazed surfaces, but the works are, at heart, melancholic in nature. In this environment, the world flies in the face of the modernist design tenet of 'form follows function': there are dumb candle stick telephones that have no speaking or listening pieces and are plainly not communicating with each other; there is also a ridiculous five piece earthenware coconut shy with pearly glazed ceramic balls. It's beautiful, but, as the title of the show describes, not fit for purpose. Slee's preferred method of display avoids the typical art gallery plinth in favour of the manufactured furniture present in the mass market. Often the objects sit casually, and at other times they may take on the mantle of a historic decorative trope such as the pairing of identical pieces suggesting a more formal age. It is difficult to ignore a certain British humour in the way Slee's cheeky stand acts as metaphors which reflect back at us. Slee takes a kind of perverse pleasure in making jovial objects whilst simultaneously pointing at the hapless, if not completely hopeless.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Richard Slee (b. 1946, Cumbria, UK) has an extensive exhibition history both in the UK and abroad. Selected exhibitions include <i>Richard Slee: From Utility to Futility</i>, Victoria and Albert Museum (UK); <i>Postmodernism</i>, Victoria and Albert Museum (UK); <i>Camp Futility</i>, Studio Voltaire (UK); <i>Cult Fiction</i>, Hayward Gallery (UK), travelled to The New Art Gallery Walsall, Castle Museum and Art Gallery (Nottingham), City Art Gallery (Leeds), Arts Centre Aberystwyth (Wales) and Tullie House Museum and Art Gallery (Carlisle); <i>Panorama, </i>Tate St. Ives (UK); <i>Secret History of Clay</i>, Tate Liverpool (UK); <i>Masterpieces in Ceramics from the V&amp;A</i>, The Korea Foundation Cultural Centre, Seoul (Korea); <i>Richard Slee</i>, National Museum, Stockholm (Sweden). He is the winner of 2001 Jerwood Applied Arts Prize in Ceramics.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Slee's work is represented in a number of important international collections including the British Council (UK), Los Angeles County Museum of Art (USA), Museum of Arts and Design, New York (USA), Museum of Modern Art, Kyoto (Japan), National Museum, Stockholm (Sweden), Corcoran Museum of Art (USA), Shigaraki Ceramic Cultural Park (Japan), Stedelijk Museum (The Netherlands) and the Victoria and Albert Museum (London). Slee lives and works in London.</span></p> Mon, 25 Mar 2013 11:10:45 +0000 - Institute of Contemporary Arts (ICA) - February 28th, 2013 8:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">Through voice, movement, music and text, Nils Bech creates rituals performed with and within works by artists Eirik Sæther and Ida Ekblad. Look Inside is based on Nils Bech's captivating second album recently released in the UK on the label Fysisk Format. The album tells the story of a romance that made Nils, in his own words, “take a new look at myself and defy parts of my personality that I've brought with me my whole life”. Parallel to this theme is a story of Nils's contradictory relationship with his craft as well as his audience and their expectations.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Participating in the performance-concert are the celebrated composers and musicians Kari Rønnekleiv, Ole Henrik Moe and Julian Skar. Nils Bech will perform variations of Look Inside this spring at the Guggenheim Museum, Bilbao, Graz Kunstverein, Graz and Sculpture Center NYC among others.</span></p> <p style="text-align: justify;"><span style="font-size: small;">About the album:</span></p> <p style="text-align: justify;"><span style="font-size: small;">"A terrific absorbing listen by the talented Bech" - <em>Uncut</em>, 8/10</span></p> <p style="text-align: justify;"><span style="font-size: small;">"Tackling joy and vulnerability, ecstasy and guilt, this guy’s got all the emotional work sorted... If you sit down, listen hard to Bech’s dark, heart-rending lyrics, and eschew all distraction, he’ll probably sweep you up in his powerful gaze, totally mislaid in contemplation. This is a staggering work." - <em>This Is Fake DIY</em>, 8/10</span></p> <p style="text-align: justify;"><span style="font-size: small;">Look Inside will be shown in 2013 at Arnolfini in Bristol and across Europe.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>With support from the Office for Contemporary Art Norway and the The Royal Norwegian Embassy, London</em></span></p> <p><img src="" border="0" height="50" width="230" /></p> Tue, 26 Feb 2013 17:51:48 +0000 - The Photographers' Gallery - February 28th, 2013 6:30 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Join Lucy Soutter for a short talk and the launch of her new book <em>Why Art Photography?</em> (Routledge, 2013). </span></p> <p style="text-align: justify;"><span style="font-size: small;">The evening will begin in the Eranda Studio, followed by a launch and signing in our bookshop.</span></p> <p style="text-align: justify;"><span style="font-size: small;">During the short talk Lucy Soutter will focus on the chapter “Beyond Photography”, which looks at works of art that combine photographic elements with aspects of painting, sculpture, video, performance, audience participation and installation, pointing to an expanded field or post-medium condition for photography. Examples include works by Walead Beshty, Rachel Harrison, Clifford Owens and JR. While the separation between photography and other art forms may have eroded, the photographic endures as a set of specific reference points and conceptual strategies as well as technologies and forms. This talk argues for the continuing relevance of photographic ideas within the broader arena of contemporary art.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Lucy Soutter</strong> is a photographer, critic and art historian. She teaches in the Department of Critical and Historical Studies at the Royal College of Art and has written about contemporary art and photography for publications including <em>Afterimage</em>, <em>Portfolio</em>, <em>Source </em>and<em> frieze</em>. Her essays have appeared in anthologies including <em>Girls! Girls! Girls! in Contemporary Art</em> (Intellect, 2011), and <em>Appropriation</em> (Whitechapel Gallery and MIT Press, 2009). Her book <em>Why Art Photography?</em> (Routledge, 2013) provides a lively, accessible introduction to key debates at the heart of contemporary photography.</span></p> Thu, 21 Feb 2013 15:50:37 +0000 Mary-Ruth Walsh - Whitechapel Gallery - February 28th, 2013 7:00 PM - 8:30 PM <p>Artist <strong>Mary-Ruth Walsh </strong>and writer and filmmaker <strong>Katherine Waugh</strong> use film, audio and text to decode the radical structure and multiple conceptual layers of issues 5 and 6 of Aspen Magazine, conceived by artist Brian O’Doherty.</p> <p><br /><br />*Proof of concession or membership to be shown on the doors.</p> Wed, 06 Feb 2013 16:33:06 +0000 David Turley, Alexis Milne, Chris Jones, Paul Eachus - CHARLIE SMITH london - March 1st, 2013 6:30 PM - 8:30 PM <p><b>THE ORDER OF THINGS</b></p> <p><b> </b><b>Paul Eachus, Chris Jones, Alexis Milne, David Turley</b></p> <p> Private View</p> <p>Friday March 1<sup>st</sup> 6.30-8.30pm</p> <p> </p> <p>Performance</p> <p>Friday March 1<sup>st</sup> 7.30-8.00pm | The Cult of Rammelzee (Alexis Milne, Jezza Ho, Luke Mozes, Tex Royale)</p> <p>Exhibition Dates</p> <p>Saturday March 2<sup>nd</sup> – Saturday March 30<sup>th</sup> 2013 <sup> </sup></p> <p>Gallery Hours</p> <p>Wednesday–Saturday 11am–6pm or by appointment</p> <div> <p> </p> </div> <p> <i>A perambulator wheel, wire-netting, string and cotton wool are factors having equal rights with paint. The artist creates through choice, distribution and metamorphosis of the materials.</i></p> <p align="center">Kurt Schwitters, <i>Der Sturm</i>, 1919</p> <p><span style="text-decoration: underline;"> </span></p> <p>The advent of collage and assemblage was arguably one of the most important developments in 20<sup>th</sup> century Modernism that led to the multiplicitous explosion of Postmodernism and current art practice. It has fundamentally influenced the nature of making and the use of materials since 1912 to the current day, from Picasso to Schwitters to Rauschenberg to Barbara Kruger, George Barber and recent Turner Prize winners Mark Wallinger and Elizabeth Price. The embracing of ‘low’, found and acquired materials and images was and is a method that elevates the process in itself as equal to the consideration of the final object. This enables the artist to appropriate from existing sources, thereby rendering the whole of culture, manufacturing and commerce as legitimate and direct source material.</p> <p>This suggests an element of collaboration, or at least shared authorship, between artist and the originator of materials. The artist is in a sense curating his or her own works by researching, selecting, collating, appropriating and combining. Evident in the four artists featured in <i>The Order of Things</i>, they each employ similar drives to make manifestly different types of work. Similarly, the show as a whole can be seen as a collaborative artwork in itself, with dialogues between gallery director and artists allowing in places the former to influence the latter and vice versa.</p> <p><b>Paul Eachus</b> primarily makes photographs of constructions that he has assembled in his studio. By collecting various objects and arranging them specifically into conflicting fragmented narratives he forces a reinterpretation of things. Eachus takes from the real world and orders objects and situations that might otherwise be unrelated, and overloads the studio scene with obsessive repetition. The spectator is then denied first-hand experience of this set of events by being presented with a photograph rather than the installation itself, suggesting a desire to indicate information whilst preventing full disclosure. The process is revealed but the meaning of the constituent parts is not.</p> <p><b>Chris Jones</b> is also concerned with the fragmentation of assorted references, where multiple parts are collected, rearranged and reinterpreted. <i>The Design of Pursuit</i> is a large scale wall mounted collage. Images and form vie with each other to create a whole where we are uncertain of what is secondarily sourced and what is hand manipulated by the artist. Extraneous information is allowed to leak and merge until one part of the work infects the other. Referring to the interior of a cave where stalactites encumber the picture plane, <i>The Design of Pursuit</i> is a dynamic and complex piece that asks us to consider the correlation between the natural and man-made, and subsequently how we assimilate and process received information. There is a strong suggestion of the archaeological, both visually and figuratively, but equally we might be looking at a melting section of an obsessive’s information board.             </p> <p><b>Alexis Milne</b> combines video, installation and performance to investigate the roots of subcultural uprising, most recently that of Hip Hop culture. <i>The Order of Things</i> will feature a version of <i>Your Eyes are Dead</i>, which was recently exhibited at the International Film Festival Rotterdam in conjunction with Joey Ramone Gallery. <i>Your Eyes are Dead</i> utilises sampled and cut-up imagery to make a ritualistic meditation on the adverse urban conditions that enabled graffiti and B-Boy subcultures to take root and thrive. Collaging his own performance <i>The Westway </i>(featuring the Cult of Rammellzee), which pays homage to the first graffiti piece in London by New York’s Futura 2000; footage of Robert Moses’ Cross Bronx Expressway; and cult films that feature the South Bronx as a dystopian backdrop including <i>Wolfen</i>, <i>Stations of the Elevated</i> and <i>Wildstyle, </i>Milne presents an oblique investigation into the story of Hip Hop and the artist’s own relationship with it.<i> </i></p> <p><b>David Turley </b>makes something closer to assemblage, where the collection or acquisition of the component parts is paramount to the creation of the final piece. Turley embraces the notion of chance, where unexpected meetings, dialogues or found / collected objects might lead him to the extent of moving countries in order to complete a work. Intrinsic to this process is a sense of unfolding narrative, where events and artist prompt and respond accordingly. Themes including memory, lost histories, religious ceremony and compulsion underpin his work, as initially disconnected acts, places and objects are combined to reveal underlying or unexpected interconnections. </p> Wed, 27 Feb 2013 16:12:29 +0000 Lynette Yiadom-Boakye - Corvi-Mora - March 1st, 2013 6:30 PM - 8:30 PM Thu, 21 Feb 2013 09:12:52 +0000