ArtSlant - Recently added en-us 40 Jamie Crewe - Gasworks - January 26th, 2017 - March 26th, 2017 <p>A solo exhibition&nbsp;of newly commissioned video, print and sculpture&nbsp;by Glasgow-based artist Jamie Crewe.&nbsp;Focusing on&nbsp;French writer Rachilde&rsquo;s controversial 1884 novel&nbsp;<em>Monsieur Venus,&nbsp;</em>the exhibition<em>&nbsp;</em>explores&nbsp;what happens when a queer, transfeminine artist tries to rehabilitate an historical work of fiction which seems to offer them ancestry.</p> Thu, 27 Oct 2016 17:00:51 +0000 Willem Weismann - Zabludowicz Collection - November 10th - December 18th <div class="typeset"> <blockquote> <p style="text-align: justify;">&ldquo;I think it&rsquo;s fascinating how we are continuously walking on top of the entire history of the world. As if you could go back to the beginning of time if you just keep digging. For me this thought refers to the chaos or mess that is hidden underneath the relatively smooth surface of our pavements and lawns.&rdquo; Willem Weismann, September 2016</p> </blockquote> <p style="text-align: justify;">For his exhibition <em>Basement Odyssey</em>, Willem Weismann is producing an ambitious suite of new paintings which take the viewer on a journey through layers of space, time and meaning. Responding to the proportions of the gallery and to the building&rsquo;s past life as a church, Weismann will install a large triptych of canvases which flow around the walls of the room. Andrea Mantegna&rsquo;s Renaissance masterpiece <em>Triumph of Caesar</em>, on view at Hampton Court Palace, is a particular inspiration, with Weismann wryly channelling such a grand tradition to produce his own version of a visual &ldquo;shaggy dog story&rdquo;.</p> <p style="text-align: justify;">The idea of discovering what lies behind facades or beneath our feet is a central motif for the exhibition. When viewed in sequence the paintings move from an exterior view of a street, to the inside of a mysterious blue-bricked building, down into a basement space where concrete floors dissolve into lava, revealing fossilised bones and suits of armour.</p> <p style="text-align: justify;">This spatial and narrative device references comic book panels and cinema, in particular extensive panning shots as pioneered by Orson Welles in films such as <em>Touch of Evil</em>.&nbsp; A further influence, from Weismann&rsquo;s own youth, are 1980s adventure video games. The first painting in the triptych is loosely inspired by the post-apocalyptic game <em>Manhunter: New York</em> which features a nightclub called &ldquo;Wretched Excess&rdquo;. Parallels between Weismann&rsquo;s paintings and video games can be felt in the way characters move through spaces, and how connections are suggested through the arrangement of symbolic objects, as if they were clues in some kind of larger puzzle. Weismann explores the possibilities of painting to be a store of meaning with parallels to other forms of physical and virtual archives, and to be a surface on which we might wrestle with making sense of a world in flux.</p> <p style="text-align: justify;"><strong>Willem Weismann</strong> (b. Eindhoven, The Netherlands, 1977) has been living in London since 2003. He studied at Arnhem Institute for the Arts, the Netherlands 1997-2002 and Goldsmiths College 2003-2004. He won the East London Painting Prize in 2015. Weismann has had solo shows at Cabin Gallery, London, The Nunnery gallery, London, Galeria Quadrado Azul, Porto and Museum voor Moderne Kunst, Arnhem. Recent group exhibitions includes <em>Summer Show</em>, Turps Gallery, London and <em>Secret European Studio</em> at ArthouSE1, London.</p> </div> Thu, 27 Oct 2016 15:48:25 +0000 - Gasworks - January 26th, 2017 - March 26th, 2017 <p>A solo exhibition&nbsp;of newly commissioned video, print and sculpture&nbsp;by Glasgow-based artist Jamie Crewe.&nbsp;Focusing on&nbsp;French writer Rachilde&rsquo;s controversial 1884 novel&nbsp;<em>Monsieur Venus,&nbsp;</em>the exhibition<em>&nbsp;</em>explores&nbsp;what happens when a queer, transfeminine artist tries to rehabilitate an historical work of fiction which seems to offer them ancestry.</p> Thu, 27 Oct 2016 15:46:20 +0000 Anselm Kiefer - White Cube, Bermondsey - November 23rd - February 12th, 2017 Thu, 27 Oct 2016 15:44:23 +0000 Alex Hartley - Victoria Miro Gallery - November 19th - December 16th <p style="text-align: justify;"><em>A Gentle Collapsing II&nbsp;</em>transforms the gallery&rsquo;s waterside garden into a scene of poetic dereliction and decay.</p> <div class="panel_intro_text" style="text-align: justify;"> <p>An exhibition of new work by the British artist, including a major architectural intervention in the gallery&rsquo;s waterside garden. </p> <p>Thoughts of modernism and its legacy, as well as Romantic ideas of the ruin and the picturesque are conjured in these new works. While modernist architecture has been a constant touchstone for Hartley, amplified in recent work is a sense of narrative, of the viewer having arrived at a situation of ambiguous cause and uncertain outcome.</p> </div> <p style="text-align: justify;">Resembling an International Style domestic building apparently abandoned to the elements, the major architectural intervention&nbsp;<em>A Gentle Collapsing II&nbsp;</em>transforms the gallery&rsquo;s waterside garden into a scene of poetic dereliction and decay. Built on the canal bank and into the water itself, the work encapsulates classic modernist tropes &ndash; the clean lines and horizontality of Bauhaus architecture as exported to the US by Mies van der Rohe in the 1930s and later exemplified by Philip Johnson and Richard Neutra, amongst others. Yet the structure and what it appears to portray &ndash; a home vacated without explanation,&nbsp;open to the elements,&nbsp;its white rendered walls peppered with black mould rising from the waterline &ndash; stands in stark contrast to images of domestic architecture and attendant aspirational lifestyles from the period. Instead, created especially for the garden, with its tree ferns suggestive of an ancient subtropical or temperate landscape,&nbsp;<em>A Gentle Collapsing II&nbsp;</em>looks to have undergone an accelerated process of ageing. It is as if we have been teleported into the future in order to look back at the present or very recent past. </p> <p style="text-align: justify;">The work offers poignant reflection on themes of entropy and decay. It is, in some ways, emblematic of a wider collapsing &ndash; of ideals or even spirit. Running contrary to such thoughts, however, is the undeniable aesthetic pleasure we find in ruins &ndash; their compelling, transportative quality.&nbsp;In this sense,&nbsp;<em>A Gentle Collapsing II</em><em>&nbsp;</em>becomes a kind of time machine that frees the mind to wander, gently collapsing or dislocating a sense of linear time as it does so. The work chimes with the idea of the folly as a faux historical structure placed in the landscape to act as a conversation piece, with the real-life ruins that seduced aristocratic tourists on the Grand Tour in the eighteenth century, and with the tastefully timeworn abbeys and classical temples seen in works by JMW Turner, Francis Towne, John Sell Cotman and others. </p> <p style="text-align: justify;">A further collapsing occurs between genres.&nbsp;Hartley&rsquo;s work always encourages us to consider how we experience and think about&nbsp;our constructed surroundings &ndash; through surface and line, scale and materials, locations and contexts. <em>A Gentle Collapsing II&nbsp;</em>breaks down rigid categories of production, referring as much to painting as to architecture, landscape design, sculpture or even theatre.&nbsp;Similarly, in&nbsp;a new series of wall-based works in which photographic, painterly and sculptural elements are brought together, the idea of the boundary &ndash; between interior and exterior, private and public space, manmade and natural environments, two and three dimensions, object and image &ndash;&nbsp;is subject to constant re-evaluation. Classic examples of modernist domestic architecture, photographed by Hartley in Los Angeles, form the basis of a series of monochrome wall-based works in which the photographic image and hand-painted elements &ndash; describing and embellishing the verdant West Coast landscape &ndash; are&nbsp;separated by a layer of semi-transparent Perspex. Caught up in these works are ideas of privacy and voyeurism, and the contradiction of modernist aspiration as epitomised by the glass-walled pavilion giving rise to the desire for boundaries of other kinds. </p> <p style="text-align: justify;">Comprising sculptural and photographic elements in which the supports of plinth and frame are merged, further large-scale works present fragmentary architectural details in front&nbsp;of dense jungle scenery. As with <em>A Gentle Collapsing II</em>, these works allude to the manmade world versus the natural environment. Narratives of entropy and decay are ever present. Yet, for Hartley, this is a surprisingly fertile territory, one that allows the imagination to roam freely, to envision what might have been and what might be to come.&nbsp; </p> <p style="text-align: justify;">Born in 1963, Alex Hartley lives and works in London and Devon. He has recently participated in Folkestone Triennial 2014 and undertaken a residency with the National Trust for Scotland (2013); he has exhibited at venues including the Contemporary Arts Centre, Ohio, US (2014); Louisiana Museum of Modern Art, and Denmark (2013); Manchester Art Gallery, Manchester (2012). In the summer of 2012, a large-scale island originating from the Svalbard Arctic region was brought by the artist on a journey around the south west region of England as a visiting 'island nation', with citizenship open to all: At the end of&nbsp;Nowhereisland's journey, in September 2012, the island was broken up and distributed amongst the 23,003 people from 135 countries who had signed up as "citizens of&nbsp;Nowhereisland". As a final gesture, a small piece of the island was sent to the edge of space where some particles of rock from the island will remain forever in the upper-stratosphere. A book marking the completion of the&nbsp;Nowhereisland&nbsp;project will be launched during Hartley&rsquo;s exhibition at Victoria Miro in November 2016. In spring 2017, Hartley, working alongside British artist Tom James, will commence a major public commission in the historic grounds of Compton Verney Art Gallery and Park, Warwickshire. </p> Thu, 27 Oct 2016 15:32:35 +0000 Bojan Šarčević - Modern Art - November 23rd - January 7th, 2017 Thu, 27 Oct 2016 15:13:44 +0000 Ai Weiwei - Lisson Gallery - November 24th - January 7th, 2017 Thu, 27 Oct 2016 15:07:55 +0000 Jason Martin - Lisson Gallery - November 18th - January 7th, 2017 Thu, 27 Oct 2016 15:07:20 +0000 Alan Davie - Gimpel Fils Gallery - November 12th - January 16th, 2017 Thu, 27 Oct 2016 14:56:19 +0000 Jamie Crewe - Gasworks - January 26th, 2017 - March 26th, 2017 <p>A solo exhibition&nbsp;of newly commissioned video, print and sculpture&nbsp;by Glasgow-based artist Jamie Crewe.&nbsp;Focusing on&nbsp;French writer Rachilde&rsquo;s controversial 1884 novel&nbsp;<em>Monsieur Venus,&nbsp;</em>the exhibition<em>&nbsp;</em>explores&nbsp;what happens when a queer, transfeminine artist tries to rehabilitate an historical work of fiction which seems to offer them ancestry.</p> Thu, 27 Oct 2016 14:54:07 +0000 Dayanita Singh - Frith Street Gallery, Golden Square - November 18th - January 13th, 2017 <p style="text-align: justify;">For Dayanita Singh photography is simply a starting point rather than an end in itself. Her work constantly pushes the boundaries of the form, examining how we might display and thereby think about the photographic image. Most notable are her experiments in bookmaking as well as her portable &lsquo;museums&rsquo;; large wooden structures that can be placed and opened in various configurations, each holding varying numbers of images within what she has termed &ldquo;photo-architecture.&rdquo;</p> <p style="text-align: justify;">Museum of Shedding is even more emphatically architectural than Singh&rsquo;s previous Museums. It is a space which we can imagine the curator of the museum occupying. There is a bed, a desk, a bench, a table, a stool, and storage for the museum&rsquo;s collection. This collection consists of black and white photographs of architecture; images of temples, hotels, and palaces as well as more humble domestic spaces. Some of these are ancient, some contemporary, but they are all linked by an austere, pared down beauty. The gallery walls are ready to show the museum&rsquo;s collection, rows of nails suggesting endless possibilities for display, sequencing and editing. Museum of Shedding is a meditative work that ruminates on the artist&rsquo;s relationship to photography, to the archive and to her own practice as a kind of &ldquo;home.&rdquo;</p> <div id="peviox"> <p class=" shrndb-css3mc" style="text-align: justify;">Shown alongside this is a series of colour photographs entitled Forget Me Not. These particular images are the latest to have emerged from Singh&rsquo;s long-term interest in the paper archive. She discovered these bundles of fabric-wrapped documents in an archive in India. The bundles themselves are of indeterminate age, their contents are unknown. At some stage these papers were wrapped in red cotton fabric, placed on shelves and then forgotten. Every bundle is tied by a different hand with a different knot to seal it. Over the years these stacked bundles have faded and become compressed. The knots, in combination with the forms and faded colours, gives them very tangible personalities, turning each image into a singular portrait.</p> <p style="text-align: justify;">***<br /> Dayanita Singh was born in 1961. She studied Visual Communication at the National Institute of Design in Ahmedabad and Photojournalism and Documentary Photography at the International Center of Photography in New York. Recent solo exhibitions include: Museum of Machines: Photographs, Projections, Volumes, MAST, Bologna, 2016, Conversation Chambers: Museum Bhavan, Kiran Nadar Museum of Art, Delhi, 2015, Go Away Closer, MMK, Frankfurt and Hayward Touring, 2014 and the German Pavilion at the Biennale di Venezia, 2013. Dayanita Singh lives and works in New Delhi.</p> </div> Thu, 27 Oct 2016 14:52:34 +0000 - Royal College of Art - November 21st - November 22nd <div class="rich-text"> <p style="text-align: justify;">As one of six international partners of the EU project TRADERS - short for &lsquo;Training Art and Design Researchers for Participation in Public Space&rsquo; - the RCA&rsquo;s School of Architecture will host the project&rsquo;s closing event this November. After three years of multidisciplinary research and a wide range of international events TRADERS will be drawn to a close in a two-day cross-disciplinary conference.<br /><br />Within the TRADERS project we aim to scrutinise the ethical implications -such as artists&rsquo; and designers&rsquo; accountability- that are inherent to participatory processes, yet often remain underexplored by practitioners when working with -or in service of- the public. The conference will therefore explore how artists and designers can become critically aware of their agency in the pursuit of empowering publics in decision-&shy;making for, and co-&shy;creation of, public space.&nbsp;<br /><br />The keynote speakers <strong>Ramia Maz&eacute;</strong> (Konstfack University College of Arts Crafts and Design), <strong>Jane Rendell</strong> (The Bartlett School of Architecture, UCL), <strong>Susannah Hagan</strong> (University of Westminster) and <strong>Usman Haque</strong> (Umbrellium) will explore how different participatory approaches can reconfigure existing power relations in art and design processes; how issues of gender play a role in the use, behaviour and appropriation of public space by a multiplicity of publics; how designers&rsquo; agency and attitude towards the design and production of public spaces have evolved over the last decades, and how new technologies can promote greater citizen participation in the design, use and sustainability of public space.<br /><br />Through paper, exhibition, keynote and reflection sessions we will ask:&nbsp;</p> <ul style="text-align: justify;"> <li>What alternative empowering practices exist in art and design that can promote citizen participation?&nbsp;</li> <li>How can artists and designers &ldquo;make a difference&rdquo; within existing/established distributions of power?&nbsp;</li> <li>How can they use their agency to empower others (e.g. citizens) to bring about desired social or political change?&nbsp;</li> <li>In other words, through what means, modes and/or practices can artists and designers mediate between multiple actors with diverse agencies?</li> </ul> <p style="text-align: justify;">Please find more information on our website: <a href="" target="_blank"></a> and please <a href="" target="_blank">register for the conference here</a>.</p> <h3 class="h5">9am &ndash; 7pm on both days</h3> </div> Thu, 27 Oct 2016 14:45:24 +0000 Abigail Reynolds - Royal College of Art - November 3rd 6:30 PM - 8:00 PM <div class="rich-text"> <p style="text-align: justify;">Artist Abigail Reynolds will be screening her new film <em>The Mother&rsquo;s Bones</em>, filmed in Dean Quarry on the tip of the Lizard Peninsula in Cornwall with St Keverne brass band. Drawing inspiration from the Greek myth of Deucalion and Phyrra and Russell Hoban&rsquo;s novel <em>Riddley Walker</em>, Reynolds represents the quarry through a mythic lens. The trailer can be seen <a href="" target="_blank">here</a>.&nbsp;</p> <p style="text-align: justify;">The screening and discussion with students on the Critical Writing in Art &amp; Design MA course, will also include the 1935 film <em>Coal Face</em> by the GPO Film Unit (with verse by W H Auden and music by Benjamin Britten).</p> <p style="text-align: justify;">This event is open to the public but places must be reserved in advance by emailing <a href=""></a> RCA students need not book.</p> </div> Thu, 27 Oct 2016 14:43:06 +0000 Group Show - Blain|Southern - London Hanover Square - November 24th - January 21st, 2017 <p>24 November 2016 &ndash; 21 January 2017</p> <p>Private View: 23 November, 6&ndash;8pm</p> <p><em>&nbsp;</em></p> <p><em>Revolt of the Sage&nbsp;</em>is an exhibition featuring sixteen artists that takes its title from a work by Giorgio de Chirico painted in 1916.&nbsp;<em>The Revolt of the Sage&nbsp;</em>is an example of what the artist would call a &lsquo;metaphysical interior&rsquo;, and yet its crowded pictorial space overflows with ephemeral things. Objects pile up and overlap, while a strange perspective recedes into an irresolvable background.<br /> <br /> Picking up on de Chirico&rsquo;s vision of a &lsquo;metaphysical interior&rsquo;,&nbsp;<em>Revolt of the Sage&nbsp;</em>gathers a range of artists who use collage, juxtaposition, fragments, framing devices and layered imagery to explore ruptures in time and the alluring mysteries of the everyday.</p> <p>Artists: Horst Ademeit, Lynn Chadwick, Hanne Darboven, Haris Epaminonda, Geoffrey Farmer, Jannis Kounellis, Mark Lewis, Goshka Macuga, Christian Marclay, Simon Moretti, David Noonan, Sigmar Polke, Erin Shirreff, Michael Simpson, John Stezaker and Paloma Varga Weisz. Curated by Simon Moretti and&nbsp;Craig Burnett&nbsp;.</p> Wed, 26 Oct 2016 16:10:34 +0000 Gretchen Andrew - arebyte gallery - November 18th - December 19th <p class="Default"><a href="" rel="nofollow">HOW TO HOW TO HOW TO</a></p> <p class="Default">Gretchen Andrew</p> <p class="Default">Exhibition 19 Nov &ndash; 19 Dec | Thurs &ndash; Sat 12 &ndash; 6pm | PV 18 Nov 6-9pm</p> <p class="Body">Join artist Gretchen Andrew in an investigation into the notion of &lsquo;becoming&rsquo;. Learn how to &lsquo;how to eat like a Russian astronaut&rsquo; in an intimate dinner event, &lsquo;become a novelist&rsquo; in a You Tube inspired book launch, and explore the limits of attaining perfection, in an ongoing exhibition this Winter in Hackney Wick&rsquo;s arebyte Gallery.</p> <p class="Body">&nbsp;</p> <p class="Body">Andrew is a California born, London artist who works in online and offline mediums. She started painting in San Francisco after becoming convinced that the internet can teach you anything. Taking a knowingly disjointed approach, both her exhibition and accompanying events explore the internet as a resource of ingredients from which we each cook up a formulaic, yet individualistic recipe for perfection, whatever that may be. Each body part is perfected in isolation, with the absurd suggestion <a href="" rel="nofollow">that once assembled, a perfect person is complete.</a></p> <p class="Body">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p class="Body">Using YouTube guided films as her starting point, Andrew&rsquo;s project investigates what you can and cannot learn online. What can we become, through time, persistence and YouTube &ldquo;How to&rdquo; searches including: <em>how to die, how to speak Japanese, how to be sexy, how to do a split, and how to forget?, </em>YouTube-learned actions are recorded and made into playful GIFs; with their repetitive loops, these GIFs are used as the artist&rsquo;s primary medium to suggest and question the notion of &ldquo;practice makes perfect.&rdquo;</p> <p class="Body"><strong>&nbsp;</strong></p> <p class="Body">&nbsp;</p> <p class="Body">&nbsp;</p> <p class="Body">&nbsp;</p> <p class="Body"><strong>EVENT: Private view HOW TO HOW TO HOW TO </strong></p> <p class="Body"><strong>WHEN: Friday 18<sup>th</sup> November/ 6-9pm </strong></p> <p class="Body"><strong>Opening Days: 18th November - 18th December/ Thursday- Saturday 12-6pm</strong></p> <p class="Default"><strong>WHERE: </strong><strong>49 White Post Lane Queens Yard Hackney Wick E9 5EN, 6-9PM </strong></p> <p class="Body">Have a drink, a chat with the artist and find out about the HOW TO series of upcoming Winter events including a book launch and dinner. What limits us? Our online searches become a catalogue of insecurities, as we question how to have better elbows? If YouTube is showing us how to write novel, does that make us novelists?</p> <p class="Body"><strong>&nbsp;</strong></p> <p class="Body">Andrew&rsquo;s practice is asking these questions every day. The result is both performative and visual, digital and physical, but above all playful. <a href="" rel="nofollow">HOW TO HOW TO HOW TO</a> be perfect takes the existing investigation of internet DIY culture and focuses it on beauty standards. Andrew presents a set of actions repeated to a point of absurdity and asks, if repeated on loop do these actions results in perfection?</p> Wed, 26 Oct 2016 14:29:42 +0000 Magnus Plessen - White Cube, Mason's Yard - November 4th - January 14th, 2017 Sat, 22 Oct 2016 16:19:00 +0000