ArtSlant - Closing soon en-us 40 Michael Bauer - Alison Jacques Gallery - February 22nd, 2013 - March 28th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>'Bauer's paintings are fragmented, sexual, feverish and funny; worlds within worlds that won't be pinned down. They make me think of filthy cities, and filthier minds; of lavish interiors, abandoned excavations, half-remembered rituals, snatches of music and inexplicable joy.' </em>Jennifer Higgie, 2008</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Alison Jacques Gallery</strong> is delighted to present <strong>Michael Bauer</strong>'s inaugural exhibition at the gallery, a new series of oil paintings entitled <strong><em>Slow Futures - H.S.O.P. - Opus</em></strong>. He employs an extraordinary range of mark-making in them - from heavy impasto to fine-brush doodles - layering diverse narrative clues as if engaged in some ardent form of reverse archaeology. In the middle of large canvases, Bauer builds rich amalgams of fascinating personal detritus, suspending tangled recollections of historical trivia, friends' anecdotes, forgotten bands, maligned painters' mistakes, and so on. All his paintings are fundamentally portraits, but they are portraits of memories.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Bauer loves titles - the more deliberately obscure and diverse the better - and this series is no exception. The 'slow' of <em>Slow Future </em>refers to his pace in working, building layer upon layer, organically but never systematically, and because one of the things Bauer has always valued about painting is that it's slower than other media. <em>H.S.O.P</em>. is an<em> </em>acronym for the Hudson River School of painting - a 19<sup>th</sup> century fraternity of American landscape painters who hold no significance for Bauer other than the fact that they've become unfashionable and he likes the idea of "colonizing their memory". He fundamentally disagrees with the notion that painting itself has become obsolete and, by annexing a school devoted to it, seeks to re-emphasize that painting remains not only central to his future, but to <em>the</em> future. <em>Opus</em> is a typically self-deprecating Bauer addendum, a tongue-in-cheek nod to the fact that he doesn't see this or any other of his series as fitting into an ordered theory or composition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Bauer usually adds some kind of coding system to his paintings' surfaces, alluding to a faux structure at each of their premises. These have recently taken the form of colour-coded punctuation, but in most of the paintings here the only graphic notation he uses are deliberate red herrings: Bauer has painted small flags in their corners, chosen not because of any personal geographic or historical relevance, but because they are from lesser-known nations that he didn't recognise and are often confused with more prominent countries. What's particularly appealing to Bauer is that any flag, known or unknown, carries so much invented history. So, in addition to these being framing devices or heraldic elements for each painting, he wants them to function as "traps of meaning" in the context of all the other clues in the works.<strong></strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Investigating failings - both Bauer's own and those of other painters - is another central element of this exhibition. As an adolescent, he copied the more expressive elements of "an awful Pointillist painter (his) dad collected" and returns to that here, relishing overused and flawed techniques from this and other artists, and, as he says, "focussing on their stupidities". Bauer has also brought more figurative elements into these new works, notably hands and feet, because he was never any good at rendering them as a young artist. Beyond revisiting failures, he uses his own unconscious acts in these works, often deliberately drawing with a brush "while (his) mind is somewhere else". He then invests time responding to these 'mistakes' in very particular, attentive ways. So, whilst Bauer isn't the slightest bit interested in rectifying them, the process of embracing and creating a kind of recycled beauty from the inappropriate and the rejected is absolutely central to his endeavours. Attempting to create resolved works would be disingenuous to Bauer's practice and to what he believes about painting, and one of the enduring fascinations in these works lies precisely in their remaining unfathomable. As Higgie puts it, 'A painting is not, and never has been, an will always choose to hide as much as it reveals'.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Michael Bauer</strong> (b. 1973, Erkelenz, Germany) studied at the Hochschule fur Bildende Kunst in Braunschweig, and now lives and works in New York. Notable solo exhibitions include <em>K-Hole (Frogs)</em>, Villa Merkel, Esslingen am Neckar (2011); Marquis Dance Hall, Istanbul (2010); Anthem, Kunsthaus Baselland, Basel (2009); and Kunstverein Bonn, Bonn (2007). Bauer is the subject of a substantial JRP Ringier monograph published in 2008, entitled <em>Borwasser</em>, with a lead essay by Jennifer Higgie and an interview with Stefanie Popp.</span></p> Sat, 09 Feb 2013 07:17:10 +0000 Edwina Leapman - Annely Juda Fine Art - February 28th, 2013 - March 28th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Annely Juda Fine Art</strong> will be showing new paintings by <strong>Edwina Leapman</strong>, all painted in 2012. These works are a continuation of her sensitivity to colour, light and line. They show Leapman's process of working - the movement of the brush, the density of paint - and are built up in seemingly random accents creating rhythms that create the mood of each painting</span></p> Mon, 21 Jan 2013 15:28:10 +0000 Howard Hodgkin - Bernard Jacobson Gallery - March 2nd, 2013 - March 28th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Bernard Jacobson Graphics</strong> is pleased to announce an exhibition of limited edition prints by <strong>Howard Hodgkin</strong>, which focuses on the first two decades of his printmaking. The exhibition shows the artist's early collaboration with Bernard Jacobson, who published most of the prints on display.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition covers Hodgkin's early output between 1966 and 1986, starting with his early experiments in printmaking such as the series '5 rooms.' In subsequent series the artist introduced the use of hand-colouring and enlarged prints to an oversized dimension, finally achieving a sculptural quality and lushness which became a signature component of his printmaking practice.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Hodgkin became a printmaker in the 1960s and has since been impassioned with the process, inventing new techniques and methods to develop his idea of printmaking.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Howard Hodgkin started his printmaking career with lithographs as the process was very similar to the directness of applying paint to a canvas. In <em>Girl on a Sofa</em>, <em>Bedroom</em> and <em>Indian Room</em> we see interiors with brightly coloured geometric shapes, sometimes recognizable as human figures or organic forms. After a voyage to India his interest turned towards capturing a variety of views: views from his train window while crossing the country, views through shutters, or views out of a window into a landscape. He also started painting borders around the image, which function as windows.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">With hand-colouring, Hodgkin brought directness and spontaneity to his prints. As a result the texture became much richer with the colour bleeding into the printing ink - a chance encounter which Hodgkin encouraged and accepted. The hand-colouring could take place at any stage of the printing process and in the final print the many layers of paint and ink become indistinguishable under the opulence of the final texture. However, Hodgkin started to question the autographic mark and decided to take on assistants who would execute the hand-colouring following his instructions. He mused, "I want the language to be as impersonal as possible. [...] I want to make marks that are anonymous as well as autonomous."</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">The oversized print <em>Bleeding</em> in the exhibition, with its richness of colour, shows a development towards bolder prints. It is one of only two prints with preparatory studies. Featuring his New York apartment, it contains decorative designs that are inspired by Indian art as well as the Alhambra in Granada. His long-lived fascination with Indian culture and the Indian landscape finds here an almost figurative expression.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Later under the guidance of his new printer Jack Shirreff, Hodgkin introduced the use of carborundum to his printing. It allowed for deeper colours on a slightly embossed paper. As in <em>Red Listening Ear</em> and <em>Blue Listening Ear</em>, the texture becomes bolder and the hand-colouring of increasing importance in these prints.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Howard Hodgkin was born in 1932 in London. He started his career as a painter and became a prolific printmaker. He represented Britain at the Venice Biennale in 1984 and won the Turner Prize in 1985.  He had many important exhibitions in museums around the world, including  the Metropolitan Museum of Art in New York in 1995, and a major touring retrospective at Tate Britain, London; the Irish Museum of Modern Art, Dublin; and the Reina Sofia, Madrid in 2006. His work can be found in the collections of major museums, including MOMA, New York; Tate, London; and the Metropolitan Museum of Art, New York.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Notes to Editors</strong></span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Bernard Jacobson Gallery was founded in 1969, publishing and distributing prints by artists including Robyn Denny, Lucian Freud, David Hockney, Leon Kossoff, Henry Moore, Richard Smith, Ed Ruscha and William Tillyer. By the mid 1970s, having established himself as one of the major dealers in the international print boom, Jacobson began to show paintings and sculpture. The early 1980s saw the gallery open branches in Los Angeles and New York, expanding the range of international artists to include West Coast American artists such as Joe Goode and Larry Bell as well as modern British masters such as David Bomberg, Ivon Hitchens, Peter Lanyon, Ben Nicholson, William Scott, Stanley Spencer and Graham Sutherland. From 1977, the gallery moved more firmly into American and international art, with shows of artists such as Kenneth Noland, Jules Olitski, Larry Poons and Frank Stella. Recently, the gallery has held shows by the American artists Robert Motherwell and Helen Frankenthaler, Robert Rauschenberg, Roy Lichtenstein and Tom Wesselmann, while European painters include Bram Bogart and Pierre Soulages and British artists William Tillyer, Bruce McLean and Marc Vaux.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">In 2011 the gallery opened a new space in New York on East 71st Street with an inaugural exhibition entitled <em>60 Years of British Art </em>followed by <em>21 Americans</em>, the latter showing work by major American artists including Robert Motherwell, Helen Frankenthaler, Roy Lichtenstein and Robert Rauschenberg. Bernard Jacobson Gallery also has a strong presence at major international art fairs participating at The Armory Show, New York; Expo Chicago; Frieze Masters, London; and the prestigious Art Basel fairs in Hong Kong, Basel and Miami Beach.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> Mon, 01 Apr 2013 16:56:53 +0000 Stephen Nelson - Contemporary Art Society - January 11th, 2013 - March 28th, 2013 <p style="text-align: justify;">British artist Stephen Nelson makes strange and highly personable objects and constructions, often playfully domestic and comedic, using a wide variety of salvaged materials selected for their colour, texture and character. Working with anything from sea worn plastic toys, clay pipes, wire, painted drift wood to cloth, carpet and leather, Nelson’s sculptures have an improvised and makeshift attitude, forming part of a curious world of ‘possible objects’ which defy critical context by reaching out through their physicality.</p> <p style="text-align: justify;"><br />Nelson’s work juxtaposes poor and disposable materials — discarded toys, old carpet, string — with precious materials, such as Florentine gold leaf and bronze, all collected from his life through extensive travels as well as online. Just as Nelson uses ‘high’ and ‘low’ forms of activity to search and collect his materials so he does not position any one material as more important than another within his sculpture or assemblage. In this way his practise can be said to have strong links to Arte Povera and in particular, their intention to contrast the new and the old, between unprocessed and man-made elements, between primitive and consumer cultures in order to complicate our sense of the effects of time. The collected materials are like motifs or momentos from the artist’s life, highly personal yet also referencing symbolic, especially totemic forms, specific yet ambiguous, resistant to linear narrative, leaving the viewer open to a range of familiar yet unfamiliar worlds.</p> <p style="text-align: justify;">This display by Stephen Nelson forms a landscape of artefacts which inhabit the Contemporary Art Society, which both references and refuses the traditional display mechanisms of archaeological and ethnographic objects. The exhibition, while referencing history and topography, sing out of an unrecognisable time and place.</p> <p style="text-align: justify;"><br />Stephen Nelson was born in Liverpool in 1961, and lives and works in London. He gained his BA in Fine Art at South Glamorgan Institute (1983), followed by a Masters in Fine Art at Birmingham University (1985). Solo exhibitions include, It’s a Soft Hard World, Space Station Sixty Five, London (2008), Tepuis, Camden Arts Centre, London (1996), Wax, Adam Gallery, London (1994), Bronze, Mario Flecha Gallery, London (1993) and Untitled, Adam Gallery, London (1992). His numerous group exhibitions include Students, Patients, Paupers, St Phillips, LSE London (2011), Rhizomatic, Departure Gallery, London (2010), Domestic, Tannery Arts, London (2006), Thy neighbours ox, Space Station Sixty Five (2005) which he also curated and 100 Drawings, Drawing Room, London (2003). In 1999 Nelson was appointed the Arts Council of England Helen Chadwick Fellow in Sculpture, during which period he developed a series of works about wolves that related to his time spent at the British School in Rome and at Oxford University.</p> Thu, 09 May 2013 09:34:22 +0000 Massimo Bartolini - Frith Street Gallery, Golden Square - February 8th, 2013 - March 28th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Frith Street Gallery</strong> is pleased to announce an exhibition of new works by<strong> Massimo Bartolini</strong>. This will be Bartolini’s second solo exhibition at the gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For the artist the work in this show acts as a sequel to an earlier piece called Serce (Heart) exhibited in his 2011 solo exhibition Serce na Zloni (The Heart in the Hand) at the Centre for Contemporary Art Torun, Poland. The central work in the current exhibition, itself called Afterheart, is an acoustic sculpture. Here a scaled-up barrel, like that of a giant musical-box, slowly revolves, opening and closing the valves of a wind organ whose pipes form part of the structure on which the mechanism sits. The music produced by the organ has been composed in collaboration with the artist by Italian composer Edoardo Marraffa. The air moving through the structure is like a kind of breath, so although purely mechanical Afterheart is a rather human and intimate work.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>100 hours</em> takes the form of two monumental drawings and functions in the space like a theatrical backdrop. It depicts a network of what might be roots, tree branches or even neurons – a purposeful tangle of lines. The title refers to the length of time that Bartolini, along with a good friend, took to finish the drawing. The process, involving many discussions and arguments, is as important as the outcome. </span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>2 Weight Dews</em> is a pair very subtle monochrome paintings made with industrial enamel paint on wood and aluminium respectively. Their surfaces are covered with a delicate layer of artificial dew. The moisture seems fleeting, even incidental, as if it was a reaction to atmospheric changes or the breath of a passer by. The weight of each individual piece, due to the material it is made from is, as suggested by the title, completely different, but it is a difference that cannot be seen.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Pensive Bodhisattva</em> is a sculptural ‘image’ of a Buddhist statuette seen by Bartolini in a museum in London. This particular style of statue is common all over the East from India to Japan and the figure is almost always seated in the same pose; legs crossed, one hand holding the ankle, the other under the chin. This small figure was reproduced by the artist from memory and seems somehow to be contemplating the intricacies and connections of all the other works in the exhibition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">***</span></p> <p style="text-align: justify;"><span style="font-size: small;">A solo exhibition by Massimo Bartolini can be seen at The Fruitmarket Gallery, Edinburgh, 1 February – 14 April 2013. His work was included in the recent Documenta 13, Kassel, Germany and Track, Ghent, Belgium. Recent solo exhibitions include Serce na dtoni, Centre Of Contemporary Art, Torun, Poland (2011). ICA Sofia, Bulgaria (2010) and Dialogues with the City, MAXXI, Rome.</span></p> Wed, 23 Jan 2013 16:38:27 +0000 Robert Rauschenberg - Gagosian Gallery - Britannia Street - February 16th, 2013 - March 28th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>Even though the [</em>Jammers<em>] are still quite romantic, my job was to impose a great amount of restraint upon myself…Nearly everything that I could think to do previously would have violated what these pieces wanted to be. And so with the fabrics, it was another kind of adventure, almost like going out and picking up garbage.</em></span><br /><span style="font-size: small;">—Robert Rauschenberg</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Gagosian Gallery</strong> is pleased to present <strong>Robert Rauschenberg</strong>’s<strong> <em>Jammers</em></strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Rauschenberg’s protean oeuvre ushered in a new era of postwar American art in the wake of Abstract Expressionism, with a free and experimental approach that drew inspiration from conceptual, materialist, and gestural approaches to art making. His restlessly inventive spirit pushed him to explore a wealth of materials and processes, thus collapsing the distinctions between medium, genre, abstraction and representation, while his invention of the “flatbed picture plane” forever changed the relationship between artist, image, and viewer. </span></p> <p style="text-align: justify;"><span style="font-size: small;">In the early 1970s, Rauschenberg moved his permanent studio from New York City to Captiva Island, off the Gulf coast of Florida (Today, this site is in use as the artists’ residency program of the Robert Rauschenberg Foundation). This relocation marked a shift from the gritty urban detritus that had been the basis of much of the earlier work to a rhapsodic embrace of color and geometric abstraction in a wholly new vernacular language. The <em>Jammers </em>series (1975–76), its title a direct reference to the Windjammer sailing vessel, is Rauschenberg’s salute to his new island life. In 1975, he also went to India to investigate textiles and papermaking, and the inspiration of this new and exotic context is evident in the use of vivid colors and nuanced textures of cotton, muslin, and silk.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For the most part, the <em>Jammers </em>comprise stitched fabrics in pure, solid colors, affixed to rattan poles or hung directly and loosely on the wall; whereas in works such as <em>Sprout </em>(1975) and <em>Caliper </em>(1976), the unadorned poles are the principal formal element, propped against the wall. Departing from Rauschenberg’s densely collaged imagery or muscular, layered materials, the <em>Jammers </em>are simple and light, focusing on the transparency and seductiveness of veil-like fabrics, that are lent sculptural structure by the cloth-covered poles or other found objects.  In <em>Quarterhorse </em>(1975), segments of blue, green, tan and yellow cloth evoke sandy beaches, palm trees, and bright sunshine.  In <em>Index </em>(1976), widths of gleaming azure and white satin drape together, a diptych of clouds and sea. The hot, saturated hues of <em>Pimiento III</em> (1976) and <em>Mirage </em>(1976) attest to more exotic influences; while <em>Coin </em>(1976) incorporates found tin cans, stripped of their labels, gleaming mysteriously inside a gauze bag that sags under their weight. </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Robert Rauschenberg</strong> was born in 1925, in Port Arthur, Texas and died on Captiva Island, Florida in 2008. He has had numerous exhibitions worldwide, including “Robert Rauschenberg: A Retrospective,” Solomon R. Guggenheim Museum, New York (1997, traveled to Menil Collection, Contemporary Arts Museum, and Museum of Fine Arts, Houston, Museum Ludwig, Cologne and Guggenheim Museum, Bilbao, through 1999); “Combines,” Metropolitan Museum of Art, New York (2005, traveled to Museum of Contemporary Art, Los Angeles, Centre Pompidou, Paris, and Moderna Museet, Stockholm in 2007); “Cardboards and Related Pieces,” Menil Collection, Houston (2007); “Traveling ‘70–‘76”, Museu de Arte Contemporânea de Serralves, Porto (2008, traveled to Haus der Kunst, Munich, and Madre, Naples in 2009); “Gluts,” The Peggy Guggenheim Collection, Venice (2009, traveled to The Tinguely Museum, Basel, Guggenheim Museum Bilbao, and Villa e Collezione Panza, Varese in 2010); and “Botanical Vaudeville”, Inverleith House, Royal Botanic Garden, Edinburgh (2011). Gagosian Gallery first exhibited Robert Rauschenberg’s work in 1986</span>.</p> Sat, 26 Jan 2013 15:15:16 +0000 Taryn Simon - Gagosian Gallery - Davies Street - February 12th, 2013 - March 28th, 2013 <p><em>Archiving systems impose an illusory structural order on the radically chaotic and indeterminate nature of everything.</em><br />—Taryn Simon</p> <p style="text-align: justify;"><strong>Gagosian Gallery</strong> is pleased to announce <strong><em>The Picture Collection</em></strong>, a new series by <strong>Taryn Simon</strong>.</p> <p style="text-align: justify;"><em>The Picture Collection</em> comprises forty-four works inspired by the New York Public Library’s picture archive, one of the august institution’s lesser-known troves. The archive contains 1.2 million prints, postcards, posters, and printed images, most of which have been cut from secondary sources, such as books and magazines. It is the largest circulating picture library in the world, organized according to a complex cataloging system of over 12,000 subject headings.  Since its inception in 1915, it has been an important resource for writers, historians, artists, filmmakers, fashion designers, and advertising agencies. Diego Rivera, who made use of it for his legendary mural for the Rockefeller Center, <em>Man at the Crossroads</em> (1934), noted how the scope of this picture collection might go on to shape contemporary visions of America.</p> <p style="text-align: justify;">On the heels of such ambitious research projects as <em>An American Index of the Hidden and Unfamiliar</em> and <em>A Living Man Declared Dead and Other Chapters I–XVIII</em>, Simon taps this vast yet idiosyncratic archive to further explore the taxonomic, classificatory, and revelatory purposes of photography. The process of archiving images from many disparate sources inevitably exposes the wayward desires at work in the seemingly neutral or objective process of generic image-gathering. Not only does <em>The Picture Collection</em> underscore the extent to which chance, incident, and arbitrary inclusion or exclusion are written into analog cataloging systems, driven as they are by the persistent human impulse to identify, select, collate, and systematize information; as well it suggests how the earlier systems presaged digital search engines and anticipated the widespread use of applications like Google, Instagram, Facebook, and Pinterest.<br /> <br /> Each work is made up of a number of images that Simon has selected from a given archival category, such as <em>Chiaroscuro</em>, <em>Handshaking</em>, <em>Haircombing</em>, <em>Express Highways</em>, <em>Financial Panics</em>, <em>Israel</em>, and <em>Beards and Mustaches</em>.  In artfully overlapped compositions, only slices of the individual images are visible, each fragment intimating its whole. Thus multiple related images are transformed into almost abstract color fields and geometric shapes. The framing and mounting has been specifically designed to make reference to early hanging systems in libraries and museums.</p> <p style="text-align: justify;"><em>The Picture Collection</em> serves as a tabula rasa where images that are historically inscribed and validated sit beside those that are not. For example, by placing the reproduction of a painting by Kazimir Malevich next to those of unknown artworks hanging in an anonymous hotel room, or a Weegee photograph beside a commissioned advertisement, she puts into question the hierarchies by which visual and cultural materials are categorized. Continually seeking to discover the patterns, codes, and orders within the image overload of contemporary society, Simon questions the very dynamics of contemporary culture as a process of evolution or one doomed to endless repetition.</p> <p style="text-align: justify;"><strong>Taryn Simon</strong> was born in New York in 1975. She is a graduate of Brown University and a Guggenheim Fellow. Her work is in the collections of the Metropolitan Museum of Art, New York; Tate Modern, London; Centre Pompidou, Paris; Museum of Fine Arts, Houston; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, San Diego; High Museum of Art, Atlanta; and Whitney Museum of American Art, New York. She was awarded the Rencontres d’Arles Discovery Award in 2010. Important exhibitions include “The Innocents,” Kunst-Werke Institute for Contemporary Art, Berlin (2003, traveled to P.S.1 Contemporary Art Center, New York, Museum of Contemporary Photography, Chicago, and High Museum of Art, Atlanta through 2006); “An American Index of the Hidden and Unfamiliar,” Whitney Museum of American Art, New York (2007, traveled to Photographer's Gallery, London, Museum für Moderne Kunst, Frankfurt, and Foam_Fotografiemuseum, Amsterdam through 2008); “Photographs and Texts,” Milwaukee Art Museum, Milwaukee, Wisconsin (2011, traveled to Moscow House of Photography and Helsinki Museum of Art through 2012); and “A Living Man Declared Dead and Other Chapters,” Tate Modern, London (2011, traveled to Neue Nationalgalerie, Berlin, Museum of Modern Art, New York, Corcoran Gallery of Art, Washington D.C., and Museum of Contemporary Art, Los Angeles). A major exhibition of Simon's work will open at the Ullens Center for Contemporary Art, Beijing in September 2013, and her photographs will be featured in the 56th Carnegie International later this year.</p> <p style="text-align: justify;"><em>The Picture Collection</em> was developed alongside the online database Image Atlas, created by Taryn Simon and computer programmer Aaron Swartz. Image Atlas investigates cultural differences and similarities by indexing top image results for given search terms across local search engines throughout the world.  The database was featured in the New Museum’s The New Art Online series (2012), and was developed from Rhizome’s signature Seven on Seven conference in April 2012. Aaron Swartz was the founder of Demand Progress—which launched the campaign against Internet censorship bills (SOPA/PIPA)—as well as developer of and a Contributing Editor to The Baffler until his untimely death in January 2013.</p> Sat, 09 Feb 2013 16:03:42 +0000 Josef Hoflehner - Michael Hoppen Contemporary - February 13th, 2013 - March 28th, 2013 Mon, 18 Mar 2013 15:32:21 +0000 Heman Chong, Anthony Marcellini - Wilkinson Gallery - November 24th, 2012 - March 28th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong><em>Interview(s)</em></strong> is a collaboration by Heman Chong &amp; Anthony Marcellini that begins with a series of assumptions about the social life of objects.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">1. Objects can represent words or sentences in a conversation.</span><br /><span style="font-size: small;">2. An object moves from insignificance to significance (and vice-versa) when transferred from one person to another.</span><br /><span style="font-size: small;">3. All objects have power by way of their relationships with other objects, ourselves included.</span><br /><span style="font-size: small;">4. There are other levels of value to objects, on top of the values certain systems attach to it, personal, monetary, symbolic, nostalgic,</span><br /><span style="font-size: small;">which shift and change over time, sometimes quickly and sometimes very slowly.</span><br /><span style="font-size: small;">5. Time slows down and speeds up due to our relationships with objects.</span><br /><span style="font-size: small;">6. Objects tell stories.</span><br /><span style="font-size: small;">7. Stories are also objects.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">The two artists have each produced a collection of 100 objects over a period of four months without discussing what these objects are with</span> <span style="font-size: small;">each other. One week before the exhibition begins they will meet and arrange these objects onto tables with mirrored tops. The exhibition is a</span> <span style="font-size: small;">reflection of the ways in which two individuals enter into a dialogue with each other. These compositions are entitled Interview(s) and perform</span> <span style="font-size: small;">the word’s etymology, from the French entrevue, or s'entrevoir: to see each other.</span><br /><span style="font-size: small;">--</span><br /><span style="font-size: small;">Heman Chong &amp; Anthony Marcellini met at Art-in-General, New York in 2005. They have since collaborated on writing and producing a </span><span style="font-size: small;">radio play entitled Public Allergies for Resonance 104.4 FM in London. Interview(s) represents a new chapter in their collaborative practice.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Heman Chong</strong> is an artist, curator and writer. His art practice involves an investigation into the philosophies, reasons and methods of individuals and</span> <span style="font-size: small;">communities imagining the future. Charged with a conceptual drive, this research is then adapted into objects, images, installations, situations or texts. In 2006,</span> <span style="font-size: small;">he produced a writing workshop with Leif Magne Tangen at Project Arts Center in Dublin where they co-authored "PHILIP", a science fiction novel, with Mark</span> <span style="font-size: small;">Aerial Waller, Cosmin Costinas, Rosemary Heather, Francis McKee, David Reinfurt and Steve Rushton. The artist has developed solo exhibitions at Rossi &amp;</span> <span style="font-size: small;">Rossi (London), SOTA Gallery (Singapore), NUS Museum (Singapore), Kunstverein Milano (Milan),  Motive Gallery (Amsterdam), Hermes Third Floor </span><span style="font-size: small;">(Singapore), Vitamin Creative Space (Guangzhou), Art In General (New York), Project Arts Centre (Dublin), Ellen de Bruijne  Projects (Amsterdam), The </span><span style="font-size: small;">Substation (Singapore), Kuenstlerhaus Bethanien (Berlin), Sparwasser HQ (Berlin). His work has also been shown extensively in group exhibitions  including </span><span style="font-size: small;">San Francisco Asian Art Museum, Kumho Museum of Art, Museu d'Art Contemporani de Barcelona, Kroeller-Muller Museum, Stedelijk Museum Bureau,</span> <span style="font-size: small;">Nam June Paik Art Center, Gertrude Contemporary, Arnolfini, Thyssen-Bornemisza Art Contemporary, Museum of Contemporary Art Denver, Museum of </span><span style="font-size: small;">Contemporary Art North Miami, Hamburger Bahnhof, Fukuoka Asian Art Museum, Kadist Art Foundation, Daejeon Museum of Art. He has participated in </span><span style="font-size: small;">numerous international biennales including Asia Pacific Triennale 7 (2012), Performa 11 (2011), Momentum 6 (2011), Manifesta 8 (2010), 2nd Singapore</span> <span style="font-size: small;">Biennale (2008), SCAPE Christchurch Biennale (2006), Busan Biennale (2004), 10th India Triennale( 2000) and represented Singapore in the 50th Venice </span><span style="font-size: small;">Biennale (2003). His work has been featured prominently in A Prior, ArtAsiaPacific, Artforum International, ArtInfo, Art-iT, Art Lies, Frieze, LEAP, SITE and </span><span style="font-size: small;">Visionaire.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Anthony Marcellini</strong> is an artist, curator and writer. His practice is centered on exploring the ways that things/objects/events act in the social field outside</span> <span style="font-size: small;">clearly defined conceptions. He explores an expanded notion of the social by examining the ways that words, objects, gestures, people, images, text, films and</span> <span style="font-size: small;">actions shift our conceptions and re-inscribe the world–acting as agents or things-with-power. He is a visiting lecturer at Valand School of Fine  Art,</span> <span style="font-size: small;">Gothenburg. He received a Masters of Fine Art in Social Practice from California College of the Arts, San Francisco (2009). His work has been shown at</span> <span style="font-size: small;">Apex Art, New York City (2002), Kunsthall Fridericianum, Kassel (2003), Gavin Brown’s Enterprise, New York City (2004), Deitch Projects, New York City</span> <span style="font-size: small;">(2004), Etc. Galerie, Prague (2010), Guest Projects, London (2011), Sequences Art Festival, Reykjavik (2011), Gagnef Festivalen, Gagnef (2012). He has </span><span style="font-size: small;">held residencies at Sparwasser HQ, Berlin (2010) and the Valand Centre for Artistic Research, Gothenburg (2012). His writing has been published in </span><span style="font-size: small;">Paletten Art Journal, Gothenburg, the web-based publication Nowiswere, and he is a featured contributor to the  online journal Art Practical, San Francisco.</span></p> Fri, 25 Jan 2013 17:18:18 +0000 Anna Parkina - Wilkinson Gallery - February 15th, 2013 - March 28th, 2013 <p style="text-align: justify;"><strong><span style="font-size: small;">FACTS KNOWN ABOUT OBERIU</span></strong></p> <p style="text-align: justify;"><span style="font-size: small;">A short-lived avant-garde collective of writers, musicians, and artists in the 1920s and 1930s</span></p> <p style="text-align: justify;"><span style="font-size: small;">Coalesced in the context of the “intense centralization of Soviet Culture” and the decline of the avant-garde culture of Leningrad</span></p> <p style="text-align: justify;"><span style="font-size: small;">Daniil Ivanovich Yuvachev was born in St. Petersburg in 1905. In high school he invented a new surname for himself: Kharms. Kharms is pronounced with a hard “H,” much like how you’d pronounce “Hanukkah” if you were Jewish.</span></p> <p style="text-align: justify;"><span style="font-size: small;">There was a redheaded man who had no eyes or ears. He didn’t have hair either, so he was called a redhead arbitrarily. He couldn’t talk because he had no mouth. He didn’t have a nose either. He didn’t even have arms or legs. He had no stomach, he had no back, no spine, and he didn’t have any insides at all. There was nothing! So, we don’t even know who we’re talking about. We’d better not even talk about him any more. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Interestingly, OBERIU’s members mastered poetry, prose, and theatre, but had no experience in the visual arts  “Daniil Kharms is probably one of the best Absurdist Russian writers I've read from the OBERIU class. And this book is the best selection from Kharms that I've read. If you read this you can't help but laugh. You either take him too seriously or don't understand the genre. Every piece is thoroughly laced with the absurdist style. If you've read the Diapsalmata from Kierkegaard's Either/Or and enjoyed that, this is for you.” (A five-star review by Amazon user Andrew Rothwell)</span></p> <p style="text-align: justify;"><span style="font-size: small;">Nikolai Oleinikov was madly in love with a fly</span></p> <p style="text-align: justify;"><span style="font-size: small;">Nikolai Oleinikov wrote under many pseudonyms, such as Makar the Fierce, Chief Engineer of the Mausoleums, and Peter Shortsighted.</span></p> <p style="text-align: justify;"><span style="font-size: small;">-------- had four sons and they were all idiots. One of them couldn't even sit on his chair and kept falling off. -------- himself was not very good at sitting on his chair either, to be honest. It used to be quite hilarious: they'd be sitting at the table, at one end -------- would keep falling off his chair, and at the other end, his son.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Nikolai Oleinikov was an editor of children’s books and gave his friends jobs writing nonsense poetry.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Alexander Vvedensky was arrested in 1931, accused of being an anti-Soviet children's writer. They said he encoded anti-Soviet messages in nonsense poetry.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For OBERIU nonsense is neither the destruction of meaning nor a reflection of the meaningless of the world around us, but rather the primordial semiotic material from which all words and their meanings harden.</span></p> <p style="text-align: justify;"><span style="font-size: small;">“What is Frother?” Alexander Vvedensky asked. “And the pillow now fluttered, now soared into the heavens like a candle, now ran through the room like the Dnieper. Father sat over the cow-wheat writing desk, and the sons stood against the wall like umbrellas.  That’s what Frother is.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">The names OBERIU and  <i>chinari</i> are somewhat interchangeable in the scholarship OBERIU is an acronym that stands for Association of Real Art.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><strong><span style="font-size: small;">FACTS KNOWN ABOUT ANNA PARKINA</span></strong></p> <p style="text-align: justify;"><span style="font-size: small;">(Fewer facts are known about Anna Parkina than about OBERIU due to: not as old, just one person, still alive)  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Founder of the Institute of White Time A document found (written?) by Anna Parkina: “We have recently discovered a secret correspondence which happened during the 5 World War … concerning the return of the clandestine territories back to natural reserve. If we had discovered this correspondence in time, billion of lives would have been saved and many weapons kept for the good.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">“In her works Anna Parkina explores human ability to create subjective reality. It largely depends on the visual angle and distance between object and our eyes. It's hard to imagine that layers which we're unable to see and which therefore don't exist for us are hiding behind visible images: the tree is out of sight because the wall is covering it.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">The way Anna Parkina makes collages, fragments become patterns. Incidental objects in one environment determine the topography of another.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Her collages used to have a lot of text in them. These days not so much  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Born in Moscow in 1979</span></p> <p align="right"><span style="font-size: small;"><i>Brian Droitcour</i></span></p> Sat, 09 Feb 2013 07:27:51 +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 David Turley, Alexis Milne, Chris Jones, Paul Eachus - CHARLIE SMITH london - March 2nd, 2013 - March 30th, 2013 <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 16:12:27 +0000 David Gates - Domobaal - February 22nd, 2013 - March 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;">C.A.R.T.* Saturday 30 March 10am till late</span></p> <p style="text-align: justify;"><span style="font-size: small;">David Gates is an image catcher retrieving and fixing images, sometimes this happens using pinhole photography, and sometimes through collage. He also works with leaves, feathers and bark. His primary tool is pinhole photography directly onto silver gelatin on bitumen on cardboard. Resolutely eschewing the sublime and stubbornly unromantic he reduces and edits grand landscapes, 300 year old trees in the landscape of coastal Essex where he lives to the semblance of a mugshot. Bleak holiday houses on the Thames estuary remain bleak and shuttered even when occupied. People–free images offer a world shaped by individuals and people mostly long gone and unknown who have planted and planned and built to fulfill their dreams. Ancient oaks forests and sullen bungalows all stand silently to attention as if bearing witness to an unseen happening.</span></p> <p style="text-align: justify;"><span style="font-size: small;">David Gates lives and works in Essex, for Gates pinhole images, far from being nostalgic, authenticate the present, making it vibrant and shimmering by pushing the not too distant past away, opening up the future to the possibility of possibilities. They punctuate the flow of time by opening up a strict set of rules to the chance of failure. By pushing the process towards it's breaking point the image struggles to hold to the surface. This surface of performance, pride, mistakes, a semblance of constructed ideas can be investigated with fresh eyes again and again. Although objective they seem personal, deserted by and separated from reality, they probe the murkiness of history and the subjectivity of recollection with a loose grip on the emotive and the unquantifiable. They play with the untrustworthiness and art of history.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Pinhole has often been used to explain and explore photography by educators and amateurs or even scientists. lens–free and camera–free it is often thought to be a pure or honest form of image making – albeit with certain nerdy or even geeky attributes. In recent years work by Zoe Leonard and Vera Lutter (two examples among others) has come to prominence – both working using pinhole photography in different ways to render beautiful photographs using this technique together with commercially available, professional photographic paper. Gates' practice which incorporates both working with found images and pinhole photography seeks to break both technique and possibilities down even further – opening up new possibilities and making a virtue of trial and error. It is not a question of returning to some historic position as pinhole has never been developed or used seriously as a technique in the history of photography. He appropriates the elements of image fixing that are the fundamental tools of all photographic reproduction and combines image fixing techniques with light directed via a hole made by a pin. His subject could be said to be that which is often unseen or unnoticed albeit while being in full view, he plays at the border between the visible and invisible. Nothing is concocted, no sets are built, designed or constructed, everyday glamour being quite sufficient. Cardboard or glass is prepared with bitumen poured over it, this plate is then coated with a suspension of silver salts in gelatin; a dark and light–tight receptacle – frequently but not necessarily or always a cardboard box is then built and the plate placed at the back, opposite a pin–hole of just the right size. The resulting photograph is thus both plate and positive image and thus unique, no edition or reprint being either possible or even of interest to this artist. The presence of light is as vital as its quality and both being ever–changing, exposures of 45 mins or longer (for example) are far from unusual.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Rural College of Art will be also be presenting 'Signature' a scored, unfolded, double–sided editioned lithograph limited to 74 copies by Andrew Curtis and David Gates. This continues a long standing collaboration between the two artists. Printed at the Curwen Studio, Cambridgeshire in offset litho, each print is stamped by The Rural College of Art, numbered by hand and available from domobaal (see link below), PayneShurvell and ART13 London, and Qbox in Athens.</span></p> <p style="text-align: justify;"><span style="font-size: small;">*(Contemporary Art Rural Tour): on the final day of the exhibition the gallery itself will close and the activity of the show will move to Essex – Wrabness and surroundings to be precise. The Rural College of Art will organise and host – for a strictly limited number of places only – a One Day M.R.A. (Fully Certified Master of Rural Art) – this will include a visit to the area which constitutes much of the College's studio. The Rural College of Art is open to everybody free of charge but places must be applied for and booked in advance and are not transferable <a href="" title="email The Rural College of Art"><b>[apply by email]</b></a> or <a href="" title="download The Rural College of Art aplication form"><b>[download The Rural College of Art application form as a Word doc].</b></a></span></p> Mon, 04 Feb 2013 17:00:57 +0000 Group Show - APT Gallery - March 14th, 2013 - March 31st, 2013 <p><b>Touring Exhibition, This ‘Me’ of Mine, Asks if the Transience of the Internet is Changing how we see Ourselves?</b></p> <p><i>Uniforms, objects, social media, memories – a complex mixture of influences on contemporary identity; do we still have the wherewithal to navigate this </i><st1:place><i>Sargasso Sea</i></st1:place><i> of influences and not lose ourselves? Each ‘self’ is defined by context – our social groups, experiences and memories; how is the surge in online communications and a transient internet affecting this context and ultimately how we see ourselves? Have we become more engaged with objects than people or has personal communication been reinvigorated by social media? This ‘Me’ of Mine, a touring exhibition of 15 artists considers these questions.</i></p> <p><b>Deptford, </b><st1:city><st1:place><b>London</b></st1:place></st1:city><b>, </b><st1:date month="2" day="25" year="2013"><b>February 25, 2013</b></st1:date> - This ‘Me’ of Mine, a touring contemporary art exhibition which looks at self in relation to context, opens <st1:date month="3" day="14" year="2013">March 14, 2013</st1:date> at APT Gallery in Deptford. It will present issues of socialization and the influence of social groups, our connection to objects as a means to express emotion and to hold memories, the passage of time and limitations imposed by circumstance, and finally the effects of living in a digital age.  This ‘Me’ of Mine, supported by a grant from ACE and private sponsors will showcase work by: Aly Helyer, Edd Pearman, Darren Nixon, Hayley Harrison, Melanie Titmuss, Annabel Dover, Kate Murdoch, David Minton, Anthony Boswell, David Riley, Sandra Crisp, Sarah Hervey, Shireen Qureshi, Cathy Lomax, and Jane Boyer. Boyer is also the curator for the project, her first solo project as curator.</p> <p>The exhibition will travel to four venues: APT Gallery, Strange Cargo|Georges House Gallery, Sevenoaks Kaleidoscope Gallery and The Art School Gallery at <st1:place><st1:placename>Ipswich</st1:placename> <st1:placetype>Museum</st1:placetype></st1:place>. A symposium discussing the effects of social media on identity and our connection to objects as mediators of emotion will conclude the exhibition tour at <st1:place><st1:placename>Ipswich</st1:placename> <st1:placetype>Museum</st1:placetype></st1:place> in the Fall of 2013. Members on the panel include: Dr David Jones, head of Visual Culture studies at the University of Exeter; Annabel Dover, exhibiting artist and PhD candidate at Wimbledon College of Art; Dr Aiden Gregg, psychologist, lecturer and member of the Centre for Research on Self &amp; Identity at the University of Southampton, and Dr Emma Bond, sociologist and senior lecturer at University Campus Suffolk.</p> <p>A companion book including interviews with the artists, essays by symposium panellists and other writers will also be published in conjunction with the project.</p> <p>Jane Boyer is an independent artist, curator and writer. Boyer has written for Whitehot and The Market Magzines.  She was recently invited by <st1:street>Art Pie street</st1:street>-art blog to contribute articles related to the This ‘Me’ of Mine project. Art Pie is also media sponsor for This ‘Me’ of Mine. Last year, she was part of the full-time management team for Core Gallery in <st1:city>London</st1:city> where she co-curated four exhibitions. She currently lives in south west <st1:country-region>France</st1:country-region> with her husband and travels frequently to the <st1:country-region>UK</st1:country-region> for her art practice. </p> <p>Private view event 14/03/2013: 'Artists in Conversation' 6-7pm</p> <p>Contact: Jane Boyer                                                       </p> <p>Email: <a href="" rel="nofollow"></a></p> <p>Website: <a href="" rel="nofollow"></a></p> Thu, 09 May 2013 15:23:58 +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 Michael Krebber - Maureen Paley - February 16th, 2013 - March 31st, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Maureen Paley</strong> is pleased to announce a solo presentation of new work by <strong>Michael Krebber</strong>. This will be his fourth exhibition at the gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Would you confirm that ‘painting’ is used / explored by you as a filter?</strong> Might that question ask about a possible program of ‘painting’? Its application? In that case: painting, as well as any other activity, runs as an application that regularly and constantly changes, from for one person communicating with himself, to 2 people or more. Like society, here the programs runs wild, everyone might be in a different program, either actively or passively, and this is why I called this exhibition The ridiculized snails.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Is ‘painting’ still seen as a controversial activity?</strong> 
Jack Smith said that buying and possessing art was wrong, it was against the idea of art. Here lies the contradiction.But painting is also qualified as an image of the enemy, it therefore can easily seem to be used as a controversial activity. This became kind of common knowledge for the ‘knowing ones’ and I think I benefit a bit from that. And it is still an open game.
Please read my text “Puberty in Painting”.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Do you have to ‘defend’ artistically the use of painting as a medium?</strong> 
I think “Puberty in Painting” says it all and I do not want to defend or preserve it.
Instead of ‘defending’, I would prefer to throw in the idea of: identification with the aggressor.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Is painting an idea? A concept? A category?</strong> 
There is the issue of painting’s production against the issue of the institution of painting.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>What type of information does your painting contain?</strong>
 Depends on who will look at it. Mixed in with all kinds of personal issues of mine. This could also become a game, if somebody wanted to play.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Anecdotes, references, social networks have become an integrated visible part in your work. Does it belong to the ‘painting’?</strong> 
I heard somebody using the term ‘expanded painting’. In his text “Painting beside itself”, David Joselit quotes Martin Kippenberger who said in an interview about a painting, that not only the painting was important, but everything around it too, the people that the painter talked to, his whole network and also the noodles that he ate.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Michael Krebber in conversation, CAPC musée d’art contemporain, Bordeaux, France, 2012.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Born in 1954, Michael Krebber lives and works in Cologne, Germany. He is currently a Professor at the Städelschule, Frankfurt am Main.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Recent solo exhibitions include Les escargots ridiculisés, CAPC musée d’art contemporain, Bordeaux, France, 2012©; C-A-N-V-A-S, Uhutrust, Jerry Magoo and Painting, Greene Naftali, New York, USA, 2011; Here Comes The Sons, Real Fine Arts, New York, USA, 2011; FROM MCB TO MBC, Richard Telles Fine Art, Los Angeles, USA, 2010; Miami City Ballet, Galerie Daniel Buchholz, Berlin, Germany, 2010 and Pubertät in der Lehre/Puberty in Teaching, Kölnischer Kunstverein, Cologne, Germany, 2008©. Selected group exhibitions include Gambaroff, Krebber, Quaytman, Rayne, Bergen Kunsthall, Bergen, Norway, 2010©; Morror, Michael Krebber and Michaela Eichwald, International Project Space, Birmingham, UK, 2010; Held Up By Columns, Renwick Gallery, New York, USA, 2010; At Home/Not At Home: Works from the Collection of Martin and Rebecca Eisenberg, CCS Bard Hessel Museum of Art, Annandale-on-Hudson, NY, USA, 2010; Conditions of Display, The Moore Space, curated by Gean Moreno, Miami, USA, 2007; It Takes Something to Make Something: The Rausch Collection, Portikus, Frankfurt am Main, Germany, 2007; Dracularising, Neue Alte Brucke, Frankfurt am Main, Germany, 2007; The Most Contemporary Picture Show, Actually, Kunsthalle Nuernberg, Germany, 2006; Formalismus, Kunstverein Hamburg, Germany, 2004 and Rhinegold: Art from Cologne, Tate Liverpool, Liverpool, UK, 2004.</span></p> Sat, 09 Mar 2013 13:07:27 +0000