ArtSlant - Recently added en-us 40 - Whitechapel Gallery - September 18th 7:00 PM - 9:00 PM <p style="text-align: justify;">Curator and Professor of Art Theory at the Merz Academy in Stuttgart,&nbsp;<strong>Helmut Draxler</strong>, discusses his 1994 exhibition&nbsp;<em>Services: Conditions and Relations of Project Oriented Artistic Practice</em>. Following a presentation, he will be joined in conversation by<strong>Helena Vilalta</strong>,&nbsp;Managing Editor of Afterall Journal and Afterall Online.</p> <p style="text-align: justify;">In collaboration with Afterall</p> Thu, 28 Aug 2014 08:21:04 +0000 - Whitechapel Gallery - September 12th 11:30 AM - 5:30 PM <p style="text-align: justify;">This event considers the work of the artist and explores themes of authorship, space, stage and experience. Featuring presentations by&nbsp;<strong>Nicolas Cullinan</strong>&nbsp;(Curator of Modern and Contemporary Art at The Metropolitan Museum of Art in New York),&nbsp;<strong>Luke Skrebowski</strong>(University Lecturer in the History of Art at the University of Cambridge),&nbsp;<strong>Teresa Kittler</strong>&nbsp;(Teaching Fellows and Postgraduate Teaching Assistant at UCL, London), curator&nbsp;<strong>Bartolomeo Pietromarchi</strong>&nbsp;(Director of Fondazione Ratti, Como and former Director of Macro, Rome), writer and curator&nbsp;<strong>Nicolas de Oliveira&nbsp;</strong>(Course Leader, London Metropolitan University) and&nbsp;<strong>Emily Butler</strong>&nbsp;(Assistant Curator, Whitechapel Gallery).</p> <p style="text-align: justify;">In collaboration with the Fondazione Giulio e Anna Paolini</p> Thu, 28 Aug 2014 08:18:26 +0000 - Whitechapel Gallery - September 4th 7:00 PM - 9:00 PM <p style="text-align: justify;">Archive Gallery Curator,&nbsp;<strong>Nayia Yiakoumaki</strong>explores artist&nbsp;<strong>Stephen Willat&rsquo;s</strong>&nbsp;projects on display in the current exhibition&nbsp;<em>Concerning Our Present Way of Living,</em>&nbsp;and their impact on the local community.</p> <p style="text-align: justify;"><span style="font-family: Arial, 'Helvetica Neue', Helvetica, 'Liberation Sans', FreeSans, sans-serif;"><br /><a href=";N=4002&amp;L=4065&amp;F=H" target="_blank">Book now</a></span></p> Thu, 28 Aug 2014 08:16:18 +0000 Jack Bilbo - David Zwirner, London - September 4th - October 4th <p style="text-align: justify;">David Zwirner is pleased to present an exhibition of works by Jack Bilbo (1907&ndash;1967) in the London gallery, organised in collaboration with The Estate of Jack Bilbo and England &amp; Co.</p> <p style="text-align: justify;">Spanning four decades of artistic production, the exhibition will focus on Bilbo&rsquo;s ink drawings from the 1940s, highlighting his unique pairing of imagery with text that is exemplified by&nbsp;<em>I Don&rsquo;t Like Private Capitalism&hellip;.</em>&nbsp;Depicting the artist with his characteristic dark beard and pipe, dressed like a vagabond in tattered clothing and drooping top hat, the work is inscribed with &ldquo;I Don&rsquo;t Like Private Capitalism, I Don&rsquo;t Like State Capitalism&mdash;I Do Like My Own Capitalism&rdquo;.</p> <p style="text-align: justify;">A self-taught artist, and during his lifetime a legendary bohemian, Bilbo was known for his larger-than-life persona, which he actively cultivated through autobiographical texts that included, for example, accounts of being Al Capone&rsquo;s bodyguard in the 1930s. In his 1948 autobiography, he described himself as &ldquo;an Artist, Author, Sculptor, Art Dealer, Philosopher, Psychologist, Traveller, and a Modernist Fighter for Humanity&rdquo;.</p> <p style="text-align: justify;">Through his inherent individualism, artistic drive, and eccentricities, Bilbo&rsquo;s work evokes and references both his childhood history from Berlin as well as the atrocities he faced as a German Jewish refugee during the twentieth century. A surreal middle ground is achieved within his work, using political satire and dark humour to create an overture which connects outsider to insider, reality to fiction.</p> <p style="text-align: justify;">Jane England, Director of England &amp; Co. and foremost scholar on the artist&rsquo;s work, notes: &ldquo;Many of Bilbo&rsquo;s drawings reflect the Socialist outlook and anti-Capitalist views he shared with other German artists such as George Grosz and John Heartfield. Bilbo&rsquo;s satiric drawings with their ironic captions convey his deeply felt political ideas&mdash;he&nbsp;took the role of an outsider in his life and work, and was a passionate and irreverent social critic. Other drawings depict his bizarre, sometime sexual, and often violent fantasies: they emerged from doodles and improvisations and reflect his obsessions. The titles he inscribed on them are as idiosyncratic as the drawings: surreal, absurdist, crude, often humorous&rdquo;.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Born as Hugo Baruch in Berlin in 1907, the artist adopted the name &ldquo;Jack Bilbo&rdquo; in 1922. He fled Germany in 1933 after campaigning against the Nazis, who confiscated his family&rsquo;s business, a world-renowned theatre outfitting company. He ran a bar for a few years in Spain, before settling in London in 1936, the same year he began to sculpt and paint and exhibit his works. After being interned in 1939 on the Isle of Man, Bilbo returned to London and founded the Modern Art Gallery in 1941, where he showed works by Pablo Picasso and Kurt Schwitters alongside unknown artists, and held evening readings of Dadaist poetry and his own fantastical stories. In 1946, he moved to Weybridge and created monumental figurative sculptures in cement in the gardens of his home, until relocating to the south of France in the early 1950s. Bilbo was reinstated as a German citizen in 1956 and returned to live in his native Berlin, where he continued to paint and exhibit until his death in 1967.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Bilbo is survived by his daughter, Merry, and his grandson, the artist Ben Woodeson.</p> Thu, 28 Aug 2014 08:13:35 +0000 MOHAMMED QASIM ASHFAQ - Hannah Barry Gallery - September 16th - October 29th Mon, 25 Aug 2014 09:45:58 +0000 Richard Learoyd, Adam Fuss - Michael Hoppen Contemporary - September 19th - October 24th <p style="text-align: justify;">In a world of photography where digital &lsquo;snaps&rsquo; are becoming the tedious norm, the Michael&nbsp;Hoppen Gallery presents a show navigating an area of photography that little is known about:&nbsp;the photograph made without a negative. No, not a photogram - but a photograph. We will&nbsp;present a wonderful mix of works, from rare early daguerreotypes through to contemporary&nbsp;takes on these early techniques. </p> <p style="text-align: justify;">Photographs were invented to be reproduced on demand. The London Stereoscopic&nbsp;Company, as an example, in the 19th century managed to produce hundreds of thousands of&nbsp;copies of photographs from individual negatives. As the mechanical world came into being,mass re-production became the preferred method. </p> <p style="text-align: justify;">The early photographer in the 1830&rsquo;s and 1840&rsquo;s strained to produce lasting images of quality&nbsp;and consistency and it was only in 1835 that the negative by Henry Fox Talbot was invented&nbsp;which allowed them to print numerous copies, and after the paper negative, it was no less&nbsp;arduous and complex a process coating collodion negatives. However, in 1826, Daguerre, a&nbsp;French scientist and inventor, developed a beautifully complex system of producing a&nbsp;photograph on a silver plated copper sheet which was usually cased so that owners could keep&nbsp;the images of their loved ones close to them in their pockets. Larger, half plate daguerreotypes,&nbsp;although much more expensive to produce and hence highly sought after, were often hung on&nbsp;the wall. </p> <p style="text-align: justify;">Today&rsquo;s photographers have adopted the digital world in a way no one could have predicted.&nbsp;The days of the hand-made photograph, the laboratory technician, the chemist and artist&nbsp;combined seem almost like a distant memory. The camaraderie of the photographers and&nbsp;printers who would meet in the basement darkrooms of Soho to go over contacts and&nbsp;discuss the printing is all but gone. </p> <p style="text-align: justify;">Yet a few intrepid artists still do look to the past in their efforts to craft a photograph and the&nbsp;Michael Hoppen Gallery is delighted to include several of them in this exhibition. Richard&nbsp;Learoyd makes his own photographs, and without negatives. Using the most basic form of&nbsp;photography, the camera obscura, Learoyd marries old and new technology: strobe lighting,&nbsp;state of the art optics and Ilfochrome paper to create an unexpected voyeurism. &ldquo;I suppose&nbsp;people see it as an alternative process,&rdquo; he says, &ldquo;but I see it as an alternative use of modern&nbsp;materials.&rdquo; His large-scale portraits are monumental and contemporary, but share a 19thC&nbsp;alchemist&rsquo;s tradition. </p> <p style="text-align: justify;">Adam Fuss too, has forged his career creating startling pictures using early techniques, such as&nbsp;photograms and extraordinary large daguerreotypes. These are hugely complex to create,&nbsp;and there are no 21st century shortcuts available to him. We will be exhibiting the largest&nbsp;daguerreotype in the world which Fuss created last year and which measures some 42 inches&nbsp;wide. </p> <p style="text-align: justify;">With the tsunami of over retouched and digital photographs we are deluged with each day, it&nbsp;is refreshing to find artists working against the tide of mass production.</p> Mon, 25 Aug 2014 09:37:00 +0000 Lawrence Weiner - South London Gallery - September 27th 7:00 PM - 8:00 PM <p style="text-align: justify;">Lawrence Weiner in conversation with contemporary art critic, lecturer and writer Gilda Williams.</p> Sat, 23 Aug 2014 10:59:02 +0000 Lawrence Weiner - South London Gallery - September 26th - November 23rd <p style="text-align: justify;">Having exhibited at the South London Gallery in the group shows&nbsp;<em>Independence&nbsp;</em>in 2003 and<em>Nothing is Forever</em>&nbsp;in 2010, acclaimed American artist and reluctant pioneer of conceptual art Lawrence Weiner returns to the gallery with a solo exhibition in Autumn 2014. ALL IN DUE COURSE presents a series of recent sculptures spanning interior and exterior spaces across the SLG and off-site on the fa&ccedil;ade of the former Peckham Road Fire Station.&nbsp;<br /><br />Born in 1942 in the Bronx, New York, Weiner lives and works in New York and Amsterdam. Internationally regarded, Weiner has an expansive following that reaches across several generations. Though recognised as one of the central figures pioneering conceptual art in the 1960s, he identifies himself not as a conceptualist but as a sculptor whose medium is &ldquo;language + the materials referred to&rdquo;. Since the 1970s Weiner has been best known for his striking wall &lsquo;sculptures&rsquo;. Mainly using paint or vinyl, Weiner&rsquo;s works carve walls with thought, presenting provocative texts that are open to interpretation by the viewer. Taking advantage of the potential of language, his statements are often performative, and speak of materials, processes and actions in relation to art. The texts can appear ambiguous and open ended, providing his audience space for multiple and diverse interpretations. Employing clearly considered typefaces, Weiner&rsquo;s sculptures highlight the visual and spatial qualities of any given language. His work explores structure and translation, using punctuation, colour and a uniquely coded sense of design, to change inflection or tone within the work.&nbsp;<br /><br />Weiner has presented a number of projects and exhibitions across the UK since the early 1970s: at ICA, London; Pier Arts Centre, Orkney; The Fruitmarket Gallery, Edinburgh; The Henry Moore Sculpture Trust, Halifax; Art Transpennine, Hull; Inverleith House in Edinburgh; several engagements with Bury Art Gallery, including their Text Festivals; a solo show at the National Maritime Museum, London; and occasional shows in commercial galleries, the most recent at Lisson Gallery in 2013. Weiner&rsquo;s work is also represented in the Tate collection, including as part of ARTIST ROOMS. Vitrines in the SLG&rsquo;s entrance corridor will contain documentation from some of these events from Weiner&rsquo;s past, including his association with Factory Records in the 1980s.&nbsp;<br /><br />For this exhibition Weiner has made a group of inter-related works that will be seen across the main and first floor galleries, and continue outdoors, running along the expansive Victorian brick wall of the SLG&rsquo;s Fox Garden. Visitors to the exhibition can venture further; beyond the gallery to an off-site work on the facade of the semi-derelict former Peckham Road Fire Station, located diagonally opposite the SLG. Continuing his practice over many years of challenging any hierarchy based on the material form in which his art exists, Weiner has also made a temporary tattoo which will be available to visitors as part of the show. The content and nature of all these works will be revealed at the opening onThursday 25 September: ALL IN DUE COURSE.&nbsp;<br /><br /><em>The exhibition is supported by The Henry Moore Foundation, and Vicky Hughes and John Smith.</em></p> Sat, 23 Aug 2014 10:57:55 +0000 Katrin KOSKARU - Marlborough Fine Art - August 26th - August 30th <p style="text-align: justify;">Marlborough Fine Art is pleased to present the work of Katrin Koskaru, winner of The Valerie &nbsp;Beston Artists&rsquo; Trust Prize 2013. &nbsp;The Valerie Beston Artists&rsquo; Trust was established in 2006 on the death of Miss Valerie &nbsp;Beston, a former director of the gallery, to support artists at the beginning of their careers. &nbsp;The charity is collaborating with the Royal College of Art to award an annual prize to a &nbsp;postgraduate student selected from the degree show. This comprises a studio for a year at &nbsp;SPACE, a financial contribution towards materials, tutorial support generously provided by &nbsp;the RCA, and an exhibition at the end of the year. Catherine Lampert and Pilar Ordovas &nbsp;have kindly selected the winner of the prize. &nbsp;Katrin&rsquo;s work has been influenced by the landscapes of Estonia and particularly its military &nbsp;architecture. These paintings are permeated by a strong sense of isolation and poetical &nbsp;feeling for the memories resonant within a place. More recently she has been looking at the &nbsp;natural marks of her surroundings and using these as the starting point for many layered &nbsp;abstract paintings. The six large paintings in the exhibition are based on grids and lines, a &nbsp;phenomenon particular to twentieth century art from Cubism to Malevich and Mondrian. &nbsp;Katrin&rsquo;s recent work is characterised by a chain of reduction in colour and in representational &nbsp;guides. The lines and grids are recognised through repetitions and differences materialise &nbsp;between those repetitions. The works are all watercolour with very delicate washes and &nbsp;interactions of colour. Her mark making has become increasingly intuitive and autonomous.</p> <p style="text-align: justify;"><strong>About Katrin Koskaru </strong></p> <p style="text-align: justify;">Katrin Koskaru was born in 1977 in Estonia and lives and works in London. She studied Painting at &nbsp;the Royal College of Art 201-2013 and at the Estonian Academy of Arts 2002-2005, and Textile &nbsp;Design at Tartu Art College 1998-2002. She has been offered a residency with Pascaline Mulliez &nbsp;Galerie, Paris, later this year.</p> Sat, 23 Aug 2014 10:54:47 +0000 Lucy McLauchlan - Lazarides Rathbone Place - September 19th - October 18th <p class="Default" style="text-align: justify;">Lazarides Rathbone is pleased to announce <em>Marking Shadows</em>, a major new body of reflective work and multidisciplinary installation by Lucy McLauchlan. Distilling the beauty of visceral experience, <em>Marking Shadows</em> consolidates and extends McLauchlan&rsquo;s practice, developing her organic visual language whilst allowing her natural environment to steer a unique artistic direction.</p> <p style="text-align: justify;">McLauchlan&rsquo;s new series of architectural work continues her familiar textural aesthetic whilst pushing conventional boundaries and embarking on an explorative mark-making journey. Displacing her studio practice into local parklands and woods, amid her home city of Birmingham, the artist allows environmental factors to both inspire and influence the way in which she works. Tracing the contours and surface of the landscape, McLauchlan utilises found elements to dictate the method in which she constructs and experiments with her canvas and media.</p> <p style="text-align: justify;">Seeking to uncover fleeting moments of human intervention within natural surroundings, the artist&rsquo;s painterly abstractions represent intricate collisions suspended in time whilst documenting permanent re-appropriation of areas in which we inhabit. Transforming the most mundane moments into a soothing harmony of sweeping brush strokes <em>Marking Shadows</em> presents a full-scale body of work reminiscent of McLauchlan&rsquo;s engagement with the local community and intrinsic connection with the area. With a subtle nod towards current environmental issues Mclauchlan&rsquo;s new body of work is poignant and eloquently provocative without appearing obtrusive, illustrating the depth and breadth of her contemporary practice in both conceptual and stylistic realms.</p> Fri, 22 Aug 2014 07:46:46 +0000 Ian Francis - The Outsiders London - September 5th - October 4th <p class="Pa0" style="text-align: justify;">The Outsiders are proud to present <em>Endless Summer</em>, a discerning and eclectic showcase of narrative studies by mixed-media artist Ian Francis. <em>Endless Summer</em> comprises a unique body of intricate work created in response to the ever-changing fragility of modern life and contemporary issues facing the human condition. The uniformed vignettes provide multiple windows into a series of events and suspended snapshots in time, combining a myriad of open-ended narrative threads collectively displayed within the gallery space.</p> <p class="Pa0" style="text-align: justify;"><em>Endless Summer</em> marks the Bristol-based artist&rsquo;s special guest appearance at The Outsiders London, following his recent large-scale solo exhibition 10,000 Years From Now at Lazarides Rathbone. Continuing in his signature ultra-modern style Francis has carefully constructed alluring landscapes and unobtainable vistas with a complex combination of both abstraction and figuration, combining layered elements of both painting and drawing. The artist has meticulously depicted mysterious characters lost amid dramatic colour glazes, seemingly suspended within ambiguous cinematic scenes and illicit encounters.</p> <p class="Pa0" style="text-align: justify;">Each manipulated storyline is played out across identically sized panels, highlighting a frozen point in time within each unique study. By creating a series of disparate contemporary moments Francis continues his fascination with the idea of ongoing permanent utopia vs dystopian collapse, whilst referencing both sensationalist media and oversaturated online imagery. Intrigued by the circumstances enabling random selected images and ideas to coexist, the interdisciplinary artist questions the result of this fragile cross-section in time, whether they align or fall apart and their reference point in history in relation to our past and future.</p> <p style="text-align: justify;">In addition to the gallery exhibition the artist will also be participating in the globally acclaimed Nuit Blanche 2014, unveiling a distinctive moving image display in the front window of the gallery during the evening&rsquo;s programme across the capital.</p> Fri, 22 Aug 2014 07:43:08 +0000