ArtSlant - Closing soon en-us 40 Nicos Baikas - Faggionato Fine Art - March 8th, 2013 - April 19th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Faggionato Fine Art</strong> is delighted to present the first exhibition in the UK of new works by the artist <strong>Nicos Baikas</strong>, born in Piraeus in 1948.</span><br /><br /><span style="font-size: small;">The exhibition comprises large-scale pencil works plus a series of smaller works. Baikas works exclusively in pencil on paper, creating surfaces dense and heavy, in which objects and shapes are placed in perfect correspondence with the issues he approaches in his work: gravity, geometry and the study of balance into which he entwines the philosophical use of different perspectives. The images are geometrical balances. Squares, circles and triangles are placed alongside simple human forms. Baikas is concerned with creating what he describes as a “visual suspension” as opposed to the “mental suspension” which is often asked of in the viewer – work of art relationship. His works are a study on mental reflection, the philosophical balance of dark and light and the possible fragmentation of order into potential chaos. The tension created is disquieting and the images brooding, often with disturbing connotations.</span><br /><br /><span style="font-size: small;">The pencil in which all his works are rendered is manipulated with astounding precision and force. The sheer energy and drama with which the pencil strokes are applied to the paper causes it to undulate and buckle so that it appears as if the medium has been transformed into a metallic surface from which light shimmers. There is nothing extraneous or expressionistic in these works. They are the result of intense intellectual musing. Each image is executed with precise economy of content and a complete distillation of cogent artistic thought.</span><br /><br /><span style="font-size: small;">Baikas participated in Documenta 9 in Kassel and public collections include the Museum of Contemporary Art in Ghent and MAXXI in Rome.</span><br /><br /><span style="font-size: small;">The exhibition will be accompanied by a catalogue with a conversation between the artist and Paolo Colombo.</span></p> Thu, 28 Feb 2013 17:02:20 +0000 Simon Roberts, Nicola Green - Flowers | Kingsland Road - February 14th, 2013 - April 19th, 2013 <p>Flowers Gallery present an exhibition uniting two iconic bodies of work by their most recently represented artists; Nicola Green and Simon Roberts. The exhibition precedes major solo exhibitions by both artists to be presented later this year. Viewers are encouraged to examine the role of the artist in recording political events and election campaigns through two different mediums and starkly contrasting visual languages.</p> Mon, 14 Jul 2014 16:41:01 +0000 Jan Dibbets - Alan Cristea Gallery- 34 Cork St - March 21st, 2013 - April 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The Alan Cristea Gallery is proud to present a solo exhibition of works by Dutch artist Jan Dibbets from 21 March - 20 April 2013. The exhibition will focus on two very distinct and enduring aspects of his work, namely the <em>Land-Sea Horizons</em> and <em>Colour Studies</em>, and will be held across both of the gallery's Cork Street spaces. The show will be accompanied by a catalogue written by Brian Wallis, Chief Curator and Director of Exhibitions at the International Center of Photography, New York, and co-author of the recent Phaidon publication <em>Land and Environmental Ar</em>t.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A pioneer of conceptualism in the 1960s, Jan Dibbets was one of the first artists to challenge traditional perceptions of the photographic image. From the outset, his work sought to deconstruct the notion that the camera was a mechanical tool whose primary function was to capture and record three-dimensional images solely to be printed onto a two-dimensional surface. To Dibbets, photography was, and still is, an artistic medium as versatile and complex as any other and one which can be used to create abstraction, figuration and directly challenge notions about how pictorial space is depicted and viewed.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A major component of Dibbets early explorations used multiple photographic images of fragments of land and seascapes collaged together to create illusory ‘horizons'; this subject has remained at the heart of much of his work to the present day and has its roots in the seminal 1973 <em>Comet </em>series. Examples of this small body of ground-breaking installations are held in the collections of the Stedlijk Museum, Amsterdam and the Centre Georges Pompidou in Paris and were exhibited at MoMA, New York in 1974.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition at the Alan Cristea Gallery will contain one of these rare early pieces, never before exhibited in the UK outside of a museum. This will be shown alongside more recent related works including two portfolios of photographs in which, by tilting his camera a few degrees at a time to create an incline, Dibbets presents images of land and sea pitched at different horizon levels, from 0 degrees to 135 degrees. In doing so he emphasizes the role of the horizon as both the structuring principle of the photograph and as a subjective element, vulnerable to manipulation by the artist. These will be accompanied by an entirely new body of work entitled<em> Land-Sea Horizons</em>, a series of photo-collages, each of which juxtaposes a land and a sea horizon, morphing them into a single image.</span><br /><br /><span style="font-size: small;">Dibbets' <em>Colour Studies </em>are in direct and stark contrast to the constructed forms and lines of the <em>Horizons</em>. Initiated in 1975, this work removes both the traditional ‘subject' and formal structure from the photographic image. Whilst they feature details from the polished metalwork of car bodies, they have nothing to do per se with the vehicles - they are Dibbets' own abstractions, at once both purely photographic and painterly. These are not documentary studies nor are they chromatic reproductions of another object's colour, but rather they are an examination into the very surface and colour properties of the photographic image itself. Once printed, the cars and their colour become almost irrelevant - it is the photographs themselves which are the subject.</span></p> <p style="text-align: justify;"><span style="font-size: small;">As with many strands of his work, the Colour Studies reappear in various forms throughout his career. The original permutations were ground-breaking in that they constituted the first use of large-scale colour photography in an artistic context and the exhibition will contain early examples selected from the artist's private collection alongside more recent variations. The show concludes with a new series of large photographs which represent the distillation of Dibbets explorations into colour. These astonishing works have been years in the making and cement Dibbets as one of the most important contemporary artists working with photography.</span></p> Mon, 04 Mar 2013 13:10:44 +0000 - Beaconsfield - February 20th, 2013 - April 20th, 2013 <p>Venue-wide exhibition. Monoculture, combines participatory sculptural objects and a small farm.</p> <p> </p> <p>Challenger is concerned with mass objectification of the self and asks her audience to join her in questioning the level of control being wielded by a supposedly 'free' environment like the internet. Themes of habitual performance, viral infiltration and feminine identity link earlier forms of human control by pseudo-sexual torture (exacted upon women who asserted their individuality) with cultural homogenisation on a global scale.</p> <p> </p> <p><b>Tamsyn Challenger</b> has been in residence with Beaconsfield between June 2012 and February 2013. Monoculture expands beyond the galleries and works on the public in a truly viral way through online interaction and time-based events off-site. </p> Sat, 13 Apr 2013 12:31:25 +0000 Tom Hammick - Flowers | Cork Street - March 20th, 2013 - April 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Tom Hammick’s work is concerned with using landscape as  metaphor: for the human condition, states of mind, and a sense of  love and loss for our natural world.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Expanding upon his recent exploration into depictions of the  English landscape through the aesthetics of Japonism, Hammick’s  new woodcuts show an alteration into his approach to space. </span></p> <p style="text-align: justify;"><span style="font-size: small;">He confronts the relationship between figure, ground and pattern with the conjunction of inside and outside spaces. Flattening and  stretching the expanse within the composition, he creates a utilitarian minimalism of the basic components of a picture.</span></p> <p style="text-align: justify;"><span style="font-size: small;">As the viewer experiences these works together, they witness (Hammick create) a journey through several panoramas. Hammick stretches  a visual narrative across the surface of the picture; the same lone figures reappear through several of his compositions, altering senses of  time. </span></p> <p style="text-align: justify;"><span style="font-size: small;">A common tradition throughout Asian art history sees the  woodcut used to depict the repetition of the same figures as they  move though the countryside. As a painter, and in particular as a  printmaker, Hammick has been influenced by looking at traditions  of art outside Western culture including Japanese print and film,  Chinese scroll painting and Indian miniatures. Hammick can be  seen to create a visual equivalent of Buddhist and Confucian  contemplation of the relationship between humankind and nature.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Since the Daiwa show he has explored Asian image making in relation to formal and spatial arrangements within the picture plane. The  imagery in his paintings and woodcuts have shifted from the actual experience of natural phenomena in landscape, towards a more  imaginary and mythological dreamscape; a positive counterpoint to a world in crisis, focused on the simple life..( See Island Studio)  Sourced in part from drawings and photographs made in the area where he lives (on the edge of the Weald in East Sussex) these new  works have also been inspired by Asian texts that describe living life in a shack in the wilderness. Specifically Po Chi-i’s moving account  of inhabiting his thatched hall on Mount Lu; Kamo No Chomei’s  beautiful description of living in a ten foot square hut on Mount  Hino; (with a geopolitical backdrop of famine, war and uncertainty)  and Matsuo Basho’s sunnier and more upbeat rendition of his  6-month sojourn on the shore of Lake Biwa, east of Kyoto, have all  been influential. These writings hot-wire you into the overpowering  and heightening experiences of living a simple and weather-beaten  life in the countryside. Many ancient Chinese scroll paintings,  Japanese prints and screens allude to this less cluttered way of  life, bound with the rotation of the seasons. Hammick’s work  celebrates this more local form of artistic existence, one in which  a simple life conjures clarity which in turn enables the way of the  world to be more intelligible.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Lately, Hammick has been using recurring motifs that include a  shed, a studio, a simple house, a raft with geodesic shelter, set  in a flattened out landscape/seascape, to investigate a more  celebratory relationship between dwelling and environment. These  are combined to express both how fragile our interwoven existence  on Earth is, and how precarious and delicate the nurturing of the  creative process is for an artist. For Hammick this is a theme  of wonder and a possible answer in the quest for contentment  in life. In essence, these pictures dwell on quite personal  requirements for happiness: a love of the natural world, and  as far as possible, simplicity in living.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Born in Tidworth, UK in 1963 Tom Hammick studied History  of Art at the University of Manchester (1982-85) before  obtaining both his Fine Art BA Hons and Printmaking MA at  Camberwell College of Art (1987-90 and 1990-92).  As well as exhibiting in Canada, New York, Nova Scotia and  Dublin Hammick has exhibited widely in galleries and venues  including: Flowers Gallery, Eagle Gallery, Redfern Gallery,  Standpoint Gallery, Deutsche Bank, Studio 21, Chipping  Camden Gallery, Brighton Museum Art Gallery, RCA and  Cadogen Contemporary. His works are in many collections  including: The British Museum, De Beers, The Royal London  Hospital, Victoria and Albert Museum, Groucho Club, London  and Yale Centre for British Art, University of Washington  Medical Centre, Seattle, Scripps Women’s Centre, San Diego,  USA.   </span></p> <p> </p> <p></p> Mon, 08 Apr 2013 11:13:05 +0000 Tai-Shan Schierenberg - Flowers | Cork Street - March 20th, 2013 - April 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Flowers Gallery</strong> is pleased to announce a forthcoming exhibition of <strong>Tai Shan Schierenberg</strong>'s new paintings.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In March this year large scale figurative paintings will be at Flowers Cork Street. They will primarily focus on painting and the possibilities a painter faces when remaking the real; the decisions, the accidents, the mistakes - how all these coexist on the painted surface whilst suggesting a version of reality at the same time. The subject matter, drawing on archetypal figures and ideas, will echo the multi-layering and state of flux - simultaneously alive and dying, being in the past and the present, being in two or more states at once.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Born in England in 1962, Tai-Shan Schierenberg lives and works in London. He graduated from the Slade School of Art in 1987. In 1989 he won first prize in the National Portrait Gallery's John Player Portrait Award, and as part of the prize, was commissioned to paint playwright Sir John Mortimer for the Gallery's collection. The National Portrait Gallery also holds his portraits of Lord Carrington from 1994, Lord Sainsbury 2002 and most recently Seamus Heaney from 2004. Other noted commissions include Professor Stephen Hawking, Sir John Madejski and a double portrait of Queen Elizabeth II and the Duke of Edinburgh. Schierenberg has exhibited widely throughout the United States, United Kingdom and Europe. He is represented in public collections including the National Portrait Gallery, London; Tate Gallery, London; and the BBC.</span></p> Mon, 04 Mar 2013 13:19:06 +0000 Robert Adams, Kenneth Armitage, Lynn Chadwick, Geoffrey Clarke, Alan Davie, James Hull, Albert Irvin - Gimpel Fils Gallery - March 7th, 2013 - April 20th, 2013 Fri, 08 Mar 2013 20:56:46 +0000 Carsten Nicolai - Ibid. - February 27th, 2013 - April 20th, 2013 Sat, 23 Mar 2013 15:38:46 +0000 Jeff Keen - Kate MacGarry - March 9th, 2013 - April 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Until 20 April 2013. Please note the gallery will be closed over Easter weekend.</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Kate MacGarry</strong> is pleased to announce an exhibition by <strong>Jeff Keen</strong>, one of the most significant British artist-filmmakers of the postwar period. His films were recently shown in the Tanks at Tate Modern in September 2012 and in a retrospective at the BFI Southbank, London in 2009.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jeff Keen began producing drawings, collages, paintings and assemblages after serving in World War II, an experience that had a profound influence on his life and artistic practice. He worked in the Intelligence Corps on top secret experiments in weaponry. His early work shows the influence of the dominant avant-garde trends of the Forties and early Fifties such as Art Brut, Dadaism, Abstract Expressionism and the CoBrA Group.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In the late Fifties Keen began experimenting with film and was a pioneering adopter of pop culture as it exploded the artistic landscape. The film historian David Curtis has described Keen’s creation of Pop Art film as unique in Britain at this time. His films use found objects for props and materials, fragment and rearrange sound, and incorporate film stock, comic strips and paintings in a tornado of work that brutally disregards conventional film-making. His films are immersed in the act of painting, and by incorporating painting as the subject and props for his films, he turned film-making and painting upside down.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In the Sixties Keen helped to setup the London Film-makers Co-op and was a regular contributor during this period. He worked with film, performance, assemblage and painting to create surreal worlds inhabited by comic book and B-movie characters such as Dr Gaz, Vulvana, Silverhead and Mothman. Guns, warplanes, comic heroes, sci-fi robots and lightning zaps collide in an explosion of style, subject and media.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Collage is fundamental to understanding Keen’s radical approach to the artistic process, taking the influence of John Heartfield and Hannah Höch and incorporating more contemporary and pop-related fragments into film as well as painting and assemblages. During the Seventies Keen participated in the “First International Underground Film Festival” at the NFT and collaborated with William Burroughs and Jeff Nuttall. The Eighties saw Keen experimenting with video and computer technology, reflecting his engagement with technological developments and his fascination with science, modernity and machine culture.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jeff Keen continued voraciously producing drawings, paintings, collages and films until his death in 2012. The current exhibition will feature a selection of Keen’s seminal collages, paintings and films.</span><br /><br /><span style="font-size: small;">JEFF KEEN born 1923 in Trowbridge, Wiltshire, died 2012 in Brighton, Sussex.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A retrospective exhibition <em>Shoot The Wrx, Artist and Filmaker Jeff Keen</em>, is showing at Brighton Museum and Art Gallery until 21 April 2013.</span></p> Sat, 30 Mar 2013 16:24:44 +0000 Wieland Payer - Man&Eve - March 1st, 2013 - April 20th, 2013 <p style="text-align: justify;">Opening reception by invitation only, 1st March, 7 — 9pm<br />Previews by appointment, 2nd — 8th March<br />Private view, 8th March, 7 — 9pm<br />From 9th March the gallery will be open Tuesday — Saturday, 11am – 7pm</p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Wieland Payer</strong>’s<strong> </strong>first London solo exhibition brings together recent works on paper, sculpture and painting. Payer is best known for his intricate drawings in charcoal and pastel depicting mountains and woodland, from which protrude strange objects and buildings that seem to have been plucked from some future era — but which may equally be derelict altars to modernism, projected into post-apocalyptic landscapes.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Payer’s work originates from close dialogue with German Romanticism: it is always concerned with the monumental and dynamic presence of natural phenomena, capable of giving human beings a sense of their own relativity. Whilst the work is inspired by reality, Payer’s response to the natural world is never forensic, but rather aesthetic and also surreal. His landscapes are full of visual and spatial paradoxes that remove them from the realm of actual experience. They are beautiful and awe inspiring, yet present us with a vision of the natural world that is far from bucolic and, at times, hostile. This is hinted at in the title of the exhibition, an oblique reference to Tom Wait’s song, ‘What’s He Building In There’. In the song, the question is never answered, but the implication is that whatever is being constructed is menacing and perhaps even murderous.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This dark undercurrent is also present in Payer’s sculptural works, cast in bronze, that offer a direct reference to the objects seen embedded in his landscapes. Payer refers to them collectively as ‘Souvenir’s’ and, as symbols of a past experience they are infused with loss and nostalgia. In isolation, however, they appear almost totemic as if to fulfill a role in some strange tribal ritual intended to ward off danger.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Payer’s objects and landscapes resist easy deciphering: the time is neither future, present nor past; the landscape is familiar and strange, seductive and hostile. Nothing is certain, and little seems to be what it is. These are the worlds of dreams and nightmares, in which anything could happen.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Wieland Payer was born in Erfurt, Germany, in 1981. He studied at the Burg Giebichenstein University of Art and Design Halle, the Accademia di Belle Arti in Rome and at the Royal College of Art in London. Recent solo exhibitions include ‘Im Hercynischen Wald Malerei’ at Galerie Rothamel Frankfurt, 2012. Payer’s work is contained in prominent private collections throughout Europe including the Bundesumweltministerium, Berlin; Stiftung für christliche Kunst, Wittenberg; Klingspor Museum, Offenbach; and neue Sächsische Galerie, Chemnitz.</span></p> Wed, 06 Feb 2013 16:21:44 +0000 Rita Nowak - Ritter/Zamet - March 1st, 2013 - April 20th, 2013 Mon, 25 Feb 2013 15:41:34 +0000 Kenneth Anger - Sprüth Magers London - March 23rd, 2013 - April 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Sprüth Magers London</strong> is delighted to present an exhibition of work by the iconic filmmaker and artist <strong>Kenneth Anger</strong>, in his second solo show at the London gallery. <i>Icons</i> will bring together an archive of photographs, scrapbooks, letters and memorabilia from Anger’s personal collection, offering an insight into the unique vision of an artist widely acclaimed as a pioneering and influential force in avant-garde cinema, whose influence extends through generations of film makers, musicians and artists. </span><br /><br /><span style="font-size: small;">Making films continuously since the late 1940s, Kenneth Anger is considered one of the most original filmmakers of American cinema and a countercultural icon. His groundbreaking body of work has had a profound effect on mainstream film directors such as George Lucas and Martin Scorsese, particularly in the application of a cross-cutting editing style and the integral use of pop music. Furthermore, post-war popular visual culture, from queer iconography to MTV, owes a debt to Anger‘s art. In particular, Anger has been cited as a major influence on the aesthetic of music video, with its emphasis on dream sequence and elevated affect, and his own soundtracks have featured collaborations with Mick Jagger and Jimmy Page, amongst others. </span><br /><br /><span style="font-size: small;">The archive <i>Icons</i> will be exhibited across two rooms, painted midnight blue and crimson red, to replicate the way in which the collection was on display at Kenneth Anger’s home in Los Angeles. An occupation with Hollywood began as a child when Anger would visit film sets with his costume designer grandmother. Ranging from tabloid and magazine covers, to posters and illustrations, the archival documents on show, gathered over many decades, reveal the extent of Anger’s fascination with the industry and the Golden Age of Hollywood. Centered on figures such as Greta Garbo and Rudolph Valentino, the memorabilia evokes the world of the classic studios and the mystique of its stars, and reveals the inspiration and source material behind the filmmaker’s infamous celebrity gossip books <i>Hollywood Babylon</i>, published in 1975 and 1984. Delving into Hollywood scandal and excess, these publications, like his films, serve to highlight the very ambivalent dynamic between the cinema audience and the stars they worship and destroy. Here, images from contemporary pop culture and of Hollywood stars are taken out their usual structures of representation and put into a new, perverse context intended to disturb customary modes of perception. </span><br /><br /><span style="font-size: small;">Kenneth Anger was born in Santa Monica, California. His most iconic works include the classic <i>Fireworks</i> (1947), <i>Eaux D’Artifice</i> (1953),<i>Rabbit´s Moon</i> (1950-1973), <i>Inauguration of the Pleasure Dome</i> (1954-66), <i>Scorpio Rising</i> (1964), <i>Invocation of My Demon Brother</i>(1969) and <i>Lucifer Rising</i> (1970–81). His work has been featured at the Whitney Biennial 2006, P.S.1 Contemporary Art Centre, New York in 2009 and the Athens Biennial 2009. The archival material Icons was previously exhibited at the Museum of Contemporary Art Los Angeles (13 November 2011 – 27 February 2012).</span></p> Thu, 14 Mar 2013 07:35:08 +0000 Yinka Shonibare MBE - Stephen Friedman Gallery - March 16th, 2013 - April 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Stephen Friedman Gallery</strong> is delighted to announce a solo exhibition of new works by <strong>Yinka Shonibare, MBE</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition of all new works focuses on the corruption, excess and debauchery that have in part led to the current economic crisis. With characteristic wit and critique, Yinka Shonibare explores the contemporary worship of luxury goods and the behaviour of the banking industry while referencing well known iconography and art historical homage - most notably in his creation of a large tableau based on Leonardo da Vinci's ‘The Last Supper'.</span></p> <p style="text-align: justify;"><span style="font-size: small;">POP! not only presents some of Shonibare's most ambitious work of late but also reflects the artist's engagement with social commentary. It heralds a new direction for the artist with large-scale self-portraits inspired by Andy Warhol's 1986 series ‘Camouflage'. The exhibition provides a unique opportunity for audiences to assess Shonibare's most recent lines of enquiry.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The centrepiece of the exhibition is the artist's largest and most complex sculptural tableau: a subverted depiction of Leonardo da Vinci's ‘The Last Supper' where Bacchus replaces the central figure of Christ. The Roman god of wine is here transformed into a headless satyr: half-man, half-goat. Surrounding him at this debauched banquet are his twelve beheaded disciples cast in poses of sexual and animalistic abandon. In homage to da Vinci, and filtered through the lens of Victoriana, the scene unravels as the Dionysiac climax of a pan-historical hedonistic party. By removing the figures' heads</span><span style="font-size: small;">, a recurring motif in Shonibare's work, the artist dissuades associations of race. We are also reminded of the executions of the barbarous French Revolution: a period fittingly remembered for its corruption and excess. In direct reference to the celebratory excesses of the banking world, these debauched guests have cast their work troubles aside with no care for tomorrow; scattered across the table is the debris of a lavish feast of both glutton and luxury. This dramatic tableau is a moment frozen in time, inviting us to walk around and marvel at its exuberance.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Furthering the sense of an over-indulgent party, a sharply suited banker is displayed in another room, simulating the act of masturbation with an exploding magnum of champagne. Deliberately brash and humorous, the work combines the light and the dark inherent throughout the exhibition. The corruption caused by obscene amounts of money still carries its scars today as the hangover of the party remains to be cleared up. This contrasting depiction of celebration and depravity is continued in a new series of works entitled ‘Champagne Kids'. These youthful figures each carry a bottle of champagne ready to pop and in the place of their heads are Shonibare's trademark globes, displaying financial data relating to the global economic crisis. Combined with the carnivalesque poses of the figures, they present a powerful commentary on our current state of affairs, as generations suffer the consequences of the banks' over-indulgence.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The second part of the exhibition builds from ‘The Last Supper' by further exploring ideas around the contemporary worship of </span><span style="font-size: small;">commodities. Here, the artist's most intricate wall painting is presented in alluring visual opulence. In reference to Shonibare's ‘Toy Paintings', the installation includes a number of round fabric canvases framed by a multitude of different toys. The toys relate to key themes of war, luxury and religion: toy guns, military figurines, shoes, handbags, faux diamonds, crucifixes and the Holy Grail. Spray-painted black, the toys are studded with diamantes creating silhouettes against the vivid gold of the mural behind. The multitude of swirling panels come to represent the fetishisation of war and money, as we simultaneously desire and repel such objects of glittering beauty.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Throughout the exhibition Shonibare uses his trademark wax batik fabric in the tailored outfits of the figures and the canvases of the mural. The material is a poignant interception of our modern and colonial times: inspired by Indonesian design, mass-produced by the Dutch and eventually sold to the colonies in West Africa. The fabric has become emblematic of his practice, closely tied to his own self-recognition as a ‘post-colonial' hybrid. For the first time here, the colours and patterns of the material are used in a group of large-scale self-portraits based on the iconic Pop Artist Andy Warhol's ‘Camouflage' of 1986. Militaristic and haunting, the artist's face is so closely blurred with the patterning of the wax batik that despite its immediate familiarity, he becomes instantly anonymous. As with the other works in the show, the self-portraits are a potent reminder of the illusory boundaries of </span><span style="font-size: small;">protection and danger, so closely aligned with power and money.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition coincides with a major career retrospective at Yorkshire Sculpture Park which includes new and critically acclaimed work from 2002 - 2013 and runs 2 March - 1 September 2013</span>.</p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><strong>Yinka Shonibare, MBE</strong>  (b. 1962 in London, England) lives and works in London, England. He studied at Byam Shaw School of Art, London, (1984–1989) and Goldsmiths College, London, (1989 – 1991).</p> Wed, 13 Feb 2013 07:32:50 +0000 Verne Dawson - Victoria Miro Gallery - March 16th, 2013 - April 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Victoria Miro</strong> is pleased to present an exhibition of new work by <strong>Verne Dawson</strong>, the artist's third with the gallery.  An inherent storyteller, Dawson is a painter of landscapes, portraits, calendars, allegory, myth and pre-history - often in regard to astronomy and mathematics. He weaves together elaborate narratives in his paintings that entwine the legend of the past with a discourse of the present, and in the case of the works on view here, a glimpse of a possible future.</span><br /><br /><span style="font-size: small;">The paintings and works on paper in <em>Apalachicola to Zirconia</em> are reflections on the geographic region and route taken by the Spanish explorer Hernando de Soto on his second and fatal expedition through the American Southeast, ostensibly searching for a fountain of youth.  Time collapses as past, present and future are represented in oil paintings that obey a non-linear chronology; they stand simultaneously as a visualising of the past, and as a perception of the present from an imagined future, where the natural and man-made retain a more balanced co-existence.  Some of the works' imagery springs from the artist's imagination, while others are unmediated observations of intimates: a self-portrait, or one of his wife beside a stream. Characteristic of Dawson's practice, these works present an exploration of the continuities of nature and civilization, and a belief in the enduring vitality of beauty and painting as a primary form of visceral and visual communication.</span><br /><br /><span style="font-size: small;">Born in 1955, Verne Dawson divides his time between New York and North Carolina. In recent years he has been the subject of monographic shows at Douglas Hyde Gallery, Dublin, Le Consortium, Dijon, Camden Arts Centre, London and Kunsthalle, Zurich. Dawson's work has been featured in significant international exhibitions such as 2011 Yokohama Triennial, the 2010 Whitney Biennial, the 2006 Lyon Biennial, and has been presented in shows at venues such as Palais de Tokyo, Whitney Museum of American Art, New York, and Musée d'Art Moderne de la Ville de Paris. Forthcoming exhibitions include a solo show at Galeria Il Capricorno in Venice, and Dawson's acclaimed suite of paintings Cycle of Quarter-day Observances, circa 23,800 BC will be featured in Paisaje 1969-2013 at Museo del Palacio de Bellas Artes in Mexico City.</span></p> Wed, 13 Mar 2013 15:42:10 +0000 Ilya and Emilia Kabakov - Ambika P3 - March 27th, 2013 - April 21st, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Sprovieri Gallery</strong> and <strong>Ambika P3</strong> are delighted to present a major installation by internationally celebrated Russian artists <strong>Ilya and Emilia Kabakov</strong>. influential pioneers of installation art. Staged by the artists in the monumental subterranean space of Ambika P3. <em>The Happiest Man</em> explores the fragile boundaries between reality and imagination, fact and fiction, life and art.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ilya and Emilia Kabakov have collaborated over many years to make extraordinary installations - whole environments that fuse elements of the everyday with those of the imagination. With a light touch. they combine references to history. art, literature and philosophy, and often leave the spectator poised between utopia and disenchantment. nostalgia and marvel. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">In <em>The Happiest Man</em>. the audience enters a large constructed cinema, with classic cinema chairs where clips are projected featuring rare Russian colour films of rural idyll from the 30's, 40's and 50's - scenes of happy people running. dancing and singing. Unexpectedly, within the cinema space, there is also a room, perfect in every detail, where in the mind of the artists lives ‘the happiest man‘ who continually watches the projected films on the screen though his window. The spectator can choose to sit in the main cinema. or enter the room and become ‘<em>The Happiest Man</em>‘ - immersed in the illusion, magic and distraction of the scenes that more than fill the domestic environment.</span><span style="font-family: arial, helvetica, sans-serif; font-size: small; text-align: left;"> </span></p> Fri, 15 Mar 2013 18:47:40 +0000 Garth Lewis, Tom Lomax - APT Gallery - April 4th, 2013 - April 21st, 2013 <p><span style="font-size: medium;"><strong> </strong></span></p> <p align="left"><span style="font-size: medium;"><strong>APT Gallery, Harold Wharf, 8 Creekside, Deptford, London SE8 4AS</strong></span></p> <p align="left"><span style="font-size: medium;"><strong>5</strong></span><sup><span style="font-size: medium;"><strong>th</strong></span></sup><span style="font-size: medium;"><strong> to 21</strong></span><sup><span style="font-size: medium;"><strong>st</strong></span></sup><span style="font-size: medium;"><strong> April 2013. Thursday-Sunday,12 noon to 5pm.</strong></span></p> <p align="left"><span style="font-size: medium;"><strong>Private View 4</strong></span><sup><span style="font-size: medium;"><strong>th</strong></span></sup><span style="font-size: medium;"><strong> April 6-8pm</strong></span></p> <p align="left"><span style="font-size: medium;"><strong> </strong></span></p> <p align="left"><span style="font-size: medium;"><strong>Digital.Material : Paintings, Sculpture and Prints.</strong></span></p> <p align="left"><span style="font-size: medium;"><strong> </strong></span></p> <p align="left"><span style="font-size: medium;"><strong>Garth Lewis and Tom Lomax</strong></span></p> <p align="left"><span style="font-size: medium;"><strong> </strong></span></p> <p><span style="font-size: medium;"><strong>DIGITAL.MATERIAL is the first in-depth exhibition of works that represent nearly a decade of research and experiment with digital media in relation to painting and sculpture.  Garth Lewis applies paint to ink-jet printed canvases; Tom Lomax produces sculptures that are three dimensional, digital prints.</strong></span></p> <p><span style="font-size: medium;"><strong> </strong></span></p> <h1><strong><span style="font-size: medium;"><strong>Garth Lewis incorporates ink-jet printing, direct printing and hand painting in the same picture by applying acrylic paint to fabric that has been printed with his own computer-generated compositions. The dynamics of digital imaging represent a challenge to the slow changing character of paintings that are intimate, hands-on and individually experienced.</strong></span></strong></h1> <p> </p> <p><span style="font-size: medium;"><strong>Tom Lomax ‘s sculptures are conjured up on the computer screen and involve visual relationships that would be unlikely inventions with traditional studio tools. At the same time the computer generated models are translated from areas of geometric fantasy to the tangible world of material things. The results are emphatically visual, exuberantly polychrome and free from the gravity and poise of hand-made sculptural form.</strong></span></p> <p> </p> <p><i>Digital Material runs at the APT Gallery from the 5<sup>th</sup> to the 21<sup>st</sup> of April 2013, the artists will be in the gallery to discuss their work during the exhibition period.</i></p> <p><b><i>An illustrated catalogue is published to accompany this exhibition.</i></b></p> <p><i> </i></p> <p><i> </i></p> <p> </p> <p> </p> Thu, 09 May 2013 15:23:58 +0000