ArtSlant - Current exhibits en-us 40 Iain Faulkner - Albemarle Gallery - April 18th, 2013 - May 11th, 2013 <p>Iain Faulkner</p> <p>18 Apr - 11 May 2013</p> <p>In this new body of work Iain has moved away from the familiar motives of his practice, the making of each painting a genuine observation and at the same time an allegorical interpretation of reality. This is evident through the imagery employed: the gathering figures being drawn towards the sea – a symbol for desire and self- investigation; the single contemplative figures reflecting on their place in the world; the toasting figures – a poignant reminder of our humanity.<br /> <br /> These paintings – with their atmospheric, quasi-real, evocative character – become poetic descriptions of the human condition.</p> Wed, 17 Apr 2013 10:35:06 +0000 Ko Am - Albemarle Gallery - April 18th, 2013 - May 11th, 2013 <p>Shine Artists: Ko Am : Cell<sup>3</sup></p> <p>19 Apr - 11 May 2013 </p> <p>Cell<sup>3</sup> | Tactile and inviting, Ko’s work is paradoxical – appearing simultaneously solid yet afloat, heavy yet buoyant. The hard, cold nature of metal is tempered and reformed by a unique addition: the organic, weightlessness of air. Each of the individual squares within the structures is air-blown by hand to become, in fact, an inflated, three-dimensional ‘cushion’. As such, metal becomes the medium through which Ko expresses softness, and the pieces possess a duality of form; the solidity of their substantial exterior is balanced by the delicacy of each of these minute, private pockets.</p> Wed, 17 Apr 2013 10:40:28 +0000 Jeong Woo-Jae - Albemarle Gallery - April 18th, 2013 - May 11th, 2013 <p>Shine Artists: Jeong Woojae | The Girl And Her Dog</p> <p>19 Apr - 11 May 2013</p> <p></p> <p>Jeong’s paintings are charming and playful expressions of the bond between humans and their animals. At first glance, they might appear to be a straightforward celebration of their animal subject, yet the works go beyond mere realism – a spell Jeong is keen to shatter with the playful reversal in the size of his figures. For Jeong, each ingredient in his composition has a symbolic resonance; his animal compositions are the vocabulary through which he addresses a particular contemporary malaise.</p> <p></p> <p> </p> Wed, 17 Apr 2013 10:45:02 +0000 Fernanda Gomes - Alison Jacques Gallery - April 19th, 2013 - May 17th, 2013 <div class="description"> <blockquote> <p style="text-align: justify;" class="cms_gray"><span style="font-size: small;">"It's all about the immaterial... The paradox is that the immaterial must be created from material, it must materialize, which is what really counts: the autonomy of the thing itself."</span></p> <p style="text-align: right;" class="cms_gray"><span style="font-size: small;">Fernanda Gomes, 2013</span></p> </blockquote> <p style="text-align: justify;" class="cms_gray"><br /><span style="font-size: small;"><strong>Alison Jacques Gallery</strong> is delighted to present Brazilian artist <strong>Fernanda Gomes</strong>' first exhibition at the gallery. This marks Gomes' first show in the UK since her solo exhibition at the Chisenhale Gallery in 1997 and comes a year before her forthcoming museum solo show at the Ikon Gallery, Birmingham.</span></p> <p style="text-align: justify;" class="cms_gray"><span style="font-size: small;">Employing the same premise as she chose for her recent São Paulo Biennial presentation, Gomes is spending the weeks prior to the opening of her exhibition, making work and editing her practice in the gallery spaces. Building her work in situ, Gomes's solo show will appropriate the exhibition spaces as an extension of her studio.</span></p> <p style="text-align: justify;" class="cms_gray"><span style="font-size: small;"></span><span style="font-size: small;">Gomes' work exists between painting and sculpture, avoiding categorization and blurring the boundaries between object and space, light and shadow, composition and dispersion. If the essential geometries of Fernanda Gomes' installations formally recall an earlier generation of Brazilian art - the modulated space works and matchbox structures of Lygia Clark or the Metaesquemas of Helio Oiticica - they also embody Alberto Burri's philosophy of 'truth to materials' exemplified in the Arte Povera movement. Through Gomes' choice of materials, be they found objects, pieces of wood or natural materials such as gold and water, she references the poetics of the immaterial and the relationship of form to a whole. Like the Russian Constructivist Kazimir Malevich, Gomes addresses the dissolution of planes in space and her use of white as the only artificial colour in her practice in part references the history of the monochrome. Employing only the organic palette of the colours of existing objects, or smearing white across their surfaces, Gomes highlights the tangible properties of her objects while simultaneously making parts of them disappear.</span></p> <p style="text-align: justify;" class="cms_gray"><br /><span style="font-size: small;">Fernanda Gomes (b. 1960, Rio de Janeiro, Brazil) recently participated in the São Paulo Biennial curated by Luis Perez-Oramas (2012) and the Rennes Biennial (2012). Recent solo exhibitions include Museu de Cidade, Lisbon (2012) and MAM, Rio de Janeiro (2011). Previous museum shows include Museu de Arte Contemporânea de Serralves, Porto (2006) and The Chisenhale Gallery (1997). Gomes' work has been acquired by many museums including the Art Institute of Chicago; Miami Art Museum; Vancouver Art Gallery, Canada; Centre Georges Pompidou, Paris; MAM, Rio de Janeiro; and Tate Modern, London.</span></p> <p style="text-align: justify;" class="cms_gray"><span style="font-size: small;"> </span></p> <p style="text-align: justify;" class="cms_gray"><span style="font-size: small;">In addition to her solo show at the IKON Gallery, Birmingham (2014), Gomes will have a solo show at the Centre International de l'art et du Paysage, Vassivière (2013) and and will be included in the Istanbul Biennial (2013).</span></p> <p style="text-align: justify;" class="cms_gray"><span style="font-size: small;"> </span></p> <p style="text-align: justify;" class="cms_gray"><span style="font-size: small;">Fernanda Gomes is represented by Galeria Luisa Strina, Sao Paulo and Alison Jacques Gallery, London.</span></p> </div> Fri, 05 Apr 2013 18:31:11 +0000 Group Show - All Visual Arts - March 8th, 2013 - April 27th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The language of drawing has always been considered the cornerstone of art and as such it reveals the inner process of the artist and his thinking. From the scientific and anatomical sketches of Leonardo Da Vinci to the automatic doodles of the Surrealists, drawing has allowed artists over the centuries to explore both the world around us and the world within. In a contemporary context, the ability to draw provides an important counterpoint to wider artist concerns and in all cases the act of drawing constitutes a rich vein of artistic expression. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">In the main gallery stands a giant, to scale rendition in pencil of Jacques -Louis David’s <i>Rape of the Sabine Women </i>by the artist Wolfe von Lenkiewicz and yet on closer inspection this drawing proves itself to be an amalgamation of a series of different works by David as witnessed by the appearance of the limp, emaciated body of Marat lifted from his epic canvas <i>The Death of Marat</i> from 1793. This monumental work is flanked by two more drawings that also owe their structure to a fusion of different elements by a single artist, namely Leonardo Da Vinci and Pablo Picasso, that when brought together create a new singular vision born from the disparate parts of multiple originals. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">The premise of Wolfe von Lenkiewicz’s artistic interventions is to question what constitutes an authentic work of art and as such he is engaged in an alchemical revision of art history through the appropriation and reconfiguration of the past. Other artists in the show include the Korean born Seung-hyun Lee who also takes as his starting point identifiable masterpieces from Vincent van Gogh to Michelangelo to create magical, amorphic landscapes while Paul Noble or Steven Harvey’s intricate drawings reveal an alternative universe that is entirely imaginary. Elsewhere in the main space large-scale charcoal drawings by Mircea Suciu or Reece Jones have a decidedly cinematic appeal while Robert Longo’s <i>Monster </i>series of breaking waves or baroque renderings of atomic bomb blasts tap into a collective memory bank of images that have become mediated through a televisual landscape. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">The ability of drawing to be both a pathway to the unconscious and the outward expression of a political or social consciousness is aptly articulated through the work of the avant-garde. In the All Visual Arts viewing room examples of surrealist inspired drawings by Salvador Dali share an association with the contemporary work of the artists Dennis Scholl and Erinc Seymen while the social caricatures of George Grosz, Otto Dix and Ludwig Meidner, produced in Germany during the First World War and early 1920s, have a direct relationship with the work of Rob McNally and his drawing of a deranged man in a blonde wig, who bears an uncanny resemblance to the infamous Jimmy Saville. <br /></span></p> Sun, 10 Mar 2013 19:24:00 +0000 Damilola Oshilaja, VARIOUS - Ambika P3 - April 25th, 2013 - April 28th, 2013 <p>The Other Art Fair, London ’s leading artist-led fair, is delighted to announce the details for their fourth edition in spring 2013. The fair will and will be partnered with leading creative companies including CultureLabel, Jotta, Aesthetica and Sipsmith to name a few.</p> <p>The fair is unique in its approach of using a selection committee of industry experts to handpick 100 of the most exciting unrepresented artists from across the globe. Participating artists are given the opportunity to curate individual stands from which to sell their work directly to the public providing an open platform for communication between artists, buyers and art-lovers. By encouraging this direct interaction, The Other Art Fair hopes to forge lasting relationships between artists and experienced collectors and first-time buyers alike. The fair has quickly gained a reputation as one of the best locations for collectors to find undiscovered talent who are yet to gain gallery representation.</p> Tue, 23 Jul 2013 18:00:36 +0000 Georgie Nettell, newultragroup, Gili Tal, Ellie de Verdier - ANDOR - March 23rd, 2013 - May 18th, 2013 <p>The exhibition Physical Exhaustion Increases Brain Glycogen Metabolism appears as a total coordinated image; emulating branded space, and using visual merchandising techniques such as colour matching and object placement to reference commercial mechanisms of display.</p> <p>Georgie Nettell (born 1984 Bedford, England) lives and works in London. She graduated from the Slade School of Fine Art, BA, London, in 2009. Nettell recently presented a solo exhibition at Reena Spaulings Fine Art, New York, 2013. Other recent solo exhibitions include Voluntary Simplicity, Glasgow, 2012; Alternative Living, Lima Zulu, London, 2012; Luxotticca (with Gili Tal), Heit, Berlin, 2012; Ultra, Space Gallery, London, 2011; Who are Old Forest (with Anna Rosen), Lima Zulu, London, 2010. Group exhibitions include Goldbaumsteiger, Heit, Berlin, 2012; Ed Lehan, Valentina Liemur, Georgie Nettell, formalist sidewalk poetry club, Miami, 2011; L.A. Switzerland, Night Gallery, Los Angeles, 2011; BYTS, Hertogenbosch, Holland, 2011.</p> <p>newultragroup are a luxury bag making company founded in the late summer of 2012. They produce leather bags, Ipad cases, phone cases, and clutches, which will be available online from the 25th of March 2013 via Prices start from £129</p> <p>Gili Tal (born 1983 Tel Aviv, Israel) lives and works in Berlin. She graduated from Goldsmiths University, London, in 2010 and from Camberwell College of Arts, London, in 2006. Solo and two person exhibitions include Real Pain for Real People, Lima Zulu, London, 2013; Luxottica, Heit, Berlin, with Georgie Nettell, 2011; The New Vegetarian, ANDOR, London, 2011. Group projects include Goldbaumsteiger, Heit, Berlin, 2012; Lucy PDF TV, Frieze Art Fair, London, 2011; That's Entertainment, Bold Tendencies 5, London, 2011; Lucky PDF TV/Auto Italia Live, London, 2010; Drinks, The Peanut Factory, London, 2010; Middlemarch, AutoItalia Southeast, London, 2009.</p> <p>Ellie de Verdier (born 1983 Uppsala, Sweden) lives and works in Berlin. She is a student of Josephine Pryde at the Universitat der Kunste in Berlin since graduating from the class of Nicholas Mauss at HFBK Hamburg in 2012. In 2013 de Verdier presented a solo exhibition at Heit in Berlin. Other recent exhibitions include Climax, Universitat der Kunste, 2012; Volta's Endeavour II, Heit, Berlin, 2012; RG Nicholas Mauss, HFBK, Hamburg, 2012.</p> Mon, 18 Mar 2013 13:50:33 +0000 Selected Artists from the Society of Architectural Illustration and Guest Artists - Anise Gallery - April 20th, 2013 - May 19th, 2013 <p>By contrasting the work of celebrated contemporary artists and some of the world’s most recognised architectural illustrators ‘Stories in Light and Line’ reveals the diverse ways of narrating and exploring the compelling stories behind architecture.<br />The best architectural illustration goes beyond its face value, for it also tells a story - a visual narrative that employs the fundamental elements of light and line to create a subconscious emotive response in the viewer.<br />Keith Hornblower’s commanding watercolor paintings are known for using tone to create depth and drama that has a uniquely absorbing effect. A rare use of forced three point perspective in Hornblower’s dynamic portrayal of the Sagrada Família gives the impression of standing below this imposing yet beautiful structure. Whilst Nigel Gilbert’s evocative paintings prioritize light over the architectural elements of the work but in doing so, allows us, the viewer, to contemplate this intriguing combination in a moment of tranquility.<br />One of our guest artists, Sachiyo Nishimura, approaches the role of architectural illustration in an alternative way. Working as a conceptual artist, Nishimura has focused her career on reconstructing and augmenting infrastructure central to contemporary cities. Working in the same vein as architectural illustrators, she uses the urban landscape as the structure to her image, focusing on the lines that create the forms around us. In contrast however to the exacting representations of any illustrator, Nishimura complicates the once familiar line to render it abstract. Through distortions in perspective, multiplications and scaling, the lines within her work take us through a narrative that lead us from the recognizable, through the unknown and back to the everyday.<br />The exhibition highlights an appreciation of the diverse<br />techniques that the SAI, as a society, upholds, whilst<br />recognising the wider relevance and influence of contemporary artwork rooted in architectural storytelling.</p> Fri, 29 Mar 2013 16:26:26 +0000 Edda Renouf - Annely Juda Fine Art - April 4th, 2013 - May 3rd, 2013 <p style="text-align: justify;"><span style="font-size: small;">Materials speak to me and unexpected things happen. It is from a silent conversation between materials and imagination, from intuitive listening that the paintings and drawings are born.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Essential to my paintings and drawings is the revealing of an abstract structure and energy inherent to my materials, the linen canvas and cotton paper. In my paintings, after holding a stretched canvas up to the light, which allows me to see the movement of the weave, I am inspired to remove certain threads which in some works I also then reapply. I continue by priming the canvas and then apply several thin coats of acrylic paint. This is followed by a careful sanding of the surface that again makes visible the life within the linen material. In my drawings I incise lines with an etching point to remove particles of paper before applying sometimes several layers of chalk or oil pastel. Breaking away from the traditional approach to linen and paper, which are usually used as grounds on which to paint an image, my working process reveals and uncovers the life and abstract energy within the materials.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Important to my technique of thread removal and incised paper, which reveals the energy and structure of my materials is that this process brings about various juxtapositions basic to the life of the art works: as for example the positive versus the negative spaces in my paintings and drawings; the contrast between the geometry of the frames I use for my paintings and the organic flexibility of the linen fiber of the canvas; the difference between the crisp scraped lines in my drawings versus the uneven more organic incised lines; or the contrast between the well defined lines created by removed and applied threads in my paintings versus the aleatory, cloud-like areas of color that have been sanded. I have often defined the coming together of these juxtaposed contrasting qualities as analogous to the rational and irrational, that is, the Apollonian and Dionysian forces of life and existence.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Used in the titles of my works are several themes: the four natural elements; time; and that of sound and music. The linen canvas and paper originate from the flax and cotton plants, which depend on the four natural elements; also the acrylic paint and pastels originate from earth: the four elements thus are directly related to my material's structure and thus became a recurrent theme in my work. For example, the abstract structures revealed to me are metaphors, signs that relate to air, water, earth and fire; the signs appear with the removing and reapplying of threads, which I often also symbolize with corresponding colors: grays in varying tones; cobalt and ultramarine blues; siennas; oxide red; oranges and ochres etc. The other important and recurrent themes are that of time and music or sound: my art works are a record of the days, weeks, months and seasons when they were created, and thus act as a journal of my working process; and the theme of music or sound, points to the idea of making the invisible visible, and of the hidden presence of wave structures in our universe.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Edda Renouf</span></p> <p style="text-align: justify;"><span style="font-size: small;">Paris, March 2010</span></p> Fri, 05 Apr 2013 18:36:20 +0000 Darren Lago - Annely Juda Fine Art - April 4th, 2013 - May 3rd, 2013 <p style="text-align: justify;"><span style="font-size: small;">Empire</span><br /> <br /><span style="font-size: small;">The word empire brings to mind, former, coming to an end, exploitation, violence, the taking of resources, a grandeur of purpose and a belief in a common aim.</span></p> <p style="text-align: justify;"><span style="font-size: small;">AO</span></p> <p style="text-align: justify;"><span style="font-size: small;">AO are  the letters proceeding BP, they are also common blood types, blood for oil. We are all involved in the blood spilt in securing oil . Every time we lift the pump nozzle a trigger is pulled &amp; another bullet fired an innocent falls on foreign soil. The tap pours I try to wash my hands in a system which I know to be wrong. Maybe I can wash away my distain and believe it’s the way things are meant to be.</span></p> <p style="text-align: justify;"><span style="font-size: small;">LPH</span></p> <p style="text-align: justify;"><span style="font-size: small;">Vain aspiration stands reflected in the dark pool to relieve ourselves we drill holes in our mother and fill our cups until they over flow. And yet the thirst is never quenched; the earth and those without mouths always cover the tab.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Inside-out</span></p> <p style="text-align: justify;"><span style="font-size: small;">The crisp white invitation to a life without toil, it hangs over a chair beneath which the pale carpet lies sodden. As the sales man dresses for his next deal a moment of doubt and panic gushes within, am I doing the right thing will it be better. Top bottom done, neck tie pulled tight, straighten jacket, just keep it to yourself. As the door self closes the room is as empty as the vessel.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Darren Lago 2013</span></p> Fri, 05 Apr 2013 18:35:35 +0000 Mark Wallinger - Anthony Reynolds Gallery - March 14th, 2013 - April 27th, 2013 <p style="text-align: justify;"><span style="font-size: small;">An exhibition celebrating the launch of <i>Labyrinth</i>, Mark Wallinger’s groundbreaking new Art on the Underground commission marking the 150th Anniversary of the London Underground.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Inspired by the lexicon of signs on the London Underground that have become some of the most recognised in the world, Wallinger chose the ancient symbol of the labyrinth as the theme of this major work installed in all 270 stations on the Tube network. Each station will have its unique Labyrinth design, permanently installed in a prominent location.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In addition, the artist and Art on the Underground have authorised the release of just one further copy of each of these iconic images. This exhibition will feature the first group of these<i>Labyrinths</i> as displayed in the following Tube stations: Westminster, St James’s Park, Oxford Circus, Victoria, Embankment, Green Park, Bank, Kings Cross St Pancras, Baker Street, Tottenham Court Road. These are unique representations of landmarks, by one of the ’s most important living artists. Thereafter, from Finchley Central to Lambeth North, from Arnos Grove to Aldgate East, every station will feature its own <i>Labyrinth</i> as the work is rolled out over the network during the coming months. Each station surely has a particular significance to individual passengers; a starting point, a finishing point, a memory of a meeting, a celebration, an adventure.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><i>“</i><i>Daedalus built the Labyrinth and we follow his namesake in James Joyce’s Ulysses, as he sets off through a day wandering the city, charting his encounters before a significant meeting sees him returning home a changed man. Every day has that possibility. Mostly we go about our business, journeying to work on the tube and returning home along a prescribed route. The seeming chaos of the rush hour is really just the mass of individuals following the thread of their lives home.</i></span></p> <p style="text-align: justify;"><span style="font-size: small;"><i>In this work there is a unique labyrinth for every station on the Underground network. Each acts as a mental map, a representation of the orientation and contemplation which are the everyday experience of millions of Londoners and their days spent on the Labyrinthine network. ‘You are here’, they seem to say but in a rather more contemplative way. A spiritual journey perhaps, the mind and its chambers, the two hemispheres. (Mark Wallinger)”</i></span></p> <p style="text-align: justify;"><span style="font-size: small;">To complement this work in the gallery there will also be a rare opportunity to see an earlier video installation inspired by the London Underground, <i>When Parallel Lines Meet At Infinity</i>(1998-2001). This mesmerizing piece takes the form of a complete circuit of the Circle Line Tube as seen from the front of the train. On the image wall, at the vanishing point of the perspective, is painted a single black spot. The train circles endlessly; still images transform into moving images and vice versa; and the fixed black spot appears to move while being constantly in the sights of the circling train chasing its perspectival target to infinity. As the Circle line is no longer a circle, the piece also becomes an elegy for a lost transport experience.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Many of Wallinger’s most memorable works have demonstrated a preoccupation with the symbolism of transport, physical and spiritual, and the significance of thresholds and frontiers. In 2009 he curated a hugely popular exhibition for the Hayward Gallery in London entitled <i>The Russian Linesman</i> which was a magical and inspiring dissertation on the subject, drawing on 2000 years of the history of art. His video work <i>Threshold To The Kingdom</i> (2000) is one of the most moving contemporary expositions of the notion of spiritual transport and his monumental installation <i>State Britain</i> (2007) which addressed political boundaries, of freedom of speech and rights to protest, was described by Yve-Alain Bois in Artforum as ‘one of the most remarkable political works of art ever’.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Mark Wallinger</strong> was born in in 1959. He represented at the 2001 Venice Biennale and was awarded the Turner Prize in 2007. Among his most celebrated works are <i style="font-size: xx-small;">Ecce Homo</i>, the first commission for the Fourth Plinth in Trafalgar Square (1999), <i style="font-size: xx-small;">State Britain</i> (2007) at Tate Britain, the proposed Ebbsfleet Landmark Commission <i style="font-size: xx-small;">White Horse</i> (2009), <i style="font-size: xx-small;">Via Dolorosa</i>, installed in the crypt of the Duomo in Milan, and <i style="font-size: xx-small;">Sinema Amnesia</i> (2012) for Turner Contemporary in Margate (2012). Among many solo exhibitions have been those at the Serpentine Gallery, London, Tate Liverpool, Vienna Secession, Museum for Gegenwartskunst, Basel, Palais Des Beaux Arts, Brussels, Kunstnernes Hus, Oslo, and Museum de Pont, Tilburg, His most recent public exhibition, <i style="font-size: xx-small;">SITE</i>, took place in 2012 at Baltic, Gateshead. He was one of three artists commissioned for <i style="font-size: xx-small;">Metamorphosis: Titian 2012</i> at the National Gallery in London as part of the London 2012 Cultural Olympiad. His work is in the collections of leading international museums including Tate, MoMA New York  and Centre Pompidou Paris. </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p><strong>Easter opening times:</strong></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p><strong>Friday 29 March- Monday 1st April - CLOSED</strong></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p><strong>Normal hours resume Tuesday 2nd April</strong></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> Sat, 30 Mar 2013 16:38:43 +0000 Simon Lewty - Art First Contemporary Art - April 11th, 2013 - May 11th, 2013 <p style="text-align: justify;"><span style="font-size: small;">For his first exhibition of new work since 2008, <strong>Simon Lewty</strong> presents a remarkable group of drawings in which compelling new developments are immediately evident. His chance discovery of Thomas Shelton’s 17thC system of shorthand, ‘Tachygraphy’, provided him with a written surface after his own heart that was beautiful, but opaque to all guesses as to its meaning. What a surprise it is to learn that in fact Samuel Pepys used this very system in his famous diary of 1660 – 69 to convey with relish and great verve, an image of the turbulent Baroque age in which he lived. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Lewty taught himself the now obscure system over several years, and has incorporated its conceptual clarity into his own works. Radiant coloured inks both reflect its mysterious appeal and bring something of Pepys’s energy to the freshly choreographed calligraphy of Lewty’s own surfaces. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Lewty taught himself the now obscure system over several years, and has incorporated its conceptual clarity into his own works. Radiant coloured inks both reflect its mysterious appeal and bring something of Pepys’s energy to the freshly choreographed calligraphy of Lewty’s own surfaces.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> “The word tachygraphy seemed in a crazy way to invite a link with the Tachisme of our own time: the two words share a root”, observes Lewty. “Shelton and Pepys meet Hartung and Michaux! Art and literature…” </span></p> <p style="text-align: justify;"><span style="font-size: small;">Lewty’s writing stems from his dream journals and a plethora of notebooks. The narratives, sometimes epic, sometimes conversational, range from a declamatory voice to more recent fragments of human dialogue captured from train journeys, and other contemporary sources. His scripts are all woven into what he describes as ‘a calligraphic skin’, as echoes of inscribed speech. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Smaller, most recent drawings in the show remind us that Lewty’s practice covers many forms of script, from the familiar longhand of personal journals, narrative fragments and lists, to the ceremonial dignity of inked ‘italic’ columns or blocks with their strictly justified margins. Text with a Moth reveals that he has even practiced writing in the ‘italic’ typeface of his Adler typewriter which itself mimics the handwritten, but bestows on it a neutral tone.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Early Songs, The Real Within the Voice, Notations From a Script for a Phonetic Play, Pyrographic Script…</em> these titles in the exhibition suggest music and drama or perhaps a short story. Archaic or Post Modern, their resonance is timeless. Yet they are also timely at the present ‘digital’ moment, when, as Philip Henscher has recently lamented, the practice of handwriting (and typewriting) may become things of the recent past. But handwriting has never been simply a utilitarian means to an end. Released into the limitless spaces of the body and the sign, Simon Lewty’s calligraphies are both meditations and performances, surfaces of mystery, devotion and energy. They invite us to an unforgettable journey of discovery; they offer the joys of a unique revelation.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> An online illustrated catalogue accompanies this exhibition, with essays by the poet Peter Larkin and by Paul Hills, Professor Emeritus,Courtauld Institute. </span></p> <p style="text-align: justify;"><span style="font-size: small;">The recently made film by Tom Hudson shows Lewty answering questions posed by Larkin while working in his studio on several text based drawings. This can be viewed on the Art First Website, together with a substantial record of previous exhibitions and publications, and further biographical details. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Also available is the extensive monograph published by Black Dog Publishing, which covers four decades of Lewty’s notable output. <em>The Self as a Stranger</em> is richly illustrated and contains essays by Stuart Morgan, Ian Hunt, Paul Hills, Cathy Courtney and the artist himself.</span></p> Sat, 23 Mar 2013 08:09:06 +0000 Liane Lang - Art First Contemporary Art - April 11th, 2013 - May 11th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Liane Lang</strong>’s new exhibition combines elements of her ongoing series of works undertaken during her residency at the Memento Sculpture Park in Budapest (the resting place of discarded and exiled monumental sculptural works from the socialist era in Hungary) with a new series of sculptures that take as their subject defaced and destroyed monuments to dictators and deposed leaders – the sculptures themselves derive from documentation of these acts of symbolic violence: from the black and white footage of the Czar’s statue being torn down by horse-­‐power in Einstein’s 1928 film October, to contemporary footage of a different kind of horsepower at work on the iconic statue of Saddam Hussein in 2003. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Throughout Lang’s work there is a fascination with the contextual and historical influence on the way we perceive the figure in sculpture. Lang writes:</span></p> <blockquote> <p style="text-align: justify;"><span style="font-size: small;"><em> I am interested in the idea of the sculptural object that has forfeited its role to be treated and seen as an artwork. Traditionally the sculpted figure loses its status as artwork the closer it becomes to being life-­‐like, ranging from the marble carving down to the tawdry side-­‐show reputation of the wax work. The Socialist statues, many made with great skill by important sculptors of the time, became culpable by association and lost their status as artwork in this way. Central to this series is the notion of iconoclasm, which continues into other projects. The statue becomes the object of bodily punishment in acts of iconoclasm, being treated as a symbolic site for physical humiliation, injury and execution in lieu of the real body. The symbolic act of deposition is often more powerful and long lasting than the fate of person portrayed.</em></span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;"> The works, both sculptural and photographic, in the exhibition address the role of scale in our perception of art. In the case of monumental sculpture the sense of subjective appreciation or interpretation is determinedly overridden by the artist – the work has a distinct purpose and employs tried-­‐and-­‐tested mechanisms in its approach to materials and scale to achieve its function – to depict the subject as heroic; all-­‐powerful; permanent. By tweaking one of these vital mechanisms – scale – Lang is able to create space for a much broader range of interpretations. The statuesque subjects of her works are variously belittled (in their reduction to sculptural miniatures) or revealed as grotesques as Lang introduces her life-­‐size simulacra to them, highlighting the absurdity of their heroic poses. The resulting original works thus retain the echo of the appropriated sculptures polemic message, but create room around them for humour and a strange and haunting beauty, born of empathy – for the mighty (however tyrannical) brought low, and for the very human condition of impermanence. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Liane Lang is an artist based in London. Born in Germany she studied at NCAD in Dublin and completed a BA in Fine Art at Goldsmiths College followed by a Postgraduate Diploma at the Royal Academy, where she graduated in 2006. Lang has shown her work widely both nationally and internationally since graduation. In 2012 she won the Hotshoe Magazine Photography Prize at Photofusion Gallery and participated in group shows at Focal Point Gallery, Southend, Flights of Fancy at Babylon, Berlin and a Cultural Olympiad project at Griffin Gallery in London. She is currently exhibiting at the German Historical Museum as part of Berlin's Year of Culture 2013. She has been selected for the prestigious Art Omi Residency 2013 in New York State. </span></p> Wed, 27 Mar 2013 04:19:53 +0000 Robert Rauschenberg, Jasper Johns, Marcel Duchamp - Barbican Art Gallery - February 14th, 2013 - June 9th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Exploring one of the most important chapters in the history of contemporary art, <i>The Bride and the Bachelors: Duchamp with Cage, </i><i>Cunningham, </i><i>Rauschenberg and Johns</i> focuses on <strong>Marcel Duchamp </strong>’s American legacy, tracing his relationship to four great modern masters – composer, <strong>John Cage</strong>, choreographer, <strong>Merce Cunningham, </strong>and visual artists<strong> Robert Rauschenberg </strong>and <strong>Jasper Johns</strong>. </span><br /><br /><span style="font-size: small;">Encountering Duchamp and his work in the early stages of their careers, each of the younger artists embraced key elements of his ideas and practice, resulting in a seismic shift in the direction of art in the 1950s and ‘60s. Characterised by the integration of art and life, the work of Cage, Cunningham, Rauschenberg and Johns heralded the advent of Pop Art. </span><br /><br /><span style="font-size: small;"><i>The Bride and the Bachelors </i>features around 90 works, some by Rauschenberg and Johns are being shown in the UK for the first time. The selection reflects the artists’ multiple levels of engagement across the disciplines of art, dance, and music. </span><br /><br /><span style="font-size: small;">Leading contemporary artist <strong>Philippe Parreno </strong>has devised a dynamic experiential staging of the exhibition inspired by the choreography of Cunningham and music of Cage, featuring two Yamaha Disklavier pianos playing live Cage scores, while the ‘ghost’ of the dancers can be heard pounding the floor. The soundscape is also punctuated by Parreno’s own interpretation of Cage’s famous 4’ 33”. </span><br /><br /><span style="font-size: small;">Live dance ‘Events’ are performed on Thursday evenings and weekends throughout the duration of the exhibition by students and graduates from<strong> London Contemporary Dance School </strong>and dancers from <strong>Richard Alston Dance Company</strong>. </span><br /><br /><span style="font-size: small;">Special ticketed dance events taking place in the gallery setting include Cunningham's <i>RainForest</i> (1968), presented by Rambert Dance Company and Richard Alston Dance Company performing mixed pieces of his repertoire. Both are followed by a Q&amp;A with Mark Baldwin and Richard Alston respectively. </span><br /><br /><span style="font-size: small;">The exhibition is curated by Carlos Basualdo and organised by the Philadelphia Museum of Art in association with Barbican Art Gallery. The exhibition has been developed with the full co-operation of Jasper Johns, Robert Rauschenberg Foundation, John Cage Trust, Merce Cunningham Trust and Association Marcel Duchamp. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Dance Curator: Jeannie Steele. Presented in association with The Place, with the kind assistance of Richard Alston Dance Company and London Contemporary Dance School.</span> </p> Tue, 01 Jan 2013 17:59:39 +0000 Geoffrey Farmer - Barbican Art Gallery - March 28th, 2013 - July 28th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Developed over a three-year period, <strong>Geoffrey Farmer</strong>’s <i>The Surgeon and the Photographer </i>will be shown for the first time in its completed form for its UK premiere. </span><br /><br /><span style="font-size: small;">The work consists of hundreds of puppet-like figures, composed of images cut from old books and magazines mounted onto fabric forms, and is accompanied by a new film commission. His work blends the collage and assemblage traditions of Hannah Höch and Robert Rauschenberg, the element of chance employed by John Cage and Merce Cunningham, and an animist perspective from Pacific Northwest Coast cultures.</span></p> Tue, 14 May 2013 17:39:50 +0000 Stefana McClure - Bartha Contemporary - March 29th, 2013 - May 11th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Bartha Contemporary</strong> is delighted to announce <strong>Stefana McClure</strong>’s (b. 1959, UK / USA) upcoming exhibition ‘<strong><em>Science is FICTION</em></strong>’ featuring a monumental ‘films on paper’ suite in twenty - three parts, science fiction in the form of a series of manga drawings and some new large scale colour - blind works articulating the world of pure science. Please join us for the private view on Thursday March 28 th from 6PM – 9PM*. Exhibition on view until May 11th 2013.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Before Attenborough and Cousteau there was Painlevé. The artist’s second solo exhibition with the gallery celebrates the wonderful underwater d ocumentaries of this early twentieth century French marine biologist and cinematic pioneer. In McClure’s suite of ‘Science is FICTION’ drawings the subtitles to twenty - three of his magical films are superimposed, concentrated and concealed in two shimmeri ng bands at the bo ttom of otherwise uninterrupted monochromatic fields. Letters, in their original typeface and screen placement, are relentlessly accumulated and stack ed upon themselves , coalescing in a super - condensed version of each film’s dialogue. The se abstractions, characterised by the distillation of time and the obliteration and reconstruction of information, are tangible manifestations of film.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Alongside this expansive work, a second suite of nine drawings further showcases the artist’s predilect ion for seriality. Entitled ‘Hinotori’ this suite of drawings on wax transfer paper mounted on dibond, is a distillation of the nine - volume manga epic by the inimitable Osamu Tezuka who worked on the series for over 35 years and considered it to be his lif e’s work. Arguably one of the finest works of Japanese comic art ever produced, this is science fiction at its best. Twelve separate stories, linked by the presence of the mythical hinotori, or bird of fire, jump across time, alternating between a distant future and a distant past, ultimately converging on the present. These manga drawings relate strongly to the films on paper, concentrating the dialogue of entire comic books into single drawings, each new layer of text covering, but not quite obliterating the one that went before it.</span></p> <p style="text-align: justify;"><span style="font-size: small;">While the films of Jean Painlevé exist on the border of sci - fi and nature documentary and Hinotori is sheer science fiction, the new colo u r - blind drawings, based on early twentieth century Japanese tests designed for the detection of colo u r vision deficiencies, double up as effective diagnostic tools and embody the realm of pure science. Much of the colo u r information has been carefully removed from these intense multi - layered works , which have been riddled with thousands of holes. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Recent sculptural objects will complete the installation. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Stefana McClure lives and works in New York. She has previously lived and worked in Japan for many years and is a native of Northern - Ireland. Her work has been exhibited widely and forms part of numerous international private and public collections. For further information, or to receive reproduction quality images, please do not hesitate to contact the gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">*Coinciding with the event <strong>Fitzrovia Lates</strong></span></p> Mon, 11 Mar 2013 17:10:00 +0000