ArtSlant - Recently added en-us 40 Doug Aitken - Victoria Miro Mayfair - June 12th - July 31st <p style="text-align: justify;">Victoria Miro is delighted to announce a solo exhibition by Doug Aitken at the Mayfair gallery.&nbsp;This specific constellation of five key works has been conceived for the gallery by the artist, and deals with contemporary ideas of time through the use of sound, touch, light and reflectivity; with each work existing in a zone between abstraction and representation. At the core of the exhibition is&nbsp;<em>Eyes closed, wide awake</em><em>(Sonic Fountain II)</em>, 2014, a free-standing sonic sculpture which combines water and sound to create an optical and auditory experience.&nbsp;</p> <p style="text-align: justify;">This summer marks a significant moment in the American artist's career, with two important European institutions celebrating his work:&nbsp;<em><a href="" target="_blank">Station to Station</a>&nbsp;</em>opens at London's Barbican on 27 June, and a major&nbsp;survey exhibition opens at the&nbsp;<a href="" target="_blank">Schirn Kunsthalle Frankfurt</a>&nbsp;on 9 July.&nbsp;</p> Sun, 24 May 2015 17:13:34 +0000 Jason Brooks - Marlborough Fine Art - June 10th - July 18th Sun, 24 May 2015 16:38:04 +0000 Michaël Borremans - David Zwirner, London - June 13th - August 14th <p style="text-align: justify;">David Zwirner is pleased to present an exhibition of new paintings by Micha&euml;l Borremans. On view at 24 Grafton Street in London, it marks the artist&rsquo;s first show at the Mayfair gallery and his first solo presentation in the city in ten years.&nbsp;</p> <p style="text-align: justify;"><em>Black Mould</em>&nbsp;includes small- and large-scale paintings that feature anonymous, black-robed characters. Alone or in groups, they perform mysterious acts within monochromatic spaces reminiscent of an artist&rsquo;s barren studio. Seemingly behaving according to a symbolic language of their own, they pose alone or interact in communal dances, with some figures holding torches and others exposed naked from the waist down. Their facelessness opens up ambiguous narrative possibilities, like empty canvases with which to construct meaning.&nbsp;</p> <p style="text-align: justify;">Exquisitely painted with dramatic contrasts between light and dark areas, the series reaffirms the tension between the real and the imaginary that exists within Borremans&rsquo;s oeuvre. The solemn yet playful mood feels inexplicably up-to-date, with the almost cinematic sequence of paintings constituting an allegory of contemporary society. The lack of context or details provides a neutral, yet psychologically charged atmosphere. Like archetypes capable of embodying shifting meanings, the blank figures become a mold for the human condition, at once satirical, tragic, humorous, and above all, contradictory.&nbsp;</p> <p style="text-align: justify;">While Borremans&rsquo;s technical command of his medium recalls classical painting&mdash;the rich tactility and special glow of his painted surfaces evoke the Old Master tradition and artists such as Francisco Goya&mdash;his compositions elude traditional interpretative strategies. Subtle elements within their pictorial structure defy expectations and leave attempts at decoding their narratives open-ended. The small size of the majority of the works within the series&mdash;dimensions vary, but most are no bigger than twelve by ten inches (thirty by twenty-five centimeters)&mdash;further challenges conventional standards, miniaturizing the subjects and highlighting the artificiality of representation more generally. The elusive reality presented in&nbsp;<em>Black Mould&nbsp;</em>seems both topical and timeless, just as the robed figures emerge like actors without a clear script. The secrecy may ultimately signify the murky intersection within today&rsquo;s society of faith, morality, and politics, but can also be seen to underscore the ritualistic nature of human life across centuries and cultures. In the process, Borremans&rsquo;s minimal, affective paintings affirm the medium&rsquo;s resilient ability to provide a space for introspective, nonverbal meaning.&nbsp;</p> <p style="text-align: justify;">The exhibition will be accompanied by a catalogue published by David Zwirner Books and designed by Kim Beirnaert in close collaboration with the artist.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Micha&euml;l Borremans</strong>&nbsp;was born in 1963 in Geraardsbergen, Belgium. In 1996, he received his M.F.A. from Hogeschool voor Wetenschap en Kunst, Campus St. Lucas, in Ghent. Since 2001, the artist&rsquo;s work has been represented by David Zwirner. Previous solo exhibitions at the gallery in New York include&nbsp;<em>The Devil</em><em>&rsquo;s Dress</em>&nbsp;(2011),&nbsp;<em>Taking Turns</em>&nbsp;(2009),&nbsp;<em>Horse Hunting</em>&nbsp;(2006), and&nbsp;<em>Trickland&nbsp;</em>(2003), which marked his United States debut.&nbsp;<em>Black Mould</em>&nbsp;marks his first solo presentation at David Zwirner, London.&nbsp;</p> <p style="text-align: justify;">Consisting of one hundred works from the past two decades,&nbsp;<em>Micha&euml;l</em>&nbsp;<em>Borremans: As sweet as it gets</em>&nbsp;is a major museum survey presented at the Dallas Museum of Art in Texas (through July 5, 2015). The exhibition was first held in 2014 at the Palais des Beaux-Arts in Brussels, and traveled later in the year to the Tel Aviv Museum of Art. Also on view in 2014 was the artist&rsquo;s first museum solo show in Japan,&nbsp;<em>Micha&euml;l</em>&nbsp;<em>Borremans: The Advantage</em>, at the Hara Museum of Contemporary Art, Tokyo.&nbsp;</p> <p style="text-align: justify;">Over the past decade, Borremans&rsquo;s work has been the subject of solo exhibitions at a number of prominent institutions. In 2011, a comprehensive solo show, titled&nbsp;<em>Eating the Beard</em>, was presented at the W&uuml;rttembergischer Kunstverein Stuttgart, which toured to the Műcsarnok Kunsthalle, Budapest and the Kunsthalle Helsinki. In 2010, he had a solo exhibition at the Kunstnernes Hus in Oslo as well as commissioned work on view at the Royal Palace in Brussels. Other venues which have hosted solo exhibitions include kestnergesellschaft, Hanover (2009); de Appel Arts Centre, Amsterdam (2007); Kunsthalle Bremerhaven, Germany; and the Museum f&uuml;r Gegenwartskunst, Basel (both 2004). In 2005, he had a one-person exhibition of paintings and drawings at the Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent. The paintings then traveled to Parasol unit foundation for contemporary art, London and The Royal Hibernian Academy, Dublin, while the drawings were presented at the Cleveland Museum of Art, Ohio.&nbsp;</p> <p style="text-align: justify;">Work by the artist is held in public collections internationally, including The Art Institute of Chicago; Dallas Museum of Art, Texas; High Museum of Art, Atlanta, Georgia; The Israel Museum, Jerusalem; Mus&eacute;e d&rsquo;Art Moderne de la Ville de Paris; Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Boston; The Museum of Modern Art, New York; National Gallery of Canada, Ottawa; San Francisco Museum of Modern Art; Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent; and the Walker Art Center, Minneapolis, Minnesota. Borremans lives and works in Ghent.</p> Sun, 24 May 2015 10:36:28 +0000 Sanya Kantarovsky, Allison Katz - Studio Voltaire - June 3rd 7:00 PM - 8:00 PM <p style="text-align: justify;">Sanya Kantarovsky is joined in conversation by Allison Katz to discuss&nbsp;<em>Apricot Juice</em>,&nbsp;his current exhibition at Studio Voltaire.<br /><br />Kantarovsky (b.1982, Moscow, Russia) &nbsp;lives and works in New York. Recent solo and two person exhibitions include: Gushers, Marc Foxx, Los Angeles, 2015; Allergies, Casey Kaplan, New York, 2014; Little Vera with Ella Kruglyanskaya, KIM?, Riga, 2014 and You Are not an Evening, GAK, Bremen, 2013. Kantarovsky participated in the group exhibition Notes on Neo Camp at Studio Voltaire, London in 2013. Recent special projects include Research and Reporting at KW, Berlin 2014 and LAX fa&ccedil;ade, Los Angeles, 2013.<br /><br />Allison Katz (b. 1980,&nbsp;Montreal, Canada)&nbsp;graduated with an MFA from Columbia University in 2008. Her recent solo exhibitions include Rumours, Echoes,&nbsp;Boats, Sao Paulo;&nbsp;and Adele,&nbsp;Piper Keys, London; and group shows at SculptureCentre New York, David Roberts Art Foundation, South London Gallery, Gavin Brown&rsquo;s enterprise, and Tanya Leighton. Forthcoming solo shows will open at Kunstverein Freiburg, Germany and Gio Marconi, Milan.&nbsp;</p> Sun, 24 May 2015 10:22:21 +0000 R.B. Kitaj - Marlborough Fine Art - June 10th - July 11th <p style="text-align: justify;">The Directors at Marlborough Fine Art are delighted to announce 'Survey Exhibition' from the estate of R.B. Kitaj (1932-2007).&nbsp;</p> <p style="text-align: justify;"><strong>Private View&nbsp;Tuesday 9th June&nbsp;2015,&nbsp;6-8 pm</strong><br /><strong>RSVP:</strong>&nbsp;<a href="" target="_blank"></a></p> Sun, 24 May 2015 10:15:02 +0000 Günther Förg - Almine Rech Gallery - June 4th - July 25th <p style="text-align: justify;">Almine Rech Gallery is pleased to announce the first solo exhibition by&nbsp;G&uuml;nther F&ouml;rg at the gallery. This exhibition is organized in collaboration with the Estate of&nbsp;G&uuml;nther F&ouml;rg.&nbsp;<br /><br />The six large-format untitled Grid Paintings in acrylic on canvas that can be seen at Almine Rech Gallery in London were preceded by hundreds of paintings in which F&ouml;rg played through countless declinations of webs, window frames, grids and screens. These were abstract paintings, but contrary to the earlier monochrome and Lead Paintings, they expanded to include an expressive, poetic touch.</p> <p style="text-align: justify;">The six paintings presented at Almine Rech Gallery do not only draw on F&ouml;rg&rsquo;s characteristic muted or shaded palette &ndash; the previously mentioned shades of green, brown, black and blue. Notwithstanding their size and the dimensions of the individual strokes, they are very free and simultaneously retain a kind of openness. The white primer on the canvas remains visible as light or a glow &ndash; and, conversely, this is even true for the odd one out in the series, in which the maze of blue, green and brown grids has all but swallowed the white primer. A recurring aspect in F&ouml;rg&rsquo;s work is its distinct physicality. In this sense, the paintings from 2006 and 2007 are plays with light resulting from the application of the paint. The paint makes the light. And the light in the paintings modulates the colour from green to red to brown to blue to black. Spectators inevitably wonder: horizon, or figure, or window? But at the same time: Is this even relevant in terms of the painti ng ?</p> <p style="text-align: justify;">F&ouml;rg painted these works in Switzerland. They are based on a small watercolour by Paul Klee from the 1930s, which F&ouml;rg, in an act of painting about painting, has blown up to monumental size &ndash; the irony of history being that even the F&ouml;rg Estate has lost all trace and that Klee&rsquo;s original can no longer be identified beyond doubt. Yet this does by no means alter the fact that, in this sense, these paintings are abstractions of an abstraction. F&ouml;rg, who as his own librarian had four large, partly identical libraries of art books in four different places at his disposal, was someone who engaged obsessively with the pictorial practice and paintings of his predecessors and pre-predecessors &ndash; from Edvard Munch, Piet Mondrian and Paul Klee to Barnett Newman, Blinky Palermo and the material declinations of Robert Ryman. Presumably, it was in one of his libraries that his attention was drawn to Klee&rsquo;s watercolour, prompting him to transform his initial urge to make somet hing based on this work into these autonomous paintings, which can all but dispense with the reference to their model.&nbsp;</p> <p style="text-align: justify;"><em>&nbsp;</em></p> <p style="text-align: justify;"><em>Max Dax</em>&nbsp;<br /><br /></p> <p style="text-align: justify;">* Max Wechsler, &lsquo;Ein komplexes Schau-spiel, inszeniert auch im Detail: Zur Kunst von G&uuml;nther F&ouml;rg&rsquo; (A Complex Spactacle, Staged with Careful Attention to Detail: An Essay on the Art of G&uuml;nther F&ouml;rg), in&nbsp;<em>G&uuml;nther F&ouml;rg</em>, exh. cat, (Hannover: Kunstverein Hannover, 1996).</p> <p style="text-align: justify;">G&uuml;nther F&ouml;rg was born in December 1952 in F&uuml;ssen, Germany. He died in Switzerland in December 2013.</p> Sun, 24 May 2015 09:47:17 +0000 Samira Abbassy - Rossi & Rossi London - June 5th - July 10th <p class="p1">Rossi &amp; Rossi is delighted to present <strong><em>Love &amp; Ammunition</em></strong>, the gallery&rsquo;s first solo exhibition with Iranian born, New York City based artist <strong>Samira Abbassy. </strong>The exhibition will feature oil paintings on canvas and panel, accompanied by works on paper and sculpture, dating from 2004&ndash;2015.</p> <p class="p2">Samira Abbassy was born in Ahwaz, Iran and moved to London as a child. After graduating in 1987 from Canterbury College of Art with a BA Hons in Fine Art/Painting, Abbassy began exhibiting in London. In 1998 Abbassy moved to New York to help establish and found the Elizabeth Foundation for the Arts Studio Program NY, where she currently has lifetime etenure and is a board member.</p> <p class="p3">Her work is shown internationally and has been acquired for private and public collections, including the Metropolitan Museum and the British Museum.</p> Thu, 21 May 2015 11:51:36 +0000 Conrad Shawcross - Victoria Miro Gallery - June 10th - July 31st <p style="text-align: justify;">Victoria Miro will present an exhibition of new sculptures in steel and cast bronze by Conrad Shawcross this summer. Considered "maquettes" - some for realised commissions, and others propositions for works on a monumental scale - this body of work focusses on two lines of enquiry: Shawcross's ongoing explorations of the four-sided tetrahedron as a tessellating form in&nbsp;his Paradigm series, and the dynamic visual potential of harmonics in his Manifold works. Installed as a singular sculptural field, the works bear relationships to both architecture and the body, and elicit a subtle line between structure and nature, the metaphysical and the molecular.&nbsp;</p> <p style="text-align: justify;"><a href="" target="_blank">Further information about other current projects by Conrad Shawcross</a></p> Thu, 21 May 2015 10:38:48 +0000 Ian Hamilton Finlay - Victoria Miro Gallery - June 10th - July 31st <p style="text-align: justify;">Victoria Miro is delighted to present an exhibition of the work of Ian Hamilton Finlay (1925-2006) marking the 90th anniversary of the artist's birth. A philosopher, sculptor, poet and gardener, Finlay drew on and reinvigorated the classical tradition. This exhibition, curated by Pia Maria Simig, features work Finlay created in response to the French Revolution, and marks the first time an exhibition in the UK has focussed solely on this body of work.</p> <p style="text-align: justify;">The French Revolution proved a rich subject for Finlay; he first received international attention for his guillotine installation&nbsp;<em>A View to the Temple</em>&nbsp;at Documenta 8 in Kassel in 1987 and thereafter the guillotine became one of the most enduring elements of his iconography.</p> <p style="text-align: justify;">For the artist the Revolution represented a moment of enormous political and aesthetic rupture and signalled a great moral, as well as political, leap. The period bookended by the dates in the title of this exhibition correspond with the establishment of the National Assembly and the storming of the Bastille in 1789, and the Thermidorian Reaction in 1794, which saw the arrest and execution of several of the key members of the Jacobin forces, including Maximilien Robespierre (1758-1794) and Louis Antoine de Saint-Just (1767-1794). This period thus encompasses extraordinary advances in secular democracy and social progress and also great bloodshed and unrest: the Enlightenment and the guillotine. The exhibition includes a range of Finlay's Revolutionary works, including the imposing eleven metre carved relief&nbsp;<em>The Sound of Running Water</em>, 1990, which was shown in the Bienal de S&atilde;o Paulo in 2012. This work features an evocative line that could serve as the introduction to themes of poetry and politics, and of beauty and immanence in the artist's work: 'THE SOUND OF RUNNING WATER HEARD THROUGH THE CHINKS IN A STONE DYKE: REVOLUTION'. <em>Aphrodite of the Terror</em>, 1987 is a plaster sculpture based on the Hellenic statue of the Greek goddess of love and beauty known as the Medici Venus. In Finlay's version she is adorned around the neck with&nbsp;a red string. The string is a reference to the thin red silk chokers worn by women whose loved ones had been executed during the Terror.</p> <p style="text-align: justify;">The wall painting&nbsp;<em>Apollo and Daphne, After Bernini</em>, 1991, depicts the Greek myth in which the wood nymph Daphne is transformed into a tree whilst fleeing from the god Apollo. The work is based on the sculpture by Gian Lorenzo Bernini (1598-1680), and stands as a comment on the French Revolution, in which, arguably, the revolutionary pursued ideals to the point of destruction. Finlay's appropriation and re-interpretation of this mythological allegory highlights the contemporary resonance of classical subjects and forms.</p> <p style="text-align: justify;">The exhibition will be accompanied by two catalogues. The first features commentaries by Stephen Bann on each of the works in the exhibition. The other volume is dedicated to a garden Finlay created in London's Chelsea, and includes photographs by Robin Gillanders and an essay by Thomas A Clark.</p> Thu, 21 May 2015 10:38:34 +0000 Philip Guston - Timothy Taylor - June 10th - July 11th <p style="text-align: justify;">Timothy Taylor is pleased to announce its fourth exhibition of Philip Guston&rsquo;s work, which gathers together some of the artist&rsquo;s finest paintings and drawings from the distinguished body of work made between 1969 and 1980, many of which have not been previously exhibited in Europe.</p> <p style="text-align: justify;">The influence of Guston&rsquo;s work, in particular his late paintings, continues to &ldquo;cast a long shadow over the current landscape of contemporary art,&rdquo; as Peter Benson Miller acknowledges in his recent publication<span style="font-size: xx-small;">1</span>. Because Guston was one of the few American painters to &lsquo;defect&rsquo; to Europe &ndash; both by undertaking numerous residencies, as well as departing from the quintessential Postwar &lsquo;American style&rsquo; &ndash; his significance is especially pertinent within a contemporary European context. Guston not only effected key artists from a generation of (predominantly German) expressionist painters in the 1990s, but continues to have far reaching influence today, including younger artists in the gallery&rsquo;s own stable, such as Jessica Jackson Hutchins, Volker H&uuml;ller and Eddie Martinez. Furthermore, it is timely to re- consider the provocative nature of Guston&rsquo;s comic-influenced figuration. <span style="font-size: xx-small;">2</span></p> <p style="text-align: justify;">Guston&rsquo;s work first came to prominence in the 1950s, by which time he was an important member of the Abstract Expressionists. His enquiries into the fundamentals of painting: the importance of the brush stroke and of compositional structure, are viewed retrospectively as his most important contributions to the movement. The only abstract painting included in this exhibition, <em>Traveler III</em> (1960) forms part of a group of works that mark a transition towards paintings with a more sombre and ominous quality. During the late 1960s, Guston became frustrated with the limitations of abstraction and returned to figurative painting, amassing a potent language of motifs whose roots can be seen in the forms and shapes of <em>Traveler III</em>, and illustrating what Christoph Schreier refers to as subcutaneous figuration.</p> <p style="text-align: justify;">Following his 1966 exhibition at the Jewish Museum in New York, Guston relocated to Woodstock, New York, embarking on what would become a two-year hiatus from painting. During this time he produced endless drawings of the detritus of everyday life. On his return to painting in 1968, these kettles, clocks, shoes, light bulbs and books had entered into his visual language, becoming pivotal elements of his vocabulary of compressed symbols, which would come to define the work of his later life and are exemplified by a number of works in this exhibition.</p> <p style="text-align: justify;">From 1968 onwards Guston repeatedly returned to his famous hooded figure in a number of paintings often named the &lsquo;KKK series&rsquo;. Considering himself a quasi film director, Guston used painting as a tool to develop characters. However his narrative process also extended to the inanimate objects he depicted. Eventually these objects would replace the hooded characters as the main anthropomorphic element of his work, with Guston contending that relationships based on metaphor and discourse existed between all elements, even between two lines.</p> <p style="text-align: justify;"><em>The Hill</em> (1971), one of the most significant works in this exhibition, sits at the centre of this pivotal creative epoch, and the absence of the hooded figure is hinted at through the presence of the shoe, the clock, the mailbox, the bread loaf and the knife. In <em>Head and Bottle</em> (1975) &ndash; exhibited here in the UK for the first time &ndash; we see the hooded figure replaced with a head, which for Guston acted as a cipher for the artist himself and the people close to him.</p> <p style="text-align: justify;">During his feverishly productive final decade, Guston continued to explore how he might achieve the &lsquo;wholeness&rsquo; between thought and feeling that he remembered experiencing as a child. Body parts and objects were assembled on the canvas in non-hierarchical structures that sought to articulate the absolute essence of painting and reconcile it with his fears for what he saw to be a brutal, degenerating world. Guston&rsquo;s work is intensely personal yet universally relevant, championed within his own lifetime, and growing in stature and influence since his death.</p> <p style="text-align: justify;">&nbsp;1 Peter Benson Miller, ed.&nbsp; <em>Go Figure! New Perspectives on Guston</em> , New York Review of Books, 2014 .</p> <p style="text-align: justify;">&nbsp;2&nbsp; Christoph Schreier&nbsp; <em>op. cit</em> .</p> Thu, 21 May 2015 10:33:08 +0000 Peter Davies - The Approach - June 4th - July 19th Thu, 21 May 2015 10:26:03 +0000 - Stephen Friedman Gallery - June 12th - July 18th <p style="text-align: justify;">*Stephen Friedman Gallery is excited to announce our forthcoming twentieth anniversary exhibition which celebrates the history of the gallery to date and will include new work by each of our current gallery artists. A catalogue will be produced for this landmark event.</p> Sun, 24 May 2015 09:44:05 +0000 - Sadie Coles HQ - Kingly Street - June 5th - August 15th Thu, 21 May 2015 10:21:42 +0000 Donald Urquhart - Maureen Paley - June 9th - July 12th <p style="text-align: justify;">Maureen Paley is pleased to announce the third solo exhibition at the gallery by Donald Urquhart.</p> <p style="text-align: justify;">This exhibition will consist of drawings on paper and wall along with new sculptural works. In 2012 Donald Urquhart participated in a residency as part of Cit&eacute; International des Arts, Paris.</p> <p style="text-align: justify;">Paris is a shrine to history. Perhaps that is understating things. I lived on Montmartre, itself the tomb of many martyrs who died trapped and murdered within its gypsum mines. At its foot is Cimetiere Montmartre, resting place of Nijinsky, Degas, La Gouloue, Delibes, Cadinot and Dalida. Dalida also has a bronze bust at Place Dalida around the other side of the hill. It was right there that I lived. Daily I would pass the small crowds of tourists who paused to have their photos taken as they fondled her impressive breasts for luck. Their guides would relate the story of the Disco Queen and her suicide. Strangely &ndash; or perhaps Frenchly &ndash; in 1997 Dalida became only the third woman to have a statue erected to her in France, the others being Joan of Arc and Sarah Bernhardt. This information was not something I heard from the guides. I did overhear one guide listing all the artists who died from alcohol poisoning on Montmartre and was heartened to discover that although La Gouloue had died that way it was not until she was sixty three.</p> <p style="text-align: justify;">My garden was full of hemlock and nettles, an ideal home for destructive European Gypsy moths. The males would fly in and rest in my atelier, wandering over my drawings and sleeping on the cool plaster walls. They were not around when I was working on the Loie Fuller costume, which might have been a bit much for them. It is made from 35 metres of light pongee silk, two layers of five or seven circles hand-dyed in an ombre of pale rose, old gold, yellow and violet. It has been paraded through Venice and Paris, deepest Galloway, the stage of the Theatre Royal Dumfries and was last swirled in DJ Harvey&rsquo;s disco tent at &lsquo;Meltdown&rsquo; on the South Bank. It must never be washed and I am surprised that it bears few stains.</p> <p style="text-align: justify;">Working with Mr. Pearl means working to the beat and swish of disco. The vintage year was 1978. The Beautiful Bend (DJ Harvey&rsquo;s favourite record and name of our club) came out that year. One night I think I was talking to Pearl about reincarnation &ndash; or maybe it was one of those &ldquo;which decade would you have liked to have lived in&rdquo; games. He said &ldquo;I&rsquo;d rather be a tiny goldfish swimming inside the perspex heel of a platform shoe on the illuminated dancefloor of Studio 54 in 1978.&rdquo;</p> <p style="text-align: justify;">From the guano of history there are diamonds of disco in that year. I regarded my clubwear and salvaged scraps of disco decor as being the guano of history as they clogged up my London flat. Once I tried to chuck a load of it out when I did a Beautiful Bend party at the ICA. To my horror Les Child and Roy Brown had bagged loads of it up and bundled it into the taxi with me. &ldquo;You can&rsquo;t throw that away. It&rsquo;s history,&rdquo; they said. When I moved to Paris I had a clean fresh break from living with my history. To my horror my friend Dean Bright sent me a package of old Beautiful Bend ephemera. History had followed me to my future! Those old stained scraps of yesteryear. Actually I was glad to have them as Pearl was thrilled to see them again. I decorated my hallway for a party with A3 photocopies of Beautiful Bend drawings along with Parisian themed work. To a soundtrack of disco I made yards and yards of black crepe paper chains. Perhaps dramatically I regarded these as giving an impression of the guano of disco decorations past that had choked my London flat, or the hand-made hell of clutter that festooned the Beautiful Bend.</p> <p style="text-align: justify;">- Donald Urquhart, 2015</p> <p style="text-align: justify;">Donald Urquhart currently lives and works in Dumfries, Scotland where he was born in 1963.</p> <p style="text-align: justify;">Recent group exhibitions include: Xtravaganza, Staging Leigh Bowery, Kunsthalle Vienna, Vienna (2012); Artists in Print: 21 Years of Collaboration, Peacock Visual Arts, Aberdeen, UK (2013); Freestyle. Perspectiva Del Dibujo Contempor&aacute;neo &ndash; Centro Cultural de Cajamurcia en Cartagena, Cartagena, Columbia (2013); Open Eyes = Open Mind III, Concept Space, Shibukawa, Japan (2014); Emotional Resources, Northern Gallery for Contemporary Art, Sunderland, UK (2014); Friend of the Devil, Jack Hanley Gallery, New York (2015); X, curated by Sarah McCrory, Herald Street, London, UK (2015).<br />Urquhart was nominated for Beck&rsquo;s Futures award in 2005. He participated in a residency as part of Cit&eacute; International des Arts, Paris in 2012.</p> <p style="text-align: justify;">Selected solo publications include Vanity Fair
, Four Corners Books, London, 2010; A Present from the Zoo, Schnittraum, K&ouml;ln, 2006.</p> Thu, 21 May 2015 08:20:04 +0000 Pure Evil - Londonewcastle Project Space - June 11th - June 28th Thu, 21 May 2015 08:15:44 +0000 miaz brothers - Lazarides Rathbone Place - June 5th - July 2nd <p style="text-align: justify;">"We are interested in the 'perception' and not the 'representation' &ndash; a direct relationship with the senses and the capacity of the self when faced with the elaborate influx of information that nowadays is becoming more and more important." &ndash; Miaz Brothers, 2014</p> <p style="text-align: justify;">Lazarides Rathbone is pleased to present a new exhibition of contemporary portraiture by the <a href="" target="_blank">Miaz Brothers.</a> <strong>Antimatter Series: A Boundless Vision</strong> is comprised of an all-female body of work, marking a brief departure from the Italian duo's previously male dominated canvases. The visceral series leads the viewer on a journey through multiple variations of perceiving the same subject, stretching processes of identification to achieve something not fixed and limited but boundless and personal.</p> <p style="text-align: justify;">The Miaz Brothers continue their multifaceted airbrushing technique by erasing all unnecessary detail to gain a flawless movement of infinite particles of colour, constructing complex compositions that are not instantly recognisable but become clearer from a distance. The large-scale works develop the artists' ongoing interest in seventeenth-century renaissance painting, previously displayed in 2014's <a href=",miaz-brothers-dematerialized-a-new-contemporary-vision" target="_blank">Dematerialized: A New Contemporary Vision. </a></p> <p style="text-align: justify;">Their lack of detail calls for attention as viewers find themselves scanning each delicately subdued face to place together the larger picture. The Miaz Brothers force the viewer to filter their awareness of what they automatically see and what they naturally perceive, making a nod towards the philosophical implications of beauty and the role of portraiture in modern society. The skilful series attempts to regain a consciousness of the subtle and spiritual qualities that constitute each portrait, paraphrasing an ideology in which still-frames and fragments of memory become clouded and in turn re-establish the subject's truest form.</p> <p style="text-align: justify;">Alongside the gallery exhibition the Miaz Brothers will be giving an artist-led tour of the new works during <a href="" target="_blank">SohoCreate Festival.</a> Celebrating the most creative square mile in the world, SohoCreate runs from the 3rd &ndash; 7th June with the <a href="" target="_blank">Miaz Brother's Open House</a> taking place at 2pm on Thursday 4th June.</p> Thu, 21 May 2015 08:12:41 +0000