ArtSlant - Recently added en-us 40 Matthew Barney - Sadie Coles HQ - Kingly Street - October 10th - December 13th Mon, 29 Sep 2014 15:19:39 +0000 Patrick Hughes - Flowers | Kingsland Road - October 17th - November 22nd <blockquote> <div style="text-align: justify;"><em>"My pictures seem to move as you move. They come to life when we bring them to life. This is because they are made in perspective the wrong way round, in reverspective. If you bob down in front of them, it is as if you have gone up, and as you walk past to the right it is as if you have gone to the left and vice versa."-</em> Patrick Hughes.</div> </blockquote> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;">Fifty years after the exhibition of his first reverse perspective painting, the <em>Sticking-out Room</em>, and on the occasion of the artist's 75th birthday, Flowers Gallery is delighted to announce an exhibition of compelling new works by Patrick Hughes, which expand on his lifelong theme of paradoxical perception.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Since his breakthrough discovery of reverse perspective, Hughes has continued to confound viewers with his three-dimensional paintings, by presenting those parts of the picture that seem farthest away at the nearest point. The visual effect of his works is one of constant motion, determined by the shifting position of the viewer. As Professor Dawn Ades describes in the opening essay for the Patrick Hughes book, A New Perspective: <em>"These really have to be experienced physically, in the flesh, for they are only activated fully by the spectator's movement. They thus take their place, with Duchamp's Large Glass and Etant donn&eacute;s, Dal&iacute;'s paranoiac-critical room (Mae West's Face Which May Be Used as a Surrealist Apartment), or the now-vanished surrealist installations, as creations that need the physical presence of a spectator to be complete, engaging the body as well as the eye and the mind."</em></div> <div style="text-align: justify;"><em>&nbsp;</em></div> <div style="text-align: justify;">The new series of works on view at Flowers Gallery are in the artist's own words <em>"as unusual as usual"</em>. Spanning a wide range of subjects, Hughes pays homage to a hero in <em>The Pleasure of Escher</em>; reimagines Peggy Guggenheim's Museum in Venice in <em>The Palace of Peggy</em>; and even anthologizes his own work in Hughestory, in which the artist represents ten three-dimensional works from his past.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Hughes' enduring fascination with Venice continues with <em>Eye Level</em>, presenting a new view of the city's waterways;<em> In</em> <em>Black and White</em>, painted in exquisite chiaroscuro; and <em>Venice in Peril</em> in which, displaying a rare critique of modern life, Hughes paints a towering cruise ship dwarfing the grand palazzos.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Hughes brings a Renaissance studiolo to life in <em>A Study of the Studiolo</em>, re-presenting in post-modern terms the first important steps in the re-birth of pictorial space that we now take for granted in photography and film. Murray McDonald described Hughes' reverspectives as"the first breakthrough in perspective for over five hundred years," after Brunelleschi's invention of perspective in 1420.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Hughes continues to explore and refine new geometries upon which to paint. The deceptively simple composition of <em>Setting the Stage</em> is, on closer inspection, composed of a complex variety of interlocking, protruding shapes, including a stage set in forced perspective; while further experimentation is evident in<em> Hughestory</em>, in which miniature reverspectives placed at the ends of its corridors pose an additional challenge to the spectator's perception of perspectival space.</div> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;">Of Hughes' paintings, Colin Blakemore, Professor of Neuroscience, University of Oxford, says:<em> "I shall never forget the first time I saw one of Patrick Hughes' large Reverspective paintings&hellip; It almost literally knocked me over. I've spent much of my working life thinking about the way in which the brain puts together different sources of evidence about the 3-D world. But while I think, Patrick explores. He has unashamedly trekked through the no-man's-land between Art and Science, demonstrating the brain's remarkable powers not with brain scanners and fancy equipment, but with stunning images that are personal in a very special way - responding to the command of every viewer. His work can be judged, and enjoyed, at so many levels. It raises questions just as profound about the mechanisms in our brains as it does about the nature of an artistic representation."</em></div> Mon, 29 Sep 2014 15:10:09 +0000 Gillian Wearing - Maureen Paley - October 13th - November 16th Mon, 29 Sep 2014 15:01:57 +0000 Andrea B├╝ttner - Hollybush Gardens - October 13th - November 15th Mon, 29 Sep 2014 14:57:28 +0000 Pablo Bronstein, Amalia Pica, Matthew Darbyshire, Nicole Wermers - Herald St - Golden Sq - September 27th - October 4th Mon, 29 Sep 2014 14:51:43 +0000 - Gimpel Fils Gallery - October 16th - November 22nd Mon, 29 Sep 2014 14:44:30 +0000 Irma Blank - Alison Jacques Gallery - October 17th - November 15th <p>&lsquo;<em>I free writing from sense and highlight its structure, its skeleton, the nude sign, the sign that is such and does not refer back to anything but itself. It refers to the energy reserve, the initial drive, the source-giving urge, the desire to reveal itself, to emerge from the secret, closed place of night. Non-verbal writing, writing that remains in silence, original truth. Writing becomes image, a manifestation of being, of being there, in the absolute without form. An open text. A text for all. For those who know how to read and for those who do not know how to read. I shift from the literature to the visual art.</em>&rsquo; &ndash; Irma Blank, 2001</p> <p>Alison Jacques Gallery is proud to present our first solo exhibition of Milan based artist Irma Blank (born 1934 in Germany) in collaboration with Gallery P420, Bologna.</p> <p>Irma Blank began to explore the intersections of linguistic and visual representation in the late 1960&rsquo;s. Practicing at the same time as conceptual artists such as Mel Bochner, Lawrence Weiner and Joseph Kosuth, Blank began investigating the various possibilities through which a sign could represent existence. Her desire was to record time and create a form of writing not related to knowledge but to <em>being</em>, stripped of meaning and imbued with new values. This retrospective includes work from several series that Blank has completed over the past 40 years: <em>Eigenschriften (Self writings), Trascrizioni (Transcriptions), Radical Writings, Avant-testo (Before-text), Hyper-Text</em>,<em> Global Writings</em>, and <em>Ebla Archiv (Ebla Archive).</em></p> <p><em>Eigenschriften</em>&nbsp;are some of Blank&rsquo;s earliest works, composed of dense scriptural signs recording the artist&rsquo;s mental state at a distinct point in time. The <em>Trascrizioni</em> series are reductions of pre-existing texts, tracings of the typographic layouts of poetry, newspapers and books from which they were taken. In<em>&nbsp;Radical Writings</em>&nbsp;Blank links her breathing to the gesture of writing, repeating a single action: drawing a line corresponding to one single breath. While the gesture of the <em>Radical Writings</em> articulates a long horizontal breath, the gesture of the <em>Avant-testo</em> series is chaotic and convulsive, recalling a primordial sign free of structure and purely about action. Clutching a bundle of ballpoint pens the artist traces signs with rotary movements coming from and returning to the body. The end result is a dense, saturated and impenetrable surface that only becomes transparent at the very edge, offering the viewer a small glimpse of her process.</p> <p>In 2012 Blank began&nbsp;<em>Ebla archiv</em>, part of&nbsp;the&nbsp;<em>Global Writings</em>&nbsp;series.&nbsp;Using carbon paper to transfer her markings the artist repeated portions of words&nbsp;(a reduced alphabet of only eight letters) onto the page.</p> <p>Irma Blank&rsquo;s work will be exhibited next month at the Kunsthalle Wien. Past exhibitions include Centre Pompidou in Paris (2013), Palazzo Reale Milano (2010), Museion in Bolzano (2002, 2009), Kunstmuseum D&uuml;sseldorf (1997), PAC in Milan (1992), Folkwang-Museum in Essen (1992), MoMA in New York (1992), Heidelberger Kunstverein (1990), Bonner Kunstverein (1981), Documenta 6, Kassel (1977). Later this year the artist will have a solo exhibition at Museum Mostyn, Llandudno, North Wales.</p> Fri, 26 Sep 2014 16:33:28 +0000 Ludo - Lazarides Rathbone Place - October 10th - November 13th <p class="Default" style="text-align: justify;">Lazarides Rathbone welcomes Parisian artist Ludo to the gallery with a comprehensive body of new work titled The Chaos Theory. The artist&rsquo;s debut solo exhibition in London follows widely acclaimed openings in New York and outdoor installations spanning Paris&rsquo; Georges Pompidou&rsquo;s square, alongside a series of global street campaigns across Asia, Europe and the Caribbean earlier this year.</p> <p class="Pa0" style="text-align: justify;">Arriving from the urban influenced sphere but blooming on the contemporary scene, the French artist continues to expand upon his distinctive aesthetic, effortlessly merging the realms of advanced technology with the naturalistic world. Using his distinguished monochrome colour palette and neon green trademark Ludo is set to transform the upper levels of the gallery with a series of large-scale canvases and unique experiential installation.</p> <p class="Pa0" style="text-align: justify;">Launching the first floor exhibition space to the public this October <em>The Chaos Theory</em> presents a culmination of Ludo&rsquo;s practice to date, conveying an assortment of contemporary issues with an army of mechnical hybrids. Through his battalion of butterflies, Ludo references the accelerated pace of life in which people continually strive to keep up with the ongoing race against the clock. The stereotypical ephemeral butterfly image is reincarnated by Ludo&rsquo;s solid and anatomical depictions, constructing creatures that possess strength and durability and emit images of war and combat weaponry. Ludo&rsquo;s stylised futuristic bugs are reminiscent of detailed diagrams from traditional anatomy manuals with a contemporary and ultra-modern veneer. His lepidoptera adapt themselves in order to better fight and come to light far from ideological theories of chaos, no longer representing chaos but transcending it and reappropriating our perception with their technologic metamorphosis.</p> <p class="Pa0" style="text-align: justify;"><strong>About the Artist </strong></p> <p class="Pa0" style="text-align: justify;">Ludo&rsquo;s practice connects the world of plants and animals with our technological universe and quest for modernism. It speaks about contemporary issues that surrounds us, what affects us and tries to highlight some form of humility.</p> <p class="Pa0" style="text-align: justify;">Drawn with the precision of botanical illustrations, Ludo&rsquo;s new order of hybrid organisms are both elegant and fierce. Armoured vehicles spawn stag beetle horns; carnivorous plants bare rows of hunting-knife teeth; bees hover, hidden behind gas masks and goggles; automatic weapons crown the head of sunflowers; human skulls cluster together like grapes. Ludo&rsquo;s work aspires to jolt us out of a longstanding collective denial: despite repeated natural disasters, we refuse to acknowledge our own fragile and fleeting state.</p> <p style="text-align: justify;">After studying in Milan Ludo now lives and works in Paris, regularly exhibiting worldwide whilst continuing ambitious street art expeditions globally.</p> <p>&nbsp;</p> Fri, 26 Sep 2014 07:41:27 +0000 - Drawing Room - November 19th 7:00 PM - 9:00 PM <p style="text-align: justify;">A&nbsp;<em>Film Study Group</em>&nbsp;<a href=";id=c73599346f&amp;e=5f5292ff73" target="_blank">screening</a>&nbsp;of&nbsp;<em>Bad Timing&nbsp;</em>(1980). The film has been selected and will be introduced by&nbsp;<strong>David Austen</strong>, artist and co-curator of&nbsp;<em>The Nakeds</em>.&nbsp;</p> <p style="text-align: justify;"><br />- &pound;6/&pound;5 conc&nbsp;<a href=";id=375ceb15f7&amp;e=5f5292ff73" target="_blank">book here</a>&nbsp;</p> Fri, 26 Sep 2014 07:20:54 +0000 David Austen, Jon Bird, Gemma Blackshaw, Simon Grant, Stewart Helm, Chantal Joffe - Drawing Room - November 10th 2:00 PM - 6:00 PM <p>A&nbsp;<a href=";id=b87015c878&amp;e=5f5292ff73" target="_blank">seminar</a>&nbsp;exploring contemporary artists&rsquo; representation of the naked body. Speakers include&nbsp;<strong>David Austen</strong>,&nbsp;<strong>Jon Bird</strong>,&nbsp;<strong>Gemma Blackshaw</strong>,&nbsp;<strong>Simon Grant</strong>,&nbsp;<strong>Stewart Helm</strong>&nbsp;and&nbsp;<strong>Chantal Joffe</strong>.</p> <p><br />- &pound;18/&pound;16 conc./&pound;14.40 network members&nbsp;<a href=";id=5b925f6c8a&amp;e=5f5292ff73" target="_blank">book here</a></p> Fri, 26 Sep 2014 07:19:28 +0000 Donna Huddleston - Drawing Room - October 30th 6:30 PM - 8:00 PM <p style="text-align: justify;">A&nbsp;<em>Making Study Group</em>&nbsp;led by artist&nbsp;<strong>Donna Huddleston</strong>. Explore different ways of figuring the naked body inspired by works in&nbsp;<a href="" target="_blank"><em>The Nakeds</em></a>&nbsp;exhibition.</p> <p style="text-align: justify;"><br />- &pound;17/&pound;27 for both&nbsp;<em>Figuring the Naked Body</em>&nbsp;sessions&nbsp;<a href=";id=dd6b9a9a9c&amp;e=5f5292ff73" target="_blank">book here</a>&nbsp;</p> Fri, 26 Sep 2014 07:17:06 +0000 Donna Huddleston - Drawing Room - October 23rd 6:30 PM - 8:00 PM <p style="text-align: justify;">A&nbsp;<em>Making Study Group</em>&nbsp;led by artist&nbsp;<strong>Donna Huddleston</strong>. A life model will strike a range of vibrant and surprising poses to instigate personal responses to the naked body.&nbsp;</p> <p style="text-align: justify;"><br />- &pound;17/&pound;27 for both&nbsp;<em>Figuring the Naked Body</em>&nbsp;sessions&nbsp;<a href=";id=b4c04d0c1e&amp;e=5f5292ff73" target="_blank">book here</a></p> Fri, 26 Sep 2014 07:15:49 +0000 - Whitechapel Gallery - October 9th 7:00 PM - 9:00 PM <p style="text-align: justify;">The French-Norwegian writer Caroline Bergvall investigates how writing, reading and listening can be understood within the context of visual art, through a series of events and online interventions exploring language and performance.</p> <p style="text-align: justify;">For her first event,&nbsp;<strong>Caroline Bergvall&nbsp;</strong>launches her book&nbsp;<em>Drift</em>, with an evening of collective readings and conversations with invited poets.</p> <p style="text-align: justify;">Supported by the Royal Norwegian Embassy in London.</p> Fri, 26 Sep 2014 07:12:16 +0000 - The British Museum - May 23rd - September 28th <p class="pullOut" style="text-align: justify;">A small fabric screen lit from behind was the stage upon which a number of characters emerged to perform sketches and plays that entertained and delighted audiences. These characters were made of coloured animal skin, and were moved and given voice by a master puppeteer. Yet they seemed to have a life of their own and filled the screen with their lively and often comic personalities.</p> <p style="text-align: justify;">Shadow theatre has played an important part in the cultural traditions of Turkey for at least 500 years, since Ottoman times. Performances occurred mainly during the evenings of the month of Ramadan, the ninth month of the Muslim calendar, in public spaces and in private homes. They also took place at weddings and circumcisions as part of the entertainment provided.</p> <p style="text-align: justify;">Shows included a mixture of slapstick comedy and serious dialogue. Although the plays usually followed a set structure, they allowed the two main characters, Karag&ouml;z and Hacivat to comment on current affairs. This flexibility enabled shadow theatre to become a means for expressing social and political satire and to evolve across the decades becoming a much loved entertainment form.</p> <p style="text-align: justify;">This display features a selection of Turkish shadow puppets from the collections of the Museum.</p> Thu, 25 Sep 2014 15:35:21 +0000 - The British Museum - October 16th - January 25th, 2015 <p class="asH2" style="text-align: justify;">This exhibition will examine elements of German history from the past 600 years in the context of the fall of the Berlin Wall 25 years ago.</p> <p class="large-text long-text" style="text-align: justify;">From the Renaissance to reunification and beyond, the show will use objects to investigate the complexities of addressing a German history which is full of both triumphs and tragedies.</p> <p class="large-text long-text" style="text-align: justify;">Navigate through Germany&rsquo;s many political changes &ndash; from the Holy Roman Empire through unification in the 1870s and the troubled 20th century to today&rsquo;s economic powerhouse at the centre of Europe.</p> <p class="large-text long-text" style="text-align: justify;">Explore art by D&uuml;rer, Holbein and Richter, and marvel at technological achievements through the ages which gave the world Gutenberg&rsquo;s printing press, Meissen porcelain, the Bauhaus movement and modern design icon the VW Beetle.</p> <p class="white">Sponsored by Betsy and Jack Ryan</p> <p class="lightGrey">With support from <br />Salomon Oppenheimer Philanthropic Foundation</p> Thu, 25 Sep 2014 15:32:38 +0000 - The British Museum - October 2nd - January 11th, 2015 <p class="pullOut" style="text-align: justify;">Featuring objects from the 18th century to the present, this exhibition shows the variety of religious practices in Burma (Myanmar) and Thailand, and how Buddhism, spirit worship, divination and other activities interact.</p> <p style="text-align: justify;">Western views of Buddhism in the 19th and early 20th centuries presented it as an austere, monolithic religion focused on meditation and nirvana, the escape from the cycles of rebirth. In reality, practitioners in Burma (Myanmar) and Thailand have long sought to improve their lives through a fusion of overlapping activities such as spirit worship, divination, numerology and homage to the Buddha. People select these rituals according to their personal needs to cope with everyday life, to form individual spiritual pathways to felicitous rebirths or to strive for nirvana.</p> <p style="text-align: justify;">This exhibition draws on the strengths of the British Museum&rsquo;s mainland Southeast Asian holdings, primarily Burma (Myanmar) and Thailand &ndash; countries that have a long history of interaction and share some fundamental religious beliefs and practices. Objects range from model stupas (Buddhist relic mounds), silver, banners, textiles and images of the Buddha to popular posters, glass paintings and mass-produced, stamped cloths with protective diagrams (yantra), reflecting the many outlets for religious expression. The show explores how the various beliefs, revealed in lively daily practices, comprise the main religious systems in the region.</p> <p style="text-align: justify;">Supported by the B.D.G. Leviton Foundation, Robert White and Sally Macdonald</p> Thu, 25 Sep 2014 15:30:15 +0000