ArtSlant - Recently added en-us 40 - The British Museum - February 5th - August 16th <p class="pullOut" style="text-align: justify;">Discover a selection of textiles from the Pacific made from barkcloth. Used to wrap, drape and adorn the body in a myriad of styles and designs, these garments demonstrate the long history of barkcloth, and its ongoing relevance today.</p> <p style="text-align: justify;">In the islands of the Pacific, cloth made from the inner bark of trees is a distinctive art tradition. Probably brought to the region at least 5,000 years ago by some of the first human settlers, its designs reflect the histories of each island group and the creativity of the makers. Spanning the region from New Guinea in the west to Rapa Nui (Easter Island) in the east, the exhibition will show a selection of 77 garments, headdresses, masks and body adornments from the Museum&rsquo;s collection. Dating from the 1700s to 2014, the pieces on display include those worn as everyday items and ceremonial costumes linked to key life cycle events such as initiation and marriage.</p> <p style="text-align: justify;">Barkcloth is generally made and decorated by women, but garments intended for ritual purposes may be made by men. This is particularly true in the masking traditions of Papua New Guinea. The Baining people who live on the large island of New Britain continue to make masks for day and night dances. In the exhibition, an elaborately decorated Baining mask made in the 1970s demonstrates how barkcloth can be used in dramatic three-dimensional creations.</p> <p style="text-align: justify;">Imported cloth and the changes brought by colonial activities across the region have had different impacts on the art form. In some locations, such as Tonga, barkcloth making never completely stopped. In others, such as Hawaii, the practice has actively been revived and Hawaiian <em>kapa</em> is now worn for high profile hula performances. The exhibition considers these recent developments, and shows a barkcloth dance skirt made in 2014 by Hawaiian practitioner Dalani Tanahy alongside some fine examples of early Hawaiian cloth, including a cloth with striking red and black designs thought to have been made in the late 1700s.</p> <p style="text-align: justify;">New arenas for cultural expression continue to emerge through barkcloth creations, as urban Pacific Island designers incorporate barkcloth elements and patterns into garments intended for the catwalk. A stunning wedding dress made by New Zealand-based Samoan designer, Paula Chan Cheuk illustrates this movement and reflects the continuing relevance of barkcloth as a flexible, resilient art tradition.</p> Thu, 26 Feb 2015 16:14:49 +0000 - The British Museum - February 5th - August 16th <p class="pullOut" style="text-align: justify;">This exhibition will focus on the printed propaganda that either reviled or glorified Napoleon Bonaparte, on both sides of the English Channel. It explores how his formidable career coincided with the peak of political satire as an art form.</p> <p style="text-align: justify;">2015 marks the 200th anniversary of the Battle of Waterloo &ndash; the final undoing of brilliant French general and emperor Napoleon Bonaparte (1769&ndash;1821). The exhibition will include works by British and French satirists who were inspired by political and military tensions to exploit a new visual language combining caricature and traditional satire with the vigorous narrative introduced by Hogarth earlier in the century.</p> <p style="text-align: justify;">The print trade had already made the work of contemporary British artists familiar across Europe. Continental collectors devoured the products of the London publishers, and artists across Europe were inspired by British satires.</p> <div class="grid_4 omega"> <p style="text-align: justify;">This exhibition includes work by James Gillray, Thomas Rowlandson, Richard Newton and George Cruikshank, some of the most thoughtful and inventive artists of their day.</p> <p style="text-align: justify;">The range and depth of the British Museum&rsquo;s collection allows the satirical printmakers&rsquo; approach to be compared with that of portraitists and others who tended to represent a more sober view of Napoleon.</p> <p style="text-align: justify;">The exhibition begins with portraits of the handsome young general from the mid-1790s and ends with a cast of his death mask and other memorabilia acquired by British admirers. Along the way, the prints will examine key moments in the British response to Napoleon &ndash; exultation at Nelson&rsquo;s triumph in the Battle of the Nile in 1798, celebration of the Peace of Amiens in 1802, fear of invasion in 1803, the death of Nelson at the Battle of Trafalgar in 1805, and Napoleon&rsquo;s triumph at Austerlitz, delight at his military defeats from 1812 onwards, culminating in his exile to Elba in 1814.</p> <p style="text-align: justify;">1815 sees triumphalism after Waterloo and final exile to St Helena, but some prints reflect an ambiguous view of the fallen emperor and doubts about the restoration of the French king Louis XVIII.</p> </div> Thu, 26 Feb 2015 16:13:45 +0000 Agnes Martin - Tate Modern - March 3rd - October 11th <p style="text-align: justify;">This will be the first retrospective of the seminal American painter <a href="" target="_blank">Agnes Martin</a> since her death in&nbsp;2004.</p> <p style="text-align: justify;">Martin was renowned for her subtle, evocative canvases marked out in pencil grids and pale colour washes. Her apparently <a href="" target="_blank">minimal</a> approach belied a deep conviction in the emotive and expressive power of&nbsp;art.</p> <p style="text-align: justify;">This major exhibition will cover the full breadth of Martin&rsquo;s practice, reasserting her position as a key figure in the traditionally male-dominated fields of 1950s and 1960s <a href="" target="_blank">abstraction</a>.</p> <p style="text-align: justify;">The show will trace her career from early experiments to late work, as well as demonstrate her profound influence on subsequent generations of&nbsp;artists.</p> <div class="field field-name-field-sponsor-info field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;"><em>Exhibition organised by Tate Modern in collaboration with Kunstsammlung Nordrhein-Westfalen, D&uuml;sseldorf, Los Angeles County Museum of Art and Solomon R Guggenheim Museum, New&nbsp;York</em></p> </div> </div> </div> Thu, 26 Feb 2015 16:09:27 +0000 John Singleton Copley, Benjamin West, Winifred Knights, Stanley Spencer, Richard Hamilton, Rita Donagh, Dexter Dalwood, Jeremy Deller - Tate Britain - June 9th - September 13th <p style="text-align: justify;">This exhibition focuses on the conflict, martyrdom and catastrophe found in history painting from the eighteenth century to the present day. In England, history painting first emerged in the eighteenth&nbsp;century.</p> <p style="text-align: justify;">Artists such as John Singleton Copley (1738&ndash;1815) and Benjamin West (1738&ndash;1820) presented recent British battles and deaths in the grandest possible manner and depicted scenes from ancient history to remind viewers of the timeless virtues to which they should aspire. This exhibition will show how these traditions of history painting have persisted in the work of British modernists such as Winifred Knights and Stanley Spencer, in Richard Hamilton and Rita Donagh&rsquo;s work of the 1980s, in the work of Dexter Dalwood and in recent installations such as Jeremy Deller&rsquo;s <em>Battle of Orgreave</em> 2001. It will celebrate the emotional power of history painting and show its persistent place in&nbsp;art.</p> Thu, 26 Feb 2015 15:59:48 +0000 - Freud Museum London - April 30th - June 7th <p style="text-align: justify;">Organised jointly by the Royal Society of Medicine and the Freud Museum London, this exhibition will explore and celebrate the pre-psychoanalytical career of Sigmund Freud. Long before Freud coined the term psychoanalysis in 1896 and developed a profound new body of psychological theory and technique, he had distinguished himself as a young scientific researcher and physician. Between 1876 and 1895, Freud made numerous contributions to various branches of medicine and biology, including, physiology, anatomy, histology, anaesthetics, paediatrics, and neurology.</p> <p style="text-align: justify;">The exhibition will include a display of rare books, unpublished letters, certificates, and journals from the collections of the RSM Library and the Freud Museum.</p> Thu, 26 Feb 2015 15:18:01 +0000 Ed Atkins - Contemporary Art Society - March 18th 7:00 PM - 8:30 PM <p style="text-align: justify;">A fantastic opportunity to hear about the work of&nbsp;<strong>Ed Atkins</strong>&nbsp;in the artist&rsquo;s own words. It&rsquo;s a particular privilege to have Atkins speak at the Contemporary Art Society at such a pivotal time in his artistic career and in the context of the recent acquisition of his 2013 film,&nbsp;<em>The Trick Brain</em>, purchased through the Contemporary Art Society Acquisition Scheme for<strong><em>&nbsp;</em></strong><strong>The Scottish National Gallery of Modern Art in Edinburgh</strong><strong>.</strong></p> <p style="text-align: justify;">Atkins works primarily with writing, sound and video. Rooted in literature, cinema and music, his work preys on these categories, their genres and their legibilities: his works are often abortive, interruptive and abject. Atkins&rsquo;s work seeks to explore the corporeal and material world through so-called immaterial, digital technologies.</p> <p style="text-align: justify;"><strong>Book online here</strong> or please contact&nbsp;<a href="" target="_blank"><strong></strong></a>&nbsp;or call us on&nbsp;<strong>020 7017 8400</strong>.</p> Thu, 26 Feb 2015 15:13:55 +0000 Deborah Coughlin, Gaggle - fig-2 - March 2nd - March 8th <p>Deborah Coughlin with Gaggle bring music and speech performed by women. Claiming the fig-2 space to generate ideas and positions taken by women today, the week will cultivate performances and speeches delivered live. Coughlin has invited significant female figures for series of speeches, which are interspersed by live performances from Gaggle&rsquo;s new track, &lsquo;MAKE LOVE NOT WAR&rsquo;. In celebration of International Women&rsquo;s Day, the project reinforces the significance of women&rsquo;s speech today and through history and charges the space with sounds and voices. Speakers include presenter Ruth Barnes, feminist and sci-fi writer Ama Josephine, singer Charlotte Church, founder of Clit Rock Dana Jade, and performance and video artist Paula Varjack.</p> <div class="m_accordion-content"> <p>On Thursday a new group of women singers and sound artists are invited for a performance at 6.30 to create and record a series of sounds with artist Michael Shaw. The dichotomy of vocal expression will activate the soundscapes of fig-2 with a strong visual manifestation of female personas.</p> </div> Thu, 26 Feb 2015 15:03:37 +0000 Stéphane Thibierge - Freud Museum London - June 19th 7:00 PM - 9:00 PM <p><strong><a href="" target="_blank" rel="nofollow"></a>Life after Fukushima - north-east Japan</strong></p> <h4>Screening followed by discussion between Stephane Thibierge, Lucia Corti and Dany Nobus</h4> <p><strong>19 June 2015</strong><br /><strong> 7pm</strong></p> <p>Join us for a screening of 'Life after Fukushima - north-east Japan' (French with English subtitles and voiceover, colour, 16/9, 54&rsquo;, 2013) followed by a discussion between the filmmaker, St&eacute;phane Thibierge, Lucia Corti and Dany Nobus</p> <p><strong>Synopsis</strong> -&nbsp;a French psychoanalyst and photographer, familiar with Japan, investigates one year after March 11, 2011, the lives and daily experience of people in the devastated areas of North-East Japan.</p> <p>The whole world saw at the time images of people gripped in the confusion and disarray of a huge catastrophe. What became of these men and women, and how do they live today? The news channels have almost forgotten them since 2011.</p> Tue, 24 Feb 2015 15:56:44 +0000 Jeremy Millar - Freud Museum London - April 23rd 6:30 PM - 9:00 PM <h4>Analysis: The Conservation of Freud's Couch</h4> <h4>Screening and discussion between artist Jeremy Millar and conservator Poppy Singer</h4> <p>In September 2013, much needed conservation work began upon Sigmund Freud&rsquo;s famous psychoanalytic couch. The process was carefully documented by artist, Jeremy Millar and resulted in his work 'Analysis'.</p> <p>The evening begins with the opportunity to see the couch laid bare, followed by a short talk on the process by conservator, Poppy Singer, a screening of Jeremy Millar&rsquo;s &lsquo;Analysis&rsquo; 2015 (18:49), closing with a discussion between artist and conservator.</p> Tue, 24 Feb 2015 15:49:35 +0000 Los Carpinteros - Parasol unit foundation for contemporary art - March 25th - May 24th <p class="Standard" style="text-align: justify;"><strong>Parasol unit foundation for contemporary art</strong> is delighted to present an exhibition of works by Cuban art collective, Los Carpinteros (Marco Castillo and Dagoberto Rodr&iacute;guez). This exhibition, the duo&rsquo;s first major show in a public London institution, includes extensive installations, sculptures, watercolour drawings and a film screening, which aim to explore and interrogate the functionality of architecture, design and the every-day object.</p> <p class="Standard" style="text-align: justify;">The deftly crafted -and often humorous- installations and sculptures made by Los Carpinteros may appear whimsical at first, yet every piece has an element of political commentary, mostly related to their personal experience and context. This dichotomy provides a vast resource with which they can be both playful and critical. Often described as &lsquo;interrogative art&rsquo;, their work examines the relationship between art and society, form and function, practicality and frivolousness.&nbsp;</p> <p class="Standard" style="text-align: justify;">For the Los Carpinteros exhibition at Parasol unit, the ground floor galleries are dedicated to large-scale installations and sculptures, such as <em>Tomates</em>, 2013. This extensive wall installation consists of more than 200 real tomatoes splattered against the gallery wall on which beautifully crafted porcelain tomatoes are installed, evoking with a poignant sensitivity the interplay of a political uprising. Also on show is <em>Altoparlante Solimar</em><strong>, </strong>2008, an enormous ebony wood structure emulating Havana's modernist Solimar apartment building designed by Manuel Copado. The architectural configuration simultaneously becomes a large acoustic box, where each apartment is a single loudspeaker that could reproduce all the voices of a family building. The toweringLEGO&reg; bricks construction, <em>Robotica</em>, 2013, is based on the State Scientific Center for Robotics and Technical Cybernetics in St. Petersburg, referencing former Soviet commemorative monuments.&nbsp;</p> <p class="Standard" style="text-align: justify;">Los Carpinteros&rsquo; watercolour drawings, several examples of which are included in the exhibition, often function like architectural blueprints for constructions that are built to scale and adapted for each particular exhibition space. These watercolour drawings offer a wealth of possibilities and inspiration for potential fabrication of works, although some only remain as fantasy, yet they are an intrinsic part of their practice, acting as a communicative tool or ongoing discussion between the artists.</p> <p class="Standard" style="text-align: justify;">In the upper-floor galleries is a series of watercolour drawings along with some small-scale prototype models which are based on prison structures and fabricated using Corten steel. Some of the models have materialised into large-scale reading rooms. Screening throughout the exhibition will be the film <em>Conga Irreversible</em>, 2012, a performance originally conceived and produced by Los Carpinteros art collective on the occasion of the 2012 Havana Biennial.</p> <p class="Standard" style="text-align: justify;">This exhibition, curated by Ziba Ardalan, Founder/Director of Parasol unit, is accompanied by a related programme of educational events at the foundation.&nbsp;</p> <p class="Standard" style="text-align: justify;">Los Carpinteros live and work between Madrid, Spain and Havana, Cuba.</p> <p class="Standard" style="text-align: justify;"><strong>Artist Biography</strong><br />Marco Antonio Castillo Valdes (b. 1971) and Dagoberto Rodr&iacute;guez S&aacute;nchez (b. 1969) together comprise the collective Los Carpinteros. They started to work as a group while studying at the Instituto Superior de Arte in Havana in the early 1990s. Their oeuvre occupies an intriguing and ambiguous area between conceptualism, activism and formalism. The three-dimensional works are complemented by watercolours and videos. The artists live and work between Madrid, Spain, and Havana, Cuba.</p> <p class="Standard" style="text-align: justify;">Works by Los Carpinteros are in several public and private collections, such as the Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; the TATE Gallery, London; the Museo Nacional de Bellas Artes, Havana, Cuba; the Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid, Spain; the Thyssen-Bornemisza Art Contemporary, Vienna, Austria; and the Museum of Fine Arts, Houston. Later in 2015, a commission will be unveiled as part of the new Europe 1600-1800 galleries at the V&amp;A.</p> <p class="Standard" style="text-align: justify;">Parasol unit is grateful for the kind and generous support of Arts Council England&rsquo;s Grants for the Arts and Benjam&iacute;n Nieto Segura.</p> Tue, 24 Feb 2015 14:43:19 +0000 Matt Stokes - Matt's Gallery - April 1st - May 24th <p style="text-align: justify;"><span style="font-size: small;">Matt Stokes&rsquo; new Matt&rsquo;s Gallery commission <em>Madman in a Lifeboat </em>is an immersive, sculptural video installation, built around the pilot episode of a faux situational comedy series.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition is based on the surreal imaginings of 74-year-old East Londoner, Charlie Seber, and investigates his life&rsquo;s work developing a movement called Truth, Reality, Activism &ndash; created by Seber following an epiphany whilst working on East End building sites during the 1980&rsquo;s. At the heart of TRA, or Gravatism, is a concept for the &lsquo;reformation of all faiths&rsquo;.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Presenting himself as a follower of the movement, Seber tested his concepts on unsuspecting work colleagues, authenticated by a poster of a fake Guru. Spurred by their reactions, he expanded his ideas by adding an increasingly outlandish personal back-story. This begins with him being abandoned at birth during WWII and nurtured by a family of birds. The unorthodox upbringing leads to an encounter with an intelligent mind-reading creature that enlightens him to the &lsquo;substance of existence&rsquo;, and the path to Truth, Reality, Activism. A journey that is interspersed by evangelical monologues, hymns and lighthearted marching songs.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Stokes and Seber have known each other since 2009. <em>Madman in a Lifeboat</em> arose from recent conversations and searching Seber&rsquo;s East London home for artefacts linked to the movement, in an effort to draw together and realise aspects of his pseudo-scientific doctrines and fantastical spheres. Amongst the discoveries was a draft sit-com script; the draft has been reworked by both Stokes and Seber, and informs a central element of the exhibition. The resulting video acts as an oblique portrait of the man, by unpicking the relevance of his satirical views on modern life.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This collaboration is the starting point of a larger exploration of Seber&rsquo;s dreamlike worlds and anarchic philosophies that have largely remained locked within his mind since the early 1980s.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Madman in a Lifeboat</em> runs parallel with our presentation of Stokes&rsquo; 2010 work <a href="">Cantata Profana at Dilston Grove</a> in Southwark Park (27 March&ndash;26 April, Fri&ndash;Sun 11am&ndash;5pm). This is the second in a series of on-going co-productions between Matt&rsquo;s Gallery and Dilston Grove.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Madman in a Lifeboat</em> is the culmination of Stokes&rsquo; year-long Bartlett Fellowship residency with the University of Newcastle&rsquo;s Fine Art department and at Matt's Gallery, London, supported by on-going mentorship by Matt&rsquo;s Gallery director Robin Klassnik.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Matt Stokes is the first Bartlett Fellow, a new residency-based fellowship established by Fine Art at The University of Newcastle in partnership with Matt&rsquo;s Gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Matt Stokes is represented by <a class="mattsgreen" href="" target="_blank">Lüttgen</a>, Cologne, <a class="mattsgreen" href="" target="_blank">Workplace Gallery</a>, Gateshead and <a class="mattsgreen" href="" target="_blank">ZieherSmith</a>, New York.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Matt Stokes, <em>Madman in a Lifeboat</em> at Matt&rsquo;s Gallery is generously supported by <a class="mattsgreen" href="" target="_blank">Newcastle University&rsquo;s Bartlett Bequest</a>, <a class="mattsgreen" href="" target="_blank">Newcastle Institute for Creative Arts Practice</a> and <a class="mattsgreen" href="" target="_blank">Arts Council England</a>.</span></p> Tue, 24 Feb 2015 14:38:21 +0000 Lee Ufan - Lisson Gallery - March 25th - May 9th <p style="text-align: justify;">This exhibition brings together a body of new work by Lee Ufan, famed as a founding member of the Japanese Mono-ha and Korean Dansaekhwa groups of the late 1960s and early &rsquo;70s &ndash; both important modern and parallel art movements which have only relatively recently been feted by major shows in the West. Although his practice is widely regarded as minimalist, Lee believes in utilising an economy of gesture or representation in search of the maximum possible effect or resonance. His most recent series of <em>Dialogue</em> paintings and watercolours are economically composed of singular sweeps of paint, each built up over an extended period of time through an accretion of smaller strokes. The brush gradually unloads, the mark lightening towards immateriality as he drags it across the surface of the canvas or paper, each repetition being ritualistically controlled by Lee&rsquo;s held breath. The incorporation of strong colours &ndash; blue, red or an earthy green &ndash; to the artist&rsquo;s traditional grey palette, marks a decisive shift away from the intangibility of grisaille towards elements or references in the real world, perhaps harking back to an early series of fluorescent spray-painted works by Lee from 1968, entitled <em>Landscape</em>. The four large-scale paintings at Lisson Gallery combine together to form a chapel-like environment within the main atrium, surrounding the viewer with gestures that require time and concentration to fully appreciate.<br /><br />The finely crushed stone that Lee mixes with his paints physically connects his two-dimensional works to the three-dimensional sculptures, which here includes an installation of a large rock placed in front of a blank virgin canvas, each element willing the other into a relationship. In contrast with his carefully wrought paintings, this work consists of objects to which, pointedly, no artistic action has been applied, offering instead a space for the contemplation of non-productivity and for a rare moment of silent, solo interaction with a work of art. Outside, in the interior courtyard, Lee has placed another large stone onto a sheet of glass and manmade steel plates, which themselves are set adrift within a sea of white marble chips. Such meticulously balanced, site-specific interventions achieved their apotheosis last year in Lee&rsquo;s spectacular presentation in the gardens of Versailles, for which he created a bridge, a monumental arch, a tomb and a wall of cotton among other major sculptures. Ultimately, whether at a monumental or domestic scale, it is Lee&rsquo;s hope that his work might &ldquo;lead people&rsquo;s eyes to emptiness and turn their eyes to silence,&rdquo; (taken from his collected writings, <em>The Art of Encounter</em>, 2008).</p> <p style="text-align: justify;"><strong>27 Bell Street London</strong></p> Tue, 24 Feb 2015 14:35:48 +0000 Anish Kapoor - Lisson Gallery - March 25th - May 9th Tue, 24 Feb 2015 14:34:24 +0000 Andrew Mania, Eleanor Moreton, Vanessa MITTER, Lana Locke, Hannah Campion, Lady Lucy - APT Gallery - March 20th - April 5th <p><em>STRANGE ATTRACTION</em></p> <p>&nbsp;</p> <p>A.P.T Gallery, 20<sup>th</sup> March - 5<sup> th</sup> April, 2015</p> <p>Private view: 19<sup> th</sup> March, 6.30pm - 8.30pm</p> <p>Gallery opening hours: Thursday - Sunday, 12.00 to 5.00pm</p> <p>Curator's panel&nbsp;discussion and SLAM (South London Art Map) last Fridays opening, 27<sup> th</sup> March: 6.30pm to 8.30pm</p> <p>&nbsp;</p> <p><em>Dear A, I&rsquo;m attracted to you, and I don&rsquo;t know why.</em></p> <p><em>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Shall we be friends?</em></p> <p>&nbsp;</p> <p>Artworks can write letters too, inasmuch as they reach out, make lines of contact with other artists, and forge an aesthetic of correspondence. In <em>Strange Attraction</em>, a group exhibition of six artists working in a variety of mediums, curated by Emily Purser, that correspondence is curated and archived, as the works speak to one another through their shared preoccupations. Sometimes the works&rsquo; closeness can be found in the processes in which they have been made, or the materials that have been manipulated, and sometimes it is found in the works&rsquo; ideas, its postscripts and its messages.</p> <p>&nbsp;</p> <p>Many of the artists gathered here are interested in biography, not as a mapped out narrative, but as an affective pool: a script to be rewritten and performed, as pliable as paper. And even when the life is not visible in the works&rsquo; imagery, it exists in the frenetic states of matter and experience that the work has endured.</p> <p align="center">*</p> <p>The abject body is a marginal unclean thing, potentially transgressive in its borderline subversiveness. In Lana Locke&rsquo;s work, the sculptor references this body, but fragments it, creating sculptural installations that suggest, or indeed perform, a loose and perverse corporeality. Heads float. Limbs are scattered about like twigs on the ground. Bloody sheets fall from flowers on plinths.</p> <p align="center">*</p> <p>This mode of identity performance is similarly found in Lady Lucy&rsquo;s paintings, which draw on documentary and interview research, to create portraits of layered and collaged material, often incorporating art historical gestures and tropes. Defiantly appropriated, the self is rendered a composite artificial object.&nbsp;</p> <p align="center">*</p> <p>Andrew Mania makes art akin to the obsessive habits of a collector, transcribing people and objects. In his work, the autobiographical is recast in small, coloured pencil drawings, and even smaller paintings: a public re-reading of the intimate. The blue eyes of a young boy gaze out from the canvas, affective and abject: it is a look of innocence, melancholy, desire and love.</p> <p align="center">*</p> <p>In Vanessa Mitter&rsquo;s paintings, the personal is also treated as a pliant material, a source of affect and investigation, but also of fiction and performance. Collage, paint and pigment find a way on to the canvas in ephemeral expressive gestures. There is an abject narrative at play &ndash; of lost childhood and drifting brides &ndash; but it is a narrative that wanders in and around the artifice of the material.</p> <p align="center">*</p> <p>In Hannah Campion&rsquo;s work, painting is made into a happening, and then an installation, as her worked on canvases are then<em> reworked</em> into ambiguous three-dimensional forms, which are strewn on the floor or pinned to the wall. The paper or canvas undergoes all kind of processes: it is crushed, trampled, nailed, repaired, collaged. It is an active, performative mode of painting, which is also a site-specific response to the surrounding space.</p> <p align="center">*</p> <p>Eleanor Moreton is similarly interested in painting as performance. In her work, narrative is not so much read as experienced. She provides the protagonist and the prop, often drawing on her own personal histories; but with the medium and its application (part abstract, part figurative), comes an ambiguous appropriation of the primary material. As in the work of the other five artists, the raw is remoulded as an artistic event.</p> <p>&nbsp;</p> <p>In <em>Strange Attraction</em>, the viewer will find six distinct but correspondent practices, whereby narratives relating to the bodily and the biographical are re-made in painting, sculpture and installation. In these intimate objects, the personal evades our grasp when the performance takes over.</p> Tue, 24 Feb 2015 11:44:03 +0000 Gordon Shrigley - IMT Gallery - April 5th - May 10th Tue, 24 Feb 2015 05:24:51 +0000 Emma Talbot - DOMOBAAL - April 24th - May 30th Tue, 24 Feb 2015 05:21:21 +0000