ArtSlant - Closing soon en-us 40 Nasrin Tabatabai and Babak Afrassiabi - Chisenhale Gallery - April 5th, 2013 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The first UK solo exhibition by Nasrin Tabatabai and Babak Afrassiabi, produced in partnership with Delfina Foundation and co-commissioned with the Museum of Contemporary Art Barcelona (MACBA). </span><br /><br /><span style="font-size: small;">In 2004 Nasrin Tabatabai and Babak Afrassiabi founded Pages, a collaboration that encompasses various joint projects and the production of a bilingual magazine in Farsi and English titled <em>Pages</em>. Their projects and the magazine's editorial approach are closely linked, both described by the artists as "attempts in articulating the indecisive space between art and its historical condition."</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Their work has been featured in solo and group exhibitions internationally, including: <em>Two Archives</em>, Tensta konsthall, Stockholm (2013); <em>Seep</em>, MACBA, Barcelona (2012); <em>Prairies</em>, Les Ateliers de Rennes Biennial, Rennes (2012);<em>ROUNDTABLE</em>, 9th Gwangju Biennale (2012); <em>Untitled</em>, 12th Istanbul Biennial (2011); <em>Two Archives</em>, Badischer Kunstverein, Karlsruhe (2011); <em>Melanchotopia</em>, Witte de With, Rotterdam (2011); <em>Trust</em>, Mediacity, Seoul (2010); <em>The Isle</em>, MAK Center/ Schindler House, Los Angeles (2009); Documenta 12, magazine project, Kassel (2007); and <em>Como viver junto</em>, 27th São Paulo Biennial (2006).</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Tabatabai and Afrassiabi live in Rotterdam and work both in the Netherlands and Iran. Currently they are Advising Researchers fine art at the Jan Van Eyck Academy, Maastricht, the Netherlands. For more information please see:<a href="" target="_blank"></a>.</span><br /><br /><span style="font-size: small;">Nasrin Tabatabai and Babak Afrassiabi’s exhibition is supported by the Mondriaan Fund, Amsterdam and the Caspian Arts Foundation. </span><br /><br /><span style="font-size: small;">Chisenhale Exhibitions Partner 2013: Fiorucci Art Trust</span></p> Tue, 26 Mar 2013 06:42:23 +0000 David Sims - Institute of Contemporary Arts (ICA) - April 25th, 2013 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">In October 2012, <em>Arena Homme Plus</em> magazine hit the newsstands declaring "BOWIEVIRUS", with an iconic cover image created by David Sims, a montage of rock'n'roll star Vince Taylor, a fashion model, and – what appeared to be - David Bowie. Within the pages of the magazine, artists and photographers referenced, reworked and recontextualised the star, reigniting Bowie's persona for a new audience. For the ICA, <em>BOWIEVIRUS </em>will take physical form through the presentation of selected works and reinterpretations by David Sims from this celebrated issue. This will be David Sims' first solo exhibition in the UK in fifteen years and will consist of a series of new works that further develop the images and ideas originally addressed in the issue.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Having emerged as a key figure in the London creative scene of the early Nineties, photographer David Sims has consistently pioneered in contemporary image making. Creating immaculate yet energetic photographs that eschew simple narrative, Sims works both within and far beyond the established fashion world tradition. From his editorial work for a variety of magazines past and present including <em>Vogue</em>, <em>The Face</em>, <em>i-D </em>and <em>Arena Homme Plus</em>, to his idiosyncratic advertising campaigns for a host of clients including Yohji Yamamoto, Jil Sander, Calvin Klein, Alexander McQueen, Balenciaga, and Prada, Sims' photography is proving to be equally a benchmark and a modern day enigma, appearing in the permanent collections at the Tate Modern and the Victoria &amp; Albert museum.</span></p> Thu, 09 May 2013 09:54:55 +0000 Alex Olson - Laura Bartlett Gallery - March 23rd, 2013 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Laura Bartlett Gallery</strong> is pleased to inaugurate its new gallery space at 4 Herald Street in Bethnal Green with the first solo exhibition in Europe by Los Angeles based artist, <strong>Alex Olson</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong><em>Bravo Zebra</em></strong> brings together a new suite of paintings, each entitled<em> Proposal</em> and numbered according to the order in which they were completed. Introducing these works is a small painting, <em>Press (December–February)</em>, which functions as a record of the making of the other works. Each day in the studio, the artist would peal the plastic covering off her palette and apply it to the surface of this painting, thereby notating some of the choices that went into the production of the subsequent paintings. The action of pressing against a surface and leaving a trace also stresses the exterior nature of these works and their use of the surface as a carrier of signs. The larger paintings, all of which are the same scale, take the name <em>Proposal</em> in relation to the artist’s belief that all paintings function as proposals. Each of these paintings presents it’s own subtle visual conundrum, choreographing the marks on its surface into signposts pointing in contradictory directions of interpretation. Olson favors “stock signage,” meaning signs that are untethered to a single specific meaning, which encourage a desire to define them while sidestepping a narrow read. For this particular exhibition, Olson has employed patterns of dots, lines and textures for their extreme familiarity and simple ability to create an expectation of consistent repetition, only to be subtly undone by such means as a glop of paint overflowing its borders or by a collision with an alternative interpretation of the same marks. Colour likewise comes into play through its ability to highlight, muffle, counter, and clash. Olson creates her marks using highly indexical tools, such as trawls, window scrapers, palette knives, plastic wrap, and low grade brushes. She points to the surface itself through dragging and rubbing paint into the face of the painting, exposing each scratch and mark embedded within it. Collectively these graphic and material marks compete against one another as they vie for the viewer’s attention through their conflicting signals. Viewed from different angles and distances, the paintings yield new sets of information, so that the encounter is one of negotiating and reevaluation. These works offer the viewer an unfolding experience of visual signs that highlight the process by which we encounter, translate and assign meaning to surface information on a daily basis.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Alex Olson lives and works Los Angeles. She received a BA from Harvard University in 2001, and an MFA from CalArts in 2008. Recent exhibitions include Made in LA, Hammer Museum, Los Angeles; Shane Campbell Gallery, Chicago; Lisa Cooley, New York and the Museum of Contemporary Art, Chicago. Olson is included in the current exhibition Painter, Painter at the Walker Art Center, Minneapolis. This is Alex Olson’s first solo exhibition with the gallery.</span></p> Fri, 05 Apr 2013 18:51:38 +0000 - Royal College of Art - May 9th, 2013 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">This selling fair features modern and contemporary art from the UK, Europe, Asia and a special exhibit from Australia. Artists include Matisse, Miró, Picasso and Chagall, plus British 20th-century favourites such as Henry Moore, David Hockney, Mary Fedden, together with many emerging artists and a display by RCA Printmaking students.</span></p> <p><strong>TIMES:</strong> Thurs 11am-9pm; Friday 11am-8pm; Sat 11am-7pm; Sun 11am-6pm</p> <p><strong>ADMISSION:</strong> £8</p> <h1><span style="font-size: small;">2013 Exhibitors</span></h1> <p><a href=""> </a>The Art Movement <br /> The Art Stable <br /> Artcast 21 <br /> Artists Of Russia <br /> Artizan Editions <br /> Askew Art <br /> Boundary Gallery <br /> Nicholas Bowlby <br /> Lena Boyle Fine Art <br /> Jenna Burlingham Fine Art <br /> Marcus Campbell Art Books <br /> Michael Cane <br /> Keith Chapman <br /> The Contemporary Fine Art Gallery, Eton <br /> The Court Gallery <br /> Cricket Fine Art <br /> The Cube Gallery <br /> Dadbrook Gallery <br /> De Parma <br /> Envie D'art <br /> Fine Art Consultancy <br /> Fine Art Escape <br /> The Fine Art Partnership <br /> French Art Studio <br /> Genty Fine Art <br /> Gray Modern &amp; Contemporary Art <br /> Dominic Guerrini <br /> Hanga Ten <br /> Simon Hilton <br /> Hilton Fine Art <br /> Rebecca Hossack Gallery <br /> The Gallery At Ice <br /> John Iddon Fine Art <br /> Manya Igel Fine Arts Ltd <br /> Katharine House Gallery <br /> Dominic Kemp Modern British Prints <br /> James Kinmont Fine Art <br /> Stephen Lacey <br /> Liberty Gallery <br /> Lilford Gallery <br /> Lime Tree Gallery <br /> Long &amp; Ryle Ltd. <br /> Duncan R Miller Fine Arts <br /> Milne &amp; Moller <br /> Freya Mitton <br /> Modina Gallery <br /> Moncrieff-Bray Gallery <br /> Moroccan Fine Art <br /> Richard Nathanson <br /> Oriel Fine Art <br /> Panter &amp; Hall Ltd <br /> Print Europe <br /> Quantum Contemporary Art <br /> Rae-Smith Gallery <br /> Red Raven Arts <br /> Roe And Moore <br /> The Russell Gallery <br /> Vernissage <br /> View Art Gallery <br /> Wren Gallery</p> Thu, 25 Apr 2013 18:34:39 +0000 Pae White - South London Gallery - March 13th, 2013 - May 12th, 2013 <p style="text-align: justify;"><span face="Verdana,Arial,Helvetica,sans-serif" color="#000000" size="2" style="color: #000000; font-family: arial, helvetica, sans-serif; font-size: small;">Los Angeles-based artist <strong>Pae White</strong> merges art, design, craft and architecture through site-specific installations and individual works which defy our expectations of a variety of techniques and media. For her South London Gallery exhibition she creates a mesmerising installation in which vast quantities of black and purple yarn span and criss-cross the room to form a dense cloud of darkness which struggles to exist within the ethereality of the space. As visitors make their way into the work beneath the mesh of threads, supergraphics spelling out the words TIGER TIGER and UNMATTERING gradually emerge and dissolve depending on both the viewer's physical relationship to them and the relative weight of the overall aesthetic experience. Inspired by the artist's recent bouts of insomnia and consequent reflection on the transience of our existence, the installation also makes reference, through the colours of the yarn, to the cover of Black Sabbath’s <em>Master of Reality</em> album, a copy of which she remembers having terrified her so much when she was a child that she had to hide it under her bed to be able to sleep.</span></p> <p style="text-align: justify;"><span face="Verdana,Arial,Helvetica,sans-serif" color="#000000" size="2" style="color: #000000; font-family: arial, helvetica, sans-serif; font-size: small;">In all her works, Pae White responds very specifically, if completely unpredictably, to each space and situation in an intuitive and unique way, weaving together personal, aesthetic and cultural references. At the South London Gallery, what she describes as the ‘other-worldliness’ of the high-ceilinged exhibition hall, its ‘heavenly condition’, served as a trigger for the creation of a work which would be in perceptual conflict with the persistent ethereality of the space. Having made her first yarn installation incorporating supergraphics in Philadelphia in 2012, White was also intent on extending her interest in text and language. Her choice of the words TIGER TIGER and UNMATTERING, spelt out on a monumental scale, play on the capacity for fleeting ideas to take on overwhelming importance in the course of the night, and on the relative insignificance of individual lives in the universal scheme of things. Legible only by entering and interacting with the space, the words themselves are both physical and visual manifestations of the fragility of matter, as well as seeming to shout all the louder for being set amidst the muffled soundscape of the cocooning environment.</span></p> <p style="text-align: justify;"><span face="Verdana,Arial,Helvetica,sans-serif" color="#000000" size="2" style="color: #000000; font-family: arial, helvetica, sans-serif; font-size: small;">Pae White’s work is characterised by its diversity and the artist’s ability to develop visually impressive responses to a range of contexts. Gallery installations have included a shimmering sea of over-sized, gold-lined popcorn kernels suspended from fine threads to hover just above the floor, huge tapestries of photorealistic smoke plumes, and room-filling mobiles of mirrored geometric shapes. In 2009 she responded to Miami’s architectural skyline with her own micro-development of temporary scaffolding structures, made magical through the interior illumination of their brightly coloured translucent walls, whilst in 2008 an outdoor exercise park for dogs proved to be a popular hit with dog owners at the Folkestone Triennial. For the 2009 Venice Biennale animals were again a preoccupation when White transformed a warehouse into an imagined haven for birds. Hanging beneath a ceiling of coloured acrylic thread, a series of extraordinary seed-encrusted chandeliers implied the presence of birds, periodically made audible by impersonators whistling live in the space. </span></p> <p style="text-align: justify;"><span face="Verdana,Arial,Helvetica,sans-serif" color="#000000" size="2" style="color: #000000; font-family: arial, helvetica, sans-serif; font-size: small;">White has exhibited extensively across the USA and internationally over the past twenty years, as well as undertaking high profile projects for the Venice Biennale in 2009 and Whitney Biennale in 2010, and numerous commissions including those for Transport for London, the New Opera House in Oslo and Berlin Brandenburg airport. Forthcoming solo shows include those at the Langen Foundation, Neuss, Germany (March-July 2013) and at MAK in Vienna, Austria (Autumn 2013). </span></p> <p style="text-align: justify;"><span face="Verdana,Arial,Helvetica,sans-serif" color="#000000" size="2" style="color: #000000; font-family: arial, helvetica, sans-serif; font-size: small;"><em>The exhibition is supported by Vicky Hughes and John Smith, and The Henry Moore Foundation. With additional thanks to greengrassi, London.</em></span></p> Fri, 22 Feb 2013 16:42:48 +0000 Kurt Schwitters - Tate Britain - January 30th, 2013 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>Schwitters in Britain</em> is the first major exhibition to examine the late work of <strong>Kurt Schwitters</strong>, one of the major artists of European Modernism. The exhibition focuses on his British period, from his arrival in Britain as a refugee in 1940 until his death in Cumbria in 1948. Schwitters was forced to flee Germany when his work was condemned as ‘degenerate’ by Germany’s Nazi government and the show traces the impact of exile on his work. It includes over 150 collages, assemblages and sculptures many shown in the UK for the first time in over 30 years. </span><br /><br /><span style="font-size: small;">Schwitters was a significant figure in European Dadaism who invented the concept of Merz – ‘the combination, for artistic purposes of all conceivable materials’. Whether those materials were string, cotton wool or a pram wheel, Schwitters considered them to be equal with paint. He is best known for his pioneering use of found objects and everyday materials in abstract collage, installation, poetry and performance. Schwitters’s time in Britain was quite extraordinary and continues to reverberate today, with the influence he has exerted over artists such as Richard Hamilton, Eduardo Paolozzi and Damien Hirst.</span><br /><br /><span style="font-size: small;">Schwitters’s escape from Germany took him first to Norway, where he boarded the last ship to leave the country before Nazi occupation. On arrival at the Scottish port of Leith, he was detained as an enemy alien. He was one of many German exiles, including a significant number of artists, who were interned on the Isle of Man during World War Two. In the camp he participated in group exhibitions and gave poetry performances. On release in 1941 he became involved with the London art scene, engaging with British artists and critics such as Ben Nicholson and Herbert Read. The latter described him as ‘the supreme master of the collage’. </span><br /><br /><span style="font-size: small;">Exhibition highlights include an early example of Schwitters’s unique concept of Merz in the assemblage <em>Merz Picture 46 A</em>. <em>The Skittle Picture</em> 1921, the sculpture<em> Untitled (Birchwood Sculpture)</em> 1940 carved on his journey to Britain, and his collaged travelling trunk. Schwitters’s collages often incorporated fragments from packaging and newspapers reflecting British life such as the London bus tickets and Bassetts Liquorice Allsorts wrappers used in <em>Untitled (This is to Certify That)</em> 1942. The exhibition reunites a group of works shown in his 1944 London solo show at The Modern Art Gallery including the important assemblage <em>Anything with a Stone</em> 1941–4.</span><br /><br /><span style="font-size: small;">In 1945 Schwitters relocated to the Lake District. Inspired by the rural Cumbrian landscape, he began to incorporate natural objects into his work, as shown in a group of small sculptures including <em>Untitled (Opening Blossom)</em> 1942– 5 which he considered to be among his finest British pieces. The move also culminated in the creation of his last great sculpture and installation, the Merz Barn, a continuation of the Hanover Merzbau; an architectural construction considered to be one of the key lost works of European modernism. The exhibition concludes with an exploration of Schwitters’s lasting legacy through commissions by artists Adam Chodzko and <span class="ga-tracked">Laure Prouvost</span> made in collaboration with <span class="ga-tracked">Grizedale Arts</span>. </span><br /><br /><span style="font-size: small;"><em>Schwitters in Britain</em> is curated by Emma Chambers, Curator: Modern British Art, Tate Britain and Karin Orchard, Curator of Prints and Drawings, Sprengel Museum Hannover. The exhibition is organised by Tate Britain and the Sprengel Museum Hannover in cooperation with the Kurt und Ernst Schwitters Stiftung, Hannover. It will tour to the Sprengel Museum Hannover from 2 June to 25 August 2013.</span></p> Fri, 30 Nov 2012 12:34:10 +0000 Oskar Fischinger - Tate Modern - June 1st, 2012 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">In 1926, the German filmmaker <strong><span class="ga-tracked">Oskar Fischinger</span></strong> pioneered one of the first immersive multimedia performances using abstract films, creating dynamic new possibilities for cinema as an art form.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Fischinger was a major figure in the development of filmic abstraction and ‘visual music’. Like László Moholy-Nagy, who presented Fischinger’s work at the Bauhaus, he developed a radical approach to abstraction working with light, space, time and movement. Using dazzling colour and experimental animation techniques including unique wax experiments, Fischinger strove to push aside narrative and reduce cinema to pure plane, scale, motion, rhythm and colour, in search of the absolute.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Following a period of early experiments with Hungarian composer Alexander László, Fischinger devised multiple 35 mm projector performances, which included colour filters and slides. He later adopted the term <em>Raumlichtkunst</em> (space-light-art) for these events, which he described as ‘an intoxication by light from a thousand sources.’</span></p> <p style="text-align: justify;"><span style="font-size: small;">After emigrating to Hollywood in 1936, Fischinger worked briefly in the studio system, most notably creating designs for Walt Disney’s animated film <em>Fantasia</em>. This collision between the concerns of high abstraction and more popular forms is emblematic of Fischinger’s career, which complicated the relationship between the avant-garde and mass culture.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This installation is a reconstruction of Fischinger’s performances from around 1926 by the Center for Visual Music, Los Angeles. Using Fischinger’s original nitrate materials from the period, the newly restored 35 mm films have been transferred to HD and digitally restored with added colour.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Oskar Fischinger was born in Gelnhausen, Germany in 1900. He emigrated to Los Angeles in 1936, where he lived until his death in 1967.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tate Modern display curated by Stuart Comer in association with Cindy Keefer, archivist, Center for Visual Music. Music Consultant: Richard H. Brown, Ph.D. </span></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;"><span style="font-size: small;"><em>Film restoration supported by an Avant-Garde Masters Grant, funded by The Film Foundation, administered by The National Film Preservation Foundation (US).</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Thanks to: Barbara Fischinger, The Fischinger Trust, Cinemaculture, Film Technology Co., Inc., Jörg Jewanski and William Moritz.</em></span></p> </div> </div> </div> Sat, 18 Aug 2012 08:43:38 +0000 Bartolome Esteban Murillo, Francisco Meneses Osorio, Juan Simón Gutiérrez - The Wallace Collection - February 6th, 2013 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The Wallace Collection houses one of Britain’s most important collections of paintings by the seventeenth-century Spanish artist, Bartolomé Estebán Murillo, with eight masterpieces and several by his workshop and associates, Francisco Meneses Osorio and Juan Simón Gutiérrez. They were all acquired by the 4th Marquess of Hertford, and epitomise the ‘pleasing’ pictures he so favoured. This special display is timed to coincide with the exhibition, <em>Murillo and Justino de Neve. The Art of Friendship</em> being held at the Dulwich Picture Gallery. It  reunites for the first time in over two hundred years the Wallace Collection paintings with a rarely-seen loan, which together formed part of one of his important cycles.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Recently major museums have begun to re-appraise Murillo, who was much revered throughout the eighteenth and early nineteenth century, when his work was eagerly bought by French and British connoisseurs. However, from the mid nineteenth century, his fame began to decline culminating for many in the twentieth century view of his art as unfashionably sentimental, an appropriate decoration for chocolate boxes. Recent books and exhibitions on the artist have all helped to restore the painter’s reputation and cement his important position within the European Baroque.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Murillo was equally famous for his paintings of both religious and everyday life, but all of those purchased by the 4th Marquess were of religious subjects. In these devotional paintings Murillo powerfully communicates the human emotions of his subjects, while at the same time endowing them with great beauty and grace. Such scenes as the Annunciation and the Adoration are a fusion of earth and Heaven, a powerful intermingling of grace and humanity.These simple but powerful works convey a spiritual calm and wonder today, just as they would have done in the turbulent times in which they were painted.</span></p> <p style="text-align: justify;"><span style="font-size: small;">With the ability to encourage the viewer to be inspired, instructed, and hopefully minded to emulate his protagonists, it is perhaps little surprise that many of the paintings soon ended up in a Counter-Reformation church. In 1674 the merchant Giovanni Bielato bequeathed a number of paintings by Murillo to the Genoese Capuchin church. Six of these were purchased in 1805 for the agent William Buchanan and brought to London, three ultimately coming into the collection of the 4th Marquess of Hertford. In one room of the exhibition, they will be reunited with the only other painting from Buchanan’s six that has remained in Britain, thanks to the generous loan of the <em>Rest on the Flight into Egypt</em> from Wrotham Park. Displayed once more together, viewers will appreciate something of their original emotional impact.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Much of the undoubted appeal of these paintings is their masterful fusion of the depiction of divine grace and earthly realism. Murillo’s expressive technique and use of warm, delicate colour create a subtle, hazy effect of light and atmosphere. The freer style and warmer palette of Murillo’s late works shows his openness to the <em>sfumato </em>techniques associated with the Venetian, north Italian and Flemish painters such as Titian, Barocci, and van Dyck. We hope that this exhibition will serve to further the understanding and appreciation of Murillo as a key protagonist of Spain’s Golden Age.</span></p> Thu, 21 Feb 2013 16:16:12 +0000 Jimmy De Sana - Wilkinson Gallery - April 5th, 2013 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Wilkinson Gallery</strong> is pleased to announce its third solo exhibition by <strong>Jimmy De Sana</strong> (1950 – 1980), focusing on  the colour photographs produced during the late 70s and early 80s. </span></p> <p style="text-align: justify;"><span style="font-size: small;">De Sana made images rather than taking photographs. In the darkroom he enhanced colours and used solarisation  to create his own particular photographic language. He played with the idea of the body as sculpture and the  sometimes extreme sexual imagery was informed by the punk scene of downtown New York. The figures in the  photographs were his friends. He also used his own body in some of the images, all of which were staged in his  home and studio.</span></p> <p style="text-align: justify;"><span style="font-size: small;">His photographs begin within a suburban setting, but one slowly infiltrated with the sexuality and absurdity that  could only be found in a decaying lower Manhattan. De Sana was influenced from a young age by the writings of  William Burroughs (with whom he collaborated on the earlier Submission series) an influence that dispatched the  beatific, underground, punk sensibilities and the eccentric, perverse tone that came to define his photographs -the  graphic exposure and leaking discovery of licentiousness, carried out within a suburban home. As Burroughs put it,  “Look at these pictures in Submission…My dear, its all so Christian and medieval and gloomy.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jimmy De Sana’s work is currently included in the exhibition,<em> Glam! The Performance of Style</em> at Tate Liverpool  and <em>This Will Have Been: Art, Love &amp; Politics in the 1980’s</em> at The Museum of Contemporary Art, Chicago. Solo  exhibitions include, Wilkinson Gallery (2008 and 2007), White Columns, New York (2007), Pat Hearn Gallery,  New York (1997, 1995, 1988, 1986), and Galerie Jablonka, Cologne (1989). Group shows include <em>This Will Have  Been: Art, Love &amp; Politics in the 1980’s</em>, The Institute of Contemporary Art, Boston (2012-2013) and The Walker  Art Centre, Minneapolis (2012), <em>Off the Wall: Part 1 – Thirty Performative Actions</em>, Whitney Museum of American  Art, New York (2010), <em>Looking at Music: Side 2</em>, The Museum of Modern Art, New York (2009), <em>Eat the  Document</em>, curated by Dean Daderko, Larissa Goldston Gallery, New York (2008), Blow Both of Us, curated by  Shannon Ebner and Adam Putnam, Participant Inc, New York (2007), <em>Erotophobia</em>, Simon Watson Gallery, New  York (1989),<em> Staging The Self: photography 1840 -1985</em>, National Portrait Gallery, London (1986), <em>New York,  New Wave</em>, PS1, New York (1981) and Times Square Show, New York (1980).</span></p> Thu, 04 Apr 2013 18:10:09 +0000 Group Show - Drawing Room - April 18th, 2013 - May 15th, 2013 <div class="intro"> <p style="text-align: justify;"><span style="font-size: small;">An exhibition and auction of over 200 specially made drawings by an international line-up of artists.</span></p> </div> <div class="body"> <p style="text-align: justify;"><span style="font-size: small;">Now firmly established in the art world calendar <em>Drawing Biennial</em> presents the latest developments in contemporary drawing and demonstrates the crucial role that drawing plays in contemporary art practices. Curated by Drawing Room directors, over 200 artists are invited to make an original drawing in any medium on an A4 sheet of paper.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The artists also kindly donate their drawings to raise crucial funds for Drawing Room's programme, with the works available on our online auction site throughout the 4 weeks of the exhibition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Since 2003, over 850 distinguished and emerging national and international artists have participated. Participating artists include those who may not be know for their drawing and often their donated drawing initiates a new body of work:</span></p> <blockquote> <p><span style="font-size: small;"><em>I see the drawing room auction as a kind of commission, and it's nice to go back to an existing series of works (I mean the nudes). This year a whole new set of pieces came out of resuming work on the nudes. So I should thank you.</em> John Stezaker, 2011</span></p> </blockquote> <blockquote> <p><span style="font-size: small;"><em>It was here that I first saw Anna Barham's drawing and was so intrigued, I commissioned her to make a work. The fundraiser is great way to gain exposure to young artists and forge relationships with them. </em>Elisabetta Buonaiuto, collector, 2011</span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;">From a starting price of £250, the format of the silent auction means anyone can bid (either on line, on the phone or in person) for an original work of art, whether it is their a first ever purchase, or an acquisitions for a major collection.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Drawing Biennial 2013</em> works will be available to view online from 10am Thursday 18 April, join our mailing list to keep up to date on our biennial programme. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Among the artists who are contributing  this year are; David Austen (UK), Andrea Bowers (US), Pavel Buchler (UK), Angela de la Cruz (UK), Marcel van Eeden (NL), Nogah Engler (IL), Geoffrey Farmer (C), Antony Gormley (UK), Anthea Hamilton (UK), Mona Hatoum (UK), Arturo Herrera (D), Susan Hiller (UK), Brian O'Doherty (US) Mateo Lopez (CO), David Musgrave (UK), Paul Noble (UK), Cornelia Parker (UK), Paula Rego (UK),  Tobias Rehberger (D), Bob &amp; Roberta Smith (UK), Juliao Sarmento (PT), George Shaw (UK), Raqib Shaw (UK), Mark Wallinger (UK), Franz Erhard Walther (D), Alison Wilding (UK) and many others.</span></p> </div> Mon, 25 Mar 2013 11:07:17 +0000 Brett Amory, Sandow Birk, Borf, miaz brothers, Bill Dunlap, Katrin Fridriks, Frank Laws - Lazarides Rathbone Place - April 19th, 2013 - May 16th, 2013 <p align="center"> </p> <p align="center"> </p> <p align="center"> </p> <p><b>Lazarides Rathbone</b> will open their doors on the 19<sup>th</sup> April 2013 with a new exhibition entitled <b><i>Fresh Paint</i></b>. The exhibition will feature a selection of artists whose work has captured the eye of gallery owner Steve Lazarides. Displaying paintings by emerging and established artists, the artists selected demonstrate the range and depth of contemporary practice bringing together The Outsiders veterans Brett Amory and BORF alongside guest artists Sandow Birk, Katrin Fridriks, Bill Dunlap, Frank Laws and the Miaz Brothers. </p> Sat, 22 Feb 2014 15:42:15 +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 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 Group Show - Blain|Southern - London Hanover Square - April 11th, 2013 - May 18th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The directors of <strong>Blain|Southern</strong> are delighted to present <em>Tell Me Whom You Haunt: Marcel Duchamp and the Contemporary Readymade, </em>a group exhibition in which works by ten leading contemporary artists are placed in dialogue with the readymades of Marcel Duchamp. The exhibition examines the ways in which artists today continue to respond to the activation of memory and the phenomenon of ‘haunting’ so present in the unique and progressive art of Duchamp during the early twentieth century.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Taken from an age-old French proverb, ‘Tell me whom you haunt and I will tell you who you are’, the show’s title refers to the idea that found or ‘readymade’ objects relinquish their previous signification and assume a shifting identity whenever recontextualised; they cease to be one thing in order to become another. In this sense, David Batchelor, Jota Castro, Jimmie Durham, Piero Golia, Martin Kersels, Robert Kusmirowski, Olaf Nicolai, Valentin Ruhry, Nasan Tur and Sislej Xhafa could all be seen, much like Duchamp, to be creating contexts for the ‘haunting’ of objects through their practice. Furthermore, their artworks take on the role of post-structuralist memory-objects, where meaning can extend beyond the personal significance of these objects for the artists, into a realm where the viewer’s own recollections or associations are triggered, positing the potential for a rich web of personal readings.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Mario Codognato, Head Curator and Director of Exhibitions at Blain|Southern states: <em>“Objects often have a multiplicity of meanings, dependent upon each individual’s experience of them. This exhibition seeks to explore the alternative meaning(s) bestowed upon objects through their placement in the gallery space, within which seemingly ordinary objects can be redefined as art.”</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">Among the numerous Duchamp works on display, <em>From or by Marcel Duchamp or Rrose Selavy (Box in a Valise) </em>(1952) best encapsulates the central themes examined within the exhibition. The intricate layering of meaning, typical of Duchamp’s work, is manifest in the literal act of encasing a box within a valise. Contained within the suitcase are a variety of miniature replicas and colour reproductions of his earlier works; a display of memory that also highlights the continuity within his oeuvre. The title gives a nod to Duchamp’s female alter ego, Rrose Selavy, whose signature appears on a number of the reproductions, thus emphasising the mutable nature of identity.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Just as Duchamp was ‘haunted’ by his past works, which initiated constant revisions to the concept of the readymade, so Duchamp himself haunts the work of Olaf Nicolai, <em>Apparition of a two dimensional object as a three dimensional shadow in chocolate </em>(2013), as he presents Duchamp’s profile and silhouetted image in the form of a series of chocolate cakes – calling into question the ideas of transubstantiation and the consumption of knowledge. David Batchelor is haunted by the material remnants of previous projects, with his electrical flex balls originating from a surplus of this material left over from the artist’s disassembly of his lightboxes.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In Robert Kusmirowski’s <em>Doorama </em>(2009), the notion of history as a man-made construct informed by memory and imagination is presented. Four meticulously recreated advertisements for nineteenth century Swedish cosmoramas are exhibited alongside an ornately painted door, through which two eyeholes reveal a voyeuristic view of an artificially-created street scene in Lublin, Poland. Memory also pervades Sislej Xhafa’s work <em>Rocket Ship </em>(2011),in which the artist’s own childhood hopes and subsequent recollections are referenced within the context of travel and migration.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Nasan Tur’s <em>Fortuna </em>(2011) utilises the actual roulette ball from the famous Baden-Baden casino, imbued with thousands of histories of success and failure – the casino itself was immortalised through the writings of Fyodor Dostoevsky whose novel, <em>The Gamblers</em> (1867) was written while he compulsively played roulette at Baden-Baden. By comparison, the found objects in Martin Kersels’ <em>Charms (USS Constitution)</em> (2011) are highly kitsch, with a toy boat and spider’s web being brought together to create the image of the iconic Revolutionary War era frigate when illuminated.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jota Castro and Jimmie Durham’s works both reference the nature of existence and the processes of life and death, with Castro’s <em>Leche y Ceniza </em>(2008) (which translates into milk and ashes) being comprised of a baby’s cradle, the bottom of which is lined with a mirror that reflects the viewer’s own image back at them. Durham’s sculpture <em>Himmel und Erde müssen vergehen</em> (2000) displays a monumental stone crushing a lightweight jacket, creating unnerving contrasts between weight, volume and material.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Valentin Ruhry will be presenting a site-specific installation that responds to this concept of the readymade and memory, as an old stepladder is wall-mounted and united with a single light bulb to continue the artist’s ongoing interest in the chandelier form. Piero Golia will also reference past works, in particular his sculpture <em>Bus (untitled) </em>(2008),where he crushed an entire bus and presented the mangled form at ART LA. Here, the artist will present the axle from this bus, which is in fact not crushable, cutting it into four pieces of varying length and signing these, thus reappropriating this piece of functional machinery and referencing the memory of a performative act.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ultimately, every artist in the exhibition engages with the phenomena of ‘haunting’ and the manifestation of memory, or the renewed construction of narratives and their shifting significations. Each object is permeated with a personal and historical significance for each artist, and also, perhaps, for the viewer, demonstrating the interconnectedness of identity and remembrance, and the fluid or malleable nature of meaning.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>About the artists:</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>David Batchelor </strong>is an artist and writer based in London. He was born in Dundee, Scotland in 1955. He studied Fine Art at Trent Polytechnic, Nottingham (1975-78), and Cultural Theory at Birmingham University (1978-80). He has exhibited widely in the UK, continental Europe, the Americas and, more recently, Asia. Recent exhibitions include <em>Light Show</em>, Hayward Gallery, London (2013); <em>The Shape of Things to Come</em>, Saatchi Gallery, London (2011); <em>Chromophilia: 1995-2010</em>, Paço Imperial, Rio de Janeiro (2010); <em>Backlights</em>, Galeria Leme, São Paulo (2008); <em>Color Chart</em>, Museum of Modern Art, New York (2008) and Tate Liverpool (2009); <em>Unplugged</em>, Talbot Rice Gallery, Edinburgh (2007); <em>Extreme Abstraction</em>, Albright Knox Gallery, Buffalo, New York (2005); the Biennial de Santiago, Chile (2005); <em>Shiny Dirty</em>, Ikon Gallery, Birmingham (2004); the 26th Bienal De São Paulo (2004);  <em>Sodium and Asphalt</em>, Museo Tamayo, Mexico City (2003); and <em>Days Like These</em>: Tate Britain Triennial of Contemporary Art, Tate Britain, London (2003).</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Jota Castro</strong> was born in 1965 in Lima, Peru, and now lives and works in Brussels, Belgium. His work has been exhibited around the world, and he has participated in numerous biennales, including Venice and Kwangju. He won the Gwandju Biennale prize in Korea in 2004. Recent exhibitions include: <em>Violent Frames</em>, Gonzalez y Gonzalez Gallery, Santiago (2012); <em>Memento mori</em>, Umberto di Marino, Naples (2011); <em>West End?,</em> Museum on the Seam, Jerusalem (2011); <em>Low Cost Tour – Second Stop</em>, Y3K, Melbourne (2010); <em>Low Cost Tour</em>, Gonzalez y Gonzalez Gallery, Santiago (2010); <em>Trasparenze</em>, MARCO, Rome (2010); <em>The Fear Society</em>, Pabellon de la Urgencia, Murcia. 53<sup>rd</sup> International Art Exhibition, Biennale di Venezia (2009); <em>Jota Castro</em>, Galerie Barbara Thumm, Berlin (2009); <em>Sleep tight</em>, Elaine Levy Project, Brussels (2008); <em>U-Turn</em>, Quadrennial for Contemporary Art, Nicolaj CCAC, Copenhagen (2008); <em>We are your future</em>, 2<sup>nd</sup> Moscow Biennial of Contemporary Art, Moscow (2007); <em>Rear Window</em>, Kiasma Museum, Helsinki (2006); <em>Introduction to Jota Castro</em>, Uplands Gallery, Melbourne (2005); and 4<sup>th</sup> Kwangju Biennale, Korea (2004).</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Jimmie Durham</strong> was born in 1940 in Washington, Arkansas, USA; lives and works in Berlin. From the early 1960’s, active in theatre, performance, literature and in the U.S. Civil Rights Movement. First solo art exhibition in Austin, Texas in 1965. Moved to Geneva, Switzerland in 1969, returned to the U.S. in 1973. Political organizer in the American Indian Movement, 1973-1980, Director of the International Indian Treaty Council and representative at the United Nations. Director of the Foundation for the Community of Artists (FCA) New York City, 1981-83. Moved to Mexico in 1987, left Mexico in 1994 and first moved to Tokyo to participate in a project co-ordinated by Art Front Gallery. From Japan, he moved to Dublin for a group show at the National Gallery. He left Ireland and stayed two months in Gent before his two-years-stay in Brussels. He left Brussels in 1997 for Marseilles (with a five-month residency in Stockholm). He was a recipient of a DAAD in Berlin 1998, and finally moved to Italy.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Piero Golia</strong> was born in Naples, Italy in 1974. Since 2002, he has lived and worked in Los Angeles, California. His work has been shown in a number of  major exhibitions in the United States and Europe. Recent shows include: <em>Double Tumble or the awesome twins</em>, Stedeljik Museum, Amsterdam (2011); <em>Concrete Cakes and Constellations Paintings</em>, Gagosian Gallery, Los Angeles (2011); <em>Premio Italia Arte Contemporanea</em>, Museo MAXXI, Rome (2010); <em>California Biennial</em>, Orange County Museum of Art (2010); <em>Artist’s Museum</em>, Museum of Contemporary Art, Los Angeles (2010);<em>Oh My God That’s So Awesome!</em>, Bortolami, New York (2009); <em>Knives</em>, Galleria Fonti, Naples (2008); <em>The Gold Standard</em>, MoMA P.S.1, New York (2007); <em>Vesuvius</em>, Moderna Museet, Stockholm (2007); <em>Piero Golia Piero Golia</em>, Galleria Fonti, Naples (2005); <em>The king is dead</em>, Cosmic Galerie, Paris (2004). In 2004, his film <em>Killer Shrimps</em> was selected for the Venice Film Festival.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Martin Kersels</strong> is a sculptor and installation artist who lives and works in Los Angeles, California. Born in the city in 1960, Kersels received his B.A. and his M.F.A from UCLA. He began his career as a performance artist collaborating on works with the group SHRIMPS, traveling throughout the United States to New York, Chicago, Los Angeles, and San Francisco to perform. Recent exhibitions include: <em>Charms and Devotionals</em>, Elizabeth Leach Gallery, Portland (2012); <em>Passionista</em>, ACME., Los Angeles (2011); <em>The </em><em>Artist’s Museum</em>, Museum of Contemporary Art, Los Angeles (2010);<em>Under Destruction, </em>Tinguely Museum, Basel (2010); <em>Second Nature</em>, UCLA Hammer Museum, Los Angeles (2009); <em>California Video</em>, The J. Paul Getty Museum, Los Angeles (2008); <em>Accidents</em>, Galerie Georges-Philippe &amp; Nathalie Vallois, Paris (2006); and<em>Illuminous</em>, Guido Costa Projects, Turin (2004).</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Robert Kuśmirowski</strong>, born in 1973 in Łódź, is a Polish contemporary artist whose work includes sculpture, installations, perform­ance and photography. His work employs the reconstruction of historical artefacts and settings to examine and manipulate historical themes. Recent exhibitions include <em>One on One</em>, KW - Institute for Contemporary Art, Berlin, Germany (2012); <em>Aire de Lyon</em>, Fun­dación PROA, Buenos Aires, Argentina (2012); Manifesta 9, Genk, Lumburg, Belgium (2012); <em>HUMAN BOMBER</em>, Warsztaty Kultury - Filia Centrum Kultury w Lublinie, Lubin, Poland (2011); <em>P.A.P.O.P.,</em> Fondazione Galleria Civica, Trento, Italy (2011). <em>MODA</em>, Fondazione Morra Greco, Napoli, Italy (2011); <em>Robert Kusmirowski 1939 - 2009</em>, Polnisches Institut, Berlin, Germany (2009); <em>Bunk</em>, The Barbican Center, London, UK (2009); and <em>After Nature</em>, New Museum , New York, NY USA (2008).</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Olaf Nicolai</strong> was born in 1962 in Germany. Since 1997 he has developed a wide variety of interdisciplinary projects through his examination of art, nature, music, the body, time and space. He has been awarded a number of prizes and grants, including the Villa Aurora Award (2009) and the Art Award Wolfsburg (2002). Recent exhibitions include: Busan Biennale, 2012; <em>Escalier du Chant</em>, Pinakothek der Moderne, Munich (2011); <em>Blink!</em>, Denver Art Museum, Denver (2011); <em>The New Décor</em>, Hayward Gallery, London (2010); <em>faites le travail qu’accomplit le soleil</em>, Kestnergesellschaft, Hannover (2010); <em>Journeys with no Return</em>, Istanbul Biennal (2009); <em>Samani. Some Proposals to Answer Important Questions</em>, Royal Academy of Arts, London (2008); <em>Destroy Athens</em>, 1<sup>st</sup> Athens Biennial, Athens (2007); 51<sup>st</sup> Biennale di Venezia, Venice (2005); and 4<sup>th</sup> Gwangju Biennale, Korea (2002).</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Valentin Ruhry </strong>was born in Austria in 1982. He perceives himself as a sculptor as well as a researcher or scientist, and his creations are often inspired by technological achievements. Recent exhibitions include: <em>False Universalisms</em>, Christine König Galerie, Vienna (2012<em>); All Work No Play</em>, Austrian Cultural Forum, London (2012); <em>Gute Aussichten</em>, Moscow Biennale, Moscow (2011); <em>Bosch Young Talent Show</em>, Stedelijk Museum, den Bosch (2011); <em>Nothing is wrong if it feels good</em>, Mike Potter Projects, Cologne (2010); Art Forum Berlin, Berlin (2009); <em>Project(or), Project(or)</em>, Rotterdam (2008); and <em>The Essence 2006</em>, MAK, Vienna (2006). Ruhry lives and works in Vienna.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Nasan Tur </strong>was born in 1974, in Offenbach, Germany. He engages with the social and political ideologies encoded in everyday life, making use of various media including video, photography, performance, sculpture and installations. Tur has won a number of awards, most recently the Will Grohmann Artprize – Akademie der Kunste, Berlin (2012). Recent exhibitions include: <em>Rethinking Modernity</em>, Istanbul Modern Museum, Istanbul, Turkey, (2013);<em>Farbe bekennen</em>, MARTa Museum, Herford (2013); <em>A Gathering</em>, Macedonian Museum of Contemporary Art, Thessaloniki (2012); <em>Languages of Revolution</em>, Kleine Humboldt Galerie, Berlin (2012); <em>Nasan Tur</em>, Kunsthalle Mannheim, Mannheim (2011); <em>Cities and Thinks That Matter</em>, Lombard Freid Projects, New York (2011); <em>Berliner Zimmer</em>, MNAC – National Museum of Contemporary Art Bucharest (2011); <em>Bollwerk gegen den Osten</em>, permanent installation in public space, Graz (2011); <em>Frischzelle</em>, Kunstmuseum Stuttgart, Stuttgart (2009); and <em>Komunismus Soziallismus Kapietalismus</em>, TANAS, Berlin (2008).</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Sislej Xhafa</strong> was born in Peja, Kosova in 1970, and now lives and works in New York. Xhafa is known for his artistic investigations into the social, economical, and political realities associated with the various complexities of modern society. Recent exhibitions include: <em>Sislej Xhafa NON Unplugged 2012</em>, NON Istanbul (2012); <em>Sislej Xhafa, from naples to Toronto,</em> Museo MADRE, Naples (2011); <em>oblique motionless</em>, Christine Konig Galerie, Vienna (2011); <em>The World Belongs to You, </em>Palazzo Grassi, Pinault Foundation, Venice (2011); <em>Indefinite Destinations</em>, DEPO Istanbul (2010); <em>Transmission Interrupted</em>, Modern Art Oxford, Oxford (2009); <em>Moulin Rouge</em>, Magazzino d’Arte Moderna, Rome (2009); Gwangju Biennale, Korea (2008); and <em>worlds on video</em>, Palazzo Strozzi, Florence (2008).</span></p> Mon, 01 Apr 2013 17:57:57 +0000 - CHELSEA space - April 10th, 2013 - May 18th, 2013 <p>CHELSEA space presents a rare opportunity to view previously unseen material from the Museum of London and British Record Shop Archive collections, concerning one of the world's greatest record shops.</p> <p>Dobells (1946-1992) was a significant meeting place for fans of jazz, folk and blues. This exhibition explores Dobells position as a retail environment, information network, cultural landmark and social hub through archive artefacts, ephemera, photographs (many by the celebrated jazz-blues photographer Val Wilmer), and graphics.</p> <p>Doug Dobell began selling collectable and imported jazz records in 1946 at his family's rare books shop at 77 Charing Cross Road. In 1957 he started up the 77 record label and was instrumental in developing, recording and marketing jazz, blues, folk and world music in the UK. At a later point 75 Charing Cross Road next door to the original store, was used to house Dobells Folk Record shop section.</p> <p>Prominent US musicians could be found dropping into Dobells including Muddy Waters, BB King, Roy Eldridge, Ben Webster, Red Allen and members of the Ellington band. A young Bob Dylan recorded in the small basement studio there in 1963 and Janis Joplin would visit with a bottle of Southern Comfort as a gift for the staff of the store.  </p> <p>Dobells stocked American blues 78s, 45s and LPs and many British music fans got their first ever taste of Mamie Smith, Leadbelly and Big Bill Broonzy there. The imported US records purchased at the record shop inspired such pioneers of British jazz and blues as Alexis Korner, Cyril Davies and Chris Barber (amongst many others). All the bands of the British Blues explosion: The Rolling Stones, Led Zeppelin, Cream and Fleetwood Mac shopped there. Martin Carthy, Dave Swarbrick, Mac McGann, Bert Jansch, The Vipers Skiffle Group, Lonnie Donegan and other folk musicians raided the shop's racks of Woody Guthrie and Cisco Houston records. David Bowie was also a regular customer during the early 1960s.</p> <p>Dobells provided a network for British Jazz musicians including Tubby Hayes, Ronnie Scott, Johnny Dankworth, Vic Lewis, Harry Beckett, Ian Carr, Mike Westbrook and many others who would meet there to check out the new imports in the listening booths and chat about the latest sounds. Such was the standing of Dobells, that it found its way into literature with New immigrants to London from former colonies and war torn nations would also visit as Dobells as it was the only shop in London to stock African, Irish, Yiddish and music from other parts of the world.</p> <p>This exhibition recalls an era when a specialist record shop helped shape the nation's underground cultural scene.</p> <p>This exhibition takes place to coincide with Record Store Day UK, which occurs on Saturday 20<sup>th</sup> April 2013. </p> Fri, 22 Feb 2013 13:02:57 +0000 Patrick Hughes - Flowers | Cork Street - April 24th, 2013 - May 18th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Flowers Gallery</strong> is delighted to announce <strong><em> Superspectivism</em></strong>  - a captivating exhibition of new ‘Reverspective’ oil paintings by <strong>Patrick Hughes</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Nine new works, including  <em>Brillesque,  The Joy of Roy, Baggage </em> and<em>  Tea Shop</em>, each present Hughes’ characteristic reversed perspective to  create the extraordinary visual illusion of a moving painting. Playful, philosophical, paradoxical and surreal these works challenge our  perceptions of life, presenting reality in reverse.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> Visitors will be drawn into an unHughesual world where a corner shop finds it way inside a domestic interior and a suitcase becomes  supersized. You can tour the imagined galleries hung with Warhols, Lichtensteins and Hoppers and test one’s sense of balance in front of  towering stacks of books painted in reversed, flat and forced perspective. </span><br style="font-size: small;" /><br style="font-size: small;" /></p> <blockquote> <p style="text-align: justify;"><span style="font-size: small;"><em>“ In the real world surreal things sometimes happen...Superspectivism is a super version of perspective, one which moves and changes with  you as you move, which adjusts to your point of view...I hope my pictures give an experience unlike any other, in which viewers see the  impossible happen. And I hope that we then think a bit about why that is. If lookers and seers experience the paradox and reciprocity of the  world and themselves, they get a sense of the flow of life .” </em> Patrick Hughes 2013</span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Coinciding with  <strong><em>Superspectivism</em></strong>; <em> Moving</em>  (2013), the latest Hughes multiple will be unveiled at the London Original Print Fair at the Royal  Academy of Arts from 24-28 April. Complimentary tickets are available on request.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">A new film about Patrick Hughes and his Reverspectives, directed by Jake West, has recently been confirmed, with filming beginning at the  Private View.  A new monograph on the art and ideas of Patrick Hughes written by writer and broadcaster, Rosie Millard, will be published later in the year.  </span></p> <p style="text-align: justify;"><span>Solo exhibitions in 2013 have included  <em>Patrick Hughes at the Deutsch Museum</em>  , Lausanne (February) and<em> Structure of Space</em>, Galerie Boisserée,  Cologne (March). In September, <em>Deceptivespective</em>  opens at Scott Richards Contemporary Art, San Francisco. </span></p> <p style="text-align: justify;"><span> In 2014 Hughes will be featured in <em> Visual Deception II: Into the Future </em> at Nagoya City Art Museum, The Bunkamura Museum of Art and Hyogo  Prefectural Museum of Art, Japan.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Background:  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Reverspectives are three-dimensional paintings that when viewed from the front initially give the impression of viewing a painted flat  surface that shows a perspective view. However, as soon as the viewer moves his head slightly the three dimensional surface that supports  the perspective view accentuates the depth of the image and accelerates the shifting perspective. This provides a powerful and disorienting  impression of depth and movement. Patrick Hughes takes full advantage of this effect in his use of surrealist images that reinforce the  altered reality of the viewer.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Hughes first invented reverse perspective in 1964 with his <em> Sticking Out Room</em>  . His unique and distinctive contribution to art has continued  for over fifty years and incorporates Surrealism and Pop, using a trompe l’oeil technique. He prizes imagination as the most important human  activity. His practice is underpinned by his lifelong interest in paradox, language and the science of optics and perception. (Hughes will be  speaking on perception at the Pictorial Paradoxes academic conference organised by The Institute of Philosophy, University of London, at  Senate House, London on 24th May).  Patrick Hughes’ artworks can be found in more than fifty important international public collections for example, the British Library, London;  Tate Gallery, London; Gallery of Modern Art, Glasgow and Würth Museum, Germany. He has held over 100 solo exhibitions; locations include  Dubai, New Delhi, Seoul, Los Angeles and New York City.</span></p> <p><span style="font-size: small;">He has written a number of philosophical works on the theme of paradox and oxymoron including  <em>Vicious Circles and Infinity</em>  (1975), with  George Brecht, for Doubleday in New York and Jonathan Cape in London, translated into Japanese, German, Dutch and Spanish; <em> Upon  The Pun</em>, with Paul Hammond, published by W.H. Allen 1978;  <em>More on Oxymoron</em>,  Jonathan Cape, 1984;  Left to Write  , Flowers, 2008 and  Paradoxymoron, 2011.  Hughes lives and works in Shoreditch, London. His large studio is housed in an old furniture factory and will be open for visitors at  <em>Studiospective </em> in July 2013 (date to be confirmed) as part of the London Fringe Festival.</span></p> Mon, 08 Apr 2013 11:23:58 +0000