ArtSlant - Recently added en-us 40 Group Show - David Zwirner, London - September 5th - October 3rd <p style="text-align: justify;">David&nbsp;Zwirner is pleased to present a comprehensive exhibition of paintings and sculptures by the Cuban group of abstract painters&nbsp;<em>Los Diez Pintores Concretos</em>&nbsp;(Ten Concrete Painters), which was active from 1959 to 1961.&nbsp;<em>Concrete&nbsp;Cuba</em>&nbsp;is the first presentation in the United&nbsp;Kingdom to highlight the origins of concretism in Cuba during the 1950s, and will include important works by the artists who were at different times associated with the short-lived group: Pedro &Aacute;lvarez, Wifredo&nbsp;Arcay, Mario&nbsp;Carre&ntilde;o, Salvador&nbsp;Corratg&eacute;, Sand&uacute;&nbsp;Dari&eacute;, Luis&nbsp;Mart&iacute;nez&nbsp;Pedro, Alberto&nbsp;Menocal, Jos&eacute;&nbsp;Mijares, Pedro&nbsp;de&nbsp;Ora&aacute;, Jos&eacute;&nbsp;&Aacute;ngel&nbsp;Rosabal, Lol&oacute;&nbsp;Soldevilla, and Rafael&nbsp;Soriano.</p> Sat, 29 Aug 2015 16:21:16 +0000 - Whitechapel Gallery - September 17th - November 29th <p style="text-align: justify;">Tickets are now on sale for&nbsp;<em>Music for Museums</em><em>,&nbsp;</em>a season of live experimental music featuring works by ground-breaking composers and artists. Divided into six themes, from Fluxus to Electonica and Sonic Spaces, events are on Thursday evenings and Saturday afternoons, with an accompanying programme of free film screenings.<br /><a href=";id=4fdf937dec&amp;e=2edb4146d7" target="_blank">Book now.</a></p> Sat, 29 Aug 2015 16:12:39 +0000 Razvan Boar - Ibid. - September 4th - October 3rd <p style="text-align: center;">Ibid. London is pleased to invite you to our next exhibition</p> <p style="text-align: center;"><strong>Razvan Boar</strong></p> <p style="text-align: center;"><em>STUMP LUNCH</em></p> <p><em>&nbsp;</em></p> Sat, 29 Aug 2015 16:09:04 +0000 Michael Mcmillan - Peckham Platform - September 17th - November 22nd <p style="text-align: justify;">2015 marks twenty years since Nigerian writer and activist Ken Saro-Wiwa was executed, alongside eight colleagues, for crimes he did not commit. They were campaigning against Shell&rsquo;s exploitation and environmental destruction of the Ogoni land which twenty years on, remains unchecked. Peckham is at the heart of London&rsquo;s Nigerian and Ogoni diaspora so to coincide with this important anniversary, Peckham Platform has commissioned artist and writer Michael McMillan for a commemorative exhibition that will take place at the gallery from&nbsp;17 September &ndash; 22 November 2015.&nbsp;</p> <p style="text-align: justify;">In June, the global Action Saro-Wiwa tour (organised by Platform London) brought Sokari Douglas Camp&rsquo;s Battle Bus to Peckham Square &ndash; the living memorial created by the Nigerian artist in 2005. The Battle Bus is a large-scale mobile interactive steel sculpture topped by oil drums and etched with the words of one of Saro-Wiwa&rsquo;s final speeches. Working with Theatre Peckham, McMillan created a performance piece that used The Battle Bus as a site and took place on the square onSaturday 27th June. It triggered memories for Nigerians and local people in Peckham of Ken Saro-Wiwa as a symbol for ordinary people resisting oppression and fighting for freedom across Africa and the world.&nbsp;</p> <p style="text-align: justify;">For the exhibition, wallpaper made from large-scale photographs taken inside and outside The Battle Bus will line the gallery evoking a sense in visitors of being present in the sculpture. Kiosks will display materials form Nigerian shops and communities in Peckham including food and &lsquo;Nollywood&rsquo; videos such as 70s sitcom &lsquo;Basi &amp; Co&rsquo; which was written by Ken Saro-Wiwa. Film of the performance of McMillan&rsquo;s work on Peckham Square and a montage of passers-by reading passages from Saro-Wiwa&rsquo;s final speech &lsquo;I Accuse&rsquo; inside The Battle Bus will be projected into the gallery, creating multiple layers that reflect the impact of The Battle Bus&rsquo; presence now it has departed on its journey to its permanent home in the Niger Delta.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Hashtag: #IAccuse</p> Sat, 29 Aug 2015 14:34:06 +0000 - fig-2 - August 31st - September 6th <p>Amy Stephens initiates relations between geological, architectonic and sculpted forms, exploring the dichotomy between the object/form and its representation. Using variety of media from drawing to sculpture and photography, Stephens investigates fluctuations between two and three-dimensional surfaces. Her drawings manifest themselves as physical lines in space, her sculptures replicate existing organic forms borrowed from natural settings, made in response to geographical features. Stephens employs traditional sculpting techniques, brings together the organic and the synthetic in her practice, intertwining the inversion principle and the translatability of form. At fig-2, Stephens shows a set of works that meld the existing with the new, where her wide spectrum of textures and materials, her investigation in the natural and inorganic are brought forward.</p> Thu, 27 Aug 2015 12:44:09 +0000 Francisco de Goya - National Gallery - October 7th - January 10th, 2016 <p class="intro" style="text-align: justify;">Striking and often unforgiving, <a class="amax-link-ConConstituent-668" href="" target="_blank">Goya&rsquo;s</a> portraits demonstrate his daringly unconventional approach and remarkable skill at capturing the psychology of his sitters.</p> <p style="text-align: justify;">Already 37 when he secured his first important portrait commission from Spain&rsquo;s Prime Minister, Count Floridablanca, Goya&rsquo;s reputation grew quickly. Ambitious and proud of his status, he gained patrons from the entire breadth of Spanish society: from the royal family and aristocrats, to intellectuals, politicians and military figures, to his own friends and family.</p> <p style="text-align: justify;">Deeply affected by his deafness, the result of serious illness in his mid-40s, portraiture remained a means by which Goya could communicate. His approach was unhindered; he was unafraid to reveal what he saw.</p> <p style="text-align: justify;">Providing penetrating insight into the public and private aspects of his life, &lsquo;Goya: The Portraits&rsquo; traces the artist&rsquo;s development, from his first commissions to more intimate later works painted during his &lsquo;self-imposed exile&rsquo; in France in the 1820s &ndash; a career that spanned revolution and restoration, war with France, and the cultural upheaval of the Spanish Enlightenment.</p> <p style="text-align: justify;">A boundary-breaker, and highly regarded by Delacroix, Degas, Manet and Picasso, Goya is one of Spain&rsquo;s most celebrated painters, yet until now, his story as a portraitist has never been told in an exhibition.</p> <p style="text-align: justify;">&lsquo;Goya: The Portraits&rsquo; presents around 70 of the artist&rsquo;s most outstanding works from public and private collections around the world, including paintings, drawings, and miniatures never-before-seen in London.</p> Wed, 26 Aug 2015 14:30:51 +0000 Ryan Gander - Lisson Gallery - September 25th - October 31st <p style="text-align: justify;">Ryan Gander returns for a third time to Lisson Gallery with <em>Fieldwork 2015</em>, an exhibition of interlinking new works by the artist, each offering a glimpse of the inspirations that feed his practice. Encompassing everything including a kitchen sink, the exhibition presents an individuated encyclopaedia that includes a year&rsquo;s worth of skies, the clothes of absentee statues, a tent, a helium balloon, the artist&rsquo;s phone number and a pebble beach. As ever with Gander&rsquo;s art, the forms convened in Fieldwork are elliptic and opaque, starting stories for the viewer to invent or complete.<br /><br />Occupying the entire back gallery, the titular <em>Fieldwork</em> (all works 2015) opens a window onto the revolving touchstones of Gander&rsquo;s art. Objects from the artist&rsquo;s collection &ndash; each seemingly found but on closer inspection uniquely crafted (for instance, a National Trust sign protecting &lsquo;Culturefield&rsquo;, Gander's imaginary artistic utopia) &ndash; rotate round the room on a vast, walled-off conveyer belt. Views of these items gliding past momentarily (a baseball bat covered in nails, a pair of dead pigeons, a chocolate bar swoosh&hellip;) are granted via an aperture in the gallery's wall, creating a memory game of strange associations and a prism of connections (a chess set, a tortured teddy bear, a dead chick served on a plate with a napkin signed by Picasso&hellip;) through which to consider the rest of the exhibition.<br /><br />An autobiographical inflection can be discerned in <em>Preparation is everything (There will come a slowness and we should prepare for that also)</em>, a work composed of 365 daily attempts to mix the exact colour of the sky over Saxmundham, Suffolk, in acrylic paint; while the installation <em>Never enough</em> &ndash; a shingle beach filling the entirety of the downstairs gallery &ndash; likewise refers to the seascape near Gander&rsquo;s home. Its endless pebbles reference an alleged punishment for those found guilty of the crime of smuggling: to seal up the perpetrator's storage cellar with stones washed up by the sea. Meanwhile <em>The artist&rsquo;s second phone</em>, a giant billboard installed outside the gallery, borrows the aesthetic of vacant Mexican billboards to announce Gander&rsquo;s phone number to all. <br /><br />Just as the visitor can glimpse the items on <em>Fieldwork</em> <em>2015</em>&rsquo;s conveyer belt but cannot approach them; or peer down at the pebble beach but not access it; and can even call up the artist but is unlikely to be answered, so the other works in the exhibition also present sealed-off worlds and frustrate knowledge. Occupying the courtyard space is <em>Night and Day</em>, an internally lit, semi-transparent two-man tent crafted out of fibreglass resin, while the high-gloss black of what appears to be a helium balloon stuck in the gallery, similarly rebuffs scrutiny. Elsewhere, what cannot be seen is suggestive: the series <em>As is&hellip;</em> show the base and discarded robes from sculptures that have gone walkabout; while<em> I be&hellip; (i) </em>and<em> I be&hellip; (ii)</em> are dust-sheeted mirrors as might be found in a closed-up stately home, their crisply sculpted draperies teasingly shrouding the reflections that lie behind.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">About the artist</p> <p style="text-align: justify;">Ryan Gander&rsquo;s complex and unfettered conceptual practice is stimulated by queries, investigations or what-ifs, rather than strict rules or limits. Gander is a cultural magpie in the widest sense, polymathically taking popular notions apart only to rebuild them in new ways. Language and storytelling play an overarching role in his work, not least in his series of Loose Association lectures or in his attempt to slip a nonsensical, palindromic new word, &lsquo;mitim&rsquo;, into the English language. Invitation and collaboration are also at the heart of Gander&rsquo;s fugitive art &ndash; whether he&rsquo;s exchanging fictionalised newspaper obituaries with an artist-friend or taking pictures of people looking at pictures at an art fair &ndash; although arguably every solipsistic action he takes merely holds up yet another mirror to his ceaselessly voracious mind.</p> <p style="text-align: justify;">Ryan Gander was born in Chester in 1976 and works in London. Forthcoming solo shows include Vancouver Art Gallery and Aspen Art Museum while group exhibitions include British Art Show 8 at Leeds Art Gallery, October 2015; traveling to Edinburgh, Norwich and Southampton and Performa, New York, 2015. Recent solo exhibitions include Australian Centre for Contemporary Art, Melbourne (2015); Singapore Tyler Print Institute, Singapore (2015); Proyectos Monclova, Mexico City (2015); <em>Make Every Show Like it&rsquo;s Your Last</em>, Manchester Art Gallery (2014), touring to Centre for Contemporary Art, Derry (2014) and OK Centre for Contemporary Art, Linz (2015); Palais de Tokyo, Paris (2012); Haus Konstruktiv, Zurich (2010); Solomon R Guggenheim Museum, New York (2010); Ikon Gallery, Birmingham (2008); MUMOK, Vienna (2007) and the CCA Wattis Institute for Contemporary Arts, San Francisco (2007). Gander has been awarded numerous prizes, among others the Z&uuml;rich Art Prize (2009), the ABN Amro Art Price (2006), the Baloise Art Statements of the Art Basel (2006) and the Dutch Prix de Rome for sculpture (2003).</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>27 Bell Street London</strong></p> Wed, 26 Aug 2015 14:27:54 +0000 Adam Broomberg & Oliver Chanarin - Lisson Gallery - September 25th - October 31st <p style="text-align: justify;">Broomberg &amp; Chanarin&rsquo;s debut solo exhibition at Lisson Gallery consists of new photographic, moving image and performative works that collectively explore tensions between discipline and chance, precision and chaos, empathy and the involuntary pleasure of watching the pain of others. Central to the show is a new film work, <em>Rudiments</em> (2015) in which the artists have collaborated with a group of young army cadets at a military camp on the outskirts of Liverpool. Whether Broomberg &amp; Chanarin have staged the scenes we observe or have simply documented the camp&rsquo;s routine practice remains unclear. The young soldiers-in-training are seen marching, drumming and obeying instructions &ndash; enacting a collective, authoritarian form of obedience &ndash; with varying degrees of success.<br /><br />The absurd and disturbing introduction of a &lsquo;<em>bouffon</em>&rsquo; &ndash; a dark clown whose performance teeters on vulgarity &ndash; radically challenges the martial codes supposedly being taught and interrupts their carefully choreographed routines. The children also learn how to pratfall, &lsquo;play dead&rsquo; or deliver convincing blows to one another, performing comic actions that are seemingly at odds with the hierarchical structures of the army. Broomberg &amp; Chanarin&rsquo;s film explores the experience of empathy or the enjoyment of pain in others through formative moments of childhood and innocence of early youth, as well as highlighting the importance of cadets to the armed services and especially the historical role of the drummer boy in battle. The work&rsquo;s title refers to the 40 rudiments that form the technical foundation of percussive music &ndash; including rolls, strokes and paradiddles &ndash; while the soundtrack is propelled by a dramatic, improvised score devised for the drums by the American musician Kid Millions (also known as John Colpitts).<br /><br />Accompanying the film are two large-scale photographic series, the first of which depicts bullets that have collided head-on and fused in mid-air. These improbable, perhaps even slapstick objects were originally found on the battlefields of the American Civil War and are said to have effectively saved the lives of two soldiers. For their second new series, Broomberg &amp; Chanarin have photographed military grade prisms, shards of optical glass that are used in the sights of precision weaponry, but which also relate to the lenses found in the same photographic apparatus they use. Violence is transmitted through these materials: collided lumps of lead and the shear edges of crystal glass. The exhibition will also feature a live performance with two drummers, one snare drum, one chair, two clocks and a lead carpet, in which the drummers play a drum roll for the 6-week duration of the exhibition, without interruption.<br /> <br />The Lisson Gallery exhibition is an extension of a major show at the Centre for Contemporary Art Ujazdowski Castle in Warsaw (27 June &ndash; 6 September), who co-commissioned the film <em>Rudiments</em> with Forma Arts, supported by Arts Council England. This show coincides with the artists exhibiting as part of the eighth British Art Show (Leeds Art Gallery, 9 October &ndash; 10 January 2017, then touring to Edinburgh, Norwich and Southampton throughout 2016) and they will also be the next invited artists to exhibit and intervene within the Freud Museum in London (7 October &ndash; 22 November), exhibiting a new body of work, <em>Every piece of dust on Freud's couch</em>.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">About the artists</p> <p style="text-align: justify;">Tackling politics, religion, war and history, Broomberg &amp; Chanarin prise open the fault lines associated with such imagery, creating new responses and pathways towards an understanding of the human condition. Trained as photographers they now work across diverse media, reacting to the photojournalistic experience of being embedded with the British Army in Afghanistan (and the controlled access to frontline action therein) with an absurd, conceptual riposte, composed of a series of abstract, six-metre swathes of photographic paper exposed to the sun for 20 seconds, for the work <em>The Day Nobody Died </em>(2008). Through painstaking restitution of found objects or imagery, from the long-lost set and discarded footage of the film <em>Catch-22 </em>in Mexico, for example, Broomberg &amp; Chanarin enact an archeology or exorcism of aesthetic and ideological constructs behind the accepted tropes of visual culture, laying bare its foundations for fresh interpretation. Language and literature play an increasing role as material for their multifaceted work, from the philosophical underpinnings in Bertolt Brecht&rsquo;s <em>War Primer </em>to the sacred texts of the Holy Bible itself, both books having been refashioned and recreated by the artists in their own ambiguous, combatant image.</p> <p style="text-align: justify;">Adam Broomberg (born 1970, Johannesburg, South Africa) and Oliver Chanarin (born 1971, London, UK) are artists living and working in London. Together they have had numerous solo exhibitions including the Centre for Contemporary Art Ujazdowski Castle, Warsaw (2015); Jumex Foundation, Mexico City (2014); FotoMuseum, Antwerp (2014); Mostyn, Llandudno, UK (2014); Townhouse, Cairo (2010); Mus&eacute;e de l&rsquo;Elysee, Lausanne (2009) and the Stedelijk Museum, Amsterdam (2006). Their participation in international group shows includes the British Art Show 8 (2015-2017); Conflict, Time, Photography at Tate Modern, London and Museum&nbsp; Folkwang, Essen (2015); Shanghai Biennale (2014); Museum of Modern Art, New York (2014); Tate Britain (2014); Mathaf Arab Museum of Modern Art, Doha (2013); Gwanju Biennale (2012) and the KW Institute for Contemporary Art, Berlin (2011).</p> <p style="text-align: justify;">Their work is held in major public and private collections including Tate, MoMa, Stedelijk, the V&amp;A, the International Center for Photography and the Art Gallery of Ontario. Major awards include the ICP&rsquo;s Infinity Award (2014) for Holy Bible, and the Deutsche B&ouml;rse Photogrpahy Price (2013) for War Primer 2.&nbsp;</p> <p style="text-align: justify;"><strong>52-54 &amp; 29 Bell Street London</strong></p> Wed, 26 Aug 2015 14:27:09 +0000 Group Show - Saatchi Gallery - November 25th - March 6th, 2016 Wed, 26 Aug 2015 14:18:35 +0000 - Saatchi Gallery - October 13th - November 1st <p style="text-align: justify;">Mademoiselle Priv&eacute;, a journey through the origins of CHANEL's creations capturing the charismatic personality and irreverent spirit of Mademoiselle Chanel and Karl Lagerfeld. <br /><br /> This autumn, Karl Lagerfeld and CHANEL will present an enchanted journey through the House's creativity. The "Mademoiselle Priv&eacute;" exhibition will highlight the Haute Couture, the re-editions of the High Jewellery "Bijoux de Diamants" collection created in 1932 and CHANEL N&deg;5. Opening the doors to reveal a dazzling experience and immersion into the origins of CHANEL's creations, "Mademoiselle Priv&eacute;" will capture the charismatic personality and irreverent spirit of Mademoiselle Chanel and Karl Lagerfeld. <br /><br /> Installed on all three floors of the Gallery, the enticing adventure will bring to mind the House's essential elements: audacity, freedom and innovation whether it is the history of Gabrielle Chanel's inspirations or Karl Lagerfeld's inimitable take on CHANEL's codes, symbols and icons. <br /><br /> <strong>Subscribe to get updated on the latest news and the visitors' app</strong><br /> <a href="" target="_blank">MADEMOISELLEPRIVE.CHANEL.COM</a> <br /><br /><br /> PRESENTED BY: <br /><br /> <img src="" alt="" /></p> <p>&nbsp;</p> Wed, 26 Aug 2015 14:17:51 +0000 Alaric Hammond - Saatchi Gallery - August 25th - November 1st <p style="text-align: justify;"><em>"The etching and corrosion process employed results in works suspended between creation and destruction. The objects represent genuine entropy. There is beauty in decay."</em></p> <p style="text-align: justify;">From 25 August to 1 November 2015 we are pleased to present <em>Caustic Windows: New Works by Alaric Hammond</em> within the Prints &amp; Originals Gallery at the Saatchi Gallery in London.<br /><br />The exhibition showcases new works by the British contemporary artist Alaric Hammond. Each artwork has been created in the studio utilising etching and corrosion processes on zinc plates which are then mounted onto wood. <br /><br />&ldquo;The etching and corrosion process employed results in works suspended between creation and destruction. The objects represent genuine entropy. There is beauty in decay.&rdquo; &ndash; Alaric Hammond<br /><br />The exhibition has been curated by Olly Walker, Ollystudio.<br /><br />If you plan to visit the Gallery in September or October 2015 then please check the homepage on the Saatchi Gallery website before your visit. There are a number of days when the Gallery will be closed in these months. These closure days will be listed beneath our regular opening hours.</p> Wed, 26 Aug 2015 14:15:37 +0000 Jess Fuller - Herald St - September 5th - October 4th Wed, 26 Aug 2015 14:08:13 +0000 Group Show - APT Gallery - September 7th - September 8th <p>Teststripfilms and co-curator Iffy Tillieu present<br /> - <strong>' NEED AND ERROR'</strong> -</p> <p><strong>Private view - Monday 7th September</strong><strong> 6-9pm </strong></p> <p><strong>Open - Tuesday 8th September 12-3pm </strong></p> <p><strong>APT Gallery</strong> <br /> <br /> &lsquo;the road to hell is paved with good intentions&rsquo; stated<br /> Bernard of Clairvaux in 1150, and unfazed by conformity Ac/Dc sung and scored with 'Highway to Hell' in 1979,<br /> <br /> Could these have been early<br /> warnings of the way we as humans strive for upward<br /> economic mobility at all costs?.<br /> <br /> 20 artists working in UK and Belgium have been<br /> invited to re�act on schemes developed by A.Maslow<br /> and D.Alighieri - namely: the Pyramid of Needs and<br /> Inferno- to ask questions on our contemporary<br /> human condition, our needs as humans and our survival..<br /> <br /> You can see the results in a fi�rst groupshow in<br /> London which will be followed by a groupshow in<br /> Brussels mid-October.</p> <p><a href="" target="_blank" rel="nofollow"></a></p> <p>Art in Perpetuity Trust<br /> Harold Wharf<br /> 6 Creekside<br /> Deptford<br /> London SE8 4SA</p> Mon, 24 Aug 2015 09:32:37 +0000 Jonathan Lux - Marlborough Fine Art - September 8th - September 12th Mon, 24 Aug 2015 07:55:10 +0000 Timur Novikov - Hannah Barry Gallery - September 9th - October 18th Mon, 24 Aug 2015 06:21:09 +0000 Marie Jacotey - Hannah Barry Gallery - September 9th - October 18th Mon, 24 Aug 2015 06:21:06 +0000