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Revolver presents works by ten artists made be tween 1983 and 2012 in discrete spaces in the gallery in a three-part serie s of short exhibitions of up to four artists. The works are presented in th is way so that they can be experienced as autonomous and discrete productio ns by the artists\, but it is hoped that the format of Revolver wi ll also encourage the generation of shifting associations across the works\ , between the spaces of the gallery and over the timeline of the exhibition . The project explores resonances\, echoes and returns and ways that artist s touch on shared approaches\, formal concerns and themes to generate diver se meanings and outcomes.

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In contrast to the usual operations of Matt’s Gallery where new works and projects are commissioned from artists\, Re volver\, curated by Matt’s Gallery Director Robin Klassnik and artist and curator Richard Grayson\, focuses on work that was already in progress or already made by artists new to the gallery. Revolver is the fir st initiative of a series of collaborations with artists\, writers and prac titioners associated with Matt’s Gallery that are designed to generate a se ries of curatorial partnerships and discursive projects. These will not onl y result in projects integral to the gallery programme but will model curat orial approaches and relationships to inform and expand the gallery in its future operations.

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Artists participating in Revolver are: Anna Barham\, William Cobbing\, Layla Curtis\, Benedict Drew\, Graham Gussin\, J uneau Projects\, Tina Keane\, Andrew Kötting\, Rachel Lowe\, and Tai Shani.

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Revolver is generously supported by The Foyle Foundation\, The Henry Moore Foundation\, Arts Council England\, A. Bliss Specialist Mounti ng and Framing\, Michael Dyer Associates and ArtQuarters Press.

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For furt her information please contact us on 020 8983 1771 or email info@mattsgalle ry.org 

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Anna Barham\, Arena\, 2011
Arena is a modular amphitheatre structure made from MDF and wood tha t houses a recording of the artist reading her bookReturn To Leptis Magna (45 minutes). The book is w ritten entirely from anagrams of its title\, exploring the sculptural corre spondence between the fragmented architecture of the ruined Roman city and letters as the basic units of written language\, each capable of constructi ng multiplicities of new forms. The resulting text reveals streams and webs of words\, associations and meanings embedded within the phrase. The physi cal structure of Arena acts as sculpture\, seating\, plinth and st age – its shifting status highlighting the position that 'meaning' is neith er singular nor fixed\, but operates as a field of potential with the viewe r being an active participant within its construction.

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Grah am Gussin\, Lens\, 2012
Consisting of 24 sepia toned photographs taken on location at < /span>a hotel on the Atlantic coast in Por tugal.

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The hotel is set close to the furthest western point of Europe\,  a one time geographic end of the wo rld.

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The hotel was used as the main location by Wim Wenders in 1982 when he shot 'The State of Things'. At that time it was run down and in ill rep air. The first ten minutes of the film is shot in sepia tone and depicts an end of the world scenario set in an undesignated future. What we see is su pposedly a remaking of the 1955 film 'Day The World Ended'.

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The series o f photographs revisit the hotel and its surroundings. Shot on 35mm film and printed in sepia\, they extend and play on the temporal aspects of the sub ject. The past and the future\, prophecy and reality become confused throug h a kind of distorting lens\, the photographs acting as a time machine whic h looks back and forward simultaneously. The deserted images have an apocal yptic nature to them\, the hotel and environs becoming ruins in a projected time.

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Tai Shani\, Headless/Senseless\, 2011
Fantastical and cinematic\ , Shani's performances and films contain multilayered and self-reflexive na rratives that are abstracted adaptations of films\, plays and books or fict ional historical dramatisations.

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Deploying diverse fictional strategies\ , and operating in multiple temporal structures both in the real and the me diated\, Shani's work revolves around scripts and texts which alternate bet ween familiar narrative styles and structures and theoretical prose that re search the agency of the simulated self and the "real" self\; the immateria l lives of fictional characters beyond spectatorship\, over-identification and death in the fictional space. These intricate narratives are played out by elaborately costumed large casts of archetypal and pseudo-historical ch aracters drawn from diverse cultural mythologies in Neo-Baroque settings th at reference early science fiction\, Greek tragedy and various traditions o f theatrical spectacle.

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Headless/Senseless is a sound-tracked installation of 13 lenticular prints\, the lives and fictio ns of two actresses Annie Paradise and Jean Heller overflow and haemorrhage into each other creating a spiralling narrative told through fractured rec ollections\, dreams and desires.

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Anna Barham is represented by Arcade\, London.

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Late nigh t opening: Frieze East End Galleries night\, Saturday 13 O ctober\, 12-9pm

DTEND:20121021 DTSTAMP:20140915T103135 DTSTART:20121003 GEO:51.5188372;-0.0355674 LOCATION:Matt's Gallery\,42-44 Copperfield Road \nLondon\, E3 4RR SEQUENCE:0 SUMMARY:Revolver (Part 2)\, Anna Barham\, Graham Gussin\, Tai Shani UID:234372 END:VEVENT BEGIN:VEVENT DTEND:170000 DTSTAMP:20140915T103135 DTSTART:140000 GEO:51.5188372;-0.0355674 LOCATION:Matt's Gallery\,42-44 Copperfield Road \nLondon\, E3 4RR SEQUENCE:0 SUMMARY:Revolver (Part 2)\, Anna Barham\, Graham Gussin\, Tai Shani UID:234373 END:VEVENT END:VCALENDAR