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Timothy Taylor Gallery is delighted to present Ventriloquist\, a group show that links works by some of the 20th centuryʼs greatest artists with those of a younger generation of establishe d and emerging talent.

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Ventriloquism - the act of stag ecraft by which the performer manipulates his or her own voice so that it a ppears to come from elsewhere\, is also described as the ability to "throw" one's own voice. However\, the term "throwing one's voice" is misleading - implying that a sound's physical origin has changed\, when really the chan ge has been perceptual and not physical. Taking its title from a work by Ja sper Johns included in the exhibition\,

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Ventriloquist explores how artists use ʻdistancingʼ techniques to mask the author\, employ

\nciphers and symbols and create alter -egos\, fantastical self portraits\, animal surrogates or even new hypothet ical realms. It also explores the use of text and language which\, through the influence of Freud\, Dada and Surrealism\, opened the door to wordplay and games\, multiple meanings and associations.

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In Jasper Johnʼs Untitled (Ventriloquist)\, 1984\, the artist uses the voices of others to conjure up an enigmatic and alternative vision of Americanness: the painting juxtaposes the outline of Herman Melvilleʼs ʻMob y Dickʼ (channelled through an engraving by Barry Moser) with the work of t he eccentric 19th century Biloxi potter George Ohr\, an iconic American fig ure\, who was hailed mid 20th century as a harbinger of abstraction.

\n< p align="left">Challenging art rules and upsetting bourgeois sensibilities\ , Dada and Surrealism introduced word games and double-entendres to the rea lm of art. In Duchampʼs L.H.O.O.Q. Shaved\,1965\, the artist rewor ked his famous moustache-sporting Mona Lisa by creating another version\, t his time without the facial hair - thereby creating the ultimate ready-made / appropriationist artwork. The title L.H.O.O.Q. is a phonetic gam e: when read quickly in French\, it sounds like a sentence that roughly tra nslates as ʻshe has a hot assʼ.

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Francis Picabiaʼs Untitled\, 1948-50\, reveals the influence upon the artist of Nietszch eʼs The\, in which the German philosopher extols in poetry and pro se the legacy of the Gay Science Provençal troubadour tradition and its joy ful affirmation of life. Ferociously unconventional throughout his life and a key participant in Dadaʼs anti-art stance\, Picabia\, at the end of his career\, returned to graphic abstraction to explore the nature of life and art\, fear\, joy and love\; strong lines and earthy colour and imagery comb ine in this primitive and phallic head\, strongly reminiscent of pre-Cyclad ic and Iberian fertility imagery.

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In Docket of Vio lation\, 1954\, Robert Rauschenbergʼs collage testifies to another vis ion of America constructed through found materials: the docket and the Stat ue of Liberty conjure

DTEND:20090328 DTSTAMP:20141229T130731 DTSTART:20090227 GEO:51.5104943;-0.1500068 LOCATION:Timothy Taylor Gallery\,15 Carlos Place \nLondon\, W1K 2EX SEQUENCE:0 SUMMARY:Ventriloquist\, Monika Baer\, Daniel Baker\, Suse Bauer\, Tjorg Dou glas Beer\, Steve Bishop\, Marcus Coates\, Lucy Coggle\, Marcel Duchamp\, A rmen Eloyan\, Philip Guston\, Charlie Hammond\, Volker Hueller\, Jasper Joh ns\, Pil and Galia Kollectiv\, Fiona Mackay\, ivan matos\, Gorka Mohamed\, Daniel Pasteiner\, Mark Pearson\, Francis Picabia\, Pablo Picasso\, Fiona R ae\, Robert Rauschenberg\, Colin Self\, Alan Stanners\, Jack Strange\, Walt er Swennen\, Wawrzyniec Tokarski\, Jens Ullrich UID:42807 END:VEVENT END:VCALENDAR