BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

All That Is Air Melts Into City.
Present Geo-histories of an EU Carbon Stock.
Mirko Nikolić

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The project is a si tuated materialisation of the intangible circulation of carbon-dioxide thro ugh non-human and human ecologies. The artist Mirko Nikolić performs a seri es of potential financial exchanges of carbon stocks over a ten-days walk a cross London\, which is documented by an online stream of data and archived in form of an installation in Arebyte Gallery. All That Is Air Melts Into City questions and explores the ungraspable speed of contemporary economic flows and transactions\, through a re-enactment of the economic infrastruct ure in a human pace paralleled with the temporalities of bio- and atmospher e.
A molecule of carbon-dioxide (CO2) takes on a panoply of shapes and circulates among various ecological actors - atmosphere\, animal bodies\, plants\, rocks\, car engines\, industries\, and so on and so forth. All the se actors capture\, transform\, or release carbon-dioxide. This vital cycle is all-pervading and ubiquitous but\, in a strange twist of evolution\, it is all but intangible to human senses.
Lately\, carbon-dioxide is eme rging as a major public &ldquo\;figure&rdquo\;. Among its other roles\, it is the main protagonist of the European Union Emission Trading Scheme\, the electronic financial market for industries trading in &ldquo\;allowances&r dquo\; to release CO2 into the atmosphere. The market&rsquo\;s logic and op eration is complex and out of reach of everyday perception in a similar fas hion to the clouds of CO2. Yet\, this market is based in London\, and myria ds of molecules of CO2 are running through the air of the city.
All Th at Is Air Melts Into City juxtaposes the real with the imaginary paths and rhythms of carbon in London to create a voyage through a hybrid landscape o f natures and cultures. The walks invent possible routes of exchange of the carbon stocks market on street-level\, alike some back-to-the-future Silk Roads.
Throughout the walks different processes involving carbon are f ollowed through tentative observations and makeshift measurements. Transfor med into discrete chunks of data\, they appear on the project&rsquo\;s web- site. Even risking readability\, this heterogeneous uneven dataflow aims to echo the living disjunctions and conjunctions among the participants of th e carbon cycle.
The installation in the gallery\, a forest of young dr agon trees in a pseudo-office space\, is a miniaturised landscape of the po werful structure of the financial market. Seemingly of little impact\, it i s indeed a small factory of clean air laboriously producing wood and oxygen \, thus an active participant in the cycle.
The interplay between the walks\, the online platform and the landscape of trees intends to reveal th e vibrancy of carbon dioxide&rsquo\;s interactions with other entities. At the same time\, it is a field study that critically approaches the ideologi es about the potential of digital data &ldquo\;to reveal mystic truths&rdqu o\;.
Mirko Nikolić (born in Belgrade\, Serbia) uses different media to explore representation and performance of networks - social\, political\, and economic ones. Recently\, the focus of his work lies on the particular dynamisms of ecological networks\, which intermesh biological\, technologic al and social actors. All That Is Air Melts Into City is part of his ongoin g doctoral research at the University of Westminster in the department of M edia\, Arts &\; Design\, which is centred on speculative modalities of c o-operation between non-humans and human actors\, ways of dwelling and acti ng within &ldquo\;flat ontologies&rdquo\;. Previously he has exhibited in a number of solo \;and group shows in Italy and Serbia. All That Is Air Melts Into City is his first show in London and United Kingdom.
The pr oject is realised together with Declan Driver and Steffen Michels.
The project is produced with the support of the Centre for Research and Educat ion in Arts and Media (CREAM)\, University of Westminster\, and in collabor ation with Arebyte Gallery.

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at Arebyte Gallery
Preview T hursday 1 May\, 6 - 9pm
Performance 1 - 16 May\, Tuesday - Friday\, 10 am - 5pm
Show open on Saturdays 12 to 6pm
Talk Saturday 17 May\, 3pm

DTEND:20140516 DTSTAMP:20140424T211717 DTSTART:20140501 GEO:51.5428731;-0.0228743 LOCATION:arebyte gallery\,4 White Post Lane Queens Yard\nLondon\, E9 5EN SEQUENCE:0 SUMMARY:All That Is Air Melts Into City by Mirko Nikolić \, Mirko Nikolić UID:333936 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140424T211717 DTSTART:180000 GEO:51.5428731;-0.0228743 LOCATION:arebyte gallery\,4 White Post Lane Queens Yard\nLondon\, E9 5EN SEQUENCE:0 SUMMARY:All That Is Air Melts Into City by Mirko Nikolić \, Mirko Nikolić UID:333937 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art fair for Modern and Contemporary Art exhibited by UK and international galleries.

DTEND:20140929 DTSTAMP:20140424T211717 DTSTART:20140926 GEO:0.0;0.0 LOCATION:Saatchi Gallery\,Duke of York's HQ King's Road\nLondon\, SW3 4SQ SEQUENCE:0 SUMMARY:STRARTA Art Fair UID:333869 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20140424T211717 DTSTART:180000 GEO:0.0;0.0 LOCATION:Saatchi Gallery\,Duke of York's HQ King's Road\nLondon\, SW3 4SQ SEQUENCE:0 SUMMARY:STRARTA Art Fair UID:333870 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A group of talented artists from Kensington and Chelsea Coll ege will be showcasing exclusive new work in one of the capital's most unus ual exhibition venues.

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For three days in May artist s from the College&rsquo\;s Higher Education Fine Art courses\, will be tak ing over the Crypt Gallery\, St Pancras Church\, Euston Road\, to stage the ir end of year show &lsquo\;Hidden&rsquo\;

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The hist oric gallery will be the backdrop for a stunning collection of installation artwork including painting\, sculpture and digital art.

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The labyrinth of atmospheric nooks and crannies at the gallery provid es each artist with the chance to work within a unique architectural space\ , exploring their own unique themes.

DTEND:20140511 DTSTAMP:20140424T211717 DTSTART:20140509 GEO:51.527204;-0.1299876 LOCATION:The Crypt Gallery\,St Pancras Church Euston Road\nLondon\, NW12BA SEQUENCE:0 SUMMARY:HIDDEN: Kensington and Chelsea College Fine Art Show UID:333699 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20140424T211717 DTSTART:180000 GEO:51.527204;-0.1299876 LOCATION:The Crypt Gallery\,St Pancras Church Euston Road\nLondon\, NW12BA SEQUENCE:0 SUMMARY:HIDDEN: Kensington and Chelsea College Fine Art Show UID:333700 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On the occasion of \;Clifford Owens&rsquo\;s deb ut European exhibition\, \;Better the Rebel You Know\, at \;Cornerh ouse\, Manchester (10 \;May &ndash\; 17 \;August 2014)\, \;Iniv a \;will \;host \;the arti st in conversation with curator\, Daniella Rose King\, and \;Cornerhous e&rsquo\;s \;Artistic Director Sarah Perks\, discussing Owens&rsquo\; p ractice and the recently-opened exhibition.

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About the event

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Owens' work explores the intersection of photogr aphy\, video\, text and performance. His practice seeks to challenge the bo undaries of performative work and the possibilities of interaction between artist and audience.

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Better the Rebel You Know features ke y existing works and two significant new commissions\, including Photograph s with an Audience: Manchester and Anthology\, which debuted at MoMA PS1\, New York in 2011. Anthology originated from a series of 28 performance 'sco res': short\, diverse sets of instructions (some specific\, others open to interpretation) solicited by Owens from a selection of African American art ists\, from established to emerging figures. For the UK edition\, Owens has gathered scores from 20 British artists. Photographs with an Audience: Man chester is part of an international project undertaken by Owens with audien ces in various cities\, as a way of exploring the underlying social tension s and relations within divergent communities.

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Artist Biogra phy

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Clifford Owens \;was born in Baltimore in 1971\, a nd lives and works in New York City. He studied at The School of the Art In stitute of Chicago\, Mason Gross School of Visual Arts Rutgers University a nd the Whitney Museum Independent Study Program. He was an artist in reside nce at The Studio Museum in Harlem\, and attended the Skowhegan School of P ainting and Sculpture.

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His solo exhibitions include \;Anthology: Clifford Owens \, Museum of Modern Art New York PS1 (2011-2012) and \;Perspectives 173 : Clifford Owens\, Contemporary Arts Museum Houston (2011). Group exhibitio ns include \;Radical Presence: Black Performance in Contemporary Art\, Contemporary Arts Museum Houston (2012)\, and The Studio Museum in Harlem ( 2013) and \;Deliverance\, Atlanta Contemporary Art \;Center \;( 2012).

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& nbsp\;

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Speakers biographies

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Daniella Rose King is an independent curator and writer. In 2012 she was Program Curator at MASS Alexandria\, an independent study and studio programme for artists in Egypt. She writes regularly for Art Monthly\, Frieze\, Art-Agenda\, Ibr aaz\, Universes in Universe - Worlds of Art\, Portal 9\, Harper's Bazaar Ar t and Contemporary And\, and has contributed essays to Hatje Cantz's On One Side of the Same Water: Artistic Practice between Tirana and Tangier (Germ any\, 2012) and an interview with John Akomfrah for The Right Dissonance (L ondon\, 2011) a collection of interviews between emerging curators and arti sts.

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Sarah Perks is an international curator and p roducer of contemporary visual art and independent film. She is Artistsic D irector of Cornerhosue in Manchester\, and will be Artistic Director for Vi sual Arts and Film of HOME\, which opens in 2015. Perks is a lecturer\, pre senter and published author in contemporary culture\, lecturing in a range of subjects from creative industries to postcolonialism at institutions inc luding Manchester Metropolitan University\, University of Manchester and ta ught for several years at City College Manchester.

DTEND:20140512 DTSTAMP:20140424T211717 DTSTART:20140512 GEO:51.5264729;-0.0793223 LOCATION:Iniva (Institute of International Visual Arts)\,Rivington Place \n London\, EC2A 3BA SEQUENCE:0 SUMMARY:Clifford Owens artist talk\, Clifford Owens UID:333651 END:VEVENT BEGIN:VEVENT DTEND:170000 DTSTAMP:20140424T211717 DTSTART:150000 GEO:51.5264729;-0.0793223 LOCATION:Iniva (Institute of International Visual Arts)\,Rivington Place \n London\, EC2A 3BA SEQUENCE:0 SUMMARY:Clifford Owens artist talk\, Clifford Owens UID:333652 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Maria Stenfors is proud to present Philip Newcombe&rsquo\;s first solo exhibition with the gallery. COMPANY is a selection of new works that both function within the gallery space and at times cross over into t he public domain.

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Newcombe often uses familiar and democratic objec ts such as lollipops\, darts\, folded up paper\, thread\, perfume\, other p eople&rsquo\;s business cards and scent dispensers. By adding to or subtrac ting from these with subtle and well aimed interventions\, the possible nar ratives seem ambiguous\, contradictory\, open ended and looped\; revealing truths\, half-truths\, red herrings and trip-ups. Sometimes not all is what it seems to be. Although titles can describe an activity (&rsquo\;20 pints of milk dispersed throughout a city&rsquo\;\, for example)\, there is rare ly any photographic documentation of the event or a date or any other super fluous conceptual padding to justify the action. There seems no need. Inste ad they stubbornly hover in the territory between fact and fiction.

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As with previous works where Newcombe has filled a beach ball with the air from the lungs of a dying man\, or carries around a folded A4 image of the most beautiful place in the world in his back pocket\, COMPANY performs as an arena to suggest that the exhibited objects are activated through actio n and language\, allowing them a subversive intimacy with the viewer. The e xhibition forms a dialogue between the art objects and its potential as a t rigger to exist beyond the gallery space and time frame of the exhibition\, both temporarily and physically. They feed off against each other like pro tagonists in a play\, a company\, if you will.

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Philip Newcombe was born in 1970 in Germany and lives and works in London. Recent selected show s include: Quiz\, Galerie Poirel\, Nancy\, France (forthcoming)\, Dé\ ;mocratie\, Galerie de L'Espace Diderot\, Rezé\;\, Nantes. France (fo rthcoming)\, Pollen\, CAPC \; Musé\;e d&rsquo\;art Contemporain\, Bordeaux (solo)\; \; El Hotel Elé\;ctrico\, M HKA\, Antwerp\, Be lgium\; Spilt Milk\, FORT\, London (solo)\; Truly Flabby Preludes (for a do g) 1/3 : Pink noise\, La Maison Populaire centre d&rsquo\;art contemporain\ , Montreuil\, France\; BigMinis: Fetishes of Crisis\, CAPC Musé\;e da rt Contemporain\, Bordeaux\; \; Mostyn 18\, Mostyn Gallery\, North Wale s\; Legend\, Domain de Chamarande\, France\; Sphinxx\, Stuart Shave / Moder n Art.

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For further information or images please contact Maria Stenf ors \;maria@mar iastenfors.com \;or Nathan Jenkins \;nathan@mariastenfors.com

DTEND:20140607 DTSTAMP:20140424T211717 DTSTART:20140502 GEO:51.5257213;-0.1146408 LOCATION:Maria Stenfors\,Unit 10\, 21 Wren Street \nLondon\, WC1X 0HF SEQUENCE:0 SUMMARY:Philip Newcombe: COMPANY\, Philip Newcombe UID:333615 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20140424T211717 DTSTART:183000 GEO:51.5257213;-0.1146408 LOCATION:Maria Stenfors\,Unit 10\, 21 Wren Street \nLondon\, WC1X 0HF SEQUENCE:0 SUMMARY:Philip Newcombe: COMPANY\, Philip Newcombe UID:333616 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Maryam Jafri \;present s a new lecture-performance stemming from her research on international for ms of television advertising and \;Liz Moor \;disc usses her research on the emergence of the branding industry.

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Durin g her lecture-performance\, Maryam Jafri will situate a selection of televi sion commercials from the global south in specific social and historical co ntexts. These include: the 19th century rise of domestic science as scienti fic discipline made by and for women\; the subsequent transmutation of this field during the early 20th century into the more circumscribed domain of home economics\; the 21st century phenomenon of so called &ldquo\;tropical tech&rdquo\;\, which refers to investments made by global IT companies into technology incubation laboratories in sub-Saharan Africa\; and the surpris ing\, sometimes counter-intuitive connections made between war and advertis ing in commercials from Vietnam and Iraq.

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Liz Moor is Senior Lectur er in Media and Communications at Goldsmiths\, University of London. Her re search looks at communication and representation in economic life and she i s the author of \;The Rise of Brands \;(Berg\, 2007) and&n bsp\;Design and Creativity: Policy\, Management and Practice \ ;(Berg\, 2009).

This event is part of Maryam Jafri's exhibitio n \;Mouthfeel\, which continues until 18 May 2014.< /p> DTEND:210000 DTSTAMP:20140424T211717 DTSTART:190000 GEO:51.4851229;-0.1156249 LOCATION:Gasworks\,155 Vauxhall Street \nLondon\, SE11 5RH SEQUENCE:0 SUMMARY:Lecture-Performance and Presentation: Maryam Jafri on TV Advertisin g and Liz Moor on Branding\, Maryam Jafri UID:333614 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist Regina José\; Galindo discusses her practice wi th Emiliano Valdé\;s\, associate curator of the 10th Gwangiu Biennial e\, and Co-director of Proyectos Ultravioleta\, a multifaceted space for ex perimentation in contemporary art based in Guatemala City&rsquo\;s historic al centre.

Regina José\; Galindo \;is a visual artist specialising in performance art. Her work explores the universal ethical implications o f social injustice\, discrimination related to race\, gender and other abus es involved in the unequal power relations that operate in our current soci ety. \;

This event coincides with the opening of \;A Chronicle of Interventions \;at Tate Modern\, Project Space (2 Ma y &ndash\; 13 July 2014). \;A Chronicle of Interventions \ ;presents a response to the history of economic\, political\, military and foreign interventions in Central America. Beginning with an archival instal lation of Group Material&rsquo\;s 1984 work \;Timeline: A Chronicle of US Intervention \;in Central and Latin America\, the exhibitio n gathers work by seven contemporary artists who explore the ramifications of these historical interventions that have shaped the contemporary reality of this region.

The event and exhibition is part of Gasworks' o ngoing curatorial exchange programme with Tate Modern in partnership with&n bsp\;TEO R /é\;Tica\, San José\;\, Costa Rica.

DTEND:200000 DTSTAMP:20140424T211717 DTSTART:183000 GEO:51.4851229;-0.1156249 LOCATION:Gasworks\,155 Vauxhall Street \nLondon\, SE11 5RH SEQUENCE:0 SUMMARY:In Conversation: Regina José Galindo and Emiliano Valdés\, Regina J osé Galindo UID:333613 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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12 Ma y 2014 - 23 June 2014
Mondays 7-9pm - with a break o n 26 May due to Spring Bank Holiday

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How do you define your self? Is it possible to accurately determine the parameters of your identit y? How do you know that you are not someone else? These questions are as ol d as the discipline of philosophy and denote a fascination with perplexing\ , unanswerable riddles. Whilst it may never be possible to unequivocally re solve the mystery of identity\, the fields of cinema and psychoanalysis eng age with the notion of the 'divided self' in ways that are unorthodox\, pla yful\, instinctual and meaningful.

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PROJECTIONS Persona Obscura is a 6-week course looking at cinematic representations of the doppelgä\;ng er\, imaginary personas and replicated selves\, with reference to psychoana lytic concepts such as Sigmund Freud's 'Uncanny'\, Carl Jung's 'Shadow' and Otto Rank's 'Double'.

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The following topics and films will be explo red in the course (only short clips from films will be screened\, advance v iewing would be advantageous):

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* Self voyeurism\, identity confusio n and the double (Persona\, Vertigo\, Dr Jekyll and Mr Hyde\, Deconstructin g Harry)
* Parallel universes and doppelgä\;ngers (Another Earth\ , Double Life of Veronique)
* Clones\, multiple selves (Moon\, The Br oken\, Zelig\, Being John Malkovich)
* Twins (The Dark Mirror\, Dead Ringers)
* Reincarnation (Birth\, Secret Ceremony)
* Schizophre nia and psychogenic fugue (The Machinist\, Spider\, Mulholland Drive)
* Extreme body modification and plastic surgery (American Mary\, The Skin I Live In)
* Transgender identity (Boys Don't Cry\, Hedwig and the An gry Inch)
* Method acting\, performance arts (I'm Still Here\, Openin g Night\, Inland Empire)
* Rock and roll personas and celebrity imper sonators (Velvet Goldmine\, I'm Not There\, Mister Lonely)
* Capitali sm\, the mass produced self\, reproduction ad infinitum (American Psycho\, Stepford Wives)
* Surveillance\, spying\, blurred identity lines (Con versation\, Lives Of Others)
* Technologically replicated self (Catfi sh\, Antiviral)

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PROJECTIONS is psychoanalysis for film inter pretation. PROJECTIONS empowers film spectators to express subjective assoc iations they consider to be meaningful. Expertise in psychoanalytic theory is not necessary - the only prerequisite is the desire to enter and inhabit the imaginary world of film\, which is itself a psychoanalytic act. MARY W ILD\, a Freudian cinephile from Montreal\, is the creator of PROJECTIONS.\n

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Further information >\;

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DTEND:210000 DTSTAMP:20140424T211717 DTSTART:190000 GEO:51.548836;-0.1774426 LOCATION:Freud Museum London\,20 Maresfield Gardens \nLondon\, NW3 5SX SEQUENCE:0 SUMMARY:PROJECTIONS: Persona Obscura - The Divided Self In Cinema - Six wee k evening course UID:333610 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Freud. The name is synonymous with psychoanalysis. Lesser kn own\, however\, is Ernst Freud\, the architect son of Sigmund who designed modern homes for mainly bourgeois clients. Freud attended Adolf Loos&rsquo\ ;s private Bauschule in Vienna\, practiced in Berlin after the Great War\, and\, from 1933 onwards\, in London. The talk will focus on Freud&rsquo\;s modern architecture in London\, which will be compared with examples from h is time in Berlin. The talk will also present Ernst Freud&rsquo\;s designs of psychoanalytic consulting rooms and couches\; the son of the founder of psychoanalysis was one of the first architects to design this type of profe ssional space.

DTEND:203000 DTSTAMP:20140424T211717 DTSTART:190000 GEO:51.548836;-0.1774426 LOCATION:Freud Museum London\,20 Maresfield Gardens \nLondon\, NW3 5SX SEQUENCE:0 SUMMARY:Lecture: At Home with Ernst Freud\, architect son of Sigmund Freud\ , Volker M. Welter UID:333609 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Agency presents the curated group exhibition &ldquo\ ;A story has no beginning or end: arbitrarily one chooses that moment of ex perience from which to look back or from which to look ahead&rdquo\;\, feat uring painters Doris A Day (GB)\, Kati Heck (DE) and Kostas Tsolis (GR).

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The exhibition looks at painting in the digital age by bri nging together three artists who make use of narrative whilst also applying techniques of omission and obliteration. Through their conscious intervent ions (with very divergent approaches) they circumvent the discussion about the found image and the photographic quotation as well as the notion of gen re altogether. The exhibition reflects on the fact that narrative\, literar y or visual\, remains paramount in the post-digital age. The form has chang ed trough trans-medial dissemination into a more fragmentary presence with many tangents\, which in turn influences the way painting reflects this.

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The title reminds of the narrative thread of Graham Greene &rsquo\;s &ldquo\; the End of the Affair&rdquo\;\, in which the end of the affair is the beginning of the story. Seeking to unearth a woman&rsquo\;s s ecret love life an ex-lover and her husband realise too late that she made a promise to a higher power. In this exhibition the artist assumes the role of that power\, which changes the course of things or our perception respe ctively. In jest and (literally) through the blinds the ballad of human beh aviour unfolds. \; The choice of the outcome seems arbitrary/ sur-real or un-real &ndash\; the narrative however resonates much further.

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Questions of authentication\, games with authority and the manufa cture of truth (and justice) are the currency all three artists are collidi ng with. Without proposing a theme or a coherence Heck&rsquo\;s girl protag onists/ multiple herselfs are commenting on the abuse of the libertine by s ociety/the art system\, Day&rsquo\;s works represent controversial personae in the moment of being laid bare in a psychological standoff - Kim Jon-un as a child learning from his mother\, Pistorius during his trial\, himself as Doris Day or as Bugs Bunny- and Tsolis reworks historical events as poli tical thrillers observed from the off as he also demonstrates in the curren t group show&rdquo\; No Country for Young Men&rdquo\; \; at Bozar\, Bru ssels \, curated by \; Katarina Gregos. \; A kind of portraiture / story is a key to reading the works and yet the artists fragment the portra its and narratives by formal means. The depiction of a recognisable self\, hero\, prisoner of conscience or the infamous are coincidental. The partial dispensation with form can be understood as the gesture of the post-digita l painter.

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Kati Heck ( b. 1979)\, lives and works in Ant werp. \; Selected recent exhibitions include KOPF=Kopfnuss\, CAC Malaga (2013)\, Tim van Laere Gallery (2011 and 2014)( both solo)\, Painters&rsqu o\; Painter\, Saatchi Gallery ( 2012)\, CADAVRE EXQUIS. A FIGURE OF PAINTIN G\, LLS 387\, Antwerp ( 2013) and Gsuffa\, der eiserne Pomoment\, Mary Boon e Gallery\, NYC in 2008 ( solo). The Agency first showed her work in 2006.< /span>

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Doris A. Day (b. 1982)\, lives and works in London. Rece nt exhibitions include On/Off\, Espace Commines Paris (2011)\, Same Heads G allery Berlin (2012) The Toolshed\, Froome (2013\, solo)\, Duchamp Festival \, HerneBay (2013). He was long-listed for the John Moores Prize 2014.

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Galleries 1 and 2

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Kosta s Tsolis (b. 1964) lives and works in Athens\, Recent exhibitions include\, Michael Cacoyiannis Foundation (2011)\, The Jewish Museum\, Thessaloniki ( 2011)\, Newtopia at City Museum of Mechelen\, Belgium (2012)\, The National Theater\, Athens (2013\, solo)\, Agora: the 4th Athens B iennial (2013)\, and his work is currently included in "No Country for Youn g Men" curated by Katerina Gregos at BOZAR in Brussels\, through August 3.< /span>

DTEND:20140516 DTSTAMP:20140424T211717 DTSTART:20140419 GEO:51.4875521;-0.0381089 LOCATION:The Agency gallery\,66 Evelyn Street \nLondon\, SE8 5DD SEQUENCE:0 SUMMARY:"A story has no beginning or end: arbitrarily one chooses that mome nt of experience from which to look back or from which to look ahead.”\, Do ris A. Day\, Kati Heck\, Kostas Tsolis UID:333289 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140601 DTSTAMP:20140424T211717 DTSTART:20140509 GEO:51.5167454;-0.0701196 LOCATION:StolenSpace Gallery\,17 Osborn Street \nLondon\, E1 6TD SEQUENCE:0 SUMMARY:Let's Not Get Caught\, Let's Keep Going\, Olek UID:333288 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140601 DTSTAMP:20140424T211717 DTSTART:20140509 GEO:51.5167454;-0.0701196 LOCATION:StolenSpace Gallery\,17 Osborn Street \nLondon\, E1 6TD SEQUENCE:0 SUMMARY:Glamorous Darkness\, Miss Van UID:333287 END:VEVENT BEGIN:VEVENT DESCRIPTION:
StolenSpace is pleased to present in our front pr oject space\, brand new works \;on canvas by artist Charlie Anderson.

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In this new body of paintings\, Ander son questions the social role of art as \;entertainment\, playing with the relationship between image and words and \;how their meaning change s when their context shifts. Playing with low brow \;melodramatic image ry and presenting it in a high brow context. Suggesting \;something the viewer might experience\, the social role of art of physically \;bring ing a group of people to a certain place in time.
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DTEND:20140504 DTSTAMP:20140424T211717 DTSTART:20140411 GEO:51.5167454;-0.0701196 LOCATION:StolenSpace Gallery\,17 Osborn Street \nLondon\, E1 6TD SEQUENCE:0 SUMMARY:Frequent Moderate Violence\, Charlie Anderson UID:333286 END:VEVENT BEGIN:VEVENT DESCRIPTION:

One of the most prominent artists of his generation \, Ed Atkins works primarily with High Definition video and text\, exploiti ng and subverting the conventions of moving image and literature.

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Centred around an augmented and appended version of the new multi-screen video work Ribbons\, Atkins&rsquo\;s exhibition t ransforms the Serpentine Sackler Gallery into a submersive environment of s yncopated sounds\, bodies and spaces. This is his largest solo exhibition i n a UK public institution to date.

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Ribbons (2014) will have its UK premiere at the Serpentine Sackler Gallery in a site-specific adaptatio n. Presented alongside installations of text and images\, accompanying vide os and tourettic interjections\, the exhibition will underscore the ambival ent relationship that exists between real and virtual objects\; between rea l and virtual conditions.

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&ldquo\;The Sackler exhibition will re-possess some sort of sub-horror genre\; the old powder rooms\, haunted by the phan tom smell of gunpowder\, paranoia and anticipation of violence\, will empha sise a particularly phantasmatic aspect of Ribbons\; the protagoni st&rsquo\;s questionable corporeality\, their presence\, their performance of loss and monstrousness&rdquo\; &ndash\; Ed Atkins

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Sounds from a suite of synchronised projections positioned throughout the Gallery will lead th e visitor through the space\, with glimpses of song\, swells of orchestra\, murmuring voices and waves of sub-bass. Ribbons is part musical\, part horror\, and part melodrama\; Bach&rsquo\;s Erbarme Dich and Randy Newman&rsquo\;s I think it&rsquo\;s going to rain today are two of the songs featured. Naked\, lonely and misanthropic\, the palpable melancholy of Atkins&rsquo\;s Computer Generated avatar hero is &lsquo\;ren dered&rsquo\; as HD graphic\, troll\, voyeur and\, perhaps\, artist.

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Atk ins&rsquo\;s work draws attention to the way in which we perceive\, communi cate and filter information. His videos combine layered images with incompl ete or interrupted excerpts of singing\, speech\, subtitles and handwriting . Working with a specialist in computer generated animation\, Atkins exploi ts the hyperreal surfaces produced by new software systems to create comple x\, nightmarish environments populated by virtual characters\, avatars of a mbiguous provenance and desires. Atkins has described the male figure that appears in these works as &lsquo\;a character that is literally a model\, i s demonstrably empty &ndash\; a surrogate and a vessel&rsquo\;. Despite the emotive music and poetic syntax of the protagonists\, their emptiness serv es to remind the three-dimensional\, warm-bodied viewer of their own physic ality.

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The experience of the physical body in Atkins&rsquo\;s show will be contrasted with and complemented by the durational performance being und ertaken by Marina Abramović\, whose exhibition runs concurrently at the Ser pentine Gallery.

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Atkins (b. 1982) has exhibited internationally\, includ ing recent solo exhibitions at Kunsthalle Zurich (2014)\; Temple Bar Galler y\, Dublin (2013)\; MoMA PS1\, New York (2013)\; Chisenhale Gallery\, Londo n (2012)\; Bonner Kunstverein\, Bonn (2012)\; Tate Britain\, London (2011)\ ; Transmission\, Glasgow (2010)\; and Wysing Arts Centre\, Cambridge (2010) . Atkins performed the critically acclaimed DEPRESSION at the Serpentine Memory Marathon< /em> in 2012\, for which a digitally altered voice narrated a beautifully c rafted story of the brain as it translated melancholy through electronic so unds\, blue screen and microphone.

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DTEND:20140825 DTSTAMP:20140424T211717 DTSTART:20140611 GEO:51.5067902;-0.1701418 LOCATION:Serpentine Sackler Gallery\,Serpentine Road \nLondon\, W2 2UH SEQUENCE:0 SUMMARY:Solo Exhibition\, Ed Atkins UID:333284 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140726 DTSTAMP:20140424T211717 DTSTART:20140523 GEO:51.511961;-0.1409689 LOCATION:Hauser & Wirth (Savile Row)\,23 Savile Row \nLondon \, W1S 2ET SEQUENCE:0 SUMMARY:Fifty Years of Drawings\, Phyllida Barlow UID:333246 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140424T211717 DTSTART:180000 GEO:51.511961;-0.1409689 LOCATION:Hauser & Wirth (Savile Row)\,23 Savile Row \nLondon \, W1S 2ET SEQUENCE:0 SUMMARY:Fifty Years of Drawings\, Phyllida Barlow UID:333247 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140726 DTSTAMP:20140424T211717 DTSTART:20140523 GEO:51.511961;-0.1409689 LOCATION:Hauser & Wirth (Savile Row)\,23 Savile Row \nLondon \, W1S 2ET SEQUENCE:0 SUMMARY:New Paintings\, Richard Jackson UID:333244 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140424T211717 DTSTART:180000 GEO:51.511961;-0.1409689 LOCATION:Hauser & Wirth (Savile Row)\,23 Savile Row \nLondon \, W1S 2ET SEQUENCE:0 SUMMARY:New Paintings\, Richard Jackson UID:333245 END:VEVENT END:VCALENDAR