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

Over two decades\, Nigel Greenwood Inc Ltd presented an extr aordinary group of artists including Bernd and Hilla Becher\, Bill Beckley\ , Marcel Broodthaers\, Marc Camille Chaimowicz\, Rita Donagh\, Gilbert & \; George\, Richard Hamilton\, Alan Johnston\, David Lamelas\, Christopher Le Brun\, Keith Milow\, Bruce Nauman\, Ed Ruscha\, John Stezaker\, David Tr emlett\, Richard Tuttle and John Walker.

\n

 \;

\n

From 1972 to 1985\, Greenwood ran the gallery from 41 Sloane Gardens\, London\, where he also lived. Visitors would encounter ground-breaking shows and enthusia stic conversation about the &lsquo\;now&rsquo\; art on display. The exhibit ion will explore the special atmosphere of 41 Sloane Gardens\, as a public exhibition space and home for Greenwood and an intimate\, international gro up of visiting artists\, friends and colleagues. Joel Fisher will be collab orating with students from the Chelsea MA Curating and Collections course t o re-create his large-scale Apograph wall drawing (1973) and Marc Camille Chaimowicz has been invited to revisit his 1979 exhibition\, Sc reens\, incorporating original public/private domestic artifacts from the gallery and home.

\n

 \;

\n

The exhibition will include m aterial from the Nigel Greenwood Inc Ltd archive which has never been displ ayed before in public. Works and documentation will revisit landmark shows and publications by Bernd and Hilla Becher\, Rita Donagh\, Gilbert and Geor ge\, David Lamelas\, Ed Ruscha\, John Stezaker\, David Tremlett and the inf luential group exhibition\, The Book as Artwork (1972).

\n

&n bsp\;

\n

The exhibition will be accompanied by a publication e dited by Phoebe Greenwood including original contributions from Gilbert &am p\; George\, Lynda Morris\, Richard Cork\, Ed Ruscha and Kynaston McShine.< /strong>

DTEND:20160715 DTSTAMP:20160505T221120 DTSTART:20160608 GEO:51.4917526;-0.1285368 LOCATION:CHELSEA space\,16 John Islip Street \nLondon\, SW1P 4JU SEQUENCE:0 SUMMARY:Nigel Greenwood Inc Ltd: running a Picture Gallery UID:417573 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20160505T221120 DTSTART:180000 GEO:51.4917526;-0.1285368 LOCATION:CHELSEA space\,16 John Islip Street \nLondon\, SW1P 4JU SEQUENCE:0 SUMMARY:Nigel Greenwood Inc Ltd: running a Picture Gallery UID:417574 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Anise Gallery is delighted to present Holland-based artist D aniel Mullen for his first show at the gallery\, &lsquo\;Constructing the F uture&rsquo\;\, which sees the artist develop his practice exploring space\ , line and form. There are clear aesthetic influences from futurism and the Dutch &lsquo\;de Stijl&rsquo\; movement\, bringing both in line with conte mporary messages and contexts.

\n


Mullen&rsquo\;s work transcend s the flat space of the canvas and invites the viewer into a new realm whic h is not explicit\, creating access into a wider spectrum of the possible\, and the imaginary. Again employing concepts developed by the likes of Mond rian in the De Stijl movement\, we see the artist&rsquo\;s work materialisi ng the term &lsquo\;neo-plasticism&rsquo\;\, referring to a branch of abstr action which uses horizontal and vertical lines and mostly primary colours.

\n


&lsquo\;What is reality?&rsquo\; is a question which emerges repeatedly in Mullen&rsquo\;s work\, as in contemporary society the line b etween our perception of reality and illusion becomes increasingly blurred. Highlighting the friction between the stability of structure and fragility in weightlessness is prevalent in this body of work. Mullen says: &ldquo\; I paint an illusion to be recognised as exactly that\, therefore raising th e question of perception\, like the shadows on the wall in the analogy of P lato&rsquo\;s cave&rdquo\;. Plato stated that the role of the philosopher i s to communicate in such a manner that man would recognise the shadows in t he cave as an illusion. Perhaps without Plato&rsquo\;s grandiose statement\ , this communication of perception is evident in &lsquo\;Constructing the F uture&rsquo\;.

\n


The artist speaks of his inspiration and motiv ation succinctly in that &ldquo\;it is my Universe and I am the architect a t play&rdquo\;\, asking a salient question about ownership of his work and influences: can we\, as the viewer\, be something of a curator in the world of Daniel Mullen&rsquo\;s work? We can certainly identify geometric and dy namic themes relating to the urban domain.

\n


&lsquo\;Constructi ng the Future&rsquo\; is the latest exhibition for the artist\, where his w ork has been shown internationally\, however Anise Gallery are pleased to b e the first to exhibit Mullen in the UK. His work is in numerous corporate and private collections globally. Recently he was long-listed for the Aesth etica art prize and in 2014 short-listed for the prestigious Royal Dutch Pr ize for Painting.

DTEND:20160716 DTSTAMP:20160505T221120 DTSTART:20160609 GEO:51.5020351;-0.0723305 LOCATION:Anise Gallery\,13a Shad Thames \nLondon \, SE1 2PU SEQUENCE:0 SUMMARY:Constructing the Future\, Daniel Mullen UID:417559 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20160505T221120 DTSTART:180000 GEO:51.5020351;-0.0723305 LOCATION:Anise Gallery\,13a Shad Thames \nLondon \, SE1 2PU SEQUENCE:0 SUMMARY:Constructing the Future\, Daniel Mullen UID:417560 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alison Jacques Gallery is pleased to announce a historical s urvey exhibition of works from the 1950s by Lygia Clark. This will be the a rtist&rsquo\;s first solo presentation since the critically acclaimed retro spective Lygia Clark: The Abandonment of Art 1948-1988 curated by Connie Butler and Luis Pé\;rez-Oramas\, at the Museum of Modern Art\, New York (2014). It also follows the installation of Fantastic Archite cture\, at The Henry Moore Foundation (2014) and Lygia Clark: Orga nic Planes curated by Lisa Le Feuvre\, at The Henry Moore Institute\, Leeds (2014-2015). \;

\n

Born in Brazil\, Lygia Clark (1920-1988) is one of the most pioneering artists of the twentieth century. Clark's gro undbreaking work radically innovated the relationship between the art objec t and audience and has become a reference point for generations of artists pushing the limits of sculpture today. Her work has been acquired for major museum collections including Tate\, London\; The Museum of Modern Art\, Ne w York\; The Art Institute of Chicago\; Centre Pompidou\, Paris and The Rei na Sofia Museum\, Madrid \;

\n

Lygia Clark was part of the neo-con crete movement\, a splinter group of the 1950s Brazilian concrete art movem ent\, calling for a greater sensuality\, colour and poetic feeling in concr ete \;art. In focusing on her work from the 1950s\, we see the influenc e of her first visit to Paris in 1950 where she studied with key artists in cluding Fernand Lé\;ger. The drawing Escadas (Stairs)\,1951 is a clear indication of Lé\;ger&rsquo\;s influence on Clark but also of her interest in movement and a desire to break out from the restriction s of a static plane and strive for work that was more organic. It is this t rajectory that we see in the graphite works from the early 1950s that conti nues into the group of 1957 monochrome gouaches Planos em Superfí \;cie Modulada (Planes in Modulated Surface). Throughout the decade\, we see Clark&rsquo\;s interest in colour via vibrant gouache works and a large turquoise painting Superficie Modulada (Modulated Surface)1955-57 made with industrial paint on board.

\n

From 195 5\, Clark showed her interest in three dimensional work and architecture th rough her painted wooden maquettes of interiors: Maquete para interior nos.1 and 2 (Maquette for interior no.1 and no.2). These clea rly reveal Clark&rsquo\;s desire to expland from a two dimensional surface and fuse painting with architecture. Also on view is Clark&rsquo\;s maquett e for Construa você\; mesmo o seu espaç\;o de viver (Build y our own living space)\,1955 in which Clark shows her dream for an enti re building in which the visitor can change the configuration of rooms via a series of sliding walls\, demonstrating her vision of audience participat ion and a living or organic sculpture.  \;

\n

In the late 1950s\, Clark made her first study for a Casulo (Cocoon) in which a relief starts to lift off the wall\, reflecting the idea of movement. All the wor ks in the show lead to a crucial moment in 1959 when Clark made a balsa woo d study for what would become her first Bicho (Critter or Anim al) sculpture called Caranguejo (Crab). The Bich o series\, which Clark went on to develop throughout the early 1960s\, was formed from a series of metal plates joined by hinges. Laid flat\, the y formed a plane but when manipulated by an observer or participant\, the h inges served as a backbone and the form of the Bicho changed accor ding to the viewer&rsquo\;s manipulation of the work. A Casulo\, b alsa wood study and the unique Bicho maquette for Caranguejo (Crab)\, all made in 1959\, are included in this exhibition&nb sp\;

\n

Important solo and group exhibitions during Clark&rsquo\;s lif etime include the early Sã\;o Paulo Biennials (1953-1967)\, the \ ;Second Pilot Show of Kinetic Work\, \;curated by Guy Brett at Signals Gallery\, London (1962)\; \;and a presentation\, alongside Mir a Schendel\, at the Venice Biennale (1968) \;

\n

The only posthumo us solo exhibitions outside Brazil before the MOMA\, New York retrospective (2014) were Lygia Clark\, \;Fundació\; Tà\;pies M ajor\, Barcelona (1997) which travelled to Marseille MAC\; Serralves Founda tion\, Porto\; Palais des Beaux-Arts\, Brussels and the Imperial Palace\, R io de Janeiro\; and Lygia Clark: Estudos e Maquete\, Alison Jacque s Gallery\, London (2010). Clark was recently included in Adventures of the Black Square\, Abstract Art and Society 1915-2015\, curated by Iw ona Blazwick and Magnus Petersens\, Whitechapel Art Gallery\, London (2015) and Life Itself\, curated by Daniel Birnbaum\, Moderna Museet\, S tockholm.

\n

Forthcoming museum shows include: Making and Unmaking \, curated by Duron Olowu\, Camden Arts Centre\, London (June &ndash\; September 2016) and a major presentation of work as part of The Shadow of Color curated by Rita Kersting (December 2016 &ndash\; April 2017) \, The Israel Museum\, Jerusalem. \;

DTEND:20160730 DTSTAMP:20160505T221120 DTSTART:20160603 GEO:51.5175225;-0.1366877 LOCATION:Alison Jacques Gallery\,16-18 Berners Street \nLondon\, W1 SEQUENCE:0 SUMMARY:Lygia Clark: Works from the 1950s\, Lygia Clark UID:417396 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20160505T221120 DTSTART:180000 GEO:51.5175225;-0.1366877 LOCATION:Alison Jacques Gallery\,16-18 Berners Street \nLondon\, W1 SEQUENCE:0 SUMMARY:Lygia Clark: Works from the 1950s\, Lygia Clark UID:417397 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ibid Gallery London is pleased to present \;focus (1-8)\, a show of fortnightly rotating wor ks by modern and contemporary artists in intimate dialogue.

\n

The works shown from Ibid Gallery&rsquo\;s collectio n will be chosen for their visual or conceptual ties with the historical wo rk they are presented alongside. With this platform\, the influence that th e selected 20th century masters have had on recently established artists is acknowledged and a new dialogue is created between works decades apart by tracing the lineage of ideas. Furthermore\, in placing these pieces in prox imity to each other but simultaneously giving the viewer space to focus on each work individually\, a deeper\, imaginative experience is made possible and associations can be questioned.

\n

Every two weeks there will be a new two-person show with themes of its own and in all instances of two artists who have never before been shown togeth er on such a level. Ibid Gallery invites the viewer to revisit the space th roughout the duration of the show and will be announcing the schedule on th e website and Instagram.

\n

The opening week will present Piero Manzoni&rsquo\;s \;Achrome (1960-61) \; and Marianne Vitale&rsquo\;s \;Tongue and Groove (2)\, (2 012). \;

DTEND:20160507 DTSTAMP:20160505T221121 DTSTART:20160426 GEO:51.5166321;-0.1417916 LOCATION:Ibid.\,27 Margaret Street \nLondon\, W1W 8RY SEQUENCE:0 SUMMARY:focus (1-8): Manzoni and Vitale\, Piero Manzoni\, Marianne Vitale UID:417215 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bartha Contemporary is delighted to announce two coinciding exhibitions of recent works by German artist Frank Gerritz (b. 1964) at Bar tha Contemporary in London and the Sleeper Art-Space in Edinburgh. The Lond on exhibition (May 13 &ndash\; July 2) will include two new pencil drawings on MDF alongside recent drawings on paper\, the Edinburgh exhibition (May 13 &ndash\; June 10) will showcase a single installation of a four-panel oi l paint-stick on anodised aluminium work. \;

For the past tw o decades\, Gerritz has applied layers upon layers of graphite using soft F aber Castell 9B pencil marks on walls\, paper and\, as is the case in this instance\, industrially manufactured MDF panels. &ldquo\;Definition of Spac e | Four Center Connection (spread my wings)&rdquo\; the key work in this e xhibition and probably Frank Gerritz&rsquo\;s most ambitious work on MDF to date\, evolves from a concentred composition. Two elemental forms of oppos ing forces\, placed side by side are separated by a devising line\, formula te this seminal work.

Gerritz&rsquo\;s MDF drawings render light and modulate it to such an extent that the experience is akin to moving in to a sculptural space. Similarly\, the artist&rsquo\;s works on anodized al uminium encompass a genuinely physical experience. Here the metal support t urned into a body of light\, at the same time offset and articulated by dar k black areas of oil paint-stick\, drawn onto the cool anodised aluminium s urface. In this instance composed over four panels\, &ldquo\;Temporary Grou nd I Territory I The Sleeper&rdquo\; exhibited in Edinburgh is spaced preci sely along its horizontal axis. The initially flat appearance of the works pulls the viewer to its sides\, revealing its three-dimensional composition . The work appears to float at a carefully calibrated distance from the wal l\, the resulting shadow-gap further elevating the sculptural nature of the piece. \;

Frank Gerritz has been exhibiting globally since the late 1980&rsquo\;s\, more recently a series of institutional exhibition s in Europe confirmed his invaluable contribution to contemporary art disco urse. In 2007\, the American art critic and poet Donald Kuspit called the a rtist &ldquo\;The Last Abstract Hardliner&rdquo\;\, a title he doubtlessly retains to the present day.

DTEND:20160702 DTSTAMP:20160505T221121 DTSTART:20160513 GEO:51.5166342;-0.1415935 LOCATION:Bartha Contemporary\,25 Margaret Street \nLondon\, W1W 8RX SEQUENCE:0 SUMMARY:Frank Gerritz\, Frank Gerritz UID:416911 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20160505T221121 DTSTART:180000 GEO:51.5166342;-0.1415935 LOCATION:Bartha Contemporary\,25 Margaret Street \nLondon\, W1W 8RX SEQUENCE:0 SUMMARY:Frank Gerritz\, Frank Gerritz UID:416912 END:VEVENT END:VCALENDAR