BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20150228 DTSTAMP:20150130T232805 DTSTART:20150204 GEO:51.5084606;-0.141152 LOCATION:Marlborough Fine Art\,6 Albemarle Street \nLondon\, W1S 4BY SEQUENCE:0 SUMMARY:Monotypes 2006\, Tony Bevan UID:372097 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150130T232805 DTSTART:180000 GEO:51.5084606;-0.141152 LOCATION:Marlborough Fine Art\,6 Albemarle Street \nLondon\, W1S 4BY SEQUENCE:0 SUMMARY:Monotypes 2006\, Tony Bevan UID:372098 END:VEVENT BEGIN:VEVENT DESCRIPTION:
I never thought I&rsquo\ ;d see you again. \;
Where have you been until now? \ ;
Well how are you? how have you been? \;
I t&rsquo\;s a long time since we last met. \;
Roxy Music\, &ld quo\;Chance Meeting&rdquo\; \;
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&ldquo\;I never thought I&rsquo\;d see you again&rdquo\; is not exa ctly about history painting. Neither obliged to any style\, nor explicitly referential to particular precedents\, the exhibition begins with the premi se that painting\, more than any medium\, is always driven by its own genre s.

Painting is persistent in the history of art precisely becaus e of the specificity of the styles and idioms it adopts or quotes. Even if contemporary painting is underpinned by a conceptual framework\, it is almo st impossible to avoid some reference to that almost infinite list of estab lished modes - landscape\, portrait\, still life\, formalist\, expressionis t\, to name a few. \;
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But rathe r than painting being a reiteration of its past\, the recognition of\, and resistance to\, these conventions makes it a site of constant renewal. No l onger bound to such polarities as figuration or abstraction\, contemporary practice takes the idea of painting as a given. It co-opts genres without h ierarchy or priority\, and as a type of shorthand or economy of expression. That is to say\, we recognise something in the &lsquo\;style&rsquo\; of th e painting.

We speak its language\, because many of the conventi ons of painting are all around us in the visual information we negotiate ev ery day. We recognise the conventions\, from perspective to painterly gestu re\, even if those conventions are put to work for different purposes. And it is less about what an image in the painting might convey\, than the mean s through which that image or gesture is achieved.

The exhibitio n does not try to find a unified style for painting today\, but recognises that there are modes in which the painter may operate\, perhaps without lon g-term commitment\, but also without irony. Painting is never without refer ence\, context or precedent. It always carries with it many memories and le gacies and at the same time appears thoroughly regenerated.

DTEND:20150227 DTSTAMP:20150130T232805 DTSTART:20150121 GEO:51.5084606;-0.141152 LOCATION:Marlborough Fine Art\,6 Albemarle Street \nLondon\, W1S 4BY SEQUENCE:0 SUMMARY:I never thought I'd see you again: Painting History\, Mike Bouchet\ , Paul McCarthy\, Jason Brooks\, Agnieszka Brzezanska\, Jonah Freeman\, Jus tin Lowe\, Pamela Golden\, Diango Hernández\, Narelle Jubelin\, Koen van de n Broek\, Ian Whittlesea UID:371931 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David Zwirner is pleased to pr esent an exhibition of new paintings by Luc Tuymans. On view at the London gallery\, which Tuymans inaugurated in October 2012 with the exhibition&nbs p\;Allo!\, \;The Shore \;includes work specifical ly made for this space.

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Widely credit ed with having contributed to the revival of painting in the 1990s\, Tuyman s continues to assert its relevance by addressing a diverse range of topics . Quiet\, restrained\, and at times unsettling\, his works engage equally w ith questions of history and its representation as with quotidian subject m atter cast in unfamiliar and eerie light. Painted from pre-existing imagery \, they often appear slightly out-of-focus and sparsely colored\, like thir d-degree abstractions from reality. Whereas earlier works were based on mag azine pictures\, drawings\, television footage\, and Polaroids\, recent sou rce images include material accessed online and the artist&rsquo\;s own iPh one photos\, printed out and sometimes re-photographed several times.

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In \;The Shore\, Tuymans&rsqu o\;s twelfth solo show with the gallery\, the cool light of digital screens reverberates with the color scheme of many of the paintings. On the ground floor\, portraits of three Scottish Enlightenment thinkers originally pain ted by Henry Raeburn\, one of Scotland&rsquo\;s most acclaimed artists from that time\, fill out the small canvases\, the flesh of their faces tinted pale blue\, and the rest of their bodies and scholarly backgrounds disperse d. Captivated by Raeburn since an excursion to a museum in Ghent as a teen\ , Tuymans visited the art collection of the University of Edinburgh just pr ior to the 2014 independence referendum\, and found in those works &ldquo\; an element of disruption&rdquo\; that matched the current political climate . \;Tuymans&rsquo\;s portraits will be shown alongside Raeburn&rsquo\;s originals in a forthcoming exhibition hosted by \;the Talbot Rice Gall ery at the University in the fall of 2015.

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The intensity of the close-up portraits is countered by two near-mono chrome paintings depicting an obelisk in a wooded landscape and a single\, puffy cloud respectively. Based on the wallpaper of a luxury hotel that Tuy mans also visited on his Edinburgh trip\, their serene\, if stifling aesthe ticism seems to suggest how the perils of isolationism and class indifferen ce may stall the radical ideas of forward-looking members of society.

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Enlightenment ethics become juxtaposed wit h a notion of impending horror in the monumental title painting of the exhi bition\, kept entirely in a dark hue except from a narrow strip occupied by minuscule people. Based on the opening scene of the colonially-inspired 19 68 film \;A Twist of Sand\, the unidentifiable individuals are seconds away from being gunned down by an invisible source. Tuymans has no ted that he strived to make a &ldquo\;really dark&rdquo\; painting for a lo ng time\, and \;The Shore \;relays the profound\, if gradu al\, influence of Francisco Goya on his work. With his own victims unspecif ied and undifferentiated\, the dramas evoked in the Spanish painter&rsquo\; s \;Black Paintings \;and \;The Third of May 1808& nbsp\;(1814) are echoed here on a larger scale\, the slaughter as mean ingless as it is universal. In \;Issei Sagawa\, horror is sugg ested on a personal level in a portrait with uncharacteristically loose and gestural brushwork by the artist. Sagawa is notoriously known for killing and eating a fellow student at the Sorbonne University in Paris in the earl y 1980s\, but is a free man today following the end of his prison sentence. It is the third time that Tuymans paints his portrait.

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Far from the intensity of such incidents\, \;Bed room \;shows a light from the perspective of the artist&rsquo\;s o wn bed. While Tuymans has previously depicted places and objects from his i mmediate\, local vicinity\, the large painting offers little in the way of biographical details\, and the bleached light appears impenetrable. Sources of illumination\, both direct and reflected\, play an important role in hi s works over the past decade\, and a particular kind of mediatized luminesc ence is apparent across the diverse subjects represented in this exhibition . It adds an unexpected illusionary quality to the canvases&mdash\;rather t han offering the impression of depth\, their surfaces become reminiscent of the light that emanates from digital screens. As such\, the paintings cons truct a new context in which historical subjects are presented as if part o f the contemporary moment\, just as current events are inevitably filtered through their appearance in the mass media\, with its often hidden structur es and regulations.

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 \;

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Born in 1958 in Morstel\, near Antwerp\, \ ;Luc Tuymans \;was one of the first artists to be repr esented by David Zwirner. Since joining the gallery in 1994\, he has had te n solo exhibitions at David Zwirner in New York\, which include \;T he Summer is Over \;(2013)\, \;Corporate \;(2010) \, \;Forever\, The Management of Magic \;(2008)\, \;Proper(2005)\, \;Fortune \;(2003)\, \;Mwana Kitoko: Beautiful White Man \;(2000)\, \;Security&nb sp\;(1998)\, \;The Heritage \;(1996)\,Francis Picabia and Luc Tuymans: Paintings \;(1995)\, and \;Superstition \;(1994)\, which marked his United States debut. In 2012\, \;Allo! \;inaugurated the gallery&rsquo\;s first European location on 24 Grafton Street in London\, and \;The Shore \;will m ark his second solo show at this location.

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Work by the artist is on view as part of two group exhibitions in Pol and: \;Progress and Hygiene \;at Zachęta National Gallery of Art in Warsaw (through February 15\, 2015) and \;DE. FI. CIEN. C Y: Andrzej Wró\;blewski\, René\; Danië\;ls\, Luc Tuymans&nb sp\;at Art Stations Gallery in Poznań (through February 28\, 2015). In 2014\, Tuymans was awarded an honorary doctorate from the University of Ar ts in Poznań. \;A solo show of his printed works\, dating from 1989 to the present\, will be exhibited at Centre de la Gravure et de l&rsquo\;Imag e imprimé\;e in La Louviè\;re\, Belgium (February 7 &ndash\; Ma y 10\, 2015).

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In 2013\, a solo presen tation of the artist&rsquo\;s portraits\, \;Nice. Luc Tuymans\ , was held at The Menil Collection in Houston\, Texas. In 2009\, his work w as the subject of a retrospective co-organized by the Wexner Center for the Arts\, Columbus\, Ohio and the San Francisco Museum of Modern Art. It trav eled from 2010 to 2011 to the Dallas Museum of Art\; Museum of Contemporary Art Chicago\; and Palais des Beaux-Arts\, Brussels. Previous major survey shows of the artist&rsquo\;s work include those organized by Moderna Museet Malmö\;\, Sweden in 2009 and Tate Modern\, London in 2004. Other venue s that have presented recent solo exhibitions include Kunsthalle Bremerhave n\, Germany (2012)\; Centro de Arte Contemporá\;neo de Má\;laga \, Spain (2011)\; Haus der Kunst\, Munich\; Zachęta National Gallery of Art \, Warsaw (both 2008)\; Műcsarnok Kunsthalle\, Budapest (2007)\; and Museu Serralves\, Porto\, Portugal (2006).

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Tuymans was the curator of the 2013 group exhibition \;Constable\, Delacroix\, Friedrich\, Goya. A Shock to the Senses \;at Albertinu m in Dresden. He previously organized \;A Vision of Central Europe& nbsp\;in 2010 at Brugge Centraal\, Bruges\, Belgium\, as well as \ ;The State of Things: Brussels/Beijing \;in 2009 at Palais des Beaux-Arts\, Brussels\, which traveled to the National Art Museum of China \, Beijing.

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A catalogue raisonn&eacut e\; of the artist&rsquo\;s paintings is currently being prepared by David Z wirner in collaboration with Studio Luc Tuymans. Compiled and edited by art historian Eva Meyer-Hermann\, the catalogue raisonné\; will illustra te and document approximately five hundred paintings by the artist from 197 5 to the present day.

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In 2001\, the a rtist represented Belgium at the 49th Venice Biennale. His works are featur ed in museum collections worldwide\, including The Art Institute of Chicago \; Centre Georges Pompidou\, Paris\; Los Angeles County Museum of Art\; The Museum of Modern Art\, New York\; Pinakothek der Moderne\, Munich\; Solomo n R. Guggenheim Museum\, New York\; and Tate Gallery\, London. In 2012\, Tu ymans donated his portrait of Her Majesty Queen Beatrix of The Netherlands to Stedelijk Museum\, Amsterdam. He lives and works in Antwerp.

DTEND:20150402 DTSTAMP:20150130T232805 DTSTART:20150130 GEO:51.5094225;-0.1430438 LOCATION:David Zwirner\, London\,24 Grafton Street \nLondon\, \, W1S 4EZ SEQUENCE:0 SUMMARY:The Shore\, Luc Tuymans UID:371910 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150130T232805 DTSTART:180000 GEO:51.5094225;-0.1430438 LOCATION:David Zwirner\, London\,24 Grafton Street \nLondon\, \, W1S 4EZ SEQUENCE:0 SUMMARY:The Shore\, Luc Tuymans UID:371911 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Rebecca Birch&rsquo\;s ongoing investigation around a lichen-covered stick takes on a new stage at fig-2 p remises. &lsquo\;Lichen Hunting on the West Coast&rsquo\;\, is an expanding multiple channel media and drawing installation\, accompanied by a series of conversational encounters between the artist and audience. A particular lichen-covered stick has travelled with Birch since 2011\, after casting a shadow across her dashboard during a road trip performance work with artist Dan Coopey. Birch produces the incident as re-enactments\, anecdotes\, nar ratives that are performed in dialogue with the audience. This new body of work informed by following trace-lines of the stick emerges as performance in two parts\, the first to take place at the opening night \;on Monday between 6 and 8 pm\, and the latter on five consequent afternoons between&nb sp\;3 and 6 pm. The projections produced during the second part through one -to-one encounters will be added onto the body of the installation. \;T hursday \;late at fig-2 will host a studio visit to Birch\, where she wi ll give a talk about her exhibition and her new research on waulking songs and weaving communities in Scotland between \;7 and 8 pm.

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Please book your 15-minute one-to-one session forT uesday \;- \;Saturday \;by emailing \;ben@fig2.co.uk

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fig-2 opens each \;Monday 6 &ndash\; 8 pm\, and continues from T ue &ndash\; Sun \;11 am &ndash\; 6 pm. fig-2 is open late on Thursdays u ntil \;9 pm \;to coincide with the ICA late openings. fig-2\, ICA St udio\, The Mall\, London SW1Y 5AH. \;As the ICA is closed on Mondays\, to reach the Studio please use the ramp entrance to the Studio from Carlton House Terrace\, at the top of the Duke of York Steps. For more information visit \;fig 2.co.uk

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fig-2 at the ICA in associ ation with Outset

DTEND:20150208 DTSTAMP:20150130T232805 DTSTART:20150202 GEO:51.5055254;-0.1377582 LOCATION:Institute of Contemporary Arts (ICA)\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:fig-2\, Week 5/50\, Rebecca Birch UID:371908 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150130T232805 DTSTART:180000 GEO:51.5055254;-0.1377582 LOCATION:Institute of Contemporary Arts (ICA)\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:fig-2\, Week 5/50\, Rebecca Birch UID:371909 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For her second solo exhibition with Art First Projects\, Gü\;ler Ates presents a sumptuous group of p hotographs from her residency in Rajasthan at the end of 2012. This took pl ace at the City Palace Museum in Udaipur\, a building founded in 1559 by Ma harana Udai Singh II. Using as her model a Classical Indian dancer\, Ates w as given free reign of the palatial rooms\, adorned with wall paintings\, m irrors and coloured glass\, giving onto interior courtyards and sanctuaries where the women of the family once lived.

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Ates&rsquo\; subject matter explores themes of female identity\, dias pora and cross-­\;‐cultural displacement\, where contemporary readings o f the veil in particular play a central role. Previously in Threshold\, (Art First 2012) Ates placed her fully veiled female figures in the c ontext of a 16th Century English royal hunting lodge\, and at Leighton Hous e\, home of the Victorian artist\, Frederic\, Lord Leighton. Using natural light only\, her evocative tableaux examined the tensions and sympathies wi thin our current ideas of the exotic.

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The new work however\, has its own exotic setting in India. The figure rem ains ambiguous &ndash\; the only feature we ever glimpse is a hand. By sett ing her alone in uninhabited traditional spaces\, Ates trumps the Orientali st trope of the harem scene\, focusing instead on the privacy of an individ ual\, at ease\, away from the public eye and alone within the rooms\, able to move freely between one space and another.

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The textiles offer clues. Chosen by Ates from Udaipur&rsquo\;s loc al markets and a textile factory\, the typical saturated vermilions\, azure blues\, explosive pinks of reams of silk play a decorative yet resonant ro le of their own within each of the stately rooms\, where patterned walls an d rich floor coverings reveal some of the ravages of time.

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The model is often shown from the back as a silhouett e\, upon which the cloth folds and falls in beautiful arrangements cascadin g onto the floor. She occupies the space\, enlivening it through her presen ce. The dazzling\, jewelled brilliance of the newly manufactured silks ampl ifies the sense that she is a contemporary figure\, independent and confide nt\, animating her poses now and then with Indian dance gestures. Yet the o verall impression is also one of fusion\, of timelessness\, something like the atmosphere of calm portrayed by 18th and 19th miniatures from the Mugha l Courts\, and from the painting schools of Rajasthan &ndash\; Malwa\, Kota or Jaipur for example\, where folk and classic motifs became increasingly intermingled.

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Stilled is a r efreshing\, intelligent\, gently feminist portrayal of an India imagined an d experienced by a Turkish artist with sympathy and understanding of the co nstancies\, as well as the rapidly changing\, provocative and challenging r ealities of modern\, western dominated cultures and the impact they have wi thin more ancient\, traditional worlds.

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Born in 1977 in Eastern Turkey\, Ates moved to London and graduated in 2 008 from the Royal College of Art with an MA in Printmaking. Currently she is Digital Print Tutor at the Royal Academy Schools. A key aspect of her wo rk springs from international residencies such as the month in Udaipur\, ge nerously supported by Maharana of Mewar Charitable Foundation\, Udaipur and resulting in this exhibition. In April 2014 there followed a momentous res idency in Rio de Janeiro\, in the wake of the Olympics\, and later that yea r in Turkey (Art Suites International Workshops). By dramatic contrast\, he r current residency is at Eton College\, at the Headmaster&rsquo\;s Lodge. Ates has exhibited in the Royal Academy&rsquo\;s Summer Exhibition\, in Ams terdam\, Rio de Janiero\, Istanbul\, Japan and the USA. Her work is collect ed internationally and has entered the print collections of the Victoria &a mp\; Albert Museum\, the Royal Academy of Art and the MAR.

DTEND:20150307 DTSTAMP:20150130T232805 DTSTART:20150204 GEO:51.5167654;-0.1378973 LOCATION:Art First Contemporary Art\,21 Eastcastle Street \nLondon\, W1 8DD SEQUENCE:0 SUMMARY:Stilled: from the Rajasthan Series\, GULER ATES UID:371906 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20150130T232805 DTSTART:180000 GEO:51.5167654;-0.1378973 LOCATION:Art First Contemporary Art\,21 Eastcastle Street \nLondon\, W1 8DD SEQUENCE:0 SUMMARY:Stilled: from the Rajasthan Series\, GULER ATES UID:371907 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150307 DTSTAMP:20150130T232805 DTSTART:20150204 GEO:51.5167654;-0.1378973 LOCATION:Art First Contemporary Art\,21 Eastcastle Street \nLondon\, W1 8DD SEQUENCE:0 SUMMARY:Delineations: Drawings at Art First\, Wilhelmina Barns-Graham\, Eil een Cooper\, Margaret Hunter\, Simon Lewty\, Helen MacAlister\, Bridget Mac donald\, Will Maclean\, Kate McCrickard\, Karel Nel\, Richard Penn\, Partou Zia UID:371904 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20150130T232805 DTSTART:180000 GEO:51.5167654;-0.1378973 LOCATION:Art First Contemporary Art\,21 Eastcastle Street \nLondon\, W1 8DD SEQUENCE:0 SUMMARY:Delineations: Drawings at Art First\, Wilhelmina Barns-Graham\, Eil een Cooper\, Margaret Hunter\, Simon Lewty\, Helen MacAlister\, Bridget Mac donald\, Will Maclean\, Kate McCrickard\, Karel Nel\, Richard Penn\, Partou Zia UID:371905 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Lazarides Rathbone is pleased to present a major new body of meditative self-portraits by Antony Micallef entitled Self.

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In a n era when the selfie is ubiquitous\, his long-awaited solo return unveils a series of energetic self-portraits on canvas and paper\, presenting the u ltimate commentary on this contemporary norm.

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Self highlights a departure in style and language from the artist's earlier series Impure Idols (2007)\, Becoming Animal (2009) and Happy Dee p Inside My Heart(2011). Stripping away the excess prevalent in this ea rlier work\, Micallef has parted ways with the colourful pop language that dominated these previous series in exchange for a set of self-scrutinizing works that turns the looking glass upon himself and his medium.

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The paradoxical notion that the self can be unco vered through the most narcissistic of gestures is explored through his rel ationship with the paint. The self-analytical dialogue is enacted through m ark-making\, the artist's hands and brush carefully constructing layer by l ayer in a vicious attack of the canvas. Set against Rembrandt-like backdrop s of pastel and colourfully marbled hues\, thick brushstrokes overlap\, ble ed and fuse into one another constituting a unique and authentic persona.\n

Antony Micallef's ultimate self-portra it\, Self subverts the selfie paradox and presents a wiser artist in deep reflection.

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Ruminatin g on the transformational trajectory that has coloured his career\, Micalle f explains: &ldquo\;William Blake said that the road of excess leads to the palace of wisdom &ndash\; you never know what is enough until you know wha t is more than enough. I became the very thing I was painting about without me realizing. I morphed into this world of excess and it completely took o ver. This is my way of stripping it right back and getting back to the basi cs. In this age of self-glorification and self-promotion\, we advertise our selves like a shop window. Every shot on social media is carefully choreogr aphed to send out a message of how we want to be perceived. I feel with thi s work I&rsquo\;ve stripped away the veneer and showed what lies beneath.&r dquo\;

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 \; About Antony M icallef

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Antony Micallef live s and works in London\, exhibiting in solo and group showcases worldwide in locations including Los Angeles\, London\, New York and Tokyo. The British artist studied under John Virtue\, who in turn was taught by the legendary Frank Auerbach\, both of which have heavily influenced his passionate appr oach to painting. Micallef&rsquo\;s contemporary art breakthrough came afte r being awarded second prize at the National Portrait Gallery&rsquo\;s 2000 BP Portrait Prize\, he later went on to make his solo debut It&rsquo\;s A Wonderful World with Lazarides in 2006\, quickly followed by his sold-out 2 007 Hollywood showcase Impure Idols.

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Micallef&rsquo\;s works were later shown at Lazarides&rsquo\; 2008 pop-up g roup spectacular The Outsiders\, New York. The previous year the highly acc laimed artist was commissioned to create travelling exhibition\, Journey\, in association with the UN\, the Mayor of New York&rsquo\;s Office\, Emma T hompson and the Roddick Foundation. From November 2008 to January 2009\, An tony Micallef&rsquo\;s outdoor sculptures and painting took prominent posit ions at the Royal Academy&rsquo\;s Burlington Gardens as part of GSK Contem porary. Exhibitions that followed included group showcases at the Royal Aca demy\, Tate Britain\, Lazarides&rsquo\; Eurotrash in June 2010 as well as H ells Half Acre in 2011. The following year saw Micallef contributing works to Lazarides Bedlam\, held at The Old Vic Tunnels\, as well as London&rsquo \;s Institute of Contemporary Art&rsquo\;s Peace One Day group exhibition.< /p>\n

Previous sold-out solo exhibitions in clude 2009&rsquo\;s Becoming Animal and most recently 2011&rsquo\;s Happy D eep Inside My Heart at Lazarides&rsquo\; flagship Fitzrovia space. Over the past year Micallef has exhibited in Lazarides&rsquo\; off-site group showc ase BRUTAL\, contributed artwork to Art Below&rsquo\;s public art initiativ e and Dallas Contemporary&rsquo\;s MTV RE:DEFINE charity auction.

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& nbsp\;

DTEND:20150319 DTSTAMP:20150130T232805 DTSTART:20150213 GEO:51.5169912;-0.1332548 LOCATION:Lazarides Rathbone Place\,11 Rathbone Place \nLondon \, W1T 1HR SEQUENCE:0 SUMMARY:Self\, Antony Micallef UID:371833 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20150130T232805 DTSTART:180000 GEO:51.5169912;-0.1332548 LOCATION:Lazarides Rathbone Place\,11 Rathbone Place \nLondon \, W1T 1HR SEQUENCE:0 SUMMARY:Self\, Antony Micallef UID:371834 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&lsquo\;People are always afraid of what they don&rsquo\;t understand\, but \;artists ha ve to step into the void &ndash\; the unknown. The unknown territory \; is where it&rsquo\;s worth exploring.&rsquo\;

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Ali Banisadr\, 2014

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The directors of Blain|Southern are delighted to present At Once< /em>\, an exhibition of oil paintings created over the last two years by th e celebrated New York-based artist Ali Banisadr. This is his first-ever sol o show in the UK and includes a 7-metre long triptych\, his largest work to date.

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Oscillating between the abstra ct and the figurative\, Banisadr&rsquo\;s paintings feature fantastical lan dscapes populated with grotesque hybrids in a perpetual state of frenzy. Th ese characters &ndash\; conflations of animal\, god\, machine and human &nd ash\; are deftly captured in whirling\, exuberant brushstrokes. Frequently there is a sense of a heaven and earth: in the lower half\, we witness temp oral struggles\, physical conflict and angst\, while above the characters s eem more at peace\; as if they have surrendered themselves to the ether.

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Take The Lesser Lights\, 2014\ , in which Banisadr&rsquo\;s hybrids are engaged in some chaotic communion. What is actually taking place is ambivalent &ndash\; it could be a battle\ , or a place of pilgrimage or simply a bacchanal &ndash\; its title\, an al lusion drawn from the Book of Genesis and other writings\, suggests the set ting is hell\, which is reinforced by the dripping\, lilac pink sky descend ing on the figures. Another work\, The Lower Depths\, 2014\, featu res a lake of acidic yellows\, greens and blues\, from which a giant animal struggles to escape. In the foreground a gaited human leg is smothered by what appears to be a prehistoric bird\, while a female figure\, naked from the midriff\, flies above a beast&rsquo\;s head. As with much of Banisadr&r squo\;s work\, the viewer is left feeling that the scene before them may di ssolve at any point\; the luscious brushstrokes and layered washes conveyin g a strong sense of movement and instability suggestive of a world in flux.

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Banisadr&rsquo\;s art-historical ins pirations are extensive\; Persian miniaturists\, Kandinsky\, Marinetti\,Ver onese\, Richter\, Abstract Expressionism and the nightmarish visions of Bos ch and Brueghel. Alongside these are a range of literary influences\, as we ll as contemporary motifs drawn from comic books\, films and music. Sound i s integral to Banisadr&rsquo\;s practice\; indeed\, the power of his work i s attributable to the synaesthesia he experiences while painting. This bega n when he was a child growing up in Tehran during the Iran-Iraq war\, where he drew the sounds of bombing and air-raids to make sense of what was happ ening. He says: &lsquo\;When I begin a painting\, it is always based on an internal sound. As soon as I apply the brush\, the sound begins\, and I am able to compose the work based on the sounds I hear as I&rsquo\;m paint ing. It is the force that drives the whole painting and helps me compose th e work and pull everything together.&rsquo\;

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For Banisadr\, painting is evidently not just painting\, but a means to reflect visually on his thoughts\, memories and imagination. Whil e intensely personal\, it is a line of enquiry that allows him to chip away at artistic\, political\, cultural and religious shibboleths. It is signif icant that he invariably eschews the Western tradition of including a centr al focal point or protagonist. In doing so he allows the beholder to commun e with a bigger idea of humanity itself and imbues his work with a universa l quality\, offering an invitation to the viewer to renew not just their ow n visual and psychological references\, but also to question larger convent ional orthodoxies.

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The exhibition wil l be accompanied by a fully-illustrated catalogue\, including colour plates of more than one hundred Banisadr paintings\, along with an essay by art h istorian and curator Dr Robert Hobbs and an interview between the artist an d philosopher\, critic and media theorist\, Dr Boris Groys.

DTEND:20150321 DTSTAMP:20150130T232805 DTSTART:20150211 GEO:51.5138885;-0.1433184 LOCATION:Blain|Southern - London Hanover Square\,4 Hanover Square \nLondon \, W1S 1BP SEQUENCE:0 SUMMARY:At Once\, Ali Banisadr UID:371831 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150130T232805 DTSTART:180000 GEO:51.5138885;-0.1433184 LOCATION:Blain|Southern - London Hanover Square\,4 Hanover Square \nLondon \, W1S 1BP SEQUENCE:0 SUMMARY:At Once\, Ali Banisadr UID:371832 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Almine Rech Gallery London is pleased to announce Gregor Hil debrandt&rsquo\;s fifth solo exhibition with the gallery and the artist&rsq uo\;s first solo show in the UK. Comprised entirely of new works\, the  \;exhibition will run from March 4 to April 11\, 2015. \; \;

\n< p>Gregor Hildebrandt was born in 1974 in Bad Homburg\, Germany. \;Recen t solo museum exhibitions and biennales include \;Interior and the collectors\, Biennale de Lyon\, France (2013)\; \;Ein Koffer a us Berlin\, Saarlä\;ndisches Kü\;nstlerhaus\, Saarbrü\;cke n (2012)\; and \;Nä\;chtliches Konzert \;(with Jorinde Voigt)\, Museum Van Bommel van Dam\, Netherlands (2012).

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Recent in stitutional group exhibitions include \;One way: Peter Marino\ , Bass Museum\, Miami (2014)\; \;A history. Art\, architecture\, de sign from the 80s to now\, Centre Pompidou\, Paris (2014)\; \; Man in the Mirror\, \;Vanhaerents Art Collection\, Brussels (2014) \; \;Booster \;&ndash\; \;Kunst Sound Maschine\, Marta Herford\, Herford (2014)\; \;Frank Badur. Die Sammlung im Dialog\, Saarlandmuseum\, Saarbrü\;cken (2014)\; \;Love S tory &ndash\; Anne and Wolfgang Titze Collection\, Vienna (2014)\;&nbs p\;Karl May: Schut und Feder\, (&lsquo\;Weltenschopfer&rsquo\; Max Klin ger\, Richard Wagner)\, \;Museum der bildenden Kunste Leipwig\, Le ipzig (2013)\; \;Landeskunstausstellung SaarART 2013\, \;S aarland Museum\, Saarland (2013)\; and \;Decenter\, An Exhibition o n the Centenary of the 1913 Armory Show\, \;Arbrons Arts Center\, New York (2013).

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Gregor Hildebrandt lives and works in Ber lin. \;

DTEND:20150411 DTSTAMP:20150130T232805 DTSTART:20150304 GEO:51.5109657;-0.1400151 LOCATION:Almine Rech Gallery\,11 Savile Row \nLondon\, W1S 3PG SEQUENCE:0 SUMMARY:In weißen Sträußen ließ den Duft der Sterne schneien\, Gregor Hilde brandt UID:371677 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150130T232805 DTSTART:180000 GEO:51.5109657;-0.1400151 LOCATION:Almine Rech Gallery\,11 Savile Row \nLondon\, W1S 3PG SEQUENCE:0 SUMMARY:In weißen Sträußen ließ den Duft der Sterne schneien\, Gregor Hilde brandt UID:371678 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Directors of Marlborough F ine Art are delighted to announce their forthcoming exhibition of paintings by the renowned Bolognese artist Daniela Gullotta. \;

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Following on from Gullotta&rsquo\;s very successful e xhibition in 2011\, Views of Rome: a personal tribute to Piranesi\ , the artist has moved location to come and study London. \; Some of th ese views will be known to many: Battersea Power Station\, Tower Bridge\, S t. Paul&rsquo\;s\, the Soane Museum\; Lloyds of London and the Chapter Hous e at Westminster Abbey. \; Daniela\, however\, has travelled further af ield to paint the Millenium Mills in the east end of London\, the entrance to the Crystal Palace underground\, the Trellick Tower and abandoned factor ies. \;

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As James Miller writes in the catalogue introduction: &ldquo\;Daniella Gullotta's new pictures of Lo ndon give the viewer a timeless evocation of sights so familiar that they n ormally seem transient. Battersea Power Station becomes majestic\; the inte riors of \; the John Soane Museum become as timeless as his architectur e\; Lloyds of London the iconic building in the city. These beautiful re-cr eations transform ones' perception of the well known. What a triumph!&rdquo \; \;

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Daniela&rsquo\;s technique involves mixed media on wood\, using oil\, acrylic\, sand\, pencil\, charco al and often overlaid with patches of canvas. \; The exhibition will co mprise some 30 paintings of differing sizes.  \;

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A fully illustrated catalogue will be published with an int roduction by art historian James Miller. \; Daniela will be in London f or the opening and available for interviews.

DTEND:20150228 DTSTAMP:20150130T232805 DTSTART:20150204 GEO:51.5084606;-0.141152 LOCATION:Marlborough Fine Art\,6 Albemarle Street \nLondon\, W1S 4BY SEQUENCE:0 SUMMARY:London Known and Unknown\, Daniela Gullotta UID:371401 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150130T232805 DTSTART:180000 GEO:51.5084606;-0.141152 LOCATION:Marlborough Fine Art\,6 Albemarle Street \nLondon\, W1S 4BY SEQUENCE:0 SUMMARY:London Known and Unknown\, Daniela Gullotta UID:371402 END:VEVENT BEGIN:VEVENT DESCRIPTION:

fi g-2 is hosting a week of encounters with poet\, environmental activist and public speaker Simon Welsh\, who will be delivering a series of forty&ndash \;two minute lectures\, starting on Monday at 7pm\; Tuesday\, Wednesday and Friday at 5pm. Welsh&rsquo\;s lectures incorporate his world view on the i nterconnecting forces that are at play in humanity today\, embarking upon m argins of new spirituality and cultural mythology. fig-2 will host a poetry cafe on Thursday evening between 6:30 &ndash\; 8:30pm where Welsh delivers immediate poems for the individual members of the audience responding to th eir set of choices. Welsh&rsquo\;s project will conclude with fifteen minute long poetic portrait \;sessions he ld on Saturday and Sunday between 2 and 6pm. Please book your place for the poetic portrait sessions by emailing \;info@fig2.co.uk.

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fig-2 opens each Monday 6 &ndash\; 8 pm \, and continues from Tue &ndash\; Sun 11 am &ndash\; 6 pm. fig-2 is open la te on Thursdays until 9 pm to coincide with the ICA late openings. fig-2\, I CA Studio\, The Mall\, London SW1Y 5AH. \;As the ICA is closed on Monda ys\, to reach the Studio please use the ramp entrance to the Studio from Ca rlton House Terrace\, at the top of the Duke of York Steps. For more inform ation visit \;fig2.co.uk

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fig-2 at the ICA in association with Outset

DTEND:20150201 DTSTAMP:20150130T232805 DTSTART:20150126 GEO:51.5055254;-0.1377582 LOCATION:Institute of Contemporary Arts (ICA)\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:fig-2\, Week 4/50\, Simon Welsh UID:371399 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150130T232805 DTSTART:180000 GEO:51.5055254;-0.1377582 LOCATION:Institute of Contemporary Arts (ICA)\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:fig-2\, Week 4/50\, Simon Welsh UID:371400 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In conversation with the \ ;Partial Presence \;exhibition curators\, Nayia Yiakoumaki\, C urator: Archive Gallery at Whitechapel Gallery\, explores how curatorial pr actices engage with archives and collections to reactivate stored and archi ved artworks. Taking themes in the show as a starting point\, they will dis cuss the impact archival practices\, preservation and documentation process have on shaping the legacy of an artwork.

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Nayia Yiakoumaki is an artist and the Curator: Archive Gallery at Whi techapel Gallery. She recently completed her PhD\, \;Curating Archi ves\, Archiving Curating\, at Goldsmiths College.

DTEND:200000 DTSTAMP:20150130T232805 DTSTART:190000 GEO:51.5457751;-0.1544284 LOCATION:Zabludowicz Collection\,176 Prince of Wales Road \nLondon \, NW5 3 PT SEQUENCE:0 SUMMARY:Talk: Nayia Yiakoumaki\, Curator: Archive Gallery at Whitechapel Ga llery UID:371398 END:VEVENT BEGIN:VEVENT DESCRIPTION:

To accompany the \;Par tial Presence \;exhibition Zabludowicz Collection screens \;Solaris \;(1972)\, a sci-fi film by Russian director Andrei Tark ovsky\, that explores the nature of memory and humanity.

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The film is set on a space station orbiting the ocean-c overed planet Solaris\, where cosmonaut Chris Kelvin arrives to investigate a series of mysterious and bizarre occurrences among the crew. What he dis covers are supernatural phenomena that cause repressed and haunting memorie s to take physical form\, including that of Kelvin's late wife. Through her \, Kelvin attempts to communicate with the forces responsible\, which appea r to be emanating from the mysterious planet itself.  \;(Taken from the  \;Artificial Eyewebsite).  \;

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SOLARIS (1972)
Dir. Andrei Tarkovsky
Russian with Eng lish subtitles
Running time: 159 mins. approx.
Classification: U< /p>\n

Drinks from 6pm
Screening starts at 6.30pm
FREE
 \;

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The screenings will take place in the Zabludowicz Collection gallery which sea ts 50 people approx. As capacity is limited advance booking is recommended.

DTEND:203000 DTSTAMP:20150130T232805 DTSTART:183000 GEO:51.5457751;-0.1544284 LOCATION:Zabludowicz Collection\,176 Prince of Wales Road \nLondon \, NW5 3 PT SEQUENCE:0 SUMMARY:Screening: Andrei Tarkovsky's Solaris UID:371397 END:VEVENT BEGIN:VEVENT DESCRIPTION:

To coincide with her Invites e xhibition\, artist Athena Papadopoulos talks about her practice with curato rs Leopold Thun and Jasmine Picot-Chapman.

DTEND:160000 DTSTAMP:20150130T232805 DTSTART:150000 GEO:51.5457751;-0.1544284 LOCATION:Zabludowicz Collection\,176 Prince of Wales Road \nLondon \, NW5 3 PT SEQUENCE:0 SUMMARY:Artist's Invites Presentation: Athena Papadopoulos\, Athena Papadop oulos UID:371396 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Now in its 7th year\, Testing Ground for Art and Education is an annual season focussed on opportunities for the creative and professional development of emerging artists and curat ors. A continuously evolving programme\, Testing Ground collaborates with e ducational and artist-led organisations to develop experimental exhibitions and events that facilitate a consideration and testing out of new ideas an d modes of practice. This exhibition is the culmination of a three month co llaboration with students of the MFA Curating courses at Goldsmiths College and The Cass\, London Metropolitan University.

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Partial Presence \;takes at its core the idea that artworks possess varying degrees of physical and conceptual presence during their lifespan. Journeying from the initial stages of creative conception and fabrication\, an artwork enters maturity and self-awareness through exh ibition in dialogue with other objects\, then physically degrades over time and loses currency\, before reconstituting through physical restoration\, documentation and historicisation. Interpreting &lsquo\;presence&rsquo\; as the materiality\, affect and meaning that constitutes a work of art\, the exhibition considers how an artwork&rsquo\;s presence is in a perpetual sta te of flux. Exhibiting artists include Francis Alÿ\;s\, Ed Atkins\, Mir oslaw Balka\, Matthew Barney\, Laurel Nakadate\, Wolfgang Tillmans and Gill ian Wearing\, alongside a selection of artists invited by the curators.

Partial Presence is collectively curated by Tamar Clarke-B rown\, W. Giovanni Gonzales\, Jen MacLachlan\, Thandi Mbire\, Eilidh McCorm ick\, Cecily Rainey\, Mateusz Sapija\, Anna Viani\, Emma Rae Warburton and Bar Yerushalmi.

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The exhibition is acc ompanied by a public programme of weekly curator-led exhibition tours\, fam ily workshops\, talks and film screenings.

DTEND:20150222 DTSTAMP:20150130T232805 DTSTART:20150129 GEO:51.5457751;-0.1544284 LOCATION:Zabludowicz Collection\,176 Prince of Wales Road \nLondon \, NW5 3 PT SEQUENCE:0 SUMMARY:Partial Presence\, Bernd & Hilla Becher\, Ed Atkins\, Mirosław Bałk a\, Matthew Barney\, Tom Burr\, Francis Alÿs\, Erin Shirreff\, James Irelan d\, On Kawara\, Ruth Ewan\, Laurel Nakadate\, Gerold TAGWERKER\, Wolfgang T illmans\, Gillian Wearing\, Enrique Metinides\, Walead Beshty\, Shahar Yaha lom\, Nicole Wermers UID:371394 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150130T232805 DTSTART:180000 GEO:51.5457751;-0.1544284 LOCATION:Zabludowicz Collection\,176 Prince of Wales Road \nLondon \, NW5 3 PT SEQUENCE:0 SUMMARY:Partial Presence\, Francis Alÿs\, Ed Atkins\, Matthew Barney\, Miro sław Bałka\, Bernd & Hilla Becher\, Walead Beshty\, Tom Burr\, Ruth Ewan\, James Ireland\, On Kawara\, Enrique Metinides\, Laurel Nakadate\, Erin Shir reff\, Gerold TAGWERKER\, Wolfgang Tillmans\, Gillian Wearing\, Nicole Werm ers\, Shahar Yahalom UID:371395 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Testing Ground: Master Class i nvites leading international artists to share their expertise with a small group of emerging artists from around the country over a week long intensiv e\, led by artist Doug Fishbone.

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Join us each evening for a public lecture by the artists.
Tonight: Matthew Darbyshire

Matthew Darbyshire (b. 1977) graduated from Slade Sc hool of Fine Art in 2000 and the RA Schools in 2005. His solo presentations in 2014 includedRenaissance City\, Stanny House\, Suffolk\; \ ;Public Workshop\, Krolikarnia National Museum\, Poland\; \;Bureau\, Herald St\, London\; \;Oak Effect\, Shipley Ga llery\, Gateshead\, and \;Captcha\, Jousse Entreprise\, Paris. In 2013 he exhibited with Hepworth Gallery\, Wakefield\; Bloomberg Space\, London\, and Frac Nord pas de Calais\, France. In 2012 Darbyshire was awar ded the Stanley Picker Fellowship in Fine Art by Kingston University\, Lond on\, and presented solo-exhibitions \;T Rooms \;at Tramway \, Glasgow\, and \;T Rooms Pt II \;at Zabludowicz Collecti on\, London. He has forthcoming solo shows at Manchester Art Gallery and Li sa Cooley\, New York. He currently teaches at Slade School of Fine Art and is represented by Herald Street Gallery\, London.
 \;

DTEND:200000 DTSTAMP:20150130T232805 DTSTART:190000 GEO:51.5457751;-0.1544284 LOCATION:Zabludowicz Collection\,176 Prince of Wales Road \nLondon \, NW5 3 PT SEQUENCE:0 SUMMARY:Master Class: Matthew Darbyshire\, Matthew Darbyshire UID:371392 END:VEVENT END:VCALENDAR