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Before the name \ ;is a live performance/shooting inspired by \;La danse comme m&eacu te\;taphore de la pensé\;e \;(Dance as a Metaphor for Though t)\, part of the &ldquo\;Handbook of Inaesthetics&rdquo\;\, written by the French philosopher Alain Badiou - Alberto Toscano (trans.)\, Stanford Unive rsity Press\, 2005. Badiou&rsquo\;s presence/absence in Francesca Banchelli &rsquo\;s performance embodies the desire to confront ourselves with the th ought of one of the great living philosophers through dance. Via the intens ity of movement\, sound and words\, the happening/event questions the meani ng of a collective action\, by creating a minimal multilayered connection b etween artists\, thinkers and the public.

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Badiou&rsquo\;s thoughts resonate in the form of an echo in the empty space\, along with the live music of artist and composer Emiliano Zelada\, and the experience of young dancers from different backgrounds responding t o the philosopher&rsquo\;s words. They will occupy the space with their mov ements\, trying to reach their own understanding of \;density& nbsp\;levels\, engaged with Badiou&rsquo\;s figure. The symmetrical binomia l produced by the philosopher&rsquo\;s appearance/disappearance\, and the d ancers&rsquo\; visual strength formed by movement and mind\, will be cut by a non-narrative perspective introduced and lead by the influential Italian art critic and curator Pier Luigi Tazzi\, with the kind help of Kornkrit J ainpinidnan. His presence opens the boundaries of the performance&rsquo\;s territory\, transforming it into direct actions.

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The focus on &ldquo\;dance as metaphor for thought&rdquo\; depa rts its starting point\, only to collide with a real entourage\, connected to life and experience. Dance\, as a concept\, is now dissolved into moveme nt\, travel\, life\, debris\, and powerful objects\, infinite images. The c ollective nature of the performance will be ignited by the interventions of artist-philosopher Jonathan Lahey Dronsfield\, interacting with Badiou&rsq uo\;s words\, thus establishing a dialogue in time creating a resonance in the space. A minimal thread of variants connected to Badiou&rsquo\;s theory will open up the performance territory to one of a debate. The public can affect this tension\, modifying the making of the performative territory\, following or interfering with the course of its process\, carrying it on un til the moment when it might be transformed into an &ldquo\;event&rdquo\;.< /p>\n

Alain Badiou is a philosopher who has clearly exposed the potentiality of the concept of an &ldquo\;event&rdquo\ ;\, and its importance in an individual&rsquo\;s awareness. This necessity goes beyond art&rsquo\;s and philosophy&rsquo\;s boundaries\, touching a ne wer generation&rsquo\;s desire to regain individual responses and shared la nguages. Movements\, conjectured to intensity of thought and music will be filmed to create a statement connecting artistic practice with philosophy\, while engaging with life&rsquo\;s consistency.

DTEND:200000 DTSTAMP:20150419T044854 DTSTART:190000 GEO:51.5345651;-0.0548183 LOCATION:Wilkinson Gallery\,50/58 Vyner Street \nLondon\, E2 9DQ SEQUENCE:0 SUMMARY:Before the Name\, Emiliano Zelada\, Pier Luigi Tazzi\, Jonathan Lah ey Dronsfield\, Francesca Banchelli UID:381093 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gillian Ayres' exhibition is n ow open. New paintings and prints are exhibited alongside a select group of historic paintings\, spanning Ayres' 65 year career. \;

DTEND:20150530 DTSTAMP:20150419T044854 DTSTART:20150413 GEO:51.5107667;-0.14195 LOCATION:Alan Cristea Gallery- 34 Cork St\,34 Cork Street \nLondon \, W1S 3 NU SEQUENCE:0 SUMMARY:New Paintings and Prints \, Gillian Ayres UID:381092 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gillian Ayres' exhibition is n ow open. New paintings and prints are exhibited alongside a select group of historic paintings\, spanning Ayres' 65 year career. \;

DTEND:20150530 DTSTAMP:20150419T044854 DTSTART:20150413 GEO:51.5107952;-0.1418735 LOCATION:Alan Cristea Gallery - 31 Cork St\,31 Cork Street \nLondon\, W1S 3 NU SEQUENCE:0 SUMMARY:New Paintings and Prints\, Gillian Ayres UID:381091 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150620 DTSTAMP:20150419T044854 DTSTART:20150523 GEO:51.531598;-0.0597315 LOCATION:Vilma Gold\,6 Minerva Street \nLondon\, E2 9EH SEQUENCE:0 SUMMARY:Solo Exhibition\, Sophie von Hellermann UID:380940 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150419T044854 DTSTART:180000 GEO:51.531598;-0.0597315 LOCATION:Vilma Gold\,6 Minerva Street \nLondon\, E2 9EH SEQUENCE:0 SUMMARY:Solo Exhibition\, Sophie von Hellermann UID:380941 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Victoria Miro is delighted to announce an exhibition of new work by \;Idris \;Khan in the artist' s fourth solo presentation with the gallery.

Working across medi ums including sculpture\, painting and photography\, Khan is well known for his large-scale works\, which use techniques of layering to arrive at what might be considered the essence of an image\, and to create something enti rely new through repetition and superimposition. For his exhibition at Vict oria Miro Mayfair\, Khan has produced large-scale composite photographs mad e from a series of oil stick paintings. These have gone through an intensiv e process of overlaying lines of writing repeatedly painted onto a minimal ground\, until the language becomes obscured. Documenting the journey of th e paintings\, Khan collects details of the line from every angle\, and in d oing so has the \;

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ability to constantly change its nature. The words are a response to the barrage of media images of conf lict that are 'un-escapable' \;in today's world. By using \;Roland Barthes' theory of the 'punctum'\, Khan writes about a certain personal tou ching detail of an object or person that jumps out of the photograph and ho lds his gaze.

The exhibition also includes a series of five 12 x 16 inch platinum prints\, whereby \;a negative is made the same size a s the finished image\; it is then contact printed onto a sheet of paper pai nted with platinum and iron salts\, and finally exposed in daylight. Titled 'Church Walk Studio'\, these delicate\, richly toned images have the quali ty of watercolour\, which furthers Khan's intrigue into \;pushing the b oundary between a painting and a photograph.

Idris \;Khan's work is a continuous process of creating and erasing\, adding new layers wh ilst retaining traces of what has been. Often addressing philosophical or m etaphysical themes in his work by superimposing thousands of photographic m oments into one single image\, he creates an expanded sense of time. The&nb sp\;final \;photographs show Khan's ability to capture the impossibilit y of seeing every stage of a painting.

The exhibition will be ac companied by a fully illustrated catalogue with a poem by Imtiaz Dharker.\n

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DTEND:20150606 DTSTAMP:20150419T044854 DTSTART:20150501 GEO:51.512915;-0.1434236 LOCATION:Victoria Miro Mayfair\,14 St George Street \nLondon\, W1S 1FE SEQUENCE:0 SUMMARY:Conflicting Lines\, Idris Khan UID:380939 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150523 DTSTAMP:20150419T044854 DTSTART:20150501 GEO:51.5249699;-0.0943618 LOCATION:Stuart Shave/Modern Art\,4-8 Helmet Row \nLondon\, EC1V 3QJ SEQUENCE:0 SUMMARY:Solo Exhibition\, Paul Lee UID:380935 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150419T044854 DTSTART:180000 GEO:51.5249699;-0.0943618 LOCATION:Stuart Shave/Modern Art\,4-8 Helmet Row \nLondon\, EC1V 3QJ SEQUENCE:0 SUMMARY:Solo Exhibition\, Paul Lee UID:380936 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For this exhibition\, the gall ery will be transformed into a fictional mid-century art dealership created to evoke the values and aesthetic of an earlier era. Masterpieces from the early to mid twentieth century will feature alongside later modern and con temporary works. The juxtaposition of artists like Picasso\, Mondrian\, and Schwitters with more contemporary practitioners such as Gego\, Jiro Takama tsu\, and Jack Whitten\, will demonstrate that great art from varied period s and geographies has a binding and profound synergy.

DTEND:20150530 DTSTAMP:20150419T044854 DTSTART:20150501 GEO:51.51069;-0.1411156 LOCATION:Stephen Friedman Gallery\,11/25-28 Old Burlington Street \nLondon\ , W1S 3AN SEQUENCE:0 SUMMARY:Galerie de l'epoque UID:380933 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150419T044854 DTSTART:180000 GEO:51.51069;-0.1411156 LOCATION:Stephen Friedman Gallery\,11/25-28 Old Burlington Street \nLondon\ , W1S 3AN SEQUENCE:0 SUMMARY:Galerie de l'epoque UID:380934 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Simon Lee Gall ery is pleased to announce an exhibition of new sculptures by acclaimed art ist Angela Bulloch. Stacked columns of polyhedra\, formed in steel\, corian or MDF\, populate the gallery space. Conceived and designed within a digit al imaging program\, this new body of sculptures\, with their stylized geom etry\, electronic glow and manufactured surface sheen\, might seem to chann el New Wave Science Fiction - a genre typified by its imaginative\, futuris tic and often inaccurate notions of science and technology. Just as that ge nre&rsquo\;s writers accelerated the age&rsquo\;s visions of modernism\, th ese geometric stacks suggest Brancusi&rsquo\;s Endless Column as if refract ed through vector graphics\, reinforcing a sense of &lsquo\;retro-futurity& rsquo\;. The temporality is confusing. Today\, when much sculpture seems to be looking back toward the purity of minimalism\, these works seem to refe r to a later moment\, when culture took imaginative leaps forward\, postula ting a world of stark angles and saw-tooth synthesizers.

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The ambiguity of the word &lsquo\;digit s&rsquo\; - implying fingers\, numerals or data - provides a point of entry to one of the fundamental themes of Bulloch&rsquo\;s practice - the integr ation of the human subject with technology. Her interest in cybernetics\, a field of study that links biological\, social and technological systems\, has been apparent in previous installations in which technology mediated ou r interaction with the work\, in effect making us co-producers. In these wo rks the interrelation is nuanced and layered - the sculptures are subtly an thropomorphic\, suggesting bodies or parts of bodies. Two of the sculptures entitled &lsquo\;Anima&rsquo\; and &lsquo\;Animus&rsquo\; make reference to Jung&rsquo\;s theory of archetypes: the male and female qualities that we subconsciously attribute to inanimate objects. From a cy bernetic perspective this reference creates an intriguing paradox\; could t here be a trace element of the human within the non-living world\, or is it merely psychological projection?

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The works in the exhibition reveal another sense of indetermin acy\; the flat planes and angles of each sculpture appear to animate as one moves around them\, creating a disorienting illusion of shifts between two and three dimensions. As with other works in her corpus\, this playful opt ical effect belies a complexity\; the sculptures are essentially generated by perfect equations\, their flattening out into patterned surface points t oward their origins as endlessly replicable simulations of depth and volume . This slippage between the real and the virtual is perhaps melancholic\, i nvoking an idealised space beyond our apprehension.

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Concurrently with the exhibition\, an outdoo r sculpture in steel will be installed on Mount Street\, Mayfair\, at the e ntrance to Mount Street Gardens.

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Ange la Bulloch was born in Ontario\, Canada and lives and works in Berlin. Her work is represented in major institutions and private collections worldwide \, including Tate\, London\, Lenbachhaus\, Munich\, Kunstmuseum Bonn\, Le C onsortium Dijon\, De Pont\, Tilburg\, and Guggenheim Abu Dhabi. Solo museum exhibitions include: Witte de With\, Center for Contemporary Art\, Rotterd am (2012)\; Stadtische Galerie Wolfsburg (2011)\; Lenbachhaus Munich (2008) \, Le Consortium\, Dijon (2005). Major institutional group shows include Seeing Through Light: Selections from the Guggenheim Abu Dhabi Collection \, Manarat Al Saadiyat\, Abu Dhabi (2014)\; New Generation\, FRAC Nord-Pas de Calais\, Dunkirk\, (2014)\; The New Dé\;cor \, Hayward Gallery\, London (2011)\; Theanyspacewhatever\, Guggenh eim Museum\, New York (2008). Bulloch was recently commissioned to create a permanent installation for the new Cancer Centre at London&rsquo\;s Guy&rs quo\;s &\; St Thomas&rsquo\; Hospital\, which will be unveiled next year .

DTEND:20150530 DTSTAMP:20150419T044854 DTSTART:20150501 GEO:51.5081809;-0.14304 LOCATION:Simon Lee\,12 Berkeley Street \nLondon\, W1J 8DT SEQUENCE:0 SUMMARY:New Wave Digits\, Angela Bulloch UID:380929 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150419T044854 DTSTART:180000 GEO:51.5081809;-0.14304 LOCATION:Simon Lee\,12 Berkeley Street \nLondon\, W1J 8DT SEQUENCE:0 SUMMARY:New Wave Digits\, Angela Bulloch UID:380930 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Lazarides Rathbone is pleased to present \;Fantasy Island\, a provocative new solo exhibitio n by New York-based artist \;Todd James. \;The vivid body of hyper-colou red works extends the artist's exploration into current socio-political aff airs\, continuing to stretch the boundary between the obscene and the humor ous.

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The large-scale paintings depict a fantastical reality far removed from the safety of Western existence\, s educing the viewer with a seamless mix of luminous compositions and graffit i-infused erotica. The satirical showcase features a striking cast of moder n-day Somali pirates\, UN soldiers and scantily-clad females\, adorned with AK47s and over-sized sunglasses whilst basking against tropical backdrops of never-ending sunsets. James illuminates contradictions in our contempora ry landscape with playful scenes loaded in metaphor\; armed soldiers balanc ing cups of tea in armchairs and sexualised women brandishing  \;heavy weaponry. The duality of the work is key to the American artist's long-term practice\, carefully balancing stylised animations against the stark reali ty of the times we live in.

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Alongside the main gallery presentation James is set to transform a vintage Chevrole t van positioned outside the gallery doors\, expanding on childhood referen ces first curated in his \;Vandal's Bedroom\, installed at LA's MOCA and re-constructed during Lazarides'& nbsp\;World Domination \;in 2013. The artist 's manifestation of personal spaces draws on fantasy art influences from th e analogue age of his youth\, comprised of a customised cluster of all-Amer ican 1970's ephemera. The Fantasy Island Chevy will play host to the exclus ive launch of James' most recent self-released book. The new publication\, entitled Beyond The Gates\, features a myriad of heavy metal-inspired sword s and sorcery girls in a haze of fluid lines and sensual scenes.

DTEND:20150528 DTSTAMP:20150419T044854 DTSTART:20150501 GEO:51.5169912;-0.1332548 LOCATION:Lazarides Rathbone Place\,11 Rathbone Place \nLondon \, W1T 1HR SEQUENCE:0 SUMMARY:Fantasy Island\, Todd James UID:380925 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20150419T044854 DTSTART:180000 GEO:51.5169912;-0.1332548 LOCATION:Lazarides Rathbone Place\,11 Rathbone Place \nLondon \, W1T 1HR SEQUENCE:0 SUMMARY:Fantasy Island\, Todd James UID:380926 END:VEVENT BEGIN:VEVENT DESCRIPTION:

There are 108 beads in the japa mala Hind us and Buddhists  \;use to meditate. This is a meditative series\, and it powerfully conjures India\, where at one time\, artists were often pilgr ims\, even secular-minded ones&hellip\;&rdquo\;

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Kiran Desai

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Blain|Southern \;is delighted to present an exhibition of new watercolours by \;Fran cesco Clemente. Bringing together 108 works on paper\, all of which are delicately and intimately scaled\, \;Emblems of Transformation \;continues the artist&rsquo\;s long-standing relationship with the m edium of watercolour\, and also with India.

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Clemente first travelled to India in 1973\, \;and has lived and worked there at \;different phases of his life. \; Drawing from the contemplative traditions and \;urban visual culture of India\, his pra ctice is characterised by a syncretic approach and the constant revitalisat ion of sources\, mediums and formats. The featured paintings include miniat ure elements chosen and suggested by Clemente\, and executed by a family of Indian miniaturist painters from a workshop from Rajasthan. This continues the artist&rsquo\;s long-history of working with Indian craftspeople.

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The 108 paintings in the suite reference the \;number of beads in the \;japa \;mala\, commonly used by Hindus and Buddhists during prayer. Like the beads of the mala the paintings are linked and flow seamlessly from one to the next. Each is like a fragment of a whole and yet presents a space or context in its own right \; they drift through the worlds of waking and sleeping\, becoming fluid an d interchangeable as symbols and images of love\, war\, landscape and perso nal mythology recur and interact.

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Alo ngside the often sumptuous colours of these watercolours &ndash\; where at times rainbows fill the picture plane\, offset by gold and silver fragments &ndash\; a small group of works are notably muted\, a monotone mood of ric h sepia or ochre tones recalling faded photographs. Here\, again\, one form flows into another and ambiguity surrounds the subjects. Fish and \;hu mans might be kissing or devouring one another\; a woman either penetrates the jaws of a monster or possibly explores the cavity within its body.

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Francesco Clemente aims to reconcile all apparent oppositions - life and death\, earth and water\, light and dark\, internal and external - and in doing so he looks at timeless questions of t he self. He is interested in the objectivity of imagination\, as opposed to sentimental fantasy\, and he takes a descriptive stance rather than a pres criptive one. His stories therefore stand as reminders of the transformativ e power of art making and of the imagination.

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The exhibition is accompanied by a full-colour exhibition catalogu e including essays by the Man Booker Prize winning author Kiran Desai.

DTEND:20150627 DTSTAMP:20150419T044854 DTSTART:20150429 GEO:51.5138885;-0.1433184 LOCATION:Blain|Southern - London Hanover Square\,4 Hanover Square \nLondon \, W1S 1BP SEQUENCE:0 SUMMARY:Emblems of Transformation\, Francesco Clemente UID:380923 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150419T044854 DTSTART:180000 GEO:51.5138885;-0.1433184 LOCATION:Blain|Southern - London Hanover Square\,4 Hanover Square \nLondon \, W1S 1BP SEQUENCE:0 SUMMARY:Emblems of Transformation\, Francesco Clemente UID:380924 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150524 DTSTAMP:20150419T044854 DTSTART:20150418 GEO:51.525135;-0.0558072 LOCATION:Herald St\,2 Herald Street \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:X: Herald St 10th Anniversary Exhibition UID:380921 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20150419T044854 DTSTART:180000 GEO:51.525135;-0.0558072 LOCATION:Herald St\,2 Herald Street \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:X: Herald St 10th Anniversary Exhibition UID:380922 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Jacopo Miliani creates a choreographic score as exhibition\, responding to fig-2&rsquo\;s performative and time based structure. Miliani has been in London for the last two months and has been following the fig-2 programme closely. The choreography will be composed of seven states over seven days\, manifested through the configuration of the mobile wall struct ures\, plexiglass modules\, photocopies alongside textile components. The i ndeterminate body of the score will be complemented by a number of accumula ting vases of flowers\, appearing daily. One element informing the other\, the different configurations will emerge\, where representation of a gestur e will be read into a movement that surfaces as a still pose that the exhib ition holds daily. Please book your tickets for the talk &lsquo\;Uttering t he Spectacle: Exhibition as Score\, Costume as Movement&rsquo\; by Jacopo M iliani\, Marketa Uhlirova and Fatos Ü\;stek \;here.

DTEND:20150426 DTSTAMP:20150419T044854 DTSTART:20150420 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:fig-2 16/50 Jacopo Miliani\, Jacopo Miliani UID:380857 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150419T044854 DTSTART:180000 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:fig-2 16/50 Jacopo Miliani\, Jacopo Miliani UID:380858 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Automobile Bavaria Group is delighted to introd uce to the UK Romania&rsquo\;s leading artist and recipient of the UNESCO G old Medal for outstanding contribution towards advancing the arts\, Bogdan Lascar.

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For Neuro-Epics Lasc ar will be showing nine works\; five sculptures and four paintings\, which form an arresting blend of the figurative and abstract\, collage and fantas y. These works introduce to the UK the artist&rsquo\;s groundbreaking conce pt of &ldquo\;Neurophysiologic shapings&rdquo\;. The subject matte r for both sculptures and paintings begin with forms including wild horses\ , human figures and elegant automobiles. These shapes are embedded in a bla ze of colour\, applied in semi-transparent layers of oil calling to mind a living &lsquo\;skin&rsquo\; on the surface of the painting.

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According to celebrated writer and art critic Edward Lucie-Sm ith\,&ldquo\;Lascar seems to say some of the images w e carry within ourselves are intricately entangled with our own physical be ing.&rdquo\;

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Bogdan Lascar&rsquo\;s work is roote d in his background. Born in 1974 in Bacau\, northern Romania\, Lascar&rsqu o\;s father was a doctor and his grandfather a sculptor\, working mainly in wood - the young Lascar inherited many of his tools which he used in his e arly works. \;

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After graduating from the Academy o f Fine Arts in Bucharest\, where he specialised in sculpture\, Lascar went on to study medicine for three years at the University of Bucharest. This w as not to affect a change of career but to &ldquo\;open another door&rdquo\ ; in the exploration of his art. \;

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However\, the biggest influence on his artistic approach was the Romanian revolution of 1 989\, when the dictator Nicolae Ceaucescu was toppled\, ending 42 years of Communist rule. He was the last of the European Communist leaders to fall a nd the only one to be executed. Lascar was 15 at the time. &ldquo\;It h ad a great effect on my art\,&rdquo\; he says. &ldquo\;I came to u nderstand the shaping of society.&rdquo\;

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The rev olutionary fervour that erupted on to the streets of towns and cities all o ver Romania\, and which Lascar experienced himself as an impressionable you ngster\, has informed his art in a very abstract\, visual way. There are pa rallels between the shapings of society that he witnessed during those turb ulent times\, and the constant evolutionary changes taking part within the human body. Colour was an inescapable aspect too of the revolution\, not on ly in the blood that was spilled but in the colourful mass protests. The co lour of his pieces also reflect that of the human body&rsquo\;s interior an d the colourful nature of society in general. Evolution was thus inspired b y revolution.

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Lucie-Smith writes:

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&ldquo\;A striking phenomenon in the visual arts\, si nce the fall of Soviet Communism and that of the satellite regimes allied t o the Soviet sphere\, has been the emergence of new kinds of avant-garde ar t\, visibly allied to the creative impulses that manifested themselves in t he early years of the 20th century\, but also subtly different\, sometimes with the kind of tragic resonance one senses here. The idea may\ , quite literally\, be that certain kinds of creative originality have to b e paid for in blood &ndash\; and need to be celebrated by being framed in g old.&rdquo\;

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Lascar&rsquo\;s work is held in nume rous public and private collections internationally including the Museum of Art\, Constanta\, Romania and the National Museum of Contemporary Art\, Bu charest\, Romania.

DTEND:20150503 DTSTAMP:20150419T044854 DTSTART:20150429 GEO:0.0;0.0 LOCATION:Saatchi Gallery\,Duke of York's HQ King's Road\nLondon\, SW3 4SQ SEQUENCE:0 SUMMARY:Bogdan Lascar: Neuro-Epics\, Bogdan Lascar UID:380854 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Nasan Tur \;will be in conversation with T essa Jackson (CEO\, Iniva) at Blain|Southern on Monday 20th \;April. Th ey will be discussing the German artist&rsquo\;s second show with the galle ry\, as well as Tur&rsquo\;s practice more generally. Bringing together new and recent works the exhibition explores the notion of failure and fragili ty\, both in relation to the individual and society more broadly.

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Tessa Jackson Bio:

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Tessa Jac kson\, OBE \, is currently the Chief Executive Officer of Iniva (The Instit ute of International Visual Arts)\, a position she has held since 2009.&nbs p\; She was the director of The Scottish Arts Council (1999 to 2001)\, and a director of the public art gallery Arnolfini (1991 to 1999).  \;More recently\, she has curated exhibitions by NS Harsha and Chen Chieh-jen as w ell as Zineb Sedira. She was awarded an OBE in 2006  \;for her services to art.

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Nasan Tur Bio

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Nasan Tur was born in Germany in 1974\, and graduated from the Academy of Arts and Design Offenbach\, Germany (2003). His work reflects the social conditions in which it is produced\, often exploring political ideologies\ , subliminal messages\, and the symbols of power and dissent that are prese nt throughout the urban landscape. \; An exploration of the tension bet ween public action and inaction is intrinsic to his practice\, with a parti cipatory element often implicating the subjectivity or presence of the view er. The boundaries of communication\, as well as the tentative\, or fragile nature of perception\, are both driving forces behind the practice of the artist\, and many of the situations that that he creates.

DTEND:200000 DTSTAMP:20150419T044854 DTSTART:183000 GEO:51.5138885;-0.1433184 LOCATION:Blain|Southern - London Hanover Square\,4 Hanover Square \nLondon \, W1S 1BP SEQUENCE:0 SUMMARY:NASAN TUR IN CONVERSATION WITH TESSA JACKSON\, Nasan Tur UID:380593 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Christopher Thompson | Somewhere : A Moment's Thought. \ ;

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16 Apr - 09 May 2015 \;

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Captured in h is delicate painterly technique and an often subdued palette\, Christopher Thompson&rsquo\;s compositions portray the human drama inherent in gestures \, glances and emotions. In combining his imagined sources with observation al accuracy\, his work traverses the divide between the real and the fictit ious &ndash\; one step removed from reality\, yet entirely authentic.

DTEND:20150509 DTSTAMP:20150419T044854 DTSTART:20150417 GEO:51.5080999;-0.1410338 LOCATION:Albemarle Gallery\,49 Albemarle Street \nLondon\, W1S 4JR SEQUENCE:0 SUMMARY:Christopher Thompson | Somewhere: A Moment's Thought\, Christopher Thompson UID:380442 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Jeff Robb | Liminal States

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16 Apr - 09 May 2015

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Jeff Robb is currently best known for his lenticular ph otographic work focusing on the female nude and abstract forms in space\, w hich he makes in series. The works in this exhibition are predominantly len ticular photography that use a vertical lens array to present a stereo pair of images to the eyes. They are 3D pictures without glasses. The screen im ages cannot convey the visual impact of the medium\, so animations are used to simulate their 3D nature.

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DTEND:20150509 DTSTAMP:20150419T044854 DTSTART:20150417 GEO:51.5080999;-0.1410338 LOCATION:Albemarle Gallery\,49 Albemarle Street \nLondon\, W1S 4JR SEQUENCE:0 SUMMARY:Jeff Robb | Liminal States\, Jeff Robb UID:380441 END:VEVENT END:VCALENDAR