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Iain Faulkner

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18 Apr - 11 May 2013

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In this n ew body of work Iain has moved away from the familiar motives of his practi ce\, the making of each painting a genuine observation and at the same time an allegorical interpretation of reality. This is evident through the imag ery employed: the gathering figures being drawn towards the sea – a symbol for desire and self- investigation\; the single contemplative figures refle cting on their place in the world\; the toasting figures – a poignant remin der of our humanity.

These paintings – with their atmospheric\ , quasi-real\, evocative character – become poetic descriptions of the huma n condition.

DTEND:20130511 DTSTAMP:20140820T124450 DTSTART:20130418 GEO:51.5080999;-0.1410338 LOCATION:Albemarle Gallery\,49 Albemarle Street \nLondon\, W1S 4JR SEQUENCE:0 SUMMARY:Iain Faulkner: New Works\, Iain Faulkner UID:272124 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Shine Artists: Ko Am : Cell3

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19 Apr - 11 May 2013 

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Cell3 | Tactile and inviting\, Ko’s work is pa radoxical – appearing simultaneously solid yet afloat\, heavy yet buoyant. The hard\, cold nature of metal is tempered and reformed by a unique additi on: the organic\, weightlessness of air. Each of the individual squares wit hin the structures is air-blown by hand to become\, in fact\, an inflated\, three-dimensional ‘cushion’. As such\, metal becomes the medium through wh ich Ko expresses softness\, and the pieces possess a duality of form\; the solidity of their substantial exterior is balanced by the delicacy of each of these minute\, private pockets.

DTEND:20130511 DTSTAMP:20140820T124450 DTSTART:20130418 GEO:51.5080999;-0.1410338 LOCATION:Albemarle Gallery\,49 Albemarle Street \nLondon\, W1S 4JR SEQUENCE:0 SUMMARY:Shine Artists: Ko Am | Cell 3\, Ko Am UID:272125 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Shine Artists: Jeong Woojae | The Girl And Her Dog

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1 9 Apr - 11 May 2013

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Jeong’s paintings are charming and pla yful expressions of the bond between humans and their animals. At first gla nce\, they might appear to be a straightforward celebration of their animal subject\, yet the works go beyond mere realism – a spell Jeong is keen to shatter with the playful reversal in the size of his figures. For Jeong\, e ach ingredient in his composition has a symbolic resonance\; his animal com positions are the vocabulary through which he addresses a particular contem porary malaise.

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DTEND:20130511 DTSTAMP:20140820T124450 DTSTART:20130418 GEO:51.5080999;-0.1410338 LOCATION:Albemarle Gallery\,49 Albemarle Street \nLondon\, W1S 4JR SEQUENCE:0 SUMMARY:Jeong Woo-Jae| The Girl and Her Dog\, Jeong Woo-Jae UID:272126 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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"It's all abou t the immaterial... The paradox is that the immaterial must be created from material\, it must materialize\, which is what really counts: the autonomy of the thing itself."

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Fernanda Gomes\, 2013

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Alison Jacques Gallery is del ighted to present Brazilian artist Fernanda Gomes' first e xhibition at the gallery. This marks Gomes' first show in the UK since her solo exhibition at the Chisenhale Gallery in 1997 and comes a year before h er forthcoming museum solo show at the Ikon Gallery\, Birmingham.

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Employing the same premise as she chose for her recent São Paulo Biennial presentation\, Gomes is spending the weeks prior to the opening o f her exhibition\, making work and editing her practice in the gallery spac es. Building her work in situ\, Gomes's solo show will appropriate the exhi bition spaces as an extension of her studio.

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Gomes' work exists between painting and sculp ture\, avoiding categorization and blurring the boundaries between object a nd space\, light and shadow\, composition and dispersion. If the essential geometries of Fernanda Gomes' installations formally recall an earlier gene ration of Brazilian art - the modulated space works and matchbox structures of Lygia Clark or the Metaesquemas of Helio Oiticica - they also embody Al berto Burri's philosophy of 'truth to materials' exemplified in the Arte Po vera movement. Through Gomes' choice of materials\, be they found objects\, pieces of wood or natural materials such as gold and water\, she reference s the poetics of the immaterial and the relationship of form to a whole. Li ke the Russian Constructivist Kazimir Malevich\, Gomes addresses the dissol ution of planes in space and her use of white as the only artificial colour in her practice in part references the history of the monochrome. Employin g only the organic palette of the colours of existing objects\, or smearing white across their surfaces\, Gomes highlights the tangible properties of her objects while simultaneously making parts of them disappear.

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Fernanda Gomes (b. 1960\, Rio de Janeiro\, Brazil) recently participated in the São Paulo Biennial curated by Luis Perez-Oramas (2012) and the Rennes Biennial (2012). Recent solo exhibitions include Museu de C idade\, Lisbon (2012) and MAM\, Rio de Janeiro (2011). Previous museum show s include Museu de Arte Contemporânea de Serralves\, Porto (2006) and The C hisenhale Gallery (1997). Gomes' work has been acquired by many museums inc luding the Art Institute of Chicago\; Miami Art Museum\; Vancouver Art Gall ery\, Canada\; Centre Georges Pompidou\, Paris\; MAM\, Rio de Janeiro\; and Tate Modern\, London.

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In additio n to her solo show at the IKON Gallery\, Birmingham (2014)\, Gomes will hav e a solo show at the Centre International de l'art et du Paysage\, Vassiviè re (2013) and and will be included in the Istanbul Biennial (2013).< /p>\n

 

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Fernanda Gomes is represented by Galeria Luisa Strina\, Sao Paulo and Alison Jacques Gallery\, London.

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DTEND:20130517 DTSTAMP:20140820T124450 DTSTART:20130419 GEO:51.5175225;-0.1366877 LOCATION:Alison Jacques Gallery\,16-18 Berners Street \nLondon\, W1 SEQUENCE:0 SUMMARY:Solo Exhibition\, Fernanda Gomes UID:266581 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140820T124450 DTSTART:180000 GEO:51.5175225;-0.1366877 LOCATION:Alison Jacques Gallery\,16-18 Berners Street \nLondon\, W1 SEQUENCE:0 SUMMARY:Solo Exhibition\, Fernanda Gomes UID:266582 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The language of drawing has always been considered the cornerstone of ar t and as such it reveals the inner process of the artist and his thinking. From the scientific and anatomical sketches of Leonardo Da Vinci to the aut omatic doodles of the Surrealists\, drawing has allowed artists over the ce nturies to explore both the world around us and the world within. In a cont emporary context\, the ability to draw provides an important counterpoint t o wider artist concerns and in all cases the act of drawing constitutes a r ich vein of artistic expression.

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In the main gallery stands a gia nt\, to scale rendition in pencil of Jacques -Louis David’s Rape of the Sabine Women by the artist Wolfe von Lenkiewicz and yet on closer inspe ction this drawing proves itself to be an amalgamation of a series of diffe rent works by David as witnessed by the appearance of the limp\, emaciated body of Marat lifted from his epic canvas The Death of Marat from 17 93. This monumental work is flanked by two more drawings that also owe thei r structure to a fusion of different elements by a single artist\, namely L eonardo Da Vinci and Pablo Picasso\, that when brought together create a ne w singular vision born from the disparate parts of multiple originals.

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The premise of Wolfe von Lenkiewicz’s artistic interventions is to qu estion what constitutes an authentic work of art and as such he is engaged in an alchemical revision of art history through the appropriation and reco nfiguration of the past. Other artists in the show include the Korean born Seung-hyun Lee who also takes as his starting point identifiable masterpiec es from Vincent van Gogh to Michelangelo to create magical\, amorphic lands capes while Paul Noble or Steven Harvey’s intricate drawings reveal an alte rnative universe that is entirely imaginary. Elsewhere in the main space la rge-scale charcoal drawings by Mircea Suciu or Reece Jones have a decidedly cinematic appeal while Robert Longo’s Monster series of breaking wa ves or baroque renderings of atomic bomb blasts tap into a collective memor y bank of images that have become mediated through a televisual landscape.

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The ability of drawing to be both a pathway to the unconscious an d the outward expression of a political or social consciousness is aptly ar ticulated through the work of the avant-garde. In the All Visual Arts viewi ng room examples of surrealist inspired drawings by Salvador Dali share an association with the contemporary work of the artists Dennis Scholl and Eri nc Seymen while the social caricatures of George Grosz\, Otto Dix and Ludwi g Meidner\, produced in Germany during the First World War and early 1920s\ , have a direct relationship with the work of Rob McNally and his drawing o f a deranged man in a blonde wig\, who bears an uncanny resemblance to the infamous Jimmy Saville.

DTEND:20130427 DTSTAMP:20140820T124450 DTSTART:20130308 GEO:51.5048715;-0.124418 LOCATION:All Visual Arts\,1 Horse Guards Ave. \nLondon\, SW1A 2HU SEQUENCE:0 SUMMARY:Between The Lines\, Salvador Dali\, Otto Dix\, George Grosz\, Steve n C. Harvey\, Reece Jones\, Dirk Lange\, Seung- Hyun Lee\, Fernand Léger\, Wolfe von Lenkiewicz\, Robert Longo\, Dominic McGill\, Robert McNally\, Lud wig Meidner\, Yan Pei-Ming\, Paul Noble\, Dennis Scholl\, Erinç Seymen\, Mi rcea Suciu\, Hugo Wilson UID:261857 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20140820T124450 DTSTART:190000 GEO:51.5048715;-0.124418 LOCATION:All Visual Arts\,1 Horse Guards Ave. \nLondon\, SW1A 2HU SEQUENCE:0 SUMMARY:Between The Lines\, Salvador Dali\, Otto Dix\, George Grosz\, Steve n C. Harvey\, Reece Jones\, Dirk Lange\, Seung- Hyun Lee\, Fernand Léger\, Robert Longo\, Dominic McGill\, Robert McNally\, Ludwig Meidner\, Paul Nobl e\, Yan Pei-Ming\, Dennis Scholl\, Erinç Seymen\, Mircea Suciu\, Wolfe von Lenkiewicz\, Hugo Wilson UID:261858 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Other Art Fair\, London ’s leading artist-led fair\, is delighted to announce the details for their fourth edition in spring 2013. The fair will and will be partnered with leading creative companies includi ng CultureLabel\, Jotta\, Aesthetica and Sipsmith to name a few.

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Th e fair is unique in its approach of using a selection committee of industry experts to handpick 100 of the most exciting unrepresented artists from ac ross the globe. Participating artists are given the opportunity to curate i ndividual stands from which to sell their work directly to the public provi ding an open platform for communication between artists\, buyers and art-lo vers. By encouraging this direct interaction\, The Other Art Fair hopes to forge lasting relationships between artists and experienced collectors and first-time buyers alike. The fair has quickly gained a reputation as one of the best locations for collectors to find undiscovered talent who are yet to gain gallery representation.

DTEND:20130428 DTSTAMP:20140820T124450 DTSTART:20130425 GEO:51.5219649;-0.1543792 LOCATION:Ambika P3\,University of Westminster 35 Marylebone Road\nLondon\, NW1 5LS SEQUENCE:0 SUMMARY:The Other Art Fair\, Damilola Oshilaja\, VARIOUS UID:270635 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20140820T124450 DTSTART:170000 GEO:51.5219649;-0.1543792 LOCATION:Ambika P3\,University of Westminster 35 Marylebone Road\nLondon\, NW1 5LS SEQUENCE:0 SUMMARY:The Other Art Fair\, VARIOUS UID:270636 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition Physical Exhaustion Increases Brain Glycogen Metabolism appears as a total coordinated image\; emulating branded space\, and using visual merchandising techniques such as colour matching and obje ct placement to reference commercial mechanisms of display.

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Georgie Nettell (born 1984 Bedford\, England) lives and works in London. She gradu ated from the Slade School of Fine Art\, BA\, London\, in 2009. Nettell rec ently presented a solo exhibition at Reena Spaulings Fine Art\, New York\, 2013. Other recent solo exhibitions include Voluntary Simplicity\, Glasgow\ , 2012\; Alternative Living\, Lima Zulu\, London\, 2012\; Luxotticca (with Gili Tal)\, Heit\, Berlin\, 2012\; Ultra\, Space Gallery\, London\, 2011\; Who are Old Forest (with Anna Rosen)\, Lima Zulu\, London\, 2010. Group exh ibitions include Goldbaumsteiger\, Heit\, Berlin\, 2012\; Ed Lehan\, Valent ina Liemur\, Georgie Nettell\, formalist sidewalk poetry club\, Miami\, 201 1\; L.A. Switzerland\, Night Gallery\, Los Angeles\, 2011\; BYTS\, Hertogen bosch\, Holland\, 2011.

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newultragroup are a luxury bag making compa ny founded in the late summer of 2012. They produce leather bags\, Ipad cas es\, phone cases\, and clutches\, which will be available online from the 2 5th of March 2013 via www.newultragroup.com. Prices start from £129

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Gili Tal (born 1983 Tel Aviv\, Israel) lives and works in Berlin. She grad uated from Goldsmiths University\, London\, in 2010 and from Camberwell Col lege of Arts\, London\, in 2006. Solo and two person exhibitions include Re al Pain for Real People\, Lima Zulu\, London\, 2013\; Luxottica\, Heit\, Be rlin\, with Georgie Nettell\, 2011\; The New Vegetarian\, ANDOR\, London\, 2011. Group projects include Goldbaumsteiger\, Heit\, Berlin\, 2012\; Lucy PDF TV\, Frieze Art Fair\, London\, 2011\; That's Entertainment\, Bold Tend encies 5\, London\, 2011\; Lucky PDF TV/Auto Italia Live\, London\, 2010\; Drinks\, The Peanut Factory\, London\, 2010\; Middlemarch\, AutoItalia Sout heast\, London\, 2009.

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Ellie de Verdier (born 1983 Uppsala\, Sweden ) lives and works in Berlin. She is a student of Josephine Pryde at the Uni versitat der Kunste in Berlin since graduating from the class of Nicholas M auss at HFBK Hamburg in 2012. In 2013 de Verdier presented a solo exhibitio n at Heit in Berlin. Other recent exhibitions include Climax\, Universitat der Kunste\, 2012\; Volta's Endeavour II\, Heit\, Berlin\, 2012\; RG Nichol as Mauss\, HFBK\, Hamburg\, 2012.

DTEND:20130518 DTSTAMP:20140820T124450 DTSTART:20130323 GEO:51.5312557;-0.0689591 LOCATION:ANDOR\,237 Hackney Road \nLondon\, E2 8NA SEQUENCE:0 SUMMARY:Physical Exhaustion Increases Brain Glycogen Metabolism\, Georgie N ettell\, newultragroup\, Gili Tal\, Ellie de Verdier UID:266572 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20140820T124450 DTSTART:180000 GEO:51.5312557;-0.0689591 LOCATION:ANDOR\,237 Hackney Road \nLondon\, E2 8NA SEQUENCE:0 SUMMARY:Physical Exhaustion Increases Brain Glycogen Metabolism\, Ellie de Verdier\, Georgie Nettell\, newultragroup\, Gili Tal UID:266573 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Materials speak to me and unexpected things happen. It is from a silent conversation between materials and imagination\, from intuitive listening t hat the paintings and drawings are born.

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Essential to my paintings and d rawings is the revealing of an abstract structure and energy inherent to my materials\, the linen canvas and cotton paper. In my paintings\, after hol ding a stretched canvas up to the light\, which allows me to see the moveme nt of the weave\, I am inspired to remove certain threads which in some wor ks I also then reapply. I continue by priming the canvas and then apply sev eral thin coats of acrylic paint. This is followed by a careful sanding of the surface that again makes visible the life within the linen material. In my drawings I incise lines with an etching point to remove particles of pa per before applying sometimes several layers of chalk or oil pastel. Breaki ng away from the traditional approach to linen and paper\, which are usuall y used as grounds on which to paint an image\, my working process reveals a nd uncovers the life and abstract energy within the materials.

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Important to my technique of thread removal and incised paper\, which reveals the en ergy and structure of my materials is that this process brings about variou s juxtapositions basic to the life of the art works: as for example the pos itive versus the negative spaces in my paintings and drawings\; the contras t between the geometry of the frames I use for my paintings and the organic flexibility of the linen fiber of the canvas\; the difference between the crisp scraped lines in my drawings versus the uneven more organic incised l ines\; or the contrast between the well defined lines created by removed an d applied threads in my paintings versus the aleatory\, cloud-like areas of color that have been sanded. I have often defined the coming together of t hese juxtaposed contrasting qualities as analogous to the rational and irra tional\, that is\, the Apollonian and Dionysian forces of life and existenc e.

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Used in the titles of my works are several themes: the four natural e lements\; time\; and that of sound and music. The linen canvas and paper or iginate from the flax and cotton plants\, which depend on the four natural elements\; also the acrylic paint and pastels originate from earth: the fou r elements thus are directly related to my material's structure and thus be came a recurrent theme in my work. For example\, the abstract structures re vealed to me are metaphors\, signs that relate to air\, water\, earth and f ire\; the signs appear with the removing and reapplying of threads\, which I often also symbolize with corresponding colors: grays in varying tones\; cobalt and ultramarine blues\; siennas\; oxide red\; oranges and ochres etc . The other important and recurrent themes are that of time and music or so und: my art works are a record of the days\, weeks\, months and seasons whe n they were created\, and thus act as a journal of my working process\; and the theme of music or sound\, points to the idea of making the invisible v isible\, and of the hidden presence of wave structures in our universe.

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Edda Renouf

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Paris\, March 2010

DTEND:20130503 DTSTAMP:20140820T124450 DTSTART:20130404 GEO:51.514238;-0.1457835 LOCATION:Annely Juda Fine Art\,23 Dering Street \nLondon\, W1s 1AW SEQUENCE:0 SUMMARY:Solo Exhibition\, Edda Renouf UID:266568 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Empire

The word empi re brings to mind\, former\, coming to an end\, exploitation\, violence\, t he taking of resources\, a grandeur of purpose and a belief in a common aim .

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AO

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AO are  the letters proceeding BP\, they are also common blood t ypes\, blood for oil. We are all involved in the blood spilt in securing oi l . Every time we lift the pump nozzle a trigger is pulled &\; another b ullet fired an innocent falls on foreign soil. The tap pours I try to wash my hands in a system which I know to be wrong. Maybe I can wash away my dis tain and believe it’s the way things are meant to be.

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LPH

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Vain aspi ration stands reflected in the dark pool to relieve ourselves we drill hole s in our mother and fill our cups until they over flow. And yet the thirst is never quenched\; the earth and those without mouths always cover the tab .

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Inside-out

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The crisp white invitation to a life without toil\, it h angs over a chair beneath which the pale carpet lies sodden. As the sales m an dresses for his next deal a moment of doubt and panic gushes within\, am I doing the right thing will it be better. Top bottom done\, neck tie pull ed tight\, straighten jacket\, just keep it to yourself. As the door self c loses the room is as empty as the vessel.

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Darren Lago 2013

DTEND:20130503 DTSTAMP:20140820T124450 DTSTART:20130404 GEO:51.514238;-0.1457835 LOCATION:Annely Juda Fine Art\,23 Dering Street \nLondon\, W1s 1AW SEQUENCE:0 SUMMARY:Empire\, Darren Lago UID:266569 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An exhibition celebrating the launch of Labyrinth\, Mark Wallinge r’s groundbreaking new Art on the Underground commission marking the 150th Anniversary of the London Underground.

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Inspired by the lexicon of signs on the London Underground that have become some of the most recognised in t he world\, Wallinger chose the ancient symbol of the labyrinth as the theme of this major work installed in all 270 stations on the Tube network. Each station will have its unique Labyrinth design\, permanently installed in a prominent location.

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In addition\, the artist and Art on the Underground have authorised the release of just one further copy of each of these icon ic images. This exhibition will feature the first group of theseLabyrint hs as displayed in the following Tube stations: Westminster\, St James’ s Park\, Oxford Circus\, Victoria\, Embankment\, Green Park\, Bank\, Kings Cross St Pancras\, Baker Street\, Tottenham Court Road. These are unique re presentations of landmarks\, by one of the ’s most important living artists . Thereafter\, from Finchley Central to Lambeth North\, from Arnos Grove to Aldgate East\, every station will feature its own Labyrinth as the work is rolled out over the network during the coming months. Each station surely has a particular significance to individual passengers\; a starting point\, a finishing point\, a memory of a meeting\, a celebration\, an adve nture.

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Daedalus built the Labyrinth and we follow his namesak e in James Joyce’s Ulysses\, as he sets off through a day wandering the cit y\, charting his encounters before a significant meeting sees him returning home a changed man. Every day has that possibility. Mostly we go about our business\, journeying to work on the tube and returning home along a presc ribed route. The seeming chaos of the rush hour is really just the mass of individuals following the thread of their lives home.

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In this wor k there is a unique labyrinth for every station on the Underground network. Each acts as a mental map\, a representation of the orientation and contem plation which are the everyday experience of millions of Londoners and thei r days spent on the Labyrinthine network. ‘You are here’\, they seem to say but in a rather more contemplative way. A spiritual journey perhaps\, the mind and its chambers\, the two hemispheres. (Mark Wallinger)”\n

To co mplement this work in the gallery there will also be a rare opportunity to see an earlier video installation inspired by the London Underground\, W hen Parallel Lines Meet At Infinity(1998-2001). This mesmerizing piece takes the form of a complete circuit of the Circle Line Tube as seen from t he front of the train. On the image wall\, at the vanishing point of the pe rspective\, is painted a single black spot. The train circles endlessly\; s till images transform into moving images and vice versa\; and the fixed bla ck spot appears to move while being constantly in the sights of the circlin g train chasing its perspectival target to infinity. As the Circle line is no longer a circle\, the piece also becomes an elegy for a lost transport e xperience.

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Many of Wallinger’s most memorable works have demonstrated a preoccupation with the symbolism of transport\, physical and spiritual\, an d the significance of thresholds and frontiers. In 2009 he curated a hugely popular exhibition for the Hayward Gallery in London entitled The Russi an Linesman which was a magical and inspiring dissertation on the subje ct\, drawing on 2000 years of the history of art. His video work Thresho ld To The Kingdom (2000) is one of the most moving contemporary exposit ions of the notion of spiritual transport and his monumental installation < i>State Britain (2007) which addressed political boundaries\, of freedo m of speech and rights to protest\, was described by Yve-Alain Bois in Artf orum as ‘one of the most remarkable political works of art ever’.

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Mark Wallinger was born in in 1959. He represented at the 2001 V enice Biennale and was awarded the Turner Prize in 2007. Among his most cel ebrated works are Ecce Homo\, the firs t commission for the Fourth Plinth in Trafalgar Square (1999)\, State Britain (2007) at Tate Britain\, the propos ed Ebbsfleet Landmark Commission White Hor se (2009)\, Via Dolorosa\, install ed in the crypt of the Duomo in Milan\, and Sinema Amnesia (2012) for Turner Contemporary in Margate (2012). Amon g many solo exhibitions have been those at the Serpentine Gallery\, London\ , Tate Liverpool\, Vienna Secession\, Museum for Gegenwartskunst\, Basel\, Palais Des Beaux Arts\, Brussels\, Kunstnernes Hus\, Oslo\, and Museum de P ont\, Tilburg\, His most recent public exhibition\, SITE\, took place in 2012 at Baltic\, Gateshead. He was one o f three artists commissioned for Metamorph osis: Titian 2012 at the National Gallery in London as part of the Lond on 2012 Cultural Olympiad. His work is in the collections of leading intern ational museums including Tate\, MoMA New York  and Centre Pompidou Paris. 

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Easter opening times:

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Friday 29 March- Monday 1st April - CLOSED

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Normal hours resume Tuesday 2nd April

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DTEND:20130427 DTSTAMP:20140820T124450 DTSTART:20130314 GEO:51.5145236;-0.1371166 LOCATION:Anthony Reynolds Gallery\,60 Great Marlborough Street \nLondon\, W 1F 7BG SEQUENCE:0 SUMMARY:Labyrinth\, Mark Wallinger UID:259659 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140820T124450 DTSTART:180000 GEO:51.5145236;-0.1371166 LOCATION:Anthony Reynolds Gallery\,60 Great Marlborough Street \nLondon\, W 1F 7BG SEQUENCE:0 SUMMARY:Labyrinth\, Mark Wallinger UID:262985 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For his first exhibition of new work since 2008\, Simon Lewty presents a remarkable group of drawings in which compelling new deve lopments are immediately evident. His chance discovery of Thomas Shelton’s 17thC system of shorthand\, ‘Tachygraphy’\, provided him with a written sur face after his own heart that was beautiful\, but opaque to all guesses as to its meaning. What a surprise it is to learn that in fact Samuel Pepys us ed this very system in his famous diary of 1660 – 69 to convey with relish and great verve\, an image of the turbulent Baroque age in which he lived.

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Lewty taught himself the now obscure system over several years\, and ha s incorporated its conceptual clarity into his own works. Radiant coloured inks both reflect its mysterious appeal and bring something of Pepys’s ener gy to the freshly choreographed calligraphy of Lewty’s own surfaces.

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Le wty taught himself the now obscure system over several years\, and has inco rporated its conceptual clarity into his own works. Radiant coloured inks b oth reflect its mysterious appeal and bring something of Pepys’s energy to the freshly choreographed calligraphy of Lewty’s own surfaces.

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“The wor d tachygraphy seemed in a crazy way to invite a link with the Tachisme of o ur own time: the two words share a root”\, observes Lewty. “Shelton and Pep ys meet Hartung and Michaux! Art and literature…” 

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Lewty’s writing stems from his dream journals and a plethora of notebooks. The narratives\, some times epic\, sometimes conversational\, range from a declamatory voice to m ore recent fragments of human dialogue captured from train journeys\, and o ther contemporary sources. His scripts are all woven into what he describes as ‘a calligraphic skin’\, as echoes of inscribed speech.

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Smaller\, mo st recent drawings in the show remind us that Lewty’s practice covers many forms of script\, from the familiar longhand of personal journals\, narrati ve fragments and lists\, to the ceremonial dignity of inked ‘italic’ column s or blocks with their strictly justified margins. Text with a Moth reveals that he has even practiced writing in the ‘italic’ typeface of his Adler t ypewriter which itself mimics the handwritten\, but bestows on it a neutral tone.

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Early Songs\, The Real Within the Voice\, Notations From a Sc ript for a Phonetic Play\, Pyrographic Script… these titles in the exh ibition suggest music and drama or perhaps a short story. Archaic or Post M odern\, their resonance is timeless. Yet they are also timely at the presen t ‘digital’ moment\, when\, as Philip Henscher has recently lamented\, the practice of handwriting (and typewriting) may become things of the recent p ast. But handwriting has never been simply a utilitarian means to an end. R eleased into the limitless spaces of the body and the sign\, Simon Lewty’s calligraphies are both meditations and performances\, surfaces of mystery\, devotion and energy. They invite us to an unforgettable journey of discove ry\; they offer the joys of a unique revelation.

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 An online illustrated catalogue accompanies this exhibition\, with essays by the poet Peter Larki n and by Paul Hills\, Professor Emeritus\,Courtauld Institute.

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The rece ntly made film by Tom Hudson shows Lewty answering questions posed by Larki n while working in his studio on several text based drawings. This can be v iewed on the Art First Website\, together with a substantial record of prev ious exhibitions and publications\, and further biographical details. 

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A lso available is the extensive monograph published by Black Dog Publishing\ , which covers four decades of Lewty’s notable output. The Self as a St ranger is richly illustrated and contains essays by Stuart Morgan\, Ia n Hunt\, Paul Hills\, Cathy Courtney and the artist himself.

DTEND:20130511 DTSTAMP:20140820T124450 DTSTART:20130411 GEO:51.5167654;-0.1378973 LOCATION:Art First Contemporary Art\,21 Eastcastle Street \nLondon\, W1 8DD SEQUENCE:0 SUMMARY:Absorption\, Simon Lewty UID:267562 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140820T124450 DTSTART:180000 GEO:51.5167654;-0.1378973 LOCATION:Art First Contemporary Art\,21 Eastcastle Street \nLondon\, W1 8DD SEQUENCE:0 SUMMARY:Absorption\, Simon Lewty UID:267563 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Liane Lang’s new exhibition combines elements of her on going series of works undertaken during her residency at the Memento Sculpt ure Park in Budapest (the resting place of discarded and exiled monumental sculptural works from the socialist era in Hungary) with a new series of sc ulptures that take as their subject defaced and destroyed monuments to dict ators and deposed leaders – the sculptures themselves derive from documenta tion of these acts of symbolic violence: from the black and white footage o f the Czar’s statue being torn down by horse-­‐power in Einstein’s 1928 fil m October\, to contemporary footage of a different kind of horsepower at wo rk on the iconic statue of Saddam Hussein in 2003. 

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Throughout Lang’s wo rk there is a fascination with the contextual and historical influence on t he way we perceive the figure in sculpture. Lang writes:

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< em> I am interested in the idea of the sculptural object that has forfeited its role to be treated and seen as an artwork. Traditionally the sculpted figure loses its status as artwork the closer it becomes to being life-­‐li ke\, ranging from the marble carving down to the tawdry side-­‐show reputat ion of the wax work. The Socialist statues\, many made with great skill by important sculptors of the time\, became culpable by association and lost t heir status as artwork in this way. Central to this series is the notion of iconoclasm\, which continues into other projects. The statue becomes the o bject of bodily punishment in acts of iconoclasm\, being treated as a symbo lic site for physical humiliation\, injury and execution in lieu of the rea l body. The symbolic act of deposition is often more powerful and long last ing than the fate of person portrayed.

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 The works\, both sculptural and photographic\, in the exhibition address the role of sc ale in our perception of art. In the case of monumental sculpture the sense of subjective appreciation or interpretation is determinedly overridden by the artist – the work has a distinct purpose and employs tried-­‐and-­‐tes ted mechanisms in its approach to materials and scale to achieve its functi on – to depict the subject as heroic\; all-­‐powerful\; permanent. By tweak ing one of these vital mechanisms – scale – Lang is able to create space fo r a much broader range of interpretations. The statuesque subjects of her w orks are variously belittled (in their reduction to sculptural miniatures) or revealed as grotesques as Lang introduces her life-­‐size simulacra to t hem\, highlighting the absurdity of their heroic poses. The resulting origi nal works thus retain the echo of the appropriated sculptures polemic messa ge\, but create room around them for humour and a strange and haunting beau ty\, born of empathy – for the mighty (however tyrannical) brought low\, an d for the very human condition of impermanence.

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Liane Lang is an artist based in London. Born in Germany she studied at NCAD in Dublin and complet ed a BA in Fine Art at Goldsmiths College followed by a Postgraduate Diplom a at the Royal Academy\, where she graduated in 2006. Lang has shown her wo rk widely both nationally and internationally since graduation. In 2012 she won the Hotshoe Magazine Photography Prize at Photofusion Gallery and part icipated in group shows at Focal Point Gallery\, Southend\, Flights of Fanc y at Babylon\, Berlin and a Cultural Olympiad project at Griffin Gallery in London. She is currently exhibiting at the German Historical Museum as par t of Berlin's Year of Culture 2013. She has been selected for the prestigio us Art Omi Residency 2013 in New York State. 

DTEND:20130511 DTSTAMP:20140820T124450 DTSTART:20130411 GEO:51.5167654;-0.1378973 LOCATION:Art First Contemporary Art\,21 Eastcastle Street \nLondon\, W1 8DD SEQUENCE:0 SUMMARY:Fallen\, Liane Lang UID:268150 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140820T124450 DTSTART:180000 GEO:51.5167654;-0.1378973 LOCATION:Art First Contemporary Art\,21 Eastcastle Street \nLondon\, W1 8DD SEQUENCE:0 SUMMARY:Fallen\, Liane Lang UID:268151 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The artworks on view at this e xhibition form part of a body of works collated into the book ‘Childhood\,’ presented alongside a textual accompaniment written by the artist. Within his writing\, Dahong captures perfectly the tales and thought processes fro m which his artistic narratives are born. At the same time\, the artworks t hemselves exemplify the way in which Dahong’s virtuosity as a writer inform s his visual expressions.

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He explores the themes of childhood\, rebellion\, the social revolution\, national mem ories\, and myths. Dahong enhances all of his works\, both in terms of sati rical humour and the underlying message\, by the manner in which the images are produced. The expression and character of his pictures is exaggerated by small details. These disturb the balance between naivety and the course of history he represents in his work\, thereby inserting a disquieting shim mer of a darker humour.

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ABOUT THE ARTIST:

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Born in Qingdao\, Shandong\, China in 1962\, Liu Dahong studied unde r Zao Wouki before graduating from the China Academy of Art in 1985.  Since then he has exhibited widely on the international stage\, with a number of solo shows from 1992\, as well as group exhibitions. Dahong now currently lives\, works\, and teaches in Shanghai. 

DTEND:20130530 DTSTAMP:20140820T124450 DTSTART:20130425 GEO:51.5196545;-0.1463925 LOCATION:Asia House\,63 New Cavendish street \nLondon\, London W1G 7LP SEQUENCE:0 SUMMARY:Childhood\, liu dahong UID:266129 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140820T124450 DTSTART:180000 GEO:51.5196545;-0.1463925 LOCATION:Asia House\,63 New Cavendish street \nLondon\, London W1G 7LP SEQUENCE:0 SUMMARY:Childhood\, liu dahong UID:266132 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Exploring one of the most important chapters in the history of contempor ary art\, The Bride and the Bachelors: Duchamp with Cage\, Cunnin gham\, Rauschenberg and Johns focuses on Marcel Duchamp ’s American legacy\, tracing his relationship to four great modern masters – composer\, John Cage\, choreographer\, Merce Cunningham\, and visual artists Robert Rauschenberg and Jasper Johns.

Encountering Duchamp and his work in the early stages of their careers\, each of the younger artists embraced key elements of his ideas and practice\, resulting in a seismic shift in the direction of art in the 1950s and ‘60s. Characterised by the integration of art and life\, t he work of Cage\, Cunningham\, Rauschenberg and Johns heralded the advent o f Pop Art.

The Bride and the Bachelors features around 90 works\, some by Rauschenberg and Johns are being shown in the UK for the first time. The selection reflects the artists’ multiple levels of engagement across the disciplines of art\, dance\, and music.

Lead ing contemporary artist Philippe Parreno has devised a dyn amic experiential staging of the exhibition inspired by the choreography of Cunningham and music of Cage\, featuring two Yamaha Disklavier pianos play ing live Cage scores\, while the ‘ghost’ of the dancers can be heard poundi ng the floor. The soundscape is also punctuated by Parreno’s own interpreta tion of Cage’s famous 4’ 33”.

Live dance ‘Events’ are performed on Thursday evenings and weekends throughout the duration of the exhibition by students and graduates from London Contemporary Dance School
and dancers from Ri chard Alston Dance Company.

Special ticketed dance events taking place in the gallery set ting include Cunningham's RainForest (1968)\, presented by Rambert D ance Company and Richard Alston Dance Company performing mixed pieces of hi s repertoire. Both are followed by a Q&\;A with Mark Baldwin and Richard Alston respectively.

T he exhibition is curated by Carlos Basualdo and organised by the Philadelph ia Museum of Art in association with Barbican Art Gallery. The exhibition h as been developed with the full co-operation of Jasper Johns\, Robert Rausc henberg Foundation\, John Cage Trust\, Merce Cunningham Trust and Associati on Marcel Duchamp.

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Dance Curator: Jeannie Steele. Presented in associat ion with The Place\, with the kind assistance of Richard Alston Dance Compa ny and London Contemporary Dance School. www.theplace.org.uk

DTEND:20130609 DTSTAMP:20140820T124450 DTSTART:20130214 GEO:51.5198644;-0.0916989 LOCATION:Barbican Art Gallery\,Silk Street \nLondon\, EC2Y 8DS SEQUENCE:0 SUMMARY: The Bride and the Bachelors: Duchamp with Cage\, Cunningham\, Ra uschenberg and Johns\, Robert Rauschenberg\, Jasper Johns\, Marcel Duchamp UID:253072 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Developed over a three-year period\, Geoffrey Farmer’s  The Surgeon and the Photographer will be shown for the first time in its completed form for its UK premiere. 

The work consists of hundreds of puppet-like figures\, co mposed of images cut from old books and magazines mounted onto fabric forms \, and is accompanied by a new film commission. His work blends the collage and assemblage traditions of Hannah Höch and Robert Rauschenberg\, the ele ment of chance employed by John Cage and Merce Cunningham\, and an animist perspective from Pacific Northwest Coast cultures.

DTEND:20130728 DTSTAMP:20140820T124450 DTSTART:20130328 GEO:51.5198644;-0.0916989 LOCATION:Barbican Art Gallery\,Silk Street \nLondon\, EC2Y 8DS SEQUENCE:0 SUMMARY:The Surgeon and the Photographer\, Geoffrey Farmer UID:277080 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bartha Contemporary is delighted to announce St efana McClure’s (b. 1959\, UK / USA) upcoming exhibition ‘ Science is FICTION’ featuring a monumental ‘films on pape r’ suite in twenty - three parts\, science fiction in the form of a series of manga drawings and some new large scale colour - blind works articulatin g the world of pure science. Please join us for the private view on Thursda y March 28 th from 6PM – 9PM*. Exhibition on view until May 11th 2013.

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B efore Attenborough and Cousteau there was Painlevé. The artist’s second sol o exhibition with the gallery celebrates the wonderful underwater d ocument aries of this early twentieth century French marine biologist and cinematic pioneer. In McClure’s suite of ‘Science is FICTION’ drawings the subtitles to twenty - three of his magical films are superimposed\, concentrated and concealed in two shimmeri ng bands at the bo ttom of otherwise uninterrupt ed monochromatic fields. Letters\, in their original typeface and screen pl acement\, are relentlessly accumulated and stack ed upon themselves \, coal escing in a super - condensed version of each film’s dialogue. The se abstr actions\, characterised by the distillation of time and the obliteration an d reconstruction of information\, are tangible manifestations of film.

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A longside this expansive work\, a second suite of nine drawings further show cases the artist’s predilect ion for seriality. Entitled ‘Hinotori’ this su ite of drawings on wax transfer paper mounted on dibond\, is a distillation of the nine - volume manga epic by the inimitable Osamu Tezuka who worked on the series for over 35 years and considered it to be his lif e’s work. A rguably one of the finest works of Japanese comic art ever produced\, this is science fiction at its best. Twelve separate stories\, linked by the pre sence of the mythical hinotori\, or bird of fire\, jump across time\, alter nating between a distant future and a distant past\, ultimately converging on the present. These manga drawings relate strongly to the films on paper\ , concentrating the dialogue of entire comic books into single drawings\, e ach new layer of text covering\, but not quite obliterating the one that we nt before it.

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While the films of Jean Painlevé exist on the border of sc i - fi and nature documentary and Hinotori is sheer science fiction\, the n ew colo u r - blind drawings\, based on early twentieth century Japanese te sts designed for the detection of colo u r vision deficiencies\, double up as effective diagnostic tools and embody the realm of pure science. Much of the colo u r information has been carefully removed from these intense mul ti - layered works \, which have been riddled with thousands of holes.

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Recent sculptural objects will complete the installation.

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Stefana McClu re lives and works in New York. She has previously lived and worked in Japa n for many years and is a native of Northern - Ireland. Her work has been e xhibited widely and forms part of numerous international private and public collections. For further information\, or to receive reproduction quality images\, please do not hesitate to contact the gallery.

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*Coinciding with the event Fitzrovia Lates

DTEND:20130511 DTSTAMP:20140820T124450 DTSTART:20130329 GEO:51.5166342;-0.1415935 LOCATION:Bartha Contemporary\,25 Margaret Street \nLondon\, W1W 8RX SEQUENCE:0 SUMMARY:Science is Fiction\, Stefana McClure UID:265353 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20140820T124450 DTSTART:180000 GEO:51.5166342;-0.1415935 LOCATION:Bartha Contemporary\,25 Margaret Street \nLondon\, W1W 8RX SEQUENCE:0 SUMMARY:Science is Fiction\, Stefana McClure UID:265354 END:VEVENT END:VCALENDAR