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

Amy Stephens initiates relations between geological\, archit ectonic and sculpted forms\, exploring the dichotomy between the object/for m and its representation. Using variety of media from drawing to sculpture and photography\, Stephens investigates fluctuations between two and three-d imensional surfaces. Her drawings manifest themselves as physical lines in space\, her sculptures replicate existing organic forms borrowed from natur al settings\, made in response to geographical features. Stephens employs t raditional sculpting techniques\, brings together the organic and the synth etic in her practice\, intertwining the inversion principle and the transla tability of form. At fig-2\, Stephens shows a set of works that meld the exi sting with the new\, where her wide spectrum of textures and materials\, he r investigation in the natural and inorganic are brought forward.

DTEND:20150906 DTSTAMP:20150827T213254 DTSTART:20150831 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:fig-2 35/50 Amy Stephens UID:394238 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150827T213254 DTSTART:180000 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:fig-2 35/50 Amy Stephens UID:394239 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Striking and oft en unforgiving\, Goya&rsquo \;s portraits demonstrate his daringly unconventional approach and rema rkable skill at capturing the psychology of his sitters.

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Already 37 when he secured his first important portrait commission from Spain&rsquo\;s Prime Minister\, Count Floridablanca\, Goya &rsquo\;s reputation grew quickly. Ambitious and proud of his status\, he g ained patrons from the entire breadth of Spanish society: from the royal fa mily and aristocrats\, to intellectuals\, politicians and military figures\ , to his own friends and family.

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Deep ly affected by his deafness\, the result of serious illness in his mid-40s\ , portraiture remained a means by which Goya could communicate. His approac h was unhindered\; he was unafraid to reveal what he saw.

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Providing penetrating insight into the public and priv ate aspects of his life\, &lsquo\;Goya: The Portraits&rsquo\; traces the ar tist&rsquo\;s development\, from his first commissions to more intimate lat er works painted during his &lsquo\;self-imposed exile&rsquo\; in France in the 1820s &ndash\; a career that spanned revolution and restoration\, war with France\, and the cultural upheaval of the Spanish Enlightenment.

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A boundary-breaker\, and highly regarded b y Delacroix\, Degas\, Manet and Picasso\, Goya is one of Spain&rsquo\;s mos t celebrated painters\, yet until now\, his story as a portraitist has neve r been told in an exhibition.

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&lsquo\ ;Goya: The Portraits&rsquo\; presents around 70 of the artist&rsquo\;s most outstanding works from public and private collections around the world\, i ncluding paintings\, drawings\, and miniatures never-before-seen in London.

DTEND:20160110 DTSTAMP:20150827T213254 DTSTART:20151007 GEO:51.5080393;-0.1280693 LOCATION:National Gallery\,Trafalgar Square \nLondon\, WC2N 5DN SEQUENCE:0 SUMMARY:Goya: The Portraits\, Francisco de Goya UID:394076 END:VEVENT BEGIN:VEVENT DTEND:180000 DTSTAMP:20150827T213254 DTSTART:100000 GEO:51.5080393;-0.1280693 LOCATION:National Gallery\,Trafalgar Square \nLondon\, WC2N 5DN SEQUENCE:0 SUMMARY:Goya: The Portraits\, Francisco de Goya UID:394077 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ryan Gander returns for a thir d time to Lisson Gallery with Fieldwork 2015\, an exhibition of in terlinking new works by the artist\, each offering a glimpse of the inspira tions that feed his practice. Encompassing everything including a kitchen s ink\, the exhibition presents an individuated encyclopaedia that includes a year&rsquo\;s worth of skies\, the clothes of absentee statues\, a tent\, a helium balloon\, the artist&rsquo\;s phone number and a pebble beach. As ever with Gander&rsquo\;s art\, the forms convened in Fieldwork are ellipti c and opaque\, starting stories for the viewer to invent or complete.

Occupying the entire back gallery\, the titular Fieldwork (a ll works 2015) opens a window onto the revolving touchstones of Gander&rsqu o\;s art. Objects from the artist&rsquo\;s collection &ndash\; each seeming ly found but on closer inspection uniquely crafted (for instance\, a Nation al Trust sign protecting &lsquo\;Culturefield&rsquo\;\, Gander's imaginary artistic utopia) &ndash\; rotate round the room on a vast\, walled-off conv eyer belt. Views of these items gliding past momentarily (a baseball bat co vered in nails\, a pair of dead pigeons\, a chocolate bar swoosh&hellip\;) are granted via an aperture in the gallery's wall\, creating a memory game of strange associations and a prism of connections (a chess set\, a torture d teddy bear\, a dead chick served on a plate with a napkin signed by Picas so&hellip\;) through which to consider the rest of the exhibition.

An autobiographical inflection can be discerned in Preparation is ev erything (There will come a slowness and we should prepare for that also)\, a work composed of 365 daily attempts to mix the exact colour of the sky over Saxmundham\, Suffolk\, in acrylic paint\; while the installation < em>Never enough &ndash\; a shingle beach filling the entirety of the d ownstairs gallery &ndash\; likewise refers to the seascape near Gander&rsqu o\;s home. Its endless pebbles reference an alleged punishment for those fo und guilty of the crime of smuggling: to seal up the perpetrator's storage cellar with stones washed up by the sea. Meanwhile The artist&rsquo\;s second phone\, a giant billboard installed outside the gallery\, borro ws the aesthetic of vacant Mexican billboards to announce Gander&rsquo\;s p hone number to all.

Just as the visitor can glimpse the items o n Fieldwork 2015&rsquo\;s conveyer belt but cannot approa ch them\; or peer down at the pebble beach but not access it\; and can even call up the artist but is unlikely to be answered\, so the other works in the exhibition also present sealed-off worlds and frustrate knowledge. Occu pying the courtyard space is Night and Day\, an internally lit\, s emi-transparent two-man tent crafted out of fibreglass resin\, while the hi gh-gloss black of what appears to be a helium balloon stuck in the gallery\ , similarly rebuffs scrutiny. Elsewhere\, what cannot be seen is suggestive : the series As is&hellip\; show the base and discarded robes from sculptures that have gone walkabout\; while I be&hellip\; (i) and I be&hellip\; (ii) are dust-sheeted mirrors as might be found in a closed-up stately home\, their crisply sculpted draperies teasingly shrou ding the reflections that lie behind.

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About the artist

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Ryan Gander&rsquo\;s complex and unfettered conc eptual practice is stimulated by queries\, investigations or what-ifs\, rat her than strict rules or limits. Gander is a cultural magpie in the widest sense\, polymathically taking popular notions apart only to rebuild them in new ways. Language and storytelling play an overarching role in his work\, not least in his series of Loose Association lectures or in his attempt to slip a nonsensical\, palindromic new word\, &lsquo\;mitim&rsquo\;\, into t he English language. Invitation and collaboration are also at the heart of Gander&rsquo\;s fugitive art &ndash\; whether he&rsquo\;s exchanging fictio nalised newspaper obituaries with an artist-friend or taking pictures of pe ople looking at pictures at an art fair &ndash\; although arguably every so lipsistic action he takes merely holds up yet another mirror to his ceasele ssly voracious mind.

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Ryan Gander was born in Chester in 1976 and works in London. Forthcoming solo shows include Vancouver Art Gallery and Aspen Art Museum while group exhibitions include British Art Show 8 at Leeds Art Gallery\, October 2015\; traveling to Edin burgh\, Norwich and Southampton and Performa\, New York\, 2015. Recent solo exhibitions include Australian Centre for Contemporary Art\, Melbourne (20 15)\; Singapore Tyler Print Institute\, Singapore (2015)\; Proyectos Monclo va\, Mexico City (2015)\; Make Every Show Like it&rsquo\;s Your Last\, Manchester Art Gallery (2014)\, touring to Centre for Contemporary Art \, Derry (2014) and OK Centre for Contemporary Art\, Linz (2015)\; Palais d e Tokyo\, Paris (2012)\; Haus Konstruktiv\, Zurich (2010)\; Solomon R Gugge nheim Museum\, New York (2010)\; Ikon Gallery\, Birmingham (2008)\; MUMOK\, Vienna (2007) and the CCA Wattis Institute for Contemporary Arts\, San Fra ncisco (2007). Gander has been awarded numerous prizes\, among others the Z ü\;rich Art Prize (2009)\, the ABN Amro Art Price (2006)\, the Baloise Art Statements of the Art Basel (2006) and the Dutch Prix de Rome for sculp ture (2003).

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27 Bell Street London

DTEND:20151031 DTSTAMP:20150827T213254 DTSTART:20150925 GEO:51.5209651;-0.1695948 LOCATION:Lisson Gallery\,29 and 52-54 Bell Street \nLondon\, NW1 5DA SEQUENCE:0 SUMMARY:Fieldwork \, Ryan Gander UID:394075 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Broomberg &\; Chanarin&rsqu o\;s debut solo exhibition at Lisson Gallery consists of new photographic\, moving image and performative works that collectively explore tensions bet ween discipline and chance\, precision and chaos\, empathy and the involunt ary pleasure of watching the pain of others. Central to the show is a new f ilm work\, Rudiments (2015) in which the artists have collaborated with a group of young army cadets at a military camp on the outskirts of L iverpool. Whether Broomberg &\; Chanarin have staged the scenes we obser ve or have simply documented the camp&rsquo\;s routine practice remains unc lear. The young soldiers-in-training are seen marching\, drumming and obeyi ng instructions &ndash\; enacting a collective\, authoritarian form of obed ience &ndash\; with varying degrees of success.

The absurd and d isturbing introduction of a &lsquo\;bouffon&rsquo\; &ndash\; a dar k clown whose performance teeters on vulgarity &ndash\; radically challenge s the martial codes supposedly being taught and interrupts their carefully choreographed routines. The children also learn how to pratfall\, &lsquo\;p lay dead&rsquo\; or deliver convincing blows to one another\, performing co mic actions that are seemingly at odds with the hierarchical structures of the army. Broomberg &\; Chanarin&rsquo\;s film explores the experience o f empathy or the enjoyment of pain in others through formative moments of c hildhood and innocence of early youth\, as well as highlighting the importa nce of cadets to the armed services and especially the historical role of t he drummer boy in battle. The work&rsquo\;s title refers to the 40 rudiment s that form the technical foundation of percussive music &ndash\; including rolls\, strokes and paradiddles &ndash\; while the soundtrack is propelled by a dramatic\, improvised score devised for the drums by the American mus ician Kid Millions (also known as John Colpitts).

Accompanying t he film are two large-scale photographic series\, the first of which depict s bullets that have collided head-on and fused in mid-air. These improbable \, perhaps even slapstick objects were originally found on the battlefields of the American Civil War and are said to have effectively saved the lives of two soldiers. For their second new series\, Broomberg &\; Chanarin h ave photographed military grade prisms\, shards of optical glass that are u sed in the sights of precision weaponry\, but which also relate to the lens es found in the same photographic apparatus they use. Violence is transmitt ed through these materials: collided lumps of lead and the shear edges of c rystal glass. The exhibition will also feature a live performance with two drummers\, one snare drum\, one chair\, two clocks and a lead carpet\, in w hich the drummers play a drum roll for the 6-week duration of the exhibitio n\, without interruption.

The Lisson Gallery exhibition is an e xtension of a major show at the Centre for Contemporary Art Ujazdowski Cast le in Warsaw (27 June &ndash\; 6 September)\, who co-commissioned the film Rudiments with Forma Arts\, supported by Arts Council England. Thi s show coincides with the artists exhibiting as part of the eighth British Art Show (Leeds Art Gallery\, 9 October &ndash\; 10 January 2017\, then tou ring to Edinburgh\, Norwich and Southampton throughout 2016) and they will also be the next invited artists to exhibit and intervene within the Freud Museum in London (7 October &ndash\; 22 November)\, exhibiting a new body o f work\, Every piece of dust on Freud's couch.

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About the artists

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Tackling politics\, religion\ , war and history\, Broomberg &\; Chanarin prise open the fault lines as sociated with such imagery\, creating new responses and pathways towards an understanding of the human condition. Trained as photographers they now wo rk across diverse media\, reacting to the photojournalistic experience of b eing embedded with the British Army in Afghanistan (and the controlled acce ss to frontline action therein) with an absurd\, conceptual riposte\, compo sed of a series of abstract\, six-metre swathes of photographic paper expos ed to the sun for 20 seconds\, for the work The Day Nobody Died (2 008). Through painstaking restitution of found objects or imagery\, from th e long-lost set and discarded footage of the film Catch-22 in Mexi co\, for example\, Broomberg &\; Chanarin enact an archeology or exorcis m of aesthetic and ideological constructs behind the accepted tropes of vis ual culture\, laying bare its foundations for fresh interpretation. Languag e and literature play an increasing role as material for their multifaceted work\, from the philosophical underpinnings in Bertolt Brecht&rsquo\;s War Primer to the sacred texts of the Holy Bible itself\, both books having been refashioned and recreated by the artists in their own ambiguous \, combatant image.

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Adam Broomberg (b orn 1970\, Johannesburg\, South Africa) and Oliver Chanarin (born 1971\, Lo ndon\, UK) are artists living and working in London. Together they have had numerous solo exhibitions including the Centre for Contemporary Art Ujazdo wski Castle\, Warsaw (2015)\; Jumex Foundation\, Mexico City (2014)\; FotoM useum\, Antwerp (2014)\; Mostyn\, Llandudno\, UK (2014)\; Townhouse\, Cairo (2010)\; Musé\;e de l&rsquo\;Elysee\, Lausanne (2009) and the Stedel ijk Museum\, Amsterdam (2006). Their participation in international group s hows includes the British Art Show 8 (2015-2017)\; Conflict\, Time\, Photog raphy at Tate Modern\, London and Museum \; Folkwang\, Essen (2015)\; S hanghai Biennale (2014)\; Museum of Modern Art\, New York (2014)\; Tate Bri tain (2014)\; Mathaf Arab Museum of Modern Art\, Doha (2013)\; Gwanju Bienn ale (2012) and the KW Institute for Contemporary Art\, Berlin (2011).

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Their work is held in major public and pri vate collections including Tate\, MoMa\, Stedelijk\, the V&\;A\, the Int ernational Center for Photography and the Art Gallery of Ontario. Major awa rds include the ICP&rsquo\;s Infinity Award (2014) for Holy Bible\, and the Deutsche Bö\;rse Photogrpahy Price (2013) for War Primer 2. \;

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52-54 &\; 29 Bell Street Lond on

DTEND:20151031 DTSTAMP:20150827T213254 DTSTART:20150925 GEO:51.5209651;-0.1695948 LOCATION:Lisson Gallery\,29 and 52-54 Bell Street \nLondon\, NW1 5DA SEQUENCE:0 SUMMARY:Rudiments\, Adam Broomberg & Oliver Chanarin UID:394074 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160306 DTSTAMP:20150827T213254 DTSTART:20151125 GEO:51.487615;-0.168313 LOCATION:Saatchi Gallery\,Duke of York's HQ King's Road\nLondon\, SW3 4SQ SEQUENCE:0 SUMMARY:Champagne Life\, Mequitta Ahuja\, Alice Anderson\, Marie Angeletti\ , Jelena Bulajic\, Julia Dault\, Mia Feuer\, Sigrid Holmwood\, Virgile Itta h\, Seung Ah Paik\, Suzanne McClelland\, Stephanie Quayle\, Soheila Sokhanv ari\, Jeni Spota\, Julia Wachtel\, Alexi Williams UID:394071 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mademoiselle Privé\;\, a journey through the origins of CHANEL's creations capturing the charismati c personality and irreverent spirit of Mademoiselle Chanel and Karl Lagerfe ld.

This autumn\, Karl Lagerfeld and CHANEL will present an en chanted journey through the House's creativity. The "Mademoiselle Priv&eacu te\;" exhibition will highlight the Haute Couture\, the re-editions of the High Jewellery "Bijoux de Diamants" collection created in 1932 and CHANEL N °\;5. Opening the doors to reveal a dazzling experience and immersion in to the origins of CHANEL's creations\, "Mademoiselle Privé\;" will ca pture the charismatic personality and irreverent spirit of Mademoiselle Cha nel and Karl Lagerfeld.

Installed on all three floors of the G allery\, the enticing adventure will bring to mind the House's essential el ements: audacity\, freedom and innovation whether it is the history of Gabr ielle Chanel's inspirations or Karl Lagerfeld's inimitable take on CHANEL's codes\, symbols and icons.

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MADEMOISELLEPRIVE.CHANEL.COM


PRESENTED BY:

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DTEND:20151101 DTSTAMP:20150827T213254 DTSTART:20151013 GEO:51.487615;-0.168313 LOCATION:Saatchi Gallery\,Duke of York's HQ King's Road\nLondon\, SW3 4SQ SEQUENCE:0 SUMMARY:Mademoiselle Privé UID:394070 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"The etching and corrosion process employed results in works suspended between creation and destructi on. The objects represent genuine entropy. There is beauty in decay."< /p>\n

From 25 August to 1 November 2015 we are pleased to present Caustic Windows: New Works by Alaric Hammond within the Prints &\; Originals Gallery at the Saatchi Gallery in Lond on.

The exhibition showcases new works by the British contempora ry artist Alaric Hammond. Each artwork has been created in the studio utili sing etching and corrosion processes on zinc plates which are then mounted onto wood.

&ldquo\;The etching and corrosion process employed r esults in works suspended between creation and destruction. The objects rep resent genuine entropy. There is beauty in decay.&rdquo\; &ndash\; Alaric H ammond

The exhibition has been curated by Olly Walker\, Ollystud io.

If you plan to visit the Gallery in September or October 201 5 then please check the homepage on the Saatchi Gallery website before your visit. There are a number of days when the Gallery will be closed in these months. These closure days will be listed beneath our regular opening hour s.

DTEND:20151101 DTSTAMP:20150827T213254 DTSTART:20150825 GEO:51.487615;-0.168313 LOCATION:Saatchi Gallery\,Duke of York's HQ King's Road\nLondon\, SW3 4SQ SEQUENCE:0 SUMMARY:Caustic Windows: New Works by Alaric Hammond\, Alaric Hammond UID:394069 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151004 DTSTAMP:20150827T213254 DTSTART:20150905 GEO:51.525135;-0.0558072 LOCATION:Herald St\,2 Herald Street \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:Solo Exhibition\, Jess Fuller UID:394066 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150827T213254 DTSTART:180000 GEO:51.525135;-0.0558072 LOCATION:Herald St\,2 Herald Street \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:Solo Exhibition\, Jess Fuller UID:394067 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Teststripfilms and co-curator Iffy Tillieu present
- < strong>' NEED AND ERROR' -

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Private view - Monday 7 th September 6-9pm

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Open - Tuesda y 8th September 12-3pm

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APT Gallery

&lsquo\;the road to hell is paved with good intentions&rsquo\; sta ted
Bernard of Clairvaux in 1150\, and unfazed by conformity Ac/Dc su ng and scored with 'Highway to Hell' in 1979\,

Could these hav e been early
warnings of the way we as humans strive for upward
economic mobility at all costs?.

20 artists working in UK and Belgium have been
invited to react on schemes developed by A.Maslow
and D.Alighieri - namely: the Pyramid of Needs and
Inferno- to ask questions on our contemporary
human condition\, our needs as hum ans and our survival..

You can see the results in a first gro upshow in
London which will be followed by a groupshow in
Bruss els mid-October.

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https://filmandteststrip.wordpress.com/< /p>\n

Art in Perpetuity Trust
Harold Wharf
6 Creekside
Deptford
London SE8 4SA

DTEND:20150908 DTSTAMP:20150827T213254 DTSTART:20150907 GEO:51.4770661;-0.021002 LOCATION:APT Gallery\,Harold Wharf 6 Creekside\, Deptford\nLondon\, SE8 4SA SEQUENCE:0 SUMMARY:Teststripfilms and co-curator Iffy Tillieu present - ' NEED AND ERR OR' -\, Renske Cox\, Meret Sera\, Kathleen Bryson\, Jack Brooks\, Stuart Mc Adam\, Johan Govaerts\, Jessica Cheeseman\, Aline Helmcke\, Karin Lindholm\ , Seeta Muller\, Iffy Tillieu\, Peter Barnard\, Natasha Swingler\, Victoria Rance\, Koné Lounseny\, Patries Wichers\, Joachim Devillé\, Livia Ferbinte anu\, Ksusha Holmes UID:393851 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20150827T213254 DTSTART:180000 GEO:51.4770661;-0.021002 LOCATION:APT Gallery\,Harold Wharf 6 Creekside\, Deptford\nLondon\, SE8 4SA SEQUENCE:0 SUMMARY:Teststripfilms and co-curator Iffy Tillieu present - ' NEED AND ERR OR' -\, Peter Barnard\, Jack Brooks\, Kathleen Bryson\, Jessica Cheeseman\, Renske Cox\, Joachim Devillé\, Livia Ferbinteanu\, Johan Govaerts\, Aline Helmcke\, Ksusha Holmes\, Karin Lindholm\, Koné Lounseny\, Stuart McAdam\, Seeta Muller\, Victoria Rance\, Meret Sera\, Natasha Swingler\, Iffy Tillie u\, Patries Wichers UID:393852 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150912 DTSTAMP:20150827T213254 DTSTART:20150908 GEO:51.5084606;-0.141152 LOCATION:Marlborough Fine Art\,6 Albemarle Street \nLondon\, W1S 4BY SEQUENCE:0 SUMMARY:The Valerie Beston Artists' Trust Prizewinner 2014: A Smile From Ac ross The Room \, Jonathan Lux UID:393849 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151018 DTSTAMP:20150827T213254 DTSTART:20150909 GEO:51.4698422;-0.0717198 LOCATION:Hannah Barry Gallery\,4 Holly Grove Peckham\nLondon\, SE15 5DF SEQUENCE:0 SUMMARY:Solo Exhibition\, Timur Novikov UID:393837 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20150827T213254 DTSTART:183000 GEO:51.4698422;-0.0717198 LOCATION:Hannah Barry Gallery\,4 Holly Grove Peckham\nLondon\, SE15 5DF SEQUENCE:0 SUMMARY:Solo Exhibition\, Timur Novikov UID:393838 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151018 DTSTAMP:20150827T213254 DTSTART:20150909 GEO:51.4698422;-0.0717198 LOCATION:Hannah Barry Gallery\,4 Holly Grove Peckham\nLondon\, SE15 5DF SEQUENCE:0 SUMMARY:Solo Exhibition\, Marie Jacotey UID:393835 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20150827T213254 DTSTART:183000 GEO:51.4698422;-0.0717198 LOCATION:Hannah Barry Gallery\,4 Holly Grove Peckham\nLondon\, SE15 5DF SEQUENCE:0 SUMMARY:Solo Exhibition\, Marie Jacotey UID:393836 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20040905 DTSTAMP:20150827T213254 DTSTART:20040624 GEO:51.5057757;-0.1168251 LOCATION:Hayward Gallery\,Southbank Centre Belvedere Road\nLondon\, SE1 8XX SEQUENCE:0 SUMMARY:About Face - Photography and the Death of the Portrait UID:393799 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150827T213254 DTSTART:180000 GEO:51.5057757;-0.1168251 LOCATION:Hayward Gallery\,Southbank Centre Belvedere Road\nLondon\, SE1 8XX SEQUENCE:0 SUMMARY:About Face - Photography and the Death of the Portrait UID:393800 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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 \;Veronika Hauer&rsquo\;s work embodies the medium of performance expressed and elaborated through writing\, speech \, sculpture\, video and prints. Hauer&rsquo\;s exhibition at fig-2 gathers existing and newly produced works relating to performance without immediate physical activation. Produced in steady dialogue between the artist&rsquo\ ;s intention and audience&rsquo\;s perception of a piece of performance\, t he exhibition will feature the video pieces &lsquo\;Semaphore Dance&rsquo\; \, 2014 which premiered at the recent Glasgow International\, and &lsquo\;s peech is to be looked at&rsquo\;\, 2015\, a series of poster works and Haue r&rsquo\;s &lsquo\;Cuckoo&rsquo\; series. These works depict performance as subject matter\, inviting the audience to engage with the imaginary. Addit ionally\, online contemporary art magazine Nowiswere plays a significant pa rt in Hauer&rsquo\;s artistic practice. For the first time in its seven-year history\, the magazine&rsquo\;s first printed issue is being launched on th e occasion of the exhibition. Activating the idea of live publishing\, cont ributors Andreas Heller and Barbara Kapusta will unveil their contributions live for the audience. Please book your tickets for the launch \;here \;

\nfig-2 would like to than k \;bmukk\,& nbsp\;Au strian Cultural Forum \;and \;Forum Stadtpark Grazfor their gen erous support.
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Veronika Hauer \;(b. 1981\, Vienna) lives and works in V ienna. Recent exhibitions include: 34. Ö\;sterreichischer Grafikwettbew erb\, Galerie im Taxispalais Innsbruck\, 2015\; fox\, MAERZ\, Linz\, 2015\; Giorgio Moroder&rsquo\;s Pyramid\, Ductac\, Dubai\, 2014\; Temporary Auton omous Zone /3\, Teatr Studio/Galeria Studio\, Warsaw\, 2014\; Baldachini\, Glasgow International Festival\, 2014\; S/HE IS THE ONE\, Kunstraum Nieder& ouml\;sterreich\, Vienna\, 2013\; 
Hauer currently lectures at the Departme nt of Art and Communication Practises at the University of Applied Arts Vie nna. She studied at Goldsmiths College London and the University of Applied Arts Vienna. Hauer is co-founder and editor of the online magazine on cont emporary art \;Nowiswere.

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DTEND:20150830 DTSTAMP:20150827T213254 DTSTART:20150824 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:24/50 Veronika Hauer UID:393792 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150827T213254 DTSTART:180000 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:24/50 Veronika Hauer UID:393793 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Studio Voltaire will present a n ambitious new commission by Venezuelan-born\, Berlin-based artist \;S ol \;Calero.

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Stemming from her So uth American heritage and migration to Europe\, Calero&rsquo\;s practice co nstructs social spaces that investigate themes of cultural representation a nd national identity. \;Through her sculptural environments Calero cons iders how representation is constructed\, scrutinising the mediation of the Latino &lsquo\;Other&rsquo\;. Her playful installations have previously ho sted Salsa classes\, a hair and nail salon\, and an Internet café\;.< /p>\n

Calero will work in-residency in the gallery for five weeks\, transforming the space with a large-scale architec tural installation. \;

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In the lat e 1800s Studio Voltaire&rsquo\;s main gallery functioned as a Mission Hall and Sunday School\, Calero will use this as a point of departure to create an interior based on a school. Her &lsquo\;Caribbean style school&rsquo\; w ill play host to a number of local groups\, a \;Latin American Art Cong ress and a series of discursive events on \;issues surrounding Latin Am erican art\, migration and globalisation.

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Calero \;will cover the gallery with her expansive painting practi ce\, using a \;carefully selected palette and \;&lsquo\;tropical&rs quo\; visual cliché\;s she will conjure a complete environment. \ ;Studio Voltaire&rsquo\;s interior will undergo an unprecedented transforma tion with an additional mezzanine level added. Calero&rsquo\;s architectura l interventions are designed to allow the space to fully function as a soci al setting. \;Her playful environments and exotic aesthetics underlie t he serious socio-political issues of cultural conformity and the constructi on of individual and collective identity.

This exhibition is sup ported by Catherine Petitgas\, The Elephant Trust and Valeria &\; Gregor io Napoleone.

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About the artist:

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Sol Calero (b. 1982 ) Caracas\, Venezuela. Lives and works in Berlin. Recent solo exhibitions i nclude: \;SALTS\, Basel\, 2015\; \;Salsa\, Gillmeier Rech Gallery\, Berlin
\, 2014\; \;Caribbean Style\, Cuando Calienta el Sol\, Museo Apparente\, Naples\, 2014\; \;Bienvenidos A Nuevo E stilo\, Laura Bartlett Gallery\, London\, 2014. Calero is represented by Laura Bartlett Gallery\, London.

DTEND:20151206 DTSTAMP:20150827T213254 DTSTART:20151009 GEO:51.4619465;-0.1343895 LOCATION:Studio Voltaire\,1a Nelsons Row \nLondon\, SW4 7JR SEQUENCE:0 SUMMARY:Solo Exhibition\, Sol Calero UID:393543 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20150827T213254 DTSTART:183000 GEO:51.4619465;-0.1343895 LOCATION:Studio Voltaire\,1a Nelsons Row \nLondon\, SW4 7JR SEQUENCE:0 SUMMARY:Solo Exhibition\, Sol Calero UID:393544 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151007 DTSTAMP:20150827T213254 DTSTART:20150908 GEO:51.5081809;-0.14304 LOCATION:Simon Lee\,12 Berkeley Street \nLondon\, W1J 8DT SEQUENCE:0 SUMMARY:Faux Amis UID:393541 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150827T213254 DTSTART:180000 GEO:51.5081809;-0.14304 LOCATION:Simon Lee\,12 Berkeley Street \nLondon\, W1J 8DT SEQUENCE:0 SUMMARY:Faux Amis UID:393542 END:VEVENT END:VCALENDAR