BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20110116 DTSTAMP:20140831T101612 DTSTART:20101027 GEO:0.0;0.0 LOCATION:Saatchi Gallery\,Duke of York's HQ King's Road\nLondon\, SW3 4SQ SEQUENCE:0 SUMMARY:Newspeak British Art: Part II\, Spartacus Chetwynd\, Idris Khan\, G abriel Hartley\, Anthea Hamilton\, Tom Ellis\, Dan Perfect\, Olivia Plend er\, Caroline Achaintre\, Maaike Schoorel\, Nicholas Byrne\, Toby Ziegler\, Nicholas Hatfull\, Anne Hardy\, Alan Brooks\, Alexander Hoda\, Anna Barri ball\, Ansel Krut\, Arif Özakça\, Caragh Thuring\, Carla Busuttil\, Clariss e D'Arcimoles\, DEAN HUGHES\, Dick Evans\, Edward Kay\, Gareth Cadwallade r\, Graham Durward\, Graham Hudson\, Henrijs Preiss\, Jaime Gili\, James Ho ward\, Jonathan Wateridge\, Juliana Cerqueira Leite\, Kate Groobey\, Luke Gottelier\, Luke Rudolf\, Marcus Foster\, Anzeri\, Mustafa Hulusi\, Nick Go ss\, Paul Johnson\, Peter Linde Busk\, Renee So\, Robert Fry\, Steve Bishop \, Systems House\, Tasha Amini\, Tessa Farmer\, Ximena Garrido-Lecca UID:353901 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Piet Oudolf is one of the most significant and acclaimed landscape designers in the world today. Hauser & amp\; Wirth Somerset is delighted to unveil an exhibition of Oudolf&rsquo\; s drawings. Shown together for the first time\, these preparatory designs r eveal the creative processes and artistic vision behind some of Oudolf&rsqu o\;s most influential and innovative projects in the UK and further afield\ , including commissions for The High Line in New York and the Serpentine Ga llery in London\, as well as his garden for Hauser &\; Wirth Somerset\, which will be open to the public from 14 September 2014.

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Hand drawn\, Oudolf&rsquo\;s planting designs are compo sed of layer upon layer of symbols\, notation\, blocks of colour and patchw ork shadings\, that each correspond to different plant combinations. At the heart of Oudolf&rsquo\;s garden designs lies an intimate knowledge of plan ts\, and careful consideration of how plants relate to one another and beha ve in different situations.

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Oudolf is a leading figure in the New Perennial movement\; his projects are characte rised by a strong pictorial relationship to a garden&rsquo\;s composition a nd layout. Inspired by art\, nature and time\, Oudolf&rsquo\;s gardens are achieved through areas of naturalistic planting\, using swathes of perennia ls and grasses combined with structured pathways\, shrubs and trees.

\n< p style="text-align: justify\;">Oudolf&rsquo\;s design for Hauser &\; Wi rth Somerset includes a large perennial meadow to the north of the farmyard and new gallery buildings. Encompassing the 1.5 acre meadow\, Oudolf&rsquo \;s garden contains over 26\,000 herbaceous perennials. Carefully shaped an d planted\, the garden echoes the tradition of classical gardens\, but the variety of species and combination of plants create looseness\, softening t he formality of its appearance. Wide canopied trees will be planted between the gallery and garden to frame the view of the garden for visitors as the y leave the buildings. The surrounding hedges provide a sense of enclosure\ , whilst the view of the hills and fields beyond remains visible. A series of paths cut through the vegetation\, inviting visitors to wander through t he garden. Oudolf&rsquo\;s landscaping design continues around the building s including the inner cloister courtyard\, where the old buildings meet the new.

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Oudolf&rsquo\;s extensive oeuvr e includes public and private gardens all over the world. The exhibition in cludes designs for The High Line\, New York\, one of Oudolf&rsquo\;s most n otable projects\, a collaboration with landscape architect James Corner\, F ield Operations. The linear park is built upon an abandoned elevated railwa y line that runs through Manhattan. Combining minimalism with ecology\, thi s garden was conceived of as a series of interwoven elements that lead visi tors along a richly planted path. Oudolf&rsquo\;s design emphasises the nar rowness of the park\, drawing people and plants closer together within an u rban environment.

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Other designs inclu de a collaboration between Oudolf and architect Peter Zumthor for the Serpe ntine Gallery\, London\, which saw them create Hortus Conclusus &ndash\; an &lsquo\;enclosed garden&rsquo\; hidden within an enigmatic plain black str ucture for the 2011 Serpentine Pavillion commission\; the Lurie Garden Mill ennium Park\, Chicago\, a 2.5-acre roof garden located in downtown Chicago& rsquo\;s Millennium Park\; and Oudolf&rsquo\;s design for Wisley\, a Royal Horticultural Society garden in Woking\, Surrey where the designer interspe rsed several types of plants and variations to create an innovative interpr etation of a traditional Edwardian double border configuration.

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About Piet Oudolf

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Piet Oudolf was born in 1944 in Haarlem\, Netherla nds. Since 1982\, he has lived and worked in Hummelo\, a tiny village in ea st Netherlands\, where he started a nurserywith his wife Anja\, to grow per ennials. His garden has since become renowned for its radical approach and ideas about planting design. Oudolf also co-founded Future Plants\, a compa ny specialising in selecting\, growing\, breeding and protecting plants for landscaping and public areas.

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Oudolf &rsquo\;s recent projects include No.5 Culture Chanel\, Paris\, France\; Th e High Line\, New York NY\; Lurie Garden\, Millennium Park\, Chicago IL\; S erpentine Gallery\, London\, England\, and the Venice Biennale\, Venice\, I taly.

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Oudolf is also a successful aut hor\, having co-written numerous books such as\; &lsquo\;Planting: A New Pe rspective&rsquo\; (2013)\; &lsquo\;Landscapes in Landscapes&rsquo\; (2011)\ ; &lsquo\;Gardening with Grasses&rsquo\; (1998)\; &lsquo\;Designing with Pl ants and Planting Design&rsquo\; (1999)\; &lsquo\;Dream Plants for the Natu ral Garden&rsquo\; (2000)\; &lsquo\;Planting the Natural Garden&rsquo\; (20 03)\, and &lsquo\;Planting Design: Gardens in Time and Space&rsquo\; (2005) .

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In his 35-year career\, Oudolf has achieved international acclaim\, and has recently been awarded an Honorary Fellowship from RIBA for developing radical ideas in Planting Design (2012) and the Prince Bernhard Cultural Foundation Award (2013). In October 2013\ , he was appointed Visiting Professor of Planting Design at the Department of Landscape at the University of Sheffield.

DTEND:20141005 DTSTAMP:20140831T101612 DTSTART:20140715 GEO:51.1076221;-2.4454617 LOCATION:Hauser & Wirth Somerset\,Durslade Farm Dropping Lane\, Bruton\nSom erset\, BA10 0NL SEQUENCE:0 SUMMARY:Open Field\, Piet Oudolf UID:353698 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Opening \;12 October 2014\ , Studio Voltaire presents \;Hermitos Children 2< /em>\, Marvin Gaye Chetwynd's largest commission to date.

Hermitos Children
 \;is an ongoing project that takes the form of an experimental television crime drama. Each episode follows female detect ive Joan Shipman as she uncovers and resolves emotional and debt management issues. \;Hermitos Children 2 \;involves blackmail\, mone y management\, catting (similar to dogging\, but solely with women and on b oats)\, children miraculously found at sea\, and a cat cult. The film is co mprised of staged cinematic sequences layered with live performances. \ ;Hermitos Children 2 \;will be presented within a large-scale installation incorporating props and interiors from the production. \;< br />
On Saturday 6 September 2014 a mega event will be held at Studio Voltaire. This live performance\, referencing \;Cat People (1982)  \;and Minoan bull-leaping\, will be recorded and elements will be included in the final cut of the film. \;

Chetwynd has becom e well known for her carnivalesque live performances\, which feature homema de costumes and a varying ensemble of friends and family. These performance s share elements of the bawdy anarchy of sixteenth-century wandering troupe s\, foregrounding key moments from art history and cultural production.

Attendees of the event will be invited by Chetwynd and her troupe t o become part of the performance by participating in \;The Iron Age Pasta Workshop \;in which guests will present their own handmade pasta necklaces to \;The Discerning Eye. \;With live aeria lists and emphatic drumming\, culminating in a choreographed dance number\, this event is not to be missed.

DTEND:230000 DTSTAMP:20140831T101612 DTSTART:193000 GEO:51.4619465;-0.1343895 LOCATION:Studio Voltaire\,1a Nelsons Row \nLondon\, SW4 7JR SEQUENCE:0 SUMMARY:One-Off Performance\, Marvin Gaye Chetwynd UID:353668 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Curator and Professor of Art T heory at the Merz Academy in Stuttgart\, \;Helmut Draxler\, discusses his 1994 exhibition \;Services: Conditions and Rela tions of Project Oriented Artistic Practice. Following a presentation\ , he will be joined in conversation byHelena Vilalta\,&nbs p\;Managing Editor of Afterall Journal and Afterall Online.

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In collaboration with Afterall

DTEND:210000 DTSTAMP:20140831T101612 DTSTART:190000 GEO:51.5159523;-0.070212 LOCATION:Whitechapel Gallery\,77-82 Whitechapel High Street \nLondon\, E1 7 QX SEQUENCE:0 SUMMARY:Talk: Helmut Draxler: Exhibition Histories UID:353382 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This event considers the work of the artist and explores themes of authorship\, space\, stage and experie nce. Featuring presentations by \;Nicolas Cullinan&nbs p\;(Curator of Modern and Contemporary Art at The Metropolitan Museum of Ar t in New York)\, \;Luke Skrebowski(University Lecturer in the History of Art at the University of Cambridge)\, \;Tere sa Kittler \;(Teaching Fellows and Postgraduate Teaching Assis tant at UCL\, London)\, curator \;Bartolomeo Pietromarchi \;(Director of Fondazione Ratti\, Como and former Director of Macro \, Rome)\, writer and curator \;Nicolas de Oliveira \;(Course Leader\, London Metropolitan University) and \;Emil y Butler \;(Assistant Curator\, Whitechapel Gallery).

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In collaboration with the Fondazione Giulio e Anna Paolini

DTEND:173000 DTSTAMP:20140831T101612 DTSTART:113000 GEO:51.5159523;-0.070212 LOCATION:Whitechapel Gallery\,77-82 Whitechapel High Street \nLondon\, E1 7 QX SEQUENCE:0 SUMMARY:Symposium: Giulio Paolini UID:353381 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Archive Gallery Curator\,  \;Nayia Yiakoumakiexplores artist \;Stephen Wi llat&rsquo\;s \;projects on display in the current exhibition& nbsp\;Concerning Our Present Way of Living\, \;and their impac t on the local community.

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DTEND:210000 DTSTAMP:20140831T101612 DTSTART:190000 GEO:51.5159523;-0.070212 LOCATION:Whitechapel Gallery\,77-82 Whitechapel High Street \nLondon\, E1 7 QX SEQUENCE:0 SUMMARY:Tour: Nayia Yiakoumaki on Stephen Willats UID:353380 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David Zwirner is pleased to pr esent an exhibition of works by Jack Bilbo (1907&ndash\;1967) in the London gallery\, organised in collaboration with The Estate of Jack Bilbo and Eng land &\; Co.

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Spanning four decades of artistic production\, the exhibition will focus on Bilbo&rsquo\;s ink d rawings from the 1940s\, highlighting his unique pairing of imagery with te xt that is exemplified by \;I Don&rsquo\;t Like Private Capitalism& hellip\;. \;Depicting the artist with his characteristic dark bear d and pipe\, dressed like a vagabond in tattered clothing and drooping top hat\, the work is inscribed with &ldquo\;I Don&rsquo\;t Like Private Capita lism\, I Don&rsquo\;t Like State Capitalism&mdash\;I Do Like My Own Capital ism&rdquo\;.

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A self-taught artist\, a nd during his lifetime a legendary bohemian\, Bilbo was known for his large r-than-life persona\, which he actively cultivated through autobiographical texts that included\, for example\, accounts of being Al Capone&rsquo\;s b odyguard in the 1930s. In his 1948 autobiography\, he described himself as &ldquo\;an Artist\, Author\, Sculptor\, Art Dealer\, Philosopher\, Psycholo gist\, Traveller\, and a Modernist Fighter for Humanity&rdquo\;.

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Through his inherent individualism\, artistic d rive\, and eccentricities\, Bilbo&rsquo\;s work evokes and references both his childhood history from Berlin as well as the atrocities he faced as a G erman Jewish refugee during the twentieth century. A surreal middle ground is achieved within his work\, using political satire and dark humour to cre ate an overture which connects outsider to insider\, reality to fiction.

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Jane England\, Director of England & \; Co. and foremost scholar on the artist&rsquo\;s work\, notes: &ldquo\;Ma ny of Bilbo&rsquo\;s drawings reflect the Socialist outlook and anti-Capita list views he shared with other German artists such as George Grosz and Joh n Heartfield. Bilbo&rsquo\;s satiric drawings with their ironic captions co nvey his deeply felt political ideas&mdash\;he \;took the role of an ou tsider in his life and work\, and was a passionate and irreverent social cr itic. Other drawings depict his bizarre\, sometime sexual\, and often viole nt fantasies: they emerged from doodles and improvisations and reflect his obsessions. The titles he inscribed on them are as idiosyncratic as the dra wings: surreal\, absurdist\, crude\, often humorous&rdquo\;.

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Born as Hugo Baruch in Berlin in 1907\, the artist adopted the name &ldquo\;Jack Bilbo&rdquo\; in 1922. He fled Germany in 1933 after campaigning against t he Nazis\, who confiscated his family&rsquo\;s business\, a world-renowned theatre outfitting company. He ran a bar for a few years in Spain\, before settling in London in 1936\, the same year he began to sculpt and paint and exhibit his works. After being interned in 1939 on the Isle of Man\, Bilbo returned to London and founded the Modern Art Gallery in 1941\, where he s howed works by Pablo Picasso and Kurt Schwitters alongside unknown artists\ , and held evening readings of Dadaist poetry and his own fantastical stori es. In 1946\, he moved to Weybridge and created monumental figurative sculp tures in cement in the gardens of his home\, until relocating to the south of France in the early 1950s. Bilbo was reinstated as a German citizen in 1 956 and returned to live in his native Berlin\, where he continued to paint and exhibit until his death in 1967.

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Bilbo is survived by his dau ghter\, Merry\, and his grandson\, the artist Ben Woodeson.

DTEND:20141004 DTSTAMP:20140831T101612 DTSTART:20140904 GEO:51.5094225;-0.1430438 LOCATION:David Zwirner\, London\,24 Grafton Street \nLondon\, \, W1S 4EZ SEQUENCE:0 SUMMARY:Solo Exhibition\, Jack Bilbo UID:353377 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140831T101612 DTSTART:180000 GEO:51.5094225;-0.1430438 LOCATION:David Zwirner\, London\,24 Grafton Street \nLondon\, \, W1S 4EZ SEQUENCE:0 SUMMARY:Solo Exhibition\, Jack Bilbo UID:353378 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141029 DTSTAMP:20140831T101613 DTSTART:20140916 GEO:51.4698422;-0.0717198 LOCATION:Hannah Barry Gallery\,4 Holly Grove Peckham\nLondon\, SE15 5DF SEQUENCE:0 SUMMARY:Clear Black Smoke\, MOHAMMED QASIM ASHFAQ UID:352886 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20140831T101613 DTSTART:183000 GEO:51.4698422;-0.0717198 LOCATION:Hannah Barry Gallery\,4 Holly Grove Peckham\nLondon\, SE15 5DF SEQUENCE:0 SUMMARY:Clear Black Smoke\, MOHAMMED QASIM ASHFAQ UID:352887 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In a world of photography wher e digital &lsquo\;snaps&rsquo\; are becoming the tedious norm\, the Michael  \;Hoppen Gallery presents a show navigating an area of photography tha t little is known about: \;the photograph made without a negative. No\, not a photogram - but a photograph. We will \;present a wonderful mix of works\, from rare early daguerreotypes through to contemporary \;tak es on these early techniques.

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Photog raphs were invented to be reproduced on demand. The London Stereoscopic&nbs p\;Company\, as an example\, in the 19th century managed to produce hundred s of thousands of \;copies of photographs from individual negatives. As the mechanical world came into being\,mass re-production became the prefer red method.

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The early photographer i n the 1830&rsquo\;s and 1840&rsquo\;s strained to produce lasting images of quality \;and consistency and it was only in 1835 that the negative by Henry Fox Talbot was invented \;which allowed them to print numerous c opies\, and after the paper negative\, it was no less \;arduous and com plex a process coating collodion negatives. However\, in 1826\, Daguerre\, a \;French scientist and inventor\, developed a beautifully complex sys tem of producing a \;photograph on a silver plated copper sheet which w as usually cased so that owners could keep \;the images of their loved ones close to them in their pockets. Larger\, half plate daguerreotypes\,&n bsp\;although much more expensive to produce and hence highly sought after\ , were often hung on \;the wall.

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Today&rsquo\;s photographers have adopted the digital world in a way no on e could have predicted. \;The days of the hand-made photograph\, the la boratory technician\, the chemist and artist \;combined seem almost lik e a distant memory. The camaraderie of the photographers and \;printers who would meet in the basement darkrooms of Soho to go over contacts and&n bsp\;discuss the printing is all but gone.

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Yet a few intrepid artists still do look to the past in their effort s to craft a photograph and the \;Michael Hoppen Gallery is delighted t o include several of them in this exhibition. Richard \;Learoyd makes h is own photographs\, and without negatives. Using the most basic form of&nb sp\;photography\, the camera obscura\, Learoyd marries old and new technolo gy: strobe lighting\, \;state of the art optics and Ilfochrome paper to create an unexpected voyeurism. &ldquo\;I suppose \;people see it as a n alternative process\,&rdquo\; he says\, &ldquo\;but I see it as an altern ative use of modern \;materials.&rdquo\; His large-scale portraits are monumental and contemporary\, but share a 19thC \;alchemist&rsquo\;s tr adition.

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Adam Fuss too\, has forged his career creating startling pictures using early techniques\, such as&nbs p\;photograms and extraordinary large daguerreotypes. These are hugely comp lex to create\, \;and there are no 21st century shortcuts available to him. We will be exhibiting the largest \;daguerreotype in the world whi ch Fuss created last year and which measures some 42 inches \;wide.

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With the tsunami of over retouched and digital photographs we are deluged with each day\, it \;is refreshing t o find artists working against the tide of mass production.

DTEND:20141024 DTSTAMP:20140831T101613 DTSTART:20140919 GEO:51.4889883;-0.1659459 LOCATION:Michael Hoppen Contemporary\,3 Jubilee Place \nLondon\, SW3 3TD SEQUENCE:0 SUMMARY:Negativeless\, Richard Learoyd\, Adam Fuss UID:352883 END:VEVENT END:VCALENDAR