BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20141213 DTSTAMP:20140930T175918 DTSTART:20141010 GEO:51.5120202;-0.1387471 LOCATION:Sadie Coles HQ - Kingly Street\,62 Kingly Street \nLondon\, W1B 5Q N SEQUENCE:0 SUMMARY:Crown Zinc\, Matthew Barney UID:358844 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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"My pictur es seem to move as you move. They come to life when we bring them to life. This is because they are made in perspective the wrong way round\, in rever spective. If you bob down in front of them\, it is as if you have gone up\, and as you walk past to the right it is as if you have gone to the left an d vice versa."- Patrick Hughes.
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Fifty year s after the exhibition of his first reverse perspective painting\, the Sticking-out Room\, and on the occasion of the artist's 75th birthday\ , Flowers Gallery is delighted to announce an exhibition of compelling new works by Patrick Hughes\, which expand on his lifelong theme of paradoxical perception.
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Since his breakthrough discovery of reverse p erspective\, Hughes has continued to confound viewers with his three-dimens ional paintings\, by presenting those parts of the picture that seem farthe st away at the nearest point. The visual effect of his works is one of cons tant motion\, determined by the shifting position of the viewer. As Profess or Dawn Ades describes in the opening essay for the Patrick Hughes book\, A New Perspective: "These really have to be experienced physically\, in the flesh\, for they are only activated fully by the spectator's movement. They thus take their place\, with Duchamp's Large Glass and Etant donn&eacu te\;s\, Dalí\;'s paranoiac-critical room (Mae West's Face Which May B e Used as a Surrealist Apartment)\, or the now-vanished surrealist installa tions\, as creations that need the physical presence of a spectator to be c omplete\, engaging the body as well as the eye and the mind."
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The new series of works on view at Flowers Gallery are in the artist's own words "as unusual as usual". Spanning a wide ran ge of subjects\, Hughes pays homage to a hero in The Pleasure of Escher \; reimagines Peggy Guggenheim's Museum in Venice in The Palace of Peggy\; and even anthologizes his own work in Hughestory\, in which t he artist represents ten three-dimensional works from his past.
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Hughes' enduring fascination with Venice continues with Eye Level \, presenting a new view of the city's waterways\; In Bla ck and White\, painted in exquisite chiaroscuro\; and Venice in Pe ril in which\, displaying a rare critique of modern life\, Hughes pain ts a towering cruise ship dwarfing the grand palazzos.
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Hug hes brings a Renaissance studiolo to life in A Study of the Studiolo\, re-presenting in post-modern terms the first important steps in the re -birth of pictorial space that we now take for granted in photography and f ilm. Murray McDonald described Hughes' reverspectives as"the first breakthr ough in perspective for over five hundred years\," after Brunelleschi's inv ention of perspective in 1420.
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Hughes continues to explore and refine new geometries upon which to paint. The deceptively simple comp osition of Setting the Stage is\, on closer inspection\, composed of a complex variety of interlocking\, protruding shapes\, including a stag e set in forced perspective\; while further experimentation is evident in Hughestory\, in which miniature reverspectives placed at the ends o f its corridors pose an additional challenge to the spectator's perception of perspectival space.
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Of Hughes' paintings\, Colin Blakemore\ , Professor of Neuroscience\, University of Oxford\, says: "I shall nev er forget the first time I saw one of Patrick Hughes' large Reverspective p aintings&hellip\; It almost literally knocked me over. I've spent much of m y working life thinking about the way in which the brain puts together diff erent sources of evidence about the 3-D world. But while I think\, Patrick explores. He has unashamedly trekked through the no-man's-land between Art and Science\, demonstrating the brain's remarkable powers not with brain sc anners and fancy equipment\, but with stunning images that are personal in a very special way - responding to the command of every viewer. His work ca n be judged\, and enjoyed\, at so many levels. It raises questions just as profound about the mechanisms in our brains as it does about the nature of an artistic representation."
DTEND:20141122 DTSTAMP:20140930T175918 DTSTART:20141017 GEO:51.5301737;-0.0773639 LOCATION:Flowers | Kingsland Road\,82 Kingsland Road \nLondon\, E2 8DP SEQUENCE:0 SUMMARY:New Reverspectives\, Patrick Hughes UID:358843 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141116 DTSTAMP:20140930T175918 DTSTART:20141013 GEO:51.5251722;-0.0559263 LOCATION:Maureen Paley\,21 Herald St. \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:Solo Exhibition\, Gillian Wearing UID:358842 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141115 DTSTAMP:20140930T175918 DTSTART:20141013 GEO:51.5283935;-0.0573752 LOCATION:Hollybush Gardens\,1-2 Warner Yard \nLondon\, EC1R 5EY SEQUENCE:0 SUMMARY:Solo Exhibition\, Andrea Büttner UID:358838 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140930T175918 DTSTART:180000 GEO:51.5283935;-0.0573752 LOCATION:Hollybush Gardens\,1-2 Warner Yard \nLondon\, EC1R 5EY SEQUENCE:0 SUMMARY:Solo Exhibition\, Andrea Büttner UID:358839 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141004 DTSTAMP:20140930T175918 DTSTART:20140927 GEO:51.5121302;-0.13746 LOCATION:Herald St - Golden Sq\,37 Golden Square \nLondon\, W1F 9LB SEQUENCE:0 SUMMARY:Group Exhibition\, Pablo Bronstein\, Amalia Pica\, Matthew Darbyshi re\, Nicole Wermers UID:358837 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141122 DTSTAMP:20140930T175918 DTSTART:20141016 GEO:51.5119573;-0.1478663 LOCATION:Gimpel Fils Gallery\,30 Davies Street \nLondon\, W1K 4NB SEQUENCE:0 SUMMARY:Chandra+Stewart: Dark Pacific Sun UID:358836 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&lsquo\;I free writing from sense and highlight its stru cture\, its skeleton\, the nude sign\, the sign that is such and does not r efer back to anything but itself. It refers to the energy reserve\, the ini tial drive\, the source-giving urge\, the desire to reveal itself\, to emer ge from the secret\, closed place of night. Non-verbal writing\, writing th at remains in silence\, original truth. Writing becomes image\, a manifesta tion of being\, of being there\, in the absolute without form. An open text . A text for all. For those who know how to read and for those who do not k now how to read. I shift from the literature to the visual art.&rsquo\ ; &ndash\; Irma Blank\, 2001

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Alison Jacques Gallery is proud to pre sent our first solo exhibition of Milan based artist Irma Blank (born 1934 in Germany) in collaboration with Gallery P420\, Bologna.

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Irma Blan k began to explore the intersections of linguistic and visual representatio n in the late 1960&rsquo\;s. Practicing at the same time as conceptual arti sts such as Mel Bochner\, Lawrence Weiner and Joseph Kosuth\, Blank began i nvestigating the various possibilities through which a sign could represent existence. Her desire was to record time and create a form of writing not related to knowledge but to being\, stripped of meaning and imbued with new values. This retrospective includes work from several series that Blank has completed over the past 40 years: Eigenschriften (Self writi ngs)\, Trascrizioni (Transcriptions)\, Radical Writings\, Avant-testo (Befo re-text)\, Hyper-Text\, Global Writings\, and Ebla Archiv (Ebla Archive).

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Eigenschriften \;are some of Bla nk&rsquo\;s earliest works\, composed of dense scriptural signs recording t he artist&rsquo\;s mental state at a distinct point in time. The Trascr izioni series are reductions of pre-existing texts\, tracings of the t ypographic layouts of poetry\, newspapers and books from which they were ta ken. In \;Radical Writings \;Blank links her breathing to the gesture of writing\, repeating a single action: drawing a line correspo nding to one single breath. While the gesture of the Radical Writings articulates a long horizontal breath\, the gesture of the Avant-tes to series is chaotic and convulsive\, recalling a primordial sign free of structure and purely about action. Clutching a bundle of ballpoint pens the artist traces signs with rotary movements coming from and returning to the body. The end result is a dense\, saturated and impenetrable surface t hat only becomes transparent at the very edge\, offering the viewer a small glimpse of her process.

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In 2012 Blank began \;Ebla archiv< /em>\, part of \;the \;Global Writings \;series. \ ;Using carbon paper to transfer her markings the artist repeated portions o f words \;(a reduced alphabet of only eight letters) onto the page.

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Irma Blank&rsquo\;s work will be exhibited next month at the Kunsthall e Wien. Past exhibitions include Centre Pompidou in Paris (2013)\, Palazzo Reale Milano (2010)\, Museion in Bolzano (2002\, 2009)\, Kunstmuseum Dü \;sseldorf (1997)\, PAC in Milan (1992)\, Folkwang-Museum in Essen (1992)\, MoMA in New York (1992)\, Heidelberger Kunstverein (1990)\, Bonner Kunstve rein (1981)\, Documenta 6\, Kassel (1977). Later this year the artist will have a solo exhibition at Museum Mostyn\, Llandudno\, North Wales.

DTEND:20141115 DTSTAMP:20140930T175918 DTSTART:20141017 GEO:51.5175225;-0.1366877 LOCATION:Alison Jacques Gallery\,16-18 Berners Street \nLondon\, W1 SEQUENCE:0 SUMMARY:Irma Blank: To Be\, Irma Blank UID:358465 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140930T175918 DTSTART:180000 GEO:51.5175225;-0.1366877 LOCATION:Alison Jacques Gallery\,16-18 Berners Street \nLondon\, W1 SEQUENCE:0 SUMMARY:Irma Blank: To Be\, Irma Blank UID:358466 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Lazarides Rath bone welcomes Parisian artist Ludo to the gallery with a comprehensive body of new work titled The Chaos Theory. The artist&rsquo\;s debut solo exhibi tion in London follows widely acclaimed openings in New York and outdoor in stallations spanning Paris&rsquo\; Georges Pompidou&rsquo\;s square\, along side a series of global street campaigns across Asia\, Europe and the Carib bean earlier this year.

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A rriving from the urban influenced sphere but blooming on the contemporary s cene\, the French artist continues to expand upon his distinctive aesthetic \, effortlessly merging the realms of advanced technology with the naturali stic world. Using his distinguished monochrome colour palette and neon gree n trademark Ludo is set to transform the upper levels of the gallery with a series of large-scale canvases and unique experiential installation.

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Launching the first floor exhi bition space to the public this October The Chaos Theory presents a culmination of Ludo&rsquo\;s practice to date\, conveying an assortment o f contemporary issues with an army of mechnical hybrids. Through his battal ion of butterflies\, Ludo references the accelerated pace of life in which people continually strive to keep up with the ongoing race against the cloc k. The stereotypical ephemeral butterfly image is reincarnated by Ludo&rsqu o\;s solid and anatomical depictions\, constructing creatures that possess strength and durability and emit images of war and combat weaponry. Ludo&rs quo\;s stylised futuristic bugs are reminiscent of detailed diagrams from t raditional anatomy manuals with a contemporary and ultra-modern veneer. His lepidoptera adapt themselves in order to better fight and come to light fa r from ideological theories of chaos\, no longer representing chaos but tra nscending it and reappropriating our perception with their technologic meta morphosis.

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About the Artist

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Ludo &rsquo\;s practice connects the world of plants and animals with our techno logical universe and quest for modernism. It speaks about contemporary issu es that surrounds us\, what affects us and tries to highlight some form of humility.

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Drawn with the precision of botanical illustrations\, Ludo&rsquo\;s new order of hybrid or ganisms are both elegant and fierce. Armoured vehicles spawn stag beetle ho rns\; carnivorous plants bare rows of hunting-knife teeth\; bees hover\, hi dden behind gas masks and goggles\; automatic weapons crown the head of sun flowers\; human skulls cluster together like grapes. Ludo&rsquo\;s work asp ires to jolt us out of a longstanding collective denial: despite repeated n atural disasters\, we refuse to acknowledge our own fragile and fleeting st ate.

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After studying in Milan Ludo now lives and works in Paris\, regularly exhibiting worldwide whilst continuin g ambitious street art expeditions globally.

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DTEND:20141113 DTSTAMP:20140930T175918 DTSTART:20141010 GEO:51.5169912;-0.1332548 LOCATION:Lazarides Rathbone Place\,11 Rathbone Place \nLondon \, W1T 1HR SEQUENCE:0 SUMMARY:The Chaos Theory\, Ludo UID:358393 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20140930T175918 DTSTART:180000 GEO:51.5169912;-0.1332548 LOCATION:Lazarides Rathbone Place\,11 Rathbone Place \nLondon \, W1T 1HR SEQUENCE:0 SUMMARY:The Chaos Theory\, Ludo UID:358394 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A \;Film Study Group \;screening \;of \;Bad Timing \;(1980). The film has been selected and will be introduced by \;David Austen\, artist and co-curator of \;The Nakeds. \;

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- £\;6/£\;5 conc \;book here&n bsp\;

DTEND:210000 DTSTAMP:20140930T175918 DTSTART:190000 GEO:51.5354677;-0.0717938 LOCATION:Drawing Room\,12 Rich Estate Crimscott Street\nLondon\, SE1 5TE SEQUENCE:0 SUMMARY:Bad Timing Screening UID:358390 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A \;seminar \;exploring contemporary artists&rsquo\; re presentation of the naked body. Speakers include \;David Austen \, \;Jon Bird\, \;Gemma Blackshaw \, \;Simon Grant\, \;Stewart Helm  \;and \;Chantal Joffe.

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- & pound\;18/£\;16 conc./£\;14.40 network members \;book here

DTEND:180000 DTSTAMP:20140930T175918 DTSTART:140000 GEO:51.5354677;-0.0717938 LOCATION:Drawing Room\,12 Rich Estate Crimscott Street\nLondon\, SE1 5TE SEQUENCE:0 SUMMARY:Figures of Expression & Transgression\, David Austen\, Jon Bird\, G emma Blackshaw\, Simon Grant\, Stewart Helm\, Chantal Joffe UID:358389 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A \;Making Study Group  \;led by artist \;Donna Huddleston. Explore different ways of figuring the naked body inspired by works in \;The Nakeds \;exhibition.

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- £\;17/£\;27 for both \;Figuring the Naked Body \;sessions \;book here \;

DTEND:200000 DTSTAMP:20140930T175918 DTSTART:183000 GEO:51.5354677;-0.0717938 LOCATION:Drawing Room\,12 Rich Estate Crimscott Street\nLondon\, SE1 5TE SEQUENCE:0 SUMMARY:Figuring the Naked Body / Drawing from The Nakeds\, Donna Huddlesto n UID:358388 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A \;Making Study Group  \;led by artist \;Donna Huddleston. A life m odel will strike a range of vibrant and surprising poses to instigate perso nal responses to the naked body. \;

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- £\;17/£\;27 for both \;Figuring the Naked Body  \;sessions \;book here

DTEND:200000 DTSTAMP:20140930T175918 DTSTART:183000 GEO:51.5354677;-0.0717938 LOCATION:Drawing Room\,12 Rich Estate Crimscott Street\nLondon\, SE1 5TE SEQUENCE:0 SUMMARY:Figuring the Naked Body/ Drawing from Life\, Donna Huddleston UID:358387 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The French-Norwegian writer Ca roline Bergvall investigates how writing\, reading and listening can be und erstood within the context of visual art\, through a series of events and o nline interventions exploring language and performance.

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For her first event\, \;Caroline Bergvall&nb sp\;launches her book \;Drift\, with an evening of co llective readings and conversations with invited poets.

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Supported by the Royal Norwegian Embassy in London.

DTEND:210000 DTSTAMP:20140930T175918 DTSTART:190000 GEO:51.5159523;-0.070212 LOCATION:Whitechapel Gallery\,77-82 Whitechapel High Street \nLondon\, E1 7 QX SEQUENCE:0 SUMMARY:Performance: Drift: Collective Reading & Forensics UID:358386 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A small fabric screen lit from behind was the stage upon which a number of characters eme rged to perform sketches and plays that entertained and delighted audiences . These characters were made of coloured animal skin\, and were moved and g iven voice by a master puppeteer. Yet they seemed to have a life of their o wn and filled the screen with their lively and often comic personalities.\n

Shadow theatre has played an important part in the cultural traditions of Turkey for at least 500 years\, since O ttoman times. Performances occurred mainly during the evenings of the month of Ramadan\, the ninth month of the Muslim calendar\, in public spaces and in private homes. They also took place at weddings and circumcisions as pa rt of the entertainment provided.

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Sho ws included a mixture of slapstick comedy and serious dialogue. Although th e plays usually followed a set structure\, they allowed the two main charac ters\, Karagö\;z and Hacivat to comment on current affairs. This flexib ility enabled shadow theatre to become a means for expressing social and po litical satire and to evolve across the decades becoming a much loved enter tainment form.

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This display features a selection of Turkish shadow puppets from the collections of the Museum. DTEND:20140928 DTSTAMP:20140930T175918 DTSTART:20140523 GEO:51.5178143;-0.1276367 LOCATION:The British Museum\,Great Russell Street \nLondon\, WC1B 3DG SEQUENCE:0 SUMMARY:Between light and screen: The magical world of Turkish shadow theat re UID:358298 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition w ill examine elements of German history from the past 600 years in the conte xt of the fall of the Berlin Wall 25 years ago.

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From the Renaissance to reunificati on and beyond\, the show will use objects to investigate the complexities o f addressing a German history which is full of both triumphs and tragedies.

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Navigat e through Germany&rsquo\;s many political changes &ndash\; from the Holy Ro man Empire through unification in the 1870s and the troubled 20th century t o today&rsquo\;s economic powerhouse at the centre of Europe.

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Explore art by Dü \;rer\, Holbein and Richter\, and marvel at technological achievements thro ugh the ages which gave the world Gutenberg&rsquo\;s printing press\, Meiss en porcelain\, the Bauhaus movement and modern design icon the VW Beetle.\n

Sponsored by Betsy and Jack Ryan

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With support from
Salomon Oppenheimer Philanthropic Foundation DTEND:20150125 DTSTAMP:20140930T175918 DTSTART:20141016 GEO:51.5178143;-0.1276367 LOCATION:The British Museum\,Great Russell Street \nLondon\, WC1B 3DG SEQUENCE:0 SUMMARY:Germany: Memories of a Nation UID:358296 END:VEVENT BEGIN:VEVENT DTEND:173000 DTSTAMP:20140930T175918 DTSTART:100000 GEO:51.5178143;-0.1276367 LOCATION:The British Museum\,Great Russell Street \nLondon\, WC1B 3DG SEQUENCE:0 SUMMARY:Germany: Memories of a Nation UID:358297 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Featuring obje cts from the 18th century to the present\, this exhibition shows the variet y of religious practices in Burma (Myanmar) and Thailand\, and how Buddhism \, spirit worship\, divination and other activities interact.

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Western views of Buddhism in the 19th and early 20 th centuries presented it as an austere\, monolithic religion focused on me ditation and nirvana\, the escape from the cycles of rebirth. In reality\, practitioners in Burma (Myanmar) and Thailand have long sought to improve t heir lives through a fusion of overlapping activities such as spirit worshi p\, divination\, numerology and homage to the Buddha. People select these r ituals according to their personal needs to cope with everyday life\, to fo rm individual spiritual pathways to felicitous rebirths or to strive for ni rvana.

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This exhibition draws on the s trengths of the British Museum&rsquo\;s mainland Southeast Asian holdings\, primarily Burma (Myanmar) and Thailand &ndash\; countries that have a long history of interaction and share some fundamental religious beliefs and pr actices. Objects range from model stupas (Buddhist relic mounds)\, silver\, banners\, textiles and images of the Buddha to popular posters\, glass pai ntings and mass-produced\, stamped cloths with protective diagrams (yantra) \, reflecting the many outlets for religious expression. The show explores how the various beliefs\, revealed in lively daily practices\, comprise the main religious systems in the region.

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Supported by the B.D.G. Leviton Foundation\, Robert White and Sally Macdo nald

DTEND:20150111 DTSTAMP:20140930T175918 DTSTART:20141002 GEO:51.5178143;-0.1276367 LOCATION:The British Museum\,Great Russell Street \nLondon\, WC1B 3DG SEQUENCE:0 SUMMARY:Pilgrims\, healers and wizards: Buddhism and religious practices in Burma and Thailand UID:358294 END:VEVENT BEGIN:VEVENT DTEND:173000 DTSTAMP:20140930T175918 DTSTART:100000 GEO:51.5178143;-0.1276367 LOCATION:The British Museum\,Great Russell Street \nLondon\, WC1B 3DG SEQUENCE:0 SUMMARY:Pilgrims\, healers and wizards: Buddhism and religious practices in Burma and Thailand UID:358295 END:VEVENT END:VCALENDAR