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David Zwirner is pleased to pr esent the gallery&rsquo\;s first exhibition with Carol Bove. On view at our London location\, it features recent works by the New York-based artist\, known for her simple yet intricate assemblages of found and made objects.\n

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The Plastic Unit \;groups together large-scale sculptu res made from natural and industrial materials\, including slickly manufact ured stainless steel &ldquo\;glyphs\,&rdquo\; intricate metal curtains\, I- beam structures\, steel and concrete pedestals\, shells\, and peacock feath ers. In line with Bove&rsquo\;s broader practice\, they are placed in caref ul relation both to one another and to the gallery space\, with four works assigned to each room.

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\n< p style="text-align: justify\;">On the ground floor\, \;Second Cart esian Sculpture&mdash\;an expansive steel net&mdash\;divides the front space into two equal fields\, thus creating a see-through separation betwe en the other sculptures. One of these\, a steel I-beam column supporting a human-sized piece of petrified wood\, adds a sense of indeterminable tempor ality to the installation\, and as such reinforces Bove&rsquo\;s understand ing of sculpture as durational. Her concrete pedestal with brass cubes blur s the definitions of sculpture and base\, and appears a self-conscious resp onse to modernist display methods. Its title\, \;I\, quartz pyx\, w ho fling muck beds\, is one of the few sentences ever constructed to i nclude all letters of the alphabet just once (with the license of substitut ing i for j\, and u for v).

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Four &ldquo\;crushed glyphs&rdquo\; in the adjacent room are presented on a low pedestal that covers most of the floor. In a departure from previous work\, and in contrast to their rounded \, white counterparts\, the glyphs are brightly colored and irregularly sha ped\, appearing flexible despite their steel materiality. Distanced from th e viewer by the pedestal\, they appear like formal exercises in artistic st yle\, but their visual presence is contradicted by the title of the arrange ment&mdash\;Self Talk&mdash\;that challenges the ability to approa ch works without preconceived notions or an inner voice. Bove posits her gl yphs in dialogue with public sculpture or so-called plop art\, where indivi dual works&rsquo\; narratives often collude with their settings or remain o bscure\, thus making them appear out of place and even inappropriate. As a glyph typically refers to a symbol within a given context\, for example a l etter within the alphabet\, Bove&rsquo\;s sculptures appear like succinct f ragments of a broader syllable that also takes into consideration the activ ity of creating the works.

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A white\, tubular glyph is part of an a rrangement on a wide pedestal in the upstairs gallery&mdash\;the size of th e curtain below it&mdash\;which also comprises a shell and feather sculptur e on its own pedestal\, an I-beam with driftwood\, and a silver curtain. Te ns of thousands of small beads create a subtle pattern of triangles across the chains of the latter\, but the intensely handcrafted work is almost inv isible from some viewing perspectives\, again drawing attention to shifting meanings and arbitrary interpretations.

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The four sculptures in th e neighboring room are arranged directly on the floor\, enabling viewers to walk amongst them and &ldquo\;look with the body\,&rdquo\; as Bove puts it \, rather than having to project oneself into a space\, as demarcated by he r pedestals. Like \;Second Cartesian Sculpture\, a large steel structure called \;Open Screendivides space while maintaining open views of both sides\, this time without the gridded net. Its geometri c proportions contrast with \;Circles\, a redwood burl through which Bove has inserted two steel pipes\, mirroring the imprint of the phy sical support used to craft her concrete works. Another sculpture is an arr angement of steel I-beams that formed part of \;Caterpillar \;< /em>from 2013\, the artist&rsquo\;s installation on the then unfinished par t of the High Line park in New York. Titled \;Cow Watched By Argus< /em>\, its shape can vaguely be seen as figurative\, alluding to the young woman metamorphosed into a cow by Zeus in an attempt to hide a love affair from Hera. Still skeptical\, the latter hired the hundred-eyed Argus to wat ch the animal\, but he was killed on Zeus&rsquo\;s request. Hera subsequent ly took his eyes and sewed them onto the tail of her favorite bird\, the pe acock.

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In the third floor gallery\, Bove presents four canvases ar ranged together and covered entirely in peacock feathers\, creating a conti nuous\, almost dizzying composition. The feathers&rsquo\; unique concurrenc e of ornament and function is encountered in some of Bove&rsquo\;s other sc ulptures on view in the exhibition\, recalling the blurred boundaries betwe en the pedestal and its object and the dual function of the I-beams as supp ort and sculpture.

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B orn in 1971 in Geneva to American parents\, \;Carol Bove \;was raised in Berkeley\, California and studied at New York Univer sity.

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In 2014\, Bove debuted a new body of work alongside exhibiti on designs and sculptures by Italian architect Carlo Scarpa. \;Caro l Bove/Carlo Scarpa \;is curated by the Henry Moore Institute in L eeds\, England and produced in collaboration with Museion\, Bolzano\, Italy and Museum Dhondt-Dhaenens\, Deurle\, Belgium. Coinciding with the Zwirner presentation in London\, the show is on view at the Henry Moore Institute from April 2 through July 12\, 2015. It was first hosted by Museion (Novemb er 2014 &ndash\; March 2015) and will travel to Museum Dhondt-Dhaenens (Oct ober 2015 &ndash\; January 2016).

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Bove&rsquo\;s work has been the subject of solo exhibitions at prominent institutions that include The Muse um of Modern Art\, New York\; High Line at the Rail Yards\, New York\; The Common Guild\, Glasgow (all 2013)\; Palais de Tokyo\, Paris (2010)\; Hortic ultural Society of New York (2009)\; Blanton Museum of Art\, Austin\, Texas (2006)\; Kunsthalle Zürich\; Institute of Contemporary Art\, Boston (both 2004)\; and Kunstverein Hamburg (2003). Major group exhibitions include Do cumenta 13\, Kassel\, Germany (2012)\; 54th Venice Biennale (2011)\; and th e Whitney Biennial\, Whitney Museum of American Art\, New York (2008).

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Work by the artist is represented in permanent collections worldwide\, including the Fonds Ré\;gional d&rsquo\;Art Contemporain (FRAC) Nord -Pas de Calais\, Dunkerque\, France\; The Museum of Modern Art\, New York\; Princeton University Art Museum\, New Jersey\; Wadsworth Atheneum Museum o f Art\, Hartford\, Connecticut\; and the Yale University Art Gallery\, New Haven\, Connecticut. She lives and works in Brooklyn\, New York.

DTEND:20150530 DTSTAMP:20150328T142412 DTSTART:20150414 GEO:51.5094225;-0.1430438 LOCATION:David Zwirner\, London\,24 Grafton Street \nLondon\, \, W1S 4EZ SEQUENCE:0 SUMMARY:The Plastic Unit\, Carol Bove UID:378581 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150328T142412 DTSTART:180000 GEO:51.5094225;-0.1430438 LOCATION:David Zwirner\, London\,24 Grafton Street \nLondon\, \, W1S 4EZ SEQUENCE:0 SUMMARY:The Plastic Unit\, Carol Bove UID:378582 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A panel discussion to launch a new report\, \;Mapping Artists' Professional Development Programme s in the UK: Knowledge and Skills \;by Rebecca Gordon-Nesbitt. Thi s report has been commissioned by Chisenhale Gallery and supported by Paul Hamlyn Foundation\, to map the range of professional development programmes currently offered by arts organisations across the United Kingdom. The pap er serves to identify examples of best practice and to explore new ways of supporting artists.

Please \;click here  \;to read the \;report online\, or \;here \;to order a print-on-demand publication.

Discussion chaired by Laura Wilson\, Offsite and Educatio n Curator\, Chisenhale Gallery. Speakers include: Ed Atkins\, artist\; Mari anne Forrest\, artist and Co-Director\, \;Auto Italia\; Rebecca Gordon-Nesbitt\, ind ependent researcher\; Donna Lynas\, Director\, \;Wysing Arts Centre\; and Lena Nix\ , Artist Development Manager\, \;SPACE.

This event is free\, but book ing is strongly advised. To book \;your place\, please click \;here. \;

DTEND:160000 DTSTAMP:20150328T142412 DTSTART:150000 GEO:51.5330714;-0.0395103 LOCATION:Chisenhale Gallery\,64 Chisenhale Road \nLondon\, E3 5QZ SEQUENCE:0 SUMMARY:Mapping Artists' Associate Programmes in the UK UID:378580 END:VEVENT BEGIN:VEVENT DESCRIPTION:

eter Townsend inherited the ce ntury-old \;Studio \;magazine in 1965\, and over the follo wing ten years transformed it into one of the most progressive art journals in Europe\, pioneering many of the editorial strategies we take for grante d today &ndash\; including artists&rsquo\; commissions\, &lsquo\;curated&rs quo\; issues and multi-part critical essays.

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Jennifer Higgie\, writer and co-editor of \;Frieze\, \;Jaso n Farago\, writer and founding editor of the new art magazine \;Eve n\, and \;Jo Melvin\, \;curator of \;Five Issues of St udio International \;at Raven Row\, discuss what it takes to (re)c reate a magazine from scratch &ndash\; then and now &ndash\; as well as fos ter the \;networks of artists\, writers and readers needed to sustain i t. They are \;joined by \;Alex Sainsbury \;and \;Antony Hud ek \;from Raven Row.

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This event c oincides with the current exhibition \;Five Issues of Studio International \;at Raven Row\, unt il 3 May.

DTEND:150000 DTSTAMP:20150328T142412 DTSTART:150000 GEO:51.5159523;-0.070212 LOCATION:Whitechapel Gallery\,77-82 Whitechapel High Street \nLondon\, E1 7 QX SEQUENCE:0 SUMMARY:Artist Pages\, Policies and Criticism - Panel discussion with Jenn ifer Higgie\, Jason Farago and Jo Melvin UID:378579 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Whether working with collage\, performance or sculpture\, Russian artist Anna Parkina&rsquo\;s interest l ies in the spaces between objects and forms. She is fascinated not by the d etails themselves\, but in the dialogue that emerges between the details.\n

In The Dream of the Volunteer\, she pl ays with light and shadow\, weaving a performer&rsquo\;s body together with image and fabric. The conversation appears between the image &ndash\; a pr ojection of a woman dancing among trees and fabric &ndash\; and the reality of a similar dancer in space. The two aspects intersect\, entering into a fight of sorts\, each trying to find independence from the other. As the di stance between image and reality grows and fluctuates\, the viewer struggle s to understand what is tangible fabric and body\, and what is shifting lig ht.

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With music by pianist Sophie Agne l.

Text taken from \;whitechapel.org.

DTEND:160000 DTSTAMP:20150328T142412 DTSTART:150000 GEO:51.5159523;-0.070212 LOCATION:Whitechapel Gallery\,77-82 Whitechapel High Street \nLondon\, E1 7 QX SEQUENCE:0 SUMMARY:The Dream of the Volunteer\, Anna Parkina UID:378578 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Scream Editions are delighted to present You Are Here\, a brand new exhibition by Da vid Shillinglaw.

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You Are Here is a new body of wo rk by the young energetic artist &ndash\; ranging from large painted canvas \, works on paper\, wooden assemblages and installation. This body of work pulls together the last 10 years of Shillinglaw&rsquo\;s practice &ndash\; combining elements from his work on the street and in the gallery &ndash\; but also remixing his own personal history &ndash\; which propels his work into a fresh visual territory.

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Upon arrival\, take the supplied map /graphic pamphlet\, and use this tool to help you navigate through (or get lost in) the humour\, texts\, typography and metaphors that will undoubtedl y end in a sensory overload--in the best way.

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For further details about the exhibition and addition al images\, contact:

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Ruth Wilkinson | Ruth@screameditions.com | +44 (0)20 7 268 9851

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Exhibition Details\; Scream | 27/28 Eastcastle Street | Lo ndon | W1W 8DH

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10th April &ndash\; 2nd May 20 15 | Opening times | Monday to Friday 10am &ndash\; 6pm or by appointment&n bsp\;

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http://sc reameditions.com/ \;

DTEND:20150428 DTSTAMP:20150328T142412 DTSTART:20150410 GEO:51.5166586;-0.1384022 LOCATION:Scream\,27 – 28 Eastcastle Street \nLondon\, W1W 8DH SEQUENCE:0 SUMMARY:David Shillinglaw | You Are Here\, David Shillinglaw UID:378577 END:VEVENT BEGIN:VEVENT DESCRIPTION:

People try to put us down \;
(Talkin' 'bout my generation)

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▪ \;The Who\, 'My generation'\, (1965) (1)
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Gustave Courbet on ce stated that he was 'not only a Socialist\, but a Democrat and a Republic an\, as well: in a word\, a supporter of the whole revolution\, and above a ll a realist\, that is to say a sincere lover of genuine truth' (2).

\n< p style="text-align: justify\;" align="left">In T. J. Clark&rsquo\;s book ' Image of the People&rsquo\; (1999)\, Courbet is said to have disguised hims elf behind the mask of &lsquo\;the savage&rsquo\; in order to remain in the centre of the Parisian art world without actually being absorbed by it. Ac ting as rustic invader and outsider to La Brasserie Andler\, which he frequ ented in the 1840's\, he sustained his painting practice by gaining access to this glimpse of bourgeoisie life\, to enable himself to comment on the s ocial conditions of the time through his paintings of rural life. In Clark& rsquo\;s book\, he asks us to question\, 'What is revolutionary art?' - suc h as Courbet's - and 'What were the effects of a particular revolution upon creative practice?'.

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Th e term 'Anti-Social Realism'\, which acts as this exhibitions title\, is no t one that is commonly understood. It is intended to pose questions such as : is 'revolutionary' art a viable possibility today? What does it mean to b e (anti) social in an increasingly interconnected but physically separated society? Can we\, through archaic practices such as painting and sculpture\ , engage with notions of 'social realism&rsquo\; now presented on a daily b asis through the new silver-screen veneer of the digital age?

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In response\, this exhibition attempt s to pose pictorial possibilities and create tensions through the selected artworks\, tackling notions of contemporary realism and in turn offering us a distant echo of a political reality. The wry misnomer of the exhibition title slips between many interwoven threads\, simultaneously conjuring up i mages of 'anti-social behaviour orders' (ASBO)\, anarchist riots\, or the s olitary artist locked away from the world attempting to connect on a higher level. In this light\, the exhibiting artists are presented as 'social mys tics' (3) and it could be said that their work operates by a means of turni ng inwards to create social radiation.

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It is often said that the path of artistic practice involves an inherent rejection of the exterior world. This service to humanity\, wh ilst in rejection of it\, is a contradiction that the exhibition also seeks to examine. There is a shared intention to address the contemporary politi cal dilemma and our complex relation to reality through the conventions of art practice and the governing notions of social realism\, such as those th at existed in Courbet&rsquo\;s time.

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J.G. Ballard refers to the &lsquo\;inter-zone&rsquo\; (4) as a n attempt to define contemporary reality from within the simulacrum of the digital age. By inhabiting this pneumatic intermediary realm\, made of astr al substance\, cultural production posits between the rational mind (which partook of God) and the utterly unrelated material realm.

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Here\, the painted world often seems more real than the real\; reality at times populated by phantasms\, cartoon cha racters or surrealist totems. The programme of political resistance is  \;

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directly linked to th e imagination\, like projections charged with nervous afflictions\, allergi c reactions and insecurities brought on by Facebook updates and online moni toring by government security agencies.

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The other worldliness of social media and the ever present threat to notions of reality of the digital age (where almost everything an d anything seems possible) defines our reality\, and by that definition wha t it means to pursue social and anti-social practices - artistically and be haviourally in the age of this &lsquo\;inter-zone&rsquo\;.

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The search for a means to connect is one that remains today\, much like in Courbet's times\, and the desire to pres ent the enigma of peasant politics with the confusions and dangers of class systems continues. Today\, as we face echoes of the great depression - whe n economic turbulence fostered a heightened sense of social consciousness - these artists are banded together in their conviction that art must remain intrinsically social\, whilst preserving a duty to question the binds of t he social structures it exists within. \;Juan Bolivar &\; John S tark.

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(1) - Pete Townshend reportedly wrote the song on a train and is said to have been inspired by the Queen Mo ther who is alleged to have had Townshend's 1935 Packard Hearse towed off a street in Belgravia because she was offended by the sight of it during her daily drive through the neighbourhood. Townshend has also credited Mose Al lison's 'Young Man Blues' as the inspiration for the song\, saying 'Without Mose I wouldn't have written "My Generation"'.Townshend told Rolling Stone Magazine in 1985 that '"My Generation" was very much about trying to find a place in society.' \;http://en.wikipedia.org/wiki/My_Generation

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(2) - Pierre Dupont BAC (quote source) - &lsquo\; Image of the People: Gustave Courbet and the 1848 Revolution&rsquo\; - T. J . Clark\, 1999

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(3) - 'My stics are persons in society\, even if hermits or cloistered monks or nuns. They speak the language of their society\, eat the the common foods\, are immersed in the day-to-day cultural mores of their time and place. However\ , they are not in society as everyone else of their time and age is\, but p ersons with a particular "social radiation".' - 'Great Mystics and Social J ustice: Walking on the Two Feet of Love' - Susan Rakoczy (Page 192)

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(4) - 'I define Inner Space as an imaginary realm in which on the one hand the outer world of reality\, an d on the other the inner world of the mind meet and merge. Now\, in the lan dscapes of the surrealist painters\, for example\, one sees the regions of Inner Space\; and increasingly I believe that we will encounter in film and literature scenes which are neither solely realistic nor fantastic. In a s ense\, it will be a movement in the inter-zone between both spheres.' \ ;
- J.G Ballard

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DTEND:20150509 DTSTAMP:20150328T142412 DTSTART:20150403 GEO:51.5266865;-0.0813714 LOCATION:CHARLIE SMITH london\,336 Old Street \nLondon\, EC1V 9DR SEQUENCE:0 SUMMARY:Anti-Social Realism\, Juan Bolivar\, Kate Lyddon\, Sigrid Holmwood\ , John Greenwood\, Geraint Evans\, Nathan Eastwood\, Karen David\, Graham C rowley\, Dan Coombs\, John Salt\, John Stark\, Maharishi x Rebecca & Mike UID:378575 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20150328T142412 DTSTART:183000 GEO:51.5266865;-0.0813714 LOCATION:CHARLIE SMITH london\,336 Old Street \nLondon\, EC1V 9DR SEQUENCE:0 SUMMARY:Anti-Social Realism\, Juan Bolivar\, Dan Coombs\, Graham Crowley\, Karen David\, Nathan Eastwood\, Geraint Evans\, John Greenwood\, Sigrid Hol mwood\, Kate Lyddon\, Maharishi x Rebecca & Mike\, John Salt\, John Stark UID:378576 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Victoria Miro is delighted to present \;Chimney school of sculpture\, an exhibition of new w ork by the Copenhagen-based artist Tal R.

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Tal R has often used the word 'kolbojnik'\, meaning leftovers in Hebrew\, to describe his practice of sourcing and collecting a wide range of imagery\, figurative and abstract\, from high and low culture. Installed collectively\, Tal R&rsquo\;s works can give the impression of a group sho w\, as adherence to a single aesthetic style is eschewed in favour of a non -hierarchical exploration of material and form. This will be explored in th e exhibition\, which stages sculptures alongside furniture works and a seri es of paintings and works on paper.

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T he lower gallery will be populated by a disparate collection of ceramic\, c reature-like sculptures. Tal R has employed a process of Raku firing\, an a ncient technique which originated in sixteenth-century Japan. The process p roduces notoriously unpredictable results &ndash\; the clay&rsquo\;s surfac e is blackened or whitened according to the intensity of its exposure to th e smoke and is liable to crack or even explode\, a volatility that has draw n the artist to the material. \;

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Alongside the Raku sculptures will be a number of minimali st sculptures of fabric-covered wood. These larger-than-life flumes\, with candy-cane stripes and built-in air vents\, call to mind to the industrial chimney. However\, these works are divorced from any functioning system. In stead they suggest a joyfulness that rebukes a factory logic of inputs and outputs\, and embody a stranger and less quantifiable process.  \;

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Tal R is also known for p roducing unique\, hand-made sofas\, or &lsquo\;opiumbeds&rsquo\;\, which ar e made from old and new rugs sourced throughout Scandinavia and treated wit h paint and dye in the studio. A \;

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number of these patchworked pieces of furniture will provide another per spective from which to view &ndash\; or from which to be viewed by &ndash\; the sculptures. Exploring the domestic quality of furniture as an artistic medium\, Tal R plays with the boundary between art and life. Neither the p ractical purpose of these works nor their aesthetic qualities take categori cal precedence. The idea of the opium bed suggests a hazy\, latent space of unfettered thinking\, the functional object delineating a non-functional s pace of thought. \; \;

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The upstairs floor of the gallery space will be taken up with a self-contained corridor structure stretched \;over with canvas material . Within it are paintings and works on paper\, all depicting a closed blind . Repeated across the walls of an enclosed space\, this representation of s huttered vision conveys a visceral sense of interiority and positions the v iewer in an ambiguous space that is neither inside nor outside.

DTEND:20150530 DTSTAMP:20150328T142412 DTSTART:20150423 GEO:51.5313499;-0.0958947 LOCATION:Victoria Miro Gallery\,16 Wharf Road \nLondon\, N1 7RW SEQUENCE:0 SUMMARY:Chimney School of Sculpture\, Tal R UID:378458 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150328T142412 DTSTART:180000 GEO:51.5313499;-0.0958947 LOCATION:Victoria Miro Gallery\,16 Wharf Road \nLondon\, N1 7RW SEQUENCE:0 SUMMARY:Chimney School of Sculpture\, Tal R UID:378459 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Timothy Taylor Gallery is deli ghted to announce its fourth solo exhibition by British artist Fiona Rae.\n

This new series of greyscale paintings from 2014&ndash\;2015 marks an exciting and significant development in Rae &rsquo\;s practice. Each painting&rsquo\;s composition predicates a notiona l figure\, whose existence is simultaneously manifested and denied in a the atre of direct performative mark-making. These are abstract compositions te etering on the edge of figuration\, expressively rendered in black\, white and tones of grey. Within this rigorous and strategic system of hue reducti on and subtle balancing of tonal relationships\, Rae has nevertheless creat ed an intensely colourful and dynamic suite of paintings that embody both t he tropes of high modernist idealism and the distanced manipulations of a P hotoshop-inflected present.

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Alongside these paintings\, a series of small-scale charcoal drawings will be shown &ndash\; a new expressive medium for the artist &ndash\; and one upon which her wit and restless invention are brought dramatically to bear. Inspired by a variety of sources from Chen Rong&rsquo\;s thirteenth-century \;Nine Dragons \;to Robert Rauschenberg&rsquo\;s \;Erased de Kooning Drawing \;(1953)\, Rae challenged herself to find a way of representing the figure that synthesised its historical traditions with the contemporary existential experience of self:

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I wanted to be de Kooning making a Woman drawing or painti ng\, and at the same time I wanted to be Rauschenberg erasing it. That seem ed to me to be the perfect answer to the problem of allowing oneself to mak e a drawing of a figure without disappearing into the past. Doing it and un doing it until some kind of image just about arrives. With the paintings\, I had the same notion of erasure\, while at the same time both longing to m ake a figure appear and wishing to remain in the field of abstraction.

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(Fiona Rae in conversation with Mart in Herbert\, 2015)

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Fiona Rae graduate d from Goldsmiths College\, London in 1987\; took part in the ground-breaki ng exhibitionFreeze \;in London&rsquo\;s Docklands in 1988 and was shortlisted for the Turner Prize in 1991. Over the last 25 years\, Rae &rsquo\;s work has been included in numerous exhibitions in museums\, publi c institutions and galleries worldwide. Group exhibitions include \;Hybrids\, Tate Liverpool\, UK (2001)\; \;Painting Pictures\, Kunstmuseum Wolfsburg\, Germany (2003)\; \;Fiction@Love\, Shanghai Museum of Contemporary Art\, China and Singapore Art Museum (2006 )\; \;Pictograms\, Kunstmuseum Stuttgart\, Germany (2006)\;&nb sp\;Classified\, Tate Britain\, London\, UK (2009). Solo exhibitio ns include Carré\; d&rsquo\;Art\, Museé\; d&rsquo\;Art Contempo rain de Nî\;mes\, France (2002&ndash\;2003)\; Leeds Art Gallery\, UK\; The New Art Gallery Walsall\, UK\; Towner\, Eastbourne\, UK (2012&ndash\;2 013)\; and \;Painter\, Painter: Dan Perfect\, Fiona Rae\, Nott ingham Castle Museum &\; Art Gallery\, UK and Southampton City Art Galle ry\, UK (2014).

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Fiona Rae&rsquo\;s wo rk is represented in public and private collections internationally\, inclu ding Fonds National d&rsquo\;Art Contemporain\, Paris\, France\; Fundaci&oa cute\; &ldquo\;la Caixa&rdquo\;\, Barcelona\, Spain\; Hamburger Bahnhof\, B erlin\, Germany\; Hirshhorn Museum and Sculpture Garden\, The Smithsonian I nstitution\, Washington\, D.C.\, \;USA\; Mudam Luxembourg\; Musé\ ;e National d&rsquo\;Art Moderne\, Centre Pompidou\, Paris\, France\; Tate Collection\, UK.

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Rae was elected to t he Royal Academy of Arts\, London (2002)\; served as a Tate Artist Trustee (2005&ndash\; 2009)\; and was appointed Professor of Painting at the Royal Academy Schools\, London (2011).

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The exhibition is accompanied by a fully illustrated catalogue featuring a conv ersation between Martin Herbert and Fiona Rae.

DTEND:20150530 DTSTAMP:20150328T142412 DTSTART:20150422 GEO:51.5104943;-0.1500068 LOCATION:Timothy Taylor Gallery\,15 Carlos Place \nLondon\, W1K 2EX SEQUENCE:0 SUMMARY:Solo Exhibition\, Fiona Rae UID:378456 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150328T142412 DTSTART:180000 GEO:51.5104943;-0.1500068 LOCATION:Timothy Taylor Gallery\,15 Carlos Place \nLondon\, W1K 2EX SEQUENCE:0 SUMMARY:Solo Exhibition\, Fiona Rae UID:378457 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gagosian London is pleased to present an exhibition of three sculptures by Robert Therrien.

Th errien's work has clear links to the generation of Pop and Conceptual artis ts that preceded him\, while attesting to his affinities for folk culture\, cartoons\, and American design. Working in two and three dimensions with g reat attention to the effects of scale\, he transforms elements from the cu lture of everyday life into artworks that evoke classical archetypes. Given its evident concern with childhood narratives\, his art invites psychologi cal interpretation while remaining firmly objective due to its uncanny prox imity to the real\, and its relationship with the minimal. \;No tit le (Table leg) \;(1993) was a significant breakthrough\, marking a shift from less representational works. This was followed by \;Und er the Table(1994)\, an enormous wooden kitchen table and chair set\, which further defined this pivotal moment in his development. By recreating everyday objects with veracity but on a giant scale\, he dramatically alte red the relationship of viewer to artwork.

In sculptures\, paint ings\, and drawings\, Therrien continuously recycles and recasts his canon of common objects and images to create new enigmas. Here\, variations on th ree of these persistent motifs&mdash\;stacked pots and pans\, double-hung & ldquo\;Dutch&rdquo\; doors\, and oval serving trays&mdash\;comprise a puzzl ing domestic scenario. In \;No title (Pots and pans II) \; (2008)\, twenty-five dramatically enlarged pots\, pans\, and lids are stack ed into a teetering tower almost three meters high. Although the extraordin ary scale of each element is immediately obvious\, the perfect replication of their handles and metallic sheen prolongs the illusion. No title (Black Dutch door) (1993&ndash\;2013)\, a monochromatic abstraction of a farmhouse staple\, evokes Minimalist tropes in its binary division of space\, while also memorializing a defining feature of Therrien's childhood home. \;< em>No title (Black oval)
 \;(1980&ndash\;2012) is a serving platter whose interior is filled with black enamel: an intermediate void&mdash\;at once useless tableware\, dark mirror\, and non-representational painting. By reimagining the possibilities of the readymade\, Therrien continues to r ender the familiar uncanny.

Robert Therrien&nbs p\;was born in Chicago in 1947\, and lives and works in Los Angeles. Select ed solo museum exhibitions include Museum of Contemporary Art\, Los Angeles (1984)\; Museo Nacional Centro de Arte Reina Sofí\;a\, Madrid (1991& ndash\;92)\; Contemporary Arts Center\, Cincinnati (1997)\; Los Angeles Cou nty Museum of Art (2000\, SITE Santa Fe\, New Mexico\; Contemporary Art Mus eum\, Houston\; and Museo de Arte Contemporá\;neo de Monterrey\, Mexi co\, through 2001)\; Museum of Contemporary Art\, San Diego (2007)\; Kunstm useum Basel Kupferstichkabinett (2008)\; Scottish National Gallery of Moder n Art\, Edinburgh (2010)\; De Pont Museum\, Tilburg\, The Netherlands (2011 )\; Tate Liverpool (2011)\; The Broad Contemporary Art Museum at Los Angele s County Museum of Art (2011)\; and Albright-Knox Art Gallery\, Buffalo\, N Y (2013). Public collections include MoMA and Whitney Museum of American Ar t\, New York\; Albright-Knox Art Gallery\, Buffalo\, NY\; MCA\, Chicago\; L ACMA\, MoCA\, and Getty Museum\, Los Angeles\; Walker Art Center\, Minneapo lis\; Tate Gallery\, London\; and Centre Pompidou\, Paris. Since 2009\, The rrien's work has toured with the &ldquo\;ARTIST ROOMS&rdquo\; collection of international contemporary art.

&ldquo\;Robert Therrien\,&rdquo\ ; an exhibition of three new installations in the form of freestanding room s\, will be on view at The Contemporary Austin\, Texas\, from May 9&ndash\; August 30\, 2015.

DTEND:20150530 DTSTAMP:20150328T142412 DTSTART:20150414 GEO:51.5110563;-0.1476352 LOCATION:Gagosian Gallery - Davies Street\,17-19 Davies St. \nLondon\, W1K 3DE SEQUENCE:0 SUMMARY:Solo Exhibition\, Robert Therrien UID:378454 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150328T142412 DTSTART:180000 GEO:51.5110563;-0.1476352 LOCATION:Gagosian Gallery - Davies Street\,17-19 Davies St. \nLondon\, W1K 3DE SEQUENCE:0 SUMMARY:Solo Exhibition\, Robert Therrien UID:378455 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Fl owers Gallery is pleased to present a solo exhibition of recent work by Tom Lovelace. This Way Up is the artist&rsquo\;s most comprehensive e xhibition to date\, featuring work from 2012-2015.

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Working at the juncture between photography\, sculptu re and performance\, Tom Lovelace&rsquo\;s interdisciplinary practice explo res the fundamentals of photography by extending beyond traditional notions or boundaries of the medium. The architecture of time and light\, along wi th an exploration of function and form are examined through unexpected mani pulations of everyday materials and objects.

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Marking a progression from his most recent series\, the In Prep aration photographs\, in which Lovelace documented his attempts to tam e and extend a collection of makeshift plinths\, This Way Up prese nts a collection of work which manifests through a cross-referencing of ima ge\, object and the artist&rsquo\;s intervention.

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&ldquo\;Lovelace trained as a fine art photographer\, but has always been drawn to its intersection with other media\, and is well aw are of the resulting paradoxes and polemics. Most people experience R. Mutt &rsquo\;s Fountain (1917) via the photograph of Alfred Stieglitz\, for exam ple\; and it is only via photographs that one can get an inkling of The Lov ers (1988)\, a 90-day performance in which Marina Abramovic´\; and Ula y approached each other from opposite ends of The Great Wall of China. Many continue to argue that the photograph is the mere skeleton after the feast and can be no substitute for direct viewing of a three-dimensional object\ , or a time-based performance. Lovelace&rsquo\;s solution is subtler and mo re elegant\, involving finely crafted photographs-as-sculptures\, or photog raphs-as-performances.&rdquo\; David Evans

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The raw\, often found\, materials that Lovelace draws our atten tion to are practical apparatus found in both the home and on the construct ion site. In This Way Up\, these are reconsidered and reconfigured as photographic objects\, creating conditions which disrupt both their ori ginal identity and application. Untitled Red (date unknown - 2014< em>) is a naturally occurring photogram created using sections of felt \, which were once hung on the exterior walls of a theatre in Umbria\, Ital y. The fabric had absorbed and soaked the sun&rsquo\;s rays over time\, tra cing the placards and signs placed upon them. Lovelace removed and reframed the panels\, &lsquo\;fixing&rsquo\; the image under ultra-violet protected glass. The initial period of exposure is unknown\, rendering the work simu ltaneously bound by time and timeless.

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Taking common support structures\, such as the picture frame or the stool \, Lovelace re-organizes and subverts their functional hierarchies. Works s uch as Stargazing on Black\, 2015 and Monteluco Sole\, 20 13 collapse the notion of the object&rsquo\;s usefulness altogether - their formal reduction showcases what Lovelace has called a further &lsquo\;cont rolled slippage&rsquo\; into a minimal\, abstract image plane.

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The title of the exhibition references an instruc tion found on cardboard packaging. This is usually accompanied by two bold arrows pointing upwards\, yet the works in this exhibition have no such acc ompanying signs. In This Way Up\, Lovelace creates highly-orchestr ated encounters between the fixed and the ephemeral\, in which order\, orie ntation and purpose are engaged in a continual state of push and pull.

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ABOUT TOM LOVELACE

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Tom Lovelace lives and works in London. He studied Photogra phy at the Arts University Bournemouth\, receiving First Class Honours\; an d Art History at Goldsmiths College\, London. Recent exhibitions include Against Nature\, (Photo50\, London Art Fair\, 2015)\; PROJECT 05 (Contemporary Art Society\, London 2014)\, The Opinion Makers (Londonewcastle Project Space\, London 2014)\, Blog Reblog (Aust in Center for Photography\, Texas 2014) Totem and Taboo (Unseen Am sterdam 2013)\, Uncommon Ground (Flowers Gallery\, London 2012)\, Work Starts Here (Son Gallery\, London 2012)\, Ristruttura (Project B Gallery\, Milan 2012) and Gouge (Centre for Photograp hy\, Aarhus\, Denmark 2011). Lovelace has previously exhibited at the Royal West of England Academy\, ICA London\, Oriel Davies Gallery and Karst.

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Lovelace was the recipient of the Surfac e Gallery prize in 2008\, and a Rhubarb Bursary with related exhibitions at Rhubarb East\, Birmingham and Flowers Gallery\, London in 2009. In 2012 Lo velace was awarded an Anna Mahler Residency in Spoleto\, Italy\, where he c ontinues to research the history of the photogram and the concept of the re adymade. Most recently he took residence in Aarhus\, Denmark as part of the forthcoming European Capital of Culture Programme with a related exhibitio n and book forthcoming in 2017. Following This Way Up\, Lovelace w ill embark on a residency at Lendi Projects\, Switzerland\, followed by gro up exhibitions at the New Art Centre\, Salisbury and Golden Thread Gallery\ , Belfast. His book Work Starts Here is currently held in the Tate Artists&rsquo\; Books Collection.

DTEND:20150516 DTSTAMP:20150328T142412 DTSTART:20150417 GEO:51.5301737;-0.0773639 LOCATION:Flowers | Kingsland Road\,82 Kingsland Road \nLondon\, E2 8DP SEQUENCE:0 SUMMARY:This Way Up\, Tom Lovelace UID:378452 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150328T142412 DTSTART:180000 GEO:51.5301737;-0.0773639 LOCATION:Flowers | Kingsland Road\,82 Kingsland Road \nLondon\, E2 8DP SEQUENCE:0 SUMMARY:This Way Up\, Tom Lovelace UID:378453 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For his week at fig-2\, Shezad Dawood uses the text of his fo rthcoming novella as a conceptual starting point\, weaving diverse strands of visual and literary references into an immersive virtual tapestry. &lsqu o\;The Room&rsquo\; is a digital animation that questions how we read and e xperience both the physical and the intangible. Mirroring the space of the ICA Studio\, the animation takes the viewer on an epoch-spanning satirical journey into occult conspiracy and the true powers that govern the world. A longside the interior/exterior space of the animation\, Dawood is showing a new painting and accompanying woodcuts that chart an analogue\, and analog ous development of the project in more traditional media\, as a fluid contin uum of critical gestures and craft.

DTEND:20150405 DTSTAMP:20150328T142412 DTSTART:20150330 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:fig-2 13/50 Shezad Dawood\, Shezad Dawood UID:378450 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150328T142412 DTSTART:180000 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:fig-2 13/50 Shezad Dawood\, Shezad Dawood UID:378451 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150516 DTSTAMP:20150328T142412 DTSTART:20150417 GEO:51.5301737;-0.0773639 LOCATION:Flowers | Kingsland Road\,82 Kingsland Road \nLondon\, E2 8DP SEQUENCE:0 SUMMARY:Demokratia\, Peter Howson UID:378448 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150328T142412 DTSTART:180000 GEO:51.5301737;-0.0773639 LOCATION:Flowers | Kingsland Road\,82 Kingsland Road \nLondon\, E2 8DP SEQUENCE:0 SUMMARY:Demokratia\, Peter Howson UID:378449 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Curator Emily Purser will be j oined by artists from our current exhibition Strange Attraction to discuss the work and concerns from the show.

DTEND:203000 DTSTAMP:20150328T142412 DTSTART:183000 GEO:51.4770661;-0.021002 LOCATION:APT Gallery\,Harold Wharf 6 Creekside\, Deptford\nLondon\, SE8 4SA SEQUENCE:0 SUMMARY:Strange Attraction | Curator's Panel Discussion\, Lana Locke\, Hann ah Campion\, Lady Lucy\, Andrew Mania\, Vanessa MITTER\, Eleanor Moreton UID:378447 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150417 DTSTAMP:20150328T142412 DTSTART:20150321 GEO:51.4875521;-0.0381089 LOCATION:The Agency gallery\,66 Evelyn Street \nLondon\, SE8 5DD SEQUENCE:0 SUMMARY:The Merry Go-Round Is Broken\, \, Doris A. Day UID:378446 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This will be the first retrosp ective of the seminal American painter \;Agnes Martin& nbsp\;since her death \;in \;2004.

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Martin was renowned for her subtle\, evocative canvases marked out in pencil grids and pale colour washes. Her apparently \;minimal \;approach belied a deep conviction in the emotive and expressive power \;of \;art.

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This major exhibition will cover the full breadth of Marti n&rsquo\;s practice\, reasserting her position as a key figure in the tradi tionally male-dominated fields of 1950s and 1960s \;abstraction.

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The show will trace her career from early experiments to late work\, as wel l as demonstrate her profound influence on subsequent generations \;of& nbsp\;artists.

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Exhibition organise d by Tate Modern in collaboration with Kunstsammlung Nordrhein-Westfalen\, Dü\;sseldorf\, Los Angeles County Museum of Art and Solomon R Guggenhei m Museum\, New \;York

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DTEND:20151011 DTSTAMP:20150328T142412 DTSTART:20150603 GEO:51.5081675;-0.0951608 LOCATION:Tate Modern\,Bankside \nLondon\, SE1 9TG SEQUENCE:0 SUMMARY:Solo Exhibition\, Agnes Martin UID:377943 END:VEVENT BEGIN:VEVENT DTEND:180000 DTSTAMP:20150328T142412 DTSTART:100000 GEO:51.5081675;-0.0951608 LOCATION:Tate Modern\,Bankside \nLondon\, SE1 9TG SEQUENCE:0 SUMMARY:Solo Exhibition\, Agnes Martin UID:377944 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Tate Britain will open the fir st major \;Barbara Hepwort h \;exhibition in London for almost fifty years. Barbara Hepworth ( 1903&ndash\;75) is most commonly associated with St Ives\, Cornwall\, where she lived from 1939 until her death in \;1975.

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This major retrospective will emphasise Hepworth&rsquo\;s of ten overlooked prominence in the international art world\, of which she was a leading figure in the 1930s\, and one of the most successful artists in the world during the 1950s and 1960s. The exhibition charts Hepworth&rsquo\ ;s progress from small carvings made as a young woman to the magnificent br onzes that became part of the great sculpture collections of the world. It will present many of her surviving pre-war carvings\, and some of her most significant sculptures in wood\, stone and bronze. The exhibition will also encompass rarely seen works\, including textiles\, drawings\, \;collages \;and \;photograms.

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The exhibition will tour to Krö\;ller-Mü\;ller Mus eum\, Otterlo (November 2015 &ndash\; April 2016) \;and Arp Museum\, Ro landseck (May &ndash\; August \;2016).

DTEND:20151025 DTSTAMP:20150328T142412 DTSTART:20150624 GEO:51.4931052;-0.1251533 LOCATION:Tate Britain\,Millbank \nLondon\, SW1P 4RG SEQUENCE:0 SUMMARY:Sculpture for a Modern World\, Barbara Hepworth UID:377941 END:VEVENT BEGIN:VEVENT DTEND:180000 DTSTAMP:20150328T142412 DTSTART:100000 GEO:51.4931052;-0.1251533 LOCATION:Tate Britain\,Millbank \nLondon\, SW1P 4RG SEQUENCE:0 SUMMARY:Sculpture for a Modern World\, Barbara Hepworth UID:377942 END:VEVENT END:VCALENDAR