A performance by Jamie Bradley of a text assembled by Thurin g. \;

DTEND:200000 DTSTAMP:20141128T214400 DTSTART:190000 GEO:51.5330714;-0.0395103 LOCATION:Chisenhale Gallery\,64 Chisenhale Road \nLondon\, E3 5QZ SEQUENCE:0 SUMMARY:Caragh Thuring Solo Exhibition Performance UID:365997 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A tour of the exhibition led by Clarrie Wallis\, Curator of Modern and Contemporary British Art\, Tate. \;

DTEND:150000 DTSTAMP:20141128T214400 DTSTART:140000 GEO:51.5330714;-0.0395103 LOCATION:Chisenhale Gallery\,64 Chisenhale Road \nLondon\, E3 5QZ SEQUENCE:0 SUMMARY:Caragh Thuring Solo Exhibition Tour UID:365996 END:VEVENT BEGIN:VEVENT DESCRIPTION:

 \;A coff ee morning and special viewing of the exhibition with cakes generously prov ided by the East End Women&rsquo\;s Institute. \;

DTEND:103000 DTSTAMP:20141128T214400 DTSTART:090000 GEO:51.5330714;-0.0395103 LOCATION:Chisenhale Gallery\,64 Chisenhale Road \nLondon\, E3 5QZ SEQUENCE:0 SUMMARY:Caragh Thuring Solo Exhibition Special Viewing UID:365995 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150214 DTSTAMP:20141128T214400 DTSTART:20150123 GEO:51.5249699;-0.0943618 LOCATION:Stuart Shave/Modern Art\,4-8 Helmet Row \nLondon\, EC1V 3QJ SEQUENCE:0 SUMMARY:Solo Exhibition\, David Altmejd UID:365993 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20141128T214400 DTSTART:180000 GEO:51.5249699;-0.0943618 LOCATION:Stuart Shave/Modern Art\,4-8 Helmet Row \nLondon\, EC1V 3QJ SEQUENCE:0 SUMMARY:Solo Exhibition\, David Altmejd UID:365994 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150131 DTSTAMP:20141128T214400 DTSTART:20150114 GEO:51.5124884;-0.1461211 LOCATION:Ben Brown Fine Arts Ltd\,12 Brook's Mews \nLondon\, W1K 4DG SEQUENCE:0 SUMMARY:An Exploration of Abstract Realism\, Kitty Chou UID:365988 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20141128T214400 DTSTART:180000 GEO:51.5124884;-0.1461211 LOCATION:Ben Brown Fine Arts Ltd\,12 Brook's Mews \nLondon\, W1K 4DG SEQUENCE:0 SUMMARY:An Exploration of Abstract Realism\, Kitty Chou UID:365989 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Wednesday - \;Sunday\, 4pm \;(watch the live stream  \;12-6pm)


For \;REVOLVER \;II \;Craig Barnes has created the \;Centre for Remote Possibilities\, \;a temporary space designed \;by Finnish architect  \;Matti Suuronen\, in \;which Barnes hosts \;intimate and informal  \;talks\, sound works\, \;lectures\, \;screenings and performa nces \;at \;4pm Wednes day - Sundays \;during&nbs p\;Part Three: \;Perform* \;(19 November&ndash\;14 December 20 14).


Our \;web cam \;is on hand to stream \;the live activities from \;12&ndas h\;6pm \;each day\, witnessing the transformation of the space into a theatre of sorts where rehearsal\, set \;up and the deconstruct ion of a performance can be observed. \;

Watch the live stre am on our \;
homepage \;or via \;this link.

Live Programme:

November 2014
Wed  \;26 \;  \;  \; Jonathan Baldcock &\; Rafal Zajko
Thu \;  \;27  \;  \;  \;38b: Eva Rowson\, Lu ke Drozd\, Andy Abbot\, \;Jenny Moore\, \;Dave Maric\, \;
 \;  \;  \;  \;  \;  \;  \;  \;  \; &nb sp\;Holly Pester\, \;Now Owl \;
Fri \;  \;  \;28 & nbsp\;  \;  \;Jonathan Trayner
Sat \;  \; 29  \; & nbsp\;  \;Ross Downes
Sun \;  \;30 \;  \;  \; Ansuman Biswas

December 2014
Wed 3  \;  \;  \;Peter Fillingham
Thu  \;4 \;  \;  \; P atrick Coyle / Yuki TBC
Fri  \;  \;5 \;  \;  \; Li ndsay Seers
Sat \;  \;6 \;  \;  \; Tom Crawford
Sun \; 7  \;  \;  \;Daniel Kelly
Wed 10 \; &nbs p\; Nathaniel Pitt / Daniel Pryde-Jarman
Thu \; 11 \;  \; Nicolas Pope / Kieren Reed
Fri \;  \; 12 \;  \; Holly Slingsby / Barry Sykes
Sat \;  \;13 \;  \; Laura Milne s
Sun \; 14 \;  \; Peter Liverslidge\, Justin Hibbs\, Ben Lancaster &\; Sean Roche / Guy Gormely

Previous events:


Sun  \;16  \;  \;  \;Graha m \;Fagen
Wed 19  \;  \;  \;Craig Barnes \;
T hu  \;20  \;  \;  \;Sean Dower \;
Fri  \; &nbs p\;21  \;  \;  \;RCA Visual Cultures
Sat  \; 22  \ ;  \;  \;Keef Winter\, Steve Ennis\, Rory Phillips \;  \; & nbsp\; \;
Sun  \;23  \;  \;  \;Jefford Horrigan

Groups of approximately 8 people at a time \;will continue to be taken up to the Centre via the \;Matt&rsquo\;s Gallery loading bay&n bsp\;during gallery \;hours\, in and around the live event at 4pm \ ;(last admission \;5:45pm) \;&mdash\; \;timings subject to the live content \;- on first-come first-served basis.

The \;Centre for Remote Possibilities \;is an ongoin g body of work and research\, taking place in a 1972-built Futuro House tha t Barnes has restored and is now temporarily situated on the 5th floor roof of Matt's Gallery&rsquo\;s Copperfield Road site.

This \;Futuro Ho use \;is one of approximately only 80 manufactured worldwide. Conce ived by Finnish architect \;Matti Suuronen \;(1933 &ndash\; 2013) as a n easily transportable modular ski chalet made predominantly of fibreglass.

Prior to \;REVOLVER II\, the last and only Futuro house to eve r grace London&rsquo\;s skyline was aboard a ferry on the Thames in 1968 as part of houses&rsquo\; launch at the FinnFocus trade exhibition. The Daily Mail wrote:

&ldquo\;This object\, looking like everyo ne else&rsquo\;s idea of a flying saucer from outer Space\, is the Finnish idea of a perfect weekend cottage.&rdquo\;
DTEND:20141214 DTSTAMP:20141128T214400 DTSTART:20141116 GEO:51.5188372;-0.0355674 LOCATION:Matt's Gallery\,42-44 Copperfield Road \nLondon\, E3 4RR SEQUENCE:0 SUMMARY:Centre for Remote Possibilities at Matt's Gallery UID:365987 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Chromosome Damage&nbs p\;is an \;exhibition \;of 30 drawings by \;Daniel \;G uzmá\;n\, his first solo exhibition in a public \;galler y in the UK. \;Guzmá\;n&rsquo\;s \;oeuvre is steeped in the c ontext \;of Mexican and pre-Hispanic imagery. This \;new series ref erences the imagery and \;iconography of Aztec deities\, goddesses and& nbsp\;earth mothers. Each drawing represents a \;single voluptuous fema le figure baring teeth \;and pop out eyes\, who goes through mystic&nbs p\;and troubling transformations\, growing \;extended limbs\, multiple breasts and hands\; \;feet become tree trunks and snakes coil \;rou nd them. \;The works\, made in pastels\, charcoal and ink\, using earth y colours of browns\, pinks and reds\, are tantalisingly rich and provocati ve.

Daniel Guzmá\;n (b.1964) was born in Mexico City&n bsp\;where he lives and works. He has exhibited \;internationally\, wit h recent solo exhibitions \;at Museo de Arte de Zapopan\, Mexico\,  \;Museo de Arte Contemporá\;neo de Oaxaca\, Mexico and New Museum\, N ew York. Work by Guzmà\;n is in museum collections worldwide\, includ ing Jumex Collection\, Mexico\; Musé\;e National d'Art Moderne\, Pari s\; Centre Georges Pompidou\, Paris\; MOCA\, Los Angeles.

W ith support from the Mexican Embassy as part of the Year of Mexico in the U K in 2015.

DTEND:20150221 DTSTAMP:20141128T214400 DTSTART:20141213 GEO:51.5354677;-0.0717938 LOCATION:Drawing Room\,12 Rich Estate Crimscott Street\nLondon\, SE1 5TE SEQUENCE:0 SUMMARY:Chromosome Damage \, Daniel Guzman UID:365985 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150222 DTSTAMP:20141128T214400 DTSTART:20150116 GEO:51.5345651;-0.0548183 LOCATION:Wilkinson Gallery\,50/58 Vyner Street \nLondon\, E2 9DQ SEQUENCE:0 SUMMARY:Solo Exhibition\, Tobias Teschner UID:365983 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20141128T214400 DTSTART:180000 GEO:51.5345651;-0.0548183 LOCATION:Wilkinson Gallery\,50/58 Vyner Street \nLondon\, E2 9DQ SEQUENCE:0 SUMMARY:Solo Exhibition\, Tobias Teschner UID:365984 END:VEVENT BEGIN:VEVENT DESCRIPTION:

To coincide with \;First&n bsp\;Thursday's Top 5 list\, Jonathan Wateridge will be in conversation wit h critic Gilda Williams discussing his current exhibition 'Monument'.

DTEND:200000 DTSTAMP:20141128T214400 DTSTART:190000 GEO:51.5345651;-0.0548183 LOCATION:Wilkinson Gallery\,50/58 Vyner Street \nLondon\, E2 9DQ SEQUENCE:0 SUMMARY:In conversation with Gilda Williams \, Jonathan Wateridge UID:365982 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Dude how do you make a bloooooogggg? We know. We'll make one for you. \;We wrote the book on k ustom knowledge paradise. Crash out on local cruises\, assemble a barbecue that chars your desires into fractured remnants of a base\, mangy cookout. Turn up the Deathgrips\, reclining into esperanza composed of megamillion o cean properties and the gnarliest Cabron. \;The bird of paradise is so fuckin huge it'll blow your mind dude. It's like a major fuckin feathered B uddha that just dumped out on your lawn after it majestically ate all your watermelon and Tejin and tortillas. Douchebag. \;Fuck it. Let's get was ted. On air. \;


Experience laxnes s. Let your mind just kinda slip outta your ear\, live\, everyone'll see it \, other people will watch your sunset\, your patio-loving\, and ultimate s ynechdotal living. Slip into the Camero and seriously floor it through the neighbourhood right now. Yeah in the Camero. Yeah it's a live broadcast. Th is shit's fer real. \;You could fully go to the Bonaventure or Abbot Ki nney or just chill in Redondo\, but don't go to La Cabana. The one on Rose and Lincoln. That place is shitty dude\, fulla has-beens. Naw let's get lit and chill here. This place is sick. They call it Silicon Beach for more th an one reason\, lolz. \;You won't even feel like you're here\, it's lik e\, you know when you're doin a cleanse and your mind and your body are jus t like fully hashing it out\, like you don't even feel like a human\, bruh\ , you're just this like animal being? Like this space\, and this time\, are just like one big ocean\, or like a reef in the ocean\, like made of gold\ , super fuckin luxurious shit right there... Like all the other things\, ma n\, the objects\, but like\, big-ass objects\, are just flailing around\, a nd you can pick them like a fuckin kumquat\, even though you're also a part of them\, ya know? It's not even funny dude\, what we're gettin at.

\n< p style="text-align: justify\;">Why not dip into a totally accessible roman tic clean lined beach front provision to be witnessed by spectators? You'll melt\, you'll just die. If not\, I'd be happy to arrange another workout f or you this week\, so you can experience our unique offering again\, firsth and\, and I can answer any questions that you may have about our July Summe rChallenge as well.


Kristin L uke (born 1984) is an artist who represents The Air Inn Venice. \;
Recent exhibitions and events include: Synchronise. Accelerate. Disp erse. II at- screening\, M J Gallery\, Geneva\, Switzerland\; Idio rrhythmic Hunting Lodge with Berta Koch\, Performa 2014\, Losone\; Autumn Collapse at Enclave\, London\; and her proposal for the Artang el Longlist\, all 2014


Christopher Ku lendran Thomas (born 1979) has had solo exhibitions at Kraupa-Tuskany Zeidl er\, Berlin\, 2013\;The Centre for Contemporary Art\, Tel Aviv\, 2013\; and Mercer Union\, Toronto\, 2013. His wor k has recently been included in Dark Velocity at CCS Bard and in T ate Liverpool&rsquo\;s historical survey Art Turning Left: How Values C hanged Making\, 1789-2013.

DTEND:20150117 DTSTAMP:20141128T214400 DTSTART:20141119 GEO:51.4875521;-0.0381089 LOCATION:The Agency gallery\,66 Evelyn Street \nLondon\, SE8 5DD SEQUENCE:0 SUMMARY:Kristin Luke 'The Air Inn Venice - Winter 2015/14 Fuck It All Sunri se Getaway'\, Ed Fornieles\, Renzo Martens\, Christopher Kulendran Thomas UID:365646 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150131 DTSTAMP:20141128T214400 DTSTART:20141122 GEO:51.5121302;-0.13746 LOCATION:Herald St - Golden Sq\,37 Golden Square \nLondon\, W1F 9LB SEQUENCE:0 SUMMARY:Joint Exhibition\, Matt Connors\, Nick Relph UID:365645 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150111 DTSTAMP:20141128T214400 DTSTART:20141121 GEO:51.525135;-0.0558072 LOCATION:Herald St\,2 Herald Street \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:Solo Exhibition\, Markus Amm UID:365644 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150228 DTSTAMP:20141128T214400 DTSTART:20150115 GEO:51.4910955;-0.1083978 LOCATION:Greengrassi\,1a Kempsford Road \nLondon\, SE11 4NU SEQUENCE:0 SUMMARY:Solo Exhibition\, Roe Ethridge UID:365642 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20141128T214400 DTSTART:183000 GEO:51.4910955;-0.1083978 LOCATION:Greengrassi\,1a Kempsford Road \nLondon\, SE11 4NU SEQUENCE:0 SUMMARY:Solo Exhibition\, Roe Ethridge UID:365643 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sprovieri is proud to present the fifth solo show by Jannis Kounellis at the gallery. The exhibition will present a single large installation that occupies the whole space of the m ain gallery and new works.

The installation was originally prese nted at Palazzo Vignola in Todi (Umbria) in August 2014\, which the followi ng text by Rudi Fuchs refers to.

'More and more emphatically in recent years\, heavy black stains have become a basso continuo in the reper toire of Jannis Kounellis.That black lies so deeply submerged in his imagin ation that I regard it\, in fact\, as an essential aspect of his artistic ' handwriting'. The form of those stains is undefined. This is moreover how t hose fluid forms come about: as results or remnants of a process. Three or four summers ago\, in a studio in Umbria\, I saw him creating them &ndash\; with men's coats immersed in boiling tar. With an assistant he lifted each heavy coat (black\, drenched\, rumpled) from the cauldron and let it drop\ , with a smack\, onto a metal plate over which white painter's linen had be en stretched. Then it was carefully lifted up and taken away. The remaining irregular form of the pitch-black blotch suggested that it had been made b y a coat\, but perhaps I saw that because I had witnessed the process. Init ially\, the blotch was still wet. It trembled a bit but gradually began to dry\, so that it became more rigid and a more matte black as well &ndash\; absorbing more light and shining less.
Kounellis spoke at that time ab out ombra\, shade. In his imagination this is how he evokes the memory of d ark shadowy light in the art of Caravaggio\, whose obstinacy he recognizes in himself. But there is something else: most of Caravaggio's paintings are actually sparing compositions involving few figures\, which seem huge beca use they have been placed in a measured pictorial space. In the work of Kou nellis the dramaturgy is similarly restrained. The coats that he uses\, for instance\, express the scale of the human figure.
This also occurs in a work that he produced in Magdeburg in 2012\, in a rugged round space of the museum which is housed in an early medieval monastery. Hung all around at regular intervals (from meat hooks\, on pipes) are a number of coats. In the middle of this tonsorium we see a stash of coal (also a formless 'blot ch' of black) in a round area formed by burlap bags filled with coal. The m orphology here is vague\, since the ensemble could just as easily be interp reted in a figurative manner: shadows of figures standing silently around a well\, for instance\, or around a grave. The black coats are visually sugg estive blotches of gloom. I say silently because they hang there so quietly and motionlessly\, contemplatively in fact. With these austere means in wh ich color is restrained\, that subdued atmosphere in this greyish black spa ce has been just as meticulously orchestrated as the figures in a painting by Caravaggio.
Of course this work in Magdeburg isn't a narrative but rather the expression of an (anonymous) lament. If anything is altered\, in terms of the form of the means\, the expression changes immediately. These works are not made impulsively but with a great deal of control. This past summer in Todi (not far from Perugia) Kounellis also created a work with c oats in a small space at the theater. Here the expression has a different d ramatic quality\, because (for the first time\, I believe) he was making us e of remnants of torn coats. In Magdeburg the coats dropped quietly from a loop in the collar. There they were undisturbed and vertical blotches of bl ack. The outline of the torn rags in Todi is\, as we can see\, sharp and ir regular and jagged. Furthermore\, the tatters of black have been skewered t o frightful butcher's knives\, clasped between two metal bars attached to t he wall. And jabbing upward to the ceiling is a pole\, from which coats als o hang. The space seems to have been split by a flash of lightning &ndash\; very different dynamics in comparison to the work in Magdeburg.
In To di the installation is more restless and sinister. The black 'stains'\, whi ch had a thoughtful and diffuse effect in Magdenburg\, are now edgy and omi nous due to the torn contours as well as the knives. The dramaturgy is one of bleak excitement &ndash\; like that in Rembrandt's legendary portrayal T he Three Crosses. And it was about the sixth hour\, and there was a darknes s all over the earth until the ninth hour. And the sun was darkened\, and t he veil of the temple was rent in the midst. This is how Luke describes the circumstances surrounding the crucifixion of Christ\, and in that darkness the grand master of darks and shadows situated the ultimate martyrium. In the final state the dark etching became even darker\, but still suspended t here among the areas of black is the pale\, thin figure of Christ &ndash\; a desolate and pitiful image. With that in mind I now look\, too\, at the t orn world of the installation in Todi.'
(text by Rudi Fuchs\, 2014\; t ranslation by Beth O'Brien)

Born in 1936 in Piraeus\, Greece\, K ounellis moved to Rome in 1956\, where he still lives and works. Since 1960 Kounellis has exhibited all over the world and his work is part of major p ublic collections: Tate Modern\, London\; Centre Pompidou\, Paris\; MoMA an d Guggenheim\, New York among others. Recent solo exhibitions include the M usé\;e d'Art Moderne\, Saint-Etienne (2014)\; MIMA\, Middlesbrough In stitute of Modern art\; Parasol Unit\, Foundation for Contemporary Art\, Lo ndon\; Museum of Cycladic Art\, Athens (2012)\; Today Art Museum\, Beijing\ ; National Centre for Contemporary Art\, Moscow (2011)\; Neue Nationalgaler ie\, Berlin (2007).

DTEND:20150207 DTSTAMP:20141128T214400 DTSTART:20141212 GEO:51.5111259;-0.1399077 LOCATION:Sprovieri\,23 Heddon Street \nLondon\, W1B 4BQ SEQUENCE:0 SUMMARY:New Works\, Jannis Kounellis UID:365640 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20141128T214400 DTSTART:180000 GEO:51.5111259;-0.1399077 LOCATION:Sprovieri\,23 Heddon Street \nLondon\, W1B 4BQ SEQUENCE:0 SUMMARY:New Works\, Jannis Kounellis UID:365641 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A public lecture to celebrate Haworth Tompkins&rsquo\ ; Everyman Theatre winning the RIBA Stirling Prize \;2014. \;Or ganised by Theatrum Mundi in colla boration with RCA Architecture. Haworth Tompkins are also architects of the RCA's new campus in Battersea: the Dyson Building (opened 2012) and the Wo o Building\, \;due to open in 2015.


Haworth Tompkins&rsquo\; Everyman Theatre was the winner of the RIBA Sti rling Prize 2014. The building is \;the studio&rsquo\;s first completel y new theatre\, and the culmination of both their many explorations into&nb sp\;the theatre of the 21st century and a decade-long collaboration with th e Liverpool and Merseyside \;Theatres Trust. \;The new Everyman The atre replaces the nineteenth century home of an iconic Liverpool institutio n. \;The building makes use of the constrained topography of the site b y arranging the public spaces \;around a series of half levels\, establ ishing a continuous winding promenade from street to \;auditorium.  \;


It is an exceptionally sustainable building\; not only did the construction re-use 90% of the material \; from the old theatre\, but all spaces are naturally ventilated including th e auditorium with its 440 \;seats. Clever\, out of sight concrete labyr inths supply and expel air whilst maintaining total acoustic \;isolatio n. It is one of the first naturally ventilated auditoria in the UK.


The Stirling Prize Judges said: &lsquo\;The new Everyman in Liverpool is truly for every man\, woman \;and child. I t cleverly resolves so many of the issues architects face every day. Its co ntext &ndash\; the \;handsome street that links the two cathedrals &nda sh\; is brilliantly complemented by the building&rsquo\;s scale\, \;tra nsparency\, materials and quirky sense of humour\, notably where the solar shading is transformed \;into a parade of Liverpudlians.&rsquo\;

\n< p style="text-align: justify\;">Speakers:

\n DTEND:200000 DTSTAMP:20141128T214400 DTSTART:183000 GEO:51.5011096;-0.1766949 LOCATION:Royal College of Art\,Kensington Gore \nLondon\, SW7 2EU SEQUENCE:0 SUMMARY:Steve Tompkins: Haworth Tompkins’ Everyman Theatre UID:365637 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist and RCA alumnus Alex Ha rtley&rsquo\;s work addresses complicated and sometimes contradictory attit udes toward the built and natural environments. His practice is wide rangin g\, comprising wall-based sculptural photographic compositions\, room-sized architectural installations and\, more recently\, unique photographic work s with sculptural elements inserted as low-relief into the surfaces of larg e-scale colour prints. Uniting these works is an investigation of modern ar chitecture and the ways in which it is conceived and presented. Often desta bilising ideas of &lsquo\;iconic&rsquo\; architecture\, Alex Hartley&rsquo\ ;s practice allows room for multiple perceptions of and uses for architectu re.


In his book LA Climbs &ndash\ ; Alternative uses for Architecture\, \;published in 2003\, Alex e xplored differing ways to experience architecture that included climbing th e 3rd Street Tunnel.

DTEND:193000 DTSTAMP:20141128T214400 DTSTART:183000 GEO:51.5011096;-0.1766949 LOCATION:Royal College of Art\,Kensington Gore \nLondon\, SW7 2EU SEQUENCE:0 SUMMARY:Alex Hartley Talk\, Alex Hartley UID:365636 END:VEVENT END:VCALENDAR