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

Neil Douglas | So it Goes \;

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16 Jul - 01 Aug 201 5 \;

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In painting\, there is no opponent\, and t he painter spends his days shadowboxing.

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Neil spend s his days in a studio on the fringes of Manchester&rsquo\;s city centre. A ppropriately it has the architectural features of a garret. For all of Neil &rsquo\;s streetwise credentials\, and his political allegiance to the work ing man\, he knows that painting must happen in a special space\, away from the public gaze. Painting is not an entertaining performance. Again\, this makes Neil unfashionable. But what has become integral to Neil&rsquo\;s pr actice is painting as material alchemy\, and in these paintings he has used an array of unconventional materials\, from concrete to ground glass.

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Let&rsquo\;s be specific. &ldquo\;In Bloom&rdquo\; is a triumph of Neil&rsquo\;s relentless experimentation. We can trace his pain ting of blossom back through this show. It is always a poignant symbol of l oss as much as of regeneration. Neil has his own reasons for the subjects h e chooses but it is never the role of the viewer to question what motivates an artist\, only bear witness to what they have made. More importantly\, w hat distinguishes painting from illustration is a distance between the orig ins of the subject matter and what it subsequently is transformed into. It is the difference between an image being of something\, and a painting bein g a new reality.

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Excerpt from the catalogue introdu ction by Clive Head

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DTEND:20150801 DTSTAMP:20150707T132705 DTSTART:20150716 GEO:51.5080999;-0.1410338 LOCATION:Albemarle Gallery\,49 Albemarle Street \nLondon\, W1S 4JR SEQUENCE:0 SUMMARY:Neil Douglas | So it Goes\, Neil Douglas UID:389450 END:VEVENT BEGIN:VEVENT DESCRIPTION:

press release

THOMAS EGGERER
OZONE

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17 July &ndash\; 23 Augus t 2015
private view: Friday 17 July 6.30 &ndash\; 8.30pm

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Maureen Paley is pleased to present the second solo exhibition at the gallery by New York-based artist Thomas Eggerer.

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Thomas Eggere r was born in 1963 and studied at the Art Academy in Munich\, Germany befor e moving to the US in the mid 90s where he eventually became a member of th e artist collective Group Material. By the late 1990s his focus returned to painting and he has been exhibiting this work extensively over the last fi fteen years.

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Using a pictorial language between abstraction and fi guration\, Thomas Eggerer&rsquo\;s paintings are inhabited by anonymous fig ures that are absorbed in degrees of action or exchange. They are observed from an elevated perspective and choreographed into arenas of colour. Forms of currency such as money\, cigarettes or cans of beer are held and gestur ed towards\, suggesting modes of social transaction with intent.

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The work 'evokes a contemporary condition of internal splitti ng or dis-location' as discussed by \;David Joselit in his essay Ti me Zones published in Artforum in January 2014. He identifies Eggerer' s application of paint using processes of sketching\, stuttering\, dripping and staining that make his subjects appear at once dismantled and stitched together.

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Thomas Eggerer&rsquo\;s work has been selected by Ralph Rugoff to be included in the 13th Biennale de Lyon: La Vie Moderne\, Franc e\, that opens this September.

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Solo e xhibitions include Richard Telles\, Los Angeles\, 2014\; Gesture and Te rritory\, Petzel Gallery\, New York\, 2013\; In der Pyramide\ , Galerie Buchholz\, Cologne\, 2011\; The Rules of the Fence\, Fri edrich Petzel Gallery\, New York and Fence Romance\, Galerie Buchh olz\, Berlin\, 2010\; Thomas Eggerer in conversation with Jacob van Rui sdael and Pieter Saenredam\, curated by Karel Schampers\, Frans Hals M useum\, The Netherlands\, 2008\; Atrium\, Kunstverein Braunschweig\, Brauns chweig\, 2003\; Matrix 148\, Wadsworth Atheneum Museum of Art\, Ha rtford\, 2002.

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Selected group exhibitions include 13th Biennal e de Lyon: La Vie Moderne\, Lyon\, France (forthcoming 2015)\; Pai nting 2.0: Expression in the Information Age\, Museum Brandhorst\, Mun ich\, Germany (touring to MUMOK Vienna\, Austria)\, 2015\; Abandon the Parents\, Statens Museum for Kunst\, Copenhagen\, \; Denmark\, 201 4\; Tell It To My Heart: Collected by Julie Ault\, Museum fur Gege nwartskunst\, Basel\, Switzerland\; Kultergest\, Lisbon\, Portugal\, 2013\; Compass in Hand: Selections from the Judith Rothschild Foundation Cont emporary Drawing Collection\, MoMA\, New York\, 2009\; Passagework s: Contemporary Art from the Collection\, SFMOMA\, San Franci sco\; Idle Youth\, Gladstone Gallery\, curated by Russell Ferguson \, New York\, 2008\; Eggerer\, Baer\, von Wulffen\, Augarten Conte mporary\, Galerie Belvedere\, Vienna\, 2008\; The Painting of Modern Li fe\, Hayward Gallery\, London and Castello di Rivoli\, Turin\, 2007\; The Undiscovered Country\, UCLA Hammer Museum\, Los Angeles\, 2004 \; Baja to Vancouver &ndash\; The West Coast and Contemporary Art\ , traveling exhibition: Museum of Contemporary Art San Diego\, Vancouver Ar t Gallery\, CCA Wattis Institute for Contemporary Arts\, Seattle Art Museum \, 2002-3\; and Painting on the Move &ndash\; Nach der Wirklichkeit\, Kunsthalle Basel\, 2002.

DTEND:20150823 DTSTAMP:20150707T132705 DTSTART:20150717 GEO:51.5251722;-0.0559263 LOCATION:Maureen Paley\,21 Herald St. \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:OZONE\, Thomas Eggerer UID:389446 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20150707T132705 DTSTART:183000 GEO:51.5251722;-0.0559263 LOCATION:Maureen Paley\,21 Herald St. \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:OZONE\, Thomas Eggerer UID:389447 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:170000 DTSTAMP:20150707T132705 DTSTART:130000 GEO:51.5166586;-0.1384022 LOCATION:Scream\,27 – 28 Eastcastle Street \nLondon\, W1W 8DH SEQUENCE:0 SUMMARY:Collagism & Shuby Live Collage & Painting \, Holly-Anne Buck\, Coll agism\, Shuby UID:389225 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Six themes will be explored for each month of the duration o f \;Source \;Spotlight Display\ , at Tate Britain in August 2014 exploring \;Texture and \;Coll age.

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Collage has been practiced as an artists&rsquo\; techniqu e since the early twentieth century. This technique of collecting images an d carefully assembling them into new compositions fits perfectly into the c urrent age where a wealth of images can be readily found online and in prin t. The mixture of textures in \;Peter Phillips&rsquo\; \ ;Impeller\, from machinery diagrams and graphic shapes to an a nimal illustration\, reflects the way image manipulation software makes it easy to layer and assemble imagery and textures across different media. The meaning of cut and paste has been replaced with a few clicks of a mouse\, extending the scope of collage beyond its physical \;origins.

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A s part of \;Texture and Collage \;month artist \;Luca Mainini \;leads a \;digital collage workshop.

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Source \;display has been curated by Tate Collective London. Tate Collectiv e London plan and develop events for other young people\, 15 &ndash\; 25 ye ars\, to create\, experiment and engage with the Tate Collection at \;T ate \;Britain \;and \;Tate \;Modern.

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Tate Collectiv e London is a part of \;Circuit\, led by Tate and funded by&nb sp\;the \;Paul \;Hamlyn \;Foundation.

DTEND:20150831 DTSTAMP:20150707T132705 DTSTART:20140801 GEO:51.4931052;-0.1251533 LOCATION:Tate Britain\,Millbank \nLondon\, SW1P 4RG SEQUENCE:0 SUMMARY:Source Display - Texture and Collage\, Luca Manini\, Holly-Anne Buc k\, Collagism UID:389224 END:VEVENT BEGIN:VEVENT DESCRIPTION:

**

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DTEND:200000 DTSTAMP:20150707T132705 DTSTART:180000 GEO:51.5104943;-0.1500068 LOCATION:Timothy Taylor\,15 Carlos Place \nLondon\, W1K 2EX SEQUENCE:0 SUMMARY:Book Launch | Go Figure! New Perspectives on Guston UID:389174 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sheryll Catto\, Co-Director of Action Space discusses mentoring opportunities for artists with learning d isabilities with Gemma Wright\, Education Organiser at Camden Arts Centre.& nbsp\;

Book a free place \;

The space is wheelcha ir accessible. Please contact us if you have any additional access requirem ents

#CACeducation\, #camdenartscentre \;

DTEND:160000 DTSTAMP:20150707T132705 DTSTART:150000 GEO:51.5520741;-0.1801623 LOCATION:Camden Arts Centre\,Arkwright Road \nLondon\, NW3 6DG SEQUENCE:0 SUMMARY:Talk: Sheryll Catto UID:389134 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Camden Arts Centre Exhibitions Organiser\, Gina Buenfeld leads a walking \;tour of Hannah Collins' exhibition\, drawing on ideas central to her approach to wo rking - a great way to learn more about the exhibition and the ideas behind its making.

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Book a place< /p> DTEND:200000 DTSTAMP:20150707T132705 DTSTART:190000 GEO:51.5520741;-0.1801623 LOCATION:Camden Arts Centre\,Arkwright Road \nLondon\, NW3 6DG SEQUENCE:0 SUMMARY:Exhibition Talk: Gina Buenfeld UID:389132 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aaron Angell in conversation w ith Tate St Ives artistic director\, Sam Thorne .

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British artist Aaron Angell in conversation with Sam Thorne\, artistic director of Tate St Ives\, discussingGrotwork \;his c urrent large-scale exhibition at Studio Voltaire\, his forthcoming exhibiti on at Tate St Ives and his wider practice. The event is free but booking is recommended.

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Book here
DTEND:170000 DTSTAMP:20150707T132705 DTSTART:160000 GEO:51.4619465;-0.1343895 LOCATION:Studio Voltaire\,1a Nelsons Row \nLondon\, SW4 7JR SEQUENCE:0 SUMMARY:Artist Talk\, Aaron Angell UID:389131 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This afternoon event provides an opportunity to see more of Ane Hjort Guttu's work and hear editor and cu rator Pablo Lafuente and author Kim West present on her work in relation to issues of pedagogy\, power\, freedom\, the role and responsibility of the artist\, and the possibilities and limitations of so called &lsquo\;politic al art&rsquo\;. The presentations will be accompanied by a screening of Hjo rt Guttu's film \;Untitled (The \;City at Night)\, \;and an in conversation with the artist. \; \;

Hj ort Guttu's current exhibition is on at the South London Gall ery until \;13 September. The new film work \;Time Passes \;(2015) is co-commissioned by the SLG with Bergen Kunsthall\, also s hown is an earlier film\, \;Freedom Requires Free People \;(2011).

Booking is essential. \;Book online&n bsp\;or call 020 7703 6120. \;

The exhibit ion is supported by the Royal Norwegian Embassy in London and the Office fo r Contemporary Art Norway.

DTEND:180000 DTSTAMP:20150707T132705 DTSTART:150000 GEO:51.4741311;-0.0794467 LOCATION:South London Gallery\,65 Peckham Road \nLondon\, SE5 8UH SEQUENCE:0 SUMMARY:Talk and Screening with Ane Hjort Guttu\, Ane Hjort Guttu UID:389128 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Hauser &\; Wirth Somerset i s pleased to announce &lsquo\;Softer Targets&rsquo\;\, a major solo exhibit ion by Jenny Holzer\, featuring both new work and a selection of significan t pieces drawn from over three decades of the artist&rsquo\;s career. The r enowned American artist is best known for using language to make art\, util ising a range of techniques for employing the power of words. Since 2004\, Holzer has explored the use of text from declassified and other government documents.

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The title of the exhibitio n refers to a &lsquo\;redaction painting&rsquo\; from a classified 2004 Fed eral Bureau of Investigation report\, &lsquo\;The Terrorist Threat to the U S Homeland: An \;FBI \;Assessment&rsquo\;. Relatively few pages of the 45-page report were declassified\, with its text heavily redacted\, bef ore release to the public. Faithfully rendered\, but enlarged and realised in a palette of whites\, greys\, transparent red and black\, the painting r eceived its title from the single surviving line on page 26: &lsquo\;Shifti ng to Softer Targets&rsquo\;.

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All fiv e gallery rooms are devoted to the exhibition\, creating a succession of en vironments\, some sun-lit or illuminated by the kinetic programming of  \;LEDs (light-emitting diodes) and sombrely keyed to set the mood of the wo rks that Holzer presents. The pieces range from the &lsquo\;Truisms&rsquo\; \, that first established her reputation in the 1980s\, to her thoughtful o ngoing examination of the &lsquo\;war on terror&rsquo\;.

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A selection of paintings and \;LED \;installati ons\, benches and other works in stone\, signs on metal\, plaques in bronze \, and the artist&rsquo\;s preparatory carbon lettering on tracing paper pr ovide the visitor with a sense of the diverse media that the artist has emp loyed over the course of her career. Also present are the extraordinary var iety of voices and individual perspectives she has utilised to show\, at ti mes\, the darker side of the world.

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E ntering the first of the gallery spaces\, the 18th-Century Threshing Barn\, the viewer encounters &lsquo\;MOVE&rsquo\;\, a new eight-foot \;LED&nb sp\;work suspended from the rafters in vivid juxtaposition to its surroundi ngs. The slender four-sided \;LED \;column senses the presence of t he visitor and moves in response. Text from declassified and other sensitiv e US documents is programmed on each of the column&rsquo\;s sides\, includi ng text drawn from censored U.S. Army Criminal Investigation Reports detail ing the investigation into Afghan soldier Jamal Naseer&rsquo\;s death whils t in US custody.

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The next of the five gallery spaces houses a selection of the artist&rsquo\;s hand-painted work s in oil on linen\, including &lsquo\;There were eleven of us&rsquo\; (2015 )\, &lsquo\;young adult female&rsquo\; (2015) and &lsquo\;Window&rsquo\; (2 015).

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Crossing the threshold into the Pigsty gallery\, the viewer is confronted with two wooden tables covered i n carefully displayed human bones\, some with inscribed silver bands. &lsqu o\;Lustmord Table&rsquo\; (1994) is a workconceived in response to conflict s in the former Yugoslavia\, continuing Holzer&rsquo\;s themes of sex\, war and death. The genesis of Holzer&rsquo\;s &lsquo\;Lustmord&rsquo\; text se ries was an assignment for Munich newspaper Sü\;ddeutsche Zeitung. Publ ished in 1993 as colour photographs of handwritten text on skin\, and a spe cial white card printed in blood ink\, it represented the artist&rsquo\;s r eaction to the war and reports that rape was used tactically. The United Na tions Commission on Human Rights had begun recognising crimes against women \, such as rape\, as war crimes. The &lsquo\;Lustmord&rsquo\; texts of 55 s entences are the imagined voices of the perpetrator\, the victim and the ob server. The German word &lsquo\;Lustmord&rsquo\; denotes a murder committed for sexual pleasure &ndash\; the use of real body parts is a reminder that people were hurt in ways beyond the physical.

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The largest of the gallery spaces\, the Rhoades Gallery\, is devo ted to two \;LED \;works\, alongside four stark black and white &ls quo\;redaction paintings&rsquo\; from 2009 and 2010\, which are derived fro m documents about waterboarding. The first of the \;LED \;works\, & lsquo\;Purple&rsquo\;\, displays texts of US government documents on a wall -to-ceiling array of curved surfaces\, the shapes reminiscent of human ribs .

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&lsquo\;FLOOR&rsquo\;\, a brand new  \;LED \;work conceived for Hauser &\; Wirth Somerset\, is 40 fe et in length and is programmed with a rapid and reversing cascade of Holzer &rsquo\;s best known text series\, including &lsquo\;Truisms&rsquo\;
( 1977 &ndash\; 1979)\, &lsquo\;Inflammatory Essays&rsquo\; (1979 &ndash\;198 2)\, &lsquo\;Living&rsquo\; (1980 &ndash\; 1982)\, &lsquo\;Survival&rsquo\; (1983 &ndash\; 1985)\, &lsquo\;Mother and Child&rsquo\; (1990)\, and &lsqu o\;Arno&rsquo\; (1996).

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The final roo m\, the Bourgeois Gallery\, houses a selection of paintings and many of the artist&rsquo\;s works in stone\, including a granite sarcophagus and a sel ection of benches. Some of these works trace their exhibition history to tw o important early solo shows &ndash\; New York&rsquo\;s Dia Art Foundation in March 1989 and the Solomon R. Guggenheim Museum in December 1989.

\n< p style="text-align: justify\;">About the Artist

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Jenny Holzer was born in 1950 in Ohio\, \; USA. She studied painting and printmaking (BFA) at Ohio University\, and re ceived an \;MFA \;in painting from Rhode Island School of Design in 1977.

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Much of Jenny Holzer&rsquo\;s education was in the Liberal Arts at Duke University and the University of Chicago\, and she believes this broad education had an impact on the work s he made. Although much of her work focused on painting\, she was already us ing text in her pieces at this early stage. Holzer works with language as a n artistic medium\, employing it across a variety of formats\, from printed posters toLED \;displays. Her work is part of the public domain\, equa lly accessible in museums and galleries as in storefronts\, on billboards a nd T-shirts\, and even electrified in New York&rsquo\;s Times Square.

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In 1976 Jenny Holzer moved to New York and enrolled in the Whitney Museum of American Art&rsquo\;s Independent Study Program (ISP). Her text pieces started in the 1970s with the New York City posters\, a series she called &lsquo\;Truisms&rsquo\;. In the 1980s Holzer began using \;LED \;lights and electronic billboards on public buil dings and monuments\, in place of her posters. Other significant series of works\, after the early &lsquo\;Truisms&rsquo\; are &lsquo\;Inflammatory Es says&rsquo\; (1979 &ndash\; 1982)\, &lsquo\;Living&rsquo\; (1980 &ndash\; 1 982)\, and &lsquo\;Survival&rsquo\; (1983 &ndash\; 1985). In 1990 Holzer be came the first woman to represent the \;USA \;with a solo exhibitio n at the Venice Biennale\, for which she was awarded the Golden Lion prize.

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Since 1996 Holzer has been using lig ht projection &ndash\; in which a powerful film projector casts scrolling t exts onto architecture or a landscape &ndash\; as another way of presenting texts in the public realm. The texts and light are dramatic but unobtrusiv e\, adapting to varied projection surfaces\, from the mountains and ski jum p in Lillehammer to the Pyramide du Louvre in Paris. In recent years Jenny Holzer has returned to painting\, making reference to Abstract Expressionis m and Suprematism and reinforcing the continued relationship of art with po litics.

DTEND:20151101 DTSTAMP:20150707T132705 DTSTART:20150712 GEO:51.1076221;-2.4454617 LOCATION:Hauser & Wirth Somerset\,Durslade Farm Dropping Lane\, Bruton\nSom erset\, BA10 0NL SEQUENCE:0 SUMMARY:Softer Targets\, Jenny Holzer UID:389124 END:VEVENT BEGIN:VEVENT DTEND:160000 DTSTAMP:20150707T132705 DTSTART:120000 GEO:51.1076221;-2.4454617 LOCATION:Hauser & Wirth Somerset\,Durslade Farm Dropping Lane\, Bruton\nSom erset\, BA10 0NL SEQUENCE:0 SUMMARY:Softer Targets\, Jenny Holzer UID:389125 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Michael Landy will talk about his work in relation to ideas of value\, usefulness\, productivity and labour.

DTEND:210000 DTSTAMP:20150707T132706 DTSTART:190000 GEO:51.5457751;-0.1544284 LOCATION:Zabludowicz Collection\,176 Prince of Wales Road \nLondon \, NW5 3 PT SEQUENCE:0 SUMMARY:Artist Talk: Michael Landy\, Michael Landy UID:389123 END:VEVENT BEGIN:VEVENT DESCRIPTION:

'TOWER'

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- an expansive group show of works on paper with artists ranging from Egon Schiele (1890 &ndash\; 1918)
to F lora Hauser (1992-)

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T OWER will incorporate 120 art works on paper by 80 artists\, designers\, ar chitects and other practitioners from several generations\, and will be hun g from floor to ceiling covering the walls under the large skylight canopy of Ibid London's main gallery.

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The sh ow has been built up with works by artists including

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David Adamo\, Vito Acconci\, Makoto Aida\, Harold Ancart\, Archigram\, Richard Artschwager\, Jānis Avotiņ&scaron\;\, Å\;YRBRB\, J ean-Michel Basquiat\, Becky Beasley\, Răzvan Boar\, Alighiero Boetti\, Pabl o Bronstein\, Eugene Von Bruenchenhein\, Rafal Bujnowski\, Chris Burden\, O livier Castel\, Ross Chisholm\, Paolo Colombo\, George Condo\, Cyprien Gail lard\, Louise Despont\, Hreinn Fridfinnsson\, Robert Gober\, Sayre Gomez\, Rachel Harrison\, Flora Hauser\, Alexander Heim\, Gregor Hildebrandt\, Roge r Hilton\, William Hunt\, Ray Johnson\, Mindaugas Luko&scaron\;aitis\, Rodr igo Matheus\, Jack McConville\, Niall Macdonald\, Sara MacKillop\, Amir Mog harabi\, Boris Mrkonjic\, Carsten Nicolai\, Christopher Orr\, Raymond Petti bon\, Jack Pierson\, Olivia Plender\, Sigmar Polke\, William Pope.L\, Fairf ield Porter\, Michael Portnoy\, Josef Karl Rä\;dler\, Mandla Reuter\, O livier Richon\, Christian Rosa\, Egon Schiele\, Christian Schumann\, Jim Sh aw\, James Siena\, Nedko Solakov\, Helmut Stallaerts\, Matthew Stone\, Mari a Taniguchi\, Paul Thek\, Wolfgang Tillmans\, Rosemarie Trockel\, Mauro Vig nando\, Andy Warhol\, Ben Wolf Noam\, Mao Zedong\, Unica Zü\;rn and mor e..

DTEND:20150822 DTSTAMP:20150707T132706 DTSTART:20150707 GEO:51.5166321;-0.1417916 LOCATION:Ibid.\,27 Margaret Street \nLondon\, W1W 8RY SEQUENCE:0 SUMMARY:Tower\, David Adamo\, Vito Acconci\, Makoto Aida\, Harold Ancart\, Archigram\, Richard Artschwager\, jãnis AVOTIŅŠ\, ÅYRBRB\, Jean-Michel Basq uiat\, Becky Beasley\, Razvan Boar\, Alighiero Boetti\, Pablo Bronstein\, E ugene Von Bruenchenhein\, Rafal Bujnowski\, Chris Burden\, Olivier Castel\, Ross Chisholm\, Paolo Colombo\, George Condo\, Cyprien Gaillard\, louise d espont\, Hreinn Fridfinnsson\, Robert Gober\, Sayre Gomez\, Rachel Harrison \, Flora Hauser\, Alexander Heim\, Gregor Hildebrandt\, Roger Hilton\, Will iam Hunt\, Ray Johnson\, Mindaugas Lukošaitis\, Rodrigo Matheus\, Jack McCo nville\, Niall Macdonald\, Sara MacKillop\, Amir Mogharabi\, Boris Mrkonjic \, Carsten Nicolai\, Christopher Orr\, Raymond Pettibon\, Jack Pierson\, Ol ivia Plender\, Sigmar Polke\, William Pope.L\, Fairfield Porter\, Michael P ortnoy\, Josef Karl Rädler\, Mandla Reuter\, Olivier Richon\, christian Ros a\, Egon Schiele\, Christian Schumann\, Jim Shaw\, James Siena\, Nedko Sola kov\, helmut stallaerts\, Matthew Stone\, Maria Taniguchi\, Paul Thek\, Wol fgang Tillmans\, Rosemarie Trockel\, Mauro Vignando\, Andy Warhol\, Ben Wol f Noam\, Mao Zedong\, Unica Zürn UID:389121 END:VEVENT BEGIN:VEVENT DTEND:190000 DTSTAMP:20150707T132706 DTSTART:150000 GEO:51.5166321;-0.1417916 LOCATION:Ibid.\,27 Margaret Street \nLondon\, W1W 8RY SEQUENCE:0 SUMMARY:Tower\, Vito Acconci\, David Adamo\, Makoto Aida\, Harold Ancart\, Archigram\, Richard Artschwager\, jãnis AVOTIŅŠ\, ÅYRBRB\, Jean-Michel Basq uiat\, Becky Beasley\, Razvan Boar\, Alighiero Boetti\, Pablo Bronstein\, R afal Bujnowski\, Chris Burden\, Olivier Castel\, Ross Chisholm\, Paolo Colo mbo\, George Condo\, louise despont\, Hreinn Fridfinnsson\, Cyprien Gaillar d\, Robert Gober\, Sayre Gomez\, Rachel Harrison\, Flora Hauser\, Alexander Heim\, Gregor Hildebrandt\, Roger Hilton\, William Hunt\, Ray Johnson\, Mi ndaugas Lukošaitis\, Niall Macdonald\, Sara MacKillop\, Rodrigo Matheus\, J ack McConville\, Amir Mogharabi\, Boris Mrkonjic\, Carsten Nicolai\, Ben Wo lf Noam\, Christopher Orr\, Raymond Pettibon\, Jack Pierson\, Olivia Plende r\, Sigmar Polke\, William Pope.L\, Fairfield Porter\, Michael Portnoy\, Jo sef Karl Rädler\, Mandla Reuter\, Olivier Richon\, christian Rosa\, Egon Sc hiele\, Christian Schumann\, Jim Shaw\, James Siena\, Nedko Solakov\, helmu t stallaerts\, Matthew Stone\, Maria Taniguchi\, Paul Thek\, Wolfgang Tillm ans\, Rosemarie Trockel\, Mauro Vignando\, Eugene Von Bruenchenhein\, Andy Warhol\, Mao Zedong\, Unica Zürn UID:389122 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Prompted by ideas arising from the current Children&rsquo\;s Commission\, \;The Name of Fear \, the artist\, \;Rivane Neuenschwander \;discusse s her interest in psychoanalysis\, childhood\, and performativity with psyc hoanalyst \;Anouchka Grose.

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In her installations\, film\, and photography\, Neuenschwander employs fragile\, unassuming materials to create mesmerizing aesthetic expe riences\, a process she describes as &lsquo\;ethereal materialism&rsquo\;.< /p>\n

Biographies

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Rivane Neuenschwander \; earned a BA in fine arts from the Universidade Federal de Minas Gerais\, Be lo Horizonte\, in 1993 and an MA from the Royal College of Art in London in 1998\, where she was artist-in-residence from 1996&ndash\;98. Neuenschwand er&rsquo\;s work has been the subject of solo exhibitions at venues includi ng Portikus\, Frankfurt (2001)\; Walker Art Center\, Minneapolis (2002)\; N ew Museum of Contemporary Art\, New York (2010)\; and Malmö\; Konsthall \, Sweden (2010). Neuenschwander has also participated in the group exhibit ions Panorama de Arte Brasileira\, Museu de Arte Moderna de So Paulo (2001) \; Land\, Land!\, Kunsthalle Basel (2003)\; Tropicá\;lia: A Revolutio n in Brazilian Culture\, organised by the Museum of Contemporary Art\, Chic ago (2005)\; Comic Abstraction\, Museum of Modern Art\, New York (2007)\; T he Wizard of Oz\, CCA Wattis Institute for Contemporary Arts\, San Francisc o (2008)\; and Yes Naturally\, how art saves the world\, Gemeentemuseum Den Haag\, The Hague and Niet Normaal Foundation\, Utrecht\, Netherlands (2013 ). She has also participated in the Istanbul Biennial (1997)\; So Paulo Bie nnial (1998\, 2006\, and 2008)\; Venice Biennale (2003 and 2005)\; and Carn egie International\, Carnegie Museum of Art\, Pittsburgh (2008). In 2004\, she was shortlisted for the Hugo Boss Prize at the Guggenheim Museum\, New York\, and in 2013\, she was awarded the Yanghyun Prize by the Yanghyun Fou ndation in South Korea. Neuenschwander lives and works in London and Belo H orizonte.

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Anouchka Grose \;is a British-Austr alian Lacanian psychoanalyst and writer. She is a member of The Centre for Freudian Analysis and Research\, where she lectures. Her journalism has bee n published by The Guardian\, The Independent\, and YOU Magazine. Before tr aining as a psychoanalyst\, she studied Fine Art at Goldsmiths&rsquo\; Coll ege and was a guitarist and backing vocalist with Terry\, Blair &\; Anou chka (with Terry Hall of The Specials). She has worked with the French-Brit ish artist Alice Anderson\, writing about her work\, interviewing her\, and composing and performing music for her film\, The Night I Became a Doll. S he also plays lap steel guitar with Martin Creed&rsquo\;s band.

DTEND:200000 DTSTAMP:20150707T132706 DTSTART:190000 GEO:51.5159523;-0.070212 LOCATION:Whitechapel Gallery\,77-82 Whitechapel High Street \nLondon\, E1 7 QX SEQUENCE:0 SUMMARY:In Conversation with Anouchka Grose\, Rivane Neuenschwander UID:389120 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Whitechapel Gallery has in vited Brazilian artist \;Rivane Neuenschwander \;( b. 1967) to make a work of art for the annual Children&rsquo\;s Commission. The new work explores childhood fears ranging from &lsquo\;spiders&rsquo\; and &lsquo\;heights&rsquo\; to &lsquo\;talking trees&rsquo\; and &lsquo\;e lectric ghosts&rsquo\;.

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Featuring an installation of vibrant handmade capes\, the 2015 commission by Neuenschwan der combines elements of drawing\, textiles\, design\, performance and writ ing with her interest in the rich history of modern art in her native Brazi l.

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The artist worked with children ag ed 7-9 from across London to gather a broad collection of fears\, from the ones shared by many throughout their lives such as &lsquo\;drowning&rsquo\; or &lsquo\;bees&rsquo\;\, to &lsquo\;strangers&rsquo\;\, &lsquo\;nightmare s&rsquo\; or the more abstract &lsquo\;silence&rsquo\;. Neuenschwander has translated the children&rsquo\;s drawings and texts into fabric cape design s. Associated with protection and supernatural power\, the capes also echo her interest in folk traditions\, children&rsquo\;s literature\, nature and psychoanalysis.

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The title of the new commission\, \;The Name of Fear \;is borrowed from the so ng &lsquo\;Araç\;á\; Azul&rsquo\; (1972) by Brazilian composer\ , singer \;and writer Caetano Veloso\, and echoes the poem &lsquo\;O Me do&rsquo\; (Fear) by Brazilian poet Carlos Drummond de Andrade.

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The project expands on \;I Wish Your Wis h \;(2003)\, in which the artist drew from a Brazilian tr adition where pilgrims bind ribbons inscribed with their wishes to their wr ists\, in the belief that when they fall off or disintegrate the wishes wil l be granted. \;The Name of Fear \;at the Whitechapel Gall ery expands on this work\, reflecting on how our personal wishes often mirr or our most intense fears.

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Rivane Neu enschwander was born in Belo Horizonte in Brazil\, and currently lives and works in London. Her work is associated with Brazilian conceptualism coveri ng sculpture\, film\, performance\, painting and textiles. Ephemeral in nat ure and presentation\, the artist&rsquo\;s installations often investigate the phenomena of memory\, time and social interactions\, and look at how th ese can be shared through language and objects.

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DTEND:20150830 DTSTAMP:20150707T132706 DTSTART:20150623 GEO:51.5159523;-0.070212 LOCATION:Whitechapel Gallery\,77-82 Whitechapel High Street \nLondon\, E1 7 QX SEQUENCE:0 SUMMARY:Children’s Commission 2015: The Name of Fear\, Rivane Neuenschwande r UID:389119 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Francis Bacon&rsquo\;s \;< em>Study for a Portrait \;(1953) \;is the focus of an installa tion by James \;Richards \;in this presentation from the \;V-A- C collection\, Moscow.

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Born in Dublin \, Bacon (1909-1992) moved \;between London\, Berlin and Paris in \ ;the 1920s where he discovered and was \;influenced by the films of Eis enstein and \;Lang and the paintings of Picasso\, Poussin \;and Vel azquez. Before emerging as one of \;Britain&rsquo\;s most significant p ainters Bacon \;was an interior designer\, translating his \;keen e ye for interiors into the staging for \;his portraits. Painted at a tim e when he had \;gained widespread acclaim\, this figure\, \;one of a series of studies of a suited man\, is \;both powerful and vulnerable . Sitting on a \;throne-like chair and set against a midnight \;blu e background\, he is framed and confined \;by a second dark interior.\n

Creating an immersive environment arti st \;James Richards accompanies the painting \;with a sound install ation of public silences \;&ndash\; acts of mourning\, remembrance\, or  \;suspenseful pauses in films. Singers inhale \;and pause before b reaking into song \;while church bells fill the gallery with \;ambi ent sound.

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The V-A-C collection bring s together \;important modern and contemporary \;art from around th e world. The V-A-C \;Foundation supports Russian artists in creative pa rtnerships.

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The Collection Displays P rogramme is generously supported by \;Hiscox.

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With additional support from:

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Abbott&rsquo\;s

Francis Bacon MB Art Foundation

DTEND:20150830 DTSTAMP:20150707T132706 DTSTART:20150623 GEO:51.5159523;-0.070212 LOCATION:Whitechapel Gallery\,77-82 Whitechapel High Street \nLondon\, E1 7 QX SEQUENCE:0 SUMMARY:James Richards selects from the V-A-C collection\, James Richards UID:389118 END:VEVENT BEGIN:VEVENT DESCRIPTION:

How is energy converted into c ulture? Rebecca Wright considers the ways that culture can be read as a tra nsformation of energy\, drawing from examples such as geographer Ellsworth Huntington\, who read the European Renaissance as evidence of the high leve ls of mental energy brought about by its climate. Rebecca Wright is a write r and research associate on the AHRC &lsquo\;Material Cultures of Energy&rs quo\; research project at Birkbeck College\, London. \;This event i s free to attend but booking is recommended. To reserve a \;place pleas e visit our Eventbrite page \;here. \; \;

DTEND:200000 DTSTAMP:20150707T132706 DTSTART:190000 GEO:51.5330714;-0.0395103 LOCATION:Chisenhale Gallery\,64 Chisenhale Road \nLondon\, E3 5QZ SEQUENCE:0 SUMMARY:The Aesthetics of Energy UID:389116 END:VEVENT END:VCALENDAR