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

Ibid Gallery London is pleased to present \;focus (1-8)\, a show of fortnightly rotating wor ks by modern and contemporary artists in intimate dialogue.

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The works shown from Ibid Gallery&rsquo\;s collectio n will be chosen for their visual or conceptual ties with the historical wo rk they are presented alongside. With this platform\, the influence that th e selected 20th century masters have had on recently established artists is acknowledged and a new dialogue is created between works decades apart by tracing the lineage of ideas. Furthermore\, in placing these pieces in prox imity to each other but simultaneously giving the viewer space to focus on each work individually\, a deeper\, imaginative experience is made possible and associations can be questioned.

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Every two weeks there will be a new two-person show with themes of its own and in all instances of two artists who have never before been shown togeth er on such a level. Ibid Gallery invites the viewer to revisit the space th roughout the duration of the show and will be announcing the schedule on th e website and Instagram.

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The opening week will present Piero Manzoni&rsquo\;s \;Achrome (1960-61) \; and Marianne Vitale&rsquo\;s \;Tongue and Groove (2)\, (2 012). \;

DTEND:20160507 DTSTAMP:20160503T004144 DTSTART:20160426 GEO:51.5166321;-0.1417916 LOCATION:Ibid.\,27 Margaret Street \nLondon\, W1W 8RY SEQUENCE:0 SUMMARY:focus (1-8): Manzoni and Vitale\, Piero Manzoni\, Marianne Vitale UID:417215 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bartha Contemporary is delighted to announce two coinciding exhibitions of recent works by German artist Frank Gerritz (b. 1964) at Bar tha Contemporary in London and the Sleeper Art-Space in Edinburgh. The Lond on exhibition (May 13 &ndash\; July 2) will include two new pencil drawings on MDF alongside recent drawings on paper\, the Edinburgh exhibition (May 13 &ndash\; June 10) will showcase a single installation of a four-panel oi l paint-stick on anodised aluminium work. \;

For the past tw o decades\, Gerritz has applied layers upon layers of graphite using soft F aber Castell 9B pencil marks on walls\, paper and\, as is the case in this instance\, industrially manufactured MDF panels. &ldquo\;Definition of Spac e | Four Center Connection (spread my wings)&rdquo\; the key work in this e xhibition and probably Frank Gerritz&rsquo\;s most ambitious work on MDF to date\, evolves from a concentred composition. Two elemental forms of oppos ing forces\, placed side by side are separated by a devising line\, formula te this seminal work.

Gerritz&rsquo\;s MDF drawings render light and modulate it to such an extent that the experience is akin to moving in to a sculptural space. Similarly\, the artist&rsquo\;s works on anodized al uminium encompass a genuinely physical experience. Here the metal support t urned into a body of light\, at the same time offset and articulated by dar k black areas of oil paint-stick\, drawn onto the cool anodised aluminium s urface. In this instance composed over four panels\, &ldquo\;Temporary Grou nd I Territory I The Sleeper&rdquo\; exhibited in Edinburgh is spaced preci sely along its horizontal axis. The initially flat appearance of the works pulls the viewer to its sides\, revealing its three-dimensional composition . The work appears to float at a carefully calibrated distance from the wal l\, the resulting shadow-gap further elevating the sculptural nature of the piece. \;

Frank Gerritz has been exhibiting globally since the late 1980&rsquo\;s\, more recently a series of institutional exhibition s in Europe confirmed his invaluable contribution to contemporary art disco urse. In 2007\, the American art critic and poet Donald Kuspit called the a rtist &ldquo\;The Last Abstract Hardliner&rdquo\;\, a title he doubtlessly retains to the present day.

DTEND:20160702 DTSTAMP:20160503T004144 DTSTART:20160513 GEO:51.5166342;-0.1415935 LOCATION:Bartha Contemporary\,25 Margaret Street \nLondon\, W1W 8RX SEQUENCE:0 SUMMARY:Frank Gerritz\, Frank Gerritz UID:416911 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20160503T004144 DTSTART:180000 GEO:51.5166342;-0.1415935 LOCATION:Bartha Contemporary\,25 Margaret Street \nLondon\, W1W 8RX SEQUENCE:0 SUMMARY:Frank Gerritz\, Frank Gerritz UID:416912 END:VEVENT BEGIN:VEVENT DESCRIPTION:

FIUMANO PROJECTS is plea sed to announce MIYABI 雅: Intransigent Elegance\, the second UK solo exhibi tion by Japanese artist Takefumi Hori.

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Takefumi&rsquo\;s practice i s rich and varied in its execution with gold leaf being his media of choice . Working onto a base coat of gold acrylic paint\, Takefumi layers clear ge l mixed with pigment followed by gold leaf. The process of cutting\, sandin g and scratching then begins\, repeated over and over again.

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His ad ditive layering process with gold combined with the continual stripping bac k and scraping away of areas of paint results in work that progressively un folds to the viewer over time. Each layer\, revealed or concealed\, gives t he frontal surface of the painting temporality and visual impact. These are not works to be simply glanced at\, the nuances and gradations warrant a m ore thoughtful and pensive gaze.

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MIYABI 雅: one of the traditional J apanese aesthetic ideals. In modern Japanese\, the word is usually translat ed as elegance and/or refinement.

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Takefumi&rsquo\;s balanced and ha rmonious paintings can be best described as Miyabi. His fundamental underst anding of composition and the way our eyes\, and therefore our minds\, &lsq uo\;read&rsquo\; results in works that are not only elegant and refined but also an expansion of the vocabulary of painting. The combination of the di fferent Gold karat grades (eighteen\, twenty-two and twenty-four) enables h im to achieve a remarkable depth and variety of effects.

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Whereas Ta kefumi affixes no definitive prescribed meaning to gold he embraces its div erse historical and cultural associations\; from Western wealth and opulenc e to the more East Asian allusion to enlightenment and inner peace. These a re references all can share and they will each have a different degree of i mportance unique to the individual.

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Takefumi Hori was born 1978 in Tokyo. Having completed his studies in classical and contemporary calligrap hy in 2004 he moved to New York where he continues to work from his vast st udio in Brooklyn. Takefumi&rsquo\;s works can be found in international pri vate and corporate collections including Westwood Global Investments\, Bost on\; Bloomingdales\, Chicago\; and ACTIV Financial Systems Inc\, Yew York.< /p> DTEND:20160702 DTSTAMP:20160503T004144 DTSTART:20160608 GEO:51.5257518;-0.1145806 LOCATION:Fiumano Projects\,Unit 12 21 Wren Street\nLondon\, WC1X 0HF SEQUENCE:0 SUMMARY:'MIYABI 雅: Intransigent Elegance' by Takefumi Hori\, Takefumi Hori UID:416792 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20160503T004144 DTSTART:183000 GEO:51.5257518;-0.1145806 LOCATION:Fiumano Projects\,Unit 12 21 Wren Street\nLondon\, WC1X 0HF SEQUENCE:0 SUMMARY:'MIYABI 雅: Intransigent Elegance' by Takefumi Hori\, Takefumi Hori UID:416793 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Marlborough Fine Art is pleased to pres ent Manolo Valdé\;s&rsquo\; first solo exhibition in the UK in over 1 0 years. Valdé\;s has exhibited with Marlborough&rsquo\;s galleries f or 25 years\, primarily in New York\, but also in Barcelona\, London\, Madr id\, Monaco and Santiago.

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One of the most si gnificant Spanish artists of the last century\, Valdé\;s (b.1 942\, Valencia) works across drawing\, painting\, printmaking and sculpture. The exhibition brings together recent paintings\, sculptures and works on paper that explore the artist's unique and distinct visual langua ge.

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Valdé\;s began his training as a pai nter at the age of 15 in Valencia. During the 1960s\, he formed Eq uipo Cró\;nica\, an artistic team that used Pop Art to question the S panish dictatorship of Franco and the history of art itself. After the grou p dissolved in 1981\, Valdé\;s reinvented his work creating the figur ative\, expressive style centered on art historical motifs which he continu es to be known for today. The artist lives between New York and Madrid and has exhibited extensively around the world\, including representing Spain a t the Venice Biennale in 1999. Major solo exhibitions of his work have been held at Guggenheim Bilbao (2002)\, Reina Sofí\;a in Madrid (2006)\, State Russian Museum in St Petersburg (2008) and the National Museum of Chi na (2008) among other institutions. Monumental sculpture commissions have b een completed for Madrid&rsquo\;s Parque del Manzanares and airport. In 201 0\, sixteen large-scale bronze sculptures were exhibited in New York along Broadway and in 2012\, the New York Botanical Garden \;exhibited 7 of h is works.

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Using his immense knowledge of art history\, Valdé\ ;s draws heavily on masters such as Velá\;zquez\, Rembrandt\, Rubens and Matisse. He uses their practice as a pretext to bring significant histo rical works out of their original context and into the present. His figurat ive paintings combine materials such as thickly applied oil paint and hessi an sacking\, using a collage-like technique of cutting and sewing onto the canvas in relief. While perhaps best known for his prolific paintings\, scu lpture has been an integral part of the artist&rsquo\;s practice since his early career. Working in wood\, aluminium\, bronze and iron\, Valdé\; s&rsquo\; sculptures reflect his aesthetic proposition as one of the most p ersonal and thoughtful voices to address the history of art on the internat ional scene.

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The works of Manolo Valdé\;s can be seen in nume rous public and private collections including: Fonds National d&rsquo\;Arts Plastiques\, Paris\, France\; \;Fundació\;n Caja de Pensiones\, Barcelona\, Spain\; \;Fundació\;n del Museo Guggenheim Bilbao\, B ilbao\, Spain\; \;Instituto Valenciano de Arte Moderno\, Centre Julio G onzalez\, Valencia\, Spain\; Kunsthalle\, Kiel\, Germany\; Kunstmuseum\, Be rlin\, Germany\; The Metropolitan Museum of Art\, New York\, New York\; Mus é\;e National d&rsquo\;Art Moderne\, Centre Georges Pompidou\, Paris\ , France\; \;Museo de Arte Contemporá\;neo Internacional Rufino T amayo\, Mexico City\, Mexico\; Museo Nacional Centro de Arte Reina Sof&iacu te\;a\, Madrid\, Spain\; Museum of Modern Art\, New York\, New York\; Veran neman Foundation\, Kruishoutem\, Belgium.

DTEND:20160815 DTSTAMP:20160503T004144 DTSTART:20160610 GEO:51.5084606;-0.141152 LOCATION:Marlborough Fine Art\,6 Albemarle Street \nLondon\, W1S 4BY SEQUENCE:0 SUMMARY:Manolo Valdés\, Manolo Valdés UID:416776 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20160503T004144 DTSTART:180000 GEO:51.5084606;-0.141152 LOCATION:Marlborough Fine Art\,6 Albemarle Street \nLondon\, W1S 4BY SEQUENCE:0 SUMMARY:Manolo Valdés\, Manolo Valdés UID:416777 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Get ready! \;It's time to open a new chapter... For all you fancy bookworms out ther e we are thrilled to announce the launch of Sluice_magazine&rsquo\;s new sp ring issue at the gallery on the 30th of April from 6 - 9pm. Join the #IMTe am and the #SluiceCrew for fun times!

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What to expect? At Sluice_ the question is: what if we stepped sideways? W hat if we trailed off\, or broke away out of mere curiosity? Discontinuity &ndash\; in text\, in art\, in the world &ndash\; can lead to new\, formerl y unimaginable creations. Sluice_magazine offers the opportunity for disrup tions to take place.

Sluice_magazine presents a collection of cr itical &lsquo\;snapshots&rsquo\; that engage with the &lsquo\;what if&rsquo \; of artistic creation. \;Nicole Sansone \;blows the dust off still-lifes and takes a fresh look at the genre through the ey es of the techno-savy and \;Gavin Wade \;talks all things \;Eastside Projects. \;Fungiculture\, a psychedelic editorial collective\, makes its mark on sluice__& rsquo\;s debut centerfold with writing on Walter Benjamin&rsquo\;s drug use and fortune-telling computers.

Lucky you! Pick up a copy and ca tch our latest show by Mathew Parkin #Ibelieveinyou a new video installatio n following his pilgrimage to see an exhibition of work by Felix Gonzalez-T orres in Belfast.

DTEND:210000 DTSTAMP:20160503T004144 DTSTART:180000 GEO:51.5315021;-0.0565947 LOCATION:IMT Gallery\,Unit 2\, 210 Cambridge Heath Road \nLondon\, E2 9NQ SEQUENCE:0 SUMMARY:Sluice_magazine Launch UID:416773 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:181500 DTSTAMP:20160503T004144 DTSTART:173000 GEO:51.4770661;-0.021002 LOCATION:APT Gallery\,Harold Wharf 6 Creekside\, Deptford\nLondon\, SE8 4SA SEQUENCE:0 SUMMARY:Conversations with Art | Peter Clossick\, Peter Clossick UID:416772 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Cassiopeia is Hannah Rae Alt on (London)\, Catrin Morgan (Nottingham)\, Amy Goodwin (Cornwall) Irene Vid al Cal (Galicia\, Spain)\, and Anne Harild (Copenhagen). Named after a cons tellation in the Northern hemisphere composed of five stars\, the project a ims to explore and foreground the importance of research and pursuing your interests\, not just for artists but for everyone. As a group of collaborat ors their interests are in systems of knowledge\, particularly those relati ng to communication and architectural structures.
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Cass iopeia: Hip \;is the second part of the Cassiopeia project. As a s et of collaborators who not only share research interests but also particul ar research methodologies\, the exhibition is an opportunity to develop new ways of communicating these to the public.
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The Private Vi ew of Cassiopeia: Hip will coincide with \;SLAM Last Fridays
DTEND:20160515 DTSTAMP:20160503T004144 DTSTART:20160429 GEO:51.4770661;-0.021002 LOCATION:APT Gallery\,Harold Wharf 6 Creekside\, Deptford\nLondon\, SE8 4SA SEQUENCE:0 SUMMARY:Cassiopeia: Hip\, Catrin Morgan\, Irene Vidal Cal\, ANNE HARILD\, A my Goodwin\, Hannah Rae Alton UID:416770 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20160503T004144 DTSTART:183000 GEO:51.4770661;-0.021002 LOCATION:APT Gallery\,Harold Wharf 6 Creekside\, Deptford\nLondon\, SE8 4SA SEQUENCE:0 SUMMARY:Cassiopeia: Hip\, Hannah Rae Alton\, Irene Vidal Cal\, Amy Goodwin\ , ANNE HARILD\, Catrin Morgan UID:416771 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160618 DTSTAMP:20160503T004144 DTSTART:20160427 GEO:51.4910955;-0.1083978 LOCATION:Greengrassi\,1a Kempsford Road \nLondon\, SE11 4NU SEQUENCE:0 SUMMARY:Solo Exhibition\, Tomma Abts UID:416768 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20160503T004144 DTSTART:183000 GEO:51.4910955;-0.1083978 LOCATION:Greengrassi\,1a Kempsford Road \nLondon\, SE11 4NU SEQUENCE:0 SUMMARY:Solo Exhibition\, Tomma Abts UID:416769 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Get ready! \;It's time to open a new chapter... For all you fancy bookworms out ther e we are thrilled to announce the launch of Sluice_magazine&rsquo\;s new sp ring issue at the gallery on the 30th of April from 6 - 9pm. Join the #IMTe am and the #SluiceCrew for fun times!

\n

What to expect? At Sluice_ the question is: what if we stepped sideways? W hat if we trailed off\, or broke away out of mere curiosity? Discontinuity &ndash\; in text\, in art\, in the world &ndash\; can lead to new\, formerl y unimaginable creations. Sluice_magazine offers the opportunity for disrup tions to take place.

Sluice_magazine presents a collection of cr itical &lsquo\;snapshots&rsquo\; that engage with the &lsquo\;what if&rsquo \; of artistic creation. \;Nicole Sansone \;blows the dust off still-lifes and takes a fresh look at the genre through the ey es of the techno-savy and \;Gavin Wade \;talks all things \;Eastside Projects. \;Fungiculture\, a psychedelic editorial collective\, makes its mark on sluice__& rsquo\;s debut centerfold with writing on Walter Benjamin&rsquo\;s drug use and fortune-telling computers.

Lucky you! Pick up a copy and ca tch our latest show by Mathew Parkin #Ibelieveinyou a new video installatio n following his pilgrimage to see an exhibition of work by Felix Gonzalez-T orres in Belfast.

DTEND:210000 DTSTAMP:20160503T004144 DTSTART:180000 GEO:51.5315021;-0.0565947 LOCATION:IMT Gallery\,Unit 2\, 210 Cambridge Heath Road \nLondon\, E2 9NQ SEQUENCE:0 SUMMARY:Sluice_magazine Launch UID:416767 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Two days after the official op ening of \;Plastic Memory\, \;Sarah Crowner will be in con versation with Amira Gad\, Exhibitions Curator at the Serpentine Galleries in London. During her time at the Serpentine Galleries\, Amira Gad has cura ted exhibitions by Simon Denny (2015)\, Jimmie Durham (2015)\, Lynette Yiad om-Boakye (2015)\, Julio Le Parc (2014) and Reiner Ruthenbeck (2014). Prior to this\, Gad was Managing Curator &\; Publications at Witte de With Ce nter for Contemporary Art in Rotterdam where she worked from 2009 to 2014. Outside of the Serpentine Galleries\, curated exhibitions include \;Considering Dynamics &\; the Forms of Chaos \;with artists Ang ela Bulloch and Maria Zerres at the Sharjah Art Museum (2016)\; \;B lue Times \;at Kunsthalle Wien in Vienna\, Austria (2014-2015). Sh e was also curator at Fogo Island Arts of the conference series that took p lace on Fogo and in Vienna at the MAK. \;

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DTEND:130000 DTSTAMP:20160503T004144 DTSTART:120000 GEO:51.5081809;-0.14304 LOCATION:Simon Lee\,12 Berkeley Street \nLondon\, W1J 8DT SEQUENCE:0 SUMMARY:Sarah Crowner in Conversation with Amira Gad\, Sarah Crowner UID:416752 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Simon Lee Gall ery is proud to present a new series of stitched paintings alongside a cera mic tile mural and floor installation by New York based artist Sarah Crowne r\, in her first solo show in the UK.

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Sarah Crowner draws on art\, fashion\, graphic design\, th eatre and performance to create dynamic works that recall 20th century geom etric abstraction and modernism.

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The exhibition title Plastic Memory references a term used in ceramics to describe the visual evidence of how wet clay has been k neaded\, stretched and manipulated with these traces remaining apparent or &ldquo\;remembered&rdquo\; in the material\, even once the object is fired. Whilst the title clearly relates to the ceramic medium of the new wall and floor works in the exhibition\, it also neatly conjures Crowner&rsquo\;s r elationship to history\, materials and the hand-made. She treats the past\, the natural world and popular culture as a medium\; zooming in\, rotating\ , reversing\, cropping\, repeating\, mirroring\, shrinking and enlarging th e familiar to engage the viewer\, revealing connections between micro and m acro\, individual and context.

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On entering the gallery the viewer is greeted by a celadon green tile wall mural with a stitched painting hung on top. This vibrant\, shimme ring work sets the tone for the exhibition as Crowner questions the nature of painting\, its materials and limits. A glazed-white terracotta tiled pla tform bisects the gallery floor\, inviting viewers to walk over it to view the other paintings in the exhibition. Elevated as a false floor\, the pent agon patterned tiles are at once a stage and a kind of purposeful geometric abstraction\, encouraging the viewer to become part of the composition of the works. The formal echo between the tessellation of the tiles and the co mposition of the stitched paintings\, between grout and seams\, further est ablishes a relationship between the floor and wall\, situating the viewer a t the heart of the installation. The tile pattern is based on a pentagon wi th five different length sides\, (recently discovered by mathematicians)\, which can only repeat when the tile is matched with its mirror. The two ref lecting tiles suggest an open book\, butterfly wings\, or leaf-like panels and beautifully illustrate Crowner&rsquo\;s interest in systems and pattern s\, production and reproduction\, in culture and nature.

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Crowner embraces the idea of painting as object\; both the painting and the tile works in the exhibition embody the experience of architecture and space\, at once within themselves as objects and through t heir display. Each individual stitched fragment of canvas and each hand-cra fted tile is a unique element\, a world within a world\, yet reliant upon i ts neighbour in order to contribute to a greater whole. These animated abst ract constructions speak simply and seductively of connection\, opposition\ , separation\, hierarchy\, transition and assimilation.

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To create her new stitched or &lsquo\;sliced&rsquo\; pai ntings\, Crowner deconstructs and reconstructs her own existing paintings\, reconfiguring shapes\, colours and contrasting textures and allowing the s ewing machine generated seams to remain visible\, like plant veins or arter ies. She uses a self-designed &lsquo\;curve machine&rsquo\; to create arc t emplates on pattern paper for canvas to be cut from\, before painting and s titching them to other raw canvas or linen segments. She paints sections in saturated colour &ndash\; from tomato red to Prussian blue - to imply a pr esence\, a shape\, a possibility. Made from soft canvas\, the paintings hav e a velvety surface\, whilst the contrasting tiles are glassy and crisp\, c reating clear clacks when walked upon. This deliberate relationship to the tactile\, to craft and the artist&rsquo\;s performative engagement with her medium suggests a three-dimensional\, physical\, relationship to the image and speaks to the viewer of action and the potentiality of painting.

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Witty\, playful and optimistic\, Sarah Cro wner&rsquo\;s investment in materials and use of colour as form deliberatel y seduce the viewer\, evoking desire and reflecting her interest in how pai nting can engage the body.

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Sarah Crowner was born in Philadelphia in 1974 and lives and works in Brooklyn\, New York. She received her BA from the University of California \, Santa Cruz and her MFA from Hunter College\, New York. Her work has been included in group exhibitions at the Jewish Museum\, New York (2015)\; Mus eum of Fine Arts\, Boston (2014)\; Walker Art Center\, Minneapolis (2013)\; WIELS\, Contemporary Art Centre\, Brussels\, Belgium (2013)\; ICA\, Philad elphia (2013)\; Zacheta National Museum of Art\, Warsaw\, Poland (2013)\; M useum of Modern Art\, New York (2013)\; and the 2010 Whitney Biennial\, Whi tney Museum of American Art\, New York. Recent solo exhibitions include Everywhere the Line is Looser\, Casey Kaplan\, New York (2015)\; Interiores\, Travesia Cuatro\, Guadalajara\, Mexico (2014)\; Motif s\, Galerie Catherine Bastide\, Brussels\, Belgium (2014)\; The Wa ve\, Nicelle Beauchene Gallery\, New York (2014)\; Rehearsal\ , Galerie Nordenhake\, Stockholm\, Sweden (2012)\; Acrobat\, Nicel le Beauchene Gallery\, New York (2011)\; Ballet Plastique\, Cather ine Bastide\, Brussels\, Belgium (2011). Her work is held in the collection s of Museum of Modern Art\, New York and the Walker Art Canter\, Minneapoli s.

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From 16 April 2016\, her work will be the subject of a major solo exhibition\, Beetle in the Leaves\ , at MASS MoCA\, North Adams\, MA.

DTEND:20160618 DTSTAMP:20160503T004144 DTSTART:20160513 GEO:51.5081809;-0.14304 LOCATION:Simon Lee\,12 Berkeley Street \nLondon\, W1J 8DT SEQUENCE:0 SUMMARY:Plastic Memory\, Sarah Crowner UID:416750 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20160503T004144 DTSTART:180000 GEO:51.5081809;-0.14304 LOCATION:Simon Lee\,12 Berkeley Street \nLondon\, W1J 8DT SEQUENCE:0 SUMMARY:Plastic Memory\, Sarah Crowner UID:416751 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160604 DTSTAMP:20160503T004144 DTSTART:20160507 GEO:51.531598;-0.0597315 LOCATION:Vilma Gold\,6 Minerva Street \nLondon\, E2 9EH SEQUENCE:0 SUMMARY:Solo Exhibition\, Luther Price UID:416748 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20160503T004144 DTSTART:183000 GEO:51.531598;-0.0597315 LOCATION:Vilma Gold\,6 Minerva Street \nLondon\, E2 9EH SEQUENCE:0 SUMMARY:Solo Exhibition\, Luther Price UID:416749 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160604 DTSTAMP:20160503T004144 DTSTART:20160507 GEO:51.531598;-0.0597315 LOCATION:Vilma Gold\,6 Minerva Street \nLondon\, E2 9EH SEQUENCE:0 SUMMARY:False Friends Falsche Freunde\, Oliver Osborne UID:416746 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20160503T004144 DTSTART:183000 GEO:51.531598;-0.0597315 LOCATION:Vilma Gold\,6 Minerva Street \nLondon\, E2 9EH SEQUENCE:0 SUMMARY:False Friends Falsche Freunde\, Oliver Osborne UID:416747 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bartha Contemporary is delight ed to announce two coinciding exhibitions of recent works by German artist Frank Gerritz (b. 1964) at Bartha Contemporary in London and the Sleeper Ar t-Space in Edinburgh. The London exhibition (May 13 &ndash\; July 2) will i nclude two new pencil drawings on MDF alongside recent drawings on paper\, the Edinburgh exhibition (May 13 &ndash\; June 10) will showcase a single i nstallation of a four-panel oil paint-stick on anodised aluminium work.&nbs p\;

For the past two decades\, Gerritz has applied layers upon l ayers of graphite using soft Faber Castell 9B pencil marks on walls\, paper and\, as is the case in this instance\, industrially manufactured MDF pane ls. &ldquo\;Definition of Space | Four Center Connection (spread my wings)& rdquo\; the key work in this exhibition and probably Frank Gerritz&rsquo\;s most ambitious work on MDF to date\, evolves from a concentred composition . Two elemental forms of opposing forces\, placed side by side are separate d by a devising line\, formulate this seminal work.

Gerritz&rsqu o\;s MDF drawings render light and modulate it to such an extent that the e xperience is akin to moving into a sculptural space. Similarly\, the artist &rsquo\;s works on anodized aluminium encompass a genuinely physical experi ence. Here the metal support turned into a body of light\, at the same time offset and articulated by dark black areas of oil paint-stick\, drawn onto the cool anodised aluminium surface. In this instance composed over four p anels\, &ldquo\;Temporary Ground I Territory I The Sleeper&rdquo\; exhibite d in Edinburgh is spaced precisely along its horizontal axis. The initially flat appearance of the works pulls the viewer to its sides\, revealing its three-dimensional composition. The work appears to float at a carefully ca librated distance from the wall\, the resulting shadow-gap further elevatin g the sculptural nature of the piece. \;

Frank Gerritz has b een exhibiting globally since the late 1980&rsquo\;s\, more recently a seri es of institutional exhibitions in Europe confirmed his invaluable contribu tion to contemporary art discourse. In 2007\, the American art critic and p oet Donald Kuspit called the artist &ldquo\;The Last Abstract Hardliner&rdq uo\;\, a title he doubtlessly retains to the present day.

DTEND:20160702 DTSTAMP:20160503T004144 DTSTART:20160513 GEO:51.5166342;-0.1415935 LOCATION:Bartha Contemporary\,25 Margaret Street \nLondon\, W1W 8RX SEQUENCE:0 SUMMARY:Solo Exhibition\, Frank Gerritz UID:416744 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20160503T004144 DTSTART:180000 GEO:51.5166342;-0.1415935 LOCATION:Bartha Contemporary\,25 Margaret Street \nLondon\, W1W 8RX SEQUENCE:0 SUMMARY:Solo Exhibition\, Frank Gerritz UID:416745 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Stephen Friedman Gal lery \;is proud to present its fourth exhibition of new work b y internationally acclaimed Japanese artist\, \;Yoshitomo Nara< /strong>. He returns to the gallery following recent solo exhibitions at Yo kohama Museum of Art\, Japan\; Asia Society Museum\, New York\; Asia Societ y Hong Kong Center and Reykjavik Art Museum\, Iceland. Along with Yayoi Kus ama and Takashi Murakami\, Yoshitomo Nara is considered one of the most imp ortant living contemporary Japanese artists. This exhibition consists of ne w paintings on canvas\, paintings on cotton mounted wood panel and works on paper.
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While Nar a's work is often associated with Japanese pop culture including anime and manga\, his output should be viewed through the lens of his childhood in po st-war Japan. Nara was born in 1959 in the rural north of the country. A lo nely latchkey kid\, his early years were informed by illustrated children's books and Western music playing from the radio of a nearby military base. Following a period studying in Germany under A. R. Penck\, Nara developed h is trademark language and technique\, creating complex characters in a deep investigation of childhood sensitivities. In his paintings\, figures stare out to us wide-eyed\, or smoke\, swear and scowl.
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\n< div style="text-align: justify\;">Nuanced considerations of alienation\, an ger and curiosity are undertaken with each work. The apparent naivety of th e character and animals he depicts are juxtaposed with slogans and often sa lty language. The contrast deftly illustrates the angst of adolescent exper ience. The characters are at once cheeky\, vulnerable and threatening. In t his way Nara's work crosses cultural and national boundaries in its examina tion of emotional truth\, and essentially human dilemmas.\n
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"This solo exhibition is comprised of 'paintings' (on canvas)\, 'billboard paintings' (patched cotton mounted on wood panel) and 'drawings' (on paper). Upon hearing this description\, most people would think that this sounds like an ordinary exhibition for a painter. However these new paintings on canvas are more painterly than othe r works I have shown previously. They are marked by a conscious use of colo ur and subtle layering\, which has become important in my recent practice. In contrast to my work on canvas\, I originally called the paintings on woo d panel 'billboard paintings'\, due to their catchy and iconic imagery and the use of flat planes of colour that is reminiscent of the style often use d on billboards. Although the 'billboard paintings' in this show are still evocative of this style\, these ones which are rendered on patchwork cotton are much more painterly\, with many layers of colour.
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Drawing is natural to me. Without bei ng conscious of the eventual audience\, I usually follow my emotions and ju st draw. For this show I am exhibiting a series of drawings that I think of as being mental images without colour. It is probably the first time that I have shown so many of these drawings all at once. I work in sculpture and installation\, but for this exhibition I became very conscious of showing myself as a painter." Yoshitomo Nara\, April 2016.
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\n< div style="text-align: justify\;">Nara's work seamlessly fuses elements of western Modernism with references borrowed from popular culture. Most notab ly\, the artist has underlined the important influence music has had on his practice. Ranging from Rock and Punk to the artist's fascination with folk and amateur music subcultures\, his diverse taste has an ongoing effect on both the content and style of his work. When viewed in this context\, the lyrics and slogans that accompany the subjects of his paintings can be seen to resemble album covers. In this way Nara reflects on the force that musi c and pop culture wield during adolescent life and the crucial role they pl ay in forming one's identity. This is particularly pertinent in the global environment that children now grow up in\, in which they are exposed to mul tiple influences from around the world via the internet. The result is a di stinctive language that is imbued with an immediate and strangely universal familiarity.
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Dra wing and painting have long been concurrent and equally important in Nara's practice. In making his return to Stephen Friedman Gallery\, Yoshitomo Nar a's work is as fresh\, relevant and affecting as ever. His re-evaluation of contemporary portrait painting has been critical in Japan and his work con tinues to appeal to our contemporary sensibility worldwide. In Nara's own w ords "If you look only at the surface\, my work will not really reveal itse lf to you".
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Recent solo exhibitions include\; 'Life is Only One: Yoshitomo Nara'\, Asia Society\, Hong Kong Center\, China (20 15)\; 'Yoshitomo Nara Greetings from a Place in My Heart'\, Dairy Art Centr e\, London (2014)\; 'a bit like you and me&hellip\;'\, Yokohama Museum of A rt\, Yokohama\, Japan\; traveling to Aomori Museum of Art\, Aomori\, Japan and Contemporary Art Museum\, Kumamoto\, Japan (2012 - 2013)\; 'The Little Little House in the Blue Woods'\, Towada Art Center\, Aomori\, Japan (2012) \; 'Yoshitomo Nara: Nobody's Fool'\, Asia Society Museum\, New York (2010)\ ; 'The Crated Rooms in Iceland &ndash\; Yoshitomo Nara + YNG\,' Reykjavik A rt Museum\, Iceland (2009)\; 'Yoshitomo Nara + graf'\, BALTIC Centre for Co ntemporary Art\, Newcastle\, UK (2008).
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Recent group shows include\; 'Hey! Ho! Let's Go: Ram ones and the Birth of Punk' Queens Museum\, New York\, NY (2016)\; travels to The Grammy Museum\, Los Angeles\, CA (2016)\; 'Takashi Murakami's Superf lat Collection' Yokohama Museum of Art\, Japan (2016)\; 'To the North\, Fro m Here: Naoki Ishikawa + Yoshitomo Nara'\, Watari-um\, Tokyo\, Japan (2015) \; 'Go-Betweens: The World Seen Through Children'\, Mori Art Museum\, Tokyo \, Japan\; traveling to Nagoya City Art Museum\, Nagoya\, Japan\; Okinawa P refectural Museum &\; Art Museum\, Okinawa\, Japan\; and Museum of Art\, Kochi\, Japan (2014)\; 'Damage Control: Art and Destruction Since 1950'\, Hirshhorn Museum and Sculpture Garden\, Washington D.C (2013) and 'Print/Ou t: Multiplied Art in the Information Era\, 1990 &ndash\; 2010'\, Museum of Modern Art\, New York (2012).
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Nara's works are included in prominent collections internation ally\, including The British Museum\, London\; Centro de Arte Contemporaneo de Malaga\, Malaga\; Museum of Modern Art\, New York\; Museum of Contempor ary Art\, Chicago\; San Diego Museum of Contemporary Art\, San Diego\; Muse um of Contemporary Art\, Tokyo\; Takamatsu City Museum of Art\, Takamatsu\, Japan\; Zabludowicz Collection\, London\; Los Angeles County Museum of Art \, Los Angeles\, USA\; The National Museum of Art\, Osaka\, Japan\; Museum of Contemporary Art\, Tokyo\, Japan\; The Rubell Family Collection\, Miami\ , USA\; Aomori Museum of Art\, Aomori\, Japan\; The National Museum of Mode rn Art\, Tokyo\, Japan\; Yokohama Museum of Art\, Japan\; Leeum Samsung Mus eum of Art\, Seoul\, Korea.
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DTEND:20160601 DTSTAMP:20160503T004144 DTSTART:20160428 GEO:51.51069;-0.1411156 LOCATION:Stephen Friedman Gallery\,11/25-28 Old Burlington Street \nLondon\ , W1S 3AN SEQUENCE:0 SUMMARY:New Works\, Yoshitomo Nara UID:416683 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20160503T004144 DTSTART:180000 GEO:51.51069;-0.1411156 LOCATION:Stephen Friedman Gallery\,11/25-28 Old Burlington Street \nLondon\ , W1S 3AN SEQUENCE:0 SUMMARY:New Works\, Yoshitomo Nara UID:416684 END:VEVENT BEGIN:VEVENT DESCRIPTION:
'Horizon That Appear s Out of The Sleepy Woods' \;brings together work by four Japa nese artists: Yusuke Asai\, Takanobu Kobayashi\, Kyoko Murase and Syozo Tan iguchi. Each artist lives and works in and around Tokyo and has never exhib ited in London before. Selected by Yoshitomo Nara\, the exhibition runs con current with Nara&rsquo\;s own show. So often Japanese art is distilled thr ough a Western lens and this provides an opportunity to connect directly wi th the Japanese avant-garde. As a counterpoint to Nara\, who is known world wide\, the under exposure of these artists outside Japan is an important co mment in itself. Much like Nara's approach to making art\, these four artis ts reference Japanese and international art and culture in their work. Thei r critical understanding of contemporary issues in a global world brought t hese artists to Nara's attention\, and this underpins the exhibition. \;
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Yusuke Asai was born in 1981 in Tokyo\, Japan. He is a self-taught painter whose work is i nspired by folklore. Without formal training Asai honed his distinctive sty le by drawing from life in urban zoos. His work therefore conjures an imagi ned dream-like nature. In his paintings\, dense forests full of imaginary a nimals and people are set against lush patterns that crawl across the surfa ce of the work. The work is illustrative\, and akin to the historic wall pa intings of Ancient Egypt and India. Asai is well known for his large-scale murals that traverse the floor and walls\, seen recently as part of his sho w entitled 'Yamatane' at Rice University Art Gallery in Houston. For these he uses soil as his palette\; a surprisingly wide spectrum of rich browns t hat seem almost too vibrant to have come from the ground. The artist has al so used soil in some of the paintings shown here.
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\nTakanobu Kobayashi was born in Nihonbashi\ , Tokyo in 1960. Kobayashi's realism\, which spans an array of subjects\, i s so finely painted and cleanly executed that some objects appear three-dim ensional. "I want to depict existence. Everything has a characteristic attr ibute and that's where its meaning comes from. Once you take away the meani ng\, you get down to the essence. My idea is to paint vessels\, people\, pi llows or trees\, all in the same way as 'things'". Though his work has the feel of a still life\, Kobayashi often paints from memory. The phenomenon o f 'hikikomori' - young adults escaping from the pressures of modern society by retreating into their bedrooms - is well known. But fewer people know o f 'sotokomori'\, a similar phenomenon where people escape abroad. There\, a gentler pace of life and lack of social interaction that comes with lingui stic and cultural barriers serves the same function as bedroom walls. The p recise focus of Kobayashi's gaze and particular choice of still life subjec ts can be understood in light of this.\n
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Kyoko Murase was born in 1963 in Gifu\, Japan. "It se ems as if I am depicting a moment\, but the image includes multiple histori es including times of doubt and uncertainty\, which may indeed be a kind of entry into the work. Even if you enter the work\, however\, you may find t hat things are in flux\, which can be simultaneously comforting and disturb ing." Her ethereal paintings and drawings have long depicted girls. These d ream-like figures\, often enjoying the sense of floating or flying are high ly emotive. Her technique\; the use of feather light strokes of oil paint\, soft colour pencil or collage with petals or magazines\, underlines the ex ploration of femininity that pervades her subject matter.
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Syozo Taniguchi was born in 1990 i n Ehime\, Japan. This young artist works in illustration and video\, in a s tyle that clearly takes it lead from Nara's legacy. The tales of companions hip and adventure played out in his animations are a millennial investigati on of ideas about adolescence and identity that Nara also explores. Taniguc hi's work\, like the others in this exhibition\, is seen in London for the first time.
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Each of the artists shown here\, though diverse in their approach\, works in res ponse to an element of contemporary society: femininity\, the environment\, spirituality and adolescence. In bringing these four artists together\, Na ra showcases the diversity and relevance of under-represented Japanese cont emporary art.
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"I studied with Takanobu Kobayashi and Kyoko Murase (both born in 1960) at uni versity\, though they were one year below me. While other students were exp erimenting with different modes of expression\, they had decided to stick t o painting. After graduation they continued making work and successfully es tablished themselves in the world of painting\, having developed a strong s tyle and very personal point of view.
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Yusuke Asai (born in 1981) is more than twenty years y ounger than Murase and Kobayashi. Instead of using paint\, he collects mud from around the exhibition space and works directly on the wall\, erasing t he mural after the exhibition. His paintings are very free and inspired by a 'primitive life force'. For this exhibition he has made two-dimensional p aintings\, though he also works with installation.
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\n< div style="text-align: justify\;">Then there is Syozo Taniguchi. Born in 19 90\, he is almost 10 years younger than Asai\, and thus is still developing . He produces a vast quantity of paintings and drawings\, which exude a fre sh sensitivity and remind us of something fundamental in an artist's drive to make art. For this exhibition Taniguchi will exhibit an animation that w as produced as a promotional video for two Japanese bands." Yoshitomo Nara April 2016.
DTEND:20160601 DTSTAMP:20160503T004144 DTSTART:20160428 GEO:51.51069;-0.1411156 LOCATION:Stephen Friedman Gallery\,11/25-28 Old Burlington Street \nLondon\ , W1S 3AN SEQUENCE:0 SUMMARY:Horizon That Appears Out of The Sleepy Woods\, Yusuke Asai\, Takano bu Kobayashi\, Kyoko Murase\, Syozo Taniguchi UID:416681 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20160503T004144 DTSTART:180000 GEO:51.51069;-0.1411156 LOCATION:Stephen Friedman Gallery\,11/25-28 Old Burlington Street \nLondon\ , W1S 3AN SEQUENCE:0 SUMMARY:Horizon That Appears Out of The Sleepy Woods\, Yusuke Asai\, Takano bu Kobayashi\, Kyoko Murase\, Syozo Taniguchi UID:416682 END:VEVENT END:VCALENDAR