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Blain|Southern is delighted to present an exhibition of new large-scale works in pastel by Joanna Kirk. Fusing drawing and pai nting\, Kirk is one of the few contemporary artists working solely with pas tel\, attracted by the pure pigment and ability to manipulate colour and te xture directly with the fingers.

Her works are expansive yet enveloping in their detail. Rather than depicting physical space\, she crea tes psychological landscapes that explore ideas of isolation\, motherhood\, the human condition and our complex relationship with nature. Kirk address es such intangible concepts by turning physical natural objects into almost abstract and unearthly manifestations.

Recent works draw from the ever evolving topography of Iceland and the isolated valleys and woodl ands of North Wales. Through layer upon layer of pastel pigment she builds scenes of tangled roots\, interlaced branches and rugged rock formations. H idden within these compositionally rich and complex landscapes are figures whose presence and position lead the narrative and mood of the piece.

In The Battle of Nant y Coed (2013) the artist seems to v iew her subject from a maternal perspective. Although tucked away within th e interlaced branches\, a young boy can be found staring confidently toward s the viewer\, independent in his own space yet assured by a watchful paren tal eye. This interplay between subject and object typifies Kirk&rsquo\;s w orks\; figures appear to both define their environment at the same time as being enveloped by it.

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Mothership (2014) depicts the proce ss of awakening and empowerment felt by a young woman as she steps away fro m childhood. With a nod to Caspar David Friedrich\, Kirk paints her subject alone and exposed to the elements - yet enveloped by rays of light\, in wh ich she holds a pose of strength and confidence. A watchful presence is rev ealed within the image as a rock formation that seems to pulse with energy\ , encouraging the scene of transformation below.

It is Kirk&rs quo\;s obsession with detail that has allowed her to produce such a vital b ody of work with pastels - a medium rarely used to such intensity and scale . \; Her landscapes are epic\, intense and monumental\, stimulating not ions of the uncanny within the mind.

DTEND:20151003 DTSTAMP:20150803T213611 DTSTART:20150909 GEO:51.5138885;-0.1433184 LOCATION:Blain|Southern - London Hanover Square\,4 Hanover Square \nLondon \, W1S 1BP SEQUENCE:0 SUMMARY:Joanna Kirk UID:391784 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150803T213611 DTSTART:180000 GEO:51.5138885;-0.1433184 LOCATION:Blain|Southern - London Hanover Square\,4 Hanover Square \nLondon \, W1S 1BP SEQUENCE:0 SUMMARY:Joanna Kirk UID:391785 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Continuing its summer traditio n of exhibiting a single work for the month of August\, \;Marlb orough Contemporary \;is delighted to present \;&A circ\;ngela Ferreira&rsquo\;s \;Talk Tower for Ingrid Jonk er.
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Ferreira&rsquo\;s work might be understood as co nceptual sculpture and is concerned with the legacies of colonialism\,  \;conducted through in-depth research and the distillation of ideas into re sonant and material forms. She provokes the viewer to question these histor ies in the encounter with her objects\, which often reference modernist pre cedents\, combined with text\, photography and video.

Talk T ower for Ingrid Jonker \;(2012) is a structure designed for broadc asting poetry\, as homage to the South African poet Ingrid Jonker (1933-196 5). The work is typical of Ferreira's practice in the way that it combines her concerns with the material consequences of modernism and how those form s evolve and change as they travel through the world. The sculpture is one of a series of towers that Ferreira began in 2008. The starting point of th is project was Gustav Klutsis&rsquo\; multimedia agitprop kiosks\, which we re designed to display newspaper\, film and project sound in revolutionary Russia. This reference intersects with the image of a rudimentary radio tra nsmission tower in rural Mozambique. It also points to the crucial history of radio during the independence and liberation wars in Africa\, such as Ra dio Freedom in South Africa.

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The Towe rs have recently become vehicles for paying homage to literary authors. The y do so through their sculptural presence while they enable the public broa dcast of poetry. \;Talk Tower for Ingrid Jonker \;pays tri bute to the poet&rsquo\;s oeuvre and to her life. \; Jonker&rsquo\;s po em &lsquo\;The Child is Not Dead&rsquo\; (inspired by the death of a black child\, shot dead by soldiers at Nyanga) was recited by Nelson Mandela duri ng his address at the opening of the first democratic parliament in South A frica on 24 May 1994 &ndash\; a remarkable testament to the lasting power o f the Afrikaner poet.
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In 1965 Jonker went to the beach at Three Anchor Bay in Cape Town\, walked into the sea and committed suicide by drowning. \; Ferreira&rsquo\;s structure was originally imagined ins talled on the beachfront\, marking where she tragically died. \; In the final version of the project\, a photograph accompanies the sculpture\, ma rking that now unmarked spot on the beach. \;
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The scu lpture alludes directly to the form of the constructivist Shukhov radio tow er built in the early 1920s near Moscow.

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Born in 1958 in Maputo\, Mozambique\, Â\;ngela Ferreira grew up an d studied in South Africa. \;Ferreira's work is concerned with the ongo ing impact of colonialism and post-colonialism on contemporary society\, an investigation that is conducted through in-depth research and the distilla tion of ideas into concise and resonant forms.

Ferreira represen ted Portugal at the 52nd Venice Biennale in 2007. Recent exhibitions includ e Messy Colonialism\, Wild Decolonization\, MACO\, Mexico (2015)\; Monument s in Reverse\, CAAA\, Guimarã\;es (2015)\; Revolutionary Traces\, Str oom\, Den Haag (2014)\; Independance Cha Cha\, Lumiar Cité\;\, Lisbon (2014)\; Entrer dans la Mine\, Lubumbashi Biennale\, Congo (2013). Politic al Cameras\, Stills\, Edinburgh (2013). Ferreira has been recently shortlis ted for Novo Banco \;Photo Award 2015\, the most prestigious contempora ry art award in Portugal. She lives and works in Lisbon.

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DTEND:20150905 DTSTAMP:20150803T213611 DTSTART:20150805 GEO:51.5084606;-0.141152 LOCATION:Marlborough Fine Art\,6 Albemarle Street \nLondon\, W1S 4BY SEQUENCE:0 SUMMARY:Talk Tower for Ingrid Jonker\, Ângela Ferreira UID:391627 END:VEVENT BEGIN:VEVENT DESCRIPTION:
BEARSPACE is pleased to pres ent SCORDATURA\, a solo exhibition featuring the work of Liz K. Mi ller. In these works\, Miller has created a new language to communicate mus ical scores resulting in the intricate etchings and prints presented in thi s exhibition. Scordatura is a musical term that refers to tuning of a strin ged instrument that differs from the normal\, standard tuning.
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The premise for these works is the use of the repetitive motifs that o ccur in music in order to generate concentric patterns. The resulting image ry looks like it could have naturally occurred or grown\, like constellatio n patterns or rings of a tree.
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The circular scores that ar e created use radius to represent pitch and circumference to signify time. Repetitions are indicated by a retracing of the same motifs to create layer s. Map making and cartography form the basis of Miller&rsquo\;s art practic e. Using traditional printing techniques such as etching\, lithography and screen-printing\, the artist creates music maps that can be read and interp reted by musicians. The works also create a new way of visualising music fo r those who are untrained in the traditional linear scoring system.
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Colour has a huge significance in Miller&rsquo\;s work\, although the rules regarding its selection can change. In developing the score of G abriel Fauré\; Madrigal\, Miller mapped colours based on the selectio n of choir master Peter Bullett\, who is synaethetic and sees key signature s in colour. The colour in this work maps the colours Peter experienced wit h each key change.
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The artist works alongside musicians to produce a series of work that function beyond their form and bridge the ga p between visual art and music.
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Liz K. Miller studied at E dinburgh College of Art and University of the Arts London. She began a thre e-year print fellowship at the Royal Academy Schools in 2013. Miller recent ly undertook a residency at Spike Island in Bristol\, UK. Her work is held in the Tate Print Collection and the British Library.
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\nOpening Event Friday 31st July\, \;6.30-8.30pm
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in association with SLAM Fridays.
\n DTEND:20151009 DTSTAMP:20150803T213611 DTSTART:20150730 GEO:51.4792694;-0.0261208 LOCATION:Bearspace\,152 Deptford High Street \nLondon\, SE8 3PQ SEQUENCE:0 SUMMARY:Scordatura\, Liz K. Miller UID:391610 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20150803T213611 DTSTART:183000 GEO:51.4792694;-0.0261208 LOCATION:Bearspace\,152 Deptford High Street \nLondon\, SE8 3PQ SEQUENCE:0 SUMMARY:Scordatura\, Liz K. Miller UID:391611 END:VEVENT BEGIN:VEVENT DESCRIPTION:

From LA to London\, StolenSpac e Gallery &\; ThinkSpace LA are joining forces to co- curate a group sho w this September in London at \;StolenSpace Gallery.

With a roster of over 100 incredible artists between us\, this is due to be a show to remember! \;

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Featuring 12 x12 inch (30x30cm) works from:
Aaron Nagel
Adam Caldwell
Alex Y anes
Alexis Diaz
Allison Sommers
Amanda Marie
Andrew Mc Attee
Andy Kehoe
Angry Woebots
Anthony Clarkson
Arth Da niels
Atsuko Goto
Baghead
Beau Stanton
Bec Winnel
Ben Frost
Ben Turnbull
Brian Mashburn
bumblebeelovesyou
Carl Cashman
Casey Weldon
Charles Krafft
Charlie AndersonChie Yoshii
Chris Stead
Christine Wu
Cinta Vidal
Cl eon Peterson
Craig 'Skibs' Barker
Cryptik
Crystal Wagner
Curtis Kulig
David Bray
David Cooley
Derek Gores
Drew Leshko
Drew Young
EINE
Ekundayo
Erik Siador
Evoca 1
Frank Gonzales
Fumi Nakamura
Haroshi
Herakut
Hue man
Jacub Gagnon
James Bullough
Jana &\; JS
Jason Th ielke
Jeff Ramirez
Jeremy Fish
Jeremy Hush
Jim HouserJoanne Nam
Jolene Lai
Jorge Rodriguez-Gerada
Joseph Mart inez
Josie Morway
Kari-Lise Alexander
Kelly Vivanco
Ken Flewellyn
Kevin Peterson
Ki Sung Koh
Kikyz1313
Kojiro Ankan Takakawa
Kozyndan
Kwon Kyung-Yup
Kyle Stewart
Lau ren Napolitano
Lindsey Carr
Linnea Strid
Liz Brizzi
Lon don Police
Low Bros
Luke Chueh
Mari Inukai
Mary Iverson
Matt Linares
Matt Small
Matthew Grabelsky
Meggs
M eryl Donoghue
Mike Egan
Monica Canilao
Mysterious Al
No sego
Nychos
Nylon
Okuda
Ozabu
Pam Glew
Paul B arnes
Paul Stephenson
Persue
Peter Adamyan
Ramon Maiden
Reka
Rone
Ronzo
Ryan Callanan
Sandra Chevrier
Scott Listfield
Sean Mahan
Sebastian Wahl
Shepard FaireySo Youn Lee
Snik
Stinkfish

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Sylvia Ji
Tony Phil ippou
Tran Nguyen
Troy Lovegates
Twoone
Von
Will B arras
X-O

Plus larger 32x32 inch (81x81cm) works also on vi ew from:
Audrey Kawasaki
Alexis Diaz
C215
Curiot
C yrcle
D*Face
David Cooley
Erik Jones
Joram Roukes
Kai &\; Sunny
Kevin Peterson
Low Bros
Maya Hayuk
Nos ego
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The London Police
Word To Mother
DTEND:20151004 DTSTAMP:20150803T213611 DTSTART:20150904 GEO:51.5167454;-0.0701196 LOCATION:StolenSpace Gallery\,17 Osborn Street \nLondon\, E1 6TD SEQUENCE:0 SUMMARY:LAX/LHR UID:391608 END:VEVENT BEGIN:VEVENT DTEND:220000 DTSTAMP:20150803T213611 DTSTART:180000 GEO:51.5167454;-0.0701196 LOCATION:StolenSpace Gallery\,17 Osborn Street \nLondon\, E1 6TD SEQUENCE:0 SUMMARY:LAX/LHR UID:391609 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This autumn Be n Brown Fine Arts is pleased to present a major survey of photography origi nating from the Kunstakademie Dü\;sseldorf after 1976. The exhibition o ffers an opportunity to see varying interpretations of the German &lsquo\;N ew Objectivity&rsquo\; style championed by Bernd and Hilla Becher side by s ide\, including meditations on architecture and landscape by their former p upils Candida Hö\;fer\, Andreas Gursky\, Axel Hü\;tte\, Thomas Ruff \, Elger Esser and Thomas Struth\, also known today as the Dü\;sseldorf School of Photography. These documentary representations of existing space s will be complemented by the photography of Thomas Demand\, a former sculp ture student at the Kunstakademie\, who models life-sized rooms and buildin gs for exacting depiction.

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Meeting at an advertising agency in Dusseldorf in 1957\, Bernd and Hi lla Becher began photographing industrial structures in the mining area of the Ruhr district where Bernd spent his childhood. Always incorporating ove rcast skies to minimise shadows\, their formalist images capture the near-s culptural majesty of cooling towers\, lime kilns and bunkers\, each relics of a vanishing industrial age. In direct contrast to the romantic worldview of their post-war contemporaries\, the Bechers&rsquo\; works began a reviv al of the New Objectivity photography that had prevailed in Germany in the 1920s and &lsquo\;30s\, characterised by an unsentimental gaze. Following t he pair&rsquo\;s international debut at Documenta 5 in Kassel\, 1972\, Bern d Becher was appointed professor of photography at the Kunstakademie Dü \;sseldorf in 1976\, which was increasingly renowned as a centre of high-qu ality photographic training and technological advancement. Despite never te aching as a couple\, the pair&rsquo\;s approaches combined to inspire the v ariety of pictorial languages now showcased together with their own works a t Ben Brown Fine Arts.

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Andreas Gursky set up a studio in a disused power station across the Rhin e from the school\, where he was joined by Thomas Ruff and Axel Hü\;tte in 1989. Taken from an elevated standpoint and digitally manipulated to ot herworldly effect\, Gurksy&rsquo\;s depictions share in the sense of sublim ity found in the Becher&rsquo\;s own images\, from a vast swathe of people in Love Parade (2001) to the imposing rock formations in James Bond Island III (2007). A sense of immensity also colours Axel Hü \;tte&rsquo\;s HOUSTON\, Rice\, USA (2006) juxtaposing tower block s against a misty backdrop to ethereal effect. Offering a greater sense of creative detachment\, Thomas Ruff makes use of found media and photographic technology. 17h 16m/-45°\; (1990)\, a nocturnal sky-scape\, is a digital enlargement of negatives from the European Southern Observatory in Chile\, not taken by the artist himself. The works of Elger Esser\, mean while\, depart almost entirely from the documentary approach of his teacher s\, offering a restrained colour palette and landscapes recalling the v edute of the Italian masters.

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Thomas Struth couples the romantic with a sense of rigour in his &lsquo\;Museum&rsquo\; photographs (2004- 2005). Often working in a ser ies like the Bechers themselves\, he trains his camera around institutional spaces to capture humans interacting with Old Master paintings\, centralis ing ideas of observation and perspective. In contrast\, Candida Hö\;fer \, whom Ben Brown Fine Arts has represented for many years\, captures publi c spaces entirely devoid of human presence. Working with natural light alon e\, Hö\;fer&rsquo\;s systematic approach combines with a sympathy for h er architectural subjects to produce works of monumental impact.

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Instead of seeking out architec tural settings\, Thomas Demand recreates his own elaborate structures\, occ asionally based on existing locations\, with paper and cardboard. Like H&ou ml\;fer\, his spaces lack any human subjects yet contain traces of their ac tivity\, such as an open door in Hole (2013). Demand swiftly destr oys his models after photographing them\, turning his images into ephemeral encounters with lost environments.

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U nifying these important works\, Dusseldorf Photography promises to bring the Kunstakademie Dü\;sseldorf&rsquo\;s distinctive photographic vision to life.

DTEND:20151003 DTSTAMP:20150803T213611 DTSTART:20150904 GEO:51.5124884;-0.1461211 LOCATION:Ben Brown Fine Arts Ltd\,12 Brook's Mews \nLondon\, W1K 4DG SEQUENCE:0 SUMMARY:Dusseldorf Photography: Bernd & Hilla Becher and Beyond\, Thomas De mand\, Elger Esser\, Andreas Gursky\, Candida Höfer\, Axel Hütte\, Thomas R uff\, Thomas Struth\, Bernd & Hilla Becher UID:391607 END:VEVENT BEGIN:VEVENT DESCRIPTION:

'Pay No Attention To That Man Behind The Curtain'&n bsp\;opens next week at Blain|Southern. Celebrating the wealth of emerging artistic talent within the gallery\, the exhibition features nine artists w ho lend their considerable expertise to the gallery's daily operations whil st developing their own artistic careers. The breadth of work on show inclu des textiles\, painting\, illustration\, sculpture and conceptual pieces. M any of the artists are alumni of prestigious art schools\, with impressive CVs that feature renowned residencies\, awards\, scholarships and criticall y acclaimed exhibitions.

DTEND:20150808 DTSTAMP:20150803T213611 DTSTART:20150804 GEO:51.5138885;-0.1433184 LOCATION:Blain|Southern - London Hanover Square\,4 Hanover Square \nLondon \, W1S 1BP SEQUENCE:0 SUMMARY:'Pay No Attention To That Man Behind The Curtain'\, Benjamin Brett\ , Mark Couzens\, Jamie George\, Jonny Green\, Ben Jamie\, Deklan Kilfeather \, Jonathan Kipps\, Leon Matis Robin Monies\, Ian Segrave UID:391468 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150803T213611 DTSTART:180000 GEO:51.5138885;-0.1433184 LOCATION:Blain|Southern - London Hanover Square\,4 Hanover Square \nLondon \, W1S 1BP SEQUENCE:0 SUMMARY:'Pay No Attention To That Man Behind The Curtain'\, Benjamin Brett\ , Mark Couzens\, Jamie George\, Jonny Green\, Ben Jamie\, Deklan Kilfeather \, Jonathan Kipps\, Leon Matis Robin Monies\, Ian Segrave UID:391469 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Adam Broomberg &\; Oliver Ch anarin&rsquo\;s site-specific work for fig-2 interrogates the landscape that surrounds the ICA Studio\, incorporating the Mall\, Downing Street\, Horse Guards Parade and Buckingham Palace\; an area characterised by daily milit ary parades and other displays of state power. \;Broomberg &\; Chana rin have invited a bouffon or &lsquo\;Dark Clown&rsquo\; to respond to this highly militarised environment. The figure of the bouffon\, originated in m edieval times and was used as a term to describe someone ostracised from so ciety and relegated to the margins of the city &ndash\; apart from one day of the year\, when he or she was invited to the Royal Court with explicit p ermission to ridicule the authorities. \;For one week Broomberg &\; Chanarin will transform the fig-2 premises into a &lsquo\;green screen&rsquo \; studio for the bouffon to inhabit. Her grotesque and vulgar presence sug gests a counterpoint to the military codes of discipline and hierarchical o rder on display in the surrounding streets. The live performance\, consisti ng of slapstick routines and gallows humour\, will take place during the op ening event and \;on Thursday \;evening\, simultaneously merging wi th video footage of the changing of the guards and other military ceremonie s. The bouffon will be played \;by Hannah Ringham\, and the performance will be accompanied by a raucous soundtrack\, composed by drummer Kid Mill ions. Please book your tickets for the \;Thursday \;performance&nbs p\;here.

DTEND:20150809 DTSTAMP:20150803T213611 DTSTART:20150803 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:31/50 Broomberg & Chanarin UID:391464 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150803T213611 DTSTART:180000 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:31/50 Broomberg & Chanarin UID:391465 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Concentrating on text as the ma in material of her production\, Anna Barham furthers her ongoing investigat ion into the dichotomy of meaning and its translation as various codes - al phabet\, sound\, and image. Barham&rsquo\;s project for fig-2 bases its structure on her previous live production r eading groups in which malleable interpretations of a selected text are cre ated and activated by the participants&rsquo\; \;voices and speech to text software. For fig-2 the process is s tretched across the duration of a week where the group exists as a series o f encounters rather than a simultaneous presence: Every day different inter pretations generated the previous day will be provided to each visitor to c hoose from and to add a new translation of the text by voicing their select ed piece. Barham addresses the unruly potential of meaning and the active r ole of the viewer / reader by setting up complex feedback loops between hum an and computer processes. Evoking century-old tendencies towards stepping out of meaning production in a language\, her work embodies the intentions of Dadaists\, and finds a paradoxical freedom in Wittgenstein&rsquo\; s demarcation of human thought within language .

DTEND:20150802 DTSTAMP:20150803T213611 DTSTART:20150727 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:30/50 Anna Barham UID:391462 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150803T213611 DTSTART:180000 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:30/50 Anna Barham UID:391463 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151003 DTSTAMP:20150803T213611 DTSTART:20150904 GEO:51.5249699;-0.0943618 LOCATION:Stuart Shave/Modern Art\,4-8 Helmet Row \nLondon\, EC1V 3QJ SEQUENCE:0 SUMMARY:Kneed a Sea Ware Groin\, Torey Thornton UID:391376 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150803T213611 DTSTART:180000 GEO:51.5249699;-0.0943618 LOCATION:Stuart Shave/Modern Art\,4-8 Helmet Row \nLondon\, EC1V 3QJ SEQUENCE:0 SUMMARY:Kneed a Sea Ware Groin\, Torey Thornton UID:391377 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This October\, StolenSpace pre sents the street art event of the year. For the first time Shepard Fairey\, Dface\, Ben Eine\, Word To Mother\, Sickboy and Viktor Vautier unite in an explosive group show\, offering London an alternative kind of Art Fair.

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These hard-hitters of the urban art sce ne are taking over: no rules\, no restrictions\, no theme\, no inhibitions. Anti-Freeze needs to be seen to be believed.

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Collector/buyer enquiries to info@stolenspace.com

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Press enquiries to katypark@antifreezelndn.com

DTEND:20151029 DTSTAMP:20150803T213611 DTSTART:20151001 GEO:51.5242635;-0.0758062 LOCATION:Londonewcastle Project Space\,28 Redchurch Street \nLondon\, E2 7D P SEQUENCE:0 SUMMARY:Anti Freeze by Katy Park\, Shepard Fairey\, Ben Eine\, Word To Moth er\, SICKBOY\, Viktor Vautier\, D*Face UID:391375 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151024 DTSTAMP:20150803T213611 DTSTART:20150911 GEO:51.5242313;-0.0738117 LOCATION:Hales Gallery\,7 Bethnal Green Road Tea Building\nLondon\, E1 6LA SEQUENCE:0 SUMMARY:The Poured Paintings\, Frank Bowling UID:391371 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20150803T213611 DTSTART:180000 GEO:51.5242313;-0.0738117 LOCATION:Hales Gallery\,7 Bethnal Green Road Tea Building\nLondon\, E1 6LA SEQUENCE:0 SUMMARY:The Poured Paintings\, Frank Bowling UID:391372 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In August 2015 H ales Gallery London is delighted to invite Choreographer and Director Holly Blakey to present Some Greater Class \, a newly imagined live performance work exploring the complexities and co ntradictions of contemporary performance and its context. Conceived as a si te responsive work\, Some Greater Class sees Blakey collaborate with teams of dancers\, musicians\, videographer s and producers to realise the work. Having worked with multiple galleries and artists in the past\, this new piece will mark Blakey&rsquo\;s first so lo presence in this context. Some Greater Class is generously supported by the Arts Council\, England.

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Blakey&rsquo\;s work deeply explores the natu re of movement\; the way bodies explore experience\, connectivity and envir onment. Often directing her own work as well as choreographing\, she develo ps particular frameworks around the experiences she creates\, working with dancers\, their movement and music to explore a variety of associations. Th rough this way of working Blakey is able to define the space between audien ce and performer as a shared field of intersecting relationships. Some Greater Class will operate through a sustained physical connection\, e mphasising the relationship between artist\, audience and musician. During the performance\, the dancers will respond to one another as well as the ar chitecture and acoustics of the gallery through choreographed movements and specific interactions\, thus integrating the space into the performative e xperience.

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In the current era of &ls quo\;cultural capitalism&rsquo\;\, revising the complex and contradictory r elationship between &lsquo\;High Art&rsquo\; and pop culture is relevant in attempting to comprehend social conventions of our times. Working in both the non-profit and commercial fields\, Blakey has formed a particular inter est in this conversation. In using the concept of a live pop music video as a context\, Some Greater Class has a tool to explore these social constructs\, inspiring a debate about the different value systems and expe ctations in the two\, often separated yet not wholly dissimilar\, worlds. W ith consumer culture today\, more than ever\, porous and interconnected\, B lakey wants to challenge the idea of democratic accessibility in the art wo rld. Using the sexualised\, transgressive and youthful body as a visual mar ker for the consumerism and consumption core to the popular/mass market\, B lakey plants a recognisable symbol in this unlikely context\, confronting t he audience with an interplay between flesh\, form and motion\, exploring s ocial understanding and recognition through this dynamically unfolding expe rience.

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Integ ral collaborators to Some Greater Class< strong> are renowned musicians Gwilym Gold and Darkstar who will incorporate live music into the work. Some Greater Class is an approxima tely 1 hour long performance.

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Tickets are free however booking is essential. \;To book your ticket please click \;here.

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 \;7pm and 8:45pm

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About Holly Blakey

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Holly Blakey (b. 1987) is a director and choreographer. Born in North Yorkshire (North of England) and now based in London\, Blakey &rsquo\;s recent work has been for camera\, globally working with directors \, artists and musicians from the United States\, Europe and Asia.

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Previous collaborations include her work with renowned young British artist Hannah Perry in 2014 on Horoscopes (D&eac ute\;jà\; vu)\, a video and dance based performance work that pr emiered at London&rsquo\;s Serpentine Gallery. Scored alongside Mica Levi a nd Lucy Railton\, it marked the first time that the gallery had exhibited d ance. The collaboration returned in January 2015 for a one-off performance at London&rsquo\;s Boiler Room\, Hackney. In 2014 Blakey was commi ssioned alongside artist Phoebe Davies to create a brand new participatory performance that took place on 6th February at the ICIA in Bath\, Inter lude. An exploration of space and social frameworks within public gath erings\, the work interacted with up to thirty untrained members of the pub lic.

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Recent commercial credits include directing mus ic videos for Gwilym Gold and Tourist and choreographing videos for the lik es of Jessie Ware\, Jon Hopkins\, Young Fathers\, Lianne La Havas\, Ellie G oulding\, Chase &\; Status and Jungle.

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World-renowned and emerging as one of the UK&rsquo\;s most exciting dir ector/choreographers\, Blakey is fast establishing herself as one of the ke y figures in contemporary performance.

DTEND:210000 DTSTAMP:20150803T213611 DTSTART:190000 GEO:51.5242313;-0.0738117 LOCATION:Hales Gallery\,7 Bethnal Green Road Tea Building\nLondon\, E1 6LA SEQUENCE:0 SUMMARY:Some Greater Class (performance)\, Holly Blakey UID:391370 END:VEVENT END:VCALENDAR