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

University of Westminster - BA (hons.) Mixed Media Fine Art Degree show 2015

&ldquo\;NAMES&rdquo\;

PRIVATE VIEW 2 ND JUNE 6:30-8:30PM
AMBIKA P3\; UNIVERSITY OF WESTMINSTER\; 35 Maryleb one Road\, London NW1 5LS (entrance through gate at right hand side of buil ding)

FREE DRINKS

AFTERPARTY AT &lsquo\;THE GLOBE&rsq uo\; PUB ON MARYLEBONE ROAD

EXHIBITION OPEN TO THE PUBLIC 30 MAY &ndash\; 4 JUNE\; 11:00AM &ndash\; 6:00PM DAILY (enter through main univer sity complex)

We are pleased to invite you to the Private View e vent for the BA (hons.) Mixed Media Fine Art end of Degree exhibition at th e University of Westminster\; &ldquo\;NAMES&rdquo\; at Ambika P3\, Marylebo ne Road in June 2015. Ambika P3 is one of the largest exhibition spaces in central London at 14000 sq. ft. Our aim is to make the exhibition an ambiti ous and thought-provoking presentation of our art practices across various media\, which have developed over three years of study and practical engage ment. The exhibition will present the culmination of three years&rsquo\; ha rd work and will feature 44 talented young graduating artists. Due to the m ixed media nature of the course\, the show will feature work across a varie ty of creative disciplines and mediums\; Westminster students continually s trive to push the boundaries of contemporary art practice and self-expressi on. \;
BA (Hons) Mixed Media Fine Art is a 3 year\, full time degr ee course that culminates in a final exhibition featuring a body of work by each graduating artist. With the show fast approaching\, planning\, organi sation and fundraising are now in full swing\; the show is an exciting proj ect for us and provides both closure and a chance to exhibit our work in a professional\, ambitiously scaled environment. &ldquo\;Names&rdquo\; will b ridge the gap between the study of fine-art practice and our future careers as artists. \;

For a chance to support the show financially by donating towards exhibition costs please visit:

https://www.kickstarter.com/ projects/1674261216/westminster-ba-fine-art-degree-show-2015-names


More Information:

www.mixedmediafineart.com
www.westminster.ac.u k
ww w.p3exhibitions.com

DTEND:20150603 DTSTAMP:20150504T030439 DTSTART:20150530 GEO:51.5219649;-0.1543792 LOCATION:Ambika P3\,University of Westminster 35 Marylebone Road\nLondon\, NW1 5LS SEQUENCE:0 SUMMARY:Westminster Fine Art Degree show 2015\, Charlie Billingham\, Kimber ley Beach\, Shikara Allen\, Stephanie Boreham\, Helena Collins\, Pascal Col man\, Jade Conneely\, Declan Driver\, Francis Dulan Zames\, Geraldine Ferra ris\, Sarah Gaafar\, Hattie Gibson\, Johnathan Gillespie\, Dan Golton\, Geo rgios Greekalogerakis\, Amie Griffin\, Rebecca Harris\, Katy Harrison-Taylo r\, Mamon Hawkins\, Elaine Hell\, Hana Hindley\, Shelana Hodge\, Daisy Hull \, Humaira Hussain\, Iga\, JK\, Jack Kitchen\, Evie Knight-Gorham\, Zarina Kostelman\, Thomas Line\, Alexandra Linfoot\, Orla Lyons\, Nat Matthews\, N atasha Menda\, Kirsty Naylor\, Maria Rodrigues\, Jamie M Shaw\, Jason Tessi er\, Georgia Thompson\, Vincent Trijard-Caddy\, Sacha James Vinson\, Sarah Walsh\, Sophie Watkins\, Alice Wyatt UID:382542 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20150504T030439 DTSTART:183000 GEO:51.5219649;-0.1543792 LOCATION:Ambika P3\,University of Westminster 35 Marylebone Road\nLondon\, NW1 5LS SEQUENCE:0 SUMMARY:Westminster Fine Art Degree show 2015\, Shikara Allen\, Kimberley B each\, Charlie Billingham\, Stephanie Boreham\, Helena Collins\, Pascal Col man\, Jade Conneely\, Declan Driver\, Geraldine Ferraris\, Sarah Gaafar\, H attie Gibson\, Johnathan Gillespie\, Dan Golton\, Georgios Greekalogerakis\ , Amie Griffin\, Rebecca Harris\, Katy Harrison-Taylor\, Mamon Hawkins\, El aine Hell\, Hana Hindley\, Shelana Hodge\, Daisy Hull\, Humaira Hussain\, I ga\, JK\, Jack Kitchen\, Evie Knight-Gorham\, Zarina Kostelman\, Thomas Lin e\, Alexandra Linfoot\, Orla Lyons\, Nat Matthews\, Natasha Menda\, Kirsty Naylor\, Maria Rodrigues\, Jamie M Shaw\, Jason Tessier\, Georgia Thompson\ , Vincent Trijard-Caddy\, Sacha James Vinson\, Sarah Walsh\, Sophie Watkins \, Alice Wyatt\, Francis Dulan Zames UID:382543 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cross-sensory perception quick ens and multiplies in \;Smell of First Snow\, Shirazeh Houshia ry&rsquo\;s eighth exhibition at Lisson Gallery. Through painting\, drawing and sculpture\, Houshiary approaches the intangible and evanescent\, artic ulating a metaphysical reality that lies beyond mere form and surface.

A diaphanous mesh of pencilled words traces its way across Houshiary &rsquo\;s canvases like spiralling strands of DNA. Each word is precisely w ritten yet cumulatively becomes illegible\, individual meanings giving way to vibrations that invoke a plethora of non-verbal associations. Migratory currents\, the minute structures of living matter\, shifting atmospheres an d the whorls of fingerprints are simultaneously summoned in the written top ographies that swirl and crystallise across the picture surface\, conveying turbulent energies and the processes of the universe.

In the va st central diptych\, \;A Deluge \;(2015)\, a tissue formed of innumerable tiny words and powdered cobalt and violet pigments form a f ine tracery evocative of the muted luminosity of a clouded sky. The monumen tal structure of the image\, immersing the viewer in its sea of meticulousl y organised atoms\, is near symmetrical while suggesting endless flux. Tele scoping biological and cosmic scales\, it grants a glimpse of infinity with in the limits of its dual panels.

Smaller works such as \;Zero \;and \;Seed \;(both 2014) likewise evince a protean energy. Proceeding from the binary starting point of a black or white aquacryl ground\, these paintings possess a numinous quality\, their teeming eddies of words being inscribed with precision yet feeling as thoug h they arrived pre-formed &mdash\; as organic as language\, as effortless a nd essential as breath. Describing what is known rather than seen\, felt vi a overlapping senses and via memory\, Houshiary&rsquo\;s canvases are manif estations of mindfulness in which the artist&rsquo\;s touch translates into being.

Accompanying the paintings are sculptures made this year . Two wall-based works\, \;Allegory of Sight \;and \;< em>Allegory of Sound\, explicitly strive after synaesthesia. Resemblin g dancing ribbons or darting wavelengths\, these cast stainless steel sculp tures are coated in dense black and evanescent white paint respectively\, c reating a dialectical evocation of these vital senses. Lit from above and a ttached to the wall\, they traverse not only between two- and three-dimensi onality\, but also between the physical and immaterial worlds\, throwing sh adows whose echoing delineations form a continuation of the works.

DTEND:20150704 DTSTAMP:20150504T030439 DTSTART:20150522 GEO:51.5209651;-0.1695948 LOCATION:Lisson Gallery\,29 and 52-54 Bell Street \nLondon\, NW1 5DA SEQUENCE:0 SUMMARY:Smell of First Snow\, Shirazeh Houshiary UID:382299 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150504T030439 DTSTART:180000 GEO:51.5209651;-0.1695948 LOCATION:Lisson Gallery\,29 and 52-54 Bell Street \nLondon\, NW1 5DA SEQUENCE:0 SUMMARY:Smell of First Snow\, Shirazeh Houshiary UID:382300 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;Perhaps innate\, these structures derive from their own anteriorities or interiorities\, however you wish&hellip\; They are only what they know how to be.&rdquo\; Sergio Ca margo

Lisson Gallery presents a solo show of Brazilian sculptor Sergio Camargo (1930-90)\, his first in London for over 30 years. Best know n in his own country and internationally for wall-based reliefs\, public sc ulptures and architectural commissions\, this exhibition focuses on Camargo &rsquo\;s works in white and black marble (má\;rmore)\, incl uding small-scale tabletop works and large freestanding pieces. Simultaneou sly exploring rationality and chaos\, his characteristic three-dimensional constructions of geometric shapes are governed by a self-imposed rigour in regards to colour\, material and form. Although distinctly minimalist in or der and means\, these elegant objects &ndash\; assembled from cylindrical\, cuboid and ovoid motifs &ndash\; are equally generous and expansive in the ir study of volume\, light and space.

Camargo worked with master craftsmen in France and Italy to achieve his desired effects in marble\, e mploying the contrasting shades of either the milky-white\, un-veined Carra ra or the pitch-black Belgian stone. Despite Camargo&rsquo\;s conceptual an d geometric precision &ndash\; progressing from idea to drawing\, then from maquette to the final work &ndash\; there are obvious organic qualities to the repeating\, projecting forms\, including undulating and serpentine wav e-like curves\, as well as the bodily lean encountered in a tall upright st ructure. Even the elegantly terraced\, planar faç\;ades of the archit ectonic pieces suggest an inherent rhythm or an internal cadence to the mar ble works that belies their solid\, polished exteriors.

Artistic ally\, Camargo has often been linked with either the Neo-Concrete construct ivism or Op Art kineticism of Brazilian colleagues such as Lygia Clark\, Mi ra Schendel and Hé\;lio Oiticica (a trio he introduced to Signals Gal lery in London\, after he showed there himself in 1964)\, but he was never clearly aligned with any one movement. Consequently\, Camargo stands apart from many of his contemporaries\, although he found a kindred spirit and a frequent collaborator in the father figure of Brazilian modernist architect ure\, Oscar Niemeyer &ndash\; for whose Foreign Ministry building in Bras&i acute\;lia (1965-67) he produced a 25-metre long wall composed of jagged\, angular protrusions. Camargo made connections beyond Brazil early on in his career\, encountering the likes of Lucio Fontana\, Constantin Brancusi\, H ans Arp and Henri Laurens among others\, while internationally his pared-do wn practice mirrored those of Sol LeWitt and Robert Ryman in America.

This exhibition has been conceived in association with the artist&rsq uo\;s estate and Galeria Raquel Arnaud\, Sã\;o Paulo.

About the artist

Hailed as one of Brazil&rsquo\;s g reatest sculptors\, Sergio Camargo gained renown for his modular geometric constructions\, assembled from cuboid and cylindrical forms in wood\, terra cotta\, stone and marble. Using angled sections cut from dowel rods\, Camar go began making monochromatic collages in sharp relief\, the painted white surfaces intermittently disrupted through the interjections of shadow and l ine. While he saw colour as decoration and figuration as another barrier to understanding the formal and abstract relationships he was creating\, ther e is an organic\, almost molecular purity to Camargo&rsquo\;s non-referenti al structures. He said of this essential sense of design that\, &ldquo\;The artist works to grasp a truth he knows intuitively. This cognitive process produces the works.&rdquo\;

Sergio Camargo (1930-1990) was born in Rio de Janeiro and studied at the Academia Altamira in Buenos Aires\, b efore attending the Sorbonne in Paris\, under the tutelage of Gaston Bachel ard. After a period of producing bronze figures\, he began working with abs traction in the early 1950s and produced the first of his emblematic relief s (Relevos) in 1963 after moving his studio from Brazil to France\, where h e remained until 1974. Camargo achieved international recognition at the Ve nice Biennale (1966 and 1982) and Documenta IV (1968). He was awarded the I nternational Sculpture Prize at the 1963 Paris Biennale and the same honour at the VII Bienal de Sã\;o Paulo in 1965. He completed several works for public spaces\, among these the structural wall for the Ministry of Fo reign Relations Palace in Brasí\;lia and the Homage to Brancusi colum n for the College of Medicine in Bordeaux\, France. \;

DTEND:20150704 DTSTAMP:20150504T030439 DTSTART:20150522 GEO:51.5209651;-0.1695948 LOCATION:Lisson Gallery\,29 and 52-54 Bell Street \nLondon\, NW1 5DA SEQUENCE:0 SUMMARY:Mármore\, Sérgio Camargo UID:382297 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150504T030439 DTSTART:180000 GEO:51.5209651;-0.1695948 LOCATION:Lisson Gallery\,29 and 52-54 Bell Street \nLondon\, NW1 5DA SEQUENCE:0 SUMMARY:Mármore\, Sérgio Camargo UID:382298 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150712 DTSTAMP:20150504T030439 DTSTART:20150522 GEO:51.5248993;-0.0555948 LOCATION:Laura Bartlett Gallery\,4 Herald Street \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:Solo Exhibition\, Alex Olson UID:382295 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150504T030439 DTSTART:180000 GEO:51.5248993;-0.0555948 LOCATION:Laura Bartlett Gallery\,4 Herald Street \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:Solo Exhibition\, Alex Olson UID:382296 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A.P.T&rsquo\;s two CREEKSIDE&n bsp\;OPEN \;exhibitions are a snapshot of the breadth and diversity of contemporary visual art in the UK today. \;Lisa Milroy and Richard Deacon have independently selected recent wor k by 113 artists from one anonymous submission for two shows which will be held at the A.P.T Gallery\, Deptford in May and June 2015.

The f irst exhibition has been selected by Lisa Milroy and includes work by sixty three artists. \;

A.P.T set up the CREEKSIDE OPEN in 2005 a nd over the past ten years it has become one of the UK's foremost open comp etitions for visual artists.

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CREEKSIDE OPEN 2015 selected by Lisa Milroy \;

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Prize-giving and Opening Event \; \; | \; Saturday 9 May 2015 at 3pm

DTEND:20150531 DTSTAMP:20150504T030439 DTSTART:20150507 GEO:51.4770661;-0.021002 LOCATION:APT Gallery\,Harold Wharf 6 Creekside\, Deptford\nLondon\, SE8 4SA SEQUENCE:0 SUMMARY:Creekside Open 2015\, Aglaé Bassens\, Tristan Barlow\, Amelia Barra tt\, Dominic Beattie\, Jenny Blanchard\, Jane Bolden\, Allan Boston\, Malin a Busch\, John Butterworth\, Sarah Cameron\, Alex Chalmers\, Michael Clark\ , Rose Davey\, Tania Denton\, Claire Dorsett\, Charlie Duck\, Yvonne Feng\, Robbie Fife\, Anta Germane\, Tricia Gillman\, Lyndsey Gilmour\, Janine Gol dsworthy\, Steph Goodger\, Alexandra Harley\, Jane Hayes Greenwood\, ADAM H ENNESSEY\, Ed Hill\, Nicky Hirst\, Geoff Hodgson\, James Kelly\, Vicky Kim\ , Alec Kronacker\, Tamiko Kusuhara\, Michel Logan\, Jessie Makinson\, Julia Manheim\, Guy Marshall-Brown\, Nigel Massey\, Duncan McKellar\, Matt Morri s\, Doireann Ni Ghrioghair\, Paul Peden\, Sarah Pettitt\, Anna Reading & Ju stine Melford Colegate\, Annika Reed\, Miranda Rhys\, Judith Rooze\, Beau R ouse\, Kate Russo\, Daniela Sarigu\, Laura Smith\, Agnieszka Stone\, Mircea Teleaga\, Rhys Thomas\, Corinna Till\, Helen Turner\, Elisenda Vila\, John Wallbank\, Nicole Weisz\, Eleanor J Wright\, William Wright\, Guimi You\, Holly Zandbergen UID:382291 END:VEVENT BEGIN:VEVENT DTEND:170000 DTSTAMP:20150504T030439 DTSTART:150000 GEO:51.4770661;-0.021002 LOCATION:APT Gallery\,Harold Wharf 6 Creekside\, Deptford\nLondon\, SE8 4SA SEQUENCE:0 SUMMARY:Creekside Open 2015\, Tristan Barlow\, Amelia Barratt\, Aglaé Basse ns\, Dominic Beattie\, Jenny Blanchard\, Jane Bolden\, Allan Boston\, Malin a Busch\, John Butterworth\, Sarah Cameron\, Alex Chalmers\, Michael Clark\ , Anna Reading & Justine Melford Colegate\, Rose Davey\, Tania Denton\, Cla ire Dorsett\, Charlie Duck\, Yvonne Feng\, Robbie Fife\, Anta Germane\, Doi reann Ni Ghrioghair\, Tricia Gillman\, Lyndsey Gilmour\, Janine Goldsworthy \, Steph Goodger\, Jane Hayes Greenwood\, Alexandra Harley\, ADAM HENNESSEY \, Ed Hill\, Nicky Hirst\, Geoff Hodgson\, James Kelly\, Vicky Kim\, Alec K ronacker\, Tamiko Kusuhara\, Michel Logan\, Jessie Makinson\, Julia Manheim \, Guy Marshall-Brown\, Nigel Massey\, Duncan McKellar\, Matt Morris\, Paul Peden\, Sarah Pettitt\, Annika Reed\, Miranda Rhys\, Judith Rooze\, Beau R ouse\, Kate Russo\, Daniela Sarigu\, Laura Smith\, Agnieszka Stone\, Mircea Teleaga\, Rhys Thomas\, Corinna Till\, Helen Turner\, Elisenda Vila\, John Wallbank\, Nicole Weisz\, Eleanor J Wright\, William Wright\, Guimi You\, Holly Zandbergen UID:382292 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Kathryn Elkin&rsquo\;s new commission &lsquo\;The Elephants in the Room&rsquo\; merges modes of improvisation with immediacy of respons e in the form of a collaboration between the artist and the musician Okkyun g Lee. As a conversation point and a reference for Lee&rsquo\;s improvisati on they worked through the adagietto from Mahler&rsquo\;s 5th Symphony\, wh ich was famously used in Visconti&rsquo\;s masterpiece Death in Venice. Elk in worked with artist Lucy Parker shooting the film\, with cellist Richard T homas acting as a sound recordist. Parker and Thomas lend their own interpr etations of Elkin&rsquo\;s intentions in documenting the sessions with Lee\ , each negotiating their own role in the studio set-up. Lee&rsquo\;s canny understanding of Elkin&rsquo\;s interest in the score and its associations as well as her understanding of the dualism of her role in the film at hand - as composer and as performer/subject - makes for a broad range of collabo rative harmonies and dissonances. &lsquo\;The Elephants in The Room&rsquo\; \, features two performances entitled Mud\, a 22 minute vocal work that acc ompanies the video\, on the opening evening and on Sunday 10th. Please book your tickets for the Sunday performance \;here.

\n

Commissioned by fig-2 and \;CCA Glasgow. Generously supported by \;Outset Sc otland.

DTEND:20150510 DTSTAMP:20150504T030439 DTSTART:20150504 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:fig-2 18/50 Kathryn Elkin\, Kathryn Elkin UID:382205 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150504T030439 DTSTART:180000 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:fig-2 18/50 Kathryn Elkin\, Kathryn Elkin UID:382206 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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"There are 108 beads in the japa mala Hindus and Buddhists  \;use to meditate. This is a meditative series\, and it powerfully conjures India\, where at one time \, artists were often pilgrims\, even secular-minded ones&hellip\;&rdquo\;< /em>

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Kiran Desai

\n

Blain|Southern \;is del ighted to present an exhibition of new watercolours by \;Francesc o Clemente. Bringing together 108 works on paper\, all of which are del icately and intimately scaled\, \;Emblems of Transformation&nb sp\;continues the artist&rsquo\;s long-standing relationship with the mediu m of watercolour\, and also with India.

\n

Clemente first travelled to India in 1973\, \;and has lived and worked there at \;different ph ases of his life. \; Drawing from the contemplative traditions and  \;urban visual culture of India\, his practice is characterised by a syncre tic approach and the constant revitalisation of sources\, mediums and forma ts. The featured paintings include miniature elements chosen and suggested by Clemente\, and executed by a family of Indian miniaturist painters from a workshop from Rajasthan. This continues the artist&rsquo\;s long-history of working with Indian craftspeople.

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The 108 paintings in the suite reference the \;number of beads in the \;japa \;mala\ , commonly used by Hindus and Buddhists during prayer. Like the beads of th e mala the paintings are linked and flow seamlessly from one to the next. E ach is like a fragment of a whole and yet presents a space or context in it s own right\; they drift through the worlds of waking and sleeping\, becomi ng fluid and interchangeable as symbols and images of love\, war\, landscap e and personal mythology recur and interact.

\n

Alongside the often su mptuous colours of these watercolours &ndash\; where at times rainbows fill the picture plane\, offset by gold and silver fragments &ndash\; a small g roup of works are notably muted\, a monotone mood of rich sepia or ochre to nes recalling faded photographs. Here\, again\, one form flows into another and ambiguity surrounds the subjects. Fish and \;humans might be kissi ng or devouring one another\; a woman either penetrates the jaws of a monst er or possibly explores the cavity within its body.

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Francesco Cleme nte aims to reconcile all apparent oppositions - life and death\, earth and water\, light and dark\, internal and external - and in doing so he looks at timeless questions of the self. He is interested in the objectivity of i magination\, as opposed to sentimental fantasy\, and he takes a descriptive stance rather than a prescriptive one. His stories therefore stand as remi nders of the transformative power of art making and of the imagination.

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The exhibition is accompanied by a full-colour exhibition catalogue in cluding essays by the Man Booker Prize winning author Kiran Desai.

DTEND:20150627 DTSTAMP:20150504T030439 DTSTART:20150429 GEO:51.5138885;-0.1433184 LOCATION:Blain|Southern - London Hanover Square\,4 Hanover Square \nLondon \, W1S 1BP SEQUENCE:0 SUMMARY:Francesco Clemente| Emblems of Transformation\, Francesco Clemente UID:381978 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150504T030439 DTSTART:180000 GEO:51.5138885;-0.1433184 LOCATION:Blain|Southern - London Hanover Square\,4 Hanover Square \nLondon \, W1S 1BP SEQUENCE:0 SUMMARY:Francesco Clemente| Emblems of Transformation\, Francesco Clemente UID:381979 END:VEVENT END:VCALENDAR