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The first UK solo exhibition by Nasrin Tabatabai and Babak Afrassiabi\, produced in partnership with Delfina Foundation and co-commissioned with th e Museum of Contemporary Art Barcelona (MACBA). 

In 2004 Nasrin Tabatabai and Babak Afrassiabi foun ded Pages\, a collaboration that encompasses various joint projects and the production of a bilingual magazine in Farsi and English titled Pages. Their projects and the magazine's editorial approach are closely linke d\, both described by the artists as "attempts in articulating the indecisi ve space between art and its historical condition."
 
Their work has been featured in solo and group exhibitions internationally\, incl uding: Two Archives\, Tensta konsthall\, Stockholm (2013)\; Se ep\, MACBA\, Barcelona (2012)\; Prairies\, Les Ateliers de Re nnes Biennial\, Rennes (2012)\;ROUNDTABLE\, 9th Gwangju Biennale ( 2012)\; Untitled\, 12th Istanbul Biennial (2011)\; Two Archive s\, Badischer Kunstverein\, Karlsruhe (2011)\; Melanchotopia\ , Witte de With\, Rotterdam (2011)\; Trust\, Mediacity\, Seoul (20 10)\; The Isle\, MAK Center/ Schindler House\, Los Angeles (2009)\ ; Documenta 12\, magazine project\, Kassel (2007)\; and Como viver junt o\, 27th São Paulo Biennial (2006).
 
Tabatabai and Afr assiabi live in Rotterdam and work both in the Netherlands and Iran. Curren tly they are Advising Researchers fine art at the Jan Van Eyck Academy\, Ma astricht\, the Netherlands. For more information please see:www.pagesproject.net.

Nasrin Tabatabai and Babak Afrass iabi’s exhibition is supported by the Mondriaan Fund\, Amsterdam and the Ca spian Arts Foundation. 

Chisenhale Exhibitions Partner 2013: Fiorucci Art Trust

DTEND:20130512 DTSTAMP:20141030T150716 DTSTART:20130405 GEO:51.5330714;-0.0395103 LOCATION:Chisenhale Gallery\,64 Chisenhale Road \nLondon\, E3 5QZ SEQUENCE:0 SUMMARY:Seep\, Nasrin Tabatabai and Babak Afrassiabi UID:260554 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20141030T150716 DTSTART:183000 GEO:51.5330714;-0.0395103 LOCATION:Chisenhale Gallery\,64 Chisenhale Road \nLondon\, E3 5QZ SEQUENCE:0 SUMMARY:Seep\, Nasrin Tabatabai and Babak Afrassiabi UID:260555 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In October 2012\, Arena Homme Plus magazine hit the newsstands declaring "BOWIEVIRUS"\, with an iconic cover image created by David Sims\, a montage of rock'n'roll star Vince Taylor\, a fashion model\, and – what appeared to be - David Bowie. Within the pages of the magazine\, artists an d photographers referenced\, reworked and recontextualised the star\, reign iting Bowie's persona for a new audience. For the ICA\, BOWIEVIRUS will take physical form through the presentation of selected works and rei nterpretations by David Sims from this celebrated issue. This will be David Sims' first solo exhibition in the UK in fifteen years and will consist of a series of new works that further develop the images and ideas originally addressed in the issue.

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Having emerged as a key figure in the London cr eative scene of the early Nineties\, photographer David Sims has consistent ly pioneered in contemporary image making. Creating immaculate yet energeti c photographs that eschew simple narrative\, Sims works both within and far beyond the established fashion world tradition. From his editorial work fo r a variety of magazines past and present including Vogue\, Th e Face\, i-D and Arena Homme Plus\, to his idiosyncr atic advertising campaigns for a host of clients including Yohji Yamamoto\, Jil Sander\, Calvin Klein\, Alexander McQueen\, Balenciaga\, and Prada\, S ims' photography is proving to be equally a benchmark and a modern day enig ma\, appearing in the permanent collections at the Tate Modern and the Vict oria &\; Albert museum.

DTEND:20130512 DTSTAMP:20141030T150716 DTSTART:20130425 GEO:51.5055254;-0.1377582 LOCATION:Institute of Contemporary Arts (ICA)\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:BOWIEVIRUS\, David Sims UID:276106 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Laura Bartlett Gallery is pleased to inaugurate its new gallery space at 4 Herald Street in Bethnal Green with the first solo exhi bition in Europe by Los Angeles based artist\, Alex Olson.

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Bravo Zebra brings together a new suite of pa intings\, each entitled Proposal and numbered according to the ord er in which they were completed. Introducing these works is a small paintin g\, Press (December–February)\, which functions as a record of the making of the other works. Each day in the studio\, the artist would peal the plastic covering off her palette and apply it to the surface of this pa inting\, thereby notating some of the choices that went into the production of the subsequent paintings. The action of pressing against a surface and leaving a trace also stresses the exterior nature of these works and their use of the surface as a carrier of signs. The larger paintings\, all of whi ch are the same scale\, take the name Proposal in relation to the artist’s belief that all paintings function as proposals. Each of these pai ntings presents it’s own subtle visual conundrum\, choreographing the marks on its surface into signposts pointing in contradictory directions of inte rpretation. Olson favors “stock signage\,” meaning signs that are untethere d to a single specific meaning\, which encourage a desire to define them wh ile sidestepping a narrow read. For this particular exhibition\, Olson has employed patterns of dots\, lines and textures for their extreme familiarit y and simple ability to create an expectation of consistent repetition\, on ly to be subtly undone by such means as a glop of paint overflowing its bor ders or by a collision with an alternative interpretation of the same marks . Colour likewise comes into play through its ability to highlight\, muffle \, counter\, and clash. Olson creates her marks using highly indexical tool s\, such as trawls\, window scrapers\, palette knives\, plastic wrap\, and low grade brushes. She points to the surface itself through dragging and ru bbing paint into the face of the painting\, exposing each scratch and mark embedded within it. Collectively these graphic and material marks compete a gainst one another as they vie for the viewer’s attention through their con flicting signals. Viewed from different angles and distances\, the painting s yield new sets of information\, so that the encounter is one of negotiati ng and reevaluation. These works offer the viewer an unfolding experience o f visual signs that highlight the process by which we encounter\, translate and assign meaning to surface information on a daily basis.

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Alex Olson lives and works Los Angeles. She received a BA from Harvard University in 2 001\, and an MFA from CalArts in 2008. Recent exhibitions include Made in L A\, Hammer Museum\, Los Angeles\; Shane Campbell Gallery\, Chicago\; Lisa C ooley\, New York and the Museum of Contemporary Art\, Chicago. Olson is inc luded in the current exhibition Painter\, Painter at the Walker Art Center\ , Minneapolis. This is Alex Olson’s first solo exhibition with the gallery.

DTEND:20130512 DTSTAMP:20141030T150716 DTSTART:20130323 GEO:51.5248993;-0.0555948 LOCATION:Laura Bartlett Gallery\,4 Herald Street \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:Bravo Zebra\, Alex Olson UID:261093 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20141030T150716 DTSTART:180000 GEO:51.5248993;-0.0555948 LOCATION:Laura Bartlett Gallery\,4 Herald Street \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:Bravo Zebra\, Alex Olson UID:261094 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This selling fair features modern and contemporary art from the UK\, Eur ope\, Asia and a special exhibit from Australia. Artists include Matisse\, Miró\, Picasso and Chagall\, plus British 20th-century favourites such as H enry Moore\, David Hockney\, Mary Fedden\, together with many emerging arti sts and a display by RCA Printmaking students.

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TIMES : Thurs 11am-9pm\; Friday 11am-8pm\; Sat 11am-7pm\; Sun 11am-6pm\n

ADMISSION: £8

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2013 Exhibitors

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The Art Movement
Th e Art Stable
Artcast 21
Artists Of Russia
Artizan Edit ions
Askew Art
Boundary Gallery
Nicholas Bowlby
Lena Boyle Fine Art
Jenna Burlingham Fine Art
Marcus Campbel l Art Books
Michael Cane
Keith Chapman
The Contemporar y Fine Art Gallery\, Eton
The Court Gallery
Cricket Fine Art
The Cube Gallery
Dadbrook Gallery
De Parma
Envi e D'art
Fine Art Consultancy
Fine Art Escape
The Fine Art Partnership
French Art Studio
Genty Fine Art
Gray Modern &\; Contemporary Art
Dominic Guerrini
Hanga Ten
Simon Hilton
Hilton Fine Art
Rebecca Hossack Gallery
The Gallery At Ice
John Iddon Fine Art
Manya Igel Fine Art s Ltd
Katharine House Gallery
Dominic Kemp Modern British Pri nts
James Kinmont Fine Art
Stephen Lacey
Liberty Galle ry
Lilford Gallery
Lime Tree Gallery
Long &\; Ryle Ltd.
Duncan R Miller Fine Arts
Milne &\; Moller
Fre ya Mitton
Modina Gallery
Moncrieff-Bray Gallery
Morocc an Fine Art
Richard Nathanson
Oriel Fine Art
Panter &a mp\; Hall Ltd
Print Europe
Quantum Contemporary Art
Ra e-Smith Gallery
Red Raven Arts
Roe And Moore
The Russe ll Gallery
Vernissage
View Art Gallery
Wren Gallery

DTEND:20130512 DTSTAMP:20141030T150716 DTSTART:20130509 GEO:51.5011096;-0.1766949 LOCATION:Royal College of Art\,Kensington Gore \nLondon\, SW7 2EU SEQUENCE:0 SUMMARY:20/21 International Art Fair UID:271218 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20141030T150716 DTSTART:110000 GEO:51.5011096;-0.1766949 LOCATION:Royal College of Art\,Kensington Gore \nLondon\, SW7 2EU SEQUENCE:0 SUMMARY:20/21 International Art Fair UID:271219 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Los Angeles-ba sed artist Pae White merges art\, design\, craft and archi tecture through site-specific installations and individual works which defy our expectations of a variety of techniques and media. For her South Londo n Gallery exhibition she creates a mesmerising installation in which vast q uantities of black and purple yarn span and criss-cross the room to form a dense cloud of darkness which struggles to exist within the ethereality of the space. As visitors make their way into the work beneath the mesh of thr eads\, supergraphics spelling out the words TIGER TIGER and UNMATTERING gra dually emerge and dissolve depending on both the viewer's physical relation ship to them and the relative weight of the overall aesthetic experience. I nspired by the artist's recent bouts of insomnia and consequent reflection on the transience of our existence\, the installation also makes reference\ , through the colours of the yarn\, to the cover of Black Sabbath’s Mas ter of Reality album\, a copy of which she remembers having terrified her so much when she was a child that she had to hide it under her bed to b e able to sleep.

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In all her works\, Pae White responds very specifically\, if completely unpredictably\, to each space and situation in an intuitive and unique way\ , weaving together personal\, aesthetic and cultural references. At the Sou th London Gallery\, what she describes as the ‘other-worldliness’ of the hi gh-ceilinged exhibition hall\, its ‘heavenly condition’\, served as a trigg er for the creation of a work which would be in perceptual conflict with th e persistent ethereality of the space. Having made her first yarn installat ion incorporating supergraphics in Philadelphia in 2012\, White was also in tent on extending her interest in text and language. Her choice of the word s TIGER TIGER and UNMATTERING\, spelt out on a monumental scale\, play on t he capacity for fleeting ideas to take on overwhelming importance in the co urse of the night\, and on the relative insignificance of individual lives in the universal scheme of things. Legible only by entering and interacting with the space\, the words themselves are both physical and visual manifes tations of the fragility of matter\, as well as seeming to shout all the lo uder for being set amidst the muffled soundscape of the cocooning environme nt.

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Pae White’ s work is characterised by its diversity and the artist’s ability to develo p visually impressive responses to a range of contexts. Gallery installatio ns have included a shimmering sea of over-sized\, gold-lined popcorn kernel s suspended from fine threads to hover just above the floor\, huge tapestri es of photorealistic smoke plumes\, and room-filling mobiles of mirrored ge ometric shapes. In 2009 she responded to Miami’s architectural skyline with her own micro-development of temporary scaffolding structures\, made magic al through the interior illumination of their brightly coloured translucent walls\, whilst in 2008 an outdoor exercise park for dogs proved to be a po pular hit with dog owners at the Folkestone Triennial. For the 2009 Venice Biennale animals were again a preoccupation when White transformed a wareho use into an imagined haven for birds. Hanging beneath a ceiling of coloured acrylic thread\, a series of extraordinary seed-encrusted chandeliers impl ied the presence of birds\, periodically made audible by impersonators whis tling live in the space. 

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White has exhibited extensively across the USA and internationa lly over the past twenty years\, as well as undertaking high profile projec ts for the Venice Biennale in 2009 and Whitney Biennale in 2010\, and numer ous commissions including those for Transport for London\, the New Opera Ho use in Oslo and Berlin Brandenburg airport. Forthcoming solo shows include those at the Langen Foundation\, Neuss\, Germany (March-July 2013) and at M AK in Vienna\, Austria (Autumn 2013). 

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The exhibition is supported by Vicky Hughes an d John Smith\, and The Henry Moore Foundation. With additional thanks to gr eengrassi\, London.

DTEND:20130512 DTSTAMP:20141030T150716 DTSTART:20130313 GEO:51.4741311;-0.0794467 LOCATION:South London Gallery\,65 Peckham Road \nLondon\, SE5 8UH SEQUENCE:0 SUMMARY:Too Much Night\, Again\, Pae White UID:261087 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20141030T150716 DTSTART:183000 GEO:51.4741311;-0.0794467 LOCATION:South London Gallery\,65 Peckham Road \nLondon\, SE5 8UH SEQUENCE:0 SUMMARY:Too Much Night\, Again\, Pae White UID:262140 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Schwitters in Britain is the first major exhibition to examine the late work of Kurt Schwitters\, one of the major artist s of European Modernism. The exhibition focuses on his British period\, fro m his arrival in Britain as a refugee in 1940 until his death in Cumbria in 1948. Schwitters was forced to flee Germany when his work was condemned as ‘degenerate’ by Germany’s Nazi government and the show traces the impact o f exile on his work. It includes over 150 collages\, assemblages and sculpt ures many shown in the UK for the first time in over 30 years.

Schwitters was a significant figure in European Dadaism who invented the concept of Merz – ‘the combination\, for artistic purposes of all conceivable materials’. Whether those material s were string\, cotton wool or a pram wheel\, Schwitters considered them to be equal with paint. He is best known for his pioneering use of found obje cts and everyday materials in abstract collage\, installation\, poetry and performance. Schwitters’s time in Britain was quite extraordinary and conti nues to reverberate today\, with the influence he has exerted over artists such as Richard Hamilton\, Eduardo Paolozzi and Damien Hirst.
< br />Schwitters’s escape from Germany took him first to Norway\, where he boarded the last ship to leave the country before Nazi occupation. On arrival at the Scottish port of Leith\, he was d etained as an enemy alien. He was one of many German exiles\, including a s ignificant number of artists\, who were interned on the Isle of Man during World War Two. In the camp he participated in group exhibitions and gave po etry performances. On release in 1941 he became involved with the London ar t scene\, engaging with British artists and critics such as Ben Nicholson a nd Herbert Read. The latter described him as ‘the supreme master of the col lage’.

Exhibition highl ights include an early example of Schwitters’s unique concept of Merz in th e assemblage Merz Picture 46 A. The Skittle Picture 1921\ , the sculpture Untitled (Birchwood Sculpture) 1940 carved on his journey to Britain\, and his collaged travelling trunk. Schwitters’s collag es often incorporated fragments from packaging and newspapers reflecting Br itish life such as the London bus tickets and Bassetts Liquorice Allsorts w rappers used in Untitled (This is to Certify That) 1942. The exhib ition reunites a group of works shown in his 1944 London solo show at The M odern Art Gallery including the important assemblage Anything with a St one 1941–4.

In 1945 Schwitters relocated to the Lake District. Inspired by the rural Cumbrian landscape\, he began to incorporate natural objects into his work\, as show n in a group of small sculptures including Untitled (Opening Blossom) 1942– 5 which he considered to be among his finest British pieces. The move also culminated in the creation of his last great sculpture and instal lation\, the Merz Barn\, a continuation of the Hanover Merzbau\; an archite ctural construction considered to be one of the key lost works of European modernism. The exhibition concludes with an exploration of Schwitters’s las ting legacy through commissions by artists Adam Chodzko and Laure Prouvost made in collaboration with Grizedale Arts.

Schwitters in Britain is curated by Emma Chambers\, Curat or: Modern British Art\, Tate Britain and Karin Orchard\, Curator of Prints and Drawings\, Sprengel Museum Hannover. The exhibition is organised by Ta te Britain and the Sprengel Museum Hannover in cooperation with the Kurt un d Ernst Schwitters Stiftung\, Hannover. It will tour to the Sprengel Museum Hannover from 2 June to 25 August 2013.

DTEND:20130512 DTSTAMP:20141030T150716 DTSTART:20130130 GEO:51.4931052;-0.1251533 LOCATION:Tate Britain\,Millbank \nLondon\, SW1P 4RG SEQUENCE:0 SUMMARY:Schwitters in Britain\, Kurt Schwitters UID:249335 END:VEVENT BEGIN:VEVENT DTEND:180000 DTSTAMP:20141030T150716 DTSTART:100000 GEO:51.4931052;-0.1251533 LOCATION:Tate Britain\,Millbank \nLondon\, SW1P 4RG SEQUENCE:0 SUMMARY:Schwitters in Britain\, Kurt Schwitters UID:249336 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In 1926\, the German filmmaker Oskar Fi schinger pioneered one of the first immersive multimedia pe rformances using abstract films\, creating dynamic new possibilities for ci nema as an art form.

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Fischinger was a major figure in the development of filmic abstraction and ‘visual music’. Like László Moholy-Nagy\, who prese nted Fischinger’s work at the Bauhaus\, he developed a radical approach to abstraction working with light\, space\, time and movement. Using dazzling colour and experimental animation techniques including unique wax experimen ts\, Fischinger strove to push aside narrative and reduce cinema to pure pl ane\, scale\, motion\, rhythm and colour\, in search of the absolute.

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Fo llowing a period of early experiments with Hungarian composer Alexander Lás zló\, Fischinger devised multiple 35 mm projector performances\, which incl uded colour filters and slides. He later adopted the term Raumlichtkuns t (space-light-art) for these events\, which he described as ‘an intox ication by light from a thousand sources.’

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After emigrating to Hollywood in 1936\, Fischinger worked briefly in the studio system\, most notably cr eating designs for Walt Disney’s animated film Fantasia. This coll ision between the concerns of high abstraction and more popular forms is em blematic of Fischinger’s career\, which complicated the relationship betwee n the avant-garde and mass culture.

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This installation is a reconstructio n of Fischinger’s performances from around 1926 by the Center for Visual Mu sic\, Los Angeles. Using Fischinger’s original nitrate materials from the p eriod\, the newly restored 35 mm films have been transferred to HD and digi tally restored with added colour.

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Oskar Fischinger was born in Gelnhause n\, Germany in 1900. He emigrated to Los Angeles in 1936\, where he lived u ntil his death in 1967.

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Tate Modern display curated by Stuart Comer in a ssociation with Cindy Keefer\, archivist\, Center for Visual Music. Music C onsultant: Richard H. Brown\, Ph.D.

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Film restoration supported by an Avant-Garde Masters Grant\, funded by The Film Foundation\, administered b y The National Film Preservation Foundation (US).

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Thanks to: Ba rbara Fischinger\, The Fischinger Trust\, Cinemaculture\, Film Technology C o.\, Inc.\, Jörg Jewanski and William Moritz.

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DTEND:20130512 DTSTAMP:20141030T150716 DTSTART:20120601 GEO:51.5081675;-0.0951608 LOCATION:Tate Modern\,Bankside \nLondon\, SE1 9TG SEQUENCE:0 SUMMARY:OSKAR FISCHINGER\, Oskar Fischinger UID:231821 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Wallace Collection houses one of Britain’s most important collection s of paintings by the seventeenth-century Spanish artist\, Bartolomé Estebá n Murillo\, with eight masterpieces and several by his workshop and associa tes\, Francisco Meneses Osorio and Juan Simón Gutiérrez. They were all acqu ired by the 4th Marquess of Hertford\, and epitomise the ‘pleasing’ picture s he so favoured. This special display is timed to coincide with the exhibi tion\, Murillo and Justino de Neve. The Art of Friendship being he ld at the Dulwich Picture Gallery. It  reunites for the first time in over two hundred years the Wallace Collection paintings with a rarely-seen loan\ , which together formed part of one of his important cycles.

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Recently ma jor museums have begun to re-appraise Murillo\, who was much revered throug hout the eighteenth and early nineteenth century\, when his work was eagerl y bought by French and British connoisseurs. However\, from the mid ninetee nth century\, his fame began to decline culminating for many in the twentie th century view of his art as unfashionably sentimental\, an appropriate de coration for chocolate boxes. Recent books and exhibitions on the artist ha ve all helped to restore the painter’s reputation and cement his important position within the European Baroque.

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Murillo was equally famous for his paintings of both religious and everyday life\, but all of those purchased by the 4th Marquess were of religious subjects. In these devotional painti ngs Murillo powerfully communicates the human emotions of his subjects\, wh ile at the same time endowing them with great beauty and grace. Such scenes as the Annunciation and the Adoration are a fusion of earth and Heaven\, a powerful intermingling of grace and humanity.These simple but powerful wor ks convey a spiritual calm and wonder today\, just as they would have done in the turbulent times in which they were painted.

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With the ability to e ncourage the viewer to be inspired\, instructed\, and hopefully minded to e mulate his protagonists\, it is perhaps little surprise that many of the pa intings soon ended up in a Counter-Reformation church. In 1674 the merchant Giovanni Bielato bequeathed a number of paintings by Murillo to the Genoes e Capuchin church. Six of these were purchased in 1805 for the agent Willia m Buchanan and brought to London\, three ultimately coming into the collect ion of the 4th Marquess of Hertford. In one room of the exhibition\, they w ill be reunited with the only other painting from Buchanan’s six that has r emained in Britain\, thanks to the generous loan of the Rest on the Fli ght into Egypt from Wrotham Park. Displayed once more together\, viewe rs will appreciate something of their original emotional impact.

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Much of the undoubted appeal of these paintings is their masterful fusion of the d epiction of divine grace and earthly realism. Murillo’s expressive techniqu e and use of warm\, delicate colour create a subtle\, hazy effect of light and atmosphere. The freer style and warmer palette of Murillo’s late works shows his openness to the sfumato techniques associated with the V enetian\, north Italian and Flemish painters such as Titian\, Barocci\, and van Dyck. We hope that this exhibition will serve to further the understan ding and appreciation of Murillo as a key protagonist of Spain’s Golden Age .

DTEND:20130512 DTSTAMP:20141030T150716 DTSTART:20130206 GEO:51.5176926;-0.1531311 LOCATION:The Wallace Collection\,Hertford House Manchester Square \n London \, W1U 3BN SEQUENCE:0 SUMMARY:Murillo at the Wallace Collection: Painting of the Spanish Golden A ge\, Bartolome Esteban Murillo\, Francisco Meneses Osorio\, Juan Simón Guti érrez UID:261903 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Wilkinson Gallery is pleased to announce its third solo exhibition by Jimmy De Sana (1950 – 1980)\, focusing on   the colour photographs produced during the late 70s and early 80s. < /p>\n

De S ana made images rather than taking photographs. In the darkroom he enhanced colours and used solarisation  to create his own particular photographic l anguage. He played with the idea of the body as sculpture and the  sometime s extreme sexual imagery was informed by the punk scene of downtown New Yor k. The figures in the  photographs were his friends. He also used his own b ody in some of the images\, all of which were staged in his  home and studi o.

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His photographs begin within a suburban setting\, but one slowly infi ltrated with the sexuality and absurdity that  could only be found in a dec aying lower Manhattan. De Sana was influenced from a young age by the writi ngs of  William Burroughs (with whom he collaborated on the earlier Submiss ion series) an influence that dispatched the  beatific\, underground\, punk sensibilities and the eccentric\, perverse tone that came to define his ph otographs -the  graphic exposure and leaking discovery of licentiousness\, carried out within a suburban home. As Burroughs put it\,  “Look at these p ictures in Submission…My dear\, its all so Christian and medieval and gloom y.”

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Jimmy De Sana’s work is currently included in the exhibition\, G lam! The Performance of Style at Tate Liverpool  and This Will Hav e Been: Art\, Love &\; Politics in the 1980’s at The Museum of Cont emporary Art\, Chicago. Solo  exhibitions include\, Wilkinson Gallery (2008 and 2007)\, White Columns\, New York (2007)\, Pat Hearn Gallery\,  New Yor k (1997\, 1995\, 1988\, 1986)\, and Galerie Jablonka\, Cologne (1989). Grou p shows include This Will Have  Been: Art\, Love &\; Politics in the 1980’s\, The Institute of Contemporary Art\, Boston (2012-2013) and T he Walker  Art Centre\, Minneapolis (2012)\, Off the Wall: Part 1 – Thi rty Performative Actions\, Whitney Museum of American  Art\, New York (2010)\, Looking at Music: Side 2\, The Museum of Modern Art\, New York (2009)\, Eat the  Document\, curated by Dean Daderko\, Laris sa Goldston Gallery\, New York (2008)\, Blow Both of Us\, curated by  Shann on Ebner and Adam Putnam\, Participant Inc\, New York (2007)\, Erotopho bia\, Simon Watson Gallery\, New  York (1989)\, Staging The Self: photography 1840 -1985\, National Portrait Gallery\, London (1986)\, < em>New York\,  New Wave\, PS1\, New York (1981) and Times Square Show\ , New York (1980).

DTEND:20130512 DTSTAMP:20141030T150716 DTSTART:20130405 GEO:51.5345651;-0.0548183 LOCATION:Wilkinson Gallery\,50/58 Vyner Street \nLondon\, E2 9DQ SEQUENCE:0 SUMMARY:Suburban Color Sex Pictures\, Jimmy De Sana UID:266596 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20141030T150716 DTSTART:180000 GEO:51.5345651;-0.0548183 LOCATION:Wilkinson Gallery\,50/58 Vyner Street \nLondon\, E2 9DQ SEQUENCE:0 SUMMARY:Suburban Color Sex Pictures\, Jimmy De Sana UID:266597 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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An exhibition and auction of over 200 specially mad e drawings by an international line-up of artists.

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Now firmly established in the art world calendar Drawing Biennia l presents the latest developments in contemporary drawing and demonst rates the crucial role that drawing plays in contemporary art practices. Cu rated by Drawing Room directors\, over 200 artists are invited to make an o riginal drawing in any medium on an A4 sheet of paper.

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The artists also kindly donate their drawings to raise crucial funds for Drawing Room's prog ramme\, with the works available on our online auction site throughout the 4 weeks of the exhibition.

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Since 2003\, over 850 distinguished and emerg ing national and international artists have participated. Participating art ists include those who may not be know for their drawing and often their do nated drawing initiates a new body of work:

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I see the drawing room auction as a kind of commission\, and it's nice to go back to an existing series of works (I mean the nudes). This year a whole new set of pieces came out of resuming work on the nudes. So I should thank you. John Stezaker\, 2011< /p>\n

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I t was here that I first saw Anna Barham's drawing and was so intrigued\, I commissioned her to make a work. The fundraiser is great way to gain exposu re to young artists and forge relationships with them. Elisabetta Buon aiuto\, collector\, 2011

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From a starting price of £250\, the format of the silent auction means anyone can bid (either on line\, on the phone or in person) for an original work of art\, whether it is their a first ever purchase\, or an acquisitions for a major collection.

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Dr awing Biennial 2013 works will be available to view online from 10am T hursday 18 April\, join our mailing list to keep up to date on our biennial programme.

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Among the artists who are contributing  this year are\; Dav id Austen (UK)\, Andrea Bowers (US)\, Pavel Buchler (UK)\, Angela de la Cru z (UK)\, Marcel van Eeden (NL)\, Nogah Engler (IL)\, Geoffrey Farmer (C)\, Antony Gormley (UK)\, Anthea Hamilton (UK)\, Mona Hatoum (UK)\, Arturo Herr era (D)\, Susan Hiller (UK)\, Brian O'Doherty (US) Mateo Lopez (CO)\, David Musgrave (UK)\, Paul Noble (UK)\, Cornelia Parker (UK)\, Paula Rego (UK)\,  Tobias Rehberger (D)\, Bob &\; Roberta Smith (UK)\, Juliao Sarmento (P T)\, George Shaw (UK)\, Raqib Shaw (UK)\, Mark Wallinger (UK)\, Franz Erhar d Walther (D)\, Alison Wilding (UK) and many others.

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DTEND:20130515 DTSTAMP:20141030T150716 DTSTART:20130418 GEO:51.5354677;-0.0717938 LOCATION:Drawing Room\,12 Rich Estate Crimscott Street\nLondon\, SE1 5TE SEQUENCE:0 SUMMARY:Drawing Biennial 2013 \, Bob and Roberta Smith\, David Austen\, And rea Bowers\, Pavel Buchler\, Angela De La Cruz\, Marcel van Eeden\, Nogah E ngler\, Geoffrey Farmer\, Antony Gormley\, Anthea Hamilton\, Mona Hatoum\, Arturo Herrera\, Susan Hiller\, Brian O'Doherty\, Mateo Lopez\, David Musgr ave\, Paul Noble\, Cornelia Parker\, Paula Rego\, Tobias Rehberger\, Juliao Sarmento\, George Shaw\, Raqib Shaw\, Mark Wallinger\, Franz Erhard Walthe r\, Alison Wilding UID:267746 END:VEVENT BEGIN:VEVENT DESCRIPTION:

 

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Lazarides Rathbone will open their doors on the 19th April 2013 with a new exhibition entitled Fresh Paint< /b>. The exhibition will feature a selection of artists whose work has capt ured the eye of gallery owner Steve Lazarides. Displaying paintings by emer ging and established artists\, the artists selected demonstrate the range a nd depth of contemporary practice bringing together The Outsiders veterans Brett Amory and BORF alongside guest artists Sandow Birk\, Katrin Fridriks\ , Bill Dunlap\, Frank Laws and the Miaz Brothers. 

DTEND:20130516 DTSTAMP:20141030T150716 DTSTART:20130419 GEO:51.5169912;-0.1332548 LOCATION:Lazarides Rathbone Place\,11 Rathbone Place \nLondon \, W1T 1HR SEQUENCE:0 SUMMARY:Fresh Paint\, Brett Amory\, Sandow Birk\, Borf\, miaz brothers\, Bi ll Dunlap\, Katrin Fridriks\, Frank Laws UID:269240 END:VEVENT BEGIN:VEVENT DTEND:190000 DTSTAMP:20141030T150716 DTSTART:110000 GEO:51.5169912;-0.1332548 LOCATION:Lazarides Rathbone Place\,11 Rathbone Place \nLondon \, W1T 1HR SEQUENCE:0 SUMMARY:Fresh Paint\, Brett Amory\, Sandow Birk\, Borf\, miaz brothers\, Bi ll Dunlap\, Katrin Fridriks\, Frank Laws UID:269241 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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"It's all abou t the immaterial... The paradox is that the immaterial must be created from material\, it must materialize\, which is what really counts: the autonomy of the thing itself."

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Fernanda Gomes\, 2013

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Alison Jacques Gallery is del ighted to present Brazilian artist Fernanda Gomes' first e xhibition at the gallery. This marks Gomes' first show in the UK since her solo exhibition at the Chisenhale Gallery in 1997 and comes a year before h er forthcoming museum solo show at the Ikon Gallery\, Birmingham.

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Employing the same premise as she chose for her recent São Paulo Biennial presentation\, Gomes is spending the weeks prior to the opening o f her exhibition\, making work and editing her practice in the gallery spac es. Building her work in situ\, Gomes's solo show will appropriate the exhi bition spaces as an extension of her studio.

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Gomes' work exists between painting and sculp ture\, avoiding categorization and blurring the boundaries between object a nd space\, light and shadow\, composition and dispersion. If the essential geometries of Fernanda Gomes' installations formally recall an earlier gene ration of Brazilian art - the modulated space works and matchbox structures of Lygia Clark or the Metaesquemas of Helio Oiticica - they also embody Al berto Burri's philosophy of 'truth to materials' exemplified in the Arte Po vera movement. Through Gomes' choice of materials\, be they found objects\, pieces of wood or natural materials such as gold and water\, she reference s the poetics of the immaterial and the relationship of form to a whole. Li ke the Russian Constructivist Kazimir Malevich\, Gomes addresses the dissol ution of planes in space and her use of white as the only artificial colour in her practice in part references the history of the monochrome. Employin g only the organic palette of the colours of existing objects\, or smearing white across their surfaces\, Gomes highlights the tangible properties of her objects while simultaneously making parts of them disappear.

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Fernanda Gomes (b. 1960\, Rio de Janeiro\, Brazil) recently participated in the São Paulo Biennial curated by Luis Perez-Oramas (2012) and the Rennes Biennial (2012). Recent solo exhibitions include Museu de C idade\, Lisbon (2012) and MAM\, Rio de Janeiro (2011). Previous museum show s include Museu de Arte Contemporânea de Serralves\, Porto (2006) and The C hisenhale Gallery (1997). Gomes' work has been acquired by many museums inc luding the Art Institute of Chicago\; Miami Art Museum\; Vancouver Art Gall ery\, Canada\; Centre Georges Pompidou\, Paris\; MAM\, Rio de Janeiro\; and Tate Modern\, London.

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In additio n to her solo show at the IKON Gallery\, Birmingham (2014)\, Gomes will hav e a solo show at the Centre International de l'art et du Paysage\, Vassiviè re (2013) and and will be included in the Istanbul Biennial (2013).< /p>\n

 

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Fernanda Gomes is represented by Galeria Luisa Strina\, Sao Paulo and Alison Jacques Gallery\, London.

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DTEND:20130517 DTSTAMP:20141030T150716 DTSTART:20130419 GEO:51.5175225;-0.1366877 LOCATION:Alison Jacques Gallery\,16-18 Berners Street \nLondon\, W1 SEQUENCE:0 SUMMARY:Solo Exhibition\, Fernanda Gomes UID:266581 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20141030T150716 DTSTART:180000 GEO:51.5175225;-0.1366877 LOCATION:Alison Jacques Gallery\,16-18 Berners Street \nLondon\, W1 SEQUENCE:0 SUMMARY:Solo Exhibition\, Fernanda Gomes UID:266582 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition Physical Exhaustion Increases Brain Glycogen Metabolism appears as a total coordinated image\; emulating branded space\, and using visual merchandising techniques such as colour matching and obje ct placement to reference commercial mechanisms of display.

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Georgie Nettell (born 1984 Bedford\, England) lives and works in London. She gradu ated from the Slade School of Fine Art\, BA\, London\, in 2009. Nettell rec ently presented a solo exhibition at Reena Spaulings Fine Art\, New York\, 2013. Other recent solo exhibitions include Voluntary Simplicity\, Glasgow\ , 2012\; Alternative Living\, Lima Zulu\, London\, 2012\; Luxotticca (with Gili Tal)\, Heit\, Berlin\, 2012\; Ultra\, Space Gallery\, London\, 2011\; Who are Old Forest (with Anna Rosen)\, Lima Zulu\, London\, 2010. Group exh ibitions include Goldbaumsteiger\, Heit\, Berlin\, 2012\; Ed Lehan\, Valent ina Liemur\, Georgie Nettell\, formalist sidewalk poetry club\, Miami\, 201 1\; L.A. Switzerland\, Night Gallery\, Los Angeles\, 2011\; BYTS\, Hertogen bosch\, Holland\, 2011.

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newultragroup are a luxury bag making compa ny founded in the late summer of 2012. They produce leather bags\, Ipad cas es\, phone cases\, and clutches\, which will be available online from the 2 5th of March 2013 via www.newultragroup.com. Prices start from £129

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Gili Tal (born 1983 Tel Aviv\, Israel) lives and works in Berlin. She grad uated from Goldsmiths University\, London\, in 2010 and from Camberwell Col lege of Arts\, London\, in 2006. Solo and two person exhibitions include Re al Pain for Real People\, Lima Zulu\, London\, 2013\; Luxottica\, Heit\, Be rlin\, with Georgie Nettell\, 2011\; The New Vegetarian\, ANDOR\, London\, 2011. Group projects include Goldbaumsteiger\, Heit\, Berlin\, 2012\; Lucy PDF TV\, Frieze Art Fair\, London\, 2011\; That's Entertainment\, Bold Tend encies 5\, London\, 2011\; Lucky PDF TV/Auto Italia Live\, London\, 2010\; Drinks\, The Peanut Factory\, London\, 2010\; Middlemarch\, AutoItalia Sout heast\, London\, 2009.

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Ellie de Verdier (born 1983 Uppsala\, Sweden ) lives and works in Berlin. She is a student of Josephine Pryde at the Uni versitat der Kunste in Berlin since graduating from the class of Nicholas M auss at HFBK Hamburg in 2012. In 2013 de Verdier presented a solo exhibitio n at Heit in Berlin. Other recent exhibitions include Climax\, Universitat der Kunste\, 2012\; Volta's Endeavour II\, Heit\, Berlin\, 2012\; RG Nichol as Mauss\, HFBK\, Hamburg\, 2012.

DTEND:20130518 DTSTAMP:20141030T150716 DTSTART:20130323 GEO:51.5312557;-0.0689591 LOCATION:ANDOR\,237 Hackney Road \nLondon\, E2 8NA SEQUENCE:0 SUMMARY:Physical Exhaustion Increases Brain Glycogen Metabolism\, Georgie N ettell\, newultragroup\, Gili Tal\, Ellie de Verdier UID:266572 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20141030T150716 DTSTART:180000 GEO:51.5312557;-0.0689591 LOCATION:ANDOR\,237 Hackney Road \nLondon\, E2 8NA SEQUENCE:0 SUMMARY:Physical Exhaustion Increases Brain Glycogen Metabolism\, Ellie de Verdier\, Georgie Nettell\, newultragroup\, Gili Tal UID:266573 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The directors of Blain|Southern are delighted to presen t Tell Me Whom You Haunt: Marcel Duchamp and the Contemporary Readymade \, a group exhibition in which works by ten leading contemporary artis ts are placed in dialogue with the readymades of Marcel Duchamp. The exhibi tion examines the ways in which artists today continue to respond to the ac tivation of memory and the phenomenon of ‘haunting’ so present in the uniqu e and progressive art of Duchamp during the early twentieth century.

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Tak en from an age-old French proverb\, ‘Tell me whom you haunt and I will tell you who you are’\, the show’s title refers to the idea that found or ‘read ymade’ objects relinquish their previous signification and assume a shiftin g identity whenever recontextualised\; they cease to be one thing in order to become another. In this sense\, David Batchelor\, Jota Castro\, Jimmie D urham\, Piero Golia\, Martin Kersels\, Robert Kusmirowski\, Olaf Nicolai\, Valentin Ruhry\, Nasan Tur and Sislej Xhafa could all be seen\, much like D uchamp\, to be creating contexts for the ‘haunting’ of objects through thei r practice. Furthermore\, their artworks take on the role of post-structura list memory-objects\, where meaning can extend beyond the personal signific ance of these objects for the artists\, into a realm where the viewer’s own recollections or associations are triggered\, positing the potential for a rich web of personal readings.

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Mario Codognato\, Head Curator and Direc tor of Exhibitions at Blain|Southern states: “Objects often have a mult iplicity of meanings\, dependent upon each individual’s experience of them. This exhibition seeks to explore the alternative meaning(s) bestowed upon objects through their placement in the gallery space\, within which seeming ly ordinary objects can be redefined as art.”

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Among the numerous Du champ works on display\, From or by Marcel Duchamp or Rrose Selavy (Box in a Valise) (1952) best encapsulates the central themes examined wit hin the exhibition. The intricate layering of meaning\, typical of Duchamp’ s work\, is manifest in the literal act of encasing a box within a valise. Contained within the suitcase are a variety of miniature replicas and colou r reproductions of his earlier works\; a display of memory that also highli ghts the continuity within his oeuvre. The title gives a nod to Duchamp’s f emale alter ego\, Rrose Selavy\, whose signature appears on a number of the reproductions\, thus emphasising the mutable nature of identity.

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Just a s Duchamp was ‘haunted’ by his past works\, which initiated constant revisi ons to the concept of the readymade\, so Duchamp himself haunts the work of Olaf Nicolai\, Apparition of a two dimensional object as a three dimen sional shadow in chocolate (2013)\, as he presents Duchamp’s profile a nd silhouetted image in the form of a series of chocolate cakes – calling i nto question the ideas of transubstantiation and the consumption of knowled ge. David Batchelor is haunted by the material remnants of previous project s\, with his electrical flex balls originating from a surplus of this mater ial left over from the artist’s disassembly of his lightboxes.

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In Robert Kusmirowski’s Doorama (2009)\, the notion of history as a man-mad e construct informed by memory and imagination is presented. Four meticulou sly recreated advertisements for nineteenth century Swedish cosmoramas are exhibited alongside an ornately painted door\, through which two eyeholes r eveal a voyeuristic view of an artificially-created street scene in Lublin\ , Poland. Memory also pervades Sislej Xhafa’s work Rocket Ship (20 11)\,in which the artist’s own childhood hopes and subsequent recollections are referenced within the context of travel and migration.

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Nasan Tur’s Fortuna (2011) utilises the actual roulette ball from the famous B aden-Baden casino\, imbued with thousands of histories of success and failu re – the casino itself was immortalised through the writings of Fyodor Dost oevsky whose novel\, The Gamblers (1867) was written while he comp ulsively played roulette at Baden-Baden. By comparison\, the found objects in Martin Kersels’ Charms (USS Constitution) (2011) are highly kit sch\, with a toy boat and spider’s web being brought together to create the image of the iconic Revolutionary War era frigate when illuminated.

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Jot a Castro and Jimmie Durham’s works both reference the nature of existence a nd the processes of life and death\, with Castro’s Leche y Ceniza (2008) (which translates into milk and ashes) being comprised of a baby’s c radle\, the bottom of which is lined with a mirror that reflects the viewer ’s own image back at them. Durham’s sculpture Himmel und Erde müssen ve rgehen (2000) displays a monumental stone crushing a lightweight jacke t\, creating unnerving contrasts between weight\, volume and material.

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V alentin Ruhry will be presenting a site-specific installation that responds to this concept of the readymade and memory\, as an old stepladder is wall -mounted and united with a single light bulb to continue the artist’s ongoi ng interest in the chandelier form. Piero Golia will also reference past wo rks\, in particular his sculpture Bus (untitled) (2008)\,where he crushed an entire bus and presented the mangled form at ART LA. Here\, the artist will present the axle from this bus\, which is in fact not crushable \, cutting it into four pieces of varying length and signing these\, thus r eappropriating this piece of functional machinery and referencing the memor y of a performative act.

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Ultimately\, every artist in the exhibition eng ages with the phenomena of ‘haunting’ and the manifestation of memory\, or the renewed construction of narratives and their shifting significations. E ach object is permeated with a personal and historical significance for eac h artist\, and also\, perhaps\, for the viewer\, demonstrating the intercon nectedness of identity and remembrance\, and the fluid or malleable nature of meaning.

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About the artists:

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David Batchel or is an artist and writer based in London. He was born in Dundee\ , Scotland in 1955. He studied Fine Art at Trent Polytechnic\, Nottingham ( 1975-78)\, and Cultural Theory at Birmingham University (1978-80). He has e xhibited widely in the UK\, continental Europe\, the Americas and\, more re cently\, Asia. Recent exhibitions include Light Show\, Hayward Gal lery\, London (2013)\; The Shape of Things to Come\, Saatchi Galle ry\, London (2011)\; Chromophilia: 1995-2010\, Paço Imperial\, Rio de Janeiro (2010)\; Backlights\, Galeria Leme\, São Paulo (2008)\ ; Color Chart\, Museum of Modern Art\, New York (2008) and Tate Li verpool (2009)\; Unplugged\, Talbot Rice Gallery\, Edinburgh (2007 )\; Extreme Abstraction\, Albright Knox Gallery\, Buffalo\, New Yo rk (2005)\; the Biennial de Santiago\, Chile (2005)\; Shiny Dirty\ , Ikon Gallery\, Birmingham (2004)\; the 26th Bienal De São Paulo (2004)\;  Sodium and Asphalt\, Museo Tamayo\, Mexico City (2003)\; and Days Like These: Tate Britain Triennial of Contemporary Art\, Tate Bri tain\, London (2003).

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Jota Castro was born in 1965 in L ima\, Peru\, and now lives and works in Brussels\, Belgium. His work has be en exhibited around the world\, and he has participated in numerous biennal es\, including Venice and Kwangju. He won the Gwandju Biennale prize in Kor ea in 2004. Recent exhibitions include: Violent Frames\, Gonzalez y Gonzalez Gallery\, Santiago (2012)\; Memento mori\, Umberto di M arino\, Naples (2011)\; West End?\, Museum on the Seam\, Jerusalem (2011)\; Low Cost Tour – Second Stop\, Y3K\, Melbourne (2010)\; < em>Low Cost Tour\, Gonzalez y Gonzalez Gallery\, Santiago (2010)\; Trasparenze\, MARCO\, Rome (2010)\; The Fear Society\, Pabel lon de la Urgencia\, Murcia. 53rd International Art Exhibition\, Biennale di Venezia (2009)\; Jota Castro\, Galerie Barbara Thumm\ , Berlin (2009)\; Sleep tight\, Elaine Levy Project\, Brussels (20 08)\; U-Turn\, Quadrennial for Contemporary Art\, Nicolaj CCAC\, C openhagen (2008)\; We are your future\, 2nd Moscow Bien nial of Contemporary Art\, Moscow (2007)\; Rear Window\, Kiasma Mu seum\, Helsinki (2006)\; Introduction to Jota Castro\, Uplands Gal lery\, Melbourne (2005)\; and 4th Kwangju Biennale\, Korea (2004 ).

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Jimmie Durham was born in 1940 in Washington\, Arkan sas\, USA\; lives and works in Berlin. From the early 1960’s\, active in th eatre\, performance\, literature and in the U.S. Civil Rights Movement. Fir st solo art exhibition in Austin\, Texas in 1965. Moved to Geneva\, Switzer land in 1969\, returned to the U.S. in 1973. Political organizer in the Ame rican Indian Movement\, 1973-1980\, Director of the International Indian Tr eaty Council and representative at the United Nations. Director of the Foun dation for the Community of Artists (FCA) New York City\, 1981-83. Moved to Mexico in 1987\, left Mexico in 1994 and first moved to Tokyo to participa te in a project co-ordinated by Art Front Gallery. From Japan\, he moved to Dublin for a group show at the National Gallery. He left Ireland and staye d two months in Gent before his two-years-stay in Brussels. He left Brussel s in 1997 for Marseilles (with a five-month residency in Stockholm). He was a recipient of a DAAD in Berlin 1998\, and finally moved to Italy.< /p>\n

Piero Golia was born in Naples\, Italy in 1974. Since 2002\, h e has lived and worked in Los Angeles\, California. His work has been shown in a number of  major exhibitions in the United States and Europe. Recent shows include: Double Tumble or the awesome twins\, Stedeljik Muse um\, Amsterdam (2011)\; Concrete Cakes and Constellations Paintings\, Gagosian Gallery\, Los Angeles (2011)\; Premio Italia Arte Contempo ranea\, Museo MAXXI\, Rome (2010)\; California Biennial\, Ora nge County Museum of Art (2010)\; Artist’s Museum\, Museum of Cont emporary Art\, Los Angeles (2010)\;Oh My God That’s So Awesome!\, Bortolami\, New York (2009)\; Knives\, Galleria Fonti\, Naples (20 08)\; The Gold Standard\, MoMA P.S.1\, New York (2007)\; Vesuv ius\, Moderna Museet\, Stockholm (2007)\; Piero Golia Piero Golia< /em>\, Galleria Fonti\, Naples (2005)\; The king is dead\, Cosmic Galerie\, Paris (2004). In 2004\, his film Killer Shrimps was sele cted for the Venice Film Festival.

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Martin Kersels is a sculptor and installation artist who lives and works in Los Angeles\, Calif ornia. Born in the city in 1960\, Kersels received his B.A. and his M.F.A f rom UCLA. He began his career as a performance artist collaborating on work s with the group SHRIMPS\, traveling throughout the United States to New Yo rk\, Chicago\, Los Angeles\, and San Francisco to perform. Recent exhibitio ns include: Charms and Devotionals\, Elizabeth Leach Gallery\, Por tland (2012)\; Passionista\, ACME.\, Los Angeles (2011)\; The Artist’s Museum\, Museum of Contemporary Art\, Los Angeles (2 010)\;Under Destruction\, Tinguely Museum\, Basel (2010)\; Sec ond Nature\, UCLA Hammer Museum\, Los Angeles (2009)\; California Video\, The J. Paul Getty Museum\, Los Angeles (2008)\; Accidents< /em>\, Galerie Georges-Philippe &\; Nathalie Vallois\, Paris (2006)\; an dIlluminous\, Guido Costa Projects\, Turin (2004).

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Robe rt Kuśmirowski\, born in 1973 in Łódź\, is a Polish contemporary a rtist whose work includes sculpture\, installations\, perform­ance and phot ography. His work employs the reconstruction of historical artefacts and se ttings to examine and manipulate historical themes. Recent exhibitions incl ude One on One\, KW - Institute for Contemporary Art\, Berlin\, Ge rmany (2012)\; Aire de Lyon\, Fun­dación PROA\, Buenos Aires\, Arg entina (2012)\; Manifesta 9\, Genk\, Lumburg\, Belgium (2012)\; HUMAN B OMBER\, Warsztaty Kultury - Filia Centrum Kultury w Lublinie\, Lubin\, Poland (2011)\; P.A.P.O.P.\, Fondazione Galleria Civica\, Trento\ , Italy (2011). MODA\, Fondazione Morra Greco\, Napoli\, Italy (20 11)\; Robert Kusmirowski 1939 - 2009\, Polnisches Institut\, Berli n\, Germany (2009)\; Bunk\, The Barbican Center\, London\, UK (200 9)\; and After Nature\, New Museum \, New York\, NY USA (2008).

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Olaf Nicolai was born in 1962 in Germany. Since 1997 he h as developed a wide variety of interdisciplinary projects through his exami nation of art\, nature\, music\, the body\, time and space. He has been awa rded a number of prizes and grants\, including the Villa Aurora Award (2009 ) and the Art Award Wolfsburg (2002). Recent exhibitions include: Busan Bie nnale\, 2012\; Escalier du Chant\, Pinakothek der Moderne\, Munich (2011)\; Blink!\, Denver Art Museum\, Denver (2011)\; The New Décor\, Hayward Gallery\, London (2010)\; faites le travail qu’ac complit le soleil\, Kestnergesellschaft\, Hannover (2010)\; Journe ys with no Return\, Istanbul Biennal (2009)\; Samani. Some Proposa ls to Answer Important Questions\, Royal Academy of Arts\, London (200 8)\; Destroy Athens\, 1st Athens Biennial\, Athens (200 7)\; 51st Biennale di Venezia\, Venice (2005)\; and 4th Gwangju Biennale\, Korea (2002).

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Valentin Ruhry was born in Austria in 1982. He perceives himself as a sculptor as well as a re searcher or scientist\, and his creations are often inspired by technologic al achievements. Recent exhibitions include: False Universalisms\, Christine König Galerie\, Vienna (2012)\; All Work No Play\, Aust rian Cultural Forum\, London (2012)\; Gute Aussichten\, Moscow Bie nnale\, Moscow (2011)\; Bosch Young Talent Show\, Stedelijk Museum \, den Bosch (2011)\; Nothing is wrong if it feels good\, Mike Pot ter Projects\, Cologne (2010)\; Art Forum Berlin\, Berlin (2009)\; Proj ect(or)\, Project(or)\, Rotterdam (2008)\; and The Essence 2006\, MAK\, Vienna (2006). Ruhry lives and works in Vienna.

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Nasan Tur was born in 1974\, in Offenbach\, Germany. He engages with th e social and political ideologies encoded in everyday life\, making use of various media including video\, photography\, performance\, sculpture and i nstallations. Tur has won a number of awards\, most recently the Will Grohm ann Artprize – Akademie der Kunste\, Berlin (2012). Recent exhibitions incl ude: Rethinking Modernity\, Istanbul Modern Museum\, Istanbul\, Tu rkey\, (2013)\;Farbe bekennen\, MARTa Museum\, Herford (2013)\; A Gathering\, Macedonian Museum of Contemporary Art\, Thessaloniki ( 2012)\; Languages of Revolution\, Kleine Humboldt Galerie\, Berlin (2012)\; Nasan Tur\, Kunsthalle Mannheim\, Mannheim (2011)\; Cities and Thinks That Matter\, Lombard Freid Projects\, New York (201 1)\; Berliner Zimmer\, MNAC – National Museum of Contemporary Art Bucharest (2011)\; Bollwerk gegen den Osten\, permanent installati on in public space\, Graz (2011)\; Frischzelle\, Kunstmuseum Stutt gart\, Stuttgart (2009)\; and Komunismus Soziallismus Kapietalismus\, TANAS\, Berlin (2008).

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Sislej Xhafa was born in Pej a\, Kosova in 1970\, and now lives and works in New York. Xhafa is known fo r his artistic investigations into the social\, economical\, and political realities associated with the various complexities of modern society. Recen t exhibitions include: Sislej Xhafa NON Unplugged 2012\, NON Istan bul (2012)\; Sislej Xhafa\, from naples to Toronto\, Museo MADRE\, Naples (2011)\; oblique motionless\, Christine Konig Galerie\, Vi enna (2011)\; The World Belongs to You\, Palazzo Grassi\, Pinault Foundation\, Venice (2011)\; Indefinite Destinations\, DEPO Istanb ul (2010)\; Transmission Interrupted\, Modern Art Oxford\, Oxford (2009)\; Moulin Rouge\, Magazzino d’Arte Moderna\, Rome (2009)\; G wangju Biennale\, Korea (2008)\; and worlds on video\, Palazzo Str ozzi\, Florence (2008).

DTEND:20130518 DTSTAMP:20141030T150716 DTSTART:20130411 GEO:51.5138885;-0.1433184 LOCATION:Blain|Southern - London Hanover Square\,4 Hanover Square \nLondon \, W1S 1BP SEQUENCE:0 SUMMARY:Tell Me Whom You Haunt: Marcel Duchamp and the Contemporary Readyma de\, David Batchelor\, Jota Castro\, Jimmie Durham\, Piero Golia\, Martin K ersels\, Robert Kusmirowski\, Olaf Nicolai\, Valentin Ruhry\, Nasan Tur\, S islej Xhafa UID:269096 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20141030T150716 DTSTART:180000 GEO:51.5138885;-0.1433184 LOCATION:Blain|Southern - London Hanover Square\,4 Hanover Square \nLondon \, W1S 1BP SEQUENCE:0 SUMMARY:Tell Me Whom You Haunt: Marcel Duchamp and the Contemporary Readyma de\, David Batchelor\, Jota Castro\, Jimmie Durham\, Piero Golia\, Martin K ersels\, Robert Kusmirowski\, Olaf Nicolai\, Valentin Ruhry\, Nasan Tur\, S islej Xhafa UID:269097 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CHELSEA space presents a rare opportunity to view previously unseen material from the Museum of London and British Record Shop Archive collections\, concerning one of the world's greatest record shops.

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Dobells (1946-1992) was a significant meeting place for fans of jazz\, folk and blues. This exhibition explores Dobells position as a retail environme nt\, information network\, cultural landmark and social hub through archive artefacts\, ephemera\, photographs (many by the celebrated jazz-blues phot ographer Val Wilmer)\, and graphics.

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Doug Dobell began selling coll ectable and imported jazz records in 1946 at his family's rare books shop a t 77 Charing Cross Road. In 1957 he started up the 77 record label and was instrumental in developing\, recording and marketing jazz\, blues\, folk an d world music in the UK. At a later point 75 Charing Cross Road next door t o the original store\, was used to house Dobells Folk Record shop section.< /p>\n

Prominent US musicians could be found dropping into Dobells includi ng Muddy Waters\, BB King\, Roy Eldridge\, Ben Webster\, Red Allen and memb ers of the Ellington band. A young Bob Dylan recorded in the small basement  studio there in 1963 and Janis Joplin would visit with a bottle of Souther n Comfort as a gift for the staff of the store.  

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Dobells stocked A merican blues 78s\, 45s and LPs and many British music fans got their first ever taste of Mamie Smith\, Leadbelly and Big Bill Broonzy there. The impo rted US records purchased at the record shop inspired such pioneers of Brit ish jazz and blues as Alexis Korner\, Cyril Davies and Chris Barber (amongs t many others). All the bands of the British Blues explosion: The Rolling S tones\, Led Zeppelin\, Cream and Fleetwood Mac shopped there. Martin Carthy \, Dave Swarbrick\, Mac McGann\, Bert Jansch\, The Vipers Skiffle Group\, L onnie Donegan and other folk musicians raided the shop's racks of Woody Gut hrie and Cisco Houston records. David Bowie was also a regular customer dur ing the early 1960s.

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Dobells provided a network for British Jazz mu sicians including Tubby Hayes\, Ronnie Scott\, Johnny Dankworth\, Vic Lewis \, Harry Beckett\, Ian Carr\, Mike Westbrook and many others who would meet there to check out the new imports in the listening booths and chat about the latest sounds. Such was the standing of Dobells\, that it found its way into literature with New immigrants to London from former colonies and war torn nations would also visit as Dobells as it was the only shop in London to stock African\, Irish\, Yiddish and music from other parts of the world .

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This exhibition recalls an era when a specialist record shop help ed shape the nation's underground cultural scene.

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This exhibition t akes place to coincide with Record Store Day UK\, which occurs on Saturday 20th April 2013. 

DTEND:20130518 DTSTAMP:20141030T150716 DTSTART:20130410 GEO:51.4917526;-0.1285368 LOCATION:CHELSEA space\,16 John Islip Street \nLondon\, SW1P 4JU SEQUENCE:0 SUMMARY:Dobells (Jazz Folk Blues) UID:262102 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20141030T150716 DTSTART:180000 GEO:51.4917526;-0.1285368 LOCATION:CHELSEA space\,16 John Islip Street \nLondon\, SW1P 4JU SEQUENCE:0 SUMMARY:Dobells (Jazz Folk Blues) UID:262103 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Flowers Gallery is delighted to announce  S uperspectivism  - a captivating exhibition of new ‘Reverspect ive’ oil paintings by Patrick Hughes.

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Nine new works\, including  Brillesque\,  The Joy of Roy\, Baggage  and  Tea Sh op\, each present Hughes’ characteristic reversed perspective to  crea te the extraordinary visual illusion of a moving painting. Playful\, philos ophical\, paradoxical and surreal these works challenge our  perceptions of life\, presenting reality in reverse.

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 Visitors will be drawn into an u nHughesual world where a corner shop finds it way inside a domestic interio r and a suitcase becomes  supersized. You can tour the imagined galleries h ung with Warhols\, Lichtensteins and Hoppers and test one’s sense of balanc e in front of  towering stacks of books painted in reversed\, flat and forc ed perspective.

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“ In the real world surreal things sometimes h appen...Superspectivism is a super version of perspective\, one which moves and changes with  you as you move\, which adjusts to your point of view... I hope my pictures give an experience unlike any other\, in which viewers s ee the  impossible happen. And I hope that we then think a bit about why th at is. If lookers and seers experience the paradox and reciprocity of the  world and themselves\, they get a sense of the flow of life .”  Patric k Hughes 2013

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Coinciding with  Superspec tivism\;  Moving  (2013)\, the latest Hughes multipl e will be unveiled at the London Original Print Fair at the Royal  Academy of Arts from 24-28 April. Complimentary tickets are available on request. 

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A new film about Patrick Hughes and his Reverspectives\, directed by Ja ke West\, has recently been confirmed\, with filming beginning at the  Priv ate View.  A new monograph on the art and ideas of Patrick Hughes written b y writer and broadcaster\, Rosie Millard\, will be published later in the y ear. 

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Solo exhibitions in 2013 have included  Patrick Hughes at the Deutsch Museum  \, La usanne (February) and Structure of Space\, Galerie Boisserée\,  Co logne (March). In September\, Deceptivespective  opens at Scott Ri chards Contemporary Art\, San Francisco. 

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In 2014 Hughes will be featured in  Visual Deception II: Into the Future  at Nagoya City Art Museum\, The Bunkamura Museum of Art and Hyogo  Prefectural Museum of Art\, Japan.

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Background: 

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Reverspectives are three-dimensional paintings that when viewed from the front initially give the impression of viewing a painted flat  surface that shows a perspective view. However\, as soon as the viewer moves his head slightly the three dimensional surface t hat supports  the perspective view accentuates the depth of the image and a ccelerates the shifting perspective. This provides a powerful and disorient ing  impression of depth and movement. Patrick Hughes takes full advantage of this effect in his use of surrealist images that reinforce the  altered reality of the viewer.

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Hughes first invented reverse perspective in 1964 with his  Sticking Out Room  . His unique and distinctive contrib ution to art has continued  for over fifty years and incorporates Surrealis m and Pop\, using a trompe l’oeil technique. He prizes imagination as the m ost important human  activity. His practice is underpinned by his lifelong interest in paradox\, language and the science of optics and perception. (H ughes will be  speaking on perception at the Pictorial Paradoxes academic c onference organised by The Institute of Philosophy\, University of London\, at  Senate House\, London on 24th May).  Patrick Hughes’ artworks can be f ound in more than fifty important international public collections for exam ple\, the British Library\, London\;  Tate Gallery\, London\; Gallery of Mo dern Art\, Glasgow and Würth Museum\, Germany. He has held over 100 solo ex hibitions\; locations include  Dubai\, New Delhi\, Seoul\, Los Angeles and New York City.

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He has writt en a number of philosophical works on the theme of paradox and oxymoron inc luding  Vicious Circles and Infinity  (1975)\, with  George Brecht \, for Doubleday in New York and Jonathan Cape in London\, translated into Japanese\, German\, Dutch and Spanish\;  Upon  The Pun\, with Paul Hammond\, published by W.H. Allen 1978\;  More on Oxymoron\,  Jon athan Cape\, 1984\;  Left to Write  \, Flowers\, 2008 and  Paradoxymoron\, 2011.  Hughes lives and works in Shoreditch\, London. His large studio is h oused in an old furniture factory and will be open for visitors at  Stu diospective  in July 2013 (date to be confirmed) as part of the London Fringe Festival.

DTEND:20130518 DTSTAMP:20141030T150716 DTSTART:20130424 GEO:51.510137;-0.1410576 LOCATION:Flowers | Cork Street\,21 Cork Street \nLondon\, W1S 3LZ SEQUENCE:0 SUMMARY:Superspectivism\, Patrick Hughes UID:270296 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20141030T150716 DTSTART:180000 GEO:51.510137;-0.1410576 LOCATION:Flowers | Cork Street\,21 Cork Street \nLondon\, W1S 3LZ SEQUENCE:0 SUMMARY:Superspectivism\, Patrick Hughes UID:270297 END:VEVENT END:VCALENDAR