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Dude how do you make a bloooooogggg? We know. We'll make one for you. \;We wrote the book on k ustom knowledge paradise. Crash out on local cruises\, assemble a barbecue that chars your desires into fractured remnants of a base\, mangy cookout. Turn up the Deathgrips\, reclining into esperanza composed of megamillion o cean properties and the gnarliest Cabron. \;The bird of paradise is so fuckin huge it'll blow your mind dude. It's like a major fuckin feathered B uddha that just dumped out on your lawn after it majestically ate all your watermelon and Tejin and tortillas. Douchebag. \;Fuck it. Let's get was ted. On air. \;

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Experience laxnes s. Let your mind just kinda slip outta your ear\, live\, everyone'll see it \, other people will watch your sunset\, your patio-loving\, and ultimate s ynechdotal living. Slip into the Camero and seriously floor it through the neighbourhood right now. Yeah in the Camero. Yeah it's a live broadcast. Th is shit's fer real. \;You could fully go to the Bonaventure or Abbot Ki nney or just chill in Redondo\, but don't go to La Cabana. The one on Rose and Lincoln. That place is shitty dude\, fulla has-beens. Naw let's get lit and chill here. This place is sick. They call it Silicon Beach for more th an one reason\, lolz. \;You won't even feel like you're here\, it's lik e\, you know when you're doin a cleanse and your mind and your body are jus t like fully hashing it out\, like you don't even feel like a human\, bruh\ , you're just this like animal being? Like this space\, and this time\, are just like one big ocean\, or like a reef in the ocean\, like made of gold\ , super fuckin luxurious shit right there... Like all the other things\, ma n\, the objects\, but like\, big-ass objects\, are just flailing around\, a nd you can pick them like a fuckin kumquat\, even though you're also a part of them\, ya know? It's not even funny dude\, what we're gettin at.

\n< p style="text-align: justify\;">Why not dip into a totally accessible roman tic clean lined beach front provision to be witnessed by spectators? You'll melt\, you'll just die. If not\, I'd be happy to arrange another workout f or you this week\, so you can experience our unique offering again\, firsth and\, and I can answer any questions that you may have about our July Summe rChallenge as well.

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Kristin L uke (born 1984) is an artist who represents The Air Inn Venice. \;
Recent exhibitions and events include: Synchronise. Accelerate. Disp erse. II at- screening\, M J Gallery\, Geneva\, Switzerland\; Idio rrhythmic Hunting Lodge with Berta Koch\, Performa 2014\, Losone\; Autumn Collapse at Enclave\, London\; and her proposal for the Artang el Longlist\, all 2014

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Christopher Ku lendran Thomas (born 1979) has had solo exhibitions at Kraupa-Tuskany Zeidl er\, Berlin\, 2013\;The Centre for Contemporary Art\, Tel Aviv\, 2013\; and Mercer Union\, Toronto\, 2013. His wor k has recently been included in Dark Velocity at CCS Bard and in T ate Liverpool&rsquo\;s historical survey Art Turning Left: How Values C hanged Making\, 1789-2013.

DTEND:20150117 DTSTAMP:20141127T043006 DTSTART:20141119 GEO:51.4875521;-0.0381089 LOCATION:The Agency gallery\,66 Evelyn Street \nLondon\, SE8 5DD SEQUENCE:0 SUMMARY:Kristin Luke 'The Air Inn Venice - Winter 2015/14 Fuck It All Sunri se Getaway'\, Ed Fornieles\, Renzo Martens\, Christopher Kulendran Thomas UID:365646 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150131 DTSTAMP:20141127T043006 DTSTART:20141122 GEO:51.5121302;-0.13746 LOCATION:Herald St - Golden Sq\,37 Golden Square \nLondon\, W1F 9LB SEQUENCE:0 SUMMARY:Joint Exhibition\, Matt Connors\, Nick Relph UID:365645 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150111 DTSTAMP:20141127T043006 DTSTART:20141121 GEO:51.525135;-0.0558072 LOCATION:Herald St\,2 Herald Street \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:Solo Exhibition\, Markus Amm UID:365644 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150228 DTSTAMP:20141127T043006 DTSTART:20150115 GEO:51.4910955;-0.1083978 LOCATION:Greengrassi\,1a Kempsford Road \nLondon\, SE11 4NU SEQUENCE:0 SUMMARY:Solo Exhibition\, Roe Ethridge UID:365642 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20141127T043006 DTSTART:183000 GEO:51.4910955;-0.1083978 LOCATION:Greengrassi\,1a Kempsford Road \nLondon\, SE11 4NU SEQUENCE:0 SUMMARY:Solo Exhibition\, Roe Ethridge UID:365643 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150207 DTSTAMP:20141127T043006 DTSTART:20141211 GEO:51.5111259;-0.1399077 LOCATION:Sprovieri\,23 Heddon Street \nLondon\, W1B 4BQ SEQUENCE:0 SUMMARY:New Works\, Jannis Kounellis UID:365640 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20141127T043006 DTSTART:180000 GEO:51.5111259;-0.1399077 LOCATION:Sprovieri\,23 Heddon Street \nLondon\, W1B 4BQ SEQUENCE:0 SUMMARY:New Works\, Jannis Kounellis UID:365641 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A public lecture to celebrate Haworth Tompkins&rsquo\ ; Everyman Theatre winning the RIBA Stirling Prize \;2014. \;Or ganised by Theatrum Mundi in colla boration with RCA Architecture. Haworth Tompkins are also architects of the RCA's new campus in Battersea: the Dyson Building (opened 2012) and the Wo o Building\, \;due to open in 2015.

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Haworth Tompkins&rsquo\; Everyman Theatre was the winner of the RIBA Sti rling Prize 2014. The building is \;the studio&rsquo\;s first completel y new theatre\, and the culmination of both their many explorations into&nb sp\;the theatre of the 21st century and a decade-long collaboration with th e Liverpool and Merseyside \;Theatres Trust. \;The new Everyman The atre replaces the nineteenth century home of an iconic Liverpool institutio n. \;The building makes use of the constrained topography of the site b y arranging the public spaces \;around a series of half levels\, establ ishing a continuous winding promenade from street to \;auditorium.  \;

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It is an exceptionally sustainable building\; not only did the construction re-use 90% of the material \; from the old theatre\, but all spaces are naturally ventilated including th e auditorium with its 440 \;seats. Clever\, out of sight concrete labyr inths supply and expel air whilst maintaining total acoustic \;isolatio n. It is one of the first naturally ventilated auditoria in the UK.

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The Stirling Prize Judges said: &lsquo\;The new Everyman in Liverpool is truly for every man\, woman \;and child. I t cleverly resolves so many of the issues architects face every day. Its co ntext &ndash\; the \;handsome street that links the two cathedrals &nda sh\; is brilliantly complemented by the building&rsquo\;s scale\, \;tra nsparency\, materials and quirky sense of humour\, notably where the solar shading is transformed \;into a parade of Liverpudlians.&rsquo\;

\n< p style="text-align: justify\;">Speakers:

\n DTEND:200000 DTSTAMP:20141127T043006 DTSTART:183000 GEO:51.5011096;-0.1766949 LOCATION:Royal College of Art\,Kensington Gore \nLondon\, SW7 2EU SEQUENCE:0 SUMMARY:Steve Tompkins: Haworth Tompkins’ Everyman Theatre UID:365637 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist and RCA alumnus Alex Ha rtley&rsquo\;s work addresses complicated and sometimes contradictory attit udes toward the built and natural environments. His practice is wide rangin g\, comprising wall-based sculptural photographic compositions\, room-sized architectural installations and\, more recently\, unique photographic work s with sculptural elements inserted as low-relief into the surfaces of larg e-scale colour prints. Uniting these works is an investigation of modern ar chitecture and the ways in which it is conceived and presented. Often desta bilising ideas of &lsquo\;iconic&rsquo\; architecture\, Alex Hartley&rsquo\ ;s practice allows room for multiple perceptions of and uses for architectu re.

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In his book LA Climbs &ndash\ ; Alternative uses for Architecture\, \;published in 2003\, Alex e xplored differing ways to experience architecture that included climbing th e 3rd Street Tunnel.

DTEND:193000 DTSTAMP:20141127T043006 DTSTART:183000 GEO:51.5011096;-0.1766949 LOCATION:Royal College of Art\,Kensington Gore \nLondon\, SW7 2EU SEQUENCE:0 SUMMARY:Alex Hartley Talk\, Alex Hartley UID:365636 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An exhibition commemorating st udents and staff of the Royal College of Art who served in World War One.\n

Exhibits have been selected from the N ational Archives\, Imperial War Museum and individual collections as well a s the RCA&rsquo\;s own extensive archive and student files. They record a w ide range of responses\, attitudes and experiences including correspondence from those anxious to join up and the College&rsquo\;s replies to them and \, from 1916\, letters from those refusing to do so. There are also letters from bereaved parents and official forms from those hoping to return to th eir studies in a post-war world.

DTEND:20141219 DTSTAMP:20141127T043006 DTSTART:20141028 GEO:51.5011096;-0.1766949 LOCATION:Royal College of Art\,Kensington Gore \nLondon\, SW7 2EU SEQUENCE:0 SUMMARY:Remembrance: the Royal College of Art and the First World War Exhib ition UID:365635 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150214 DTSTAMP:20141127T043006 DTSTART:20150116 GEO:51.5175225;-0.1366877 LOCATION:Alison Jacques Gallery\,16-18 Berners Street \nLondon\, W1 SEQUENCE:0 SUMMARY:Solo Exhibition\, Graham Little UID:365156 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:203000 DTSTAMP:20141127T043006 DTSTART:180000 GEO:51.5354677;-0.0717938 LOCATION:Drawing Room\,12 Rich Estate Crimscott Street\nLondon\, SE1 5TE SEQUENCE:0 SUMMARY:'The Nakeds' Closing Event UID:365155 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CHARLIE SMITH LONDON is please d to announce its final show of the year\, \;Idolatry. This ex hibition presents a group of artists who work fundamentally in miniature fo rm. Image based\, their work is informed by contemporary and historical vis ual culture\, and undergoes a transformation as the artist intervenes with the found or appropriated. Taking ownership of the image\, each artist rein vents the mechanically (or digitally) reproduced by returning it to the han dmade. The choice of subject and method of application combine to create ev ocative works that are quietly subversive.

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Tom Butler \;collects Victorian cab inet cards and works over the image in delicately rendered gouache. Using e ver evolving motifs Butler seeks to conceal elements of the original subjec t\, whilst projecting alternative characteristics on to them. Geometric abs tract patterns\; flora\; hair\; fur\; or bandages might be employed to inte rrupt the original photographic image.

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Susannah Douglas \;makes impeccable dra wings derived from found childhood photographs. Undoubtedly nostalgic\, Dou glas uses intelligent devices to jolt the viewer. Drawing on photographic t echniques\, Douglas might crop the drawing unusually\; repeat an element to allude to spliced film\; or subtly mirror an image\, often having already collaged disparate source elements from which to make the drawing.

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Luke Jackson&nb sp\;draws on the political\, social and philosophical to imbue his impasto paintings with an unusually weighty atmosphere. Often isolated within a spa ce with only suggestions of an environment\, Jackson&rsquo\;s figures sugge st a Kafkaesque state of monotony\, endeavor\, disorientation and menace.\n

Sam Jackson \;is recognized for his psychologically charged portraits and highl y sexual nudes. Jackson&rsquo\;s newest paintings depict figures engaged in sexual activity in outside\, rural environments. Whilst often being direct \, these paintings have a gentleness that suggests the erotic rather than p ornographic\, and recalls 19th century en plein air painting.

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Geraldine Swayne&nbs p\;makes seductive\, lyrical paintings in enamel on copper or aluminium. Sw ayne&rsquo\;s evident enthusiasm for the physicality and fluidity of paint is coupled with diverse and instinctive choices of subjects that are often surprisingly transgressive. Serial killers\, murder victims and effete male models populate Swayne&rsquo\;s paintings alongside celebrities\, friends and historical figures.

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Together with this exhibition we will present a new set of prints that was commissioned to exhibit at the recent Saatchi Gallery exhibition \; Cultus Deorum\, curated by gallery director Zavier Ellis. The series f eatures etchings\; offset prints\; linocuts\; lithographs and c-type prints by Florian Heinke\, Sam Jackson\, Reece Jones\, Eric Manigaud\, Alex Gene Morrison\, Gavin Nolan\, Dominic Shepherd and The Cult Of RAMM&Sigma\;LLZ&S igma\;&Sigma\;. Each is an edition of 50 and available at just £\;250 + VAT.

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Please contact&nb sp\;CHARLIE SMITH london \;for images and further information

DTEND:20141220 DTSTAMP:20141127T043006 DTSTART:20141128 GEO:51.5266865;-0.0813714 LOCATION:CHARLIE SMITH london\,336 Old Street \nLondon\, EC1V 9DR SEQUENCE:0 SUMMARY:Idolatry\, Tom Butler\, Susannah Douglas\, Luke Jackson\, Sam Jacks on\, Geraldine Swayne UID:365152 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20141127T043006 DTSTART:183000 GEO:51.5266865;-0.0813714 LOCATION:CHARLIE SMITH london\,336 Old Street \nLondon\, EC1V 9DR SEQUENCE:0 SUMMARY:Idolatry\, Tom Butler\, Susannah Douglas\, Luke Jackson\, Sam Jacks on\, Geraldine Swayne UID:365153 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Lawrence Weiner's exhibition \;ALL IN DUE COURSE \;culminates in a two-day programm e looking at the potential of language in art inspired by the writing of Ja ck Spicer. The event invites a selection of artists\, writers\, musicians a nd filmmakers to explore the role of words as material\, shapes\, objects\, signifiers\, concepts\, sounds\, rhythms and vocal reverberations.< /p>\n

On \;Saturday  \;a selection of Lawrence Weiner&rsquo\;s films will be presented in the Cl ore Studio. This programme features his &ldquo\;comic films&rdquo\; or "mot ion drawings" that have been produced since the early 2000s. These works wi ll be presented on loop for free throughout the day. In the evening Lawrenc e Weiner's most recent film DIRTY EYES will be premiered in the UK.< /p>\n

On \;Sunday \;p erformances and interventions will be presented in the main gallery through out the day\, culminating in three live performances from \;4-6pm. With contributions from: Ben Cain\, Adam Christensen\, Dina Danish\, Mary Hurre ll\, Dorine Van Meel and Camilla Wills.

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Book tickets for the screening of DIRTY EYE S on \;Sat 22 Nov 7pm\, \;online \;or call 020 7703 6120.

DTEND:20141123 DTSTAMP:20141127T043006 DTSTART:20141122 GEO:51.4741311;-0.0794467 LOCATION:South London Gallery\,65 Peckham Road \nLondon\, SE5 8UH SEQUENCE:0 SUMMARY:My Vocabulary Did This To Me UID:365149 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The directors of Marlborough F ine Art are delighted to announce the upcoming exhibition\, Maggi Hambling: 'Walls of Water:The Monotypes' to coincide with Maggi Hambling's show\,&nb sp\;Walls of Water\, opening on November 26th at the National Gall ery\, London. Click the link below for the 'Walls of water' exhibition page at the National Gallery:&n bsp\;http://bit.ly/105lZcv

DTEND:20150110 DTSTAMP:20141127T043006 DTSTART:20141203 GEO:51.5084606;-0.141152 LOCATION:Marlborough Fine Art\,6 Albemarle Street \nLondon\, W1S 4BY SEQUENCE:0 SUMMARY:Walls of Water:The Monotypes\, Maggi Hambling UID:365148 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Hauser &\; Wirth Somerset i s excited to present the gallery&rsquo\;s first exhibition dedicated to ren owned American artist Richard Tuttle. Having works previously on display as part of &lsquo\;Re-view: Onnasch Collection&rsquo\; (2013 &ndash\; 2014) a t Hauser &\; Wirth London and Hauser &\; Wirth New York\, Tuttle retu rns as the focus in a solo exhibition devoted to his works from the 1980s\, a highly creative period in his career. The exhibition showcases a selecti on of Tuttle&rsquo\;s multi-media assemblages\, offering an insight into hi s improvised free-form aesthetic and his delicate three-dimensional work\, with its abundance of colours\, shapes and materials.

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Emerging in the 1960s in a generation of process-oriented postminimalism\, Tuttle has created a remarkable and varied body of work th at defies historical or stylistic categorisation. The visual language of th e work has a lot in common with painting\, sculpture\, poetry and drawing\, yet it appears to exist in the space between these practices. His process is deeply instinctual and responsive\, crafting unique objects that must be encountered on their own terms.

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Tutt le&rsquo\;s artistic evolution in the 1980s echoed a general reaction in th e art world to the reductive formalism and reserve that had come to dominat e artistic discourse in the preceding decade. His wall-affixed assemblage c onstructions began to incorporate more diverse materials and also began to literally expand into three-dimensional space. With these works\, Tuttle su bverted expectations about Modernist sculpture and instead created small po etic objects.

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Tuttle&rsquo\;s dedicat ion to every-day materials\, such as aluminium\, foil\, plastic and rope\, emphasises the hand-made\, hand-held nature of the objects and as a result\ , imbues them with a sense of familiarity and intimacy. The significance of the everyday is highlighted in the 1984 series &lsquo\;Two or More&rsquo\; &ndash\; utilising cardboard\, wire\, wood\, plastic\, foil and even an al uminium Pepsi can. The geometry of the cardboard backings is pitted against the plasticity of the objects Tuttle attaches to them. Held together with palpable delicacy by ephemeral connective materials &ndash\; like fine wire \, cursory gluing and in other cases\, tape. He aims to make a singular wor ld out of disparate parts\, and in doing so changes the inference of indivi dual objects\, mitigating their beginnings and creating a new compostition altogether.

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Tuttle wants viewers to u se visual and tactile senses to perceive the work. The pieces are deliberat ely hung lower than eye height to relate them equally to the hand\, allowin g the viewer to experience a sense of the hand and eye being engaged simult aneously &ndash\; which is the experience of the artist in creating the wor ks. Tuttle intends the viewer to engage in new sensory experiences\, and in doing so\, expand their contact with the totality of human existence. &lsq uo\;One remarkable phenomenon of my work is its love for being hung at a he ight of fifty-four inches from the floor&hellip\; [This height] brings me i n contact with anything that&rsquo\;s ever existed in human life.&rsquo\;\n

&ndash\; Richard Tuttle\, 2004.

\n< p style="text-align: justify\;">Tuttle is drawn to the ambience and light t hat can be reflected by certain materials and surfaces\; his use of celloph ane\, glass\, plastic and aluminium such as in the 1986 series &lsquo\;Secr et Ways to remain happy&rsquo\;\, promotes the play of light and shadows\, enhanced by the vibrant palette of these works\, further creating unique ex periences of perception. Tuttle masterfully merges art forms to construct c omposite works that are both beguiling and fascinating\, truly engaging the viewer to look and look again.

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About the Artist

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Richard Tuttle was born in New Jersey in 1941. He studied art\, philosophy and lite rature at Trinity College\, Hartford\, Connecticut\, from 1959 to 1963. Tut tle has been the subject of numerous solo exhibitions and retrospectives\, at venues including the Whitney Museum of American Art\, Museum of Contempo rary Art\, Chicago\, IL\, the Dallas Musuem of Art\, Dallas\, Texas\, the D rawing Center\, New York\, NY\, the \;ICA\, London\, England\, and the Musé\;e d&rsquo\;art moderne de la ville de Paris\, Paris\, France\, among many others. His work was also included in the Venice Biennale in 199 7 and 2001\; the Whitney Biennial in 1977\, 1979\, 1987\, and 2000\; and Do cumenta 5 (1972)\, 6 (1977)\, and 7 (1982). His work is held in major priva te and public collections around the world. In October 2014 a major exhibit ion of Tuttle&rsquo\;s works opened at Whitechapel Gallery\, London\, Engla nd\, alongside a commission in the Turbine Hall at Tate Modern\, London\, E ngland. Richard Tuttle currently lives and works between Maine\, New Mexico and New York.

DTEND:20150222 DTSTAMP:20141127T043006 DTSTART:20141129 GEO:51.1076221;-2.4454617 LOCATION:Hauser & Wirth Somerset\,Durslade Farm Dropping Lane\, Bruton\nSom erset\, BA10 0NL SEQUENCE:0 SUMMARY:Solo Exhibition\, Richard Tuttle UID:365146 END:VEVENT BEGIN:VEVENT DTEND:193000 DTSTAMP:20141127T043006 DTSTART:170000 GEO:51.1076221;-2.4454617 LOCATION:Hauser & Wirth Somerset\,Durslade Farm Dropping Lane\, Bruton\nSom erset\, BA10 0NL SEQUENCE:0 SUMMARY:Solo Exhibition\, Richard Tuttle UID:365147 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Hauser &\; Wirth is pleased to announce two exhibitions of new video works by Pipilotti Rist\, unveile d in parallel presentations across its London and Somerset galleries.

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A pioneer of video art\, since the mid-eig hties\, Rist&rsquo\;s film installations take many guises. She has likened them in the past to handbags\, &lsquo\;because there is room in them for ev erything: painting\, technology\, language\, music\, flowing pictures\, poe try\, commotion\, premonitions of death\, sex and friendliness.&rsquo\; Fro m this versatile\, capricious medium\, Rist draws inner and outer worlds of kaleidoscopic colourful wonderment.

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Hauser &\; Wirth Somerset will present two new rooms by Pipilotti Rist a nd an installation of &lsquo\;hiplights&rsquo\; in the farmyard. From summe r 2012 through to summer 2013\, Rist spent a sabbatical in Bruton\, taking part in the first Hauser &\; Wirth Somerset artist residency. The experi ence had a profound impact upon her practice\, producing new work in respon se to the surrounding landscape and the people she met.

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Rist&rsquo\;s title &lsquo\;Stay Stamina Stay&rsquo\; pl ays on its double-meaning\; referencing the stamen\, (the pollen-producing reproductive organ of a flower) and also a &lsquo\;resistance to hardship&r squo\;. Rist is concerned with our connection and interaction with the worl d around us\; how we relate to our landscape\, what preconceptions we carry from our respective cultures\, and what those cultures have in common. Thr ough her sensuously observed close-ups of the natural environment and the h uman body\, Rist is interested in the &lsquo\;often unbelievable strength t hat humans are generating every day.

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In the Rhoades Gallery\, &lsquo\;Mercy Garden&rsquo\; (2014) is projected o nto two of the walls\; the luscious imagery in the installation comes mostl y from footage the artist shot whilst living in Somerset. Slow motion close -ups play out in mirrored effect\; fingers stroke stinging nettles\, hands caress soft vivid petals\, lips purse underwater and washing floats in the breeze\, against a bright blue sky. The images are filtered and layered\, s et to a soundtrack of banjo folk music by Heinz Rohrer\, inviting visual an d tactile wonder and engaging all of the senses.

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This sumptuous all-encompassing environment is designed for rel axation and meditation\; the floor is partially carpeted in lush green with Somerset sheepskin rugs scattered across. Rist encourages her viewers to r ecline\, inviting them to contemplate\, and at the same time\, to share a c ollective experience with their fellow spectators.

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Rist is commonly known for creating works that are at once fe minist and feminine\, often exploring the female body\; but in &lsquo\;Merc y Garden&rsquo\;\, all of the characters are men (or boys) and the film cel ebrates a masculine strength\, combined with fragility and tenderness. The main character\, a young local farmer\, is shown interacting with his natur al environment. Visceral images of his hands running through soil and tendi ng plants pose questions about life and death\, and humans&rsquo\; relation ship to the natural world. Rist describes the work as &lsquo\;a poem about agriculture\, the farmer\, his body\, his fingers and his machines as an ex tension of the body&rsquo\;.

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On enter ing the Bourgeois Gallery\, the viewer is immersed in another of Rist&rsquo \;s parallel worlds. The installation &lsquo\;Sleeping Pollen&rsquo\; (2014 ) is projected through seven mirrored spheres\, suspended from the ceiling\ , which create moving projections all around the space. Visitors are invite d to move in and around the projections\, and also to become part of them\, reflecting the artist&rsquo\;s continuing desire to create a close relatio nship between work and viewer. The doors and windows have been covered in t ranslucent acetate in cherry red and moss green\, creating a hazy glow that changes in intensity throughout the day. Rist describes &lsquo\;Sleeping P ollen&rsquo\; as &lsquo\;offering the winter plants an electronic bed in a dark cosy room. Their dreams spin slowly in the air&rsquo\;.

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Outside\, the installation &lsquo\;Hiplights&rsquo\ ; (2011)\, which was first conceived for Rist&rsquo\;s solo exhibition &lsq uo\;Eyeball Massage&rsquo\; at the Hayward Gallery\, London in 2011\, is a remarkable\, outdoor light work\, created from hundreds of pairs of underpa nts with \;LED \;lamps. The underwear is strung between each of the buildings around the farmyard\, like an enormous celebratory washing line.

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About the Artist

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Pipilotti Rist was born in Grabs in the Swiss Rhine Valley in 1962. Since emerging on the international art scene in the mid-1980s and 1990s with famous single channel videos such as &lsquo \;I&rsquo\;m Not The Girl Who Misses Much&rsquo\; (1986) and &lsquo\;Pickel porno&rsquo\; (1992)\, Rist has had numerous solo and group exhibitions and is one of the most celebrated video artists working today. In 2009 Rist wa s awarded the Joan Miró\; Prize for her wide-ranging creative activit y and her outstanding contribution to the current artistic scene by Fundaci ó\; Joan Miró\;\, Barcelona\, Spain. For her first feature film \, &lsquo\;Pepperminta&rsquo\; (2009)\, in 2009 Rist was awarded the Presid ent of the Jury&rsquo\;s Extraordinary Award at Spain&rsquo\;s 6th Seville European Film Festival and in 2010 she received the &lsquo\;Cutting the Edg e Award&rsquo\; by Miami International European Film Festival. In 2012\, Ri st was awarded the Harper&rsquo\;s Bazaar Art China prize for &lsquo\;Best Artist&rsquo\; and in June 2013\, she was awarded the Zurich Festival Prize 2013.

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Recent solo exhibitions includ e &lsquo\;Gentle Wave in Your Eye Fluid&rsquo\;\, Times Museum in Guangzhou \, China (2013)\; &lsquo\;Pipilotti Rist. A la belle é\;toile&rsquo\; \, Henry Art Gallery\, University of Washington\, Seattle WA (2012)\; &lsqu o\;Pipilotti Rist &ndash\; Spear to heaven!&rsquo\;\, \;LEEUM \;Sam sung Museum of Art\, Seoul\, Korea\; &lsquo\;Blutbetriebene Kameras und que llende Rä\;ume&rsquo\;\, Kunstmuseum St. Gallen\, Switzerland (2012)\; &lsquo\;Eyeball Massage&rsquo\;\, Hayward Gallery\, London\, England (2011) which travelled to Kunsthalle Mannheim\, Mannheim\, Germany (2012)\; &lsqu o\;Parasimpatico&rsquo\;\, Fondazione Nicola Trussardi\, Cinema Manzoni\, M ilan\, Italy (2011)\; &lsquo\;Pipilotti Rist. Partit amistó\;s &ndash \; sentiments electró\;nics&rsquo\;\, Fundació\; Joan Mir&oacut e\; &\; Centre Cultura Caixa Girona Fontana d&rsquo\;Or\, Barcelona / Gi rona\, Spain (2010)\; &lsquo\;Elixir &ndash\; The video organism of Pipilot ti Rist&rsquo\;\, Museum Boijmans Van Beuningen\, Rotterdam\, Netherlands ( 2009)\; &lsquo\;Pour Your Body Out (7354 Cubic Metres)&rsquo\;\, MoMA\, New York NY (2008) and &lsquo\;A la belle é\;toile&rsquo\;\, Centre Pomp idou\, Paris\, France (2007).

DTEND:20150222 DTSTAMP:20141127T043006 DTSTART:20141129 GEO:51.1076221;-2.4454617 LOCATION:Hauser & Wirth Somerset\,Durslade Farm Dropping Lane\, Bruton\nSom erset\, BA10 0NL SEQUENCE:0 SUMMARY:Stay Stamina Stay\, Piplotti Rist UID:365144 END:VEVENT BEGIN:VEVENT DTEND:193000 DTSTAMP:20141127T043006 DTSTART:170000 GEO:51.1076221;-2.4454617 LOCATION:Hauser & Wirth Somerset\,Durslade Farm Dropping Lane\, Bruton\nSom erset\, BA10 0NL SEQUENCE:0 SUMMARY:Stay Stamina Stay\, Piplotti Rist UID:365145 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Hauser &\; Wirth Somerset i s proud to present John Chamberlain: Gondolas\, showcasing two lar ge-scale\, floor-based works from the Gondolas series (1981 &ndash\; 1982)\ , a key group of Chamberlain&rsquo\;s sculptures\, which has remained remar kably undiscovered. The full series comprises fourteen sculptures (includin g the large-scale related work &lsquo\;Dooms Day Flotilla&rsquo\;). Five of the Gondolas are in the collection of the \;DIA \;foundation in Ne w York\, NY and three are in the Chinati foundation in Marfa\, Texas. Each of the Gondolas is named after an American poet or writer.

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Known for his use of found and repurposed auto parts\ , dating back to the 1960s\, Chamberlain used these contemporary\, inexpens ive materials to create lavishly coloured and layered sculptures. With its emphasis on paint finishes and the raw materials&rsquo\; lines and seams\, his work has been described as three-dimensional Abstract-Expressionist pai nting. Often misunderstood\, Chamberlain had little interest in the materia l as subject matter\; his concerns with the car parts were entirely practic al\, preferring the works to be viewed aesthetically &ndash\; as sculpture.

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Gondola Marianne Moore and Gondola H art Crane are elongated structures\, consisting of cut up truck frames as a rmatures\, piled with pieces of cut\, folded and crushed scrap metal\; thei r horizontal floor-based configuration is reminiscent of the Venetian gondo la. Chamberlain has taken advantage of the existing colour of each car frag ment\, and by spraying\, stencilling\, dribbling\, graffitiing\, and airbru shing layers of brilliant hues\, onto the metal\, he has created vivid\, ca rnivalesque effects.

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Chamberlain spok e often of the &lsquo\;right fit&rsquo\; or &lsquo\;sexual fit&rsquo\; as h e joined piece-to-piece\, interlocking steel bands and transforming them fr om cold anonymous parts\, into a living mass. Klaus Kertess describes the s culptures as &lsquo\;engaged in intimate play by his (Chamberlain&rsquo\;s) hands in a kind of trial and error mating dance\, continuing until two sha pes are compatibly joined &ndash\; and then another is coaxed to participat e and then another\, in a kind of agitated visual orgy&hellip\;.Seldom has sculpture so physically embodied the free associativeness and combinative p lay so crucial to creative thinking visually and verbally.&rsquo\;

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Chamberlain&rsquo\;s titles rarely make direc t reference to the form or content of the individual work. Assigning specif ic hidden codes or establishing definitive meanings is not the intention. H is naming of the Gondolas was a tribute to his favourite writers\, whose wo rk he first encountered whilst a student at Black Mountain College. His tea chers included poets Robert Creeley\, Robert Duncan\, and Charles Olson\; C hamberlain considered that his years at the college were the greatest influ ence on his work. Whist there\, he began writing his own poems\, arranging words and fragments that he had collected from various sources\, into new c onfigurations &ndash\; a method he later likened to his sculptural work: &l squo\;There is material to be seen around you every day. But one day someth ing &ndash\; some one thing &ndash\; pops out at you\, and you pick it up\, and you take it over\, and you put it somewhere else\, and it fits\, it&rs quo\;s just the right thing at the right moment. You can do the same thing with words or with metal. I guess that&rsquo\;s part of my definition of ar t. Art is a peculiar madness in which you use other means of communication\ , means that are recognisable to other people\, to say something that they haven&rsquo\;t yet heard\, or haven&rsquo\;t perceived\, or had repressed.& rsquo\;

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Marianne Moore\, a recipient of both the Pulitzer Prize in poetry and the National Book Award\, was one of the foremost American poets of the Twentieth Century. Her work is charac terised by a joy in vernacular language\, emotional candour\, and acute obs ervations of people\, places\, animals\, and art. As the editor of several of the most important poetry journals\, and as an enthusiast for modern art \, she would have been well-known to Chamberlain\, and his Black Mountain C ollege teacher\, Charles Olson.

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Hart Crane is a pivotal figure in American literature\, and he is regarded as bo th the quintessential Romantic artist and the embodiment of those extreme c haracteristics &ndash\; hope and despair\, redemption and damnation &ndash\ ; that seemed to preoccupy many writers in his time. After battling depress ion and career disappointments\, during a sea voyage between Mexico and the United States he finally took his own life\, by leaping into the Gulf of M exico. Chamberlain&rsquo\;s &lsquo\;Gondola Hart Crane&rsquo\; can be seen in part as a memorial to Crane&rsquo\;s watery end.

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About the Artist

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John Chamberlain was born in 1927\, in Rochester\, Indiana. Fro m 1943 &ndash\; 46 he served in the U.S. Navy. He attended The Art Institut e of Chicago\, 1951 &ndash\; 52\, before studying at Black Mountain College \, North Carolina\, 1955 &ndash\; 56. His first major solo exhibition was h eld at the Martha Jackson Gallery\, New York\, in 1960. His work was includ ed in the Museum of Modern Art&rsquo\;s 1961 group exhibition\, &lsquo\;Art of Assemblage&rsquo\;\, and during that same year he participated in the S ã\;o Paulo Bienal. In 1964\, his work was exhibited at the Venice Bie nnale. In the 1960s as well as making sculpture from car parts\, Chamberlai n also experimented with other mediums including foam\, fibreglass\, latex and plexiglass. In 1971\, he had a retrospective at the Solomon R. Guggenhe im Museum\, New York. His next major retrospective was in 1986 at the Museu m of Contemporary Art\, Los Angeles. In 1993\, Chamberlain received both th e Skowhegan Medal for Sculpture\, Skowhegan School of Painting and Sculptur e\, Maine\, and the Lifetime Achievement Award in Contemporary Sculpture fr om the International Sculpture Centre\, Washington\, D.C. He was elected a member of the American Academy and Institute of Arts and Letters\, New York in 1990 and received the Distinction in Sculpture Honour from the Sculptur e Center\, New York\, in 1999. He died in Manhattan in 2011.

DTEND:20150222 DTSTAMP:20141127T043006 DTSTART:20141129 GEO:51.1076221;-2.4454617 LOCATION:Hauser & Wirth Somerset\,Durslade Farm Dropping Lane\, Bruton\nSom erset\, BA10 0NL SEQUENCE:0 SUMMARY:Gondolas\, John Chamberlain UID:365142 END:VEVENT BEGIN:VEVENT DTEND:193000 DTSTAMP:20141127T043006 DTSTART:170000 GEO:51.1076221;-2.4454617 LOCATION:Hauser & Wirth Somerset\,Durslade Farm Dropping Lane\, Bruton\nSom erset\, BA10 0NL SEQUENCE:0 SUMMARY:Gondolas\, John Chamberlain UID:365143 END:VEVENT END:VCALENDAR