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

In collaboration with Anthony Reynolds Gallery
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An ar tist of Brazilian heritage but who relocated to London in 1975\, Nogueira&r squo\;s work comprises installation\, sculpture\, video and drawing. Her ar t eludes classification. Despite frequently suggesting a Brazilian sensibil ity\, it does not sit comfortably within the paradigm of most Brazilian art \, but neither does it reflect what was taking place in London at the time. A fascination with the structure of language infiltrated her work but also expressed the particular force of her bilingual ambivalence. Her work is s uspended in a complex cultural partnership and encapsulates relationships t hat are at the root of our attempts to negotiate experience. Neither repres entational nor narrative\, Nogueira&rsquo\;s work concerns the range of poe tic and philosophical stimuli that are generated by a single\, precise poin t of connectivity.
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A fully illustrated 64 pp catalogue will be available

DTEND:20161029 DTSTAMP:20160824T052505 DTSTART:20160923 GEO:51.514238;-0.1457835 LOCATION:Annely Juda Fine Art\,23 Dering Street \nLondon\, W1s 1AW SEQUENCE:0 SUMMARY:Solo Exhibition\, Lucia Nogueira UID:426109 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20160824T052505 DTSTART:180000 GEO:51.514238;-0.1457835 LOCATION:Annely Juda Fine Art\,23 Dering Street \nLondon\, W1s 1AW SEQUENCE:0 SUMMARY:Solo Exhibition\, Lucia Nogueira UID:426110 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Chinese ink art has a time - h onoured tradition\, a tradition that has\, since the day \;it was born\ , been going through relentless changes\, mainly driven by its intrinsic&nb sp\;movements before the 20th century as there was neither desire nor chann el for \;the Chinese culture to interact with those of other countries against the \;backdrop of China&rsquo\;s self-closed cultural environme nt.

The beginning of the 20th century witnessed the most dramati c changes in \;history to China\, which led to\, among others\, rupture s and fragmentation of \;Chinese cultural traditions with the increasin g influence of the west on China. \;The ink art\, as one of the symbols of Chinese cultural traditions\, since then \;embarked on a path of th e so-called &ldquo\;transformation&rdquo\;\, with modernization as the  \;purpose and learning from the west the approach.

This transfor mation has been accompanied by disputes until the 1980s\, a period \;th at saw the prominence of a contemporary sense of questioning in the creatio n \;of Chinese ink art. The creators\, while stressing the &ldquo\;micr o-times&rdquo\; and &ldquo\;micro-trends&rdquo\; in the context of &ldquo\; macro-times&rdquo\; and &ldquo\;macro-trends&rdquo\;\, began to show \; diversities and personalities. What remained the same about the ink artists then \;were the principles of &ldquo\;I&rsquo\;m expressing my own inn er world&rdquo\; and &ldquo\;harmony butnot conformity&rdquo\;\, although s ome of them tended to envy the unrestrainedness of \;western expression ist art\, and some others preferred to go back to the \;traditional &ld quo\;brush and ink play&rdquo\; of ancient Chinese literati painting.

It is undoubted that the Chinese ink at of the early 21st century wil l be nothing \;but a flash throughout its tremendously long history. It is now showing more \;enhanced diversities and personalities with the involvement of young ink artists. \;The tradition of Chinese ink art ha s been more inclusive thanks to the efforts of \;the past generations o f ink artists\, and it is based on this inclusiveness that \;Chinese in k art is starting to be experimental and avant-garde.

For the yo ung artists\, ink is either the material they feel comfortable with\, or an  \;apposite medium they use to express their own opinions\, or a route of time \;travel for them to connect with ancient artists. That&rsquo\; s why they have been so \;captivated by the creations and experiments o f ink art\, which count as the most \;direct and easiest modes to expre ss themselves as well as their attitudes about \;the current era.

It is our pleasure to bring the creations of such a group of young ar tists to \;London\, the culturally diverse metropolis where we would li ke to unveil the \;contemporary Chinese ink art. Belonging to the new g eneration of contemporary \;Chinese ink artists\, the several young art ists featured in this exhibition\, who are \;known for their practice a rt out of unrestrained will\, have all chosen ink art as if \;by prior agreement. For them\, ink art is where the vitality lies\, and their missio n \;of artistic creation is to tell the story of &ldquo\;themselves&rdq uo\; or reveal the spirit of their \;generation in the contemporary cul tural context\, instead of continuing the \;tradition of ink art.

DTEND:20160913 DTSTAMP:20160824T052505 DTSTART:20160907 GEO:51.5011096;-0.1766949 LOCATION:Royal College of Art\,Kensington Gore \nLondon\, SW7 2EU SEQUENCE:0 SUMMARY:In Ink: Contemporary Chinese Ink Painting\, Xu Hualing\, Hang Chunh ui\, Peng Jian\, Chen Jun\, Ma Lingli UID:426105 END:VEVENT BEGIN:VEVENT DTEND:190000 DTSTAMP:20160824T052505 DTSTART:110000 GEO:51.5011096;-0.1766949 LOCATION:Royal College of Art\,Kensington Gore \nLondon\, SW7 2EU SEQUENCE:0 SUMMARY:In Ink: Contemporary Chinese Ink Painting\, Hang Chunhui\, Xu Huali ng\, Peng Jian\, Chen Jun\, Ma Lingli UID:426106 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Par t of the fascination with all photography is that the medium is firmly grou nded in the documentary tradition. It has been used as a record of crime sc enes\, zoological specimens\, lunar and space exploration\, phrenology\, fa shion and importantly\, art and science. It has been used as &lsquo\;proof& rsquo\; of simple things such as family holidays and equally of atrocities taking place on the global stage. Any contemporary artist using photography has to accept the evidential language embedded in the medium.

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In this exhibition the Michael Hoppen Gallery exh ibits a myriad of different images including 19th\, 20th c. and contemporary works of art. \; Seemingly disparate these imag es have a shared gravitas\, a weightiness that emanates from their document ary function. Many of the images were originally taken to provide empirical evidence of a theory or record of an event. Dislocated from their original context and distanced by time\, they do not so much provide an answer\, ra ther question the viewer afresh.

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It i s interesting that the majority of photographs in this exhibition were neve r intended as beautifully crafted or well-composed images. They were requir ed to prove a point\, solve a mystery or simply to inform with clarity. The identity of a face\, the location of a cell\, the shape o f a skull as confirmation of evolution\, the coaxial lighting down a gun to show the twist of the barrel. All these images were made to illustrate a f act. Even a picture of a Russian schoolgirl&rsquo\;s calculus covered thigh s provides amusing evidence of her cheating in a math&rsquo\;s exam. The im age was taken as proof of her misdemeanor but isolated from its original co ntext\, as with many of these images\, it acquires a beauty and significanc e independent of it&rsquo\;s original function.

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Most of these images once served a specific purpose\, which has now passed. What therefore makes these disparate images still so important and also so collectable? One understands very quickly how extraordinary som e of these pieces are\, not only from an informative point of view\, but al so aesthetically. Many are unique and the chances of them having been saved in good condition\, for posterity is often just pure chance. The minds tha t thought up ways to record this evidence\, sometimes in the face of cultur al or academic adversity\, was also an achievement. Look at Jules Etienne M aré\;e&rsquo\;s  \;series of the naked man walking. This is possi bly the earliest &lsquo\;giff&rsquo\; in the world! What he was able to do is still being practiced today in cinema special effects.

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Equally\, the photographs Francis Bacon used to create some of his great canvases could have ended up in a waste paper bin\, but are here for all to see. Scholars need this material to work with and it is this search for the truth that leads us neatly to where we are today with a plethora of fascinating pictures to sample\, savor and marvel at.

\n DTEND:20161106 DTSTAMP:20160824T052505 DTSTART:20160928 GEO:51.4889883;-0.1659459 LOCATION:Michael Hoppen Contemporary\,3 Jubilee Place \nLondon\, SW3 3TD SEQUENCE:0 SUMMARY:The image as question: An exhibition of evidential photography UID:426017 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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In October \;201 6 Studio Voltaire will present a major new commission by American painter J amian Juliano-Villani\, her first solo presentation in a public institution outside the US.

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Jamian Julia no-Villani&rsquo\;s (b. 1987\, New Jersey) paintings teem with cultural ref erences\, both populist and obscure\; animation\, advertising and video gam es jostle with Reggae album artwork and delinquent characters from art hist ory. By layering appropriated imagery she creates aberrations\, with figure s growing\, shrinking and dissolving into one another. Her paintings often reflect a curious slippage between the prosaic and surreal\, converting the familiar into the uncanny.

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Juliano-V illani&rsquo\;s bold and graphic style has become categorised by her use of cartoon imagery\, however\, she has repeatedly specified it is not cartoon s aesthetic but their populist nature that interests her. She is mining a s hared collective memory to express intimate and subjective issues that can be read through the universal language of cartoons. The communicative poten tial of her work is key for Juliano-Villani\, and her unrestricted use of m ainstream appropriation makes it legible on a number of levels.

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For her commission at Studio Voltaire Juliano-Vi llani will work in situ and create a new body of work in response to the id iosyncrasies of the gallery space. She will build on the developments in he r more recent work\, moving away from her complex\, dynamic Hieronymus Bosc h-esque tableaus\, where chaos was the main character\, and instead focus o n the psychological atmosphere of her paintings in a more personal\, intima te way.

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There is a clear duality in J uliano-Villani&rsquo\;s work\; it is comic but also visceral\, violent\, pe rverse and at times erotic. Her work is simultaneously appealing and yet re pulsive. She examines common cultural memories via the myths derived from t elevision and advertising\, however she re-contextualises these\, and as a result imbues them with new meaning\, and critically new value. Her works a re affective and angst ridden\, filled with moral dilemmas and personal vis ions. Juliano-Villani&rsquo\;s works can all be read as self-portraits\, bu t ones composed with a shared visual language.

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DTEND:20161101 DTSTAMP:20160824T052505 DTSTART:20160930 GEO:51.4619465;-0.1343895 LOCATION:Studio Voltaire\,1a Nelsons Row \nLondon\, SW4 7JR SEQUENCE:0 SUMMARY:Solo Exhibition\, Jamian Juliano–Villani UID:426015 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20160824T052505 DTSTART:180000 GEO:51.4619465;-0.1343895 LOCATION:Studio Voltaire\,1a Nelsons Row \nLondon\, SW4 7JR SEQUENCE:0 SUMMARY:Solo Exhibition\, Jamian Juliano–Villani UID:426016 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Simon Lee Gall ery is proud to present a concise survey exhibition of paintings by Korean artist Yun Hyong-keun\, one of the leading figures of Dansaekhwa\, in his f irst posthumous solo presentation in the UK.

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The series of large Burnt Umber &\; Ultramar ine Blue oil on linen works included in the exhibition date from betwe en 1990 &ndash\; 1993 and reflect a transformative moment in the artist&rsq uo\;s career\, when the abstract forms in the work grew larger\, darker and fewer in number.

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Ins pired by nature and influenced by the work of the scholar and calligrapher Kim Jeong-hui\, Yun&rsquo\;s paintings combine the colour of earth and wate r in surfaces reminiscent of traditional ink-wash painting\, infused with v itality. Restricting his palette in this body of work to these two colours\ , Yun diluted the paint with turpentine and allowed it to wash over the can vas\, layering it over days\, weeks or months to create intense fields of v elvety\, intense darkness. The paintings embody time through an accumulatio n of procedures enacted in different encounters with the work in the same s pace. Each layer of pigment seeped into the fibres at a different rate\, re sulting in blurred edges along the unmarked expanses of canvas. In the 1990 s\, these boundaries gradually became more defined\, eventually sharpening into hard edges in the final decade of the artist&rsquo\;s life.

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In recent years major international museums and academics have revisited Yun's work and his key contribution to Dansaekhwa . His works characterise the elements of tactility\, spirituality and perfo rmance common to first generation Dansaekwha artists\, including Chung Sang -Hwa\, Ha Chong-Hyun\, Chung Chang-Sup\, KIM Whanki and Park Seo-Bo. Emergi ng from a period deeply affected by the Korean War\, their work reflected K orean sentiments and aesthetics through investigating themes of flatness\, materiality and mediation. Rhythmic actions repeatedly performed on the can vas were intended to build a sense of unity between materials\, object and the self. Whilst never officially a movement and diverse in their outputs\, the Dansaekwha artists&rsquo\; work shares a common commitment to investig ating the materiality and act of painting.

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Notes for Editors

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Yun Hyong-keun was born in Miwŏn\, Korea\, in 1928 a nd died in 2007. In 1947 he attended Seoul National University to study Wes tern painting\, but abandoned his studies after he was imprisoned for his i nvolvement with the leftist student movement. He returned to his hometown\, Cheongju\, where he worked as a teacher. Eight months later\, the Korean W ar (1950-53) broke out. Yun survived the war and in 1954 joined Hongik Univ ersity where he met Kim Whanki\, a renowned painter and his future father-i n-law\, and forged a close relationship with the art students who would be exponents of Dansaekhwa. He graduated from the Department of Painting\, Hon gik University\, Seoul\, in 1957. He has been the subject of numerous solo exhibitions in Korea\, Japan\, Germany\, France and the United States\, inc luding at the Judd Foundation\, New York (1993)\, and the Chinati Foundatio n\, Marfa\, TX (1994). The Museum of Modern and Contemporary Art\, Strasbou rg\, France\, held a major retrospective in 2002. His work has also been ce lebrated in landmark surveys such as Dansaekhwa: Korean Monochrome Painting \, National Museum of Contemporary Art\, Gwacheon (2012)\; Korean Abstract Art: 1958&ndash\;2008\, Seoul Museum of Art (2008)\; Gwangju Biennale (2000 )\; Venice Biennale (1995)\; Working With Nature: Traditional Thought in Co ntemporary Art from Korea\, Tate Liverpool (1992)\; and the Sã\;o Pau lo Biennial (1969\, 1975).

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This exhib ition is presented in collaboration with the Estate of Yun Hyong-keun and P KM Gallery\, Seoul.

DTEND:20160929 DTSTAMP:20160824T052505 DTSTART:20160906 GEO:51.5081809;-0.14304 LOCATION:Simon Lee\,12 Berkeley Street \nLondon\, W1J 8DT SEQUENCE:0 SUMMARY:Burnt Umber And Ultramarine Blue\, 1990-1993\, Yun Hyong-keun UID:426013 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20160824T052505 DTSTART:180000 GEO:51.5081809;-0.14304 LOCATION:Simon Lee\,12 Berkeley Street \nLondon\, W1J 8DT SEQUENCE:0 SUMMARY:Burnt Umber And Ultramarine Blue\, 1990-1993\, Yun Hyong-keun UID:426014 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In association with Art Partner\, Phillips prese nts the first major exhibition of the dynamic artist duo Mert &\; Marcus . Since landing their first cover with Dazed &\; Confused in 19 97\, Mert &\; Marcus have had their distinctive and powerful photographs featured in such established magazines as Vogue\, Interview\, Vanity Fair and W as well as in campaigns for Chris tian Dior\, Versace\, Yves Saint Laurent and more. As part of the 20th anni versary celebration of Mert &\; Marcus' collaboration\, 18 works - 9 bla ck-and-white and 9 colour - will be made available for sale for the first t ime. The landmark exhibition debuts at Phillips' London headquarters in May fair before traveling to Paris.

DTEND:20161103 DTSTAMP:20160824T052505 DTSTART:20161024 GEO:51.5101183;-0.1472568 LOCATION:Phillips de Pury & Company\,30 Berkeley Square \nLondon\, W1J 6EX SEQUENCE:0 SUMMARY:Works 2001-2014\, Mert & Marcus UID:426012 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160813 DTSTAMP:20160824T052505 DTSTART:20160729 GEO:51.5101183;-0.1472568 LOCATION:Phillips de Pury & Company\,30 Berkeley Square \nLondon\, W1J 6EX SEQUENCE:0 SUMMARY:radar: London Staff Show\, Charlotte Adlard\, Moira Gil\, Johnny Fo x\, Vicki Fornieles\, Busby & Turner\, Surya Buck\, BUA\, Iori Endo\, Kiri Emmerson\, Andy Clydesdale\, Rui Cravo\, Eve Campbell\, Ian Bell\, Nick Bar rett\, Nancy Allen\, Richard Butler\, Jack Butcher\, Stephen Gilbert\, Mari a Gondek\, Oliver Gottschalk\, Susie Graves\, Neil S. Hamed\, Sarah Hawley\ , Joe Hewlett\, Todd Hooper\, Dan Hunt\, Perce Jerrom\, Robert Kennan\, Pau l Maudsley\, Fiona McGovern\, Karolina Mikeskova\, Sean Millington\, Tom Mi lnes\, Colin Mortimer\, Patricia Oliveira\, Halime Özdemir\, Pennicott + Fl eming\, PJ Phillips\, Laetitia Piccin\, Linda Pyke\, Phillips Reeves\, Jame s Ryan\, Charlotte Salisbury\, Tim Sprague\, Giuseppe Termine\, Lewis Thoma s\, Ross Thomas\, Rebecca Tooby-Desmond\, Maarten van den Bos\, Ben Walker\ , Damien Whitmore\, Gwyn Williams UID:426011 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161105 DTSTAMP:20160824T052505 DTSTART:20160908 GEO:51.5119573;-0.1478663 LOCATION:Gimpel Fils Gallery\,30 Davies Street \nLondon\, W1K 4NB SEQUENCE:0 SUMMARY:Solo Exhibition\, Araya Rasdjarmrearnsook UID:426009 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20160824T052505 DTSTART:180000 GEO:51.5119573;-0.1478663 LOCATION:Gimpel Fils Gallery\,30 Davies Street \nLondon\, W1K 4NB SEQUENCE:0 SUMMARY:Solo Exhibition\, Araya Rasdjarmrearnsook UID:426010 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The first solo exhibition in a UK institution by the Berlin and Brussels-based artist Peter Wä\;chtle r. Working in animated film\, ceramics and drawing\, Wä\;chtler explore s the introverted experience of labour\, with his prolific writing and pros e poems often providing source material. Through idiosyncratic imagery\, wh ich merges personal biography and fiction\, Wä\;chtler&rsquo\;s work pr esents a contemporary treatment of melancholia\, employing comic absurdity in literary and cinematic modes. \;

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Peter Wächtler (born 1979\, Hannover) lives and works in Brussels and Berlin. Recent solo exhibitions include 9\, KIOSK\, Ghent (2016)\; Secrets of a Trumpet\, The Renaissance Society\, Ch icago (2016)\; Westfälischer Kunstverein\, Münster (2014)\; Reena Spaulin gs\, New York (2014)\; dépendance gallery\, Brussels (2013)\; Kunsthalle W ien\, Vienna (2013). Selected group exhibitions include Surround Audien ce\, New Museum Triennial\, New York (2015)\; A needle Walks into a Haystack\, Liverpool Biennial\, Liverpool (2014)\; Meanwhile... Suddenly and Then\, Lyon Biennale (2013)\; Pride Goes Before a Fal l &ndash\; Beware of a Holy Whore\, Artists Space\, New York (2013). S ternberg Press published a collection of Wächtler&rsquo\;s texts in 2013\, entitled Come On.
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DTEND:20161211 DTSTAMP:20160824T052505 DTSTART:20160916 GEO:51.5330714;-0.0395103 LOCATION:Chisenhale Gallery\,64 Chisenhale Road \nLondon\, E3 5QZ SEQUENCE:0 SUMMARY:Solo Exhibition\, Peter Wächtler UID:426007 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20160824T052505 DTSTART:183000 GEO:51.5330714;-0.0395103 LOCATION:Chisenhale Gallery\,64 Chisenhale Road \nLondon\, E3 5QZ SEQUENCE:0 SUMMARY:Solo Exhibition\, Peter Wächtler UID:426008 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161001 DTSTAMP:20160824T052505 DTSTART:20160909 GEO:51.5251722;-0.0559263 LOCATION:Maureen Paley\,21 Herald St. \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:Solo Exhibition\, Olivia Plender UID:426006 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160925 DTSTAMP:20160824T052505 DTSTART:20160902 GEO:51.525135;-0.0558072 LOCATION:Herald St\,2 Herald Street \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:Solo Exhibition\, Cary Kwok UID:426002 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20160824T052505 DTSTART:183000 GEO:51.525135;-0.0558072 LOCATION:Herald St\,2 Herald Street \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:Solo Exhibition\, Cary Kwok UID:426003 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gagosian Gallery is pleased to present new Composite Dra wingsby Richard Serra.

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R ichard Serra was born in San Francisco in 1938 and has lived in Ne w York since 1966. He studied at the University of California (Berkeley and Santa Barbara) and at Yale University. He was awarded the insignia of Chev alier de la lé\;gion d'honneur by the French government in June 2015.

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Institutional collections include Th e Museum of Modern Art\, New York\; Whitney Museum of American Art\, New Yo rk\; Dia Art Foundation\, Beacon\, New York\; National Gallery of Art\, Was hington\, D.C.\; LACMA\, Los Angeles\; The Broad\, Los Angeles\; Tate Moder n\, London\; Stedelijk Museum\, Amsterdam\; Serralves Foundation\, Oporto\, Portugal\; Neue Nationalgalerie\, Berlin\; and Guggenheim Museum Bilbao\, Spain\, among many others.

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Serra's ea rliest solo exhibitions were held at Galleria La Salita\, Rome (1966)\, and Leo Castelli Warehouse\, New York (1969). His first solo museum exhibition was presented at The Norton Simon Museum (formerly Pasadena Art Museum) in 1970. Selected recent solo institutional exhibitions include &ldquo\;Richa rd Serra: Weight and Measure Drawings\,&rdquo\; American Academy in Rome\, Italy (2000)\; &ldquo\;Sculpture and Drawing by Richard Serra\,&rdquo\; The Pulitzer Foundation for the Arts\, St. Louis\, Missouri (2003)\; &ldquo\;R ichard Serra: Focus Installation\,&rdquo\; St. Louis Museum of Art\, Missou ri (2003)\; &ldquo\;Richard Serra\,&rdquo\; Museo Archeologico Nazionale di Napoli\, Naples\, Italy\; &ldquo\;Richard Serra: The Matter of Time\,&rdqu o\; Guggenheim Museum Bilbao\, Spain (2005)\; &ldquo\;Richard Serra Sculptu re: Forty Years\,&rdquo\; The Museum of Modern Art\, New York (2007)\; &ldq uo\;Richard Serra\, Drawings: Work Comes Out of Work\,&rdquo\; Kunsthaus Br egenz\, Austria (2008)\; &ldquo\;Promenade\,&rdquo\; Monumenta\, Grand Pala is\, Paris (2008)\; &ldquo\;Richard Serra Drawing: A Retrospective\,&rdquo\ ; The Metropolitan Museum of Art\, New York (2011\, travelled to San Franci sco Museum of Modern Art\, California\; and the organizing venue\, The Meni l Collection\, Houston)\; &ldquo\;Richard Serra: Drawings for The Courtauld \,&rdquo\; The Courtauld Gallery\, London (2013)\; &ldquo\;Richard Serra\,& rdquo\; Qatar Museum Authority\, Doha (2014)\; and &ldquo\;Richard Serra: D rawings in the Gá\;vea House\,&rdquo\; Instituto Moreira Salles\, Rio de Janeiro (2014).

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Serra participate d in Documenta in 1972\, 1977\, 1982\, and 1987\; and La Biennale di Venezi a in 1980\, 1984\, 2001\, and 2013. He was awarded the Golden Lion in 2001. In 2005\, The Matter of Time (1994&ndash\;2005)\, a series of eig ht monumental sculptures\, was permanently installed at the Guggenheim Muse um Bilbao. In 2014\, East-West/West-East (2014) was permanently in stalled in the desert of the Brouq Nature Reserve in Western Qatar.

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Since 1983\, Gagosian Gallery has presented more than thirty major exhibit ions of Serra's sculptures and drawings in the United States and Europe.

DTEND:20161217 DTSTAMP:20160824T052505 DTSTART:20160915 GEO:51.5110563;-0.1476352 LOCATION:Gagosian Gallery - Davies Street\,17-19 Davies St. \nLondon\, W1K 3DE SEQUENCE:0 SUMMARY:Drawings\, Richard Serra UID:426000 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20160824T052505 DTSTART:180000 GEO:51.5110563;-0.1476352 LOCATION:Gagosian Gallery - Davies Street\,17-19 Davies St. \nLondon\, W1K 3DE SEQUENCE:0 SUMMARY:Drawings\, Richard Serra UID:426001 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gagosian Gallery is pleased to present three recent large-sc ale steel sculptures by Richard Serra.

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Richard Serra was born in San Francisco in 1938 and has lived in New York since 1966. He studied at the University of California (B erkeley and Santa Barbara) and at Yale University. He was awarded the insig nia of Chevalier de la lé\;gion d'honneur by the French government in June 2015.

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Institutional collections include The Museum of Modern Art\, New York\; Whitney Museum of American A rt\, New York\; Dia Art Foundation\, Beacon\, New York\; National Gallery o f Art\, Washington\, D.C.\; LACMA\, Los Angeles\; The Broad\, Los Angeles\; Tate Modern\, London\; Stedelijk Museum\, Amsterdam\; Serralves Foundation \, Oporto\, Portugal\; Neue Nationalgalerie\, Berlin\; and Guggenheim Museu m Bilbao\, Spain\, among many others.

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Serra's earliest solo exhibitions were held at Galleria La Salita\, Rome ( 1966)\, and Leo Castelli Warehouse\, New York (1969). His first solo museum exhibition was presented at The Norton Simon Museum (formerly Pasadena Art Museum) in 1970. Selected recent solo institutional exhibitions include &l dquo\;Richard Serra: Weight and Measure Drawings\,&rdquo\; American Academy in Rome\, Italy (2000)\; &ldquo\;Sculpture and Drawing by Richard Serra\,& rdquo\; The Pulitzer Foundation for the Arts\, St. Louis\, Missouri (2003)\ ; &ldquo\;Richard Serra: Focus Installation\,&rdquo\; St. Louis Museum of A rt\, Missouri (2003)\; &ldquo\;Richard Serra\,&rdquo\; Museo Archeologico N azionale di Napoli\, Naples\, Italy\; &ldquo\;Richard Serra: The Matter of Time\,&rdquo\; Guggenheim Museum Bilbao\, Spain (2005)\; &ldquo\;Richard Se rra Sculpture: Forty Years\,&rdquo\; The Museum of Modern Art\, New York (2 007)\; &ldquo\;Richard Serra\, Drawings: Work Comes Out of Work\,&rdquo\; K unsthaus Bregenz\, Austria (2008)\; &ldquo\;Promenade\,&rdquo\; Monumenta\, Grand Palais\, Paris (2008)\; &ldquo\;Richard Serra Drawing: A Retrospecti ve\,&rdquo\; The Metropolitan Museum of Art\, New York (2011\, travelled to San Francisco Museum of Modern Art\, California\; and the organizing venue \, The Menil Collection\, Houston)\; &ldquo\;Richard Serra: Drawings for Th e Courtauld\,&rdquo\; The Courtauld Gallery\, London (2013)\; &ldquo\;Richa rd Serra\,&rdquo\; Qatar Museum Authority\, Doha (2014)\; and &ldquo\;Richa rd Serra: Drawings in the Gá\;vea House\,&rdquo\; Instituto Moreira S alles\, Rio de Janeiro (2014).

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Serra participated in Documenta in 1972\, 1977\, 1982\, and 1987\; and La Biennal e di Venezia in 1980\, 1984\, 2001\, and 2013. He was awarded the Golden Li on in 2001. In 2005\, The Matter of Time (1994&ndash\;2005)\, a se ries of eight monumental sculptures\, was permanently installed at the Gugg enheim Museum Bilbao. In 2014\, East-West/West-East (2014) was per manently installed in the desert of the Brouq Nature Reserve in Western Qat ar.

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Since 1983\, Gagosian Gallery has presented more than thirty ma jor exhibitions of Serra's sculptures and drawings in the United States and Europe.

DTEND:20170225 DTSTAMP:20160824T052505 DTSTART:20161001 GEO:51.5302144;-0.1175396 LOCATION:Gagosian Gallery - Britannia Street\,6-24 Britannia Street \nLondo n\, WC1X 9JD SEQUENCE:0 SUMMARY:NJ-2\, Rounds: Equal Weight\, Unequal Measure\, Rotate\, Richard Se rra UID:425998 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20160824T052505 DTSTART:180000 GEO:51.5302144;-0.1175396 LOCATION:Gagosian Gallery - Britannia Street\,6-24 Britannia Street \nLondo n\, WC1X 9JD SEQUENCE:0 SUMMARY:NJ-2\, Rounds: Equal Weight\, Unequal Measure\, Rotate\, Richard Se rra UID:425999 END:VEVENT BEGIN:VEVENT DESCRIPTION:

AN ARTIST&rsquo\;S REFLECTION OF TODAY&rsquo\;S BRIT AIN: &ldquo\;TENSION&rdquo\; EXHIBITED IN SAATCHI GALLERY

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Unit G Gallery exhibits the creative works of talented young London er\, Conrad Armstrong\, featuring in Saatchi Gallery

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Using a combination of oil paint\, melted plastic and electric cables on canvas\, Conrad reflects on the structure of contemporary society in Brita in

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The exhibition will take place from 15-18 Septe mber at the START Art Fair in Saatchi Gallery

DTEND:180000 DTSTAMP:20160824T052505 DTSTART:110000 GEO:51.487615;-0.168313 LOCATION:Saatchi Gallery\,Duke of York's HQ King's Road\nLondon\, SW3 4SQ SEQUENCE:0 SUMMARY:START Art Fair/TENSION by Conrad Armstrong\, Conrad Armstrong UID:425799 END:VEVENT END:VCALENDAR