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

Marlborough Contempora ry \;is pleased to announce \;The Book of Waves\, an exhibition of new works by Cuban artist \;Diango He rná\;ndez.

The Book of Waves \;will consist of three new bodies of work that investigate problematic external p erceptions of the country as well as its internal representations.
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Since leaving Cuba\, Dü\;sseldorf-based Herná\;ndez has actively engaged with the country\, frequently exploring the ways in which socialist ideology denies or promotes an aesthetic or spiritual experience . The themes of nature and the histories \;of socialism and \;art&n bsp\;will be brought together by the three bodies of work in the exhibition .
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The first body of work\, which lends its name to the ex hibition\, will comprise a set of paintings that all depict regular\, diagr ammatic waves. Herná\;ndez has designed a font in which each letter i s represented by a wave and this font is then used to quote Fidel Castro on canvases of varying sizes. The quotations depicted have been taken from Ca stro&rsquo\;s landmark 1961 speech \;Words to Intellectuals\, which included the famous phrase\, &lsquo\;Inside the Revolution\, everythi ng\; outside\, nothing&rsquo\;. The early years of Castro&rsquo\;s rule spe lled a period of increasing control of artistic life in Cuba and the most n otable feature of Herná\;ndez&rsquo\;s font is that each of the chara cters looks the same. This means that the narrative and the artwork are tra nslated into a repetitive image that cannot be &lsquo\;read&rsquo\; except in painterly terms.

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The wave \;wo rks constitute a noticeably painterly attempt at new forms\, and this \ ;strategy will be applied on a much larger scale for a project at ArtBasel Unlimited in June 2015. In his accompanying text \;Herná\;ndez wr ites \;&lsquo\;for the first time&rsquo\; about the &lsquo\;90 miles be tween Cuba and Florida&rsquo\; which are so &lsquo\;different from many oth ers.&rsquo\; \;
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The second body of work will consist of a series of fruit sculptures on which the skins of lemons are painted wi th international maritime signal flags. Abstract in their execution\, like the waves\, these are visual codes whose meaning is not immediately readabl e to the viewer. These new works show Herná\;ndez&rsquo\;s fascinatio n with raw materials and extend a preoccupation with the fruit motif recent ly seen in last year&rsquo\;s major solo exhibitions at Landesgalerie\, Lin z and Kunstverein\, Nü\;rnberg.

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F ruit carries complicated associations in the Cuban national consciousness\, comprising ambiguities that denote sweetness and pleasure but also carry a ssociations with colonialism\, exoticism\, exploitation and slavery. The wo rks hint at the United Fruit Company&rsquo\;s lasting impact on the Cuban e conomy\, and echoes of \;a form of American imperialism. Herná\;n dez began working with fruit after seeing street-sellers return to Cuba. In deed\, all of his work engages in a discourse between the personal and the political\, examining the relationship between origins and destinations\, s tatements and silence.

The final body of work consists of a sequ ence of watercolours entitled \;Sunsets. Vibrant and symbolic setting suns\, at various stages of visibility\, are painted onto the separ ated pages of a first edition of Ernesto &lsquo\;Che&rsquo\; Guevara&rsquo\ ;s \;Guerilla Warfare.Together \;with a \;landscape sk etch based on an illustration from the same book\, affixed directly onto a gallery wall\, \;Che&rsquo\;s guerrilla manual becomes the site of aest hetic pleasure.

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The Book of W aves \;continues at Marlbrough Contemporary until \;5  \;June 2015.

Diango Herná\;ndez \;was born in 1970 in Sancti Spí\;ritus\, Cuba\, where he studied industri al design. His path changed when he opted for an artistic career and decide d to travel abroad\, before settling in Dü\;sseldorf\, Germany\, where he currently lives and works. In parallel to his own practice\, he has an o ngoing curatorial project\,Lonelyfingers\, with German artist Anne Poehlmann\, through which they collaborate with other artists. Lonelyfinge rs has recently been showcased at Museum Abteiberg\, Mö\;nchengladbach.
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His work has been included in many group shows in intern ational institutions such as MOMA in New York and the Hayward Gallery in Lo ndon\, and has been presented at the 2005 Venice Biennale\, the 2006 Bienna les in Sã\;o Paulo and Sydney and the 2010 Liverpool Biennial. A majo r solo exhibition will take place in the Kunsthalle Mü\;nster in the su mmer.

DTEND:20150605 DTSTAMP:20150425T181907 DTSTART:20150428 GEO:51.5084606;-0.141152 LOCATION:Marlborough Fine Art\,6 Albemarle Street \nLondon\, W1S 4BY SEQUENCE:0 SUMMARY:The Book of Waves\, Diango Hernández UID:381909 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&lsquo\;The Great Beyond&rsquo\; is a new body of work by Joram Roukes touching on the subjects of exploration and escapism.

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Having relocated from the small city of Groningen\, The Netherlands to Los Angeles in 2013\, Roukes draws partly from his personal nomadic experiences and touches on the wider sense of the subject as well. What lies beyond the here and now is a question many adventurous spirits a re burdened with as it's ongoing search for truth instills a restlessness a nd a sense of dissatisfaction. The grass clearly isn't always greener\, but the inspiration and opportunities of finding the next place can be its own reward. &lsquo\;The Great Beyond&rsquo\; reflects on this concept of dissa tisfaction in society as a whole.

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For this show\, Roukes created a series of mostly large oil paintings in his familiar collage-lik e\, re-contextualized approach that allows him to explore his subject in a loose\, but at the same time cohesive narrative.

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Origina lly from The Netherlands\, 32-year-old painter Joram Roukes is inspired by his unique and ever-evolving view of the world. Inherently nomadic\, Roukes has travelled to\, and lived in many places across the world\, and is an a dventurous explorer by nature. His juxtaposed style of painting reflects th at exploratory trait\, as it also never can remain stagnant. His artwork of ten shifts and changes perspective\, subject or style\, and in turn\, force s the viewer's perception to shift and change\, provoking the viewer to que stion what they see vs. what they know. His narratives are complex and laye red\, much like his aesthetic. With an extensive background in art history and global cultures\, Roukes often pulls from a wide range of popular cultu re references and influences\, readily seen in his schizophrenic painting h abits. With his varying qualities and techniques taking turns in his collag e-style painting\, he is able to utilize his many influences in art and in culture\, to represent his take on the world\, while confusing the viewer j ust enough to make them see the many realities of Roukes' painted world.

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He received a startstipendium from Fonds BKVB in 2008 to s et up a 4 month artist residency in Brooklyn\, NY. In 2013 Roukes moved to the city of Los Angeles where he currently lives and works.

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Joram Roukes is building a strong international profile and has shown h is work extensively across the globe. With projects in Hong Kong\, Paris\, New York\, Berlin\, Amsterdam\, Los Angeles\, Copenhagen and London to name a few. May 2015 will mark his second solo show at Stolen Space Gallery in London.

DTEND:20150628 DTSTAMP:20150425T181907 DTSTART:20150522 GEO:51.5167454;-0.0701196 LOCATION:StolenSpace Gallery\,17 Osborn Street \nLondon\, E1 6TD SEQUENCE:0 SUMMARY:‘The Great Beyond'\, Joram Roukes UID:381895 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20150425T181907 DTSTART:180000 GEO:51.5167454;-0.0701196 LOCATION:StolenSpace Gallery\,17 Osborn Street \nLondon\, E1 6TD SEQUENCE:0 SUMMARY:‘The Great Beyond'\, Joram Roukes UID:381896 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Coinciding with Charlotte Moth& rsquo\;s new commission at Tate Britain\, fig-2 premiers a recent body of wo rk in the UK. &lsquo\;The Story of a Different Thought&rsquo\;\, 2014 is a trilogy on the construction of reality\, building of environments and eluci dation of cross-references. A condition of three possibilities that spring from three versions of a word\, continues in three ways to tell a story abo ut a bird with three eyes. Moth&rsquo\; s installation composed of a film\, series of silk screen prints and two scu lptures\, denote a treatment for a film\; a film about fluidity of concepts th at influence a faç\;ade\, a sculpture\, a way of living\, a city buil t around coal mines and early industrialisation\, a building with ability t o grow\, a painter with a loss and a poet deciphering religious teachings. Amidst all lies a mapping that includes Max Ernst\, Rathaus Marl\, Donatell o\, Patricia Lake\, Joshua Edwards among others.

DTEND:20150503 DTSTAMP:20150425T181907 DTSTART:20150427 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:fig-2 17/50 Charlotte Moth\, Charlotte Moth UID:381881 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150425T181907 DTSTART:180000 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:fig-2 17/50 Charlotte Moth\, Charlotte Moth UID:381882 END:VEVENT BEGIN:VEVENT DESCRIPTION:

You are cordially invited to view and discuss the current exhibition \;Anti-Social Realism \;with co-cu rator Juan Bolivar.

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Saturday 25 April \;4.00-6.0 0pm

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Anti-Social Realis m

DTEND:180000 DTSTAMP:20150425T181907 DTSTART:160000 GEO:51.5266865;-0.0813714 LOCATION:CHARLIE SMITH london\,336 Old Street \nLondon\, EC1V 9DR SEQUENCE:0 SUMMARY:London Gallery Day UID:381868 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:200000 DTSTAMP:20150425T181907 DTSTART:180000 GEO:51.5104943;-0.1500068 LOCATION:Timothy Taylor Gallery\,15 Carlos Place \nLondon\, W1K 2EX SEQUENCE:0 SUMMARY:Book Launch | Lucy Williams at Timothy Taylor Gallery\, Lucy Willia ms UID:381867 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150620 DTSTAMP:20150425T181907 DTSTART:20150430 GEO:51.4910955;-0.1083978 LOCATION:Greengrassi\,1a Kempsford Road \nLondon\, SE11 4NU SEQUENCE:0 SUMMARY:Sorry for the Wait\, Frances Stark UID:381470 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20150425T181907 DTSTART:183000 GEO:51.4910955;-0.1083978 LOCATION:Greengrassi\,1a Kempsford Road \nLondon\, SE11 4NU SEQUENCE:0 SUMMARY:Sorry for the Wait\, Frances Stark UID:381471 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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"T hey are so much like a photograph&hellip\; They are visible events recorded in the past"

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- ISHIUCHI MIYAKO

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Frida \;by Ishiuchi Miyako (2013) is a photographic reco rd of Mexican artist Frida Kahlo&rsquo\;s wardrobe and belongings. Followin g Kahlo&rsquo\;s death in 1954 her husband Diego Riviera began placing her personal effects into the bathroom of their Mexico City house\, &ldquo\;The Blue House&rdquo\;\, which later became the Museo Frida Kahlo. Riviera gav e instructions that this room should remain sealed until fifteen years afte r his death and it in fact remained unopened until 2004 when the museum dec ided to organise and catalogue the contents. Ishiuchi Miyako was invited to photograph these artefacts\, over 300 unseen relics of Kahlo&rsquo\;s life . \;

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As a project Frida is both a departure from Ishiuchi Miyako&rsquo\;s normal practice and a natural conc eptual progression. While moving away from the Japanese subject matter of h er earlier series\, the work reveals Ishiuchi Miyako&rsquo\;s continued obs ession with the traces we leave behind both as individuals and as a society . In her earlier series\, Mother&rsquo\;s (2000-2005) and ひろしま/ Hiroshima ( 2007-)\, she photographed previously worn garments\, evoking the lives and memories of the people who wore them as well as the social climate of post- war Japan. In documenting Frida\, Ishiuchi Miyako again respectfully sifts through the ephemera left behind by an individual and in doing so makes int imate revelations about one of the twentieth century&rsquo\;s greatest arti sts. Frida Kahlo (1907 -1954) was an invalid throughout her life. Having pr otracted polio as a child she was then involved in a near fatal automobile accident at the age of 18\, which resulted in numerous surgical interventio ns. In the aftermath of her accident Khalo constructed her iconic wardrobe to camouflage her physical ailments. Ishiuchi Miyako&rsquo\;s images docume nt the traditional Tehuana dresses that both concealed the damage to her lo wer body and acted as a feminist salute to the matriarchal society from whi ch they are derived. 1 Through her photographs Ishiuchi came to recognise t he parallel between these traditional garments and the kimonos of her own c ountry\, an &ldquo\;ephipany&rdquo\; that is evident in the images themselv es. Throughout the photographs there is a particular awareness\, a tenderne ss that is inherent to a woman looking through another woman&rsquo\;s intim ate possessions. As she painstakingly catalogues the chic of Kahlo&rsquo\;s sunglasses\, the intimacy of her darned tights and the corsets that were t o be the armature by which she survived. \;

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Many friends noted that the more incapacitated Kahlo became the more elaborate her costumes. Throughout her life she decorated her casts an d corsets elevating them from medical necessities to visual armour. The fin al blow was the amputation of her leg in 1953\, \;from which she never recovered. Even in this affliction she designed a prosthetic leg adorned wi th a boot covered in chinese embroidery and a little bell. Captured in natu ral light with a 35mm Nikon\, Ishiuchi Miyako&rsquo\;s portrayal of these o bjects can seem deceptively simple. Reviewed together however these relics become a composite &ldquo\;portrait&rdquo\;\, an insight into a woman who u sed fashion to channel her physical difficulties into a courageous statemen t of identity\, strength and beauty. \;

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Ishiuchi Miyako knew very little of Frida Kahlo\, the artist\, when she arrived in Mexico. She came to know her through her photographs\, obses sing over the traces that Kahlo as a woman left on her belongings\; the pai nt stains and stitching which bear the imprint of their owner. There are ec hoes of her past projects throughout\, the same focus cast on the puckered darning of Frida&rsquo\;s wardrobe as previously seen in her documentation of her mother&rsquo\;s scars prior to her death. Flesh or fabric the scars are the same\, in Ishiuchi Miyako&rsquo\;s own words she is drawn to them & ldquo\;because they are so much like a photograph&hellip\; They are visible events recorded in the past&rdquo\;. As in her previous work the power of the portrait that emerges lies in the absence of the subject. The images re flect the viewer\, acknowledging the fragile traces we all impart upon our environment and belongings.

DTEND:20150712 DTSTAMP:20150425T181907 DTSTART:20150513 GEO:51.4889883;-0.1659459 LOCATION:Michael Hoppen Contemporary\,3 Jubilee Place \nLondon\, SW3 3TD SEQUENCE:0 SUMMARY:Frida\, Ishiuchi Miyako UID:381469 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bernard Jacobson Gallery is ve ry pleased to announce that our second exhibition in our new space on Duke Street St James&rsquo\;s will be a series of paintings by one of Britain&rs quo\;s leading painters William Tillyer.

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The Palmer paintings continue Tillyer&rsquo\;s long engagement with the English landscape and in particular his lifelong obsession with clouds. Th e Palmer of the title is Samuel Palmer 1805-81 the visionary British Romant ic landscape painter who\, like Tillyer\, had an almost mystical view of ma n&rsquo\;s relationship with the landscape and who has long been an influen ce and inspiration for Tillyer. (The subtitle is from a line from Psalm 65: 11).

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Abstracted dreamlike cloudscapes bathed in a golden light\, these paintings combine Tillyers&rsquo\;s Roman tic as well as his materialist sensibilities. The paintings are produced us ing a unique technique whereby Tillyer pushes acrylic paint through a fabri c mesh that he hangs from the ceiling of his studio. Working from behind as well as from the front he gives a third dimension to his painting\, breaki ng through the grid-like picture plane implied by the mesh and into the rea l world.

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In these works\, according t o the American poet and art critic John Yau\, &ldquo\;Tillyer has achieved an intensity that surpasses his earlier work. He has brought the visionary insights of William Blake and Samuel Palmer into the 21st century&hellip\;. The Palmer paintings are apocalyptic and ravishing\, sublime and mysterious .&rdquo\;

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Tillyer has recently been w orking with the acclaimed British poet Alice Oswald who won the T.S. Eliot prize for poetry for her book length poem Dart which celebrates the Devon r iver. Sharing a similar love of the landscape and an interest in updating o ur ways of looking at it\, Oswald has written a poem reflecting on one of t he Palmer paintings to accompany the exhibition.

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This will be the first exhibition in London since Tillyer was g iven the largest single artist exhibition at mima in Middlesbrough. The exh ibition went on to become the most visited in the museum&rsquo\;s history.< /p>\n

Tillyer&rsquo\;s work is in many majo r collections worldwide including Tate and the MoMA\, New York.

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Bernard Jacobson Gallery&rsquo\;s new premises a re in a converted car park in Duke Street St James&rsquo\;s\, London\, oppo site the Royal Academy. Designed by Nick Gowing architects\, the gallery oc cupies the ground and lower ground floor of an extensive\, contemporary exh ibition space.

 Bernard Jacobson Gallery was founded in1969 as a publisher and dealer in prints. Over the last 45 years the gallery has exhibited man y great British\, American and European artists including: Ben Nicholson\, Bruce McLean\, Graham Sutherland\, Peter Lanyon\, William Scott\, Frank Ste lla\, Kenneth Noland\, James Rosenquist\, Pierre Soulages\, Lee Krasner\, M arc Vaux\, Bram Bogart\, William Tillyer\, Jules Olitski\, Helen Frankentha ler and Robert Motherwell. Forthcoming exhibitions for 2015 include an exhi bition focusing on Robert Motherwell&rsquo\;s use of black in June\, 
Frank Stella\, to coincide with the Whitney restrospective\, in October and Sam Francis in December.  \;

DTEND:20150530 DTSTAMP:20150425T181907 DTSTART:20150501 GEO:51.5077335;-0.1382228 LOCATION:Bernard Jacobson Gallery\,28 Duke Street St. James's \nLondon\, SW 1Y 6AG SEQUENCE:0 SUMMARY:The Palmer Paintings (Clouds that Drop Fatness on the Earth)\, Will iam Tillyer UID:381467 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150425T181907 DTSTART:180000 GEO:51.5077335;-0.1382228 LOCATION:Bernard Jacobson Gallery\,28 Duke Street St. James's \nLondon\, SW 1Y 6AG SEQUENCE:0 SUMMARY:The Palmer Paintings (Clouds that Drop Fatness on the Earth)\, Will iam Tillyer UID:381468 END:VEVENT BEGIN:VEVENT DESCRIPTION:

These conversations\, organise d by Tim Cousins\, are part of a series of dialogues between the artist\, t he questioner and the audience directly though an artwork in the studio. Th e sixth and final &lsquo\;conversation&rsquo\; of the second season will re late to a painting produced early this year by Maggie Learmonth. Maggie&rsq uo\;s work explores various meanings that surface from the landscape and it s built environment.

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Please arrive in the Gallery before 5.30pm

DTEND:181500 DTSTAMP:20150425T181907 DTSTART:173000 GEO:51.4770661;-0.021002 LOCATION:APT Gallery\,Harold Wharf 6 Creekside\, Deptford\nLondon\, SE8 4SA SEQUENCE:0 SUMMARY:Conversations with Art | Maggie Learmonth\, Maggie Learmonth UID:381458 END:VEVENT BEGIN:VEVENT DESCRIPTION:

To coincide with SLAM Last Fridays

DTEND:191500 DTSTAMP:20150425T181907 DTSTART:184500 GEO:51.4770661;-0.021002 LOCATION:APT Gallery\,Harold Wharf 6 Creekside\, Deptford\nLondon\, SE8 4SA SEQUENCE:0 SUMMARY:Artist’s Talk: Emyr Williams\, Emyr Williams UID:381457 END:VEVENT BEGIN:VEVENT DESCRIPTION:

These drawings are made with a shellac based Indian ink - a beautiful but unforgiving medium. They have a n 'on-off' approach\; either it's  \;black ink or white paper. I have a voided atmospheric washes. Although I see the drawings as autonomous works\ , they have enabled me to look at wider issues such as weighting\, contrast and spatial relationships - not forgetting surprise and discovery too\, as nothing is planned out.  \;

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I us e certain marks or phrases almost as characters which I take on journeys th at build into larger areas. I have to deal with the challenge of the transi tion from one section to another as the drawing takes shape. With time\, th e possibilities for these characters reveal themselves to me\, and a fresh impetus to explore their potential further\, is created.

DTEND:20150426 DTSTAMP:20150425T181907 DTSTART:20150423 GEO:51.4770661;-0.021002 LOCATION:APT Gallery\,Harold Wharf 6 Creekside\, Deptford\nLondon\, SE8 4SA SEQUENCE:0 SUMMARY:Giant Ink Drawings\, Emyr Williams UID:381455 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150425T181907 DTSTART:180000 GEO:51.4770661;-0.021002 LOCATION:APT Gallery\,Harold Wharf 6 Creekside\, Deptford\nLondon\, SE8 4SA SEQUENCE:0 SUMMARY:Giant Ink Drawings\, Emyr Williams UID:381456 END:VEVENT BEGIN:VEVENT DESCRIPTION:

13 contemporary artists\, \;13 highly skilled cr aftsmen\, 1 extraordinary collaborative exhibition \;inspired by \; the overarching theme of the inaugural \;London Craft \;Week: 'Lo ndon&rsquo\;s Hidden Craft&rsquo\;

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MAKE / CREATE will feat ure \;13 craft \;scholars from \;Queen Elizabeth Scholarship \;Trust (QEST) \ ;and \;13 \;fine artists\, selected by Griffin Gallery\, \;in d ialogue with each other. \; \;The spirit of the exhibition lies in the desire to demonstrate the contemporary nature of craft\, and the craft involved in contemporary art &ndash\; changing perceptions of both.

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The \;selected \;craftsmen \;and artists were \;placed in pairs \;by a judging panel \;that included \;Julia Robinson of QEST\, \;Becca Pelly-Fry\, Director of Griffin Gallery\, Rebecca Byrne\ , Events Manager of Griffin Gallery\, Steve Macleod\, photographer and Dire ctor of Metro Imaging\, \;and \;Richard Edwards\, \;Visual Arts and \;Craft Lead for Arts Council England.

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DTEND:20150510 DTSTAMP:20150425T181907 DTSTART:20150506 GEO:51.527204;-0.1299876 LOCATION:The Crypt Gallery\,St Pancras Church Euston Road\nLondon\, NW12BA SEQUENCE:0 SUMMARY:MAKE/CREATE\, Scott Benefield / Rachel Wickremer\, Trevor Cain / Ni cola Dale\, Carréducker / Rosie Munro Kerr\, Steve Cook / Evy Jokhova\, Cor daelia Craine / Anneli Holmstrom\, Daniel Durnin / Lucy Dore\, Aidan Gray / Susan Fletcher\, Margaret Jones / Jake Abrams\, James Kirby / Anne Par fitt\, Rosanna Martin / Gill Newton\, Alan Moore / Eliza Bennett\, Mia Sar osi / Heidi Sincuba\, Melissa White / Chantal Powell UID:381334 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20150425T181907 DTSTART:180000 GEO:51.527204;-0.1299876 LOCATION:The Crypt Gallery\,St Pancras Church Euston Road\nLondon\, NW12BA SEQUENCE:0 SUMMARY:MAKE/CREATE\, Margaret Jones / Jake Abrams\, Alan Moore / Eliza B ennett\, Trevor Cain / Nicola Dale\, Daniel Durnin / Lucy Dore\, Aidan Gra y / Susan Fletcher\, Cordaelia Craine / Anneli Holmstrom\, Steve Cook / Ev y Jokhova\, Carréducker / Rosie Munro Kerr\, Rosanna Martin / Gill Newton\, James Kirby / Anne Parfitt\, Melissa White / Chantal Powell\, Mia Sarosi / Heidi Sincuba\, Scott Benefield / Rachel Wickremer UID:381335 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Before the name \ ;is a live performance/shooting inspired by \;La danse comme m&eacu te\;taphore de la pensé\;e \;(Dance as a Metaphor for Though t)\, part of the &ldquo\;Handbook of Inaesthetics&rdquo\;\, written by the French philosopher Alain Badiou - Alberto Toscano (trans.)\, Stanford Unive rsity Press\, 2005. Badiou&rsquo\;s presence/absence in Francesca Banchelli &rsquo\;s performance embodies the desire to confront ourselves with the th ought of one of the great living philosophers through dance. Via the intens ity of movement\, sound and words\, the happening/event questions the meani ng of a collective action\, by creating a minimal multilayered connection b etween artists\, thinkers and the public.

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Badiou&rsquo\;s thoughts resonate in the form of an echo in the empty space\, along with the live music of artist and composer Emiliano Zelada\, and the experience of young dancers from different backgrounds responding t o the philosopher&rsquo\;s words. They will occupy the space with their mov ements\, trying to reach their own understanding of \;density& nbsp\;levels\, engaged with Badiou&rsquo\;s figure. The symmetrical binomia l produced by the philosopher&rsquo\;s appearance/disappearance\, and the d ancers&rsquo\; visual strength formed by movement and mind\, will be cut by a non-narrative perspective introduced and lead by the influential Italian art critic and curator Pier Luigi Tazzi\, with the kind help of Kornkrit J ainpinidnan. His presence opens the boundaries of the performance&rsquo\;s territory\, transforming it into direct actions.

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The focus on &ldquo\;dance as metaphor for thought&rdquo\; depa rts its starting point\, only to collide with a real entourage\, connected to life and experience. Dance\, as a concept\, is now dissolved into moveme nt\, travel\, life\, debris\, and powerful objects\, infinite images. The c ollective nature of the performance will be ignited by the interventions of artist-philosopher Jonathan Lahey Dronsfield\, interacting with Badiou&rsq uo\;s words\, thus establishing a dialogue in time creating a resonance in the space. A minimal thread of variants connected to Badiou&rsquo\;s theory will open up the performance territory to one of a debate. The public can affect this tension\, modifying the making of the performative territory\, following or interfering with the course of its process\, carrying it on un til the moment when it might be transformed into an &ldquo\;event&rdquo\;.< /p>\n

Alain Badiou is a philosopher who has clearly exposed the potentiality of the concept of an &ldquo\;event&rdquo\ ;\, and its importance in an individual&rsquo\;s awareness. This necessity goes beyond art&rsquo\;s and philosophy&rsquo\;s boundaries\, touching a ne wer generation&rsquo\;s desire to regain individual responses and shared la nguages. Movements\, conjectured to intensity of thought and music will be filmed to create a statement connecting artistic practice with philosophy\, while engaging with life&rsquo\;s consistency.

DTEND:200000 DTSTAMP:20150425T181907 DTSTART:190000 GEO:51.5345651;-0.0548183 LOCATION:Wilkinson Gallery\,50/58 Vyner Street \nLondon\, E2 9DQ SEQUENCE:0 SUMMARY:Before the Name\, Emiliano Zelada\, Pier Luigi Tazzi\, Jonathan Lah ey Dronsfield\, Francesca Banchelli UID:381093 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gillian Ayres' exhibition is n ow open. New paintings and prints are exhibited alongside a select group of historic paintings\, spanning Ayres' 65 year career. \;

DTEND:20150530 DTSTAMP:20150425T181907 DTSTART:20150413 GEO:51.5107667;-0.14195 LOCATION:Alan Cristea Gallery- 34 Cork St\,34 Cork Street \nLondon \, W1S 3 NU SEQUENCE:0 SUMMARY:New Paintings and Prints \, Gillian Ayres UID:381092 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gillian Ayres' exhibition is n ow open. New paintings and prints are exhibited alongside a select group of historic paintings\, spanning Ayres' 65 year career. \;

DTEND:20150530 DTSTAMP:20150425T181907 DTSTART:20150413 GEO:51.5107952;-0.1418735 LOCATION:Alan Cristea Gallery - 31 Cork St\,31 Cork Street \nLondon\, W1S 3 NU SEQUENCE:0 SUMMARY:New Paintings and Prints\, Gillian Ayres UID:381091 END:VEVENT END:VCALENDAR