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Eva Grubinger concentrates on the medium of sculpture\, and through processes of estranging and encoding\ , shifts of material\, scale and context\, she investigates spatial qualiti es in relation to currencies of socio-political\, architectural contexts an d visual arts language often referencing Minimalism and Conceptual Art. Her first solo exhibition in London entitled &lsquo\;Black Diamond Bay&rsquo\;\ , explores a cluster of abiding interests: the maritime as a metaphor\, col onial adventuring\, correspondence between the world of a century ago and t hat of today\, and associations of darkness. The exhibition responds direct ly to its location\, as does the title\, which references an imaginary plac e in Joseph Conrad&rsquo\;s Victory (1915) and the 1976 song by Bob Dylan.& nbsp\;

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 \;&lsquo\;Black Diamond B ay&rsquo\;\, is the third of four fig-2 projects that utilises two venues at the ICA\; the Theatre and the Studio\, and in both of these spaces explore s the continuing appeal and risk of travelling to unknown territories. Trig gering the idea of a psychological landscape and a physical or mental journ ey\, the installation evokes ideas of escapism and the search for the self\ , adventure\, testing limits\, inner states of transgression\, conquest\, d elimitation\, drift and danger. On the occasion of the exhibition\, Grubing er will be in conversation with Fatos Ü\;stek at \;ArtReview Live \;on 9 September\, please book you r places at \;rsvp@artreview.com.

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This exhibition is generously supported by the Austrian Chancellor&rsquo\;s off ice\, \;L40 Kunstverein am Rosa-Luxemburg-Platz\, and the Berlin Senate Cultural Affairs Department. Special thanks to \;Austrian Cultural Foru m\, \;Delfina Foundation \;and \;Westbury Hotels.

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Please join us for the weekly Last Chance Ex hibition Tour on Sunday at 5 pm.

DTEND:20150913 DTSTAMP:20150902T214844 DTSTART:20150907 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:fig-2 36/50 Eva Grubinger UID:394872 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150902T214844 DTSTART:180000 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:fig-2 36/50 Eva Grubinger UID:394873 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Bartha Contemporary is delighted to announce Hartmut Böhm&rsquo\;s third solo exhibition with the gallery. Entitled &lsquo\;Wor ks with Grid &ndash\; Works without Grid&rsquo\;\, the exhibition showcases Hartmut Böhm&rsquo\;s continued interest in seemingly simple compositions and arrangements\, which reveal their complex underlying structure over tim e.

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Hartmut Böhm (b. 1938) is widely regarded as one of the most imp ortant German non-figurative artists of his generation. From his early syst ematic works\, which draw on a European geometric tradition to the artist&r squo\;s more recent installation based practice\, Hartmut Böhm&rsquo\;s wor ks are best described within the context of Minimalism rather than European Constructivism.

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The works chosen for this exhibition represent bot h a continued interest in mathematical systems as well as the dismissal of rigid structures as sole compositional element. The juxtaposition exemplifi es the artist&rsquo\;s increasing unease with the dogmatic nature of geomet ric art and German constructivism in particular.

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Proportional syste ms and progressions lay at the heart of many of the artist&rsquo\;s works. Their repetitive nature is intentional\, often describing the starting-poin t for a composition that could expand infinitely.

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A small selection of seminal works from the past four decades are shown in the office\, inte nded as an overview these works complete the installation.

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Hartmut Böhm participated in several ground-breaking exhibitions\, including the 19 64 exhibition &ldquo\;Nouvelle Tendance&rdquo\; at the Musée des Arts Décor atives at the Palais du Louvre and in Zagreb 1965. Shortly thereafter &ldqu o\;this Kenetica&rdquo\; at the Museum des 20. Jahrhunderts in Vienna\, the first important survey exhibition of Kinetic-art in Europe.

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Most r ecently his work was included in the Daimler Collection survey exhibition & ldquo\;Minimalism in Germany&rdquo\;\, a solo- presentation at Daimler Coll ection is scheduled to take place early next year. \;

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DTEND:20151010 DTSTAMP:20150902T214844 DTSTART:20150910 GEO:51.5166342;-0.1415935 LOCATION:Bartha Contemporary\,25 Margaret Street \nLondon\, W1W 8RX SEQUENCE:0 SUMMARY:"Works with Grid – Works without Grid"\, Hartmut Böhm UID:394781 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20150902T214844 DTSTART:183000 GEO:51.5166342;-0.1415935 LOCATION:Bartha Contemporary\,25 Margaret Street \nLondon\, W1W 8RX SEQUENCE:0 SUMMARY:"Works with Grid – Works without Grid"\, Hartmut Böhm UID:394782 END:VEVENT BEGIN:VEVENT DESCRIPTION:

 \;press release

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MICHAEL KREBBER

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5 September &ndash\; 4 October 2015

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private v iew: Saturday 5 September 6.30 &ndash\; 8.30pm

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Maureen Paley is pleased to present the fifth solo exhib ition at the gallery of new work by Michael Krebber.

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producing a Krebber\, being organized.

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First Level

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Second Level

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Third Level \;

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f ourth \;

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fifth

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what a painting cannot d o

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Michael Krebber has long ex­\; plored the premis­\;es\, chal­\;lenges\, and pos­\;si­\;bil­ \;i­\;ties of paint­\;ing and has made investigative con­\;tri­ \;bu­\;tions to this dis­\;course. He is a professor at the Stä\; delschule since 2002 and was awarded the 2015 Wolfgang Hahn Prize\, along w ith R. H. Quaytman\, earlier this year.

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Selected solo exhibitions include: < em>Systemic Relevance\, Galerie Buchholz\, Berlin\, Germany\, 2014\; < em>STOPICE\, dé\;pendance\, Brussels\, Belgium\, 2013\; Les escargots ridiculisé\;s\, CAPC\, musé\;e d&rsquo\;art cont emporain\, Bordeaux\, France\, 2012\; C-A-N-V-A-S\, Uhutrust\, Jerry Ma goo and guardian.co.uk Painting\, Greene Naftali\, New York\, USA\, 20 11\; FROM MCB TO MBC\, Richard Telles Fine Art\, Los Angeles\, USA \, 2010\; Pubertä\;t in der Lehre/Puberty in Teaching\, Kö \;lnischer Kunstverein\, Cologne\, Germany\, 2008\; Galerie Chantal Crousel \, Paris\, France\, 2007\; sometimes it snows in april\, presentat ion with Rachel Harrison\, The McAllister Institute\, New York\, USA\, 2006 \; Michael Krebber\, Secession\, Vienna\, Austria\, 2005\; war m up (how I hit a snob)\, Richard Telles Fine Art\, Los Angeles\, USA\ , 2004.

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Selected group exhibitions include: R. H Quaytman and Michael Krebber\, Museum Ludwig\, Cologne\, Germany\, a nd Call and Response\, Gavin Brown&rsquo\;s Enterprise\, New York\ , USA\, 2015\; We not\, Galerie Buchholz\, Cologne\, Germany\, 201 4\; Hamlet\, Mise-En-Scè\;ne\, Jack Smith in Frankfurt\, Por tikus\, Frankfurt am Main\, Germany\, 2012\; Provisional Painting\ , Modern Art\, London\, UK\, 2011\; Gambaroff\, Krebber\, Quay tman\, Rayne\, Bergen Kunsthall\, Bergen\, Norway\, 2010\; At Home /Not At Home: Works from the Collection of Martin and Rebecca Eisenberg\, CCS Bard Hessel Museum of Art\, Annandale-on-Hudson\, NY\, USA\, 2010\; The Most Contemporary Picture Show\, Actually\, Kunsthal le Nuernberg\, Germany\, and Grey Flags\, Sculpture Center\, New Y ork\, USA\, curated by Anthony Huberman and Paul Pfeiffer\, 2006\; Cond itions of Display\, The Moore Space\, curated by Gean Moreno\, Miami\, USA\, 2007\; Formalismus\, Kunstverein Hamburg\, Germany\, and Rhinegold: Art from Cologne\, Tate Liverpool\, Liverpool\, UK\, 2004 \; Hier ist dort 2\, Secession\, Vienna\, Austria\, 2002.

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DTEND:20151004 DTSTAMP:20150902T214844 DTSTART:20150905 GEO:51.5251722;-0.0559263 LOCATION:Maureen Paley\,21 Herald St. \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:Michael Krebber\, Michael Krebber UID:394778 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20150902T214844 DTSTART:183000 GEO:51.5251722;-0.0559263 LOCATION:Maureen Paley\,21 Herald St. \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:Michael Krebber\, Michael Krebber UID:394779 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Francesco Vezzoli: Eternal Kiss

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Alm ine Rech Gallery is pleased to present Francesco Vezzoli&rsquo\;s second so lo exhibition with the gallery. The exhibition will be on view from the 8th of September to the 3rd of October\, 2015.

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T he strategies of aesthetic and conceptual play at work throughout Francesco Vezzoli&rsquo\;s expansive oeuvre are predominantly dedicated to dissectin g received notions of beauty. Laced with humour\, much of Vezzoli&rsquo\;s work interrogates how and why beauty has been attributed to certain artwork s and artifacts at different times. For his new sculpture\, &lsquo\;Eternal Kiss&rsquo\;\, exhibited for the first time at Almine Rech Gallery\, Vezzo li acquired two life size marble heads at auction: a Roman portrait of a ma n (circa the 2nd Century A.D)\, and a Roman portrait of a woman (Imperial\, Hadrianic\, circa \;117-138 A.D). Both heads have been rest ored to their original status through a meticulous process of fabrication u nderpinned by specialist advice from eminent archeologists in the field. In this sense\, &lsquo\;Eternal Kiss&rsquo\; further develops the ideas of be auty and the artifact explored in Vezzoli&rsquo\;s &lsquo\;Teatro Romano&rs quo\; presentedat PS1 in New York earlier this year.

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Vezzoli explai ns how &ldquo\;the main objective of &lsquo\;Eternal Kiss&rsquo\; is to use the process of aesthetic restoration to reenact a fictional kiss from two thousand years ago.&rdquo\; &lsquo\;Eternal Kiss&rsquo\; has\, Vezzoli cont inues\, two main aims: &ldquo\;the first is to restore to the heads the not ion that originally they were made to function as objects of desire\; the s econd\, and more ambitious\, aim of the work is to create the most ancient sculpture of a kiss in existence."

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The fabrication process through which the &lsquo\;Eternal Kiss&rsquo\; has been realized is an unusually ag gressive one for such rarified ancient artifacts. Vezzoli elucidates on how he is &ldquo\;acting like a facial surgeon &ndash\; giving the heads back their beauty by mending broken elements\, like noses. A sort of nip and tuc k\,&rdquo\; says Vezzoli\, &ldquo\;allowing the heads to be in sensual dial ogue with one another. It is as if I&rsquo\;m preparing them for a selfie\, &rdquo\; he says.

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By way of contrast to the aesthetic and conceptua l play driving the conception and the production of the work\, Vezzoli expl ains how &ldquo\;consulting with specialist archaeologists gives the fabric ation process - and consequently the finished work - an edge it would other wise lack. To paint over and remodel the heads without any sense of histori cal context would be merely gratuitous.&rdquo\; For Vezzoli\, these very di fferent approaches are congruent with their respective professions: &ldquo\ ;I&rsquo\;m an artist\,&rdquo\; he states\, &ldquo\;and they are archaeolog ists: while I&rsquo\;m there to explore certain emotions\, they are there t o identify and then verify historical facts.&rdquo\; Without this tension & lsquo\;Eternal Kiss&rsquo\; would lack the sense of conceptual precision so crucial to Vezzoli&rsquo\;s work.

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Vezzoli&rsquo\;s method of appro aching ancient sculptures draws on the way early collectors and curators pr ioritized aesthetic effect over scientific accuracy: by\, for instance\, at taching a Renaissance body to an ancient head to recreate a sense of beauty that a mutilated head would not convey. Even a highly respected scholar li ke Johann Winklemann took this approach as late as the mid-eighteenth centu ry. Vezzoli describes how he &ldquo\;takes for granted the fact that this a pproach was normal practice a few hundred years ago when museums did not ye t have such a hyper protective attitude to the ancient artifacts in their c ollections.&rdquo\;

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For the present exhibition\, every detail of th e heads and their presentation has been placed under scrutiny. &ldquo\;Beca use of this attention to the minutia of detail\,&rdquo\; says Vezzoli\, &ld quo\;the exhibition will focus on the objects themselves. &lsquo\;Eternal K iss&rsquo\; will become nothing less than the most ancient sculpture of a k iss in existence. It&rsquo\;s as simple &ndash\; or as complicated &ndash\; as that\,&rdquo\; concludes Vezzoli.

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Alex Coles DTEND:20151003 DTSTAMP:20150902T214844 DTSTART:20150908 GEO:51.5109657;-0.1400151 LOCATION:Almine Rech Gallery\,11 Savile Row \nLondon\, W1S 3PG SEQUENCE:0 SUMMARY:Francesco Vezzoli's Eternal Kiss\, Francesco Vezzoli UID:394677 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150902T214844 DTSTART:180000 GEO:51.5109657;-0.1400151 LOCATION:Almine Rech Gallery\,11 Savile Row \nLondon\, W1S 3PG SEQUENCE:0 SUMMARY:Francesco Vezzoli's Eternal Kiss\, Francesco Vezzoli UID:394678 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The first part of Tintype's three month-show in three frames \, interlinking the work of Adam Gilllam (Frame 1)\, Oona Grimes (Frame 2)\ , and Jo Addison (Frame 3).

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Revelling in material and visual flippa ncy\, Adam Gillam fidgets\, probes and tweaks the discarded dark matter of studio experimentation and pound-shop tat. The resulting accumulations pres ent a potential momentary resolution between improvisation and refinement.< /p> DTEND:20151003 DTSTAMP:20150902T214844 DTSTART:20150909 GEO:51.5388305;-0.0989025 LOCATION:Tintype\,107 Essex Road \nLondon \, N1 2SL SEQUENCE:0 SUMMARY:STOP BUGGING ME: Frame 1\, Adam Gillam UID:394675 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20150902T214844 DTSTART:183000 GEO:51.5388305;-0.0989025 LOCATION:Tintype\,107 Essex Road \nLondon \, N1 2SL SEQUENCE:0 SUMMARY:STOP BUGGING ME: Frame 1\, Adam Gillam UID:394676 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In September 2015 major \; artist and cultural phenomenon Ai Weiwei takes over our main galleries with brave\, provocative and visionary works.

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Our most recent single artist shows have seen some of the true greats of contemporary art animate our Main Galleries with unforgettable\, powerfu l work. Hockney\, Kapoor\, Kiefer &ndash\; you need to be a special artist to embrace the immensity of our historic spaces. Who better then to take up the challenge this autumn than Ai Weiwei\, one of China&rsquo\;s most infl uential artists.

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Ai became widely kno wn in Britain after his sunflower seeds installation in Tate Modern&rsquo\; s Turbine Hall in 2010 but this will be the first major institutional surve y of his work ever held in the UK and it will bridge over two decades of hi s extraordinary career.

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Curated in co llaboration with Ai Weiwei from his studio in Beijing\, the RA will present some of his most important works from the time he returned to China from t he US in 1993 right up to present day. Among new works created specifically for our galleries and courtyard will be a number of large-scale installati ons\, as well as works showcasing everything from marble and steel to tea a nd glass. \;

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With typical boldnes s\, the chosen works will explore a multitude of challenging themes\, drawi ng on his own experience to comment on creative freedom\, censorship and hu man rights\, as well as examining contemporary Chinese art and society.

DTEND:20151213 DTSTAMP:20150902T214844 DTSTART:20150919 GEO:51.5091816;-0.1396932 LOCATION:Royal Academy of Arts\,Burlington House Piccadilly\nLondon\, W1J0B D SEQUENCE:0 SUMMARY:Solo Exhibition\, Ai Weiwei UID:394637 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David \;Zwirner is pleased to present a comprehensive exhibition of paintings and sculptures by the C uban group of abstract painters \;Los Diez Pintores Concretos& nbsp\;(Ten Concrete Painters)\, which was active from 1959 to 1961. \;< em>Concrete \;Cuba \;is the first presentation in the United&n bsp\;Kingdom to highlight the origins of concretism in Cuba during the 1950 s\, and will include important works by the artists who were at different t imes associated with the short-lived group: Pedro Á\;lvarez\, Wifredo  \;Arcay\, Mario \;Carreñ\;o\, Salvador \;Corratgé\ ;\, Sandú\; \;Darié\;\, Luis \;Martí\;nez \;P edro\, Alberto \;Menocal\, José\; \;Mijares\, Pedro \;de& nbsp\;Oraá\;\, José\; \;Á\;ngel \;Rosabal\, Lol&o acute\; \;Soldevilla\, and Rafael \;Soriano.

DTEND:20151003 DTSTAMP:20150902T214844 DTSTART:20150905 GEO:51.5094225;-0.1430438 LOCATION:David Zwirner\, London\,24 Grafton Street \nLondon\, \, W1S 4EZ SEQUENCE:0 SUMMARY:Concrete Cuba\, Pedro Álvarez\, Wifredo Arcay\, Mario Carreño\, Sal vador Corratge\, Sandú Darié\, Luis Martinez Pedro\, Alberto Menocal\, José Mijares\, Pedro de Oraa\, José Ángel Rosabal\, Lolo Soldevilla\, Rafael So riano UID:394453 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150902T214844 DTSTART:180000 GEO:51.5094225;-0.1430438 LOCATION:David Zwirner\, London\,24 Grafton Street \nLondon\, \, W1S 4EZ SEQUENCE:0 SUMMARY:Concrete Cuba\, Pedro Álvarez\, Wifredo Arcay\, Mario Carreño\, Sal vador Corratge\, Sandú Darié\, Pedro de Oraa\, Alberto Menocal\, José Mijar es\, Luis Martinez Pedro\, José Ángel Rosabal\, Lolo Soldevilla\, Rafael So riano UID:394454 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Tickets are now on sale for&nb sp\;Music for Museums\, \;a season of live experiment al music featuring works by ground-breaking composers and artists. Divided into six themes\, from Fluxus to Electonica and Sonic Spaces\, events are o n Thursday evenings and Saturday afternoons\, with an accompanying programm e of free film screenings.
Book now.

DTEND:20151129 DTSTAMP:20150902T214844 DTSTART:20150917 GEO:51.5159523;-0.070212 LOCATION:Whitechapel Gallery\,77-82 Whitechapel High Street \nLondon\, E1 7 QX SEQUENCE:0 SUMMARY:Music for Museums: A season of live performance UID:394452 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ibid. London is pleased to invi te you to our next exhibition

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Razvan Boar

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STUMP LUNCH

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DTEND:20151003 DTSTAMP:20150902T214844 DTSTART:20150904 GEO:51.5166321;-0.1417916 LOCATION:Ibid.\,27 Margaret Street \nLondon\, W1W 8RY SEQUENCE:0 SUMMARY:Stump Lunch\, Razvan Boar UID:394450 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150902T214844 DTSTART:180000 GEO:51.5166321;-0.1417916 LOCATION:Ibid.\,27 Margaret Street \nLondon\, W1W 8RY SEQUENCE:0 SUMMARY:Stump Lunch\, Razvan Boar UID:394451 END:VEVENT BEGIN:VEVENT DESCRIPTION:

2015 marks twenty years since Nigerian writer and activist Ken Saro-Wiwa was executed\, alongside eight c olleagues\, for crimes he did not commit. They were campaigning against She ll&rsquo\;s exploitation and environmental destruction of the Ogoni land wh ich twenty years on\, remains unchecked. Peckham is at the heart of London& rsquo\;s Nigerian and Ogoni diaspora so to coincide with this important ann iversary\, Peckham Platform has commissioned artist and writer Michael McMi llan for a commemorative exhibition that will take place at the gallery fro m \;17 September &ndash\; 22 November 2015. \;

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In June\, the global Action Saro-Wiwa tour (organised by Platform London) brought Sokari Douglas Camp&rsquo\;s Battle Bus to Peckham Square &ndash\; the living memorial created by the Nigerian artist in 2005 . The Battle Bus is a large-scale mobile interactive steel sculpture topped by oil drums and etched with the words of one of Saro-Wiwa&rsquo\;s final speeches. Working with Theatre Peckham\, McMillan created a performance pie ce that used The Battle Bus as a site and took place on the square onSaturd ay 27th June. It triggered memories for Nigerians and local people in Peckh am of Ken Saro-Wiwa as a symbol for ordinary people resisting oppression an d fighting for freedom across Africa and the world. \;

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For the exhibition\, wallpaper made from large-scale photographs taken inside and outside The Battle Bus will line the gallery e voking a sense in visitors of being present in the sculpture. Kiosks will d isplay materials form Nigerian shops and communities in Peckham including f ood and &lsquo\;Nollywood&rsquo\; videos such as 70s sitcom &lsquo\;Basi &a mp\; Co&rsquo\; which was written by Ken Saro-Wiwa. Film of the performance of McMillan&rsquo\;s work on Peckham Square and a montage of passers-by re ading passages from Saro-Wiwa&rsquo\;s final speech &lsquo\;I Accuse&rsquo\ ; inside The Battle Bus will be projected into the gallery\, creating multi ple layers that reflect the impact of The Battle Bus&rsquo\; presence now i t has departed on its journey to its permanent home in the Niger Delta.

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Hashtag: #IAccuse

DTEND:20151122 DTSTAMP:20150902T214844 DTSTART:20150917 GEO:51.4737682;-0.0693563 LOCATION:Peckham Platform\,89 Peckham High Street \nLondon\, SE15 5RS SEQUENCE:0 SUMMARY:Doing Nothing Is Not An Option\, Michael Mcmillan UID:394443 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20150902T214844 DTSTART:180000 GEO:51.4737682;-0.0693563 LOCATION:Peckham Platform\,89 Peckham High Street \nLondon\, SE15 5RS SEQUENCE:0 SUMMARY:Doing Nothing Is Not An Option\, Michael Mcmillan UID:394444 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Amy Stephens initiates relations between geological\, archit ectonic and sculpted forms\, exploring the dichotomy between the object/for m and its representation. Using variety of media from drawing to sculpture and photography\, Stephens investigates fluctuations between two and three-d imensional surfaces. Her drawings manifest themselves as physical lines in space\, her sculptures replicate existing organic forms borrowed from natur al settings\, made in response to geographical features. Stephens employs t raditional sculpting techniques\, brings together the organic and the synth etic in her practice\, intertwining the inversion principle and the transla tability of form. At fig-2\, Stephens shows a set of works that meld the exi sting with the new\, where her wide spectrum of textures and materials\, he r investigation in the natural and inorganic are brought forward.

DTEND:20150906 DTSTAMP:20150902T214844 DTSTART:20150831 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:fig-2 35/50 Amy Stephens UID:394238 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150902T214844 DTSTART:180000 GEO:51.5060981;-0.1302173 LOCATION:fig-2\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:fig-2 35/50 Amy Stephens UID:394239 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Striking and oft en unforgiving\, Goya&rsquo \;s portraits demonstrate his daringly unconventional approach and rema rkable skill at capturing the psychology of his sitters.

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Already 37 when he secured his first important portrait commission from Spain&rsquo\;s Prime Minister\, Count Floridablanca\, Goya &rsquo\;s reputation grew quickly. Ambitious and proud of his status\, he g ained patrons from the entire breadth of Spanish society: from the royal fa mily and aristocrats\, to intellectuals\, politicians and military figures\ , to his own friends and family.

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Deep ly affected by his deafness\, the result of serious illness in his mid-40s\ , portraiture remained a means by which Goya could communicate. His approac h was unhindered\; he was unafraid to reveal what he saw.

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Providing penetrating insight into the public and priv ate aspects of his life\, &lsquo\;Goya: The Portraits&rsquo\; traces the ar tist&rsquo\;s development\, from his first commissions to more intimate lat er works painted during his &lsquo\;self-imposed exile&rsquo\; in France in the 1820s &ndash\; a career that spanned revolution and restoration\, war with France\, and the cultural upheaval of the Spanish Enlightenment.

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A boundary-breaker\, and highly regarded b y Delacroix\, Degas\, Manet and Picasso\, Goya is one of Spain&rsquo\;s mos t celebrated painters\, yet until now\, his story as a portraitist has neve r been told in an exhibition.

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&lsquo\ ;Goya: The Portraits&rsquo\; presents around 70 of the artist&rsquo\;s most outstanding works from public and private collections around the world\, i ncluding paintings\, drawings\, and miniatures never-before-seen in London.

DTEND:20160110 DTSTAMP:20150902T214844 DTSTART:20151007 GEO:51.5080393;-0.1280693 LOCATION:National Gallery\,Trafalgar Square \nLondon\, WC2N 5DN SEQUENCE:0 SUMMARY:Goya: The Portraits\, Francisco de Goya UID:394076 END:VEVENT BEGIN:VEVENT DTEND:180000 DTSTAMP:20150902T214844 DTSTART:100000 GEO:51.5080393;-0.1280693 LOCATION:National Gallery\,Trafalgar Square \nLondon\, WC2N 5DN SEQUENCE:0 SUMMARY:Goya: The Portraits\, Francisco de Goya UID:394077 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ryan Gander returns for a thir d time to Lisson Gallery with Fieldwork 2015\, an exhibition of in terlinking new works by the artist\, each offering a glimpse of the inspira tions that feed his practice. Encompassing everything including a kitchen s ink\, the exhibition presents an individuated encyclopaedia that includes a year&rsquo\;s worth of skies\, the clothes of absentee statues\, a tent\, a helium balloon\, the artist&rsquo\;s phone number and a pebble beach. As ever with Gander&rsquo\;s art\, the forms convened in Fieldwork are ellipti c and opaque\, starting stories for the viewer to invent or complete.

Occupying the entire back gallery\, the titular Fieldwork (a ll works 2015) opens a window onto the revolving touchstones of Gander&rsqu o\;s art. Objects from the artist&rsquo\;s collection &ndash\; each seeming ly found but on closer inspection uniquely crafted (for instance\, a Nation al Trust sign protecting &lsquo\;Culturefield&rsquo\;\, Gander's imaginary artistic utopia) &ndash\; rotate round the room on a vast\, walled-off conv eyer belt. Views of these items gliding past momentarily (a baseball bat co vered in nails\, a pair of dead pigeons\, a chocolate bar swoosh&hellip\;) are granted via an aperture in the gallery's wall\, creating a memory game of strange associations and a prism of connections (a chess set\, a torture d teddy bear\, a dead chick served on a plate with a napkin signed by Picas so&hellip\;) through which to consider the rest of the exhibition.

An autobiographical inflection can be discerned in Preparation is ev erything (There will come a slowness and we should prepare for that also)\, a work composed of 365 daily attempts to mix the exact colour of the sky over Saxmundham\, Suffolk\, in acrylic paint\; while the installation < em>Never enough &ndash\; a shingle beach filling the entirety of the d ownstairs gallery &ndash\; likewise refers to the seascape near Gander&rsqu o\;s home. Its endless pebbles reference an alleged punishment for those fo und guilty of the crime of smuggling: to seal up the perpetrator's storage cellar with stones washed up by the sea. Meanwhile The artist&rsquo\;s second phone\, a giant billboard installed outside the gallery\, borro ws the aesthetic of vacant Mexican billboards to announce Gander&rsquo\;s p hone number to all.

Just as the visitor can glimpse the items o n Fieldwork 2015&rsquo\;s conveyer belt but cannot approa ch them\; or peer down at the pebble beach but not access it\; and can even call up the artist but is unlikely to be answered\, so the other works in the exhibition also present sealed-off worlds and frustrate knowledge. Occu pying the courtyard space is Night and Day\, an internally lit\, s emi-transparent two-man tent crafted out of fibreglass resin\, while the hi gh-gloss black of what appears to be a helium balloon stuck in the gallery\ , similarly rebuffs scrutiny. Elsewhere\, what cannot be seen is suggestive : the series As is&hellip\; show the base and discarded robes from sculptures that have gone walkabout\; while I be&hellip\; (i) and I be&hellip\; (ii) are dust-sheeted mirrors as might be found in a closed-up stately home\, their crisply sculpted draperies teasingly shrou ding the reflections that lie behind.

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About the artist

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Ryan Gander&rsquo\;s complex and unfettered conc eptual practice is stimulated by queries\, investigations or what-ifs\, rat her than strict rules or limits. Gander is a cultural magpie in the widest sense\, polymathically taking popular notions apart only to rebuild them in new ways. Language and storytelling play an overarching role in his work\, not least in his series of Loose Association lectures or in his attempt to slip a nonsensical\, palindromic new word\, &lsquo\;mitim&rsquo\;\, into t he English language. Invitation and collaboration are also at the heart of Gander&rsquo\;s fugitive art &ndash\; whether he&rsquo\;s exchanging fictio nalised newspaper obituaries with an artist-friend or taking pictures of pe ople looking at pictures at an art fair &ndash\; although arguably every so lipsistic action he takes merely holds up yet another mirror to his ceasele ssly voracious mind.

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Ryan Gander was born in Chester in 1976 and works in London. Forthcoming solo shows include Vancouver Art Gallery and Aspen Art Museum while group exhibitions include British Art Show 8 at Leeds Art Gallery\, October 2015\; traveling to Edin burgh\, Norwich and Southampton and Performa\, New York\, 2015. Recent solo exhibitions include Australian Centre for Contemporary Art\, Melbourne (20 15)\; Singapore Tyler Print Institute\, Singapore (2015)\; Proyectos Monclo va\, Mexico City (2015)\; Make Every Show Like it&rsquo\;s Your Last\, Manchester Art Gallery (2014)\, touring to Centre for Contemporary Art \, Derry (2014) and OK Centre for Contemporary Art\, Linz (2015)\; Palais d e Tokyo\, Paris (2012)\; Haus Konstruktiv\, Zurich (2010)\; Solomon R Gugge nheim Museum\, New York (2010)\; Ikon Gallery\, Birmingham (2008)\; MUMOK\, Vienna (2007) and the CCA Wattis Institute for Contemporary Arts\, San Fra ncisco (2007). Gander has been awarded numerous prizes\, among others the Z ü\;rich Art Prize (2009)\, the ABN Amro Art Price (2006)\, the Baloise Art Statements of the Art Basel (2006) and the Dutch Prix de Rome for sculp ture (2003).

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27 Bell Street London

DTEND:20151031 DTSTAMP:20150902T214844 DTSTART:20150925 GEO:51.5209651;-0.1695948 LOCATION:Lisson Gallery\,29 and 52-54 Bell Street \nLondon\, NW1 5DA SEQUENCE:0 SUMMARY:Fieldwork \, Ryan Gander UID:394075 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Broomberg &\; Chanarin&rsqu o\;s debut solo exhibition at Lisson Gallery consists of new photographic\, moving image and performative works that collectively explore tensions bet ween discipline and chance\, precision and chaos\, empathy and the involunt ary pleasure of watching the pain of others. Central to the show is a new f ilm work\, Rudiments (2015) in which the artists have collaborated with a group of young army cadets at a military camp on the outskirts of L iverpool. Whether Broomberg &\; Chanarin have staged the scenes we obser ve or have simply documented the camp&rsquo\;s routine practice remains unc lear. The young soldiers-in-training are seen marching\, drumming and obeyi ng instructions &ndash\; enacting a collective\, authoritarian form of obed ience &ndash\; with varying degrees of success.

The absurd and d isturbing introduction of a &lsquo\;bouffon&rsquo\; &ndash\; a dar k clown whose performance teeters on vulgarity &ndash\; radically challenge s the martial codes supposedly being taught and interrupts their carefully choreographed routines. The children also learn how to pratfall\, &lsquo\;p lay dead&rsquo\; or deliver convincing blows to one another\, performing co mic actions that are seemingly at odds with the hierarchical structures of the army. Broomberg &\; Chanarin&rsquo\;s film explores the experience o f empathy or the enjoyment of pain in others through formative moments of c hildhood and innocence of early youth\, as well as highlighting the importa nce of cadets to the armed services and especially the historical role of t he drummer boy in battle. The work&rsquo\;s title refers to the 40 rudiment s that form the technical foundation of percussive music &ndash\; including rolls\, strokes and paradiddles &ndash\; while the soundtrack is propelled by a dramatic\, improvised score devised for the drums by the American mus ician Kid Millions (also known as John Colpitts).

Accompanying t he film are two large-scale photographic series\, the first of which depict s bullets that have collided head-on and fused in mid-air. These improbable \, perhaps even slapstick objects were originally found on the battlefields of the American Civil War and are said to have effectively saved the lives of two soldiers. For their second new series\, Broomberg &\; Chanarin h ave photographed military grade prisms\, shards of optical glass that are u sed in the sights of precision weaponry\, but which also relate to the lens es found in the same photographic apparatus they use. Violence is transmitt ed through these materials: collided lumps of lead and the shear edges of c rystal glass. The exhibition will also feature a live performance with two drummers\, one snare drum\, one chair\, two clocks and a lead carpet\, in w hich the drummers play a drum roll for the 6-week duration of the exhibitio n\, without interruption.

The Lisson Gallery exhibition is an e xtension of a major show at the Centre for Contemporary Art Ujazdowski Cast le in Warsaw (27 June &ndash\; 6 September)\, who co-commissioned the film Rudiments with Forma Arts\, supported by Arts Council England. Thi s show coincides with the artists exhibiting as part of the eighth British Art Show (Leeds Art Gallery\, 9 October &ndash\; 10 January 2017\, then tou ring to Edinburgh\, Norwich and Southampton throughout 2016) and they will also be the next invited artists to exhibit and intervene within the Freud Museum in London (7 October &ndash\; 22 November)\, exhibiting a new body o f work\, Every piece of dust on Freud's couch.

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About the artists

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Tackling politics\, religion\ , war and history\, Broomberg &\; Chanarin prise open the fault lines as sociated with such imagery\, creating new responses and pathways towards an understanding of the human condition. Trained as photographers they now wo rk across diverse media\, reacting to the photojournalistic experience of b eing embedded with the British Army in Afghanistan (and the controlled acce ss to frontline action therein) with an absurd\, conceptual riposte\, compo sed of a series of abstract\, six-metre swathes of photographic paper expos ed to the sun for 20 seconds\, for the work The Day Nobody Died (2 008). Through painstaking restitution of found objects or imagery\, from th e long-lost set and discarded footage of the film Catch-22 in Mexi co\, for example\, Broomberg &\; Chanarin enact an archeology or exorcis m of aesthetic and ideological constructs behind the accepted tropes of vis ual culture\, laying bare its foundations for fresh interpretation. Languag e and literature play an increasing role as material for their multifaceted work\, from the philosophical underpinnings in Bertolt Brecht&rsquo\;s War Primer to the sacred texts of the Holy Bible itself\, both books having been refashioned and recreated by the artists in their own ambiguous \, combatant image.

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Adam Broomberg (b orn 1970\, Johannesburg\, South Africa) and Oliver Chanarin (born 1971\, Lo ndon\, UK) are artists living and working in London. Together they have had numerous solo exhibitions including the Centre for Contemporary Art Ujazdo wski Castle\, Warsaw (2015)\; Jumex Foundation\, Mexico City (2014)\; FotoM useum\, Antwerp (2014)\; Mostyn\, Llandudno\, UK (2014)\; Townhouse\, Cairo (2010)\; Musé\;e de l&rsquo\;Elysee\, Lausanne (2009) and the Stedel ijk Museum\, Amsterdam (2006). Their participation in international group s hows includes the British Art Show 8 (2015-2017)\; Conflict\, Time\, Photog raphy at Tate Modern\, London and Museum \; Folkwang\, Essen (2015)\; S hanghai Biennale (2014)\; Museum of Modern Art\, New York (2014)\; Tate Bri tain (2014)\; Mathaf Arab Museum of Modern Art\, Doha (2013)\; Gwanju Bienn ale (2012) and the KW Institute for Contemporary Art\, Berlin (2011).

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Their work is held in major public and pri vate collections including Tate\, MoMa\, Stedelijk\, the V&\;A\, the Int ernational Center for Photography and the Art Gallery of Ontario. Major awa rds include the ICP&rsquo\;s Infinity Award (2014) for Holy Bible\, and the Deutsche Bö\;rse Photogrpahy Price (2013) for War Primer 2. \;

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52-54 &\; 29 Bell Street Lond on

DTEND:20151031 DTSTAMP:20150902T214844 DTSTART:20150925 GEO:51.5209651;-0.1695948 LOCATION:Lisson Gallery\,29 and 52-54 Bell Street \nLondon\, NW1 5DA SEQUENCE:0 SUMMARY:Rudiments\, Adam Broomberg & Oliver Chanarin UID:394074 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160306 DTSTAMP:20150902T214844 DTSTART:20151125 GEO:51.487615;-0.168313 LOCATION:Saatchi Gallery\,Duke of York's HQ King's Road\nLondon\, SW3 4SQ SEQUENCE:0 SUMMARY:Champagne Life\, Mequitta Ahuja\, Alice Anderson\, Marie Angeletti\ , Jelena Bulajic\, Julia Dault\, Mia Feuer\, Sigrid Holmwood\, Virgile Itta h\, Seung Ah Paik\, Suzanne McClelland\, Stephanie Quayle\, Soheila Sokhanv ari\, Jeni Spota\, Julia Wachtel\, Alexi Williams UID:394071 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mademoiselle Privé\;\, a journey through the origins of CHANEL's creations capturing the charismati c personality and irreverent spirit of Mademoiselle Chanel and Karl Lagerfe ld.

This autumn\, Karl Lagerfeld and CHANEL will present an en chanted journey through the House's creativity. The "Mademoiselle Priv&eacu te\;" exhibition will highlight the Haute Couture\, the re-editions of the High Jewellery "Bijoux de Diamants" collection created in 1932 and CHANEL N °\;5. Opening the doors to reveal a dazzling experience and immersion in to the origins of CHANEL's creations\, "Mademoiselle Privé\;" will ca pture the charismatic personality and irreverent spirit of Mademoiselle Cha nel and Karl Lagerfeld.

Installed on all three floors of the G allery\, the enticing adventure will bring to mind the House's essential el ements: audacity\, freedom and innovation whether it is the history of Gabr ielle Chanel's inspirations or Karl Lagerfeld's inimitable take on CHANEL's codes\, symbols and icons.

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DTEND:20151101 DTSTAMP:20150902T214844 DTSTART:20151013 GEO:51.487615;-0.168313 LOCATION:Saatchi Gallery\,Duke of York's HQ King's Road\nLondon\, SW3 4SQ SEQUENCE:0 SUMMARY:Mademoiselle Privé UID:394070 END:VEVENT END:VCALENDAR