BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:
Curated by artist Ben Woodeson\, Morphisisation brings togeth er a diverse range of contemporary artists with a creative interest in pre- existing objects. Some of the artists translate\, some revolutionise and ot hers subsume the selected objects into the final works.  \;
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The included artists trawl Eb ay\, DIY stores\, car boot sales and sometimes even their own previous prac tice in search of the perfect source material. Using everything from works of art\, to their bed linen and cheap furniture\, the artist&rsquo\;s span a range of media\, dimensions and approaches including craft\, conceptual a nd intuitive making. Ideas explored within the exhibition include social hi erarchies\, risk\, anger\, provocation and the frustration of artist&rsquo\ ;s block. All in some way render the original object as mutated\, challenge d\, other&hellip\; The artists have exhibited extensively in major gallerie s and institutions throughout the world and have works held in numerous int ernational collections.  \;
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Morphisisation is the first exhibition curated by L ondon based Ben Woodeson known for making challenging and deliberately dang erous sculptures. He has exhibited throughout the UK\, Europe and North Ame rica. In 2013 he was Theodore Randall International Chair in Sculpture at A lfred University in the USA.  \;
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www.wood eson.co.uk/morphisisation.html
DTEND:20140817 DTSTAMP:20140724T230909 DTSTART:20140807 GEO:51.4770661;-0.021002 LOCATION:APT Gallery\,Harold Wharf 6 Creekside\, Deptford\nLondon\, SE8 4SA SEQUENCE:0 SUMMARY:Morphisisation\, Bestué/Vives\, Ruth Claxton\, Jules Cockburn\, Sus an Collis\, Paul Eachus\, Andrea Jesperson\, Simon Lewandowski\, Alan Magee \, Philip Newcombe\, Micael Samuels\, Tom Walker\, Laura White\, Ben Woodes on UID:347894 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140724T230909 DTSTART:180000 GEO:51.4770661;-0.021002 LOCATION:APT Gallery\,Harold Wharf 6 Creekside\, Deptford\nLondon\, SE8 4SA SEQUENCE:0 SUMMARY:Morphisisation\, Bestué/Vives\, Ruth Claxton\, Jules Cockburn\, Sus an Collis\, Paul Eachus\, Andrea Jesperson\, Simon Lewandowski\, Alan Magee \, Philip Newcombe\, Micael Samuels\, Tom Walker\, Laura White\, Ben Woodes on UID:347895 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Join us \;on Friday  \;evening for this month's edition of Discover A.P.T\, a monthly event whic h allows visitors to learn more about A.P.T\, the gallery programme and wha t we do as an organisation. This month we will be talking about our brand n ew studio block\, the Welding Shed Studios\, which opened last week\, with a chance to hear more about its development and completion.
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There will also be a small presentation of work by A.P.T artist-member Pa ul Tonkin in the front space of the gallery.
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An informal e vent and a chance to network with the creative community on Creekside\, Dis cover A.P.T is a great chance to take an insider view of A.P.T before setti ng out into Deptford for SLAM's Last Fridays for an evening of visual arts.
DTEND:200000 DTSTAMP:20140724T230909 DTSTART:170000 GEO:51.4770661;-0.021002 LOCATION:APT Gallery\,Harold Wharf 6 Creekside\, Deptford\nLondon\, SE8 4SA SEQUENCE:0 SUMMARY:Discover A.P.T & SLAM Last Fridays UID:347891 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The College's annual SustainRCA exhibition and awards reflect the divers ity of projects by 2014 graduates that deal with many aspects of \;sust ainability &ndash\; from new materials\, production processes to environmen tal solutions and blueprints for a fairer economy.

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Amongst the 36 shortl isted projects are a \;computer interface that works on vibration rathe r than electrical circuit board\; an emergency programme that tackles the l oss of coral reef from ocean acidification\; a camping equipment rental sys tem to reduce waste at music festivals\; and a pot that cooks without gas o r electricity. \;

DTEND:20141003 DTSTAMP:20140724T230909 DTSTART:20140918 GEO:51.5011096;-0.1766949 LOCATION:Royal College of Art\,Kensington Gore \nLondon\, SW7 2EU SEQUENCE:0 SUMMARY:Looking Forwards: SustainRCA Show & Awards 2014 UID:347888 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist \;Lawrence Abu Hamden \;presents his latest research into the politics of phonemes and the role of the voice in law by exploring the linguistics of& nbsp\;Taqiyya\, a legal dispensation whereby a believing individua l can deny his faith or commit otherwise illegal acts while they are at ris k of persecution or in a condition of statelessness.

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Lawrence Abu Hamdan&rsquo\;s (b.1985 Amman) work deals with the relationship between listening and borders\, human rights\, testimony\ , truth and law\, through the production of audio-visual installations\, gr aphic design\, sculpture\, photography\, workshops and performance. His wor k with sound and its intersection with politics originate from his backgrou nd in DIY music. His work was submitted as evidence at the UK asylum tribun al where the artist himself was called as an expert witness. His solo exhib itions include \;The Freedom Of Speech Itself \;(2012) at Showroom\, London\, \;The Whole Truth \;(2012) at Casco\, Utrecht and most recently \;Tape Echo \;(2013) at Beirut i n Cairo His works have been part of group exhibitions at Tate Modern London \, M HKA Antwerp\, Van AbbeMuseum\, Eindhoven\, the Beirut Art Center and T he 2012 Taipei Biennial. Abu Hamdan&rsquo\;s writing can be found in Forens is Sternberg press\, Manifesta Journal and Cabinet Magazine. Abu Hamdan cur ated events at the Reitveld Academie in Amsterdam and at Batroun Projects L ebanon. He is part of the team Forensic Architecture at Goldsmiths College London where he is a PhD candidate and lecturer.

DTEND:210000 DTSTAMP:20140724T230909 DTSTART:190000 GEO:51.5159523;-0.070212 LOCATION:Whitechapel Gallery\,77-82 Whitechapel High Street \nLondon\, E1 7 QX SEQUENCE:0 SUMMARY:Performance: Contra-Diction: Speech Against Itself\, Lawrence Abu H amden UID:347885 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Green Thoughts is an exhibition of new work by Howard Hodgkin\, one of Britain&rsquo\;s most celebrated artists. The exhibition features nineteen new limited editions including a special h and-painted carborundum relief entitled For Alan (2014). \; Pr inted in seven colour variations\, the work is a testament to Hodgkin's clo se working relationship with gallery owner and publisher Alan Cristea which spans over 20 years. Exhibited alongside the new works is a unique hand-pa inted version of the 20ft etching\, As Time Goes By (2009).

\n< p class="Body">Hodgkin&rsquo\;s work often refers to memories and personal experiences. The show&rsquo\;s title Green Thoughts references And rew Marvell&rsquo\;s 17th-century poem The Garden. Thro ugh a deliberate avoidance of the illustrative\, Hodgkin draws inspiration for the new prints from Marvell&rsquo\;s own &lsquo\;green thoughts&rsquo\; .

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http://www.alancristea. com/exhibition-131-Howard-Hodgkin-Green-Thoughts

DTEND:20141011 DTSTAMP:20140724T230909 DTSTART:20141011 GEO:51.5107952;-0.1418735 LOCATION:Alan Cristea Gallery - 31 Cork St\,31 Cork Street \nLondon\, W1S 3 NU SEQUENCE:0 SUMMARY:Green Thoughts\, Howard Hodgkin UID:347869 END:VEVENT BEGIN:VEVENT DTEND:173000 DTSTAMP:20140724T230909 DTSTART:100000 GEO:51.5107952;-0.1418735 LOCATION:Alan Cristea Gallery - 31 Cork St\,31 Cork Street \nLondon\, W1S 3 NU SEQUENCE:0 SUMMARY:Green Thoughts\, Howard Hodgkin UID:347870 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition will stay open until \;7pm\, followed by a discussion between participating artists and curator Dan Coopey. \;Admission free . Booking is essential. \;Please "rsvp" by sending an email to: \;< a href="mailto:rsvp@laurabartlettgallery.com" target="_blank">rsvp@laurabar tlettgallery.com

DTEND:200000 DTSTAMP:20140724T230909 DTSTART:190000 GEO:51.5221501;-0.1147798 LOCATION:Laura Bartlett Gallery - Project Space at Northington Street\,10 N orthington St. \nLondon\, WC1N 2JG SEQUENCE:0 SUMMARY:Curator's Talk: A Merman I Should Turn To Be with Dan Coopey\, Rupe rt Ackroyd\, Aaron Angell\, Nicholas Byrne\, Dan Coopey\, Alex Dordoy\, Pau l Housley\, Graham Ellard & Stephen Johnstone\, Ruairiadh O'Connell\, Karin Ruggaber\, Alexis Marguerite Teplin UID:347682 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140920 DTSTAMP:20140724T230909 DTSTART:20140725 GEO:51.5167618;-0.0576524 LOCATION:Ritter/Zamet\,UNIT 8 80A ASHFIELD STREET\nLondon\, E1 2BJ SEQUENCE:0 SUMMARY:Solo Exhibition\, Rupert Goldsworthy UID:347358 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Exhibition tour during our lat e night opening.

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Join us on an inform al tour of The Nakeds and learn more about some of th e works included.

DTEND:193000 DTSTAMP:20140724T230909 DTSTART:190000 GEO:51.5354677;-0.0717938 LOCATION:Drawing Room\,12 Rich Estate Crimscott Street\nLondon\, SE1 5TE SEQUENCE:0 SUMMARY:The Nakeds: Exhibition Highlights Tour UID:347357 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A group exhibition looking at drawings of the body exposed. \;The na ked body is frequently the physical terrain artists traverse in search of t he inner self. How to represent love\, shame\, solitude and sexual yearning ? Drawing from the self or life model\, from reproduction or the imaginatio n\, has provided artists with the freedom to explore desires\, fears and fa ntasies.

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The Nakeds \;takes as its starting point selected drawings of the single figure by Egon Schiele. From here i t considers work by artists from the post-war period to the present day. Th e exhibition will included new work made specifically by Enrico Dav id\, Stewart Helm\, Chantal Joffe and Nicola Tyson.

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The Austrian artist Egon Schiele (1890 &ndash\; 1918) was a prolific and provocative draughtsman. His drawings of the body unclothed or in a sta te of undress are amongst the most arresting works to have emerged from Vie nna in the tumultuous years around the First World War. Working at the same time as Sigmund Freud\, in the birthplace of modern psychiatry\, the artis t was attacked and acclaimed in his short lifetime. Still dividing opinion today\, his drawings tested long-held distinctions between the &lsquo\;nude &rsquo\; and the &lsquo\;naked&rsquo\;\, art and pornography. The exhibitio n seeks to explore this contested terrain.

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- The Nakeds has been curated by Drawing Room in c ollaboration with artist David Austen and art historian Gemma Blackshaw.

DTEND:20141129 DTSTAMP:20140724T230909 DTSTART:20140925 GEO:51.5354677;-0.0717938 LOCATION:Drawing Room\,12 Rich Estate Crimscott Street\nLondon\, SE1 5TE SEQUENCE:0 SUMMARY:The Nakeds \, David Austen\, Fiona Banner\, Joseph Beuys\, Louise B ourgeois\, Paul McCarthy\, George Condo\, Enrico David\, Marlene Dumas\, Tr acey Emin\, Leon Golub\, Stewart Helm\, Chantal Joffe\, Maria Lassnig\, Chr is Ofili\, Carol Rama\, Egon Schiele\, Nancy Spero\, Alina Szapocznikow\, R osemarie Trockel\, Nicola Tyson\, Andy Warhol\, Franz West UID:347356 END:VEVENT BEGIN:VEVENT DESCRIPTION:

2014 marks the &lsquo\;Year of the Homecoming&rsquo\; in Scotland\, a ye ar-long programme of events celebrating the country&rsquo\;s food\, drink\, natural resources\, ancestral heritage and culture. As the world looks to Scotland for major sporting events\, including the XXth Commonwealth Games in July and the 40th Ryder Cup at Gleneagles in September\, the country&rsq uo\;s commitment to art and creativity will also come under the spotlight. Scotland&rsquo\;s public museums are showcasing major exhibitions celebrati ng native artists\, such as GENERATION: 25 years of Contemporary Art in Scotland at the Scottish National Gallery of Modern Art.

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Flowers Gallery is delighted to join the celebrations with an exhibition of figurative paintings by nine prominent Scottish artists at our Cork Str eet space 6 &ndash\; 30 August\, 2014. The exhibitors include the famous &l squo\;New Glasgow Boys&rsquo\; Peter Howson\, Ken Currie\, Steven Campbell\ , Stephen Conroy and Adrian Wiszniewski\, who all studied at Glasgow School of Art in the 1980&rsquo\;s. The group spear-headed a revival of interest in ambitious figure painting\, and their international success has contribu ted significantly to the cultural renaissance of Glasgow as a city in recen t decades. Also featured in the exhibition is the work of John Bellany\, Jo ck McFadyen\, Eduardo Paolozzi and Alison Watt\, providing viewers with a u nique overview of the strong tradition of figurative work by Scottish artis ts.

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Peter Howson has established a formidab le reputation as one of his generation&rsquo\;s leading figurative painters . Many of his works take inspiration from the streets of Glasgow\, where he was raised\, and he is renowned for having a penetrating insight into the human condition. Howson has exhibited in major shows around the world inclu ding the Museum of Modern Art\, New York\, and Scottish National Portrait G allery\, Edinburgh\, and was awarded an OBE in 2009.

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Despite an early interest in painting industrial Glasgow\, Ken Currie became deeply concerned with political and humanitarian events\, paint ing decaying and damaged bodies as a response to what he felt was a sicknes s of contemporary society. The artist&rsquo\;s recent works remain focused on the human condition\, and his paintings hang in the collections of the S cottish National Gallery of Modern Art\, Edinburgh\, the New York Public Li brary\, New York\, and many more.

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Born in Paisley\, Scotland\, J ock McFadyen has undertaken several important residencies and comm issions throughout his career\, including being appointed Artist in Residen ce at the National Gallery\, London in 1981\, and documenting the dismantli ng of the Berlin Wall in 1992 for the Imperial War Museum\, London. McFadye n has remained deeply interested in the history of painting\, citing Lowry and Sickert as having had a major influence on his practice. Although his e arlier work included schematic narrative paintings\, by the early 1990&rsqu o\;s figures fell away from the artist&rsquo\;s work and he became consumed by urban landscape.

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Alison Watt\, also a s tudent at the Glasgow School of Art in the 1980&rsquo\;s\, gained early acc laim for her figure painting\, often female nudes captured in dryly painted light-filled interiors. In the late 1990&rsquo\;s\, she began to introduce fabric alongside these figures\, alluding to the influence of 19th century painter Ingres on her work. By early 2000\, several of her paintings portr ayed swathes of fabric alone\, which although more abstract\, still suggest ed a human presence. Watt was selected to be an Associate Artist at the Nat ional Gallery\, London from 2006-2008\, and is currently exhibiting a major retrospective at Perth Museum and Art Gallery.

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Eduardo Paolozzi was born in Leith\, Scotland to Italian parents and studied at Ed inburgh College of Art in the 1940&rsquo\;s. He has established a position as one of Britain&rsquo\;s leading sculptors and is acknowledged as a creat or of British Pop Art. The artist&rsquo\;s preoccupation with man and machi ne allowed him to bring art and science together in his work in a unique wa y. His sculptures can be found in major public collections around the world \, one of his most notable pieces being the bronze Newton after Blake commi ssioned for the piazza of the British Library in 1995.

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Stephen Conroy ac hieved great success from an early stage in his career\, hailed as the &lsq uo\;boy wonder&rsquo\; of Scottish painting. He has lived and worked in Sco tland for the majority of his life\, and his paintings and prints of broodi ng\, anonymous single figures and studies of heads have cemented his reputa tion as one of the foremost figurative artists working in Europe. He began his studies at Glasgow School of Art just as Steven Campbell was leaving\, who he cites as having influenced his choice of figurative subjects.

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Steven Campbell discovered art slightly later in life\, study ing at Glasgow School of Art as a mature student. Upon graduating he was aw arded the Fullbright Scholarship\, which he used to study at the Pratt Inst itute\, New York. This resulted in several early American exhibitions. The artist was known for combining a strong colour palette with hard linear bru shwork\, creating paintings with a literary influence. Many of Campbell&rsq uo\;s works contain recurring motifs\, such as skulls\, birds and paisley p atterns.

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Born and raised in a fishing village near Edinburgh\, the work of John Bellany was often influenced by the sea\, although it was transformed into a kind of personal mythology. Famed for producing large allegorical compositions featuring hybrid human and animal forms\, Be llany painted with explosive\, vigorous brushwork in a tormented\, expressi onist style.

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Adrian Wiszniewski is a painter\, draughts man and printmaker producing large-scale figurative works with a tone of re flection or self-parody. Neon colour and economical use of line are key cha racteristics of the artist&rsquo\;s style\, often setting contemplative fig ures within Arcadian landscapes. His has been awarded several prominent pub lic commissions throughout his career\, including the paintings for Liverpo ol&rsquo\;s Anglican Cathedral.

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Flowers Gallery is pleased to offer the opportunity to experience striking works by some of Scotland&rsquo\;s most renowned figurative artists during such a significant year for the country. The collection will reveal interesting new parallels between a group of ar tists each with a unique approach to a shared subject\, and a unique unders tanding of their shared Scottish heritage.

DTEND:20140830 DTSTAMP:20140724T230909 DTSTART:20140806 GEO:51.510137;-0.1410576 LOCATION:Flowers | Cork Street\,21 Cork Street \nLondon\, W1S 3LZ SEQUENCE:0 SUMMARY:Scottish Figuration\, John Bellany\, Steven Campbell\, Stephen Conr oy\, Ken Currie\, Peter Howson\, Jock McFadyen\, Eduardo Paolozzi\, Alison Watt\, Adrian Wiszniewsk UID:347354 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140724T230909 DTSTART:180000 GEO:51.510137;-0.1410576 LOCATION:Flowers | Cork Street\,21 Cork Street \nLondon\, W1S 3LZ SEQUENCE:0 SUMMARY:Scottish Figuration\, John Bellany\, Steven Campbell\, Stephen Conr oy\, Ken Currie\, Peter Howson\, Jock McFadyen\, Eduardo Paolozzi\, Alison Watt\, Adrian Wiszniewsk UID:347355 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140830 DTSTAMP:20140724T230909 DTSTART:20140806 GEO:51.510137;-0.1410576 LOCATION:Flowers | Cork Street\,21 Cork Street \nLondon\, W1S 3LZ SEQUENCE:0 SUMMARY:Dalston Anatomy\, Lorenzo Vitturi UID:347353 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Victoria Miro Mayfair is delighted to present the first solo exhibition of \;Francesca \;Woodman's work at the Mayfair gallery. In her shor t career Woodman produced an extraordinary body of work - over 800 photogra phs - acclaimed for its singularity of style and range of innovative techni ques.

This exhibition co nsiders the zigzag and other abstract geometrical forms as recurring visual themes in \;Woodman&rsquo\;s work. \;Woodman&rsquo\;s practice is often discussed in terms of its surreal and symbolic imagery\, but her work was grounded in a sophisticated understanding of form. Her photography exe mplified strong compositional motifs\, and the repetitive\, regular shape o f the zigzag\, with its strong lines and angles\, was a form she used in im ages of disparate subjects.

Many of \;Woodman&rsquo\;s gelatin silver prints feature this stron g\, idiosyncratic abstract lineage\, and she also extended her investigatio n of the serial geometrical form in her large-scale diazotype prints. The a rtist described one of these works in a letter to a friend in 1980: &lsquo\ ;It will be &hellip\; a long string of images held together by a long compo sitional zigzag\, thus the corner of a building in one frame fits into the elbow of a girl in the next frame into a book in the third frame\, the imag es are both very personal mysterious ones and harsh images of outdoor city life. It is had to get the adjoining images to fit the rigorous structural scaffold&rsquo\;.

As Geo rge \;Woodman\, the artist&rsquo\;s father\, has pointed out\, &lsquo\; Modernist abstract art devotes itself to the form of the square\, the recta ngle\, the box\, the intersection of streets\, the whole right angle world of horizontal and vertical. Domination by a zig-zag motif is very rare&hell ip\; It creates a world of flux without horizon\, a rhythmic oscillation.&n bsp\;Francesca \;made studies of zig-zags: from representations of hous es\, noses\, hands and baby&rsquo\;s legs. A related investigation was the series \;Bridges and Tiaras. In these prints\, the bridge\, arching ove r the river\, and the tiara\, arching over the woman&rsquo\;s head\, are co ntrasted and linked by the logic of analogy. \;Francesca \;creates visual puns\, jokes and poetry in this series&rsquo\;.

Fo rmal correspondences and echoes abound in the work in this exhibition\, whi ch includes ten works newly released from the artist&rsquo\;s estate.

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Born in 1958 in Denver\, Colorado\, France sca Woodman lived and worked in New York until her death in 1981. Since 198 6 her work has been exhibited widely. Significant solo presentations of Woo dman's work include Francesca Woodman at the Museum of Modern Art\, San Fra ncisco (2011 - 12) that subsequently toured to the Solomon R. Guggenheim Mu seum\, New York (2012)\; Francesca Woodman: Retrospective at the Sala Espac io AV\, Murcia\, touring to SMS Contemporanea\, Siena (both 2009)\; Frances ca Woodman: Photographs at the Herbert F. Johnson Museum of Art\, Cornell U niversity\, Ithaca\, New York (2003) and Francesca Woodman at the Fondation Cartier pour l'art contemporain\, Paris (1998)\, that subsequently toured to Kunsthal\, Rotterdam\, The Netherland s (1998)\; Centro Cultural de Bel& eacute\;m\, Lisbon\, Portugal (1999)\; The Photographers' Gallery\, London (1999)\; Centro Cultural TeclaSala\, L'Hospitalet\, Barcelona (1999 - 2000) \; Carla Sozzani Gallery\, Milan\, (2001)\; The Douglas Hyde Gallery\, Dubl in (2001) and PhotoE spana\, Centro Cultural Conde Duque\, Madrid (2002). W oodman's work is represented in the collections of major museums including The Metropolitan Museum of Art\; The Whitney Museum of American Art\; Museu m of Modern Art\, New York\; Detroit Institute of Arts\; Mu seum of Contemp orary Art\, Chicago and Tate/National Galleries of Scotland.

DTEND:20141004 DTSTAMP:20140724T230909 DTSTART:20140909 GEO:51.512915;-0.1434236 LOCATION:Victoria Miro Mayfair\,14 St George Street \nLondon\, W1S 1FE SEQUENCE:0 SUMMARY:Zigzag\, Francesca Woodman UID:347352 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Victoria Miro is delighted to present a new body of sculptures and paint ings by Japanese artist Yayoi Kusama dedicated to her iconic depiction of p umpkins.

The exhibition\ , which opens on 16 September 2014 comprises of two elements: the main gall ery will house a new body of paintings and large scale mosaic pumpkins whic h will be on show until 4 October\; whilst a major new series of bronze scu lptures will be on display in the gallery's unique water garden until 20 De cember. The bronze pumpkins have been two years in the making and mark the first time the artist has worked with bronze on such a large scale.< /p>\n

Sinc e her earliest formative years\, in a family who made their living cultivat ing plant seeds\, Kusama has been fascinated by the natural world. She has always had an affinity with nature\, particularly vegetal and floral life\, but the pumpkin continues to occupy a special place in her iconography and is a motif she has returned to repeatedly throughout her career.

The plant appears in some of her paintings and works on paper as early as 1948. After her return from New Yo rk to Japan in the 1970s she rediscovered the theme\, and began making seri al works depicting the pumpkin in various media: paintings\; prints\; sculp ture\; installation\; and environmental works. She has made tiny pumpkins n o bigger than a key ring\, and monumental pumpkins that dwarf the viewer wi th their scale. She has placed pumpkins in box structures and in mirror roo ms\, and used the
distinctive knobbly patterning of their skins as inspiration for her unique dot-pattern ed paintings and textiles. In 1993 pumpkins formed part of her presentation in the Japanese Pavilion at the Venice Biennale. In 1994 her iconic exteri or sculpture of a large yellow and black pumpkin was sited at the Benesse A rt Site Naoshima\, an island in Japan&rsquo\;s inland sea dedicated to disp laying art within nature.

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The artist has a strong personal identificatio n with the pumpkin\, and has described her images of them as a form of self portraiture. She admires pumpkins for their hardiness and everyday quality\ , as well as for their unique and pleasing physical qualities. She has writ ten:

&ldquo\;&lsquo\;Pum pkin head&rsquo\; was an epithet used to disparage ugly\, ignorant men\, an d the phrase &lsquo\;Put eyes and a nose on a pumpkin&rsquo\; evoked a pudg y and unattractive woman. It seems that pumpkins do not inspire much respec t. But I was enchanted by their charming and winsome form. What appealed to me most was the pumpkin&rsquo\;s generous unpretentiousness. That and its solid spiritual base&rdquo\; (Yayoi Kusama\, Infinity Net: The Autobiograph y of Yayoi Kusama\, trans. Ralph McCarthy\, London 2011\, p.76).

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Paintings &\; Sculptures until 4 October

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Bronze Sc ulptures until 19 December

DTEND:20141219 DTSTAMP:20140724T230909 DTSTART:20140916 GEO:51.5313499;-0.0958947 LOCATION:Victoria Miro Gallery\,16 Wharf Road \nLondon\, N1 7RW SEQUENCE:0 SUMMARY:Pumpkins\, Yayoi Kusama UID:347350 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140724T230909 DTSTART:180000 GEO:51.5313499;-0.0958947 LOCATION:Victoria Miro Gallery\,16 Wharf Road \nLondon\, N1 7RW SEQUENCE:0 SUMMARY:Pumpkins\, Yayoi Kusama UID:347351 END:VEVENT BEGIN:VEVENT DESCRIPTION:
A collection of new paintings by Luke Cornish inspired by his travels to refugee camps of \;Lebanon. Surrounded by the sound of g unfire\, Luke draws on his artistic skills to bear witness to \;the suf fering\, hope\, violence and everydayness of the displacement and conflicts .

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Luke Cornish is an Australian artist creating unique\, powerful images from handmade stencils. \;His rise within the contempor ary art world has been meteoric\, becoming the first artist to be \;nom inated for the Archibald Prize and the Sulman prize with a portrait created entirely out of \;stencils. A former blue-collar worker from Canberra\ , Cornish's apathy and boredom during his \;mid-twenties encouraged him to start experimenting with stanley knives and spraypaint cans. \;Near ly ten years later\, Cornish has literally carved his name into the public' s mind.

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Using up to 85 layers of carefully hand-cut acetate\, he sprays layer upon layer of aerosol paint \;until his imag es bear a striking photographic resemblance: this is a new form of hyper-re alism \;that is unlike what has been seen before. Formally known as E.L .K\, he uses the tools of a street \;artist to create decadent\, detail ed works that envelop the viewer. There is an honesty to \;Cornish's wo rk\, slicing back the layers and reconstructing his muses with astonishing deftness. \;The emotions that permeate through the eyes of his portrait s have great depth\, the shadows \;created by the stencils highlighting their anguish. His subjects all seem to share the same \;hardship and determination that Cornish himself has experienced\, lending to a sense of dire \;reality in the unreality of his images.
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With this new exhibition Luke \;presents us with works that&nbs p\;act as a looking glass through \;which we can see the darkest \; elements of crumbling \;societies - where we could be \;if not for the accident of our \;birth. We see the collapse\, \;conflict and d isplacement of \;once vibrant worlds. But \;again\, as Luke finds i n the \;bleakest corners of the world\, \;he finds reasons to celeb rate \;the resilience of communities \;and the continued sense of&n bsp\;hope despite the surrounding \;despair.

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Th is new body of work is one \;of difference and disparity. \;We are presented with the \;multiple dimensions that \;capture the mixed e motions \;and juxtaposition of zones of \;conflict.

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His layers of stencils and paint \;capture and reflect the lay ers \;of complexity and emotion \;he attempts to capture. His \ ;figures 'float' in a white \;background making them \;feel simulta neously distant \;and approximate.Surprisingly\, \;this aids our ab ility to witness \;the lives portrayed by Luke \;through his unique looking \;glass.

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Once again\, Luke's work  \;crosses the boundaries\, \;taking us from 'street art' to \;the g allery. More importantly\, \;however\, is the boundary that \;he fo rces us to confront - \;from looking away to \;witnessing the horro rs of war \;and displacement.
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DTEND:20140831 DTSTAMP:20140724T230909 DTSTART:20140808 GEO:51.5167454;-0.0701196 LOCATION:StolenSpace Gallery\,17 Osborn Street \nLondon\, E1 6TD SEQUENCE:0 SUMMARY:'Louder Than Words' by Luke Cornish (ELK)\, Luke Cornish UID:347348 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20140724T230909 DTSTART:180000 GEO:51.5167454;-0.0701196 LOCATION:StolenSpace Gallery\,17 Osborn Street \nLondon\, E1 6TD SEQUENCE:0 SUMMARY:'Louder Than Words' by Luke Cornish (ELK)\, Luke Cornish UID:347349 END:VEVENT BEGIN:VEVENT DESCRIPTION:

We are pleased to announce Rob Lowe\, also known as Supermundane will be showing with us here at Beach in August. He is an artist\, graphic desig ner\, \;typographer\, illustrator and writer. \;His signature mesme ric drawings have been published and exhibited worldwide.

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"I thought I heard a scientist use the term 'stupid nature' on the radio\, although hav ing looked into this\, \;I can't find any reference to the term at all. "

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With Stupid Nature\, Rob Lowe (also known as S upermundane) continues his interest in pure line\, optical effects and colo ur. \;Hard\, controlled lines have given way to more immediate mark-mak ing. The medium &ndash\; in this case an alcohol based ink called Krink &nd ash\; \;is allowed to \;take the lead: \;lines drip \;and&n bsp\;wobble and \;ink \;builds \;up \;on \;coated paper to create a glossy physicality.

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The movement and optimism of L owe's previous work is there\, but less acute. The lines that drip falter i n a mildly melancholy way\; colours battle against each other\; and the lar ger areas of colour sit apart from each other. All the drawings are on the same\, standard\, size paper (50 x 70cm) and all are portrait\, giving some  \;sense of organisation\, \;however arbitrary.

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"I think of st upid nature as meaning instinct or the unlearned. It seems more and more th at the need for proof is used as a way of undermining hard-to-define natura l responses. These drawings feel very natural &ndash\; I have an automatic emotional response to them which is difficult to explain. Stupid Nature just seems to fit perfectly as an overall title - it alters the conte xt in which the pieces are viewed."

DTEND:20140831 DTSTAMP:20140724T230910 DTSTART:20140808 GEO:51.5256244;-0.0718647 LOCATION:Beach London\,20 Cheshire Street off Brick Lane\nLondon\, E2 6EH SEQUENCE:0 SUMMARY:Stupid Nature \, Rob Lowe UID:347346 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140724T230910 DTSTART:180000 GEO:51.5256244;-0.0718647 LOCATION:Beach London\,20 Cheshire Street off Brick Lane\nLondon\, E2 6EH SEQUENCE:0 SUMMARY:Stupid Nature \, Rob Lowe UID:347347 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140906 DTSTAMP:20140724T230910 DTSTART:20140710 GEO:51.4889883;-0.1659459 LOCATION:Michael Hoppen Contemporary\,3 Jubilee Place \nLondon\, SW3 3TD SEQUENCE:0 SUMMARY:Solo Exhibition\, William Klein UID:347345 END:VEVENT END:VCALENDAR