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Victoria Miro is delighted to announce a solo exhibition by Doug Aitken at the Mayfair gallery. \;Thi s specific constellation of five key works has been conceived for the galle ry by the artist\, and deals with contemporary ideas of time through the us e of sound\, touch\, light and reflectivity\; with each work existing in a zone between abstraction and representation. At the core of the exhibition is \;Eyes closed\, wide awake(Sonic Fountain II)\, 20 14\, a free-standing sonic sculpture which combines water and sound to crea te an optical and auditory experience. \;

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This summer marks a significant moment in the American artist's ca reer\, with two important European institutions celebrating his work: \ ;Station to Station \; opens at London's Barbican on 27 June\, and a major \;survey exhibition opens at the \;Schirn Kunsthalle Frankfurt \;on 9 July. \;

DTEND:20150731 DTSTAMP:20150525T094536 DTSTART:20150612 GEO:51.512915;-0.1434236 LOCATION:Victoria Miro Mayfair\,14 St George Street \nLondon\, W1S 1FE SEQUENCE:0 SUMMARY:This constellation of five key works\, Doug Aitken UID:384770 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150525T094536 DTSTART:180000 GEO:51.512915;-0.1434236 LOCATION:Victoria Miro Mayfair\,14 St George Street \nLondon\, W1S 1FE SEQUENCE:0 SUMMARY:This constellation of five key works\, Doug Aitken UID:384771 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150718 DTSTAMP:20150525T094536 DTSTART:20150610 GEO:51.5084606;-0.141152 LOCATION:Marlborough Fine Art\,6 Albemarle Street \nLondon\, W1S 4BY SEQUENCE:0 SUMMARY:Origins\, Jason Brooks UID:384763 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150525T094536 DTSTART:180000 GEO:51.5084606;-0.141152 LOCATION:Marlborough Fine Art\,6 Albemarle Street \nLondon\, W1S 4BY SEQUENCE:0 SUMMARY:Origins\, Jason Brooks UID:384764 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David Zwirner is pleased to pr esent an exhibition of new paintings by Michaë\;l Borremans. On view at 24 Grafton Street in London\, it marks the artist&rsquo\;s first show at t he Mayfair gallery and his first solo presentation in the city in ten years . \;

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Black Mould \;i ncludes small- and large-scale paintings that feature anonymous\, black-rob ed characters. Alone or in groups\, they perform mysterious acts within mon ochromatic spaces reminiscent of an artist&rsquo\;s barren studio. Seemingl y behaving according to a symbolic language of their own\, they pose alone or interact in communal dances\, with some figures holding torches and othe rs exposed naked from the waist down. Their facelessness opens up ambiguous narrative possibilities\, like empty canvases with which to construct mean ing. \;

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Exquisitely painted with dramatic contrasts between light and dark areas\, the series reaffirms the tension between the real and the imaginary that exists within Borremans&rsq uo\;s oeuvre. The solemn yet playful mood feels inexplicably up-to-date\, w ith the almost cinematic sequence of paintings constituting an allegory of contemporary society. The lack of context or details provides a neutral\, y et psychologically charged atmosphere. Like archetypes capable of embodying shifting meanings\, the blank figures become a mold for the human conditio n\, at once satirical\, tragic\, humorous\, and above all\, contradictory.& nbsp\;

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While Borremans&rsquo\;s techn ical command of his medium recalls classical painting&mdash\;the rich tacti lity and special glow of his painted surfaces evoke the Old Master traditio n and artists such as Francisco Goya&mdash\;his compositions elude traditio nal interpretative strategies. Subtle elements within their pictorial struc ture defy expectations and leave attempts at decoding their narratives open -ended. The small size of the majority of the works within the series&mdash \;dimensions vary\, but most are no bigger than twelve by ten inches (thirt y by twenty-five centimeters)&mdash\;further challenges conventional standa rds\, miniaturizing the subjects and highlighting the artificiality of repr esentation more generally. The elusive reality presented in \;Black Mould \;seems both topical and timeless\, just as the robed figur es emerge like actors without a clear script. The secrecy may ultimately si gnify the murky intersection within today&rsquo\;s society of faith\, moral ity\, and politics\, but can also be seen to underscore the ritualistic nat ure of human life across centuries and cultures. In the process\, Borremans &rsquo\;s minimal\, affective paintings affirm the medium&rsquo\;s resilien t ability to provide a space for introspective\, nonverbal meaning. \;< /p>\n

The exhibition will be accompanied by a catalogue published by David Zwirner Books and designed by Kim Beirnaert in close collaboration with the artist.

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Michaë\;l Borremans \;was bor n in 1963 in Geraardsbergen\, Belgium. In 1996\, he received his M.F.A. fro m Hogeschool voor Wetenschap en Kunst\, Campus St. Lucas\, in Ghent. Since 2001\, the artist&rsquo\;s work has been represented by David Zwirner. Prev ious solo exhibitions at the gallery in New York include \;The Devi l&rsquo\;s Dress \;(2011)\, \;Taking Turns&n bsp\;(2009)\, \;Horse Hunting \;(2006)\, and \;Tri ckland \;(2003)\, which marked his United States debut. \; Black Mould \;marks his first solo presentation at David Zwirner\, London. \;

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Consisting of one hun dred works from the past two decades\, \;Michaë\;l \;< em>Borremans: As sweet as it gets \;is a major museum survey prese nted at the Dallas Museum of Art in Texas (through July 5\, 2015). The exhi bition was first held in 2014 at the Palais des Beaux-Arts in Brussels\, an d traveled later in the year to the Tel Aviv Museum of Art. Also on view in 2014 was the artist&rsquo\;s first museum solo show in Japan\, \;M ichaë\;l \;Borremans: The Advantage\, at the Hara Mus eum of Contemporary Art\, Tokyo. \;

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Over the past decade\, Borremans&rsquo\;s work has been the subject of s olo exhibitions at a number of prominent institutions. In 2011\, a comprehe nsive solo show\, titled \;Eating the Beard\, was presented at the Wü\;rttembergischer Kunstverein Stuttgart\, which toured to the Mű csarnok Kunsthalle\, Budapest and the Kunsthalle Helsinki. In 2010\, he had a solo exhibition at the Kunstnernes Hus in Oslo as well as commissioned w ork on view at the Royal Palace in Brussels. Other venues which have hosted solo exhibitions include kestnergesellschaft\, Hanover (2009)\; de Appel A rts Centre\, Amsterdam (2007)\; Kunsthalle Bremerhaven\, Germany\; and the Museum fü\;r Gegenwartskunst\, Basel (both 2004). In 2005\, he had a on e-person exhibition of paintings and drawings at the Stedelijk Museum voor Actuele Kunst (S.M.A.K.)\, Ghent. The paintings then traveled to Parasol un it foundation for contemporary art\, London and The Royal Hibernian Academy \, Dublin\, while the drawings were presented at the Cleveland Museum of Ar t\, Ohio. \;

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Work by the artist i s held in public collections internationally\, including The Art Institute of Chicago\; Dallas Museum of Art\, Texas\; High Museum of Art\, Atlanta\, Georgia\; The Israel Museum\, Jerusalem\; Musé\;e d&rsquo\;Art Modern e de la Ville de Paris\; Museum of Contemporary Art\, Los Angeles\; Museum of Fine Arts\, Boston\; The Museum of Modern Art\, New York\; National Gall ery of Canada\, Ottawa\; San Francisco Museum of Modern Art\; Stedelijk Mus eum voor Actuele Kunst (S.M.A.K.)\, Ghent\; and the Walker Art Center\, Min neapolis\, Minnesota. Borremans lives and works in Ghent.

DTEND:20150814 DTSTAMP:20150525T094536 DTSTART:20150613 GEO:51.5094225;-0.1430438 LOCATION:David Zwirner\, London\,24 Grafton Street \nLondon\, \, W1S 4EZ SEQUENCE:0 SUMMARY:Black Mould\, Michaël Borremans UID:384734 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150525T094536 DTSTART:180000 GEO:51.5094225;-0.1430438 LOCATION:David Zwirner\, London\,24 Grafton Street \nLondon\, \, W1S 4EZ SEQUENCE:0 SUMMARY:Black Mould\, Michaël Borremans UID:384735 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sanya Kantarovsky is joined in conversation by Allison Katz to discuss \;Apricot Juice\,&nbs p\;his current exhibition at Studio Voltaire.

Kantarovsky (b.198 2\, Moscow\, Russia)  \;lives and works in New York. Recent solo and tw o person exhibitions include: Gushers\, Marc Foxx\, Los Angeles\, 2015\; Al lergies\, Casey Kaplan\, New York\, 2014\; Little Vera with Ella Kruglyansk aya\, KIM?\, Riga\, 2014 and You Are not an Evening\, GAK\, Bremen\, 2013. Kantarovsky participated in the group exhibition Notes on Neo Camp at Studi o Voltaire\, London in 2013. Recent special projects include Research and R eporting at KW\, Berlin 2014 and LAX faç\;ade\, Los Angeles\, 2013.
Allison Katz (b. 1980\, \;Montreal\, Canada) \;graduated with an MFA from Columbia University in 2008. Her recent solo exhibitions i nclude Rumours\, Echoes\, \;Boats\, Sao Paulo\; \;and Adele\, \ ;Piper Keys\, London\; and group shows at SculptureCentre New York\, David Roberts Art Foundation\, South London Gallery\, Gavin Brown&rsquo\;s enterp rise\, and Tanya Leighton. Forthcoming solo shows will open at Kunstverein Freiburg\, Germany and Gio Marconi\, Milan. \;

DTEND:200000 DTSTAMP:20150525T094536 DTSTART:190000 GEO:51.4619465;-0.1343895 LOCATION:Studio Voltaire\,1a Nelsons Row \nLondon\, SW4 7JR SEQUENCE:0 SUMMARY:Sanya Kantarovsky in Conversation with Allison Katz\, Sanya Kantaro vsky\, Allison Katz UID:384733 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Directors at Marlborough F ine Art are delighted to announce 'Survey Exhibition' from the estate of R. B. Kitaj (1932-2007). \;

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Private View \;Tuesday 9th June \;2015\, \;6-8 pm
RSVP: \;mfa@marlboroughfineart.com

DTEND:20150711 DTSTAMP:20150525T094536 DTSTART:20150610 GEO:51.5084606;-0.141152 LOCATION:Marlborough Fine Art\,6 Albemarle Street \nLondon\, W1S 4BY SEQUENCE:0 SUMMARY:A Survey 1958-2007\, R.B. Kitaj UID:384730 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150525T094536 DTSTART:180000 GEO:51.5084606;-0.141152 LOCATION:Marlborough Fine Art\,6 Albemarle Street \nLondon\, W1S 4BY SEQUENCE:0 SUMMARY:A Survey 1958-2007\, R.B. Kitaj UID:384731 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Almine Rech Gallery is pleased to announce the first solo exhibition by \;Gü\;nther Fö\;rg at the gallery. This exhibition is organized in collaboration with the Estate of \;Gü\;nther Fö\;rg. \;

The six large-format untitled Grid Paintings in acrylic on canvas that can be seen at Almine Rec h Gallery in London were preceded by hundreds of paintings in which Fö\ ;rg played through countless declinations of webs\, window frames\, grids a nd screens. These were abstract paintings\, but contrary to the earlier mon ochrome and Lead Paintings\, they expanded to include an expressive\, poeti c touch.

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The six paintings presented at Almine Rech Gallery do not only draw on Fö\;rg&rsquo\;s characterist ic muted or shaded palette &ndash\; the previously mentioned shades of gree n\, brown\, black and blue. Notwithstanding their size and the dimensions o f the individual strokes\, they are very free and simultaneously retain a k ind of openness. The white primer on the canvas remains visible as light or a glow &ndash\; and\, conversely\, this is even true for the odd one out i n the series\, in which the maze of blue\, green and brown grids has all bu t swallowed the white primer. A recurring aspect in Fö\;rg&rsquo\;s wor k is its distinct physicality. In this sense\, the paintings from 2006 and 2007 are plays with light resulting from the application of the paint. The paint makes the light. And the light in the paintings modulates the colour from green to red to brown to blue to black. Spectators inevitably wonder: horizon\, or figure\, or window? But at the same time: Is this even relevan t in terms of the painti ng ?

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Fö\ ;rg painted these works in Switzerland. They are based on a small watercolo ur by Paul Klee from the 1930s\, which Fö\;rg\, in an act of painting a bout painting\, has blown up to monumental size &ndash\; the irony of histo ry being that even the Fö\;rg Estate has lost all trace and that Klee&r squo\;s original can no longer be identified beyond doubt. Yet this does by no means alter the fact that\, in this sense\, these paintings are abstrac tions of an abstraction. Fö\;rg\, who as his own librarian had four lar ge\, partly identical libraries of art books in four different places at hi s disposal\, was someone who engaged obsessively with the pictorial practic e and paintings of his predecessors and pre-predecessors &ndash\; from Edva rd Munch\, Piet Mondrian and Paul Klee to Barnett Newman\, Blinky Palermo a nd the material declinations of Robert Ryman. Presumably\, it was in one of his libraries that his attention was drawn to Klee&rsquo\;s watercolour\, prompting him to transform his initial urge to make somet hing based on thi s work into these autonomous paintings\, which can all but dispense with th e reference to their model. \;

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Max Dax \ ;

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* Max Wechsler\, &lsquo \;Ein komplexes Schau-spiel\, inszeniert auch im Detail: Zur Kunst von G&uu ml\;nther Fö\;rg&rsquo\; (A Complex Spactacle\, Staged with Careful Att ention to Detail: An Essay on the Art of Gü\;nther Fö\;rg)\, in&nbs p\;Gü\;nther Fö\;rg\, exh. cat\, (Hannover: Kunstverein Ha nnover\, 1996).

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Gü\;nther Fö\ ;rg was born in December 1952 in Fü\;ssen\, Germany. He died in Switzer land in December 2013.

DTEND:20150725 DTSTAMP:20150525T094536 DTSTART:20150604 GEO:51.5109657;-0.1400151 LOCATION:Almine Rech Gallery\,11 Savile Row \nLondon\, W1S 3PG SEQUENCE:0 SUMMARY:To London ! A selection of paintings\, Günther Förg UID:384726 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150525T094536 DTSTART:180000 GEO:51.5109657;-0.1400151 LOCATION:Almine Rech Gallery\,11 Savile Row \nLondon\, W1S 3PG SEQUENCE:0 SUMMARY:To London ! A selection of paintings\, Günther Förg UID:384727 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Rossi &\; Rossi is delighted to present Love &\; Ammunition\, the gallery&rsquo\;s first sol o exhibition with Iranian born\, New York City based artist Samira Abbassy. The exhibition will feature oil paintings on canvas and p anel\, accompanied by works on paper and sculpture\, dating from 2004&ndash \;2015.

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Samira Abbassy was born in Ahwaz\, Iran and move d to London as a child. After graduating in 1987 from Canterbury College of Art with a BA Hons in Fine Art/Painting\, Abbassy began exhibiting in Lond on. In 1998 Abbassy moved to New York to help establish and found the Eliza beth Foundation for the Arts Studio Program NY\, where she currently has li fetime etenure and is a board member.

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Her work is shown internationally and has been acquired for private and public collections\, including the Metropolitan Museum and the British Museum.

DTEND:20150710 DTSTAMP:20150525T094536 DTSTART:20150605 GEO:51.5092165;-0.1428324 LOCATION:Rossi & Rossi London\,27 Dover Street \nLondon\, London W1S 4LZ SEQUENCE:0 SUMMARY:Samira Abbassy: Love & Ammunition\, Samira Abbassy UID:384469 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150525T094536 DTSTART:180000 GEO:51.5092165;-0.1428324 LOCATION:Rossi & Rossi London\,27 Dover Street \nLondon\, London W1S 4LZ SEQUENCE:0 SUMMARY:Samira Abbassy: Love & Ammunition\, Samira Abbassy UID:384470 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Victoria Miro will present an exhibition of new sculptures in steel and cast bronze by Conrad Shawcross t his summer. Considered "maquettes" - some for realised commissions\, and ot hers propositions for works on a monumental scale - this body of work focus ses on two lines of enquiry: Shawcross's ongoing explorations of the four-s ided tetrahedron as a tessellating form in \;his Paradigm series\, and the dynamic visual potential of harmonics in his Manifold works. Installed as a singular sculptural field\, the works bear relationships to both archi tecture and the body\, and elicit a subtle line between structure and natur e\, the metaphysical and the molecular. \;

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Further information about other current projects by Conrad Shawcross

DTEND:20150731 DTSTAMP:20150525T094536 DTSTART:20150610 GEO:51.5313499;-0.0958947 LOCATION:Victoria Miro Gallery\,16 Wharf Road \nLondon\, N1 7RW SEQUENCE:0 SUMMARY:Inverted Spires and Descending Folds\, Conrad Shawcross UID:384460 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150525T094536 DTSTART:180000 GEO:51.5313499;-0.0958947 LOCATION:Victoria Miro Gallery\,16 Wharf Road \nLondon\, N1 7RW SEQUENCE:0 SUMMARY:Inverted Spires and Descending Folds\, Conrad Shawcross UID:384461 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Victoria Miro is delighted to present an exhibition of the work of Ian Hamilton Finlay (1925-2006) markin g the 90th anniversary of the artist's birth. A philosopher\, sculptor\, po et and gardener\, Finlay drew on and reinvigorated the classical tradition. This exhibition\, curated by Pia Maria Simig\, features work Finlay create d in response to the French Revolution\, and marks the first time an exhibi tion in the UK has focussed solely on this body of work.

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The French Revolution proved a rich subject for Finlay\ ; he first received international attention for his guillotine installation  \;A View to the Temple \;at Documenta 8 in Kassel in 1987 and thereafter the guillotine became one of the most enduring elements of his iconography.

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For the artist the R evolution represented a moment of enormous political and aesthetic rupture and signalled a great moral\, as well as political\, leap. The period booke nded by the dates in the title of this exhibition correspond with the estab lishment of the National Assembly and the storming of the Bastille in 1789\ , and the Thermidorian Reaction in 1794\, which saw the arrest and executio n of several of the key members of the Jacobin forces\, including Maximilie n Robespierre (1758-1794) and Louis Antoine de Saint-Just (1767-1794). This period thus encompasses extraordinary advances in secular democracy and so cial progress and also great bloodshed and unrest: the Enlightenment and th e guillotine. The exhibition includes a range of Finlay's Revolutionary wor ks\, including the imposing eleven metre carved relief \;The Sound of Running Water\, 1990\, which was shown in the Bienal de Sã\;o Paulo in 2012. This work features an evocative line that could serve as th e introduction to themes of poetry and politics\, and of beauty and immanen ce in the artist's work: 'THE SOUND OF RUNNING WATER HEARD THROUGH THE CHIN KS IN A STONE DYKE: REVOLUTION'. Aphrodite of the Terror\, 1987 is a plaster sculpture based on the Hellenic statue of the Greek goddess of l ove and beauty known as the Medici Venus. In Finlay's version she is adorne d around the neck with \;a red string. The string is a reference to the thin red silk chokers worn by women whose loved ones had been executed dur ing the Terror.

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The wall painting&nbs p\;Apollo and Daphne\, After Bernini\, 1991\, depicts the Greek my th in which the wood nymph Daphne is transformed into a tree whilst fleeing from the god Apollo. The work is based on the sculpture by Gian Lorenzo Be rnini (1598-1680)\, and stands as a comment on the French Revolution\, in w hich\, arguably\, the revolutionary pursued ideals to the point of destruct ion. Finlay's appropriation and re-interpretation of this mythological alle gory highlights the contemporary resonance of classical subjects and forms.

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The exhibition will be accompanied b y two catalogues. The first features commentaries by Stephen Bann on each o f the works in the exhibition. The other volume is dedicated to a garden Fi nlay created in London's Chelsea\, and includes photographs by Robin Gillan ders and an essay by Thomas A Clark.

DTEND:20150731 DTSTAMP:20150525T094536 DTSTART:20150610 GEO:51.5313499;-0.0958947 LOCATION:Victoria Miro Gallery\,16 Wharf Road \nLondon\, N1 7RW SEQUENCE:0 SUMMARY:1789 1794\, Ian Hamilton Finlay UID:384458 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150525T094536 DTSTART:180000 GEO:51.5313499;-0.0958947 LOCATION:Victoria Miro Gallery\,16 Wharf Road \nLondon\, N1 7RW SEQUENCE:0 SUMMARY:1789 1794\, Ian Hamilton Finlay UID:384459 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Timothy Taylor is pleased to a nnounce its fourth exhibition of Philip Guston&rsquo\;s work\, which gather s together some of the artist&rsquo\;s finest paintings and drawings from t he distinguished body of work made between 1969 and 1980\, many of which ha ve not been previously exhibited in Europe.

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The influence of Guston&rsquo\;s work\, in particular his late paint ings\, continues to &ldquo\;cast a long shadow over the current landscape o f contemporary art\,&rdquo\; as Peter Benson Miller acknowledges in his rec ent publication1. Because Guston was one of the few American painters to &lsquo\;defect&rsquo\; to Europe & ndash\; both by undertaking numerous residencies\, as well as departing fro m the quintessential Postwar &lsquo\;American style&rsquo\; &ndash\; his si gnificance is especially pertinent within a contemporary European context. Guston not only effected key artists from a generation of (predominantly Ge rman) expressionist painters in the 1990s\, but continues to have far reach ing influence today\, including younger artists in the gallery&rsquo\;s own stable\, such as Jessica Jackson Hutchins\, Volker Hü\;ller and Eddie Martinez. Furthermore\, it is timely to re- consider the provocative nature of Guston&rsquo\;s comic-influenced figuration. 2

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Guston&rsquo\;s wo rk first came to prominence in the 1950s\, by which time he was an importan t member of the Abstract Expressionists. His enquiries into the fundamental s of painting: the importance of the brush stroke and of compositional stru cture\, are viewed retrospectively as his most important contributions to t he movement. The only abstract painting included in this exhibition\, T raveler III (1960) forms part of a group of works that mark a transiti on towards paintings with a more sombre and ominous quality. During the lat e 1960s\, Guston became frustrated with the limitations of abstraction and returned to figurative painting\, amassing a potent language of motifs whos e roots can be seen in the forms and shapes of Traveler III\, and illustrating what Christoph Schreier refers to as subcutaneous figuration.< /p>\n

Following his 1966 exhibition at the Jewish Museum in New York\, Guston relocated to Woodstock\, New York\, emba rking on what would become a two-year hiatus from painting. During this tim e he produced endless drawings of the detritus of everyday life. On his ret urn to painting in 1968\, these kettles\, clocks\, shoes\, light bulbs and books had entered into his visual language\, becoming pivotal elements of h is vocabulary of compressed symbols\, which would come to define the work o f his later life and are exemplified by a number of works in this exhibitio n.

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From 1968 onwards Guston repeatedl y returned to his famous hooded figure in a number of paintings often named the &lsquo\;KKK series&rsquo\;. Considering himself a quasi film director\ , Guston used painting as a tool to develop characters. However his narrati ve process also extended to the inanimate objects he depicted. Eventually t hese objects would replace the hooded characters as the main anthropomorphi c element of his work\, with Guston contending that relationships based on metaphor and discourse existed between all elements\, even between two line s.

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The Hill (1971)\, one of the most significant works in this exhibition\, sits at the centre of this pivotal creative epoch\, and the absence of the hooded figure is hinted at through the presence of the shoe\, the clock\, the mailbox\, the bread loaf and the knife. In Head and Bottle (1975) &ndash\; exhibited here in the UK for the first time &ndash\; we see the hooded figure replaced wit h a head\, which for Guston acted as a cipher for the artist himself and th e people close to him.

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During his fev erishly productive final decade\, Guston continued to explore how he might achieve the &lsquo\;wholeness&rsquo\; between thought and feeling that he r emembered experiencing as a child. Body parts and objects were assembled on the canvas in non-hierarchical structures that sought to articulate the ab solute essence of painting and reconcile it with his fears for what he saw to be a brutal\, degenerating world. Guston&rsquo\;s work is intensely pers onal yet universally relevant\, championed within his own lifetime\, and gr owing in stature and influence since his death.

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 \;1 Peter Benson Miller\, ed. \; Go Figure! New Per spectives on Guston \, New York Review of Books\, 2014 .

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 \;2 \; Christoph Schreier \; op. cit .

DTEND:20150711 DTSTAMP:20150525T094536 DTSTART:20150610 GEO:51.5104943;-0.1500068 LOCATION:Timothy Taylor\,15 Carlos Place \nLondon\, W1K 2EX SEQUENCE:0 SUMMARY:Solo Exhibition\, Philip Guston UID:384456 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150525T094536 DTSTART:180000 GEO:51.5104943;-0.1500068 LOCATION:Timothy Taylor\,15 Carlos Place \nLondon\, W1K 2EX SEQUENCE:0 SUMMARY:Solo Exhibition\, Philip Guston UID:384457 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150719 DTSTAMP:20150525T094536 DTSTART:20150604 GEO:51.531381;-0.0516313 LOCATION:The Approach\,47 Approach Road Bethnal Green\nLondon\, E2 9LY SEQUENCE:0 SUMMARY:Rites\, Peter Davies UID:384454 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150525T094536 DTSTART:180000 GEO:51.531381;-0.0516313 LOCATION:The Approach\,47 Approach Road Bethnal Green\nLondon\, E2 9LY SEQUENCE:0 SUMMARY:Rites\, Peter Davies UID:384455 END:VEVENT BEGIN:VEVENT DESCRIPTION:

*Stephen Friedman Gallery is e xcited to announce our forthcoming twentieth anniversary exhibition which c elebrates the history of the gallery to date and will include new work by e ach of our current gallery artists. A catalogue will be produced for this l andmark event.

DTEND:20150718 DTSTAMP:20150525T094536 DTSTART:20150612 GEO:51.51069;-0.1411156 LOCATION:Stephen Friedman Gallery\,11/25-28 Old Burlington Street \nLondon\ , W1S 3AN SEQUENCE:0 SUMMARY:Twentieth Anniversary Show UID:384452 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150525T094536 DTSTART:180000 GEO:51.51069;-0.1411156 LOCATION:Stephen Friedman Gallery\,11/25-28 Old Burlington Street \nLondon\ , W1S 3AN SEQUENCE:0 SUMMARY:Twentieth Anniversary Show UID:384453 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150815 DTSTAMP:20150525T094536 DTSTART:20150605 GEO:51.5120202;-0.1387471 LOCATION:Sadie Coles HQ - Kingly Street\,62 Kingly Street \nLondon\, W1B 5Q N SEQUENCE:0 SUMMARY:June: A Painting Show UID:384450 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150525T094536 DTSTART:180000 GEO:51.5120202;-0.1387471 LOCATION:Sadie Coles HQ - Kingly Street\,62 Kingly Street \nLondon\, W1B 5Q N SEQUENCE:0 SUMMARY:June: A Painting Show UID:384451 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Maureen Paley is pleased to an nounce the third solo exhibition at the gallery by Donald Urquhart.

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This exhibition will consist of drawings on paper and wall along with new sculptural works. In 2012 Donald Urquhart par ticipated in a residency as part of Cité\; International des Arts\, P aris.

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Paris is a shrine to history. P erhaps that is understating things. I lived on Montmartre\, itself the tomb of many martyrs who died trapped and murdered within its gypsum mines. At its foot is Cimetiere Montmartre\, resting place of Nijinsky\, Degas\, La G ouloue\, Delibes\, Cadinot and Dalida. Dalida also has a bronze bust at Pla ce Dalida around the other side of the hill. It was right there that I live d. Daily I would pass the small crowds of tourists who paused to have their photos taken as they fondled her impressive breasts for luck. Their guides would relate the story of the Disco Queen and her suicide. Strangely &ndas h\; or perhaps Frenchly &ndash\; in 1997 Dalida became only the third woman to have a statue erected to her in France\, the others being Joan of Arc a nd Sarah Bernhardt. This information was not something I heard from the gui des. I did overhear one guide listing all the artists who died from alcohol poisoning on Montmartre and was heartened to discover that although La Gou loue had died that way it was not until she was sixty three.

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My garden was full of hemlock and nettles\, an idea l home for destructive European Gypsy moths. The males would fly in and res t in my atelier\, wandering over my drawings and sleeping on the cool plast er walls. They were not around when I was working on the Loie Fuller costum e\, which might have been a bit much for them. It is made from 35 metres of light pongee silk\, two layers of five or seven circles hand-dyed in an om bre of pale rose\, old gold\, yellow and violet. It has been paraded throug h Venice and Paris\, deepest Galloway\, the stage of the Theatre Royal Dumf ries and was last swirled in DJ Harvey&rsquo\;s disco tent at &lsquo\;Meltd own&rsquo\; on the South Bank. It must never be washed and I am surprised t hat it bears few stains.

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Working with Mr. Pearl means working to the beat and swish of disco. The vintage year w as 1978. The Beautiful Bend (DJ Harvey&rsquo\;s favourite record and name o f our club) came out that year. One night I think I was talking to Pearl ab out reincarnation &ndash\; or maybe it was one of those &ldquo\;which decad e would you have liked to have lived in&rdquo\; games. He said &ldquo\;I&rs quo\;d rather be a tiny goldfish swimming inside the perspex heel of a plat form shoe on the illuminated dancefloor of Studio 54 in 1978.&rdquo\;

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From the guano of history there are diamon ds of disco in that year. I regarded my clubwear and salvaged scraps of dis co decor as being the guano of history as they clogged up my London flat. O nce I tried to chuck a load of it out when I did a Beautiful Bend party at the ICA. To my horror Les Child and Roy Brown had bagged loads of it up and bundled it into the taxi with me. &ldquo\;You can&rsquo\;t throw that away . It&rsquo\;s history\,&rdquo\; they said. When I moved to Paris I had a cl ean fresh break from living with my history. To my horror my friend Dean Br ight sent me a package of old Beautiful Bend ephemera. History had followed me to my future! Those old stained scraps of yesteryear. Actually I was gl ad to have them as Pearl was thrilled to see them again. I decorated my hal lway for a party with A3 photocopies of Beautiful Bend drawings along with Parisian themed work. To a soundtrack of disco I made yards and yards of bl ack crepe paper chains. Perhaps dramatically I regarded these as giving an impression of the guano of disco decorations past that had choked my London flat\, or the hand-made hell of clutter that festooned the Beautiful Bend.

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- Donald Urquhart\, 2015

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Donald Urquhart currently lives and works in Dum fries\, Scotland where he was born in 1963.

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Recent group exhibitions include: Xtravaganza\, Staging Leigh Bowery \, Kunsthalle Vienna\, Vienna (2012)\; Artists in Print: 21 Years of Collab oration\, Peacock Visual Arts\, Aberdeen\, UK (2013)\; Freestyle. Perspecti va Del Dibujo Contemporá\;neo &ndash\; Centro Cultural de Cajamurcia en Cartagena\, Cartagena\, Columbia (2013)\; Open Eyes = Open Mind III\, Co ncept Space\, Shibukawa\, Japan (2014)\; Emotional Resources\, Northern Gal lery for Contemporary Art\, Sunderland\, UK (2014)\; Friend of the Devil\, Jack Hanley Gallery\, New York (2015)\; X\, curated by Sarah McCrory\, Hera ld Street\, London\, UK (2015).
Urquhart was nominated for Beck&rsquo\ ;s Futures award in 2005. He participated in a residency as part of Cit&eac ute\; International des Arts\, Paris in 2012.

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Selected solo publications include Vanity Fair
\, Four Corners Boo ks\, London\, 2010\; A Present from the Zoo\, Schnittraum\, Kö\;ln\, 20 06.

DTEND:20150712 DTSTAMP:20150525T094536 DTSTART:20150609 GEO:51.5251722;-0.0559263 LOCATION:Maureen Paley\,21 Herald St. \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:1978\, Donald Urquhart UID:384447 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20150525T094536 DTSTART:183000 GEO:51.5251722;-0.0559263 LOCATION:Maureen Paley\,21 Herald St. \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:1978\, Donald Urquhart UID:384448 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150628 DTSTAMP:20150525T094536 DTSTART:20150611 GEO:51.5242635;-0.0758062 LOCATION:Londonewcastle Project Space\,28 Redchurch Street \nLondon\, E2 7D P SEQUENCE:0 SUMMARY:MEN Gallery present PURE EVIL\, Pure Evil UID:384446 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"We are interested in the 'per ception' and not the 'representation' &ndash\; a direct relationship with t he senses and the capacity of the self when faced with the elaborate influx of information that nowadays is becoming more and more important." &ndash\ ; Miaz Brothers\, 2014

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Lazarides Rath bone is pleased to present a new exhibition of contemporary portraiture by the Mi az Brothers. Antimatter Series: A Boundless Vision is comprised of an all-female body of work\, marking a brief departure from th e Italian duo's previously male dominated canvases. The visceral series lea ds the viewer on a journey through multiple variations of perceiving the sa me subject\, stretching processes of identification to achieve something no t fixed and limited but boundless and personal.

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The Miaz Brothers continue their multifaceted airbrushing techni que by erasing all unnecessary detail to gain a flawless movement of infini te particles of colour\, constructing complex compositions that are not ins tantly recognisable but become clearer from a distance. The large-scale wor ks develop the artists' ongoing interest in seventeenth-century renaissance painting\, previously displayed in 2014's Dematerialized: A New Contemporary Vision.

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Their lack of detail calls for attention as viewers find themselves scanning each delicately subdued face to place together th e larger picture. The Miaz Brothers force the viewer to filter their awaren ess of what they automatically see and what they naturally perceive\, makin g a nod towards the philosophical implications of beauty and the role of po rtraiture in modern society. The skilful series attempts to regain a consci ousness of the subtle and spiritual qualities that constitute each portrait \, paraphrasing an ideology in which still-frames and fragments of memory b ecome clouded and in turn re-establish the subject's truest form.

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Alongside the gallery exhibition the Miaz Brot hers will be giving an artist-led tour of the new works during SohoCreate Festival. Celebrating the most creative square mile in the world\, SohoCreate runs from the 3rd &ndash\; 7th June with the Miaz Brother's Open House taking place at 2pm on Thursday 4th June.

DTEND:20150702 DTSTAMP:20150525T094536 DTSTART:20150605 GEO:51.5169912;-0.1332548 LOCATION:Lazarides Rathbone Place\,11 Rathbone Place \nLondon \, W1T 1HR SEQUENCE:0 SUMMARY:Antimatter Series: A Boundless Vision\, miaz brothers UID:384444 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20150525T094536 DTSTART:180000 GEO:51.5169912;-0.1332548 LOCATION:Lazarides Rathbone Place\,11 Rathbone Place \nLondon \, W1T 1HR SEQUENCE:0 SUMMARY:Antimatter Series: A Boundless Vision\, miaz brothers UID:384445 END:VEVENT END:VCALENDAR