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

Yinka Shonibare MBE reflects o n his work and talks about his studio project space\, Guest Projects in an artist talk at Victoria and Albert Museum in London.

\n

Since Yinka Shonibare's ship in a bottle commission in Traf algar Square\, his work has expanded into the public realm. In this talk\,t he artist will discuss the different ways in which he works\, from his earl y paintings in the 1990s to his use of costume\, photography and performanc e in film and his most recent series of public sculptures - Wind Sculptures .

\n

The talk will be on Friday 20 March at 19:00 at the Lydia and Manfred Gorvy Lecture Theatre.

DTEND:200000 DTSTAMP:20150305T160533 DTSTART:190000 GEO:51.495208;-0.1809906 LOCATION:Victoria and Albert Museum\,Cromwell Road South Kensington\nLondon \, SW7 2RL SEQUENCE:0 SUMMARY:Artist Talk with Yinka Shonibare MBE\, Yinka Shonibare MBE UID:376146 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Internationally renowned for s culptural installations and video works\, Swiss artist \;Roman Signer \;presents \;Slow Movement\, a new install ation for the Curve using the kayak\, a longstanding symbol and form in his work for three decades. Specifically made for this show\, a kayak navigate s the 90-metre long gallery as if moving through a canal.
 \;
The exhibition extends out to the foyer and lakeside\, with two other kaya ks installed across the centre in unexpected ways\, reflecting Signer&rsquo \;s playful and surreal approach to his subject. \;

Slow Movement
 \;also includes a selection of earlier films featuring t he kayak to explore the multiple facets of his innovative practice through his ongoing interest in this object.

The exhibition is presented in association with Dundee Contemporary Arts.


Coinciding with the exhibition\, \;The Mill Co. Project \;&am p\; \;Createare hosting an installation by art critic& nbsp\;Rachel Withers \;based on the contents of Signer &rsquo\;s library. \;Rachel Withers: Roman Signer's Library of Marvels (Fast Version) \;is on show at the Rose Lipman Buildin g from 5 March to 4 April 2015. For more information\, please visit www.the millcoproject.co.uk/roman-signer

DTEND:20150531 DTSTAMP:20150305T160533 DTSTART:20150304 GEO:51.5198644;-0.0916989 LOCATION:Barbican Art Gallery\,Silk Street \nLondon\, EC2Y 8DS SEQUENCE:0 SUMMARY:Slow Movement\, Roman Signer UID:376128 END:VEVENT BEGIN:VEVENT DESCRIPTION:

 \;

\n

CHELSEA space is pleased to announce Ken Cox: Poetry Machines asthesecond exhibition in our s pring programme. A highly influential sculptor of the British conc rete poetry movement\, Ken Cox was a creator of kinetically powered poetry machines that made words move in space as material objects. Cox&rsquo\;s ca reer was cut tragically short in November 1968 when he was fatally injured in a car accident\, just months after his first solo show at the Lisson Gal lery. This is the first time his works have been shown in London since then \, re-asserting Cox as a significant figure in the concrete poetry movement .

\n

The exhibition reactivates works such as Seasons Clock ( 1965)\, thehanging multiple\, Suncycle (1968)\, The Three Grac es (1966 -68) (Latin Version) and one of the five Elemental Balloo n Poems (1967). These works explore the wide range of formal possibilities of the material of language within the spatial and kinetic di mensions of art. Here letters do not correspond to semiotic language\, but instead show a curiously textual approach to sculpture\, in which words are not so much read as felt. In a review from July 1968\, Guy Brett wrote of the Elemental Balloon Poems: \;

\n

&lsquo\;One room is en tirely filled by large\, soft coloured balloons. They are revolving on stan ds which keep them full of air at a low pressure and light them up inside. The orange Balloon is ringed at its centre by the word &ldquo\;earth&rdquo\ ; printed without gaps so it spells &ldquo\;heart&rdquo\; as the balloon ci rcles. The green one has ocean bobbing up and down just below the center an d so on. These objects dispense with descriptive words\, and try to intensi fy a single word by linking it to an easily grasped experience of space and interval&rsquo\;

\n

Also exhibited is Shadow Box (1965)\, Co x&rsquo\;s first poetry machine initially shown at the OXPO 2nd International Exhibition of Experimental Poetry\, Oxford in 1965. Thrown in to the river by Oxford students protesting the farcical nature of the exhib ition\, the work has been revived and will feature alongside other rarely s een drawings and ephemera. Also included is documentation relating to the 3 0ft high floating version of The Three Graces (Love\, Beauty\, Passion) (1967). Made for the Concrete Poetry Exhibition\, Brighton F estival\, it \;was destroyed \;in a storm after being at sea for 10 days. \;

\n

Kenelm (Ken) Cox studied at Bristol Art College and later at Camberwell School of Arts and Crafts. A native of Gloucestershire\, Cox returned in 1962 to Kingscote and began teaching at t he Gloucester College of Art in 1964. During this time Cox became an early member of the GLOucestershire groUP or GLOUP &ndash\; &lsquo\;Glo&rsquo\;st er Gro&rsquo\;up of Concrete and Kinetic Poets&rsquo\;. The members of GLOU P comprised of the artists and poets John Furnival\, Ken Cox\, Dom Sylveste r Houé\;dard\, Charles Verey and Thomas A Clark. It was from this fer tile ground that Cox developed his very particular orientation in concrete poetry.

\n

Ken Cox was included in various significant exhibitions of concrete poetry and experimental art\, including OXPO 2nd In ternational Exhibition of Experimental Poetry\, St. Catherine&rsquo\;s College\, Oxford (1965)\, Between Poetry and Painting curated by Jasia Reichardt at the ICA (1965)\, Concrete Poetry Exhibition\, B righton Festival (1968) and the groundbreaking Cybernetic Serendipity\, also curated by Jasia Reichardt at the ICA (1968).

\n

Ke n Cox: Poetry Machines has been curated by the concrete p oetry specialist William Allen and CHELSEA space\, with assistance from the Cox Estate. \;

DTEND:20150505 DTSTAMP:20150305T160533 DTSTART:20150429 GEO:51.4917526;-0.1285368 LOCATION:CHELSEA space\,16 John Islip Street \nLondon\, SW1P 4JU SEQUENCE:0 SUMMARY:Ken Cox: Poetry Machines\, Ken Cox UID:376120 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20150305T160533 DTSTART:180000 GEO:51.4917526;-0.1285368 LOCATION:CHELSEA space\,16 John Islip Street \nLondon\, SW1P 4JU SEQUENCE:0 SUMMARY:Ken Cox: Poetry Machines\, Ken Cox UID:376121 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150523 DTSTAMP:20150305T160533 DTSTART:20150320 GEO:0.0;0.0 LOCATION:White Cube\, Mason's Yard\,25-26 Mason’s Yard \nLondon\, SW1Y 6BU SEQUENCE:0 SUMMARY:Put your Eye in your Mouth\, christian Rosa UID:375973 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150305T160533 DTSTART:180000 GEO:0.0;0.0 LOCATION:White Cube\, Mason's Yard\,25-26 Mason’s Yard \nLondon\, SW1Y 6BU SEQUENCE:0 SUMMARY:Put your Eye in your Mouth\, christian Rosa UID:375974 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Victoria Miro is delighted to present Upward Movement\, NS Harsha's second solo exhibition with Victoria Miro and his first in the Mayfair gallery. One of the most significant Indi an artists of his generation\, Harsha draws on a broad spectrum of Indian a rtistic and figurative painting traditions and popular arts as well as the western art canon. He has worked across a range of media including painting \, sculpture\, installation and performance.

For his exhibition at Victoria Miro Mayfair\, Harsha has produced a series of paintings that e xplore notions of ascent. Each canvas features variations on the motif of a particular human\, animal or hybrid figure engaged in a singular activity\ , which may involve physical elevation\, technological innovation or spirit ual transcendence. These figures are striving to reach something above or b eyond\, acknowledging and attempting to connect with unknown regions.

Individual paintings focus on musicians and dancers and on langur mon keys and cows\, both of which are venerated in Hindu culture. The figures a re depicted in a flat\, shallow space on backgrounds featuring a single str ong colour. There is a musical connotation to the compositions\; the figure s\, in orderly rows\, suggest notes on musical staves\, and their recurrenc e and variety can be seen as a visual analogy for chanting and other repeti tive or cyclical musical structures.

\n

Harsha has said of this series\, 'Slowly I feel my thoughts are moving towa rds a kind of abstraction while keeping the absurd narrative as its central engagement'. He has cited Samuel Beckett's Waiting for Godot as a point of reference\, and the paintings emphasise how a quest for higher me aning sits alongside the absurdity of everyday existence.

Ra ha Dikhanaywalay Thay Hai Rahengay (Path Showers Were/Are/Will Be There) features langurs around and atop scriptural stone formations inspired by the arrangements of rocks in Japanese landscape painting. The monkeys are pointing upwards\, suggesting the desire to transcend earth-bound concerns. This work followed on from Harsha's large 2013 installation Tamasha\, made during the artist's residency at the DAAD\, which featured life s ize langur sculptures scaling the faç\;ade of a building in Berlin-Mi tte. As in the installation\, in the painting the monkeys' long tails are e ntwined\; this posture is drawn from German mythology related to rat kings\ , groups of the rodents conjoined by their tangled tails.

Mo oing Here and Now
and Only Way is through Milking Way were in spired by Harsha's visits to dairy farms near his home in Mysore in souther n India and in Germany. Viewing the rapid adaptation of technology by the f arming industry and the interactions between cattle and humans\, he conceiv ed the 'absurd dairyscape' of Mooing Here and Now\, which gently s atirises the increasingly remote scientific relationship between people and cows on industrial farms. Conversely\, Only Way is through Milking Way pictures a more poetic\, bucolic vision of dairy farming\, showing th e simple act of people milking cows by hand. Harsha reduces this ancient tr adition to its purest form\, removing even the containers in which the milk would be collected. In both paintings the action is interrupted by a charg ing elephant. This surreal intervention was drawn from an incident in Mysor e in 2011 in which two wild elephants went on a rampage killing a man and s everal cows.

Chirp peep chirp peep... exemplifies the a mbiguity of contemporary scientific and industrial development. A rank of p arrot-headed figures crowd around telescopes and microscopes\, symbols of t he incessant human desire to explore the macrocosmic and the microcosmic. L ike workers on an assembly line of eureka moments they seem fated to contin ue their search indefinitely. These absurdist figures are punctuated by mus icians\, who suggest an alternative method of discovery\, and the enduring need for artists to provide a context and commentary around scientific jour neys.

These musicians\, specifically veena players\, recur in Chamber Concert
. Each player is isolated from the others\, seemingly playing alone yet perhaps longing for a connection with other musicians an d listeners. After many years of travelling\, Harsha spent all of 2014 in M ysore\, where he spent time at concerts with local musicians. Black on blac k footprints on the strips on either side of the canvas suggest how interna l 'journeys in darkness' provide a conducive atmosphere to focus on the fin est details of communication from elsewhere.

In Time and Aga in Upward Movement Beautiful Beautiful\, Harsha explores the human fig ure in an extreme posture\, with the leg extended above the head. This posi tion\, familiar from classical Indian dance and sculpture\, has been used h istorically to denote upward movement and a quest to reach out into the unk nown. The painting features a parade of figures in this posture\, emphasisi ng the beauty of continually reaching out into the unknown. Harsha includes a nod to depictions of a similar spiritual and philosophical quest in west ern Renaissance art in the top right corner of the composition\, replicatin g the figures of Plato and Aristotle from Raphael's Vatican fresco The School of Athens. Brahma\, a Hindu icon for creation of the world\, al so appears as an observer of this ballet.

DTEND:20150425 DTSTAMP:20150305T160533 DTSTART:20150326 GEO:51.512915;-0.1434236 LOCATION:Victoria Miro Mayfair\,14 St George Street \nLondon\, W1S 1FE SEQUENCE:0 SUMMARY:Upward Movement\, N.S. Harsha UID:375972 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sanya Kantarovsky will bring t ogether his own work with that of Lithuanian artist Ieva Misevičiūtė whose performances combine action theatre\, dance and stand-up comedy. Kantarovsk y will take Michael Bulgakov&rsquo\;s seminal novel Master and Margarita as a point of departure and will work with Misevičiūte to choreograph a set o f movements in response the characters in the novel &ndash\; gestures which will form the basis of Kantarovsky&rsquo\;s paintings. Kantarovsky&rsquo\; s expansive paintings will be on the scale of a theatrical set\, referencin g the sumptuous backdrops of the Ballet Russe. Misevičiūtė will interact wi th these props during two live performances at Studio Voltaire.

Sanya Kantarovsky (b. 1982\, Moscow\, Russia) produces video installations and sculptures\, though he is best known for his paintings\, which often h ave thinly applied\, wiped\, or scraped layers of paint\, and feature narra tive scenes populated by isolated\, sinewy figures. His work frequently inc ludes indirect social-political commentary and a critical look at the idea of the suffering artistic genius.

Kantarovsky lives and works i n New York. He received his BFA from the Rhode Island School of Design in 2 004) and MFA from UCLA in 2011. Recent solo and two person exhibitions incl ude: &ldquo\;Allergies&rdquo\;\, Casey Kaplan\, New York\, 2014\; &ldquo\;L ittle Vera&rdquo\; with Ella Kruglyanskaya\, KIM?\, Riga\, 2014\; &ldquo\;Y ou Are not an Evening&rdquo\;\, GAK\, Bremen\, 2013. He participated in the group exhibition &ldquo\;Notes and Neo Camp&rdquo\; at Studio Voltaire\, L ondon in 2013. Recent special projects include Research and Reporting at KW \, Berlin 2014 and LAX faç\;ade\, Los Angeles\, 2013.

Thi s new commission forms part of &lsquo\;How to work together&rsquo\;\, a sha red programme of contemporary art commissioning and research organised by S tudio Voltaire\, The Showroom and Chisenhale Gallery. Together\, over three years\, &lsquo\;How to work together&rsquo\; is producing a series of arti sts&rsquo\; commissions\, exhibitions\, events and an online think tank.

www.howtoworktogether.org

Sanya Kantarovsky&rsquo\;s commission is supported by Arts Council Eng land through Catalyst Arts: capacity building and match-funding\, Bloomberg \, Jerwood Charitable Foundation and the How to work together Artist Commis sions Production Fund.

With ge nerous assistance from Yana and Stephen Peel.

\n

Performances: Thursday 16 April 2015\, 7.30pm &\; \;Saturday 18 April 2015\, \;6.30pm

DTEND:20150607 DTSTAMP:20150305T160533 DTSTART:20150417 GEO:51.4619465;-0.1343895 LOCATION:Studio Voltaire\,1a Nelsons Row \nLondon\, SW4 7JR SEQUENCE:0 SUMMARY:Apricot Juice\, Sanya Kantarovsky\, Ieva Misevičiūtė UID:375970 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20150305T160533 DTSTART:183000 GEO:51.4619465;-0.1343895 LOCATION:Studio Voltaire\,1a Nelsons Row \nLondon\, SW4 7JR SEQUENCE:0 SUMMARY:Apricot Juice\, Sanya Kantarovsky\, Ieva Misevičiūtė UID:375971 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In a new series of paintings u nveiled at Hauser &\; Wirth London\, Genzken employs motifs from the lan guage of capitalism to explore themes of self- and social-examination. Sinc e the 1970s\, Genzken&rsquo\;s diverse practice has encompassed sculpture\, photography\, found-object installation\, drawing and painting. Her work b orrows from the aesthetics of Minimalism\, punk culture and assemblage art to confront the conditions of human experience in contemporary society and the uneasy social climate of capitalism. Although her approach varies great ly\, Genzken has maintained a striking common thread and internal truth to both her vision and her works of art themselves.

\n

In the Geldbilder works\, Genzken takes money as a painterly me dium itself\, affixing notes and coins of various currencies and denominati ons to the canvas. She uses the very tools of a profit-driven society in he r most direct and literal engagement with its principles. Genzken disassoci ates money from its role as currency\, and encourages an appreciation of it as a material object\, as a social artefact\, and for its symbolic connota tions. Genzken plays on the concept of art as investment\, with the suggest ion that these notes and coins might be removed and re-used in times of har dship. The paintings physically &lsquo\;hold&rsquo\; capital\, acting as st able assets even in the most volatile market. These poetic and chaotic pain tings make explicit reference to the monetary value of art\, and the system s that underpin society at large. Genzken has also incorporated money into her earlier\, more abstract paintings of the 1990s\, in which she laid coin s onto a canvas and coated the surface with lacquer\, before removing them to reveal only the imprint of the coins&rsquo\; shape left behind. Her thre e artist books entitled &lsquo\;I Love New York\, Crazy City&rsquo\; (2006) represent information overload\, and the stimulation and urban pace of the city at a time in which she was working through her own unsettled emotions after a divorce. The books are comprised of layers of ephemeral papers suc h as newspaper clippings\, receipts\, photographs\, cigarette packets\, and include a number of $500 bills.

\n

The new series possesses a raw\, aggressive energy. Genzken has roughly covered each canvas in a combination of vivid\, unmixed colours\, using either a l arge-bristle brush or spray can\, sometimes dripping the paint in thick\, r andom gestures\, with the impressions of the canvas&rsquo\; supports and ar eas of unmarked surface still visible. The coins and notes are applied in s eemingly random patterns\; stacked\, grouped to create shapes or arranged i n lines traversing the surface of the painting. Elsewhere she scrawls her n ame in large\, graffiti-style letters in spray paint\, as an outlandish ver sion of the artist&rsquo\;s signature and a reference to the autobiographic al element that is ever-present throughout her practice. Exploring the dyna mic of personal versus social anxiety\, Genzken integrates photographs of h erself amongst the material adorning the Geldbilder paintings\, continuing her interest in representations of the body\, and of herself in particular.

\n

The Geldbilder paintings include fou nd objects reappropriated for artistic use. An anthropologist of her own en vironment\, Genzken incorporates aspects of her immediate surroundings into the artworks as a contextual reference point\, including promotional leafl ets for products and services in Berlin\, where she lives and works. In the manner of Robert Rauschenberg&rsquo\;s Combines\, small plastic animals ar e glued to a painting&rsquo\;s surface\, or a feather\, fabric pouch or woo den ruler in the shape of a toy gun are suspended from the bottom of the ca nvases. With the inclusion of these ubiquitous objects the works come to re semble tableaux of contemporary society. Genzken&rsquo\;s ongoing interest in modernist architecture pervades her new body of work\; as a reference po int to the aesthetics of construction\, Genzken applies striations of indus trial tape to the surfaces of the paintings\, and the shape of the canvases recall skyscrapers and building blocks.

\n

The Geldbilder paintings are contextualised within the exhibition by ea rlier examples of Genzken&rsquo\;s work\, including a group of concrete scu lptures from the early 1980s.

\n

This ex hibition coincides with a major presentation of new work by Genzken at MMK Museum fü\;r Moderne Kunst Frankfurt am Main\, Frankfurt\, Germany. In June\, the Institute of Contemporary Arts\, London\, England will present a n exhibition of Genzken&rsquo\;s Basic Research paintings.

\n

About the Artist

\n

Isa Genzken has long been considered one of Germany&rsqu o\;s most important and influential contemporary artists. Born in Bad Oldes loe\, Germany\, Genzken studied at the renowned Kunstakademie Dü\;sseld orf whose faculty at the time included Joseph Beuys\, Bernd and Hilla Beche r\, Benjamin H.D. Buchloh and Gerhard Richter. Genzken had her first major retrospective in 2009. &lsquo\;Isa Genzken: Open Sesame!&rsquo\; opened at the Whitechapel Art Gallery\, London\, England (2009) and travelled to Muse um Ludwig\, Cologne\, Germany (2009). Other important solo exhibitions incl ude &lsquo\;Hallelujah&rsquo\;\, Schinkel Pavillon\, Berlin\, Germany (2012 )\; Museion Bozen\, Bolzano\, Italy (2010)\; &lsquo\;Ground Zero&rsquo\;\, Hauser &\; Wirth London (2008)\; and Wiener Secession\, Vienna\, Austria (2006). In 2007\, Genzken was chosen to represent her country in the 52nd Venice Biennale. Also in 2007\, Genzken&rsquo\;s works were featured for th e third time in Skulptur Projekte Mü\;nster\, Munster\, Germany. Genzke n&rsquo\;s work has also been included in three Documenta exhibitions: docu menta XI (2002)\; documenta IX (1992)\; and documenta VII (1982).

\n

In 2013\, a touring retrospective opened at Mo MA Museum of Modern Art\, New York NY and travelled to The Dallas Museum of Art\, Dallas TX and the Museum of Contemporary Art\, Chicago IL in 2014. DTEND:20150516 DTSTAMP:20150305T160533 DTSTART:20150326 GEO:51.511961;-0.1409689 LOCATION:Hauser & Wirth (Savile Row)\,23 Savile Row \nLondon \, W1S 2ET SEQUENCE:0 SUMMARY:Geldbilder\, Isa Genzken UID:375968 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150305T160533 DTSTART:180000 GEO:51.511961;-0.1409689 LOCATION:Hauser & Wirth (Savile Row)\,23 Savile Row \nLondon \, W1S 2ET SEQUENCE:0 SUMMARY:Geldbilder\, Isa Genzken UID:375969 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150516 DTSTAMP:20150305T160533 DTSTART:20150326 GEO:51.511961;-0.1409689 LOCATION:Hauser & Wirth (Savile Row)\,23 Savile Row \nLondon \, W1S 2ET SEQUENCE:0 SUMMARY:Life is a Time-Based Medium\, Diana Thater UID:375966 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150305T160533 DTSTART:180000 GEO:51.511961;-0.1409689 LOCATION:Hauser & Wirth (Savile Row)\,23 Savile Row \nLondon \, W1S 2ET SEQUENCE:0 SUMMARY:Life is a Time-Based Medium\, Diana Thater UID:375967 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For his first solo exhibition in the United Kingdom\, Davide Balliano has brought together a selection of recent paintings and ceramics produced during a 2014 residency at Nuove\, in the Bassano region of Italy . \;

\n

Drawing references from architecture\, nature\, monuments and icons\, Balliano&rsquo\;s work is the product of an ongoing investigati on into the relationship between the individual and the macrocosm. Using ge ometry as a tool of translation\, these paintings and sculptures take their form through a process defined by structure\, repetition and reduction. Fo r Balliano\, the act of removing all excess offers the possibility of reach ing an equilibrium between presence and absence where the object can exist in its most essential state.

\n

By employing gesso\, plaster and lacqu er as his materials\, Balliano develops his paintings as if they were the s urface of a wall\; layering plaster onto a wooden board\, sanding it back\, and drawing out geometric forms in gesso. The process is repeated until th e work arrives at its resolution\, where the image has become ingrained in the surface rather than placed upon it.

\n

When encountering Balliano& rsquo\;s work it is hard to dispel visual associations with the masters of the Early Renaissance\, specifically the frescos and altarpieces of Masacci o and Fra Angelico. Balliano&rsquo\;s paintings and sculptures evoke their use of Classical architectural elements and compositions designed according to golden ratio geometry as a way to relate the human figure to the univer se at large. Equally\, there are echoes of religious icons and altarpieces\ , which were constructed on wooden boards and framed with arched borders in raised relief. In anticipation of rendered sophisticated perspective\, the three-dimensionality of these works meant that the depicted image (and the refore its spiritual content) was extended into the immediate surrounding e nvironment. Balliano&rsquo\;s work reflects upon this transcendence of an i ntangible omnipresent force into the realm of the physical\, although his c ontent relates to a universal condition as opposed to religious reverence.< /p>\n

Within a more contemporary framework\, Balliano&rsquo\;s work exten ds to the language of Minimalism and its discussion of spatial conditions. As in Robert Morris&rsquo\;s Untitled \;(1965/1971)\, comprise d of mirrored boxes\, Balliano&rsquo\;s sculptures act as anchors which ser ve to activate the space around them. Striving for a site of &lsquo\;openne ss&rsquo\; in the interpretation of his works\, Balliano considers these ce ramic sculptures to be as important in their encasement of a void as in the positive forms that they occupy. As he states\, &ldquo\;it&rsquo\;s like c reating a donut to be able to talk about the hole in the middle&rdquo\;.

\n

Davide Balliano was born in Turin in 1983 and currently lives and wor ks in New York. Recent solo exhibitions include Four o Four at Room East\, New York (2014)\, No Flock for Blind Shepherds at Galerie Rolando Anselmi\, Berlin\, and Picatrix at Michel Rein Gallery\, Paris (both 2013). \; H is work has been included in group exhibitions at Sean Kelly Gallery\, New York (2010 and 2014)\, Madre Museum\, Naples (2012)\, the Quadrilateral Bie nnial in Rijeka\, Croatia (2011)\, The Watermill Centre\, New York (2009 an d 2011)\, MoMA PS1\, New York\, the Tate Modern\, London and the Espai d&rs quo\;Art Contemporani de Castelló\;\, Castelló\;n (all 2010).\n

 \;

DTEND:20150402 DTSTAMP:20150305T160533 DTSTART:20150307 GEO:51.5104943;-0.1500068 LOCATION:Timothy Taylor Gallery\,15 Carlos Place \nLondon\, W1K 2EX SEQUENCE:0 SUMMARY:Project Room: Davide Balliano\, Davide Balliano UID:375964 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150305T160533 DTSTART:180000 GEO:51.5104943;-0.1500068 LOCATION:Timothy Taylor Gallery\,15 Carlos Place \nLondon\, W1K 2EX SEQUENCE:0 SUMMARY:Project Room: Davide Balliano\, Davide Balliano UID:375965 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Approach is pleased to ann ounce an exhibition of new silkscreens by British artist John Stezaker. Bes t known for his collage work re-appropriating found film stills\, actor&rsq uo\;s portraits and postcards\, Stezaker has returned to making large-scale monochromatic silkscreen prints which he was producing alongside the colla ge works during the mid 1980s and early 1990s. \;

\n

The Roman philosopher Pliny the Elder&rsquo\;s legend conc erning the origins of painting has it that the first painting came about th rough an act of projection. The inventor of painting\, Dibutades\, on the e ve of the departure of her lover for the Trojan wars\, decided to make perm anent the silhouette of his shadow cast onto the wall of her home by lampli ght. In doing so\, she inaugurated a history of pictorial representation in which projection and the fixing of shadow are always interconnected from p ainting to photography and cinema. \;

\n

1940s and 1950s cinema in particular\, seems to be making a transition between the blinding light of the spectacle of early cinema and the shadow y underworld to which film became increasingly attached in the post-war per iod. Stezaker&rsquo\;s attachment to the image of a particularly British ve rsion of film-noir seems fascinated with exactly that transition from light to dark. The collages and silkscreens incise the stilled moments of cinema with spatial metaphors of its light: the projector beam\, the spotlight or the illuminated screen\, otherwise the absent space of darkness in his &ls quo\;shadow&rsquo\; figures.

\n

These ne w canvas works pick up where the late 1980s silkscreens left off with the o pposing absences of darkness and light. Through the process of large-scale silkscreen printing on canvas\, Stezaker explores the &lsquo\;larger than l ife&rsquo\; quality of the projected image.

\n

John Stezaker (b. 1949\, \;Worcester) lives and works in London. Stezaker has been influential to a number of developments in art over the last three decades\, from Appropriation to Conceptual art\, through to the& nbsp\;re-emergence \;of collage. Stezaker won the Deutsche Bö\;rse Photography Prize in 2012. Recent exhibitions include: 2015: Collages\, The Netherlands Fotomuseum\, Rotterdam\, The Netherlands. 2014: J ohn Stezaker: New Silkscreens\, Petzel Gallery\, New York\, USA\; 19th Biennale of Sydney\, Sydney\, Australia. 2013: John Stezaker< /em>\, Centre de la Photographie Genè\;ve\, Switzerland\; John St ezaker: Working from the Collection\, Les Rencontres Arles Photographi e\, France\; John Stezaker: One on One\, Tel Aviv Museum of Art\, Israel\; Marriage\, Haggerty Museum of Art\, Marquette University\ , Milwaukee\, USA. 2011: John Stezaker\, The Whitechapel Gallery\, London\, touring to MUDAM\, Luxembourg and Kemper Art Museum\, St. Louis\, USA. 2010: Lost Images\, Kunstverein Freiburg\, Germany.

DTEND:20150319 DTSTAMP:20150305T160533 DTSTART:20150311 GEO:51.531381;-0.0516313 LOCATION:The Approach\,47 Approach Road Bethnal Green\nLondon\, E2 9LY SEQUENCE:0 SUMMARY:The Projectionist\, John Stezaker UID:375962 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20150305T160533 DTSTART:180000 GEO:51.531381;-0.0516313 LOCATION:The Approach\,47 Approach Road Bethnal Green\nLondon\, E2 9LY SEQUENCE:0 SUMMARY:The Projectionist\, John Stezaker UID:375963 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150402 DTSTAMP:20150305T160533 DTSTART:20150228 GEO:51.525135;-0.0558072 LOCATION:Herald St\,2 Herald Street \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:Infrastruktur\, Nicole Wermers UID:375961 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Maureen Paley is pleased to present the fourth solo exhibiti on at the gallery by Maaike Schoorel.

\n

Maaike Schoorel&rsquo\;s work is informed by her research into the human mind&rsquo\;s ability to percei ve and understand the visual world. The subjects of her paintings appear at once recognisable and elusive. Using photographic source material of peopl e\, places and objects Schoorel&rsquo\;s compositions simultaneously appear and dissolve into the canvas.

\n

The perceptual systems of the br ain enable individuals to see the world around them as stable\, even though the sensory information is typically incomplete and rapidly varying. Human and animal brains are structured in a modular way\, with different areas p rocessing different kinds of sensory information. Some of these modules tak e the form of sensory maps\, mapping some aspect of the world across part o f the brain's surface. These different modules are interconnected and influ ence each other.

\n

The process of perception begins with an object in the real world\, termed the distal stimulus or distal object. By means of light\, sound or another physical process\, the object stimulates the body's sensory organs. These sensory organs transform the input energy into neural activity&mdash\;a process called transduction. This raw pattern of neural activity is called the proximal stimulus. These neural signals a re transmitted to the brain and processed. The resulting mental re-creation of the distal stimulus is the percept. Perception is sometimes described a s the process of constructing mental representations of distal stimuli usin g the information available in proximal stimuli.

\n

Psycholog ist Jerome Bruner has developed a model of perception. According to him peo ple go through the following process to form opinions:

\n

- W hen we encounter an unfamiliar target we are open to different informationa l cues and want to learn more about the target.

\n

- In the s econd step we try to collect more information about the target. Gradually\, we encounter some familiar cues\, which help us categorise the target.

\n

- At this stage\, the cues become less open and selective. We try to search for more cues that confirm the categorisation of the target. We also actively ignore and even distort cues that violate our initial per ceptions.  \;Our perception becomes more selective and we finally paint a consistent picture of the target.

\n

wikipedia.org/wiki/Percep tion

\n

 \;

\n

Born 1973\, Santpoort\, The Netherlands. Maaik e Schoorel has recently returned from New York to the Netherlands and now l ives and works in Amsterdam. Residencies include: The American Academy in R ome\, 2015 (forthcoming) and the International Studio and Curatorial Progra mme\, New York\, 2013.

\n

Selected solo exhibitions include: Fondazion e Memmo\, Rome\, Italy\, 2015 (forthcoming)\; Frans Hals Museum\, Haarlem\, The Netherlands\, 2012\; Maaike Schoorel - Zelfportretten &\; Still evens\, the Embassy of the Kingdom of the Netherlands\, London\, UK\, 2011\; Album\, Museum de Hallen\, Haarlem\, The Netherlands\, 2008 .

\n

Selected group exhibitions include: Landscape: the Virtual\, the Actual\, the Possible? Guangdong Times Museum\, Guangzhou\, Guangd ong\, China\, touring to: Yerba Buena Center for the Arts\, San Francisco\, USA\, How Soon is Now?\, Manifesta Foundation &\; DutchCulture \, Amsterdam\, The Netherlands\, Variations: Conversations in and Aroun d Abstract Painting\, LACMA\, Los Angeles\, USA\, The Peacock \, Grazer Kunstverein\, Graz\, Austria\, 2014\; Nothing\, Like Somethin g Happens Anywhere\, Chapter\, Cardiff\, Wales\, 2012\; Museum of Old and New Art\, Tasmania\, Australia\; Saatchi Gallery in Adelai de: British Art Now\, Art Gallery of South Australia\, Adelaide\, Aust ralia\, 2011\, Painted Over/Under\, LACE\, Los Angeles Contemporar y Exhibitions\, Los Angeles\, USA\, Painting Between the Lines\, C CA Wattis Institute for Contemporary Art\, California College of the Arts\, San Francisco\, USA\, 2011\; British Art Show 7: In the Days of the Comet\, Hayward Touring Exhibitions\, United Kingdom\, 2010\; < em>Visible Invisible: Against the Security of the Real\, Parasol Unit\ , London\, United Kingdom\, 2009\; Eyes Wide Open &ndash\; New to the C ollection\, Stedelijk Museum\, Amsterdam\, The Netherlands\, 2008.

DTEND:20150412 DTSTAMP:20150305T160533 DTSTART:20150314 GEO:51.5251722;-0.0559263 LOCATION:Maureen Paley\,21 Herald St. \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:SUB-LO\, Maaike Schoorel UID:375886 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20150305T160533 DTSTART:183000 GEO:51.5251722;-0.0559263 LOCATION:Maureen Paley\,21 Herald St. \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:SUB-LO\, Maaike Schoorel UID:375887 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Celebrate International Women&rsquo\;s Day at the Royal Acad emy and join us for the inter-generational panel discussion\, 'H ow It Looks From Here: Women in Today&rsquo\;s Art World'\, moderated b y Kirsty Lang and featuring Royal Academicians Eileen Cooper\, Tess Jaray a nd Cathie Pilkington\, \;and RA Schools student Gergana Georgieva\,&nbs p\;where they explore what it is like to be a woman in today&rsquo\;s art w orld. \;

\n

Panel Discussion | 3-4pm | Reynolds Room\, Burlington House \;

DTEND:160000 DTSTAMP:20150305T160533 DTSTART:150000 GEO:51.5091816;-0.1396932 LOCATION:Royal Academy of Arts\,Burlington House Piccadilly\nLondon\, W1J0B D SEQUENCE:0 SUMMARY:How it Looks From Here: Women in Today's Art World UID:375803 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Stewarts Law RCA Secret turns 21 this year and is celebrating coming of age with a bold new collaboration that sees us working with some of industry&rsquo\;s top curators\, bringin g in a whole new breadth of talent to the exhibition.

\n

Twenty-three curators from around the world have been invi ted to commission three artists to make postcards for the sale. With contri butors including industry leaders and the most exciting new names in contem porary curation\, the programme mirrors the exhibition's ethos of placing e stablished names next to the stars of the future.

\n

Among the curators involved are \;Laurence Sillars\, chief curator of the Baltic Centre for Contemporary Art\; David Falkner\, Galler y Director at Stanley Picker Gallery\; Laura Sillars\, Artistic Director at Site Gallery\; Ingrid Swenson\, Director of PEER\; Alistair Hudson\, Direc tor of Middlesbrough Institute of Modern Art\; Rosie Cooper\, \;Project Curator at Liverpool Biennial\; and Chris Clark critic and Senior Curator at Lewis Glucksman Gallery.

\n

The exhib ition is the most ambitious yet with postcards already received from some o f the world&rsquo\;s most renowned contemporary artists and designers inclu ding: Bob &\; Roberta Smith\, Maggi Hambling\, Zandra Rhodes\, Richard L ong\, Susan Hiller\, Christo\, David Bailey\, Yinka Shonibare\, Ryan Gander \, Paula Rego\, Nick Park\, Norman Ackroyd\, Paul Smith and Joseph Kosuth.< /p>\n

Stewarts Law RCA Secret gives you the chance to purchase art works that would be the envy of any collector for o nly £\;55.

\n

So what&rsquo\;s the& nbsp\;secret? \; All of the postcards are displayed anonymously so you have to guess which artist or designer has made the work before you hand ov er your cash. \; \;But don&rsquo\;t worry if you&rsquo\;re not an a rt expert\; chances are you&rsquo\;ll go home with something you&rsquo\;ll love\, whether it is by a famous name or a young art student (who could go on to be the next Tracey Emin!). All profits go towards helping emerging ar tists at a formative stage in their careers. \;

\n

For further information on the event and how to register as a collector visit: \;www.rca.ac .uk/secret.

\n

Exhibition open: 12 March &ndash\; 20 March 2014\, \;11am-6pm \;daily (late night opening on \;19 March&nb sp\;until \;9pm)

\n

Sale day: Saturday 21 March 2 014\, \;8am-6pm

DTEND:20150320 DTSTAMP:20150305T160533 DTSTART:20150312 GEO:51.4797412;-0.1699271 LOCATION:Royal College of Art - Battersea\, Dyson Building\,1 Hester Road \ nLondon\, SW11 4AN SEQUENCE:0 SUMMARY:Stewarts Law RCA Secret UID:375502 END:VEVENT BEGIN:VEVENT DTEND:180000 DTSTAMP:20150305T160533 DTSTART:110000 GEO:51.4797412;-0.1699271 LOCATION:Royal College of Art - Battersea\, Dyson Building\,1 Hester Road \ nLondon\, SW11 4AN SEQUENCE:0 SUMMARY:Stewarts Law RCA Secret UID:375503 END:VEVENT BEGIN:VEVENT DESCRIPTION:
\n

(In collaboration with Andreas Reihse\, sound)

\n
\n< div id="Overview" class="tab Overview">\n

A new performance by artist Redmond Entwistle inspired by the life of US sol dier Edward Pimental\, who was murdered by left-wing terrorists for his ID card in West Germany in 1985. The work comprises a sound composition by And reas Reihse made from field recordings of locations from Pimental&rsquo\;s life in the US and Germany\, combined with a series of visual scores by Ent wistle\, elaborating on the multiple narratives that circulate around the m urder.

\n

Taking a cue from biographical details of Pimental's growing intellectual and artistic curiosity in the a rmy\, in the film he begins to experiment with sound recording around his b ase in the weeks leading up to his murder. \;The General Line& nbsp\;allows for the realisation of the piece of music he is making\, but d raws on a wider set of recordings that extend to the places of his childhoo d and youth\; a technical high school in Queens\, a missile training site i n Alabama\, and the abandoned sites of old US army bases in the former West Germany.

\n

The General Line&n bsp\;is a companion piece to Redmond Entwisle&rsquo\;s artists feature film  \;Lockvogel (Decoys) \;and serves as both an addendum to\ , and a complication of the film.

Film Review\, Carolin Weidner< br />Translations\, Amy Patton and Christiana Haack
Poster design\, An nette Grund
Printing\, Max Color/Medialis/Pixelgrain
Recording As sistant\, Laura Varela

\n

The perfor mance is a co-production between the Centre Pompidou/Hors Pistes\, the SLG and Centre D&rsquo\;Art Centemporain La Synagogue De Delme. \;

Made possible with additional support from The Elephant Trust and Arts C ouncil England

\n

Booki ng is essential. \;Book online \;or call 020 7703 6120.  \;

Biographies
Redmond Entwistle
  \;(1977\, London) has made seven short and medium length artist films\, as well as performances and installations that have shown at festivals and mus eums internationally\, including the Whitechapel Art Gallery\, London\; Ser pentine Gallery\, London\; Walker Art Center\, Minneapolis\; PS1 MoMA\, NY\ ; and the ICA\, London. His last film Walk-Through was the focus of solo ex hibitions at Cubitt Gallery\, Tramway Gallery and International Project Spa ce in 2012. His previous film Monuments premiered in Rotterdam Film Festiva l's Tigers Shorts Competition in 2010\, and his medium length film and soun d work Paterson - Lodz won Best International Film at Images Festival in 20 08. In 2013\, short retrospectives of his work were presented at Hors Piste s (Centre Pompidou) and BAFICI (Buenos Aires Independent Film Festival)\, a nd included in the survey of UK artists film Assembly at Tate Britain. His work has been nominated for the Jarman Award 2014\, and a solo exhibition o f his films will be presented at MIT List Visual Arts Center in January 201 5.

\n

Andreas Reihse \;is a Berlin based musician and artist. \;Since 1994 he is best know n in his role as (founding) member of the internationally \;acclaimed e lectronic band Kreidler. \;As a solo artist he releases mostly electron ic\, often club-music. As a composer and performer of music for artists -&n bsp\;for films\, for plays\, for performances\, and for installations he ha s worked with Rosemarie \;Trockel\, Hamish Morrow\, Maximilian Zentz Zl omowitz\, Thea Djordjadze\, Giles \;Round\, Andreas Gursky\, Awst &\ ; Walther\, Frances Scholz / Mark von Schlegell\, \;Astrid Klein or Mik e Franz / Nadim Vardag. \;Recent activities include the video/sound ins tallation \;Volkan \;(House of \;Extravaganza\, Stromb oli\, 2013)\, \;Long Lines Andropov's Ears \;- a contribut ion to a \;project about radical architecture (2014)\, the Entropie Sou ndtrack LP with Isaac B.Trogdon (2014/15)\, three ongoing projects with Dal ia Neis\, a cross-media \;collaboration with Annika Henderson\, and the latest Kreidler album \;ABC \;(2014\, \;Bureau-b) whi ch incorporates a co-op with Lior Shamriz accompanying the record \;wit h a film in six chapters\, and2+2=22 [The Alphabet]\, \;a full length film by Heinz Emigholz\, the basis of which is the recording sessio n for \;ABC \;in Tbilisi/Georgia. \;

\n DTEND:200000 DTSTAMP:20150305T160533 DTSTART:190000 GEO:51.4741311;-0.0794467 LOCATION:South London Gallery\,65 Peckham Road \nLondon\, SE5 8UH SEQUENCE:0 SUMMARY:The General Line\, Redmond Entwistle UID:375488 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CHELSEA space is pleased to an nounce \;Ken Cox: \;Poetry Machines \;as the second exhibition in our spring programme. A highly influential scu lptor of the British concrete poetry movement\, Kenelm (Ken) Cox (1927-1968 ) was a creator of kinetically powered poetry machines that made words move in space as material objects. \; Cox&rsquo\;s career was cut tragicall y short in 1968\, not long after the opening of his first solo exhibition a t the Lisson Gallery\, London. This is the first time his works have been s hown in London since then\, re-asserting Cox as a significant figure in the concrete poetry movement.

\n

Ke n Cox: \;Poetry Machines \;has been curated by th e concrete poetry specialist William Allen and CHELSEA space\, with assista nce from the Cox Estate. \;

DTEND:20150605 DTSTAMP:20150305T160533 DTSTART:20150429 GEO:51.4917526;-0.1285368 LOCATION:CHELSEA space\,16 John Islip Street \nLondon\, SW1P 4JU SEQUENCE:0 SUMMARY:Poetry Machines\, Ken Cox UID:375486 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20150305T160533 DTSTART:180000 GEO:51.4917526;-0.1285368 LOCATION:CHELSEA space\,16 John Islip Street \nLondon\, SW1P 4JU SEQUENCE:0 SUMMARY:Poetry Machines\, Ken Cox UID:375487 END:VEVENT END:VCALENDAR