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Beaupre Hall, Norfolk, Demolished 1966, 2011 Plasticine On Mdf, Neon Light 113 X 83 X 10 Cm © Image copyright of the artist
Birth 8, 2009 C Print On Metallic Paper 35.5 X 27.9 Cm © Sayaka Maruyama
Passion Flower, 2011 Oil, Charcoal And Pencil On Prepared Paper 155 X 155 Cm © Hugo Wilson

276 Vauxhall Bridge Road
London SW1V 1BB
United Kingdom
September 22nd, 2011 - November 13th, 2011

chelsea, belgravia
Open weekly, Wednesday - Saturday 12:00 - 18:00 Or by appointment
photography, sculpture


Edel   Assanti   is   pleased   to   present   (In)visible,   an   exhibition   of   interdisciplinary   works   by   six   artists,   and   a   specially   commissioned   redesign   of   the   gallery’s   exhibition   space   by   architects   Groves/ Natcheva.   Taking   Calvino’s   Invisible   Cities   as   its   curatorial   starting   point,   Edel   Assanti   invite   the   viewer   to   reimagine   the   gallery,   exploring   the   exhibition   using   Groves/Natcheva’s   fantastical   blueprint  as  a  springboard.

‘With   cities,   it   is   as   with   dreams:   everything   imaginable   can   be   dreamed,   but   even   the   most   unexpected   dream   is   a   rebus   that   conceals  a  desire  or,  its  reverse,  a  fear.  Cities,  like  dreams,  are  made   of   desires   and   fears,   even   if   the   thread   of   their   discourse   is   secret,   their  rules  are  absurd,  their  perspectives  ...deceitful,  and  everything   conceals  something  else.’ Italo  Calvino,  Invisible  Cities

In   Calvino’s   journey   of   storytelling,   material   and   philosophical systems are allowed into the field of play only to be distorted. Nothing   is   what   it   seems.   Everything   conceals   something   else.   (In)visible  is  based  broadly  on  this  tactic,  bringing  together  artists  who   share  an  interest  in  blurring  boundaries  between  surface  and  depth,   and  between  past  and  present.

Groves/Natcheva   have   intertwined   the   exhibits   and   the   gallery’s   spaces   with   their   architectural   practice’s   own   memories   and   a   generous  infusion  of  fantasy.  The  drawing  is  in  the  building,  and  the   building  is  in  the  drawing  in  this  visual  invitation  to  see  and  think  as   an   architect   can.   It   is   a   dreamscape   of   uncharted   territory   and   a   reminder that, as Also Rossi wrote in his influential The  Architecture   of  the  City,  ‘The  city  is  as  irrational  as  any  work  of  art,  and  its  mystery   is  perhaps  above  all  to  be  found  in  the  secret  and  ceaseless  will  of   its  collective  manifestations.’

Between  the  visible  and  the  invisible,  past  and  present,  reality  and   the   dreamscape,   (In)visible  entices   us   into   fantastical   cities   of   the   mind.