Art13 London 2013 - Projects

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Art13 London 2013 - Projects

Olympia Grand Hall, Olympia Way, Hammersmith Road
London W14 8UX
United Kingdom
February 28th, 2013 - March 3rd, 2013

+44 (0)20 7886 3112


El ANATSUI (b.Ghana) P14

In the World but Don’t Know the World, 2009
aluminium and copper wire, 560 x 1000 cm, photo: Jonathan Greet
October Gallery / H5

El Anatsui’s practice emerged from the vibrant post-independence art movements of 1960s and 70s West Africa. His work has addressed a vast range of social, political and historical concerns and embraced an equally wide range of media and processes. Using anything from chainsaws and welding torches to an intricate ‘sewing’ process of found objects, he has become one of Africa’s most recognised contemporary artists.
His work is in collections around the world including the British Museum, the Metropolitan Museum of Modern Art and the Centre Georges Pompidou.

Anatsui- In the World but Don’t Know the World, 2009,

Younes BABA-ALI (b. Morocco) P2

Call for Prayer – Morse, 2011
loudspeaker, computer dimensions variable
FaMa Gallery / G1

Born in 1986 in Oujda, Morocco, Younes Baba-Ali lives and works in Brussels and Casablanca. After graduating from the School of Decorative Arts in Strasbourg in 2008, Baba-Ali participated in several international exhibitions and biennials including the Biennale of Marrakech and the Biennale Skopje.
Morse is a sound installation consisting of a loudspeaker broadcasting the Muslim call to prayer in Morse code at prayer times corresponding to the city in which the piece is exhibited. The work evokes the relationship between religious ritual and the absence of presence of spiritual experience.

Younes BABA-ALI, Call For Prayer, 2011

Harmen BRETHOUWER (b. the Netherlands) P7

F (Bellbronze Series), 2012
cast bronze on Belgian hard stone plinth, rubber coated steel and leather hammer, 280 x 120 x 120 cm
Hidde Van Seggelen Gallery / YG13

Harmen Brethouwer (b. 1960) lives and works in The Netherlands. Recent solo exhibitions have taken place at Hidde van Seggelen Gallery, London and Museum Boijmans Van Beuningen, Rotterdam. Brethouwer’s practice is concerned with the study of the history of man-made artefacts. He began work on the series titled ‘Bellbronzes’ in 2005, and presents the seventh work in the series at Art13 London, the most ambitious ‘Bellbronze’ to date. Hanging on an internal structure, the bell rests just millimetres above its base. During its installation at Art13, the bronze bell will be struck at regular intervals by a performer, at which time the static cone will transform into an instrument tuned to the key of F.

Harmen Brethouwer, F (Bellbronze Series), 2012

Eric CHAN (b. Malaysia) P18

Hitchcock’s Love Affair with Abstract Expressionism, 2012
mixed media, variable dimensions
Chan Hampe Galleries / LF9

Singapore-based artist Eric Chan often ventures into the surreal with his work, balancing dark and dreamlike imagery with a touch of twisted pleasure. The concept for this installation continues in that vein with a nod to the cinematic exploits of Alfred Hitchcock and in particular his use of the uncanny. Chan plays with the multiplicity of meanings inherent in the iconic image of the black bird and the act of the bird defecating. On one level the work references the decidedly Eastern perspective of the notion that good luck that is bestowed upon the unsuspecting individual by a defecating bird. Located in the West, however, this act is considered not so lucky.

Eric CHAN - Hitchcock’s Love Affair with Abstract Expressionism, 2012

Szilárd CSEKE (b. Hungary) P12

Deep Look, 2012
tyres, polystyrene balls, electric fans, florescent tube, electric control, iron, wood,
182 x 184 x 95 cm
Ani Molnár Gallery / LF16

In his most recent works Cseke maps the post-socialist situation in Hungary. He focuses on the situation of workers whose lives are defined by globalisation, subject to the whims of economic migration.  This piece belongs to the Jobcentre East series with labour as a key idea behind it. Found truck tyre from a tower with rotating lights, destabilising the viewer. In his exhibition ‘Jobcentre East’ at Ani Molnár Gallery he uses the brand of a British job agency – Jobcentre Plus. The artistic interpretation of the Jobcentre could be a 21st century paraphrase of the Delphoi Oracle, a certain “factory of fate”.

Szilárd CSEKE,Deep Look, 2012

Ella FINER (b. UK) P17

Public Address System, 2013
sound, loudspeakers
Yeo Workshop / LF7

Ella Finer’s practice – sited in theatre, photographic and sound space – explores the relationship of the gendered body and voice. Her performance and installation work often composes the live and the recorded together, layering the two as material elements with their own distinct temporalities.  Public Address System is recorded speech composed for, and played over, loudspeaker.  Engaging with forms and scales of ”public address” from speech-making to public service announcements, the content refers back to the particular medium through which it is played. Played in three parts – at the beginning, middle and end of each day at the fair as entrance, interval and exit “music” – each broadcast will sonically mark the duration of the day.


Romuald HAZOUME (b. Benin) P5

Petrol Cargo, 2012
mixed media installation, 120 x 450 x 180 cm
October Gallery/ H5

Romuald Hazoumè was born in 1962 in Porto-Novo, Republic of Benin. His work has been widely shown in many major international galleries and museums, including the British Museum, London, the Metropolitan Museum of Art, New York and GOMA, Brisbane. Mastering a wide range of media, Hazoumè creates masks, photographs, works on canvas, sculptures and multi-media installations. Whether confronting the legacy of the slave trade or creating witty, contemporary portraits, Hazoumè’s work documents the irrepressible diversity of African life today. Petrol Cargo was first shown at the October Gallery, London, in 2012; the installation reflects on the illegal petrol smuggling trade between Benin and Nigeria. This dangerous trade is responsible for horrific injuries and potentially an ecological catastrophe as the trade continues to damage Benin’s water supply.

Romuald Hazoumè, Petrol Cargo, 2012

Ranbir KALEKA (b. India) P2

Cul-De-Sac in Taxila, 2010
single channel HD video projection on painted canvas (video still) 3:55 min loop with sound 70 x 94 cm
Volte Gallery / E1

Ranbir Kaleka’s single channel video projection on painted surface, ‘Cul-de-sac in Taxila’ provides a narrative puzzle that dwells on desire and struggle. The work features a man dressed in a black suit sitting still and holding a hammer. When he suddenly raises the hammer to strike the air, a white horse appears before him. The title springs from Kaleka’s fascination with the city of Taxila, an important stop on ancient trade routes as well as a centre of learning, which was destroyed in the fifth century. Kaleka’s work suggests that the man has aspirations to explore Taxila but can’t find the road to it. The horse appears and disappears, and the man’s interminable wait is only disturbed by the persistent sound of a drop of water falling into a pan behind him.

Ranbir KALEKA, Cul-De-Sac in Taxila, 2010

Žilvinas KEMPINAS (b. Lithuania) P13

Fountain, 2011
fan, magnetic tape, metal ring, 330 cm diameter
Galerija Vartai / I5

Fountain, Žilvinas Kempinas’ latest work using a fan, encapsulates an important creative phase in the artist’s oeuvre and inspired him to begin a new series of works, employing shapes and freezing motion, something that emerged from his previous works. Fountain is a kinetic installation consisting of a fan, magnetic tape and a metal ring. A fan is placed face down on the ground causing the movement of the strands  of magnetic tape fixed to the metal ring in a way that is reminiscent of jets of water. The constant sound of the fan and the rustling of the tape provide an ambient soundtrack to the work. The interplay between movement, sound and airflow provides a meditative ambience into which viewers can immerse themselves.

Žilvinas KEMPINAS, Foundation, 2011

Zena EL KHALIL (b. Lebanon) P6

A’ Salaam Alaykum: Peace Be Upon You, 2009
rotating sculpture, mirror tiles on polyurethane, 400 x 400 x 400 cm
Galerie Tanit / G11

The interactive sculptural installation “A’ Salaam Alaykum: Peace Be Upon You” by Zena el Khalil displays the word “Allah” in Arabic letters. A rotating 4-meter-tall sculpture made of glass mirror tiles reflects the lights and environment around it, including the viewer. The artist portrays a generation living with war as a constant presence, always aware that it might start again any time, but still longing for peace, and hoping to get back to normality. For her, “dancing, it seems, helps us to forget why we turned against each other.” The work will be ‘activated’ during the preview of Art13 London with music and dancing. Subsequently to that the piece will slowly revolve like a disco-ball born from the history of religion and conflict.

A’ Salaam Alaykum

Peter LEMMENS (b. Belgium) P15

Proxy, 2013
variable materials (oak, pine, self-adhesive foil (oak, print), self adhesive foil (pine, print, MDF), each approx. 20 x 30 x 80 cm
Galerie van der Mieden / D1

A proxy is used as a temporary substitute for something that is not known or must remain generic. It reserves a place for something to come later and used as an unspecific placeholder to be able to continue a discussion, a process.  For Art13 London one work has been created, consisting of a set of proxies. Although they are physical objects, each one refers in several ways to another possibility. For example, a piece of marble is partially covered with a self-adhesive sticker displaying a pine woodprint. In turn, a piece of real oak wood is partially covered with another self-adhesive sticker displaying a pine woodprint. Each element of the work points to something else, something exterior.

Lemmens- Proxy, 2013

Chris LEVINE (b. Canada) P11

Flower of Light, 2013
dimensions variable
The Fine Art Society Contemporary / B2

Chris Levine is a light artist who works across many mediums in pursuit of a heightened sensory experience. Levine is perhaps best known for creating the much commented upon work, The Lightness of Being. With light at its core, the unique portrait of Her Majesty Queen Elizabeth II presents an utterly fresh depiction of the most famous woman in the world. In 2012 his work was exhibited at The Saatchi Gallery and The National Portrait Gallery and seen by over 750,000 people. He has worked with a wide range of collaborators, including Anthony and the Johnsons, Philip Treacy, Massive Attack, Grace Jones and The Eden Project.

In ‘Flower of Light’ Levine invites viewers to step into an immersive experience where lighting plays a key role, bringing the viewer to an awareness of their own subjectivity in a world that has suddenly expanded. The work provides a momentary escape from the fair, allowing the viewer moments of quiet contemplation.

Chris Levine, Flower of Light, 2013

Roelof LOUW (b. South Africa) P8

Soul City (Pyramid of Oranges), 1967
approx. 6,000 oranges, 152 x 193 x 193 cm
Richard Saltoun / Karsten Schubert / E3 

Roelof Louw’s Soul City (Pyramid of Oranges) (1967), consists of roughly 6,000 oranges carefully stacked and arranged in the shape of a pyramid. Visitors are invited to take an orange, by doing so changing the shape and dimensions of the sculpture. The artist has written: “By taking an orange, each person changes the molecular form of the stack of oranges, and participates in “consuming” its presence. (The full implications of this action are left to the imagination)”. The work was originally exhibited at the Arts Lab, Covent Garden (1967), and later at Live in Your Head (Whitechapel Gallery, London, 2000) and United Enemies: The Problem of Sculpture in Britain in the 1960s and 1970s (Henry Moore Institute, Leeds, 2011-12).

Roelof LOUW, Soul City (Pyramid of Oranges), 1967

Handiwirman SAPUTRA (b. Indonesia) P3

Tak Berakar, Tak Berpucuk – no.7 (No Roots, No Shoots – no. 7), 2011
plywood, cloth, corrugated roof sheet, screen print puff ink, steel, acrylic paint, 3 parts, each 220 x 150 x 150 cm

Handiwirman Saputra uses regular everyday materials such as cotton, hair, wood and repositions them in a manner contrary to convention. He studies the relationship between the extraordinary and the mundane; how the power of perception can seize imagination and alter one’s impression of the ordinary. Saputra works in both paintings and sculptures, mysteriously evoking a faint recognition of something that had been seen before but is essentially unidentifiable. The artist has said: “I actually discovered the shapes (of my works) around me, everyday. I found them through my interest in observing a variety of minute things around me. There are rarely big objects. Often only the small and mundane things.”

Saputra- Tak Berakar, Tak Berpucuk – no.7 (No Roots, No Shoots – no. 7), 2011

Astrid SVANGREN (b. Sweden) P10

Nocturnal extras, a dark continent, madder red, murex and alizann, a witch hazel saturated in dew, stumbling, longing, high up in a tree, 2013
silicone, latex, cocoon paper, wax, fabric and paint, 150 x 15 x 20 cm
Maria Stenfors / YG18

Astrid Svangren’s paintings and installations work towards describing a physical state or phenomenon, stressing the importance of a motion and the dividing of space the installations create. In a cycle of layering, breaking and mending, the work’s intrinsic strength hides in the appearance of lightness and fragility. For Art13 London Svangren presents a site-specific installation, consisting of three cylindrical objects. Measuring around 1.5m tall they stand suspended, trailing towards the floor.These sculptures are akin to organic growths of flora and fauna; cocoons, weeds, trailing plant growth, buds, chrysalises and pupae, harking back to the Victorian era of exploration and discovery.

MariaStenfors- Nocturnal extras, a dark continent, madder red, murex and alizann, a witch hazel saturated in dew, stumbling, longing, high up in a tree, 2013

Mhairi VARI (b. UK) P1

LOL Memory, 2013
silk ties, polystyrene balls, jubilee clips, dimensions variable

Mhairi Vari’s practice routinely reanimates discarded possessions and redundant technologies to create conceptually rigorous works that confront the boundary between sculpture and installation. Vari, for Art13 London is using the worn, luxurious (almost too) colourful silk ties to form a skeletal structure that appropriates the read-only memory used in the Apollo Guidance System. As digital components of once cutting-edge technologies are rendered redundant by perpetual development; so, silk ties, symbols of societal status, are fast becoming a hangover from a bygone era. LOL Memory has no limits and contains the potential to grow exponentially in the same manner as the mathematical principle that dictates its form. There is potentially is no end to this piece; it will only ever be a fragment of something potentially infinite.

Mhairi VARI, Memory, 2013,

John WALLBANK (b. UK) P4

Untitled, 2012
paint, paper, wire mesh, plywood, wire, polystyrene, 300 x 200 x 100 cm (image illustrated shows earlier work)

Three sheets of standard 8’x4’ plywood form a rudimentary structure over which a freely modelled form of wire mesh and glued and painted paper is applied. Wire stitching is used to bind the areas of mesh and also to attach the mesh to the plywood through drilled holes. The modelled mesh areas are like a thin skin that forms pockets growing away from the rigid plywood sheets. These also partly envelop two of the sheets so as to act as a means of joining them together. The third element simply rests against the other two. The artist’s basic motivation is to create a large sculptural statement by simple means; the essential aesthetic principle being to both occupy and contain space while minimizing mass and building time.

Wallbank- Untitled, 2012

Bedwyr WILLIAMS (b. UK) P21

Sentry Box, 2012
wood, paint, 277 x 100 x 100 cm
Ceri Hand Gallery / YG4

Bedwyr Williams imagined version of an upturned sentry box is based on Action Man toys and some war films. It is candy-striped, militaristic and vaguely sinister, suggesting disruption and inversion. Williams recounts a potential influence for this piece: “Someone was hurt when a toilet tent was toppled at a sheep dog trials where my grandfather was competing once”. As he adds: “If you were standing sentry and it was blown over you’d have to go with it. Like a tall dog in a tall kennel.” Williams will represent Wales at the Venice Biennale later this year with an exhibition that will comprise a site-specific work The Starry Messenger conceived specifically for the Santa Maria Ausiliatrice (Ludoteca).

Williams- Sentry Box, 2012

ZHU Jinshi (b.China) P16

Boat, 2013
12 x 3.5 x 6 metres
Pearl Lam Galleries / A3

The monumental 12m-long installation ‘Boat’ which is constructed of bamboo, cotton and 8,000 sheets of Xuan (rice) paper, embodies the artist’s desire to “infinitely extend every moment.” Xuan paper, commonly used in Chinese calligraphy and traditional painting, was originally produced in Anhui province during the Tang Dynasty (618 – 907 AD). As well as its historical and cultural significance the paper is renowned for being soft, strong, fine textured and resistant to creasing. The sheer size and visual impact of the Boat is in stark contrast with the delicate nature of the material from which it is made. The meditative layering process, also evident in Zhu’s paintings, is testament to his belief that it is only through the contact and dialogue with his chosen materials that he can express his perception and understanding of the world.

Jinshu - Boat, 2013