Thursday, March 27, 2008
AUTO-ITALIA is proud to present EPIC
Richard John Jones
Ryder and Prothero
430 - 432 Old Kent Road, entrance on Glengall Road, SE1 5AG
27th March - 6 April 2008
Private view Wednesday 26th March, 6 - 9pm
Open Thursday to Sunday 12 till 6pm
Auto - italia opened in Peckham in March 2007 and after seven exhibitions over the past year we have relocated to the Old Kent Road. This enormous new space has fostered dreams of projects that are monumental in both scale and significance. In Epic we want to acknowledge this sense over-ambition, but also express the importance of the project to us.
For the inaugural show at the new space the artists invited to participate have all contributed in some way to the previous incarnation of auto-italia south east, or to the development of the next stage in the life of the gallery. Creating an environment where artists can work with their peers in the exhibition and discussion of each other's work is central to the role of the gallery. This show is an opportunity to explore the evolution of the gallery and the group of artists involved, and to expand this group by introducing the space to a wider audience.
Thursday, March 20, 2008
Eric Bainbridge, Carl Plackman, Pamela Rosenkranz
21 March – 3 May 2008
PV Thursday 20 March 2008
“Some people appear to move and act as if they were completely at ease in the world. I have always felt ill at ease; my body fitting as awkwardly as my clothes, the spaces in which I move just that little too empty or full, the air too hot or cold.
Some people seem to have confidence, others are always uncertain, constantly attempting to find their own space in the world - questioning their identity.
Things are never what they appear to be.”
From the early twentieth century artists have been drawn to objects that are disquieting or disruptive. Duchamp's readymades undermined habitual responses to material culture by a simple if unsettling shift of the context in which an object is viewed. Artists associated with Surrealism created artworks by connecting disparate objects together: Lautrémont's conjunction of the umbrella and the dissecting table seemed to undermine the rationality of the modern, industrial world. In the late 1960s Harold Rosenberg coined the term ‘Anxious Object’ to describe works that appeared to deliberately undermined their own status as ‘art’ – for example Warhol’s Brillo Box. In each case, there seems to be a desire on the part of the artist, to arouse feelings of anxiety in the viewer by disturbing ideas of conventional visual perception.
This exhibition at STORE revisits the idea of the ‘Anxious Object’ by presenting works made from the 1970s to the present day by three artists; Carl Plackman (1943 – 2004), Eric Bainbridge (b.1955) and Pamela Rosenkranz (b.1979). Each artist made or makes works which foreground the instability of the status of the object they have made. Each has produced works that draw together everyday objects in unsettling combinations and each intends to provoke angst on the part of the viewer. More generally the way these three artists use objects foreground ambiguity. Freed from any functional use, objects become unstable – instead of anchoring us in the world, they upset the accepted order of things.
"This unknowing, this suspicion creates a sense of unease which seems to govern the emotional undercurrents of our lives. Outwardly, it makes us manufacture seemingly stable patterns and habits which give us some sense of security. We often gather objects around us to help us do this.
But no objects are neutral."
(Quotations from from Carl Plackman’s unpublished notes, 1974, reprinted in Live in Your Head: Concept and Experiment in Britain 1965 -75, Whitechapel Art Gallery, London 2000, p.139)
27 Hoxton Street
London N1 6NH
Board, bored, bound, 1994
145 x 67 x 16 cms
Sunday, March 16, 2008
Eric Bainbridge, Darren Banks, Catherine Bertola, Peter J. Evans, Richard Rigg, Cecilia Stenbom, Matt Stokes, Miles Thurlow: "King Fisher's Tales"
KING FISHER’S TALES
19/03/08 – 03/05/08
Private view 18/03/08 6 - 9pm
57 Ewer Street, London, SE1 0NR
And a man stood there, as still as moss,
A lichen form that stared;
With an old blind hound that, at a loss,
Forever around him fared,
With a snarling fang half bared.
I looked at the man; I saw him plain;
Like a dead weed, gray and wan,
Or a breath of dust. I looked again -
And man and dog were gone,
Like wisps of the graying dawn...
Madison Cawein, Wasteland 1913
UNION & Workplace Gallery are pleased to announce King Fisher’s Tales, a group exhibition bringing together works by a diverse group of 19 artists including Eric Bainbridge, Neil Baker, Darren Banks, Catherine Bertola, Rick Buckley, Joe Clark, Francine Demarco, Peter J. Evans, Colin Guillemet, Henry Krokatsis, Aidan Latimerj, Tonico Lemos Auad, Rory Macbeth, John Negus, David Raymond Conroy, Richard Rigg, Cecilia Stenbom, Matt Stokes and Miles Thurlow.
Central to this exhibition is the wounded and enigmatic figure of the Fisher King found variously in Christian and Pagan mythologies. Best known to Arthurian romances, the character was first introduced in 1190 in an unfinished text by the French poet Chretien de Troyes. Numerous versions of this legend make it a complex and amorphous story, each author’s account inconsistent with another and rarely resolutely resolved. However each share a sense of a spiritual quest, the mysterious Fisher King at its heart.
Charged with the keeping of the Holy Grail the Fisher King, mysteriously debilitated by a wound that never heals and in constant pain, takes to fishing in the waters beside his castle. When the King is injured his kingdom falls into enchantment and is devastated in kind, his impotence mirrored by a barren wasteland.
Readings of the Fisher King character cast him variously as a symbol of good and evil, sterility and fertility, God and humanity and the myth has been propagated into modernity through re-workings by Richard Wagner, TS Eliot, and Madison Cawein.
Like the many authors of this legend, the artists have embarked on their own quest for the spiritual, casting their own fishing lines into a tangled web of possibilities - of affirmation, of celebration, of cynicism, of ambivalence. By re-visiting this paradoxical legend, they explore what it might mean to be spiritual now, and where that quest might lead.
For further information please contact:
Thursday, March 13, 2008
Wednesday, March 12, 2008
15 March to 26 April 2008
Comfort Zones brings together works by artists from the UK and abroad exploring the environment which we might call ‘home’. The exhibition’s title conjures images of warm, safe private places, far removed from the public, open and vulnerable world we live in.
Artists include: Darren Banks, Paul Bush, Maia Conran, Katie Cuddon, Anka Dabrowska, Caitlin Heffernan, Louise Hopkins, Martin Kersels, Nina Saunders, Jennie Savage, Ola Simonsson & Johannes Stjärne Nilsson.
Exhibition curated by Emma Williams.
Comfort Zones is an Oriel Davies Gallery Touring Exhibition
Saturday, March 08, 2008
07.03.08 - 12.04.08
BISCHOFF/WEISS is pleased to present Monologue/Dialogue II, a group show of works by British and Thai artists.
Monologue/Dialogue Part I was exhibited at the Bangkok University Gallery in 2006 in partnership with the British Council, Bangkok. The show featured works by Thai artists as well as a group of British artists who were invited to take part in a residency in Thailand. Following on from the success of this exhibition and the artistic dialogue and connections it created we are pleased to present Part II. The show will include works created specifically for this occasion ranging from painting and sculpture to mixed media and installation.
The exhibition showcases three artists from Thailand: Sansern Milindasuta, Nipan Oranniwesna, who has been invited as an artist-in-residence in the UK, and Panya Vijinthanasarn. Exhibiting alongside will be British artists Eric Bainbridge, Rana Begum, Nathaniel Rackowe and Andrew Stahl.
Recent works by Eric Bainbridge take their cue from constructivist and minimalist architectural ideals employing a simplicity of object selection, construction and display. By subtly manipulating humour within sculptural configurations, Bainbridge examines aspects of the mundane, mobilising historical art quotation and thereby sustaining a continuous relation to the ‘present’.
A fascination with repetition and geometry, which is the vocabulary of Islamic art and architecture, is the starting point for Rana Begum’s installations. Her work fuses elements of contemporary Western ideals, and the symbolic, spiritual dimensions found in Islam and the arts.
Sansern Milindasuta uses a wide variety of media encompassing sculpture, painting, sound, drawing and installation. The dialogue that he embraces is international and complex and allows for politics, humour and experimentation to coexist.
Nipan Oranniwesna’s work uses a minimalist vocabulary and symbolic materials including baby powder, rice, Buddhist clothing and gourd to provide the viewer with a rendition of the artist’s birthplace. His works are created mostly from personal memories.
Using light, kinetic elements, and common industrial materials, Nathaniel Rackowe makes works that animate architectural spaces and transform viewers into active participants. His pieces, often built on-site, explore the boundaries of physical spaces, moving through them or casting light about their perimeters like search beacons.
The paintings of Andrew Stahl approach cultural differences and connections using pictorial language, imagination, figuration and decorative pattern. His images become vehicles to carry painterly experimentation. Much of his work reflects on travels to Japan and Thailand and addresses the conflation of time, space and different cultures.
Panya Vijinthanasarn’s art is grounded in Buddhism with references to Buddhist cosmology, the struggle to overcome the forces of desire and the importance of harmony with nature. His use of the sacred Buddha image, especially the face of Buddha, has been a major part of his artistic oeuvre in recent years.
Thursday, March 06, 2008
This Wild Melody
by Marcus Coates
8 March 2008
Barbican Cinema 2
Part of the Barbican Do Something Different Weekend of events throughout the centre.
Artist Marcus Coates and wildlife sound consultant Geoff Sample present This Wild Melody , a choral performance of British birdsong performed by members of LSO St Luke’s Community Choir .
This multi-media event uses digital audio and video projection to enable the singers to accurately replicate birdsong. Specially commissioned by Barbican Art Gallery to coincide with Martian Museum of Terrestrial Art, this unique musical event builds on Coates’s ongoing investigations into our relationship with different species and what it is to be human.
Open to all ages.
Barbican Art Gallery: Home to London's intergalactic art gallery.
Martian Museum of Terrestrial Art
Mission: to interpret and understand contemporary art
6 March 2008 - 18 May 2008
Barbican Art Gallery
Martian Museum of Terrestrial Art
Anthropologists from outer space set out on a mission to understand life on earth. Imagine that they begin their mission by examining the curious phenomenon that human beings call ‘contemporary art’. What does Art tell them about human life and culture?
Martian Museum of Terrestrial Art presents contemporary art works under the fictional guise of a museum collection conceived by and designed for extraterrestrials. Playful and irreverent, the museum’s collection features some 150 works by over 100 artists, from modern masters to bright new stars including Joseph Beuys, Cai Guo-Qiang, Maurizio Cattelan, Jimmie Durham, Thomas Hirschhorn, Ryan Gander, Mona Hatoum, Susan Hiller, Damien Hirst, Brian Jungen, Dr. Lakra, Louise Lawler, Sherrie Levine, John McCracken, Bruce Nauman, Mike Nelson, Cornelia Parker, Sigmar Polke, Ugo Rondinone, Daniel Spoerri, Haim Steinbach, Francis Upritchard, Jeffrey Vallance, Andy Warhol and Rebecca Warren.
Believing these objects to have a real or functional use, the Museum’s curators deploy an eccentric classification system. They treat artworks as artifacts. The Martian perspective opens up contemporary art to fresh interpretations as well as humorous misunderstandings. In presuming to understand an unfamiliar culture, the Martian Museum of Terrestrial Art parodies the way that Western anthropologists historically viewed non-Western cultures through alien eyes.
Monday, March 03, 2008
Grundy Art Gallery
8 March - 26 April 2008
Private view 3pm - 5pm, Friday 7 March
Grundy Art Gallery presents a major exhibition of drawing, sculpture and installation by Gateshead based artist Jennifer Douglas.
Douglas’ practice includes an intuitive, playful process of making, exposing the artist’s wonderful sense of feeling for material and colour. Her materials are selected for their distinctive qualities: brightly coloured wood, rope and acrylic sheets. Pointy, fat, thin, small, tall, bright coloured objects, standing upon pools of latex, or hung or leaning against the wall, producing densely filled, luminous spaces that employ an ambiguous layering of depth and focus.
The immediate sense of playful intuition belies a more rigorous and demanding investigation of ‘matter’ and its conceptual significance. Key to the work is Douglas’ ongoing exploration of colour: colour inherent in and applied to the found object, and in relation to architectural and sculptural space.
The title of the exhibition is taken from the novel ‘The Never Ending Story’, written by Michael Ende. Fantastica is the fictional world in which the novel begins. This reference to a fictional world alludes to the artist’s view of her practice as the realisation of artworks that have evolved from the edges of the familiar to something more magical through the creative decisions of her imagination.
Douglas’ process for making work begins with her drawings, constructed using the technique of papier collé, favoured by Matisse during his late career. Shapes are cut from paper, wood, coloured vinyl and acrylic sheets, and then layered. For Grundy, Douglas will reconstruct a drawing entitled Underland, to ambitious dimensions, produced during the artist’s recent residency at Art Gene, Barrow-in-Furness.
The artist’s drawings provide her with a method to more easily experiment with materials, allowing the unexpected effect of different materials to provoke new directions, and suggest starting points for her sculpture, creating a dialogue between one and the other; a kind of map from which the viewer can negotiate their way around the artist’s imagination.
Jennifer Douglas was born in Amersham, England in 1975 and studied Fine Art at the University of Newcastle, before completing an MA in Fine Art at Glasgow School of Art. Her work has been shown in galleries and museums across the UK and abroad including Baltic Centre for Contemporary Art, Gateshead, Tramway, Glasgow, Hales Gallery, London, Museum of the Central Academy of Fine Arts, Beijing, and Tensta Konstall, Stockholm.
The exhibition is funded by the National Lottery through Arts Council England, and supported by The Henry Moore Foundation.
All works are shown courtesy the artist and Workplace Gallery.
Marcus Coates with Geoff Sample – Grounded
Venue: The Mall, Grange Road, Middlesbrough
Time: Mon – Wed & Fri – Sat: 9:00 – 17:30 | Thu: 9:00 – 20:00 | Sun: 11:00– 17:00
Marcus Coates, in collaboration with sound recordist Geoff Sample, broadcasts a series of birdsong recordings in Middlesbrough's main shopping centre, The Mall. Using the existing public address system, Coates audio works feature local bird species native to the Tees Estuary and North East England.
Busy shoppers will hear the sounds of large flocks of waders feeding on local mudflats at low tide, alongside the hubbub of species calling and probing each other to keep flocks together and to signal feeding and foraging times. Broadcast at close intervals throughout the day, Coates brings an unexpected soundtrack to this indoor urban environment, drawing some surprising parallels and contrasts between bird life and human behaviour.Now Hear This is a series of audio works presented in various public spaces across Middlesbrough. Encompassing several new commissions, the project features sound works by artists selected for their various interests in the complex relationships between sound, space and location.
Adopting diverse modes of broadcast and public address, Now Hear This offers a range of listening experiences and unexpected sonic interventions into our everyday urban environment, creating surprising and engaging encounters with broadcast material.
50 Finsbury Square
ARTfutures Opening hours:
11am – 6pm daily
Except for Sunday and Monday 11am – 5pm
Late night opening Wed until 9pm
ARTfutures is a Contemporary Art Society project. A unique and un-missable event in the contemporary art calendar, each year, the Contemporary Art Society handpicks work by approximately 100 artists to form an exhibition of work for sale. Selected through a combination of exhaustive research including studio visits, ARTfutures offers a truly unrivalled opportunity to buy contemporary art, selected by the UK’s leading non-profit agency for independent advice on contemporary collecting.
With prices ranging from £500 to £5000, approximately 100 artists will contribute around 1000 works, all created in the last two years. ARTfutures is therefore ideal for those in the market for contemporary art. The selectors, curators and specialists from the Contemporary Art Society will be on hand at all times for information and expert advice.
To sign up for ARTfutures and Contemporary Art Society Newsletters please email ARTfutures@contempart.org.uk
“We need artists that expose and exploit the mechanisms of wonder.”
– Nicky Hirst 2007, artist and ARTfutures 2008 co-curator
“I have huge confidence in the Contemporary Art Society and their independent curators. Over the years they have established a reputation for finding artists in early career. ARTfutures is not just good for artists, it is essential viewing for new collectors of contemporary art.”
– Cornelia Parker
“Every year I find at least one work I really love at ARTfutures. I always walk away with something that gives me endless pleasure. I like the fact that the exhibition is curated and independent, so you're not being pressurised to buy the Next Big Thing. It is about the art, not about big names. The people who show you around listen to what you say and find art that really appeals to you.”
– Tony Adams, former footballer
WORKPLACE GALLERY and Picturehouse ArtSpace presents:
SCREENING OF ARTIST’S FILMS & TALK
MARCUS COATES ‘RADIO SHAMAN’
MATT STOKES ‘CIPHER’
Wednesday March 5th, 6.15pm – 7.15pm,
The Gate Cinema
87 Notting Hill Gate, London W11 3JR
Tickets £6 full-price / £4 concession / £3 members
Box office: 0871 704 2058
In association with Picturehouse ArtSpace, Workplace Gallery is pleased to present recent films by Marcus Coates and Matt Stokes.
Marcus Coates' 2006 HD film ‘Radio Shaman’ is documentation of an interview on Norwegian Radio where Coates, a polite Englishman in suit, spectacles, and stag skin, continues in his role of Shaman to provide his services to the people of Stavanger, a middle class Norwegian town dealing with a sudden influx of Nigerian immigrants bringing with them the social problems of poverty, prostitution, and a spread of HIV. Coates' film explores these issues, taboo in Norwegian society, by performing a Shamanic ritual in the local centres of Religion, Politics and on the street corner. Coates' role as Shaman in the film meets straightforward acceptance, with strangely no questioning of the authenticity of such a figure regardless of his deadpan self-mocking delivery. We as audience are given a persuasive middle class gentleman of an idol in whom we can choose to believe.
Matt Stokes’ film ‘Cipher’ is collaboration between the artist, pipe organists Kevin Bowyer and John Riley, and ‘Fimbulvetr’, a Dark Ambient musik (sic) club in Edinburgh, Scotland. The resulting compositions and subsequent film combine the club organisers’ music interests and fascination in Norse mythology, with the improvisational skills and classical training of the organists. Using the name ‘Fimbulvetr’ (which translates as the three winters without a summer preceding ‘Ragnorok’, the rebirth of the world) and its connotations as a starting point, the organists worked closely with the organisers to compose two original and contrasting scores created specifically for the city’s grand concert pipe organ housed in the Usher Hall. Visually, the film explores the mechanics of the Victorian-styled instrument and physicality of the playing, and shifts from the usually hidden interiors of the blower room and pipe lofts, to the organists and expansive façade of the organ case. Both the hall and instrument are seen under fittingly lowlight and cool colours, whilst the music descends into unusual discordant sounds or drones akin to Dark Ambient or Doom Metal, many of which stretch both the organ and players abilities. Subtly, this combination suggests something of the chaotic history connected to the location (and the instrument itself), which since 1914 has been the scene of political rallies, classical concerts, to riots and rock concerts. Cipher was a Collective Gallery commission.
Marcus Coates (Born 1968) lives and works in London. Recent exhibitions and performances include: A Heligoland for Souls – Experiment Marathon, Serpentine Gallery, London, HaPazura, Israeli Centre for Digital Art, Holon, Israel, Cycle Parking and Prostitution, Rekord Gallery, Oslo, Norway, Hamsterwheel, Venice Biennale, Italy, Marcus Coates, Whitechapel Gallery, London, UK, Dawn Chorus, Picture This, Bristol & Baltic Centre for Contemporary Art, Gateshead, UK and 100 Ways to Change the World, Hayward Gallery, London, UK. Forthcoming projects and exhibitions include: Agrifashionista, Grizedale/A Foundation, London, This Wild Melody, Barbican Art Gallery, London, and Manifesta 07, Trento, Italy
Matt Stokes (Born 1973) lives and works in Gateshead. In 2006 he won Becks Futures Prize and recent exhibitions include: Real Arcadia, LuttgenMeijer, Berlin, Balance, 1/9 unosunove arte contemporanea, Rome, Long After Tonight, Kavi Gupta Gallery, Chicago, Matt Stokes, Ziehersmith, New York, Matt Stokes, Attitudes espace d'arts contemporains, Geneva, Switzerland, Ocho Y Medio, Quito and Maac Cine, Ecuador, and Lost in the Rhythm, Temple Bar Gallery, Dublin, Ireland. Stokes is currently artist in residence at Art House, Texas and later in 2008 will be artist in residence at Project Space 176, London culminating in a new commission in early 2009.
Sunday, March 02, 2008
Shake Before Using.
Lower East Gallery, from March 6 to June 8
Shake before using is a production of ARTIUM (Vitoria-Gasteiz)
Curated by: Enrique Martínez Goikoetxea
Chris Drury, Hamra Abbas, Robert Waters, Jorge Macchi, Jean Michel Alberola, Maider López, Catherine Bertola, Katharina Grosse, Mrzyc & Moriceau
Shake before using is an exhibition of works that are markedly ephemeral in nature and with a clear use-by date, created in the gallery itself by nine artists from different countries. When the exhibition ends in three months’ time, all of these works, created in situ, will be destroyed and a new coat of paint will cover all the efforts of these artists. A "throwaway" art project, which contrasts greatly with the obsessive desire for permanence generally attributed to works of art.
Visitors will see that Shake before using is an atypical exhibition which rather than exhibiting objects, transmits messages and especially highlights attitudes characterised by a commitment to an idea or artistic practice. The artists included in the exhibition present proposals in which the art blends into the surroundings, questions its own function or analyses its social dimension. These are works that will never become merchandise, only experience, and nevertheless, there is an underlying, special capacity to involve everyone who draws near and walks through the place where they have been created. The aim of these artists to create a direct art that attempts to awaken the senses and to stimulate the grey matter rather than creating a beautiful and lasting object.
By using drawings, mural paintings or by intervening in the architecture, from a fingerprint to the pure expressiveness of colour, little by little the exhibition excites our senses and awakens our everyday concerns. Sex, politics, religion or that part of the unconscious that visits us are dealt with throughout the exhibition from the perspective of the commitment to intelligence and sensibility . The exhibition opens with the work of the English artist, Chris Drury. The use of earths and fingerprints collected in our environment defines a piece that reflects the energy that connects nature with human beings. In her work, Please Do Not Step II Hamra Abbas alludes to the meeting of different cultures and religions in our complex, to be "different" in the West, at a time when we are suffering the «talibanisation» of world politics. Jean Michel Alberola, proposes a highly-charged space. The mixture of images and sentences with open meanings appeals to our experience in a subtle manner of doing politics at a basic level. Opposite this space, in a mural of more than ten metres in height stands the silhouette of a masculine torso illuminated by the light of a computer screen. This work, created by Robert Waters, portrays an intimate moment in an ever more common relationship between man and machine and what each one of us displays on the screen. In a more emotional manner, in a language that is almost poetical, the work of Jorge Macchi uses a simple piece of paper fixed by several cables to make what he defines as a brief, extensive song. This piece finds itself in a space with a work of an artist-couple Mrzyk & Moriceau, with surreal images that verge on the absurd, but capable of evoking images that inhabit similar worlds inside us all.
In this regard, if you are over 1.7 m tall with or without high heels, be careful: a beam typical of those used in the structure of the galleries in ARTIUM, has been placed in a position where we are obliged to take notice of it. Once again, Maider López, has placed us in a new relationship with objects in order to make as appreciate a space that usually goes unnoticed.
The exhibition also creates an awareness of the building in which the work by Catherine Bertola is housed. Her work speaks to us of memory and time and evokes images of the place in which we find ourselves. With the dust collected in the building itself, she constructs an image of the old bus station that used to stand on the site of the museum. The exhibition space is completed with a direct physical experience with colour. In the work of Kahtarina Grosse a spectacular chromatic tower emerges from the floor and succeeds in moving us and arousing a new sensual experience of painting.
Shake before using is a meeting place for ideas, attitudes and, especially, the places in which the works of the artists acquire special meaning based on the interrelationships that we create between them.
Exhibition catalogue, with texts by the artists, Virginia Torrente and the exhibition curator