Friday, March 27, 2015

Eric Bainbridge:'Making It: Sculpture in Britain 1977–1986' Longside Gallery, Yorkshire Sculpture Park, Wakefield, UK

Image: Eric Bainbridge, PELOUCHE 2, 1986, Ocelot fur fabric, wire, rope and plaster, 230 x 160 x 100 cm (EB0423) Courtesy of the artist and Workplace Gallery, UK

Making It: Sculpture in Britain 1977 - 1986

A Touring Exhibition from the Arts Council Collection

 

Longside Gallery

Yorkshire Sculpture Park

Wakefield, UK

 

1 April - 21 June 2015

Daily 11am - 4pm

 

The late 1970s and 1980s witnessed the emergence of a younger generation of artists working in the UK who began to receive international attention for practices which, although incredibly diverse, share a revived interest in the sculpted object, in materials, and in ideas around making. Making It is the first exhibition to survey this exciting moment in British sculpture. It shows how approaches to object making were reinvigorated by the breakthroughs in conceptual and performance art made by preceding generations and by sculptural and cultural inspirations from beyond these shores.

Drawn primarily from the holdings of the Arts Council Collection and augmented with major loans from important UK public and private collections, Making It represents the work of over 40 artists including Eric Bainbridge, Tony Cragg, Richard Deacon, Antony Gormley, Anish Kapoor, Cornelia Parker and Alison Wilding among many others. This substantial exhibition embraces a wide range of sculptural practices, highlighting shared concerns, as well as important differences, between and within established groups.

Making It is an Arts Council Collection Touring Exhibition, which launches at Longside Gallery, a space shared with Yorkshire Sculpture Park, before touring to Mead Art Gallery, Warwick Arts Centre in Autumn 2015. The Arts Council Collection is managed by Southbank Centre.

The exhibition has been curated with Dr Jon Wood, Research Curator at the Henry Moore Institute in Leeds, and we are grateful to the Henry Moore Institute for their research support and for making available the rich resources of the Henry Moore Institute Library. The Henry Moore Institute will host a related conference in 2015.

 

http://www.ysp.co.uk/exhibitions/making-it-sculpture-in-britain-1977-1986
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Saturday, March 21, 2015

Matt Stokes: 'Cantata Profana' Dilston Grove, London, UK

Image: Matt Stokes, Cantata Profana, 2010. Installation at Kunsthalle Fridericianum, Kassel. Photograph by Nils Klinger Courtesy of the artist and Workplace Gallery, UK

Matt Stokes: Cantata Profana

Dilston Grove

Southwark Park,

London

SE16 2DD

http://www.cgplondon.org

 

27 March-26 April 2015, open Friday, Saturday & Sundays 11-5pm

Private View: Sunday 22 March, 2-5pm

 

Matt's Gallery and Dilston Grove present the second in a new series of co-productions Cantata Profana by Matt Stokes.

 

The exhibition runs parallel with a new commission of work at Matt's Gallery, Madman in a Lifeboat (1 April-24 May 2015). The presentation of both works across east and south London this spring marks the culmination of Stokes' year-long Bartlett fellowship.*


Cantata Profana is a six screen video and sound installation focusing on the physicality of extreme metal vocalists and the ability of their voices to immerse a listener and transcend both the individual performer and group.

 

Cantata Profana takes the form of an amphitheatre of video projections presenting a new musical composition, created in partnership with British composer Orlando Gough, artist and musician Tim Kerr and six grindcore vocalists. Cantata Profana interweaves extreme metal music culture with classical choral traditions, to create an unexpected union. The intense sounds and body movements of the vocalists, together with the backdrop of the outdated German Democratic Republic radio studio in which the piece was filmed, all contribute to the atmosphere of this unique and enveloping work.

 

Stokes' practice has developed from a long-standing enquiry into events and beliefs that shape people's lives and identities. Music - its history, subcultures and socio-political effects often provides the catalyst for researching and forming collaborative relationships with musicians, writers, actors, composers and communities, bringing together their interests, knowledge and skills in potentially conflicting situations. By exploring the resulting exchanges of ideas, the final outcomes challenge our assumptions and understanding about specific scenes or chosen ways of living.

 

The vocalists featured in Cantata Profana include: Anders Bakke (She Said Destroy, Norway), Chris Butterworth (Kastrated, UK), Dente (Rompeprop, Netherlands), Alex Hughes (Hatred Surge, USA), Alex Jockel (Krupskaya, UK), Der Kurt (Paroxysm, Germany).

 

The piece was originally commissioned by Kunsthalle Friericianum, Germany, produced by Forma Arts with support from De Hallen Haarlem, Netherlands and Arts Council England. It has been exhibited at Kunsthalle Fridericianum, Kassel; De Hallen Haarlem and Baltic Centre for Contemporary Art, Gateshead. Cantata Profana is presented in association with Forma Arts.


*Matt Stokes is the first Bartlett Fellow, a new residency-based fellowship established by Fine Art at The University of Newcastle in partnership with Matt's Gallery.

 

Matt Stokes (b.1973, Penzance, Cornwall) and has lived, studied and worked in the north east of England since 1993. In 2006, he was the winner of the Beck's Futures Prize, and in 2012 was shortlisted for the Jarman Award. Recent solo exhibitions include In Absence of the Smoky God, Site Gallery, & Sensoria, Sheffield 2014; Dance Swine Dance, Grundy Art Gallery, Blackpool 2014; Give to Me the Life I Love, Laing Art Gallery, Newcastle-upon-Tyne & The Whitechapel Gallery, London 2013; Nuestro tiempo/Our Time, Centro Andaluz de Arte Contemporáneo (CAAC), Seville, Spain, 2011; Cantata Profana, Baltic Centre for Contemporary Art, Gateshead, 2011; The Distant Sound, De Hallen, Haarlem, Netherlands, 2011 and No Place Else Better Than Here, Kunsthalle Fridericianum, Kassel, Germany in 2010.

 

http://www.workplacegallery.co.uk/artists/21-matt-stokes/works/7569/
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Tuesday, March 10, 2015

Workplace Gallery at Art Basel Hong Kong : Laura Lancaster

Laura Lancaster THRESHOLD, 2015, Oil on Linen, 240 x 480 cm, 94 1/2 x 189 in, Courtesy of the artist and Workplace Gallery.

Laura Lancaster

Solo presentation

Discoveries Section
Hall 1 BOOTH 1C52

Art Basel | Hong Kong
Hong Kong Convention and Exhibition Centre
15 - 17 March 2015

https://www.artbasel.com/en/Hong-Kong

 

For the Discoveries section of Art Basel Hong Kong we are proud to present a solo presentation of British artist Laura Lancaster.

 

Threshold (2015) is an installation of 24 paintings that have their pictorial origin in an ongoing collection of anonymous cine-films bought from e-bay and second hand stores. Lancaster has isolated one specific second of film (24 frames) which jumps from a single establishing shot, to the face of an unknown girl - who looks directly at the camera before she covers her face and turns her back to the viewer. Lancaster draws upon a patriarchal history of image-making - addressing the history of painting and portraiture through to the male gaze of cinema. Alongside Threshold, we will present Montage I and Montage II (2015) two horizontally arranged diptychs, which are made from the very first and last frames of found cine reels. Proportioned to a 16:9 ratio these works shift from figurative painting into a gestural abstraction, as the figurative scene in each image mutates into the geometrical registration marks of the original film. 

 

Lancaster's work to date is extracted from an archive of anonymous photographs procured from thrift stores and flea markets. Mediated through painting, her work transposes the forgotten and discarded snap-shots of strangers' lives into an ambiguous and uncanny territory between abstraction and figuration.Divorcing her subjects from their specific context and time, Lancaster relocates them to a place of collective memory and experience that resonates with our own. Her work oscillates between the nostalgic sentimentality of the celebratory moment, and the melancholic poignancy of the past. 

Laura Lancaster was born in Hartlepool, UK in 1979. She lives and works in Newcastle Upon Tyne, UK.

 

 

Laura Lancaster MONTAGE II, 2015 Oil on Linen (Diptych), 260 x 230 cm, 102 3/8 x 90 1/2 in, Courtesy of the artist and Workplace Gallery.
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Friday, March 06, 2015

Catherine Bertola: 'Acts of Making' Shipley Art Gallery, Gateshead, UK

Image: Catherine Bertola, After the fact, 2006, Found dust and sound, Dimensions Variable. Courtesy of the artist and Workplace Gallery, UK

Acts of Making

The Shipley Art Gallery, Gateshead

7-21 March 2015

 

For a full programme list please click here

 

Acts of Making is a two week festival celebrating contemporary craft through performances, live installations and workshops. Events will be held at the Shipley Art Gallery and more unusual spaces across Gateshead. We want you to contribute, collaborate and capture your discoveries.

 

Witness the creation and destruction of a patterned carpet made entirely from dust; create a piece of sound art via a musical log; see a colourful procession of Vespa and Lambretta scooters parade through the streets; be part of an ongoing collection of stories and photographs which looks at relationships with jewellery.

 

Catherine Bertola, Keith Harrison, Owl Project, Mah Rana, Clare Twomey and Richard William Wheater all use craft skills in unexpected ways to create moments that are curious and fascinating.

 

(10am) Catherine Bertola - Unfurling Spendour (Part VI)

The Shipley Art Gallery


See Catherine painstakingly create a patterned carpet made entirely of dust over three days.

 

http://www.twmuseums.org.uk/shipley-art-gallery/whats-on/events/acts-of-making-festival-launch.html

 
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Wednesday, March 04, 2015

Hugo Canoilas: 'Someone a long time ago, now.' Cooper Gallery, Dundee, UK

Image: Hugo Canoilas, Against the horrid fixity of everyday life, 2013, Action in the streets of Vienna. Courtesy of the artist and Workplace Gallery, UK

Someone a long time ago, now.

6 March - 10 April 2015

Preview: Thursday, 5 March, 5.30-7.30pm

Performance: Thursday, 5 March 2015, 6pm

 

Cooper Gallery is pleased to present the first major solo exhibition of Portuguese artist Hugo Canoilas in Scotland. Someone a long time ago, now. is a rich palette of visual and textual collisions between multiple collaged projections of paintings, photographs, drawings and writing, cast on each other and the architectural fabric of Cooper Gallery. Shown over two floors of the gallery the exhibition is a rare chance to engage in Canoilas' complex visual mediation of images.

 

Working in the light of popular aesthetics channeled through politics and ideas from philosophy and poetry, Canoilas' practice intertwines itself with art history and the evolution of art during the first period of Modernism. Drawing upon the thought of 20th century philosophers and writers including Derrida, Heidegger and Fernando Pessoa, the art and painting of Hugo Canoilas maintains a nuanced dialogue between abstraction and social realism. By focusing on painting as a material and metaphor Canoilas has found an intimate and visually seductive way to register the 'signals of the world', and a powerful means to sensitize ourselves to this world.

 

With Someone a long time ago, now. at Cooper Gallery, Canoilas' draws upon the metaphors of the window and the mirror to set in motion an interplay of two forces, one passive and affirmative, the other active and rational. The culmination of this play is an invitation from Canoilas to comic book artist Francisco Sousa Lobo to create a comic book that mirrors and examines his own practice. Set out to be an exhibition within an exhibition, the comic book I Like Your Art Much acts as a reflexive voice and a point of departure from which the entire exhibition evolves to mirror the artist's critical stance on the social and political histories of the contemporary.

 

Doubling the psychedelic qualities of Jackson Pollock's paintings, this exhibition seeks "an intensity in the way people understand". Beautifully stated by Fernando Pessoa, this 'understanding' consists in acknowledging that "we are multitudes in ourselves and with a little self subtraction, or little anthropophagic appetite, can become whoever". Immersed in a multitude of reflected and projected images, the architectural spaces of Cooper Gallery resonate with fragments and echoes of paintings, drawings and photographs, transfixed and transposed onto each other. Juxtaposed with Canoilas' volatile use of text and newspaper cuts, the exhibition inscribes itself as a gesture of light, paint and graphite.

 

Expanding the doubles and reflections embodied in Someone a long time ago, now., a final gesture underscoring Canoilas' interest on the 'multitudes in ourselves' is a live performance by the artist. In the guise of his alter ego Jeffrey, a 60-year-old hippie, Canoilas "will not explain but boost the relation between the exhibited works and their relation to the whole (social, political and artistic events), believing that the relation between art and the whole (all things) is the real matter of art."

 

http://www.dundee.ac.uk/djcad
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Tuesday, March 03, 2015

Marcus Coates: Preview Friday 6th March 6pm - 8pm at Workplace Gateshead

Marcus Coates Our relatives (agitated water) #1 (detail), 1997 - 2015, Pigment print, 54" x 70", Courtesy of the artist and Workplace Gallery

Marcus Coates

Preview: 6pm - 8pm Friday 6th March 2015

 

Workplace Gallery

The Old Post Office

19-21 West Street

Gateshead NE8 1AD

 

Exhibition continues: 7th March - 18th April 2015

Tuesday - Saturday11am - 5pm or by appointment

 

Workplace Gallery is delighted to present our fourth solo exhibition at our gallery in Gateshead of new work by Marcus Coates. For this exhibition Coates presents three new works that set out the scope of a wider enquiry. Central to this is the re-animation of our intersubjectivity with natural kinds.

 

The Sounds of Others, 2014 is an audiovisual installation, a comparative study of diverse animal vocalisation including humans. These sounds range from blue whale calls to insect stridulations. The voice of a species is slowed down or sped up which transforms its pitch and duration. Large custom built LED displays show the name of the animal and the changing speed of its sound. The blue whale starts at normal speed and then increases to 115x this speed until it sounds very similar to the next species played at normal speed - a spotted redshank (bird), which in turn speeds up to sound similar to a bush cricket, which slowed down sounds like a common tree frog and so on. The installation moves from one species to another finding points of resemblance between their songs and calls, drawing a relative line of connection between 24 species. For Coates this represents a new taxonomy based on sound, where a gibbon is closely related to a canary and a shrew to a curlew. He suggests that revealing and occupying many more points of identification are possible and even advisable, as our physical capacity (sensory range) as well as our cultural means for knowing and relating to the non human world are limited.

 

Our relatives (agitated water) 1997-2015 is a large scale photograph. An image of flat water taken from above has formed ripples and patterns caused by the disturbance of its surface. The print is high contrast, creating extreme tonal values suggesting an appearance of solidity to reveal forms, that with increasing scrutiny appear like human faces, not unlike cartoons or early gothic contortions. The anthropomorphic gaze suggests that this frozen moment exposes an inhabited entity. As we recognise our compulsion to see our human likeness in the inanimate, we are arguing with rationalism. We might not call these illusions our relatives or spirits, but at some level this recognition invites belief. The photograph is a celebration of this, a re-animation and investment in the life of an inanimate natural kind.

 

In Questions & Answers 2015, a single channel HD video work. We see Coates running a weeklong workshop for 6 members of the public. The aim is to learn skills that will enable the group to find insight or even answer the questions we all struggle with, the sort of questions we carry around with us and never seem to get answered. The process involves committing oneself to inhabiting a world that makes itself in your imagination, in an attempt to acquire information that you can rationally use to pragmatic ends. The group consult a variety of 'clients' including people they approach on the street, community members and the Mayor's office, City Hall, London.


The Sounds of Others was co-commissioned by Cape Farewell and Museum of Science and Industry Manchester, MOSI as part of the first Lovelock Art Commission. Questions & Answers was commissioned by Create, London. Co produced by Create and NOMAD and funded by Bank of America Merril Lynch. A new publication A Practical Guide to Unconscious Reasoning by Marcus Coates accompanies this exhibition. Co-published by book Works and Create London, Distributed by Book Works. https://www.bookworks.org.uk/node/1795

 

Marcus Coates was born in 1968 in London, UK. In 2008 he was the recipient of a Paul Hamyln Award and in 2009 he won the Daiwa Art Prize. Solo exhibitions include: Skills Exchange: Urban Transformation and the Politics of Care, Serpentine Gallery, London; Implicit Sound, Fundació Joan Miró, Barcelona; Psychopomp, Milton Keynes Gallery; Marcus Coates, Kunsthalle, Zurich, Switzerland; and Marcus Coates, Museum of Modern Art, New Orleans, USA. Group exhibitions include: THE BEAUTY OF DISTANCE: Songs of Survival in a Precarious Age, Sydney Biennale, Australia; ALTERMODERN, Tate Triennial, Tate Britain, London; MANIFESTA 7, Trento, Italy; Micro-narratives: tentation des petites réalités, Musée d'Art moderne de Saint-Etienne, France; Laughing in a Foreign Language, Hayward Gallery, London; Hamsterwheel, Malmo Konsthall, Malmo, Sweden and Venice Biennale. Coates lives and works in London.

 

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