Workplace at GRANPALAZZO, Palazzo Rospigliosi, Zagarolo, Rome

Eric Bainbridge The Philosophers Garden, 2011 Steel 197 x 197 x 154 cm 77 1/2 x 77 1/2 x 60 5/8 in (EB0396) Installation view: Eric Bainbridge Steel Sculptures, Camden Art Centre, London. 2012 Photo: Andy Keate Courtesy of the artist and Workplace Gallery Workplace Gallery is proud to be participating in the inaugural presentation of Granpalazzo where we will be exhibiting 3 recent works by Eric Bainbridge    Eric Bainbridge was born in Consett, County Durham, UK in 1955. He completed a Masters in Sculpture at the Royal College of Art, London in 1981. Bainbridge has exhibited in important group exhibitions throughout his career such as Material Culture at the Hayward Gallery, London, British Art of the 80's and 90's at IMMA in Dublin, and recently in Modern British Sculpture at the Royal Academy, London. Solo exhibitions include View Points The Walker Art Centre, Minneapolis, Eric Bainbridge at The ICA Boston, Style, Space, Elegance at The Stedelijk Museum, Amsterdam, Forward Thinking at MIMA, Middlesbrough, and Steel Sculptures at Camden Art Centre. Bainbridge's work is in significant international collections including the Stedelijk Collection, Arts Council England Collection, The Margulies Collection, and the Tate Collection. Bainbridge lives and works in Sunderland, Hartlepool and London.   Hugo Canoilas also a Workplace artist, will be exhibiting at Granpalazzo courtesy of Colicaligreggi, Italy. For more information on the works that we are exhibiting please contact: miles@workplacegallery.co.uk     GRANPALAZZO MAY 30-31 PALAZZO ROSPIGLIOSI ZAGAROLO, ROMA http://www.granpalazzo.org    Giorgio Andreotta Calò - Zero... | Eric Bainbridge - Workplace | Riccardo Baruzzi - P420 | Vanessa Billy - BolteLang | Ernesto Burgos - The Goma | Hugo Canoilas - Colicaligreggi | Maxim Liulca - Spazio A | Maria Loboda - Maisterravalbuena | Mohamed Namou - mor charpentier | Nick Oberthaler - Martin van Zomeren | Damir Očko - Tiziana Di Caro | Amalia Pica - Stigter van Doesburg | Benedetto Pietromarchi - Josh Lilley | Sasha Pohle - Weingrüll | Wilfredo Prieto - NoguerasBlanchard | Mateusz Sadowski - Stereo | Samara Scott - Ermes | Margo Wolowiec - Anat Ebgi   The exceptional fifteenth-century venue of Palazzo Rospigliosi in Zagarolo, in the Roman countryside, will be the setting of GRANPALAZZO, an exhibition event, and an intense contemporary art weekend taking place on May 30th and 31st. Conceived by Paola Capata, Delfo Durante, Ilaria Gianni and Federica Schiavo, for its first edition, GRANPALAZZO, presents the works of 18 artists supported by 18 of the most dynamic and interesting galleries coming from the Italian and International art scene, a performance programme curated by Ilaria Gianni, and a series of special projects. As a first attempt of an event developed outside the usual contemporary art appointments, GRANPALAZZO will take place in an intimate and relaxing dimension, which aims to encourage an authentic dialogue between artists, the audience and art professionals. The goal of the organizing team is to emphasize the quality of the artistic discourse in the contemporary sphere by focusing on a small amount of artists and their related galleries, whose practices stand out in terms of high-level curatorship, effective scouting and the creation of an independent market. Coming from Italy, Algeria, Argentina, Croatia, Cuba, Germany, Great Britain, Moldavia, Poland, Portugal, the U.S., and Switzerland, the artists will show their works - some of which have been specifically produced and others re-though in their display - in a narrative path articulated throughout the beautiful rooms of Palazzo Rospigliosi, suggesting a dialogue between different poetics, styles, and artistic approaches. "For the first edition of GRANPALAZZO, we chose among some of the most interesting, serious, and consistent artists in the contemporary art scene" says Ilaria Gianni. "The challenge of the project", she goes on, "is to create a bridge between epochs: a respectful, reciprocal relationship between the art of the past, represented by the aristocratic Palazzo Rospigliosi, with its architecture, its frescoed decorations illustrating the history of the families that have inhabited it - and consequently narrating a portion of Italy's artistic and political history - and the interpretation of the present through the contemporary. In order to create an innovative, pertinent dialogue with the complex program of the Palazzo, the artists have been invited to interact with the site, and to explore the artistic repertoire of the country by presenting ambitious and specifically conceived installations for its the rooms. In this way, forms, points of view, visual interpretations of the present will coexist with a tangible history, developing a dimension which calls into question the viewer and his space-and-time perception".  Built during the 16th century by the Colonna family - protagonist of the Renaissance and Baroque in Rome - and after purchased by the Rospigliosi Pallavicini family, the building houses wonderful unique works, including frescoes and grotesques in an excellent state of preservation. Beside the exhibition the building will host a series of performances and special projects specifically developed for the occasion. THE PERFORMANCES The performance programme will involve some of the artists included in the exhibition. The Cuban artist Wilfredo Prieto will present The Battle of Shadows, a lyrical reading of a boxing match, experienced through the vision of the deformed shadows of its protagonist. In Braccio di Lettura, Riccardo Baruzzi will reveal the sound-qualities of sculpture, creating a polyrhythmic composition with musical instruments realized by himself. Wearing the shoes of his alter-ego "Jeffrey", a sixty-years-old hippy, Hugo Canolias in Sinhô Elias meditates on the multitude of the self, performing a monologue between the prophetic and the poetic, between the magical and the critical. Drawing from the experience of the "Bread and Puppet Theatre", meditating on a rehabilitation of the concept of 'direct work', and on the collective neutralization of the responsibility of the single, Tomaso De Luca presents Declaration of Independence from the Tyranny of Consciousness, a parade of large painted figures connecting GRANPALAZZO's venue with Zagarolo's Farmers Market. Tomaso De Luca's project is realized with support of OnFair.  THE SPECIAL PROJECTS The contemporary cultural agency and publishing house NERO, in collaboration with Max Renkel - artist - and Giuseppe Garrera - art collector and art history professor - presents Roma 2000-2015, an exhibition project celebrating the city through the invites of the most representative exhibitions that took place in Rome during the past fifteen years. A so-called 'exhibition of exhibitions' following a trace that is, in most cases per se, a piece of art. The curatorial and editorial platform CURA presents an installation by the artist Paolo Canevari. Investigating the most intimate aspects of a person in relation to an artwork, Canevari will work on the idea of knowledge, its transmission and its communication, focusing on the concept of identity. Lulu, lively art platform from Mexico City, will present a series of video by the French-Italian artists Marie Cool and Fabio Balducci. Based in Barcelona, the non-profit art space The Green Parrot presents On n'a rien pour, a performance by Oriol Vilanova about the tricks and shrewdness of the picaresque anti-hero. In flea markets, as in art-fairs, the buyers seek to get the best price, whereas the sellers, on their regard, the highest profit. The result is: failure. Waiting for the first edition of GRANPALAZZO the backstage of the project can be followed on ATP Diary, official partner of GRANPALAZZO 2015. From May the web platform will offer anticipations, insights on the works, on the participating artists, on the curated programmes and on the project spaces involved in the event. Artsy, the leading resource for learning about and collecting art, is the Exclusive Online Partner of GRANPALAZZO. The GRANPALAZZO preview will be online starting on May 29th. Artsy provides free access via its website (Artsy.net) and iPhone app to 250,000 images of art and architecture by 40,000 artists, comprising the world's largest online database of contemporary art. Powered by The Art Genome Project, a classification system that maps the connections between artists and artworks, Artsy fosters new generations of art lovers, museum-goers, patrons, and collectors, including those who might not be able to make it to Italy. GRANPALAZZO 2015 is realized in collaboration with the prestigious Institution of Palazzo Rospigliosi in Zagarolo.

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Preview at Workplace London: 'Jennifer Douglas' Friday 22nd May 5pm - 8pm

Jennifer Douglas (above) Untitled 2015, Floor paint and carbon paper pigment on canvas, 240 x 150 cm (94 1/2 x 59 1/8 in). (below) Sculpture #7, 2014, Paint tin, expanding foam, wood, paintbrushes, gloss and emulsion paint, 30 x 30 cm (11 3/4 x 11 3/4 in) Courtesy of the art and Workplace Gallery Jennifer Douglas SO Preview: Friday 22nd May 5pm - 8pm Exhibition continues: 23rd May 2015 - 11th July 2015   Workplace London 61 Conduit Street London W1S 2GB Friday and Saturday, 10am - 6pm (and by appointment) tel: +44 (0)207 434 1985 http://www.workplacegallery.co.uk   Workplace is proud to present SO the first London solo exhibition by Jennifer Douglas.   Douglas' new work references the found working environments of heavy and light industry and their painterly equivalents within the history of modern and contemporary art. In 2014, Douglas created a work entitled If walls had eyes. The small painting on canvas was painted blue and repeatedly punctured with multiple screw holes and Rawl plugs. Referencing both the Buchi and Tagli (holes and slashes) of Lucio Fontana's paintings and the romantic escape of the dusk sky, this work more specifically referred to a battered old industrial breezeblock wall (photographed by Douglas in a derelict building in Middleborough) that had been recurrently over-painted and drilled into without consideration for aesthetics or meaning. For SO, Douglas has made an entirely new series of monochrome paintings that extend this line of enquiry. The muted tones of industrial floor paint, all pervasive within the architectural modes of display that surround international contemporary art, create a tranquil and opaque surface on canvas. Douglas then repeatedly punctures and scratches the surface through  sheets of carbon paper to make a constellation of marks that is both violent and painterly.   Douglas' paintings are interspersed by a series of sculptures assembled from objects and materials that exist both within the lexicon of industry and architecture and also the language of modern and contemporary painting and sculpture. Empty paint tins are filled with sticks used to stir the (now solid) paint and are inverted to become awkward and jocular tripods; or they are overfilled with blobs of expanding insulation foam, whilst breezeblocks become plinths for paintings liberated from the gallery wall. Her usage of carbon paper is continued in a series of A4 canvases in which the material is stuck directly onto the painting with varnish, part obliterating the painted surface beneath, but revealing the diagonally repeated regal imprint on the reverse of the carbon paper of Her (or His) Majesty's Stationary Office. The initials S. O. from which the exhibition takes its title are punctuated with a crown insignia, the carbon paper having previously belonged to Douglas' Grandmother who had worked in the British Civil Service. Douglas' choice of materials, those of the environments of industry, and of carbon paper (a now redundant labor-saving material used on a mass scale in the office industry to create copies of a typed original) speak of an era of physical production, when the hand and the machine maintained an equilibrium that was echoed in the social cohesion of society. They are testament to a social contract that once lay precariously at the heart of mechanical reproduction in a new industrial age. Whilst restating the immaculacy and autonomous authority of minimal abstraction by artists such as Kazimir Malevich or Ad Reinhardt, Douglas' work opens up the potential for a rich personal and social narrative imbued with vital humanity.     Jennifer Douglas was born in 1975, in Amersham, UK. She studied at Newcastle University and Glasgow School of Art. Exhibitions include Confusion in her eyes says it all, Maria Stenfors Gallery, London, Satellite Satellite Workplace London, Jennifer Douglas Workplace Gallery Gateshead, UK, Surface The Civic, Barnsley, UK, BCN Collection, Laing Art Gallery, Newcastle upon Tyne, UK, Out of Sight, Out of Mind Workplace Gallery, Gateshead, UK, The Short Score DLI Museum and Durham Art Gallery, You Shall Know Our Velocity Baltic Centre for Contemporary Art, Gateshead, UK, FANTASTICA Grundy Art Gallery & Museum, Blackpool ROTATE Contemporary Art Society, London, Northern Futures The Civic, Barnsley, UK and Exit Strategy Tramway, Glasgow. Douglas was the winner of Salon Art Prize 2012, and Northern Futures 2010. She lives and works in Gateshead, UK.

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TODAY: "BEYOND THE GOLDMINE STANDARD" RPM Music, Newcastle, UK

Images: (above) Mike Pratt (below left to right) Cath Campbell, Jennifer Douglas, Rachel Lancaster x 2, Paul Merrick, Courtesy of the artist and Workplace Gallery. BEYOND THE GOLDMINE STANDARD An exhibition of LPs and 12" Singles reworked by artists. Join us for a special Super Saturday instore at RPM Music LP Sale and Publication Launch TODAY 9:30-19:00 RPM Music 4 Old George Yard, NE1 1EZ Newcastle upon Tyne https://www.facebook.com/events/924485260905137/ Every Monday for the last six weeks a new batch of artist re-worked LPs have been released in RPM Music, Newcastle as part of Beyond the Goldmine Standard. Involving 59 artists and totalling a collection of 67 records, the walls and shelves of RPM Music are now brimming with an ecclectic selection of these re-imagined albums. Whilst we might recognise certain symbolic, personal and cultural value in the presence of writing or other visible interventions on the surface of record covers, another register of value, the Goldmine Standard, sees such 'residue' as marring or detrimental to a record's corresponding worth. Beyond the Goldmine Standard deems differently, and has been an invitation to think beyond such regimented classification. In the spirit of Beyond the Goldmine Standard RPM Music will be celebrating second-hand records throughout the day with drinks, nibbles and exclusive discounts on second hand vinyl from 9.30am. From 5pm a large selection of the artist re-worked LPs will be for sale at a fixed price of £50 alongside the launch of a very limited 12" x 12" publication cataloguing the project. As well as the last chance to see all the records and maybe purchase one for yourself,  there will be a special performance by artist Nicola Singh of her response to Prince and The Revolution, Around the World in a Day. BEYOND THE GOLDMINE STANDARD: Neil Armstrong, Phil Ashcroft, Oliver Beck, Cath Campbell, Katy Cole, Tim Croft, Katie Cuddon, Gordon, Dalton, Daniel Davies, Jessica Dolby, Graham Dolphin. Jennifer Douglas, Ryan Doyle, Sarah Dunn, Graeme Durant, Mark Edwards, Lizzie Feather, Phil Frankland, Susie Green, Mark Gubb, Aaron Guy, Madeline Hall, Laura Harrington, Kate Hawkins, Joss Humberstone, Laurence Kavanagh, Nick Kennedy, Rachel Lancaster, Claire Lavender, Kate Liston, Toby Phips Lloyd, Sally Lockey, Rob Lowe, Steven Lowery, Kevin Mason, Andrew Maughan, Luke McCreadie, Paul Merrick, Rosie Morris, Michael Mulvihill, Annie O'Donnell, Oliver Perry, Theresa Poulton, Mike Pratt, Narbi Price, Christopher Rollen, Kuba Ryniewicz, Adam Shield, Jamie Shovlin, Ross Sinclair, Nicola Singh, Paul Smith, Joanne Tatham & Tom O'Sullivan, Sebastian Trend, Carl von Weiler, Craig Puranen Wilson & Lady Annabella Marczewska, Flora Whiteley, Gethin Wyn Jones

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Performance TONIGHT: Katie Goodwin and Rachel Lancaster "The Brain Eaters" The Gallery, Tyneside Cinema

Katie Goodwin and Rachel Lancaster The Brain Eaters The Gallery, Tyneside Cinema Tonight at 18:00   www.tynesidecinema.co.uk/goodwin-and-lancaster Katie Goodwin and Rachel Lancaster met during a residency at Tyneside Cinema in 2011. This chance encounter has since resulted in them collaborating on this new performance which uses everyday household objects to create new foley sound effects for B-grade horror movies from the 50s and 60s. Katie and Rachel now invite you to join them for a special event featuring screenings of their work Small Wonders and Pull and a live performance of 'The Brain Eaters' on Thursday 14 May at 18:00. Please note that the live performance will run from 18:30 to 18:45 and there will be no admittance during this time. Free exhibition of Small Wonders and Pull continue in The Gallery on Fri 15 & Sat 16 May, 10:00 -17:00 and Sun 17 May, 11:00 -17:00.

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Darren Banks: "Object Cinema" Venice, Italy. Drinks at 22.00 on Thursday 6th

Darren Banks Object Cinema (still), 2015, HD video 16:9, 05:26 minutes looped. Courtesy of the artist and Workplace Gallery, UK Darren Banks Object Cinema 5th - 9th May 2015 20:45 - 00:30 Drinks at 22:00 on Thursday 6th May Dorsoduro 3115 Venice, Italy (off Campo Santa Margherita) Click here for a MAP Object Cinema is a new film work by artist Darren Banks commissioned by Tyneside Cinema, Newcastle and  made in collaboration with Workplace Gallery.   Coinciding with the opening week of the Biennale,Object Cinema will show in an off-site  location situated in Campo Santa Margherita, Dorsoduro, Venice's atmospheric creative quarter. In Autumn 2015, the work has its UK premiere at The Gallery, Tyneside Cinema's new dedicated space for artists' moving image.   Part of The Lost Art of the Film Poster, an ongoing curatorial project initiated by Tyneside Cinema's Arts Programme, and inspired by Who Goes There?, a short story written in 1932 by John W. Campbellabout the discovery of an unknown being under the Antarctic ice, Object Cinema is a moving sculpture, and a film without beginning and end. Who Goes There? was first printed in a magazine before being published as a short story, and has since inspired several feature film versions in the science fiction horror genre, called The Thing. In Object Cinema, the content of the story becomes a 'Thing' itself, morphing from one format to another, linking media from the original films. Banks is interested is in how the physical words vanish, and later resurface as immaterial dataflow, moving from the written page, then captured in celluloid, tape and digital code, and ultimately circulated globally online.   Darren Banks is based in London. Recent exhibitions include: The Raven, Garman Ryan Collection, The New Art Gallery, Walsall, House of the Flying Wheel, Backlit, Nottingham, The Object Echo, Baltic 39, Newcastle, Evermore, Workplace Gallery, Gateshead, Magnum Opus N/V Projects, London.   Project curated by Elisabetta Fabrizi     Supported by Workplace Gallery and Newcastle University Institute for Creative Arts Practice. Funded by Arts Council England , British Film Institute and Newcastle Culture Fund

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