Jennifer Douglas: 'Crab Walk' NGCA, Sunderland, UK

Image: Jennifer Douglas, So (Blue/Nimbus), 2015, Carbon paper, varnish and paint on canvas, 21 x 30 cm, 8 1/4 x 11 3/4 in (JD0125) Courtesy of the artist and Workplace Gallery, UK CRAB WALK NGCA Northern Gallery for Contemporary Art Sunderland, UK   Preview: Thursday 29 October, 6 - 8pm Curator & artist's tour from 5pm   Exhibition: 30th October 2015 - 20th February 2016 Nicolas Deshayes, Alex Dordoy, Jennifer Douglas, Patrick Hough, Philomene Pirecki, Marie Toseland, Sally Troughton, Rosalind McLachlan & design work by Tom Merrell   NGCA is proud to announce the group show Crab Walk, curated by Ned McConnell and NGCA curator George Vasey.  The exhibition travels from KARST in Plymouth, where it was presented earlier this year. While using the original show, Breakin' Up is Hard to Do, as a template, Crab Walk expands on it by introducing two new artists and further commissions as well as a brand new title. Crab Walk is a straight translation of the German phrase Krebsgang and was coined by the German writer Günter Grass to describe the urgent need to "look backwards to be able to move forwards". The exhibition formalises this term through a variety of curatorial approaches that perform a type of institutional archaeology. Documentation of previous exhibitions, archival material and memories of the building from staff and the public will be collated in a free newspaper that will be dispersed throughout the city. By creating a polyphonic history of the space, the show will counter the typical neutrality afforded white cube art galleries, excavating personal, as well as social narratives. Crab Walk will present new work in a range of media, including sculpture, audio, film and painting that elide historical and contemporary motifs to explore different temporal registers. The starting point for the project came out of a discussion about the current state of Kazimir Malevich's Black Square (1915). The painting's previously pristine surface is now covered in a filigree of tiny cracks; it is literally and metaphorically breaking up. This entropy reveals a tension between the object and the image, between the cosmetic and immanent.  Malevich's refusal for figurative and symbolic content was intended as a ground zero for art and - for Modernism in general - the start of a new world order. The painting's current state of decay reveals it to be an object in motion, dramatizing the shifting conditions of cultural production and reception over the last 100 years. The selection of artists and their subsequent presentation resists the traditional idea of a group exhibition. If Black Square was intended as a type of full stop, then Crab Walk proposes it to be more like a comma. The exhibition is part of an expansive and on-going conversation, and will be accompanied by a range of events, talks and readings.   NGCA Northern Gallery for Contemporary Art City Library and Arts Centre Fawcett Street Sunderland SR1 1RE W www.ngca.co.uk T 0191 561 8487

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Cecilia Stenbom: 'In Waiting' Reggio Film Festival, Reggio Emilia, IT

Image: Cecilia Stenbom, In Waiting, 2014, HD Film, 10 min 40 sec, (CS0153) Courtesy of the artist and Workplace Gallery, UK Reggio Film Festival 20th - 26th October 2015 Reggio Emilia, IT   Cecilia Stenbom, 'In Waiting' 2014 Friday October 23rd at 9pm Fonderia 39 VIA DELLA COSTITUZIONE, 39 - 42124 REGGIO EMILIA - ITALY 'In Waiting' is a scripted short film drama commissioned by Creative England in association with the BFI NET.WORK. Synopsis: John is anxiously expecting medical results; he encounters Steve and Fay at a hospital waiting room, when waiting gets unbearable their individual coping mechanisms collide. 'In Waiting' explores human intolerance for uncertainty in a high stake environment by capturing a moment of anticipation and individual response to this pressure. Principal cast includes Ross Mitchell as JOHN, Dylan Brown as STEVE and Nisha Anil as FAY. In Waiting is produced by Gerry Maguire. Cinematography by Emma Dalesman, edited by Nick Light and original score by Ziad Jabero.   http://www.reggiofilmfestival.com

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Darren Banks: 'The Exhibition of a Film' Cneai, Chatou, Fr

Image: Darren Banks, Poster Design for 'The Exhibition of a Film', 2015. Courtesy of the artist and Workplace Gallery, UK The Exhibition of a Film Cnaei Centre National Edition Art Image Chatou, FR   17th October - 29th November 2015 Mac Adams, Darren Banks, Eva Barto, Olivier Castel, Philippe Decrauzat, Charles de Meaux, Charlotte Moth, Mai-Thu Perret, Nicolas Eigenheer & Jeremy Schorderet, Denis Savary, Laurent Schmid, Phoebe Unwin, Alan Vega, Jacques Villeglé. Curated by Mathieu Copeland. The Exhibition of a Film is an exhibition which dedicates itself to feature films. Through a sound and visual polyphony, The Exhibition of a Film explores all possible textures of cinema. The tempral and spatial arrangements of sound and moving image work is here considered, through a movie experience. The context of the exhibition is to bring together 46 major artists who all have a specific relationship to cinema, both visual artists, choreographers, performers and musicians. Constrained by the intrinsic properties of the cinema, this exhibition functions in the same way as an exposed film, the film of an exhibition or a film exposure.   Centre National Edition Art Image CNEAI DE CHATOU île des impressionnistes f - 78400 chatou du mercredi au dimanche de 13:00 à 18:00 + 33 (0) 139524535   cneai@cneai.com

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Joe Clark: 'Shallow Pool' Galleria Mario Iannelli, Rome, IT

Image: Joe Clark, Unnecessary complications #1, 2015, Pigment print, 100 x 116 cm. Courtesy of the artist and Workplace Gallery, UK Shallow Pool Galleria Mario Ianelli Via Flaminia 380 00196 Roma   15 April - 30 May 2015   Shallow Pool assembles works created from 2013-15, spanning 4 suites which are all bound by the same technical and conceptual framework. A recurring motif is the expression of a bodily gesture or intervention, articulating something, which could in theory be made with a computer but in practice was only possible as the result of the artist making a physical intervention in the world.   Joe Clark often problematizes the process of presenting the world through contemporary photographic techniques by inhabiting the mode of production. Here we see re-phrasings of virtual camera positions, CG model making, image based lighting (HDRi), layered compositing and brushes which are all freely combined, purposefully ignoring the scenarios that would normally accompany their use. He is subverting the working practices associated with commercial applications of photography, diverting the workflow at a crucial point. For example: doing something by hand that would normally be done in a virtual space or adapting a post-production process so that it can be used at the point of image-capture. There is a language in the works which is intuitive, reductive and speaks to a simultaneous fascination and discomfort with the medium. It is presented through a struggle within self-imposed frameworks to make an expressive gesture. Between these works we can perceive the transposition of the kernel of idea between media as the formal potentialities of each process encourage an accretion of image information over time. The aesthetic logic of one process begins to manifest itself in another.   The title Shallow Pool hints at the ambiguity present in the works, the reflection on the surface of a pool may suggest depth and clarity, but stepping into it, may reveal something else. It is seductive but misleading and, to a certain extent, mischievous. The viewer is returned to the image surface without the expected guidance, unanchored by familiar cues.   http://www.marioiannelli.it

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RSVP: JOEL KYACK PERFORMANCE

YOUR OPTIMISM FILLS GRAVES   a performance by Joel Kyack at Workplace London, October 15th at 7pm   RSVP: rsvp@workplacegallery.co.uk   Workplace London 61 Conduit Street, Mayfair, London, W1S 2GB www.workplacegallery.co.uk YOUR OPTIMISM FILLS GRAVES marks the first UK performance by Joel Kyack.   Drawing on his interest in object-based performances, Kyack will utilise the setting of Workplace London to engage the audience as both co-creators and intimate witnesses. Dealing in themes of interdependence, endurance, freewill and death, Your Optimism Fills Graves will explore the hand of the maker in live-time through the use of traditional and non-traditional materials and processes. Clay, wax, plastic, ceramics, wood, power tools, pumps and liquids will share a stage in the creation of sculptures, fountains, drawings, and sounds. Questions of individual agency will be introduced, considered, transformed and destroyed, as a sea of options builds into a mess both overwhelming and inspiring.   Joel Kyack was born in 1972 in Abington, Pennsylvania, USA. He received his BA from Rhode Island School of Design in 1995, studied at Skowhegan School of Painting and Sculpture in Maine in 2004, and received his MFA from the University of Southern California in 2008. Recent solo exhibitions include Old Sailors Never Die, Francois Ghebaly, Los Angeles; Superclogger, a public project produced in collaboration with The Hammer Museum and LA>River / Stream / In-Between, Kate Werble Gallery, New York; Point at The Thing That's Furthest Away, Praz-Delavallade, Paris; Terms / Proposals / Demands, SSZ Sued, Cologne; The Knife Shop at Kunsthalle LA; Recent performances include: All The Instruments Agree at The Hammer Museum, Los Angeles, and at the CCA Wattis Institute in San Francisco. As well as Workplace Gallery, Kyack is represented by François Ghebaly in Los Angeles and Praz-Delavallade in Paris. He lives and works in Los Angeles, California.   YOUR OPTIMISM FILLS GRAVES is part of the two person exhibition featuring new work by British artist Eric Bainbridge and Joel Kyack. For this show Bainbridge is presenting a new series of iconic paintings made from synthetic fur fabric, whilst in his first London presentation Kyack is showing new sculpture and painting.   Exhibition continues: 10th October - 21st November 2015 Friday - Saturday, 10am - 6pm (or by appointment)   Frieze Week Opening Hours Tues 13th - Sun 18th October, 10am - 6pm (and by appointment)   for more information please visit http://www.workplacegallery.co.uk/exhibitions/

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TONIGHT: Eric Bainbridge / Joel Kyack at WORKPLACE LONDON

Eric Bainbridge, Untitled, 2015, Fur fabric, 140 x 140 cm (EB0532)  Joel Kyack, The Comeback, 2015, Urethane arm, dress shirt, crutch and wire, 365 x 694 x 21 cm (JK0003) Eric Bainbridge / Joel Kyack WORKPLACE LONDON   Preview: 6pm - 9pm Friday 9th October 2015 Performance: Thursday 15th October at 7pm   Exhibition continues: 10th October - 21st November 2015 Friday - Saturday, 10am - 6pm (or by appointment)   Workplace London 61 Conduit Street, Mayfair London, W1S 2GB    Frieze Week Opening Hours Tues 13th - Sun 18th October, 10am - 6pm (and by appointment)   Workplace London is delighted to announce a two person exhibition featuring new work by British artist Eric Bainbridge and Los Angeles based artist Joel Kyack. For this show Bainbridge is presenting a new series of iconic paintings made from synthetic fur fabric, whilst in his first London presentation Kyack is showing new sculpture, painting, and conducting a performance to coincide with the Frieze West End Night.   Made from his signature material, synthetic fur fabric, Eric Bainbridge's paintings pose enigmatic and duplicitous explorations. The pragmatic directness of material properties - to cut, to stretch, to wrap, to patch - and pictorial invocations of spatial depth or figuration are articulated through the subtle interplay of colour and texture. The paucity of gesture employed by Bainbridge invites sustained consideration, whilst the hyper-artificiality of the fur fabric simultaneously implies luxury and an aspirational escape towards it. The paintings move beyond their formal conditions to speak of the socio-political currents that lie, camouflaged, beneath their apparent semiotic assertions.   Joel Kyack's new work comprises of talismanic combinations of body parts and utilitarian objects that conspire to create darkly transgressive sculptures. Hinting towards an encroachment upon moral boundaries and the malevolent undercurrents of our civilization, Kyack brings together a combination of unlikely components. With materials sourced from hardware stores, healthcare industries and Hollywood prop warehouses, he creates surreal, darkly humorous objects and paintings that evince the same dysfunctional and chaotic social context as their origin. Maintaining a Dadaist anti-bourgeois position, Kyack rejects 'taste' and traditional aesthetic sensibilities finding instead pragmatic yet subversive relationships between functional objects. He achieves an outcome that relates, inevitably, back to the body and the abject absurdity of the individual in relation to a disturbing and complex social world, always maintaining potential for both violence and the grotesque.     Your Optimism Fills Graves a performance by Joel Kyack Workplace London - Thursday October 15th at 7pm   Your Optimism Fills Graves marks the first UK performance by Joel Kyack. Drawing on his interest in object-based performances, Kyack will utilise the setting of Workplace London to engage the audience as both co-creators and intimate witnesses. Dealing in themes of interdependence, endurance and death, Your Optimism Fills Graves will incorporate plastic vessels, power tools, liquids and masks to set a stage for the simultaneous creation of fountains, drawings, monologue and sounds.     Eric Bainbridge was born in Consett, County Durham, UK in 1955. He studied at Newcastle Polytechnic and completed a Masters in Sculpture at the Royal College of Art, London in 1981. Solo exhibitions include View Points The Walker Art Centre, Minneapolis; Eric Bainbridge ICA, Boston; Style, Space, Elegance, Stedelijk Museum, Amsterdam; Supercollage, New Art Gallery Walsall; Forward Thinking, MIMA, Middlesbrough; and Eric Bainbridge - Steel Sculptures at Camden Art Centre. Bainbridge's other previous exhibitions include the 1986 and 1990 Venice Biennale; Material Culture at the Hayward Gallery, London; British Art of the 80's and 90's at IMMA in Dublin; Modern British Sculpture at the Royal Academy, London. His work is in numerous international collections including the Stedelijk Collection, Arts Council England Collection, The Margulies Collection, and the Tate Collection. Bainbridge lives and works in Hartlepool and Sunderland, UK   Joel Kyack was born in 1972 in Abington, Pennsylvania, USA. He received his BA from Rhode Island School of Design in 1995, studied at Skowhegan School of Painting and Sculpture in Maine in 2004, and received his MFA from the University of Southern California in 2008. Recent solo exhibitions include Old Sailors Never Die, Francois Ghebaly, Los Angeles; Superclogger, a public project produced in collaboration with The Hammer Museum and LA><ART; River / Stream / In-Between, Kate Werble Gallery, New York; Point at The Thing That's Furthest Away, Praz-Delavallade, Paris; Terms / Proposals / Demands, SSZ Sued, Cologne; The Knife Shop at Kunsthalle LA; Recent performances include: All The Instruments Agree at The Hammer Museum, Los Angeles, and at the CCA Wattis Institute in San Francisco. As well as Workplace Gallery, Kyack is represented by François Ghebaly in Los Angeles and Praz-Delavallade in Paris. He lives and works in Los Angeles, California.    For all enquiries please contact: sales@workplacegallery.co.uk

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Joe Clark: 'Shallow Pool' Galleria Mario Iannelli, Rome, IT

Image: Joe Clark, Unnecessary complications #1, 2015, Pigment print, 100 x 116 cm. Courtesy of the artist and Workplace Gallery, UK Shallow Pool Galleria Mario Ianelli Via Flaminia 380 00196 Roma   15 April - 30 May 2015   Shallow Pool assembles works created from 2013-15, spanning 4 suites which are all bound by the same technical and conceptual framework. A recurring motif is the expression of a bodily gesture or intervention, articulating something, which could in theory be made with a computer but in practice was only possible as the result of the artist making a physical intervention in the world.   Joe Clark often problematizes the process of presenting the world through contemporary photographic techniques by inhabiting the mode of production. Here we see re-phrasings of virtual camera positions, CG model making, image based lighting (HDRi), layered compositing and brushes which are all freely combined, purposefully ignoring the scenarios that would normally accompany their use. He is subverting the working practices associated with commercial applications of photography, diverting the workflow at a crucial point. For example: doing something by hand that would normally be done in a virtual space or adapting a post-production process so that it can be used at the point of image-capture. There is a language in the works which is intuitive, reductive and speaks to a simultaneous fascination and discomfort with the medium. It is presented through a struggle within self-imposed frameworks to make an expressive gesture. Between these works we can perceive the transposition of the kernel of idea between media as the formal potentialities of each process encourage an accretion of image information over time. The aesthetic logic of one process begins to manifest itself in another.   The title Shallow Pool hints at the ambiguity present in the works, the reflection on the surface of a pool may suggest depth and clarity, but stepping into it, may reveal something else. It is seductive but misleading and, to a certain extent, mischievous. The viewer is returned to the image surface without the expected guidance, unanchored by familiar cues.   http://www.marioiannelli.it

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Joe Clark: 'what magic' The Landing Strip, Berlin, DE

Image: Joe Clark, what magic (detail) 2015, Fujiflex C type print and magnets, Installation view. Courtesy of the artist and Workplace Gallery, UK what magic The Landing Strip Allerstraße 18/19 12049 Berlin   12 - 27 September 2015   What is a photograph? With ever-increasing speed, the technical circumstances surrounding its production, as well as its (representational) qualities, are changing. Over the years, the credibility of the photographic image has been gradually eroded, as literally any type of image can now be generated or manipulated in any desired manner. Digital technologies have almost completely taken over the field, and these days, almost every smartphone comes equipped with a fingernail-sized, high-performance camera.   Alongside the advances in technology, access to the medium of photography has also evolved: photography is no longer a skill practiced only by learned professionals; today anyone can use a camera to take photographs. Photos have become digital rather than material objects, and as such require few consumables; they can be produced or displayed at almost any time, anywhere. The social networking service, Instagram, provides a clear example for how the sharing of images has grown into a new form of communication. The photograph is no longer what we talk about, it is the language itself.   Joe Clark's works are photographic. Regardless of medium, be it sculpture, film or photography - in any of its modalities, the artist seeks to capture its „magical" quality, the seemingly lost possibility - of using the photograph as a means to construct truth. Many of his works display an - in the words of the artist - absence of content, because they are, in fact, works about photography itself. what magic as a body of work, can be understood as a sequence of steps - based upon one another yet also standing for themselves. A photograph is an object, is a set of data, is a photograph. And so on. A moment that lasts only a few hundredths of a second, „Whispers down the lane" becomes an almost tangible, manipulable space. Yet each single work is but a step in the development towards the next. Where this leads, and what is actually seen, lie then - as always - in the eye of the beholder.   www.thelandingstrip.de

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Eric Bainbridge / Joel Kyack at WORKPLACE LONDON

Eric Bainbridge, Untitled, 2015, Fur fabric, 140 x 140 cm (EB0532)  Joel Kyack, The Comeback, 2015, Urethane arm, dress shirt, crutch and wire, 365 x 694 x 21 cm (JK0003) Eric Bainbridge / Joel Kyack WORKPLACE LONDON   Preview: 6pm - 9pm Friday 9th October 2015 Performance: Thursday 15th October at 7pm   Exhibition continues: 10th October - 21st November 2015 Friday - Saturday, 10am - 6pm (or by appointment)   Workplace London 61 Conduit Street, Mayfair London, W1S 2GB    Frieze Week Opening Hours Tues 13th - Sun 18th October, 10am - 6pm (and by appointment)   Workplace London is delighted to announce a two person exhibition featuring new work by British artist Eric Bainbridge and Los Angeles based artist Joel Kyack. For this show Bainbridge is presenting a new series of iconic paintings made from synthetic fur fabric, whilst in his first London presentation Kyack is showing new sculpture, painting, and conducting a performance to coincide with the Frieze West End Night.   Made from his signature material, synthetic fur fabric, Eric Bainbridge's paintings pose enigmatic and duplicitous explorations. The pragmatic directness of material properties - to cut, to stretch, to wrap, to patch - and pictorial invocations of spatial depth or figuration are articulated through the subtle interplay of colour and texture. The paucity of gesture employed by Bainbridge invites sustained consideration, whilst the hyper-artificiality of the fur fabric simultaneously implies luxury and an aspirational escape towards it. The paintings move beyond their formal conditions to speak of the socio-political currents that lie, camouflaged, beneath their apparent semiotic assertions.   Joel Kyack's new work comprises of talismanic combinations of body parts and utilitarian objects that conspire to create darkly transgressive sculptures. Hinting towards an encroachment upon moral boundaries and the malevolent undercurrents of our civilization, Kyack brings together a combination of unlikely components. With materials sourced from hardware stores, healthcare industries and Hollywood prop warehouses, he creates surreal, darkly humorous objects and paintings that evince the same dysfunctional and chaotic social context as their origin. Maintaining a Dadaist anti-bourgeois position, Kyack rejects 'taste' and traditional aesthetic sensibilities finding instead pragmatic yet subversive relationships between functional objects. He achieves an outcome that relates, inevitably, back to the body and the abject absurdity of the individual in relation to a disturbing and complex social world, always maintaining potential for both violence and the grotesque.     Your Optimism Fills Graves a performance by Joel Kyack Workplace London - Thursday October 15th at 7pm   Your Optimism Fills Graves marks the first UK performance by Joel Kyack. Drawing on his interest in object-based performances, Kyack will utilise the setting of Workplace London to engage the audience as both co-creators and intimate witnesses. Dealing in themes of interdependence, endurance and death, Your Optimism Fills Graves will incorporate plastic vessels, power tools, liquids and masks to set a stage for the simultaneous creation of fountains, drawings, monologue and sounds.     Eric Bainbridge was born in Consett, County Durham, UK in 1955. He studied at Newcastle Polytechnic and completed a Masters in Sculpture at the Royal College of Art, London in 1981. Solo exhibitions include View Points The Walker Art Centre, Minneapolis; Eric Bainbridge ICA, Boston; Style, Space, Elegance, Stedelijk Museum, Amsterdam; Supercollage, New Art Gallery Walsall; Forward Thinking, MIMA, Middlesbrough; and Eric Bainbridge - Steel Sculptures at Camden Art Centre. Bainbridge's other previous exhibitions include the 1986 and 1990 Venice Biennale; Material Culture at the Hayward Gallery, London; British Art of the 80's and 90's at IMMA in Dublin; Modern British Sculpture at the Royal Academy, London. His work is in numerous international collections including the Stedelijk Collection, Arts Council England Collection, The Margulies Collection, and the Tate Collection. Bainbridge lives and works in Hartlepool and Sunderland, UK   Joel Kyack was born in 1972 in Abington, Pennsylvania, USA. He received his BA from Rhode Island School of Design in 1995, studied at Skowhegan School of Painting and Sculpture in Maine in 2004, and received his MFA from the University of Southern California in 2008. Recent solo exhibitions include Old Sailors Never Die, Francois Ghebaly, Los Angeles; Superclogger, a public project produced in collaboration with The Hammer Museum and LA><ART; River / Stream / In-Between, Kate Werble Gallery, New York; Point at The Thing That's Furthest Away, Praz-Delavallade, Paris; Terms / Proposals / Demands, SSZ Sued, Cologne; The Knife Shop at Kunsthalle LA; Recent performances include: All The Instruments Agree at The Hammer Museum, Los Angeles, and at the CCA Wattis Institute in San Francisco. As well as Workplace Gallery, Kyack is represented by François Ghebaly in Los Angeles and Praz-Delavallade in Paris. He lives and works in Los Angeles, California.    For all enquiries please contact: sales@workplacegallery.co.uk

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Hugo Canoilas: 'Another Destination', Parallel Vienna, Alte Post, Dominikanerbastei, Vienna

Image: Hugo Canoilas, Queer, 2014, Ink on linen, 142 x 147 cm, 55 7/8 x 57 7/8 in (HC0073) Courtesy of the artist and Workplace Gallery, UK Another Destination PARALLEL VIENNA 2015 23rd - 27th September Alte Post Dominikanerbastei   Parallel Vienna is taking place for the third time in Vienna and remains true to its principle of using abandoned property in the city centre as a presentation platform for new and established art. Parallel Vienna 2015 is a fully curated show titled "Another Destination". The Parallel Vienna curator team chooses galleries, artists and curators and additionally invites project spaces which fit into the overall concept. In cooperation with the Austrian Federal Chancellery, a group of six independent curators will be chosen by the Parallel team to design their own space.   This year, galleries, artists, project spaces and curators will be exclusively invited and selected by Parallel Vienna. In 2015, Parallel Vienna is using the extensive premises of the Alte Post in the first district as a platform for contemporary art, thereby creating a unique framework for innovative exhibits. Parallel Vienna pools the urban forces of contemporary art production and offers an insight into different scenes, communities and areas of Vienna.   Parallel Vienna presents young and aspiring as well as established artistic works and collects art initiatives of every kind - art associations, galleries, project spaces, curated project spaces and artist spaces - all under one roof.   Parallel Vienna therefore combines streams of Viennese artistic creation with international trends and contributes to the active networking of young creative people by establishing a professional platform for them in the extensive space of the Alte Post.   Parallel Vienna 2015 is an art show, exhibition, gallery and studio. As a meta-organisation whose do-it-yourself (DIY) principle translates into the infrastructure of the artistic institution, the exhibition platform manages itself: a trading centre for new ideas and a dedicated testing ground for self-professionalisation. This year, Parallel Vienna presents an insight into and divergent works of new and established contemporary art for the third time with more than 400 national and international artists, 20 galleries, 40 project spaces and 42 artist spaces, as well as 15 independent curators.   ALTE POST Dominikanerbastei 11 1010 Vienna   http://parallelvienna.com

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