Joel Kyack, Replace Your Dreams With Routines, 2016, Collage, ballpoint pen and acrylic on paper, 50 x 46cm, 20" x 18", Courtesy of the artist and Workplace Gallery, UK
Circle of Hell / Ringer of Bell
Art Basel Hong Kong
For the Discoveries section of Art Basel Hong Kong 2016, Workplace will exhibit a new solo project by Los Angeles-based artist Joel Kyack. Drawing from its rich contemporary and historical context, Kyack will produce a new sculptural installation that explores the conflicts and parallels between the intense consumerism, cultural conditions, and traditions of Hong Kong.
Kyack will spend a period of time in residence in Kowloon region of Hong Kong prior to Art Basel Hong Kong researching and making work from objects and materials that he will collect throughout his time there. Combined with a suitcase of specific items brought from Los Angeles (masks, hollywood prosthetics, images, texts), these components will be transformed into provisional water-fountains, kinetic and static sculptures, and wall pieces. Though discreet objects themselves, they will combine in this presentation to form a complete, fervent grotto.
Improvisation and working with materials-at-hand are cornerstones to Kyack’s practice. Circle of Hell / Ringer of Bell will harness his ad-hoc, urgent, and pragmatic methodology revealing comic impropriety and moral ambiguity. As a ‘foreigner’ who has never travelled to Hong Kong or Asia before, Kyack’s unique perspective and particular vision will produce a body of work that creates an anthropological collision with a cultural past and present that is simultaneously at odds and in step with one another. Kyack’s black comedic strategies will be pushed to the extreme in this context, to create a sculptural pantomime that explores the vulgarity and profanity of ‘the tourist’ alongside the Post-colonial realities of Hong Kong as existential metaphor.
Symbolic objects such as bells, vessels and tapestries found in Hong Kong will provide starting points for sculptural and two-dimensional work that establish conceptual and formal relationships between common, inexpensive products that define contemporary culture. Conflating the extremes of wealth and poverty in places like Kowloon with the shocking depictions of purgatory found in some Taoist and Buddhist temples, Kyack’s installation will employ the Circle as both opening and orifice, entrance and exit, where the bell is rung for both the sacred and the profane. Circle of Hell / Ringer of Bell will attempt to bring together the grotesque polarities of human experience through the filter of a Western artist working in Hong Kong.
Kyack’s practice brings together a combination of unlikely elements, often purchased from hardware stores, health care industries and Hollywood prop-houses to create surreal, darkly humorous objects and paintings that evince a dysfunctional and chaotic social context as their origin. Kyack maintains a Dadaist anti-bourgeois position rejecting ‘taste’ and traditional aesthetic sensibilities. He instead finds pragmatic yet subversive relationships between functional objects to achieve an outcome that relates back to the body and to the abject absurdity of the individual in relation to a disturbing and complex social world, always with the potential for violence and the grotesque.
Joel Kyack was born in Born in 1972 in Pennsylvania, USA. He received his BFA from the 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 projects include The Very First Day at Workplace Gateshead, Old Sailors Never Die and Escape to Shit Mountain at Francois Ghebaly, Los Angeles; Point at the Thing That’s Furthest Away at Praz-Delavallade, Paris; Superclogger, a public project produced in collaboration with LA><ART and The Hammer Museum in Los Angeles, and The Knife Shop at Kunsthalle - LA in Los Angeles. Joel Kyack lives and works in Los Angeles, California.
For further information regarding the work shown at Art Basel Hong Kong please contact: email@example.com
Eric Bainbridge, Made In Hong Kong, 1986, Ink on paper,
Alumni - 170 Years of Leeds College of Art
Vernon Street Gallery, Leeds, UK
16 March - 20 April 2016
Eric Bainbridge, Untitled, 2009, Collage on paper, 21 x 28 cm
Biennial of the Arts
10 March - 20 March 2016
Catherine Bertola Unseen By All But Me Alone, 2013, Gold Thread, Dimensions Variable.
Canary yellow with royal blue
DLI Museum and Durham Art Gallery,
23 January - 31 March 2016
Cath Campbell, When I'm not sleeping, 2016, HD video, 9:03 mins, Courtesy of the artist and Workplace Gallery, UK
Transitory materials - works from the PLMJ Foundation
curated by João Silvério
SNBA, Lisbon, Portugal
4 February - 23 March 2016
Hugo Canoilas, O Estrangeiro, 2007, Cartão, pigmented plastic, iron, and enamel, 64 x 32 x 32 cm, Courtesy PLMJ Collection, Portugal
I'll devour your eyes
Galerie Andreas Huber, Vienna, Austria
10 March - 30 April 2016
Hugo Canoilas, The black mass for hipsters club, 2016, silicone and paint on found objects, 70 x 700 x 1300 cm, Photo: Stephan Lux, Courtesy of the artist and Galerie Andreas Huber
Luftslottet Norrköpings Konstmuseum, Sweden curated by Johanna Uddén 13 March – 28 August 2016
Jacob Dahlgren, From Art to Life to Art, 2009, Foodcans and steel, 640 × 150 × 150 cm, photo: Carl Kleiner, (Installation Galleri Andrehn-Schiptjenko, Stockholm)
The New Art Gallery Walsall
29 January - 8 May 2016
Laura Lancaster, The New Art Gallery Walsall, Photo: David Rowan
X Bank, Amsterdam, Nl
24 February - 27 March 2016
Mike Pratt, Her Jazz, 2015, wax, resin, and rope, 35 - 77 cm
Soft Focus Institute, Ghent, Belgium
31 January - 10 April 2016
Mike Pratt, Ear, 2015, oil, wax, resin, silicone, styrofoam. approx 120 - 90 - 40 cm
Biennial of the Arts
10 March - 20 March 2016
Matt StokesCantata Profana, 2010, Six-channel HD video and audio transferred to synced hard-drives, Duration 06:48 minutes, looped
Your Ad Here
Sept 2015 - March 2016
Commissioned by Create and Whitespace funded by the British Council
Adrian Searle: 'From Marx to Brexit: Tyneside's AV festival paints the whole world red' The Guardian
Workplace Gateshead: Hugo Canoilas
We live in terrible times: straight off the street and plunged into a very dark room in Gateshead. Maybe I've been kidnapped without noticing. It is black as a coal-hole in here. Snagging my trousers on a busted wooden clothes airer, colliding with an oil drum, mangling my knee on the hulk of an old television lying screen-down among unnameable junk, almost tripping on a clutter of stuff on the floor. All this wreckage, as well as the floors and walls, are covered in tarry black paint. The only visible light is spilling through little holes in a painted drape sagging above my head...(read more)
Caroline Douglas: Friday Dispatch
Workplace London: Richard Rigg
I've been having a lot of conversations, these last few weeks, about how to negotiate a world that seems dominated by event-driven enthusiasm for art fairs, versus the old fashioned gallerist's 'craft' of nurturing a stable of artists and presenting considered, coherent gallery exhibitions that introduce bodies of new work. It's a business decision: where do you invest? In bricks and mortar and the hope of people walking through the door; developing substantial relationships with collectors? Or in the flimsy plywood walls of a booth at a far-flung, glittering art fair attracting international collectors in flocks of private jets? Consider then the chutzpah of Gateshead-based Workplace Gallery, newly established in Mayfair...(read more)
Robert Clark: The Guardian
Laura Lancaster: The New Art Gallery Walsall
Laura Lancaster's paintings are as exuberant as they are melancholic. Working from old family photographs and home movies collected in junk shops and on eBay, she achieves a distinctive expressive resonance. Many of these recent works are diptych pairings, setting images sourced from the first and last frames of washed-out Super 8 films to hint at swiftly fading memories. Lancaster is so flamboyant and persuasive a painter that her smears suggest existential shifts and her drips come across as painterly weepings. Nevertheless, she never falls off into sentimentality. Instead, she transforms the typical grins of family snaps into rictus cringes and mask-like grimaces. Just occasionally, there are echoes of James Ensor; you can hardly get a much higher recommendation than that.
Vincenzo Estremo: 'Hugo Canoilas: The prey learns to hunt and be devoured' Droste Effect
Hugo Canoilas: Galerie Andreas Huber
I might write the history of my meetings with Hugo Canoilas just by recalling what we ate each time we were together. I don't know why, but every time I met Hugo we ended up in front of tasty food, and often Hugo was the one who'd cooked those delicious dishes. For some reason, I perceive Hugo's art practice as almost familiar, maybe because we share a lot of interests and we have a lot in common. For instance, we are both from the south of Europe, we both are football lovers, we like wines. Lastly ( but not marginally), we share a common idea of what art should be...(read more)
Curated by AV Festival 2016 as part of a group of exhibitions across nine venues in Newcastle and Gateshead. This new installation by Hugo Canoilas creates a tension between the past and present, making it contemporary 'like a knife with two blades'. It brings together his ongoing concerns around social discrepancy with readings on capitalism and Marxism including George Orwell, Pierre Joseph Proudhon's The Philosophy of Misery, Plato's Allegory of the Cave and more recently The Manifesto Against Labour by Group Krisis. Canoilas's paintings are acts of suspension and confrontation, layers of diagrammatic symbols, signs and texts between the abstract and the figurative...(read more)
In place of a conventional exhibition at the gallery, over the last few weeks Marcus has been meeting invited guests to engage in a 3 stage consultation process. Marcus Coates believes we should both ask more questions and expect more answers from ourselves. Asking more questions requires a certain amount of vulnerability, not always conducive in a culture that demands solutions and fast decision making. Coates seeks to confront the culture of questioning and answering with a process using the extremes of non-rational and rational understanding.
Catherine Bertola, Jacob Cartwright & Nick Jordan, Cinématons (Klaus Händl, Lissie Rettenwander, Heidrun Sandbichler, Filmemacher: Guillermo Tellechea), The Forman Brothers` Theatre, Rachel Goodyear, Isaac Julien, Marmo & Harmlos, Michette & Michette, Muntean/Rosenblum, Linda Fregni Nagler, Pipilotti Rist, Heidrun Sandbichler, Matt Stokes, The Strangers, Lois Weinberger
Catherine Bertola Unseen By All But Me Alone, 2013, Gold Thread, Dimensions Variable.
Matt Stokes Cantata Profana, 2010, Six-channel HD video and audio transferred to synced hard-drives, Duration 06:48 minutes, looped
Innsbruck International. Biennial of the Arts is a biennial of contemporary art that invites national and international artists to make use of unusual locations around the city of Innsbruck. The second biennial, with the theme of Je,./I,./Ich,... includes artists from the worlds of fine art, film, audio, sound and theatre who engage with the idea of authorship in a time of excitement about the self.
This is because, in our social age, the self is based on infatuation, a constant re-performance of a self that is influenced by idols, role models, stars but also memories and the portrayal experienced on social media or on Facebook, exactly the place where the 'I' becomes flexible and can be constantly reinvented. This personal design process happens in public but affects the private person. It occupies the border where the self disappears and something new is created, as seen in the phenomenon of the selfie, which is examined in their work by the artist duo Muntean/Rosenblum. The authenticity of portraits - as perfected down to the last detail by painters over centuries - is suddenly placed in question by the spread of selfies, which represent the new mirror for the self, because the 'I' only exists in the form that we ourselves would like to see. Virtual space therefore becomes a spiritual space where ambitions and fears are sounded out without disappearing into free fall (Claudia Jolles). Something that Linda Fregni Nagler explores in photographs where she shows people in traps without going into any more details about their personal circumstances. Just as with the video projection by Jacob Cartwright & Nick Jordan, and their story about the search for the 'I' somewhere between film and science, for the 'true' form of emotional expression employed by portraits and their understanding.
The search for the 'I' and its enduring state of uncertainty is (allegedly) understood as freedom, but one that assumes a duality because it claims that distance is connection and writing is direct communication. A highly complex situation that makes a high-wire act of the experience of the self in relation to the world. But at the same time, in the experiment of breaking down and building up ("solve et coagula"), new paradigms are created. A process that Heidrun Sandbichler investigates through the spectrum of past lives and death and that is reflected in the ink, capturing that particular excitement for the self that was already playing an important role in the past when communication was via exchanging portraits - as we can still see today in the Habsburg portrait gallery at Schloss Ambras. This is also a situation that Claudia de Medici (1604-1648) was confronted with. She was regent of Tirol during the minority of her son for 14 years and had to recreate her lost self with the aid of art, allowing her to live the life she imagined for herself. Tours with Per Pedes but also the 'Parfum der Claudia de Medici' - newly simulated by Apotheke Winkler - dives into this real world of richly decorated churches, monasteries and buildings, just as Catherine Bertola scatters her delicate and easily overlooked interventions - in spaces where hard lives and works of the 'I' are mostly erased or set within a different system of values.
The 'I' as displayed for us by Obludarium, the Forman Brothers' Theatre, has therefore always been an amalgamation of fiction, narrative and reality, from written, spoken and sung words, that flaunt the absurd, catchy, mournful, living and animal, recurring in the drawings and animations of Rachel Goodyear. A simply never ending journey through possible identities and genders, which Pipilotti Rist can not completely answer, but holds so much the finer in abeyance when she has the character in the video nonchalantly say, "Love is unclear." Matt Stokes, on the other hand, embarks on a search for the feeling of collectivity, in order to investigate whether it is perhaps music that forms people's identity.
Lois Weinberger in 2013 was the first mark left by Innsbruck International, and in 2016 Innsbruck International continues the process and breaches further realms of imagination, places and borders, as Innsbruck International attempts to reinvent the 'I' of Innsbruck International. There is a new collaboration with twin city Grenoble and the École du MAGASIN, to provide training for future curators, and there is also a new Innsbruck International Special Recognition, awarded to Tirol's creative artists to elevate them to the international stage, promote their development and raise their profile.
Workplace Gallery is a contemporary art gallery run by artists.
Based in Gateshead UK, Workplace Gallery represents a portfolio of emerging and established artists through the gallery programme, curatorial projects and international art fairs.