Matt Stokes: "these are the days" Arthouse, Austin, Texas, UK

Matt Stokes

these are the days

January 24 – April 5, 2009

Arthouse
700 Congress Avenue
Austin, TX 78701
(NW corner of 7th Street and Congress Ave.)

these are the days is an exhibition and commission of new work by British artist Matt Stokes inspired by punk rock subcultures—past and present—in Austin, Texas. Stokes is the recipient of the esteemed 2006 Beck’s Futures Prize and these are the days is his first institutional exhibition and first original commission in the United States. The exhibition, which involves a 16mm film production and installation, an original audio recording, and the collection of ephemera related to the punk, post-punk, and DIY movements which has been assembled over a series of trips Stokes made to Austin. The two-channel film installation features footage taken at an Arthouse organized punk show held at the Broken Neck in Austin and a band session recorded at Sweatbox Studios in Austin. The newly created films will be concurrently presented at Project Space 176, a major new contemporary art space located in the Camden section of London – an area strongly connected to growth of the UK punk scene.

image:
photo: Autumn Spadaro
From punk performance at Broken Neck, Austin

Paul Moss: "SUPERABUNDANT" Turner Contemporary, Margate, UK

Superabundant: A Celebration of Pattern

Jacob Dahlgren, Wim Delvoye, Jim Drain, Lesley Halliwell, Paul Moss, Henna Nadeem, Jacqueline Poncelet, Daniel Sturgis, Richard Woods

Turner Contemporary Project Space
Droit House
Saturday 24 January - Sunday 22 March 2009

Superabundant is an exhibition that creates a sense of celebration, of joy and delight through the power of pattern. The exhibition features work by nine artists who make use of pattern and decoration in very different ways, some adopting a systems approach to pattern whilst others are more fluid and organic. For this exhibition, many of the artists have created new and sometimes site specific work especially for the Turner Contemporary Project Space.

The use of decorative designs and patterns has always been central to the fine and applied arts from Roman mosaics and the intricate motifs of Islamic art to the innovative wallpaper and textiles of AWN Pugin and William Morris. In the twentieth century, excessive ornamentation was dismissed as decadent by the Modernist architects and designers of the Bauhaus: decoration for its own sake was replaced by abstraction and truth to materials.

In this exhibition, the tension between decoration and abstraction is explored in Lesley Halliwell's intricate, large-scale Spirograph drawings and Daniel Sturgis' series of paintings with their vocabulary of colour, repetition and pattern.

A number of works play directly with the external and internal surfaces of the Turner Contemporary Project Space, a former department store on Margate High Street: Richard Woods has created a new decorative facade for the building while Jacqui Poncelet installs a forest of pillars covered with a dizzying 'push-me-pull-you' motif. Architectural simulation of a different kind features in Wim Delvoye's photograph of a marble floor created entirely out of salami.

Jacob Dahlgren is fascinated by the surface of things and our everyday encounters with pattern and abstraction, from striped t-shirts photographed on the street to the curves that a stack of coloured plastic cups makes. Heaven is a place on earth is an installation made up of red, white and blue bathroom scales arranged on the floor like an interactive, modernist grid.

Pattern is often associated with feelings of pleasure. Paul Moss' Danger Paintings however, with their disorientating zig-zags of red and white hazard tape, signal an unspecified warning and function as both paintings and architectural screens. These paintings, like many of the works in the exhibition, are complex and labour intensive. Jim Drain's over the top, colourful sculptures made of wool, cloth and other found materials, combine a handmade aesthetic and an interest in non-Western traditions of art making with references to 60's Op art and psychedelia.

Join us this Saturday from 12 noon to mark the opening of the exhibition Superabundant: A Celebration of Pattern at Turner Contemporary Project Space in Margate. Louise Taylor, freelance curator and writer and former director at the Crafts Council will open the exhibition in the Project Space at 12.30pm.

Image:
Paul Moss
Danger Paintings 1-6
2003 - 2006
Non-Adhesive Barrier Tape on Timber Frame
Installation View, Northern Gallery for Contemporary Art, Sunderland, UK
190 x 246 cm (each)
photo: Colin Davison
PMO0029
Courtesy of the artist and Workplace Gallery, UK

Marcus Coates: "LIVING TOGETHER" montehermoso, Vitoria-Gasteiz, Spain

LIVING TOGETHER
Curated by Xabier Arakistain and Emma Dexter
From 23-January to 03-May-2009

montehermoso
C/ Fray Zacarías 2
01001 · Vitoria-Gasteiz
Tel: 945 16 18 30
comunicacion@montehermoso.net

Daniel Baker, Claire Fontaine, Marcus Coates, Gardar Eide Einarsson, Nicole Eisenman, Dora García, Delaine Lebas, Josephine Meckseper, Mai-Thu Perret, Société Réaliste, Paula Trope, Eulàlia Valdosera, Lynette Yiadom-Boakye and Artur Zmijewski.

Through current artistic practices, the exhibition deals with a series of social, political and economic tensions that are characterising the beginning of this century. Invoking the conflicts that bring the broad gamut of social, political and economic groups and subjects into confrontation with one another, the show sets out to question how narratives, among them the narrative of social values, that are informing and regulating the idea of living together in our societies are constructed and negotiated. To this end, the exhibition brings 14 artists together from a variety of contexts, who propose, from different perspectives, multiple and open explorations of these questions, whilst offering a series of contemporary strategies for cohabitation.

image:
Marcus Coates
Dawn Chorus (detail)
2007
(Installation View MANIFESTA7 2008, Trento, Italy)
Duration: 18 Minutes (looped)
MC0015
Courtesy of the artist and Workplace Gallery, UK

Marcus Coates: "The Animal Gaze" Centre for Contemporary Art and The Natural World, Exeter, UK

The Animal Gaze

Artists: Suky Best, Roz Cran, Matilda Downs, Tessa Farmer, Hayden Fowler, Aurelia Mihai, Nicola Oxley, Andrea Roe,
Claire Rousell, Clara S Rueprich, Helen Sears and Miranda Whall.

24 January – 22 March 2009

The Animal Gaze is a contemporary art exhibition that explores the complex relationships between animals and humans. It features the work of over 40 international artists at four exhibition venues in Plymouth; and at CCANW near Exeter.

This exhibition is also part of Darwin200, celebrating the 200th anniversary of the birth of Darwin and marking 150 years since On the Origin of Species was published. Darwin’s concept of the evolution of species through natural selection revolutionised our understanding of nature and our place within it. The city of Plymouth itself has particular relevance since Darwin’s most influential voyage of discovery, onboard the HMS Beagle, set sail from Devonport, Plymouth, on 27 December 1831.

The exhibition’s curator Rosemarie McGoldrick explains: “The Animal Gaze is an exhibition showing how animals currently appear in Western contemporary art. The work has been selected, from a range of national and international artists, for its new approach to animals, taking into account ethics, politics and aesthetics.”

Plymouth Visual Arts Consortium and CCANW have brought this exhibition to the South West and it includes an associated commission by Groundwork UK South West. The Animal Gaze is a London Metropolitan University event organised and curated by Rosemarie McGoldrick.

Other elements of The Animal Gaze exhibition are on show on selected dates between January and May 2009 at Plymouth College of Art; Plymouth City Museum and Art Gallery; Centre for Contemporary Art and the Natural World at Haldon Forest Park, Exeter; and Peninsula Arts Gallery at the Roland Levinsky Gallery, University of Plymouth.

image:
Marcus Coates
Goshawk (Self Portrait)
1999
Archival Inkjet Print
MC0001
Courtesy of the artist and Workplace Gallery, UK

Ginny Reed "In conversation with Ginny Reed and Sally Madge " BALTIC, Gateshead, UK

Thursday 12 February 2009
17.00-17.45 / FREE

Level 2
BALTIC, Gateshead, UK

Following Sally Madge’s Fluxus-inspired performance there will be an opportunity at BALTIC to discuss these Fluxus performances with Ginny Reed and Sally Madge.
To reserve your free place please call 0191 478 1810 or email events@balticmill.com

Ginny Reed "THE DREAM OF FLUXUS" BALTIC, Gateshead, UK

THE DREAM OF FLUXUS
FLUXUS-INSPIRED PERFORMANCES

Thursday 22 January 2009
Performances will take place at regular intervals during gallery hours 10.00-18.00.

To celebrate this historical exhibition BALTIC has commissioned Newcastle-based artists Ginny Reed, Sally Madge and Joel Fisher to perform new works inspired by The Dream of Fluxus. These performances are free to the public and will take place in the galleries during opening hours.
NO BOOKING REQUIRED.

for more info visit:
www.balticmill.com

Image:
Ginny Reed
performance for Make Your Own Damn Art World, MIMA, 2007

Joe Clark: "the voice and nothing more" Slade Research Centre, London, UK

the voice and nothing more

Curated by Sam Belinfante and Neil Luck

the voice and nothing more is a week-long festival exploring the voice as both medium and subject matter in contemporary arts practices. Both established and emerging artists will work with leading vocal performers and composers in an exploration of the voice outside language.

vanm is symptomatic of a growing interest in the voice across arts practices and will give leading practitioners the opportunity to work with some of the most important singers and vocal ensembles in the UK today. Importantly, vanm is the product of a desire to encourage conversations between the contemporary arts communities, conversations that will elucidate art’s complicated relationship with the voice as well as generate new processes and strategies for engaging with it. Instead of merely placing musicians and artists in one space, vanm facilitates an ongoing discourse in and around the voice with the production of new ambitious, collaborative, artworks as well as the formation of new working practices. Artists and performers come together to generate exciting new collaborative works. Invited performers include Mikhail Karikis, Lore Lixembourg and Juice, as well as a specially formed large-scale vocal ensemble.

Performers, working with the artists and resident composer Claudia Molitor, will create new score-objects culminating in a series of new performances. Artists Martin Creed, Simon Faithfull, Dryden Goodwin, Bruce Mclean and Cornelia Parker along with emerging artists Athanasios Argianas, Amy Cunningham, Nick Laessing, Phoebe Unwin and Sarah Kate Wilson are just
some of the 50+ artists taking part.

Athanasios Argianas, Umi Baden-Powell, Sam Belinfante, Melis van den Berg, Fiona Bevan, Sarah Bowker-Jones, Martin John Callanan, Alejandro Cano Casso, Stella Capes, Patricia Chi, Elisabeth S. Clark, Joe Clark, Kitty Clark, Adam de la Cour, Martin Creed, Amy Cunningham, Edward Dorrian, Claire Dorsett, Nisha Duggal, Faith Edwards, Simon Faithfull, Kathryn Faulkner, Penny Florence, Maria Georgoula, Dryden Goodwin, Nick Hornby, Juice, Mikhail Karikis, Hyo Myoung Kim, Nick Laessing, Caroline de Lannoy, Matthew Le Knowles, Sasha Litvintseva, Lore Lixembourg, Leah Lovett, JT Lowen, Neil Luck, Allison Maletz, Janne Malmros, Revati Mann, Bruce Mclean, Claudia Molitor, Sally Morfill, Margarita Myrogianni, Catalina Niculescu, Kjartan Nilsen, Stephanie O’Connor, Benjamin Oliver, Junko Otake, Cornelia Parker, Jayne Parker, Louisa Parker, Bradley Phillip, Tessa Power, Dante Rendle Taylor, Mike Ryder, William Saunders, Kristin Sherman, Simson & Volley, Diana Taylor, Estelle Thompson,
Phoebe Unwin, Caroline Vasquez, Sarah Kate Wilson and Jayne Wilton.

Monday 12 - Friday 16 January 2009

Wednesday 14 January ~ the voice, a lecture by Dr Simon Morris, 12pm
Thursday 15 January ~ show opens at 6pm, performances start at 7pm.
Friday 16 January ~ show opens at 6pm, performances start at 7pm.

Slade Research Centre
University College London
10 - 11 Woburn Square
London
WC1H 0NS

www.thevoiceandnothingmore.com

image:
Joe Clark
Morocco Film Still #11, 2008

Paul Merrick: "Solo Exhibition" Queens Hall Arts Centre, Hexham, UK

Image: Paul Merrick
Untitled (Flamingo), 2008
Gloss Paint on Scrap Aluminium
180 x 170 cms
Courtesy of the artist and Workplace Gallery


Newcastle based artist Paul Merrick shows a selection of sculptures and paintings in Gallery One. Thick oil colour, skimmed and twisted, on aluminium surfaces produces works rich with beauty and form. Paul Merrick is represented by Workplace Gallery, Gateshead

Saturday 10 January to Saturday 7 February
Queen’s Hall Arts Centre,
Beaumont Street, Hexham,
Northumberland, NE46 3LS

GALLERY ONE – FREE ENTRY

Marcus Coates: "Trying To Cope With Things That Aren't Human (Part One)" David Cunningham Projects, San Francisco, USA

Laura Lancaster: "Ego Documents", Kunstmuseum, Bern, Switzerland

Ego Documents. The Autobiographical in Contemporary Art 14 November 2008 - 15 February 2009

List of artists
Darren Almond, Sadie Benning, Louise Bourgeois, Annatina Graf, Mona Hatoum, Xiaoyuan Hu, On Kawara, Martin Kippenberger, Isabelle Krieg, Elke Krystufek, Laura Lancaster, Nicolas Nixon, Jan Peters, Jack Pierson, Anri Sala, Vittorio Santoro, Carolee Schneemann, Annelies Strba, Ana Strika, Pascale Wiedemann/Daniel Mettler.

In her first exhibition in the Museum of Fine Arts Bern, the new curator of the contemporary department, Kathleen Bühler, will be taking as her theme what is autobiographical in contemporary art as an instrument of self-representation and self-discovery. The exhibition will be showing works from the collection of the Museum of Fine Arts Bern and from private collections as well as some works created expressly for the exhibition by young Swiss and international artists.


"Ego Documents" is a collective concept for any kind of autobiographical self-testimony. The autobiography is more than a self-portrait: It is a retrospective and presents the finding of an individual identity in a narrative or documentary process.

In a time in which the borders between public and private, fictitious and real are continually being redefined, the presentation of one's own life can come under fire in the tension between contradictory impulses. Contemporary artists in particular are subject to pressure by the art market to present resumes that are as intriguing as possible.

This exhibition illustrates the fact that although what is autobiographical in art can be a narcissistic reflection of self, it can also be of service in the search for the ego or in the dialogue with transience.

Supported by
Foundation GegenwART, Dr. h.c. Hansjörg Wyss

The Exhibition

Opening
Thursday, November 13, 2008, 18h30

Duration
14.11.2008 - 15.2.2009

Curator
Kathleen Bühler

Opening Hours
Tuesday 10h - 21h
Wednesday to Sunday 10h - 17h
Holidays 24.12.08, 31.12.08, 1.1.09, 2.1.09: 10h - 17h; 25.12.08: closed

Entrance Fee
CHF 14.- / red. CHF 10.-

Francis Gomila and Cecilia Stenbom: "Connecting Principles" Culture Lab, Newcastle University, UK

Connecting Principle: Dialogue is a 2 day public event on Thursday and Friday November 13th and 14th at Newcastle University showcasing work in progress by artists in collaboration with other researchers.

Creative projects will take place throughout the Fine Art Building and Culture Lab, with collaborators from the UK, Germany, Australia and Canada. The event will present 15 diverse activities investigating the dialogue between research methodologies including discussions, performances, installations, transmissions and other works.

http://www.ncl.ac.uk/connectingprinciple/

image:
Cecilia Stenbom
The Protocol
2008
HD Video
Film Duration 27 Minutes (looped)
Courtesy of the artist and Workplace Gallery, UK

Catherine Bertola: "THE INTERTWINING LINE" Cornerhouse, Manchester, UK

THE INTERTWINING LINE
DRAWING AS SUBVERSIVE ART
From Fri 7 November to Sun 11 January 2009

ARTISTS
Catherine Bertola, Rachel Goodyear, Margaret Harrison, Melanie Jackson, Naomi Kashiwagi, Ulrike Lienbacher, Dan Perjovschi, Guto Nobrega, Sissu Tarka
CURATOR
Tereza Kotyk

The Intertwining Line explores early and contemporary animation and its intertwined relationship with contemporary drawing. The exhibition features work by nine artists, including internationally acclaimed artists Dan Perjovschi and Margaret Harrison, a new generation of British artists, such as Melanie Jackson, Rachel Goodyear and Naomi Kashiwagi, alongside screenings of Czech animations and films selected from the Tricky Women festival. Animation is often considered to be childlike entertainment, however the radical potential of the medium has a long history - whether this is the implicit social criticism that is hidden within early Czech animation, or the use of humour to create powerful social commentary in modern artists’ animations. Drawing also has this potential and this can be through meticulously crafted images that merely hint at social unease or speedily drawn sketches which carry a powerful charge of immediacy to create political statements.

"TOMORROW THE FUTURE" curated by WORKPLACE, Fishmarket Gallery, Northampton, UK

Mon 03 Nov 2008 - Sat 22 Nov 2008

The Fishmarket is proud to welcome artists selected by Workplace Gallery in Gateshead for a special group show.

TANYA AXFORD Hula Hoops incessantly in a pitch-black room. Randomly exposed by oversensitive ‘slave’ camera flashes triggered by an intermittently firing strobe she circumnavigates performance, photography and sculpture.

Well known for his eclectic use of material ERIC BAINBRIDGE has spent his career reconsidering modernism. In Untitled 2008 Sausages and Melamine combine to revel in their own redundancy – visually heroic yet utterly futile.

Old TV sets play DARREN BANKS' re-cut videos from found movies in which Public Sculpture and Armageddon emerge as dominant themes for the present.

Christina Is Not Well after a heavy night out In Sunderland in SOPHIE LISA BERESFORD'S film, which inadvertently explores biography, social commentary and visceral sculptural presence to loud effect.

Human presence is the basis of CATHERINE BERTOLA'S archaeologies. In Flights of Fancy she re-inhabits found C19th glass photographs, posing as a middle class Lady in a Victorian interior.

CATH CAMPBELL presents the interior and exterior space of architecture as one through her intricate perspective drawings on paper that move from object to image to object again via her precise cutting away with a scalpel.

HUGO CANOILAS' arrangement of found and painted objects combines figuration, abstraction and political symbolism to resurrect the energy and ideology of the original avant-garde.

JOE CLARK'S film Gateshead Light Sequence features the humble street lamp shifting through degrees of luminescent intensity via an animated sequence of still photographs at night.

In 'Cadences' MARCUS COATES takes the last bars at the end of pastoral symphonies to construct a new audio landscape.

JO COUPE'S centrifugally cast bronze works fuse high precision jewellery techniques with botanical expertise to explore a complex relationship between beauty and decay.

JENNIFER DOUGLAS brings together carefully selected materials to create a discourse between the material world in which the work exists, and the imagined worlds that form the basis for her sculpture.

ASHLEY HIPKIN'S sculptures examine the memory and ethics of function and use through the combination of reconstructed objects from the past cut up, replicated, reformed and painted with the obsolete colours of yesterday.

Like a Polaroid fading into focus the identities of the subjects of LAURA LANCASTER'S paintings are never clear. This state of flux and fluidity allows the works to exist in a temporal, ambiguous space reaffirming the anonymity of the found photographs that she works from.

RACHEL LANCASTER takes photographs of seemingly insignificant passing shots from ‘cult’ films and television programmes. Her paintings from these photographs interrogate the seemingly unimportant moments of a greater narrative - a blurred portrayal of a corridor from Teenwolf or a car bonnet from The Sopranos. Divorced physically from the story her paintings maintain a mysterious connection with ‘the event’ and a cinematic monumentality.

ANT MACARI'S drawings function at once as a schematic, developmental process and constitute the resolution of ideas themselves. Through drawing and writing he communicates a tacit understanding of the culture that has made him.

PAUL MERRICK combines painting with sculpture, and the made with the ready-made. Investigating colour, shape and architectural arrangement whilst consistently referencing back to Painting as a subject and discipline in and of itself.

PAUL MOSS' work responds to the particularity of the urban environment by conflating hand-made processes with manufactured materials to form motifs that reference the information culture that we live in and also pure abstraction and modularity.

GINNY REED'S photographs are residues and remnants of performance events. Party Hard is incidental, monumental and autobiographical in the same moment, finding a new position between documentation and the authoritative image.

RICHARD RIGG'S work resonates within its own solipsistic self-referentiality. The work is its own context. Object, function and aesthetics combine to find a reductive equilibrium through which he re-examines the minimal strategy in art, moving its flawed logic towards an aesthetic endgame.

Using herself as a template for the individual and challenging the notion of self in today’s media-obsessed society through mediated mainstream reportage

CECILIA STENBOM presents the ideal of the perfect person as an unachievable but self consciously striven-for entity.

MILES THURLOW'S work is deliberately paradoxical - at once conceptually sophisticated and aesthetically bare. Referencing the demise of modernism and the rise of quick fix, cheap alternatives his work investigates the architecture of modern day living and our relationship with the products of consumer culture.

WOLFGANG WEILEDER'S long exposure photographs are of the sculptural rebuilding of specific houses and architecture. Constructed and deconstructed one façade at a time Weileder’s architectures are displaced and isolated through location, labour and time. These ephemeral, time based events become translucent images of urban regeneration portraying haunting civic visions of a possible future.

Image "It's Not The End Of The World", Darren Banks, 2007, Single Channel Video.

www.workplacegallery.co.uk

Catherine Bertola & Peter J. Evans: "Beautifully Crafted", National Glass Centre, Sunderland, UK

`Beautifully Crafted'
October 25 2008 – February 22 2009
Preview Friday October 24, 6 - 8pm.

10th Anniversary Open Weekend
25 & 26 October 2008 1am - 5pm
A weekend of tours, talks and demonstrations.

In 2008, National Glass Centre enjoys its 10th Anniversary. To
celebrate this and the work it does to support artists make, show and
sell their work, National Glass Centre is launching `Beautifully
Crafted'; an exhibition of ingenuity, exquisite workmanship,
innovation and delight, along with a weekend of special events.

Before the Industrial Revolution artisans were the dominant producers
of goods, handcrafting functional as well as ornamental items that
fulfilled a universal desire for beautiful objects. `Beautifully
Crafted' explores the innovative ways contemporary artists and
designers create works that fuse cultural histories and ancient
techniques with new technologies and new ways of working.

It will bring together the work of established and emerging artists,
designers and businesses from the UK, across Europe and beyond, who
are experimenting in a range of materials and form that pay homage to
bygone traditions, artisan techniques and display a meticulous
attention to `making'; from glassmaking to taxidermy, lacemaking to
marquetry.

NGC invited a range of curators, artists/designers and writers, to
choose an artist whose work they felt fitted within the philosophy and
premise of `Beautifully Crafted'. Along with research undertaken by
the NGC curatorial team, seventy artists are included in the
exhibition, working with around 20 different traditional techniques.
The exhibition will feature antique furniture and objects from the
late 18th and early 19th century, courtesy of The Bowes Museum
collection as well as objects from Beamish Museum's archive.

Beatifully Crafted Artists:
Kathleen & Nick Abbott, Michael Anastassiades, Louise Batchelor, Lise
Bech, Catherine Bertola, Martin Blenkin, Sarah Cant, Chien-Wei Chang,
Jonathan Chiswell Jones, Jennifer Collier, Jacqueline Cullen, Dot Sim,
John Edwards, David Ersser, Peter J Evans, Liam Flynn, Nora Fok, Eri
Funazaki, George Smith, Gillies Jones Glass, Michael Golding, Mia E
Goransson, Karina Hesketh, Magie Hollingworth, Sarah Hutchison,
Industreal, Grace Jacomb, Paul Jewby, Ditte Johansson, Jessamy Kelly,
Anna S King, June Kingsbury, Bovey Lee, Jennifer Lee, Carlyn Lindsay,
Beth Lipman, Malin Lundmark, Nicola Malkin, Joanna Manousis, James
Maskrey, Massey & Rogers, Maya Romanoff, Rupert McBain, Kelly
McCallum, Einav Mekori, Annie Millar, Michelle Ni, Lyn Randall,
Reptile Tile & Ceramics, Kait Rhoads, Stephen Richards, Riyaz Design,
Anthony Roussel, Mark Rowney, Henrietta Rose Samuels, Lucy May
Schofield, Cosima Sempill, Sheldon:Cooney, Urh Sobocan, Paul Stone,
Laura Strasser, Melanie Tomlinson, Jessica Townsend, Flora Vagi,
Sylvie Vandenhoucke, Anne Walker, Ceal Warnants, Kathryn Wightman,
Kate Williams, Robin Wood.

Some of the techniques and materials featured in the exhibition
include; Ceramics and Glassmaking, Wood Turning, Basketry, Furniture
design & making, Papermache, Millinery, Silversmithing, Book-binding,
Textiles, Wallpaper, Parquet & Floor design, Taxidermy, Upholstry, Bag
making, Leather working, shoemaking, Lace making, Stitiching, Automata
making.

NATIONAL
GLASS CENTRE

Liberty Way, Sunderland, SR6 0GL
0191 515 5555
0191 515 5532
NGC Reception: 0191 515 5555
reception@nationalglasscentre.com
www.nationalglasscentre.com

Wolfgang Weileder: "Le Terme", Ciocca Arte Contemporanea, Milan, Italy, Leuven, Belgium

le Terme
a time based site-specific architectural installation
Ciocca Arte Contemporanea, Milan Italy
October 08

Builders from R. Bau UK aided by architecture students from Politecnico di Milan are simultaneously constructing and de-construct a section of Diurno Venezea, a derelict 1920’s public bathhouse at Piazza Oberdan. The historical architecture that lies forgotten underneath the surface is revealed in a performative gesture and the square's surface becomes the mirror of memory: Diurno is upturned like an image reflected in the water. The sculpture will directly reference shape and scale of the bathhouse below (five metres high and sixty metres long).

Whilst reflecting the permanence and immobility of the remains below, Le Terme is a structure of constant movement where walls appear and disappear and the construction of the monumental becomes a visible experience, encouraging a public discussion about the city's forgotten spaces.



www.rossanaciocca.it
www.rossanaciocca.it/le terme

Peter J. Evans: "WHAT WE CAN'T SEE INFLUENCES BEYOND OUR REACH" ACA (Allenheads Contemporary Arts), UK

What we can't see influences beyond our reach

Peter J. Evans

Saturday 18th October 2008, 2-5pm, at ACAshop

In the summer of 2007 Peter J. Evans applied for one of the first Base Elements residencies at Allenheads Contemporary Arts. His proposal, titled Mountains into grains of sand was an attempt to draw out the familiar patterns weaving through all things and examine how scientific principles could lend support to existential philosophies and social theories. The idea was to find examples of these overlaps. However, on starting the project it quickly became apparent that due to the necessary rigidity of the scientific method, such overlaps, would need theories of how they might function; and ways of testing them. In short, Evans’ project would have to become reductionist and rigid and this fundamental switch would have moved the project away from its intention.

The proposal then, got placed on the back burner and for a while a front ring remained unlit. Over this period many books were read, on quantum physics, cultural theory, essays on silence and the more information gained the more lost and found the project became until it was clear that lost and found was a good enough fuel to burn.

Utilizing his drawing practice in which works, “are formed by diagrammatic processes and artificial systems are used to chart and delineate abstract concepts such as human relationships, memory and beauty,”[1] Evans has made a work in which the hidden may at moments become visible, links disappear and appear depending on the light and as in the quantum world things influence our experience without their presence being seen.

Peter J. Evans lives and works in Newcastle Upon Tyne. He has recently exhibited at Spacex Exeter, Seventeen London, Baltic and Workplace Gateshead.


Exhibition continues Sunday 19th, Saturday 25th & Sunday 26th October, 2-5pm. For further details please contact:

Allenheads Contemporary Arts
The Old Schoolhouse
Allenheads
NE47 9HR

www.acart.org.uk
acaheads@aol.com
01434 685040

Marcus Coates: "Three BY Three (2)", Sunbury House, London, UK

Laura Lancaster: Voyage Sentimental - Poznań Biennale - Poland

Laura Lancaster
Voyage Sentimental
Poznań Biennale - Poland

3 -30 October 2008


Voyage Sentimental

The exhibition presents the most recent artistic endeavour, mainly from the area of Central Europe. The thematic scope is reflected in seven sub-titles: Private Stories / Public Conflict, Melancholy and Longing, Urban Rumors, Micro-realism, Mania and Obsession, On Time and Silence, Gardens and Islands.

Among 79 featured artists are: Marina Abramović, Günter Brus, Jan Fabre, Gloria Friedmann, Izabella Gustowska, William Kentridge, Anselm Kiefer, Jarosław Kozłowski, Laura Lancaster, Zbigniew Libera, Hermann Nitsch, Roman Opałka, Giuseppe Penone, Michelangelo Pistoletto, Günther Uecker, Lee Ufan.


Voyage Sentimental

Wystawa prezentuje sztukę najnowszą, głównie z regionu Europy Środkowej. Jej tematykę sygnalizuje siedem podtytułów: Private Stories / Public Conflict, Melancholy and Longing, Urban Rumors, Micro-realism, Mania and Obsession, On Time and Silence, Gardens and Islands.

Wśród 79 artystów są m.in. Marina Abramović, Günter Brus, Jan Fabre, Gloria Friedmann, Izabella Gustowska, William Kentridge, Anselm Kiefer, Jarosław Kozłowski, Laura Lancaster, Zbigniew Libera, Hermann Nitsch, Roman Opałka, Giuseppe Penone, Michelangelo Pistoletto, Günther Uecker, Lee Ufan.


Curated by Lorand Hegyi

http://mediations.pl/#/en/wystawy/voyagesentimental

Laura Lancaster & Rachel Lancaster: "The Sovereign Art Prize", Somerset House, London

SOVEREIGN EUROPEAN ART PRIZE

The Sovereign Art Foundation has announced the artists shortlisted for its third annual Sovereign European Art Prize.
Artists can only enter the prize through a process of nomination by one of the foundation’s Europe wide network of art experts.

The shortlisted artists are:

AES+F, Russia; Maurizio Anzeri, UK; Sandy Sykes, UK; Mimi Mollica, Italy; S¿ren Lose, Germany; John Stark, UK; Susanne S.D. Themlitz, Portugal; Nadia Hebson, Germany; Daniel Canogar, Spain; Laura Lancaster, UK; Rachel Lancaster, UK; Laurent le Deunff, France; Lynne Collins, UK; Nicola Di Caprio, Italy; Eòghann Mac Colla, UK; Andrew Gilbert, Germany; Miikka Vaskola, Finland; Douglas Fishbone, UK; Tiina Heiska, Finland; Joss McKinley, UK; Ben Murphy, UK; Peter Churcher, Spain; Anda Bankovska, Latvia; Rita Magalhaes, Portugal; Michael Fliri, Austria; Ida Cecilie Kvetny, Denmark; Julie Nord, Denmark; Goldin+Senneby, Sweden; Marisa Gonzalez, Spain; Tina Gibbard, UK.

Works by the thirty artists will go on show at Somerset House from the 1-10 October.
During the exhibition the judges will decide on the ultimate winner of the €25,000 first prize.

Judges:

Sir Peter Blake: Honorary Chair
Tim Marlow: Director, White Cube
Jarvis Cocker: Artist, Pulp
Rachel Campbell-Johnstan: Art critic, The Times
Philly Adams: Director of the Saatchi Gallery
Alan Yentob: Creative Director of BBC Television

In addition, members of the public can also vote for the shortlisted artists, on the Sovereign Art Foundation’s website or during the exhibition, to decide the winner of the €1,000 public vote prize.

www.sovereignartfoundation.com
www.somersethouse.org.uk

Images:
Laura Lancaster "Untitled" 2008, 13cm x 18cm Oil on Board
Rachel Lancaster "Untitled (Lipstick)" 2008, 40cm x 50cm Oil on Canvas

Wolfgang Weileder: "Slapende Meermin", STUK Kunstencentrum, Leuven, Belgium

Wolfgang Weileder

Slapende Meermin

a full scale site-specific
architectural installation

Martelarenplein,
Leuven, Belgium
30 September - 4 October 2008

Slapende Meermin references a historical building situated at the North end of Martelarenplein, Leuven. Above the ground floor window the name of a bar/café has been carved originally into the stone lintel: A la sirene - in de Meermin. The sculpture is a full-scale copy of the façade of this building turned by 90 degrees. Appearing like a physical manifestation of the building's shadow, the architectural structure stretches out on Martelarenplein over a length of nearly 18 meter.

Slapende Meermin has been developed by the artist with r.Bau Ltd, South Tyneside and Newcastle College UK, and Wonen en Werken Leuven.
Slapende Meermin is a STUK Kunstencentrum Leuven project and part of the STUKSTART openingevent. Martelarenplein is opposite Leuven Central Station.
For further information visit: www.stuk.be