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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Marcus Coates: 'Ape Culture' Haus der Kulturen der Welt, Berlin, GER

Image: Marcus Coates, Shared traits of the Hominini (Humans, Bonobos and Chimpanzees), 2015 (detail) Vinyl, 508 x 259 cm (MC0176) Courtesy of the artist and Workplace Gallery, UK Ape Culture Haus der Kulturen der Welt John - Foster- Dulles - Allee 10 10557 Berlin 30th April - 6th July 2015 http://www.hkw.de/en/programm/projekte/2015/ape_culture/ausstellung_4/ausstellung_ape_culture.php   Lene Berg, Marcus Coates, Anja Dornieden & Juan David González Monroy, Ines Doujak, Coco Fusco, Jos de Gruyter and Harald Thys, Pierre Huyghe, Louise Lawler, Damián Ortega, Nagisa Oshima, Erik Steinbrecher, Rosemarie Trockel, Klaus Weber, and Frederick Wiseman. Contributions and collaboration: Cord Riechelmann and Christophe Boesch Curators: Anselm Franke and Hila Peleg   The exhibition Ape Culture presents artworks and documents that wittily observe the relationship between humans and other primates.    As a figure poised on the threshold between humans and animals, since antiquity the ape has played a central role in the story of how civilization has "progressed". What was initially a means for Western humanity to define itself has become a test case for how human "nature" might be constructed anew - something that is uncharted territory where subconscious and unconscious notions of social order are revealed.   Ape Culture investigates the hegemonic and subversive potential of how apes are represented and reflects upon the term "culture." In the exhibition, artists such as Ines Doujak, Pierre Huyghe, and Klaus Weber critically examine images of the "great apes" and their role in what Donna Haraway has termed the "primate order." In addition, material taken from the natural sciences and popular culture illustrates how the way we perceive our closest relatives has changed radically. This is exemplified by Frederick Wiseman's 1974 film "Primate," an observation of the daily routine at Yerkes Primate Research Center in Atlanta. While on the surface the film documents the studies carried out by the center into apes' capacity for learning, ability to remember, and sexual behavior, at a deeper level the film scrutinizes and challenges what science actually does: "One set of primates who have power, using it against another who haven't," as the British film critic Derek Malcolm put it. Coco Fusco's "Observations of Predation in Humans: A Lecture by Dr. Zira, Animal Psychologist," which will be shown as a film throughout the exhibition and performed live by the artist in early July, is based on the legendary female chimpanzee Dr. Zira from the film series "Planet of the Apes." After twenty years of research in seclusion, Dr. Zira returns to the public sphere to present her assessment of the special characteristics of human aggression in the twenty-first century. Artist talk: 30th April 2015 Relating to Apes - a system of degrees In the pursuit of defining what is human, the ape presents us with a complex and compelling comparison. Marcus Coates worked with Primatologist Volker Sommer to negotiate and devise a comparative framework. Using examples of past work, performance and recordings of his recent discussions with Sommer, Coates will discuss his own relational research and the collaboration behind the new work - Degreecoordinates for Ape Culture.

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Catherine Bertola: "Invisible Cities" Hatton Gallery, Newcastle, UK

Invisible Cities   Hatton Gallery Newcastle University, UK  23 Apr - 16 May 15 http://www.twmuseums.org.uk/hatton-gallery/whats-on/exhibitions/invisible-cities.html http://cities-ncl.moonfruit.com/home/4588495261   How do we define a city? This is just one of the questions explored in Invisible Cities, which has been organised by students from the MA in Art Curatorship course from the International Centre for Cultural and Heritage Studies at Newcastle University.   To many, cities are much more than just the sum of their physical parts. The urban environment is a thought-provoking place, prompting emotional responses, making us question the use of space and contaning many competing characters.    The project will act as a meeting point for incividual and shared preconceptions of the urban environment as a material and psychological entity. Works on display will include artworks, design objects and architectural drawings from Tyne & Wear Archives & Museums collections as well as work from contemporary practitioners.  image: Catherine Bertola Sad Bones (Clumber Park), 2013 Book Page, Matches 30 x 24.7 cm 11 3/4 x 9 3/4 in (CB0095) Courtesy of the artist and Workplace Gallery, UK

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Cecilia Stenbom: "The Case" Minimalen Short Film Festival, Trondheim, Norway

Cecilia Stenbom   The Case   Minimalen Short Film Festival, Trondheim, Norway http://www.minimalen.com The 27th Minimalen Short Film Festival presents 226 films from Wednesday 22nd to Sunday 26th of April 2015. The Case will be screened as part of the Nordic Competition on Friday April 24th at 12:00 at Nova Cinema in Trondheim, Norway. A look at how crime fiction prey and perpetuate anxieties whilst being a source of entertainment. The dialogue and voice over segments in the film are reenactments from a series of transcribed recordings with the general public about perception of crime.   The Case was commissioned by Berwick Visual Arts and Berwick Film & Media Arts Festival. image:   Cecilia Stenbom The Case, 2013 Single Channel HD Film Duration: 8 Minutes 53 Seconds (CS0141) Courtesy of the artist and Workplace Gallery, UK

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Jacob Dahlgren: Preview Friday 24th April at Workpace Gateshead

Jacob Dahlgren, Kung Fu Panda (still), 2015, Single channel HD video 16:9, 28:29 minutes. Courtesy of the artist and Workplace Gallery, UK. Jacob Dahlgren Kung Fu Panda   Preview: 6pm - 9pm Friday 24th April 2015   Workplace Gallery The Old Post Office 19-21 West Street Gateshead NE8 1AD   Exhibition continues: 25th April - 23rd May 2015 Tuesday - Saturday, 11am - 5pm (or by appointment)   Kung Fu Panda is a new video work by Swedish artist Jacob Dahlgren in which he films the reflected ambient light on an adjacent white wall at home, whilst his children are watching the eponymous animated feature film. Filmed in High Definition from a fixed camera position and projected as a single work in a gallery context Dahlgren's Kung Fu Panda becomes an absorbing and constantly changing digital colourfield painting that manifests a subtlety at odds with the apparent chaos of the original film dubbed in Swedish, and the surrounding scenario as the artist's children watch whilst carrying on their own everyday conversations.   In an adjacent room Dahlgren presents a readymade series entitled When The Sky Is The Limit. Consisting of framed double page spreads from in-flight magazines collected by Dahlgren, each image is selected, isolated, and framed according to its inherent relationship to abstraction.   Dahlgren's work is concerned with a dialogue between the authoritative singularity of pure formal abstraction and its position within a variable, complex and social shared culture. His repetitious collections of ubiquitous and ordinary objects, often domestic, industrially manufactured (and frequently, knowingly Scandinavian); stand in their gestalt form as proxy for High Modernist Abstract Painting and for all of the ideological territory that Twentieth Century Art Theory has staked out for it. The contributing objects, however, signify a collective and human aspect of society, each representing an individual choice, used in a unique way by its consumer. Together these objects stand for the group or community, and as such they become democratic rather than authored. Through endless ingenious amalgams of pattern, abstraction and mass-produced objects, Dahlgren's recent works purposefully inhabit modes of modernist painting, deliberately playing with the inherent autonomy of the source material.   Jacob Dahlgren was born in Stockholm, Sweden in 1970. Dahlgren represented Sweden in the Nordic Pavilion at the 2007 Venice Biennale. His work has been exhibited at, KIASMA Museum of Contemporary Art, Helsinki, Finland, P.S.1 Contemporary Art Center/MoMA, New York, USA, Moderna Museet, Stockholm, Sweden, Turner Contemporary, Margate, UK, and Tramway, Glasgow, UK. He lives and works in Stockholm.   Jacob Dahlgren's solo exhibition Third Uncle is currently showing at Workplace London until 9th May 2015, please visit the website for further information.   Kindly supported by

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Joel Kyack: Preview Friday 24th April at Workpace Gateshead

Joel Kyack, The Very First Day, 2015, plastic bucket, water, dye, pump, plastic finger, hose, tiled plinth, 131cm x 42cm x 39cm, Courtesy of François Ghebaly, Los Angeles, USA Joel Kyack The Very First Day   Preview: 6pm - 9pm Friday 24th April 2015   Workplace Gallery The Old Post Office 19-21 West Street Gateshead NE8 1AD   Exhibition continues: 25th April - 23rd May 2015 Tuesday - Saturday, 11am - 5pm (or by appointment)     Workplace Gallery is proud to present the first UK solo exhibition of Los Angeles based artist Joel Kyack. For this exhibition Kyack will present a new body of sculpture and painting shown here for the first time.   Joel Kyack brings together a combination of unlikely components 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.   The Very First Day is a continuation of Kyack's fountain series, comprised of a jet of black water springing from the tip of a plastic finger set in the centre of a pool at the bottom of a white industrial bucket atop a black tiled plinth. Simulating a divine moment of creation, the work is talismanic - functioning both as origin myth and as omen of ill-portent - a figure eerily emerging from the unfathomable dark depths, or a Michelangelo-esque finger of God conferring Genesis unto Man. The Comeback is an expanded painting made from an underarm crutch leant against the wall, supporting both the wall and a plaid dress-shirted fake arm bought from a Los Angeles prop-shop. Functioning as a device for recuperation and healing, this work implicates the gallery wall, and by extension the institution of Art as deficient or degenerate. As We Go Up We Go Down is the latest in a series of kinetic sculptures employing a record deck and suspended aluminium spring that seemingly traps cheap party balloons in a state of perpetual ascension, when in reality they are going nowhere.   Kyack's work in this exhibition operates in a territory between threat and jest; functioning as visible manifestation of cruel intent or as the result of a transgressed moral or physical boundary, coercing us to shift from our normal patterns of behavior. Humour is employed by Kyack to articulate an uncanny brutality, which as with the jokes and play of children, often pertains to extreme violence or death. The black humour in Kyack's work creates a third position, beyond artist and viewer, wherein existential anxieties can be addressed.   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 Old Sailors Never Die and Escape to Shit Mountain at François 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. Recent performances include Portrait That May Look Like You (public) in Los Angeles; Buy What I Say, FIAC, Paris; Growing Pains Leave Stains, Kaleidoscope ARENA, Macro Testaccio, Rome, Italy; and Wattis Up with this Guy?, Wattis Institute, San Francisco, CA. He is represented by François Ghebaly in Los Angeles and Praz-Delavallade in Paris. He lives and works in Los Angeles, California.   Kindly supported by

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