Hugo Canoilas: "Morte sem fim" MNAC - The National Museum of Contemporary Art - Museu do Chiado, Lisbon, Portugal

Hugo Canoilas, Endless Killing, 2008, Installation view: Huarte Contemporary Art Centre, Spain, Curated by Chus Martinez, MORTE SEM FIM HUGO CANOILAS 2016-07-16   Curatorship: Emília Tavares Morte sem fim is the first public event of the Under the Volcano project that will be presented by Hugo Canoilas at the National Museum of Contemporary Art – Chiado Museum (MNAC-MC) for the 2nd Edition of MNAC/SONAE Art Cycles to take place from November 18, 2016 (opening) to March 26, 2017.    On Saturday, July 16, Endless Killing (2008), a 100 metre panoramic painting made by Canoilas for Centro de Arte Contemporaneo Huarte in 2008 will be installed at a disused quarry located 500 metres from the centre of Negrais, a town on the outskirts of Lisbon. This special installation invites the public to visit the location and film set during the filming of parts of the films that will be presented in November. This event is also a chance to see all 100 metres of the Endless Killing painting.  This imposing work attempts a history of violence constructed through the history of painting. Taken out of the context for which it was produced, by being presented as part of the film set during the Negrais Festival and by incorporating the site and the spectators, the work is subjected to a reformulation of its meaning. This transformation of the work, the event and the public that is partially integrated into the filming also reconfigures the relationship between active and passive spectators, between agents subjected to experience and those that construct it.  Morte sem fim will include a musical element with a concert by Filipe Felizardo and a soundtrack arranged by Sonja. The musical material presented will function as the soundtrack for the film being produced. In keeping with the logic of the Under the Vulcano project, the musical elements operate autonomously while also being a fragment of the overall project.  Morte sem fim, as an autonomous event, will be complemented by the traditional snacks and drinks present at town festivals. These will be served at a caravan displaying the enigmatic sentence “No se puede vivir sin amar,” an element that, just as an invitation to an initiation, will be revealed throughout the process of the project.    Free transportation is available from Lisbon to Negrais and back, however places are limited. Please reserve a seat by Friday, July 15th, before 14:00  by emailing mnacchiado@gmail.com or calling 21 3432148  Departure from and arrival to: Rua Capelo 13, Chiado (entrance MNAC – Museu do Chiado) Departure times from Lisbon:  15h / 16h30 / 18h Departure times from Negrais: 17h / 19h / 21h Event location: Yellowstone quarry with access indicated by signage on the main street of Negrais   38°52'19.6"N 9°16'18.7"W   For directions or additional information on the day call + 351 935702970

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Jennifer Douglas, Paul Merrick: 'Identify your limitations, acknowledge the periphery' VITRINE, London

Jennifer Douglas, Untitled (Painting #10), 2015, Floor paint and carbon paper pigment on canvas, 120 x 150 cm,  Courtesy of the artist and Workplace Paul Merrick, Untitled (Warrior), 2015, Plasterboard, mastic sealant, found image, 63 x 63 cm, Courtesy of the artist and Workplace Identify your limitations, acknowledge the periphery  Jennifer Douglas, Justin Eagle, Sean Edwards, Ditte Gantriis, Maria de la O Garrido, Lauren Godfrey, Ludovica Gioscia, Felicity Hammond, Holly Hendry, Karin Hueber, Alix Marie, McGilvary / White, Paul Merrick, Lucia Quevedo, Charlie Godet Thomas, Aethan Wills, and Madalina Zaharia.   Wednesday 13 July 2016 - Saturday 10 September 2016  Private View: Tuesday 12 July 6.30 - 9pm. VITRINE, London. http://www.vitrinegallery.com     Boundaries, encasement, and entrapment – how does the vitrine mediate the subject or the object? Available for viewing, yet significantly distanced from its spectator the vitrine is often questioned within museums and institutions. By acknowledging the vitrine’s confinements how might one adopt these elements to both activate an artwork and abolish boundaries?   VITRINE, London is delighted to present an ambitious group exhibition with site-speci c works by 18 British and International artists that will look at the notions of limitations, instruction-based practice, and the role of the vitrine within exhibition making. This exhibition will naturally manifest forms of the wunderkammer.     Engaging with the architecture of the space (a 16-metre vitrine enclosed behind glass), artworks have been created in an attempt to push the boundaries of the space in unexpected arrangements commenting on institutional display and ideas of artistic production. Instructions and limitations act as a catalyst for this ambitious exhibition, for which artists have been invited by co-curators Alys Williams and Chris Bayley to devise a site-specific artwork that inhabits the restrictions and potential of the gallery space. Accepting chance in the realisation of an artwork, the exhibition looks at the ties among artists, artworks, the exhibition and its curators. The project was first initiated via an email instructing artists to produce a site-specific artwork that inhabits the limitations of the gallery space with one ‘rule’: Works must be restricted to sit within the vitrine, utilising any elements of the space you wish, be it the floor, the ceiling, the lighting, the walls or the windows... The exhibition explicitly employs notions of chance and its outcomes are determined by a procedure that cannot be predicted, pushing the vitrine to its limits.    VITRINE is focused on artistic experimentation and development; material, process and installation led practice at its core. Founded in London in 2012, grown from a project space since 2010, VITRINE invites and fosters the development and presentation of new work in spaces in London and Basel, at art fairs internationally and through off-site projects. VITRINE’s spaces on Bermondsey Square, London, and Vogesenplatz, Basel, promote a new model of exhibition-making. Whilst enclosed behind glass, the works extend beyond the gallery boundaries into the surrounding public space. Exhibitions viewable 24/7 and viewing rooms by appointment. VITRINE commissions SCULPTURE AT a public sculpture programme (Bermondsey Square, since 2014) and presents an array of events and experiences to enhance and support its international programme.  VITRINE, London

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Cath Campbell: 'Since the Middle Summer’s Spring' Head of Steam Museum, Darlington, UK

Image: Cath Campbell, Since the Middle Summer's Spring, 2016, Ply, steel, cardboard, paper, model train and track, 350 x 230 x 150 cm (CC0095) Courtesy of the artist and Workplace Gallery, UK   Since the Middle Summer's Spring Head of Steam Museum North Road Station Darlington DL3 6ST, UK             9July - 4September 2016 Tuesday - Sunday 10-4pm 'Since the Middle Summer's Spring' is a temporary commission for Darlington Head of Steam Museum by artist Cath Campbell. Known for her interventions within in architecture, architectural models and drawings, Cath presents six small sculptures of railway stations between which a paper schooner travels along a model train track in a slow endless loop. The work is a response to the Museum Collection, and explores the aesthetic of model architecture, model railways and the museum exhibit to create a dreamlike model world inspired by the epic voyage of a young woman from Southampton to Alexandria in 1858, in the company of the famous engineer Robert Stephenson. Each sculpture depicts a railway station from a stopping point on their journey including Southampton Central Station, England, Mdina Station, Malta, Algeciras Station, Spain (near Gibraltar), Ramses Central Railway Station, Cairo, Egypt, Algiers Central Train Station, Algeria and Dijon-Ville Train Station, France. The boat is a model of Robert Stephenson's first yacht, Titania. The work is commissioned for Meeting Point, led by contemporary art specialists Arts&Heritage. Meeting Point takes place at nine museums in the North East and Yorkshire from March to November 2016. The project is funded by Arts Council England's Museum Resilience Fund. http://www.artsandheritage.org.uk/meeting-point/

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Cath Campbell: 'Da Vinci Engineered' Amy Johnson Festival, Zebedee’s Yard, Hull, UK

Image: Cath Campbell, Lighthouse, 2012, Cardboard, Perspex and paint, 38 x 18 x 18 cm (CC0045) Courtesy of the artist and Workplace Gallery, UK Da Vinci Engineered Renaissance mechanics to contemporary art Zebedee's Yard Whitefriargate / Princes Dock Street Hull   Saturday 2 July - Sunday 21 August 2016 Open daily 10am - 5pm Last admissions 4pm   Claire Barber, Sabine Bieli, Savinder Bual, Cath Campbell, Clare Charnley, Nicola Dale, Nicola Ellis, Heinrich & Palmer, Simone Aaberg Kaern, Ruth Levene, Clare Mitten and Helen Schell   Curated by Lara Goodband   In association with Green Port Hull and University of Hull School of Engineering, supported by BAE Systems and Spencer Group.   Amy Johnson Festival themes of engineering, flight and creativity come together in this must-see exhibition, displayed in our specially constructed gallery in Zebedee's Yard.   Twelve faithful reproductions of Leonardo da Vinci's flight and wind machines loaned by Da Vinci Museum, Florence, demonstrate the remarkable prescience of this great artist and his engineering genius. Alongside these Renaissance machines, specially commissioned and selected works by contemporary artists respond to ideas of flight or explore the use of engineering in their conceptualisation, design or production.   This fascinating exhibition, curated by Lara Goodband, reminds us that the creativity of the engineer and the inspiration of the artist are two sides of the same coin of human endeavor and innovation.   A series of associated artists' talks and hands-on workshops for young people will take place throughout July and August. See the festival website for full details of these and other events.   http://amyjohnsonfestival.co.uk/whats-on/da-vinci-engineered/

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Artist Talk with Marcus Coates & Brown's London Art Weekend

Marcus Coates, How can I have more impact with what I do? (Humpback whale), 2016, HD video, duration 20mins Workplace Gallery at Brown’s London Art Weekend  Friday, July 1 - Sunday, July 3 2016 marks the third year of Brown's London Art Weekend (BLAW), when over seventy Mayfair and St. James's galleries and auction houses open their doors to the public for talks, walks, and exhibitions, with extended hours. From Friday to Sunday the gallery will be open to the public with Marcus Coates’ show You Might As Well Ask A Crow. Gallery Hours during BLAW Friday, 10 AM - 8 PM Saturday, 10 AM - 5 PM Sunday, 12 AM - 5 PM 61 Conduit Street Mayfair London, W1S 2GB Workplace Gallery Tour & Drinks with Marcus Coates Friday, July 1, 7 PM Join Marcus Coates for drinks and a guided tour of the exhibition You Might As Well Ask A Crow as a special event for the Brown’s London Art Weekend. RSVP: rsvp@workplacegallery.co.uk   Brown’s London Art Weekend 1 - 3 July 2016 For 150 years Mayfair’s galleries and auction houses have welcomed the world’s greatest art collectors, and Brown’s London Art Weekend is the ultimate celebration of this London heartland, rich with art galleries and an experience unlike any other in the world.  @Artinmayfair #BLAW2016 Nearest Tube: Green Park www.brownslondonartweekend.com           Marcus Coates was born in 1968 in London, UK. In 2008 he was the recipient of a Paul Hamlyn Award and in 2009 he won the Daiwa Art Prize.  Solo exhibitions include: The Trip, Serpentine Gallery, London; Implicit Sound, Fundació Joan Miró, Barcelona; Psychopomp, Milton Keynes Gallery and Marcus Coates, Kunsthalle, Zurich, Switzerland. Group exhibitions include: Private Utopia: Contemporary Art from the British Council Collection, Tokyo Station Gallery, Japan; Station to Station, Barbican Art Centre, London; THE BEAUTY OF DISTANCE: Songs of Survival in a Precarious Age, Sydney Biennale, Australia; ALTERMODERN, Tate Triennial, Tate Britain, London; MANIFESTA 7,Trento, Italy; Transformation, Museum of Contemporary Art, Tokyo; Laughing in a Foreign Language, Hayward Gallery, London; Hamsterwheel, Malmo Konsthall, Sweden and Venice Biennale. Marcus Coates lives and works in London.   A major new monograph, Marcus Coates, commissioned by Kunsthalle Zurich and Milton Keynes Gallery and published by Koenig will be available in June 2016.   For further information please contact: anna@workplacegallery.co.uk

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Darren Banks: 'A-or-ist no.2 A kind of care or sustenance' Raven Row, London, UK

Image: Darren Banks, Object Cinema, 2015, Single Channel HD Video 16:9, 5:26 minutes looped (DB0091) Courtesy of the artist and Workplace Gallery, UK A-or-ist no.2 A kind of care or substenance Raven Row 56 Artillery Lane London E1 7LS   A new magazine of contemporary writing on art and other subjects, the second issue of A-or-ist explores the idea of being 'a kind of care or sustenance'. At a moment when state-provided care is receding, what might it be to 'take care' of ourselves or others? What if we're all past caring - all already polluted, toxic?   Jenna Bliss will screen her film A History of Lincoln Detox (excerpt no. 2) (2016), which looks into what society considers to be 'drugs', how national legislation, foreign policy and agencies such as the CIA influence their availability, and the turn towards holistic treatments for addiction. The screening will be followed by comments from Arran James, a mental health nurse working in substance misuse and a contributor to the independent media platform openDemocracy.   This event at Raven Row has been organised by the A-or-ist contributor-editors.   A-or-ist writer Alice Hattrick will read from 'According to Alice', her regular column on perfume.   Issue no. 2 guest contributor Caspar Heinemann will read two poems in development: one on queer politics, chaos magic and neoliberalism; the other on food, gentrification and tabloid scare stories.   For this event, Darren Banks has made a special edit of his film Object Cinema (2015), to which Jamie Sutcliffe responds with a reading from his text published in A-or-ist, 'Mutational Media & Deep Time Thrombosis: On Darren Banks' Object Cinema'.    Writer and publisher Huw Lemmey will present his work Pig Curious, a short visual account of a stake-out of Scotland Yard via the app Grindr, reflecting historical links between surveillance, spying and homosexuality.   Saxophonist Seymour Wright will perform a sound work written for the event, responding to the precept that we are all already toxified.   Launched in 2015 as 'a place for the elsewhere unfinished or otherwise disallowed', A-or-ist is produced by a collective of eight contributor-editors: Amy Budd, Hannah Gregory, Alice Hattrick, Lizzie Homersham, Shama Khanna, Naomi Pearce, Jamie Sutcliffe and Jonathan P. Watts. Each issue features newly commissioned texts by invited contributors; issue no. 2 includes new writing by Caspar Heinemann and Abondance Matanda.   A-or-ist is published by Eros Press. Copies of A-or-ist no. 2 will be available to purchase at a special launch price of £5 alongside other Eros Press publications.   http://www.a-or-ist.com/

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Wolfgang Weileder: 'Transfer Laban' London Festival of Architecture, Canary Wharf, London, UK

Image: Wolfgang Weileder, house-birmingham_1, 2004, Gelatine silver print on fibre based paper (WW0006) Courtesy of the artist and Workplace Gallery, UK Transfer Laban / Wolfgang Weileder Tuesday 14th June 6-8pm Montgomery Square, Canary Wharf, London E14 5JJ Nearest tube: Canary Wharf (Jubilee, DLR) Recreating the Façade of the Laban Building (Herzog & de Meuron, 1997) as a performative time-based sculpture whereby the shape and dimensions of a building are only momentarily revealed. Through a process of simultaneous construction and deconstruction, each weekday over a two-week period, the 40m-long façade will appear section by section as the structure moves slowly across Montgomery Square until it is complete. Erected from white lightweight concrete blocks and a support system scaffolding structure, each section will be visible for a single day before being deconstructed and rebuilt as the next section in sequence. The process will be recorded using time-lapse video and long exposure photography, capturing the entire façade as it materialises over time. Working in collaboration with Charles Linehan and students from Trinity Laban Conservatoire of Music and Dance, a series of new dance performances has been developed in response to the work and will be present on site each day during intervals in the construction process at 12.30pm and 4.30pm. Commissioned by Locus+ with funding from the Arts and Humanties Research Council and in partnership with the Canary Wharf Group.   http://canarywharf.com/arts-events/

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TONIGHT: 6 - 8pm Private View | Marcus Coates

Marcus Coates, How can I have more impact with what I do? (Humpback whale), 2016, HD video, duration 20mins MARCUS COATES   You Might As Well Ask A Crow   Private View: Thursday 9th June 6pm-8pm Exhibition continues 9th June - 29th July 2016   WORKPLACE LONDON 61 Conduit Street Mayfair London, W1S 2GB Tel: +44 (0) 207 434 1985 (open Thursday - Friday 10am - 5pm and by appointment) http://www.workplacegallery.co.uk/      Workplace London is delighted to announce a presentation of Marcus Coates’ new work in the Mayfair gallery. The work draws from Coates’ ongoing investigation into the role of the artist as a mediator and vicarious agent.    “Have you brought a question with you? Could you write it down please. I need to understand this as if it were my own. Your question will become my question.”   During a schedule of private consultations in recent months, Marcus Coates has met with individuals from diverse backgrounds, who have each come to the artist with a question that bears a particular significance to them. The questions posed to Coates have taken myriad forms from political and ethical to deeply personal, the only limitation being that they could not be answered with a simple ‘yes’ or ‘no’, nor could the solution be found using an internet search engine. Utilising the gallery space in a manner of a consultation room, Coates has discussed and worked through the questions privately with each individual by using processes and forms of reasoning that rely less on conscious rationalisation and more on imaginative experience to provide insight.    The artwork/answers produced as a result of the gallery being used as a consultation space are exhibited here for the returning clients to view and discuss with the artist for the first time. It is important for Coates that this display can also be seen/used by the public in order to test the work’s wider relevance. Coates attempts to not only redefine the role of the artist but also to explore the part played by a commercial gallery space and the audience. By raising questions about the products of artistic activities and the very purpose of art, Coates challenges our intuitions concerning the limits of what it is an artist does, but also what we consider as art. Marcus Coates, To what extent can I blame Margaret Thatcher?, 2016, Bracket fungus and finishing oil, 27 x 16 x 10 cm Marcus Coates was born in 1968 in London, UK. In 2008 he was the recipient of a Paul Hamlyn Award and in 2009 he won the Daiwa Art Prize.  Solo exhibitions include: The Trip, Serpentine Gallery, London; Implicit Sound, Fundació Joan Miró, Barcelona; Psychopomp, Milton Keynes Gallery and Marcus Coates, Kunsthalle, Zurich, Switzerland. Group exhibitions include: Private Utopia: Contemporary Art from the British Council Collection, Tokyo Station Gallery, Japan; Station to Station, Barbican Art Centre, London; THE BEAUTY OF DISTANCE: Songs of Survival in a Precarious Age, Sydney Biennale, Australia; ALTERMODERN, Tate Triennial, Tate Britain, London; MANIFESTA 7,Trento, Italy; Transformation, Museum of Contemporary Art, Tokyo; Laughing in a Foreign Language, Hayward Gallery, London; Hamsterwheel, Malmo Konsthall, Sweden and Venice Biennale. Marcus Coates lives and works in London.   A major new monograph, Marcus Coates, commissioned by Kunsthalle Zurich and Milton Keynes Gallery and published by Koenig will be available in June 2016.   For further information please contact: anna@workplacegallery.co.uk

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