Friday, December 11, 2009

Marcus Coates: "All Creatures Great And Small" Zacheta National Gallery of Art, Warsaw, Poland

Marcus Coates
Human Report
Single Channel Video
7:14 minute loop
Courtesy of the artist and Workplace Gallery, UK
British Council Collection

Zacheta Narodowa Galeria Sztuki, Warsaw

All Creatures Great and Small

18th December 2009 – 21st February, 2010

All Creatures Great and Small develops themes initiated in the exhibition Hot/Cold — Summer Loving shown in Zacheta in 2007 that presented different forms of love, including the love humans feel for animals.

The forthcoming exhibition concentrates only on the problem of the world of animals, exploring artists' diverse takes on this problem and the range of ways of visualizing it in art. The point of entry for the exhibition is the desire to overcome the dogmatic anthropocentrism that places the human in the centre of the world as a privileged species of the highest ontological status. This viewpoint continues to dominate in contemporary science, and as a consequence we witness the exclusion of other species/phenomena of life on earth from the sphere of scientific knowledge in terms of their subjectivity or rights.

The theory of evolution presented in the book The Origin of Species (for which this year was a double anniversary, since it was 150 years since it was first published and 200 years since the birth of its author, Charles Darwin) put humans on the summit of the animal hierarchy, but not as a separate ‘super-animal’, but as a species that was part and parcel of nature and subject to its processes in the chain of natural changes. In 1872, Darwin published another book: On the Expression of Emotion in Humans and Animals, describing the world of animals through expressions of emotions which up until that point has been the purview only of the human species. This was a revolutionary thought for its day which presented animals and people not as separate or antagonistic worlds, but as connected to one another by degrees of similarity and close ties.

Although discontented commentators write that contemporary science generally encounters the Other only at its daily meal times (animals are often included in the group of all Others excluded by society or existing at its margins, beyond the ‘centre’), nonetheless worthy of attention is a new wave of books, accounts and texts written between the 1960s and today (a large part in which was no doubt played by the ecological movements and struggles for animal rights that emerged on the wave of revolutionary changes in the 60s) formulating new approaches to the non-human world, its relations with the human world and vice-versa, and thus opening up new philosophical or ethical questions.

One of the elements in the radical changes in art, that also began in the 1960s, has been the fundamental change undergone in the way that artists approach the animal world and the relations between people and animals. The works shown visualize this world in its diverse aspects through the use of less or more engaged observation, the pleasure of watching, touching or possessing through domestication, the pleasures experienced by animals themselves in play, but also the question of enclosing their existences into the ghetto known as Zoological Garden. Works also make reference to difficult questions concerning the use of animals as commodities, of causing them pain and suffering, of eating their bodies. Many works upturn the semantics of animals, giving them the symbolic significance which culture has denied them through civilisational change. In others, animals become participants in experiments through which we observe their mutual interactions, or are also a part of formal artistic experiments. Amongst the questions relating to the relations between humans and animals are to be found works on the animalist aspect of human nature and on the desire to identify with an Other by ‘becoming animal’.

The exhibition presents this world from a human perspective (as we do not know any other), and thus in the background also sketches out the image of humans as they emerges through their relations with the animal world.

The exhibition presents the works of the following artists:

Marina Abramovic, Vito Acconci, Pilar Albaracin, Francis Alys, Dan Attoe, Roger Ballen, Kuba Bąkowski, Joseph Beuys, Bogna Burska, John Bock, Olaf Brzeski, Mircea Cantor, David Claerbout, Marcus Coates, Peter Coffin, Anna Dębska, Mark Dion, VALIE EXPORT, Angus Fairhurst, Peter Fischli&David Weiss, Peter Friedl, Leszek Golec&Tatiana Czekalska, Douglas Gordon, Jean-Charles Hue, Elżbieta Janczak-Wałaszek, Agnes Janich, Christian Jankowski, Marina Kappos, Mike Kelley, Kristof Kintera, Grzegorz Kowalski, Igor Krenz, Natalia LL, Yuri Leiderman, Dominik Lejman, Marcin Maciejowski, Artur Malewski, Chris Marker, Rafał Milach, Ciprian Muresan, Yach Paszkiewicz, Włodzimierz Pawlak, Elisa Pône, Marc Quinn, Jozef Robakowski, Zygmunt Rytka, Alain Séchas, Ene-Liis Semper, Deborah Sengl, Carolee Schneemann, Rudolf Schwarzkogler, Roman Signer, Dusan Skala, Gabrielle Stellbaum, Eric Swenson, Javier Téllez, Gabriela Vanga, Minette Vári, Bill Viola, Martin Walde, Marek Wasilewski, Boyd Webb, William Wegman, Paweł Wieckowiak, The Wooster Group, Wunderteam, Erwin Wurm.

Wednesday, December 09, 2009

Ant Macari and Oliver Beck: "Thank You For Staying #2" Platform North East, Newcastle, UK

Ant Macari and Oliver Beck
Thank You For Staying #2


19:00 - social space, Star and Shadow cinema, Stepney Bank, Newcastle upon Tyne, UK

Thank You for Staying #2 is a re-enactment of a 2008 performance by Raymond Pettibon and Mike Watt for the Earwax series at Riverside Art Museum, LA. This is live art as mimesis which attempts to reveal tensions between aspiration and failure: celebrity and public, plastic and diachronic arts and the boundaries between rural and urban in the context of Americana as experienced by two teenage skater punks growing up in the Scottish Borders.

Excerpts from a proposal....

The title 'Thank You for Staying #2' refers to the main difficulty of live art: holding the attention of the audience. Re-enacting 'EARWAX' a performance/ gig hybrid, which happened relatively recently, only some 20 months ago - neither too fresh to be a response or too long to have settled into an intelligible historical context - is like performing a cover version before it's had time to accrue a patina of history. This homage to the progenitors (Pettibon and Watt) of a particular brand of punk by two aspiring devotees (with little to no experience or charisma) is a kind of impotent gesture and brings into focus the trans-Atlantic delay we sometimes experience in cultural exchange in contemporary art.

At the centre of human discourse is remix. As well as engaging in a critique on originality, the aim of this action is to examine the nature of the plastic (painting) and the diachronic arts (music) by direct comparison, seeking to give the two an equal duration. Like sand painting or water calligraphy; the artist's material intention is transitory. This aligns visual art with speech music and performance in as much as it brings painting (in this case) to meet with music on its own terms.

In Pettibon and Watt's original performance, the drawings which were generated during this performance were kept and displayed in the Riverside Art Museum's programme under the title 'Thank You for Staying,' a nod to the time endured by their audience (90 minutes). Our version of the performance (25 minutes) however, aims to highlight the transitory nature of language in a live situation by destroying the work at the end of the performance by loading a shredder accompanied by screaming.

Beck will play riffs and improvisation informed by Watt. Macari will make black and white paintings using a Japanese brush with transducer (pickup) in the style of Pettibon and in response to Beck's playing and informed by stories of Beck's experience as a punk rock fan/ skateboarder growing up in Kelso, UK.

Re-enactment itself is interesting as both Beck and Macari grew up in suburban towns with the American subculture of LA and NY in their minds. In an attempt to live out scenarios from the skate videos which had a big influence on them; they would – oblivious to one another – share an aim to re-enact scenes and tricks from these videos, round the back of Kwiksave or the Co-Op in their parochial towns. The rolling hills of the Scottish Borders, scenic though they are, reveal little of the horizon. In this respect those who live there should expect to experience limited horizons both physically and psychological. These conditions often push escapism to its zenith, accounting for the high percentage of addiction and drug related deaths in this area of Scotland. The two share a preoccupation with Americana, a cultural exoticism which represents an extremely different experience to a Borders town. It's a type of escapism in which you can play an active role, with the potential for reinvention and making it your own.

The piece asks these questions:

What is the value of temporary (plastic) art work in the context of live art?

Where should our emphasis lie: on the act or the product of the act?

How does one address and gauge aspiration and failure through performance?


Visual artists Macari and Beck share a common interest in Americana. Specifically West Coast American punk and DIY culture from the 80s and 90s as a manifestation of escapism to youths growing up in rural and suburban areas in the South of Scotland. Macari and Beck grew up in Galashiels and Kelso respectively; they first met in Gateshead some years later while working as technicians at BALTIC CCA. Both share an interest in performance and art as a way of exploring the potential for reciprocity between image, text, sound and audience. The two have never worked together before, although they would like to start a post-punk band. Somehow, I think this is the closest they'll ever come to achieving that.


Two people dressed in a style between LA hillbilly and surf bum standing on a stage containing; a flat top writing desk (featuring a lamp, art materials and a swivelling mirror mounted directly above the work surface by which the audience can view the painting work in progress), a calligraphy brush and paper mounted with transducers, a bass guitar and valve amp, a smaller amp, two microphones with stands, a PA system, a paper shredder and two glasses of water. OB plays bass guitar riffs influenced by Watt. AM makes paintings in response to OB's sounds in the style of Pettibon. Both AM and OB recite poetry and aphorisms into the microphones during the performance. The performance ends with OB and AM screaming (as the expression of cosmic totality in a pre-verbal language) into microphones as they put each painting methodically into a paper shredder.

Richard Rigg: "Suns Neither Rise Nor Set" Hockney Gallery, Royal College of Art, UK

Richard Rigg Two Writing Desks, False Drawer 2009

Suns Neither Rise Nor Set

An exhibition curated by the first year MA Curating Contemporary Art, Royal College of Art
Hockney Gallery, Royal College of Art, Stevens Building, Jay Mews, SW7 2EU
Opening Wednesday 9 December 2009, 6.30 — 8.30pm
Exhibition continues 10 — 18 December 2009

Suns Neither Rise Nor Set brings together work by Vanessa Billy, Richard Hughes, Nina Beier & Marie Lund, The Atlas Group / Walid Raad, Richard Rigg, and Kim Rugg. Using everyday objects, archival materials and collage techniques, these works call into question the processes through which reality and illusion are constructed in visual communication and perception.

Vanessa Billy's Suns neither rise nor set (2008), from which the exhibition takes its title, alludes to the fact that everyday events such as the rising and setting of the sun, are not objective truths but part of a subjective system of symbols and narratives that supports our understanding of reality and perceived position in it. Whereas Billy looks to expose such fictions, The Atlas Group / Walid Raad, claim new ones. Their renegotiations of contested historical memory take the form of presentations of archival documents of Lebanon's recent past, which are themselves of questionable authenticity.

Nina Beier & Marie Lund also engage with notions of the archive. In The Archives (2008), the content of second-hand peace posters is buried beneath the weight of a fold, denying the original authors their protest and quashing past, unrealised hopes for the future. Along with Kim Rugg's A Single Balloon Drifting Skywards (2008), an evocative reconfiguration of the language and graphic conventions of a daily newspaper, Beier and Lund's series points towards the hierarchies in place in the distribution of information and how these can affect our interpretation of events.

The reworking of everyday objects is also apparent in the playful and illusory propositions of Richard Hughes and Richard Rigg. Rigg has made a precise but flawed replica of his own desk, whereas Richard Hughes presents us with a shattered clock face, which provocatively questions the authority of time.

In different ways, each of the artists in this exhibition interrogate or deconstruct weighty or complex notions. In doing so, they bring to light the uncertainties that pervade the production and reception of knowledge, helping us to visualise the oscillating line between fact and fiction.

Gallery opening hours 10am - 6pm Monday - Saturday by appointment. Please contact Vanessa Boni at or 07595 154 220

With thanks to Laura Bartlett, Nazareno Crea, Nettie Horn, Limoncello, Anthony Reynolds, The Modern Institute, Workplace Gallery and Soraya Rodriguez for their kind help and support.

Sunday, November 29, 2009

Workplace Gallery at NADA Art Fair 2009, Miami: Jo Coupe solo presentation

Workplace Gallery

NADA Art Fair 2009

Booth 715

December 3-6, 2009

The Deauville Beach Resort

6701 Collins Avenue

Miami Beach, FL 33141

Jo Coupe - Supernature

Workplace Gallery is pleased to present a solo presentation of work by British artist Jo Coupe.

Supernature is a major new installation that recreates electromagnetic and paranormal effects observed by Jo Coupe through the combination of jewelry, gold and silver-plated steel chain, furniture, and electromagnetic fields.

Exploiting the aesthetics and methodologies of Science, the recent work of Jo Coupe adapts simple experiments and subverts half-understood scientific ideas, plundering iconic imagery for its metaphorical significance. In her work, the school science experiment, alchemy, and a fascination with decay unite to reveal the world as a mysteriously rational place.

Continuing her investigations into the objects and symbols of ritual, magic and the everyday. Coupe's fascination with paranormal occurrences has led to extended periods of research into the powerful electromagnetic forces of the smelting rooms at one of the world's largest producers of aluminum and bauxite. In this unique environment coins levitate upwards, keys stick rigidly to walls, cameras produce ghosted and partially blacked out images, and video cameras distort unpredictably; all commonly documented symptoms of haunting or psychic activity.

By investigating the symbolic power of the object through a holistic knowledge of the natural world and its scientific, ritualistic, and poetic usage; Coupe's work takes on a political significance via the employment of the anti-rational and magic - traditionally the domain of witchcraft. The setting of her practice within the macho environment of heavy industry, and her use of commonplace and domestic objects conflate two stereotypically gendered positions to move towards an analysis of objects, and the cultural and social forces at play that pervade the meanings we commonly ascribe to them.

Jo Coupe was born in 1975 and studied Fine Art at Newcastle University and at Goldsmiths College, London. She lives and works in Gateshead, UK. Recent exhibitions include Fade Away and Radiate at Workplace Gallery, An Archaeology at 176 in London, Tatton Park Biennial, Give and Take at Firstsite, Colchester, and You Shall Know Our Velocity at BALTIC, Gateshead. In 2008 she was awarded best artist at 101 Tokyo in 2008 presented by Joseph Kosuth.


Jo Coupe

Supernature, 2009 (detail)

Jewelry, Furniture, Hooks and Fixings, Gold and Silver Plated Steel Chain, Table, Electromagnetic Field


Photo: Wig Worland, Copyright The Artist

Courtesy of the artist and Workplace Gallery, UK

Thursday, November 26, 2009

Matt Stokes: "Northern Art Prize 2009" Leeds Art Gallery, UK

Northern Art Prize 2009

Pavel Bϋchler, Nick Crowe and Ian Rawlinson, Rachel Goodyear, and Matt Stokes

27 November 2009 - 21 February 2010
at Leeds Art Gallery, The Headrow, Leeds LS1 3AA
Open Mon-Tues Thurs-Sat 10am-5pm, Wed 12-5pm, Sun 1-5pm

The selectors for 2009 are Patricia Bickers (Editor, Art Monthly), Richard Deacon (Artist), Paul Hobson (Director, Contemporary Art Society), Peter Murray (Director, Yorkshire Sculpture Park) and Tanja Pirsig-Marshall (Curator of Exhibitions, Leeds Art Gallery).

The winning artist will be announced on 21 January 2010, scooping the £16,500 prize money whilst each of the runners up will receive £1500.

Matt Stokes
These Are the Days, 2009
Dual Channel video
16mm Film Transferred to Hard Drive
Courtesy of the artist and Workplace Gallery, UK and Ziehersmith, New York

Tuesday, November 24, 2009

Mike Pratt: JAMBON, Cobalt Studios, Newcastle upon Tyne, Tuesday 1st December 5.30pm -9pm

Mike Pratt, Laura, 2009, Oil on Canvas, 162 x 132 cm


Cobalt Studios

Saturday 28th November to Sunday 29th November, 10am-5pm

JAMBON is a recently formed arts group consisting of five Fine Art graduates from Northumbria University, Newcastle.

Mike Pratt's paintings and sculptures immediately engage us with frank and achingly simple phrases borrowed from contemporary life. Pratt's work knowingly references abstract expressionism, pop art, the paintings of Richard Prince and Christopher Wool

Andrew Maughan makes paintings that reflect ironically upon the art world and current consumer culture. Employing anti aesthetic strategies, Maughan uses a pallet of garish colours and pastel tones to create a dystopic response to daily life.
Graeme Durant's work stems from personal reflections upon certain materials and their transformations. Durant reorders a formalist sculptural vocabulary of form, volume and matter to play host to personal memory and experience.
Richard Moat makes drawings and constructions based on his fascination with Arctic exploration and the romanticism that surrounds it.
Andrew Sandercock makes performances that are informed by his addiction with climbing and fixed gear cycling. Sandercock employs quixotic strategies to fulfill these desires and simultaneously create work.

Catherine Bertola: 'Wonderwall' Temple Newsam House, 2nd Dec 2009 - 9th May 2010

Catherine Bertola, Everything and Nothing (detail) 2007, Collected dust, paper, glue and varnish
Catherine Bertola, Everything and Nothing, 2007, Collected dust, paper, glue and varnish. Commission for the V&A Museum, UK


300 Years of wallpaper

An anthology of historic papers from the Roger Warner collection

2nd December 2009 - 9th May 2010

Temple Newsam House
Temple Newsam Road
Leeds, LS15 0AE

Wonderwall showcases wallpapers from the seventeenth to the twentieth century. Taken from the never before exhibited collection of the antiques dealer Roger Warner, it comprises of fine papers, leather hangings and designs from unknown makers and great names of British design. Accompanying the exhibition is a special commission from the artist Catherine Bertola.
Bertola's practice involves creating work that responds to existing sites, objects and materials; whether that is a particular building, a collection of photographs or a museum archive. She uses the given history and context as a starting point, from which to physically interrogate and enhance the poetics of that site, by embedding her own perishable traces and adding additional layers of meaning for the viewer.
A specially commissioned installation will be in Miss Scot's room throughout the duration of the exhibition

Saturday, November 21, 2009

Catherine Bertola: "Beyond Pattern" Oriel Davies Gallery, Newtown, Wales

Beyond Pattern
Oriel Davies Gallery, The Park, Newtown, Powys, Wales

21 November 2009 - 27 January 2010

An exploration into the cultural meanings of pattern, through exhibition, commission, publication and debate.

Exhibition Preview
Saturday 21 November 2009 6-8pm

Includes new commissions by Steve Messam, Catherine Bertola and Angharad Pearce-Jones and work by Michael Brennand-Wood, Nisha Duggal, Leo Fitzmaurice, Doug Jones, Adam King, Pamela So, Henna Nadeem and Andrea Stokes.

Catherine Bertola
Bluestockings (Fanny Burney) (Detail)
Pen on paper (Archive framed and mounted)
85 x 135 cms, 33.49 x 53.19 inches
Courtesy of the artist and Workplace Gallery, U

Friday, November 20, 2009

Marcus Coates: "Marcus Coates" Newlyn Art Gallery, Penzance, UK

Marcus Coates

21ST NOVEMBER 2009 - 30TH JANUARY 2010

NEWLYN Art Gallery
New Road, Newlyn, TR18 5PZ

A playful echo of Darwin's 'The Expression of Emotions in Man and Animals', Marcus Coates' new work continues the artists' fascination with the unexpected kinships that exsist across human, animal and material worlds. Following Darwin's own curiosity and insights into the interconnectedness of species, 'Follow The Voice' establishes striking parallels between a range of familiar man-made sounds in Darwin's birth place Shrewsbury (including a supermarket checkout, police siren and school playground) and an equally evocotive chorus of animal cries and bird calls.
This exhibition will include other works by Coates.

'Follow The Voice' is co-commissioned by Film and Video Umbrella with Shropshire Museums Services and funded by Arts Council England.

Artists Talk with Marcus Coates
Newlyn Art Gallery, FREE
Thursday 26th November at 7pm
Marcus will talk about his work and this exhibition

Marcus Coates
"Follow The Voice" 2009 (detail)
Courtesy of the artist and Workplace Gallery

Thursday, November 19, 2009

Eric Bainbridge: 'Supercollage' 11 Dec 2009 - 13 Feb 2010, Galleria Salvatore & Caroline Ala, Milan

Eric Bainbridge


11 December 2009 - 13 February 2010

Preview 10 December 2009 6 - 9pm

Galleria Salvatore & Caroline Ala

Via Monte di Pieta, 1

20121 Milan, Italy

Wednesday, November 11, 2009

Matt Stokes: 'These Are The Days' ZieherSmith, New York, USA

Matt Stokes: These Are The Days

November 12 - 13 December 19, 2009

Reception for the artist: Thursday, November 12th, 6-8 pm

ZieherSmith 516 West 20 St New York, NY 10011

ZieherSmith presents the New York debut of these are the days (2009), a film installation by British artist Matt Stokes originally commissioned by Arthouse, Austin, Texas, and the launch of the accompanying catalogue designed by British collective, Abake. Inspired by punk rock subcultures, these are the days is the artist's first institutional commission in the United States.

In 2007, Arthouse invited Stokes to create a new film project with ZieherSmith acting as co-producer. these are the days is the result of Stokes' close work with communities connected to Austin's music scene and his extensive research into anti-establishment musical genres, particularly punk rock. Investigating the dichotomies expressed within earlier and later punk communities, his research ultimately led to the creation of the dual channel film installation, an archival installation exhibition exclusively at Arthouse, and the publication about both.

The first film features footage from a specially organized punk show, staged by Stokes, at the Broken Neck, an alternative venue in Austin and filmed by renowned cinematographers Lee Daniel and P.J. Raval. The second film, created in response at a recording session at Austin's Sweatbox Studios, depicts a makeshift band's musical reaction to the event footage. A reversal of roles between audience and performers, the work examines the concepts of inspiration and response. Punk as it was then and as it is now, different yet the same--these are the days.

Matt Stokes' artistic practice is marked by anthropological enquiry and an interest in happenings or informal movements that bind people together. Taking a variety of forms -- from organizing events and assembling archives to making films and creating sculptural installation -- Stokes' works are often collaborative in nature and sometimes take place outside the traditional gallery space. Music subcultures have been central to the development of his most recent projects, which have focused on their ability to shape lifestyle, beliefs and create community. Northern Soul, acid/house and black metal are among the genres of music he has explored, poetically revealing music's intrinsic ability to create fellowship through devotion or the quasi-religious experience of dance.

these are the days was first presented in 2009 at Arthouse and at 176 / Zabludowicz Collection, a major new contemporary art space located in London. The London show also featured The Gainsborough Packet (2009, co-commissioned by 176 and the Baltic Centre for Contemporary Art), which will screen in the back room of ZieherSmith. An editioned dubplate featuring music from both these are the days and The Gainsborough Packet is also available. The Abake-designed catalogue will be first released at the opening and includes documentation of both the film piece and of ephemera from the 1970s and 1980s related to the punk, post-punk, and DIY movements in Austin, material that was presented as an ambiguous archive at Arthouse.

Matt Stokes was born in 1973 in Penzance, England and currently lives in Gateshead, England. He is the 2006 recipient of the esteemed Beck's Futures Prize, awarded by the ICA, London and is currently on the shortlist for the 2009 Northern Art Prize. In 2009, he was also included in solo and group exhibitions at the Baltic Centre of Contemporary Art, Newcastle, and the Lentos Museum, Linz, Austria, among other venues. Special thanks to Arthouse, the Arts Council England, Michael A. Chesser, Johnna and Stephen Jones, and Julie and John Thornton.

Tuesday, November 10, 2009

Marcus Coates: "Artist Talk and Performance" Roppongi Academy Hills, Tokyo

Marcus Coates: Artist Talk and Performance
Speakers: Marcus Coates and Jonathan Watkins (Director, Ikon Gallery / Chair of Daiwa Foundation Art Prize)

Monday 9 November, 7 - 8:30pm
Roppongi Academy Hills

Free Admission /

Places can be booked at

Organised by The Daiwa Anglo-Japanese Foundation
Supported by Mori Art Museum, Academy Hills, British Council

Marcus Coates

The Plover's Wing

Single Channel High Definition Video
22:30 mins Dimensions Variable
Courtesy of the artist and Workplace Gallery, UK

Monday, November 09, 2009

Marcus Coates: "Daiwa Foundation Art Prize Winner" Tomio Koyama Gallery, Tokyo

Marcus Coates:
Daiwa Foundation Art Prize Winner
November 7 - 21,2009
Tomio Koyama Gallery Tokyo
OPENING RECEPTION: Saturday 7 November, 6 - 8pm

Tomio Koyama Gallery and The Daiwa Anglo-Japanese Foundation
are delighted to announce Marcus Coates' solo exhibition at Tomio Koyama Gallery
in Tokyo. This prestigious solo show has been awarded to him as winner of the Daiwa
Foundation Art Prize in June this year.

The Daiwa Anglo-Japanese Foundation is a UK-based charity which supports closer links between Britain and Japan. Coates competed against nearly 900 applicants for this unique opportunity.

Jonathan Watkins, Director of Ikon Gallery, Birmingham, was one of the eminent judges. He remarks: 'Coates has emerged as an artist with a distinct and extraordinary vision. He is making work now which is better than ever.'

Professor Marie Conte-Helm, Director General of the Daiwa Anglo-Japanese Foundation, comments: 'This challenging exhibition reflects the spirit behind the Daiwa Foundation Art Prize - to open new doors for British artists in Japan.'

Coates'film, installation and performance art focuses on the relationship between humans and other species. His work has received international acclaim and he has recently shown work in Tate Modern, London. The exhibition will include one of his best known works, Dawn Chorus, in which the human voice accurately mimics birdsong, as well as his most recently commissioned piece, Intelligent Design, filmed in the Galapagos Islands in 2008, it depicts the failed attempt of two mating tortoises.

▼Notes to Editors

Marcus Coates (b.1968, London) graduated in 1990 with a BA (Hons) Degree in Fine Art from Kent Institute of Art and Design, (UK). He also gained a Post Graduate Diploma from the Royal Academy of Art (London, UK) in 1993. Most recently, he has exhibited as part of Altermodern: Tate Triennial, at Tate Britain, London. Coates has exhibited his works in many countries around the world, holding solo shows around Europe and group exhibitions in Scandinavia, Israel and also in Japan. His Japanese shows took place in 2006 and included Grizedale Arts 'Seven Samurai' in Toge-mura for the Echigo Tsumari Art Triennial and Tokyo Ikebukuro International Art Festival. This will be his first solo show in Japan.

The Judging Panel

Jonathan Watkins (Chair)
Director of Ikon Gallery, Birmingham
Mami Kataoka
Chief Curator, Mori Art Museum / International Associate Curator, The Hayward Gallery, London
Tomio Koyama
Owner of Tomio Koyama Gallery
Joanna Pitman
Art Critic for The Times and former Times correspondent in Japan
Edmund de Waal
Artist potter, curator, writer and Professor of Ceramics at the University of Westminster


Marcus Coates

Intelligent Design

High Definition Video Produced in association with Galapagos Conservation Trust and Gulbenkian Galapagos Artists' Residency Programme
8 minute loop
Courtesy of the artist and Workplace Gallery, UK

Monday, October 12, 2009

Ant Macari & Richard Rigg: "Zoo Art Fair" London, UK

Zoo Art Fair 2009, October 16-19

3-10 Shoreditch High Street


E1 6PG

Workplace Gallery presents new work by Ant Macari and Richard Rigg.

Ant Macari’s artworks utilise a multimodal system of communication – images, words, signs, symbols and objects. Within this cross-disciplinary practice drawing functions at the core of Macari’s work. Ark (Lemma) 2009 is a transport crate encoding the Golden Ratio decorated with esoteric symbols – geometrical, cultural and religious.

Ruach HaShem (Brain of God) 2009 is an aperture in the booth architecture that takes its shape from the outline of God The Creator from Michelangelo’s Creation of Adam in the Sistine Chapel.

Ant Macari was born in 1976 in Galashiels, Scotland. Recent exhibitions include the touring exhibition Rank: Picturing the Social Order 1516–2009 and his first solo exhibition Caput Mortuum (Fresh As Tomorrow) at BALTIC. Macari was recently included in Younger Than Jesus: Artist Directory published by New Museum, New York and Phaidon Press.

Richard Rigg’s sculptures reproduce and manipulate everyday objects, turning them into theoretical conundrums or playful propositions. This One, The Next, and The One After That (2009) is a continuous drip or water controlled by a hidden clockwork mechanism in the ceiling above. Folded Table Cloth and Table Cloth Folded (2009) presents two objects both the enantiomer (non- superposable complete mirror image)

of the other. Rigg’s works contain a multitude of meanings, connections, possibilities and invitations, a meeting of the start, with its end. Richard Rigg was born in 1980, in

Penrith, Cumbria, UK. His work was recently included in Morphic Resonance at PSL Leeds, and his first solo exhibition will take place at Workplace Gallery in 2010.

As part of the Zoo Art Fair solo presentations Workplace Gallery also presents

Richard Rigg Two Writing Desks, False Drawer 2009.

Two Writing Desks, False Drawer 2009 was made and exhibited for Morphic Resonance: an exhibition/residency at PSL [Project Space Leeds]. Based in Newcastle, Rigg was unable to use PSL as a studio space so, in his absence he set up a worktable to mimic his table at home where he would actually be working. The desk on top is a direct copy in Oroko wood of the desk supporting it, the false drawer of the copy rendering the copy partially dysfunctional. Two Writing Desks, False Drawer continues the idea of wanting to be in one place, whilst being in another.

Workplace Gallery would like to thank Baltic Centre for Contemporary Art and Charlie Hoult for their support in the production of Ant Macari’s work for Zoo 2009.

Marcus Coates: "Marcus Coates/ Lane Cormick / Nico Vascellari " Neon Parc, Melbourne, Australia

Saturday, October 10, 2009

Wolfgang Weileder:"Die Begnadigung / La Sospensione", neon>campobase, Bologna, Italy

opening venerdì 02 ottobre 2009 ore 19.00

neon>campobase presenta Die Begnadigung / La Sospensione

un progetto espositivo di M+M e Wolfgang Weileder

In occasione della Quinta giornata del Contemporaneo, venerdì 2 ottobre alle ore 19.00 neon>campobase presenta Die Begnadigung / La Sospensione, progetto espositivo di M+M e di Wolfgang Weileder.

M+M è la sigla che identifica la collaborazione artistica fra Marc Weis, nato nel 1965, e Martin De Mattia, nato nel 1963. M+M risiedono a Monaco di Baviera e da anni conducono una ricerca artistica complessa: la loro produzione comprende lavori fotografici, film, videoinstallazioni, opere realizzate con utilizzo di tecnologie digitali, sculture e interventi di carattere architettonico nello spazio pubblico.

Wolfgang Weileder è nato a Monaco di Baviera nel 1965. Attualmente è docente di Scultura Contemporanea alla Newcastle University. Il suo lavoro più recente è incentrato sull'esplorazione e la decostruzione critica dell'architettura, sull'indagine dello spazio pubblico e sulle interazioni con l'ambiente urbano. Gli interventi privilegiano installazioni architettoniche temporanee e sculture site-specific su larga scala, ma il suo lavoro include anche performance, film, fotografia e sound installation.

La mostra nasce dalla collaborazione con la Workplace Gallery di Gateshead / Newcastle, dove è stata realizzata una prima esposizione degli stessi artisti che si intitolava „To Demon King’s Castle, of course...“. Come avvenuto in Inghilterra, anche il progetto che sarà realizzato a Bologna è stato progettato in stretta relazione con lo spazio specifico della galleria.

Con l’installazione galleria 24°,Wolfgang Weileder, viene ad interagire direttamente con la struttura espositiva di neon>campobase. Partendo dalla planimetria della galleria, l’artista, utilizzando blocchi da costruzione Gasbeton, realizza un' architettura sospesa che - sollevata dal piano di calpestio grazie al sostegno di un ponteggio - intende replicare in tutto e per tutto lo spazio della galleria stessa, eccezion fatta per una rotazione nello spazio di 24 gradi che Weileder ha impresso alla struttura. In sintonia con altre recenti esibizioni realizzate presso neon>campobase, la suddetta installazione, attraverso la “decostruzione” e la successiva “ricostruzione” dello spazio espositivo, interviene sul concetto stesso di spazio, interrogandosi sulle possibilità di una ridefinizione del rapporto tra architettura e arte.

M+M infiltrano in questo ibrido tra scultura e architettura una istallazione video a due canali. Il film Lunedì, girato in 16 mm., distorce la struttura di un doppio racconto e ricrea con mezzi narrativi una malinconica situazione famigliare sospesa nel tempo. Il testo e la messa in scena si riferiscono alla scena Monday nel film The Shining di Stanley Kubrick. Le due proiezioni, esattamente sincronizzate, mostrano due versioni dello stesso dialogo di carattere psicologico tra un padre e sua figlia e tra lo stesso uomo e una donna: la conversazione posta in parallelo mette allo scoperto un carattere vago, oscillante delle emozioni familiari, di tenerezza e di ira repressa, di nostalgia sensuale e di avversione improvvisa. L’identità del padre e l'identità del marito si trova in un cambiamento continuo tra i ruoli e le emozioni.

neon>campobase presents Die Begnadigung / La Sospensione

a project by M+M and Wolfgang Weileder. Opening: Friday, October 2nd 7:00 p.m.

M+M stands for the artistic collaboration between Marc Weis (b. 1965 in Luxembourg) and Martin De Mattia (b.1963 in Munchen): a couple of artists established in Munich. Their work is mainly focused on a complex artistic research involving photography, film production, video installation enabled by the use of digital technology. M+M worked also in public spaces by environmental installation and site specific sculptures.

Wolfgang Weileder was born in Munich. He currently works as the Professor in Contemporary Sculpture at Newcastle University, UK. His recent work is primarily concerned with the exploration and critical deconstruction of architecture, public spaces and the interactions we have with the ubiquitous urban environment. Focusing on large-scale temporary site-specific architectural installation and sculpture in the urban environment his work also branches into performance, film, photography and sound installation.

This exhibition is the result of a partnership with Workplace Gallery in Gateshead / Newcastle, where the three artists realized the show called „To Demon King’s Castle, of course...“. Following the same path, the project developed in Bologna is site specific and conceived in a tight relationship with space.

Wolfgang Weileder’s installation galleria 24° directly references and interacts with the architecture of Neon Gallery. Rotated by 24° he re-builds the building using lightweight concrete blocks. The full-scale shell is suspended from the ceiling and supported by a scaffolding structure. With the same approach pursued in previous projects, this installation de- and re-constructs the space in a self-referential gesture, redefining the relationship between visual arts and architecture.

M+M interact with this “interfield” project by a double channel video installation. The 16mm movie Lunedì distorts and readapted a double narration structure creating a new approach to depict a melancholic picture of a suspended everyday life setting. The hypertextual reference is the Monday Scene in The Shining by Stanley Kubrick. The two screenings (made in synch) show the same psychological setting: a dialogue between father and daughter / a dialogue between man and woman; the explicit parallel between the two conversations underlines the hazy sneaky, waving side of relationship inside family. Tenderness and suffocated rage; sensual nostalgia and sudden feeling of hate ... The duplicity of the father/ husband followed a continuous exchange of roles and emotions.


via Zanardi 2/5 40131 Bologna
tel e fax +39 051 5877068


mar_sab 11_13 e 15_19
e su appuntamento