Sunday, December 22, 2013

Seasons Greetings from all at Workplace

Image: Rachel Lancaster Gold 2013 (clip), HD Digital Projection with audio, 6 mins 48 seconds (Looped) Courtesy of the artist and Workplace Gallery, UK

Seasons Greetings from all at Workplace

Workplace Gallery - Gateshead


Current exhibitions by Jennifer Douglas and Rachel Lancaster run until Saturday 11th January 2014

Seasonal opening times:
Closed from Friday 20th December 2013 - Tuesday 7th January 2014


Workplace Gallery - London


Current exhibition Hugo Canoilas Fierce: Riding the wave fiercely with no fear is open by appointment from 7th January 2014


To view the exhibitions on our website click here


For further information please contact

Friday, December 13, 2013

Workplace London: Hugo Canoilas "Fierce: Riding the wave fiercely with no fear."

Image: Hugo Canoilas May it light through all your organs 2013 (front) Mixed media on canvas. 60.2 x 50 cm. Courtesy of the artist and Workplace Gallery, UK


Hugo Canoilas


Fierce: Riding the wave fiercely with no fear.


18th December 2013 - 8th February 2014


Workplace London

61 Conduit Street

London W1S 2GB

by appointment only



Workplace is delighted to present an installation of new works by Hugo Canoilas for the second exhibition at our new London space.


Fierce: Riding the wave fiercely with no fear. is a room of painting, sculpture, collage, and assemblage described by Canoilas as "machines to see". These works bring together wide ranging material, objective images and text taken from newspaper clippings, magazine adverts and poetry books combined with subjective matter (paint, glue, ink, and collaged cuttings from Canoilas' own 'automatic' drawings) that cover and intersect with each other to create diagrammatic receptacles of chaos and information. Manipulating artwork convention, the paintings are double-sided and suspended in the space as multilayered and multifaceted objects. Canoilas challenges us to experience the work as diagrams where chaos is not organized but experienced.


The works continue the idea of 'diagram' that I have been exploring in both small-scale works and installations. The work comes from a platform that is never empty: the white sheet, or canvas, or projection in your head is not a blank or white one - but is fully charged with the works you have seen, those you like and hate, social and political events. The first act is usually a cliché, something that comes more with expectations from the exterior, a certain idea of what might be art or not, accepted. The next steps erase this cliché and push it into something new. I don't aim to organize this chaos. I want these works to operate as 'Disasters'. A disaster is an event, it happens and it can't be predicted and there's no explanation for it. It's a wild or savage event. It is of a different nature from normality and usually its product is named as a monster. All of these qualities seem very fertile for Art today, against monolithic thinking and the oppression of the rational.

Hugo Canoilas, 2013


Hugo Canoilas' work is strongly linked to the art historical evolution of Modernism. Drawing upon the philosophy, poetry and foundational ideologies of this period his work employs a wide variety of media (informed predominantly by Painting) to represent a political and aesthetic convergence that moves towards a sensitisation of the viewer to the socio-political undercurrents that influence historical and contemporary culture.


Hugo Canoilas was born in 1977 in Lisbon, Portugal and studied at Caldasda Rainha, Portugal and the Royal College of Art, UK. Recent Exhibitions include: Spirit of the Air, Wiener Art Foundation, hosted by Kunstbuero, Vienna; Magma, Workplace Gallery, Gateshead, UK; Paradise Birds - 30th São Paulo Biennial - A iminência das poéticas, curated by Luiz Perez Oramas, Tobi Maier, André Severo and Isabela Villanueva, Museum Casa do Bandeirante, São Paulo; The isle of the dead, Quadrado Azul Gallery, Porto; Untitled (we can be altogether), curated by José Quaresma, MNAC - Chiado Museum, Lisbon; A painting is getting its kicks, 1M3, Lausanne; Endless Killing, curated by Chus Martinez. Huarte Contemporary Art Center; Vota Octávio Pato - Ten reasons to be a member, curated by Tobi Maier, Frankfurter Kunstverein, Frankfurt; Are you still awake?, curated by Emília Tavares, MNAC - Chiado Museum, Lisbon; Strata, curated by Francesco Stocchi, Sammlung Lenikus, Vienna; Infinite Tasks, curated by Paulo Pires do Vale, Gulbenkian Museum, Lisbon; Dear painter paint me - with heart and reason, curated by Kaszás Tamás. Trafó Contemporary Art Center, Budapest. Hugo Canoilas lives and works in Vienna, Austria.

Thursday, December 12, 2013

Paul Merrick & Mike Pratt: "RIFF" BALTIC|39, Newcastle upon Tyne, UK

Image Left: Paul Merrick Untitled (Studio Door) 2013, Door, oil paint, turps, primer, glue, 164 x 84 cm

Image Right: Mike Pratt Yellow Painting, 2013, Wax, oil pigment, wood and foam, 183.5 x 122 x 13 cm

Courtesy of the artists and Workplace Gallery, UK.



High Bridge Street

Newcastle upon Tyne



Private View:

Thursday 12th December, 2013

19:00 - 21:00



12 December 2013 - 19 January 2014.


Tom and Simon Bloor, Fiona Curran, Daniel Eatock, Steven Emmanuel, Johannes Evers, Nadine Feinson, Tommy Grace & Kate Owens, Albert Irvin, ISLET, Peter Lamb, Andrew Maughan, Paul Merrick, Ewan Jones Morris, Flore Nove-Josserand, Ciara Phillips, Mike Pratt, David Sherry, Adam Shield and Thomas Whittle


RIFF is part of RIFF/T, a two-part exhibition that explores and attempts to evaluate the current state of painting, through an investigation into abstraction and representation. Divided into sequential parts, a focus is placed upon the opposing themes of the harmonious riff and the discordant rift. The exhibition posits that contemporary painterly practice has moved beyond the canvas and incorporates a wide range of media from installation to video, all the while referencing, mimicking and pushing ideas integral to painting itself. RIFF/T seeks to highlight trends, facets and approaches particular to painting, today.


RIFF explores a sense of fluency and unity found in abstraction. Rhythm and abstraction converge in a choir of repeating marks, stock images, signature forms and colours. The exhibition installation seeks to evoke a holistic riff, a curatorial orchestration in which individual signatures and marks echo and repeat between the works on show.

RIFF culminates in a night of live performances by artist David Sherry, and by four-piece band ISLET with long time collaborator Ewan Jones Morris.

RIFF is curated by Matthew Hearn in collaboration with Thomas Whittle.


Part two of the exhibition, RIFT, curated by Matthew Hearn in collaboration with Sebastian Trend, runs January 22 - March 2, 2014.


RIF/T is curated by Hang Gang: Matthew Hearn in collaboration with Thomas Whittle and Sebastian Trend



Open Wed-Sun 12:00-18:00

Thursdays 12:00-20:00

Wednesday, December 11, 2013

Sophie Lisa Beresford: "Zeros + Ones" Arbeit Gallery, London, UK

Image: Sophie Lisa Beresford Pizza Shop Dance, 2008, Single channel video, 4 min 6 sec. Courtesy of the artist and Workplace Gallery, UK.

Zeros Ones

Sunday 15 December 2013
Screenings from 2.00-7.00pm

Arbeit Gallery
4 White Post Lane,
E9 5EN

Sophie Lisa Beresford, Jenna Collins, Oliver Evelyn-Rahr & Geraldine Gallavardin, Choterina Freer, Sonia Hedstrand, Joey Holder, Anna Kinbom, Sands Murray-Wassink, Benjamin Orlow, Adrianna Palazzolo, Daniel Shanken, Nicola Woodham, Rut Karin Zettergren.

Zeros Ones brings together 14 artists using video, sound and performance to question power struggles in technology. 22 years after Donna Harraway's publication of A Cyborg Manifesto which launched the Cyberfeminist movement, this show looks at its relevance today in work that celebrates and questions science and technology.

Broken narratives, multiple identities, consumerism, low-fi, CGI, techno, retro, resourced, revamped, personal stories, and the new aesthetic are all present within the featured artists work. These artists come from various European cities and much of the interaction between them takes place over the internet through Skype, email, social networking, and video-file sharing.

Sophie Lisa Beresford
15 Dec 2013

Bounce, 2010
Single Channel Video
0 min 42 sec

Pizza Shop Dance, 2008
Single Channel Video
4 min 6 sec

Courtesy of the artist and Workplace Gallery

Wednesday, December 04, 2013

Wolfgang Weileder: "Atlas" Northern Gallery for Contemporary Art" Sunderland, UK

Image: Wolfgang Weileder Place Des Vosges. Paris. Slice 2356 (Parisians lying in the grass on a sunny evening whilst their children splash and play in the water fountains) 2013, Archival ink on mat archival cotton paper, 145 x 242 cm. Courtesy of the artist and Workplace Gallery, UK.

Wolfgang Weileder: 'Atlas'

Northern Gallery for Contemporary Art
City Library and Arts Centre
Fawcett Street


Preview: Thursday 5 November 2013 6pm - 8pm

Exhibition dates: 6 December 2013 - 8 February 2014


'Atlas' is a monumental new body of photographic works created across the world over the last five years in cities from Tokyo to Turin. A series of 20 new large-scale prints have been created specially for this exhibition, which continues Weileder's interest in how we use and understand public spaces. The apparently abstract images are, in fact, vast compendiums of "data" about the civic spaces of major cities around the world.

Weileder has created a bespoke computer programme and camera to create a portrait of each city's central square, piazza, or plaza over an extended duration. In contrast to orthodox long-exposure photographs, Weileder's camera records an image a single pixel tall across the entire breadth of the square, minute upon minute, so that we encounter several hundred 'slices' of time stacked from top to bottom. We are primarily able to register the colours that define each space - whether buildings or people - and the degree of motion and movement through it, rather than being drawn into an illusionistic, or straightforward photographic image. Weileder's process is akin to that created by Picasso and Braque in Cubism - except that we encounter multiple timeframes within the same picture rather than multiple spatial viewpoints. Where there are clear vertical 'stripes', we register the static structures that are immobile over time. Where there are horizontal patterns, we recognise the activity that animates the square, as his camera has registered motion and flux.

Weileder notes that, in contrast to traditional maps or topographical photographs, he presents raw 'data' that nevertheless tells us more about the life and activity of the cities than any single image, or any graphical or cartographical representation ever could. We perceive, over the course of an entire morning or afternoon, the texture of life lived in public. Weileder argues that our understanding of space remains trapped in twentieth-century habits, and that a revolution in our ways of thinking about space is required.

The exhibition is accompanied by a major new monograph titled 'Continuum', published by Kerber, and featuring new essays by Alistair Robinson, Dr Ludwig Seyfarth and Dr Rachel Wells. In 2014 Weileder will exhibit in Kunsthalle Recklinghausen, Germany.