Friday, May 30, 2014

Jo Coupe / Cecilia Stenbom - Preview: Friday 6th June 2014 6pm - 8pm at Workplace Gallery Gateshead

Workplace Gallery is delighted to invite you to the opening of two parallel solo exhibitions

Jo Coupe / Cecilia Stenbom

Preview: Friday 6th june 2014, 6 - 8pm


Workplace Gallery

The Old Post Office

19 - 21 West Street




Exhibitions continue: 7th June - 19th July 2014

Tuesday - Saturday 11am - 5pm or by appointment


Cecilia Stenbom's exhibition Everyday Collateral is part of the 2014 International Print Biennale for more information visit


Kindly supported by:



Friday, May 23, 2014

Hugo Canoilas & Jannis Varelas: "Is Art Political Per Se?" Kunsthalle Wien, Austria

Artists Talk:


Hugo Canoilas and Jannis Varelas


Is Art Political Per Se?


4pm on 25th May 2014

Kunsthalle Wien


Museumsplatz 1

1070 Wien



The Vienna-based artists talk with Vivien Trommer about the problem of the political in art.
Talk in English, Free admission.

Tuesday, May 20, 2014

Mike Pratt: 'Offspring 2014' De Ateliers, Amsterdam, Netherlands

Offspring 2014

May 21-June 1, 2014
Opening hours: daily 12am-6pm
Opening: Tuesday, May 20th, 5-7pm

De Ateliers
Stadhouderskade 86
1073 AT Amsterdam
+31 (0)20 673 93 59


The ninth edition of the show features work by ten talented young artists, who are completing their two-year working period at De Ateliers this summer.


Cian-Yu Bai (Taiwan)
Jacob Dwyer (United Kingdom)
Paul Geelen (Netherlands)
Sarah-Jane Hoffmann (Germany)
Ruben Kragt (Netherlands)
Mila Lanfermeijer (Netherlands)
Charlotte Louen (Germany)
Ana Navas (Venezuela)
Mike Pratt (United Kingdom)
Taocheng Wang (China)

Curator: David Jablonowski, artist and tutor artist at De Ateliers.

The exhibition catalogue is designed by Mislav Žugaj, the texts are written by Maaike Lauwaert.

Entrance: €5,-
Entrance+catalogue: €15,-

Thursday, May 15, 2014

Last chance to see: Tanya Axford / Paul Merrick at Workplace Gallery, Gateshead, UK

Tanya Axford / Paul Merrick

Exhibition runs until Saturday 17th May 2014 5pm


Workplace Gallery

The Old Post Office

19 - 21 West Street





Workplace Gallery is open 11am - 5pm Tuesday - Saturday, or by appointment.


To view installation images and download a full press release please follow the link below


Kindly supported by:



Friday, May 09, 2014

Workplace London new opening hours

Workplace London is now open Friday and Saturday 10am - 6pm and by appointment.

For access please call 44 207 434 1985


Workplace London
61 Conduit Street
London W1S 2GB
phone: 44 207 434 1985
twitter: @_workplace_



The current solo exhibition of new paintings by Laura Lancaster is extended until Saturday 14th June 2014.


Art Forum Critics' Pick by John-Paul Stonard

Thursday, May 08, 2014

Workplace Gallery at Art Basel Hong Kong - Hugo Canoilas

Hugo Canoilas, Rudolf Steiner in a Cage 2014 Ink and Acrylic on Canvas, 380 x 300cm (studio view)

Hugo Canoilas  

Mirror Sea

Art Basel Hong Kong
Hall 1 BOOTH 34
Hong Kong Convention and Exhibition Center

May 15 - 18, 2014


For the Discoveries section of Art Basel Hong Kong, Workplace Gallery present Mirror Sea a curated project of new and unseen work by Portuguese artist Hugo Canoilas. Focusing on a convergence of interests Mirror Sea draws together notions of autobiography, national identity, geo-political and human relationships.


Macau, is one of the two special administrative regions of the People's Republic of China, the other being Hong Kong, its twin city. Macau lies on the western side of the Pearl River Delta across from Hong Kong to the east. The territory's economy is heavily dependent on gambling and tourism. A former Portuguese colony, Macau was administered by Portugal from the mid-16th century until 1999, when it was the last remaining European colony in Asia. Before the Portuguese settlement in the mid-16th century, Macau was known as Jinghai (literally "Mirror Sea").


Canoilas' epic scale paintings on unframed, unprepared canvas use a process of dipping, staining, and drawing in ink and paint. They present images from historical, political, and contemporary contexts to create a layered painting that draws upon a hybridized Postcolonial aesthetic of variance and combined cultural nuance. Central to Canoilas' new work for Art Basel Hong Kong is an exploration of his own historical national identity and origin, and of sibling rivalry and familial distance through the subtly provocative transposition of one cultural context onto another.


At Art Basel Hong Kong Canoilas presents a series of new paintings on semi transparent fabric drawn from stereotypical images of Macau that function as a visual structure for the painting with a gestural painting overlaid. The paintings will be hung vertically in the booth as floating partitions, building a new architectonic notion of the given space that overlap to act simultaneously as image, architecture, and translucent drapery. Alongside these works is a new series of smaller paintings.


Hugo Canoilas' work is strongly linked to the art historical evolution of early 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 sociopolitical 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.


For more information on these works please contact:

Wednesday, May 07, 2014

Hugo Canoilas: 'GOTT IST NICHT GENUG' Theater Drachengasse, Wien, Austria

Image: Hugo Canoilas, Thy Rage 2014, Collage and epoxy resin on aluminium, 70 x 50 cm, 27 1/2 x 19 3/4 in (HC0057) Courtesy of the artist and Workplace Gallery, UK


Curated by Catherine Heistinger
as a stage to the play "Stalin's Saint"


Vernissage after the premiere: May 12, 2014 from 22:00

Stalin's Saint, a world premiere by Catherine Tiwald in the Drachengasse theatre, discusses the controversial exhibition "Caution-Religion," which took place in the Sakharov Center, Moscow, Russia in 2003.

The play takes place within the exhibition God Is Not Enough. That is, the works of art as well as sculptures, installations and video material along with the partition walls which surround them act as a stage set, but can be visited after the performance.

Consideration is given to both Russian artists and artists living abroad. Thus, the discussion of the original exhibition also connects critically with questions surrounding the international perception of Russia post Soviet Union, the state of freedom of expression in Russia today, but also the influence of the Orthodox Church.


Other Appointments:

Thursday, May 15, May 22, May 29 and June 12, 2014 from 22:00-24:00


Theater Drachengasse Ges.m.b.H
Fleischmarkt 22 (Eingang Drachengasse 2)
1010 Wien Österreich


T: 512 13 54
F: 512 06 04
E: theater(at)

Friday, May 02, 2014

Laura Lancaster: ARTFORUM Critics' Picks - Workplace London


Laura Lancaster

61-65 Conduit Street, Mezzanine Floor
March 27–May 17

Laura Lancaster, Contact, 2014, oil and acrylic on linen, 78 3/4 x 78 3/4”.

Laura Lancaster makes seductive paintings from found snapshots, showing people and places she does not know. The anonymous figures in these works are rendered even more obscure by the welter of brushstrokes that cover them like swaths of bandages, through which only glimpses of eyes and mouths can be seen. Dracula, 2014, shows what appears to be a young boy, perhaps wearing a mask, standing in front of thick foliage. Another figure in Untitled, 2014, is plastered in white marks, like a fattened version of the Invisible Man. The subjects of her paintings are adrift, their identities irrevocably lost, allowing Lancaster to bury them in the act of painting. Her skill in doing so gives her work fascination and value as it takes on a baroque lusciousness that contrasts with the oftentimes monstrous and generally perplexing subject matter.
Lancaster’s earlier paintings from 2001 are photographic in appearance and small in size and resemble oil sketch studies. The larger canvases of her latest paintings have allowed a great deal more freedom with effect—the broad strokes and drips of the painting Contact, 2014, for example, suggest the unguarded carelessness of the photographic source. One thinks of the photo-paintings of Gerhard Richter, particularly his townscape paintings, but the result is more the model of painterly autonomy provided by Georg Baselitz. (Lancaster’s surfaces look a little like Baselitz’s recent homage paintings to de Kooning.) The harshness of her subject matter, derived from the unguarded snapshots that she uses as source material, suggests a more distant connection with Expressionism, above all to the late works of Lovis Corinth, with their wild yet unerringly accurate stabs of paint.
A series of paintings made in 2013, “Conversations Behind Glass,” took photographs of gravestones as source images. The artist has also copied inscriptions on the back of the photographs, often pathetic in sentiment and with poor grammar. Beneath the vivid, luscious structures of paint marks there is a feeling for human frailty, an empathetic sensibility that reaches further into the act of painting than Lancaster has before.

John-Paul Stonard

Thursday, May 01, 2014

Peter J. Evans and Richard Rigg: 'Chance Finds Us' MIMA, Middlesbrough, UK

Image: Peter J. Evans The Cartographies of Travelling Without Moving 2011, Pencil on Paper. Courtesy of the artist and Workplace Gallery, UK

Chance Finds Us

Sarah Bray
Alex Charrington
Rachel Clewlow
Peter J. Evans
James Hugonin
Nick Kennedy
Anne Vibeke Mou
Ridhard Rigg


Middlesbrough Institute of Modern Art
Centre Square

2 May - 4 September 2014

An artist led project by eight North East based artists who work across drawing, installation, painting and sculpture, who have all adopted systematic strategies in their practice. The artists in this exhibition all look at the opposition of order, intuition and the implication of the chance encounter.