Catherine Bertola : "Flicker" Gawthorpe Hall, Padiham, UK

Image: Catherine Bertola Flicker (Scene 3: An Edwardian Lady, 1910),  2013, Digital Film (Still), Duration 4.42 Minutes,  Photo: Simon Warner, Courtesy of the artist and Workplace Gallery, UK   Catherine Bertola Flicker Gawthorpe Hall Burnley Road Padiham, Lancashire BB12 8UA, UK http://www.midpenninearts.org.uk/gawthorpe-hall Twitter: #GawthorpeHall #CHFlicker   23rd March - 3rd November 2013 Wednesday to Sunday (and Bank Holidays) 12 noon - 5pm Flicker is a new installation by renowned British artist Catherine Bertola at historic Gawthorpe Hall in Padiham, Lancashire. Flicker was commissioned by Mid Pennine Arts and Lancashire County Council's Museum Service as part of Contemporary Heritage. Flicker was inspired by the artist's first visit to the Hall, when she discovered a family photograph album from the early 20th Century. Catherine was struck by the difference between the rooms as they currently appear and the photographic images. From this the idea developed to try and recreate a sense of how the spaces in the Hall may have looked at different moments in time. "I am fascinated by how photography captures and preserves fleeting moments of time, allowing us a glimpse into the past from the present. The images in the albums provided a different view of the rooms I had walked through, illustrating how they were once inhabited, filled with the clutter of everyday life as opposed to the stripped back and orderly manner in which the rooms are now presented. I am interested in how the space can be seen from different perspectives, through the eyes of different people who have occupied the space over the course of its history." Camera obscura devices are located in the Great Hall (or Dining Room), the Drawing Room and the Long Gallery.  Each lens captures an image of the interior space in which it stands.  Into these static images, scenes from the past flicker into view, allowing glimpses of events and people who have occupied the building over the course of its existence - from meetings during the Civil War period, to Victorian dinner parties and children playing in the 1950s. Alongside each camera obscura is a pamphlet, written by Catherine Bertola, with contributions from Pennine Ink Writers' Workshop, which offers you another glimpse of the past in the present. You can download versions of them here:  Great Hall (or Dining Room); Drawing Room and Long Gallery. Catherine's practice involves creating installations, objects and drawings that respond to specific sites, collections and historic contexts. Underpinning the work she makes is a desire to look beyond the surface of objects and buildings, to uncover forgotten and invisible histories of places and people as a way of reframing and reconsidering the past. The pieces she has created were made with the involvement of the local community, some of whom live in the vicinity of the Hall. The work acknowledges the Shuttleworth family who called Gawthorpe home for over 300 years, as well as the extensive textile and costume collections housed onsite. Catherine Bertola was born in Rugby in 1976; she studied Fine Art at Newcastle University, and currently lives and works in Gateshead, UK. She has worked on a number of commissions and exhibitions, nationally and internationally with institutions such as; Museum of Arts and Design (New York, USA), Kunsthalle zu Kiel (Kiel, Germany), Whitworth Art Gallery (Manchester, UK), Oriel Davies (Newtown, UK), National Museum Wales (Cardiff, UK), V&A (London, UK), Artium (Vitoria Gastiez, Spain), Cornerhouse (Manchester, UK), The Government Art Collection (UK), Millennium Gallery (Sheffield, UK), The National Trust and Vital Arts (London, UK). She has work in several public and private collections and is represented by Workplace Gallery, Gateshead and M R Fricke, Berlin. Supported, using public funding, by Arts Council England; ACE Grant for the Arts and Lancashire County Council's Museums Service.

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Mike Pratt and Miles Thurlow: "Title" NewBridge Space, Newcastle, UK

Top: Mike Pratt 'Some Hole' 2012, Enamel and Sericol on Canvas, 230 x 160cm, Courtesy the artist and Workplace Gallery. Bottom: Miles Thurlow 'All things are equal, constant and turning (Mystic Ring)' 2012, Epoxy Resin, 120 x 60 x 60cm, Courtesy the artist and Workplace Gallery Title Rachel Adams Luca Bertolo Samantha Donnelly Graeme Durant Andrew Maughan Mike Pratt Miles Thurlow   TITLE explores a re-emergence of non-objectivity among a new generation of artists who share an interest in constructing images and objects through the build-up of materials and surfaces. The works develop from and engage in their own materiality as stuff is manipulated in to things. Rather than a concept or an idea it's often the materials that act as a starting point and through kinaesthetic processes, trial and error and experimentation, are assembled into new forms/objects/things. The human qualities (mistakes, slippages, imperfections and unexpected results) become integral both to the form of the work and the viewer's reading of it.   Preview: 6 - 9pm Thursday 11th April 2013 Open Monday 15th April, 10am - 5pm & by appointment   Newbridge Space 18 Newbridge Street Newcastle, UK http://thenewbridgeproject.com

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Workplace Gallery at Dallas Art Fair 2013

Image: Jennifer Douglas 19/21, 2013, Powder Coated Steel, Silicone, 88 x 70 x 265 cm (35 5/8 x 27 1/2 x 104 3/8 in) Courtesy of the artist and Workplace Gallery, UK   Eric Bainbridge Cath Campbell Hugo Canoilas Joe Clark Jacob Dahlgren Jennifer Douglas Laura Lancaster Cecilia Stenbom   Dallas Art Fair 2013 April 12 - 14 (preview Gala April 11th)   FIG (Fashion Industry Gallery) 1807 Ross Avenue Dallas, TX 75201 http://www.dallasartfair.com   for a full list of available works please email: info@workplacegallery.co.uk

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Joe Clark: 'Uncle Vern's Dog' Gallery North, Newcastle, UK

Image: Joe Clark Asset Management #3, 2012, Matt C-type print 172.7 x 119.4 cm (JCL0079) Courtesy of the artist and Workplace Gallery Uncle Vern's Dog Gallery North Squires Building, Sandyford Road Northumbria University Newcastle, NE1 8ST 05 April 2013 - 03 May 2013 Mon - Fri 10:00 -16:00 Preview 05/04/13  18:00 - 20:00 Review  03/05/13  17:00 - 20:00 Francesca Anfossi Rebecca Birch Katerina Botsari Sarah Bowker-Jones Joe Clark Gordon Dalton Bill Dane Luke Drozd Lee Friedlander Luke Gottelier Rachael Macarthur Norbert Prangenberg Jo Ray Mike Ryder William Stein Laura Taylor Sarah Kate Wilson 'Uncle Vern's Dog' is an exhibition about happy accidents, about looseness and risk-taking, about thinking but not over-thinking. It is about paying attention when unexpected things come your way. It is about looking closely and listening to your intuition. The artists included in the exhibition know exactly how to do their work, even if they sometimes don't know what it is they are working on until it's done. The photographer Lee Friedlander once observed how unpredictable the process of taking pictures could be: The net is indiscriminate unless you point it and then are lucky. I might get what I hoped for and then some - lots of then some - more than I might have remembered was there. I only wanted Uncle Vern standing by his new car (a Hudson) on a clear day. I got him and the car. I also got a bit of Aunt Mary's laundry and Beau Jack, the dog, peeing on the fence, and a row of potted tuberous begonias on the porch and seventy-eight trees and a million pebbles in the driveway and more. It's a generous medium, photography. 'Uncle Vern's Dog' is curated by the artists Sarah Bowker-Jones and Mike Ryder. The exhibition arises from the curators' recognition of a shared ethos amongst diverse artists; whether they make paintings, videos, sculptures, installations, collages, digital images or photographs, these artists all recognise the joy that Friedlander registers at the inadvertent munificence of his chosen medium. In their own ways, they have designed their nets to be similarly indiscriminate, in the hope of catching something as miraculous as Uncle Vern's peeing dog. UncleVernsDog.blogspot.co.uk @UncleVernsDog Courtesy of the artist and Workplace Gallery

TONIGHT: Hugo Canoilas - Preview - Thursday 28th March, 6-8pm at Workplace Gallery

Image: Hugo Canoilas Pássaros do Paraíso (River) Installation view, 30th São Paulo Bienal 2012, Medium Ink on Fabric unframed, 700 x 640 cm, DVD PAL, 10 minute Loop, Carved wood Boat from the XVIII century - collection of the Sao Paulo City Museum. Photo credit: Leo, Courtesy of the artist and Workplace Gallery, UK.   Hugo Canoilas   Magma  Preview: Thursday 28th March, 6 - 8pm   30th March 2013 - 4th March 2013 Tuesday - Saturday, 11am - 5pm (or by appointment)     Workplace Gallery is pleased to present Magma a solo exhibition or new and recent works by Portuguese artist Hugo Canoilas.   With its foundations in painting, Canoilas' work is often collaborative and incorporates video, sound, sculpture and performance as well as research-based projects. Over the last decade painting has led him to establish a dialogue between abstraction and a style that nods towards social realism. With a strong interest in modernism and literature, Canoilas' practice revisits histories from a political, poetic, religious or existentialist perspective and has a capacity to be in a limbo between some of these subjects.    Hugo Canoilas was born in 1977 in Lisbon, Portugal. Recent Exhibitions include: 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, Infinit tasks, curated by Paulo Pires do Vale, Gulbenkian Museum, Lisbon, Dear painter paint me - with heart and reason, curated by Kaszás Tamás. Trafó Contemporay Art Center, Budapest. He lives and works in Vienna, Austria.   Kindly supported by

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Hugo Canoilas - Preview - Thursday 28th March, 6-8pm at Workplace Gallery

Image: Hugo Canoilas Pássaros do Paraíso (River) Installation view, 30th São Paulo Bienal 2012, Medium Ink on Fabric unframed, 700 x 640 cm, DVD PAL, 10 minute Loop, Carved wood Boat from the XVIII century - collection of the Sao Paulo City Museum. Photo credit: Leo, Courtesy of the artist and Workplace Gallery, UK.   Hugo Canoilas   Magma  Preview: Thursday 28th March, 6 - 8pm   30th March 2013 - 4th March 2013 Tuesday - Saturday, 11am - 5pm (or by appointment)     Workplace Gallery is pleased to present Magma a solo exhibition or new and recent works by Portuguese artist Hugo Canoilas.   With its foundations in painting, Canoilas' work is often collaborative and incorporates video, sound, sculpture and performance as well as research-based projects. Over the last decade painting has led him to establish a dialogue between abstraction and a style that nods towards social realism. With a strong interest in modernism and literature, Canoilas' practice revisits histories from a political, poetic, religious or existentialist perspective and has a capacity to be in a limbo between some of these subjects.    Hugo Canoilas was born in 1977 in Lisbon, Portugal. Recent Exhibitions include: 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, Infinit tasks, curated by Paulo Pires do Vale, Gulbenkian Museum, Lisbon, Dear painter paint me - with heart and reason, curated by Kaszás Tamás. Trafó Contemporay Art Center, Budapest. He lives and works in Vienna, Austria.   Kindly supported by

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Cecilia Stenbom: "CROCODILE TEARS – GLAMOUR THROUGH THE EYES OF MEDIA ART" Tampere Film Festival 2013, Finland

Image: Cecilia Stenbom (I'm having) the Time of My Life  2004, Single Channel Video, Duration: 2:50 minutes, Courtesy of the artist and Workplace Gallery, UK  AV-ARKKI PRESENTS: CROCODILE TEARS - GLAMOUR THROUGH THE EYES OF MEDIA ART The AV-arkki exhibition Crocodile Tears is at Gallery Rajatila March 7th-13th as part of Tampere Film Festival 2013   http://www.tamperefilmfestival.fi/site/index.php?page=others http://www.av-arkki.fi/uutiset/av-arkki-esittaa-krokotiilin-kyyneleita-tampereen-elokuvajuhlilla-6-10-3-2013/   Glamour signifies the golden age of Hollywood cinema, movie stars and extravagance. It is magic and enchantment. Av-arkki's presentation series Crocodile tears aims to break down our preconceptions of glamour. Salli Tykkä's Lasso shows us the moment of enchantment. In Minna Suoniemi's Big Bad, the princess takes on the role of the monster. Cecilia Stenbom's (I'm having) the Time of My Life examines a person's relationship with their idol; the film is an interpretation of Dirty Dancing (1987). Niina Lassila's Woman and Tero Puha's Nightshift explore desire and desirability. The world of music, fashion and sports shape our ideas of beauty and desirability. Marko Lampisuo's We Wanted to Be Bad tells the story of four heavy metal musicians endeavouring to become rock stars. Liisa Lounila's Gig points the camera at the audience, at posing and the importance of being seen. Sasha Huber's I Love JaNY is the story of Jany Tomba, who moved from Haiti to New York, and became one of the first black supermodels. Hanna Haaslahti's Solarium concentrates on an athlete's physical performance. The presentation series closes with Seppo Renvall's Black, a farewell to a star: the picture of an idol slips out of our reach.

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Cath Campbell: 'An Arrangement In White' XO, Leeds

Cath Campbell Cable Car, 2011, Foamboard, brass pins, 35 x 25 x 60 cm Courtesy of the artist and Workplace Gallery   An Arrangement In White XO, 34 Kirkgate, LS2 7DR, Leeds Exhibition open: Private View: Wednesday 20th February, 7.00pm - 9.30pm. Monday, Thursday, Friday, Saturday - 1.00pm - 6.00pm   Jeffrey Baij / Garry Barker / Simon Boase / John Bohl / Cath Campbell / Toby Christian / Kitty Clark / Jay Cover / Caroline Dawson / Pete Ellis / Andreas Ervik / Alex Farrar / Jack Fisher / Ryan Gander / Graham Gussin / Verity Hatfield / James Hines / Penny Klepuszewska / Damien Knightley / Rory Macbeth / Harry Meadley / Andreas Meinich / Briony Mullan / Richard Paul / Tom Railton / Alexis Rago / Simon Ringe / Tai Shani / David Steans / Rachel Westerma An exhibition of works brought together through a shared aesthetic choice, one that attempts to study our relationship with the colour white and the significance, that such a simple distinction can retain. Within the gallery, white creates an immersive space away from mundane distractions, that promotes clear vision and thought. As a homage to the white cube space An arrangement in white makes more room for this intellectual freedom. There has been no colour whose history has been as fluid and contradictory as that of the colour white. As an absolute; white has been both representative of purity, the sublime & divinity as well as oppression & its wholesale ideological misuse in fascism. The "Moral White" was thought capable by many to naturally elicit social reform, through its omnipresence in public and domestic settings, as a complete negation of decadent bourgeois decoration.   http://www.xo-xo.co.uk

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Cecilia Stenbom: "Nobody gets out of here alive" KAAPELIN GALLERIA, Helsinki, Finland

Image: Cecilia Stenbom How To Choose 2012 Single Channel HD Film. Duration: 3 Minutes 31 Seconds, Produced by Third. Courtesy of the artist and Workplace Gallery, UK  Cecilia Stenbom Nobody gets out of here alive 7.2 - 2.3 2013 KAAPELIN GALLERIA Cable Factory Tallberginkatu 1 C 00180 Helsinki http://www.kaapelingalleria.fi/en/ Opening: Wednesday 6th February 5-7 pm Open: Mon 11-17, Tue 11-18, Wed-Fri 11-17, Sat 12-16 Cecilia Stenbom's (b. 1976) solo exhibition Nobody gets out of here alive explores the idea of the impossible quest for a more ordered and less anxious existence, and the perceived dangers inherent in modern life. In the works in the Cable Gallery Stenbom investigates the methods that people use to control their anxiety at a time when fear and chaos are constantly projected into their everyday environment. Working across media including film and video, installation, drawing and painting, Stenbom examines our anxieties and desires by appropriating and reinterpreting real and fictional scenarios in entertainment, the mass media, retail and domestic life. A central feature of the Cable Gallery exhibition is How To Choose, a short film about small and seemingly insignificant everyday choices. Guided by a female narrator, the story is written as instructions rather than as personal reflection. Fraught with anxiety about illness, death and other negative outcomes, her decisions are made partly logically and partly following a set of entirely personal rules. Once we get there it's already over is a series of monochrome drawings on paper of a wide variety of subjects, ranging from shop interiors to lotto numbers and resuscitation drugs. These new works explore the inevitable emptiness of consumer desire. The paintings in the exhibition are based on images digitally photographed from a television screen showing scenes from a California-based reality-TV show. Taking the characters out of their context allows Stenbom to construct paintings that oscillate between narrative and abstraction. The Scene, a silent video animation, evokes the effect of diffused coloured light from an emergency-vehicle warning light spilling through a window and moving across a room. This familiar sight, which is as likely to occur in your home as on your TV screen, prompts a poignant moment of reflection that, as with Stenbom's other works, treads a fine line between fiction and reality. Cecilia Stenbom is originally from Stockholm, Sweden. She completed her BA in Fine Arts at the Academy of Fine Arts in Helsinki in 2003 and an MFA at Glasgow School of Art in 2005. She lives and works in the North East of England. She is currently working on a new commission for the Berwick Film and Media Festival in September 2013. She is a member of AV-arkki (Finland) and her work is represented by Workplace Gallery (UK). Kindly supported by:

Laura Lancaster - Preview - Friday 1st February, 6-9pm at Workplace Gallery

Image: Laura Lancaster M, 2013, Oil on Linen, 230 x 180 cm, Courtesy of the artist and Workplace Gallery, UK.   Laura Lancaster  Conversations Behind Glass 2nd February 2013 - 9th March 2013 Tuesday - Saturday, 11am - 5pm (or by appointment)       Preview: Friday 1st February, 6 - 9pm     Workplace Gallery is pleased to present Conversations Behind Glass our third solo exhibition of work by Laura Lancaster.    Through a new body of large-scale works Laura Lancaster continues her ongoing investigation into the relationship between the photograph and human presence mediated through painting. The exhibition is comprised of two distinct and complimentary series of works: Lancaster's paintings of text written upon found photographs, and a recent series of paintings extracted from an ongoing collection of anonymous photographs of gravesides.   In Lancaster's 'Text series' the informal captions or notes made upon the backs or margins of photographs are raised to monumental status. These works are reductive in terms of their pictorial content, focusing upon the painting of the handwritten mark of the photographer within the physical properties of the printed photograph. Lancaster's 'Graveside series' further examines the problematic correlation between the human, the referent, and the monument and the slippage between representation and abstraction. On the relationship between the two series Lancaster writes:       I was interested in the idea of taking away all extraneous information from the source material and arriving at a visual summary of the image and our associations with them - a whole complex moment in time and relation between the photographer and subject summed up in one statement. On a formal level it was a new kind of linear mark I was making on a field of colour, which connects with the idea of remembrance through me re-enacting the movements of someone else's hand through their writing. The writing on the photographs reminds me of the Victorian cult of remembrance, and their trend of mounting or collaging photos with pressed flowers or with bracelets made from loved ones hair. As with the text, these are all attempts to make a memory more real, as if the photograph won't be effective enough. These works also highlight the photographs as objects that have experienced their own time evidenced by wear and tear and marks on their surface. They have been owned by loved ones and carried around in wallets and albums, in a life that we can never know, so there is a sense of compounded time a moment held and suspended within the image, and the span of time that the photograph itself has existed. The economy of a moment in time becoming one line of text relates very strongly to headstones, where a whole life lived becomes a name and two dates and a summary of all their relationships in one line. I don't see this as morbid, but instead find this simplicity reassuring.    I chose to paint from anonymous found snapshots of gravesides as I had gathered a number of them and was curious to know how the feel of my work would change if I took on the relationship between painting, photography and death in a more direct way. It seemed odd to me to take photographs of gravesides and I wanted to investigate why these images intrigued me so much.  I was drawn to the idea of a lack of a central figure, and how the monochrome nature of the paintings would relate to my interest in the push and pull between figuration and abstraction. These paintings are an attempt to investigate the relationship between photography and death in a direct way - Roland Barthes quotes: 'he is dead and he is going to die' referring to a photograph of a prisoner about to be hanged and the idea that a photograph holds the subject in suspension, forever alive, and yet as a viewer with hindsight we know that that subject has since died. In my previous work my concern was with the idea that the painting process could somehow resurrect forgotten subjects whilst also dealing with the dead matter of paint becoming alive at the same time. Reinvigorating these 'dead' photos with life and movement whilst at the same time acknowledging their own failure as effective aide-mémoire. With these graveside works the failure of the photograph to accurately re-invoke the person is central and the headstone becomes symbolic of this failure. The headstone will probably outlast the photograph, whereas the photographs that I have collected outlast their subjects. Both the photograph and the headstone are emotive points of contact for those out of reach, yet they are equally flawed, as is a painting.    In both of these series the paintings are not figurative, but are a kind of portrait. The usual central figure is replaced by a monument to a person leaving the feeling of a presence twice removed. For me this sense of absence highlights our human need to be remembered and our fear of being forgotten.  Perhaps these graveside photos are also symbols for something unreachable, unknowable and abstract.   Laura Lancaster was born in 1979 and lives and works in Newcastle Upon Tyne, UK. Recent Exhibitions include: John Moores Painting Prize, Liverpool Bienalle 2012, Laing Art Gallery, Newcastle, Kunstmuseum Bern, Switzerland, Museum of Modern Art St Etienne, Palazzo Della Arte Napoli, Museum of Modern Art Oxford, Middlesbrough Institute of Modern Art.   Kindly supported by

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Matt Stokes: "Social Sound" Kunstinitiatief VHDG, The Netherlands

Matt Stokes 'Jubilee Dancer', 2011, 16mm film with audio, Duration 01:30 minutes, looped, edition of 3 plus 1 artist's proofs (MS0053), Courtesy of the artist and Workplace Gallery Social Sound Kunstinitiatief VHDG January 5th - February 16th, 2013 Blokhuispoort, Leeuwarden Social Sound / Art about music and what life sounds like The art initiative VHDG presents Social Sound, an exhibition and performance program about the social function of music. Social Sound takes place from the 5th of January until the 16th of February 2013 and illustrates how artists investigate the social role of music. The central location is a former prison, De Blokhuispoort, in Leeuwarden. Additional projects will be launched in the city centre. Social Sound presents existing and new work of Dutch and international artists, including: Jeremy Deller (GB) Matt Stokes (GB) David First (USA) Merlijn Twaalfhoven (NL) Ferhat Özgür (TR) Steven Jouwersma (NL) Mediengruppe Bitnik (CH) Marijn van Kreij (NL) Katarina Zdjelar (SRB) Bouke Groen (NL) Tellervo Kalleinen & Oliver Kochta-Kalleinen (FI) Elke Uitentuis & Nienke Jansen (NL) Toon Fibbe (NL) The Little Sisters of Gay Mutton (NL) Elena Bajo (ES) The exhibited works examine issues that are present in society today, showing how artists interact and question the role that music plays in these matters. During the exhibition visitors can also visit the Sonic Restaurant of David First where people will be served sound. The unconventional concert adventure "The Air We Breathe" of Merlijn Twaalfhoven will be performed in the cellblock of the monumental prison. A newly established Complaints Choir in Leeuwarden, a project of Tellervo Kalleinen and Oliver Kochta-Kalleinen, will give complaining Leeuwardeners a new voice. These projects are complemented by a program of lectures, workshops, concerts and other activities in the public realm. More information (in Dutch) is to be found at www.social-sound.nl Visiting hours January 5th - February 16th 2013. Monday – Saturday 12 - 5 PM Visitor information VHDG, Social Sound Voormalig gevangenis De Blokhuispoort Blokhuisplein 40 8911 LJ Leeuwarden www.social-sound.nl Admission free ----------------------------- Kunstinitiatief VHDG Social Sound // Art about music and what life sounds like 05.01 - 16.02 2013 Blokhuispoort Leeuwarden www.vhdg.nl

Jo Coupe: 'Easy Does It' David Dale Gallery, Glasgow

Jo Coupe, Mint, 2011, White Stick n Fix, 22 Carrat Gold Leaf, Lab Grown Synthetic Gemstones, 6 x 4 cm (JCP0088), Courtesy of the artist and Workplace Gallery easy does it The first in an evolving trilogy of exhibitions curated by Kevin Hunt examining the complexity inherent within the simplest of actions. Carwyn Evans Fiona Curran Hannah James Jo Addison Jo Coupe Kevin Hunt Leo Fitzmaurice Littlewhitehead Sean Edwards Tom Godfrey Tom Ireland Preview: 01/02/13, 19:00 - 21:00 Exhibition: 02/02/13 - 23/02/13 Open: Thurs - Sat,  12:00 - 17:00 Or by appointment David Dale Gallery & Studios 161 Broad Street Bridgeton Glasgow G40 2QR 44 (0) 141 2589124 info@daviddalegallery.co.uk. http://www.daviddalegallery.co.uk

Matt Stokes: Sextantetplus - Marseilles, France

Matt Stokes 'Long After Tonight', 2005, Super 16mm Film and Audio transferred to DVD, Duration 6:45 Minutes, edition of 3 plus 1 artist's proofs (MS0010) Courtesy of the artist and Workplace Gallery expo / VOLUPTÉ Sextantetplus exposition du 8 janvier au 30 mars galerie du 5ème des galeries Lafayette St Ferréol, Marseille Depuis juin 2012, les membres de Marseille expos, dont Sextant et plus, assurent la programmation du nouvel espace d’exposition du 5ème étage des Galeries Lafayette avec trois expositions inspirées du célèbre triptyque baudelairien “Luxe, calme et volupté”. Pour Le dernier volet de cette trilogie, aux côtés des œuvres de Clémence Agnez, Michel Auder, Béatrice Cussol, Alessio Delfino, Rob De Oude, FRP2, Julien Friedler, Sohyun Kim, Laurent Le Forban, Grégory Le Lay, Natacha Lesueur, Karine Maussière, Julie Perin, Steve Veloso et João Vilhena, Sextant et plus a le plaisir de vous présenter celles de Claire Dantzer, Jesper Just et Matt Stokes http://www.sextantetplus.org

Cath Campbell: Mostyn Open 18, Llandudno, Wales

Cath Campbell 'For I have known them all already, known them all" (#2,3,1) 2012, UV print on powder-coated aluminium, each 236 x 196 cm, Courtesy of the artist and Workplace Gallery MOSTYN OPEN 18 19 January 2013 - 14 April 2013 Selected by: Alfredo Cramerotti, Director of MOSTYN Adam Carr, Curator of MOSTYN Ryan Gander, artist and the visiting audience, for the People's Choice. Participating artists: Jacqueline Bebb Jane Bustin Cath Campbell Tomas Chaffe Danilo Correale Sean Edwards Alex Farrar Claudio Gobbi Gareth Griffith The Hut Project Yuki Kishino Lawrence Leaman James Lewis Stuart Middleton Edward Morgan Philip Newcombe John Henry Newton Laura Reeves Zhao Renhui Hua Kuan Chen Sai Chris Shaw-Hughes Nikolaus Schletterer Mathew Tom Alaena Turner Gwyn Williams Jesse Wine Since its inception in 1989, MOSTYN Open has functioned as a call-out to artists of any age and residing place to enter, with an exhibition of the selected artworks taking place at MOSTYN, and a prize of 10,000 GBP awarded to a single artist or collective. While continuing in this tradition, this 18th edition will also bring a fundamental addition. A prize of 1,000 GBP will be given to the People's Choice, determined by the artist who receives the most votes from the visiting public during the exhibition's run. In doing so, the questions that are raised, and central to this renewed edition, are: How do we examine and judge artwork? What criteria do we bring to perceiving, interpreting and understanding artwork? What really makes our favourite? Visitors are invited to make their selection at the People's Choice voting booth. MOSTYN 12 Vaughan Street, Llandudno LL30 1AB  Wales, UK Hours: Tuesday -Sunday, 10:30 -5pm www.mostyn.org

Mike Pratt: 'Theatrical Dynamics' Torrance Art Museum, Los Angeles, USA

Theatrical Dynamics Torrance Art Museum January 21st - March 9th, 2013 Tuesday - Saturday From 11 am - 5 pm FREE ADMISSION Closed Sunday, Monday, and all major holidays Theatrical Dynamics Curated by David Leapman Bringing together a group of artists concerned with the way our brains cope with the desire to create emotional and psychological forms. Artists: Marsia Alexander Clarke Mark Dutcher Stuart Elliot Neil Gall Vincent Hawkins David Leapman Lee Maelzer Heather Gwen Martin Douglas McCulloh David McDonald Naida Osline Mike Pratt James Rielly Hannah Schwadron Sarah Sparkes Daniel Sturgis Torrance Art Museum 3320 Civic Center Drive Torrance, CA 90503, USA telephone: 310.618.6340 email:TorranceArtMuseum@TorranceCA.Gov web: http://www.torranceartmuseum.com/future.php