HELENA ALMEIDA, 'INSIDE ME'
from 07-02-2010 to 01-04-2010
|
|
John Hansard Gallery, University of Southampton, Highfield, Southampton SO17 1BJ, T: (+44) 023 8059 2158. 'Inside Me' celebrates the extraordinary work of Portuguese artist Helena Almeida, in her first UK exhibition. Over the last forty years Almeida has combined painting, photographic imagery, performance and drawing to explore intimacy, sensation and the limits of the body. Although the artist is always in front of the camera, she insists that her works are not self-portraits. Dressed in black since the early 1970s, sometimes with objects or furniture found in her studio, Almeida assumes positions that she has painstakingly choreographed. The resulting images, to which paint marks are sometimes added in bold blue or red, often depict ‘impossible’ actions – paint marks entering the mouth, the artist’s body extending beyond its limits. Many works also allude to the experiences of touch and sound, or distance and silence. Through these ‘pseudo performances’, Almeida attempts to inhabit – literally, to get inside of – painting.
|
) |
|
|
WHAT WHERE
from 09-02-2010 to 20-03-2010
|
|
Sutton Lane, 1 Sutton Lane, entrance 25/27 Great Sutton Street, London EC1M 5PU, T: (+44) 020 7253 8580. 'What Where' is an exhibition of paintings by Tauba Auerbach, Alex Hubbard, Nathan Hylden and Zak Prekop. The exhibition explores the continuing investigation of painting, narrowing its focus on multiple disciplinary practices concerning the traditional medium and the vicissitudes of such an undertaking. The title 'What Where', taken from Samuel Beckett's final dramatic work, highlights the paintings' indeterminacy or lack of easy categorisation as well as the viewer's inability to see the exhibition as a whole at any given time. The artists brought together here - though not all exclusively painters - share a methodical, process-based approach that emphasises ascetic optical poetics, openness to mediated dealings with the format as well as minute attention to the material constructs of painting.
|
) |
|
|
EMILY WARDILL, 'GAME KEEPERS WITHOUT GAME'
from 10-02-2010 to 27-03-2010
|
|
The Showroom, 63 Penfold Street, London NW8 8PQ, T: (+44) 020 7724 4300. London premiere of British artist Emily Wardill’s new work, 'Game Keepers Without Game', a powerful feature length film based on 'Life is a Dream (La Vida es Sueño)' by Pedro Calderón de la Barca. The film translates the 17th century play by Calderón de la Barca into contemporary London; it tells the story of a girl put up for adoption by her family at a young age. When the girl is a teenager her father engineers a way for her to return to the family home, but her destructive response to the objects and people within leads to her being forcibly removed and having to strategise her way back into housing.
|
) |
|
|
FRANZ ACKERMANN, 'WAIT'
from 10-02-2010 to 01-04-2010
|
|
White Cube, 25-26 Mason's Yard, London SW1Y 6BU, T: (+44) 020 7930 5373. Exhibition of new work by Franz Ackermann, his third at White Cube. Ackermann will transform the ground-floor gallery with an installation entitled 'Wait', while in the lower-level gallery the artist will exhibit a group of interconnected but standalone paintings that continue to explore his themes of borders, travel and globalisation.
|
) |
|
|
NATASHA KISSELL, 'ARTIFICIAL PARADISES'
from 11-02-2010 to 13-03-2010
|
|
Eleven, 11 Eccleston Street, London SW1W 9LX, T: (+44) 020 7823 5540. 'Artificial Paradises' is a new exhibition by Natasha Kissell. Borrowing its title from Charles Baudelaire’s eponymous book, this new show opens up multiple windows into a fanciful world. Kissell embraces an altered reality, her paintings function like psychedelic visions inviting viewers into a dream-like space. These works oppose two understandings of modernity. Kissell contrasts the slick lines of modernist architecture – a main feature of her works since the very early days – with the flicking, collage-like perception of the modern world, as described by Baudelaire. The artist also pushes further her reinvention of the traditional genre of landscape painting; following on from the Romantic tradition, her pictures celebrate nature by sublimating it.
|
) |
|
|
EMILIO PEREZ, 'BREAKFAST BY THE LIGHT OF THE MOON'
from 11-02-2010 to 13-03-2010
|
|
Galerie LeLong, 528 West 26th Street, New York, T: (+1) 212 315 0470. In 'Breakfast by the Light of the Moon', Emilio Perez shifts towards a more elusive approach and darker palette than seen in his previous abstract paintings while still maintaining his signature practice—juxtaposing freeform movement with meticulous, measured actions. Perez’s unique process entails painting sheets of latex and acrylic in different hues onto wood panels and then, using a blade, decisively cutting away at layers, revealing the colours underneath. The final works are striking, complex designs that simultaneously evoke upheaval and harmony. Throughout this organised chaos are blended, muted shades. Working without preliminary drawings, Perez displays a deeply instinctive dexterity with movement, composition, and colour.
|
) |
|
|
GERT & UWE TOBIAS, 'COME AND SEE BEFORE THE TOURISTS WILL DO - THE MYSTERY OF TRANSYLVANIA''
from 11-02-2010 to 13-03-2010
|
|
Team Gallery, 83 Grand Street, New York, T: (+1) 212 279 9219. Exhibition of new work by the Köln-based brothers Gert & Uwe Tobias. To date, the biographical details surrounding Gert and Uwe Tobias have been used as an entry point to their sophisticated, ultra-stylised and, at times, darkly humorous installations, which, through their incorporation of wall painting, watercolours, collages, vitrines containing altered books, type-writer drawings, ceramic sculptures, and large-scale wood cut prints frequently approach the status of the Gesamtkunstwerk.
The Tobias’ introspective and oblique woodcuts lovingly embrace eccentric figuration, geometric abstraction, and the typographic. Presented with them are a series of collages made from cutting and recombining books and other printed matter.
|
) |
|
|
RYAN WALLACE, 'GLEAN'
from 11-02-2010 to 20-03-2010
|
|
Morgan Lehman Gallery, 317 Tenth Avenue, between 28th and 29th Streets, New York, T: (+1) 212 268 6699. 'Glean' is a solo exhibition of new works by Ryan Wallace. In his first exhibition with the gallery, Wallace continues his exploration of current trends and advancements in science, technology and consciousness. His research draws from books, websites, trade and mass media publications, industry reports, television and seminars. He uses this data and theories as starting points for his paintings and drawings, which act as visual solutions to his curiosity and meditations on these themes.
|
) |
|
|
ANNIE ABRAHAMS, 'IF NOT YOU NOT ME'
from 12-02-2010 to 20-03-2010
|
|
HTTP Gallery, Unit A2, Arena Design Centre, 71 Ashfield Road, London N4 1FF, T: (+44) 020 8802 2827. Annie Abrahams is an internationally regarded pioneer of networked performance art. 'If not you not me' at HTTP Gallery in London is the first solo exhibition of her work in the UK. Where social networking sites make us think of communication as clean and transparent, Annie Abrahams creates an Internet of feeling – of agitation, collusion, ardour and apprehension. This exhibition presents three new collaborative works alongside documentation of recent networked performances created and curated by the artist.
|
) |
|
|
CANDICE BREITZ, 'FACTUM'
from 12-02-2010 to 20-03-2010
|
|
White Cube, 48 Hoxton Square, London N1 6PB, T: (+44) 020 7930 5373. 'Factum' is an exhibition of new work by Candice Breitz, the artist's third exhibition at the gallery. Shot in Toronto, 'Factum' is a series of in-depth video portraits of twins - and one set of triplets - that extends Breitz's ongoing interest in doubling, portraiture and identity. Titled after Robert Rauschenberg's 'Factum I' and 'II' (1957) near-identical twin paintings, Breitz's 'Factum' explores the modes of internal and external forces that drive individuation.
|
) |
|
|
LUCY PULLEN, 'I WOULD PREFER NOT TO'
from 12-02-2010 to 21-03-2010
|
|
Artspeak, 233 Carrall Street, Vancouver, T: (+1) 604 688 0051. Lucy Pullen’s project, 'I Would Prefer Not To', plays an ineffable game. Occurring between February 12 and March 21 (bracketing the 2010 Winter Olympic and Paralympic Games), Pullen has produced blinds for the windows at Artspeak. The blinds, made from a reflective fabric that Pullen has explored extensively in past work, will remain drawn for the thirty-eight cumulative days of the Games. During the day, the blinds appear silvery grey, but in the darkness they will reflect light sources (from street lamps, cars, revelers, protesters) with a blinding brilliance. Both exclusionary and interactive, Pullen’s gesture questions meaningful resistance and indifference.
|
) |
|
|
FLORIAN HECKER
from 12-02-2010 to 28-03-2010
|
|
Chisenhale Gallery, 64 Chisenhale Road, London E3 5QZ, T: (+44) 020 8981 4518. Major solo exhibition by Florian Hecker, his first in a UK public institution, comprising a new installation of sound pieces co-commissioned by Chisenhale Gallery, London and IKON Gallery, Birmingham. Hecker's new commission continues his investigation of sound in relation to the body and space, employing idiosyncratic psychoacoustic propositions in order to examine and disrupt spatial perception. At Chisenhale Gallery he will present a series of four independent, electro-acoustic works that lead the visitor around the gallery space, where each work exposes a fault line in the traditional categorizations of auditory events, auditory objects or streams.
|
) |
|
|
SHILA KHATAMI
from 12-02-2010 to 30-03-2010
|
|
Galerie Susanna Kulli, Dienerstrasse 21, CH-8004 Zurich, T: (+41) 043 243 3334. In music theory, counterpoint refers to the technique of adding a second voice to the first in the course of a melody. A harmonic complement, the second line of notes counters the first while following its own melodic rules. Shila Khatami uses a similar method in her work, combining a vocabulary of gestural abstraction with that of geometric minimalism. Here, the musical "note-against-note" becomes a painterly ping-pong, with both approaches asserting themselves independently of one another, reacting to each other at the same time.
|
) |
|
|
CHARLES AVERY, 'ONOMATOPOEIA PART 2: THE PORT'
from 12-02-2010 to 31-03-2010
|
|
Pilar Corrias, 54 Eastcastle Street, London W1W 8EF, T: (+44) 020 7323 7000. Exhibition of new work by Charles Avery, continuing the Scottish artist's epic 'Islanders' project, in which he describes the topology and cosmology of an imaginary island inspired by his childhood on the Inner Hebrides.
|
) |
|
|
DEUTSCHE BÖRSE PHOTOGRAPHY PRIZE
from 12-02-2010 to 17-04-2010
|
|
The Photographers' Gallery, 16-18 Ramillies Street, London W1F 7LW, T: (+44) 0845 262 1618. The Deutsche Börse Photography Prize rewards a living photographer, of any nationality, who has made the most significant contribution, in exhibition or publication format, to the medium of photography over the previous year. The four shortlisted artists for this year's Prize are Anna Fox (born 1961, UK), nominated for her exhibition 'Cockroach Diary & Other Stories' at Ffotogallery, Cardiff; Zoe Leonard (born 1961, USA), nominated for her retrospective exhibition 'Zoe Leonard - Photographs', at the Pinakothek der Moderne, Munich; Sophie Ristelhueber (born 1949, France), nominated for her retrospective 'Sophie Ristelhueber' at the Jeu de Paume, Paris; and Donovan Wylie (born 1971, UK), nominated for his exhibition 'MAZE 2007/8' at Belfast Exposed.
|
) |
|
|
BANKS VIOLETTE
from 12-02-2010 to 17-04-2010
|
|
Gladstone Gallery, 530 West 21st Street, New York, T: (+1) 212 206 9300. For this new installation, Banks Violette continues to mine a rich art historical terrain in which the materials and forms associated with Minimal and Conceptual Art become reactivated as theatrical platforms of performative decay. He pairs a large chandelier composed of multiple fluorescent tubes with a black wall that seems to buckle and melt against the reflection of the light. Both aspects of the installation recall the monochromatic tone and the use of replaceable industrial materials common to Minimalist and Conceptual sculptors such as Donald Judd and Dan Flavin; however, Violette’s works seem self-consciously constructed and theatrical. Wires fall in a cascade alongside the chandelier while the apparatus of steel tubes and sandbags supporting the wall remain in plain sight. By exposing these more banal technical necessities, Violette heightens the artificial spectacle of his installation, as if willing these two canonical art historical movements into an internecine danse macabre.
|
) |
|
|
HE YUNCHANG, 'THE WINGS OF LIVE ART'
from 12-02-2010 to 17-04-2010
|
|
Galerie Meile, Rosenberghöhe 4, CH-6004 Lucerne, T: (+41) 041 420 33 18. 'The Wings of Live Art' is the first solo show in Europe of the leading Chinese contemporary performance artist He Yunchang (born 1967). The exhibition presents 'One Rib' (2008-2009), a challenging and multi-faceted project that consists of a variegated body of interlinked pieces including performance, sculpture, photography, video and painting. All the works comprising the One Rib project are the result of a recent performance in which the artist underwent a medically unnecessary operation in order to have a rib excised from his body. For the first time in his artistic practice, He Yunchang experienced his own performance from behind closed doors, under a pharmaceutically induced state of unconsciousness for most of the surgery. By deliberately rendering himself incapable of actively controlling the situation while it was carried out, He Yunchang subverted one of the key elements of his previous works, in which the artist's psychological and physical stamina both play a crucial role in the success of the performance.
|
) |
|
|
DAIDO MORIYAMA
from 13-02-2010 to 13-03-2010
|
|
Luhring Augustine, 531 West 24th Street, New York, T: (+1) 212 206 9100. First exhibition at Luhring Augustine of the work of Daido Moriyama, one of Japan’s leading figures in photography. Witness to the spectacular changes that transformed postwar Japan, his photographs express a fascination with the cultural contradictions of age-old traditions that persist within modern society. Providing a harsh, crude vision of city life and the chaos of everyday existence, strange worlds, and unusual characters, his work occupies the space between the objective and the subjective, the illusory and the real.
|
) |
|
|
KIM RUGG, 'PLEASE REMAIN CALM'
from 13-02-2010 to 13-03-2010
|
|
Mark Moore Gallery, 2525 Michigan Avenue, A-1, Santa Monica CA, T: (+1) 310 453 3031. Solo exhibition of new work by Kim Rugg. With surgical blades and a meticulous hand, Rugg dissects and reassembles newspapers, stamps, comic books, cereal boxes and postage stamps in order to render them conventionally illegible. The front page of the LA Times becomes neatly alphabetised jargon, debunking the illusion of its producers' authority as much as the message itself. Through her reappropriation of medium and meaning, she effectively highlights the innately slanted nature of the distribution of information as well as its messengers.
|
) |
|
|
LEE LOZANO
from 13-02-2010 to 25-04-2010
|
|
Moderna Museet, Skeppsholmen, 11149 Stockholm, T: (+46) 8 5195 5200. Lee Lozano (1930 – 1999) belongs to the generation of artists who were active in New York in the 1960s and early 1970s. Within merely twelve years, Lozano produced radical, often provocative, independent and multifaceted works, verging on pop art, minimalism and conceptual art, but always in her own way. When Lozano left the New York art scene in the early 1970s with her 'Drop Out Piece', her style had developed through a rapid succession of phases. Towards the end of the 1960s, she abandoned painting entirely, in favour of conceptual art in the form of text-based investigations, the 'Language Pieces'. Unlike many of her male colleagues, Lee Lozano never received the recognition she deserved and is therefore still relatively unknown. Among other aspects, her relevance lies in the way she challenged both female and male stereotypes. Moderna Museet’s retrospective exhibition aims to highlight Lee Lozano and present her oeuvre for the first time to a Nordic audience.
|
) |
|
|
|
