The Empire: The Signature Art Awards
The Signature Art Awards
15.03.10 - 31.05.10 / ends in 77 days
At The Empire in London, United Kingdom
Event | Multi-disciplinary
Today's Students, Tomorrow's Artists
DegreeArt.com is proud to announce the launch of a one of a kind competition that gives emerging student artists the opportunity to present their signature style to the Art world.Based on the success of previous Awards this year+rsquo;s competition has broadened its entry criteria to allow artists working in ALL artistic fields to compete to exhibit their work at The DegreeArt.com Gallery in London in summer 2010. Unlike most competitions The Signature Art Awards gives the artist free reign over the form and content, whatever the medium whatever the subject the Awards present an invaluable opportunity to get your unique creative vision out of the studio and onto the gallery walls.All submissions will be reviewed by our panel of judges who will shortlist 20 finalists in each category to exhibit their piece in one of four exhibitions that will form The Signature Series 2010. Alongside honourable mentions an overall winner from each category will be announced at the exhibitions+rsquo; Private View Evenings.Prizes +ndash; The winners of each category will receive a year+rsquo;s representation by DegreeArt.com the leading Art dealership for student artists and prizes from the exhibition sponsors.All competition entrants will receive free entry to the guest lectures and portfolio reviews chaired by industry experts taking place throughout the Signature Series Exhibitions.Entry +amp; Categories - The competition opens on 15th March 2010 with the closing deadline 30th May. Entrants may submit only one piece into one of the following categories:Painting, Sculpture, Photography, Mixed-mediaRemember there is no given theme or brief, this is your chance to present your perspective in your own Signature style.
Clifford Chance / University of the Arts Sculpture Award: Jock McFayden
Jock McFayden
15.03.10 - 23.04.10 / ends in 39 days
At Clifford Chance / University of the Arts Sculpture Award in London, United Kingdom
Exhibition | Painting
The landscape with its clothes on.
The Grey Gallery: Jock McFadyen: The landscape with its clothes on
Jock McFadyen: The landscape with its clothes on
15.03.10 - 23.04.10 / ends in 39 days
At The Grey Gallery in London, United Kingdom
Exhibition | Painting
Jock McFadyen: The landscape with its clothes on
Let+rsquo;s propose that Jock McFadyen is a history painter, that once elevated but now maligned painting genre. And not just one of the few but, perhaps, one of the UK+rsquo;s leading history painters, focused on the conflicting rhythms of the city, its growth, decay and rebirth. In recent years, as the depiction of individual people disappeared from his canvases, the artist has brought the background to the fore, the fabric of the city, its buildings and arteries, its canals and roads, have become its characters. Where previously McFadyen might paint dissolute pub strippers or anomic youth, melancholic metaphors of the zeitgeist, today it+rsquo;s the city+rsquo;s ruins, monumental constructs surrounded by acres of barren wasteland. As the art critic John Ruskin argued nearly 150 years ago, in the Stones of Venice, architecture is a direct projection not just of our physical needs, but of our whole morality. McFadyen+rsquo;s urban paintings have a distinct loci. He has made memorial works of Berlin, New york, Belfast and Edinburgh, but it is to London+rsquo;s East End, where he has lived and worked for the last 30 years, that he returns. The geography of his paintings reaches from the edge of the City, where decaying buildings of the East End rub up against the towers of Capital, past the aspirant Canary Wharf to the sprawling estuarial plain, to the flats of Dagenham now emptied of industry, and up into the Lea Valley, being rebuilt before our eyes with Olympian zeal. The architectural flux of London, its constant evolution, finds parallel in the artist+rsquo;s use of allegory; the flow of the Thames, the stasis of the canal network and the anticipatory mobility of the A13.Someone once wrote that McFadyen was a painter of human unfreedom - but rather than being confined, there is a sense of the salvatory journey implicit in his work. McFadyen may look sympathetically, not to Baudelaire+rsquo;s 19th Century flaneurs who delighted in the banality of the urban life, but at their 20th Century filmic equivalents, the lone wanderers who populate the films of Wenders and Antonioni, pessimistic yet striving. Film also gives McFadyen a key schematic device; the cinematic format of his large-scale canvases. Cinema-scope and a distinct horizon line give the artist space to paint the sky - sometimes dark, often overcast but never dazzling - and to tackle what Turner identified as the true subject of painting - Light.There is a lot of Art in McFadyen+rsquo;s work. He has called himself a realist painter - +lsquo;The only word I know that describes what I am aiming at+rsquo; - but Realism should not be mistaken for photographic reproduction. As such he joins a distinguished roll call of painters of the urban, of bedsits and music halls, of factories and fairgrounds, as found in Sickert and Lowry. The author Iain Sinclair has called McFadyen +lsquo;the laureate of stagnant canals, filling stations and night football pitches+rsquo;. But this dwells on subject matter to the detriment of the process of painting. The import of which can be seen in McFadyen+rsquo;s treatment of graffiti. Each individual+rsquo;s tag is tenderly, almost reverentially, faithfully copied. He also likes the odd in-house art joke. The terrible Tate Moss pun found on a broken warehouse, or the Kill Matthew Barney stencil that reappeared on a canal-side wall - Barney being a a New York conceptual film-maker whose talent divides art world opinion.The American artist Robert Smithson famously commented about the outskirts of New Jersey that they +lsquo;were a zero panorama (that) seemed to contain ruins in reverse, that is, all the new construction that would eventually be built. This is the opposite of the romantic ruin because the buildings don+rsquo;t fall into ruin after they are built but rather rise into ruin before they are built+rsquo;. This finds echoes in McFadyen+rsquo;s paintings, in his Landscape with its clothes on. Buildings, even the most monumental, contain not only a past history, but also a future one. This thought may be melancholic, even dystopian, but as Heraclitus noted +lsquo;Nothing stays the same, everything changes+rsquo;.Born in Paisley in 1950, Jock McFadyen studied at Chelsea School of Art. In 1981 he was Artist-in-Residence at the National Gallery, London and in 1992 designed the sets and costumes for The Judas Tree at the Royal Opera House. His paintings have been included in numerous exhibitions, most recently at the Whitechapel Gallery, and acquired by major museums in the UK.
text + work: Gavin Parkinson + Dominic Shepherd
Gavin Parkinson + Dominic Shepherd
15.03.10 - 21.04.10 / ends in 37 days
At text + work in Poole, United Kingdom
Exhibition | Painting
Gavin Parkinson and Dominic Shepherd both share an interest in new physics, surrealism and the poetic forms of verbalizing and visualizing the ontological, all of which will form the core part of this forthcoming exhibition. The 'work+rsquo; part of the exhibition will consist of recent works that have been fed by research into these areas, as produced by Dominic Shepherd, while the accompanying text will see an opportunity for Gavin Parkinson to write an original metafictional piece. Both parts of the exhibition will compliment and actively encourage mental networking, giving rise to a conversation between the text and the work; artist and writer; observer and observed; a quantum area where new thoughts/ideas will arise.
Peninsula Arts: Biotropica
Biotropica
15.03.10 - 09.04.10 / ends in 25 days
At Peninsula Arts in Plymouth, United Kingdom
Exhibition | Photography
Scientists are great observers of the world around them and so accumulate thousands of photographs that document their encounters with the natural world. Biotropica offers an insight into the wonder and beauty of this fragile and rapidly vanishing part of the biosphere.
SPACE: New Creatives
New Creatives
15.03.10 - 30.03.10 / ends in 15 days
At SPACE in Portsmouth, United Kingdom
Exhibition | Multi-disciplinary
New Creatives
New Creatives is an artist-led joint exhibition of creative works by students from six local Further Education/Sixth Form colleges in SPACE and Eldon Gallery at the University of Portsmouth's Eldon building.The colleges taking part are Havant, Highbury, Fareham, Portsmouth, South Downs and St. Vincent.The new partnership project will showcase an exchange of ideas and 'visual correspondence' between the Faculty of Creative and Cultural Industries and the colleges co-working in support of the Cultural Olympiad. It is funded by Creative Campus Initiative, a new consortium of thirteen higher education institutions in the South East delivering a dynamic programme of cultural events and artworks in response to the 2012 Olympics and Paralympics. There will be a variety of creative works including visual arts, photography, video, 3D and installation, and performances including live music and dance at the preview on Friday 12th March. You can see their work in progress in images and videos posted on the project blog http://newcreatives2010.blogspot.com/Simon Claridge, Dean of the Faculty of Creative and Cultural Industries said +quot;This is a significant partnership exhibition within our community with an opportunity to meet the creative talent of our future. I see this project continuing where new creative collaborations between colleges can develop or existing ones are strengthened with our support. The show will allow young college students to experience university and gain the thrill of exhibiting their work, as part of our ongoing exhibition programme+quot;.Images and footage from the exhibition will be broadcast on the BBC Big Screen in the Guildhall Square at a later date. Commissioned artists working with the colleges are David Dixon and Suzie Darcel. This is one of the first showcases of a series of exhibitions, performances, research and debate in Phase one of the Creative Campus Initiative continuing into the summer of 2010. There may be scope for developing the project for Phase Two of the initiative to possibly go on to tour the UK and internationally in 2011. 
Avenue Gallery: Spring Show 2010
Spring Show 2010
15.03.10 - 25.03.10 / ends in 10 days
At Avenue Gallery in Northampton, United Kingdom
Exhibition | Architecture
In this annual exhibition second-year Fine Art, Painting and Photography students are given the task of organising a group exhibition of their own artwork as part of their Professional Practice studies. Always lively and varied, the Spring Show provides the students with what is often their first opportunity to take their work out of the working studios and present it to the public in a formal gallery setting.
Urbanomic Studio: Secrets of Creation
Secrets of Creation
15.03.10 - 21.03.10 / ends in 6 days
At Urbanomic Studio in Falmouth, United Kingdom
Exhibition | Multi-disciplinary
ARTIST AND MATHEMATICIAN TO EXPLORE ‘SECRETS OF CREATION’
This exhibition documents a unique artist residency crossing the borders of art, science and philosophy. Secrets of Creation will see artist Conrad Shawcross working together at Urbanomic Studio with mathematician Dr Matthew Watkins. The residency, inspired by Shawcross+rsquo;s and Watkins+rsquo;s contributions to the journal Collapse, published in Falmouth by Urbanomic, will focus on the question: How can the work of artists help to make highly abstract scientific ideas comprehensible to non-experts? Shawcross and Watkins will spend the week before the exhibition in discussion, producing concepts, sketches and maquettes for a new kinetic sculptural work.
UNIT 5 Studios: 6 Different Ways
6 Different Ways
15.03.10 - 20.03.10 / ends in 5 days
At UNIT 5 Studios in Norwich, United Kingdom
Exhibition | Multi-disciplinary
The Others: Life Drawing Mondays @ The Others
Life Drawing Mondays @ The Others
15.03.10 - 15.03.10 / ends today
At The Others in London, United Kingdom
Event | Drawing
Every Monday 8pm til 10.30pm+pound;10The Others6 and 8 Manor Road Stoke Newington N16 5SAThe friendly and informal class will consist of 2 sessions, each week will be themed,from 30 second poses to 1 hour.Students are given the freedom to pursue their own style and approach.This class is ideal to brush up on yourtalents or try a new skill. Tuition is available from Adrian Williams BA(Hons)There will be a full Bar as well as hot and cold drinks available though out the session and during the break.contact: info@theothers.uk.com
Pushkin House: Alexander Kaidanovsky: Maestro
Alexander Kaidanovsky: Maestro
15.03.10 - 15.03.10 / ends today
At Pushkin House in London, United Kingdom
Screening | Film / Video
Alexander Kaidanovsky: Maestro in association with Paradjanov Festival 2010
Language: In Russian with English subtitlesIntroduction by Layla Alexander-Garrett, Director of the Parajanov Festival 2010Best known to Western audiences for playing the iconic title role in Tarkovsky+rsquo;s Stalker (1979), Alexander Kaidanovsky was also a filmmaker with a unique vision and style. Having trained at the Moscow film school (VGIK), Kaidanovsky produced only four feature films, all of which are rare treasures of late-Soviet art-house cinema.His documentary film about Sergei Paradjanov, +ldquo;Maestro+rdquo; (1991/1993), was commissioned by the International Centre of Cinema in Riga, Latvia, and it has never been screened in Russia. Kaidanovsky+rsquo;s film will be screened in the UK for the first time. 
Inverleith House: Anne-Marie Copestake: New Films
Anne-Marie Copestake: New Films
14.03.10 - 02.05.10 / ends in 48 days
At Inverleith House in Edinburgh, United Kingdom
Exhibition | Film / Video
Inverleith House: VICTORIA MORTON
VICTORIA MORTON
14.03.10 - 02.05.10 / ends in 48 days
At Inverleith House in Edinburgh, United Kingdom
Exhibition | Painting
Victoria Morton.
New paintings made for Inverleith House; Morton+rsquo;s first solo exhibition in Scotland for 8 years. Also showing +ndash; a new film by Anne-Marie Copestake.
Vilma Gold: The Inhabitants
The Inhabitants
14.03.10 - 25.04.10 / ends in 41 days
At Vilma Gold in London, United Kingdom
Exhibition | Multi-disciplinary
Group show looking at performative practice
Sierra Metro: Of the remainder
Of the remainder
14.03.10 - 11.04.10 / ends in 27 days
At Sierra Metro in Edinburgh, United Kingdom
Exhibition | Multi-disciplinary
Sierra Metro presents an exhibition of new assemblages and site-specific kinetic works by artists Bethan Maddocks and Anna Robbins. Marked by its unpredictable and devolving nature, Of the Remainder represents a significant body of new works concerned with the ways in which transience is documented by bodies, materials and objects.
Cubitt Gallery: Henning Bohl: Corner of a Cornfield
Henning Bohl: Corner of a Cornfield
13.03.10 - 25.04.10 / ends in 41 days
At Cubitt Gallery in London, United Kingdom
Exhibition | Multi-disciplinary
Henning Bohl+rsquo;s practice explores traditions, conventions and their limitations in making and displaying art. Working on primed canvas with a restricted palette of coloured paper, he produces collages that recombine elements from a lexicon of graphic motifs. These pictures refer to both painting and sculpture. They function as +lsquo;props+rsquo;, resembling theatrical scenery. Large-scale canvases are often stacked or leant in a manner that acknowledges their temporary occupation of the space. His installations frequently operate against the architecture of the gallery, creating obstructions or interruptions and directing paths. Bohl+rsquo;s exhibition takes its title from a nineteenth century landscape painting by William Davis. Once referred to as +lsquo;loving depictions of utterly insignificant subjects,+rsquo; Davis+rsquo;s compositions are oddly prosaic in comparison with the more intense work of his Pre-Raphaelite peers. A hunting scene entitled View from Bidston Hill (1865) depicts a distant figure on horseback and a hare in the foreground almost camouflaged within the heath. This discreet treatment of the hunt caused one critic to describe the hare as +lsquo;an eccentric intrusion.+rsquo; Bohl+rsquo;s title refers to Davis+rsquo;s tendency to invert perspective and reduce conventional points of focus to marginal details. This shift in emphasis is echoed by Bohl+rsquo;s decision not to hang pictures on the existing walls but construct temporary architecture for the exhibition in the centre of the space. His installation takes the form of a three-dimensional composition employing a modular structure bearing two new collage works. Bohl+rsquo;s construction employs sculpture that takes the form of tables with surfaces made from plasterboard, transferring the vertical white planes of the gallery to a tiered, horizontal format. This will be Henning Bohl+rsquo;s first solo exhibition in the UK. Curated by Michelle Cotton
Transition Gallery: Tamsyn Challenger: The Tamsynettes
Tamsyn Challenger: The Tamsynettes
/ 1 favourite
13.03.10 - 18.04.10 / ends in 34 days
At Transition Gallery in London, United Kingdom
Exhibition | Multi-disciplinary
Tamsyn Challenger broadly concerns herself with the steady march of time upon the body; on her own, on those whom she loves, male and female, and on the desperate ravages inflicted on a woman's form by the warping of beauty into an ideology, where the natural becomes perverse.As a documentarian she has born witness to gender violence and the subsequent lives no longer in extant. Inevitably, this colours a palette and she has recently been utilising body parts, actual along with representational, as a visceral reminder of mortality to a detached audience.Conceptually led, her work toys with the forces of modern popular culture as blind-siding. The nipping and tucking of whatever is at hand to under-pin an image and the passivity of watching to create identity often moves Challenger to reunite fairytale such as The Snow Queen and Snow White with their gruesome roots.Living up to her name Challenger wants to challenge the viewer to resist the all pervading post-modern ethic whilst by her own admission being the most post-modern woman she knows.At Transition Challenger will introduce The Tamsynettes. Forever versions of herself for you to play with.
Eastside Projects: Curtain Show
Curtain Show
13.03.10 - 17.04.10 / ends in 33 days
At Eastside Projects in Birmingham, United Kingdom
Exhibition | Multi-disciplinary
C+eacute;line Condorelli, Tacita Dean, Douglas Gordon, Barbara Holub, Hannah James, Grace Ndiritu, Lilly Reich, Erik Satie, Ines Schaber, Albrecht Sch+auml;fer. Curated by C+eacute;line Condorelli +amp; Gavin Wade Launch: 6-9pm Friday 12th March 2010 13 March +ndash; 17 April 2010 BLIND - We have many things in common. We organize the relationship between inside and outside.SILK - (dismissive) The old myth of inside and outside. Thereby I am a scheme for a space and you an attribute of it. In my case however, it is about structure; more than separating, it is about creating a new space. Curtain Show revolves around the phenomena of German Designer Lilly Reich+rsquo;s Silk and Velvet Caf+eacute; at the Women+rsquo;s Fashion Exhibition, Berlin in 1927. The trade fairs of the 19th century and early 20th century were places of great innovation in the fields of art and design and Reich+rsquo;s +lsquo;Caf+eacute;+rsquo; was an exceptional example. Reich+rsquo;s bold exposition of gold, silver, black and lemon-yellow silk and black, orange and red velvet draped over chromed-steel tubular frames created a maze of spaces in which viewers and traders were enveloped by opulent walls of rich fabrics. The Silk and Velvet Caf+eacute; is a pioneering example of a temporary environment formed by the content of the exhibition, both exhibition design and product creating convivial space. Starting from the installation+rsquo;s complex spatial position and ambiguous German politics, Curtain Show extends this dual-role as curtain forms occupy background and foreground in a +lsquo;meeting+rsquo; of curtain works. A curtain may serve to separate or create space and to articulate its boundaries; it indicates a change of function and visibility +ndash; for example from public to private, and from day to night. A curtain can regulate light or temperature, but it also has an amorphous quality that makes it messy. It is also the most repressed element of architecture, and is often overlooked or taken for granted, or altogether banned from buildings, as for example in the Economist Plaza by Alison and Peter Smithson. A curtain is practical and yet considered ornamental, formless yet spatially transformative, it can easily be folded and transported, and has no presence without its support. Curtains are fragile, and occupy a fragile territory, between painting and architecture, and between the decorative and the essential. Originally made for Berlin's now closed airport Tempelhof, Ines Schaber's Diabolic Tenant deals with the related power of politics and design, through the collaboration between Lilly Reich and Mies Van der Rohe, interrupted in 1937 when the Nazi+rsquo;s took control of a German textile exhibition in Berlin. By 1944 their entire archives had been burned. In Diabolic Tenant, two curtains, Silk and Blind, speak, through their relative position and the politics they embody, and their dialogue unfolds the very different possibilities for understanding their function and the role of design in society. For Grace Ndiritu+rsquo;s Still Life, 2007, a large curtained area is formed from West African fabrics courtesy of Holland, fabricated in China and available in Birmingham+rsquo;s rag market. Ndiritu+rsquo;s series of+nbsp;four videos use West African textiles in a sensual and, at times, unnerving physical performance by the artist to the camera. Ndiritu wraps, conceals and reveals her body, creating and controlling tensions within the fabric to provoke an array of emotional states. Tacita Dean+rsquo;s 16mm film Darmst+auml;dter Werkblock, 2007, was filmed in the rooms that make up +lsquo;Block Beuys+rsquo; in Darmstadt+rsquo;s Hessisches Landesmuseum. The installation of objects and vitrines was composed and reordered by Joseph Beuys from its establishment in 1970 until his death in 1986. The museum wanted to renovate the galleries for some time because the jute walls (a leftover from the pre-Beuys medieval galleries) were badly patched and stained. This decision upset many who believe the walls add a very particular and unique atmosphere to Beuys+rsquo;s installation. The controversy lies in the fact that Beuys never made particular reference to the walls so making them impertinent to any renovation question. Dean+rsquo;s film entirely concentrates on the soon to be replaced walls, carpet and details of the gallery d+eacute;cor, seeing them as analogous to the entropy in and of Beuys+rsquo;s art, whilst carefully avoiding any sighting of the work itself. Off Screen is a 1998 video installation by Scottish artist Douglas Gordon in which the image of a curtain is projected on to a screen that is, in itself, a curtain. The audience passes through the projection and curtain becoming active as they form silhouettes of characters 'off screen' visible to the audience on the other side of the curtain. Gordon highlights the idea of the off-screen being as interesting, if not more so, than what is happening right in front of you. This connects with the idea of the gallery in general and Eastside Projects in particular as a sequence of areas interlinked, with different functions and values, propelling differing sets of performances heightened within Curtain Show. Berlin based Albrecht Sch+auml;fer recreates an aluminium curtain wall fa+ccedil;ade from a prominent building in Berlin+rsquo;s central Alexanderplatz. Centrum 1998/2010 is a paper version of the fa+ccedil;ade of the former Centrum department store based on an original design by Egon Eiermann at the end of the 50s for the chain of Horten department stores, which were a trademark in all West German Cities. When Alexanderplatz was being redesigned in the style of International Modernism at the end of the 60s, Centrum, the biggest department store in the GDR, incorporated a variation of the Eiermann fa+ccedil;ade, thus imitating Western capitalism. After the fall of the wall the shop Kaufhof acquired the Horten chain and also took over the East German copy of their own Western identity. The original Horten curtain wall pattern is presented on the indoor billboard for Curtain Show viewed through the filter of Centrum. Bristol based Hannah James has been producing a series of delicate printed paper screens, site specific hinged shutters and curious freestanding wood, paper and twine structures supporting small flags or curtains. For Curtain Show James will develop two new works in response to and inhabiting the overall scaffolding system used to support a number of the curtain works. Vienna based Barbara Holub+rsquo;s long term work at Eastide Projects, Initiative Island, 2008, will be moving across the gallery from its position in Gallery 2 to perform a new function in the main space of creating a room for Erik Satie+rsquo;s musique d+rsquo;ameublement (Furniture Music), 1917, specifically made to be played with curtains. During Curtain Show C+eacute;line Condorelli will also be reconsidering curtains as a way to footnote buildings during a residency at Grizedale Arts in the Lake District. Condorelli will present parts of her process for Grizedale+rsquo;s buildings across the duration of Curtain Show - as things considered unessential (as in Wen Zhenheng+lsquo;s Treatise of Superfluous Things, 1620), and therefore provide pointers in how to behave in society, and how to read a public or domestic environment. +lsquo;What+rsquo;s so political about chiffons?+rsquo; Mies Van Der Rohe, 1935 Eastside Projects 86 Heath Mill Lane, Birmingham, B9 4AR, UK Contact 0121-771-1778 info@eastsideprojects.org www.eastsideprojects.org Free Entry: Open Thursday 12-6.30pm, Friday to Sunday 12-5pm Eastside Projects is a not for profit company Limited by guarantee reg: 6402007, in partnership with Birmingham City University and Revenue Funded by Arts Council England West Midlands. Extra thanks to Gregory Sporton and CFAR at BIAD, Birmingham City University; Adam Sutherland and Alistair Hudson at Grizedale Arts.
Waterside Project Space: All that Remains... the Teenagers of Socialism
All that Remains... the Teenagers of Socialism
13.03.10 - 11.04.10 / ends in 27 days
At Waterside Project Space in London, United Kingdom
Exhibition | Installation
Works by Anna Baumgart, Florian Wuest, Gerda Leopold, Łukasz Ronduda, Ştefan Constantinescu, Tereza Buškova, Karen Mirza and Brad Butler
All that remains... The Teenagers of Socialism presents a young generation of artists from Germany, Poland, the Czech Republic, Romania and the UK exploring +lsquo;all that remained+rsquo; once the political system of their childhood had disintegrated.In relation to the 20th anniversary of the fall of the Berlin Wall, the exhibition seeks to address the complexities of the effects of the decline of Socialism in Eastern Europe, which has been disruptive - if not traumatic - for a generation of artists who were in their mid and late teens when the first bits of crumbling concrete sparked an avalanche of revolutions in Eastern Europe. This young generation of +lsquo;Socialists+rsquo; had to transform into +lsquo;Capitalists+rsquo; in the midst of their adulthood. For some of them socialism became a ghostly figure linked to childhood memories, social relations and oral history - living images glued into memory like photographs in a family album.The exhibition will showcase works, many of them previously unseen in the UK, from a variety of artists based in both the East and West countries: Anna Baumgart (Poland), Florian W+uuml;st (Germany), Gerda Leopold (Germany), A�ukasz Ronduda (Poland), A�tefan Constantinescu (Romania and Sweden), Tereza Bu+scaron;kov+aacute; (Czech Republic and UK) and Karen Mirza and Brad Butler (UK).
North House Gallery: Will Maw: Works on Paper
Will Maw: Works on Paper
13.03.10 - 10.04.10 / ends in 26 days
At North House Gallery in Manningtree, United Kingdom
Exhibition | Painting
Will Maw graduated from Glasgow School of Art in 1996 and completed his Masters in Fine Art at the Royal College of Art in 2009. His years of work as a fine art printer have assisted the realisation of works of a most unusual originality, complexity and beauty. The large hand drawn monotypes have developed from the editions of multilayered digital prints made for his Histoire Naturelle d+rsquo;Imprimerie Economique.+quot;Heavily influenced by my work as a printer, and reliant on an intricate and complex procedure of print technology, the large scale works aim to combine a wide variety of imagery in a medium that exploits the machinery of print through the immediacy of drawing. Made in simultaneous series, the prints derive from the collage works in the Histoire Naturelle d+rsquo;Imprimerie Economique +ndash; an extensive collection of digital prints that use printed money as a ground, a visual model combining text, portraiture, mathematical geometries and the definitive image of printed value. The screenprinted work returns the image to the hand drawn mark: in a reversal of convention of print publishing, the editioned digital image is dismantled and recreated in an interpretation of its original form. With a self conscious nod to the arts of medieval manuscripts and the historical legacy of the printer and copyist, the works teeter on the fine balance between visual recognition and legibility, the collision of multiple perspectives and simultaneous impression of contradictory images. The extremes of the drawing in print process is the dyptich work Yes and No, the former where the images all exist in a partial and simultaneous state, the latter where the image has all but disappeared and the screen has returned to its initial blank state.+quot;Will Maw
Christopher Crescent: STEVE BISHOP - Sheer Fatigue
STEVE BISHOP - Sheer Fatigue
/ 1 favourite
13.03.10 - 10.04.10 / ends in 26 days
At Christopher Crescent in London, United Kingdom
Exhibition | Sculpture
Austrian Cultural Forum: Gerda Leopold: All That Remains... The Teenagers Of Socialism
Gerda Leopold: All That Remains... The Teenagers Of Socialism
13.03.10 - 09.04.10 / ends in 25 days
At Austrian Cultural Forum in London, United Kingdom
Exhibition | Multi-disciplinary
Originally from Vienna, Austrian artist Gerda Leopold casts the analytic eye of the foreigner on post-+lsquo;89 Germany in order to investigate the relationship between history and its residue in the imaginary. Mauer is a short film that tackles this issue at point blank: it shows a conversation between a young painter, an older house carer and a photographer in her 40s who gather in a Berlin Hinterhof whose wall the painter has painted white. This discussion evolves around the historical amnesia (the older woman), the fragility of memory (the photographer) and how to do justice to these when nothing but imagination is left of the historical fact (the painter).Gerda Leopold moved to West Berlin in 1979. During the Eighties the Berlin Wall served as a backdrop for all sorts of art events: the Wall became a film screen, a backdrop for concerts, a massive canvas, an expressive platform for artists, Berliners and tourists. This is reflected in the film projection. Gerda Leopold built a special filmbox, in which the film is played directly on (a photograph of) the Berlin Wall.
Grey Area: Martha Rosler Reads Vogue
Martha Rosler Reads Vogue
13.03.10 - 04.04.10 / ends in 20 days
At Grey Area in Brighton, United Kingdom
Exhibition | Multi-disciplinary
Martha Rosler Reads Vogue. Alison Jones Martha Rosler and Milly Thompson
The works in the show by Alison Jones (ink drawings), Martha Rosler (video) and Milly Thompson (prints) span 3 decades. The show reflects on post-feminism as anti-feminism where invidious forms of oppression are obsequiously returned through the discourse of the free market and consumer culture. New forms of individuality and self-objectification concur with the old forms of the to-be-looked-at-ness of femininity.Alison Jones and Milly Thompson in conversation, 20th March 7.30pm.
The Chapel Row Gallery: Brilliant Creatures
Brilliant Creatures
13.03.10 - 30.03.10 / ends in 15 days
At The Chapel Row Gallery in Bath, United Kingdom
Exhibition | Multi-disciplinary
Brilliant artists depict brilliant creatures in the Chapel Row Gallery+rsquo;s March exhibition of books, prints, paintings and sculpture celebrating the natural world.There will be meerkats and powder blue surgeon fish by Dafila Scott, daughter of the artist and wildfowl supremo Sir Peter Scott; new paintings from the Galapagos Islands by award-winning artist Darren Rees and brand new prints by Bristol artist Greg Poole from his trip earlier this year to the Kruger National Park.Somerset printmaker Julia Manning returns to Chapel Row with her fiercely realistic woodblock prints of birds, while Bath sculptor Andrew Hume applies his wit and humour to birds and beasts in three dimensions. Bookbinder Mark Cockram shows how nature is alive and hungry in the book world, while David Koster hits that interesting note somewhere between beauty and ugliness in his large woodcuts of insects.This is an exhibition for art lovers, book lovers, nature lovers and poetry lovers: the title of the exhibition is taken from a poem by W.B. Yeats titled +lsquo;The Wild Swans at Coole+rsquo;.
Institute of Contemporary Interdisciplinary Arts: Ceramics: Raku
Ceramics: Raku
13.03.10 - 20.03.10 / ends in 5 days
At Institute of Contemporary Interdisciplinary Arts in Bath, United Kingdom
Workshop | Sculpture
Studio 2, ICIA Arts Barn, University of Bath+pound;68, +pound;48 ConcsBox Office: 01225 386777Raku is a traditional Japanese rapid firing process where pots are removed red-hot from an outdoor kiln. Its spontaneity results in a unique finish.
