Page 4 of 222

Avocado Brunch Club popup @ Printworks Kitchen / until May 2016

TIME AND PLACE:

Doors: various

@ Printworks Kitchen, 26 Rosebery Avenue, London EC1R 4SX

Tickets: £55 book online

www.meredithcollective.co

Have you ever dreamed of a brunch where every dish contains glorious avocado? Where you can sip avocado based cocktails while learning fun avocado facts?

Dream no longer… Meredith O’Shaughnessy the London pop-up Queen is back and this time with a foodie pop up celebrating the worlds most popular green fruit…the humble but wonderful Avocado.

The first of it’s kind ‘Avo-Brunch Pop-Up’ will be celebrating the brilliance of the our favourite food with a 5 course avocado inspired brunch menu for guests to experience with fun cocktails and a DJ playing weekend-disco for post brunch entertainment.

As well as the five-course avocado tasting menu guests will be welcomed with an avocado margarita on arrival and not only that, because the journey can’t end there, everyone who attends will received a grow your own avocado kit to take home.

Dates:
Sunday 10th April 2016
Sunday 8th May 2016
Saturday 28th May 2016
Sunday 29th May 2016

Typo launch @ www.typo.com/uk / always open

TIME AND PLACE:

Doors: always open

www.typo.com/uk

We all love stationary and the lucky ones have experienced Typo’s amazing gifts, stationery, homewares, craft and travel accessories over in Australia.

If you’re not familiar, their designers add a bit of fun and quirkiness to everyday items. Perfect to brighten up your home or office.

The webstore just opened (20% off your first order!) and we can’t wait for the store to open in the future.

Featuring:
– Gifts
– Stationary
– Homewares
– Art and crafts
– Tech accessories
– Travel accessories

Typo’s team of designers are based in their global head office in Australia who take trends and add a ‘Typo-twist’.

Run Hackney Half Marathon @ Hackney Marshes / Sunday 8th May 2016


 
 
TIME AND PLACE:

Starts: 9am

@ Hackney Marshes, Homerton Road, Hackney, London E9 5PF

Tickets: £44.52

www.runhackney.com/half-marathon

Already one of the top ten half marathons in the country, Vitality Run Hackney is the freshest half marathon in the capital! This is a flat, fast half marathon that shows off Hackney and its many green spaces as well as the iconic Queen Elizabeth Olympic Park.

Now in its third year, Vitality Run Hackney Half Marathon has firmly marked its position as one of the top ten half marathons in the UK attracting over 13,000 runners in 2015.

Hackney knows how to party! And you too can join the carnival – as the streets are lined with supporters and live entertainment punctuates the route to lift you across the finish line! Lace up, for a flat run through Hackney and the iconic Queen Elizabeth Olympic Park.

The Half Marathon starts in Hackney Marshes and takes you on a flat, fast route through Hackney and into Queen Elizabeth Olympic Park. Breeze your way past the famous Hackney Empire. Pick up the pace at Broadway Market. Stretch your legs alongside London Fields. Finally, catch your breath and follow in the footsteps of legends through the iconic Queen Elizabeth Olympic Park.

  • A single lap run through the heart of Hackney
  • Start/Finish in Hackney Marshes
  • Race starts at 9am
  • See Hackney! Hackney Empire, Broadway Market, London Fields
  • Follow in the footsteps of legends through Queen Elizabeth Olympic Park taking in the Stadium, Copper Box and Velodrome

Boy @ Almeida Theatre / from 5th April until 28th May 2016

TIME AND PLACE:

Doors: various

@ Almeida Theatre, Almeida Street, London N1 1TA

Tickets: up to £38 book online

www.almeida.co.uk

Master of observation, Leo Butler casts a sharp eye over contemporary London and picks out someone for us to follow. Someone easily missed amongst the crowd.

Following last year’s groundbreaking production of Game, the innovative director-designer team Sacha Wares and Miriam Buether return to the Almeida to bring this ambitious exploration of austerity-era London to life. They are joined by an award-winning creative team and an exciting young company of actors.

Written by Leo Butler, who has quietly established himself as one of the UK’s most talented political playwrights, Boy is an important new play about coming of age in 21st-century London.

Late at Tate Britain: My Bed @ Tate Britain / Friday 1st April 2016

 

TIME AND PALACE:

Doors: 18.00 – 22.00

@ Tate Britain, Millbank, London SW1P 4RG

Free entry (arrive early!)

www.tate.org.uk/whats-on/tate-britain/performance-and-music/late-tate-britain-my-bed

Late at Tate Britain is a chance for the curiously-minded to enjoy a mix of art, music, workshops food and drink.

April’s Late at Tate Britain is themed around Tracey Emin’s artwork My Bed. When this artwork was first exhibited in 1999 it caused a public outcry. How could an unmade bed be art? There’s a soiled bedsheet with various bits and pieces scattered around including condoms, dirty knickers, empty vodka bottles and cigarette packets. Controversial like many of Emin’s works, My Bed explores difficult themes like sexuality, relationships and gender. And we will too, through this exciting new programme.

Listen
Bedroom Creatives: Live Music:
These young creatives will be exploring the practice of bedroom music making and bringing it into the gallery to recreate their own DIY process. Expect experimental and intimate vibes from a young Vauxhall based producer Pokovsky with 404 a London-based, collective mixing drowsy vocals and lo-fi instrumentals.

Tracey Emin’s artworks are often provocative, raw and emotional, drawing on experiences from her personal life, from her sexual history, abuse and abortion to gender and relationships. Performance artists Travis Alabanza and Liv Wynter have collaborated on a poetic response to Emin’s My Bed exploring some of these themes.

Travis Alabanza is a Black, queer, non binary performance artist who uses live poetry, visuals and sound to create art centred around race, gender and class. Liv Wynter is a queer female artist who uses an anarchic and punk exploration of language, rap and poetry performance to bring attention to issues such as trauma, recovery, abuse, sexual violence and identity to challenge the idea of intimacy and without compromise.

Discuss
SEX TLK MTG:
Part performance part guided conversation, Bedfellows have co-opted the bed as an arena for real-time exchange.

Sit down with Bedfellows for a discussion and share resources about sex, desire, consent and relationships. Bedfellows is a sex education research project led by artists Chloe Cooper, Phoebe Davies and Jenny Moore and born from the personal, the political, and the professional investigating sex, sexual identity and feminist porn.

Make
Laid Bare: A Zine Making Workshop :
This drop-in workshop with artist Rudy Loewe invites you to create a zine exploring your own truths around gender and sexuality. Rudy Loewe’s practice includes drawings, comics, illustrations and prints. Loewe uses satire and comedy to explore a wide range of social issues including racism, sexuality, gender, disability and mental health.

Drink and eat
Grab a burger and a beer, glass of wine or an original cocktail made especially for the evening inspired by Tracey Emin’s My Bed.

See the work
Tracey Emin’s My Bed is on display in the BP Spotlight: Tracey Emin and Francis Bacon room.

Theatre Menu @ STK London, ME London Hotel / just launched

TIME AND PLACE:

Doors:
Mon-Wed 5pm-12am
Thu-Sat 5pm–1am
Sun 5pm–10:30pm
Theatre menu 5-7pm through the week

@ ME London Hotel, 336-337 The Strand London, WC2R 1HA

£Three courses for £30 book online

www.togrp.com/restaurant/stk-london

Just launched, STK London has a fantastic pre-theatre menu. Perfect to sample the unique selection and trendy restaurant before heading to a show or enjoy the delights of the Capital and West End scene.

Start the evening with a drink at the bar before moving through to the dining room to enjoy an magnificent dining atmosphere.

Award-winning productions including War Horse, The Lion King and Matilda are in the area.

The pre-theatre menu offers:

  • Lil’ Brgs, delightful bite size burgers made from prime Japanese Wagyu beef, topped with STK’s special sauce, black truffles and a sesame seed bun or the Swordfish Ceviche, served with young coconut and a citrus pepper sauce.
  • For mains choose from the 28-day aged USDA Prime Rump Steak, Roast Black Leg Chicken served with black pudding and sage & onion pudding or Crispy Seabass with gnocchi, greens and pancetta.
  • For dessert, try the classic Sticky Toffee Pudding served with vanilla ice cream and salted malt caramel or the Mango Cream accompanied by passion fruit sorbet, mango caviar and a passion fruit biscuit.

To compliment the food there is an extensive wine list that covers a wide range of American and French classics. For those interested in cocktails, Bar Manager Sam Coretz has created a cocktail menu that combines classic American drinks with unique creations such as the STK Martini, blending citrus flavours of grapefruit, passion fruit and bitter orange, and the Twisted Bellini, a refreshing mixture of champagne, vodka and orange blossom water.

Avedon Warhol @ Gagosian / until 23rd April 2016

TIME AND PLACE:

Doors: Tue–Sat 10-6

@ Gagosian 6-24 Britannia Street, London WC1X 9JD

Free entry

www.gagosian.com/exhibitions/avedon-warhol

First major exhibition to pair works by Richard Avedon and Andy Warhol. Both artists rose to prominence in postwar America with parallel artistic output that occasionally overlapped. Their most memorable images, produced in response to changing cultural mores, are icons of the twentieth century.

Portraiture was a shared focus of both artists, and they made use of repetition and serialization: Avedon through the reproducible medium of photography, and in his group photographs, for which he meticulously positioned, collaged, and reordered images; Warhol in his method of stacked screenprinting, which enabled the consistent reproduction of an image. Avedon’s distinctive gelatin-silver prints and Warhol’s boldly colored silkscreens variously depict many of the same recognizable faces, including Marella Agnelli, Bianca Jagger, Jacqueline Kennedy, Marilyn Monroe, and Rudolf Nureyev.

Both Avedon and Warhol originated from modest beginnings and had tremendous commercial success working for major magazines in New York, beginning in the 1940s. The 1960s marked artistic turning points for both artists as they moved away increasingly from strictly commercial work towards their mature independent styles. The works in the exhibition, which date from the 1950s through the 1990s, emphasize such common themes as social and political power; the evolving acceptance of cultural differences; the inevitability of mortality; and the glamour and despair of celebrity.

Each gallery will juxtapose works that underscore these themes, beginning with The Family (1976), Avedon’s ambitious conceptual portrayal of sixty-nine individuals at the epicenter of American politics at that time, together with Warhol’s monumental portrait of the revolutionary Mao Tse-tung, Mao (1972). In both works, little emotion or expression is revealed in the sitters’ faces or postures. Such deadpan was a mark of Pop art ambivalence, more commonly associated with Warhol, but equally applicable in this instance to Avedon.

Both artists sought out individuals who were outside, as well as inside, the mainstream. For Avedon, this resulted in the larger-than-lifesize mural of Andy Warhol and members of The Factory (1969), who represented the heart of New York subculture and incarnated the sexual and cultural revolution. Meanwhile, Warhol memorialized the beauty of drag queens—who he once described as “ambulatory archives of ideal moviestar womanhood”—in his pioneering series of silkscreens, Ladies and Gentlemen (1975).

The third gallery contains an extended meditation on the darker side of human existence, as well as its potential salvation: Warhol’s Skull and Guns paintings are juxtaposed with photographs from Avedon’s Brandenburg Gate portfolio, taken during the fall of the Berlin Wall in 1989.

Finally, celebrity was a topic that was equally explored by both artists: Avedon in his iconic images of Brigitte Bardot (1959) and Audrey Hepburn (1967); and Warhol in his dramatically rendered superstars, such as Double Elvis (1963) and Four Marilyns (Reversal Series) (1986). Driven by their cosmopolitan awareness and mindfulness of the potential for their work to stir change, as well as their diverse cast of modern muses, Avedon and Warhol harnessed the power of images to reflect the revolutionary social attitudes of their time.

A fully illustrated publication accompanying the exhibition will include essays by Michael Bracewell and Ara H. Merjian, as well as a chronology documenting the artists’ careers and points of intersection.

Richard Avedon was born in New York City in 1923 and died while on assignment for The New Yorker in San Antonio, Texas, in 2004. His work is included in the collections of major museums around the world, including the Museum of Modern Art, the Smithsonian, and the Metropolitan Museum of Art, along with countless other institutions worldwide. Avedon’s first museum retrospective was held at the Smithsonian Institution in 1962. Many major museum exhibitions have followed, including those at the Minneapolis Institute of Fine Arts (1970), Museum of Modern Art (1974), Whitney Museum of American Art (1994), and two at the Metropolitan Museum of Art (1978 and 2002). A 2007 retrospective exhibition organized by the Louisiana Museum of Modern Art in Denmark traveled to Milan, Paris, Berlin, Amsterdam, and San Francisco. “Richard Avedon: People” was presented at National Portrait Gallery, Canberra in 2013, and traveled to Art Gallery of Western Australia, Perth in 2014, and the Ian Potter Museum of Art, Melbourne from 2014–15.

Andy Warhol was born in Pittsburgh in 1928 and died in New York City in 1987. His work is included in public collections worldwide. His first major exhibition was at Ferus Gallery, Los Angeles, in 1962. Since then, his work has been the subject of numerous exhibitions in museums and galleries throughout the world, including retrospectives at Pasadena Art Museum (1970, traveled to Museum of Contemporary Art, Chicago; Stedelijk van Abbemuseum, Eindhoven; Musée d’Art Moderne, Paris; Tate Gallery, London; and Whitney Museum of American Art, New York); Museum of Modern Art, New York (1989, traveled to Art Institute of Chicago; Hayward Gallery, London; Museum Ludwig, Cologne; Palazzo Reale, Milan; and Musée National d’Art Moderne, Paris); and Neue Nationalgalerie, Berlin (2001–02, traveled to Tate Modern, London; and Museum of Contemporary Art, Los Angeles). Recent exhibitions include “Warhol: Headlines,” Galleria Nazionale d’Arte Moderna, Rome (2011–12); “Andy Warhol: Shadows,” Museum of Contemporary Art, Los Angeles (2014–15); “Transmitting Andy Warhol,” Tate Liverpool (2014–15); and “Andy Warhol: Campbell’s Soup Cans and Other Works, 1953–1967,” Museum of Modern Art, New York (2015).

PC Music presents Pop Cosmos @ Scala / 19th May 2016

TIME AND PLACE:

Doors: 7pm till late

@ Scala, 275 Pentonville Road, Kings cross, London N1 9NL

Tickets: £17.70 book online

Lose yourself in an immersive journey to the end of time. See the stars up close. Buy your one way ticket to the Pop Cosmos. PC Music’s first event in London for six months!

Founded by A. G. Cook, PC Music is home to a close-knit collective of performers and electronic musicians that share a fascination with the immediately gratifying aspects of commercial chart music, delivering passionate pop jams. 2016 is shaping up to be an interstellar year for the label: Danny L Harle has already delivered PC Music’s first BBC Radio 1 A-list record in Broken Flowers and confirmed via social media that he’s in the studio with Carly Rae Jepson working on new music; Hannah Diamond teamed up with Charli XCX for pop banger Paradise, the latest collaboration between the two that follows Diamond shooting XCX for a recent ad campaign; whilst GFOTY is about to embark on her first UK and European tour, in support of Animal Collective, beginning 1 April.

Lineup:
Danny L Harle + Hannah Diamond + GFOTY + A. G. Cook + FELICITA + EasyFun + SPINEE!

Facebook event:
www.facebook.com/events/229431860743373

Strange and Familiar: Britain as Revealed by International Photographers @ Barbican / until 19th June 2016

TIME AND PLACE:

Doors:
Sat–Wed: 10am–6pm
Thu–Fri: 10am–9pm

@ Barbican Centre, Silk Street, London EC2Y 8DS

Tickets: £12 book online

www.barbican.org.uk/artgallery

Curated by the iconic British photographer Martin Parr, Strange and Familiar considers how international photographers from the 1930s onwards have captured the social, cultural and political identity of the UK.

From social documentary and portraiture to street and architectural photography, the exhibition celebrates the work of leading photographers, including Henri Cartier-Bresson, Rineke Dijkstra, Robert Frank and Garry Winogrand. Bringing together compelling photographs and previously unseen bodies of work, Strange and Familiar presents a vibrant portrait of modern Britain.

The fully illustrated exhibition catalogue is now available along with a range of photography books, cameras, accessories and fun mementos of Britain’s heritage and food culture.

David Shrigley: Drawings and Paintings @ Stephen Friedman Gallery / until 20th April 2016

TIME AND PLACE:

Doors:
10am – 6pm (Tuesday to Friday)
11am – 5pm Saturday

@ Stephen Friedman Gallery, 25-28 Old Burlington Street, London W1S 3AN

Free entry

www.stephenfriedman.com/artists/david-shrigley

Eighth solo show by acclaimed British artist David Shrigley. Using acrylic paint and oil stick, he returns to his ubiquitous satirical combination of drawing and text with new large-scale works on paper. Working with oil stick for the first time, here Shrigley riffs on Op Art, with insertions of dry humour that cut to the point of human nature and everyday situations.

This exhibition runs concurrent with a major touring solo show organised by the British Council, enititled ‘Lose Your Mind’, which travels to Museo De Arte Contemporaneo, Santiago, Chile in May 2016. It also prefigures Shrigley’s ‘Really Good’ which will be unveiled in Trafalgar Square, for the Fourth Plinth Commission in September 2016.

For this show the artist turns his sharp art historical critique to optical art. This 1960s development in painting bewitches the eye, creating realistic movement or dimension where there is none. Through Shrigley’s lens and wiggly script the effect is totally undermined, ridiculing the smoothness of design particularly when paired with the mundane everyday subjects that Shrigley often engages with.

Using oil stick, Shrigley’s characteristic line is rendered as though he were drawing with a pencil, but is characterised here by the textured opacity of the material. The brightly-coloured paint, thicker and less controllable than pencil, brings Shrigley’s characteristic imaginings into a new dimension. These works undermine the distinction between painting and drawing, having the lightness of touch and deceptive simplicity of his drawing.

Shrigley’s practice is rich and varied, always underlined with an appreciation of the absurd, the overlooked and the necessity of humour. His subtle, darkly amusing work provides an antidote to everyday life. His skeptical project continues to delight, making us wonder where the never-ending stream of propositions, dilemmas and situations come from to fuel his imagination. Acerbic, weirdly profound and at the same time universal; his work does not require explanation. We are left to our own interpretations; it is whatever we take it to be. Displayed together in this way, the drawings in this exhibition form a fragmented dialogue. The viewer is bombarded with messages, in a way that it is pleasantly exciting. Rather than being confusing, the works create a warm buzz of humorous ambiguity.

The fundamental elements of Shrigley’s practice; the combination of pointedly witty text with immediately recognisable imagery, are maximised here. Having consistently experimented with work across different media, drawing remains the mainstay of Shrigley’s oeuvre. The use of coloured oil stick on primed paper is new to Shrigley’s practice, but relies on the same premise as the black and white drawings for which he is known.

Shrigley’s playful absurdity draws on references that we can all share and is amplified in this instance with colour and minimal text. Serious issues such as death, love, insecurity and in this case art history, are unapologetically tackled head on. Like all of his work, its strength lies in its deceptive simplicity and the power of engaging the viewer with laughter.

David Shrigley was born in 1968 in Macclesfield, UK. He is now based in Glasgow, Scotland. Best known for his distinctive drawing style and works that make satirical comments on everyday situations and human interactions. His quick-witted drawings and hand-rendered texts are typically deadpan in their humour and reveal chance utterings like snippets of over-heard conversations. Reoccurring themes and thoughts pervade his story telling capturing child-like views of the world, the perspective of aliens and monsters or the compulsive habits of an eavesdropper shouting out loud. While drawing is at the centre of his practice, the artist also works across an extensive range of media including sculpture, large-scale installation, animation, painting, photography and music. Shrigley consistently seeks to widen his public by operating frequently outside the gallery sphere such as in prolific artist publications and collaborative music projects. In 2012 he co-authored a ‘sort-of-opera’ titled ‘Pass the Spoon’, and more recently he transformed the Gallery at Sketch café in London as part of a long-term programme of artist-conceived restaurants.

His digital animations such as ‘Headless Drummer’ and ‘The Artist’ demonstrate what Shrigley calls ‘the economy of telling stories’, delivering a deftly crafted mix of dark and light through the simplest of forms. In his sculptural works that explore materials such as bronze and ceramic, the artist makes physical some of his more curious and eccentric propositions by transforming found objects or by playing with their scale. Taking Lewis Carroll’s perspective of Wonderland, Shrigley enlarges objects and imbues them with curious proportions.

« Older posts Newer posts »

© 2016 InFormed London

Theme by Anders NorenUp ↑