Exploring themes of male identity and uncertainty. Through the symbolic use of bodies, objects and gestures he navigates the idiosyncrasies that permeate the ‘lifestyles’ of today. Employing images of the absurd Richardson’s approach disarms through dark humour and the staging of infantile wonder.
The exhibition HEADBONE features a new single-channel video has as its central component, extending both the technical ambition and emotional complexity of his practice. Using digital photography Richardson creates 3D models of his own body, and the bodies of others, which are then animated with movement and sound. Bound in everyday detritus the figures appear frozen and mute, yet full of psychological resonance. The video is presented alongside sculptural objects linked to its production, and displayed in an installation constructed from foil-covered board that requires viewers to weave a route through to a final ‘chamber’.
Ryan Gander returns for a third time to Lisson Gallery with Fieldwork, an exhibition of interlinking new works by the artist, each offering a glimpse of the inspirations that feed his practice.
Encompassing everything including a kitchen sink, the exhibition presents an individuated encyclopaedia that includes a year’s worth of skies, the clothes of absentee statues, a tent, a helium balloon, the artist’s phone number and a pebble beach. As ever with Gander’s art, the forms convened in Fieldwork are elliptic and opaque, starting stories for the viewer to invent or complete.
Occupying the entire back gallery, the titular work Fieldwork 2015 opens a window onto the revolving touchstones of Gander’s art. Objects from the artist’s collection – each seemingly found but on closer inspection uniquely crafted (for instance, a National Trust sign protecting ‘Culturefield’, Gander’s imaginary artistic utopia) – rotate round the room on a vast, walled-off conveyer belt. Views of these items gliding past momentarily (a baseball bat covered in nails, a pair of dead pigeons, a chocolate bar swoosh…) are granted via an aperture in the gallery’s wall, creating a memory game of strange associations and a prism of connections (a chess set, a tortured teddy bear, a dead chick served on a plate with a napkin signed by Picasso…) through which to consider the rest of the exhibition.
William Morris and Russian artist El Lissitzky both wanted to change people lives through their art. Whilst Morris saw beauty in the past, Lissitzky sought a new visual language for the future.
In his latest work, British artist David Mabb celebrates the utopian ideas of these two men through their seminal book designs: Morris’s Kelmscott Chaucer and Lissitzky’s For the Voice, a revolutionary book of poems by Vladimir Mayakovsky considered one of the finest achievements in Russian avant-garde bookmaking.
Comprising 30 canvasses, Announcer takes over the gallery space, interweaving and contrasting the two designs so that Morris and Lissitzky’s graphics are never able to fully merge or separate.
Major new film installation by Melbourne-based artist Nicholas Mangan that continues his recent investigations into the relationship between energy and social transformation.
Ancient Lights is the first solo exhibition of Mangan’s work in the UK and comprises two new films, presented within a specially conceived installation powered entirely by an on-site solar PV system. This new work is the culmination of Mangan’s extended research into the physical and conceptual power of the sun, and the role that it has played in human economy, culture and technology throughout history.
Throughout his forty-year career, Duane Hanson (1925–1996) has made lifelike sculptures portraying working-class Americans.
Throughout his forty-year career, Hanson created lifelike sculptures portraying working-class Americans and overlooked members of society. Reminiscent of the Pop Art movement of the time, his sculptures transform the banalities and trivialities of everyday life into iconographic material. The exhibition at the Serpentine Sackler Gallery presents key works from the artist’s oeuvre.
Innovative love it or hate it exhibition showcasing plagiarised works designed to make you think about all the taboo subjects including sexuality, feminism, stereotypes and people’s roles in society.
‘In 1984 I took some portraits. The way I did it was different. The way had nothing to do with the tradition of portraiture. If you wanted me to do your portrait, you would give me at least five photographs that had already been taken of yourself, that were in your possession (you owned them, they were yours), and more importantly . . . you were already happy with. You give me the five you liked and I would pick the one I liked. I would rephotograph the one I liked and that would be your portrait. Simple. Direct. To the point . . .’
Featuring over 70 original works by McCauley ‘Mac’ Conner, one of the defining illustrators of America’s golden age of advertising.
This is the first time the work of one of New York’s original ‘Mad Men’ has been the subject of a major exhibition in the UK.
In the 1940s – 1960s, Conner’s captivating advertising and editorial illustrations graced the pages of major magazines and helped shape the image of postwar America. One of the influential group of commercial artists at the heart of Manhattan’s thriving advertising and publishing scene, Conner’s hand-painted illustrations capture the style and spirit of a pivotal era in American history.
Mac Conner: A New York Life will present Conner’s published work alongside reference photos and preliminary designs, a selection of fiction stories accompanied by illustrations from Conner and his contemporaries, advertising tearsheets for major clients such as Ford, United Airlines and AT&T, correspondence letters with editors and art directors and more – presenting a window on the dynamic world of the illustrators who created the look of a generation.
Shot in London during different seasons over the past year, Slinkachu’s new body of work draws upon our desire to seek out and recreate the natural world amongst the urban metropolis.
His miniature people, photographed on the streets of London and then left in situ – or “abandoned” – by the artist, explore the hidden enclaves of the wild within our city. Slinkachu captures idyllic glades and green pastures, in reality weeds and moss that appear through cracks in the concrete, and comment on our modern society’s detachment from nature.
The new works employ irony, humour and a healthy dose of reality; despite their fantastical situations, the miniature figures we observe are not so dissimilar to ourselves, living in the shadows between the real and artificial.
The first new work centres around the Oursler’s fascination with the evolution of identity via techniques of facial recognition technology.
He explores the nuanced ramifications of these tools increasing ubiquity in daily life. His interest in the face as the locus of communication and identity, through features, movement and expression, is central to these works.
A series of seven imposing photographic visages looms over the spectator in the main gallery, all but one punctured by video screens of eyes or mouths. One of part of the installation is an endlessly shifting projection of 150 algorithmically produced Eigen faces, revealing the beautiful yet distinctly non-human qualities of biometric analysis.
One of the artist’s intentions is to “invite the viewer to glimpse themselves from another perspective, that of the machines we have recently created”. Each of these giant portrait heads bears the network of marks or nodes associated with different facial recognition systems, used by border controls, law enforcement agencies and even ATM machines.
The images, staggered maze-like throughout the space in the manner of theatrical props, present themselves as potential police mug shots, closed-circuit camera stills or anonymous faces in the crowd, albeit magnified in scale and distorted by their mediation through surveillance technology.
The exhibition reflects some of the text’s preoccupations with our use of space, spreading like a toxic mass across the planet uniting shopping malls, airports, hotels and art galleries. Space, according to Koolhaas, is sealed together by skin, like a bubble, and is investigated through its containers: ‘all theory for the production of space is based on an obsessive preoccupation with its opposite …architecture’. Titled ‘More and more, more is more,’ after a phrase from Rem Koolhaas’ essay Junkspace, a lament for modern architecture.