The three-day event returns, coinciding with the city-wide games initiative, London Games Festival. Filled with a host of hands-on opportunities for visitors to get involved.
Showcasing the wider possibilities of games, the peculiar, the beautiful, the deeply experimental. It’s a place for games that get us playing in new and wonderful ways – whether that’s in groups, on our own, outside, inside, on or underneath tables. Games that send us running across courtyards, games situated on nearby screens, games that take place entirely in our heads.
There will be over 40 game varieties available across the weekend, with highlights including:
A nine hole mini-golf course on Somerset House’s River Terrace, played through a landscape of environmental destruction
The Awkward Arcade, a real life experimental video arcade by James Medd, showcasing games that are designed to make participants think and move in ways uncommon to mainstream games culture
The Art of Ping Pong – an interactive ping pong table that generates a unique digital artwork with each game that is played
A recreation of street artist Aïda Gómez’s Joy Is Here, a massive communal word search covering the walls of an entire room
A new interactive game from London-based theatre group, Block Stop – Of Plagues, Deceptions and Other Things – where players have to explore Somerset House and solve puzzles to stop an outbreak of the bubonic plague
Are you a Scrabble Champion? A wannabee Chess grandmaster? Or a Monopoly megalomaniac?
Celebrating the joy, excitement and occasional frustration of playing board games. This exhibition includes some of the most iconic, enthralling and visually striking games from the V&A’s outstanding national collection of board games. Alongside current family favourites such as Cluedo and Trivial Pursuit, and traditional games like chess, the exhibition will look at historical board games including The Game of the Goose and other beautifully designed games from the 18th and 19th centuries.
In his third exhibition with Lisson Gallery London, following his acclaimed exhibition at the Royal Academy of Arts in 2015, Ai Weiwei returns to the UK with two installations that promote discussion and dialogue. The works illustrate Ai’s standing as one of the most important contemporary artists working today but also his use of social media and new technology to advocate for social and political justice.
Ai Weiwei’s immersive work Fondation (2015) made its debut as part of ‘Brève histoire de l’avenir (A Brief History of the Future)’ at the Louvre in Paris last year and was recently on view as part of the group exhibition ‘The Silent Echo’, the first contemporary art exhibition to be held at the sprawling archaeological site of Baalbek in Lebanon. On display for the first time in the UK at Lisson Gallery, Fondation makes use of stone foundations from centuries-old Chinese halls, from which column bases have been extracted and assembled in a monumental grid-like formation that sprawls over eight metres of gallery space.
Intended as a contemporary equivalent to the Greek agora, a public place of assembly and discussion, visitors are invited to sit upon the bases of the pillars and reflect on the future. The historical aesthetic of the work is also a metaphor for Ai Weiwei’s use of social media as a platform to engage international audiences on salient issues irrespective of time and place. The installation will be used as an actual site for dialogue and debate as part of a performative discussion with leading artists, curators and activists, which will be streamed live on 8 December. The work also references an ongoing motif in the artist’s work, the lamentation of destruction in the name of progress, which is evident in his new series of cast-iron root and branches on display at Lisson Gallery New York from 5 November until 23 December 2016.
Fondation is shown alongside 258 Fake (2011), an installation of 12 monitors that displays a slideshow of 7,677 photographs. In many ways, the work represents Ai Weiwei’s first foray into the world of social media. Drawing largely on images from his blog, which was shut down by authorities in 2009, the work depicts life at Ai Weiwei’s studio between 2003 and 2011, from the mundane to the extraordinary, the inane to the deadly serious. With the sheer number and quick rotation of images – each monitor changes every three seconds – one’s experience of the work can never be the same. Whether images of a wide-eyed cat or pictures of the rubble from Sichuan’s devastating earthquake in 2008, the unique presentation of the work and speed of distribution reflect both the immediacy and transient experience of social media, while simultaneously questioning the validity of knowledge generated through digital photography and the internet.
Game Plan: Board Games Rediscovered will celebrate the joy, excitement and occasional frustration of playing board games. This will exhibition include some of the most iconic, enthralling and visually striking games from the V&A’s outstanding national collection of board games.
Alongside current family favourites such as Cluedo and Trivial Pursuit, and traditional games like chess, the exhibition looks at historical board games including The Game of the Goose and other beautifully designed games from the 18th and 19th centuries.
Board games are played by everyone, young and old. They have a universal appeal that transcends cultural and language barriers. They can both teach and entertain us. The playing of board games is embedded into our culture, not just the games themselves but the act of playing, the interaction with family and friends, the lessons to be learned and the fun to be had.
The exhibition will include more than 100 objects, featuring games from around the world, and explores the important role of design. Throughout the exhibition, selected games of special interest are highlighted with more detailed information on their history and influence.
Hands-on interactives and the opportunity to become part of one big interactive game will direct visitors around the exhibition, and invite them to think about game playing experiences and what sort of player they are.
London-based artist Eddie Peake combines live performance with sculpture, video, installation and painting to create an energetic gallery experience.
Sexuality and desire are constant themes in Peake’s live performances that typically foreground the naked body.
The Forever Loop presents a choreographed, looped performance that weaves in and out of synchronisation with a video of past performances, a home movie from his childhood and a film shot at the studio of koollondon.com.
Set against a backdrop of large scale installations from maze-like, plastered wall structures that frame both the viewer and performer to a raised scaffold walkway, the performers move in and out of the spaces taking the viewer on a dramatic journey, while a sheer suited roller skater glides fluidly through the space.
The installation is populated with surreal objects Including a cast of Perspex bears, brightly coloured whale bones, a metal figure with an acrylic box head filled with autobiographical items, as well as delicate bronze pipettes nestled on shelves with plaster sculptures.
Sonos Studio Vol.2 is the second edition of a quarterly magazine from Sonos.
Vol.2 celebrates the world of our London collaborators working in sound, music, art and technology including Giles Martin, Hudson Mohawke, Yuri Suzuki, Charlie Dark, NTS, Random International, Tom Dixon, The Royal College of Art, Roisin Murphy, 22 Tracks, Abbey Road Studios and more.
The day features interactive sound installations, Frame yoga, music, talks, art and tech talks.
7:30-8:30am Frame Yoga with Frame Director Pip Black
8:30-9:30am Sonic Bells exercise
Solo exhibition featuring a series of free standing sculptures made of self-supportive folded and bent painted steel sheets.
The exhibition also includes new double-glazed units and wall-based grids made from rebar and found and collected objects that form part of Lavender’s ongoing practice. These will be shown alongside framed collages of found imagery and personal photographs.
The floor of the gallery has been covered with tens of thousands of overlapping sheets printed with an image of mud tracks taken by the artist, seen as a way to display ideas of preservation, transience, repetition, and the passing of time. The repeated image forms the impression of a terrain to be negotiated. However, the illusion is disrupted when the papers shift and slip as visitors make their way through the gallery.
Evoking multi-layered narratives, Lavender shows how in our consciousness, imaginations of past eras exist simultaneously with our personal histories, the present, our plans for the near future as well as ever-evolving imaginations of the more distant time to come.
For the first time, RUN is exhibiting under his real name, Giacomo Bufarini.
In this unique exhibition, he leads us through a semi-autobiographical story told through a unique series of highly detailed pen and ink drawings that collectively make up a book. On this voyage of self-discovery, Bufarini is both the creator and protagonist, trapped within his own story. Bufarini plays with levels of reality and metaphor, creating a dreamscape that appears at once fantastical and very real.
Parabola di G follows the journey of a semi-fictional character, G, as he falls through levels of reality into a dreamscape. The exhibition presents a unique opportunity to see the original drawings of the book presented within an immersive gallery wide installation.
From Suffragette teapots to protest robots, this exhibition will be the first to examine the powerful role of objects in movements for social change. It will demonstrate how political activism drives a wealth of design ingenuity and collective creativity that defy standard definitions of art and design.
Disobedient objects are often everyday items that have been turned to a new purpose. But social change is about making as much as breaking. Sometimes designing a new object creates a new way to disobey.
New installation covering the entire gallery space of the foundation. While the installation on the ground floor is vivid, physical and colourful, the installation on the first floor is sedate, ethereal, and black and white.
Parasol unit is a not-for-profit art institution that operates purely for the public benefit. Central to the Parasol unit philosophy is a total commitment to artists and their creative endeavour, an attitude which leads to a singular relationship developing between each exhibiting artist and the foundation.