Tag: free exhibitions (page 1 of 5)

John Akomfrah Purple at Barbican Curve until 7 January 2018

British artist and filmmaker, John Akomfrah creates his most ambitious piece to date – an immersive six-channel video installation addressing climate change, human communities and the wilderness. 📹 📺

At a time when, according to the UN, greenhouse gas emissions from human activities are at their highest levels in history, with people experiencing the significant impacts of climate change, including shifting weather patterns, rising sea level, and more extreme weather events, Akomfrah’s Purple brings a multitude of ideas into conversation. These include animal extinctions, the memory of ice, the plastic ocean and global warming. Akomfrah has combined hundreds of hours of archival footage with newly shot film and a hypnotic sound score to produce the video installation.

www.barbican.org.uk/whats-on/2017/event/john-akomfrah-purple

Doors:
Sat – Wed 11am – 8pm
Thu and Fri 11am – 9pm

Location:
Barbican Centre, Silk Street, London EC2Y 8DS

Price:
Free!

New Artist Fair ‘Summer Exhibition’ @ Old Truman Brewery / until Sunday 10th September 2017

TIME AND PLACE:

Doors:
Saturday 12am-6pm
Sunday 12am-6pm

@ Old Truman Brewery, Off Ely’s Yard, London E1 6QR

Free entry, book online

www.newartistfair.com

The event is showcasing over 100 new emerging and recently established contemporary artists from the UK and around the world. If you are looking to fall in love with some contemporary art of the highest quality at truly affordable prices, then the New Artist Fair’s ‘Summer Exhibition’ is the art event for you!

The exhibition will be showcasing over 100 unique contemporary UK and International artists, who will all be available to discuss their work with visitors throughout the duration of the event.

The ‘Summer Exhibition’ is different from most other art fairs because it has the feel and look of a gallery layout within the chosen spacious venue along with a very friendly and welcoming vibe. As always there will be examples of all genres and styles of artwork on display and for sale at very affordable prices.

There will even be some live art throughout the weekend, so our visitors can watch the exciting process of art being created. Artwork can be purchased and taken home on the day from the fair or shipping can be arranged through the artists. Also many artists work with buyers to make the perfect individual piece for a certain room or person and commissions like this can also be arranged directly with the artist.

New to the exhibition this year is the New Photography Zone which will be showcasing a variety of photographic artists along with the winners of this year’s PhotoX competition.

There will be 20 re-exhibiting artists and 90 who are completely new to showing, all have been carefully selected to represent their particular genre. Whatever your style or preference, the New Artist Fair promises to have something for everyone.

Ashley Bickerton: Ornamental Hysteria @ Newport Street Gallery / until 20th August 2017

TIME AND PLACE:

Doors:
Tuesday – Sunday 10am – 6pm
Closed on Mondays

@ Newport Street Gallery, Newport Street, London SE11 6AJ

Free entry

www.newportstreetgallery.com/exhibitions/ashley-bickerton

Spanning more than three decades of Bickerton’s career and features 51 works, including a significant display of new and previously unexhibited pieces. It is the artist’s first UK show since 2009 and runs throughout all six spaces at Newport Street Gallery.

Bickerton moved to New York in 1982 and after working as a painting assistant to Jack Goldstein, he emerged as a key figure on the newly exploding East Village art scene. Within the context of the culture of commodification sweeping America he rose to prominence as part of an amorphous movement that was branded ‘Neo-Geometric Conceptualism’. Alongside artists such as Haim Steinbach and Jeff Koons, Bickerton endeavoured to reframe the practice of art production in response to the new, seductive mechanisms of desire at work in society.

Bickerton abandoned New York in 1993, eventually settling in Bali, where he still lives and works. Whilst a number of his themes prevailed, the materiality of his work shifted dramatically after this self-imposed exile from the urban environment.

Both in materiality and content, Bickerton’s work resists categorisation. On the diversity of his mediums – photocollage, appropriated image, digital image, paint and sculpture – he states: “Painting is far too cartoony and lacks the backbone of factuality; photography is too clinical and incapable of loony launches into the ether; and sculpture can be just downright presumptuous. […] Only in their combination do I find comfort.”

Bickerton’s conceptual commitment to intersectionality extends to his subject matter; his audacious and technically complex assemblages are predicated on themes of opposition and duality, for example representation and reality, creativity and commodity, nature and artifice, idyll and apocalypse. This is evident in his earlier work on display in gallery 1, which offers a sardonic critique of contemporary consumer culture and the commodification of the ‘art object’ via steel and aluminium wall-mounted ‘Culturescapes’ from the ‘Logo’ and ‘Non-Word Word’ series. Galleries 3 and 4 are dominated by Bickerton’s ‘Sea’ and ‘Landscapes’ – overblown and incongruous, they contain ephemera from the anthroposphere in the simulated shells of transportation devices. In part, these “truly contemporary” landscapes might be read as a dystopian view of the devastating impact of man on the ecosphere.

Throughout his career, Bickerton has challenged the relevancy of traditional art-historical tropes. His ‘self-portraits’ similarly parody the mythological figure of ‘the artist’, who is represented in the guise of the brands he chooses to endorse in Tormented Self-Portrait: Susie at Arles (25 Years) (2014) and as a five-bodied, technicoloured serpent in the monumental 5 Snake Heads (2009), on display in Newport Street’s double-height gallery 2.

Bickerton’s practice evolved in the late 90s to incorporate digital image and photography. In portraits such as Smiling Woman (2009), models (often family members and friends) are heavily made-up and photographed, then distorted in Photoshop before the image is printed on canvas and re-painted. These paintings are amongst Bickerton’s most overtly satirical, presenting lurid, constructed visions of life on a generic Pacific / Caribbean island.

Game Changers: another way to play @ Somerset House / until 7th May 2017

TIME AND PLACE:

Doors:
Mon, Tue, Sat & Sun 10.00-18.00 (last entry 17.00)
Wed–Fri 11.00-20.00 (last entry 19.00)

@ Somerset House,  Strand, London WC2R 1LA

Free entry!

www.somersethouse.org.uk/whats-on/game-changers

Discover how traditional forms of chess, billiards and mazes continue to influence designers making exciting new games today.

A timeline tracing how traditional forms of chess, billiards and mazes have evolved with a selection of contemporary examples – both physical and digital – will be on show for visitors to try, including:

Four regional variations of Orthogonal/Diagonal, Nova Jiang’s modified chess sets which showed at Now Play This in 2016. Inspired by traditional Bauhaus chess sets, the pieces’ physical shape indicates how they should move.

A playable installation of Zach Gage’s Really Bad Chess, a digital game that recreates chess with a random selection of pieces for each player.

  • Home Turf, by Ed Saperia, a distorted billiards table that combines the normal challenges of billiards with a deliberately difficult shape
  • INKS by State of Play, an on-screen game within a physical pinball-style environment – derived from more traditional forms of billiards and bagatelle
  • Maze, a challenging, two-player table-top maze game by sculptor Alexander Berchert

Do Ho Suh: Passage/s @ Victoria Miro / until 18th March 2017

TIME AND PLACE:

Doors:
Tuesday-Saturday 10am-6pm
Monday by appointment
Sunday, closed

@ Victoria Miro, 16 Wharf Road, London N1 7RW

Free entry

www.victoria-miro.com

Do Ho Suh meticulously constructs proportionally exact replicas of dwelling places, architectural features, or household appliances from stitched planes of translucent, coloured polyester fabric.

In exquisitely made works, Do Ho Suh explores contemporary arrangements of space and the unstable boundaries of its categorisation along lines of individuality and collectivity, physicality and immateriality, mobility and fixity. Influenced by his peripatetic existence – leaving his native South Korea to study and live in the United States, he has more recently moved between New York, Seoul and London – an enduring theme of the artist’s practice is the connection between the individual and the group across global cultures. The multiplicity of individuality is tested through meditative processes of repetition: whether interlinked along a lattice of fishing nets, amassed into monumental tornado-like forms, absent from ranks of empty uniforms, or present in every yearbook photo taken at the artist’s high school over 60 years, the artist uses the reproduced human figure to explore sensitively, and with spectacular formal effect, the ways in which personal space inherently extends into the collective sphere.

Maggi Hambling: Touch @ British Museum / until 29th January 2017

TIME AND PLACE:

Doors: 10am-5.30pm

@ British Museum, Great Russell Street, London WC1B 3DG

Free entry

www.britishmuseum.org

This exhibition presents an important survey of works on paper that traces Maggi Hambling’s engagement with drawing throughout her career. It includes work from the British Museum’s collection, loans from the National Portrait Gallery and Tate, and rarely seen work from private collections and the artist’s studio.

One of Britain’s foremost contemporary artists, Hambling is perhaps best known for her compelling portraits, paintings of the sea, and her celebrated and controversial public sculpture, including A Conversation with Oscar Wilde (1998) and Scallop (2003). Less familiar, but equally significant, are her dynamic and sensuous works on paper. Forging an immediate and powerful connection with the subject being drawn, the concept of ‘touch’ pervades these works, distilling the themes of life and death that underscore her art. This exhibition presents over 40 works on paper, many of which are on show for the first time.

‘I believe the subject chooses the artist, not vice versa, and that subject must then be in charge during the act of drawing in order for the truth to be found. Eye and hand attempt to discover and produce those precise marks which recreate what the heart feels. The challenge is to touch the subject, with all the desire of a lover.’

Maggi Hambling

Bedlam: the asylum and beyond @ Wellcome Collection / until Sunday 15th January 2017

TIME AND PLACE:

Doors:
Mon closed
Tue, Wed, Fri, Sat 10:00-18:00
Thu 10:00-22:00
Sun 11:00-18:00

@ Wellcome Collection, 183 Euston Road, London NW1 2BE

Free entry

www.wellcomecollection.org/bedlam

Follow the rise and fall of the mental asylum and explore how it has shaped the complex landscape of mental health today. Reimagine the institution, informed by the experiences of the patients, doctors, artists and reformers who inhabited the asylum or created alternatives to it.

Today asylums have largely been consigned to history but mental illness is more prevalent than ever, as our culture teems with therapeutic possibilities: from prescription medications and clinical treatment to complementary medicines, online support, and spiritual and creative practices. Against this background, the exhibition interrogates the original ideal that the asylum represented – a place of refuge, sanctuary and care – and asks whether and how it could be reclaimed.

Taking Bethlem Royal Hospital as a starting point, ‘Bedlam: the asylum and beyond’ juxtaposes historical material and medical records with individual testimonies and works by artists such as David Beales, Richard Dadd, Dora García, Eva Kotátková, Madlove: A Designer Asylum, Shana Moulton, Erica Scourti, Javier Téllez and Adolf Wölfli, whose works reflect or reimagine the institution, as both a physical and a virtual space.

Bojan Šarčević invagination @ Modern Art / until 14th January 2017

TIME AND PLACE:

Doors: Tue-Sat 11am-6pm

@ Modern Art, 4-8 Helmet Row, London EC1V 3QJ

Free entry

www.modernart.net

Third solo exhibition with Modern Art. Šarčević’s work was the subject of survey exhibitions at Kunstmuseum Liechtenstein, Vaduz, Liechtenstein, and Institut d’Art Contemporain, Villeurbanne, France (2012).

Bojan Šarčević was born in Belgrade in 1974. He studied at L’Ecole des Beaux-Arts, Paris, France, graduating in 1997, and undertook postgraduate study at Rijksakademie, Amsterdam, Netherlands, from 1999 to 2000. He lives and works in Berlin and Paris.

Zaha Hadid @ Serpentine Sackler Gallery / until 12th February 2017

TIME AND PLACE:

Doors: 10am–6pm

@ Serpentine Sackler Gallery, West Carriage Drive, London W2 2UH

Free entry

www.serpentinegalleries.org/exhibitions-events/zaha-hadid-early-paintings-and-drawings

On the occasion of the exhibition Zaha Hadid: Early Paintings and Drawings a series of experimental virtual reality experiences have been specially developed with Zaha Hadid Architects in partnership with Google Arts & Culture.

This installation offers a dynamic and immersive insight into the workings of Hadid’s paintings and will be available to view in the gallery throughout the exhibition.

Anselm Kiefer: Walhalla @ White Cube / until 12th February 2017 ⬜️

TIME AND PLACE:

Doors:
Tuesday-Saturday 10am-6pm
Sunday 12pm-6pm

@ White Cube, Bermondsey, 144 – 152 Bermondsey Street, London SE1 3TQ

Free entry

www.whitecube.com

A new large-scale installation, sculpture and painting referring to the mythical place in Norse mythology, a paradise for those slain in battle, as well as to the Walhalla neo-classical monument, built by Ludwig I King of Bavaria in 1842 to honour heroic figures in German history.

Throughout his career, Kiefer has interwoven themes of history, politics and landscape into his work, revisiting imagery and symbolism through different forms and media. His work conflates and connects themes, resonating with the idea of history as one continuous cycle. In the past, for example, Kiefer has employed the symbolism of Norse mythology alongside the forms of National Socialist architecture, and for this exhibition he uses this as a basis for dramatic new paintings and sculpture that deal simultaneously with notions of creation and destruction, life and death.

The exhibition focuses on the major new installation Walhalla in the central corridor space, from which the other works thematically depart. Featuring a long, narrow room lined with oxidised lead, rows of fold-up steel beds are set close together and draped with dark grey crumpled lead sheets and covers. At the far end of the room, a black and white photograph mounted on lead depicts a lone figure walking away into a bleak, wintery landscape. The whole installation is dark, sombre and sparsely lit by a series of bare light bulbs, suggesting an institutional dormitory, military sleeping quarters or battlefield hospital. This sense of morbid claustrophobia is countered nonetheless by the offer of rest, of a break in the journey; a place perhaps of transformation.

In his new paintings, Kiefer employs a range of media – oil, acrylic, emulsion, shellac and clay – to emphasise the space of painting as a threshold into a mythic, imaginative realm. Here, a series of high towers are set amid desolate landscapes, their stacked forms exploding and dissolving into clouds of deep black or caustic blue smoke. A familiar motif in the artist’s work, the towers are based on his own sculptures made from rough concrete casts of shipping containers, including the brutalist-style towers of Jericho made for the set of In the Beginning staged at Opéra Bastille in Paris in 2009. In one such painting, Kiefer depicts the towers up-close, as if the viewer has found themselves in the ruins of some ancient city. In another work, which consists of three panels, flights of steps leading up to each tower reference the neo-classical, imposing architecture of Walhalla. Here, however, rather than the symbolic bastion of power that Walhalla aims to evoke, they are flat and two-dimensional, overlaid and set at impossible angles under the expanse of a meridian blue sky. In other pictures, which echo the landscapes of Van Gogh, the paintings are divided by a rough track, receding as far as the eye can see and often encrusted with layers of paint and deposited with a bitumen-like matter.

Several new vitrines, in different scales, continue these themes, through assemblages of soiled bleached clothes, stones, stacks of institutional metal beds, bicycles or small trees set upon squared off, cut-out sections of earth. Sealed off and displayed, these objects appear like fossils or unearthed artefacts entombed in glass and lead cases.

In the ‘9 x 9 x 9’ gallery, a dramatic, rusted metal spiral staircase disappears into the ceiling. Along its handrails hang curling strips of film reel, mounted onto lead, and soiled, robe-like dresses on wire coat hangers. In Norse mythology, Valhalla is linked to the Valkyries; women who decided who would live and who would die in battle. After making this choice, the Valkyries accompanied the dead to Valhalla, the hall of the slain in the afterlife ruled over by the god Odin. Entitled Sursum corda, this sculpture relates to the moment when the Valkyries arrive at Valhalla, their robes periodically discarded along the climb, suggesting loss and the trace of bodies that are no longer there.

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