Tag: art shows (page 1 of 6)

Rachel Maclean at Zabludowicz Collection until 16 December 2018

Rachel Maclean has rapidly established herself as one of the most distinctive creative voices in the UK. Creating baroque, hyper-real worlds using green-screen video and computer animation, and playing many of the extravagantly costumed characters herself, Maclean spins razor-sharp fables that combine comedy and horror. Her work offers a powerful critique of contemporary society and its underlying fears and desires. 💭

Maclean first exhibited at the Zabludowicz Collection in 2014 with a solo exhibition as part of our Invites programme, and now returns for the 2018 Annual Commission show. At its centre is I’m Terribly Sorry, a new Zabludowicz Collection commission in virtual reality, the artist’s first piece in the medium, made in collaboration with Werkflow. An interactive experience set in a dystopian urban British landscape of manic tourist merchandise, it reflects on societal unease and misunderstanding in a culture of voracious documentation, self-performance and voyeurism.

www.zabludowiczcollection.com/exhibitions/view/rachel-maclean

Location:
Zabludowicz Collection, 176 Prince of Wales Road, London NW5 3PT

Times:
Thursday – Sunday 12–6pm

Price:
Free entry

Videogames: Design/Play/Disrupt at V&A until 24 February 2019

This exhibition provides a unique insight into the design process behind a selection of groundbreaking contemporary videogames. Design work, including concept art and prototypes, feature alongside large-scale immersive installations and interactives. 🕹 👾

Exploring the medium since the mid-2000s, when major technological advancements, such as increased access to broadband, social media, smart phones and newly available means of making, profoundly changed the way videogames are designed, discussed and played. This change has opened the door to new voices and ideas, allowing the medium to break beyond its perceived boundaries and aspire to new horizons.

www.vam.ac.uk/exhibitions/videogames

Location:
Victoria and Albert Museum (V&A), Cromwell Road, London SW7 2RL

Times:
10am – 5:45pm (Fridays until 10pm)

Price:
£18 book online

Martine Syms: Grand Calme at Sadie Coles until 20 October 2018

+ (1|The world is crumbling and depressing, how can I feel happy about anything.)
– It will be like the first warm day after a brutal winter and you greet the sun on your face.

Close my eyes and pretend I don’t exist.

I want to “cultivate a sense of privilege.”

+ (2|Kanye sliders.)
– I’m That Bitch. I did some cocaine and was worried I kept taking

too much in the rotation.

When I don’t work I start to slip away.

– Vaporizer or bong?

+ (@Vaporizer)
– I want to get rid of the interface the phone and just talk without having to dial.

+ (@Bong)

– I forget what else happened, great parties, lots of shrooms, saving one hit for the weekend. I went to this one meeting totally high. It was the perfect use of drugs.

+ *

* == 1 => {@ question1}
* == 2 => {@ question2}

– + question1

– – I hate how someone can just insert themselves into your life. Suddenly you’re thinking about them and wondering what they’re doing, wanting to chat, share things.

– + question2

– – It seems like I have to fight for little scraps while everyone else gets the whole world and by everyone else I just mean white people.

– ^buttons (“My horoscope is like bitch CALM DE FUCK DOWN.”,”Last week I texted My Husband about grabbing lunch or dinner. He didn’t respond for about ten minutes then asked ‘Do you want to go to Mexico…?'”)

www.sadiecoles.com/artists/44-martine-syms

Location:
Sadie Coles HQ, 62 Kingly Street, London W1B 5QN

Times:
Tuesday – Saturday 11am – 6pm

Price:
Free entry

Yuko Mohri at Camden Arts Centre until 16 September 2018

Following her residency at Camden Arts Centre in 2016, Yuko Mohri returns with a new installation that orchestrates relations between electromagnetic force-fields, patterns of light moving through water and a reconfigured Yamaha reed organ from 1934. Developed responsively to the architecture and surrounding environment of the galleries, Mohri’s audio-spatial composition reveals the interconnectedness of man-made and natural processes, inviting non-human agents and chance factors to determine the score. 👐

In this new commission, error, improvisation and feedback figure in an acoustic environment that maps shifting relationships between material things and conceptual propositions. Music and sound are central to Mohri’s practice. Her involvement with the experimental music scene in Japan has included collaborations with Otomo Yoshihide and the internationally acclaimed composer, pianist and electronic musician Ryuichi Sakamoto. As part of Voluta, sound art pioneer Akio Suzuki will perform live in the gallery.

www.camdenartscentre.org/whats-on/view/mohri

Location:
Camden Arts Centre, Arkwright Road, London NW3 6DG

Times:
Tuesday – Sunday 10am – 6pm
Wednesdays until 9pm
Closed Mondays

Price:
Free entry

Nøtel: Lawrence Lek & Kode9 at arebyte Gallery until 1 September 2018

Nøtel is an immersive, two-chapter, multimedia installation by London-based artist Lawrence Lek created in collaboration with electronic musician Kode9 (Steve Goodman). The project installation transforms the gallery into a marketing suite for the fictional Nøtel Corporation, advertising future plans for a global expansion of the hotel chain. The exhibition uses similar conventions of property marketing, including a video trailer and virtual reality, to conjure an image of a future luxury hotel as if it will be developed on site. 🌍 🌎 🌏

Set in a future London, where elite society no longer requires permanent housing but rather stays in temporary accommodation, Nøtel speculates on critical issues surrounding the newly-regenerated areas of the capital, including London City Island, where the exhibition’s first iteration is situated. Nøtel uses speculative architecture as a tool to imagine the future of these developments, and to address ideas around the politics of labour and an automated workforce, juxtaposed with notions of alienation and belonging.

Nøtel proposes a globalised, standardised way of living. Its alternative approach would alleviate the overpopulation of cities and the struggles of obtaining property, promoting an economic model which saves money by replacing humans with AI to complete menial tasks. Nøtel exposes the fine line between cost-efficiency and hyper-luxury – after checking in at the Nøtel, residents are left alone, broaching the question of hypothetical social-realism and what luxurious lifestyle means for future generations.

The site-specific installation relates to the rapid transformation of a post-industrial area into a new vision of urban living. The project was co-commissioned with Stroom Den Haag in the Netherlands, integrating ideas about European globalisation and the city’s political culture of international justice and conflict mediation, as well as its cyber security industry. The project will relocate to Stroom in September 2018. In this iteration, Nøtel is upgraded with militarised architectural features and high-tech surveillance, referring to the billion-euro industry under the moniker of Hague Security Delta – a think-tank, consultancy and interest group connecting governments to commercial tech corporations, weapons manufacturers and cyber agencies – at once representing the official future vision for the region and remaining completely invisible in the city’s architecture.

The project continues Lek’s exploration of architectural visualisation as a means to explore the critical and aesthetic issues surrounding urban development. The installation enables visitors to reflect on how digital rendering can manipulate the public’s perception of space.

CEØ statement: “Nøtel Corporation is proud to present our first virtual reality advertisement for the Nøtel, our flagship range of zerø-star™* hotels that embody the concept of fully-automated luxury. Designed by world-leading architects to accommodate today’s global nomads, you can rest assured that your secrecy and security is of the utmost importance. Why not indulge in the intelligent sound system at the piano bar, or bathe in the glow of our thermal spa?”

www.arebyte.com/lawrence-lek

Location:
Java House, 7 Botanic Square, London City Island, E14 0LG

Times:
Tuesday – Saturday 12pm – 6pm

Price:
Free entry

Leelee Kimmel: Wormhole at Simon Lee until 30 August 2018

A solo exhibition by New York-based artist Leelee Kimmel, her first in the UK. In her latest work, Kimmel presents a series of large-scale abstract paintings that are confrontational in both colour and dimension, exploring themes of creation and destruction. The immersive element of her work is further developed through sculptural pieces and a five-minute Virtual Reality work that invites total submergence into the deep space of Kimmel’s creative world. 🤓

The large-format paintings feature graphic shapes clustered in thick multilayered pools of bright acrylic paint, which weave across fields of solid white or black. The paintings are imbued with a restless energy and freedom that is intrinsically linked with how the artist creates her works. The resulting compositions deliberately move in and out of representation, sensuous and strict, gloss and matte, tangled and full. The complex patch-work of imagery, consisting of crosshatch and opposing vector-like lines and patterns as well as interrupting biomorphic forms, has an otherworldly quality. Forceful and nervous lines are reminiscent of artists such as Basquiat and Twombly, while the uncanny worlds and dreamlike atmospheres created by the artist emerge into a sort of mutant realism.

A post shared by Leelee kimmel (@leeleekimmel) on

www.simonleegallery.com

Location:
Simon Lee, 12 Berkeley Street, London W1J 8DT

Times:
Monday – Saturday 10am – 6pm

Price:
Free entry

Katharina Grosse: Prototypes of Imagination at Gagosian until 27 July 2018

Widely known for her spectacular in situ paintings, in which explosive color is rendered directly onto architecture, interiors, and landscapes, Grosse embraces the events and incidents that arise as she works, opening up surfaces and spaces to the countless perceptual possibilities of the medium. Approaching painting as an experience in immersive subjectivity, she uses a spray gun, distancing the artistic act from the hand, and stylizing gesture as a propulsive mark. 🎨

In Prototypes of Imagination, Grosse reveals the ways in which painting catalyzes the unfolding of multiple dimensions on a single surface. Following Wunderbild, the imposing processional installation at the National Gallery in Prague, at the center of the exhibition is a single painting of oceanic scale on loose cloth. Working on huge expanses of flat cloth enables Grosse to execute very large-scale works in the studio in response to specific architectural conditions beyond it, in this case the Britannia Street gallery. This new approach creates a bridge between the studio canvases and the in situ paintings that she has been making over the last decade. In this abstract phantasmagoria, with its aqueous layers of vibrant, pulsating color, Grosse’s painterly gestures, and the inverted chromatic zones arising from her use of stencils of vaguely biomorphic form, assert entirely new spatial and temporal transformations.

Grosse continues this approach in works on stretched canvas, many of which contain rectangular fields that slide and tessellate like the windows and tabs of a browser, or dissolve into each other, creating ghostly organic silhouettes. Spatial tensions rise through shifts in chromatic temperature, and with stencils, folds, and other tools she allows for new patterns to emerge. Using stencils to either filter or completely block out areas of negative space, she creates opaque fields to be interrupted by solid geometries and ambiguous transparencies. The result sometimes recalls photograms wherein individual objects are placed on photosensitive paper to produce images using light alone. Here, paint replaces light, as Grosse saturates the exposed fabric with blazing, spectral mists. Each composition bears intimate traces of its creation, such as the smudges of paint where a stencil has been removed, or showers of drips suddenly severed in their resistance to gravitational pull. Surpassing the limits of pictorial logic, Grosse’s paintings are paradigms of vision; just as forms seem to materialize, their edges effervesce, pulling the viewer into their kaleidoscopic force field.

www.gagosian.com

Location:
Gagosian, 6-24 Britannia Street, London WC1X 9JD

Times:
Tue – Sat 10am – 6pm

Price:
Free entry

True Colours – Helen Beard / Sadie Laska / Boo Saville at Newport Street Gallery until 9 September 2018

Bringing together three emerging artists – Helen Beard (b.1971, Birmingham), Sadie Laska (b.1974, West Virginia) and Boo Saville (b.1980, Norwich) – that, despite using paint in very different ways, all share an interest in exploring the possibilities of colour. Featuring over fifty works, the show is the largest exhibition to date for each artist.

Helen Beard uses a vivid rainbow palette to create interlocking arrangements of bright primary colour, which combine to describe explicit sexual encounters. Working from found images, Beard’s work explores themes relating to gender, sexual psychology and eroticism. Situated part way between abstraction and representation, her figures are reduced to concisely defined fields of vibrant colour, on which a myriad of varied brush marks remain visible. Including a number of new works, one of which is a monumental diptych (The Mirror, 2018), each canvas measuring 3226 x 2743mm, the exhibition spans eight years of Beard’s practice.

New York-based artist Sadie Laska creates dreamlike compositions using paint and collage. Evoking the rebellious post-Pop aesthetic of New York, Laska often incorporates recycled waste materials and found objects into her paintings, sometimes reworking parts of earlier canvases entirely. In Untitled (Pepsi Shape), 2017, the canvas is carved up into contrasting areas, which are roughly painted with acrylic. The resulting amorphous shape evokes the distinctive colours of a can of Pepsi. A member of the underground drum-based band I.U.D., Laska’s paintings are filled with a similar improvised expressiveness and irreverent spirit of performance as her music.

The exhibition features a new series of Boo Saville’s colour field paintings, which are shown in dialogue with a number of black and white canvases. Known formerly for her figurative works in oil on canvas, as well as using everyday materials including biro and bleach, Saville has – since 2014 – been producing large-scale abstracts, made up of flawlessly gradating shades. Saville, whose work investigates mortality, applies up to forty layers of paint to achieve this extraordinary effect, erasing any suggestion of her own mark-making in spite of the emotional tenor of the works. The colour fields are inextricably linked to her black and white canvases, the subjects of the latter – sparingly painted so as to retain the appearance of the canvas weave – resulting from internet searches that occur to her whilst working on the abstracts. She notes: “The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other.

www.newportstreetgallery.com/exhibition/true-colours-helen-beard-sadie-laska-boo-saville

Location:
Newport Street Gallery, Newport Street, London SE11 6AJ

Times:
Tuesday - Sunday 10am - 6pm

Price:
Free entry

Inside Arc at Fashion Space Gallery until 28 July 2018

Archives are usually repositories of objects, not intended for further use, rarely displayed in static exhibitions or museum cases. 👗 👘 👚

The Arc is a working archive, consisting of garments, accessories and other paraphernalia amassed by designer Jennefer Osterhoudt. Many items are by John Galliano and Alexander McQueen, with whom she worked very closely from the beginning of their careers and throughout their time at Givenchy, as an accessories designer in Paris during the 1990s. Created by stylist Nick Royal, this constantly expanding collection is regularly frequented by established designers and stylists who use it for editorial photoshoots and campaigns.

This exhibition highlights the eccentricities and rarities from this archive, pieces that as much embody the processes behind creating elaborate toiles in expensive fabrics as reveal complex and labour-intensive techniques used by high fashion. Various personal items sit aside rare handmade invitations, crafted prototypes and toiles that made it into production and select examples are shown alongside a wall of photographs of her own vast shoe collection.

Showcasing these pieces reveals that an archive can be as much about preserving objects for posterity but as a resource to inform future image-makers as they reinterpret ideas from the not-so-distant past.

www.fashionspacegallery.com/exhibition/inside-arc

Location:
Fashion Space Gallery, London College of Fashion, 20 John Princes Street, London W1G 0BJ

Times:
Monday – Friday 10am – 6pm
Saturday 12pm – 4pm (during term time)
Sunday closed

Price:
Free entry

Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern until 14 October 2018

For the first time, Tate Modern tells the intertwined stories of photography and abstract art. 📷 🔳 🔲 ◼️

Shape of Light is the first major exhibition to explore the relationship between the two, spanning the century from the 1910s to the present day. It brings to life the innovation and originality of photographers over this period, and shows how they responded and contributed to the development of abstraction.

Key photographs are brought together from pioneers including Man Ray and Alfred Stieglitz, major contemporary artists such as Barbara Kasten and Thomas Ruff, right up to exciting new work by Antony Cairns, Maya Rochat and Daisuke Yokota, made especially for the exhibition.

www.tate.org.uk/whats-on/tate-modern/exhibition/shape-light

Location:
Tate Modern, Bankside, London SE1 9TG

Times:
Sunday to Thursday 10.00 – 18.00
Friday to Saturday 10.00 – 22.00

Tickets:
£18 book online

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