Monday, October 31, 2011

Tal R - Science Fiction - Victoria Miro - London


through November 12th 2011

Victoria Miro Gallery presents Science Fiction, an exhibition of new paintings by Tal R. The works in this exhibition mark a major development in the Danish artist's practice. Known for his exuberant paintings, works on paper, sculpture, textiles and installations that reflect an expansive and daring approach to subject matter, Tal R has often tempered experimentation with self-imposed restriction in terms of composition and colour palette.

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Sunday, October 30, 2011

Athanasios Argianas - Laid Long, Spun Thin - Max Wigram Gallery - London


through November 12th 2011

A sheet of the width of the wingspan of a plane, a plane of strands of the width of your arms unfolded, folded to form a cylinder. A sheet shaped into a cylinder with an inside, and an outside. An outside as long as its inside, an inside much shorter that its outside… Athanasios Argianas

Athanasios Argianas presents Laid Long, Spun Thin, an elaborate extension of his Song Machine series. His sculptural manifestations of language, duration and materiality continue to play on the legacies of arte povera, Art Nouveau and minimalism.


Saturday, October 29, 2011

Gaylen Gerber - Renwick Gallery - NYC


last chance: through October 29th 2011

Renwick Gallery, in cooperation with Wallspace, presents an exhibition by Gaylen Gerber . Gerber is interested in addressing ideas surrounding perception, particularly the role of context in perception. His work often acts as the contextual ground for the expression of other artists. In this exhibition, Gerber continues to examine the role of the contextual ground in the interpretation of art but also specifically foregrounds the background or context as an expressive element itself.

Friday, October 28, 2011

Andreas Slominski - Europ - Sadie Coles - London


last chance: through October 29th 2011

Andreas Slominski‟s latest show at Sadie Coles HQ centres on a new series of sculptures of flowers. The show‟s truncated or „broken‟ title, Europ, alludes obliquely to the financial cuts and the economic and social unrest around Europe, for which the plucked, fragmentary flowers serve as metaphors. Wrought from metal, the sculptures also replicate the stylised, planar latticework of garden ornaments, evoking miniature windmills or weathervanes. Diverging and intersecting struts support floral clusters of circles which variously recall fractals, molecular diagrams or magnified snowflakes – as the curator Massimiliano Gioni has written of Slominksi‟s work, “The basic principle of his art seems to be an inversion of any minimalist credo. There is no „Less is More‟ in Slominski‟s universe.”

Thursday, October 27, 2011

AA BRONSON - QUEER SPIRITS AND OTHER INVOCATIONS - Galerie Esther Schipper - Berlin



through December 17th 2011

CURATED BY FRÉDÉRIC BONNET

Wednesday, October 26, 2011

Sarah Crowner - Ballet Plastique - Galerie Catherine Bastide - Brussels



through November 12th 2011

Sarah Crowner’s gambit, Ballet Plastique (2011) at Galerie Catherine Bastide, Brussels, invites the viewer to make a distinct choice about how to engage with the presence of her colorful sewn-and-shaped series of geometric canvases hanging in rows on the gallery walls: either we are solicited to reflect upon the undancing ossification of contemporary forms, or we are invited to actify the space. (“Ballet plastique” and the internal contradictions of this jeux de mots, leaves open, of course, the possibility for both). Entering Crowner’s installation requires stepping up onto a raised platform--a stage-like vantage from which we neatly dispense with the mythic functions of the white cube as a space of contemplation and aesthetic disinterestedness. Ballet Plastique implores the viewer to move, to act, to dance, in the here-and-now among the objects hung around the gallery stage. Actor, dancer, acrobat, we are invited and incited, to summon forth another function, the precise choreography of which remains unstated and open-ended. Whether this latter, pro-active, optimistic return to inter-disciplinary Modernism—-where dance and art go hand in hand--is hypothetical or actual remains to be seen.

Tuesday, October 25, 2011

Mario Pfeifer - A Formal Film In Nine Episodes, Prologue & Epilogue - KOW - Berlin


through October 28th 2011

When he came to Mumbai, India, in 2010, Mario Pfeifer faced a problem that had already vexed Pier Paolo Pasolini and Louis Malle, who traveled to India in 1968, and many cinematic auteurs after them: What to show of a country and a culture that still strike the Western filmmaker as mostly unfamiliar and exotic? How would they avoid a colonialist perspective replete with standards of value they have brought with them? How might they catch a glimpse of what lies beyond the stereotypes about social inequality, about the misery of lower-caste life and the upwardly mobile middle classes, that dominate the critical picture of India in the minds of Westerners? Louis Malle thought it was impossible. In his classic "L’Inde Fantôme", he spends 378 minutes commenting on the limitations of his own view.


Monday, October 24, 2011

William Powhida - Derivatives* - Postmasters - NYC


through November 26th 2011

In the art world, 'derivative' is both a pejorative word used to describe works that are insufficiently original and a common method of determining value by establishing artistic lineage ie; "Urs Fischer is the next Jeff Koons". Art is also an investment tool involving an unspoken contract between two parties with assumptions about the resulting values of the underlying variables of a particular work or artist.

Sunday, October 23, 2011

Marc Camille Chaimowicz - Appartement... - MD72 - Berlin



through October 29th 2011

Saturday, October 22, 2011

Djordje Ozbolt - Herald Street - London


through November 6th 2011


Friday, October 21, 2011

Haroon Mirza - I saw square triangle sine - Camden Arts Centre - London


through January 3rd 2011

In Mirza’s assemblages each element plays a specific part; objects affect each other and are reconfigured in different ways. Similar to a band there is no singular focus rather the work is a constantly moving combination of elements which merge through discordant and harmonious beats and rhythms. Through an investigation of both sculptural assemblage and musical composition Mirza reveals the formation of music in the course of an autonomous live experience.

Thursday, October 20, 2011

Josephine Meckseper - Timothy Taylor Gallery - London


through 12 November 2011

Timothy Taylor Gallery is proud to present the first solo exhibition in the UK by Josephine Meckseper. Over the past ten years, the New York based artist has developed a practice, which melds the aesthetic language of modernism with a profound critique of consumerism. Employing sculpture, video, installation, painting and photography, she confronts the Western desire for instant gratification with the erosion of personal political agency. Meckseperʼs project is to challenge ingrained perspectives and habits of seeing by employing a proxy retail aesthetic to expose the cracks and contradictions of contemporary living.

Wednesday, October 19, 2011

Albert Oehlen - Painthing on the Möve - Thomas Dane Gallery - London


through November 19th 2011

The directors of Thomas Dane Gallery are pleased to announce an exhibition of new works by German artist, Albert Oehlen. Oehlen - amongst the pre-eminent painters of his generation - pushes the boundaries of his medium to straining point, continuously challenging the canons of painting with a wry humour and brazen originality. The New Yorker Magazine has referred to him as 'the most resourceful painter alive'. This body of work - using charcoal and acrylic on canvas -restricts itself to black and white - and is closely related to his most recent forays into large-scale drawing.

Tuesday, October 18, 2011

Michelangelo Pistoletto - Lavoro - Simon Lee Gallery - London


through October 29th 2011

In this body of work, Pistoletto highlights the world of construction: not the glossy end-product, but the process and mechanics of construction itself: the invisible workers, the drills and cranes that shift stone and earth, the temporary cordons, the dust and the rubble. He shines a spotlight on the incessant process of destruction and construction that is an inevitable by-product of any period of intense economic activity. Pistoletto gives us a partial view on this world: his thoughtfully calibrated compositions of objects and figures superimposed on the polished stainless steel assume a powerful sculptural and poetic presence.

Monday, October 17, 2011

Charles Avery - Place De La Revolucion - Pilar Corrias - London


through November 2011

since 2005, Charles Avery has devoted his practice to the perpetual description of a fictional world. Replete with its own population and geography, Avery’s intricately conceived territory exists today through drawings, objects, installations and texts. Exhibited episodically, these heterogeneous elements serve as terms within the unifying structure of the Island – as multiple emissions of Avery’s imaginary world, and as a meditation on the central themes of philosophy and the problems of art-making.

Sunday, October 16, 2011

Mathias Poledna/Florian Pumhösl - Raven Row - London



through November 20th 2011

Poledna and Pumhösl have a history of shared interests and exchange going back to collaborations while at art school and afterwards. This exhibition is the first to present their distinct but related practices in the form of a two-person show.

Saturday, October 15, 2011

Oliver Laric - Diamond Grill - Seventeen Gallery - London


through November 12th 2011

Laric has registered a new hybrid orchid with the Royal Horticultural Society, named after the Burmese opposition leader Aung San Suu Kyi. The work is presented as living orchid in the space, as a photographic print roughly framed in OSB board and as a stack of printed postcards. The work is in response to the naming of an orchid after the Burmese president, Thein Sein, in honour of his 2009 visit to Singapore, which lead to international protest. The new hybrids full name is Doritaenopsis Aung San Suu Kyi, Doritaenopsis being an intergeneric hybrid between the orchid genera Doritis and Phalaenopsis.

Friday, October 14, 2011

Scott Lyall - Nudes 3 - Campoli Presti - London


15 October - 17 December 2011

Thursday, October 13, 2011

George Condo - Drawings - Sprüth Magers - London


through November 12th 2011

George Condo emerged out of the dynamism of the New York art scene of the early 1980s, swiftly establishing himself as an unparalleled draftsman with an at once distinctive and arresting painterly style. Condo travelled to Europe where he associated with the Mülheimer Freiheit cohort of Cologne, a collective of so-called ‘Young Wild Ones’, with Walter Dahn and Jiri Georg Dokoupil being amongst the most influential painters on Condo. In 1984, Monika Sprüth Galerie in Cologne was the first European gallery to show Condo’s work and over the past three decades Condo has continued to show in more than thirty exhibitions at Sprüth Magers. Condo’s formative European travels eventually brought him to Paris where he remained until 1995. It was from his encounters with European painting that Condo embarked upon a series of ‘fake Old Master’ portraits that rampaged through the archives of art history, harnessing the pictorial languages of Velázquez, Rembrandt, Goya and Picasso.

Wednesday, October 12, 2011

Duncan Campbell - Hotel - London



through November 20th 2011

Tuesday, October 11, 2011

Monday, October 10, 2011

PECKHAM 90210 - group show - N/V_PROJECTS - London



PRIVATE VIEW: TUESDAY, 11th 2011

through October 23rd 2011

Sunday, October 9, 2011

Alexandra Bircken - Studio Voltaire - London


through Decemer 3rd 2011

Alexandra Bircken has developed a unique sculptural language in which natural and synthetic materials are often knitted, knotted or strung together. Bircken’s work is grounded in a deep connection with and understanding of her materials. This is informed by her background in fashion, which she studied in London at St Martins College. The acquired techniques of draping, knitting and threading create a particular formal approach to the construction of her sculptural objects. Bircken has described her constructions as ‘units’ that create internal tensions and dialogues between materials and then a wider conversation occurs between these units within the particularities of the space

Saturday, October 8, 2011

All I Can See is the Management - group show - Gasworks - London


through December 11th 2011

All I Can See is the Management is an exhibition and programme of events that looks at how artists address the pervasiveness of managerial culture from the late 1970s to today.

The exhibition brings together historical and contemporary artworks that consider how late capitalist approaches to working life play out at work, in education and at home. It focuses upon the changing roles of the worker, the manager and the entrepreneur, and how these condition our understanding of other social relationships, such as those between students and teachers or among family members. It also addresses the ways in which companies have sought to enlist and manage the private aspirations and emotions of their employees. These personal capacities are increasingly considered essential to professional performance and the production of economic value, further blurring the boundaries between work and life.

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Friday, October 7, 2011

It’s Like that - Saâdane Afif, Mathieu Mercier, Haroon Mirza - Russian Club Gallery - London


through Noember 5th 2011

The Russian Club Gallery is delighted to present It’s Like that, curated by Pascaline Monier. In 1997 Run DMC and Jason Nevins released a remix of It’s like that. In the video two crews (male vs. female) engage in a breakdance battle in a deserted urban background. Group show settings have the ability to mimic this dynamic of rupture and approval as each work riffs with the other in its choice of media, its method, its display, its claimed or unclaimed ownership etc. It's Like That considers the conscious choice the three artists make to manipulate viewers and challenge their perceptions, blurring the boundaries of authorship, or shifting components from their primary use.

Thursday, October 6, 2011

Aya Haidar - Behind Closed Doors - Bischof/Weiss - London


last chance: through October 6th 2011

In the centre of Martyrs' Square in downtown Beirut, Lebanon, is a statue depicting a woman, one arm bearing a torch aloft, the other around the shoulders of a young boy. The statue is riddled with bullet holes from the wars, uprisings and political unrest that have pockmarked the 69 years of Lebanese independence. A photograph of the landmark crops in on the two figures whose bullet wounds have been carefully, tenderly stitched over in a variety of multi-coloured bandages. Another view shows the woman completely wrapped, Christo-like, in red thread. These interventions by Aya Haidar, on photographs printed on linen (both from the series Seamstress, 2011) illustrate the artist's method of both highlighting and concealing the marginalia normally overlooked in both the images and narratives of the country's troubled past.

Wednesday, October 5, 2011

Nathan Barlex - Virtual Ouroboros - Pyramidd - London


through October 22nd 2011

Something is done that interrupts the continuity of another thing that relieves the situation from the condition of the generally experienced: Several things happen that produce too many or not enough outcomes. Precept and concept dance around and through an aggregate of both themselves and something else. The intervention is slight and bold. However, these categories are subjective. Just as brightness may be slyly dull, awaiting a corner. Grammar may go on holiday only to worry about work.

Tuesday, October 4, 2011

Probable, preferable, plausible, possible - Galerie Dohyanglee - Paris


through October 29, 2011

Curated by Jill Gasparina with Sophia Ajdir, Franck Eon, Mathis Gasser Anthea Hamilton, Mark Leckey and Shana Moulton

In « How to build a world? »1, Stuart Candy (a.k.a. the skeptical futuryst) considers all possible ways to construct a universe. Candy is a futurologist: his research is about the building of future worlds. As a starting point, he reminds us that novelists, architects, engineers, industrial designers, craftsmen, film writers, directors, advertisers, storytellers (historians, politicians, journalists, psychoanalysts…) are all world builders. Their inventions help us envision and move towards the future.

Monday, October 3, 2011

Elad Lassry - White Cube Hoxton Square - London


through November 11th 2011

is pleased to present an exhibition of new work by Elad Lassry. Known for his work in film and photography that combines intricate surfaces with an investigation into the nature of perception and the present-day image, Lassry has become one of the most celebrated young artists working today. For this exhibition, his first with the gallery and his first solo show in London, Lassry will present a large body of new pictures and four sculptures.

Sunday, October 2, 2011

Gabriel Kuri - Before Contingency After the Fact - South London Gallery London


through November 27th 2011

In the SLG's main space and back garden, a series of 'hard' sculptures – large, uniformly painted metal shapes – refer to the language of statistics or graphic representations of data. By presenting sequences of related forms, each one embodying a slightly different relationship between positive and negative space, or with each one placed at a slightly different angle or tipped over on one side, Kuri exposes their potential to be perceived as abstract, symbolic and/or utilitarian. The human scale of the sculptures, for example, means that if placed at particular angles they could provide cover if someone were to lie beneath them.

Saturday, October 1, 2011

Anj Smith - States of Fragility - Ibid Projects - London


last chance: through October 1st 2011

Each work is located between representations of portrait, landscape and still life painting, often encompassing or rejecting elements of all three. This collapsing of simultaneous ideas and phenomena is intrinsic to these paintings, where narratives are as complex and layered as the application of paint and where objects disintegrate into chaotic rubble or reconfigure to acquire brand new and bewildering meanings. Differing states of time, place and different psychological spaces overlap in these works, as do the types of painting, with luminous jewel-toned colour banks as likely to exist against crude slabs of impasto, scratched barren areas or zones of almost pornographic attention to the minute.