The fifth annual NewcastleGateshead Art Fair opens tomorrow at spectacular venue of The Sage Gateshead. This year the fair has attracted more galleries than ever before, providing a platform for the work of hundreds of artists represented by around 50 galleries from across the UK and overseas. NewcastleGatehead is the largest commercial art fair in the North-East of England, and provides the opportunity to find affordable art as an investment for the feature. This year the fair features an extensive range of unique paintings, sculpture, ceramics, photographs, prints and glass.
Radical, Bold & Experimental Art Forms | Bloomberg New Contemporaries 2011 | Site Gallery | Sheffield
Text by Amy Baker
Established in 1949, New Contemporaries is an important and highly regarding annual initiative that gives art students and recent graduates essential support and recognition at a crucial stage in their development through a high-profile exhibition. One of only two open exhibitions in the UK, participants are selected by a panel comprising influential art figures including curators, writers and artists often who have themselves previously been a part of New Contemporaries, and a rigorous process that considers the work within a broad cultural context. The selectors for 2011 are Pablo Bronstein, Sarah Jones and Michael Raedecker.
Between 2004 and 2006 the artist EJ Major undertook a mail art project which involved taking a screenshot of each second of the film Last Tango in Paris (1972) and from each one printing a single postcard. These 7000+ postcards were then hand-delivered around the UK over the course of two years. On the back the artist printed her Freepost Address and ”love is…” Recipients were asked to respond and return the postcard as part of an enquiry, into love.
Text by Angela Darby
Others’ Stories collates six artists’ exploration and questioning of documentary narrative. When two people verbally interact, dialogue can go beyond oral communication; facial expressions and body language become part of the exchange of ideas and the meaning attached to them. Curator Peter Richards pointedly asks: “Can you really tell someone else’s story for them… does truth suffer when it is mediated by a third party?” Essentially the interviewer must earn a bond of trust with the interviewee in order to achieve a meaningful discourse between the two parties. It was interesting to observe what techniques, if any, the invited artists adopted in order to gain their subjects confidence.
Bridget Riley (b.1931) is one of Britain’s best-known artists. Since the mid-1960s she has been celebrated for her distinctive, optically vibrant paintings which actively engage the viewer’s sensations and perceptions, producing visual experiences that are complex and challenging, subtle and arresting.
Text by Luke Healey
The Fruitmarket Galllery’s summer exhibition of work by American artist Ingrid Calame whose beautifully-coloured, intricate drawings and paintings have a specific, if abstracted relationship to the world. Calame’s paintings and drawings all begin with tracings of marks, stains and cracks on the ground made by the artist in various urban locations. Back in the studio, the tracings are combined layered and re-traced in coloured pencil, painted in enamel and, more recently, oil paint. The paintings and drawings that result from this singular process are beautiful and intelligent abstract works. Displayed in a gallery, they retain their connection with the world outside at several removes, exerting an oddly insistent presence.
Text by Lara Cory
In the bustling back streets of Shoreditch you’ll find the imposing Rivington Place building. Upon entering the sleek, black façade, you’ll find yourself inside Iniva (Institute of International Visual Arts), an institute that supports the debate and visual expression of diversity in society. Through exhibition, publications, multimedia, education and research, Iniva hope to destablilise existing hierarchies in visual arts culture and provide support and opportunity to a wide variety of culturally diverse artists, curators and writers.
Text by Daniel Potts
Peering Sideways consists of three new exhibitions running concurrently at PSL. The title suggests at once that the viewer is encouraged, through the prism of the artists’ vision, to look askance at the familiar and hints at the artist-peers taking part in the show, which aims to examine the idea of collectivity. Here, collectivity is to be found through collaborative practice, affiliation through studio membership, the formation of artists’ groups or the artist-peers choosing other with which to exhibit their work in a group format. The project brings together artists’ groups from across the UK (London, Manchester, Wakefield). The three constitutive exhibitions titled Welcome to the Real World, Sorry for the Inconvenience, and, Other People’s Problem.
Text by Paul Hardman
The immediate appeal of Bold Tendencies, particularly on a sunny day, irrespective of what the art is like, especially if you haven’t been before is simply to visit the venue. Located on the top two floors and roof of a seven story car park in Peckham, the view is fairly epic, and since the temporary gallery space is complemented by having Frank’s Cafe and Campari Bar strapped onto the building it is a pleasure to be in the space itself. Specially appointed by the Curatorial Council, the 15 large-scale new works by international artists commissed for the space, take central stage.
Showcasing the best in new British and international printmaking, the International Print Biennale 2011 is an extensive programme of exhibitions, events, activities and an international symposium taking place across Newcastle and the North East. It follows the success of the Northern Print Biennale in 2009 which was the first major project in the UK for 20 years concentrated on the diversity of contemporary printmaking.
Ikon presents the first major exhibition in the UK of Nedko Solakov (b.1957) in Cherven Briag, Bulgaria. All in Order, with Exceptions is a chronological survey of Solakov’s practice, an amalgamation of four selections, made by three galleries – Ikon (UK), S.M.A.K. (Belgium) and Serralves (Portugal) – comprising one work per year since he emerged as an artist c.1980. There are overlaps, where a work was chosen by two or more curators. The ‘exceptions’ are those works first exhibited in years following their years of production, the latter being ignored for our purposes. In addition, for the Fondazione Galleria Civica, Trento, Solakov has made a further selection from all the works not chosen for the three other galleries: All in (my) Order, with Exceptions is a kind of Salon des Refusés, which articulates an intimate approach to the survey format, fully autonomous from curatorial ‘interference’.
Lost in Lace is the first exhibition programmed through the Craft Council‘s biennial Fifty:Fifty scheme, through which the Crafts Council co-funds and co-produces an exhibition with a partner organisation chosen by open selection. Speaking about the partnership, Rosy Greenlees, Executive Director of the Crafts Council: “We are thrilled to be working with the BMAG on this exciting inaugural Fifty:Fifty exhibition. Lost in Lace will encourage people to think about the fabric of the spaces we live in through extraordinary textile pieces created by prolific international artists. We believe this will draw new audiences to see the sort of contemporary craft that they may have never seen before.”
Doug Jones’s new series of work revolve around issues of equality, accessibility and availability. Through the media of video, installation, needlepoint embroidery and quilt-making, Jones’ show Caeteris Paribus (everything else being equal) weaves together experiences of personal failure of involvement in public events, irreverent comments on British heritage production and observations on ubiquitous patterns of restriction inscribed in the social arena by legislative mechanisms and police jurisdiction.
Text by Angela Darby
The PS² in Belfast is a gallery dedicated to platforming projects and exhibitions of an experimental socio-political nature. Through this open-ended approach the curator, Peter Mutschler and curatorial adviser Ruth Morrow have attracted a high standard of proposals to the gallery’s program. The current exhibition by renowned artist, Ursula Burke I can’t go on. I’ll go on confirms their vision.
Text by Luke Healey
This Unfolds is a significant milestone in Ffotogallery’s Wish You Were Here program, which sees them oscillating between their HQ at Penarth’s Turner House and Cardiff’s Dairy, as part of a space-sharing arrangement with the temporarily homeless g39. Featuring 7 Welsh-resident photographic artists, many of them fairly recently graduated, the show undertakes to examine an approach to lens-based practice situated around ideas of narrative, duration and what the curator, Leela Clarke, refers to as ‘a kind of expanded self-portraiture’.
If you’ve got a boat it is feasible to sail across to France for dinner and be back in time for supper. For those of us that don’t there’s another reason to visit Jersey at this time of year; Branchage Film Festival.
Seven artists – Susie MacMurray, Brendan Jamison, Elpida Hadzi-Vasileva, Jill Townsley, Claire Morgan and the duo Henry Seaton have been asked to produce work that challenges the commonly considered belief that repetition is purely a means to an end or a device. Here repetition opens up debates about authorship, failure through repetition and the role of labour.
This summer, Ffotogallery turns the spotlight onto new photographic and lens-based media work in Wales. In a series of exhibitions and events across two spaces, the main gallery in Turner House, Penarth and The Dairy in Cardiff, an off-site venue, Wish You Were Here is dedicated to nurturing and foregrounding emerging artists in Wales. The season reflects the concerns – social, conceptual and technical – of a new generation of photographic artists. Whether challenging cultural stereotypes of offering glimpses into unseen worlds, the artists offer fresh perspectives on photography whilst exploring the expressive potential of the medium. The latest solo exhibition in this series sees Cardiff-based artist, Gawain Barnard present Maybe We’ll Be Soldiers at The Dairy in Cardiff.
Text by Rosa Abbott
There are some things we only own for a while, without even noticing it. Following on from the acclaimed installation Sidewalk (2009) WAGNER + PARTNER is proud to present the latest exhibition from Maria & Natalia Petschatnikov Briefly Yours. The exhibition connects paintings and objects from three of the Petschatnikovs most recent series, all which subtly investigate the notion of possession and ownership. As so often in their work it is the banal everyday things that are artistically explored and viewed from new angles.
Opening today, the highly anticipated Arts University College at Bournemouth postgraduate show features graduates from fine art, photography, graphic design, and many more, runs until the 8 September. The exhibition, entitled Shift, reflects the interdisciplinary nature of postgraduate study and represents the culmination of a meaningful, transformative and personal journey for the students involved.
The Fragile Beauty of Existence | Mathilde Rosier: Necklace of Fake Teeth | Camden Arts Centre | London
Text by Matt Swain
Camden Arts Centre hosts the first solo exhibition in the UK by French artist Mathilde Rosier (b. 1973). Renowned for creating visual embodiments of dreamlike objects and haunting animal presences, here Rosier creates atmospheric environments drawing on her interest in ancient rites and rituals. The gallery is transformed into a series of rooms, containing paintings, sculptural assemblages and film, representing the journey between conscious and unconscious states.