Jerwood Gallery in Hastings to open March 17th | Q&A with Liz Gilmore, Director of the Jerwood Gallery

Text by Bethany Rex

There are a lot of projects that get the go-ahead in the name of regeneration, and the savagely debated Jerwood Gallery in Hastings is no exception. There’s a whole website devoted to the ‘Say No to Jerwood on The Stade‘ (an area next to the fish market) campaign but one only has look East for two shining examples of cultural regeneration come good; the hugely successful Folkestone Triennial and the celebrated Turner Contemporary in Margate.

Photography: Florian Kleinefenn Copyright 2011 Stephen Flavin / Artists Rights Society (ARS), New York.

A Leap Beyond the Physical | Dan Flavin: An Installation | Galerie Perrotin | Paris

Text by Matt Swain

Dan Flavin (1933-1996) was an American minimalist artist famous for creating sculptural objects and installations from fluorescent light fixtures. His early work focused upon drawings and paintings influenced by Abstract Expressionism but the subsequent focus of his work was an exploration of the artistic possibilities of fluorescent light, limiting his possibilities by restricting his materials to commercially available tubing in standard sizes, shapes and colours.

Ana Silvera, Reverb, 2012. Credit: Chris Chirstodoulou

Review: Reverb Festival at The Roundhouse, London

Text by Ruby Beesley

La Coquille et le clergyman – Imogen Heap and The Holst Singers
Oracles and Step Onto the Ground, Dear Brother! – Ana Silvera and The Estonian Television Girls Choir

Now in its second year after a successful launch in 2010, the Roundhouse’s Reverb Festival aims to dismantle the stuffy, jargon-loaded image of classical music. While commercially the past decade has seen our musicians take a battering, creatively it’s an exciting time for contemporary music with tastes broadening, genres metamorphosing and live performances defying the rough waters experienced by the rest of the industry. And why shouldn’t classical music experience the same resurgence?

TERRYWOOD opens at OHWOW in Los Angeles

Richardson has been inspired by the multiple facets of Hollywood life. In his latest show,TERRYWOOD, he unveils a series of images of the famous city, as seen through his eyes. Terryworld meets Hollywood, as the local characters, familiar landscapes, and architectural details verge on a new identity.

Rehearsal after Reflect Soft Matte Discourse | Malin Arnell, Clara López & Imri Sandström | Episode 2: A Special Form of Darkness | Tramway | Glasgow

Text by Bethany Rex

How do ideas of nihilism, darkness, subjectivity and abjection play out in experimental music, performance art, supernatural horror; in neuroscience or philosophy? Or: how can you trust what you think or feel? A Special Form of Darkness is an open, convivial music/performance/ideas hybrid – a cross between a festival, magazine and discussion.

Jeremy Deller: Joy in People | Hayward Gallery | Southbank Centre | London

Text by Travis Riley

You wouldn’t be to blame if you assumed the large blue banner above the Hayward entrance, proclaiming “art exhibition”, were a David Shrigley piece. It has the immediacy and humour of Shrigley’s work, and none of the seriousness that has in recent years come to represent Jeremy Deller.

Anne Wilson, Local Industry Cloth (detail), 2010. Collection of Knoxville Museum of Art.

Wind the Bobbin Up | Cotton: Global Threads | Whitworth Art Gallery | Manchester

Text by Liz Buckley

Cotton. You’re probably wearing it now. You probably sleep on it every night. The sheer abundance of this material all around us means it usually remains ignored and under-appreciated. The cotton industry at one point had its largest export centres in places far and wide; India, and closer to home, Lancashire. The new exhibition at Manchester’s Whitworth Art Gallery is a celebration of all things cotton, including both traditional and contemporary uses, mixed media pieces and installations, but most of all a well deserved celebration of the stuff. Cotton: Global Threads is an exhibition designed to amalgamate the cultural diversities of these fine threads and fabrics in a showcase of international talent and multiplicity.

Short & Sweet

Celebrating Short Film | Short & Sweet | Roxy Bar & Screen | London

Text by Bethany Rex

Short & Sweet is an acclaimed, travelling short-film event series – a unique, international community of film lovers who father for lively events of short films and socialising. This winter Short & Sweet returns to London.

Aesthetica spoke to Jack Robinson, London Coordinator of Short and Sweet, to find out more:

Canary Wharf Screen | Art on the Underground | Season 1 Film and Video Umbrella

‘Celebration (Cyprus Street)’, Melanie Manchot, 2010 (Excerpt) from Film and Video Umbrella on Vimeo.

Canary Wharf Screen is an innovative new motion picture screening programme that will launch at Canary Wharf Tube station at the beginning of next month. The project has been initiated and presented by Art on the Underground and will show some of the best artists’ moving image, chosen by four of the UK’s leading film organisations and institutions, including new digital commissions and rarely seen films from the last century.

Images copyright Thierry Bal

Conflations of Form | Lynda Benglis | Thomas Dane Gallery | London

Text by Travis Riley

Lynda Benglis’ name has taken on mythical connotations in the art world. Her provocative photographic spread in Artforum in 1974, in which she appeared oiled and naked, brandishing a dildo, and sporting a “macherin”’ pose (Benglis’ own term implying a female form of “machismo”) sparked controversy at the time, and has subsequently been awarded verbal accolades by countless artists, not least Cindy Sherman and Vito Acconci.

Andy Warhol, Jean-Michel Basquiat & Francesco Clemente, New York, 1984. © Beth Philipps, Courtesy Galerie Bruno Bischofberger, Zürich.

Ménage à trois: Warhol, Basquiat, Clemente | Art & Exhibition Hall of the Federal Republic of Germany | Bonn

Text by Franziska Knupper

Campbell’s soup cans, exclamation marks, kissing couples. Warhol, Basquiat, Clemente. The works of three legendary artists are currently being displayed at the Bundeskunsthalle in Bonn. Under the title Ménage à Trois the museum presents the artists’ fascinating collaborations during New York’s thriving art scene of the 1980s; how they inspired one another and contributed to each other’s work or, as Andy Warhol himself put it: “One’s a company, two’s a crowd, three’s a party.”

Five Truths 03. Photo credit: Tom Arber Photography

Installation: Five Truths | Howard Assembly Rooms | Opera North | Leeds

Text by Daniel Potts

Katie Mitchell’s acclaimed video installation arrived in Leeds on 14th February, and just as the carousel in the city’s Valentine’s Fair rotates and undulates carrying apparently happy lovers of all ages, Mitchell reminds us of an obverse mental maelstrom. The vehicle is Ophelia – Hamlet’s spurned lover – in her “mad scene”, which is experienced by the visitor five times at once through the interpretive prisms of Brecht, Artaud, Brook, Grotowski and Stanislavski.

Whose Film Is It Anyway? | Japanese Contemporary Auteurs in The Japan Foundation Touring Film Programme | Various Venues

Text by Alison Frank

The Japan Foundation has hosted an annual touring film programme since 2004. This year, between 10 February – 28 March, a set of 9 contemporary Japanese films will tour 7 UK cities (London, Sheffield, Edinburgh, Glasgow, Belfast, Bristol and Nottingham). Two directors with films in the programme have been invited to introduce their work: Masayuki Suo (I Just Didn’t Do It, 2007) at London’s ICA and Katsumi Sakaguchi (Sleep, 2011) at both ICA and Sheffield’s Showroom & Workstation cinema.

Nalini Malani (India 1946) Mother India: Transactions in the Construction of Pain 2005. Video play; five video projectors in sync, sound, 5 minutes. Purchased with funds provided by the Art Gallery Society of New South Wales Contempo Group 2011.

Disembodied Voices | Nalini Malani: Mother India | Art Gallery of New South Wales | Sydney

Text by Ella Mudie

When Nalini Malani, one of India’s most prominent contemporary artists, was invited to create a large-scale new media installation for presentation in India Contemporary at the Venice Biennale in 2005, her response was the startling and enigmatic video play Mother India. Recently acquired by the Art Gallery of New South Wales in Sydney, this provocative visual and sonic response to the challenge of representing continuous cycles of gendered violence is currently screening in the gallery’s Asian art wing.

A Return to Making-Strange? | Opens Tomorrow | Interplanetary Revolution | Golden Thread Gallery | Belfast

Text by Angela Darby

Exhibition Statement:

The opening of Interplanetary Revolution may feature a cocktail bar, a chorus of ice cream vans, the introduction of another currency and a song by The Factotum Choir that they never quite cracked. Are we the warriors of the Revolution?! Are you? Drawing inspiration from the 1924 Russian propaganda animation of the same name, Interplanetary Revolution is a project that will include at least two new simultaneous group exhibitions and the installation/reworking of another. Looking at failing/ed ideologies; notions of otherworldliness and the uncanny; and revolutionary critique, Interplanetary Revolution will be an opportunity to collapse a few assumptions and undermine previous relationships.

Images courtesy of Leo Koenig Inc., New York.

Observations of Modern Life | Ridley Howard: Slows | Leo Koenig Inc. | New York

Text by Dan Tarnowski

Slows is a new exhibition of paintings by the Brooklyn artist, Ridley Howard. Howard’s second show at Leo Koenig Inc. marks both a new direction in his artwork and a continued exploration of his typical style, which could be described as conceptual figurative work.

Family Portrait, 1960s, from the Belle Vue Studio Archive © Bradford Museums and Galleries.

A World of Shifting Certainty | The Family in British Art | Millennium Gallery | Sheffield

Text by Kathryn Hall

The family is unique as a social institution: it functions largely in private, while at the same time has a public character; it may be defined one way for political purposes, yet assume any number of forms through personal perceptions and biological associations. According to context, the word family can carry with it notions of safety, obligation, compassion, social norms, or role fulfilment.

Contemporary Sound Art | Haroon Mirza: /|/|/|/|/|/|/|/|/|/|/|/|/|/|/|/| | Spike Island | Bristol

Text by Regina Papachlimitzou

In his first UK solo exhibition, Silver Lion Award winner of last year’s Venice Biennale, Haroon Mirza unfolds the map of an uncharted soundscape at once inviting and forbidding. His show /|/|/|/|/|/|/|/|/|/|/|/|/|/|/|/| (the title being the “typographic representation of a sawtooth waveform” –that is to say, the representation of sound waves) consists of installations in which the auditory element heavily outweighs the visual. Each installation is pervaded by its own distinct mood, but all share a common denominator in the intensity of the experience and of the response each work elicits.

Embracing the Alternative Canvas | In Numbers: Serial Publications since 1955 | ICA | London

Text by Daniel Potts

In Numbers does not claim to be an exhaustive survey of serial publications since 1955, but aims to provide the contours of the genre. An extensive collection of artists’ serial publications is arranged into different groupings of periodicals in the Lower Gallery at the ICA, proving a diverse array aesthetically and globally, and requiring close inspection. Although periodicals first appeared in Europe around the end of 18th century, this exhibition features periodicals by avant-garde artists working within the last 60 years who adapted the format in their own ways, coming from movements such as Dada and De Stijl.

The Passage of Materials | Steve Claydon: Culpable Earth | firstsite | Colchester

Text by Emily Sack

Colchester in Essex is known as being the oldest documented town in the UK. A visit to this charming city is likely to include a tour of the castle, a pint in an historical pub, and, surprisingly, a large golden arc of a building showcasing cutting edge contemporary art from around the globe. Opening just several months ago, the new creation by Rafael Viñoly Architects makes its presence known in the historical town, encouraging an emphasis on the contemporary. Steven Claydon’s first solo UK show is the second site-specific exhibition created for the impressive space.

Dana Schutz The Autopsy of Michael Jackson (2005). Courtesy Friedrich Petzel Gallery, New York.

Simultaneous Shock & Awe | Dana Schutz: If The Face Had Wheels | Miami Art Museum

Text by Heike Wollenweber

Dana Schutz (b. 1976) has developed a distinctive visual style characterised by vibrant colour and raw and tactile brushwork. If the Face Had Wheels is a survey of the artist’s work (spanning 2001 – 2011) that includes 30 paintings and 12 drawings, inviting viewers to enter into a world where fantasy and humour meet horror. Not an absurd question for Schutz.

Colouring the Invisible, Installation Shot. Courtesy the artist.

Interview with Julia Vogl: Winner of the Creative Works Competition

Text by Bethany Rex

Following the successful Creative Works Competition, Aesthetica Magazine has launched an annual Aesthetica Art Prize. The Aesthetica Art Prize is open for submissions from now until 31 August 2012, and provides an invaluable platform for emerging and established artists, offering contenders a first prize of £1,000. The four shortlisted professional entrants and four shortlisted student entrants will also their have their own exhibition at a venue in York, their work published in the Aesthetica Art Prize Annual and their work praised in Aesthetica Magazine.

Jean-Marc Bustamante | Peintures Carrées (Square Paintings) | Galerie Thaddaeus Ropac | Paris

Text by Matt Swain

Peintures Carrées (Square Paintings) is a new exhibition of works on square, screen-reprinted Plexiglas by French artist Jean-Marc Bustamante (b. 1952). Bustamante is a noted conceptual and installation artist who incorporates ornamental design and architectural space into his work. Emerging principally as a photographer in the 1970s, Bustamante has since explored the space between photography, sculpture, architecture and decor. His work represents mental landscapes and combines different artistic languages where past experiences blend to create a unique visual experience.

Visual Games | David Evans’ Critical Dictionary | WORK Gallery | London

Text by Travis Riley

The exhibition’s title puts in mind an idea of declassification and redefinition. It is borrowed from Georges Bataille (1897-1962), whose Critical Dictionary was printed as a regular section of his surrealist journal Documents (published in Paris from 1929 through 1930), and functioned on the basis that “A dictionary would begin from the point at which it no longer rendered the meanings of words but rather their tasks.” This endeavour is embodied in David Evans’ curation of the exhibition.

Installation shot. Courtesy the artist.

Palm Trees and Poker Players | James Hockey & Foyer Galleries | University for the Creative Arts (UCA) | Farnham

Text by Bethany Rex

Helen Carmel Benigson (b.1985) is media-savy that is for sure; her work layers colour, print and sound to create immersive, dreamlike and hyper-sensual installations that explore the politics of sexual difference and female empowerment. Benigson looks at the nature of identity, performance and masquerade, and her latest exhibition at the James Hockey & Foyer Galleries at the University for the Creative Arts (UCA) at Farnham is her largest exhibition to date.

The Familiar and the Exotic | Last Chance to See | Diane Arbus | Jeu de Paume | Paris

Text by Matt Swain

Diane Arbus (1923-1971)revolutionised the art she practised. Her bold subject matter and photographic approach produced a body of work that is often shocking in its purity, in its steadfast celebration of things as they are. Her gift for rendering strong those things we consider most familiar, and for uncovering the familiar within the exotic, enlarges our understanding of ourselves. In this first major retrospective in France, a selection of 200 photographs allows the viewer the opportunity to explore the origins, scope and aspirations of a wholly originally force in photography.

Coggles Street Style Film: Part II

Natasha from coggles on Vimeo.

Over the past month, Aesthetica has featured Coggles’ new campaign, Street Styles Series which aim to promote the brand’s primary mission of including personality into their designs for people not models. This exclusive short from Coggles is a portrait of style, featuring Danish tattoo artist Natasha. Natasha styled herself for the film mixing vintage pieces with Paul & Joe Sister.

Turner and the Elements & Hamish Fulton: Walk | Turner Contemporary | Margate

Text by Emily Sack

The small seaside town of Margate boasts Turner Contemporary, a gallery that celebrates JMW Turner, who made Margate his home for a number of years, and local and international artists from further abroad. The building designed by David Chipperfield Architects is a rigidly geometric structure that mirrors the sails of the boats that frequent Turner’s paintings.

Aesthetica Issue 45

Aesthetica February/March Issue Out Today

This issue is centered on exploration and re-examination. We start with the blockbuster retrospective Cindy Sherman show opening at MoMA, which brings together over 180 photographs tracing the artist’s career from the 1970s to the present day. The idea of “innovation in the modern age” is surveyed in the V&A’s British Design 1948-2012 show, which opens this spring.

The Language of Political Dissent | Lis Rhodes: Dissonance and Disturbance | ICA | London

Text by Paul Hardman

“Touching stories picked from a wound. Positive angles wrenched from their sockets,” reads a pair of lines from Running Light, one of the texts that are collected in the publication Dissonance and Disturbance that accompanies Lis Rhodes exhibition of the same name. Rhodes makes video works, often in response to specific political situations, stories of oppression or injustice that could indeed be said to be picked from a wound. Her work is characterised by a political activism and a powerful aesthetic of grainy high contrast photography, the strength of her images matching the force of her convictions.