Bristol-based artist Anouk Mercier has been championing the art of drawing within Bristol since graduated from UWE in 2008. Her latest exhibition Excursus open in two week’s time at Antlers Gallery. Read the interview below to find out more about the exhibition and the art scene in Bristol.
Entering through the sliding doors of the ICA, a perceptible chatter drifts around the corner from the gallery’s ground floor exhibition space. It sounds as if the private view of the show is still underway. However, approaching the stairs to look down into the gallery, the space is empty except for seven pairs of white, flat-panel speakers, held taught at head height by thin wires stretching floor to ceiling. This is the UK premiere of Bruce Nauman’s piece, Days (2009).
Is there any other design or architectural practice as charming as Heatherwick Studio? Can we imagine anyone else going to such extremes of inventiveness to realise their projects? The word “innovation” has been used to the point that it has become hackneyed, but rarely would its use be so justified as describing, for example, a project that required the invention of a machine with a spike covered roller used on sheets of foil, in order to exert a precise amount of crinkling, allowing it to become an insulation material for the exterior of a building. Or in another case by solving the problem of how to retract a bridge, not by swinging it or lifting it, but by rolling it up like a millipede. This bridge is made up of eight triangular segments so that when it is fully contracted it makes a perfect octagon, combining functionality, a reference to nature, and pure geometry all at once, none of which are perhaps as important as the aspect of wonder and strangeness that this helpful animated object conveys.
Simon Pope (b. 1966) explores the interactions of memory and dialogue in relation to landscape representation. His work Memory Marathon will be on show at John Hansard Gallery Central during July and celebrates personal memory and international spirit in the London 2012 Olympic Games host city. We spoke to the artist about the project and how filmmakers can work with brands.
Graham Gussin (b. 1960) is renowned for using diverse media, including text, photography, drawing, film and installation, to explore perceptions of time and space. The exhibition at the New Art Centre comprises new and recent works. We spoke to the artist to ahead of the exhibition opening to find out more.
Ever since we interviewed artist Polly Morgan earlier last month, we have been following her movements as she continues to elevate taxidermy to an art form by creating vignettes that emphasise the romantic beauty of nature. To coincide with the opening of her show Endless Plains at All Visual Arts, London, Crane.tv visited the artist in her studio in Hackney Wick to see Morgan putting the final touches to her pieces and install the exhibition. Inspired by her recent visit to the Serengeti, Morgan presents the viewer with the grave realities of the cycle of life, showcasing the relationships between the predator, the parasite and the prey.
Italian photographer Alessandro Imbriaco is the 19th winner of the European Publishers Award for Photography, and will see his project – The Garden – published in a book in five European countries. Imbriaco portrays a small swamp under a flyover on the ring road circling the eastern outskirts of Rome that has become home to many illegal migrants who have nowhere else to go. The Garden is a powerful and intriguing series that explores the peripheral and hidden spaces of the cities in which we live.
Creation Fine Arts is a brand new art gallery in Beverley, East Yorkshire, showcasing the work of talented artists from the local area and around the globe. Aesthetica spoke to Curator, Nigel Walker, about the project and his hopes for the space.
Collaborations between fashion houses and the contemporary art world are nothing new. Unlike some of the commercial tie-ins we witness today, countless Olympic athletes promoting products as distant as UPS for example, everyone is a winner when these spheres work creatively together. Not only do they allow the brands to engage with an audience they may find difficult to access through traditional marketing initiatives, they also give much needed exposure to emerging artists and designers and allow established ones to realise works in innovative and experimental ways.
North African based artist Yto Barrada’s (winner of the Deutsche Bank’s Artist of the Year 2011) RIFFS is a highly anticipated and significant exhibition for Ikon Gallery.
In our December/January 2011 issue “Locating Identity” we previewed photographer William Eckersley’s book Dark City. Eckersley’s vision of nocturnal London dissembles the conventional imagery of built environments where lost opportunities and chances not taken, abandoned housing estates and neon-lit corner shops reign. Eckersley, as his book reaffirms, is a photographer with a different perspective. Early next month, viewers will have the opportunity to witness Dark City in the gallery setting at VEGAS, London. There’s something about this series that we just love; the use of various light forms and eerily unpopulated locations that work together to create a vision of a city that is scarcely even recognisable as the London we identify with.
Tucked away in the far corner of Eastside Projects in a side-room is the exhibition It’s Moving from I to It. This exhibition is put on by the performance group FormContent, made up of Alejandro Cesarco, Goldin & Senneby, Douglas Gordon, Fitts & Holderness, Martin Gustavsson and Marine Hugonnier. The exhibition casts the viewer in the role of an investigator. Rather than forming a literal investigation, the exhibition has taken an existential stance on the topic. The gallery space forms an installation that mimics an evidence room allowing for the viewer to negotiate and disarm the pieces to a level they feel satisfactory. On a purely aesthetic level the works seemingly have no inherent connection and appear more as an intriguing eclectic mesh of different mediums. From the mesmerising abstract juxtaposition of Marine Hugonnier’s series of newspaper prints to the eerie silence and thought provoking monitor images of Fitts & Holderness this exhibition is nothing short of inspiring and memorable.