Just off Regent Street, where the heaving bodies and flickers of colour that illuminate the shop windows and populate the pavements collide, is the Bartha Contemporary Gallery. The current exhibition, Economy of Attention by Mike Meiré is a symphony of heightened dynamics and geometric minimalism produced through a variety of painted assemblages and sculptures. A native German, Meiré is perhaps best known as the creator of the critically acclaimed magazines Eins and Econy, praised for their ultra-modern aesthetics. His work focuses on, as he describes it “life’s evolutionary processes” which he has divided in to three distinct phases: Birth, Biography and Death. The work aesthetically tackles an intriguing and subtle but very concentrated juxtaposition between Meiré’s own highly refined artistic process and the utilization of mundane everyday materials.
Art’s Complex is a gallery and studio space for over 300 artists in Edinburgh. Opening today, the studio’s first Summer Show will showcase some of the most exciting works being produced in the space, which have been selected from a huge volume of artistic activity taking place within the distinctive red brick walls. This group exhibition has been curated by resident artists Sophia Lindsay Burns and Trina Bohan Tyrie, with support from Art Director Derek Gray. We spoke to Sophia ahead of the opening to find out more.
Katie Paterson’s practice involves close collaboration with specialists in different technologies from astronomers, electrical engineers to amateur radio enthusiasts. Her latest work, Campo del Cielo, Field of the Sky, is one of three major new art projects commissioned for Exhibition Road Show, a nine day festival taking place until the 5th August. Presented alongside live music acts, pop-up ballrooms, dance and circus extravaganzas, large-scale vintage board games and food stalls, Paterson’s work offers a unique blend of art and science and an expanded sense of reality. In Campo del Cielo, Field of the Sky Paterson has taken a meteorite that has been travelling through space and time for 4.5 billion years, cast it, melted it and then re-cast it back into a new version of itself. The iron meteorite was found in the Formosa province of Argentina, in the Campo del Cielo strewn field, and was buried 12 feet below the earth for 5600 years.
Shimmering eclectic waves, the magic of visual oceans high up a ceiling, endless skies of light flickering and changing in time, impressions created by the new LivingSculpure 3D Module System by Christopher Bauder from WHITEvoid. The award winning and Berlin based designer has teamed up with PHILIPS to design a revolutionary modular system of light installation by using OLED’s (Organic Light Emitting Diodes), a breakthrough in lighting that fascinate by their endless possibilities to create new forms of light as they are emitting light in form of super flat (1,8mm) panels when electricity is applied. The new technology has made possible what Christopher Bauder’s dream in design has always been: using technology and transferring bits and bytes into real spaces of offices, museums, bars, and airports and by re-interpreting this light technology in his art and design. Aesthetica spoke to Christopher about The LivingSculpture 3D Module System.
Archipelago Cinema, a floating auditorium designed by architect Ole Scheeren, will form part of the official selection of collateral events in the 13th International Architecture Exhibition. This evocative outdoor theatre is set to be located within the old harbour basin Darsena Grande of the Arsenale, Venice’s historic shipyard. This modular raft will act as a mobile stage for public events, including the premiere of the film Against All Rules.
This wonderful series from photographer Brigitte Lacombe Hey’Ya: Arab Women in Sport is currently on show at Sotheby’s London until the 11th August. Photographer Brigitte and her filmmaker sister Marian have spent months meeting more than 50 athletes from 20 different Arab countries, participants in everything from handball and cycling to shooting and weightlifting. The resulting pictures and videos aim to portray personal stories played out against a backdrop of different cultural codes and they are superbly powerful – simple but steeped in narrative, or narratives, as the show cautions us against making generalisations when it comes to this complex, nuanced issue.
Brigitte Lacombe and Marian Lacombe: Hey’Ya Arab Women in Sport, Presented by Qatar Museums Authority, 25 July – 11 August 2012, Sotheby’s Gallery, St George Street, Mayfair, London W1S 2FB. www.sothebys.com
Opening today, The World in London is a major exhibition for the London 2012 Olympic and Paralympic games. Initiated by The Photographers’ Gallery, the project set out to commission 204 photographic portraits of 204 Londoners, each originating from one of the nations competing at the London 2012 Olympics. The portraits are exhibited as large-scale posters at two sites close to Olympic venues: on the external wall surrounding the BT London Live site in Victoria Park in East London, and across a city-block in Central London covering the façade of the new Park House development in Oxford Street.
If you visit the Turbine Hall of Tate Modern, its grand concrete floor space will be speckled with visitors. As well as an art space, it has become a social space; somewhere to sit and lounge, to talk and take it all in. Many of the works produced for the Tate’s Turbine Hall commission, The Unilever Series, have considered and contributed to this setting, not least Olafur Eliasson’s famous The Weather Project, the sun that seemed to turn the hall into an indoor picnic space, or Carsten Höller’s Test Site, five stunning slides that made the hall a playground. Tino Sehgal’s new work, These Associations, takes this trend and runs with it.
The short walk from Oxford Circus to Paradise Row takes the visitor around the outskirts of Soho. Amidst the unrelenting flow of retail worshippers and diurnal revellers, a little knowledge of the area enables a sensual infusion of the manifold variety of human activity heightened by the sense that one is travsersing a hive of creavtivity. It is almost overwhelming. The collaborative projects of popular media seem to give way in their representation, at least at street level, to what,at first glance, seem to be the more modest concerns of personal expression on Newman Street. However, on entering Paradise Row the visitor finds that the thorough-going perusal warranted by the work displayed concentrates the temporarily relaxed engagement of the senses, and one leaves exhausted. Why? The works collected here have in common the aesthetic expression of the ineffable. This is explored through the tension between surface and depth. Six artists are represented here from the Netherlands, Poland, the USA, and the UK.
As a celebration of excellence in art from across the world, the Aesthetica Art Prize welcomes entries from artists working in all mediums. Artists may submit their work into any one of the four categories; Photographic & Digital Art, Three Dimensional Design & Sculpture, Painting & Drawing and Video, Installation & Performance.
The prize offers a great opportunity for artists to showcase their work and further their involvement in the international art world. With a prize package including £1000 cash, a group exhibition in York hosted by Aesthetica, editorial coverage in the magazine and publication in the Creative Works Annual, why not submit your work into the competition and see where it takes you?
Previous finalists include Bernat Millet, also shortlisted for the National Portrait Gallery’s Taylor Wessing Photographic Portrait Prize and Julia Vogl, who won the Catlin Art Prize, was shortlisted for New Sensations: Saatchi Gallery and Channel 4’s Prize and has exhibited at Zabludowicz Collection.
We are always overwhelmed with entries of exceptional quality, making reading the Creative Works Anthology an inspiring and visually stimulating experience. Over the past few months, we have put together a diverse selection of 2011 finalist’s work from the Photographic & Digital Art, Painting & Drawing and Video and Installation & Performance categories. With just over a month to go, here is our final selection of Three Dimensional Design & Sculpture. We look forward to receiving your entry!
The shortlist for the 2012 Film London Jarman Award, selected from a record number of artists entries nominated by experts across the UK contemporary arts sector, has been announced. With a prize package including £10,000 and a film commission from Channel 4, this year’s shortlist has been increased to 10 and includes Brad Butler & Karen Mirza,Marcus Coates, Shezad Dawood, Benedict Drew, Nathaniel Mellors, James Richards, Ben Rivers, Aura Satz, Matt Stokes and Thomson & Craighead.
A UK touring programme showcasing works by the shortlist will take place from 12 September to 3 November at venues across the UK, including FACT, Liverpool, CCA, Glasgow and CIRCA Projects Newscastle. The winner will be announced on Tuesday 6 November at the Whitechapel Gallery.
We’ve put together a list of the shortlisted artists below, click on their names to watch trailers of their work and let us know who you would choose?
York St Mary’s is celebrating its new summer commission by Brazilian artist Laura Belém. Originally commissioned for the 10th Liverpool Biennial and exhibited at the National Glass Centre in Sunderland, this evocative and poignant work has been reinterpreted and rehung for York St Mary’s. The Temple of a Thousand Bells, composed of a thousand cast glass bells all individually hand blown, hang from the nave above an array of surrounding speakers where a composed polyphonic sound piece creates a spatial and sensory experience for the viewer.
The Quay Brothers: On Deciphering the Pharmacist’s Prescription for Lip-Reading Puppets at MoMA, New York.
With such a title as On Deciphering the Pharmacist’s Prescription for Lip-Reading Puppets, the diverse nature of this exhibition will come as no surprise. Opening on the 7th August. this is the first major retrospective encompassing the full range of work by the Quay Brothers. The identical twin brothers have worked together in their London studio, Atelier Koninck, for over 30 years, creating avant-garde stop-motion puppet animation, live-action films and graphic design that challenge easy categorisation.
As the international community flocks to London for the Olympic Games, Shizaru is delighted to host THIS IS LONDON, an exhibition featuring a cross section of contemporary art from London. Centred on some of London’s eccentric heritage, the 45 artist span an impressive array of mediums and processes. Spread over two floors among five gallery spaces, the exhibition will offer a completely immersive experience, as the artists have been invited to cover every square inch of space within the gallery, with artworks hung Salon style.
Marco Sanges’ black and white photography is influenced by the sequential nature of cinema, in particular the luminous black and white films of the silent era. His photographs are created in sequence, with each photograph depicting a unique, multi-layered story to create a highly personal, imaginary cinema. His scenes are full of larger than life characters and lavish costumes, reminiscent of Surrealism and the Visual and Performing Arts of the 1920s and 30s.
Uncommon Ground is an exploration of environmental interventions in contemporary photography. Inspired by the work of Keith Arnatt and Gabriel Orozco, this exhibition aims to obscure the intersection between photographs of observed reality and artistically altered reality. Here, environment is taken in its broadest sense: natural ecosystems, urban and suburban space, domestic interiors, industrial landscapes and even political arenas.
Upon descending the grey, scarred slope of the Turbine Hall, Tate Modern, a new and unfamiliar opening in the wall reveals itself to the right. This is the entrance to a previously hidden set of underground chambers, the former power station’s giant oil tanks, which are being unveiled to the public this week as gallery spaces devoted entirely to performance, sound, moving image and installation.
Misrepresentation, Mistake and Non-Disclosure brings together the works of five Mexican artists of the same generation; Stefan Brüggemann, José Davila, Gonzalo Lebrija, Jorge Méndez Blake, and Tercerunquinto. Focusing on the ways in which the works of these artists interact with one another, and exploring the immediate similarities between their artistic practice, this show approaches these works together and reveals the parallels between their uses of visual language.
Boyd and Evans’ current retrospective VIEWS is the latest exhibition to take over Birmingham’s Ikon gallery. Boyd and Evans have been working together for over 40 years and have concluded from this a dynamic and intriguing exhibition. The exhibition draws together work from across all four decades of their careers and consists predominantly of paintings. These range from ghostly portrayals of the British hinterlands to the gargantuan wide-angle lensed surrealist American landscapes that have come to be a mainstay in recent times, as well as a small amount of photographic work, all bathed in an existential narrative ready to be accommodate the audiences’ participation.
Opening tomorrow night at Luis De Jesus, Los Angeles, The Crash of Ruin Fitfully Resounds is a group exhibition featuring work from Nena Amsler, Jennifer Boysen, Kaucyila Brooke, Tony de los Reyes, Mara De Luca, Ken Gonzales-Day, Christian Keinstar, Christopher Russell, and Analia Saban. Curated by Carole Ann Klonarides, the title of this exhibition is borrowed from Wordsworth’s poem Descriptive Sketches (1973), a work which was written during the aftermath of the French Revolution, the end of the Englightenment and the onset of Romanticism. The Crash of Ruin Fitfully Resounds poetically resonates the present-day loss of the idyllic with works that oscillate between projection and perception, coherence and chaos, discovery and loss, postmodernity and what the future holds.
One of the world’s most acclaimed potters, Julian Stair’s work is well know for its subtle palette of greys, reds and white, as well as its variety of scale; from domestic to monumental. In his forthcoming solo exhibition Stair addresses the containment of the human body in death. Quietus features a series of artist-made funerary works, from cinerary jars to life-size sarcophagi, drawing upon the symbolic language of ceramic vessels and offering an alternative means of engaging with the challenging subject. Aesthetica spoke to Julian about Quietus and his future projects.
Founded in Moscow in 1992, The Fourth Height (Dina Kim, Katya Kameneva and Gala Smirnskaya) are best known for their performative work that reflects mass culture through irony and fantasy and address post-war feminist issues. The collective’s latest exhibition The Crown, which opens this Friday at Erarta Galleries, London, sees the group working alongside renowned Swiss photographer Urs Bigler, to create a series of unique photographic images that question and examine 21st century geopolitics within the context of the Soviet past the Capitalist present.
The Great Journey into Space is the second solo exhibition by Belgian artist Evelyne Axell (1935 – 72) at Broadway 1602. Axell was already an acclaimed film actress and screenwriter before turning her attention to painting, for which René Magritte was her artistic mentor. Axell developed a feminist vision of Pop Art in the 1960s and early 1970s, focusing on psychedelic, erotic paintings of female nudes with an added focus on space travel. This Space Age iconography was typical of its time and Axell’s work fuses this emancipatory ethic with elements of sexual revolution, many of her works also referencing the female reproductive system.
Sculptor Keith Wilson is about to commence his two month residency at S1 Artspace, where he will be utilising the gallery as both a discussion space, working studio and display space. During his residency, Wilson will be working up the final form of Calendar (2011), a large scale galvanised steel sculpture, which will be installed in the central space of the gallery. This structure, constructed from multiple cubic units, represents the familiar monthly calender grid system used for wall planners or as computer applications.
As part of his residency, Wilson will be hosting a series of events, screenings and discussions based on the concerns of the original Unit One group founded in 1933 by artist Paul Nash. Unit One sought to champion British modernism, advocate avant garde practice and revitalise British art. Aesthetica spoke to the artist about Calendar and what we can expect from his residency at S1 Artspace.
David Bailey, photographer and East End Boy, has worked with The Rolling Stones, Andy Warhol and has helped make British Vogue the iconic fashion bible that it is today. Crane.tv catch up with him at his latest exhibition, East End, a documentation of the area since the 1960s, to talk political correctness and why he hates being photographed.
David Bailey’s East End, 06/07/2012 until 05/08/2012, Compressor House, Royal Docks, Newham.www.createlondon.org
Janet Cardiff, in her exhibition The Forty-Part Motet, understands intuitively a cardinal aesthetic principle – that less is more. With a show the only material features of which are loudspeakers, positioned in a circle as they convey a pivotal Elizabethan musical work, Cardiff notes the virtues of a spartan layout that emphasises the nuances of the score over what might otherwise seem invasive ephemera. Taking as the title of her presentation the technical make-up of Thomas Tallis’ exquisite Spem in Alium (Hope in any Other), Cardiff reworks a piece for eight choirs of five voices each. In doing so, she is careful to distinguish her accomplishment, as one who purely experiments with music, from one she well knows to lie compositionally with a celebrated late Tudor prodigy. He creates, she adapts, and Cardiff admirably resists the temptation to impose embellishments that would vainly seek joint attribution. Spem in Alium Nunquam Habui (1573) was supposedly written to mark Elizabeth I’s 40th birthday, and Cardiff’s strikingly original perspective is as meditative as it is engaging.
Luke Fowler: The Poor Stockinger, the Luddite Cropper and the deluded followers of Joanna Southcott at The Hepworth Wakefield.
Turner prize nominee, Glaswegian artist Luke Fowler’s latest work The Poor Stockinger, the Luddite Cropper and the deluded followers of Joanna Southcott focuses on the work of the Marxist historian Edward Palmer-Thompson, who from 1946 (at the age of 24), was employed by the Workers’ Education Association (WEA) to teach literature and social history to adults in the industrial towns of the West Riding. These classes provided education to people who had been historically unable to access a university education.
The world’s first online art fair is back with a new edition, VIP Photo. Back in January 2011, the launch of VIP Art Fair was overshadowed by some technical problems which made it impossible for people to actually buy any work. The decision to launch a new strand with VIP Photo is brave and commendable considering the quality of the work on sale. VIP Photo aims to represent a dynamic selection of photography reflecting the best in modern and contemporary art from the world’s leading galleries. Galleries as diverse as Brancolini Grimaldi, London and Peter Fetterman, Los Angeles will show works from internationally renowned photographers such as Man Ray and Massimo Vitali. The full programme includes the premiere of new video work by Mexican artist Emilio Valdés and a never-before-seen collection of 160 signed photographs by Henri Cartier Bresson, the largest private collection aside from the one at Fondation Cartier Bresson, Paris.
VIP Photo, 12 July – 12 August 2011, www.vipartfair.com
Following his recent Locked Room Scenario (2011), an exhibition in which the only room that could not be entered was the room of the (admittedly anecdotal) exhibition, Ryan Gander has continued to pursue a model that does not require the art itself to be present. His current show at Lisson Gallery, The Fallout of Living, takes as its theme the notion of art and artist becoming inextricable, the moment in which an artist no longer quite knows how to separate their work from their life.
Karl&Tynan are the writers and directors of Ouroboros, a unique film of Ravensbourne’s 2012 fashion graduates. The video features all 80 fashion graduates and showcases a variety of outfits without resorting to the usual catwalk format. Take a look at the film above, and click here for a full list of designers featured.
At Aesthetica, we celebrate the visual arts in all forms and that’s why the Aesthetica Art Prize welcomes entries from artists working in all mediums. Artists may submit their work into any one of the four categories; Photographic & Digital Art, Three Dimensional Design & Sculpture, Painting & Drawing, Video, Installation & Performance.
Earlier this month, we showcased a selection of images from last year’s Photographic & Digital Art and Installation & Performance categories. This selection was taken from the Aesthetica Creative Works Annual 2012, available to purchase here.
Still in need of inspiration? Here’s a selection of images from the Painting and Drawing category. Enjoy!
As a society we are less fixed on living in one place, artist Julia Vogl’s latest work HOME is a large scale public art work, audio and visual, that reflects Peckham’s residents’ ideas of why London is their home. Julia Vogl reflects on her hopes for the project and what “Home” means to her.
The Jerwood Drawing Prize 2012 is the largest and longest running annual open exhibition for drawing in the UK. Judged by an independent panel of selectors; Stephen Coppel, Curator of the Modern Collection, Department of Prints and Drawings at the British Museum; Kate Macfarlane, Co-Director of The Drawing Room, London; and Lisa Milroy, Artist and Head of Graduate Painting, Slade School of Fine Art, UCL, the Prize explores and celebrates the diversity, excellence and range of current drawing practice in the UK.
Frieze Film is a programme of artist films screened to coincide with Frieze London. Curated by Sarah McCrory, this year’s commissions include five new films that will be shown in a specially constructed cinema. The artists commissioned to make new work for Frieze Film are: Bertrand Dezoteux, Patricia Esquivias, Jimmy Merris, John Smith and Wu Tsang & Nana Oforiatta-Ayim.
The Stone Roses’ recent homecoming gig in Manchester has been hailed as a triumph. For those of you who still want more, Dennis Morris’ photo essay on the rise of the band’s career should suffice. This Is The One features over 250 never before seen images of the band, including live photos from Spike Island and Glasgow Green, behind the scenes photos and intimate studio shots.
Fashion designer Vivienne Westwood appears in a brand new film to talk about two paintings which capture her vision of London. In an intimate interview, Vivienne Westwood discusses the work of the artists Frank Auerbach and JM Whistler who drew inspiration from scenes of London and the River Thames. These artists have a personal significance to her and she speaks about how the museums and galleries of London have been a constant source of inspiration throughout her life.
The paintings are Frank Auerbach’s Oxford Street Building Site (1959/60) and JM Whistler’s Nocturne: Blue and Silver – Cremorne Lights (1872) which are part of the BP British Art Displays at Tate Britain.
If Edvard Munch is mentioned in conversation; The Scream will surely follow. More recently, he may be spoken of as the Norwegian painter whose 1895 pastel version of The Scream sold by Sotheby’s New York in May for a record-breaking $120 million; the most expensive work of art ever to sell at auction. However, after visiting the exhibition entitled Edvard Munch: The Modern Eye, recently opened at the Tate Modern, it’s not unrealistic that people will be more focussed on Munch’s self-portraits and short films rather than his iconic painting; bellowing a cacophony of dark emotion through the public psyche.
The Prix Pictet aims to use the power of photography to raise public awareness worldwide to the social and environmental challenges of the new millennium. This year’s theme is Power, a theme with enormous breadth, embracing contradiction and paradox in equal measure that has uncovered images and issues that are both awe-inspiring and disturbing.
The twelve artists shortlisted for the fourth cycle of the prize were announced this evening in the opening week of the global photography festival, Les Rencontres d’Arles (previewed in the current issue) and we couldn’t wait to share this selection of images with you. I think you will agree, the power and voice harnessed in these images is remarkable. The shortlisted artists will now go on to prepare their work for the finalists’ exhibition to be held at the Saatchi Gallery in London from 10 – 28 October 2012.
The Bloomsbury Art Fair opens this week (6-8 July) and offers visitors a great opportunity to buy and enjoy great works of art at an event that celebrates the talents of many established, as well as emerging, contemporary artists. Victoria Holton, one of the directors of the Fair, spoke to Aesthetica about the challenges of such a diverse programme.
History isn’t just out there, particles of memory floating around and whispering in the ears of the present. Since a story exists only in its telling, to convey truth requires mediation. The art projected in A Peculiar Form of Fiction lies in the area between truth and telling. In these films, artists interfere with and complicate perceptions of reality and fiction, and past and present, and are all the more revealing in doing so.
The ten-hour programme, screened across a two-day schedule, is curated by directors of S1 Artspace and Site Gallery and features six artists who draw on and experiment with conventions of documentary: Jeremy Deller, Gillian Wearing, Hito Steyerl, Duncan Campbell, John Smith and Phil Collins. At its opening, the exhibition complemented the bustle around Sheffield Doc/Fest with screenings in both galleries. It continues at S1 Artspace, in a rarely used expanse beneath the gallery – a utilitarian cinema-bunker suited to films that are, for the most part, stylistically unadorned and direct.