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.
The Quay Brothers: On Deciphering the Pharmacist’s Prescription for Lip-Reading Puppets at MoMA, New York.
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.