A coming-together of budding and established filmmakers, industry professionals, and unabatedly inspired audience, Animated Encounters 2012, Bristol, has once again provided a welcome platform from which to fully appreciate the electrifying potential of animation. The 2012 shortlisted films push the innovation bar even further than 2011, in subject, model-making, and choice of animation style to name but a few: films such as Seven Minutes in the Warsaw Ghetto and Head Over Heels showcase the leaps and bounds of progress achieved in rendering highly nuanced expressivity to models’ eyes and facial movements; while The Fat Cat exemplifies a refreshing break from traditional animator materials.
Yung Ho Chang, a pioneer of contemporary chinese architecture, presents his first retrospective at UCCA, Beijing. The exhibition, that includes over six installations, 40 models and 270 drawings, will open on Sunday 30 September. Celebrating the cross disciplinary work of the architect, Chang and his practice, Feichang Jianzhu (FCJZ), will transform UCCA’s Great Hall into six coutryard-like modules inspired by the “hutong”, the traditional Chinese neighbourhood network of narrow alleys between tile-roofed courtyard houses.
For the first time in 60 years, rare and unseen works by the internationally acclaimed artist William Klein will be presented by HackelBury Fine Art in London from 21 September. A legendary figure in both photography and film with a career spanning over half a century, it has long been recognised that William Klein began his artistic career as a painter, however his paintings have scarcely been seen or published since they were first exhibited in the early 1950s.
Photomonth Photofair will open on 6 October at Spitalfields Traders Market, giving guests the chance to peruse stalls run by photographers and galleries selling prints, books and magazines. Aesthetica caught up with Maggie Pinhorn, director of the event, to uncover the finer details.
Scott Campbell presents his new work They Say Miracles Are Past at OHWOW, London from October 4th through 13th. This exhibition reveals that Campbell’s appetite for patent imagery continues his repute, but it also signals a new direction.
Occupying the top floor of the Ikon gallery is a retrospective collection of the graphic designs pioneered by Tony Arefin. Despite Arefin’s name remaining largely unknown to the general public his work is widely considered a staple mark of 90’s fine art graphic design. Arefin is celebrated as a transgressor of the graphic design world, able to create works that bore an incredible air of visual communication between the viewer and the work. This ability quickly lead to his breakthrough which saw Arefin designing posters and catalogues for the likes of Institute of Contemporary Art, the Serpentine Gallery, The Chisenhale Gallery and the Ikon gallery. These elite lists of clientele lead to design critic Rick Poynor describing Arefin as “single-handedly processing the print needs of the entire British art scene.”
Eric Bainbridge opens his first solo exhibition in over ten years on 28 September at Camden Arts Centre. The sculptor brings together a series of new sculptural works made from steel amongst other materials. Using steel for the first time, Bainbridge aligns himself closer with the 50s and 60s modernist abstraction embodied by sculptors, David Smith and Anthony Caro. Combining both formal and surprising elements, these new works highlight the duality that has characterised Bainbridge’s career.
Landing on Earth, a new exhibition by Milan based American artist and maker, Kris Ruhs, inhabits The Wapping Project during the London Design Festival and Frieze Art Fair with three new works installed in the Boiler House. An idiosyncratic artist, Ruhs is a maker of sculpture, furniture, environments, ceramics, paintings, books and crafted glass, turning his hand to almost anything in his industrial spaces in Milan.
‘Seeping through the creases of the walls,
Gushing through the naked windows,
Let light shine down and through us,
Let it blur the definitions of time and space.’
These are the words which introduce the exhibition catalogue of Let There Be Light – the new show at Gazeli Art House, London. The exhibition brings together a group of works from international artists and design collectives which use the medium of light as their primary means towards creative expression.
The David Robert’s Art Foundation opens its new doors at Mornington Crescent with House of Leaves. Aesthetica takes a moment to review the opening exhibition.
The small entry space of the David Roberts Art Foundation contains the obligatory gallery desk, complete with smiling interns. Backs to the wall, the interns face out toward the linear expanse of white galleries that make up the foundation’s new property.
Following the popularity of Iranian director Asghar Farhadi’s A Separation (2011), the director’s previous film About Elly (2009) has just received its UK cinema release. About Elly won a Silver Bear at the Berlinale, but with A Separation Farhadi went one better, taking the festival’s highest honour, the Golden Bear. A Separation is perfectly judged, maintaining its tension and intrigue evenly throughout. There are moments in About Elly when the film loses momentum a bit, making it appropriate to rank the film behind A Separation. The comparison is relative, though, as both films are masterful and gripping: among contemporary international filmmakers, Farhadi is truly outstanding.
Let There Be Light, the new exhibition at Gazelli Art House focuses exclusively on artists who use light as a medium to create sculpture and installations, ranging from natural light that streams through stained glass windows to the use of neon tubing. The exhibitition runs from 14th Setptember till 28th October and features artists such as, Vittorio Corsini, Sergio Calderón, Stanley Casselman, Aaron Koblin, United Visual Artists and Henry Krokatsis.