Young British artist Caroline Jane Harris, finalist for the 2013 Aesthetica Art Prize, presents her first solo exhibition at Scream in London. Featuring a intricate, detailed and labour-intensive papercutting technique, Harris’ work is inspired by the natural world and the links between natural life forms and man-made systems.
What has, for the last 16 years, been an ambitious programme of photography exhibitions throughout Madrid has shifted course. Diverging from its tradition of engaging one international curator to organize different thematic programming as was the case for the last three years, this year PHotoEspaña’s “Official” programme presents exclusively Spanish photography, organised “in house” with participating venues. This creative strategy was, at least in part, a response to the challenge that all arts organisations are facing, and particularly in austerity-challenged Spain, with significant declines in private and public funding. The silver lining, is that for the first time Spanish photography, from the medium’s earliest days to the present, is finally receiving full attention.
His first exhibition in Argentina, Mendoza Walking showcases two new site-specific works from British artist Richard Long (b. 1945) at the Faena Arts Center. This art centre rose out of the old machine room of an iconic turn of the century mill situated in the historic port of the Puerto Madero district of Argentina. Installed in the central gallery space, Los Molinos, Long’s works utilise materials native to the region and explore the relationship between art and nature.
Tatiana Rais is the Director and founding member of Espacio Odeón: Centro Cultural, a non-profit cultural centre in the heart of Bogota. She is one of the 2014 winners of the British Council Young Creative Entrepreneur Award, which celebrates young entrepreneurs from around the world who are pioneering at the intersection of culture and technology. She speaks to Aesthetica about reimagining a ruined theatre and the cultural life of the city.
London-based artist, Tom Price (b. 1973), heads across the ocean for his first solo exhibition in the USA. Debuting new work at The Nelson-Atkins Museum of Art, his show explores the notions of presence and absence and the idea that these two states are dependent on one another whilst at the same time appear conflicting. Emphasising the notion of contrast, he utilises natural coal and synthetic resin in his work which features hollow bodies and voids of coal alongside large columns of internally-fractured resin.
Jerwood Makers Open is currently on display at Jerwood Space, London, until 31 August. The initiative recognises emerging artists and offers crucial support in the early stages of their careers. The shortlisted artists are commissioned to produce work for the gallery, allowing them to develop their profile in the industry. Following commissions of £7,500 earlier this year, ceramicists Hitomi Hosono and Matthew Raw, artists Revital Cohen and Tuur Van Balen, glass artist Shelley James and spatial storytellers FleaFollyArchitects, were given the opportunity to develop new ideas central to their individual practices. Revital Cohen and Tuur Van Balen speak to Aesthetica about their approach to their project and the use of language within art.
Recently, Londoners and visitors might have found themselves sitting on concrete benches, which resemble half open books. Benches not only look like a book, they are fully dressed up by different depictions that resemble and celebrate the literary heritage of London. For the Summer 2014 the National Literary Trust and Wild in Art are the promoters of the project Books about Town whose purpose isn’t just limited to the celebration of the rich literary background that London offers, as it aims to engage the public through the joy of reading, via art.
Follow the stairs to the first floor, and there, bathed in natural light, with crisp white walls and high ceilings, you’ll find the rooms of gallery/ten. The brainchild of curator Cat Gardiner, gallery/ten is an independent gallery with a focus on Welsh, contemporary fine art. Disillusioned with the lack of risk taken by most of Cardiff’s commercial galleries, and the safe, middle-of the-road work they tend to show, Gardiner slowly made her way from pop-up displays to the current location and has built an impressive catalogue of both emerging and established artist along the way. At the start of July audiences were met by the powerful explosions of colour, texture and physicality found within Elfyn Lewis’ paintings.
The summer exhibition at Rook & Raven showcases the work of two graduates, Vivien Zhang and Laurence Owen. Curated by Aretha Campbell, the show explores the artists’ fascination with form and the place of painting and sculpture within the prevailing art scene.
Barber Titleys is one of the leading law firms in Harrogate, North Yorkshire, offering a range of services to individuals, commercial enterprises and charitable organisations. The firm recently launched an Art and Heritage Law Department, which is multidisciplinary in nature, drawing on the varied skills and experience of the staff to offer a dedicated and holistic service to all those engaged in the visual arts and heritage sectors across the North of England including artists, galleries, collectors, museums and arts organisations. Department Head, David Walton, is responsible for the day-to-day running of the new department, he speaks to Aesthetica about his passion for art and his aims for the part of the business.
The Piano Brothers are not brothers by blood but by divine, energetic and rich music that is accessible to everyone. Bound together by the love of all-encompassing music, Dominic Anthony Ferris and Elwin Hendrijanto began performing together in 2009 whilst studying at the Royal College of Music. In the last five years they have worked hard to become one of the most sensational piano duos in London’s notoriously difficult to rise and shine music scene through their innovative outlook on how music, life and people should be brought together under one roof.
Jeannette Montgomery Barron, Scene: Photographs of the 1980′s New York Art Scene, Collezione Maramotti, Italy.
Jeannette Montgomery Barron explores the intense world of the New York art scene in the 1980s. Following her own journey to the city and her development as a photographer, Barron was part of a scene at an exciting cultural crossroads. For the first time young artists were becoming real stars and artistic success became linked to the concept of celebrity.
Australian Painter Ben Quilty was recently announced as the overall winner of the Prudential Eye Award. A competition that seeks to promote artistic talent that previously may have been overlooked, it reaches to incorporate a diverse region of Greater Asia that stretches east from Azerbaijan across Russia, China, Korea, the Philippines and as far south as New Zealand. The painter’s work is now on display at the Saatchi gallery, London providing a significant introduction to the London art scene for Quilty as his first UK exhibition.
Allan Storer paints large abstract canvases for architects, interior designers and private clients. His influences include 20th. century abstract artists and the squeegee paintings of Gerhard Richter. He is a Master of Arts, Chelsea College of Art and Design: Bachelor of Arts, University Wales and a post graduate of Kings College. Extra Curricular includes studies at the Slade School of Fine Art: St. Ives Painting School and the Princes Drawing School, He is a member of the Hesketh Hubbard Art Society and Federation of British Artists. Storer’s work embraces abstract and figurative styles, painted in thick impasto oil or water based mixed media with palette knives, brushes and squeegees on to large canvases. He is a London and Cornwall based artist and sells predominantly in the UK. and USA. with an expanding market in the Middle East.
From 1964 until 2002, a unique blend of teaching, student engagement and documentation that took place at Birmingham’s Centre for Contemporary Cultural Studies (CCCS). Founded at the University of Birmingham by sociologist Richard Hoggart in 1964, it was one of the first academic bodies to examine the impact of popular culture, particularly in Britain, from music and television programmes to fashion trends. In 2002 the CCCS was dramatically closed due to a restructuring at the university with hundreds of students being placed into new departments. Now, in 2014, the 50th anniversary of its establishment, a series of events and exhibitions, of which one is Vivid Project’s Looking Out From The CCCS, celebrate its legacy.
One of the UK’s most ambitious art exhibitions, the third edition of Folkestone Triennial commissions a number of internationally recognised artists to create a collection of new artworks that will be exhibited in Folkestone’s public spaces under the title, Lookout. Among the artists included in this year’s Triennial are Yoko Ono, Andy Goldsworthy, Pablo Bronstein, Tim Etchells and Sarah Staton.
Huis Marseille showcases the first ever retrospective of Guido Guidi (b.1941). Spanning a 40 year career, Guidi’s work in photography highlights his early interest in architecture and explores the environment around him in a unique way. After studying architecture in Venice, Guidi’s interests moved towards photography until he devoted himself fully to the medium in the mid-1960s.
This special presentation by Victoria Miro at Schloss Sihlberg in Switzerland considers the use of abstraction and repetition amongst the work of three artists: Conrad Shawcross, Yayoi Kusama and Idris Khan. Each of these artists works in series, exploring concepts through the repeated and rigorous demonstration of formal strategies.Yayoi Kusama’s ongoing series of Infinity Net paintings and her important large-scale accumulation sculpture Prisoner’s Door demonstrate gestural abstraction that provides a formal counterpoint to the geometric abstraction of Conrad Shawcross’ Perimeter Studies sequence and Plosion sculpture, which take theories of cosmic expansion and contraction as their starting point.
The notion of an entire wing of the Guggenheim Bilbao being dedicated to Film & Video phased me at first. Though increasing numbers of modern art installations seem to feature moving imagery, never had I encountered a space dedicated solely to the form. Don’t get me wrong: I consider myself a card-carrying cinephile. However, I am aware that, as the notion of ”art” becomes more porous, its boundaries, if it is to maintain its integrity, require policing, a point restated forcefully by Grayson Perry in his Reith Lectures. Surely this is a problem as much for cinematic as for fine art: where does film stop being cinema and start being “Film & Video”?
Laurent Grasso is an artist who divides his creative life between Paris and New York, so it is fitting that in September his work will take centre stage both at Paris’s Galerie Perrotin and at Sean Kelly in New York for solo shows. He will return to Paris in March 2015 for a third show at Galerie Valentin.
Artistic duo Dalziel + Scullion explore the natural world in their innovative and immersive practice. A joint commission from Dovecot Studios and an Lanntair, the pair to produce Tumadh: Immersion, which will transform the North and South Galleries at Infirmary Street into an experiential space with sound and tactile qualities. The exhibition is part of the Edinburgh Art Festival, running 31 July – 31 August. Dalziel + Scullion speak to Aesthetica about the ideas behind their art and the way they approach their audience.
With a title which references the infamous Black Dahlia murder in 1940s Hollywood, Last Seen Entering The Biltmore is a group exhibition which considers the idea of artifice and theatricality and particularly draws attention to the idea of the theatrical “backstage” as a threshold where transformation takes place. It also addresses the wider subject of the mediation of experience, whether by the theatre curtain or the computer screen.
A secret garden in the heart of a city becomes a space for rediscovering and celebrating the joy and freedom of childhood play, in a new commission which brings together the talents of award-winning artists Morag Myerscough and Luke Morgan. The artists say they want to create a place which enables people’s imaginations to run away, and the Orangery gardens, a tranquil green space surrounding a listed building, which is rarely open to the public, proves the ideal setting for them to explore both the idea of play and visitors’ fond memories of playing.
When a nine-year-old girl’s strong character began to shape a work in progress by artist and filmmaker Sharon Lockhart, it was the unlikely beginning of an ongoing creative collaboration – whose latest results can be seen in a new commission for the Liverpool Biennial.
Bob and Roberta Smith’s Art Party is due to open on 21 August. The feature film, produced with director Tim Newton and Stuart Cameron of Crescent Arts, and distributed by Cornerhouse Artist Film, will be accompanied by a UK-wide Art Party hosted by key venues who are screening the film and hosting their own parties afterwards. There will be major art events at venues including Cornerhouse, Manchester, ICA, London, Chapterhouse, Cardiff and Stephen Joseph Theatre, Scarborough – joined by cinemas, art galleries and art schools across the UK from Derry to Exeter, Newcastle to Margate, Liverpool to Leeds. Bob and Roberta Smith speaks to Aesthetica about the important role of art in education.
In conjunction with the opening of the Liverpool Biennial this weekend, Liverpool Contemporary Arts Fair launches at World Museum today. Running until 6 July, the event is Britain’s newest international art fair, showcasing work by emerging and established artists from over 50 leading national and international galleries. Part of the the cultural programme for the UK’s International Festival for Business, the inaugural edition of the fair opens with a VIP launch and preview opening night on 3 July.
Henri Matisse: The Cut-Outs currently on display on the second floor of the Tate Modern brings together an extensive array of Matisse’s cut-outs from a long list of private and public collections. The exhibition dedicates 14 rooms to Matisse who was, in his earlier years stretching from the end of the 1900s to the brink of mid-1910s, the most courageous painter out of all the Fauvists. Matisse’s earlier paintings and sculptures transmitted passion and a buzzing sense of innovation but his cut-outs were really what transformed him into the artist most art-lovers admire today.
For the London Design Festival 2014, Jeremy Maxwell Wintrebert has joined forces with Champagne Perrier-Jouët to create a unique glass piece called Human Nature to be installed at the Victoria & Albert. Born in Paris but raised on the west coast of Africa, Wintrebert draws on his experience of the world to produce delicate and beautiful glass works. Creating his works at a small factory in Waldsassen, Bavaria, the artist speaks to Aesthetica about his hopes to establish a permanent studio in France and his plans for the V&A.
The collective exhibition Memory Lane explicitly prompts memories as a result of reconstructed history through the means of art. Right at the entrance, it’s the series of photographs, Tito in War (1992-1995), by Milomir Kovačević, that commemorates Tito’s portrait in after-war public spaces. Covered with blood, protected by broken glass, hanging on a half-demolished wall, these 33 photographs of photographs enact the symbolism of the leader’s portrait presence and legitimises the space.
Lizzie Cawthray is challenging the outdated notions of knitwear with her fresh, stylish and playful company, Needle. Cawthray aims to produce luxurious pieces that make her customers feel fantastic. After working as the knitwear product developer at LK Bennet for a number of years, Cawthray decided to focus her attentions fully on the versatile material and Needle was born. She speaks to Aesthetica about her future plans and the designers who inspire her.
It has become a rite of passage for the contemporary poet: the attempt to rewrite classical – specifically, Hellenic – literature for the modern day. Yet though the projects seem comparable, their impulses are often wildly different. In recent years, they have ranged from the translational (Heaney’s The Burial at Thebes) to the wildly unpredictable (Hughes’s Oresteia) to the strongly interpretative (Logue’s War Music). All are united, however, in their subtlety, the way in which they adapt without abusing their poetic license. In this sense, Simon Armitage is a worthy new addition to the poet-cum-classicist Hall of Fame.
Born in Athens, Virginia Damtsa is a contemporary art dealer and the Co-Founder of Riflemaker gallery in London. Moving to Paris when she was selected by the Opera National de Paris schools to train for a career in dance, she studied in Paris, Belgium, New York and Cambridge, England before moving to London in 1990 to continue her studies in the arts whilst working on private sales including Monet and Picasso. In 2004, she co-founded Riflemaker with Tot Taylor. Damtsa speaks to Aesthetica about her thoughts on contemporary art and her inspirations.
In the 21 years since Meltdown’s inception, the festival has played host to a conveyor belt of counterculture greats, including David Bowie, Patti Smith, Jarvis Cocker and the late John Peel. This year James Lavelle took the helm, bringing his genre-bending brand of subversion to the director’s chair. With a body of work spanning two decades – and an illustrious address book to match – the trip-hop pioneer and all-round creative powerhouse is known for pairing unlikely bedfellows and taking big risks. This was evident at the Southbank’s Purcell Room, where Olga Bell and Tom Vek united to perform collaborations from joint venture Nothankyou alongside their own solo material.
Where is blue lower than red? Where is F higher than C? In a rainbow; in a musical score – everywhere else in sound and colour “up” and “down”, “higher” or “lower” are figures of speech, no matter how accustomed to them we are, and linking them through their use of the same metaphor is what Marina Rosenfeld did on 11 June at the South London Gallery in a version of ROYGBIV&B adapted from a previous performance at MoMA, this time using slightly more Anglicised references and local Peckham youth choirs instead of singers from Brooklyn high schools.
This weekend is full of fascinating exhibitions, utilising all sorts of media. Sebastian Errazuriz uses a 3D printer to create his sculptures, while Sonic Social in Sydney harnesses sound to create site-specific works and Stan Douglas’ Mise en scène blurs the line between photography, performance and film. Marina Abramović continues the 512 hours she’ll spend in the Serpentine this summer, using her body and her presence as media. In New York, Some Artists’ Artists brings together work in a variety of media, chosen by some of the most influential artists working today.
This year’s city-wide Edinburgh Art Festival brings together a diverse line-up of some of the best UK and international contemporary artists in a varied programme of exhibitions, one-off performances and special events at some of Edinburgh’s most unique and historic venues.
The Louise Alexander Gallery in Sardinia presents Arik Levy’s first solo show at the gallery. Uncontrolled Nature features a collection of new work in combination with older pieces and Levy showcases a wide range of sculptures that exist like a trail of landmarks alongside paintings and other artworks. Shown for the first time are RockTripleShift and RockTripleFusion Vertical, his ambitious new pieces displaying contrast between fusion and separation – a representation of both the horizontal and the vertical.
Neo-Impressionist artist, Michael Steinpichler, was born in Austria but now resides in Costa Rica. Drawing on influences such as Paul Cézanne, Claude Monet and Paul Gauguin, Steinpichler produces vibrant masterpieces, combining a number of subjects, colours and styles. The artist speaks to Aesthetica about the impact of travelling on his artistic production and his belief in a “renaissance of non- abstract art”.
Wolfe von Lenkiewicz (b. 1966) is a British artist who utilises well known imagery from art history to create new hybrids that have an immediate sense of the familiar. This process of re-sequencing creates ambiguous and multi-layered creations of displaced time, giving new life to both context and environment. The enchanting Riflemaker hosts this exhibition of paintings, drawings and film, the unique architectural space of the gallery adding considerable charm to the presentation, the concept of which is that the artist is making paintings by the great Masters which may have once existed but were unfinished or lost.
Part of the Southbank Centre’s Festival of Love, The Human Factor will bring together major works from 25 leading international artists across the last 25 years. The artists involved have all fashioned new ways of using the figure in contemporary sculpture and confront the question of human representation today. The exhibition focuses on sculpture that explores a variety of social, political, cultural and historical concerns and it incorporates diverse references from science fiction to war monuments.