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.
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.
As part of the first major retrospective of his illustrious 40-year-career, Anselm Kiefer will create a number of new works specifically for the Royal Academy’s Main Galleries as well as an installation for the main courtyard, demonstrating that he is an artist who continues to seek out new challenges. The Royal Academy exhibition will present a chronological examination of a body of work which includes pieces on an epic, monumental scale, and which ranges across a breadth of media from painting and sculpture to photography to installation. One of the world’s most influential artists, Kiefer blends the themes of religion, poetry and philosophy with reflection on Europe’s history.
A group of six artists have collaborated to create a unique site-specific exhibition and performance piece on the island of Vardø at the extreme north-eastern part of Norway. Taking place in such a secluded location, only a few knew about the project and made a pilgrimage North from Oslo to experience the work on Vardø – also the site of Norway’s most sever witch trials that saw 91 individuals executed in trials spanning 92 years.
The Official War Poster Artist during the Second World War, who went on to become the foremost graphic designer of the postwar years, Abram Games was awarded numerous prestigious public commissions during his 60-year career, including creating the first animated BBC ident. He designed the emblem for the Festival of Britain and the 3d stamp for the 1948 Olympic Games. His wartime work, comprising more than 100 posters, included the popular but controversial “Join the ATS” recruiting poster (1941), whose female subject earned it the nickname “Blonde Bombshell”.
The Gemeentemuseum Den Haag presents ZomerExpo 2014 Light, the largest national sales exhibition held at the museum showcasing a selection of artworks from an open call registration. The annual event is a fantastic display of artworks spanning all genres, representing the breadth of work being produced today.
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.
Phyllida Barlow is one of those artists who came under the spot light after a long career, endless experimentations and efforts. During the last decade her body of work has rapidly emerged and been showcased across the UK, Europe and the USA. As a teacher at the Slade School of Fine Art from where she stopped working in 2009 to focus solely on her own projects, her students included, amongst others, Turner Prize-winners Rachel Whiteread (1993) and Douglas Gordon (1996) as well as Turner Prize nominees Tacita Dean (1998), Steven Pippin (1999) and Angela de la Cruz (2010).
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.
David Tweedy graduated from Newcastle University with a First Class Honours degree in Fine Art in 2013. He is a painter and has exhibited in the north east of England, as well as in London and Vienna. His works look at gatherings of people united in expressing a shared belief system and examine their organisation and movement within and through a particular environment. Tweedy was longlisted in the Aesthetica Art Prize and features in the accompanying publication of top 100 emerging artists from the international contemporary art world. We speak interview Tweedy about his practice to provide an insight into his working methodologies.
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”?