Invite - Nostalgic For The Future, Private View, 14 November 2013 6-8pm, Lisson Gallery

Lisson Gallery, London

Lisson Gallery is widely known as one of the most influential and longest-running international contemporary art galleries in the world. Its two exhibition spaces in London champion the careers of pioneering artists and continue to support the wide-ranging potential of emerging and new talents. We provide insights into the upcoming exhibitions Nostalgic For The Future and Florian Pumhösl.

Nostalgic For The Future
14 November- 11 January 2014
27-29 Bell Street

In advance of its 50th anniversary in 2017, the Lisson Gallery is staging a retro-futuristic survey of historical and contemporary British sculpture and installation that questions where the lines of time, influence and artistic inspiration could be drawn or where they might ultimately lead.

Originally staged in São Paulo earlier this year, as Nostalgia para o futuro, this newly-configured exhibition celebrates the multi-generational programme of the gallery, ranging from its representation of significant British sculptors from Anish Kapoor and Richard Wentworth to a younger generation that includes Angela de la Cruz, Ceal Floyer, Ryan Gander and Haroon Mirza. The show takes its name from a 2006 text work by Jonathan Monk, another of the Lisson Gallery’s 44 represented artists (16 of whom are included here), which spells out the words NOSTALGIC FOR THE FUTURE in projected green laser-light writing.

Florian Pumhösl
14 November 2013 – 11 January 2014

52-54 Bell Street

Florian Pumhösl’s five series of Clichés (2012), debuting in London, were created using a stamping implement of the same name, itself an onomatopoeic French word that describes the ‘cliché’ sound a metal press makes each time it is struck in the printing process. Each Cliché work is formed of three plaster panels that progress in size, with the gaps between the works also growing exponentially. Unlike traditional triptychs, these trios appear to be identical in their minimalist visual language, despite their leaps in scale, as if each design had been rescaled and reproduced in triplicate.

This seriality is also evident in the formal patterns that dance across the plaster panels, the whole installation recalling a musical score or a time-based sequence. Aside from references to early Modern art, Pumhösl’s stamp paintings display his interests in pre-Columbian textile patterns and three-dimensional architectural space. Whether the starting point is typography or textiles, Pumhösl creates a new vocabulary at one remove from recognition.

For more information visit www.lissongallery.com

Credits
1. Nostalgic For The Future, Lisson Gallery.

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