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).
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.
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”?
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.
There’s nothing much to see at Marina Abramović’s durational performance piece at the Serpentine Galleries. It consists of the artist in a smallish, empty room filled with one or two simple objects, and members of the public who are permitted to stay with her as long as they want. She will inhabit the space, reliving the same simple experiences, six days a week for over two months.
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.
The Aesthetica Art Prize is an opportunity to advance your profile on the international art scene and is open to all artists worldwide. We welcome entries from all age ranges and experience levels, from upcoming talents to established practitioners. One & Other highlight the opportunities presented by the 2015 Aesthetica Art Prize awards.
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.
Inside the Aesthetica Art Prize Anthology, works from exciting new and emerging artists from around the world are displayed with an accompanying biography and artist’s statement. There are 100 practitioners included and they span across all media from sculpture and installation to video and performance.