maj && modif graphique

2020-10-30 17:09:07 +01:00
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@@ -4,7 +4,7 @@ date: '08-08-2018 18:04'
 date_end: '24-08-2018 18:05'
 lieux: '93 Baker Street'
 artistes: ' Olivia Bax'
-title: 'at large, '
+title: '‘at large'', '
 media_order: 'Olivia Bax, Boulder (with handle), 2015.jpg,Detail of Olivia Bax, Hot Spot, 2018.jpg,Olivia Bax, Love Handles, 2017.jpg,Olivia Bax, Pump, 2016.jpg,Olivia Bax, Slot _ Groove, 2015.jpg,Olivia Bax, Rumble, 2018.jpg,Installation Olivia Bax.jpg,Detail ''Footloose'', 2017.jpg,Olivia Bax, Footloose, 2017.jpg'
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@@ -2,8 +2,8 @@
 date: '22-03-2019 16:06'
 date_end: '03-05-2019 12:38'
 lieux: '12th Floor'
-title: 'Cicatrices, '
 artistes: ' Muriel Abadie, Adriano Amaral, Jean-marie Appriou, Srijon Chowdhury, Isaac Lythgoe, John Miserendino, Maïa Régis, Cajsa von Zeipel'
+title: '‘Cicatrices'', '
 media_order: 'Installation Isaac Lythgoe and Muriel Abadie.jpg,Jean-Marie Appriou, Shrimp, 2018.jpg,Muriel Abadie, Masked Monkey, 2018.jpg,John Miserendino, Mamie and Marco, 2018.jpg,Adriano Amaral, Untitled, 2018.jpg,John Miserendino, L’origine du monde, 2018.jpg,Isaac Lythgoe, grip the wheel, look straight ahead, 2016.jpg,Details of Adriano Amaral, Untitled, 2018.jpg,Adriano Amaral, Untitled, 2018(2).jpg,Casja von Zeipel ''When?'', 2019.jpg,Adriano Amaral, untitled, 2018, Maïa Regis, Ramon Reyna, 2018.jpg,Details of Cajsa von Zeipel, When? and Why?, 2019.jpg,Cajsa von Zeipel, When? and Why?, 2019.jpg,Adriano Amaral, Untitled, 2018.jpg'
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@@ -4,7 +4,7 @@ date: '24-10-2019 17:21'
 date_end: '22-11-2019 17:21'
 lieux: '12th floor'
 artistes: ' Dillwyn Smith'
-title: 'Light Cages, '
+title: '‘Light Cages'', '
 media_order: 'Installation 1 ''Light Cages'', Dillwyn Smith.jpg,Dillwyn Smith, ''Turning Poison into Medicine V'', 2018.jpg,Dillwyn Smith, ''Full Transparency II'', 2019, and ''Light Cage'', 2018.jpg,Dillwyn Smith, ''Sensitised Ground'', 2018.jpg,Installation 2 ''Light Cages'', Dillwyn Smith.jpg,Installation 3 ''Light Cages'', Dillwyn Smith.jpg,Dillwyn Smith, ''Full Transparency'', 2018.jpg,Dillwyn Smith, ''Hermit Song'', 2018.jpg,Dillwyn Smith, ''Working Class Hero'', 2018, and ''Praise'', 2018.jpg,Dillwyn Smith, ''Working Class Hero'', 2018.jpg'
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@@ -5,7 +5,7 @@ date_end: '20-12-2019 00:00'
 display_time: false
 lieux: '12th floor'
 artistes: 'Mania Akbari, Douglas White '
-title: '‘Mr. Majidi and the Electricity Box'' '
+title: '‘Mr. Majidi and the Electricity Box'','
 media_order: 'Installation Mania Akbari and Douglas White I.jpg,Geometric Resistance, Mania Akbari and Douglas White, 2019.jpg,Detail Mr. Majidi series, Mania Akbari and Douglas White, 2019 I.jpg,Detail Mr. Majidi series, Mania Akbari and Douglas White, 2019 II.jpg,Mr. Majidi series and House of Sin I, Mania Akbari and Douglas White, 2019.jpg,House of Sin I, Mania Akbari and Douglas White, 2019.jpg,House of Sin II, Mania Akbari and Douglas White, 2019.jpg,Installation Mania Akbari and Douglas White II.jpg,House of Sin III, Mania Akbari and Douglas White, 2019.jpg,Installation Mania Akbari and Douglas White III.jpg,Mr. Majidi series, Mania Akbari and Douglas White, 2019.jpg,Lubion, Mania Akbari and Douglas White, 2019 I.jpg,Lubion, Mania Akbari and Douglas White, 2019 II.jpg,Lubion box, Mania Akbari and Douglas White, 2019.jpg,Detail Lubion box, Mania Akbari and Douglas White, 2019.jpg'
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@@ -3,7 +3,7 @@ date: '05-09-2019 16:27'
 date_end: '11-10-2019 16:27'
 lieux: '12th floor'
 artistes: ' Nour El Saleh'
-title: 'Exquisite Farces, '
+title: '‘Exquisite Farces'', '
 media_order: '(Not so) Musical Chairs, 2018_ Wrong Side of the Table, 2019_ The Puppeteer of Karakas, 2019.jpeg,Wrong Side of the Table, 2019.jpg,Detail of Wrong Side of the Table, 2019.jpg,A Grand Jester, 2019.jpeg,Dance Monkey, Dance!, 2019.jpg,Inhabited Props in a Box, 2018.jpeg,Detail of Inhabited Props in a Box, 2018.jpg,Four Times as Big, Twice as Small, 2018.jpg,Detail of Four Times as Big, Twice as Small, 2018.jpg'
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@@ -2,8 +2,8 @@
 date: '23-05-2019 16:33'
 date_end: '26-07-2019 16:33'
 lieux: Phillips
-title: 'Parfum d''épines,'
 artistes: ' PHILLIPS X VO CURATIONS'
+title: '‘Parfum d''épines'','
 media_order: 'Installation Daiga Grantina and Robert Brambora.jpg,Installation Jean-Marie Appriou and Claude Bellegarde.jpg,Daiga Grantina, Li Li, 2018 and Victor Man, Flowers with Skeleton and Bear Wrestling, 2012.jpg,Installation Jean-Marie Appriou, Muriel Abadie and Claude Bellegarde.jpg,Installation Oda Jaune, Pedro Wirz and Sonya Derviz.jpg,Robert Brambora, Untitled, 2019, Untitled, 2019, and 9 to 5 (2), 2018.jpg,Oda Jaune, Fleurs, 2015.jpg,Victor Man, Flowers with Skeleton and Bear Wrestling, 2012.jpg,Daiga Grantina, Yolk Bott, 2017.jpg'
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@@ -11,3 +11,19 @@ aura:
 ---

 Phillips Auction House and V.O Curations are pleased to present a novel reading of Charles Baudelaire's collection of poems _Les Fleurs du Mal_ through the spectrum of contemporary art, exploring the seminal concept of the double postulation that has protruded beyond the literary universe of the French poet. The exhibition features the works of 9 contemporary artists that play upon the duality of the Baudelairian ethos and its fascination for antithetical pairings, the atemporal resonance of what the poet refers to as the "two inseparable abysses of the human soul". Parfum d'épines was supported by Parcours 2019 and Outset Contemporary Art Fund.
+
+--
+
+Charles Baudelaire a bâti son univers poétique dans l'atmosphère parisienne des années 1850, une période pendant laquelle la misère coexistait avec la plus grande des sophistications, où la ville de Paris a connu de drastiques transformations urbaines. Flânant le long des avenues Haussmanniennes éclairées aux becs de gaz, le poète regrette le passé. Pourtant c'est cette modernité émergente, son dynamisme et sa vulgarité qui l'ont conduit à développer une nouvelle forme de poésie. Fervent catholique, auteur de scandaleux blasphèmes qui lui ont valu d'être condamné et censuré, Charles Baudelaire a fait de la dualité son axiome fondamental, étant lui-même divisé entre la quête du Beau et l'inévitable abysse du péché. Puisant dans la tendresse et la haine, le parfum et les épines, Les Fleurs du Mal - recueil publié en 1857 - sont telle une prouesse de la Beauté inextricablement liée au Mal. La cohésion de ces polarités permet de faire sens dans des directions opposées sans pour autant les disjoindre. En considérant la paire antithétique comme un tout, Baudelaire forge la notion de double postulation, cœur de son univers littéraire. L'exposition Parfum d’épines cherche à en révéler l'écho dans le domaine de l'art contemporain.
+
+  Les sculptures abstraites et composites de Daiga Grantina ressemblent à des organes palpitants, des pans de chairs dont le plasma et les fluides vitaux auraient été drainés. Elles s’apparentent à une version plus asséchée des viscères du "ventre putride" de la Charogne. Tulle, coton, mousse et silicone : les tissus ondulés se déversent dans l'espace et déploient un univers de signification riche suggérant à la fois le végétal, le médical et le délicat. Ces plis voluptueux sont semblables à des amphores elles-mêmes ressemblant à un intestin. On entend résonner les vers de Baudelaire dans lequel le souvenir d'un cadavre devient une source de création esthétique: " et le ciel regardait la carcasse superbe comme une fleur s'épanouir ". De la même façon, le bouquet d'entrailles d'Oda Jaune rapproche le floral de l'intestinal. Les organes sanglants qu'elle représente sont plus réalistes que ceux de Daiga Grantina en ce qu'ils possèdent encore leurs fluides vitaux qui permettent au cadavre de fleurir chez Baudelaire, à une photosynthèse corporelle d'advenir. Aussi, après l'extraction de ces fleurs de sang, le bouquet de viscères, est maintenu en vie extra-corporellement. Sous le prisme baudelairien se laisse entrevoir tout un imaginaire de l'amour dévorant et des "amours décomposés".
+
+  Dans le bouquet de Victor Man, réminiscence des fleurs maladives du poète, la vie semble se cacher sous un masque mortuaire: les fleurs de chardon apparaissent fanées alors qu'elles sont en pleine floraison. Au lieu d'être parées de leur naturelle teinte améthyste, elles portent le gris. La fleur de chardon, utilisée comme un aphrodisiaque à l'époque Élisabéthaine, couplée avec le squelette, évoque les memento mori, ces peintures illustrant la locution latine " souviens toi que tu vas mourir ". Elles réunissent les symboles de deux pulsions majeures, à savoir l'Eros et le Thanatos, que Baudelaire convoque quand, dans Femmes Damnées (Delphine et Hippolyte), il trouve sur un sein "la fraîcheur des tombeaux !". 
+  Les profils aplatis de Robert Brambora ne privilégient pas le rendu sculptural du modèle mais plutôt leur être émotionnel. Ainsi, ce qui est normalement intime se trouve dévoilé, l'extérieur et l'intérieur se confondent en des paysages de soleils et de nuages. Si l'on établit une référence avec les Correspondances de Baudelaire, l'œuvre de Brambora nous fait voir le monde naturel comme "un temple où de vivants piliers laissent parfois sortir de confuses paroles". Dans ce monde, véritable " forêts de symboles ", l'humain est étroitement lié à la flore et à la faune. 
+
+  La fascination de Pedro Wirz pour la métamorphose des amphibiens - de leur apparence à leur habitat, passant de l'œuf à la grenouille, de l'eau à la terre – imprègne sa production artistique. Marqué par les mythes et les rituels brésiliens auxquels il a été exposé dans l'enfance, l'artiste traite l'animal avec une dimension spirituelle et l'élève, peut-être, au rang d'alter ego. En plus de cette notion de dédoublement, on trouve également dans ses œuvres, le rapport d'inversion et le devenir autre explicité par la grenouille moulée en cire d'abeille.
+
+  En employant l'aluminium, Jean-Marie Appriou transforme un matériau industriel en matière organique, créant son propre microenvironnement ; cyprès, chauve-souris et serpent peuplent ce monde métallique. Un certain mysticisme se trouve entremêlé à une ténébreuse perception. Le cyprès symbolise à la fois la mort et l'aspiration ascétique et le serpent expulsé du Paradis nous rappelle l'indolente tentatrice du Serpent qui Danse. Après avoir été confiné aux enfers, une chauve-souris baudelairienne s'élance et surgit dans la lumière cherchant éperdument l'Espoir et sera finalement incapable de quitter sa grotte. Si la chauve-souris de Jean-Marie Appriou se bat pour s'élever, l'oiseau de Muriel Abadie choit vertigineusement comme l'Albatros de Baudelaire. À travers l'énergie conférée par la forme esquissée, Muriel Abadie a transposé le dynamisme de l'oiseau, sa liberté et sa mobilité à l'âme du poète qui mène à la fois une existence terrestre et céleste. Chutant vers le sol, peut-être même déjà retenu par lui, le vol est interrompu et la maison vide ressemble à une cage. Entre l'ascension et la chute, cygne ou albatros, le poète n'est jamais aussi éloigné des Hommes que quand il est parmi eux. La figure fantomatique de Sonya Derviz quant à elle, reflète la dualité de la condition humaine: multitude de facettes en une seule entité. 
+
+  Les achromes de Claude Bellegarde encerclent cet inhérent jeu de doubles à travers l'emploi du blanc, une non-couleur ayant le potentiel d'être néant et origine, une blancheur féconde, un point zéro de l'espace qui n'est plus soumis au despotisme de la perspective. Dans le travail de l'artiste, les plis, les larmes et les rides affirment leur corporéité et donnent l'impression d'une matière travaillée vivante tel un papier froissé que Baudelaire assimile à une compression du cœur. 
+
@@ -3,7 +3,7 @@ date: '05-08-2018 16:37'
 date_end: '18-08-2018 16:37'
 lieux: '93 Baker Street '
 artistes: ' Sonya Derviz'
-title: 'Pas de Corps, '
+title: '‘Pas de Corps'', '
 media_order: 'Sonya Derviz, Dancers II, 2018.jpg'
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 aura:
@@ -3,7 +3,7 @@ date: '03-10-2018 17:49'
 date_end: '19-10-2018 17:49'
 lieux: '93 Baker Street '
 artistes: ' Sara Berman'
-title: 'Matter out of Place,'
+title: '‘Matter out of Place'','
 media_order: 'Sara Berman, Lint Sweater #40, 2018.jpg,Sara Berman, Lint Sweater #37, 2018.jpg,Installation 1 Sara Berman.jpg,Installation 2 Sara Berman.jpg,Sara Berman, Lint Sweater #38, 2018.jpg'
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@@ -2,8 +2,8 @@
 date: '03-07-2018 16:39'
 date_end: '13-07-2018 16:40'
 lieux: '93 Baker Street '
-title: 'URBAN WAVES, '
 artistes: ' Andrei Costache, Richie Culver and Morgan Ward'
+title: '‘URBAN WAVES'', '
 media_order: 'Andrei Costache, Tarantula, 2018.jpg'
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@@ -1,13 +1,28 @@
 ---
-topH: true
+topH: false
 date: '13-02-2020 10:31'
 date_end: '28-03-2020 10:31'
 lieux: '12th floor'
 artistes: 'Sola Olulode'
-title: '‘Where The Ocean Meets The Beach'' '
+title: '‘Where The Ocean Meets The Beach'','
+media_order: 'Installation. Sola Olulode. In the Middle. The Feels and A Perfect Summer''s Day.jpeg,Sola Olulode. The Feels and A Perfect Summer''s Day. 2019.jpeg,Sola Olulode. The Feels. 2019.jpeg,Sola Olulode. A Perfect Summer''s Day. 2019.jpeg,Sola Olulode. Gals Pals. 2019.jpg,Sola Olulode. Close To You. 2019.jpeg,Installation. Sola Olulode. I Could Just Lay All Day With You and Laying in the Grass.jpeg,Sola Olulode. I Could Just Lay All Day With You. 2019.jpg,Sola Olulode. Laying in The Grass. 2019.jpg,Installation. Sola Olulode. Laying in the Grass. Entwined and Eternal Light.jpeg,Installation. Sola Olulode. Safety and Entwined.jpeg,Sola Olulode. Safety. 2019.jpeg,Sola Olulode. Entwined. 2020.jpeg,Sola Olulode. Eternal Light. 2020.jpeg,Sola Olulode. Waves. 2020.jpeg'
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-Sola Olulode's end of residency solo show ‘_Where the Ocean Meets the Beach_' will take place at our 12th floor gallery from 13th February until 28th March. Olulode has been working on a new series of paintings in which narratives of queer and Black identity culminate in the representation of romantic relationships an their complexities. Taken from artist Travis Alabanza's poem _The Sea_, the exhibition title refers to Alabanza’s feeling on gender fluidity as a boundless place similar to 'where the ocean meets the beach'. Analogously to Alabanza’s sentiment, Olulode renders the fluidity of emotions that chronicle the falling in love. 
+_Where the Ocean Meets the Beach_ is Sola Olulode’s end of residency show at V.O Curations, a three-month period dedicated to Olulode’s research into representations of QTIBPOC (Queer Trans Intersex Black People & People of Colour) and romance. The artist presents a new series of paintings where narratives of Black queer womxn culminate in the representation of romantic relationships and their complexities, directly drawing upon Olulode’s experiences. Focusing on love, Olulode delves into the intimacy, complicity of dating and the impassioned ‘honeymoon’ phase.
+
+Taken from artist Travis Alabanza's poem _The Sea_, the exhibition title refers to Alabanza’s feeling on gender fluidity as a boundless place similar to ‘where the ocean meets the beach’. Analogously to the poet’s sentiment, Olulode renders the fluidity of emotions that chronicles the process of falling in love. The constant malleable shift and undefinable identity, a central theme of Alabanza’s poem, enhances and sets the stage for Olulode’s characters to tell the untold, but timeless, stories that remain crystallised in calming moments of reflection and joy.
+
+By creating a space that encapsulates the lovers, Olulode transports them into a placid and tranquil bubble that transcends reality. Exploring love as a protective barrier, a refuge from the misrepresentation and the confinement within a heteronormative ideal, that both denies and depreciates queer relationships. Reflecting the intimate and complex relationships of Black queer womxn, be they romantic or deeply platonic, Olulode questions the dynamics of the same existence of these relationships. The lovers’ genders are undefined and devoid of eroticity, straying away from a grazing patriarchal gaze of male desire and traditional heterosexual relational aesthetics. The figures are intrinsically naive and exude an aura of innocence, parting from references to eroticisim and crude sexuality, which queer relationships often become victim to. The perspective offered is delicate, creeping softly into a space, where only the deeply profound bond remains.
+
+_Safety_ (2019) represents Olulode’s depiction of a safe and intimate space for the lovers resting under the duvet covers; inundated by a veil of indigo, the painting recalls Olulode’s experimentation with the Adire technique, a dyed textile made by the Yoruba people in Nigeria. Dyeing textiles and the use of melted wax directly references the artist’s Nigerian roots, echoing and informing her oeuvre through the lens of her background and history.
+
+From the deeper tones that evoke the atmosphere and intimacy of nighttime, to the warmer hues that veil daily interactions between the lovers, indigo and turmeric envelop the characters and almost blend with them, becoming both part and background for them to exist. _A Perfect Summer’s Day_ (2019) amalgamates the lovers in a honey- glazed lens, where they lay imperturbable, suspended in a dimension without time nor space.
+
+Olulode emphasises the undefinability of the characters and their gender, hair and clothing remaining the only signifier of personal identity. Curly afros, twists, locs with thick deep black lines and cornrows: the appearance of detailed hairstyles allows for more agency and reality to each figure. The intricate details are delicately interwoven and applied, either sewn or drawn upon, generating unique patterns that become an identifiable detail within her works. The lovers in _Good Vibrations _(2020) are distinct from other figures as their clothing becomes a prominent part of their depiction, with polka dots and pinstripes gently laying down on their bodies and raising them from the background where they emerge from.
+
+_British-Nigerian artist Sola Olulode (b. 1996, London) graduated from the University of Brighton in 2018. After successfully completing a residency at Lewisham Art House, she was recently shortlisted for the Evening Standard Art Prize, and featured in V&A’s 2020 exhibition ‘In the Palm of Your Hands’ . Olulode has been developing a narrative investigating queerness and black identity through the lens of social interactions. _
+
+Accessibility entrance from 39 York Road. For further assistance please call +447789813313.
@@ -1,14 +1,22 @@
 ---
-topH: true
+topH: false
 date: '09-01-2020 17:50'
 date_end: '01-02-2020 17:50'
 lieux: '12th floor'
 artistes: 'Frances Gibson, Alexandre Canonico, André Figueiredo da Silva, Josephine Baker'
-title: '''Wreck Or Ruin'''
-media_order: 'Josephine Baker and Alexandré Canonico.jpeg,Alexandre Canonico Through 2020.jpeg,Alexandre Canonico Through (detail) 2020.jpeg,Josephine Baker Abrasion Coast 2020.jpeg,Josephine Baker Abrasion Coast (detail) 2020.jpeg,Josephine Baker Waterfall 2020.jpeg,Josephine Baker Waterfall (detail) 2020.jpeg,Installation Frances Gibson Alexandre Canonico André Figueiredo da Silva.jpeg,Frances Gibson A Pound of Flower 2020.jpeg,Frances Gibson 40 Elephants 2020.jpeg,Alexandre Canonico Dig #7 2019.jpeg,André Figueiredo da Silva Pinning Down 2020.jpeg,André Figueiredo da Silva Pinning Down (detail) 2020.jpeg'
+title: '‘Wreck Or Ruin’,'
+media_order: 'Installation. Alexandre Canonico and Jospehine Baker.jpeg,Josephine Baker. Abrasion Coast. 2020.jpeg,Josephine Baker. Abrasion Coast (detail). 2020.jpeg,Installation. Alexandre Canonico and Josephine Baker.jpeg,Josephine Baker. Waterfall. 2020.jpeg,Josephine Baker. Waterfall (detail). 2020.jpeg,Alexandre Canonico. Through. 2020.jpeg,Alexandre Canonico. Through (detail). 2020.jpeg,Installation. Frances Gibson. Alexandre Canonico. André Figueiredo da Silva.jpeg,Frances Gibson. A Pound of Flower. 2020.jpeg,Frances Gibson. 40 Elephants. 2020.jpeg,Frances Gibson. 40 Elephants (detail). 2020.jpeg,Alexandre Canonico. Dig #7. 2019.jpeg,André Figueiredo da Silva. Pinning Down. 2020.jpeg'
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-We are thrilled to host ‘Wreck or Ruin’, a collaborative project of sculptural works that has organically developed between André Figueiredo da Silva, Alexandre Canonico, Josephine Baker and Frances Gibson at 12th floor, reflecting upon the impending demolition of Tower Building.
+‘Wreck or Ruin’ is a collaborative project that has organically developed between André Figueiredo da Silva,  Alexandre Canonico,  Josephine  Baker  and  Frances  Gibson  at  12th  floor,  reflecting  upon  the impending demolition of Tower Building.  
+
+As  a  studio  resident  in  the  Tower  Building,  Figueiredo  da  Silva  incorporates  architectural  elements from the site: corners, walls, columns. Pink sculptural foamed columns act as traces of a building that will  cease  to  exist.  As  the  foam  cannot  sustain  anything  in  its  usual  form,  Figueiredo  da  Silva’s structure  relies  on  carefully  depressurised  footballs  that  require  a  specific  maintenance,  similar  to that of the building. By misusing the materials and turning them into something they are not meant to be, the artist makes an allusion to the building's present state of instability. 
+
+Using materials as a starting point, Canonico has taken a playful approach to create sculptures from commonly found objects. Metal rods and hoses sit together, sustained by the interplay between their different material qualities to bridge the space between floor and ceiling.  While Canonico’s works are not site-specific, they rely on the ‘negative space’ surrounding them. The sculptures embrace the air they encapsulate.  
+
+Artist  Josephine  Baker  has  created  relief  works  that  mimic  the  historical  production  of  nature  and landscape  as  images  or  ‘grand  designs’  of  humancentric  relations.  Their  diagrammatic  and  almost pixelated  motifs,  made  out  of  building  and  industrial  materials,  appear  to  illustrate  elemental processes such as water cycles and the movements of the earth. Her works further comment on the lack of distinction between human-made and natural disasters in today's world.
+
+Finally, Gibson’s work takes the form of a memorial of forty small clay elephants and a sculpture of a pound  symbol  made  of  carnations.  The  small  sculptures  reference  the  infamous  all-women  crime syndicate   ‘The   Forty   Elephants’   (based   in   Elephant   and   Castle),   who   conducted   the   largest shoplifting  operation  in  Britain  during  their  activity  from  the  1870s  to  1950s.  Gibson’s  work  for  the project is informed by a tenuous chain of events and research based on the history of the building.
@@ -83,6 +83,6 @@ form:
            reset: true
 ---

-We accept applications of artists from all practices. Our studios can be used individually or shared with others; applications are for one person at a time, so even if you are applying as a group, please fill out individual applications and specify in _notes_ who you wish to share with. Our studio prices start from £100pm and are offered inline with _Greater London Authority's affordability guide (2014, 2019)_. All prices are inclusive of utilities (inc. wifi). Facilities are accessible 24/7 with communal areas and shared kitchens available.
+We accept applications of artists from all practices. Our studios can be used individually or shared with others; applications are for one person at a time, even if you apply as a group, please fill out individual applications and specify in _notes_ who you wish to share with. Our studio prices start from £100pm and are offered inline with _Greater London Authority's affordability guide (2014, 2019)_. All prices are inclusive of utilities. Facilities are accessible 24/7 with communal areas and shared kitchens available. 

-Please allow us a week to get back to you, you will receive a response via email. Feel free to contact [studio@vocurations.com](mailto:studio@vocurations.com) for any further questions, or to organise a site visit!
+Feel free to contact [studio@vocurations.com](mailto:studio@vocurations.com) for any further questions, or to organise a site visit.
@@ -1,11 +1,12 @@
 ---
 title: About
-media_order: 'VO Curations - 12th Floor.jpg'
+media_order: 'Anousha Payne.jpg,SJM_VO_SonnyShanti-9451.jpg,SJM_Vo-9154.jpg,Portrait Azadeh and Salman.jpg,_MG_2961 (2).jpg'
 visible: false
 aura:
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-V.O Studios offers affordable workspaces to artists based in London. The group reflects the diversity of artists and practices in the city, and form an integral part of V.O’s community-at-large. All studios are located in Zone 1 Central London, with the view to ease access and visibility for each artist. ‘Open Days’ are scheduled throughout the year to offer artists ongoing opportunities to explore new dialogues with interested members of the local community, as well as the wider public. V.O ensures their artist community their ongoing support through advising on professional development, mentoring, presentation, and access to workshop and exhibition opportunities. V.O Studios are currently located in Waterloo, SE1 and 242 Marylebone Road, NW1, with more upcoming spaces from spring 2020! 
+V.O Studios offers affordable workspaces to artists based in London. The group reflects the diversity of artists and practices in the city, and form an integral part of V.O’s community-at-large. All studios are located in Zone 1 Central London, with the view to ease access and visibility for each artist. ‘Open Days’ are scheduled throughout the year to offer artists ongoing opportunities to explore new dialogues with interested members of the local community, as well as the wider public. V.O ensures their artist community their ongoing support through advising on professional development, mentoring, presentation, and access to workshop and exhibition opportunities. V.O Studios are currently located in 242 Marylebone Road, NW1, with more upcoming spaces from Autumn 2020.
 _V.O Studios is a not-for-profit initiative launched October 2019._

+
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@@ -3,11 +3,11 @@ residence: true
 date: '12-12-2019 13:22'
 date_end: '27-02-2020 13:22'
 title: 'Emma Prempeh '
-media_order: 20190611_090033694_iOS.jpg
+media_order: 'Example Vo.jpg'
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-Recent graduate from Goldsmiths University, Emma Prempeh is currently an artist-in-residence at V.O Curations, completing a new series of work which will be exhibited with V.O Curations in Spring 2020.
+Artist Emma Prempeh (b.1996, London) is a fine art graduate from Goldsmiths University and is currently attending an MA in Painting at the Royal College of Art. Family and generational continuity is often the subject of Prempeh’s paintings, as relational ties are explored and questioned, through the depiction of her mother and grandmother and their experiences. The search of spirituality enables Prempeh to analyse existential questions that are projected upon her reality; the fear of death, memory, ancestral ties. After completing a 2-month residency at V.O Curations, Prempeh has debuted with solo show ‘The Faces of Love’ (13.10-14.11.2020) held at V.O Studios, 242 Marylebone Road.
@@ -1,12 +1,11 @@
 ---
-date: '14-11-2019 14:54'
-date_end: '14-02-2020 14:54'
-title: 'Sola Olulode '
-media_order: 'Sola Olulode at V.O Curations.JPG'
+date: '14-11-2019 10:34'
+date_end: '14-02-2020 10:34'
+title: 'Sola Olulode'
+media_order: 'Sola Olulode at VO Curations.jpg'
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-date_start: '14-11-2019 10:46'
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-British-Nigerian artist Sola Olulode is currently completing a three-month residency at V.O Curations working on a new series of paintings where narratives of queer and Black identity culminate in the representation of romantic relationships and their complexities. The artist's end of residency solo show 'Where the ocean meets the beach' will take place at V.O's 12th floor gallery from 13 February to 28 March.
+British-Nigerian artist Sola Olulode (b. 1996, London) is a fine art graduate from the University of Brighton. Olulode explores the relations of QTIBPOC (Queer Trans Intersex Black People & People of Colour) and black identity through the lens of social interactions, working with wax and textile dyes taken from Yoruba tradition. Sola Olulode has been in a 3-month residency at V.O Curations, culminating in the solo show ‘Where the Ocean Meets the Beach’ (13.02-28.03-2020) at V.O Curations, 12th Floor. 
@@ -1,11 +0,0 @@
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-date_start: '05-06-2019 11:05'
-date_end: '05-09-2019 19:43'
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-
@@ -1,9 +1,9 @@
 ---
 title: '‘Phillips x VO Curations Presents Perfume Of Thorns’'
-date_event: '23-05-2019 19:30'
 date: '23-05-2019 19:30'
 aura:
    pagetype: website
+date_event: '23-05-2019 19:30'
 ---

 [‘Phillips x VO Curations Presents Perfume Of Thorns’, Outset Contemporary](https://outset.org.uk/supported-projects/phillips-x-vo-curations-presents-perfume-of-thorns/)
@@ -1,10 +0,0 @@
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-date_event: '16-08-2018 17:31'
-date: '16-08-2018 17:31'
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-
-['Sam Cornish on Olivia Bax', Instantloveland](https://instantloveland.com/wp/2018/08/16/sam-cornish-on-olivia-bax/)
@@ -1,9 +0,0 @@
---
-title: 'Paintings by Sola Olulode explore the ''honeymoon'' phase of romance'
-date_event: '16-01-2020 15:38'
-date: '16-01-2020 15:38'
-aura:
-    pagetype: website
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-
-['Paintings by Sola Olulode explore the ''honeymoon'' phase of romance', Creative Boom](https://www.creativeboom.com/inspiration/paintings-by-sola-olulode-explore-the-honeymoon-phase-of-romance/)
@@ -1,11 +0,0 @@
---
-title: 'Adriano Amaral, Et Al., ''Euphoria'', Tick Tack, Antwerpen, Belgium'
-media_order: 'Adriano Amaral, Untitled, 2018.jpg'
-date: '09-11-2019 14:49'
-date_end: '21-12-2019 14:50'
-url_news: 'https://www.ticktack.be/exhibitions/euphoria-curated-by-domenico-de-chirico'
-published: true
-aura:
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-
@@ -1,11 +0,0 @@
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-title: 'Daiga Grantina, ''What Eats Around Itself'', New Museum, New York, USA'
-media_order: 'Daiga Grantina, ''What Eats Around Itself'', New Museum.png'
-date: '21-01-2020 14:41'
-date_end: '05-09-2020 14:41'
-url_news: 'https://www.newmuseum.org/exhibitions/view/daiga-grantina-what-eats-around-itself'
-published: true
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-
@@ -1,6 +1,6 @@
 ---
 title: 'Isaac Lythgoe, ''Railway Spine'', Super Dakota, Brussels, Belgium'
-media_order: 'Isaac Lythgoe ''Railway Spine''.jpg'
+media_order: 'Screenshot 2020-01-23 at 16.50.04.png'
 date: '09-01-2020 14:20'
 date_end: '25-02-2020 14:21'
 url_news: 'http://www.superdakota.com/exhibitions/isaac-lythgoe-railway-spine'
@@ -1,11 +0,0 @@
---
-title: 'Jean-Marie Appriou, Biennale de Lyon, Lyon, France'
-date: '18-09-2019 19:52'
-date_end: '05-01-2020 19:52'
-url_news: 'https://www.biennaledelyon.com/en/artistes/jean-marie-appriou-2/'
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@@ -2,7 +2,7 @@
 title: 'Jean-Marie Appriou, ''The Horses'', Central Park, New York, USA'
 media_order: 'Jean-Marie Appriou _The Horses_, Central Park, New York, USA .jpg'
 date: '11-09-2019 19:55'
-date_end: '15-12-2020 19:55'
+date_end: '30-08-2020 19:55'
 url_news: 'https://www.publicartfund.org/view/exhibitions/6708_jean-marie_appriou_the_horses'
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 title: 'Pedro Wirz, Et. Al., ‘Mask’, Aargauer Kunsthaus, Aarau, Switzerland'
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 date: '01-09-2019 19:57'
-date_end: '05-01-2020 19:57'
-url_news: 'https://www.aargauerkunsthaus.ch/en/exhibitions/2019/?cHash=f867964c062f766bfe5162ff98365282&showUid=524'
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-title: 'Srijon Chowdhury, ''A Divine Dance'', Anat Ebgi, Los Angeles, USA'
-media_order: 'Srijon Chowdhury, ''A Divine Dance'', Anat Ebgi.jpg'
-date: '02-11-2019 19:48'
-date_end: '14-12-2019 19:48'
-url_news: 'https://anatebgi.com/cpt_exhibitions/solo-exhibition/'
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-title: 'Srijon Chowdhury, Foxy Production, New York, USA'
-media_order: 'Srijon Chowdhury.png'
-date: '06-03-2020 14:23'
-date_end: '19-04-2020 14:23'
-url_news: 'https://www.foxyproduction.com/exhibitions/1741/pr'
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-title: 'Victor Man, Et Al., ''Claude Mirrors'', Schinkel Pavillon, Berlin, Germany '
-media_order: 'Victor Man, Et Al. _Claude Mirrors_, Schinkel Pavillon, Berlin, Germany  .jpeg'
-date: '11-09-2019 19:54'
-date_end: '15-12-2019 19:54'
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-title: 'Victor Man, Et. Al., ''La Plage'', Galleria Zero, Milan, Italy'
-media_order: 'Victor Man, Et. Al., _La Plage_, Galleria Zero, Milan, Italy.png'
-date: '07-11-2019 19:47'
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-title: 'Victor Man, Et. Al., ''Louise Giovanelli'', Manchester Art Gallery, Manchester, UK'
-media_order: T14776_9.jpg
-date: '06-06-2019 19:59'
-date_end: '19-04-2020 19:59'
-url_news: 'http://manchesterartgallery.org/exhibitions-and-events/exhibition/louise-giovanelli/'
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-title: 'Victor Man, Et Al., On the Spiritual Matter of Art, Museo nazionale delle arti del XXI secolo, Roma, Italy'
-media_order: 'Victor Man, Et Al., On the Spiritual Matter of Art.jpg'
-date: '17-10-2019 19:51'
-date_end: '08-03-2020 19:51'
-url_news: 'https://www.maxxi.art/en/events/della-materia-spirituale-dell-arte/'
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@@ -3,10 +3,11 @@ title: News
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+
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 title: About
-media_order: 'Install,_Daiga_Grantina,_Robert_Brambora.jpg'
+media_order: IMG_1079.JPG
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-Founded in 2018 by Zina Vieille and Nnamdi Obiekwe, V.O Curations supports emerging art through affordable studio programmes, artist residencies and exhibition spaces in Central London. The diverse set of talents from multiple backgrounds and experiences, aim to share personal identities through their work in a collective melting pot. V.O positions itself at the intersection of artist and institution, providing resourceful and supportive environments filled with various opportunities. 12th Floor in Waterloo serves as their lead London location, launched within the former studio of David Chipperfield, and welcomes young international artists to collaborate towards themed exhibitions throughout the year. V.O Studios’ new facility, 242 Marylebone Road, has recently launched as one of Central London’s largest artist facilities, hosting up to 100 artists.
+Founded in 2018 by Zina Vieille and Nnamdi Obiekwe, V.O Curations supports emerging art through affordable studio programmes, artist residencies and exhibitions in London. The diverse set of talents from multiple backgrounds and experiences, aim to share personal identities through their work in a collective melting pot. V.O positions itself at the intersection of artist and institution, providing resourceful and supportive environments filled with various opportunities. 242 Marylebone Road serves as their lead location and has recently launched as one of Central London’s largest artist facilities, hosting up to 150 artists.
@@ -1,17 +0,0 @@
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-H_open: 'Wednesday — Saturday'
-H_time: '11am — 5pm'
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-info@vocurations.com
@@ -13,4 +13,5 @@ H_close: '09-11-2019 18:00'
 image_align: left
 ---

-Open to the public during programmed exhibitions and events. See [_What’s On_](https://vocurations.com/whats-on/exhibitions/current-upcoming) to find out more 
+Open to the public for studio visits, exhibitions and events. 
+(Tuesday - Saturday 10am to 5pm)
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---
-date_start: '01-01-2020 16:06'
-date_end: '06-02-2020 12:38'
-lieux: '12th Floor'
-title: 'Cicatrices, '
-artistes: 'Jean-marie appriou, Srijon Chowdhury, John miserendino, Cajsa von zeipel, Adriano amaral, muriel abadie'
-media_order: 'Adriano Amaral, Untitled, 2018.jpg,Adriano Amaral, Untitled, 2018(1).jpg,Adriano Amaral, Untitled, 2018(2).jpg,Cajsa von Zeipel, When_ and Why_, 2019.jpg,Cajsa von Zeipel, Why_, 2019, When_, 2019.jpg,Details of Adriano Amaral, Untitled, 2018.jpg,Details of Cajsa von Zeipel, When_ and Why_, 2019.jpg,Installation Isaac Lythgoe and Muriel Abadie.jpg,Isaac Lythgoe, grip the wheel, look straight ahead, 2016.jpg,Jean-Marie Appriou, Shrimp, 2018.jpg,John Miserendino, L’origine du monde, 2018.jpg,John Miserendino, Mamie and Marco, 2018.jpg,Muriel Abadie, Masked Monkey, 2018.jpg'
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-
-On an epithelial level, the scar is simply a mark, a regenerated piece of tissue, a healed lesion
-that conventionally follows the infliction of an incision or a burn, either intentional or not. Of
-this trace however, we almost instantly find that it does not suffice to regard it as a mere
-peculiarity of the dermis, as what is crucial to this fibrous section of tissue is the meta-
-cutaneous, its metonymic relationship to a particular event or action. This is the primary trait
-of any scar: that it signifies beyond the skin, beyond the biological palimpsest that it has
-produced. We are, at first, tempted to associate it with the traumatic, with the remnants of
-suffering that make of it a relic of pain, both physical and cognitive, an agonizing recollection
-of consumed passions and jagged embraces, flaming within our psyche and manifest with the
-illuminated perspex sculptures of Isaac Lythgoe. Yet, is it not a scar that also reminds one of
-birth, of being removed from the womb for, which our mothers bear a caesarean section or
-we, a snipping away of the umbilical cord? Can the postpartum depression alluded to by
-Srijon Chowdhury’s distracted mother-infant dyad not foreshadow a latter maternal joy, an
-expulsion of postnatal morbidity?
-
-If we look past the mere a priori and posteriori of the scar we begin its exoneration, its
-acknowledgement as a mode of ‘becoming’ with aesthetic, religious, socio-cultural, and
-adaptive facets. The tattoo reaffirms this, for it not only physically exteriorises the intrinsic,
-symbolically branding the epidermis, but performs the function of ritual by subjecting one to
-the repeated injection of their beliefs. Such Maia Regis’ effaced protagonist, dog and pistol in
-hand, imparts further potency to its all too visceral surroundings via the snake emblem
-ascending their torso, the scar given agency. The kissing silicone sculptures of Casja von
-Zeipel too recall this piercing and tinting of the skin through selective transparencies and the
-emulation of a cracked reptilian dermis undergoing ecdysis (molting), further inscribing their
-hyper-visiblity by means of their hybridity. Synthetic and organic, their skin, double-layered or
-scaled, appears mechanically superior while still presenting the human characteristic of
-retaining traces, or bearing scars. This dualism, the recalling of an organic anterior, further
-prompt a focus on DNA, one expressed by Adriano Amaral in his employment of natural
-materials such as tree bark and spirulina alongside shapes of contemporary industry. The
-ramifications emerging from Amaral’s tubular structures delineate an ecological scarification
-inflicted upon flora and fauna rather than the human flesh, proposing the solution of
-prosthetics as a method of undoing any damage to the organic. A similar approach lies within
-Jean-Marie Appriou’s sculptures of marine creatures. Displaying a hereditary connection to
-their material makeup, for glass is made out of sand, such works however, conversely,
-emphasize their static adherence to the gallery wall rendering the objet d’art no different to a
-biological specimen. There is no question of hybridity as with Zeipel or Amaral, urging rather
-recognition through a confrontation with artifice.
-
-John Miserendino’s variegated marbles too evidentiate their flesh-like striations in order to
-uncover a particularity akin to DNA. Each marble is modeled after, yet not sculpted to
-resemble a figure, breaking with a tradition of purity (white-ness) and the relative anonymity
-of material by accentuating surface lesions and vivid chromatic schemes. The notions of
-transmission and trace exist not only within such marbles, for through the work of Muriel
-Abadie an idea of recollection, of one's personal rather than cultural history surfaces with
-the sketch. Abadie seeks to access a realm of the familiar, to awaken in all of us a forgotten
-memory that can appear through the visual. Her urge is collective, remembrance as
-protection against temporal perdition. Within our efforts to heal, perhaps the same can be
-said for the cicatrice...
@@ -1,12 +0,0 @@
---
-date_start: '05-05-2020 17:21'
-date_end: '11-10-2020 17:21'
-title: 'Lght cages, '
-artistes: 'dillwyn smith'
-media_order: 'Oda Jaune, Galerie Templon, Paris, France 02.jpg'
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@@ -1,47 +0,0 @@
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-date_start: '05-10-2019 16:27'
-date_end: '11-10-2019 16:27'
-title: 'Nour El Saleh ''Exquisite Farces'''
-media_order: 'Inhabited Props in a Box, 2018.jpeg,Wrong Side of the Table, 2019.jpg'
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-
-Exquisite Farces is the culmination of Nour El Saleh’s residency at VO Curations, a
-curatorial and cultural mediation outfit that are helping usher in a new way for artists to
-inhabit and make use of the rapidly transforming architecture of an austere London. It
-also marks her first foray into the wider world following on from three-years of study at
-The Slade School of Fine Art, London.
-El Saleh’s approach dismisses preparatory drawings; lines and forms are imagined,
-physicalised and placed impulsively to prompt new narrative possibilities. She has
-worked towards the creation of a satirical language to communicate an uncanny rendition
-of her own experiences. With her childhood spent in the United Arab Emirates, a host for
-impermanent residents, El Saleh’s comfort was in a constant state of flux, and through the
-work she grapples with a sense of belonging; deceivingly familiar spaces are tensed with
-anguish and actors, and through the use of theatrical and comical imagery, the artist
-reconciles these two forces.
-The Puppeteer of Karakas evokes the memory of a man playing with puppets in the street
-where El Saleh lives in Beirut. Here, the puppeteer is disguised and plays with four
-eccentric real-life marionettes. Any hint that they might fall into a Mickey Sabbath-like
-world of destitution and depravity is reframed with a sense of homeliness; checkered floor
-tiles and floral wallpaper, which feature as a recurrent backdrop across El Saleh’s scenes.
-Inserting small characters in the eyes and heads of certain protagonists, El Saleh seems
-to play with the apparent roles, and who in fact conducts the scene. A mise en abyme
-occurs, the Puppeteer of Karakas becomes puppeteered, and equally, the motherly figure
-of Wrong Side of The Table loses her intimidating aura, turning into a vessel, a further
-prop in the theatre of El Saleh’s mind. Wrong Side of the Table depicts a juxtaposition
-between a naked bust-figure, sitting at the table provocatively, acting out for the sake of
-being rewarded with attention, which is at odds with a heavily cloaked figure under the
-table, an elderly child, hidden out of view, coaxing attention through her aloofness.
-El Saleh’s characters all seem to resemble each other with similar features: prominent
-noses, dimpled chins and brown hair, almost to the point of appearing cloned in certain
-scenes. All interacting intensely within a domestic interior and little space to roam,
-pronounce the collectivistic atmosphere present across the artist’s paintings. This is
-echoed by the two hybrid characters that sit aside the central figure in Inhabited Props in
-a Box, which although are bickering, at once recall squabbling siblings rather than
-anything untoward; and in this lay the charm of El Saleh’s world. Despite the peculiarity of
-her depictions, on further inspection there lies a familiarity and intimate feeling of the
-‘known’. Representation dissolves, El Saleh seems to abolish the stage, the auditorium
-and have spectators sit within the composition. In an Artaud-esque manner, actors are
-seen to be passive and neutral, while masks, puppets and sock marionnettes rule the set.
--- a/Show More
+++ b/Show More