maj de tout

2019-11-14 00:51:19 +01:00
parent d0abec89e6
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421 changed files with 8123 additions and 2087 deletions
@@ -8,7 +8,7 @@ content:
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@@ -1,8 +1,10 @@
 ---
-date_start: '01-09-2019 16:04'
-date_end: '01-10-2019 16:04'
-title: 'OLIVIA BAX at large'
-media_order: 'Olivia Bax, Pump, 2016.jpg,Olivia Bax, Footloose, 2017.jpg,Olivia Bax, Love Handles, 2017.jpg'
+date: '08-08-2018 18:04'
+date_end: '24-08-2018 18:05'
+lieux: '93 Baker Street'
+title: 'at large,'
+artistes: 'Olivia Bax'
+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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@@ -26,6 +28,7 @@ physically leaves the imprint of her hand, her gestures on the surface of her
 sculptures, but she also uses handles as a recurring motif (Hot Spot,
 Boulder (with handle) and Pump). Her stand-alone pieces (Rumble and
 Roar) have a human scale, as if they were based on her own height.
+
 Bax's investigation of material rhythms can be likened to the act of
 sketching, of which the varying tempo, the drawing and selective retracing
 of preferred parts, aid in the development of her sculptural pieces. There is
@@ -35,8 +38,7 @@ for the visibility of the different processes. The sculptures are activated not
 only through the revealing of their anatomy and the material dialectic that
 ensues, but also through their humanistic dimensions. Scale holds a
 significant role within Bax's oeuvre, evoking both the domestic, and trying
-to escape from it by experimenting with site-specific height. The work
-Footloose, having been previously installed twice, is now refashioned to 
+to escape from it by experimenting with site-specific height. The work Footloose, having been previously installed twice, is now refashioned to
 accommodate the low ceilings of this space while still slightly protruding
 through the support grid. Bax's work is at large not only through its
 diversity, resembling a smaller retrospective, but also through the sheer
@@ -50,6 +52,7 @@ works such as the aforementioned Footloose, and a three-dimensional
 framing for Slot & Groove. This seemingly divisive curatorial choice
 however, conversely facilitates discourse between the sculptures of the
 ensemble, acting not as a barrier, but rather as an interactional tool.
+
 Bax's work extends beyond the removal of a sculpture from its pedestal as
 the sole source for immediacy. By imprinting her hands onto the surface of
 the work and using her height as a unit of measurement, by exposing
@@ -58,4 +61,5 @@ of the work itself, and subsequently one within its collective pairing, the
 artist creates a cycle closed off by the viewer. Within her process of
 making, Bax activates herself, the space, the works and viewers, whether
 at a local level or at large.
-Smaranda Ciubotaru
+
+Words by Smaranda Ciubotaru
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@@ -1,9 +1,10 @@
 ---
-date_start: '22-03-2019 16:06'
+date: '22-03-2019 16:06'
+date_end: '03-05-2019 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'
+title: 'Cicatrices, '
+artistes: ' Muriel Abadie, Adriano Amaral, Jean-marie Appriou, Srijon Chowdhury, Isaac Lythgoe, John Miserendino, Maïa Régis, Cajsa von Zeipel'
+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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@@ -23,6 +24,7 @@ birth, of being removed from the womb for, which our mothers bear a caesarean se
 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,
@@ -45,6 +47,7 @@ their material makeup, for glass is made out of sand, such works however, conver
 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
@@ -54,4 +57,6 @@ Abadie an idea of recollection, of one's personal rather than cultural history s
 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...
+said for the cicatrice.
+
+Words by Smaranda Ciubotaru
@@ -1,8 +1,25 @@
 ---
-date_one_day: '04-10-2019 20:04'
-title: 'Exhibitions Jean marais'
+date: '24-10-2019 17:21'
+date_end: '22-11-2019 17:21'
+lieux: '12th floor'
+title: 'Light Cages, '
+artistes: ' Dillwyn Smith'
+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'
 show_sidebar: false
 aura:
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+date_one_day: '04-10-2019 20:04'
 ---

+Dillwyn Smith has a most unusual technique, he gives us a labour of love, a quiet ease around the stitching of nylon fabrics which gently moves us on to deeper matters. These large new works contain a new light - there is precarious illumination which comes at us layered, striped, watered down, occasionally not of this earth, but subaqueous and reified.  Dillwyn has made some new mystic moves and has been ‘a diver in deep seas, and keeps their fallen day about him; he has trafficked for strange webs with Eastern merchants’.
+
+How important it is that Dillwyn is not English, that he is half Welsh and Half Irish, that he is a genuine Celt?  It is very important, it matters because this means that certain things are there in Dillwyn’s work now that the English have no access to.  It is, above all else, around colour and light that this delicacy of perception comes home to roost, like a dove brooding upon the waters.  It matters because, as Walter Pater insisted: ‘all art’ does indeed ‘aspire to the condition of music’ and Dillwyn’s new work has finally managed the magic metamorphosis into synaesthesia.
+
+For hours we have been thinking about how the new work is to be shown, to be displayed, to be allowed to perform its fulgent colloquies upon the eyes of those lucky enough to try and see into it and through it?  What are these things he now creates? – paintings they are not.   They are tricky boxes of colour, wobbly flags with no nation, rat traps for light rays, quilts without beds, aesthetic dirty laundry hung out to dry, lovely textiles shifting in sun and wind, The Colour of Pomegranates comes to mind.  They are offcuts from a coat of many subdued colours, a soft coat of arms, the inspired motley this triumphant Harlequin artist has earned the right to parade.
+
+This work not only moves us, it moves into us, constantly performative it makes its own rhythms.  These rhythms of time and of colour exist outside ‘tick tock time’, working time.  The fruit of his loom is work that does not ‘clock in’ and ‘clock out’, time works within it and around it now, time and light, mysteriously married.  Disciplined lyricism, the unstable stabilized, quicksilver trapped until a common greyness silvers everything, not easy things to pull off.  This is work that demands contemplation, not in a grand way, but in a revivifying way, as quiet and necessary as a day-dream.  Such work comes about rarely and through intense testing – some parts of the great Russian Icons have it, some of the maroon and burgundy rectangles of late Rothko, and those strange, restrained pages of Capitals from The Book of Kells, they definitely have it.  Yes the Irish thing again, in Dillwyn’s new work we approach the poetics of interlacement, a fabricated fluidity, disciplined but organic, beyond the hard geometric trickery of Cubism.
+Dillwyn’s fabrics are utilitarian too and embody an artistic commentary upon an entire Kingdom.  He told me once that he was working with cloths which are deeply, symbolically, enmeshed and locked into the cultures and social politics of Oman.  The fabrics are turned into the traditional Dishdasha worn by men.  Many of the colours of these garments carry tribal significations, relating to the identities of ethnic groups.  A certain yellow, for example, is exclusive to the people of the deep South in Salalah on the border with Yemen.  Other colours relate to social standing and the stratifications of labour.  That lovely maroon which so haunted and haunts my gaze is in fact the cloth worn by domestic workers, and so is not only beautiful but burdened with the labour of millions.  The white cloths are reserved for administrators and government functionaries.  Several of the grays and browns relate to the Oman elite.  And so Dillwyn’s work creates a democracy of colour mixing, melding, interlacing the social and ethnic patterns of the tip of the Arabian Peninsula.  As he makes those light damasks float Dillwyn creates a celebratory garb, which somehow, by hook or by crook, has made a whole society (embedded in inequality) float, light up, caper in gentle curvature, upon his wooden skeletons.
+
+Maybe what is most magical about what we now see is that many of the fabrics are nylons, imported to Oman from Japan.  He takes flimsy gauzes impregnated with chemical aniline dies, he makes his textile mosaics out of them, and suddenly they can do, they do do, the strangest things before our eyes and to our eyes.  Only the great creative magicians perform such Alchemy upon the senses.  James Joyce in the Nausicaa chapter of Ulysses took the language of cliché, thrown in saccharine heaps into girl’s romantic magazines, and then transformed the cinders of a dull dead language into Gerty McDowell’s soaring love song.  Dillwyn takes garish bolts and bales of nylon, hung about with a grim whiff of the sweat shop, and turns them into geometric kaleidoscopes which albeit briefly can make our ugly little world tumultuously bright.
+
+Words by Marcus Wood
@@ -0,0 +1,17 @@
+---
+date: '27-11-2019 18:26'
+date_end: '20-12-2019 18:26'
+lieux: '12th floor'
+title: '‘Mr. Majidi and the Electricity Box'''
+artistes: 'Mania Akbari, Douglas White '
+media_order: 'Mania Akbari and Douglas White, Electricity Box in the streets of Teheran.jpg'
+show_sidebar: false
+aura:
+    pagetype: website
+---
+
+V.O Curations is pleased to announce the upcoming exhibition “Mr. Majidi and the Electricity Box” of collaborative works by Iranian filmmaker Mania Akbari and British sculptor Douglas White. In continuation to their film “A Moon for My Father” (2018), the exhibition features new photographic and sculptural works that reflect on biopolitics and forms of governmental control. Made from found objects and authentic imagery, the disquieting and surreal series focuses on specific instances of censorship, surveillance and control. Akbari and White further invite the audience to contemplate the complex and often invisible connections between state, body and objecthood, through a poignant and personal perspective.
+
+**Saturday 7th December** to coincide with the exhibition, Mania Akbari and Douglas White have curated the cultural event _Body and Borders_ featuring 10 screenings from contemporary artists whose works explore the physical, political, emotional and sensual borders of the modern corporeal experience. Screenings will include the work of Johann Arens, Mania Akbari, Lucy Clout, A K Dolven, Barbara Hammer, Carlos Mott, Lynne Sachs, Margaret Salmon, Mark Street, Jessica Sarah Rinland, Miranda Pennel and Douglas White. A panel discussion, moderated by art critic Nick Hackworth will follow the screenings, featuring Mania Akbari, Johann Arens, Lucy Clout, Miranda Pennell, Margaret Salmon and Douglas White to discuss the Body and its entangled power structures.
+
+Click here to buy tickets to 'Body and Borders' 7th December.
@@ -1,8 +1,10 @@
 ---
-date_start: '05-10-2019 16:27'
+date: '05-09-2019 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'
+lieux: '12th floor, '
+title: 'Exquisite Farces, '
+artistes: ' Nour El Saleh'
+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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@@ -13,6 +15,7 @@ curatorial and cultural mediation outfit that are helping usher in a new way for
 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
@@ -21,16 +24,17 @@ impermanent residents, El Saleh’s comfort was in a constant state of flux, and
 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
+
+_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
+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
+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.
@@ -44,4 +48,4 @@ anything untoward; and in this lay the charm of El Saleh’s world. Despite the
 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.
+seen to be passive and neutral, while masks, puppets and sock marionnettes rule the set.
@@ -1,11 +1,13 @@
 ---
-date_start: '23-05-2019 16:33'
+date: '23-05-2019 16:33'
 date_end: '26-07-2019 16:33'
-title: '''Parfum d''épines'' PHILLIPS X VO CURATIONS'
-media_order: 'Installation Daiga Grantina and Robert Brambora.jpg,Installation Jean-Marie Appriou and Claude Bellegarde.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,Daiga Grantina, Li Li, 2018 and Victor Man, Flowers with Skeleton and Bear Wrestling, 2012.jpg'
+lieux: Phillips
+title: 'Parfum d''épines,'
+artistes: ' PHILLIPS X VO CURATIONS'
+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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-Phillips x VO 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.
+Phillips Auction and VO 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.
@@ -1,10 +1,13 @@
 ---
-date_start: '05-08-2019 16:37'
+date: '05-08-2019 16:37'
 date_end: '18-08-2019 16:37'
-title: 'PAS DE CORPS Sonya Derviz'
+lieux: '93 Baker Street '
+title: 'Pas de Corps, '
+artistes: 'Sonya Derviz'
+media_order: 'Sonya Derviz, Dancers II, 2018.jpg'
 show_sidebar: false
 aura:
    pagetype: website
 ---

-There exist no bodies, yet collective movement ensues. The canvas surface is flat, yet the power of suggestion engrosses Sonya Derviz's Dancers within the figurative, only to awake us from this mirage through the protrusion of a forceful abstract composition. She aims to simultaneously construct and efface the presence of the recognisable, to insert it within a stream of strokes dragging, rotating, and contorting colour and form within the predefined space of the canvas. The dynamism stirring each layer of wash, the alternation of dispersing blocks of colour with interwoven accents pierces the fabric of the figurative into abstraction. The exhibition was accompanied with a poem, composed by Joshua Leon.
+There exist no bodies, yet collective movement ensues. The canvas surface is flat, yet the power of suggestion engrosses Sonya Derviz's Dancers within the figurative, only to awake us from this mirage through the protrusion of a forceful abstract composition. She aims to simultaneously construct and efface the presence of the recognisable, to insert it within a stream of strokes dragging, rotating, and contorting colour and form within the predefined space of the canvas. The dynamism stirring each layer of wash, the alternation of dispersing blocks of colour with interwoven accents pierces the fabric of the figurative into abstraction. The exhibition was accompanied with a poem, composed by Joshua Leon.
@@ -1,18 +1,20 @@
 ---
-date_one_day: '07-12-2019 16:30'
-title: 'SARA BERMAN Matter out of Place'
-media_order: 'Installation Sara Berman.jpg,Installation Sara Berman(1).jpg,Sara Berman, Lint Sweater #37, 2018.jpg,Sara Berman, Lint Sweater #38, 2018.jpg,Sara Berman, Lint Sweater #40, 2018.jpg'
+date: '03-10-2019 17:49'
+date_end: '19-10-2019 17:49'
+lieux: '93 Baker Street '
+title: 'Matter out of Place,'
+artistes: ' Sara Berman'
+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'
 show_sidebar: false
 aura:
    pagetype: website
+date_one_day: '07-12-2019 16:30'
 ---

 "It is something rejected from which one does not part, from which one
 does not protect oneself as from an object. (...) It is thus not lack of
 cleanliness or health that causes abjection but what disturbs identity,
-system, order."
-
- Julia Kristeva
+system, order." Julia Kristeva

 There is an unprecedented struggle for unity and mutuality in this epoch of
 singularity and individualism. The biblical precedes these secular ideals in
@@ -35,7 +37,7 @@ within the gallery space, but in her attempt to generate discourse Berman
 has created an art object resistant and adhering to any nomenclature, while
 circumventing any positive or negative valences. The works find
 themselves in a latent state; perhaps even one of paradox for an initial
-reaction might contravene a subsequent one upon finding out the medium. 
+reaction might contravene a subsequent one upon finding out the medium.
 From breaking her own dyer at home, to her latter exploration of London
 drycleaners, from the first attempts of gathering the lint in large bags to
 then attaching it to furniture, Berman has redacted her process of making
@@ -63,4 +65,5 @@ boundary, playing into the idea of domesticity as a percept for belonging
 and safety while including the nomadic. Berman's inquiry extends into the
 exterior realm, the question remains, is it art, a handful of hair and lint
 from the local drycleaners or simply matter... out of place?
-Smaranda Ciubotaru
+
+Words by Smaranda Ciubotaru
@@ -1,10 +1,13 @@
 ---
-date_start: '03-07-2019 16:39'
+date: '03-07-2019 16:39'
 date_end: '13-07-2019 16:40'
-title: 'URBAN WAVES Andrei Costache, Richie Culver and Morgan Ward'
+lieux: '93 Baker Street '
+title: 'URBAN WAVES, '
+artistes: ' Andrei Costache, Richie Culver and Morgan Ward'
+media_order: 'Andrei Costache, Tarantula, 2018.jpg'
 show_sidebar: false
 aura:
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 ---

-The exhibition featured the work of sculptor Andrei Costache and painters Morgan Ward and Richie Culver. Andrei Costache's sculptures proliferate a sentient quality, mirroring a vast spectrum of experiences from one's first visit to London to the infantile joy of watching a new cartoon series. His MDF creations stress their ephemerality through the very nature of their material, far more mobile than traditional mediums such as metal or stone. Morgan Ward is concerned with extending the interaction of colour and form beyond two-dimensionality, both materially and by employing abstracted optical illusions. Richie Culver's works present narratives mirroring those of London housing estates or marginalised residential areas, narratives of domestic heroes or local underdogs.
+The exhibition featured the work of sculptor Andrei Costache and painters Morgan Ward and Richie Culver. Andrei Costache's sculptures proliferate a sentient quality, mirroring a vast spectrum of experiences from one's first visit to London to the infantile joy of watching a new cartoon series. His MDF creations stress their ephemerality through the very nature of their material, far more mobile than traditional mediums such as metal or stone. Morgan Ward is concerned with extending the interaction of colour and form beyond two-dimensionality, both materially and by employing abstracted optical illusions. Richie Culver's works present narratives mirroring those of London housing estates or marginalised residential areas, narratives of domestic heroes or local underdogs.
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-title: 'Current + upcoming'
+title: Upcoming
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@@ -0,0 +1,17 @@
+---
+date: '07-12-2019 18:53'
+lieux: '12th floor'
+title: '‘Body and Borders'''
+artistes: '            screenings + Panel Talk '
+media_order: 'Carlos Motta, The Devil’s Work (2018).jpg'
+taxonomy:
+    category:
+        - Panel
+show_sidebar: false
+aura:
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+---
+
+To accompany the exhibition ‘Mr. Majidi and the Electricity Box’, Iranian filmmaker Mania Akbari and British sculptor Douglas White have curated a cultural programme on 7th December, encompassing further screenings from 10 contemporary artists, who also explore the physical, political, emotional and sensual borders of the modern corporeal experience. Screenings will include the work of Johann Arens, Mania Akbari, Lucy Clout, A K Dolve, Barbara Hammer, Carlos Mott, Lynne Sachs, Margaret Salmon, Mark Street, Jessica Sarah Rinlan, Miranda Pennel and Douglas White.
+
+The screenings will be followed by a panel talk, moderated by art critic Nick Hackworth, featuring Mania Akbari, Douglas White, Miranda Pennell, Lucy Clout and Johann Arens, discussing the body and its entailed power structures.
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---
-date_start: '22-03-2019 16:06'
-date_end: '03-05-2019 16:07'
-lieux: '12th Floor'
-title: Cicatrices
-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...
@@ -1,66 +0,0 @@
---
-date_one_day: '07-12-2019 16:30'
-title: 'SARA BERMAN Matter out of Place'
-media_order: 'Installation Sara Berman.jpg,Installation Sara Berman(1).jpg,Sara Berman, Lint Sweater #37, 2018.jpg,Sara Berman, Lint Sweater #38, 2018.jpg,Sara Berman, Lint Sweater #40, 2018.jpg'
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-
-"It is something rejected from which one does not part, from which one
-does not protect oneself as from an object. (...) It is thus not lack of
-cleanliness or health that causes abjection but what disturbs identity,
-system, order."
-
- Julia Kristeva
-
-There is an unprecedented struggle for unity and mutuality in this epoch of
-singularity and individualism. The biblical precedes these secular ideals in
-the myth of Babel, with its human element inevitably failing into disparity,
-not just of language but also of socio-cultural context for its collective
-ambitions would become its primary sin. Surrounded by divergent,
-fluctuating value systems, Sara Berman has selected the lowest common
-denominator of mankind as the focal point of her work, as an uncanny,
-debased catalyser in her line of artistic inquiry: 'waste'. A propensity for
-textiles has perhaps indicated Berman in the direction of lint, of drying
-machine filters, which despite her minimal intervention, do not draw one
-immediately towards the abject nature of the piece, but rather ensue an
-auratic dialogue guided by their anthropomorphic quality and vivid
-stratigraphy. This 'matter out of place', waste in the form of the work of
-art (the commodity par excellence) comes to embody the term derived from
-Mary Douglas's seminal study on dirt, not just literally, but through the
-very internal logic of the works. Not only are the fabric remnants
-dislocated from their status as superfluous objects, framed and exhibited
-within the gallery space, but in her attempt to generate discourse Berman
-has created an art object resistant and adhering to any nomenclature, while
-circumventing any positive or negative valences. The works find
-themselves in a latent state; perhaps even one of paradox for an initial
-reaction might contravene a subsequent one upon finding out the medium. 
-From breaking her own dyer at home, to her latter exploration of London
-drycleaners, from the first attempts of gathering the lint in large bags to
-then attaching it to furniture, Berman has redacted her process of making
-to reduce the infliction of her will upon the work as much as possible. This
-however has not created a ready-made, for the immediacy of deskilling is
-replaced by a careful subtraction, while the unique makeup of the works
-would have them tangential to artisanship. Berman selects the lints from
-the filters (very few of which present this distinctive layering) and stiches
-them to pieces of linen without seeking precision. There is an
-inexhaustible web of socio-economic relations, which each wool fibre or
-hair follicle has traversed and can further generate through their
-repurposing in the lint figures. It is perhaps not coincidental that some of
-these should have a convex, circular geometry, occurring in the inferior
-parts evoking thus the maternal or the fertile. The human dimension of the
-works would have it operate like an artefact, even more so now that the
-pieces are exhibited framed for the first time, an equalizing procedure to
-stress their organic, biological aspect. There is only an illusion of
-uniformity as each work is entirely distinct in its 'genetic composition'
-while any separation occurs as an auxiliary, as our own imposed
-estrangement from it. Berman has removed the glass dividing the viewer
-from the 'abject', facilitating either confrontation or familiarization, in
-either circumstance permitting a direct exchange. The rug outside invites
-one into the gallery space while simultaneously deconstructing its
-boundary, playing into the idea of domesticity as a percept for belonging
-and safety while including the nomadic. Berman's inquiry extends into the
-exterior realm, the question remains, is it art, a handful of hair and lint
-from the local drycleaners or simply matter... out of place?
-Smaranda Ciubotaru
@@ -1,10 +0,0 @@
---
-date_start: '03-07-2019 16:39'
-date_end: '13-07-2019 16:40'
-title: 'URBAN WAVES Andrei Costache, Richie Culver and Morgan Ward'
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---
-
-The exhibition featured the work of sculptor Andrei Costache and painters Morgan Ward and Richie Culver. Andrei Costache's sculptures proliferate a sentient quality, mirroring a vast spectrum of experiences from one's first visit to London to the infantile joy of watching a new cartoon series. His MDF creations stress their ephemerality through the very nature of their material, far more mobile than traditional mediums such as metal or stone. Morgan Ward is concerned with extending the interaction of colour and form beyond two-dimensionality, both materially and by employing abstracted optical illusions. Richie Culver's works present narratives mirroring those of London housing estates or marginalised residential areas, narratives of domestic heroes or local underdogs.
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