photo by Julia Waugh.
Friday, July 24, 2009
Foto8 specialises in photojournalism photography from around the world. Updated frequently this site is always worth a look.
1 Honduras Street
020 7253 2770
The Foto8 Summer Show and Award 2009
24 July – 5 September
For one month, the Summer Show provides London’s greatest spectacle of photography with over 100 images on display – an inspiring variety of framed and mounted images of all shapes and sizes, installed from floor to ceiling.
From landscapes and portraiture to documentary, various genres of photography are represented in the exhibition. The final selection of photographs, chosen by Foto8 editors, will all be available for sale to the public.
Wednesday, July 22, 2009
22, rue Saint Claude
until July 25th 2009
Nina Beier & Marie Lund, Alex Cecchetti, Cosey Fanni Tutti, Jochen Dehn, Haris Epaminonda, Peggy Franck,Vlatka Horvat, Bethan Huws, Jiri Kovanda, Charlotte Moth, Aurélien Mole,Yamini Nayar, Sarah Tritz
They have built a collective conversation about the exhibition : they have entered a “domino” game. The first curator and instigator of it has selected a work and sent it to a second curator who, in return, has answered with another artwork. The third curator has reacted to the two artworks, adding one of his choice, and so on until twelwe artworks have been chosen by the twelve curators. Thus each of them has answered, completed and orientated the group exhibition which looks like a sentence for which each participant has added a word. They have all agreed to remain anonymous, and none of them (but for the instigator) knows who has been solicited.
The product of a curatorial exercise that should be tackled by all aspiring students in the field, this exhibition begins with a premise of anonymity. An unnamed curator kicked off the process by choosing a work—in this case, Bethan Huws’s word vitrine Untitled (Quoi de neuf?) (What’s New?), 2008—as well as the next curator in the sequence. That curator then chose a work based on the previous selection, as well as another curator to follow in the chain, and so on, until twelve works were selected.
One of the curators declares: “I like the idea of the tension and exchange between the single foregrounded work and the overfilled, storage-like picture of the rear-space. Also the dialogue and the alternation of the works isolated and staged exclusively, like a flow of ideas in a very long sentence must be really interesting to follow and analyse the decisions behind the choice of them. That’s why I decided to participate.”
Monday, July 20, 2009
Schlesische Str. 26
Javier Peres is pleased to announce "Story without a Name," a group exhibition curated by Blair Taylor. The exhibition includes film and collage by Dash Snow, and sculpture by Carol Bove, Terence Koh and Andrew Lord. All four of these artists currently live and work in New York City.
At the onset of the Great Depression in the 1930s, Joseph Cornell took work designing textiles and selling appliances door-to-door to support his family and his habit of collecting ephemera with which to make artwork. He later referred to this period as "a golden age – one of white magic without which I don't know where I would be today." It was during this time that Cornell created a series of collages titled "Story without a Name – for Max Ernst," from which the present exhibition takes its name and mission.
Here, bracketed by disquieting figurative collage and film by Dash Snow, sculptures by Andrew Lord, Carol Bove and Terence Koh anthropomorphize to resemble an eerie gathering (social, Neopagan, alien or otherwise) at the center of the gallery space. The material range – from Super 8 film to ceramics to painted bronze to peacock feathers – provokes a sensual suspension as that between synapses, a realm where dreamscape and corporeality fold together.
Friday, July 17, 2009
17 July - 1 August 2009
67 Greenland Street
A Nomad project, commissioned by A Foundation featuring new work by Stephen Cornford, Nathan Parker, Tai Shani and Henry Stringer.
Clusterfuck is a term used to describe a particular kind of catch 22 in which multiple complicated problems mutually interfere with each other's solution. Nomad's latest project sets out to explore the relationship between public spaces and contemporary approaches to exhibition and performance. Four artists with diverging practices have been asked to collaborate on a project that embraces hybrid authorship, a relational mess for both artists and audience to navigate. Clusterfuck is a zone that asks to be inhabited, an interdeterminacy encouraging new readings and perceptions.
Henry Stringer takes inspiration from the physicality of the material he uses to create large, site specific constructions that primarily endevour to encourage audience participation. Henry is currently studying his B.A degree at Central Saint Martins, London.
Stephen Cornford is a sculptor working with music, sound and noise. He studied at Slade School of Fine Art before recently completing a Masters in Time-Based Arts Practices at Dartington College of Arts. His principal materials are musical instruments and audio technologies, which he treats with a disregard for their normal function in an effort to forget their iconography and focus on their physicality.
Nathan Parker is a London based artist who graduated from an MFA at the Slade in 2002, working predominantly in video, installation, sculpture and set design. Parker's work explores various archetypes and tropes found in fairy tales, Norse mythology, ritual, fetishism and contemporary music.
Tai Shani's fantastical and dreamlike performances are produced with an economy of expression that nevertheless continually teeters on the brink of ecstatic vision.
Public and private trauma becomes the precipitant for an unfettered practice depicting pseudo historical characters and senarios caught within a time travel spectacle.
My Voice Shall Now Come From the Other Side of the Room
14 - 31 July 2009
Lundahl and Seitl will present a site specific performance of My Voice Shall Now Come From the Other Side of the Room.
My Voice Shall Now Come From the Other Side of the Room is a ten minute, one on one performance of choreographed movement and touch, which brings the visitor into gentle confrontation with their physical bodies and their own self-monitoring processes. The visitor is as much a performer as the performers themselves within this work, which represents a decisive shift in Lundahl & Seitl's practice.
To close their presentation of My Voice... at A Foundation London, Lundahl and Seitl will discuss this performance work in relation to their wider practice, with art writer Gemma Sharpe. For the last two years the artists have been working with Gemma Sharpe, a collaboration which recently culminated in the co-writing and production of a radio work, after the event, a story, commissioned by art writing platform 'antepress' for Resonance FM.
Each performance is one on one, please call 0207 729 8275 or email firstname.lastname@example.org to book.
Tuesday - Saturday, 12-5pm
Admission Free, booking recomended
Friday, July 3, 2009
67 Greenland Street
3 July – 15 August 2009
Daniel Pasteiner will be the first in a series of exhibitions examining contemporary sculpture through single presentations of UK-based artists at A Foundation, Liverpool.
The solo exhibitions shown over the coming months will work together to explore traditional notions of sculpture and its prevailing importance as a subject and discipline in contemporary art. The exhibitions will include works that are discrete sculptures rather than installations, but which challenge the idea of sculpture as just a static three-dimensional form, with works incorporating film, sound and living materials.
Daniel Pasteiner opens the series with this, his first major solo show in the UK. Pasteiner graduated from the Royal College of Art in 2007 and was included in Bloomberg New Contemporaries of the same year. He has been included in several group shows in London, most recently ‘Ventriloquist’ at Timothy Taylor Gallery, curated by Emma Dexter.
Pasteiner describes himself as a painter, creating specific viewpoints of his work through the integration of cameras or projecting images on the surrounding surfaces. Combining recognisable objects, such as snowglobes or domestic lamps, with abstract painted forms, Pasteiner’s work exists “between image and object, abstraction and readymade”.