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More than fifty magnificent pieces of jewellery will reveal their long history and striking beauty in a unique combination of pieces from the ancient times to the present day, coupling tradition to modern style.
Bringing together revival sculptures of astonishing elegance with ancient gems set as modern jewellery, we bridge the gap of time by accompanying imagination to inspiration, talent to skill, craftsmanship to art, by celebrating expression and design.
Emma Elliott was awarded 1st Prize at the 2015 Passion For Freedom Art Festival for her bronze sculpture Spin-Head while The Sacred and Profane was voted the People's Choice.
The 7th Freedom Gala Awards Ceremony at the Mall Galleries on 25th September was oversubscribed, and this follow up show provides a unique opportunity to examine Emma's winning entries and other recent works in a more intimate setting.
Private View from 6pm on Friday 4th December 2015
The Hawkhurst Vault, 240 Brick Lane, London E2 7EB
Exhibition continues throughout December:
Mon-Thu, 8am - 8pm
Fri, 8am - 9pm
Sat, 10am - 9pm
Sun, 9am - 8pm
Of Improvisation is an exciting threeday pop-up event which is located in the heart of East London. This event is based upon the premise that we are all improvisers.
Throughout this event ‘Improvisation’ is regarded as the essence of creativity, where the process of instantaneous creation will become as ordinary to us as breathing itself. It is a process as old as mankind itself, yet not exclusively related to the arts.
People are the very substance to this project. It aims to celebrate human uniqueness, it will encourage us to make better use of our innate ability to play, our ingenuity and our creativity.
Instead of remaining unconscious recipients of what is being presented to us, we are being invited to come along and become co-creators in this event. By participating in the completion of art works and engaging in open debates, we will have the opportunity to leave behind our passive role and will be encouraged to share own opinions and creative ideas.
Of Improvisation aims to bring art to life, to break down the barriers between the artist and the audience, art and the everyday. The participants will have the chance to enjoy interactive installations as well as multiple programme of workshops, performances, comedy, poetry, storytelling, discussions and more..
We at Residency For Artists On Hiatus thank you for your interest in 2014 and hope you will continue following us throughout this year! Our current residents are busy working at not working and posting their non-art endeavours at residencyforartistsonhiatus.org.
[b]We are now booking our presentations/workshops for the year 2015[/b]. Please contact us if your organization, school and class, or community would be interested in having the office of RFAOH come for one or more of the following:
• Briefing session to introduce the Residency for Artists on Hiatus and its activities followed by a discussion on any related topics
• Presentation of the on-hiatus projects by the former or current resident artists-on-hiatus, preferably with the artists also in attendance, pending on the budget and their availability.
• Proposal review of artists in the local areas who may be interested in applying for future programmes at RFAOH
• Lectures by guest speakers on what they do when they are not making art – we would like to invite artists with international profiles pending on the budget and their availability.
• Sale of RFAOH limited edition multiples
Please kindly share this message with potentially interested parties, or recommend them to us. We thank you for your continuing support!
January 14 – February 14, 2015
Opening Reception: Wednesday, January 14, 6 - 9 pm
BOSI Contemporary is pleased to present, Etiqette Kit, a solo show featuring the works of Anna Campbell. The desires of a culture are laid bare by the tools and props that construct and then accumulate around scenes of the “ideal,” from heroic masculinity to privileged forms of desire. Through sculpture, installation and video, Anna Campbell’s work conflates and abstracts queer and ostensibly normative bodies, cutting from narratives otherwise understood as impermeable, and presenting viewers with assemblages of resultant slices. This critique via form, space, and image challenges the social dynamics that reinforce our constructions of the ideal, the universal versus the deviant, and the particular or minor, and owes much to the radical potential of failure, a deconstructing force that has been instrumental in shaping her work.
Campbell’s engagement with form shifts fluidly based on the intended intervention. For the Etiquette Kit series, 2 x 4s, mirror balls, latex ruffles, custom cast concrete cinderblocks, balsa wood trusswork, and fishnet fabric combine in a continuing push to create hybrid forms whose aggressively vulnerable queer signifiers are interdependent with their seemingly normative and immutable authoritarian forms. Citing the staging of ideal recognized “types” through construction motifs, the vernacular of furniture, and accessories with baggage, this series points to larger themes and social constructions to insinuate divergent possibilities. To this end, gender inversion and queer politics infuse this work and act as a lens to re-examine common forms and spaces. This constellation of tactics re-forms expectations of desire and challenges the social and political impact of pursuing those desires.
A Pocket, A Cue, A Shot is built using the framing method for domestic architecture. Pine 2 x 4’s set at 16” distance are employed in constructing the frame for a pool table whose “felt” is a bare mattress punctuated by pockets lined with sheer stockings. The rawness of the piece, including the exposed industrial materials of the mattress’s interior, disallows for the possibility of settling on a tidy or finished read. Its title, A Pocket, A Cue, A Shot, encourages a reading that is both about the posturing potential of the game of pool and the bravada of calling a shot, as it is about the extended combo shot wordplay of innuendo where cues and shots are all about reaching into otherwise elusive pockets. This is a table without sticks or balls – the tension it creates is not related to any immediate playability, but rather for an anticipated potential. As an object, the bed/table/ model of domesticity conflates the social and sexual imperatives that infuse the atmosphere of the gay bar. It offers a tension that emphasizes the intimate connections forged in both the context of the bar and the bedroom. The public pleasure of playing a game, and the private pleasures indicated by the mattress offer a narrative that is both subtle and charged.
Sites, in addition to citation, are core to her practice. Travelling to specific sites such as the Lesbian Herstory Archives in Brooklyn, to study the collections of their archives have been key to her practice. Engaging the specific historical and social contexts of the sites where she exhibits work offers a further means to connect with the legacy of a place. The exhibition will also feature never before exhibited laser cut outs of a collection of images abstracted from the photo collection of the Lesbian Herstory Archives. Compiled during a month in residence at the Archive, Campbell has modified the images, isolating only hands, bare arms, and any objects they may hold. Campbell’s selective editing prompts the viewer to fill in the gaps not only of the physical image itself but also in the narratives of everyday lesbian life they depict. The exhibition, Etiquette Kit, suggestively offers the tools and props to enact counter-narratives for what may be considered proper, and to champion alternate approaches to behavior preparedness.
Anna Campbell (b. 1979, Port Jefferson, New York) is an American artist. She uses sculpture and site-specific installation interwoven with video projection, her work deconstructs otherwise clearly legible signifiers of masculinity and heteronormativity in the service of illustrating alternate histories of attachment and desire. Campbell maintains an active exhibition record including recent solo exhibits at Tractionarts in LA, and the Window Into Houston at the Blaffer Art Museum in Houston, Texas, as well as group exhibits at Seoul National University of Science and Technology in South Korea, Queens College Art Center in New York, and the Hyde Park Art Center in Chicago. She earned a BA in Studio Art from the College of Wooster and an MFA in Sculpture from the University of Wisconsin-Madison. During a recent sabbatical, Campbell set up studio in Brooklyn and Paris. She teaches sculpture, installation and curation as Associate Professor in the Art & Design Department at Grand Valley State University in Michigan. She also served as Visiting Associate Professor/ Artist in Residence at the University of Wisconsin-Madison during the 2013-2014 academic year, teaching courses on feminist and queer art practices, publics and projection, and curation. She currently lives and works between Madison, Wisconsin and New York City.
BOSI Contemporary is pleased to welcome you to the panel discussion organized on the occasion of the exhibition "No Greater Fiction" curated by Ágnes Berecz, featuring works by Manal Abu-Shaheen, Peter Baker, Felix R. Cid, Sarah Muehlbauer, Yorgos Prinos, Hrvoje Slovenc, and Monika Sziládi, currently on view at the gallery.
How can we think of the practice and politics of photography today, after the digital turn and the rise of new formalism? Held in conjunction with the current exhibition, No Greater Fiction, the roundtable discussion will offer an in-depth look at the works on view and explore the shifting role of the medium as a documentary and narrative device. Participants include Mitra Abbaspour, Associate Curator of Photography at The Museum of Modern Art and Hrag Vartanian, Editor-in-chief and Co-founder of Hyperallergic, as well as the moderator Ágnes Berecz, the curator of the exhibition. The artists will also be in attendance.
Art Historian and Associate Curator of Photography at the Museum of Modern Art, NYC
Editor-in-chief and Co-founder of the arts blog Hyperallergic
Art Historian, Curator and Professor
“Conforming to Vicinity – A Cross-Strait Four-Region Artistic Exchange Project 2014” showcases the latest artworks by thirteen artists from Hong Kong, Mainland, Macao and Taiwan. The exhibition will be held from November 15, 2014 to February 1, 2015 at the University Museum and Art Gallery (UMAG), the University of Hong Kong.
To tie in with the exhibition, an academic symposium entitled “Conforming and Confronting: Arts Around the Cross-Strait Four-Regions”, will be held tomorrow (November 15, Saturday) for specialists, art historians and artists from the four regions to share their expertise and inside knowledge of contemporary art with all participants.
The “Conforming to Vicinity” project is curated by the chief curator, Feng Bo-yi, and the curators of the four regions, Sarah Ng Sau-wah (Hong Kong), Noah Ng Fong-chao (Macao), Hsu Woan-jen (Taiwan) and Gou Xian-xu (Mainland) and is participated by thirteen artists. The exhibits feature a wide range of art medium with twelve sets of installation/video arts, paintings and photographs by artists from the cross-strait four-regions: Otto Li Tin-lun, Keith Lam and Hung Keungfrom Hong Kong; Carol Kwok, Bonnie Leong, Kitty Leung and Eric Fok from Macao; Lee Ken-tsai, Kuo Hui-chan and Zhao Liu from Taiwan; and Ma Yong-feng, Zhang Wen-chao and Chen Wei from the mainland.
This year's creative display shows artworks that change and develop from exhibition places to places by conforming to and confronting each local environment. It is a new kind of exhibition to understand and display the exchange relationship among the cross-strait four regions. In other words, in addition to artistic exchange, the artworks will not only showcase the artists’ understanding and recognition of the four regions but display the artists’ adjustments and conflicts of different current social structures, cultural habitats and their comprehension of the local circumstances. This traveling exhibition began in Macao in March and moved to Pingtung in Taiwan in May and Shenzhen in Mainland China in July, before concluding in Hong Kong, while the exhibits in Hong Kong will be displayed as the most “complete” form. Please refer to the document “Captions” for the photos taken from the previous touring locations.
In order to educate the public and to enforce their understanding and knowledge of contemporary art, the project also includes a series of "Creating Art with Artists" workshops that run from 11 November to the end of the exhibition in early 2015.
Wax Live- Private View
Library Members Club, 112 St Martins Lane, Covent Garden
Wax Live takes over an immersive event and private view at the Library Members Club in Covent Garden to discuss the sexuality of feminism in contemporary art and culture, including woman within the role of advertising.
In conjunction with Art-Naked and The Library, Wax brings to life an important glance at the role of the modern woman and modern feminism in contemporary society. Hyper-sexualised and experimental, binding the worlds of advertising with visual art, film, performance and immersive experience, Wax Live proposes a question of how people perceive the modern woman. A powerful dialogue on how we view ourselves and each other, Wax suggests through multi-disciplinary means the conditions of our modern world, and the flexibility of our ideals, desires and beliefs.
Please email to confirm a place at the event to:
Manal Abu- Shaheen, Peter Baker, Felix R. Cid, Sarah Muehlbauer, Yorgos Prinos, Hrvoje Slovenc, and Mónika Sziládi
Curated by Ágnes Berecz
October 29, 2014 – January 3, 2015
Opening Reception: Wednesday, October 29, 6 - 9 pm
Catalogue launch: Tuesday, November 18, 7-9 pm
BOSI Contemporary is pleased to present, No Greater Fiction, a photography based group exhibition featuring the works of Peter Baker, Felix R. Cid, Sarah Muehlbauer, Yorgos Prinos, Manal Abu- Shaheen, Hrvoje Slovenc, and Mónika Sziládi. While disparate in their approaches and processes, what links this group of artists is a shared sense that what passes for everyday public activity in our current society is more bizarre, baffling, and incomprehensible than our imaginations are capable of contriving.
If there is no greater fiction than the real, why do we still insist on making sense of our lives by taking and looking at photographs that are fictions in and of themselves? The seven New York- based artists in this exhibition explore the multiple realities of contemporary life through pictures that blur the dichotomy of real and unreal, analog and digital. Whether they explore staged encounters or random intimacies among objects and bodies, they create fictions we recognize from the urban spaces and suburban interiors of the early 21st century city. Asking old questions about the joint fictions of reality and the photographic medium in ways that take us beyond the documentary and the poetical, No Greater Fiction pictures the often dystopian experiences, shifting scales and topographies of the real by reminding us that being aware of make-believes does not obliterate our need to have them.
What propels each of these artists is a recognition that visual intelligence can be made communicable when one transforms the so-called real world into photographic works of art, another world altogether. For them it is a given that photographs are inherently manipulations, yet the degrees to which they investigate this notion varies. This awareness, combined with new digital possibilities, allows them to work freely and shed the scant labels once bestowed on photographers working out in the real world, as it were. They are not concerned merely with genre, but rather, view the world itself as a medium in which uncoordinated facts unfold erratically, often pressing against each other in strange and telling ways. While their subjects and aesthetic differ, this is the field where their energies and curiosities are focused. There is no greater fiction than reality itself. For it is our habitual conceptions of reality, which photography now more than ever, calls into question.
Manal Abu-Shaheen (b. Beirut) is a Lebanese American photographer. She moved from Lebanon to New York in 2000 and received a BA degree from Sarah Lawrence College in 2003. In 2011 she received an MFA in Photography from the Yale School of Art. Her work has appeared in numerous exhibitions in and around New York, including shows at Nicole Klagsbrun Project and Camera Club of New York. She is a faculty member at the School of the International Center of Photography and Pennsylvania College of Art and Design.
Peter Baker (b. New York City, USA) is an artist and writer from The Bronx. He studied Literature & Photography at SUNY Purchase, where he graduated in 2005. In 2009, he had his first solo exhibition My Lost City: Photographs at Kris Graves Projects in Brooklyn. In 2012, he earned an MFA from the Yale University School of Art and was awarded the Richard Benson Prize for Excellence in Photography. In 2013, he participated in the Bronx Museum of the Arts 2nd AIM Biennial. He has designed and taught courses at the International Center of Photography and has been a Visiting Artist at SUNY Purchase and Bard College at Simon’s Rock. He is a contributing writer for American Suburb X and lives and works in New York City.
Felix R. Cid (b. Madrid, Spain) started working as a photographer in Ibiza and during the winters he studied Photography in Madrid. In 2002 he moved to New York and in 2004 he started a full
time program in the International Center of Photography and graduated in 2005. After several
international exhibitions, he was accepted into the MFA program in photography at Yale University where he graduated in May 2012. He lives and works in Brooklyn, NY.
Sarah Muehlbauer (b. New York City, USA) received her BA from Sarah Lawrence College in 2010, where she studied photography, architecture and art history. In 2012, she earned her MFA in photography from the Yale School of Art. She has since designed and taught undergraduate photography courses at Dowling College in New York, and worked as an architectural photographer for the Soho-based firm Alta Indelman, Architect. She currently serves as archivist and photographer for Team Gallery in Lower Manhattan, and continues to pursue freelance projects.
Hrvoje Slovenc (b. Croatia) is a photographer based in New York. He holds an MFA in Photography from Yale University School of Art. His photographs have been exhibited in dozens of shows nationally and internationally including the Museum of Contemporary Photography in Chicago, Museum of New Art in Detroit, the Bronx Museum of the Arts, Museum of Contemporary Art in Zagreb, Croatia, Museum of Modern and Contemporary Art in Rijeka, Croatia, and Young Artists' Biennial in Bucharest, Romania. His work is in the permanent collections of the Museum of Contemporary Photography in Chicago, as well as the Museum of Contemporary Art and the Museum of Arts and Crafts in Zagreb, Croatia.
Mónika Sziládi (b. Budapest, Hungary) holds an MFA in Photography from Yale (2010). She is currently at LMCC's 2014–2015 Workspace Residency program. She was a 2013 resident at the La Napoule Art Foundation in France, a 2012-2013 resident at Smack Mellon, and in 2008 she received the Gesso Foundation Fellowship to attend Skowhegan. She is a winner of The Philadelphia Museum of Art Photography Competition (2010), a recipient of the Alice Kimball English Traveling Fellowship (2010), a Juror’s Pick by Julie Saul and Alec Soth, Work-in-Progress Prize, of the Daylight/CDS Photo Awards (2010), and the recipient of Humble Arts' Fall 2012 New Photography Grant. Her work has been featured in numerous exhibitions in the United States and Europe, and it is in the permanent collection of the Philadelphia Museum of Art. She lives and works in New York.
Yorgos Prinos (b. Athens, Greece) received an MFA from the Yale University School of Art with a scholarship from Yale University in 2011. He is co-founder of the non-profit organization Αrt/Ιf/Αct and co-curator of the Depression Era Project. His work has been presented in various venues and publications in Europe, the United States, and Asia and his photographs are in private and public collections. He lives and works in New York.
Karin Janssen Project Space
213 Well Street London, E9 6QU London, UK
6 Nov - 23 Nov 2014
Opening Thursday 6 November 6 - 9 pm
Thu - Sun 12 - 6 pm
Galerie Nasty Alice, Eindhoven, the Netherlands:
29 Nov - 21 Dec 2014
Opening Saturday 29 November 3 - 6 pm
Wed - Fri 12 - 6 pm, Sat - Sun 12 - 5 pm
Chinese Whispers is a collaborative art project between Karin Janssen Project Space in London and Gallery Nasty Alice in Eindhoven, the Netherlands. Together the galleries have invited forty-nine artists, twenty-five living in the Netherlands and twenty-four living in the United Kingdom, to take part in the project.
The aim of Chinese Whispers is to research the artistic differences and similarities between Dutch and English artists: how much are artists formed by their country of residence? Is there a common language in their art? Is there a national difference in how artists respond to a given task?
By asking the artists to play a game of Chinese Whispers, in which each artist reacted on the previous artist’s work without knowing what the rest of the series looked like, the project has resulted in a series of interrelated works which are each still highly autonomous.
For four months the artists from both countries have made A4 drawings, painting and photographs, bookended by Karin Janssen (Karin Janssen Project Space) and Sebastiaan Dijk (Galerie Nasty Alice), both gallery owners and artists, who created the opening and concluding works.
Chinese Whispers will be exhibited at Karin Janssen Project Space from 6 until 23 November and will then travel to the Netherlands where it will be shown from 29 November until 21 December at Galerie Nasty Alice, Eindhoven.
Participating artists from the UK
Eliza Bennett, Benjamin Bridges, Boudica Collins, Sue Cohen, Fran Copeman, Jim Cowan, Antony Crossfield, Rebecca Davy, Karin Janssen, Helen Jillott, Cathy Lomax, Kate Lyddon, Sarah Maple, Emi Miyashita, Anne Moses, Richard Moon, Tamara Muller, Anja Priska, Chris Roantree, Christine Sawyer, Patricia Shrigley, Angela Smith, Stephanie Spindler, Tisna Westerhof
Participating artists from the Netherlands
Ron Amir, Anouk Bax, Liesje van den Berk, John Boelee, Karin Bos, Alice Brasser, Airco Caravan, Sebastiaan Dijk, Marie Louise Elshout, Jakob de Jonge, Anouk Griffioen, Simone Hooymans, Jacquem, Natasja van Kampen, Erik Klaassen, Danielle Lemaire, Daniëlle Luinge, Edith Meijering, Jolanda Moolenaar, Jos van der Sommen, Marielle Videler, Roos van Vliet, Rogier Walrecht, Daphne ter Wee, Hanneke Wetzer
For more information: www.chinese-whispers-project.com
1 November - 7 December 2014
The Barakat Gallery 58 Brook Street W1K 5DT
Private view: 6pm - 8pm, 31 October 2014
The Barakat Gallery is proud to announce the opening of an exhibition dedicated to the art of Mingqi. This event will coincide with the week of Asian Art in London. The exhibition will feature ten extraordinary pieces of early Chinese funerary objects, including beautiful animal sculptures, magnificent Tang dynasty warrior figures, and a rare pair of large well-preserved Lokapala statues.
Mingqi, literally meaning “brilliant artefacts”, were any variety of funerary furniture or objects placed in Chinese tombs in order to re-create the material environment and provide the deceased with the same comfort they enjoyed while living, thus assuring immortality. Burial figurines of graceful dancers, mystical beasts and everyday objects reveal both how people in early China approached death and reflected their attitude towards the afterlife. Viewing the afterlife as an extension of worldly life, Mingqi artefacts symbolise an eternal transcendence for the deceased.
As an example of Chinese renaissance, objects from the Tang dynasty will take centre stage as a representation of the golden age of Chinese culture. While the Tang era was one of the apices of Chinese art, the exhibition will feature sculptures from the Liao and Ming dynasties as well.
The Tang dynasty was a golden age of Chinese culture, and its art reached new levels of sophistication. Poetry and literature, sculpture and painting all flourished under an enlightened rulership. The trading route known as the Silk Road brought fortunes on the backs of camels to China, spreading the legacy of Chinese Art.
One of the most impressive objects featured in the gallery exhibition is a pair of Tang Sancai glazed terracotta Lokapala. Also known as the Devaraja, or Celestial King, these grand life-sized figures are one of the biggest Lokapala statues in existence. The fierce-faced warriors of Tang dynasty stood menacingly outside royal tombs of deceased nobles to ward off potential robbers while protecting the dead from the evil spirits. Traditionally, these harsh, armoured guardians stood on a recumbent ox, the symbol of the Celestial King’s authority. However, the guardian figures on exhibition are trampling on fully modelled demons with webbed feet and hands.
The two guardians are exquisite representations of the Sancai, or “three-coloured” glazing technique. The main technical advantage of the Sancai method was its comparatively low firing temperature of around 800 degrees. The forms of the sculpture were impressed from moulds, the various parts assembled together while still wet. With highlights added, the entirety was covered in glaze and fired. Metallic ores were used as the colouring agents: iron for red and brown, antimony for yellow, and copper for green. Occasionally, work would be coated with a special glaze and fired again in order to achieve a glossier coat. The Sancai glaze was not reserved for any particular type of work and was applied to the full range of Mingqi, including warriors, guardians, civic officials, and animals.
The refined artistry and sophisticated beauty of Mingqi continues to amaze art lovers and collectors alike. It is with reverence that these items are displayed and appreciated, as they were never intended to be seen by the living.
Please come and join us in the celebration of Asian Art in London week!
For more information about exhibition, or to RSVP to the private view, please contact us at firstname.lastname@example.org