July 3, 2007 - Louise T Blouin Institute - Gary Hill and Gerry Judah
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July 3, 2007

Gary Hill and Gerry Judah

Gerry Judah</i>, 2007, Photograph courtesy of Todd White, 2007.

Gary Hill and Gerry Judah
20th June – 26th August 2007
 
The Louise T Blouin Institute
3 Olaf Street
London W11 4BE
t: 020 7985 9600
info@ltbfoundation.org
Tuesday – Sunday (10.0018.00). Closed Mondays.
Late opening until 8.30pm on Tuesdays.
www.ltbfoundation.org

THE LOUISE T BLOUIN INSTITUTE opened new solo exhibitions by Gary Hill and Gerry Judah in June 2007. There will also be an extensive programme of lectures, education work and public events to examine issues including conflict of interest and foreign policy, and to explore new solutions for the challenges of the 21st century.
GARY HILL will exhibit two new works in the 5,000 sq ft space on the ground floor gallery.
Guilt (2006) is an intriguing installation of oversized rotating gold coins mounted on columns. Images of the artist’s brutalised face are depicted on the coins which are viewed through telescopes mounted on pyramid plinths. The work is set to a provocative voiceover by the artist.
Frustrum (2006) incorporates a gigantic virtual eagle ensnared in an electric pylon, projected in a darkened room across a ten-metre tank of oil. Despite the constraints of the tower, the eagle beats its huge wings to the sound of a cracking whip. The reflection of the bird ripples across the tank of oil in which a gold bar lies half-submerged. Inscribed into the gold bar is a maxim which reads: “FOR EVERYTHING WHICH IS VISIBLE IS A COPY OF THAT WHICH IS HIDDEN”.
GERRY JUDAH will exhibit a new body of work to include eight white on white panoramic landscapes that challenge the boundary between painting and sculpture. Judah’s work is inspired by images of war zones and takes as its subject the horror of war and its devastating impact on the landscape of the Middle East and elsewhere. This new body of work is a direct response to the Iraq War and recent events in Lebanon, although Judah’s landscapes of decimated settlements are generic, and not geographically specific.

Judah creates delicate collages of desolated urban fabric. Scores of miniature buildings fixed onto the canvas are systematically destroyed by the artist to create a ‘presence of absence’. Immaculately constructed and lacquered in layers of white acrylic gesso, his paintings are both environmentally and politically charged.

Both Hill and Judah create a mille feuille of references through their work, whether art historical, political or environmental, which challenge the viewer to consider our relationships to each other globally, our future together and solutions.

Related Events

Tuesday 10th July
Conor Gearty: Can Democracy withstand the “War on Terror”?
Professor of Human Rights Conor Gearty poses key political questions facing the world today. Can democratic and human rights values be rebuilt, or is the ‘War on Terror’ now a permanent feature of our democratic culture

Tuesday 24th July
Richard DeDomenici: Did Priya Pathak Ever Ger Her Wallet Back?
Subversive one-man think-tank Richard DeDomenici explores the complicated relationships between his artwork and the police in this provocatively topical solo show.

Tuesday 31st July
David Littlefield: The Power of Absence
Architectural journalist David Littlefield explores the narratives implicit in the artworks of Gerry Judah, and how the abandoned, lifeless ruins of the artists reliefs are emblematic of ways of seeing.

Tuesday 7th August
John Keane: Painting is History
Artist John Keane will trace the development of his work over the last 30 years and discuss how he has sought to address unfolding contemporary history, with particular reference to conflict and the pursuit of violence for political ends.

Tuesday 21st August
Roger Tolson: The Exploded View — Images of the city at war
Tolson, Acting Head of Collections at the Imperial War Museum London, will explore how artists have described cities during modern warfare

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