The Uneventful Day: Jim Woodall, Alexander Page and Luke Burton

Jim Woodall, Alexander Page and Luke Burton
The Uneventful Day
Carroll / Fletcher

Luke Burton, The Insistence of Form (30x20cm, series of 29 photographs), 2011-2013

Alexander Page, Myself not least (158x127cm, digital C-type), 2013

Alexander Page, A wide sweep of solitude (50.6x63.5cm, C-type mounted on aluminium), 2012

Jim Woodall, You Have to Keep Building To Make It Stand (concrete, steel, plastic, fabric, calcium oxide and ferric oxide), 2013

Luke Burton, High Line (HD video, 6'), 2013

Alexander Page, How I Felt About You Then and How I Feel About You Now (101.6x127cm, C-type mounted on aluminium), 2008-2013

Jim Woodall (b.1978, Oxford) lives and works in London. Woodall works across diverse media: sculpture, photography, video, installation and performance. His work stems from a personal and socio-political encounter with the built environment and reflects upon land ownership, human-led accelerated entropy and how technology affects our relationship with and memory of landscape.
Recent exhibitions include Tomorrow People, Elevator Gallery, London, 2013; React, Dilston Grove, 2013 and Olympic State, See Studios, London, 2011.
Woodall was a founding member of CutUp collective, an interventionist art group, from 2004-9.

Alexander Page (b. 1983, London) lives and works in London. Page's work engages with memory and landscape. Landscape is used as a foil or a cipher to unlock direct relationships with the self, memory, nostalgia, loss and love. His work speaks of wandering, nostalgic journeys, of days spent lost in reverie but also of art and image making as a form of release from melancholia.
Recent exhibitions include A Dense Glitter of Alternatives, Vitrine Gallery, London and Like a Monkey Puzzle Tree, Copeland Park Gallery, London (as part of the Art Licks festival), both 2013.

Luke Burton (b.1983, London) lives and works in London. Burton's work crosses sculpture, installation, photography, video and drawing to explore the irreducible complexity of aesthetic reception and pleasure, and probe the convoluted relationship between architecture, class and taste. Humour and play infiltrate a restrained and serious language of the decorative within his work and enable a critical dissidence from formal and socio-political constraints.

Charles Avery & Tom Morton: It Means It Means! – A Drawn Exhibition

Charles Avery & Tom Morton
It Means It Means! – A Drawn Exhibition
Museum of Art, Onomatopoeia and Pilar Corrias

Charles Avery, Untitled (It Means It Means; Bourgeois, Friedrich, LeWitt, Lichtenstein, Malevich, Morris, Polke, Stiehlitz) (194.1x249.2x7.9cm, pencil, ink, acrylic and gouache on paper), 2013

Charles Avery, Untitled (View of the MoAO from the direction of the Place de la Revolution with Hammons, Hepworth, Koons, Unknown Easter Island Artist) (252.4x408.5x10.2cm, pencil, ink, acrylic and gouache on paper), 2013

Charles Avery, Untitled (View of the MoAO from the direction of the Place de la Revolution with Hammons, Hepworth, Koons, Unknown Easter Island Artist) (252.4x408.5x10.2cm, pencil, ink, acrylic and gouache on paper), 2013 [Detail]

Charles Avery, Untitled (It Means It Means; Abramovic and Ulay, Goya, Hesse, Riley) (75x104.5x7cm, pencil, ink, acrylic and gouache on paper mounted on linen), 2013

Charles Avery, Untitled (It Means It Means; Gonzalez-Torres, Ray, Riley, Watteau) (75.9x99.9x7cm each, pencil, ink, acrylic and gouache on paper mounted on linen), 2013 [Diptych]

Charles Avery, Untitled (It Means It Means; Duchamp Etant Donnes) (169x228.1x7.9cm, pencil, ink, acrylic and gouache on paper), 2012 [Detail]

Charles Avery, Untitled (It Means It Means; Hiorns, Lozano, Ray) (122x189x8cm, pencil, ink, acrylic and gouache on paper), 2013 [Detail]

Charles Avery (b.1973, lives and works in London and Mull, UK) has had solo exhibitions at: GEM, Den Haag (forthcoming 2015); FRAC Ile-de-France Le Plateau Paris, Kunstverein Hanover, EX3 Florence (2010); Parasol Unit London, National Gallery of Modern Art Edinburgh, Museum Boijmans Van Beuningen Rotterdam (2008). He represented Scotland at the 52nd Venice Biennale (2007), and has participated in numerous group exhibitions, including “British Art Show 7” (2010-11), “Altermodern: Fourth Tate Triennial” (2009, curated by Nicolas Bourriaud), and the 2007 Lyon and Athens Bienniales.

Tom Morton (b.1977) is a London-based curator, writer, and Contributing Editor of frieze. He was co-curator of the quintennial travelling exhibition “British Art Show 7” (2010-2011), and has worked as a curator at the Hayward Gallery (2008-11) and Cubitt Gallery, London (2006-7). He was co-curator of the 2008 Busan Biennale, and curated the exhibition “How to Endure” for the 2007 Athens Biennial. In late 2013, he will co-curate a survey of recent British and Polish art at the CSW Ujadowski Castle, Warsaw. Morton’s writing has appeared in numerous exhibition catalogues, and in journals including frieze, Frog, Bidoun, and Metropolis M.

Bloomberg New Contemporaries 2013

PRESS RELEASE:

Institute of Contemporary Arts
Bloomberg New Contemporaries 2013
27 November 2013 - 26 January 2014

«This year's Bloomberg New Contemporaries exhibition at ICA includes works by 46 participants following a successful edition last year which saw just over 42,000 visitors through the space. Selectors Ryan Gander, Chantal Joffe and Nathaniel Mellors have chosen outstanding works by the most promising artists coming out of UK art schools from a range of over 1,500 submissions.

Throughout the exhibition's history a wealth of established artists have participated in New Contemporaries, including Jake & Dinos Chapman, Anthony Gormley, Damien Hirst, David Hockney, Mike Nelson and Jane and Louise Wilson; whilst more recent emerging artists including Ed Atkins, Peles Empire, Nathaniel Mellors, Haroon Mirza and Laure Prouvost have also shown their work.

Two main features distinguish the New Contemporaries selection process from other submission exhibitions: there is absolutely no pre-selection and the majority of the works included in the exhibition have been selected as a result of actual time spent with the artwork rather than solely from a virtual image.

This year the final works span a wide range of mediums from sculpture, photography and video works with installation art taking centre stage. The artists appear to be concerned by materiality and image manipulation as well as the construction of space and narrative. Whilst some artists appear concerned with the formal aspects of art production some works tap into popular and domestic culture through the use of Youtube content and household objects.

Participating artists for 2013 are: Aisha Abid Hussain, Rebecca Ackroyd, Thomas Aitchison, Lewis Betts, Jason Brown, Fatma Bucak, Agnes Calf, Lauren Cohen, Patrick Cole, Menna Cominetti, Calum Crawford, Mark Essen, Adham Faramawy, Ophelia Finke, Grant Foster, Archie Franks, Joe Frazer, Kate Hawkins, Adam Hogarth, Catherine Hughes, Antoine L'Heureux, Roman Liška, Lana Locke, Alexandra McNamee, Steven Morgana, Laura O'Neill, Hardeep Pandhal, Julia Parkinson, Joanna Piotrowska, Hannah Regel, Dante Rendle Traynor, Daniela Sarigu, Ferdinand Saumarez Smith, Yves Scherer, Simon Senn, Isabelle Southwood, Josephine Sowden, Marlene Steyn, Matthias Tharang, Shelley Theodore, Esme Toler, Sarah Tynan, Maarten van den Bos, Dominic Watson, Tom Worsfold, Tim Zercie.

New Contemporaries is the leading UK organisation supporting emergent art practice from British Art Schools. Since 1949 New Contemporaries has consistently provided a critical platform for new and recent fine art graduates primarily by means of an annual, nationally touring exhibition.

‘We are thrilled that this year's New Contemporaries, the result of an engaging selection process, is to come once again to the ICA. The combination of such a vital venue with the most compelling in recent art will make for an amazing experience.’ – Sacha Craddock, Chair of New Contemporaries

‘I loved the experience of being a selector and feel very privileged to have had such a great insight into what’s going on in British art schools today. It is extraordinary to see the full heart and motivation participants applied to their applications.’ - Chantal Joffe, Bloomberg New Contemporaries 2013 selector

‘Work that is articulate and masters the visual language and work that splutters and stutters aimlessly. Artists whose motivation is need led and artists whose motivation is want led. Artists that make work because it's all they can do and artists that make work because they want to be artists. The overall submissions this year were generally representative of what is out there.’ – Ryan Gander, Bloomberg New Contemporaries 2013 selector»

Breaking the Mirror of Silence

PRESS RELEASE:

Angus-Hughes Gallery
Breaking the Mirror of Silence: New works by thirteen contemporary artists working with sound

26 November – 1 December

Opening Night:

Monday 25 November 6-9pm

With a performance by ANY

Breaking the Mirror of Silence LIVE:

Saturday 30 November 11am - 9pm

Lauri Achté | Giulia Cadau | Emanuele Cendron | Sunil Chandy | Qi Gao | Robbie Judkins | Howie Lee | Sophie Mallett | Peter McKerrow | Irina Zakharova | Yiorgis Sakellariou | ANY (Angela Nina Yeowell) | Aurélie Mermod

«Works incorporating sound are rapidly becoming more entrenched in survey exhibitions of contemporary art. Yet, three years after the Tate dropped the “visual” from the Turner visual art prize, the relationship between sound art and visual art is still indistinct. Rather than accepting a submissive subdomain of a new visual art world, sound art has brought with it its own internal complexes and its inherently knotty relationships to such domains as performance, music, film and sound design. Now that the customary silence of the exhibition space has been decisively swept away by the proliferation of new approaches to technologies and domains of practice, Breaking the Mirror of Silence seeks to amplify crucial debates about sound in contemporary art.

The works in Breaking the Mirror of Silence each propose different ways in which sound in the arts can be a vehicle for exchange in gallery exhibitions. The artists come from a wide range of sound-based practices, linked by their involvement in the innovative MA Sound Arts programme at London College of Communication.

On the Saturday Breaking the Mirror of Silence LIVE will include a morning symposium hosted by CRiSAP (Centre for Creative Research in Sound Arts Practice) followed by a series of live performances.

11:00 - 14:30: Symposium

The symposium will include the exhibition's curator Mark Jackson in conversation with Martin A. Smith, a chance to talk to the artists about their work and a performance by Lauri Achté.

18:00 - 21:00: Performance Evening

An evening of performances by Robbie Judkins, Howie Lee and Yiorgis Sakellariou

Breaking the Mirror of Silence is curated by Mark Jackson, supported by London College of Communication and CRiSAP, and presents the final work of the MA Sound Arts graduates of London College of Communication. Entrance to the exhibition, performances and symposium is free.»

A London

- Do you want to come for a drink?
- Why didn't you call me, before? Had spent all day at home!

Matt Johnson

It wasn't the best day I ever had, definitely. In particular due to the idiot, with whom I have to share the same sleeping roof, and to the chauffeur with a girl's name, which occasionally I bump into at exhibits and other stuff. So, for the exhibition of Matt Johnson (which had a so embedding sentence in the Press Release, "It has consequences. If it wasn't there, we wouldn't be here", expressed by Peter Higgs, Nobel Prize-winning Physicist, on the Higgs boson particle, with which I fell a kind of physical fusion), at Alison Jacques Gallery (London), I didn't have a unique or thoughtful comment. But, it is worth posting at the blog. To this, I also have to add a much boring talk, about a very much interesting topic, on colour and sound. While, throughout the day, I have managed to write the interview questions for AB, and send them to Joana. It was also a day for meditation, a boredom day.

On the other hand, it is this kind of situations that make my life worth living, though. It gives the hedge required to be in constant alert to possible situations that might arouse in life.

Matt Johnson was born in New York in 1978, and lives and works in Los Angeles. He trained in the New York Studio Program, NY, Maryland Institute College of Art in Baltimore, MD, and the University of California Los Angeles, CA. He has exhibited widely in such international venues as the Hydra Workshop, Hydra, Greece (2011), The Hammer Museum, Los Angeles (2009 and 2005); The Mori Art Museum, Tokyo (2007); and Astrup Fearnley, Oslo, Norway (2005; touring venues included Bard College, New York, NY; Serpentine Gallery, London, UK; Reykjavik Art Museum, Reykjavik, Iceland; and Songzhuan Art Center, Beijing, China). Recent solo exhibitions have included 303 Gallery, New York (2012) and Blum & Poe, Los Angeles (2011).

Katy Moran

Katy Moran
Modern Art/Stuart Shave

Born in 1975, in Manchester, Katy Moran, paints' themes that represent the city restless movement. A body of work in an abstract style that make us remember this spatial context. This motive is complemented by an interest in collage, as an expressive technique. In this way, the artist explores and employs irregular patterns in her paintings, composed by layers of fragments of images and materials found in everyday life in order to create new compositions. In a way, Katy Moran's paintings are reminiscent of works such as Broadway Boogie Woogie (1942-1943 ), from Piet Mondrian, or Broadway by Light (1958), from William Klein. The eleven surfaces feature us dissonance of materials found, in paper or tissue, which comprise in a disorderly way scenes that we relate to various places, moments and chance encounters that compose and construct the different parts and stories of life in a city.

«Katy Moran’s exhibition at Modern Art is comprised of paintings made over the course of the past two years. It is a group of works that shows a progressive development of her approach to the making of paintings, influenced by her interest in collage techniques. The surfaces of her paintings are increasingly layered with fragments of found images and material. In some cases, entire paintings of Moran's own have been used as raw material, cut up and recombined into new compositions.

Katy Moran lives and works in London. She was born in Manchester in 1975, and completed an MA Fine Art in painting at the Royal College of Art, London, in 2005. Katy Moran’s work has been the subject of solo exhibitions at the Douglas Hyde Gallery, Dublin, Ireland (2013); Wexner Center for the Arts, Columbus OH, USA (2010); Tate St Ives, St Ives (2009); and Middlesbrough Institute of Modern Art, Middlesbrough (2008). Her work has been included in the recent exhibitions Painter Painter, Walker Art Gallery, Minneapolis, MN, USA (2013); Contemporary Painting, 1960 to the Present: Selections from the SFMOMA Collection, SFMOMA, San Francisco, CA, USA (2012); and Art Now: Strange Solution, Tate Britain, London (2008).» [...MORE...]

John Houck: IJ and John Giorno: Everyone Gets Lighter

Max Wigram Gallery
John Houck
ij

John Houck (b. 1977 in South Dakota) lives and works in Los Angeles. Recent solo exhibitions include A History of Graph Paper, On Stellar Rays, New York, 2013; To Understand Photography You Must First Understand Photography, Kansas Gallery, New York, 2012; Recursion, Bill Brady/KC, Kansas City, 2012. His work has been included in exhibitions at Galerie Marian Goodman, Paris, 2013; Art in General, New York, 2010; The Kitchen, New York, 2010; Hammer Museum, Los Angeles, 2007; Millennium Museum, Beijing, 2006; Centre Pompidou, Paris, 2006. In 2010 Houck participated to the Whitney Independent Study Program, New York.

John Giorno
EVERYONE GETS LIGHTER

John Giorno (b. 1936 in Brooklyn) lives and works in New York. Giorno’s solo exhibitions include EATING THE SKY, Broadway Billboard at Socrates Sculpture Park, Long Island, NY; Faux Movement, Centre d’art contemporain, Metz; Star 69: Dial-A-Poem Relics, Venice Biennale, and gallery exhibitions at Galerie Almine Rech, Paris 2012 and 2009, Almine Rech Brussels, 2010, Nicole Klagsbrun Gallery, New York, 2010, Galerier de Jour AgnesB, Paris 2005. Group exhibitions include Imagine the Imaginary, Palais de Tokyo, Paris, 2012; Ecstatic Alphabets/Heaps of Language, MoMA, New York, 2012; Traces du sacré, Centre Pompidou, 2008; Martian Museum of Terrestrial Art, Barbican Centre, London, 2008. Giorno has been a prolific performer since the 1960s, and as Giorno Poetry Systems he released more than 50 albums of music and poetry. He famously was the subject of Andy Warhol’s first film, Sleep. He is the author of several poetry collections including Subduing Demons in America: Selected Poems, 1962–2007. Giorno’s work is part of important public collections, including Centre Georges Pompidou, Paris; Musée National d’Art Moderne, Paris; MUDAM, Musée d'Art Moderne Grand-Duc Jean, Luxembourg; MoMA, Museum of Modern Art, New York. Giorno will be the subject of a major retrospective of his life and work at Palais de Tokyo, Paris in 2015.

Kevin Francis Gray

A London

It is amazing what people put under or use the denomination "culture difference" to excuse for their lack of education and respectfull communual living. I'm, still, deeply amazed when I found out that there are people living in this country (England) for over than six year and what should be their main mean of/for communication - spoken English - is as bad as the one from a toddler just learning to speak and construct meaningful sentences that should might be easily understood by others. Six years, taken advantage of all the provided free healthcare and social security that England has to offer - an organise and respectfully society sometimes more social than those so called socialist states - for the others' culture society - relatively speaking that is. This is just what I would denominate of pure arrogance and pridefulness laziness! Or, furthermore, when taking a cake into the birthday person's table, you have to walk through a sea of people, and, by the time you get there, half of the cake has disappear under the greedy hands of those invited people, from a "culturally different background". No wander I try to avoid those so called places identified as being of a "cultural diversity background". The lack of respect, civility, how to live in a dream like society. Throw them into the stake and let them burn in an undomesticated manner and not held in to the servitude they are use to live in. In a way, it does induce me to make connections and relational links to some artists that create artworks with an relational intention, make the observer to participate, the audience to be part of the artwork's agency, but, when it get's into a museum, someone expresses that, "because, now, this work is in a museum, you can't participate in the experience, you can't be part of the agency". It is so obnoxious!

Southbank Centre Christmas Market

The Southbank Centre Christmas Market brings the real German Christmas feeling to Southbank Centre’s Winter Festival. From 15th November – 24th December 2013, Queen’s Walk along the Thames (London Eye to Waterloo Bridge) turns into a christmassy promenade excellent to experience a taste of what a traditional, beautifully lit, German style Christmas Market has to offer at the Southbank Centre, in London! 80 authentically decorated wooden chalets will sell a wide range of unique hand-crafted gifts and unusual Christmas presents: wooden and soft toys, unique jewellery, hand made soaps, a warming “Glühwein” (German Mulled Wine), the famous German Bratwurst or indulge yourself with roasted nuts, gingerbread hearts, the traditional Christmas music and many other delicious treats, filling them with the Christmas spirit.

Festim [para Paulo Reis]

Albuquerque Mendes

Galeria Graça Brandão

Novembro 2013

A London

Gerrard Street with Wardour Street

Taylor Wessing Photographic Portrait Prize 2013

Katie Walsh by Spencer Murphy, 2013

This year, to my displeasure, couldn't find a pic taken by someone we care, on the National Portrait Gallery walls. C. S., better luck next year, for sure!

Lily Cole by Rosie Hallam, 2013 (front) and Maria and Corinne (from the series After Sargent), by Lydia Panas, 2012

David Korty: Have/Had

«David Korty’s latest exhibition at Sadie Coles HQ presents a series of eight new paintings alongside a series of ceramic sculptures which mark a dramatic new departure for the artist. Employing collage, ink and pencil, Korty’s latest paintings are sizeable in scale and coolly understated in palette. Collectively titled Blue Shelf, they are each divided into multiple ‘tiers’, their crisply delineated compartments calling to mind the exacting proportions of Donald Judd’s plywood boxes as well as the gridded or subdivided fields of various abstract painters. Yet Korty has arrayed these tiers with an assortment of monochrome shapes, conveyed in dilute ink and silhouetted against a midnight blue ground. Through a rhythmic interplay of line, shape and colour, he distances the paintings dramatically from their sources (mostly Korty’s own drawings), creating images that are pregnant with ambivalence, lurching between representational and abstract modes.

The miscellaneous forms housed on Korty’s ‘shelves’ range from recognisable ornaments (masks, busts, globes) to boxed-in sections of pattern, geometric cut-outs and gestural riffs. Certain works evoke the ephemera of the artist’s studio – propped up studies and drawings, rows of books and nondescript containers.» [... MORE ...]

David Korty (b. California, 1971) trained at the Rhode Island School of design and the University of California, Los Angeles. He has been exhibited widely throughout the United States and Europe, with recent solo exhibitions including those at Night Gallery, Los Angeles (2013), and Kimmerich, New York (2012). His work has featured in group shows including the Glasgow International Festival, Glasgow, UK (2012); Painting Codes: I Codici della Pittura, Galleria Comunale d'Arte Contemporanea di Monfalcone, Italy (2006); and Painting on the Move, Kunstmuseum Basel, Museum für Gegenwartskunst, Basel, and Kunsthalle Basel (2002). In 2008 a new book on the artist's work featuring a text by Rachel Kushner was published by Sadie Coles HQ, Michael Kohn Gallery and Koenig Books.

A London

Thilo Heinzmann's The Belle Show (exhibition view), at Carl Freedman Gallery

Thilo Heinzmann (b. 1969) lives and works in Berlin. Recent solo exhibitions include Guido Baudach, Berlin; Heinrich Ehrhardt, Madrid; and dépendance, Brussels.

Thilo Heinzmann's The Belle Show (detail), at Carl Freedman Gallery

Heidi Bucher's Rooms are Surrounding, are Skins (exhibition view), at The Approach

Heidi Bucher's Rooms are Surrounding, are Skins (detail), at The Approach

Heidi Bucher's Rooms are Surrounding, are Skins (detail), at The Approach

Wendelien van Oldenborgh's Bete & Deise (2012), in 'Dear Art', at Calvert 22 Gallery