Time Out

Time Out the magazine done by, for and aiming those people using the underground at peak-time; who work at Primark, John Lewis, Selfridges, etc, or any house agencies, as Sales Consultant/Assistant/Associate, and who spend more time interacting on social media than physically with people. Time Out the magazine made by those people that might had been voguish and leaders on their own fields of action, but who no longer are, to those same other people. Time Out is so last decade... an abeyance on the joys of playing.

I am here seated and thinking about an interesting angle on Tate’s 2014 Turner Prize

I think it is amazing what time-lapse can cause to a particular cause. People complaint about the 80s, for instances, but it may not be the proclaimed principle. The main thing about it is that it worked on the subcultural level, with extreme levels of creativity to inform about a cause deserving our attention, a movement that advocated a deep commitment to support a socio-political whatsoever - being it a lesbian or gay cause, negritude or colonialism, or, even, Samantha Fox's completely dressed performance in 'Touch Me', which is still more social-cultural provocative than Miley Cyrus almost naked performances.

We need public interventions like those, when the questioning was also relevant, not the cynical entertainment that we are offered on a constant base, by the present days, of abstract ideas documenting our ordinary everyday life routines; go and redefine off so terrible moments. The abysmal thing to say, to transform a dull language, either it be about (gratuitous) images from nipples, dicks, vaginas, anus or a person's pubic hair… whatever! Do not want to trivialise, but this idea is packed of trivial topics. Definitely, if the 80s were whatever they were, the 00s and the 10s are worse!

Only in England: photographs by Tony Ray-Jones and Martin Parr

Photographs can symbolize how similar are letters and news. The photographs' by Tony Ray-Jones and Martin Parr (until March 16th, at the Science Museum) are at appropriate circumstances, they may also promised a forthcoming inheritance or other capital gain, beyond English eccentricities, Britain contradictions, the Royal excited social customs, and tea. Partly, 'Only in England' symbolise, documents important ideas and insights, which we should pay attention.

A private view of Erik van Lieshout's work(ers)

Erik van Lieshout
Private View
Maureen Paley

Helmond Hollywood (colour copies on wood, works on paper on wood and mixed media), 2013-14 (detail)

«In his work van Lieshout immerses himself within the rituals and norms of the communities he describes. Oscillating between documentary and fictional perspectives he tells stories...» [PR] about a pink wisdom, memory and the power of perseverance over the middle class. Bringing a combination of ripe fruits on a golf course and florals (green apple, tropical fruits and stone fruits, like peaches and nectarine) shirts and robes, with a heady perfume and creamy body (honeysuckle, blossom and gingerbread) from time spent in an cheap-exotic distance destination. The work is often described as hedonistic, meaty and salacious like the cloths they wear. Just another reflection of a pink elephant in a middle class, suburban world! As Erik says, "Real Luxury is Buying Nothing".

Erik van Lieshout's Private View at Maureen Paley

Exhibition view

Untitled (3 colour copy on wood works, plasterboard and wood), 2013-14 (detail)

House of Guilt (colour copies on wood, glass and mixed media), 2013-14 (detail)

Film Production Plan (19 works on paper on plasterboard and wood), 2013-14 (exhibition view)

The Workers (HD film, colour, sound with carpet installation, 53'), 2014

The Workers (HD film, colour, sound with carpet installation, 53'), 2014

Born in Deurne, The Netherlands in 1968, Erik van Lieshout lives and works in Rotterdam. Previous solo exhibitions include Commission, MMK Museum für Moderne Kunst, Frankfurt, 2012; Erik makes Happy, BAWAG Contemporary, Vienna, 2011; How Can I Help You, Hayward Gallery Project Space, London, 2011; Im Netz, Ludwig Museum, Cologne
, 2009; Homeland Security, Projekt am Museumsplatz, Städtische Galerie im Lenbachhaus, Munich, 2007 and Guantánamo Baywatch, Hammer Projects, Hammer Museum, UCLA, Los Angeles, 2007. Recent group exhibitions include The Encyclopedic Palace, 55th International Art Exhibition, La Biennale di Venezia, Venice, 2013; Manifesta 9, The European Biennial of Contemporary Art, Genk, Limburg
, 2012 and Melanchtopia, Witte de With, Center for Contemporary Art, Rotterdam, 2011. Forthcoming projects include Manifesta 10, The European Biennial of Contemporary Art, curated by Kasper König, St. Petersburg, The Crime Was Almost Perfect, Witte de With, Centre for Contemporary Art, Rotterdam and a solo exhibition at Anton Kern Gallery, New York, all in 2014.