re-title.com
10 March 2011
  Multi Media  

ROYAL COLLEGE OF ART, London
JERWOOD SPACE, London
GALLERY ISABELLE VAN DEN EYNDE, Dubai
GALERIJA SKUC, Ljubljana
 

 
ROYAL COLLEGE OF ART, London
 
 
Marysia Lewandowska, Subject to Change, 2011
 
Marysia LewandowskaSubject to Change, 2011
ARK #50 (1972), © Royal College of Art
 
 
SHADOWBOXING
 
March 18 - April 3, 2011
 
Shadowboxing brings together projects by four artists, Mariana Castillo Deball, Sean Dockray, Marysia Lewandowska and Wendelien van Oldenborgh, in an exhibition developed in collaboration with the graduating students of the Royal College of Art’s Curating Contemporary Art MA. Using different strategies – from tinkering to direct confrontation – each of these artists considers how the media and institutions that control our behaviour and ideology can be disrupted. At the heart of the project stands the question: How can one challenge forces that have become so internalised that they are indistinguishable from one’s own shadow?
 
Marysia Lewandowska's project, Subject to Change (2011), reflects on the Royal College of Art, its past and its present. The project focuses on moments of resistance against the politics of the institution, when students have questioned the hierarchical structures of education. The project brings to light the controversial Environmental Media Department, which existed between 1968 and 1986 for students seeking a ‘redefinition of conventional fine art boundaries’; a lineage of student protests; and an installation that usurps the Senior Common Room, a members-only space in the College including selected work from the RCA art collection.
 
Mariana Castillo Deball’s The Wall and the Books (2011) comprises an intervention in the RCA library and a related installation in the Henry Moore Gallery. The work is inspired by a short story of the same name by Jorge Luis Borges about the first emperor of China, Shing Huang-Ti. For Castillo Deball’s intervention, each one of the 987 words from Borges’ story was found and ‘stolen’ from a book in the RCA library.
 
Wendelien van Oldenborgh’s slide installations, Pertinho de Alphaville (2010) and The Basis for a Song (2005), both of which will be shown for the first time in the UK, explore social conditions by focusing on relations and gestures in the public sphere within diverse cultural contexts. Pertinho de Alphaville is a montage of scenes addressing female labour in Brazil in the face of current changing economic conditions. In The Basis for a Song, two hip-hop artists use improvisation and free associations to link the urban politics of today with a moment of resistance in Rotterdam’s punk scene.
 
Sean Dockray’s Public Monument (2011) is a temporary recording studio, which the artist will use throughout the duration of the show to gather sound clips and interviews for future transmission.  These contributions will be aired live in a listening space in the Henry Moore Gallery before being stored as an acoustic time capsule for the year 2021 when digital transmission will have made traditional radio obsolete.
 
A site-specific event space conceived by RCA Architecture students, will feature a daily programme of artists’ films and videos, documentaries and feature-length films. Drawing on various threads that have emerged in discussion with the artists, the programme will focus on ideas around forms of control, resistance and collective organisation.
 
This event space will also host a series of public events throughout the duration of the exhibition.
For a full programme please visit: www.shadowboxing.rca.ac.uk
 
 
Royal College of Art Galleries
Kensington Gore
London SW7 2EU
Open: 10.00am – 6.00pm, free admission.
T: 020 7590 4444
 
 
 

 
JERWOOD SPACE, London
 
 
Jack Strange, “It’s called the man in the leg doesn’t want to be a man”, 2009
 
Jack Strange, “It’s called the man in the leg doesn’t want to be a man”, 2009
Clay, ink, dvd, dimensions variable
Courtesy of the artist.
 
 
SHOW
 
Curated by Sarah Williams
 
16 March – 21 April 2011
 
An exhibition of newly commissioned performances and artworks by Edwina Ashton, Jack Strange and Bedwyr Williams.
 
SHOW is the fourth Jerwood Encounters exhibition curated by Sarah Williams and seeks to examine the integral role that performance plays within an artist’s practice and its subsequent representation in an exhibition context. SHOW will consist of live performances and experiments in performance documentation.
 
The newly commissioned performance works will take place on the opening night and throughout the exhibition. The full performance and event programme will be announced on the JVA website.
 
Jerwood Encounters provide emerging artists with new exhibition opportunities and each of the artists has been awarded a £1500 commissioning fee to support the development and presentation of new work.
 
SHOW is the fourth exhibition curated by Sarah Williams for Jerwood Encounters, which have supported collaborative and experimental new commissions within the Jerwood Visual Arts programme. Previous Jerwood Encounters exhibitions curated by Sarah Williams include: An Experiment in Collaboration (2008), Laboratory (2009) and Locate (2010).
 
The exhibition will be accompanied by an online catalogue which will include performance documentation and essays by Sarah Williams, Curator of SHOW and Catherine Wood, Curator of Contemporary Art and Performance at Tate Modern: www.jvashow.co.uk
 
Jerwood Visual Arts will host a series of Monday evening events to accompany the exhibition on 28 March and 4 April 2011.
 
28 March 2011 at 6pm - The first in the series will be Edwina Ashton (Artist) in conversation with Mark Verhagen (Writer and Curator) and Patricia Ellis (Writer and Curator).
 
4 April 2011 at 6pm - Panel discussion that looks at the wider context of performance: documentation, objects and the collection of live works with: Bedwyr Williams (Artist), Catherine Wood (Tate Curator of Performance/Contemporary Art), Laura Eldret (Artist, Curator and part of Collecting Live Art) chaired by Sally O’Reilly (Writer, Critic and Editor).
 
Events are free but must be booked in advance. For more information contact Jerwood Visual Arts, or check the new Jerwood Visual Arts website.
 
 
JVA at Jerwood Space
171 Union St
London SE1 0LN
Gallery Opening Times: Mon - Fri 10am – 5pm
Sat & Sun 10am – 3pm
Admission: Free
T: 020 76540171
E: jva@jerwoodspace.co.uk
 
 
 
 

 
GALLERY ISABELLE VAN DEN EYNDE, Dubai
 
 
Reza Aramesh 'Action 103  City of Ramadi west of Baghdad March 2006' (Detail)
 
Reza Aramesh 'Action 103 City of Ramadi west of Baghdad March 2006', 2011
Polychromed limewood glass and wood veneers 66cm height (detail)
 
 
REZA ARAMESH
Walking in the Darkness Of A Promised Light
 
Private preview: Monday 14 March from 5 PM
Exhibition dates: March 15 – May 06, 2011
 
An exhibition supported by Ruinart
 
GALLERY IVDE is proud to present ‘Walking In The Darkness Of A Promised Light’ by Reza Aramesh, opening at the Dubai gallery on March 14th 2011, and running until May 5th 2011. This exhibition features four new photographic images and five new sculptures. As well as his solo show at Gallery IVDE, Aramesh will also be exhibiting a major new work at the gallery’s booth at Art Dubai, between March 16 – 19.
 
This exhibition is Reza Aramesh’s second solo presentation at the gallery, following his 2009 show, ‘Between The Eye And The Object Falls A Shadow’ which was widely acclaimed for its dramatic, yet thought-provoking, representations of prisoners, arranged in tableaux based on contemporary war reportage, recreated amidst the opulence of castles, palaces and stately homes. The peculiarly arresting impressions created by Aramesh served to foreground his ongoing investigations into portrayals of conflict, wealth, religion, culture and oppression – themes to which he returns in this new show at Gallery Isabelle van den Eynde.
 
Drawing on influences as varied as 17th century religious iconography, classic Iranian and European arthouse cinema, Renaissance-era painting and sculpture and contemporary news reportage, ‘Walking In The Darkness Of A Promised Light’ brings to life the inner realities excavated through Aramesh’s diverse techniques. In this new body of work, the artist positions himself centrally, amidst the swirling cross-currents of global information flow and relentless supply and demand of media imagery from across the world. Reflecting on the manner in which news media casts victims of suffering and conflict into pre-ordained clichés, he asks us to investigate anew, our own value systems and moral responses to those who wield power and influence, as well as those who suffer and sacrifice themselves. In evoking the transcendental attitude of figures in devotional paintings and sculptures from the past (clearly referencing traditional Catholic and Islamic tropes) Aramesh recontextualises his subjects in a new light that serves to invite our full engagement and moral re-assessment.
 
Building on the themes explored in ‘Between The Eye And The Object Falls A Shadow’, this exhibition presents a new series of photographs, presented as triptychs and diptychs, as well as five sculptures that employ traditional 17th century polychromatic, marquetry and wood-carving techniques. The triptych is a form usually found in Christian art, invoking the fundamental Trinity concept. Aramesh is inspired by devotional art, especially the forms that evoked suffering and martyrdom in saintly figures and he brings this beguiling context to his present-day subjects, throwing open the debate as to whether the young men captured and killed in contemporary theatres of war are also saints or martyrs of a modern age. This is the style in which Aramesh draws on in the 21st century, to re-invent today’s sainted figures – hero-victims of war and global unrest.
 
Aramesh stages recreations of events found in newspapers and television reports from images of war across the world. Continuing his methodology, the sculptures and photographs are titled numerically as ‘Actions’, and at ½ and ¾ life-sized, feature captive figures drawn from images of prisoners, humiliated and bowed. The striking juxtaposition of the meticulously-crafted marquetry on the plinths, evocative of the geometric intricacy of palatial floors with the figures of terrified, victimized men, is haunting.
 
The artist has experimented throughout his career with creating staged tableaux within dramatic surroundings, from arranging groups of homeless people within Tate Britain in London to staging a re-enactment of the traditional Changing Of The Guards in London’s Trafalgar Square, using immigrant men in place of the Queen’s guardsmen.
 
The series of photographs in this show document recreations of scenes drawn from the media, of tragedies and war – transposed to the glory and splendour of stately homes and palaces, including the Armourers & Brasiers hall in London and the Musee Rodin in Paris. The implications are clear, yet complex. In drawing out links between wealth, power, violence and conflict and in the extreme contrasts, highlighted in aesthetic terms through stark monochromes through to the ideological fabric of the work, Aramesh brings the power of religious iconography to bear on the anonymous faces and forms of those who continue to die today, in the name of dogma and blind ambition. In his sensitive, still, yet powerful works, Reza Aramesh explores the moral universes between the suffering and saintliness that we, as humans, are capable of.
 
One of the leading pioneers on the Middle Eastern contemporary art scene, Gallery Isabelle van den Eynde (previously B21) has established a reputation for sourcing and promoting the most progressive and exciting talent from across Iran and the Middle East. Based in expanded, new premises in Dubai’s Al Quoz district, Gallery IVDE continues to flourish, with a roster of globally-acclaimed names including Rokni and Ramin Haerizadeh, Reza Aramesh, Khosrow Hassanzadeh, Bita Fayyazi, Jeffar Khaldi, Ahmad Amin Nazar, Leila Pazooki, Nargess Hashemi, Shadi Ghadirian, Lara Baladi, Fereydoun Ave and Farideh Lashai.
 
Constantly seeking to challenge and inspire audiences and collectors, IVDE’s strong track record in both breaking new talent and showing established names, has driven the gallery to global acclaim and renown. Yet at the heart of the business lies a firm commitment to the artist and the promise of a professional, yet personal supportive environment in which talent and expression thrives. With a busy annual schedule of shows, each of which is accompanied by specially-commissioned catalogue, the gallery is synonymous with the ground-breaking wave of artistic activity emanating from the dynamic city of Dubai.
 
 
Gallery Isabelle van den Eynde
P.O. Box 18217
Al Quoz 1, Dubai, UAE
T +971 (0)4 323.5052
 
 
 
 

 
GALERIJA SKUC, Ljubljana
 
 
Walter Derungs, From the series: SX-70 nights , 2000
 
Walter Derungs, From the series: SX-70 nights , 2000
Courtesy of the artist
 
 
HIDDEN PUBLICS
 
March 3 - 27, 2011
 
Laurence Bonvin, Walter Derungs, Markus Dorfmüller, Esther Hiepler/Max Philipp Schmid, Emil Gruber, Martin Krenn, Andreja Kuluncic, Tanja Lazetic, Jerome Leuba, Ivan Moudov, Warren Neidich, Michaela Thelenova, Tobias Zielony
 
The exhibition Hidden Publics investigates the different moments of perceiving public space and its inherent structures, which coin the urban cityscape, but are not necessarily visible as such. The artists in the exhibition question the structures according to which the public is constituted, implying different political and social patterns based on aesthetic assumptions as arbitrary moments. How can visible aspects of a city and its surrounding space refer to a hidden background? How can different, social, political or tourist-oriented purposes appear on the surface of a traditionally conservative yet identity-generating cityscape?
 
Hidden Publics analyzes a specific kind of otherness - or in a Lacanian sense, the reverse side of the mirror - which is required for an understanding of the whole identity of the self, with its inner tensions and conflicts. How can moments of urban life be visualized as a whole, i.e. how can their inner and outer structures be revealed as the results of incoherent strategies of organization?
 
The artists in the exhibition hint at the dichotomy between the visible and its actual meaning for the public. How thoroughly have outer structures been observed to fathom the contents of the reality behind them? The artistic works present counter views that point to disharmonic moments, which can be revealed only on closer examination and which hint at the social and political barriers behind architectural facades. The photographic apparatus or the camera serves as a tool for observation. The media of photography and video, with their direct relation to reality, become decisive factors in determining the content of visible everyday scenarios.
 
This is part of the exhibition tour initiated by Kunsthalle Palazzo. Following the model of The_ artist in the (art) society 2009, the team of curators are developing the tour from the beginning and contextualizing it in the individual regional stages.
 
A publication is scheduled for the end of the tour.
 
Curators: Walter Seidl, Andrea Domesle
 
Cooperating partners:
Kunsthalle Palazzo, Liestal bei Basel
< rotor > association for contemporary art, Graz
Faculty of Art and Design at Jan Evangelista Purkyne University in Ústí nad Labem and
Emil Filla Gallery, Ústí nad Labem
 
Supported by: swiss arts council
 

GALERIJA SKUC
Stari trg 21
1000 Ljubljana
Slovenia
T: +386 1 4213140
 
 
 
 
 
 

 
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