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Jerwood Space, London

 

 

LABORATORY

 

29 July - 30 August 2009

Opening Party Tuesday 28 July 6.30-8.30 & Closing Party Thursday 27 August 6.30 - 8.30 pm

Evening events Monday 10 & 17 August 6-8pm

STEVEN EASTWOOD - FILM MAKER

JOCK MOONEY - SCULPTOR

MIA TAYLOR - PAINTER

3 ARTISTS, 3 GALLERIES, 4 WEEKS ON SITE

A one month period of art production and experimentation on site at the Jerwood Space Gallery exploring the processes involved in making, curating and exhibiting art.

 

Curator Sarah Williams, writer Pryle Behrman and photographer Paul Winch-Furness will be on site throughout the exhibition documenting developments and uploading them to the Laboratory Blog.

 

Kathleen Soriano, Director of Exhibitions at the Royal Academy of Arts, will conduct conversations with the curator and artists during the exhibition.

 

Design team The Partners will use the blog to create a catalogue in real time in the gallery.

 

For the latest updates on developments please visit the Laboratory Blog

www.jvalab.co.uk

 

Jerwood Visual Arts was intrigued to know how the exhibition programme at Jerwood Space could be developed to help emerging artists in a relevant and exciting way at a crucial stage in their careers. We asked three emerging artists the question: if we were to hand over one of three of the galleries at Jerwood Space for one month, what would you do with it? The three selected artists, Steven Eastwood, Jock Mooney and Mia Taylor, each proposed to use the galleries as a site for experimentation. The resulting exhibition will attempt to explore the process and discourse surrounding art and exhibition production. The gallery will be a testing ground for new works and a chance to work on larger-scale pieces as the artists temporarily relocate their studios to the gallery space. Steven Eastwood will show some of his films whilst working on a new one, experimenting with formats for a planned feature length film/video intended for dual projection in the gallery. Jock Mooney will make a drawing installation and expand his series of hand-painted, glossy sculptures. Mia Taylor will open up her practice to the 'fabric' of the project, using the art, texts, and materials found in and around the site. She will respond to the interactions between the artists, contributors, visitors and other users of Jerwood Space, using a series of screens which will act as a mobile studio space. And, given that this is a Laboratory, all of the above may change...

Visitors to Jerwood Space will not only be able to see the artists at work, but also examine how the decisions of curation, design and promotion for 'Laboratory' were made - vital parts of the exhibition process that are normally hidden from view. At the opening party visitors can expect to see the gallery ready for artists to begin their month of working, and by the closing party a development of work charting the one month period. The exhibition catalogue will document the decision-making of curators, writers and designers in the lead-up to the exhibition and how the resulting decisions change in response to what the artists choose to create. Each day, text by Pryle Behrman will be added to the catalogue, while also documenting the development of a piece of critical writing for the exhibition catalogue. Like the artists' work in the 'Laboratory', this text will not only show the final work but also the false starts, dead ends and changes of mind which mark the creative process. The exhibition catalogue will be printed on site, with new pages added each day, and will also be viewable online. A limited edition of the catalogue will be available to purchase at the end of the exhibition.

 

Laboratory forms part of the Jerwood Visual Arts series. Launched by the Jerwood Charitable Foundation in 2006, Jerwood Visual Arts is a series of awards, prizes and exhibitions that celebrate a range of disciplines across the visual arts, including painting, drawing, sculpture, applied arts, photography and moving image. In addition to Jerwood Visual Arts, the Jerwood Charitable Foundation also works with artists and organisations across the performing arts, music, literature and film, with a focus on supporting emerging practitioners..

Image:
Jock Mooney 'Drying Rack', plastic modelling compound, wood, plasticine, enamel paint
Courtesy of the artist and Jerwood Space, London

Jerwood Space
171 Union Street
London SE1 OLN
+ 44 (0) 20 7654 0171

Jerwood Space

Laboratory Blog

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Galerie Michael Janssen, Berlin

 

 

BORDERLINE PLEASURE

10 July to 29 Aug 2009

Galerie Michael Janssen is pleased to announce the group show "Borderline Pleasure" curated by Lukas and Sebastian Baden.

Dineo Seshee Bopape | Olaf Breuning | Corey D'Augustine | Christian Ertel | Stelios Faitakis | Wolfgang Ganter | Andrew Gilbert | Samara Golden | Axel Heil | John Isaacs | Christof Kohlhöfer | Schirin Kretschmann | Dirk Meinzer Dawn Mellor | Jürgen Palmtag | Stephane Pencreac'h | Gilad Ratman | Tim Roda

We have chosen the title "Borderline Pleasure", which has as its central theme the limits of what pleases the gaze. On view will be works whose imagery either depict the naughty, cruel, disordered or dirty or stages these negative ends of the pleasure spectrum in a technical way.

Either way, the resulting works embrace an aesthetization that easily tends to cynism - sort of anticipating the hangover after the eye-candy-overdose. Borrowing from the connotations on both sides of the term, "Borderline Pleasure" diagnoses society as generally suffering from both social distortion and mental instability, but very masochistically taking pleasure in reflecting itself in that stage. In the Freudian explanation, the compulsion to repeat imagery that conjures up traumatic events or at least borders at the very unpleasant, is the signature of the death drive that goes beyond the pleasure principle. Howerer, this exhibition does not aim to illustrate trite academic iterations or dismiss society merely as a clinical case. The works on display rather raise the issue of aesthetic relief by putting the spectator in an undecided situation between self-enjoyment or agony of perception and comprehension.

The show will be devided in three chapters: Part one will be more on the playful, humorous side, with punch lines that might leave the viewer self-conscious of his own amusement. Part two will dig into the abyss of mental enjoyment and feature works that embrace the morbid, uncanny and blatantly violent, stopping short of graphic embarrassment through their expressive, blurry and ironic happily-colorful style. Part three will serve as sober intermezzo with luring optical effects and the ambiguous pleasure of presumably pure formalistic interventions. Chapter four will comprise two video installations that deal with the contradictory self-image of man, lyrically assuming the "borderline"-paradigm and turning it onto the pleasure of visual narrative.

The artists in the show have backgrounds as heterogeneous as the media that they work in. They are united though their message, attitude and style, which this exhibition aims to bring to the fore. Most of the participating artists have more or less fast ties to FGS gallery in Karlsruhe where their work was featured in solo or group exhibitions. A few artists have been invited to participate that have not yet shown in either gallery, FGS in Karlsruhe and Janssen in Berlin.

We hope that you can follow our borderline of pleasure. Please enjoy responsibly.

Lukas and Sebastian Baden

 

 

Image:
Installation view
"Borderline Pleasure" 2009
Galerie Michael Janssen, Berlin

Galerie Michael Janssen Berlin
Rudi-Dutschke-Straße 26
( formerly Kochstrasse 60 )
D-10969 Berlin
+49 30 2592725-0

 

Galerie Michael Janssen Berlin

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Galerie Anita Beckers, Frankfurt

 

 

Christiane Feser & Barbara Hlali
Shiny Dark Clouds

3 July to 29 Aug 2009

With the exhibition "shiny dark clouds" the gallery presents the work of two young artists:

Christiane Feser (* 1977) and Barbara Hlali (* 1979).

Christiane Feser shows large, abstract and classic-looking black and white photographs whereas Barbara Hlali a wall installation with expressive and figurative drawings, coloured animated films and experimental videos. Despite the diversity of the works, associative connections between both of the artists can be seen, either in the choice of the motifs as well as in their technical approach.. These allow for an exciting interaction between the various pieces in the exhibition.

In the works of both artists the motif of the bird appears. While in Christiane Feser's images low perspectives of pigeons' swarms are captured into summarized abstract shapes, in Barbara Hlali's drawings these turn into flapping and falling birds. Both artists use symbolic motifs: the dove as a peace symbol or the embodiment of the Holy Spirit, birds as messengers between this life and the Hereafter, as a symbol of the human soul, or as an announcement of misfortune and death.

The associations of impermanence and death, this life and the Hereafter are evoked by the two artists in a couple of other ways.. Feser and Hlali deal with folding paper. Two thoughts come into the viewer's mind: on the one hand, from something very simple like a plain sheet of paper something of value is created, on the other hand through the crush of the paper an aspect of devaluation is achieved. Christiane Feser uses as the Folds as "prototype". They are the easiest way to produce a three-dimensional shape from any surface. Moreover, the folds of paper work with the basic conditions of photography: light, shadow and paper. The artist arranges its surreal look-like wrinkles in digital images from an archive with thousands of photographs.

In her video "Busayyah", Barbara Hlali deals with the finding of a Kurdish mass grave near the desert city Busayyah. On the TV screen, the simple action of folding the paper in combination with drawings turns into a silent picture of the cruel and incomprehensible, only to illustrate the idea of impermanence and death.

Finally, associative connections between the works of Feser and Hlali can also be found in the way they work, in a certain condensation of individual parts in order to create entire new structures. In Christiane Feser's pieces this takes place on an abstract level. She adds individual digital photographs to produce "all over" structures - as in the Fold images. The pigeon swarms are, on their turn, captured in a way that the individual animals merge into independent forms on their own. Hlali also investigates into this aspect but in a political context. In her video "Revolution Contra Revolution" a mass of people turns into a coloured print of a single figure on the wall. Here as in the series of small drawings, the blurring of individual opinions within large political movements and their reversal against the individual becomes the main issue.

Both artists have found a new use for the media they handle. Here, analog, haptic media are combined with digital media. Images are re-worked, real photographs deconstructed and reconnected in a way in which media questions reality and reality is the result of a reconstruction process.
In Hlali`s pieces this takes place by working directly with the classic materials of artistic brushstrokes and color on the screen. In this way the documentary media material is covered, however, certain aspects such as the effects of armed conflict are pointed out and critically made visible. For a long time, Feser has been dealing with the changes in the meaning of photography under the digital conditions. The works on display combine both sculptural, photographic and graphic ways of working.

 

 

Image:
Christiane Feser & Barbara Hlali
Shiny Dark Clouds
Courtesy of Galerie Anita Beckers

 

Galerie Anita Beckers
Frankenallee 74
60327 Frankfurt
Germany
+49 69 739 009 - 67

Galerie Anita Beckers

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D'Amelio Terras, New York

 

 

 

Tables and Chairs
Curated by Jedediah Caesar and Shana Lutker

Featuring the work of Justin Beal, Mario Correa, Kate Costello, Katie Grinnan, Aiko Hachisuka, Vishal Jugdeo, Lauren Lavitt, Allison Miller and Rebecca Morris with selected works by Alice Hutchins

July 1 - August 7, 2009

Originally this show was supposed to be about a moving truck going cross-country packed with art from Los Angeles. We'd invite a bunch of artists to contribute something and drive a truck around collecting pieces. When it was full, we'd drive eastward, show up in New York and put something together. This is basically what happened, minus the U-haul. "Tables and Chairs" brings together nine LA-based artists paired with selected works by Alice Hutchins. This show grew from associations in artworks that share an interest in abstraction, geometry, interaction, and dissolution.

Studios were visited and pieces were accumulated, withdrawn and incorporated back in again. Some works had been in our minds for a long time, a few offered from their resting places in studio corners. Perhaps this specific collection came about because of the camaraderie that is present when artists act as curators. As fellow artists, we enter into the studio with an understanding that it is also a place the artist lives. The works are (and are not) what they appear to be; straightforward yet slippery, a bit off kilter. Material directness and a sense of experimentation leads us paradoxically into interior spaces.. Each feels to be on the edge of falling apart, covering itself up, or disappearing altogether. These pieces are not quiet. They hide loudly and aggressively, like rainbow camouflage. "Tables and Chairs," the exhibition, feels awkward and private - a little too close to home.

In the front room is a selection of sculptures by Alice Hutchins. Spanning 40 years, Hutchins' magnetic works foster a certain intimacy and interaction. They can be rearranged into infinite variations and Hutchins, who lives among her works, is constantly shifting them. As written by Merrily Peebles, "An American based in Paris between 1950 and 1980, Hutchins began her artistic career as a painter at the age of 40. Critical to her artistic development was her inclusion in a group of avant-garde artists, musicians, and poets in Paris in the 1960s and her involvement in the Fluxus movement in New York City.. In 1967, Hutchins began experimenting with three-dimensional magnetic works and has since devoted her full attention to transformable, interactive work-a collaboration among the magnetic field, the art viewer and herself." (Magnetic Encounters, 2005)

-Jedediah Caesar and Shana Lutker

 

 

Image:

Tables and Chairs

Curated by Jedediah Caesar and Shana Lutker
Installation view

 

D'Amelio Terras
525 W. 22nd St.
New York, NY 10011
+1 (212) 352-9460

D'Amelio Terras

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Torrance Art Museum invites proposals from Curators

Torrance Art Museum
3320 Civic Center
Torrance, CA 90503, USA

 

www.torranceartmuseum.com

 

 

Call for Proposals:

On Gonzo Curating

I was interested to read recently, on oncurating.org and at newcurator.com, some of their reader’s responses to the questions regarding topics that should be raised and what the purpose of a museum is, respectively. While I feel that there is space and time enough in the world to cover many areas and to be many things the bottom line must remain actual exhibitions/curatorial projects. The last thing we need is to become so academic that we end up talking to ourselves about ourselves only - as can be seen in some arenas. This is not to downplay the importance of a dialogue and the conceptualizing of our field but more as a warning not to become too hermetic in our relationship to the world at large. A move towards self-reflexivity in our programming and a determined drive to ask harder questions about our own practices as an institutional art site are welcome, as is an extended scope of possibilities within curatorial approaches – which many curators and institutions are addressing admirably in various countries and that we also can contribute to.

 

To engage others, to become more collaborative and interactive with outside curators and professionals worldwide, to see our programming develop more hand-in-hand with a global enquiry and with curators in different contexts with different aims and agendas, alongside fulfilling our obligation to visually and intellectually engage a myriad of different types of visitor, can perhaps be sought via different routes, for example a form of crowd-sourcing? This is one potential approach we at TAM would like to follow up on…

 

To this end I would like to invite artists and curators (or anyone else for that matter) to present project proposals to the Torrance Art Museum. My feeling is that as a small museum of contemporary art our strength lies in our ability to react to moments in art, quickly (for a museum) and efficiently, within a limited budget. We cannot compete with large museum blockbuster shows but we can respond to the ideas referencing the role of art, curators, museums, etc within the world. What better way to do this than by actually offering a site for the production of some of these projects that deal with our concerns directly. TAM should be an artist’s museum, a curator’s museum and our audience’s museum for active engagement – so if this strikes a chord with you then feel free to send proposals to us. We will respond to them all and will shortlist those that we respond the strongest to (whatever that subjectively means) and try to schedule a number of these for the 2011/2012 programming.

 

We make no claims for this being an original idea, nor innovative, nor groundbreaking and we have no real idea how this experiment will succeed or fail but we feel it is worth finding out - so…proposals on a disc please to:

 

Torrance Art Museum

c/o Max Presneill, Curator
3320 Civic Center
Torrance, CA 90503, USA

 

 

About the Museum

The Torrance Art Museum is a small contemporary art museum located in the South Bay area of Los Angeles. It has a vibrant and fast paced programming schedule that covers the latest developments in current art regionally, nationally and internationally, as well as innovative curatorial projects featuring both emerging and established artists.

 

www.torranceartmuseum.com

 

 

Art Expedition Berlin: One collector, one artist, one city, one movie

 

www.independent-collectors.com

 

Art Expedition Berlin: One collector, one artist, one city, one movie.

Feat. Jonathan Monk and Albrecht Kastein

 

 

 

Kastein and Monk on the way to Kunstwerke e.V.

 

 

Why does Jonathan Monk think it’s good that there is not a big base of collectors in Berlin and would the collector, Albrecht Kastein, agree? What is Monk’s connection to the bookshop of Barbara Wien and why is the Kupferstichkabinett “like paradise” for Kastein?  But ultimately: What is the biggest problem if you’re following an artist and a collector around their home turf for a while? – It’s the length of the movie.

 

The “Art Expedition” is a series of short videos, featuring a collector of contemporary art and an artist who present to each other some of their favourite art locations. As you might have expected, it’s not easy to keep it short enough for an online audience if you don’t want to lose too much of the substance.

 

We have condensed half a day of detailed conversation and visits to four interesting and sometimes very surprising locations into a mere six minutes. We’re happy to be able to present this little gem and hope you’ll enjoy this glimpse into “contemporary art Berlin”.

 

Art Expedition Berlin

 

 

About Independent Collectors
Independent Collectors was launched in June 2008 by a small group of aspiring young collectors. With almost 1,800 members from 68 nations, it has since expanded to an international network of like-minded collectors and enthusiasts. It is free to join and our aim is to extend our community so that we, and you, will have a stronger pool of information and resources as we expand our collections.

www.independent-collectors.com

 

 

3rd Ward Group Show Open Call for Photography

3rd Ward
195 Morgan Ave.
Brooklyn, NY 11237
347.223.5954

 

www.3rdward.com

 

 

 

 

3rd Ward is pleased to announce its first ever GROUP SHOW Open Call for Photography.

This call culminates in an AMAZING group exhibition of the top 25 submissions - PLUS - one photographer will be awarded $500 & a 3rd Ward bike!

 

This is YOUR chance!

 

 

The Group Show at 3rd Ward

 

A Search for the Best Emerging Photographers!

 

 

Photography has been reinventing itself since its inception. From daguerreotypes to glass negatives, instant Polaroid film to unlimited digital shots, images are our reflections, our fantasies and our teachers. This competition is a search for the best new work from emerging photographers.

 

 

One photographer will be awarded $500 & a 3rd Ward bike and the top 25 photographers will receive:

 

A group show in 3rd Ward's gallery

A feature in 3rd Ward's Quarterly Publication

1-month Basic Membership at 3rd Ward with access to our four photo studios

NYC wide exposure - post cards, flyers, press!

 

 

For this call we are joined by judges :

 

Peter van Agtmael, Magnum Photographer

 

Sean Fader, Photographer, FIT Professor & Solo Show Artist

 

Amani Olu, Co-founder & Executive Director of Humble Arts Foundation

 

 

Submit Now

 

Accepting Submissions Through August 7, 2009, 11:59 p.

 

 

 

Troika Editions announce their sponsorship of 1000 words photography

 

 

 

 

 

Troika Editions is delighted to announce their partnership with 1000 Words Photography, the online magazine that is dedicated to bringing you the very best in contemporary fine art photography from around the world.

 

With essays and interviews that inform and challenge the debate and a presentation of photography from both established and emerging artists, 1000 Words Photography is winning admiration from an ever growing audience. 

 

To produce this level of professionalism and depth of content takes time and money and in answer to their recent call for donations and in recognition of the valuable contribution 1000 Words makes to contemporary photography Troika Editions has set up a special offer for the supporters of 1000 Words. During July 2009, Troika Editions will donate to 1000 Words Photography part of the profits on the purchases of their limited edition prints.

 

Click here to find out more about the offer.

 

 

 

Moorburg Triptych by Claudia Eschborn

 

 

Browse through our collection of contemporary photography, read the reviews and watch the videos where the artists discuss their work.

 

 

 

Within #2 by Carolyn Lefley

 

 

Troika Editions – Contemporary photography online – Sign Up for email alerts

 

Launched in Spring 2009, Troika Editions is an online space dedicated to promoting British and European photographers, giving them the opportunity to sell their work to a wider audience at affordable prices. Every week Troika Editions publish exclusive limited edition prints from their list of hand picked artists. Offered in three sizes, in three edition runs and at just three prices and with prices starting at £35, Troika Edition’s mandate is to make art available for everyone.

 

 

 

The Trespasser #5 by Lynne Collins

 

 

Follow our Blog – Troika Talk

 

Don't miss out on your daily fix of great imagery. Every day we post up an image that has taken our fancy; sometimes funny, sometimes serious, they are all visual pick me ups, well worth a view.

 

 

 

Severn Bridge by Tom Pope

 

 

www.troikaeditions.co.uk | Join us on Twitter | Contact us via email

 

 

ShContemporary09 Shanghai in Art

 

 

ShContemporary09 : Shanghai in Art : September 9-13, 2009

Schedule for ShContemporary09:

Preview (by invitation):

Wednesday  September 9th, 5 to 7 p.m.

Vernissage (by invitation):
Wednesday, September 9th, 7 to 10 p.m.

VIP days (by invitation):

Thursday 10th & Friday 11th September, 11 a.m. to 6 p.m.

Public days (entry ticket):

Saturday 12th & Sunday 13th September 11 a.m. to 6 p.m.

 

Venue

Shanghai Exhibition Centre

No.1000 Yan An Road (Middle)

Shanghai 200040

CHINA

 

 

 

ShContemporary, Asia’s most dynamic and international contemporary art fair,  will launch its third edition on September 9, 2009 with a new artistic direction and initiatives to engage with emerging collectors from the region. A unique curatorial team consisting of Wang Jianwei, Mami Kataoka, and Anton Vidokle is working with Fair Director Colin Chinnery to give ShContemporary09 an experimental and daring artistic vision.

 

 

ShContemporary09 is organised around three major areas:

 

Best of Galleries, ShContemporary’s unique selection of invited top Asian and International galleries

 

PLATFORM, ShContemporary’s new section focused on emerging artists and on art work produced in the last two years

 

DISCOVERIES - This year’s theme: Discovering Contemporary

The Exhibition, a special curated exhibition to showcase works by some of the most significant artists who emerged from Asia during the past two decades as well as some of the most promising emerging artists:

 

Marina Abramovic
Aiko Miyanaga
Heman Chong
Feng Mengbo
Fiona Tan
Jun Yang
Liu Wei
Joseph Kosuth
Li Yongbin

Susan Norrie
Shi Qing
Martha Rosler
Sanggil Kim
Shinji Ohmaki
Takahiro Iwasaki
Teppei Kaneuji
Xu Zhen
Young-whan Bae

Zhang Hui

 

 

 

 

 

The Forum, organized by Anton Vidokle, where international experts will debate around the question

 

“What is precisely Contemporary Art”?

 

The conferences will be structured as a series of short lectures and panels animated by international professionals among others Hu Fang (artistic director of the art gallery Vitamin Creative Space), Boris Groys (philosopher and essayist), Raqs Media Collective (a group of media practitioners), Carol Yinghua Lu (vice editor-in-chief of Contemporary Art & Investment), Jan Verwoert (art critic), Hal Foster (professor at the Priceton University), Martha Rosler (artist), Gao Shiming (professor at the Department of Criticism and Executive Director of the Center of Visual Culural Research in Huangzhou), Hans Ulrich Obrist (curator and art critic, co-director at the Serpentine Gallery in London), Jörge Heiser (art critic), Dieter Roelstraete (curator at the Antwerp Museum of contemporary art), Cuauhtémoc Medina (art critic, curator and historian).

 

 

 

 

On September 10th collectors will have the opportunity to join the official launch of ShContemporary’s newly announced Asia Pacific Collectors’ Development Program: a special programme that actively reaches out to potential and emerging collectors by working in partnership with institutions that have direct access to this sector of China’s growing economy.

 

First  partners are Central Academy of Fine Art (CAFA) the largest and most prestigious art school in China, located in Beijing, Artron.net, China’s biggest online resource for the art market and the United Art Collection Corporation (UACC), specializing in providing professional advice on art collecting and investment.

 

 

 

For Further Information Please Contact:

 

[email protected]

www.shcontemporary.info

 

 

ROD BARTON, London

 

 

Auf der Spitze des Eisbergs

18 July - 22 August 2009
Private View: Thursday 16th July, 6 - 9 pm

 

Michiel Ceulers, Bas van den Hurk, Daniel Pasteiner, James Ryan

 

What is a painting and how can you define it?

That is the most important question to ask when you work as a painter. It is a discussion that seems to reappear in every generation. Painting was only recently declared 'dead' and no longer 'valid' but it still thrives today.

If we look at the recent history of painting we can see that it was off the map at Documenta X, no longer a topic for consideration. Yet the painter's eye survived and appeared in the form of non-physical new media and photography. When the physicality of painting re-appeared in the mid nineties it was dominated by the figurative.

Was painting actually returning to a conservative figuration? Should its surface depict a recognisable representation of the world? The answer to that question could be as a negative opposition - abstract painting. We saw Mary Heilmann 'become someone' and Tomma Abts win the Turner Prize. Saatchi discovered 'Abstract America', and other institutions put up 'Conversations on Abstract Painting'. It would be silly to say that the institutional agendas are dictating the perception of art, but one cannot deny that this clearly illustrates that the reception and endless discussion about painting being dead, or even conservative is wrong, quite the contrary. Painting is still in a state of flux and encouragingly ever changing.

These observations and questions on painting are represented in this exhibition as a state of interplay between abstraction and figuration. The four artists here are showing a small section of what can be considered as expanded painting.

Auf der Spitze des Eisbergs, a selection of works by a generation of artists who work with paint today.

Michiel Ceulers studied his MA in Painting at KASK, 2007-08, and his BA in Fine Art at KASK, 2004-06. He has recently accepted his place at the two-year course at the Rijksacademie, in Amsterdam. The artist solo presentation-opened Rod Barton Gallery in March this year and he has exhibited widely in Ghent, Antwerp and Brussels. Later this year Ceulers will also be presenting a solo exhibition at his represented gallery Maes & Matthys Gallery in Antwerp.

Bas van den Hurk, the newest member to the gallery is an international Dutch painter working with paint and the found object. He has exhibited extensively in various group exhibitions in Europe, North America and Japan; most noticeably he recently participated in an exhibition at the Museo de Arte Contemporaneo, Oaxaca, Mexico. His first London solo exhibition is planned to be at the gallery in 2010.

Daniel Pasteiner graduated from the Royal College of Art, MA Sculpture in 2007. July this year sees Pasteiner open his first major solo exhibition at the A-Foundation in Liverpool. Last year he had two solo exhibitions; 'Twilight in the Anti-World' at Suzie Q Projects, Bob Van Orsouw, Zurich, and 'Paintings of Colour' at Rod Barton Invites, London.

James Ryan graduated Royal College of Art, MA Painting 2007. 'Paintings', his debut solo show in London opened last month at Studio 1.1 in Shoreditch. 'Parallax', was at the Corn Exchange Gallery, Edinburgh in 2008 and he has been in a number of group shows include Light Pollution at Rod Barton Invites, London and New Contemporaries, London, Manchester, Walsall, 2007. In 2010, we will see his first solo presentation at the gallery.

Image:
Bas van den Hurk
Untitled, 2007

Oil on cloth and necklaces, 40 x 40 cm

Courtesy of the artist and Rod Barton Gallery

ROD BARTON
One Paget Street
London EC1V 7PA
+44 (0) 7989437214

ROD BARTON

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