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QUAD, Derby UK |
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Ian Breakwell: The Elusive State of Happiness
Exhibition 13th February - 18th
April 2010 Seminar Event 14th April 2010
The Elusive State of Happiness
is a major exhibition of the work of Ian
Breakwell (1943-2005), a man with an eye for seeing
the extraordinary in the ordinary. Breakwell was a world
renowned prolific artist who took a multi-media approach to
his observation of the minutiae of life through a wide range
of media including dairies, film works, TV, audio and
drawing.
Spanning a career of 40 years, his work is
an attempt to subtract the obvious from the everyday, to
isolate and bring it to another level of meaning, and
aesthetic experience. The diary is the central motif of the
exhibition, and the link of Ian's books and films with his
video, drawing and audio works - all of them speaking as
reference for his Continuous Diary lifelong project.
The humour, mischief and oblique wonder at
the world that permeates his verbal and visual legacy is
already legendary. His voyeurism -social rather than sexual-
is always mitigated by humour: "The humour that I love is the
morose, the deadpan, the seemingly unfunny stuff that is close
to misery, but not quite." By presenting a continuous
re-interpretation of what we already know, and have
overlooked, Breakwell invites the viewer not to discard, but
to reinvent the meaning of things. He invites us to see with
other eyes.
Born in Derby and educated at the Derby
College of Art, Ian Breakwell was a remarkably talented artist
in any medium he handled, written, spoken and depicted,
including media broadcasts, notably with adaptations of his
Continuous Diary and Christmas Diary on
Channel 4 in 1984 and 1988.
Curated by Louise Clements & Alfredo
Cramerotti, in partnership with Anthony Reynolds Gallery and
Felicity Sparrow.
A Seminar Event on Ian Breakwell will take
place in QUAD, Derby, UK on 14th April 2010. Contributions by
Breakwell's scholars and experts and special screening of the
film works Auditorium (1993) and Variety (2001).
A richly illustrated Exhibition guide with
over 80 colour reproductions accompanies the exhibition with
original texts and visuals on more than 20 works from
Breakwell's illustrious career through a wide range of media.
Full colour, Brossard cover, available through QUAD.
During March a Film Season curated by
Felicity Sparrow and David Sin will screen in QUAD's cinema,
showcasing some of the films that impacted on the work and
life of Ian Breakwell.
Image:
IAN BREAKWELL
Detail from: Walserings
1991
© the estate of Ian Breakwell;
courtesy Anthony
Reynolds Gallery, London
QUAD
Market Place
Cathedral
Quarter
Derby, DE1 3AS
UK
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Dorsch Gallery, Miami |
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Kyle Trowbridge
Pleasure
Seekers
February 13th - March 6th, 2010
Opening Reception
February 13th, 7-10pm
Kyle Trowbridge's recent
objects and images revolve around the impressionable forces we
as malleable entities face in the midst of an "aggressively
evolving" modern society, exploring the dynamic between
unknowing victim and plotting victimizer. For Pleasure
Seekers, his solo show at Dorsch Gallery, Trowbridge
turns his attention towards our technology-mediated
relationships. His work explores the cold, hard fantasy of
internet porn which has replaced actual human contact with
data transfer, and he mocks our preference to reaching out via
text message and email. By juxtaposing images and objects and
toying with scale, Trowbridge presents the underside of the
technological illusion. The internet porn industry, which
Trowbridge refers to as "a modern-day gold rush," is reduced
to a stack of disks left in a futuristic landscape or, in some
cases, a chunk of melted data recontextualized to read as the
precious mineral gold. Social networks are presented as
halfway houses for squatters and addicts, where discreet love
connections are just one mouse-click away. This body of work
functions as an excavation of our current dependence on
technology, revealing that there is no substitute for the real
thing.
Trowbridge is a native Floridian who lives
and works in Miami. His work has been shown in New York,
Chicago, Miami, Los Angeles, Toronto, Santo Domingo, and more
recently at the Vienna Biennale, and is included in the
permanent collections of the Museum of Contemporary Art, North
Miami, the Lowe Art Museum and the Broward County
International Airport. He has been featured in Art in
America, The Miami Herald, and a number of books
on contemporary art in Miami including Miami Contemporary
Artists by Julie Davidow and Paul Clemence, and Miami
Arts Explosion by Alfredo Triff. He has won numerous
awards and grants, including the prestigious South Florida
Cultural Consortium Fellowship for Visual and Media Arts and
the Broward County Public Art and Design Award. Trowbridge is
also a full-time professor at the University of Miami.
Image:
Kyle Trowbridge
David, 2010
Mixed
media
Dimensions variable
Courtesy of Dorsch Gallery,
Miami
Dorsch Gallery
151 NW 24 St
Miami,
FL 33127
+ 1 3055761278
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T293, Naples |
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HELEN MARTEN
wicked patterns
February 5 - March 13, 2010
Opening: 05.02.010, h
19
Tuesday - Saturday, 12.00 - 7.00 pm
On 5th February, T293 opens Helen
Marten's first solo exhibition, 'wicked
patterns'. The show poaches its title from a statement
describing the decorative applications of Formica in Memphis
furniture. Wrapped in these words are a freefall of
associations: references to Cubism, Futurism, Art Deco,
graffiti, jungles and towns, science fiction, cartoons,
African prints, Japanese comics - an endless maze of marks,
logotypes and graphics from which to leap. In 'wicked' we
nudge through linguistic meanings, from the cool 'totally
wicked' of colloquial language, through glib txt-spk (WKD!),
to the perverse, pathetic and playful evil of misbehavior.
This blurry, overlapped to-and-froing of art- and design
histories provides an already saturated vocabulary of images
on which to piggy-back. And it is from this eking out and
reabsorbing of stuff, of already known bundles of cultural
baggage, that the work finds its humour. Heraldry,
hallucinogens and emoticons skid via modernism's sacred lines
to the banality of mass production, corporate leanings
collapse under ornamental fussiness and use value is
camouflaged beneath a cacophony of patterns and colours. The
work is also underpinned by a fetishised interest in materials
and the handmade, both a stuck-together-with-spit kind of
aesthetic, and the slick, shiny gloss of industrial
manufacture: smooth surfaces alternate with ruinous
arrangements, and architectural nods sit alongside trashiness,
fragility, obsessiveness and a kind of graphic erotica.
Symbols and personalities are designated, only to be
reassigned or manipulated through further layers of material
detail. 'George Nelson', makes playful reference to the father
of American Modernism, whilst sculptures referencing two
chairs hint at humourous dialogue between canonised authors
(Rietveld + Wegner). Hergè's Tintin conflates the most famous
of Euro-centric silhouettes with airline iconography, raising
questions of political and cultural currency. The artist plays
homage to the punk spirit of DIY and the exuberance of
backyard, amateur or boyish fiddlings is championed.
Continually poked, stretched and overblown, the resulting mood
is left to the whims of taste, pace and style.
Helen Marten, born UK, 1985 and graduated from
the Ruskin School of Drawing and Fine Art, Oxford. Lives and
works in London.
*'Memphis: Research, Experiences, Failures
and Successes of New Design' by Barbara Radice
Image:
Helen Marten, 'Wicked
patterns'
Installation view at T293, Naples
Courtesy
T293, Naples
T293
Via Tribunali 293
Naples,
80318
Italy
+39 081 295882
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Schwartz Gallery, London |
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Mark Selby and Kate Terry
10-21 February 2010
Private View: Wednesday 10th
February 2010
Curated by Patrick Michalopoulos and Ismail Erbil
Schwartz Gallery presents the work of
Mark Selby and Kate Terry as
part of its new series of two-person shows for 2010
questioning exhibition-making practice. The programme aims to
create an innovative platform for dialogue between the work of
contemporary artists while not being a collaboration.
Examining the practice of Selby and Terry one is
drawn into a dynamic of 'the-viewer-as-navigator' whose
presence in the gallery space is set against 'zones of
activity' or 'fields of looking' and of 'looking again'.
Terry's site-specific thread installation works with the
architecture of the gallery space to question its function and
physicality. Like a peculiar optical device akin to a two-way
mirror, the individual threads map out and suggest an
indeterminate number of planes and surfaces appearing and
disappearing within the unchanging dimensions of the
exhibition space. What begins as a delicate and tactile
material is put through a rigorous process of measuring,
pinning and connecting, transforming it into a tool for a
dynamic yet elegant spatial intervention that twists and turns
the space within and around it. The viewer is caught in an
inseparable act of 'looking through' and 'looking at' the work
in an enchanting inter-play between real and imagined
architectures.
Questions regarding the role of the viewer are re-visited
in the site-specific installation Selby has created in the
gallery space. An ambiguous relationship between the
structures and implied functions of Selby's work, produce an
effect of the 'absent performer' or indeed of the
'viewer-as-performer' in and around the installation. The work
sets up a dialogue between binary opposites; interior and
exterior space, seeing and being seen, technology and the hand
made, as well as one between the inclusion and exclusion of
knowledge as to the work's operation. The function of the work
in the gallery context and the role of the viewer in Selby's
installation hover indeterminately in a heady formal and
metaphorical mix of received versus appropriated structural
and communication models.
Mark Selby completed his MA in Sculpture
at Wimbledon College of Art in 2008. He was the 2009 recipient
of the Clifford Chance / University of the Arts London
Sculpture Award. Recent and forthcoming exhibitions include
'Transmission', Grey Area Gallery, Brighton (2010), 'Fault
Line: Art in the Age of Anxiety', The Nunnery, Bow Arts Trust,
London (2009) 'Affluenza', Clerkenwell, London (2009) and
'Short Fall', Hand and Heart, Nottingham (2009). Mark Selby
lives and works in London and is a Lecturer in Fine Art (FE)
at UCA, Maidstone.
Kate Terry studied sculpture at
Manchester Metropolitan University and received an MFA at the
University of Guelph in Canada in 2002. Recent solo
exhibitions include '10 x 10 x 10', Gooden project space,
London (2009), 'Empty Voluminous', 1000000mph, London (2007),
'Interference'. Mercer Union, Toronto, Canada (2007). Recent
group exhibitions include 'Shadow Boxing', Home House, London
(2009), 'Parallax', Fieldgate Gallery, London (2008), 'Heart
of Glass', Shoreditch Town Hall, London (2008), 'Soot From The
Funnel', Lokaal 01, Holland (2008), 'A Life of Their Own',
curated by Richard Cork, Lismore Castle, Ireland, (2008). Kate
Terry lives and works in London, and teaches at Camberwell
College of Arts and Chelsea College of Art.
Images:
1) Kate Terry, Thread Installation #19, Heart of
Glass, Shoreditch Town Hall, 2008
2) Mark Selby, Drawing
for Untitled Installation, 2009
Courtesy of the artists and
Schwartz Gallery, London
Schwartz Gallery
White Post
Quay
92 White Post Lane
London, E9 5EN
+44 0 782 893
7013
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ZAK | BRANICKA, Berlin |
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KwieKulik
Activities with Dobromierz
6th February - 13th March 2010
Opening reception on
Friday, February 5th, 2010, 6 - 9 pm
The ZAK BRANICKA Gallery is proud to
present Activities with Dobromierz (1972-74), a work
by the artistic duet KwieKulik, one of the
most important phenomena of the eastern European
neo-avant-garde 1970s movement. Activities with Dobromierz has
already had much international publicity including showings at
Documenta XII in Kassel and the XI Biennale in Istanbul
(2009).
KwieKulik was the duet of an artistic working couple
Zofia Kulik and Przemyslaw Kwiek, active in the years
1971-1987. In this period KwieKulik carried out countless
performances, artistic demonstrations, objects, films and
photographs. They placed a private gallery in their own
private home - Atelier of Activities, Documentation and
Popularisation, in which they organized lectures, exhibitions,
and embarked on the documentation of artistic life in the
1970/80s. A lot of art events have been archived by them.
Their creativity had a radical, social and political
dimension, it was a laboratory form of contemporary art. Among
the series of activities realized by KwieKulik belongs:
Chaltury (Day Job), Earn and Create, Visual Games, Political
Spectaculars.Also belonging to this series is Activities with
Dobromierz, which features at the ZAK BRANICKA Gallery.
After the birth of their son, Dobromierz, KwieKulik
incorporated the child in their art activities for two years
(1972- 74). "By combining parent's responsibilities with
artwork, we achieve the most variable compositions of our son
with subjects of everyday utilities, containers, and surfaces
- in situations that inquire our home or outdoor walks - all
such compositions are captured on photo slides." The work
Activities with Dobromierz presents hundreds of pictures taken
of their son in different situations. These comprise of both
everyday realities and arrangements made by the artists.
Sometimes the child is lying among vegetables, on the floor
amid a circle of knives and forks, or sits in a toilet bowl or
cardboard box.
Art for KwieKulik was the extension of everyday
activity. Similar to other art duets of this era such as
Abramovic/Ulay (1976-89) or Gilbert&George (from 1968),
KwieKulik worked on the boundaries of private life,
performance and body art. KwieKulik developed an alternative
form of artist's work within the reality of Socialism.
The actions with Dobromierz, where the parents
manipulate as if using a doll, have a strong political
overtone (oppression of the authorities). They are the
artists' response to omnipresent manipulation and censorship
as well as introducing the absurd to reality (even though the
reality of Socialism was absurd enough). Simultaneously, the
aim of Activities with Dobromierz was to create a visual
equivalent of mathematical and logical operations, which Kwiek
and Kulik were interested in at the time.
For many years, the activities of KwieKulik were
known only among a limited audience, they functioned neither
within "the safety of the avant-garde" nor - quite clearly-
within "official" art. In the year 1987 Zofia Kulik and
Przemyslaw Kwiek parted company and the duet KwieKulik came to
an end. From this point on, both artists work
independently.
Image:
KwieKulik
Activities with Dobromierz,
1972-1974
Courtesy ZAK BRANICKA
ZAK | BRANICKA
Lindenstr.
35
D - 10969 Berlin
Germany
+49 30 61107375
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Coming Next
February 10-11 Painting / Drawing
February 17-18 Sculpture / Installation
February 24-25 Photography, Film & Video
March 3-4 Painting / Drawing
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London
WC1N 3XX
United
Kingdom
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