#160;untitled

[workplacegallery]

Laura Lancaster - Shapeshifter - WORKPLACE LONDON

Workplace London: Laura Lancaster - Shapeshifter | Workplace Gallery Laura Lancaster,&orkplace Gallery Laura Lancaster& Shapeshifter & WORKPLACE LONDON 61 Conduit Street Mayfair London, W1S 2GB Tel: [phone] & & Preview: Wednesday 6th April 6pm - 8pm Exhibition continues: April 7 - May 27 2016 (open Thursday - Friday 10am - 5pm and by appointment)& & & &guity. Because, while releasing a hold, it does not radically cut off the subject from what threatens it - on the contrary, abjection acknowledges it to be in perpetual danger.& Julia Kristeva, Powers of Horror: an Essay on Abjection, 1980 & Workplace London is delighted to announce a solo presentation of Laura Lancaster&th her exhibition at the New Art Gallery Walsall. Lancaster& take further her ongoing investigation of the uncanny and the abject - both concepts preoccupied with the idea of the boundary and the blurring and destabilisation of the categories it creates - and their relationship to aesthetics. First explored psychologically by Ernst Jentsch who described it as a product of &s further developed by Sigmund Freud in his seminal essay Das Unheimliche in 1919 in which Freud argues that we experience the uncanny when a certain trigger brings back repressed childhood conflicts and primitive beliefs that suddenly receive renewed affirmation. The objects and individuals that we project our own repressed impulses upon, become a threat causing extreme mental discomfort, unconsciously reminding us of our forbidden, infantile, impulses. & Lancaster&orted mask covered figures and almost mutilated features, precipitate this particular sense of unease by setting up a chain of associations for the experiencing subject. The paint has been scrubbed, smeared, scraped, and painted with fingers, leaving the viewer with the sense that the figure in the painting has emerged from a violent collision between the artist, the paint and the image. The scale of the work refers to Lancaster&g the viewer&n the process. In Powers of Horror Julia Kristeva describes the subjective horror one&fronted with one&ction between the self and the other. Lancaster&bject by challenging the borders of the self as we perceive them and revealing an incompleteness, or lack, in ourselves. & Influenced by the palette and the expressive markings of the paintings by Philip Guston and Albert Oehlen, the black and white paintings further efface the boundaries between the subject and the background as the forms appear to emerge and dissolve simultaneously. This game of presence and absence serves, by nature, to further confuse and attract the viewer by erasing the distinction between the imagined and the real. The layer of paint becomes a mask in itself and as such adds further ambiguity to the work, whilst the subjects in the paintings, being far removed from their original context, seem simultaneously familiar and unfamiliar. & Lancaster explores the way in which the image transforms itself during the painting process whilst embracing the physicality of the painted surface whilst revealing how this process distorts and destabilises the order of the photographic image they result from. The gestural marks themselves become imprints of the performative action as they self-consciously explore of the idea of painterly gesture, its significance and the myriad ways it can be interpreted. As we are confronted by this new information that conflicts with our existing beliefs, ideas, and values, or what Kristeva describes as disturbing & the ways in which we experience the world and ourselves, whilst questioning painting&ess.& & For further information regarding the works exhibited please contact: [email protected] nk { color: gray; font-family: verdana,arial,helvetica,sans-serif; font-size: 11px; text-decoration: none; line-height: 1.3em; margin-bottom: 5em; } .emailFooterLinks { text-align: center; width: auto; color: gray; font-family: verdana,arial,helvetica,sans-serif; font-size: 11px; padding: 5px; line-height: 1.6em; } Read this e-mail online   |   Unsubscribe Visit our home page   |   Our privacy policy

[workplacegallery]

March Newsletter

WORKPLACE Newsletter | Workplace Gallery March News Eric Bainbridge Potholes Northern Gallery for Contemporary Art 30 January - 2 April 2016 & &g Kong, 1986, Ink on paper,& & Eric Bainbridge Alumni - 170 Years of Leeds College of Art Vernon Street Gallery, Leeds, UK 16 March - 20 April 2016 & Eric Bainbridge,& & Catherine Bertola Je,./I,./Ich,... Innsbruck International Biennial of the Arts 10 March - 20 March 2016 Catherine Bertola&s Variable. & Cath Campbell Canary yellow with royal blue& DLI Museum and Durham Art Gallery,& 23 January - 31 March& Cath Campbell, When I'm not sleeping, 2016,&rtist and Workplace Gallery, UK & Hugo Canoilas Transitory materials&tion curated by Jo& SNBA, Lisbon, Portugal 4 February & Hugo Canoilas, O Estrangeiro, 2007,&and enamel,&MJ Collection, Portugal & Hugo Canoilas I'll devour your eyes Galerie Andreas Huber,& 10 March & & & Hugo Canoilas, The black mass for hipsters club, 2016, silicone and paint on found objects, 70 x 700 x 1300 cm, Photo: Stephan Lux, Courtesy of the artist and Galerie Andreas Huber & & Jacob Dahlgren LuftslottetNorrk&ated by Johanna Udd& & & Jacob Dahlgren, From Art to Life to Art,&lation& Stockholm) & & Laura Lancaster The New Art Gallery Walsall Walsall, UK 29 January - 8 May 2016 & Laura Lancaster, The New Art Gallery Walsall, Photo: David Rowan & & Mike Pratt Potluck 1 X Bank, Amsterdam, Nl 24 February & & & Mike Pratt,&and rope, 35 - 77 cm & & Mike Pratt Jumanji Soft Focus Institute, Ghent, Belgium 31 January & & Mike Pratt,&silicone, styrofoam. approx 120 - 90 - 40 cm & & Matt Stokes Je,./I,./Ich,... Innsbruck International Biennial of the Arts 10 March - 20 March 2016 & & Matt Stokes&hannel HD video and audio transferred to synced hard-drives, Duration 06:48 minutes, looped & & Matt Stokes Your Ad Here Lagos, Nigeria Sept 2015 - March 2016 & Commissioned by Create and Whitespace funded by the British Council & Reviews Adrian Searle: 'From Marx to Brexit: Tyneside's AV festival paints the whole world red' The Guardian Workplace Gateshead: Hugo Canoilas We live in terrible times: straight off the street and plunged into a very dark room in Gateshead. Maybe I've been kidnapped without noticing. It is black as a coal-hole in here. Snagging my trousers on a busted wooden clothes airer, colliding with an oil drum, mangling my knee on the hulk of an old television lying screen-down among unnameable junk, almost tripping on a clutter of stuff on the floor. All this wreckage, as well as the floors and walls, are covered in tarry black paint. The only visible light is spilling through little holes in a painted drape sagging above my head...(read more) & Caroline Douglas: Friday Dispatch Workplace London: Richard Rigg I've been having a lot of conversations, these last few weeks, about how to negotiate a world that seems dominated by event-driven enthusiasm for art fairs, versus the old fashioned gallerist's 'craft' of nurturing a stable of artists and presenting considered, coherent gallery exhibitions that introduce bodies of new work.&ere do you invest?&e hope of people walking through the door; developing substantial relationships with collectors?&lls of a booth at a far-flung, glittering art fair attracting international collectors in flocks of private jets?&f Gateshead-based Workplace Gallery, newly established in Mayfair...(read more) Robert Clark: The Guardian Laura Lancaster: The New Art Gallery Walsall Laura Lancaster's paintings are as exuberant as they are melancholic. Working from old family photographs and home movies collected in junk shops and on eBay, she achieves a distinctive expressive resonance. Many of these recent works are diptych pairings, setting images sourced from the first and last frames of washed-out Super 8 films to hint at swiftly fading memories. Lancaster is so flamboyant and persuasive a painter that her smears suggest existential shifts and her drips come across as painterly weepings. Nevertheless, she never falls off into sentimentality. Instead, she transforms the typical grins of family snaps into rictus cringes and mask-like grimaces. Just occasionally, there are echoes of James Ensor; you can hardly get a much higher recommendation than that. Vincenzo Estremo: 'Hugo Canoilas: The prey learns to hunt and be devoured' Droste Effect Hugo Canoilas: Galerie Andreas Huber I might write the history of my meetings with Hugo Canoilas just by recalling what we ate each time we were together. I don't know why, but every time I met Hugo we ended up in front of tasty food, and often Hugo was&elicious dishes. For some reason, I perceive Hugo's art practice as almost familiar, maybe because we share a lot of interests and we have a lot in common. For instance, we are both from the south of Europe, we both are&es. Lastly ( but not marginally), we share a common idea of what art should be...(read more) & Art Fairs Art Basel Hong Kong Joel Kyack Booth 1C48 Discoveries Section Public days: 24 - 26 March 2016 www.artbasel.com Dallas Art Fair Various artists Fashion Industry Gallery1807 Ross Avenue, Dallas 15 - 17 April 2016 www.dallasartfair.com & & Granpalazzo Marcus Coates Palazzo Rospigliosi Zagarolo, Italy 28 - 29 May 2016 www.granpalazzo.org & Currently at WORKPLACE Workplace Gateshead Hugo Canoilas Meanwhile, what about Socialism?& & Curated by&tions across nine venues in Newcastle and Gateshead.&o Canoilas creates a tension between the past and present, making it contemporary 'like a knife with two blades'. It brings together his ongoing concerns around social discrepancy with readings on capitalism and Marxism including George Orwell, Pierre Joseph Proudhon's&ato's&&paintings are acts of suspension and confrontation, layers of diagrammatic symbols, signs and texts between the abstract and the figurative...(read more) Workplace London Marcus Coates In Consultation & In place of a conventional exhibition at the gallery, over the last few weeks Marcus has been meeting invited guests to engage in a 3 stage consultation process.&ould both ask more questions and expect more answers from ourselves.&es a certain amount of vulnerability, not always conducive in a culture that demands solutions and fast decision making.& culture of questioning and answering with a process using the extremes of non-rational and rational understanding.& & & & nk { color: gray; font-family: verdana,arial,helvetica,sans-serif; font-size: 11px; text-decoration: none; line-height: 1.3em; margin-bottom: 5em; } .emailFooterLinks { text-align: center; width: auto; color: gray; font-family: verdana,arial,helvetica,sans-serif; font-size: 11px; padding: 5px; line-height: 1.6em; } Read this e-mail online   |   Unsubscribe Visit our home page   |   Our privacy policy

[workplacegallery]

Eric Bainbridge / Joel Kyack at WORKPLACE LONDON

Eric Bainbridge / Joel Kyack at WORKPLACE LONDON (GIF) (duplicate) | Workplace Gallery Eric Bainbridge,& Joel Kyack,&rutch and wire,& Eric Bainbridge / Joel Kyack WORKPLACE LONDON & Preview: 6pm - 9pm Friday 9th October 2015 Performance: Thursday 15th October at 7pm & Exhibition continues: 10th October - 21st November 2015 Friday - Saturday, 10am - 6pm (or by appointment) & Workplace London 61 Conduit Street, Mayfair London, W1S 2GB& & Frieze Week Opening Hours Tues 13th - Sun 18th October, 10am - 6pm (and by appointment) & Workplace London is delighted to announce a two person exhibition featuring new work by British artist Eric Bainbridge and Los Angeles based artist Joel Kyack. For this show Bainbridge is presenting a new series of iconic paintings made from synthetic fur fabric, whilst in his first London presentation Kyack is showing new sculpture, painting, and conducting a performance to coincide with the Frieze West End Night. & Made from his signature material, synthetic fur fabric, Eric Bainbridge's paintings pose enigmatic and duplicitous explorations. The pragmatic directness of material properties - to cut, to stretch, to wrap, to patch - and pictorial invocations of spatial depth or figuration are articulated through the subtle interplay of colour and texture. The paucity of gesture employed by Bainbridge invites sustained consideration, whilst the hyper-artificiality of the fur fabric simultaneously implies luxury and an aspirational escape towards it. The paintings move beyond their formal conditions to speak of the socio-political currents that lie, camouflaged, beneath their apparent semiotic assertions. & Joel Kyack's new work comprises of talismanic combinations of body parts and utilitarian objects that conspire to create darkly transgressive sculptures. Hinting towards an encroachment upon moral boundaries and the malevolent undercurrents of our civilization, Kyack brings together a combination of unlikely components. With materials sourced from hardware stores, healthcare industries and Hollywood prop warehouses, he creates surreal, darkly humorous objects and paintings that evince the same dysfunctional and chaotic social context as their origin. Maintaining a Dadaist anti-bourgeois position, Kyack rejects 'taste' and traditional aesthetic sensibilities finding instead pragmatic yet subversive relationships between functional objects. He achieves an outcome that relates, inevitably, back to the body and the abject absurdity of the individual in relation to a disturbing and complex social world, always maintaining potential for both violence and the grotesque. & & Your Optimism Fills Graves a performance by Joel Kyack Workplace London - Thursday October 15th at 7pm & Your Optimism Fills Graves marks the first UK performance by Joel Kyack. Drawing on his interest in object-based performances, Kyack will utilise the setting of Workplace London to engage the audience as both co-creators and intimate witnesses. Dealing in themes of interdependence, endurance and death, Your Optimism Fills Graves will incorporate plastic vessels, power tools, liquids and masks to set a stage for the simultaneous creation of fountains, drawings, monologue and sounds. & & Eric Bainbridge was born in Consett, County Durham, UK in 1955. He studied at Newcastle Polytechnic and completed a Masters in Sculpture at the Royal College of Art, London in 1981. Solo exhibitions include View Points The Walker Art Centre, Minneapolis; Eric Bainbridge ICA, Boston; Style, Space, Elegance, Stedelijk Museum, Amsterdam; Supercollage, New Art Gallery Walsall; Forward Thinking, MIMA, Middlesbrough; and&ptures&idge's other previous exhibitions include the 1986 and 1990 Venice Biennale; Material Culture at the Hayward Gallery, London; British Art of the 80's and 90's&itish Sculpture at the Royal Academy, London. His work is in numerous international collections including the Stedelijk Collection, Arts Council England Collection, The Margulies Collection, and the Tate Collection. Bainbridge lives and works in Hartlepool and Sunderland, UK & Joel Kyack was born in 1972 in Abington, Pennsylvania, USA. He received his BA from Rhode Island School of Design in 1995, studied at Skowhegan School of Painting and Sculpture in Maine in 2004, and received his MFA from the University of Southern California in 2008. Recent solo exhibitions include Old Sailors Never Die, Francois Ghebaly, Los Angeles; Superclogger, a public project produced in collaboration with The Hammer Museum and LA><ART; River / Stream / In-Between, Kate Werble Gallery, New York; Point at The Thing That's Furthest Away, Praz-Delavallade, Paris; Terms / Proposals / Demands, SSZ Sued, Cologne; The Knife Shop at Kunsthalle LA; Recent performances include: All The Instruments Agree&geles, and at the CCA Wattis Institute in San Francisco. As well as Workplace Gallery, Kyack is represented by Fran&nd Praz-Delavallade in Paris. He lives and works in Los Angeles, California.& & For all enquiries please contact: [email protected] & nk { color: gray; font-family: verdana,arial,helvetica,sans-serif; font-size: 11px; text-decoration: none; line-height: 1.3em; margin-bottom: 5em; } .emailFooterLinks { text-align: center; width: auto; color: gray; font-family: verdana,arial,helvetica,sans-serif; font-size: 11px; padding: 5px; line-height: 1.6em; } Read this e-mail online   |   Forward this e-mail to a friend   |   Unsubscribe Visit our home page   |   Our privacy policy