This new strand is for exhibitions which may be relevant to your course and learning.
Please add exhibitions you want to recommend to others, and write about those you have seen.
Tonight- Wednesday 12th November, there is an event as part of Implicasphere curation, Smoke, at The Pumphouse- http://www.wandsworth.gov.uk/Home/LeisureandTourism/Pumphousegallery/exhibshome.htm
The event takes place at The Art Workers Guild, 6 Queen Square, WC1N 3At
This exhibition and event are strongly recommended, especially to those of you whose proposals include non-artists as well as artists, multi-media work, collections, historic venues and work shown outside of gallery venues.
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16 comments:
A must see if you haven't already
Cildo Meireles at Tate Modern:
http://www.tate.org.uk/modern/exhibitions/cildomeireles/default.shtm
I don't really want to talk about it too much as a lot of it is experience based and interactive. Some isn't interactive at all and this helps to increase the 'suductive' nature of each piece.
Also the way that the space is used allows you to chose your own order of experience to a degree.
Unlike the Turner Prize at Tate Britain:
http://www.tate.org.uk/britain/turnerprize/turnerprize2008/default.shtm
Which at times feels a bit like a corridor...
You are invited to the opening party to view Jasper Joffe's Poornography
with Her Majesty The Queen,
Prince Philip, Prince Charles, Prince Andrew, Prince Edward, and Princess Anne. There will be a live performance of classical music on a baby grand piano, oboe, and violin
by acclaimed musicians Sabina Rakcheyeva, Carolyn Landau, and Shzr Ee Tan. At Sartorial's magnificent new 6000 square feet gallery in Kings Cross. Tuesday 18 November, 6 to 10pm SARTORIAL CONTEMPORARY ART
26 Argyle Square, London WC1H 8AP
Tel: + 44 (0) 20 7278 0866
www.sartorialart.com / art@sartorialart.com
Press Enquiries: philip@sartorialart.com T: 07971 268093
Open Tues - Sat 1:30 - 7pm or by appointment ADVISORY: SOME PEOPLE MAY BE OFFENDED BY THE EXPLICIT
SENSUAL CONTENT OF THE PAINTINGS ON SHOW please RSVP art@sartorialart.com

Jasper Joffe's
"Does the Royal Family like Poornography" Background
There is a tradition of male artists making pornographic art, from Courbets original, though Jeff Koons producing his own, to John Currin's recent renaissance version. As Currin himself said "In every art school in the world there’s a guy doing porn. Feminism
"I am a citizen of the United States, and in this country where I live, every year millions and millions of pictures are being made of women with our legs spread. We are called beaver, we are called pussy, our genitals are tied up, they are pasted, makeup is put on them to make them pop out of a page at a male viewer. Millions and millions of pictures are made of us in postures of submission and sexual access so that our vaginas are exposed for penetration, our anuses are exposed for penetration, our throats are used as if they are genitals for penetration. In this country where I live as a citizen real rapes are on film and are being sold in the marketplace. And the major motif of pornography as a form of entertainment is that women are raped and violated and humiliated until we discover that we like it and at that point we ask for more."
Andrea Dworkin testifying to the Attorney General's Commission on Pornography on January 22, 1986 (www.nostatusquo.com/ACLU/dworkin/WarZoneChaptIVF1.html)
In 1986 there was no internet.
Freedom of Speech
"While messages reflecting sexism pervade our culture in many forms, sexual and nonsexual, suppression of such material will neither reduce harm to women nor further women's goals. Women are exploited and harassed in all fields; some are in pornography. Exploitation will stop when it is vigorously prosecuted everywhere it occurs…..When the National Organization for Women considered launching a campaign against pornography, women in pornography protested saying that a ban against it would create a black market of exploitation. Some said their work gave then independence and a sense of accomplishment; banning it would worsen their lives. NOW abandoned its proposed campaign"
extracts from Feminists for Free Expression (http://www.ffeusa.org)
Jasper Joffe
The show continues themes of misogyny, status, aesthetics, and desire from his "Beauty Show" at V22 Gallery London in 2008, where he showed painting of 80s lingerie models with paintings of Himmler. He requested guests at the opening to identify themselves as either ugly or beautiful and assemble in one of the galleries accordingly.
The Show
Poornography (sic) is everywhere and Joffe ponders whether it is now enjoyed in the highest echelons of society. The Queen, Prince Philip, and their heirs may now be the carefree consumers of an endless stream of hard couer poorn (sic). The poorn (sic) images on show are all drawn from free mainstream websites with guaranteed over 18 models. Joffe signs the paintings with the site from which they have been generously donated. The paintings are billboard size confronting the viewer, whether royal or commoner, with poorn outside the intimacy of his/her computer screen. The dignity, properness, and clothedness of Royalty are contrasted with the women in poornography (sic), stripped, penetrated, and covered in sea-men (sic). The absurdity of the juxtaposition marks Joffe's uncertainty about the subject matter, throwing the viewer off course, and out of their indifference to paintings of poorn (sic).
Classical Music and Poorn
The opening party will include a performance of classical music by acclaimed musicians Shzree Tan on piano, Sabina Rakcheyeva on viola, and Carolyn Landau (TBC) on oboe. They will provide a baroque counterpoint to the poornography (sic) and royals on show. Most masterbators (sic) will not have had this auditory experience during their self-pleasuring.
Joffe Bio
This continues a provocative series of exhibitions including 24 paintings in 24 hours at the Chisenhale Gallery in 1999, 72 painting in 72 hours at Brno House of Arts, Czech Republic in 2003, and Buck Naked Painting at Sartorial Contemporary Art in 2007.
Jasper Joffe, educated at The Ruskin and Royal College of Art, is a curator, writer, editor, and mainly a painter. He is founder of London's The Free Art Fair, the art fair where all the work is given away at the end. He recently sold a painting of Himmler to Charles Saatchi causing a minor controversy. He has had solo exhibitions in Milan, Brno, London, and Rome. He is the author of novel, Water, published by Telegram books in 2006 and co-editor of The Rebel art magazine. He is now 33 years old.

Please join us at the gallery on Thursday of this week - 20 November -
from 6 - 9 pm to celebrate the opening of TO COMPLETE MY EDUCATION,
thirty paintings by Nathan Cash Davidson, our 18th and final
exhibition of this year. The exhibition runs in Peckham until 11
December and is open daily 12 - 6 pm.
We hope you can with us on Thursday. Directions to the gallery can be
found on the link below.
Hannah
http://maps.google.co.uk/maps/ms?hl=en&ie=UTF8&msa=0&msid=11539949184724
1545606.000451c53c31078ff7a0f&z=17
Hannah Barry Gallery
Unit 9i
Copeland Industrial Park
133 Copeland Road
London SE15 3SN
Tel: +44 7929 60 88 27
www.hannahbarry.com
sven@hannahbarry.com


Peckham Biennale
ARTPROJX SPACE
6.30pm – 10pm 20th November 2008
53 BEAUCHAMP PLACE
LONDON SW3 1NY
An evening exploring the idea a Biennale for Peckham featuring film, performance, music and a platform for discussion. We very much welcome your contribution to the debate and hope you can join us.
Does Peckham need a biennale? If it does, how would it happen? If not, why not?
You may be thinking 'not another biennale!' and you may well be right. The critique of the biennale has been well established, predominantly by artists who have called for a boycott. It's been said that the structure of the biennale panders to international artists and should do more to nurture local talent. With this in mind, what would an alternative model for a biennale look like?
Performance & Film
6.30pm-7.30pm
Francis Thorburn, Mark Mc Gowan, Field, Janine Lai, Consume Peckham, Peckham TV.
Open Debate
7.30pm-8.30pm Chaired by Ben Perry from South City Radio
Music
8.30pm-10pm
Ruth Beale, The Dole House Crew
Jimmy Merris, Sassoon Gallery
This event is part of ARTPROJX SPACE LATE curated by boyleANDshaw, and the evening is by Emily Druiff & Paul Goodwin.
ARTPROJX SPACE
53 BEAUCHAMP PLACE LONDON SW3 1NY
WWW.ARTPROJXSPACE.COM
INFO@ARTPROJXSPACE.COM
TEL: +44 (0)20 7584 0717
DAVID GRYN DIRECTOR
I went to the Taylor Wessing Photographic Portrait Prize show at the National Portrait Gallery over the weekend, which was lovely in some parts... however, it was a busy Sunday and the gallery was packed and it was difficult/annoying to view the work at times because of the way it had been displayed. I didn't think that the curators gave it enough space or thought much about how people physically would inhabit the gallery.
It felt like the work was crammed to me... kind of like a few of the rooms (I think the Surrealism one) in Tate Modern and how I always get pissed off at how some paintings are stacked too high so you have to squint to look up at them.
Anyone seen the Babylon exhibition at the British Museum?
i got told off for walking on the coins at cildo meireles! which i assumed you could because you could walk on most other things - including broken glass! but at least i got to do it. it was a cool sensation, kind of slipping about and the sound of the coins clinking, art needn't be just visual. i was very impressed by the artwork there and it's curation, though more signage could've been used to explain there were a couple of things you couldn't do but overall it was a really refreshing experience. i also liked the turbine hall exhibition, it was a wierd one coz everything's crammed in and feels a bit cobbled together, but the longer i spent in there the more i liked it, with the bunkbeds (though they could be a more atmospheric colour and condition) the films, the books and being able to walk right up to the calder and bourgois sculptures, touch them and see them towering over you made you feel so insignificant and powerless in their presence. i have a thing for dystopian sci fi and i think it was quite successful in many ways.
I think I'll try to see the Cildo Meireles this weekend then... I also want to see the Turner Prize show. Last weekend I went to the Fan Museum in Greenwich, which was small, but great. It must be interesting to curate exhibitions in spaces that have so much to say about the show. (if that makes sense) Like the atmosphere (in this case, the house fit the fan collections well) almost making the exhibition in a way. I kind of feel that way about the Pitt Rivers museum in Oxford as well. It's got it's own mood and character that influences the work... sorry if I went off on a tangent! Anyways, if anyone's in Greenwich and likes decorative arts, go for it.
Gagosian Gallery
RICHARD SERRA
SOLIDS
NOVEMBER 4 - DECEMBER 20, 2008
i have heard that this exhibition is incredible, it deals with space etc, curation wise quite interesting as well
Roger Hiorns Seizure is also one not to miss! It has been extended by ArtAngel until this Sunday and is in a disused housing estate in Harper Road, quite neat the Tate Modern/ London Bridge:
http://www.artangel.org.uk
Copper sulphate crystals aesthetically and physically transform the space. This is very interesting from a curational aspect. The work is comparative to Cildo Miereles 'Red Room' but is a natural process.
>Roger Hiorns Seizure...open 11-5 finishing sunday [the press release states that you should be prepared to queue] you can easily walk from Elephant or Borough tube.
Also finishing sunday is 'Matter of Time' in Hackney. Put on by a 5 strong Curation Collective: Five Storey Projects. see their website for list of 16 artists and press release.
http://www.fivestoreyprojects.com/
James Taylor Gallery, Collent Street (off Well Street), London
E9 6SQ.
[open 12-6]
On Sunday the 30th of November at 2.30pm art critic’s Peter Suchin and Rachel Withers will hold a conversation about Matter of Time, with open discussion from the artist’s.
Every Sat and Sun at 1 & 4 pm throughout the exhibition Clive A Brandon will be conducting walks in the area.
I really liked the Babylon exhibition at the British Museum. I liked the chronological/historical order of the exhibition, I thought it was well thought out. The only issue being that although the tickets were timed, it was still a bit too crowded at times for relatively small halls and spaces. I also wish that they had had more arefacts (I really love Babylonian ceramic reliefs, idols, etc), but the texts were interesting. I liked the colors and design of the exhibition. I think if it had been white or black I would have been worn out by the end. I guess the biggest problem was the fact that over some of the texts to read, they had put audio, so for me trying to read and then listen didn't really work. I just found it confusing to have both at the same time. Also the fact that you couldn't turn it off, it was just continuously going, was a bit annoying. I thought they could have had headphones and the problem would have been easily solved. Overall, though, I thought the content of the work and the display was really well planned and I felt it worked well cohesively.
Hi guys,
Just to let people know if you don’t know already there’s a preview of the one ton show at Shoreditch town hall tonight 6-9 where 100 artists, illustrators and graphic designers sell their work for £100.
On Monday there’s a preview of polish artist Miroslaw Balka at Maisons Yard White cube 6.30-8.30. And a student preview at the National gallery of Renaissance Faces Van Eyck to Titan 6.30-8.30 but you have to email;
feedback.marketing@ng-london.org.uk
if you would like tickets to that one.
I went to 'Wouldn't it be nice..wishful thinking in art and design' at Somerset house on Tuesday, although there wasn't loads in the exhibition I really liked the artists/designers who exhibited such as Martino Gamper, Marti Guixe and Dune+Raby.
I found the layout of the exhibition a bit of a surreal experience the main bulk of the exhibition was in a corridor with polystyrene walls semi separating each artists work, which was a fairly normal layout for an exhibition. The two rooms off to the side however..the first one contained a pile of wood in the corner which the artist was supposed to be building something with in the next few days. It felt to me like an oversized cupboard. Then when venturing through a door I thought to be part of the exhibition, I found myself in an actual storage cupboard! Oops.
The second room was blackened and foreboding and contained two artists sat at a desk in lab coats appearing to make the work the room contained. I felt I had to creep around this room so as not to disturb them.
So not the best exhibition I’ve ever been to I was also in and out in 40mins which is no time at all! The thing I liked the most was there was no information about the artists work the plaques (which were carved into the polystyrene walls) simply stated the artists name work and date. Usually I like to read lots about the piece, but this time I quite liked making up my own mind.
Hi guys,
Just to let people know if you don’t know already there’s a preview of the one ton show at Shoreditch town hall tonight 6-9 where 100 artists, illustrators and graphic designers sell their work for £100.
On Monday there’s a preview of polish artist Miroslaw Balka at Maisons Yard White cube 6.30-8.30. And a student preview at the National gallery of Renaissance Faces Van Eyck to Titan 6.30-8.30 but you have to email;
feedback.marketing@ng-london.org.uk
if you would like tickets to that one.
I went to 'Wouldn't it be nice..wishful thinking in art and design' at Somerset house on Tuesday, although there wasn't loads in the exhibition I really liked the artists/designers who exhibited such as Martino Gamper, Marti Guixe and Dune+Raby.
I found the layout of the exhibition a bit of a surreal experience the main bulk of the exhibition was in a corridor with polystyrene walls semi separating each artists work, which was a fairly normal layout for an exhibition. The two rooms off to the side however..the first one contained a pile of wood in the corner which the artist was supposed to be building something with in the next few days. It felt to me like an oversized cupboard. Then when venturing through a door I thought to be part of the exhibition, I found myself in an actual storage cupboard! Oops.
The second room was blackened and foreboding and contained two artists sat at a desk in lab coats appearing to make the work the room contained. I felt I had to creep around this room so as not to disturb them.
So not the best exhibition I’ve ever been to I was also in and out in 40mins which is no time at all! The thing I liked the most was there was no information about the artists work the plaques (which were carved into the polystyrene walls) simply stated the artists name work and date. Usually I like to read lots about the piece, but this time I quite liked making up my own mind.
What kinds of exhibitions did everyone visit over the holidays? Before I left London I went to the Rothko, Cildo Meireles, Turner Prize and Francis Bacon at the Tate Modern and Britain. I liked the Meireles a lot, but personally after a day in the two galleries, I started to feel like I could be almost any major contemporary art museum... was I in NYC in the Museum of Modern Art or in South Africa in the Johannesburg Art Gallery or the Mumbai Art Gallery or any other major art institution I've ever been to. I can't seem to be able to place my finger on it- what makes the Tate Modern so like MOMA in some ways, etc- but it's there. Maybe it's the blank walls, there's something kind of hospital/sterile/blank canvas like about a lot of major art institutions. It's like the curator is afraid to let the space have any personality because s/he knows the work in it changes so often...
Anyways, sorry to go off on a tangent... It's just something I noticed when I was back in America. I went to the art museums in Seattle, WA and Portland, OR and Kansas City, MO and a lot of the curation there, frankly, I couldn't see much difference between the US and UK. There must be more difference in the fringe/alt stuff than the institutions anyways... it's just interesting because a lot of the attitudes are really different from Europe to America (most obviously for me, ceramics has a better time in the art field in America- but that's another rant!) about art, but why not curation?
Anyways, those were just a few of my holiday thoughts on curation/exhibitions, it just made me think of how different societies have different attitudes towards curation. Did anybody else travel anywhere and see anything good?
GSK Contemporary
Part 2: Collision Course
Royal Academy of Arts (Burlington Gardens entrance)
Finishes 19th January
This exhibition connects three exhibitions: Dark Materials, Sudden White and Burroughs Live. I found the curation refreshing and unexpected. The space was interesting to navigate but misleading in parts. It provided dramatic contrast to the RA's current Byzantium exhibition (running until 22 March).
The curation of Byzantium followed a mueseum format. Artifacts were frequently placed within small glass cases and it became extremely repetitive to view. I found the dim lighting and constant bombardment of information quite inaccessible.
CABINETS OF CURIOSITIES
Enlightenment
Discovering the world in the 18th century
The British Museum
Medicine Man
Wellcome collection
Euston
Both these exhibitions are permanent but are most definitely worth a visit, particularly for me as the exhibits were very relevant to the work that I was doing at the time.
I thoroughly enjoyed both these exhibitions and found quite fascinating. I did go see both these exhibitions one after another and although there was a lot to take in I felt engaged the whole time and never overwhelmed by the amount of things to look at, as there is such a fascinating array of things on show. I do have to say I did feel a little exhausted after walking round both of them and would in hindsight probably advise people to see them separately.
The enlightenment exhibition is located in one of the most spectacular rooms in The British Museum the former home of the library of King George III. This rich and diverse permanent exhibition uses thousands of objects to demonstrate how people in Britain understood their world during this period.
The exhibition consists of a wide variety of objects which have been divided into seven sections that explore the seven major new disciplines of the age: Religion and ritual, Trade and discovery, the birth of archaeology, Art history, Classification, the decipherment of ancient scripts and Natural history. There are some really beautiful objects on show a couple of my favourite things has to be the large collection of seal stones and a small collection of hand carved skulls made out of ivory, the detail within these objects is intriguing.
The objects are exhibited in free standing and wall mounted glass cabinets. The strategic use of light helps to highlight the detail on the objects. I do feel within some of the cabinets the objects could be better balanced as in some cabinets the display was very sparse.
The exhibition also incorporated an interactive section where you can handle artefacts from Egyptian paper to Iraqi tiles.
The Medicine Man is a fascinating exhibition and most defiantly worth seeing. The exhibition is based on Henry Wellcomes collection of extraordinary objects, “ranging from diagnostic dolls to Japanese sex aids, and from Napoleon's toothbrush to George III's hair. It also provides a very different perspective on some of our own obsessions with medicine and health.”
The exhibition consists of a selection of mediums from objects to human remains, paintings to illustration. Although the exhibition is contained in a small area the good use of wall and floor space, has made it appear deceptively spacious. To create this effect they have placed draws and cupboards into the walls containing written descriptions and objects. I did not like how they placed the illustrations away in the draws, I felt it was a shame that these interesting illustration were hidden away in a draw where they could be easily missed. I do feel they would have been better place on the wall so they can be fully admired. The simple but effective use of large glass freestanding cabinets makes it possible to get up close to the objects.
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