Richard Healy is presenting solo exhibition Lubricants and Literature at London’s Tenderpixel, opening on October 4 and running to November 5.
The show explores “a moment of true magic in the tension between stasis and transformation” through an installation of video and sculpture, as well as a limited-edition publication. Healy refers to the publications collected from Cecil Court, and will tell a fragmented tale revolving around a fictional narrator who is both an architect and a shaman. The London-based artist often intertwines video and sculpture, each embodied within one another.
The Feeling in The Eyes group exhibition at London’s Tenderpixel ran from February 5 until March 19, 2016, exploring the ever evolving notion of materiality in the context of our accelerated present, specifically through the post-internet condition.
Departing from the idea of the Internet environment as a material which is fluid, plastic —a distributed, dislocated entity within multiple temporalities, the works in the exhibition explore the notion of materiality as something that is ever changing, endlessly reconfigured in this free flowing zone of re-negotiation. The impact of objects in these terms is not only sociological, but economical, political, existential, psychological, epistemological: it is total —beyond a label which is meant to mark a certain, already passed, historical-cultural moment.**
Everything can tumble twice, if it’s confused enough. This world is a confusing place! The Things That Tumble Twice group show, which took over both gallery spaces in London’s Tenderpixelgallery this spring, took the notion of confusion to heart—or rather: paradox. To examine the spheres of duality and multiplicity, the exhibition brought together three international artists: Paris-born Olivier Castel, UK’s Ian Law, and Germany’s Florian Roithmayr.
Using the tension of juxtaposition combined with complementarity and material interrelation (see: bushels of yellow flowers observing a dusty blue sofa), the artists try to express what Gilles Deleuze called “nomadic distribution and crowned anarchy” (presented in the exhibition’s accompanying notes). In this sense, Things That Tumble Twice is not about materiality or immateriality, it is about complexity. “Representation fails to capture the affirmed world of difference,” Deleuze wrote in the same text (Différence et répétition, 1968), and it is our inability or unwillingness to understand the world purely logistically that the exhibition addresses.
In another accompanying note, Italian novelist Italo Calvino is quoted: “Suppose we received from another planet a message made up of pure facts, facts of such clarity as to be merely obvious: we wouldn’t pay attention, we would hardly even notice; only a message containing something unexpressed, something doubtful and partially indecipherable, would break through the threshold of our consciousness and demand to be received and interpreted.”
It is the dynamic irreducibility of the whole that Things That Tumble Twice grapples with: the space between matter and its absence, between light and darkness, between what is animate and inanimate. “The works in the exhibition change, mutate, perish,” the exhibition says of itself, “they look for each other over space and time, subtly, inhabiting and influencing the perception of the gallery ambients.” Becoming, in the words of Augustine, “something that shows itself to the senses and something other than itself to the mind”.
Tenderpixel is hosting a group show titled M/Other Tongue at their London space, running from January 22 to February 28.
Curated by Spanish writer and curator Sabel Gavaldon, the show brings together five international artists exploring the loss of the mother tongue as a consequence of modern-day colonialism, or, as we would call it, general globalisation.
Exploring the perspectives of a handful of artists, including UK’s Anna Barham, France’s Olivier Castel, Spain’s Iñaki Garmendia, Colombia’s Mónica Restrepo, and Holland’s Katarina Zdjelar, the exhibition “wants to be a place from which to conjure up those voices that sound the most alien to us, not because they belong to another language, but because they are foreigners in their own language and so they make ours foreign to us”.
Accompanying the exhibition are a series of events, including a performative lecture by Garmendia in collaboration with Itziar Bilbao Urrutia titled ‘Gauaz parke batean (In the Park at Night…)’ on January 24, a reading by Castel followed by Skype conversation with Restrepo on January 31, a guided tour by Gavaldon on February 14, and a production reading group by Barham on February 28.