Bethnal Green’s French Riviera is presenting an informal group exhibition about making things, Grand Magasin, developed in conversation between the London gallery and artist/curator Nat Breitenstein, opening November 30 and running till December 15.
Attilia Fattori Franchini, Harry Burden, Fabienne Hess and Leslie Kulesh are among the 40+ contributors invited to transform the space into a store over the next two weeks, as per the original storefront space’s initial intention. Featuring objects for sale by fine artists, designers and other “makers”, Grand Magasin explores notions of “craft, transference of skills, definition and profitability”, as a study not of “difference but rather of divergence”.
The three artists investigate the relationship with landscape and architecture and their role in shaping memory and temperament, social and political networks, through sculptural installation, photography, video and illustration. In setting the natural against the urban environment and exploring their effects and outcomes, it makes you wonder, with all this focus on the impact on the online interface, whether we haven’t skipped a step or two.
South London gallery Arcadia Missa present Random House, a group exhibition, on November 20, running to December 7.
Opening alongside the launch of online publishing initiative, publishing-house.me, the exhibition, featuring work by Bunny Rogers, Jill Magid, Jasper Spicero and Emma Talbot, continues the conversation around new forms of presentation by exploring “the relation between narrative and affect, as traced between objects and through various media”. In light of an apparent de-centralisation of knowledge structures, the presumed publishing group pun of Random House aims for a “poetic and material reconstruction” via the intimacy of works by emerging and established artist through technologies and beyond.
It’s feeling like we’ve talked too much about Future Brown lately but this happened and it’s the best. A new track featuring vocals from a cast of London grime emcees Prince Rapid, Dirty Danger of Ruff Sqwad and former Roll Deep member Roachee, just dropped in advance of their debut live performance at MoMA PS1 on Sunday.
It’s lyrics speak directly to the “movement” that the Future BRown project points toward. The announcement that Tink, Shawnna, 3D Na’tee, Maluca, Riko Dan, Ian Isiah, Kelela and more TBA will be on the upcoming album makes you think said change could be rather dramatic.
East London gallery Primitive Londonis hosting a collaborative exhibition, OPEN_NETWORK, on Shacklewell Lane tonight, November 13.
Describing it as a “visual, auditory and visceral event” it will include work by international new media artists Aaron Chan, Emilio Gomariz, Felipe Narvaez, Natalia Stuyk, Daniel Swan, Simon Whybray and Luke Clayton Thompson. Curated by London-based collective Don’t Watch That TV, the event will also include performances by Yuri Suzuki and Siobhan Bell, plus other things and an after party with Throwing Shade +more.
Western Australian artist Oliver Hull is presenting A Meteor at The Institute of Jamais Vu in Manor House London, opening November 14 and running to December 5, by appointment.
Based in illustration and drawing on a practice built on personal anxiety, evidently Hull is externalising the angst into those nebulous collective fears we all share. Or maybe not.
Man of many talents Simon Whybray will be putting on a night at east London’s Power Lunches, JACK댄스, on November 15.
As an artist, designer and hacker, as well as one of the minds behind the famous ‘ponfitex’ twitter prank with his band TEETH, the line-up featuring DJ WARLORD, DREAMTRAK, Tom Vek, Ana Caprix, STAY POSITIVE + others, will no doubt suit the aesthetic.
As part of a series of events organised by the new London art venue, Harry Burke will be holding a poetry reading at London’s Test Centre on November 15.
Accompanying a temporary bookshop in the space and an anthology, edited by Burke, to launch in Spring 2014, the event will include a small folio of illustrated poems available on the night including collaborations by poets and artists Sophie Collins and Cédric Fargues, Timothy Thornton and Huw Lemmey, Francesca Lisette and Leslie Kulesh, Paul Kneale and Diane Marie, Gabby Bess and Ann Hirsch with additional readings by said writers.
Curated by bubblebyte.org‘s Attilia Franchini, The Basement, a space reserved for emerging artists at Paradise Row, is hosting Leeds-based artist Harry Meadley‘s LEVEL 1, November 1 to December 6.
Presenting an interactive gallery experience, Meadley applies a video game format, specifically that of original ‘first-person shooter’, Wolfenstein 3D, in the form of digitally printed vinyl walls and textures of the game’s first level, along with “puzzles, items, secrets, hints and trophies” for navigating the space. In extending on his interests in notions of authorship, value and production, the exhibition will also be graded from the POV of a “mystery shopper”, anonymous to the gallery and set by artist and curator.
Last we spoke to Heatsick‘s Steven Warwick, he made no secret of his feelings toward contemporary trends in art, centred around speculative realism and corporate aesthetics. Now, in building his own neo-materialist castle, he’s turned this dissent into art with his first full-length under the Heatsick moniker, Re-Engineering, out on PAN, November 26.
Expanding on his sashaying feedback loops of slightly beyond house sounds across styles, this track ‘RE-ENGINEERING’ is just the first of list of pointed titles like ‘E-SCAPE’, ‘WATERMARK’ and ‘ACCELARATIONISTA’. Let the take down begin. **
The “body’s appearance and disappearance” is the central theme of Unconscious Archives’ The Perfect Medium is the Wrong Message, a two day program, working across sound and film, and running in East London venues, Cafe Oto and Apiary Studios, November 1 and 2.
The Friday will feature a rarely screened Malcolm Le Grice’s Horror Film 1, as well as light performance by Amy Dickson, flame-sound sculpture from Aura Satz, Sally Golding‘s projection piece ‘Face of An Other’ and Sir Gideon Vein‘s live TV pilot. The Saturday will feature a presentation on the spirit of early cinema by Guy Edmonds followed by a seance for home movies with ‘mediums’ Gary Wright and Demian Allen, personal pulp theatre from Tai Shani, Possession Trance as DDD from Ryan Jordan of noise=noise and experiments for a bed time dancefloor by TVO.
In furthering their efforts “to reinforce and serve Gulf and Artistic causes” the recently formed art collective GCC, will be celebrating their accomplishments made during their first meeting in Morscach, Switzerland. In a corporatised global tradition, with a government sanctioned edge, the group aims represent their “official Communiqué” as “a High Level Strategic Dialogue” for their Achievement in Swiss Summit at Mayfair’s Project Native Informant, opening October 18 and running, through Frieze week, to November 16.
Forged in 2013 and featuring Abdullah Al-Mutairi, Amal Khalaf, Aziz Al Qatami, Barrak Alzaid, Fatima Al Qadiri, Khalid al Gharaballi, Monira Al Qadiri, Nanu Al-Hamad and Sophia Al Maria, there’s no doubting the delegation’s efforts to reaffirm “their common desire to enhance and diversify these strong relations in the artistic field”.
As part of the Everything Must Run exhibition curated by Mark Jackson at Brixton’s Block 336and during Frieze week Erik Nyström and Peiman Khosraviwill be presenting Ambit, an electroacoustic concert and multichannel sound installation on Friday, October 18.
Adding to the main exhibition that explores the concepts and conditions of materiality in art, running from October 12 to November 16, Ambit presents visuospatial imagery through sound as tangible object to create “a mutable world of illusory spaces”. We suspect the pair and recent aqnb intervieweeNate Boyce might have a thing or two to talk about.
Ever the artist for slightly nihilistic, self-reflexivity, Jaakko Pallasvuo has managed a fascinating practice from his so-called ‘analysis paralysis’, as reflected in one of our favourite aqnb interviews. That’s why he won’t be having a solo exhibition at Lima Zulu on October 20.
Instead, he’ll be holding a one-off, undocumented presentation called Status at the Manor House art space, as resistance to what he seems to think is the exhibition overload of the London art map. The fact it comes at the tail end of Frieze week is surely no a coincidence but we’ll let Pallasvuo speak for himself in the following statement:
“Instead of a solo show I will be holding a one-off, undocumented presentation. This talk will deal with three objects that have emerged through ‘my practice’ but have not graduated into artworks.
1. Swedish dreadlocks
2. Solid bronze ‘primitive’ bluetooth device
3. him_smoking.mp4
The format of this event reflects my understanding that London does not have a need for any more art exhibitions. That the scene could crush with discourse all the things it hasn’t already crushed.
(The alibi for all this talking can be erased. Remove the art. We can speak more freely. A carelessly cultivated personal brand trumps your oil-paint-canvas arrangements, your thoughtful dissertation, your high production value video essays, your leaning installations.)
If you’re in the creative industries, chances are you’re more than familiar with the ritual of air travel. Blinding departure boards, queerly lit hall ways, dry skin and jetlag are all part of it. During Frieze week, Martin John Callahan brings it all to bear at his Departure of All exhibition at noshowspace in East London until October 26.
Opened on September 26 and seven years in the making, Callanan explores the unobserved system of air travel in reference to his interests in international organisations and authorities.
With over sixty galleries and artist-run spaces participating, the Art Licks Weekend is one of the most consistently interesting features of London’s art calendar. By dint of its disparate nature and vast geographical stretch, though, it suffers from a problem of identity. With venues pock-marking the map of East and South London, it’s difficult to impose a unifying character on it- and there remains a question of just how far a festival that celebrates independence can go towards suppressing its constituent parts into a homogenous whole.
For sculptor LawrenceLek, the challenge was to find an imaginative solution to these dilemmas. Working in collaboration with Valentina Berardi, CliffordSage and AndiSchmied, his response was as thrillingly progressive as it was ambitious: if the galleries can’t be brought together geographically or thematically, why not unite them virtually? Working from his studio in Hackney Wick’s TheWhiteBuilding, Lek and his team sought to put the idea into practice.
Bonus Levels, a first-person computer game that brings twenty of the space’s participating in the Art Licks Weekend, is the stunning result of this brainwave. Three laptops rest on perches under a crosshatched wooden structure with images from the screens projected onto the walls of the space around it. On the screens themselves, the visitor finds themselves in a hilly landscape, rendered into the stylised visual argot of 90s Nintendo games. In the middle of a digitally undulating lake stands an enormous, angular tower, of which each floor painstakingly recreates the floor plans and layout of the galleries involved.
The tower’s appearance- accurate digital facsimiles of existing galleries piled high, one atop the other- is, as Lek explains, no accident. Its jagged, unwieldy lurch is reminiscent of some of London’s more blustering new skyscrapers- apt, given that the colossally expensive Olympic development towers are a hop and a skip to the east. Jumping from floor to floor, the player can take in a view of the idyllic virtual panorama, and, if they so wish, plummet twenty storeys to the ground. The point-of-view combined with large-scale projections make for a gloriously cinematic experience. If nothing else, it must be the only computer game ever to feature a blueprint for the Elephant & Castle Shopping Centre.
The participatory aspect of the work is as refreshing as it is conceptually satisfying. Lek encourages the player to become a “digital sculptor”, pushing around gallery walls and rearranging materials. Inspired by the theories of the Metabolists, who combined architectural principles with ideas of organic biological structures, his vision is to keep the game running online in perpetuity, adding new floors and maintaining it as a ‘living’ project.
Bonus Levels’ romantic landscape- a violent contrast with the post-industrial drabness of Hackney Wick- is by no means incidental to the work either. While it may be overstating the case to call ita ‘political’ work, it functions as an intriguing comment on the plight of London’s independent galleries and artists; priced out of areas once synonymous with creative endeavour, they find themselves relegated ever further towards the city’s margins- might means one day relocate them from bricks and mortar to pixels and graphics? Brevity precludes an essay on late-stage Capitalism, but Lek articulates these worries with effortless dexterity.
As London International Film Festival and Frieze Art Fair rage on, Whitechapel Gallery finds a happy medium by presenting six new films from across cultures from Afghanistan, Hong Kong, Morroco, New Zealand, Turkey and Vietnam, for Artists’ Film International, running from October 17 to January 12.
Selected by 15 organisations from around the world, the programme of film, video and animation includes The Downfall of Light by Murray Hewitt, Jajouka Something Good Comes to You by Eric and Marc Hurtado, We Are All in the Same Boat by Bengu Karaduman, Gaining and Losing by Rahraw Omarzad and City & The City by Hong-An Truong, in collaboration Dwayne Dixon and Morgan Wong’s Plus-Minus-Zero.