Presented by London-based record label and live music promoter Upset The Rhythm,the night will be host to an evening of experimental pop-tones and shape-shifting electronics. The Hackney food, drink and sound venue has been running since 2014 by London’s DHP Family.
Grumbling Fur, the duo of Alexander Tucker and Daniel O’Sullivan, have been working together since 2011 with a strong focus on psychedelic pop. The tracks from their new album Furfour is inspired by “birth, loss, friendship, death, those things that happen to us all.” Dan Hayhurst, who is part of the duo Sculpture presents what the press release calls “warped guitar and percussion moiré meet fragments of media detritus and electronic sound. Post-criticality… critters just want to party.”
On April 6, the Yale School of Art, one of the nation’s highest-ranked art schools, opens its doors to the public with Open Studios, an exhibition featuring the master’s degree projects of a large selection of its second-year students.
Spread over three venues, the studios and exhibition spaces are divided into three areas of focus, including graphic design in the Holcombe T. Green Jr. Hall, painting and printmaking at 353 Crown St., and sculpture and photography in the Sculpture Building.
During the exhibit, a free shuttle bus will be running continuously between the New Haven train station and the three studios, allowing easy accessibility. To find out more about Open Studios, visit aqnb‘sevent listing.**
Legendary Iranian-born, US-based artist and sculptor Siah Armajani is presenting a landmark exhibition of his key works opening this week at London’s Parasol Unit, until December 15.
This will be the first major UK survey of the Iran-born, American artist who is internationally renowned for his extensive public art commissions, which include bridges, reading rooms and poetry gardens. Curated by Parasol Unit founder and director Ziba Ardalan “An ingenious World” is willing to trace the artist’s early works on paper, made in Iran during the late 1950s, to his mature works, including his most recent structure, the Alfred Whitehead Reading Room, 2013, specifically created for the outdoor space at Parasol unit, London.
Armajani is responsible for controversial 2005 work ‘Fallujah’, a modern take on Picasso’s ‘Guernica’ pointing to the senseless bloodshed that took place in the city during the Iraq war and the possibilities for reworking and giving new meaning to past art. Not surprisingly, memory features strongly in his work.
See the Parasol Unit website for more information and an interview between Armajani and Serpentine Gallery’s Hans Ulrich last year, on how close he came to getting a lobotomy after moving to the US. **
Andreas Nicolas Fischer uses software, sculpture and installation to experiment with aleatoric processes and create compositions blending the virtual and the real. These generative pieces are meant to formalise coincidence and shift focus away from composition, thus making him both “creator and spectator of his own work”. See his Fischer’s website for more details. **
Because we love flashy polyurethane foam pigmented sculptures and for their macabre expressions taking Goya’s “Blind Man’s Bluff” to a whole new level.
Frozen in permanent gestures like ventriloquist’s dummies (The Peckhamian Mimic, 2007), sometimes quasi-drunkenly gurning or grinning, as in Asalto de la Diligencia (2008) or expressionlessly looking on, these posturing figures have an eerie charge, like carnivalesque puppet grim reapers rising from the detritus of post-industrial culture, poignantly made out of a material that will not last.
Two of his biggest pieces are being shown @ Saatchi G. until October so even if it’s only for these obscure cartooney scenes, it’s worth a quick visit.
It seems like “The Shape of things to come” (not to confuse with H. G. Wells’s Sci-Fi novel) is the first exhibition @ Saatchi Gallery entirely dedicated to sculpture… although they forgot to mention Matthew Monahan’s room also contains a good number of lithographs & post-technological human figure drawings.
One of those excessive-orgasmic exhibitions Mr Saatchi has accustomed us to bringing the latest contemporary sculpture from 20 sculptors in the Saatchi collection… fairy tales, horrid monsters or some typical expensive modern none-sense; courtesy of our friend Charles.
From the delicacy of David Thorpe’s usage of leather on big plaster blocks which would perfectly match an early 20th century Art Deco atmosphere to the roughness & boldness of Rebecca Warren’s clay female nude sculptures .
The exhibition maybe trying to answer the “What are the parameters of contemporary sculpture? ” question covering international trends in sculpture over the last 10 years by exploring scale, the dissolution of the very boundaries of traditional sculpture; but many have defined it as a children’s playground where no sweat, blood or tears have been shed to produce these monolithic works.
As usual inside Saatchi’s selection for the coming 4 months there are as many great choices as there are insipid shapes built on colorful steroids. From De Bruyckere’s tissue waste to the Goya-caprice-alike de Jong’s ironic figures, there’s always room for your personal taste.
The good thing is that despite far from being of Saatchi’s best exhibitions, it’s free as usual. You have until October 16th.
Tatsuo Miyajima‘s latest LED & mirror works may look mere decorative lamps & reopen the debate of ephemeral art but even if we considered them as such (mere objects) you would probably still want them hanging on your wall….
No-one knows what they’re looking at; maybe a dog fight, a paranormal phenomenon, a dying bug? Littlewhitehead play visually with anything which may seem controversial… they’re one of the few selected by the Saatchi Gallery for the first Part of their new exhibition….
And for finishing this Monday we’ll digg into Xavier Veilhan’s art. The French polygonal genius who made the cover for Air’s Pocket Symphony or the unconventional sculptures for his exhibition at Versailles last Christmas.