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BEGIN:VEVENT
DTSTART;VALUE=DATE:20181004
DTEND;VALUE=DATE:20181008
DTSTAMP:20180924T045036Z
CREATED:20180924T044804Z
LAST-MODIFIED:20180924T045036Z
UID:30047045-1538611200-1538956799@eventsforlondon.co.uk
SUMMARY:Frieze art fairs 2018
DESCRIPTION:Join a dynamic duos of event with the Frieze London and Frieze Masters art fairs. \nExplore spectacular international galleries at the Frieze art fairs. Be amazed with the latest contemporary art at the Feize London and Frieze Masters which specializes in art from the past. Both galleries will be hosted side by side\, making it an extraordinary event to look forward to. \nFieze London this year focuses on female artists who opposed the male-dominated art industry of the 1980s and 1990s. While Fieze Master showcases ancient works\, Old Masters’ paintings and displays from the modern era. Frieze Sculpture\, a display of outdoor artwork which kicked off in July in Regent’s Park\, coincides with the art fairs. \nIf you want to know more in specific about the pieces you can view it on their website.
URL:https://eventsforlondon.co.uk/event/frieze-art-fairs-2018/
LOCATION:Regent’s Park and Primrose Hill\, NW1 4NR\, London\, United Kingdom
CATEGORIES:Arts,Family Activities,Festivals,History,Visual Arts
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20181031T190000
DTEND;TZID=Europe/London:20181031T230000
DTSTAMP:20181016T134700Z
CREATED:20181016T134700Z
LAST-MODIFIED:20181016T134700Z
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SUMMARY:Medusa: The Transformation
DESCRIPTION:This Halloween – when the veil between the worlds is thin – Union Chapel invites you on an experiential journey. ‘Medusa: The Transformation’ is a unique visual performance of live music\, projection mapping\, soundscapes and ritual\, presented by artist and musician Boe Huntress. \nIn Greek mythology Medusa is a beautiful maiden cursed by Athena with profound ugliness: her hair is replaced with a nest of writhing snakes and her gaze petrifies mortals on the spot. Her head is eventually severed by Perseus in a quest for honour. \nHowever\, an older story rooted in African and Mesopotamian tradition suggests that Medusa was a Libyan goddess\, adopted by the Greeks when they colonised Libya in 600BCE. In this version of the story snakes were keepers of wisdom and power\, and rocks were worshipped\, giving a different meaning to Medusa’s ability to turn people into stone. \nThe story we know reflects the colonisation of history itself\, as well as advancing a more patriarchal narrative of jealous competition between disempowered women. This performance piece digs a little deeper. \nMedusa is an archetypal story\, which\, like all great myths\, can be enjoyed and understood on many levels. The story looks at what we learn when we confront our worst fears and accept the deepest aspects of ourselves. \nAbout Boe Huntress:\nBoe is a musician and artist in residence at Union Chapel Church. Through her work in this role she has developed thought provoking innovative pieces around themes such as masculinity\, war and female power. Her previous sold out show A Female Power was accompanied by an EP. \nAbout Union Chapel\nUnion Chapel is an award-winning music venue in Islington\, North London. But it’s more than that\, it’s Victorian Gothic architectural jewel\, that’s still a working church\, home to an incredible organ and the base for The Margins Project\, which works with people facing homelessness and isolation. Coming to an event at Union Chapel supports the conservation and development of the building. \nConnect with Union Chapel on social media:\nFacebook: http://www.facebook.com/UnionChapelUK/\nTwitter: @UnionChapelUK\nInstagram: http://www.instagram.com/unionchapeluk
URL:https://eventsforlondon.co.uk/event/medusa-the-transformation/
LOCATION:London\, United Kingdom
CATEGORIES:Live Music
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ORGANIZER;CN="Union Chapel":MAILTO:events@unionchapel.org.uk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20181122T183000
DTEND;TZID=Europe/London:20181122T203000
DTSTAMP:20181117T180345Z
CREATED:20181117T180345Z
LAST-MODIFIED:20181117T180345Z
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SUMMARY:IDENTITY
DESCRIPTION:IDENTITY\nIdentity examines how our (often distorted) self-perceptions are shaped by experience\, society and the media as well as its impact on mental health\, the importance of talking about these anxieties and the transformative power of self-expression\, such as art. \nIDENTITY features the work of Bruno Metra and Laurence Jeanson The duo say that the series Identity 1&2 are works intended to show how much people are influenced by the media\, \nMeltem Isik placing enlarged images of various body parts in front of the subject’s body\, Isik explores topics such as body image and self-awareness. In a statement about the project\, Isik says: “The complexity that originates from the capability of our bodies to see and be seen simultaneously provides the basis of the work that I construct using different viewpoints. \nLeigh de Vries Body Dysmorphic Disorder or BDD dominated artist Leigh de Vries life for more than 25 years. It remained hidden behind a wall of secrecy and isolation. Exploring her condition through Art\, her socially engaged art experience – breaks down societal stigmas and offers an opportunity to encounter and understand BDD through the lens of the sufferer. photographer \nDerek Santini never-before-seen images of Lady Gaga\, who famously suffered from BDD \nDaniel Martin creates his portrait collages by deforming and recreating his materials\, or in his words: “the mastery of chance and mistakes.” \nBartosz Beda whose portraits and figurative works are explorations of the relationship between identity\, daily life and the human psyche. \nJames Green put himself in the shoes of BDD-sufferers\, using facial expressions to convey the overwhelming feeling of being trapped. \nScarlet Isherwood uses resin to encase a real lamb’s heart – representing rotting self-esteem – surrounded by real butterflies and glitter – symbolising advertising\, glamorising the need to change and transform. \nDaniela Slater looks at the workings of the human body and mind  and questions perception and connectivity through her art and words \nA percentage of monies raised from the IDENTITY exhibition will go to The BDD Foundation. \nThe Private View of IDENTITY will be held on 22 November\, from 6 – 9 pm \nThe Old Street Gallery \n62 Paul Street\, Leonard St\, London EC2A 4NA \nThe Exhibition will then continue from the 24-9 December at Zebra One Gallery in Hampstead.
URL:https://eventsforlondon.co.uk/event/identity/
LOCATION:London\, United Kingdom
CATEGORIES:Arts,Exhibitions,Photography,Visual Arts
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20181125
DTEND;VALUE=DATE:20181218
DTSTAMP:20181031T150119Z
CREATED:20181031T150119Z
LAST-MODIFIED:20181031T150119Z
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SUMMARY:Angela Morris-Winmill Solo Exhibition - Greenwich
DESCRIPTION:M1 Fine Art presents an exciting collection of powerful works from Angela Morris-Winmill in her latest solo art exhibition. \nVisit our Greenwich gallery on Saturday 3rd November & Sunday 4th November to experience the stunning new artwork on display and enjoy complimentary prosecco whilst browsing the gallery at your leisure. \nExplore a stunning visual representation of life\, death\, humanity and strength through the use of organic matter\, vibrant colour and special effects. This exhibition is truly not to be missed! \nThe exhibition will run in Greenwich until Sunday 25th November. \nWeekday opening times: 10am – 6pm\nWeekend opening times: 9am – 7pm
URL:https://eventsforlondon.co.uk/event/angela-morris-winmill-solo-exhibition-greenwich/2018-11-25/
LOCATION:M1 Fine Art – Greenwich\, 20 Nelson Road\, Greenwich\, SE10 9JB
CATEGORIES:Arts,Exhibitions,Visual Arts
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20181201T100000
DTEND;TZID=Europe/London:20181201T200000
DTSTAMP:20181108T141115Z
CREATED:20181108T141115Z
LAST-MODIFIED:20181108T141115Z
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SUMMARY:Angela Morris-Winmill Solo Exhibition - West End
DESCRIPTION:Famous for her daring skull artwork\, Angela Morris-Winmill’s work is a guilty pleasure of powerful visual representation. Her stunning 2D and 3D displays depict life\, death\, humanity and strength through the use of organic matter\, vibrant colour and captivating special effects. \nHeavily influenced by her Australian outback upbringing and teachings from her father during family expeditions into ‘the bush’\, Angela places a tremendous value on life and respects the animals that provide food for us. As such\, they feature heavily within her artwork. \nGraduating from The University of Sydney at age 21\, Angela made her way to the UK and forged an incredibly successful Fashion Design career in London and across Europe. Often attracting impressive media attention for her work\, this grounding (coupled with her strong eye for colour and detail) allowed her later transition to full time fine artist to be a natural and seamless process. She now exhibits internationally and boasts collectors all around the globe. \nAt the exhibition\, you’ll receive complimentary prosecco whilst exploring the gallery at your leisure. You can find us on 80 Charing Cross Road\, London; we are located a few minutes away from Leicester Square Underground Station and Charing Cross Station. \nThe exhibition will run in the West End until Sunday 9th December.\nMonday – Saturday: 10am – 8pm\nSunday: 11am – 6pm
URL:https://eventsforlondon.co.uk/event/angela-morris-winmill-solo-exhibition-west-end/
LOCATION:London\, United Kingdom
CATEGORIES:Awards,Exhibitions,Free Events,Visual Arts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20190523T100000
DTEND;TZID=Europe/London:20190526T180000
DTSTAMP:20181117T035739Z
CREATED:20181117T035739Z
LAST-MODIFIED:20181117T035739Z
UID:30047203-1558605600-1558893600@eventsforlondon.co.uk
SUMMARY:London Art Biennale 2019
DESCRIPTION:The London Art Biennale presents global contemporary art on the historic King’s Road in Chelsea\, London. \nThe exhibition is a museum-quality award show curated by Gagliardi Art & Partners in conjunction with the Chianciano Art Museum. Previous editions of the Biennale gathered artworks from approximately 50 different nations\, showcasing artists who have exhibited in some of the most important museums in the world as well as emerging artists selected for their talent. \nThe exhibition is professionally curated to give the viewer a stimulating yet coherent experience that spans across many artistic movements and styles all brought together in the iconic Chelsea Old Town Hall. The London Art Biennale is where global contemporary art is presented and gathers thousands of visitors per year. Admission is free.
URL:https://eventsforlondon.co.uk/event/london-art-biennale-2019/
LOCATION:Chelsea Old Town Hall\, London
CATEGORIES:Arts,Exhibitions,Free Events,Recreation,Visual Arts
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20190702T160000
DTEND;TZID=Europe/London:20190706T200000
DTSTAMP:20190606T120600Z
CREATED:20190606T120500Z
LAST-MODIFIED:20190606T120600Z
UID:30053339-1562083200-1562443200@eventsforlondon.co.uk
SUMMARY:TAC: The Summer Auction
DESCRIPTION:This July\, as part of its inaugural series of seasonal auctions\, The Auction Collective presents The Summer Auction\, a group show and auction of 70 artworks handpicked from a variety of today’s artists. Starting bids from £50 to £3\,000. \nAs ever\, both the exhibition and auction are open for all to enjoy\, there is no buyer’s commission and you can bid in three ways: in the room\, through absentee bids or on the telephone. \nFor more information on the exhibition and auction times\, plus the artworks and artists as they are announced\, follow @theauctioncollective on Instagram or sign up to the mailing list at the bottom of the page.
URL:https://eventsforlondon.co.uk/event/tac-the-summer-auction/
LOCATION:Candid Arts Trust\, 3 Torrens Street\, London\, EC1V 1NQ
CATEGORIES:Arts,Exhibitions,Free Events,Visual Arts
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ORGANIZER;CN="The Auction Collective":MAILTO:nick.yau@theauctioncollective.com
GEO:51.53219;-0.1052691
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Candid Arts Trust 3 Torrens Street London EC1V 1NQ;X-APPLE-RADIUS=500;X-TITLE=3 Torrens Street:geo:-0.1052691,51.53219
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20190823T190000
DTEND;TZID=Europe/London:20190823T200000
DTSTAMP:20190811T173942Z
CREATED:20190811T173942Z
LAST-MODIFIED:20190811T173942Z
UID:30053585-1566586800-1566590400@eventsforlondon.co.uk
SUMMARY:Bill Richmond - Britain's Forgotten Pugilist
DESCRIPTION:To mark Slavery Remembrance Day\, join us for a journey through the life of Bare-knuckle Boxer Bill Richmond\, featuring readings from The Ballad of Bill Richmond\, a new narrative poem by Adam Marchan\, and a discussion around the largely unrecognised presence of Black people in Regency England\, and the part they played in bringing about the abolition of slavery. \nPart of the Gallery’s Friday Lates Programme. There will be a DJ and bar\, and you’re welcome to enjoy the works on display in the Gallery until 9pm.  \nFree event\, but booking required.
URL:https://eventsforlondon.co.uk/event/bill-richmond-britains-forgotten-pugilist/
LOCATION:National Portrait Gallery\, National Portrait Gallery\, St Martin's Place\, London\, WC2H 0HE\, London\, United Kingdom
CATEGORIES:Free Events,History,Museums
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20190905T180000
DTEND;TZID=Europe/London:20190905T210000
DTSTAMP:20190806T225341Z
CREATED:20190806T225341Z
LAST-MODIFIED:20190806T225341Z
UID:30053530-1567706400-1567717200@eventsforlondon.co.uk
SUMMARY:NOT my Planet
DESCRIPTION:Our amazing Art House Project’s Artists\, will be showing their latest work at NOT my Planet in the historic grade one church St. John on Bethnal Green.\nWe will be highlighting many of the pressures we\, as #Earthlings\, put upon this planet with Paintings\, Collages\, Animations\, Talks\, Workshops and Installations raising awareness of a wide range of environmental issues. We invite the audience to have a think about planet Earth and ask their own questions about its past and future and our responsibilities\, if we have any\, towards our environment. \nArtists line up:\nhello the mushroom\nRemainHumain\nApparan Art\nInkteraktiv Art\nSubDude\nXLVII\nPerspicere\nGary Alford\nJoe Bloggs\nUberfubs\nSir92art\nMali Mowcka\nGiusi Tomasello London\nBenjamin Irritant\nTracie Angiolini\nJelly Artist\nM.E. Ster-Molnar\nDaddy Street Fox\nMervyn Syna\nArt Under The Hood\nThayen Rich\nMónica Sablone\nRobin Chuter\nHeavens rejects\nArt about Face\nM0j0forever\nNat Webb\nMarcin LachArt\nSelven Munian\nAgos art\nSilviya Radeva\nTamalyn Hyde\nFloating Concrete\nMartin Krupik \nMusic on the opening night by Ekay Dub + performance Mai Nguyen Tri \nArt and clothes stall run by our artists. \nComing soon: calendar of workshops and events. \nShow will be running until the 21st of September. Open from Thursdays-Sundays from 18.00-20.00. (different times on workshop days)
URL:https://eventsforlondon.co.uk/event/not-my-planet/
LOCATION:st johns on bethnal green\, 200 Cambridge Heath Road\, Bethnal Green.\, London\, E2 9PA
CATEGORIES:Exhibitions,Free Events,Visual Arts
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ORGANIZER;CN="Art House Project London":MAILTO:arthouseprojectlondon@gmail.com
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20190923T100000
DTEND;TZID=Europe/London:20191122T170000
DTSTAMP:20191123T113714Z
CREATED:20190917T060409Z
LAST-MODIFIED:20191123T113714Z
UID:30054171-1569232800-1574442000@eventsforlondon.co.uk
SUMMARY:Sharon Drew – Immersion
DESCRIPTION:Sharon Drew has been invited to exhibit her abstract paintings at William Road Gallery. By recreating the sensation of light\, colour\, rhythm and movement Drew finds in landscape\, her work brings a visceral element to the gallery setting. \nThis new series includes large-scale paintings and captures the essence of visits to urban and coastal shorelines. Building up opaque and translucent layers with repetitive and rhythmic gestures she emulates the constant fluctuations of nature. \nIn contrast to the measured and calculated methods of the architects whose practice houses the gallery\, Drew’s works result from a process of only just controlling the paint\, of letting the material lead the way. The desire is to be spontaneous and completely in the moment\, and to share this sense of immersion with the viewer. \n  \nMondays-Fridays
URL:https://eventsforlondon.co.uk/event/sharon-drew-immersion/
LOCATION:William Road Gallery\, 7-9 William Road\, London\, NW1 3ER
CATEGORIES:Architecture,Arts,Exhibitions,Family Activities,Free Events,Interior Design,Visual Arts
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ORGANIZER;CN="John McAslan &amp%3B Partners":MAILTO:info@williamroadgallery.co.uk
GEO:51.526882;-0.1391892
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20191012T120000
DTEND;TZID=Europe/London:20191012T190000
DTSTAMP:20191001T161852Z
CREATED:20191001T161629Z
LAST-MODIFIED:20191001T161852Z
UID:30054145-1570881600-1570906800@eventsforlondon.co.uk
SUMMARY:LUMAS Gallery Grand Opening
DESCRIPTION:On Saturday 12th October\, global leaders in museum-quality art\, LUMAS Gallery\, is opening the doors of their UK flagship store in Seven Dials.  \nGuests are invited to the launch event from 12pm-7pm\, to visit LUMAS’ exquisite art collections and industry-leading knowledge. \nWith 15 years experience\, LUMAS continues to establish itself as an innovative and premium-quality art gallery unlike any other. LUMAS offers exciting artwork from a range of established and new artists\, all hand-signed and limited to 75-150 editions\, and competitively priced. \nExclusively for the day\, LUMAS favourite Derek Gores will be in-store\, creating incredible live art as he upscales clippings from glossy magazines. Guests will have the opportunity to meet Gores in-person\, take part in a framing workshop by WhiteWall\, and make the most of complimentary prosecco\, nibbles and DJ throughout.  \nJoin LUMAS for a day of exciting in-store and free activities\, and be one of the first to visit London’s most exciting art gallery.
URL:https://eventsforlondon.co.uk/event/lumas-gallery-grand-opening/
LOCATION:LUMAS Gallery\, 21-23 Earlham Street\, Seven Dials\, London\, WC2H 9LL
CATEGORIES:Arts,Museums,Visual Arts
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ORGANIZER;CN="Sister London":MAILTO:charlotte.wells@sisterlondon.com
GEO:51.5138384;-0.127272
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20191203T120000
DTEND;TZID=Europe/London:20191203T173000
DTSTAMP:20191122T040750Z
CREATED:20191122T015717Z
LAST-MODIFIED:20191122T040750Z
UID:30054351-1575374400-1575394200@eventsforlondon.co.uk
SUMMARY:Open Studio
DESCRIPTION:The South London studio is having an open studio event from 12 pm – 5.30 pm on Tuesday 3rd December. Pop in to see the studio in action and check out some of the fantastic artwork on display. \nThis event takes place during the Big Give Christmas Campaign and is a perfect way to learn more about what we do. Any donations made during the course of the week will be matched\, doubling your impact!
URL:https://eventsforlondon.co.uk/event/open-studio/
LOCATION:Studio Upstairs\, 1A Drummond Street\, London\, CR0 1TT\, United Kingdom
CATEGORIES:Arts,Charity Events,Community Events,Crafts,Design,Free Events,Visual Arts
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ORGANIZER;CN="Studio Upstairs":MAILTO:southlondon@studioupstairs.org.uk
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20200115T190000
DTEND;TZID=Europe/London:20200115T213000
DTSTAMP:20191227T083624Z
CREATED:20191227T072934Z
LAST-MODIFIED:20191227T083624Z
UID:30054484-1579114800-1579123800@eventsforlondon.co.uk
SUMMARY:Curating ‘Visible Darkness’
DESCRIPTION:Autograph’s Senior Curator Renée Mussai discusses the creation of Lina Iris Viktor’s exhibition\, the research that informs the works on display\, and Viktor’s performative engagement of the self. \nUsing the exhibition as a point of departure\, Mussai will also reflect on the process of working closely with artists – especially black women and gender non conforming practitioners – to develop immersive curatorial projects and site-specific gallery installations. For instance\, Viktor’s work will be considered in relation to contemporary artists such as Zanele Muholi\, Aida Silvestri\, Jeannette Ehlers\, and Phoebe Boswell\, all of whom have exhibited at Autograph in recent years. \nMussai will be joined by independent curator Karen Alexander\, responding to the exhibition and discussing shared curatorial practices. \nThis illustrated talk will be followed by Q&A with the audience. \n— \nABOUT RENÉE MUSSAI \nRenée Mussai is Senior Curator and Head of Curatorial at Autograph. A scholar-curator with a special interest in African\, Black European and diasporic lens-based practices\, Mussai publishes and lectures internationally on photography\, curatorial activism and cultural politics. Since 2009\, she has been a regular guest curator and former non-resident fellow at the Hutchins Center for African and African American Research at Harvard University. \nShe is presently a Research Associate in the Visual Identities in Art and Design Research Centre\, University of Johannesburg\, and PhD candidate in Art History at University College London. Over the past decade\, she has organised numerous exhibitions in Europe\, Africa and the United States. Her writing has appeared in artist monographs\, anthologies and journals such as Aperture\, and Nka: Journal of Contemporary African Art. \nABOUT KAREN ALEXANDER \nKaren Alexander is a London-based independent film and moving image curator and an associate lecturer at Central St Martins\, University of the Arts\, London. For over 15 years she worked with and for BFI and the Royal College of Art. Her areas of research are artists’ film and video\, and the post-colonial visual politics of the African diaspora with particular reference to gender\, race and representation. \nRecent curatorial projects include: A Passion for Remembering: The Films of Maureen Blackwood\, Cinema Rediscovered\, Bristol (2019)\, Dream Time: We All Have Stories\, Nuit Blanche\, Toronto (2018)\, Whip It Good: Spinning From History’s Filthy Mind\, Jeannette Elhers\, Autograph\, London (2015). She has written for numerous publications\, most recently contributing to Artists’ Moving Image in Britain Since 1989 (Paul Mellon Centre\, 2019) \n— \nACCESSIBILITY AT AUTOGRAPH \nEveryone is welcome at Autograph. Our building Rivington Place is an accessible space with a step-free entrance at street level\, and a lift to all floors. Unisex\, accessible toilets are located on all floors. \nDownload our Accessibility Guide for detailed access information about our venue and transport http://bit.ly/2DF11bE \nWe are happy to help. If you would like to discuss your visit\, or have any questions\, please contact us at info@autograph-abp.co.uk or 020 7749 9200 \n— \nSupported using public funding by Arts Council England. Also supported by Mariane Ibrahim Gallery.
URL:https://eventsforlondon.co.uk/event/curating-visible-darkness/
LOCATION:Autograph\, Rivington Place\, London\, EC2A 3BA
CATEGORIES:Architecture,Arts,Crafts,Exhibitions,Illustration,Visual Arts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20200305T100000
DTEND;TZID=Europe/London:20200404T160000
DTSTAMP:20200323T032918Z
CREATED:20200227T032746Z
LAST-MODIFIED:20200323T032918Z
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SUMMARY:Intimacy – Paul Vanstone
DESCRIPTION:Paul Vanstone- Intimacy \nSerena Morton Gallery \n\nDear Gallery Visitors\, \nIn the light of Covid-19 and taking into consideration the health and wellbeing of our exhibitors and guests\, we have decided to be  \nOPEN BY APPOINTMENT. \nPlease do come and visit the gallery and view Paul Vanstone’s new exhibition but if you could ring the doorbell and visit in restricted numbers\, or telephone me on 07904 636 910 and I will do my very best to accommodate your visit. \nSerena Morton \n\n343 Ladbroke Grove\, London\, W10 6HA \nExhibition runs from the 6th March to the 4th April. \nPaul Vanstone is fascinated by the hardness and light reflecting qualities of stone. He is interested in how this can be transformed to portray the curvature of the human body\, and the delicacy and flow of covering cloth. His meticulous technique and focus on quality and finish follow in the tradition of classical sculpture. Using marble\, onyx and alabaster\, sourced from around the world\, Vanstone’s work reflects the 21st century passion with the curvaceous architecture of Frank Gehry and Zaha Hadid\, together with the continuing allure of the human form as portrayed by artists such as Henry Moore. \nFor his solo show at Serena Morton\, Paul Vanstone looks at the human form close up. Using materials Vanstone has been working with for over a quarter of a century\, each piece starts in the quarry\, from Carrara in Italy to Portugal and India. Walking through these stone yards\, often well trodden paths through landscapes of marble\, these journeys are an essential part of the creative process\, stimulating ideas and forging new directions in his work. Back at the studio\, the blocks are drawn on\, one carving often informing the next. \nVanstone uses the particular qualities of each stone\, to convey how it absorbs and reflects light like human skin. He is able to transform hard stone to portray the softness and curvature of the human body. From subtle to dramatic\, he uses the veining of each stone to accentuate the form creating movement and drama. \nVanstone studied sculpture at Central St Martin’s School of Art and the Royal College of Art\, London. His work is in many distinguished collections\, both in the UK and internationally. Most recently\, his work has been sold to collections in Abu Dhabi\, Austria\, Norway\, Russia\, and the USA\, as well as many throughout the UK. \nFor enquiries\, a PDF catalogue or a price list\, please contact info@serenamorton.com. \nSerena Morton Limited343 Ladbroke GroveLondon W10 6HA \nwww.serenamorton.com \nTel: +44 (0) 790 463 6910
URL:https://eventsforlondon.co.uk/event/intimacy-paul-vanstone/
LOCATION:Serena Morton Gallery\, 343 Ladbroke Grove\, London\, W10 6HA\, United Kingdom
CATEGORIES:Arts,Exhibitions,Free Events,Sculpture,Shows
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20200324T100000
DTEND;TZID=Europe/London:20200328T180000
DTSTAMP:20200212T030312Z
CREATED:20200212T030312Z
LAST-MODIFIED:20200212T030312Z
UID:30054572-1585044000-1585418400@eventsforlondon.co.uk
SUMMARY:The Spring Auction. 2020
DESCRIPTION:The Auction Collective’s annual programme of seasonal auctions returns this March with The Spring Auction 2020. \nTaking place in a former Victorian Warehouse in Angel\, this curated show will bring together 90 artworks handpicked straight from the studios of some of today’s most talented contemporary artists. \nEmerging graduates from Goldsmith’s\, Central Saint Martins\, Camberwell and more will be exhibited alongside established independent and under-represented artists.  \nA programme of events will take place throughout the week\, culminating with a public auction of all 90 artworks on Saturday 28 March.  \nTo make buying art more affordable\, each artwork is under £3\,000 and there are no buyer’s fees. There are ways to bid: in the room\, through absentee bids or on the telephone. \nFor more information on the auction and the artists involved follow @theauctioncollective on Instagram and sign up to the mailing list here. \nExhibition\n24-28 March | 10 am – 7 pm\nCandid Arts\, 3 Torrens St\, London (EC1V 1NQ) \nAuction\nSaturday 28 March | 5 pm \nStarting bids from £50 to £3\,000.\nhttps://theauctioncollective.com/auctions/the-spring-auction/
URL:https://eventsforlondon.co.uk/event/the-spring-auction-2020/2020-03-24/
LOCATION:Candid Arts Trust\, 3 Torrens Street\, London\, EC1V 1NQ
CATEGORIES:Architecture,Arts,Digital Arts,Exhibitions,Food & Drink,Shows,Visual Arts,Wine
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ORGANIZER;CN="The Auction Collective":MAILTO:nick.yau@theauctioncollective.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20200328T170000
DTEND;TZID=Europe/London:20200328T180000
DTSTAMP:20200212T030312Z
CREATED:20200212T030312Z
LAST-MODIFIED:20200212T030312Z
UID:30054573-1585414800-1585418400@eventsforlondon.co.uk
SUMMARY:The Spring Auction. 2020
DESCRIPTION:The Auction Collective’s annual programme of seasonal auctions returns this March with The Spring Auction 2020. \nTaking place in a former Victorian Warehouse in Angel\, this curated show will bring together 90 artworks handpicked straight from the studios of some of today’s most talented contemporary artists. \nEmerging graduates from Goldsmith’s\, Central Saint Martins\, Camberwell and more will be exhibited alongside established independent and under-represented artists.  \nA programme of events will take place throughout the week\, culminating with a public auction of all 90 artworks on Saturday 28 March.  \nTo make buying art more affordable\, each artwork is under £3\,000 and there are no buyer’s fees. There are ways to bid: in the room\, through absentee bids or on the telephone. \nFor more information on the auction and the artists involved follow @theauctioncollective on Instagram and sign up to the mailing list here. \nExhibition\n24-28 March | 10 am – 7 pm\nCandid Arts\, 3 Torrens St\, London (EC1V 1NQ) \nAuction\nSaturday 28 March | 5 pm \nStarting bids from £50 to £3\,000.\nhttps://theauctioncollective.com/auctions/the-spring-auction/
URL:https://eventsforlondon.co.uk/event/the-spring-auction-2020/2020-03-28/
LOCATION:Candid Arts Trust\, 3 Torrens Street\, London\, EC1V 1NQ
CATEGORIES:Architecture,Arts,Digital Arts,Exhibitions,Food & Drink,Shows,Visual Arts,Wine
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ORGANIZER;CN="The Auction Collective":MAILTO:nick.yau@theauctioncollective.com
GEO:51.53219;-0.1052691
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20200926T110000
DTEND;TZID=Europe/London:20201101T180000
DTSTAMP:20200923T052812Z
CREATED:20200923T052812Z
LAST-MODIFIED:20200923T052812Z
UID:30055177-1601118000-1604253600@eventsforlondon.co.uk
SUMMARY:Into Yonderland
DESCRIPTION:Dream-like\, colourful figures appear in theatrical and absurd scenes\, caught in an uneasy balance between the familiar and the strange\, the comedic and the uncanny. Often painted in a vibrant\, fairground colour palette\, the works invite the viewer into a world of illusion in which the more macabre aspects are revealed as the scene unfolds before the gaze.  \nFor his first solo exhibition at Kristin Hjellegjerde London\, British artist Lee Simmonds presents Into Yonderland\, a playground of painting where each canvas offers a gateway into a new realm of possibility in terms of colour\, content and character.
URL:https://eventsforlondon.co.uk/event/into-yonderland/2020-09-26/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
CATEGORIES:Arts,Design,Events in London,Exhibitions,Free Events,Visual Arts
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ORGANIZER;CN="Kristin Hjellegjerde":MAILTO:info@kristinhjellegjerde.com
GEO:51.5023716;-0.0842774
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20201005T000000
DTEND;TZID=Europe/London:20201031T150000
DTSTAMP:20201006T124217Z
CREATED:20201006T110706Z
LAST-MODIFIED:20201006T124217Z
UID:30055218-1601856000-1604156400@eventsforlondon.co.uk
SUMMARY:Turner and the Thames
DESCRIPTION:Sir David Attenborough opened this exhibition of J.M.W. Turner’s original work in January this year\, which attracted widespread publicity and resulted in the exhibition selling out until the end of April\, its original end date. But\, thanks to Tate generously extending its loan\, the exhibition of five oil sketches of the Thames can now be seen until October 31st. \nRigorous precautions have been taken to protect staff and visitors\, including limiting the number of visitors in the house to just eight at any one time which provides an enhanced\, more intimate experience. \n“Turner’s House Trust are incredibly grateful to our volunteers for working these extra hours and to the Tate for this extension of their loan\, the first Turner works to be shown in his house since 1826.” Says Ricky Pound\, House Director\, “We’ve had great feedback since reopening\, as limiting numbers has meant more space in the house for visitors to explore and this has been welcomed with enthusiasm!”\nDue to the current Covid-19 situation\, advance booking is essential. Visitors will receive a short introduction to the house in the garden and then enjoy a self-guided visit from Wednesday-Saturday: 12pm-1pm-2pm-3pm (last entrance). Exclusive guided tours for small family groups and close friends can also be arranged. Please contact housedirector@turnershouse.org for further details.
URL:https://eventsforlondon.co.uk/event/turner-and-the-thames/
LOCATION:Turner’s House\, Sandycombe Lodge\, 40 Sandycoombe Road\, St Margarets\, Twickenham\, TW1 2LR
CATEGORIES:Arts,Community Events,Events in London,Exhibitions,Museums,Visual Arts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20201010T080000
DTEND;TZID=Europe/London:20201011T170000
DTSTAMP:20200925T003805Z
CREATED:20200922T065852Z
LAST-MODIFIED:20200925T003805Z
UID:30055175-1602316800-1602435600@eventsforlondon.co.uk
SUMMARY:Samah Shihadi: Terra (Un)firma
DESCRIPTION:Palestinian hyperrealist artist Samah Shihadi will make her London-debut with her solo exhibition\, Terra Un(firma).\nThe body of work is divided into two segments\, The Living and The Land\, which takes the artist’s personal narratives and feminist outlook as a starting point from which to explore issues faced by women\, across cultures\, in the contemporary moment.
URL:https://eventsforlondon.co.uk/event/samah-shihadi-terra-unfirma/
LOCATION:Cromwell Place\, 4 Cromwell Place\, London\, London\, SW7 2JE
CATEGORIES:Arts,Events in London,Exhibitions,Free Events
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ORGANIZER;CN="Cromwell Place":MAILTO:info@cromwellplace.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20201010T110000
DTEND;TZID=Europe/London:20201010T200000
DTSTAMP:20200930T171949Z
CREATED:20200930T170901Z
LAST-MODIFIED:20200930T171949Z
UID:30056110-1602327600-1602360000@eventsforlondon.co.uk
SUMMARY:Litehouse Gallery presents  Home: Contemporary Stories Through Artists’ Eyes
DESCRIPTION:This pop-up exhibition is an immediate response to the recent tragic blast in Beirut’s port that destroyed thousands of houses\, leaving thousands of Syrian and Lebanese people homeless. \nThe exhibition will take you on a journey that crosses borders in search of a transnational identity that is multi-layered\, at times displaced\, yet intact and coherent. The stories and artworks are lyrical metaphors of the artist’s current circumstances\, everyday experiences and dreams of homecoming\, whilst raising questions about the elsewhere and the space in-between places. \nHome is a feeling. Home is a landscape and a vision of our intimate being and desires. Home is co-creating with others a shared sense of belonging. This group show explores these themes with the aim of rediscovering the roots of a common culture\, at the same time as offering a place and a space where artists can express their cultural identity and belonging. \nHome: Contemporary Stories Through Artists’ Eye is a rare opportunity to view artworks by our Syrian and British artists. \nThrough the transformative power of art we can transcend dislocation\, transform the pain of physical exile\, resolve the contradiction of past and present\, and overcome instability\, dispossession and loss. Home is where the Art is.\nOrganised by – The Litehouse Gallery\, Director Raghad Mardini \nArtworks by Artists – Shadi Abu Saada\, Heba Akkad\, Farah Azrak\, Tamman Azzam\, Adel Daoud\, Assem Hamsho\, Fadi Hamwi\, Mohamad Labash\, Ghylan Safaldi\, Iman Hasban\, Adib Fattal\, Noha Zayed\, Chris Ward\, Mima Liddawi \nVisiting – Free entrance\, only 6 people at a time\, the venue is not accessible to wheel chair\, don’t forget your mask! \nFor more images\, and all press queries –\ninfo@litehousegallery.co.uk +44 (0)7497 10 66 76 \nThe Litehouse Gallery is a platform that engages with new ideas\, perspectives and audiences to bridge British and Syrian cultures through collaborative educational programs and workshops with the international Syrian art community and British artists and audiences. It is the leading UK gallery representing Syrian artists.
URL:https://eventsforlondon.co.uk/event/litehouse-gallery-presents-home-contemporary-stories-through-artists-eyes/2020-10-10/
LOCATION:The Freeman Foundation\, 235a Portobello Road\, London\, W11 1LT
CATEGORIES:Arts,Events in London,Exhibitions,Free Events,Society
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ORGANIZER;CN="Litehouse Gallery":MAILTO:sarah@litehousegallery.co.uk
GEO:51.5170139;-0.2061092
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20201010T110000
DTEND;TZID=Europe/London:20201029T170000
DTSTAMP:20200928T062119Z
CREATED:20200919T044929Z
LAST-MODIFIED:20200928T062119Z
UID:30055146-1602327600-1603990800@eventsforlondon.co.uk
SUMMARY:"The Desperate Journey"
DESCRIPTION:  \nLone figures appear standing wrapped in silver and gold blankets against moody grey skies while exhausted faces\, framed by their life jackets\, look pleading out from the canvas. These exquisitely detailed\, poignant paintings are the work of Ethiopian artist Tewodros Hagos\, inspired by contemporary journalistic imagery and footage of the ongoing migrant crisis. Entitled The Desperate Journey\, the artist’s solo exhibition at Kristin Hjellegjerde’s Wandsworth space in London explores issues of voyeurism and othering in the face of human tragedy.
URL:https://eventsforlondon.co.uk/event/the-desperate-journey/2020-10-10/
LOCATION:Kristin Hjellegjerde Gallery\, 533 Old York Road\, London\, Wandsworth\, SW18 1TG\, United Kingdom
CATEGORIES:Arts,Design,Events in London,Exhibitions,Free Events,Visual Arts
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ORGANIZER;CN="Kristin Hjellegjerde":MAILTO:info@kristinhjellegjerde.com
GEO:51.4598404;-0.1888127
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20201114T110000
DTEND;TZID=Europe/London:20201213T190000
DTSTAMP:20200928T062211Z
CREATED:20200919T045806Z
LAST-MODIFIED:20200928T062211Z
UID:30055168-1605351600-1607886000@eventsforlondon.co.uk
SUMMARY:Juwurlinji
DESCRIPTION:Dark formations of rock\, vibrant blue rivers and clusters of trees sit against a warm background of yellow\, pale pink and ochre earth. These are the painted landscapes of East Kimberley-based artists Tracey and Kathy Ramsay whose artistic legacy is intrinsically tied up with the land\, the heritage of the Gija people and their ancient traditions. Bringing the sisters’ paintings together in their first-ever UK exhibition\, Kristin Hjellegjerde Gallery is proud to present Juwurlinji\, a journey into the real and mythic terrains of the Bow River Country.
URL:https://eventsforlondon.co.uk/event/juwurlinji/2020-11-14/
LOCATION:Kristin Hjellegjerde Gallery\, 533 Old York Road\, London\, Wandsworth\, SW18 1TG\, United Kingdom
CATEGORIES:Arts,Events in London,Exhibitions,Free Events,People,Society,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://eventsforlondon.co.uk/wp-content/uploads/2020/09/Kathy-Ramsay_Dicks-Yard-2020_Ochre-acrylic-pigment-and-synthetic-binder-on-canvas_120-x-150-cm-min.jpg
ORGANIZER;CN="Kristin Hjellegjerde":MAILTO:info@kristinhjellegjerde.com
GEO:51.4598404;-0.1888127
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20201202
DTEND;VALUE=DATE:20210920
DTSTAMP:20220907T114401Z
CREATED:20201028T044019Z
LAST-MODIFIED:20220907T114401Z
UID:30056111-1606867200-1632095999@eventsforlondon.co.uk
SUMMARY:Royal Academy of Dance - Image Exhibition
DESCRIPTION:RAD Image Exhibition gives unprecedented access to its archives for the first time at the V & A to mark 100 years\n\n\n\nThe Royal Academy of Dance has partnered with the V&A to co-curate a free to enter display to mark its centenary. This is the largest display by the RAD in its history and the first new display to open in the V&A’s Theatre and Performance galleries since reopening in August. \n\n\n\nThe display will tell the story of the RAD; how the Academy transformed dance education in the UK and internationally\, working with dance legends such as Margot Fonteyn\, Rudolf Nureyev and Tamara Karsavina to make dance history. Over 60 original objects and over 80 archival images – many of which have not been displayed before – will take visitors behind the curtain and into the dance studio of one of the world’s greatest dance education organisations. \n\n\n\nThe display opens to the public in the museum’s Theatre and Performance Gallery on 2 December 2020 and runs until 19 September 2021.For more information visit http://www.royalacademyofdance.org/onpoint
URL:https://eventsforlondon.co.uk/event/dance-image-exhibition-london/
LOCATION:Victoria and Albert Museum (V&A)\, Cromwell Road\, London\, SW7 2RL
CATEGORIES:Arts,Christmas Events,Community Events,Dance,Events in London,Exhibitions,Free Events,History,Museums,Photography
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GEO:51.4966392;-0.17218
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Victoria and Albert Museum (V&A) Cromwell Road London SW7 2RL;X-APPLE-RADIUS=500;X-TITLE=Cromwell Road:geo:-0.17218,51.4966392
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20201225T110000
DTEND;TZID=Europe/London:20210130T180000
DTSTAMP:20201212T045938Z
CREATED:20201111T180802Z
LAST-MODIFIED:20201212T045938Z
UID:30056233-1608894000-1612029600@eventsforlondon.co.uk
SUMMARY:“The Tingle That You Feel On Your Tongue” by Peter Spanjer
DESCRIPTION:‘It’s not the bars on the windows that make me safe.’ \n\n\n\nThe camera holds focus on a monstrous looking\, thorned flower as a looped soundtrack evokes the mood of an old-fashioned Hollywood film\, and then\, abruptly\, the screen goes black; we’re dropped into an echoing void or perhaps a kind of porthole that brings us hovering over the glimmering surface of water. This is the opening of Make Me Safe\, one of two new films created by Nigerian artist Peter Spanjer for his debut solo show entitled The Tingle That You Feel on Your Tongue at Kristin Hjellegjerde Gallery’s London Bridge space. Though distinct in mood\, both videos present emotionally-charged immersive experiences that explore identity\, resistance\, vulnerability and sensuality through the layering of sound\, text and image. Both works were created in response to the resurgence of the Black Lives Movement and whilst they each stand alone\, together they present as a powerful and poignant dialogue that negotiates juxtaposing expressions of self. \n\n\n\nSpanjer’s intuitive creative process is one of collage in which he gradually layers sound\, image and text to build a rich sense of depth. He typically begins with the sounds\, either creating them himself or stitching together fragments from other sources. The soundscape for Make Me Safe\, for example\, was created entirely by the artist during lockdown as ‘a form of therapy’ in response to the chaos of the global pandemic and racial protests; the only exception is the resounding voice of a preacher which Spanjer took from the recording of a Church sermon. The preacher’s words connect with the idea of resistance\, one Spanjer’s central themes\, particularly in relation to resisting stereotypes of masculinity which are used to define and effectively constrain black male identity. Whilst this is by no means a new issue\, it is increasingly urgent in the light of continued police brutality and the necessary reimagining of the black body. ‘When it came to adding the visual element of how I was feeling at the time\, an emotion that really stuck with me was the feeling of witnessing the re-circulation of images of George Floyd’s killing and other black bodies which\, to me\, perpetuated this static connotations we make to the black body which is either pain or extreme physical/emotional strength or trauma\,’ says Spanjer. \n\n\n\nIn direct contrast to these conventional representations of masculinity\, many of Spanjer’s visuals express vulnerability\, ephemerality and inconsistency. In Make Me Safe\, for example\, images of flowers appear in juxtaposition with the sound\, presenting a pervading sense of beauty\, sensuality and fragility that probes at masculine ideals and also alludes to the idea of self-care that underpins the second video entitled Every Piece of You. This second work was inspired by the artist’s discovery of meditation and ASMR specifically dedicated to black women. ‘These videos really stuck with me not just because they were targeted at the most vulnerable demographic which is the black woman but also because of the reassurance I felt as a black man and reassurance I wanted to provide in a space of anyone viewing the film\,’ explains Spanjer. \n\n\n\nThe video moves between fast\, strobing collages of images and moments of stillness whilst the repetitive\, beating soundtrack is hypnotic and at times\, unnerving as distorted\, disembodied voices reverberate in echoing layers. ‘Every Piece of You feels like an exploration of different sounds and language that muddy the distinction between what they mean\, what they could mean or what they don’t mean\,’ says Spanjer. In this way\, the work offers another form of resistance in which the assemblage of all its parts deliberately challenges the viewer’s perception and avoids any kind of narrative cohesion. The evocation of a sensory\, or felt experience also more closely represents the incongruities and flow of thought in which random associations come together to create internalised\, personal significance for each individual. ‘It was important to me to create an open narrative piece that guides the viewer but also keeps a space open for each person to explore the work themselves\,’ says the artist. \n\n\n\nThe exhibition’s title also makes reference to the sensory aspect of both works. For Spanjer\, a tingle ‘is a feeling that cannot be replicated or even necessarily explained’ and like any sensation\, it has the power to trigger memories and transport us psychologically to a specific moment in time. Both videos possess a vivid urgency that speaks to the current racial crisis\, but also to universal issues around expression\, anxiety\, and self. How can we break free from the perceptions that constrain us?\, Spanjer seems to be asking. How can we embrace more fluid ways of understanding ourselves and others? ‘To me\, these films will always be affiliated to this current moment\, but will hopefully still be fruitful for years to come in conversations around reimagining connotations to the black body\,’ he says. Viewed together the videos present their own dialogue through a compelling exploration of a more liberated and fluid existence. The Tingle That You Feel on Your Tongue underlines the power of art to express the inexpressible\, and to inspire and enact change.
URL:https://eventsforlondon.co.uk/event/the-tingle-that-you-feel-on-your-tongue-by-peter-spanjer/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
CATEGORIES:Arts,Community Events,Events in London,Exhibitions,Free Events,Visual Arts
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DTSTART;TZID=Europe/London:20201225T110000
DTEND;TZID=Europe/London:20210220T180000
DTSTAMP:20201212T045904Z
CREATED:20201016T175104Z
LAST-MODIFIED:20201212T045904Z
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SUMMARY:Devil’s in the Detail
DESCRIPTION:‘Creativity is cultural not because it is derivative of it\, but because it aims to heal culture. Art saturated with the unconscious acts like a compensatory dream in the individual: it tries to rebalance and address deep-rooted problems.’ – from Summer by Ali Smith \nThe latest group show at Kristin Hjellegjerde’s Wandsworth gallery in London brings together the work of 13 artists whose practices\, though distinct\, are engaging with our world\, challenging our perceptions and reflecting the realities of our history\, contemporary culture and society. Devil’s in the Detail is an exhibition that celebrates creativity: the ambiguous\, the strange\, the various and the bold. \nIn October 1968 at the Mexico City Olympics medal ceremony\, Tommie Smith and John Carlos raised their fists in a powerful symbol of solidarity that has endured and evolved through generations. In his latest series of vibrant paintings\, Los Angeles-based artist Forrest Kirk references this gesture within the context of the recent and ongoing Black Lives Matter demonstrations across the globe. Rendered in a strikingly bold graphical style\, the paintings serve as eternal portraits of hope and continued strength. By contrast\, Iranian artist Soheila Sokhanvari’s practice is often preoccupied with the reverberations of “historical amnesia”\, in which a culture experiences collective memory loss due to a traumatic act in the past. Her ongoing series of paintings entitled MKUltra focuses upon a program of drug experiments that were designed and undertaken by the CIA between 1953 and 1973. Prostitutes were employed by the government to lure unsuspecting men into CIA ‘safe houses’ where they were given high doses of psychoactive drugs such as LSD and monitored for changes in their behaviour. Taking the prostitutes as her subject\, Sokhanvari not only reimagines the scenes in the present moment\, but also raises pertinent questions around accountability and objectification. \nBorn in Morocco to a Syrian father and a Swiss mother\, Houda Terjuman describes her status as a ‘hybrid migrant’ as crucial to the evolution of her artistic language. Her surreal\, poetic paintings and sculptures\, which often appear floating or detached\, are each imbued with strong emotional and narrative significance. ‘These small objects act as bearers of hope and bridges making the link between cultures\,’ says the artist. ‘An empty chair symbolises what we left behind and keeps us connected to our roots; a lonely boat is a bearer of hope; a floating bridge invites us to build connections and empathy towards the unknown.’ In a similar way\, Simón Arrebola creates imaginative visual narratives that encompass many different elements often drawn from the artist’s own autobiographical experiences and memories. However\, for this exhibition\, he responds to another artist’s exploration of self. Based on Virginia Woolf’s novel Orlando: A Biography\, which parallels much of the author’s own life through fiction\, each of Arrebola’s paintings reimagine the protagonist anew\, representing the fluidity that Woolf evokes in relation to conventional gender stereotypes and identity more generally. \nKarachi-based artist Rabia Farooqui also assembles objects and characters to build a sense of narrative intrigue. The artist compares her compositions to a theatrical stage on which she sets up complex interactions\, creating humorous and often bizarre scenes that seek to reveal the absurdity of cultural and societal expectations placed on the individual. Lincoln Mwangi similarly draws on the symbolism of objects as an expression of identity and underlying emotion. The Kenya-based artist’s mixed-media figurative works are inspired by his daily life encounters\, often depicted in a haunting monochromatic colour palette that creates an unsettling sense of disunity. \nSouth African artist Kimathi Mafafo’s practice encompasses a broad range of mediums including embroidery\, oil painting and installation. Typically depicting women in lush\, verdant tropical landscapes\, Mafafo’s imagery is guided by her desire to celebrate the black female form\, inspiring women to embrace their worth and beauty in opposition to traditional prescribed gender roles. Similarly\, Ghana-based artist Rufai Zakari seeks to celebrate the strength and versatility of women. Stitching together plastic bags\, food packages and plastic bottles found on the streets\, the artist creates vibrant\, textural scenes that reposition women as the subjects of their own narratives whilst at the same time examining consumerism\, environmental pollution\, labour\, trade\, and the impacts of industrialisation in contemporary Ghanaian society. \nTuesday Riddell’s latest works are inspired by the 17th century sub-genre of sottobosco painting made famous by Dutch artist Otto Marseus van Schrieck\, who depicted scientific\, ground level observations of forest floor creatures and flora. Employing the ancient craft of japanning\, a 17th century form of decorative finish characterised by black lacquer gilded with gold and silver leaf\, Riddell creates magical\, nocturnal scenes that capture the unseen metamorphosis and growth of the micro world below the trees. London-based artist Rene Gonzalez also takes nature as his subject. Whilst his earlier paintings often featured characters or human structures\, these new works depict largely uninhabited\, eerily beautiful landscapes that possess both a sense of quiet stillness and an atmosphere of underlying danger. ‘It’s probably no coincidence that this subject matter has taken centre stage in my practice as global warming and the decimation of wildlife and forests is at the highest level we’ve ever seen\,’ says the artist. \nFor this exhibition\, London-based artist Kate MccGwire presents LIMINAL\, a mixed media sculpture made from goose feathers\, encased in a bespoke oak cabinet. Like much of the artist’s work\, the mysterious\, writhing serpentine form plays with opposites – beauty and repulsion\, movement and constraint\, nature and artifice – to challenge our perceptions and encourage deeper engagement with the object. Also interested in the way that we respond to and perceive our environments\, Korean artist Minyoung Choi’s painted scenes are often the result of deep\, meditative observation conflated with memory and the imagination. Her latest works Desk 2 and Aquarium are preoccupied with the mundane and yet\, these familiar objects – clocks\, books\, fish tanks – are seen through a strange\, semi-fluorescent lens that evokes a sense of magic and unreality. In this way\, we are invited to consider how our own subjectivity and imagination may colour our perspectives. \nBritish-Pakistani artist Khushna Sulaman-Butt’s practice is also preoccupied with the gaze\, specifically in relation to body language and how that might affect the way we that behave or respond to another person or situation. Acknowledging her position of relative power as a portrait artist\, she grants her sitters the freedom to choose how they dress and pose so that they have the opportunity ‘to reclaim their identity\, sexuality\, religion and the values they place upon themselves.’ As a result\, the paintings are highly dynamic and original\, harnessing portraiture’s ability to be both evocative and confrontational. \nBringing together diverse artistic practices\, Devil’s in the Detail demonstrates art’s ability to disrupt the norm by exposing the narrowness of assumed perspectives\, whilst at the same time offering us the freedom to envision bold\, new worlds and ways of being.
URL:https://eventsforlondon.co.uk/event/devils-in-the-detail/
LOCATION:Kristin Hjellegjerde Gallery\, 533 Old York Road\, London\, Wandsworth\, SW18 1TG\, United Kingdom
CATEGORIES:Arts,Events in London,Family Activities,Free Events
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20201225T110000
DTEND;TZID=Europe/London:20210227T180000
DTSTAMP:20201212T050026Z
CREATED:20201030T101812Z
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SUMMARY:Gathering by Nengi Omuku – Art Exhibition in London
DESCRIPTION:Gathering by Nengi Omuku – Art Exhibition in London\n\n\n\nA group of people sit with their backs to the viewer while in the distance a crowd of spectral figures form a wall of bodies that blends into the beige background. This haunting\, textural painting\, The Sit Down by Nengi Omuku\, depicts a non-violent protest\, which was originally inspired by three separate instances of injustice in the artist’s home country of Nigeria\, but the work gains new significance in the light of the tragic events currently unfolding in Lagos as peaceful protesters continue to be met with brutality. Omuku’s latest body of work marks a shift in the artist’s focus from the individual to the collective body and communal existence. Painted onto panels of a traditional Nigerian fabric known as Sanyan\, the artworks negotiate the complexities of identity and belonging in relation to gender\, race and cultural heritage. The artist’s solo show entitled Gathering at Kristin Hjellegjerde Gallery’s London Bridge space brings together a collection of highly atmospheric and emotive scenes filled with urgency and longing. \n\n\n\nThe majority of Omuku’s latest artworks were inspired by local events in Lagos and the corresponding imagery circulated by the press. The powerful imagery of The Sit Down\, for example\, came in response to scenes of mass unemployment that ensued following the government ban on motorcycles and tricycles (the local form of public transport); the devastating collapse of a school building near the artist’s studio that buried young children and for which no-one was held accountable; and the billions of Naira (Nigerian currency) that were allegedly dispensed by the government during the pandemic\, but which never made it to the people who needed it most. However\, the charged\, traumatic and affecting scenes that comprise this body of work appear now as the uncanny foreshadowings of the current protests against a corrupt branch of the Nigerian police force known as SARS\, which was established in 1992 to combat armed robbery but instead became the perpetrator of widespread illegal activities. Most recently\, the group captured and killed a Nigerian civilian leading to a series of high-profile peaceful protests in the central commercial district of Lagos. On Tuesday 20th October\, a member of the government instructed the electricity at a major protest site to be turned off and announced a state wide curfew\, but many of the protesters remained in solidarity to their cause. News footage shows these people sitting peacefully\, waving the Nigerian flag and singing the national anthem. The Nigerian military were called in and opened fire at the site\, injuring and killing civilians. \n\n\n\nThe exhibition’s title piece Gathering echoes the scenes of real people carrying and mourning the bodies of those that they have lost whilst also drawing our attention to the multiple connotations of the word itself\, the different ways in which we come together as well as the potential power and danger. Though a few portraits are included in the exhibition\, the majority of the artworks specifically depict the act of ‘gathering’ or coming together as a collective\, but nevertheless\, a strong sense of absence pervades. Indeed\, many of the paintings were created in lockdown\, a period in which the artist was largely cut off from human interaction. As with all of her compositions\, she built her scenes from a digital collage of her source imagery\, specifically looking for photographs of groups of people in Nigeria and exploring new ways of coming together during the pandemic. Though the idea of a collective is suggestive of unity\, strength and belonging\, Omuku’s moody skies and faceless figures also imbue the works with a sense of fragility and transience. In one of the most striking paintings entitled Technicolour Protest\, for example\, a man stands at the forefront\, his arm raised and fist clenched in a moment of desperation\, paint pouring from his limbs\, whilst once again\, the crowd stands passively watching the action unfold. This tension between movement and stillness\, sound and silence\, unity and disparity creates an extraordinary atmosphere of unease that permeates this whole body of work. \n\n\n\nAdding another layer of physicality to the artworks\, Omuku paints on a Nigerian fabric known as Sanyan. Traditionally\, Sanyan was made from wild silk\, obtained from the cocoons of moths and spun into a thick\, rough fibre before being woven together to make fabric for traditional attire. Sanyan was typically worn by wealthy individuals in precolonial western Nigeria\, and often owners would sign the fabric as its ownership was a symbol of prestige. Although production of this silk cloth has fallen into decline\, the fabric is still woven in certain circles using industrial cotton as a substitute. Omuku sources her material from vintage markets in an attempt to reclaim the historical significance of the cloth as well as a lost sense of pride in craftsmanship. To create her canvases\, she stitches several strips together\, resulting in a unique\, textured surface dotted with tiny holes and imbued with a strong sense of place that relates specifically to cultural heritage and identity\, which are key themes in her practice. The painting entitled Remorse\, Stolen Knickers\, for example\, reflects on a Nigerian tradition in which the older women in a community would protest naked on the streets at times of extreme chaos or disaster. In the foreground of the artwork the two men are drawn from a real life newspaper photograph of police detaining men who had stolen women’s underwear\, but the artist has deliberately replaced the police presence with women who are peacefully seeking their own justice by using the powerful symbolism of their bodies. \n\n\n\nThis also links to Omuku’s perception of the body ‘as a site or an event centre’ that is constantly changing in response to individual and collective experiences. ‘I’ve always thought about different ways to talk about the body as multilayered as opposed to the singularity of what you see. I think about how you paint a mental space in response to what is happening within and around the body\,’ explained the artist. As a result\, Omuku deliberately obscures the faces of her figures to avoid singularity\, instead seeking to create a sense of relatability that appeals to our shared physicality and more specifically in these most recent works\, to the body of the collective. In earlier paintings\, the artist employed colour as a way of further abstracting her figurative forms\, suggesting a more fluid and fluctuating relationship between the body\, emotion and space. Whilst this sense of fluidity remains visible in the swirling movement of the brush strokes across her figures’ limbs\, these latest works move away from neutralised emotional spaces to politicised bodies and scenes that are culturally and socially specific. The new\, darker tones of her figures and backgrounds first developed in response to the natural\, rich brown colour of Sanyan\, were also influenced by the photographs of Lagos which showed black bodies in her local environment. However\, the works also resonate on a global level\, bringing issues of race and brutality more explicitly to the forefront. \n\n\n\nGathering is at once a powerful expression of the troubling present moment and a poignant longing for a time when we will gather not in sadness or distress\, but in happiness and celebration; a time when we are able to communicate not through violence\, but peacefully\, through our innate\, shared humanity.
URL:https://eventsforlondon.co.uk/event/nengi-omuku-art-exhibition-in-london/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
CATEGORIES:Arts,Community Events,Events in London,Exhibitions,Family Activities,Free Events,Museums,Sculpture,Visual Arts
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20210115T110000
DTEND;TZID=Europe/London:20210220T180000
DTSTAMP:20201218T102241Z
CREATED:20201218T102241Z
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SUMMARY:Solo Show "Arrêt Sur Image" by Rebecca Brodskis
DESCRIPTION:Thousands of faces flicker in and out of our field of vision as we move through the world\, but some imprint themselves vividly into our minds as we imagine and ascribe stories onto the interactions that we witness. For her upcoming solo show Arrêt sur image at Kristin Hjellegjerde Gallery\, London Bridge\, Paris-based artist Rebecca Brodskis presents a series of arresting portraits that suspend time through both their making and their surreal composition. Amidst the rush and blur of contemporary life\, these works appear hauntingly still and precise\, allowing the viewer to enjoy a slower\, deeper kind of contemplation. \nHaving grown up in a family of filmmakers\, Brodskis cites cinema and particularly\, the aesthetics of the twenties and thirties as a major influence on the evolution of her painting style. As such\, there is a distinct elegance to her paintings whilst her characters often appear to have stepped out of another era with neat bob haircuts\, block coloured clothing and sharply-defined silhouettes\, posed with their heads tilted\, hands on hip. And yet\, despite the initial familiarity of the image\, Brodskis’ scenes are difficult to locate within the ‘real’ world; the glossy\, smooth backgrounds are suggestive of a neutralised\, graphical space whilst the characters’ gaze is uniformly blank and unseeing. The work entitled Theodor\, Jacob and I\, for example\, depicts three characters overlapping against an ochre background. Whilst their faces are shadowed and defined\, there is spectral quality to their ashen skin tone as if they are fading from existence. \nThis evocation of mystery once again relates to cinema\, and storytelling more generally\, in which observation and the imagination collide to distort the natural order of things. ‘I like the idea that when you stop on a frame of the film\, suddenly\, that frame takes on the importance\,’ she says. For Brodskis\, painting has a similar effect\, but whilst film reflects the movement of the eye\, her portraits allow the image to unfold at a rhythm that opposes fast-paced consumption\, and redirects perception. The slow\, physical process of oil painting is visible in the precise lines and the considered choice of colours that add a sense of poetic balance to the composition. \nAmongst the most intriguing of the portraits are those inspired by people with the skin pigment condition vitiligo. The artist recalls a particular week in Paris\, when she kept passing people with vitiligo whom she ‘found so beautiful I had to paint them.’ In the resulting works – Theora and Above the difference – Brodskis has played with the background colours and skin tones to heighten the surrealism of the image whilst the choice of her subject reflects on the past and recent history of portraiture which typically prioritises conventional notions of beauty. \nMany of Brodskis’ paintings reflect on the relationship between different generations\, and in this series\, there are several striking depictions of parenthood. Each of the paintings La paternite #1 and La paternite #2\, for example\, depicts a father holding onto the heel of his child who is curved over his head. As is typical of Brodskis’ work\, the pose is purposefully playful and performative\, and whilst the image is\, in many ways\, detached from reality\, the physical closeness of father and child implies a sense of tenderness. In a similar way\, hand gestures are also revealing of a deeper\, emotional narrative in many of the paintings\, imbuing the characters with a layer of subjectivity. In the painting entitled En attendant l’orage\, for example\, the mother’s hand grips the edge of the pale orange wall; the child on her shoulders balances one hand on the mother’s head while the other reaches for something beyond the canvas\, in the distance. \nIn this way\, the portraits\, seemingly disconnected from their context\, invite us to invent our own narratives much like we might imagine the lives of people we observe from a seat in a cafe or on a bus. Arrêt sur image is not only a collection of cinematic freeze frames\, but also and perhaps more significantly\, a series of beginnings.
URL:https://eventsforlondon.co.uk/event/solo-show-arret-sur-image-by-rebecca-brodskis/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
CATEGORIES:Arts,Community Events,Events in London,Exhibitions,Free Events,Illustration,Visual Arts
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20210122T110000
DTEND;TZID=Europe/London:20210227T180000
DTSTAMP:20201230T111721Z
CREATED:20201230T111721Z
LAST-MODIFIED:20201230T111721Z
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SUMMARY:Adieu to Old England with Sverre Malling
DESCRIPTION:Surreal\, fairytale-esque landscapes and characters are rendered in exquisite detail in Norweigan artist Sverre Malling’s latest collection of drawings. Each image weaves together a multitude of sources\, converging allusions to contemporary mass culture with figures and symbols from art history and literature to create a richly layered visual narrative that cuts through the currents of time. His forthcoming exhibition entitled Adieu to Old England at Kristin Hjellegjerde Gallery’s Wandsworth space in London pays tribute to the diversity of England’s cultural and artistic heritage whilst also questioning the authority of conventional historic perspectives. \nMalling has always been drawn to the illustrations and narratives from English folklore\, taking a particular interest in ‘the eccentric\, the lost heroes\, the people who find themselves on the outskirts of the norm.’ This latest collection of drawings blends motifs from historic photography and art with the artist’s own fictional characters and landscapes\, whilst the highly detailed aesthetic takes inspiration from Victorian illustrators and the fairytale tradition. In a similar way to fairytale narratives\, many of Malling’s scenes appear innocent\, playful and idyllic on the surface whilst the atmospheric charcoal shading and shadowy skies are suggestive of darker\, macabre undertones. One drawing\, for example\, depicts an oversized floral plant surrounded by butterflies\, but if we look more closely\, the idyllic scene is complicated by a small skeleton (a traditional memento mori) at the plant’s base\, and a group of small children brandishing long thorns with which they have speared the butterflies. Here\, as in several of Malling’s artworks\, brutality and innocence are not so much juxtaposed\, but shown in coexistence to add a sense of mystery and depth to the narrative. \nAmongst the most haunting of the drawings are six portraits\, which reimagine eccentric characters from the recent and distant past such as the artist and occultist Austin Osman Spare (1886-1956) and the musician\, performance artist and provocateur Genesis P-Orridge (1950-2020). Spare appears seated at his desk\, dressed in an elaborate robe with monstrous artworks hanging on the wall behind him. The contrast between the opulent domesticity of the scene and his challenging outward gaze creates a palpable tension that underlines the complicated nature of representation. This notion is further explored in the portrait of P-Orridge who appears holding her dog ‘Musty Dagger’ and a miniature doll of her dead partner and soulmate Lady Jaye\, surrounded by clashing bucolic and urban imagery. In the overhanging flowers\, the words ‘Short Circuit Control’ make reference to accusations of abusive behaviour whilst P-Orridge’s proud expression and pose imbues her with a sense of dignity. By memorialising these controversial figures through art\, Malling calls into question the concept of cultural iconography and thus\, invites the viewer to reconsider how our understanding of history and culture has been shaped by conventional narrative perspectives.   \nThis is most obvious in the exhibition’s title work Adieu to Old England. Both the title and imagery are borrowed from an album by folk musician Shirley Collins\, who\, in a similar way to Malling\, collected and reinterpreted forgotten folk music. In Malling’s drawing\, the composition has been rearranged to alter the hierarchy of the image. Here\, the porcupine is the protagonist whilst the grand country estate is only partially visible in the background. ‘It is the fringes of culture that are the interesting\, the odd detail\, not the grand and predetermined\,’ says the artist. In this way\, his drawings can be understood through photo-ethicist Ariella Azoulay’s terminology as archaeological excavations of ‘potential history’\, but it is not just the past that Malling reimagines\, it is also our present and future culture. He is asking his viewers to wonder: what would the world look like if these forgotten figures from England’s history had become more deeply rooted in our collective memory? \nIn the context of our increasingly uncertain and fragmented modern world\, Malling’s drawings encourage us to embrace new ways of looking at the past so that we might imagine and enact a more hopeful and inclusive present and future.
URL:https://eventsforlondon.co.uk/event/adieu-to-old-england-with-sverre-malling/
LOCATION:Kristin Hjellegjerde Gallery\, 533 Old York Road\, London\, Wandsworth\, SW18 1TG\, United Kingdom
CATEGORIES:Arts,Community Events,Events in London,Exhibitions,Family Activities,Free Events,Visual Arts
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20210416T110000
DTEND;TZID=Europe/London:20210515T180000
DTSTAMP:20210411T085404Z
CREATED:20210411T085342Z
LAST-MODIFIED:20210411T085404Z
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SUMMARY:The Need for Roots with Christiane Pooley
DESCRIPTION:Expansive\, blue-tinted landscapes appear profoundly empty or otherwise\, occupied by  faceless figures and fractured images that slide across the canvas\, their colours and edges fading into one another. These are the paintings of Christiane Pooley whose practice explores place as both a physical environment and an emotional state that transcends time and geographical boundaries. For her first solo exhibition at Kristin Hjellegjerde Gallery\, the Chilean artist presents a breathtaking new body of work\, entitled The Need for Roots\, that quietly contemplates the complexities of origin and belonging. \nThe exhibition borrows its title from French philosopher Simone Weil’s book of the same name in which she states\, ‘A human being has roots by virtue of his real\, active and natural participation in the life of a community which preserves in living shape certain particular treasures of the past and certain particular expectations for the future.’ This definition resonates with Pooley on a personal level as she was born and grew up in Araucanía\, a region in southern Chile that was incorporated into the national territory by means of military occupation and colonisation in the late 19th century. Since then\, there has been a continuing conflict between the original inhabitants (who were forcibly assimilated to a newly-built Chilean identity) and the settlers\, provoking complex discourse around identity\, land ownership and belonging. Whilst the artist is now based in Paris\, the conflict has had direct and devastating repercussions on herself and her family. As Chileans that settled in the region (Pooley is 5th generation)\, their right to live in or identify with the area is now being challenged by certain communities on the grounds of ownership\, which are historically founded\, but ignore the deeply-embedded emotional connections to place and the nuances of how identity is formed over time. The situation is further exacerbated by governmental indifference\, resulting in a stalemate. ‘The conflict is affecting people who did not cause the problem\, but are also unable to solve it\,’ says Pooley.  \nThis is inevitably a difficult discourse to enter into\, but Pooley’s work is non-confrontational; she chooses an intimate lens\, mixing memories with archival images to create poetic\, liminal spaces and scenes that teeter on the edge of reality and dream. ‘I’m interested in how some memories rise up to the surface in the present and other events from the past are erased\, and  how history repeats itself from different perspectives. It’s like the act of painting\, you build layers on the surface\, and in the process parts are erased or covered\,’ she says. ‘Painting recalls the passing of time.’ The layers on Pooley’s canvas are visible through broad\, smooth\, sweeping brush strokes and areas of translucency that simultaneously conceal and reveal the images ‘hidden’ beneath.  \nIn this latest series of paintings\, water is a recurring element – literally in depictions of lakes and waterfalls\, but also\, as a felt presence through the use of different shades of blue – as is sunlight\, which adds a certain tenderness to the scenes\, but these are by no means works of romanticism or nostalgia. There’s a profound sense of stillness that suggests a more complex balance of longing and detachment\, and at times\, the brush strokes enact a form of erasure that hints at violence. One of the most arresting paintings\, for example\, depicts a little girl in a blue dress whose head has been wiped away by dark paint while the surrounding landscape is blurred at the edges\, seemingly under threat of disappearing entirely. Other works appear more concrete on a first glance\, but an underlying tension continues to destabilise and complicate the image. This is perhaps most strongly felt in the variations of a painting of a road\, delineated by a bright\, straight yellow line that directs the gaze towards a lake and mountains in the distance. Each variation prioritises different details almost as if we are viewing the same setting at different times of the day\, and yet\, as the perspective changes\, we become unsure which version to believe\, or whether there even is an objective truth. In the repetition of this image and others\, there is something almost painful\, akin to the repetition of trauma\, that coexists with a haunting kind of beauty.  \nIn the act of image making or representation\, the artist inevitably attempts a process of clarification or permanence\, but at the same time\, her approach is tentative and doubtful. As images appear\, and are wiped away\, we are left with exquisite sediments\, the nuances and ephemerality of human experience.
URL:https://eventsforlondon.co.uk/event/the-need-for-roots-with-christiane-pooley/
LOCATION:Kristin Hjellegjerde Gallery\, 533 Old York Road\, London\, Wandsworth\, SW18 1TG\, United Kingdom
CATEGORIES:Arts,Exhibitions,Free Events
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SUMMARY:"The Desperate Journey II"\, Tewodros Hagos
DESCRIPTION:Kristin Hjellegjerde Gallery is pleased to present the solo show ‘The Desperate Journey II’ by Tewodros Hagos. \nExhausted faces\, framed by bright orange life jackets\, gaze out at the viewer\, their eyes filled with emotion. At the same time\, other figures are huddled together in groups\, their bodies wrapped in shimmering golden blankets as they watch distant boats on stormy seas. These poignant paintings are a continuation of Ethiopian artist Tewodros Hagos’series The Desperate Journey\, aiming to raise awareness of the global migrant crisis and address the dehumanising effect of journalistic imagery and footage. For his solo exhibition entitled The Desperate Journey II at Kristin Hjellegjerde Gallery\, London Bridge\, Hagos presents exquisite new works that elevate the tragedy of the situation and the emotional experience of each of his subjects. \nThe series initially began to respond to the artist’s increasing realisation of the ineffectiveness of news stories and imagery to convey lived experience or complex truths. While many media feed images may provoke an immediate emotional response\, they are often deliberately sensationalised to shock the viewer. Over time\, the bombardment of such imagery risks normalisation of what ‘remains one of the worst humanitarian crises of our time.’ ‘People don’t realise that the migrant crisis is ongoing. The media focus switches from one direction to another. Currently\, it’s on coronavirus\, while here in Ethiopia and Africa more generally\, millions of people continue to be displaced as a result of conflict\,’ says Hagos. Through the classical\, static medium of painting\, the artist invites a slower\, deeper kind of contemplation that counters the fast-paced consumption of digital media. \nSignificantly\, the works\, especially the close-up portraits\, convey a sense of strength and tragedy\, loss and grief. The painting entitled Journey (40)\, for example\, depicts a young boy staring directly at the viewer. Instead of pleading\, his expression is solemn and dignified. In many works\, Hagos also transforms the foil blanket\, which is traditionally used in emergencies to keep people warm\, into a thing of beauty. It is gold and silver surface is luminous in the darkness. \nAt the same time\, the stark contrast of light and dark creates an unsettling atmosphere and almost surreal effect. This is perhaps most notable in the work entitled Journey (42)\, in which a man appears enrobed in a golden blanket\, his presence huge and looming against the inky blue background of the sky and ocean. The composition recalls traditional portrait paintings and the portrayal of grandeur. Still\, instead of a lavish\, homely domestic setting\, the vast\, empty sky conveys an aching sense of isolation and loneliness mirrored in the man’s expression and watery\, red eyes. In this way\, Hagos creates a more complex\, layered narrative that demands a deeper level of engagement while questioning which individuals and events are traditionally recorded by history. \nAmongst the most devastating paintings take a wider perspective\, focusing on the perilous sea journey that hundreds of migrants make every day in search of better living conditions. In one work\, a dangerously overcrowded boat floats towards the front of the canvas\, while in the background\, a second boat is enveloped in flames\, smoke billowing into the sky in huge plumes. Another painting depicts life jackets floating emptily on the waves\, once again underlining the potentially fatal risk that such a journey presents. As with all of the works in the series\, the paintings possess a haunting sense of stillness that reflects the historical impact of the crisis and appeals to our shared sense of humanity.
URL:https://eventsforlondon.co.uk/event/the-desperate-journey-ii-tewodros-hagos/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
CATEGORIES:Arts,Events in London,Exhibitions,Free Events,Visual Arts
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