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DTSTART;TZID=Europe/London:20220427T110000
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SUMMARY:Nature Interrupted with Celina Teague
DESCRIPTION:Monstrous hybrid beings appear against acid skies and barren landscapes\, creating surreal\, otherworldly scenes that sit uncomfortably between nightmare and dream. Nature Interrupted\, Celina Teague’s fifth solo show at Kristin Hjellegjerde Gallery\, takes a deep dive into the dark underbelly of our planet’s biosphere\, where human detritus overcome animals and plants. They appear futuristic\, unwholesome\, and alarming. Still\, at the same time\, Teague’s vibrant colour palette commands presence: we are challenged not only to look but to face up to the reality of what we see. \nIn part\, Teague’s artistic practice is an expression of her guilt and responsibility about not only environmental issues but also political and humanitarian crises. She listens to the news and various podcasts as she paints\, allowing the information to filter through onto the canvas so that each composition possesses a raw sense of urgency. ‘I paint instinctively. It always involves risk\, which I find both liberating and frightening. If I painted on a different day or even at a different hour\, the result would be completely different\,’ she says. \nThe work Still I Rise\, for example\, was made when Teague was listening to reports of the conflict in Afghanistan and specifically about the oppression of women. However\, instead of focusing on the bleakness of the situation\, Teague’s perspective is one of hope\, vitality and strength. In the painting\, women dressed in blue burqas appear like flowers blooming at the end of tall lush vines\, the winding\, interconnected stems suggesting a sense of quiet solidarity. Interestingly\, this is the only work in which humanity and nature appear in harmony: the women are supported by the natural world rather than overwhelming it. However\, this relationship becomes skewed in the painting Swallowed. Here\, the women appear huddled together to form the centre of what looks like a pink flower\, but closer inspection reveals that the petals are\, in fact\, severed tongues. In this way\, the work becomes a powerful visual metaphor for how censorship is used as a form of oppression and entrapment. \nAlthough the other works reflect more broadly on the climate crisis\, the notion of mutilation runs throughout the exhibition. In one of the more surreal compositions\, a giant straw pierces through the centre of a flamingo’s body\, which is itself\, assembled from pink\, fleshy human limbs and organs. A mass of breasts and udders replace its feathers while its foot is a claw-like human hand. The strange yellow glow of the sky suggests a sickness or toxicity\, and an egg lies fried on the cracked\, dry ground as if baked in the sun. Like all of Teague’s works\, the bright colour palette is somewhat misleading: we’re unsure whether to laugh or gasp. Is this a horror or a comedy? \nThis deliberate ambiguity creates a strong sense of unease that reflects both the subject matter and Teague’s approach to image-making. ‘My work is sometimes labelled as activist art\, which I find uncomfortable because painting about these issues doesn’t feel like enough\,’ she says. ‘We have all the facts easily accessible to us\, but we still just sit back and watch what’s happening most of the time.’ Teague returns to this notion of ‘armchair activism’ in each of her exhibitions by painting an image of an armchair\, often encompassing elements from the other works to create a sense of unity while also highlighting the irony of her role as an artist. However\, it would be amiss to ignore the power of the image. Teague’s paintings command our gaze and draw our attention to the politics of seeing. Confronted by these strange\, unsettling scenes\, we can deny neither awareness nor responsibility.
URL:https://eventsforlondon.co.uk/event/nature-interrupted-with-celina-teague/
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,Family Activities,Illustration,Museums,Pop Up,Sculpture,Visual Arts
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DTSTART;TZID=Europe/London:20211119T100000
DTEND;TZID=Europe/London:20211218T180000
DTSTAMP:20211102T111632Z
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SUMMARY:'Breezy'\, Gabriela Giroletti - Art Exhibition in London
DESCRIPTION:“Breezy” \nGabriela Giroletti \nNovember 19th – December 18th 2021\nKristin Hjellegjerde Gallery\, 533 Old York Road\, Wandsworth \nPrivate View: Thursday\, November 18th\, from 6:30 – 9 pm \nKristin Hjellegjerde Gallery is pleased to present Breezy\, a presentation of new paintings by Gabriela Giroletti at the gallery’s Wandsworth location. Breezy is her first solo presentation with the gallery and is on view from November 19th to December 18th\, 2021. \nTo look at Giroletti’s work is to be enveloped in an animated terrain where swollen masses with shimmering surfaces writhe and crawl\, locked into what seems like a territorial competition. In amongst the maelstrom\, roots get diverted\, growths get stunted and billowing excesses crunch. Our vantage point onto this world shifts from painting to painting. At times we appear to be above ground. At others\, we have fallen down a rabbit hole and are tunnelling under the earth. But as we turn the burrow’s bends\, the walls shift like tectonic plates before transforming back into the sky\, revealing the inside to have been outside all along. \nGiroletti is interested in the notion of the in-between\, and the paintings are full of things on a journey from one state of being to another. The landscape undergoes this restless mutation\, and the forms that inhabit it often seem to be expanding beyond their capacity or deflating as the animating energy leaves them and moves onto something new. Indeed breeziness\, the sense of movement in the flickering planes that are to be found throughout the work\, is itself an in-between condition; neither windy nor still\, Breezy accelerates and decelerates indecisively between the two. \nThis stirred motion is rendered by layers of delicate directional brushstrokes of varying hues that build into a diaphanous pointillism. In “Heat Haze”\, for example\, streams of fizzing dots intermingle\, generating ripples of modulating the intensity. In “Spatial Places”\, these dots throb and scatter like water droplets on a train window. Again\, radiation or gaseousness come to mind\, not least when the skies gleam amber orange or sap green. \nThe more minor works are more fragment-like. They lean towards inert mineral colours\, like charcoaled fossils or bits of rock. In paintings like “Tralalitions” or “Last Not Least”\, the paint is heaped\, dug and scraped\, making the surface seem like part of an excavation. Here\, subtle variations of tone poke through the mottled texture\, echoing the optical energy of the larger paintings. \nSpatial disjuncture is another theme that underlies the work. In the smaller pieces\, devices reminiscent of collage techniques\, like cuts and fold-ins\, are experimented with. For instance\, in “Some Things Cosmic II”\, thick seams appear between the forms\, stitching them together into assemblages. Also\, an adjunct\, in the form of a perched mound of paint\, materialises on top of the stretcher bar as an extension of a shape within. This causes the painting to flip ambiguously between pictorial space and objecthood. \nThese experiments get scaled up in the more significant works where they evolve further. For instance\, in “Transparent Things”\, the seams between the forms are accompanied by an overlaid fade and a drop shadow. Both elements have widths that remain constant round\, stamping out the edge\, emphasising its status as a border. And in “Compass”\, dark orbs that start by hugging internal thresholds within the picture escape and re-appear as separate panels on the wall. This melding together of different spaces creates an array of formal possibilities\, and our attention is drawn to the innovative decisions that have taken place in the making process. As we witness the development of the devices from painting to painting\, we start to imagine what it would be like if we combined them differently\, taking a bit from one image and placing it on another\, like pieces in a board game. \nThe use of emptiness in work also conjures up this sense of possibility. Although Giroletti draws from everyday life when conceiving her compositions\, most real-world details are stripped out\, leaving the shapes smooth\, striated surfaces. Giroletti doesn’t seek to represent the specifics of particular objects so much as the relations between them. This use of voids\, cuts and in-between states is what makes the arrangements inherently open and playful. The viewer feels on the verge of stepping into the frame\, picking up one of the forms\, and participating in the world-building themselves. \nAbout Gabriela Giroletti\nGabriela Giroletti (B. 1982) is a Brazilian painter living and working in London. She graduated with a BA in Fine Arts from Middlesex University\, London\, in 2015 and received her MFA in Fine Art from the Slade School of Fine Art in 2018. With her work\, Gabriela explores the relationship between the painted image (the meaning\, the immaterial\, the metaphor\, the mind) and the material presence in the painting (the human\, the touch\, the physical reality\, the body). Deliberately ambiguous\, the pictures fluctuate between their crude materiality and their metaphysical aspect\, encouraging the viewer to formulate peculiar connections with our tangible surroundings as well as with individual and unique lived experiences.
URL:https://eventsforlondon.co.uk/event/breezy-gabriela-giroletti-art-exhibition-in-london/
LOCATION:533 old york road\, 533 Old York Road\, London\, SW18 1TG
CATEGORIES:Arts,Entertainment,Events in London,Exhibitions,Free Events,Visual Arts
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DTSTART;TZID=Europe/London:20210722T110000
DTEND;TZID=Europe/London:20210828T180000
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SUMMARY:Taking Space with Sara Berman - Art Exhibition
DESCRIPTION:Gargantuan women appear suspended in soft coloured\, bruising backgrounds\, their bodies twisted in acrobatic movement and dynamic gestures. These are the works of British artist and former\nfashion designer Sara Berman whose practice explores the depth and distortions of materiality in relation to how we view and inhabit the body. She focuses specifically on female experience and is\ndeeply informed by her intimate understanding of fashion and textiles in terms of how we wear\, understand and perceive clothes. \nTaking Space\, Berman’s first solo exhibition with Kristin Hjellegjerde Gallery presents a new collection of gentle and forthright\, whimsical and imposing paintings expressing the complex tensions of womanhood while also gesturing towards a joyous sense of liberated physicality. Each painting begins with the motif of the harlequin.  \nTraditionally\, the harlequin is portrayed as male — a sly but lovable joker\, dressed in a bright diamond-patterned costume. However\, the same character as a woman becomes a trickster whore. While this articulates a familiar double standard\, Berman’s interest lies in how external appearances might impact our perspective of self and others. \nShe begins by stretching the canvas very tightly over the frame before painting the distinctive pattern of the harlequin’s costume as a base layer onto the canvas\, which becomes “a map” or “the soul” of the composition. She then works over the pattern with further layers of paint\, scraping\, wiping and pushing to create a kind of bruised surface through which the outlines of the diamond shapes are illuminated by light. “The colours I choose are generally soft and gentle\,” she says\, “but the making process is very physical\, almost violent. I feel\, increasingly\, as I get older that being a woman is a violent thing.” \nThe shapes of the women are generally based on photographs of friends or self-portraits for which Berman uses furniture and\, more recently\, acrobatic equipment to help her achieve contortion and elevation. Regardless of the original models\, there is a strong likeness between the figures\, as if they are multiple iterations of the same person. “At a certain point\, I realised that I didn’t want to get bound up in the who or the what\,” explains Berman. “Self-portraits are the easiest way for me to not deal with the specifics of identity. They’re simply women in space. By painting them as myself\, it’s a way of avoiding objectification.” Instead\, personality and emotion are conveyed through the figures’ physical gestures in space\, and the textures and shapes of their clothing\, as well as the application of the paint itself. \nWhile the compositions might appear precise and simple from a distance\, closer inspection reveals markings that imply the weaving of threads; subtle imperfections where the colours bleed out of the lines or splashes of paint are flicked across the canvas; and surprising pops of neon colour that suggest a pooling of light or passing shadows. \n“These paintings are about the sensation of being in the body\,” says Berman. “I use clothing intentionally as space which contains the body\, a place for it to exist within a holding space.” The clothing is usually androgynous in style\, based on pieces by known fashion designers and vintage finds. Still\, through the process of painting\, the artist flattens the garments\, removing the folds and seams of the fabric so that it becomes a rigid shape that simultaneously contains and abstracts the body. This is perhaps most obvious in the painting entitled Freefall\, in which the figure is caught moving through the air. While we might recognise and relate to the physical sensation of the movement\, the body itself is obscured by the clothing’s colour and structure\, and the lack of surrounding context creates an almost surreal effect. Similarly\, the women’s hands are often painted out of proportion to appear huge and claw-like\, gripped in tension\, or delicate and oddly small. \nThe fingernails are always painted black\, creating a striking contrast against the pale\, pastel shades and directing our gaze towards a particular gesture. For example\, in the painting\nMoves\, which depicts one woman leaning back against another\, the hands articulate a sense of dynamism – the sensation of pushing and pulling\, while the figures themselves are relatively static. \nThe woman at the front has her hands reaching back in a gesture of intimacy\, while the other woman’s arm stretches across the canvas as if trying to establish some distance or separation.\nThe works in the show range in scale. The smaller works contain the figure in an almost claustrophobic frame\, which is both uncomfortably tight and curiously intimate\, while the large-scale\npaintings have a powerful impact on the process of making and the viewer’s bodily relation to the image. Berman was required to use ladders and large brushes to do these larger works\,\nrendering limbs and faces much bigger than her own. “I want them to feel as imposing as they felt to me\,” she says. “These paintings are very much about claiming presence as a person\, as a woman. \nThere’s a slight arrogance to them which I like because taking space is an act of necessary selfishness.” At the same time\, the gentle colour palette and playful approach to composition\nconvey a palpable sense of humour and joy. As Berman’s women boldly tumble across the canvas\, asserting their strength and physicality\, we are invited to experience a heightened awareness of how we move through and occupy the world we live in.
URL:https://eventsforlondon.co.uk/event/taking-space-with-sara-berman-art-exhibition/
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,Visual Arts
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DTSTART;TZID=Europe/London:20210626T120000
DTEND;TZID=Europe/London:20210626T180000
DTSTAMP:20210611T030748Z
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SUMMARY:“Ariel” by Louis Bennett - Paintings Exhibition
DESCRIPTION:Vividly rendered characters appear against a collage of painted scenes that contrast romantic\, pastoral imagery and bright\, cartoonesque colours with crumbling gothic architecture and an underlying sense of foreboding. This latest collection of work by Lancashire-born\, London-based artist Louis Bennett is partly inspired by Shakespeare’s The Tempest’s wild landscapes and heightened drama and explores the powerful yet destabilising experience of falling in love. Ariel\, the artist’s second solo show with Kristin Hjellegjerde Gallery\, marks a newfound optimism expressed in the flushed faces and youthfulness of the figures depicted. Yet\, the splicing of the scenes suggests pervading anxiety and unease. In this way\, the works can be understood as expressions of fraught psychological states that are deeply personal and register the wider complexities of human existence. \nBennett’s process typically begins with collecting found imagery and ephemeral materials that provide visual or atmospheric inspiration. For this latest exhibition\, the artist cites The Tempest as a key influence. Some of the paintings allude to the play’s desolate maritime setting. In contrast\, others directly reference Ariel’s character\, who\, in Shakespeare’s narrative\, is a magical spirit. Still\, the name holds deeper significance for the artist as it is also the name of his partner and a homophone of the word ‘aerial’. ‘The feeling of being airborne\, floating above the ground\, is how this time has felt\, for me\, meeting someone who feels otherworldly in a historical moment where we all feel completely untethered from any sense of normality and stability\,’ he explains. ‘One of the parts of The Tempest that really touched me is the idea of Prospero being a character in exile\, longing for a lost home\, seeking to have former glory restored to him. In deepest lockdown isolation\, I felt like this before my own Ariel arrived to save me from this feeling.’ \nBennett also found himself drawn to the aesthetic of old French magazines\, specifically the stylised fashion shoots of children posed in surreal scenarios that envision romantic cliches. While the artist’s previous paintings typically focused on the suffering of the older generations rendered in bleached\, ghoulish hues\, many of these latest works depict children with round\, reddened cheeks dressed in dated clothing that further emphasises the notion of nostalgia and innocence. In the painting entitled Komm\, Gib Mir Deine Hand (which references the German version of the Beatles song ‘I want to hold your hand’ )\, a young girl is whispering something into a boy’s ear against the backdrop of a harbour at sunset. While the painting is cropped at waist height\, an image exploding out of the boy’s head shows us not only that they’re holding hands but also that this moment of intimate physical connection is the overriding focus of his attention. \nThis technique of splicing images recalls the graphic style of comic books and Pop art. Still\, for Bennett\, it’s also a way of visualising the character’s mental state and the familiar experience of being in one place while your mind is in another. The painting Can’t Stop Thinking About It envisions another young boy\, but this time he’s very clearly consumed by his thoughts. He is standing in a verdant green park but gazing off to the side of the canvas\, mentally seeing an image of a man and woman embracing. While the narrative is intentionally left ambiguous\, the romantic scene in which the couple appears is unsettled by the red\, stormy sky in the distance\, and the idyllic atmosphere of boy’s present is threatened by the looming presence of disembodied\, blue hands\, one of which is brandishing a hooked knife. \n‘Some of the paintings in the show tackle mental health\, particularly the experience of OCD\, which I suffer with\,’ says the artist. ‘OCD and love are very intertwined for me\, and I think this is to do with a feeling of intensity and the extremity of emotions.’ This is most clearly referenced in the piece entitled Overcoming OCD in 12 Easy Steps\, in which a little boy and girl are seated at the dining room table. At the same time\, a bell clangs above the boy’s head\, but feelings of detachment and anxiety are also explored in other paintings. O! Solitude! (After Purcell)\, for example\, it is strikingly still and subdued compared to the dynamic\, overlapping imagery of the other works. It is named after a vocal piece by the composer Henry Purcell and depicts a woman sitting on the edge of an archway\, looking out over green rolling hills. Like many of the works in this exhibition\, the scene is consciously romantic\, drawing on the tropes of the pastoral genre to suggest an idyll. Yet\, as emphasised by the title\, it’s also an expression of a kind of loneliness that we all feel due to our inability to share our internal experience with another person. \nHowever\, the experience of love is envisioned by Bennett as both transformative and elevating. For example\, the painting Approach Me\, My Ariel directly references The Tempest’s narrative in which Ariel’s character represents kindness and magic\, and here\, the artist imagines ‘Prospero – embittered and trapped before being touched and humanised by the energetic sprite he commands.’ Here\, Prospero’s transformation is suggested by the return of colour to his face\, while a ruined\, gothic church looms behind him as a symbol of the past. Still\, wider notions of liberation resonate throughout the exhibition. For example\, in the artwork It Was Written\, a man stands at the end of an empty\, arched corridor\, dressed in a workman’s clothes. While he is confined to the left-hand side of the canvas\, he is holding a half-painted canvas that connects his cold\, archaic world with a scene of romance and a smaller image of a ruined castle. In this way\, art or creativity becomes synonymous with love as a unifying force and a gateway to new beginnings.
URL:https://eventsforlondon.co.uk/event/ariel-by-louis-bennett-paintings-exhibition/
LOCATION:Kristin Hjellegjerde Gallery\, 533 Old York Road\, London\, Wandsworth\, SW18 1TG\, United Kingdom
CATEGORIES:Arts,Community Events,Events in London,Exhibitions,Free Events,Visual Arts
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DTSTART;TZID=Europe/London:20210126T110000
DTEND;TZID=Europe/London:20210327T180000
DTSTAMP:20210203T072714Z
CREATED:20210128T045327Z
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SUMMARY:Tonight the Air is Warm
DESCRIPTION:Tonight the Air is Warm brings together a collection of vibrant and diverse photography\, print and video works by eight established\, mid-career and emerging artists from Southeast Asia. Curated by Tolla Duke Sloane\, the show will occupy both the main and speakeasy space at Kristin Hjellegjerde’s London Bridge gallery\, providing audiences the opportunity to fully immerse themselves in the region’s artistic landscape. From the tropical gothic to the surrealism of dreams and folklore\, and the reimagining of historical narratives\, the artists’ reflect on universal issues relating to identity and belonging\, whilst also providing heightened and imaginative insights into the cultural specifics of their geographical locations. \n\n\n\nDue to the cramped urban spaces of the Southeast Asian cities\, photography and other digital mediums are central to the region’s contemporary art scene\, allowing artists to transcend their physical boundaries. Thai artist and social activist Manit Sriwanichpoom is widely recognised as one of the original pioneers of a more conceptual\, socio-geographical approach to photography and is best known for his striking Pink Man series (1997-2018) from which two works will be shown in this exhibition. The selected photographs feature the cartoon-esque character – who is embodied by Thai poet Sompong Thawee – posed within the set of a so-called ‘opera’. Dressed in his signature fluorescent pink suit with a matching shopping trolley\, the character’s presence is both humorous and jarring\, mutely referencing the absurdity of consumer culture. \n\n\n\nSimilarly\, Malaysian artist Yee I-Lann’s primarily photomedia-based art practice draws on the visual language of magic realism and mythology to speculate on issues of culture\, power and the resonance of historical narratives in collective consciousness. Her large-scale photo-collage artwork Like the Banana Tree at the Gate conjures up the folkloric figure of the Pontianak (the ghostly spirit of a vengeful woman who was said to live in a banana tree)\, who is embodied by several well known artists and activists within a contemporary studio setting. I-Lann uses humour as a satirical tool to both charm the viewer and once again\, expose the absurdity of traditional perspectives in the context of the modern world. \n\n\n\nSarah Choo Jing’s practice also employs theatrical techniques\, often designing controlled spaces that used to incite spontaneous interaction. For her video installation Tonight\, the air is warm (after which the exhibition is titled)\, she invited the residents of a social housing complex in Singapore to gather in the playground area at night where she left varying props for them to interact with under stage lighting. ‘The essential nature of the activity is imprecise and occurs across space and time\,’ commented the artist. ‘A perpetually open project\, the piece takes place in the inter-spaces between interpretation and negotiation\, performance and chance.’ By contrast\, a video work entitled Where do the fishes go? by Vietnamese artist Jo Ngo\, made in April 2020 when Ho Chi Minh City was in lockdown\, transports viewers into a hallucinogenic vision of fish and whales swimming through scenes of a city emptied of human interaction. Accompanied by an otherworldly soundtrack\, the video has a calming and poetic quality\, but at the same time it is impossible to ignore environmental connotations of the natural world reclaiming man-made\, urban spaces. \n\n\n\nBaliense artist Budi Agung Kuswara engages with historical narratives and archival imagery to create intricately detailed large-scale works that occupy the hazy\, liminal space between dream and reality. For this exhibition\, Kuswara presents a series of cyanotypes\, which are created by assembling objects and materials onto light-sensitive photographic paper and exposing the composition to the sun. The artist then paints colour onto the blue printed image\, imbuing a touch of opulence to his characters and also completing the physical connection between the body and sun. This sense of connectivity is central to Kuswara’s practice – and specifically his fascination with mystical science – through which the imagery of the past is revived in the present. \n\n\n\nFilipino artist Nicole Coson’s print-making practice also meditates on the residues of time. She sees her depictions of verdant tropical landscapes as ‘architectural interventions…piercing walls with flourishing green windows’ that transport the viewer not only into a new geographical location\, but also into a psychological space\, reflecting on the power of imagery to awaken the memory and imagination. A similarly palimpsestic approach is central to Genevieve Chua’s image-making process. The Singaporean artist typically begins by photographing wild\, natural landscapes in black and white\, before painting onto the print\, using colour to focus our gaze on a specific aspect or detail which might otherwise be overlooked. Also based in Singapore\, Robert Zhao Renhui’s cerebral practice is preoccupied with the natural world and human intervention. In an ongoing series\, he inserts a piece of human detritus into the jungle and then sets up a camera trap to record nature’s interactions. The resulting images are typically dark and closely-cropped with an intimate\, voyeuristic quality that places the viewer in an almost uncomfortable position as an outsider looking in. \n\n\n\nA collection of visually arresting artworks by Wawi Navarroza\, come from the Filipino artist’s 2019 series entitled Self-Portraits & The Tropical Gothic. Navarroza creates formally staged scenes for the camera\, deliberately controlling the lighting techniques and scenography to flatten the final image and fuse together disparate elements. In this way\, the artist defines the Tropical Gothic as a process of syncretism that reflects on the incongruities of Filipino culture as a blend of East and Western influences\, and also\, on the performance and construction of self more generally. \n\n\n\nPresented together\, this collection of bold\, visually arresting artworks offers a vivid form of escapism that not only transports audiences into the landscapes and stories of Southeast Asia\, but also fosters a deeper understanding of\, and appreciation for the region’s diverse\, flourishing creativity.
URL:https://eventsforlondon.co.uk/event/tonight-the-air-is-warm/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
CATEGORIES:Arts,Entertainment,Exhibitions,Family Activities,Free Events,Society,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:20201114T110000
DTEND;TZID=Europe/London:20201213T190000
DTSTAMP:20200928T062211Z
CREATED:20200919T045806Z
LAST-MODIFIED:20200928T062211Z
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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
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ORGANIZER;CN="Kristin Hjellegjerde":MAILTO:info@kristinhjellegjerde.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20201010T110000
DTEND;TZID=Europe/London:20201029T170000
DTSTAMP:20200928T062119Z
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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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END:VCALENDAR