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DTSTART;TZID=Europe/London:20201005T000000
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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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DTSTART;TZID=Europe/London:20201215T180000
DTEND;TZID=Europe/London:20210115T180000
DTSTAMP:20260603T162727
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SUMMARY:WINTER SHOW 20/21: STAY ART HOME
DESCRIPTION:WINTER SHOW 20/21: STAY ART HOME \nFrom 15 December 2020 to 15 January 2021\, Blue Rhino Art Consultancy presents WINTER SHOW 20/21: STAY ART HOME – the socially distanced online exhibition and an opportunity to view a plethora of artworks from the comfort of your own home\, in collaboration with Sareban Gallery\, Varvara Roza Galleries\, and Fereshteh Art Gallery.  \nBlue Rhino is an international art consultancy that focuses on promoting and representing contemporary artists. Due to the restrictions put in place by COVID-19\, a number of institutions and art galleries have moved their initiatives from the physical spaces to the online world. Alongside these shifts\, Blue Rhino Art Consultancy proposes a virtual group show to let people stay at home and appreciate more than 200 artworks with 44 artists from all over the world including the UK\, Ireland\, Germany\, Colombia\, Greece\, Iran\, Turkey\, Norway\, etc. COVID-19 has impacted on the art industry largely during this particularly difficult time\, thus through this exhibition Blue Rhino wishes to create a platform for supporting artists to continue making a living by doing what they do. \nBy entering the online exhibition – consisting of three rooms – the virtual gallery delivers an abundant amount of artworks overarching diverse mediums such as oil\, acrylic paintings\, photography and prints\, etc. The virtual exhibition space provides a realistic\, reliable and convenient viewing experience. All of the works are installed based on their actual measurements and every information is input on each artwork\, so the viewers are able to compare the size and check the details of the works easily. For this online exhibition\, Blue Rhino hopes to deliver a comfortable stay-at-home experience which is associated with contemporary art. \nThe noteworthy feature of the Winter Show is that the show not only offers comfortable online viewing rooms but also provides at the most affordable price to let the viewers be more accessible with works of art. Ranging from €150 to €2500\, Blue Rhino Art Consultancy aims to give opportunities to those who have been contemplating their purchase among high-priced art pieces\, so that you can gift your loved ones with a unique and one-of-a-kind work of art this festive season!  \nThe online exhibition link is accessible by the link or the QR code on top of this page\, and the full list of artists can be found below.  \nOrganiser:\nBlue Rhino Art Consultancy \nArt Director:\nTima Jam \nAssistant Coordinator:\nAhwa Habeeb\nDaniel Jim A. Opolot\nEleanor Williams\nPriscilla Indrayadi\nAnais Goorriah\nLin Shi\nSoyeon Park \nCollaborators:\nFereshteh Gallery\nSareban Gallery\nVarvara Roza Galleries\nGallery Expo\nCGMAX Design Studio \nParticipating Artists:\nAhoo Hamedi\nAlexandros Spathoulas\nAli Phi\nAngeliki Papageorgiou\nBarış Cihanoğlu\nBjørnar Aaslund\nBurcin Erdi\nChristina Papaioannou\nDairo Vargas\nDeniz Ikizler\nEhsan Arjmand\nElif Celebi\nEnes Debran\nFarzin Rahneshin\nHakan Sorar\nHasan Baran Kurtoglu\nIan Rayer-Smith\nJohan Söderström\nJohn Valyrakis\nKeyvan Asgari\nKiyomars Kiasat\nKonstantinos Patsios\nLevent Oyluçtarhan\nMahdieh Abolhasan\nMahsa Karimi\nMajid Hojati\nMaliheh Zafarnezhad\nMehdi Mansouri\nMehrdad Khataei\nMohsen Hoseinmardi\nOrhan Umut\nÖzge Enginöz\nPooneh Oshidari\nRahman Mojarrad\nRoxana Manouchehri\nSaimir Ahmeti\nSanaz Haeri\nSerdar Kaynak\nSerkan Çolak\nShahram Karimi\nSolmaz Tohidloo\nTahereh Afzali\nUmut Erbaş\nVahid Chamani
URL:https://eventsforlondon.co.uk/event/winter-show-20-21-stay-art-home/
CATEGORIES:Arts,Exhibitions,Online Events,Virtual Events,Visual Arts
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DTSTART;TZID=Europe/London:20210416T110000
DTEND;TZID=Europe/London:20210515T180000
DTSTAMP:20260603T162727
CREATED:20210411T085342Z
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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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DTSTART;TZID=Europe/London:20210626T120000
DTEND;TZID=Europe/London:20210626T180000
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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:20211119T110000
DTEND;TZID=Europe/London:20211216T180000
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SUMMARY:Kūnlún\, Michael & Chiyan Ho - Unique Art Exhibition
DESCRIPTION:Chinese Art Exhibition in London\nThe mountains of Kūnlún\, in ancient Chinese mythology\, are the dwelling place of gods and fantastic beasts. They are also\, of course\, an actually existing mountain range. This mystical locale\, situated somewhere between reality and myth\, provides a particularly apt window into the practice of Michael and Chiyan Ho. The duo studied architecture at the Architectural Association in London before developing an idiosyncratic painting practice that involves pushing specks of acrylic paint from the back of the canvas to the front to form the backdrop\, then switching to oil to paint the figures on top. In this laborious process\, marked by both formal ingenuity and symbolic fecundity\, an enigmatic space—one in which ambiguous protagonists lie afloat in nocturnal fields of lush foliage—is called into existence. \nV.O Curations is pleased to announce Kūnlún\, the first solo exhibition by artist duo\, Michael and Chiyan Ho. Comprising seven new oil and acrylic paintings\, this new body of work developed during their residency\, employs myth\, metaphor and magical realist narratives as a form of worlding and to explore Chinese diasporic identity.\nA newly commissioned text by writer and curator\, Alvin Li\, will accompany the exhibition.
URL:https://eventsforlondon.co.uk/event/kunlun-michael-chiyan-ho-unique-art-exhibition/
LOCATION:V.O Curations\, 56 Conduit Street\, London\, W1S 2YZ
CATEGORIES:Arts,Community Events,Events in London,Exhibitions,Free Events,Pop Up,Visual Arts
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DTSTART;TZID=Europe/London:20220427T110000
DTEND;TZID=Europe/London:20220604T180000
DTSTAMP:20260603T162727
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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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