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SUMMARY:Free Art Exhibitions - Legends
DESCRIPTION:Free Art Exhibitions Free Galleries in London \nWhat does it mean to mythologise a place\, person or memory? And how do these stories shape our perception of the world\, history and different cultures? These are the questions that Edouard Baribeaud\, Tae Kim and Tendai Mupita explore through richly layered visual narratives that blur the boundaries between ancient and contemporary\, spiritual and temporal. Legends\, the latest group show at Kristin Hjellegjerde Gallery’s Wandsworth space\, presents a diverse collection of works that contemplate stories’ powerful psychological and emotional impact. \nFor this exhibition\, French-German artist Edouard Baribeaud explores the transformative and elusive qualities of light about identity and narrative. For example\, the diptych entitled George and Theodora is inspired by the vivid memory of a striking couple. The artist once encountered at a party and Paolo Uccello’s painting of the legend of Saint George and the Dragon. In his work\, Baribeaud recasts the couple into a modern-day version of the myth\, but the roles are reversed so that the princess appears as the protagonist (the knight). The painting Sebastian similarly brings together the contemporary and the classical\, taking its departing point from another brief moment witnessed by the artist. In this case\, Baribeaud was struck by an illuminated entrance hall of a building at night. “The reflections of the street lights on the glass doors and the mirrors inside the building created an almost psychedelic effect\,” he says. “I thought it would be a perfect stage for a painting.” In the image\, an elegant man waits in the hall\, as if caught in the threshold between two worlds: the interior and the exterior in both a literal and metaphorical sense. Alongside these paintings\, Baribeaud has also presented three drawings\, created in collaboration with his partner Sophia Andreotti\, which take the format of tarot cards and illustrate imagined characters representing visions of the present and the future. \nSeoul-based artist Tae Kim’s delicate paintings form part of an ongoing series entitled The Faceless Gamer\, which explores the heightened emotional experiences of the gaming world and the complex notion of identity within this realm. Each work depicts a hybrid being\, a deity-like figure\, in a distinct psychological state. While these are Kim’s imaginations of players that she’s met in online battle games\, the portraits meditate on how the distinction between digital and actual is becoming increasingly blurred and how that might impact not only our perceptions but also how we connect and socialise. Significantly\, the artist employs techniques used in ancient Joseon dynasty portrait paintings\, which aristocrats and royalty mainly commissioned to illustrate their status\, wealth and intelligence. By drawing on this tradition\, Kim elevates alternative characters and hybrid digital experiences as part of a historically significant cultural shift that offers a fluid\, creative space for people from different backgrounds to come together and shape their narratives. \nZimbabwean artist Tendai Mupita’s practice is deeply rooted in the rich heritage and stories of Shona culture. Large portions of his compositions are composed of tiny brushstrokes that create intricate\, repetitive patterns that imply a sense of texture and movement and invite the viewer to examine the surface more closely. For this exhibition\, the artist presents a captivating new series of works that explore specific cultural ideas and rituals around death and grieving. For example\, many traditional Zimbabwean kitchens feature a stoop-like structure that serves a functional purpose as a shelf for cooking pots and water storage. Still\, it also becomes an altar where the coffins are laid\, and people go to communicate with their ancestors. Mupita depicts a figure kneeling at the stoop in one painting while a god-like form appears rising amidst the patterning. While this intimate connection between life and death may seem morbid from a Western perspective\, Mupita’s use of gentle\, uplifting hues suggests a sense of harmony and connectedness. \nSimilarly\, in another artwork\, a hybrid human figure appears draped over a coffin or grave; However\, there is undoubtedly something unsettling or even monstrous about the scene. The regularity and expansiveness of the blue and white patterning in the background have a calming effect. At the same time\, the organic\, circular forms nod to the natural life cycle. \nThese works initiate an intriguing dialogue between colour\, form and texture that emphasises art’s ability to both communicate complex non-verbal experiences and break down the boundaries between different cultures and histories.
URL:https://eventsforlondon.co.uk/event/free-art-exhibitions-legends/
LOCATION:Kristin Hjellegjerde Gallery\, 533 Old York Road\, London\, Wandsworth\, SW18 1TG\, United Kingdom
CATEGORIES:Arts,Classical Studies,Literature,Sculpture
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DTSTART;TZID=Europe/London:20210626T120000
DTEND;TZID=Europe/London:20210626T180000
DTSTAMP:20260614T021530
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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:20210416T110000
DTEND;TZID=Europe/London:20210515T180000
DTSTAMP:20260614T021530
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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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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20210122T110000
DTEND;TZID=Europe/London:20210227T180000
DTSTAMP:20260614T021530
CREATED: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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DTSTART;TZID=Europe/London:20201225T110000
DTEND;TZID=Europe/London:20210220T180000
DTSTAMP:20260614T021530
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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DTSTART;TZID=Europe/London:20201114T110000
DTEND;TZID=Europe/London:20201213T190000
DTSTAMP:20260614T021530
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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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20201010T110000
DTEND;TZID=Europe/London:20201029T170000
DTSTAMP:20260614T021530
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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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DTSTART;TZID=Europe/London:20200522T110000
DTEND;TZID=Europe/London:20200704T180000
DTSTAMP:20260614T021530
CREATED:20200424T124839Z
LAST-MODIFIED:20200424T124858Z
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SUMMARY:1001 Afternoons with Wycliffe Mundopa
DESCRIPTION:Private View: Thursday 21 May 2020\, 6:30-9pm  \nLONDON (LONDON BRIDGE) \n  \nStrong female figures appear vibrant and empowered in Wycliffe Mundopa’s complex theatrical scenes. These are the residents of Mbare — one of Harare’s most colourful townships — whom play a central role in not just the infrastructure of Zimbabwe’s largely informal economy\, but also the shaping of a proud national identity. For his first solo exhibition with Kristin Hjellegjerde Gallery London at Melior Place\, the Zimbabwe-based artist presents a powerful new series of work entitled 1001 Afternoons\, continuing his explorations of the complexities of female existence in relation to his role as an artist and narrator. Informed by Shona linguistic idiom\, rich cultural symbolism and personal and collective experiences\, Mundopa’s work offers a poignant insight into Zimbabwe’s contemporary society. \n  \nHaving grown up in Mbare — historically an entry port to the capital and still a bustling hub of trade in all its various guises —\, the artist is a first-hand witness to the intimate and informal cultural structures\, which simultaneously exploit and empower women. As such\, his compositions hold a strong female presence through nuanced and skilful depictions that defy gender stereotypes and shed light on the pathos and drama of the lives of ordinary people in Harare. Significantly\, the artist refuses to pass judgement on any of his subjects\, presenting them instead as equals\, each rendered with the same level of attention and artistic energy. \n  \nThrough his practice\, Mundopa pays homage to the likes of Matisse\, Lautrec and Soutine as well as the Dutch masters\, whilst utilising the grand genre of painting to elevate the people who were traditionally omitted from the aesthetic canon. Indeed\, the artist’s use of sophisticated cultural symbolism functions creates a uniquely intimate and striking visual language that illustrates not just the narratives of the people themselves\, but the very pulse of Zimbabwean society. \n  \nThe exhibition’s title 1001 Afternoons alludes to the practice of storytelling in both literature and art by nodding to the Middle Eastern folk tales One Thousand and One Nights\, but instead\, of depicting nighttime scenes\, Mundopa’s work occupies a unique limbo space. ‘Afternoons are a place of waiting\, possibility\, opportunity\, dreaming or vacant despair. All are equal and present in this time frame\,’ the artist commented. Within this realm\, Mundopa’s subjects appear liberated from cultural preconceptions and their everyday contexts\, inviting the viewer to more actively engage with the creative process by imagining potential narratives for themselves. At the same time\, this allows for a greater level of relatability in which viewers are given the freedom to identify with the subjects and scenes through their own subjective gaze. Indeed\, it is this deep level of engagement and artistic sensitivity that makes the artist’s work both timeless\, and aesthetically and intellectually compelling.
URL:https://eventsforlondon.co.uk/event/1001-afternoons-with-wycliffe-mundopa/
LOCATION:Kristin Hjellegjerde Gallery\, 533 Old York Road\, London\, Wandsworth\, SW18 1TG\, United Kingdom
CATEGORIES:Arts,Exhibitions,London Theatre,Visual Arts
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20180901T110000
DTEND;TZID=Europe/London:20181007T180000
DTSTAMP:20260614T021530
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LAST-MODIFIED:20180627T115544Z
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SUMMARY:Your Private Sky with Sinta Tantra
DESCRIPTION:Your Private Sky” \nSINTA TANTRA \n27 July – 1 September 2018 \nKristin Hjellegjerde London \n533 Old York Road \nPRIVATE VIEW 26 July 2018 \n18:30 – 21:00 \n“Your sky may be surfaced inside with sections of global map\, with Zenith of sky\, and oriented accurately to the north… \nSun clock in day \nStar clock in night.” \nBuckminster Fuller\, manuscript for Your Private Sky\, 1948 \nKnown for her fascination with colour and composition\, Sinta Tantra’s work is a playful experiment in both scale and dimension. After a decade of making public art\, her work now ranges from small painted canvases to huge architectural installations; bold\, tropical colour to a Calder-like minimalism. Her work occupies a space at the intersection between painting and architecture\, striking a fine balance between the two-dimensional and three-dimensional\, decorative and functional\, public and private. \nYour Private Sky (27 July – 1 September 2018) at Kristin Hjellegjerde London\, Tantra’s second solo exhibition with the gallery\, draws inspiration from the life and work of the seminal American architect and polymath Buckminster Fuller\, exploring the systems of making that connect the imaginative to the everyday. Your Private Sky was the title of a 1948 manuscript in which Fuller outlined his visionary design for a glass geodesic structure – a structure that both projects and reflects\, illuminating the viewer’s position in relation to the cosmos\, and affording a global perspective on questions of common progress. \n“The idea of ‘your private sky’ expresses a twofold experience”\, says Tantra\, “a mode of thought that is both collective and individual. Blue-sky thinking\, where visionary ideas can grow from simple musings”. If Tantra’s practice began with an impulse to turn the white cube space inside-out\, then Your Private Sky represents a reverse move: bringing the lessons from public art back into the gallery space: turning ‘outside-in’\, projecting and reflecting in on itself. \n“Whereas my previous works used colour to celebrate the spectacle\, I recently started thinking about what would happen if colour was taken out of the equation\,” she says. “After studying the blueprint designs used in preparation for my public art projects\, I became fascinated by line\, and how at times it offered more imaginative possibilities than colour. Can total immersion be achieved through the simplicity of line alone? How does this relational experience alter the way we see and imagine?” \nAs such\, the works in Your Private Sky will be divided in two distinct ‘rooms’ within the gallery space: the first\, focusing on a pared down\, minimalist experience of linen paintings and sculptures based on line drawing\, systems and processes. The second\, moving into the maximalist: colour paintings and a submersive floor installation. \nFor Tantra\, the link between all these works is the metaphor of the blueprint. Like Fuller’s utopian designs\, Your Private Sky presents the blueprint both as an instructive diagram\, and as an index of imaginative possibilities. \n‘Your Private Sky’ runs from 27 July – 1 September 2018 at Kristin Hjellegjerde London
URL:https://eventsforlondon.co.uk/event/your-private-sky-with-sinta-tantra/2018-09-01/
LOCATION:Kristin Hjellegjerde Gallery\, 533 Old York Road\, London\, Wandsworth\, SW18 1TG\, United Kingdom
CATEGORIES:Arts,Exhibitions
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