London - An interesting exhibition was John Copeland at the Newport Street Gallery. American artist John Copeland (b. 1976) is for the first time in a solo exhibition in the UK. The exhibition ‘Your Heaven Looks Just Like My Hell’ features twenty-five paintings, spanning from 2009 to 2017 – all coming from Hirst’s Murderme collection.

In the middle of real depiction and abstraction, the work of Copeland is in oil and acrylic paint with a tangible, impasto surfaces. The artist is caught up with ‘any arrangement that involves interaction between the figures’, and frequently uses social settings to locates his subjects, such as around a table, playfully balanced on one another’s shoulders, or surveying a painting as a group. The figures

The Bullet Screams Past, John Copeland, Newport Street Galllery, London
The Bullet Screams Past, John Copeland, Newport Street Galllery, London

remain, however, very indefinite, and are placed against abstract backgrounds full of curious shapeless figures, frequently underlined by pairs or mirrored human forms. His work refers to Expressionism and Pop.

Copeland’s habitual use of recognizable art historical motifs – the nude, the table and the skull, for example – allow him to investigate the complications inherent to image-making and representation. He illustrates the content of the canvases as a ‘starting point for a conversation or a digression... like a riddle or a bit of a poem [that] raises questions that aren’t really answerable’. He works from a plethora of found sources, usually photographic; mid twentieth-century magazine cut-outs, Americana and biker imagery among others. His work is, in large part, an exploration of the ‘act of looking’. He states: ‘I’m concerned with the dynamic between surface and undercurrent, myths and realities. All of my work plays with the act of viewing and being aware of the act of viewing, in terms of our collective visual culture and the images we see with every day.’

John Copeland was born in California in 1976, and went on to attend the California College of the Arts, and in 1998 he received his BFA. Recent solo exhibitions include: ‘Wolves Wait At Your Door’, V1 Gallery, Copenhagen (2016); ‘You’ll Never Be The Same’, Galleria Marabini, Bologna, Italy (2012); and ‘Old Glory’, Nicholas Robinson Gallery, New York (2009).

Recent group exhibitions include: ‘Nude’, V1 Gallery, Copenhagen (2017); ‘The Brask Collection meets Willumsen’, J.F. Willumsens Museum, Frederikssund, Denmark (2017); ‘Salon Djurhuus’, Munkeruphus, Denmark (2016); ‘Bad Painting’, John Copeland & Katherine Bernhardt, V1 Gallery at Spinnerei, Leipzig, Germany (2013); ‘Summer Reading’, The Hole, New York (2013); ‘Hell Raisers’, Galerie Lange + Pult, Zurich, Switzerland (2012); ‘Wonder Works, Master Works from Private Danish Collections’, The Museum Of Modern Art Aalborg, Denmark (2012).

The artist lives and works in New York City, apparently he is not an eminent figure in his home country. Also it is not known if he is represented by a gallery in the US. Copeland is born in California. He is represented by a gallery in Denmark, but not, apparently, by one in his own country.

At the top floor of the Newport Street Gallery, John Copeland exhibition “Your Heaven Looks Just Like My Hell” is running from 21st February until 28th May 2018.

Secret Art Prize 2017, Curoius Duke Gallery, London

London - At its 5th edition, the Secret Art Prize 2017 calls for artist to apply, at Curious Duke Gallery.

The winner will receive £1000, their work exhibited at Moniker Art Fair, a profile in After Nyne Magazine and representation from Curious Duke Gallery. There will also be four runners up who will exhibit at Moniker Art Fair and will be represented by Curious Duke.

Additionally, the top 100 applicants work will be featured on the website for the People’s Choice Award, with the possibility to be viewed by over 100,000 people, providing a great promotion for the artists even if they are not winner.

The Secret Art Prize is one of the UK’s leading art prizes. It is an extraordinary chance for beginner artists to emerge and win an amazing prize.

The Secret Art Prize is open to all urban and contemporary artists. Disciplines welcome include painting, sculpture, drawing, printmaking and photography. Film and performance pieces are not accepted.

The winners will be announced at a special event held at the Hoxton Hotel Shoreditch in August. The event will be exhibiting previous winners work and there will be talks from some of the industries professionals organised by The Art Conference.

Announced judging panel is: AfterNyne Editor Claire Meadows; Thinkspace Andrew Hosner; Art Advisor Melissa Scallan; Tina Ziegler Director of Moniker Art Fair; artist Otto D’Ambra; and Johnathan LeVine from LeVine projects.

To apply applicants will need to submit an image of their work and supply a short statement about the work and them as an artist. All applications to be made through the website www.secretartprize.com

The deadline is 11th June 2017.

Founded in 2011 by Eleni Duke, multi- award winning Curious Duke Gallery has established its position on the UK art scene, with lot of collaborations, participating at the UK art fairs and joining the judging panels. In 2015 the gallery came second to the highly respected Richmix in the TimeOut #LoveLondon culture awards.

Curious Duke Gallery has won the 2nd place for Micro Business of the Year 2013, with her artists taking to the airwaves on BBC radio and featured in London’s press.

Fabio Lattanzi Antinori, collaboration with Sergey Dziniruk "Latency Docet", 2016 © ph. Kristin Hjellegjerge gallery, London

London – The exhibition “No Not Never None” was very interesting at the Kristin Hjellegjerde Gallery.

It was a two artists exhibition, Jeremy Everett and Fabio Lattanzi Antinori, who both were investigating the topic of ‘appearance’, which, in philosophy, relates to what seems to be - eg. things as they are for human experience. In the ancient philosophy, the term ‘appearance’ indicated a reference to the opinion of the sensitive perception of the phenomenon, believing both of the terms are associated to uncertainty in acquiring a truth which is presupposed instead of one considered absolute.

The appearance concept usually implies an opposition between the perception of a thing and its objective reality.

Sometimes things are not as they seem, and other times things seem to be as they are not. But very often we simply do not know how things are. We just rely on our senses and our assumptions to guide us through this uncertain world.

With strong references to the Post- Modernism movement, “No Not Never None” by Jeremy Everett and Fabio Lattanzi Antinori explored the disconnection between how things are and how they seem, through a mixture of painting, sculpture, photography and installation.

The title of the exhibition, No Not Never None, reveals the sense in which our lives are always caught in a state of apparent contradiction. The gallery itself was designed as a site of deep uncertainty in which norms and conventions were destabilized. Both artists were concerned with the precarious balance of the existence, caught by hidden volatility and vulnerability which is the real origin of human fragility.

The Jeremy Everett’s practice investigates the way we see the world. It considers this approach the beginning of an exploration in search of the real story behind and rejecting one only style.

He is interested in the relation between the object, the space and its environment. It is the recurrent question of what lies behind what we see, and the notion of involving the viewer so he will be part of the artwork.

Fabio Lattanzi Antinori worked on this notion of the unseen by using very practical material, for example statistical figures of financial markets. His work focuses on how the languages of corporate systems inform the way we shape our communities and the actions we take towards our survival. At the root of this is the observation that financial data, although abstract and essentially ethereal, controls our resources and ultimately binds us together.

Fabio Lattanzi Antinori created a brand new sculpture, a multi-sensory experience exploring the financial practice of ‘front-running’ – trading on advance information provided by brokers. Whilst the work visually references the microwave towers used for the high-speed transmission of financial data, Lattanzi Antinori has teamed up with perfume designer Sergey Dziniruk to develop a range of fragrances that will be emitted by the sculpture. Lattanzi Antinori also presented ones of his interactive screenprints which translates financial data into tunes when touched by the viewer, giving musical expression to the desolate and heartless data. Here interesting was also the use an antidepressant replacing colour.

Jeremy Everett destabilised the architecture of the gallery with an installation of his ‘shims’: these immaculately folded white dress shirts were placed on the ground while the gallery’s central column was rebuilt on it, causing the structure to lean to one side. In this work, Everett explored associations of daily work and the uncertain structures that support it. He also presented a series of photographs exploring the theme of decay, where a partially obscured image is achieved by burying the print in the earth for a number of days.

For the Kristin Hjellegjerde Gallery exhibition, both artists, Everett and Lattanzi Antinori, showed a strong sense of dystopia. They uncovered the chaos and peril that lies only just behind the apparent order and control of our world. But as the title “No Not Never None” suggests, things are not quite as they seem, therefore, what it seems to be a dystopia might just be the true nature of the world according to these two artists.

The exhibition “No Not Never None” was at the Kristin Hjellegjerde Gallery, London, from 2nd September until 1st October 2016.

Naples Orange, 2013 © Julie Umerle, ph. co. Art Bermondsey Project Space, London.

London“Rewind” by Julie Umerle was a captivating exhibition at the Art Bermondsey Project Space.

The exhibition “Rewind: A solo exhibition of recent paintings” presented works by Julie Umerle, including four large-scale paintings, a series of smaller canvases and a series of works on paper.

The exhibition at the Art Bermondsey Project Space showcased the Rewind series of paintings and the Transoxide series of works on paper, together with a group of large canvases.

The main aspect of the Rewind series is that the canvases are not displayed prepared, thus accentuating the minimalism of the images. Essentially, the significant element of the painting is the object itself, which is placed very close to the boundaries of the canvas.

The Transoxide series is instead developed on wet stretched paper, where coloured grounds are layered with white paint and marks of black ink. In an ongoing exploration of materials, this series presented the work of Umerle on the organic qualities of the ink and on the several effects of the various surfaces.

The “Rewind” exhibition was made possible thanks to a Grants for the Arts award from Arts Council England.

Her abstract works are often painted in series, exploring repetition, similarity and difference within each group. The paintings of Umerle are often created in open-ended series with new works being inspired by previous ones.

The practice of Umerle’s suggests continuing creative developments of which interrupted moments are crystallised and thus depicted on canvas. Through a great work of abridgement, Umerle expresses clarity in degrees of precision and harmony.

The work of Umerle is an investigation of materials and the perception of the image. The pressure of the brush, the viscosity of the paint and the speed of application are just some of the variables that play a part in her mark - making process.

A catalogue of “Rewind: A solo exhibition of recent paintings” was being published for the exhibition, with an essay by Anna McNay.

Julie Umerle relocated from the USA to London as a young child with her family. She studied French Literature at the University of Sussex and fine art at Falmouth University, Cornwall where she was awarded a First class Hons degree. She graduated from Parsons The New School for Design in New York City with a MFA in 1998.

From 1991 to 1996, Umerle worked as an artist educator at numerous galleries in London, including The Whitechapel Gallery, The Hayward Gallery and The Royal Academy. She lived and worked between London and New York for a further five years after completing her studies, before returning to the UK and settling again in London in 2003.

She has exhibited widely in the UK and abroad. Umerle held her first solo exhibition in London at the Car Breaker Gallery (located in the squat of Frestonia), followed a few years later by a solo show at The Barbican Arts Centre. In April 1995, Herbert Art Gallery and Museum hosted Umerle’s first museum exhibition of paintings.

She has exhibited in group shows at Flowers Gallery and the Royal Academy of Arts. Early exhibitions in New York were at Artists Space and AIR Gallery. Internationally, she has also shown in France and Germany.

Recent solo exhibitions in London include 'Cosmos or Chaos' at studio1.1 in 2010.

“Rewind: A solo exhibition of recent paintings” was at the Art Bermondsey Project Space, London, from 31st August until 10th September 2016.