David Franchi – Saturday, 28th February 2015.

Charming Baker, It is My Heartfelt Desire to Improve But I Never Do it, co. Cock’n’Bull Gallery © Jealous Gallery

Charming Baker, It is My Heartfelt Desire to Improve But I Never Do it, co. Cock’n’Bull Gallery © Jealous Gallery

The out of the ordinary exhibition “Jealoustake over CNB Gallery” sealed the deal between the two galleries of London.

Between the Jealous Gallery and the CNB Gallery, collaboration was expected. They are located close to each others, and they are friends in real life. They share the same passion in helping emerging artists. They like to simplify the conventions of traditional art environment.

Rebecca Lidert, director of Cock’n’Bull gallery: “I went to see Jealous Print Studio around the corner from CNB Gallery where I walked up the windy staircase to one of the most vibrant and energetic working spaces I’ve seen. The whole life and soul of Shoreditch seemed concentrated and compressed into this space.”

Throughout the exhibition, a printing press was set up in CNB Gallery, where, on the opening night, Jealous invited members of the public to help demonstrate the art of screen printing.

A vibrant exhibition “Jealous takes over CNB Gallery” showed some of the most exciting and recent prints of the gallery, an interesting ‘Golden Eagle (Diamond Dust Edition)’ by Dave White, the series of works of Rugman on David Bowie and Madonna, the classic ‘LOVE’ by Robert Indiana, and the Russell Marshall print ‘Elvis Gun… Cheque – Silver’.

Jealous is a well-established contemporary screenprint studio, gallery and publisher. They are based in Shoreditch, the innovative East London’s area, and Crouch End. Their production approach is to collaborate with many different illustrators, graduates and established artists. Their works can be found in prestigious museum and galleries, including national (Tate Modern, Eyestorm, Scream Editions, Outline Editions, Selfridges, The Imperial War Museum, The Victoria and Albert Museum) and international (Melbourne, Paris, Los Angeles, Cape Town, New York, Berlin).

“After a chance meeting, and discovering a mutual passion in supporting emerging artists, screen printing and having a good time, Jealous and CNB Gallery are delighted to be working together for the first time in January.”, said Dario Illari, Director of Jealous Gallery.

A particular interesting event was on 12th February – a decadent Valentines celebration. The CNB Gallery organized a three course HIX menu, as part of a melting installation from the centre of the room to your plate, against a backdrop of Jealous editions. It was a ‘sensory dining experience’, visually directed by artistic duo and HIX Award finalists, Beast & Burden. The event converted the subterranean art space from gallery to pop-up restaurant, surging with sickly sweet opulence and featuring melting sculptural interiors set amongst artwork from Jealous. Each diner received a stunning screen print from Jealous Gallery signed Danny Augustine.

“Jealous take over CNB Gallery” exhibition was at the Cock’n’Bull Gallery, Shoreditch, London, from 16th January until 28th February 2015.


David Franchi – Thursday, 22nd January 2015

Cedar Lewisohn © Cock and Bull Gallery, London

Cedar Lewisohn © Cock and Bull Gallery, London

Cedar Lewisohn exhibition ‘Plywood Transmission’ has an exciting perception of drawing and painting at the Cock ‘n’ Bull Gallery, London.

The artist takes inspiration from two different kinds of elements, primitives and medieval. Cedar Lewisohn represents in his work knights and nobles together with thugs and poor people.

‘Plywood Transmission’ exhibition displayed the works of Lewisohn on big paper and woodblocks.

The artist has been abroad many times. He likes Europe and likes travelling. Wherever he goes, he has a notebook with him and draws all figures and images of inspiration. Then later he transfers these drawings on carved woods and paper.

Lewisohn said: “I see the woodblocks as tools to make images from. But they are in a way images themselves. The woodblocks are a visual alphabet that is constantly expanding. Everything from Mesopotamian gods, Masonic symbols, scenes from places in London pertinent to me. The blocks are cut by hand with a router, and various woodcutting tools. I think I am a compulsive producer… I’m always drawing, writing, making things. The woodcuts and woodcut prints came out of a desire to slow the process down. I’m also attracted to the analogue nature of them. The very idea that they are not a digital, video, online, type of thing. I work with scale with the woodcuts and prints, because it’s unusual to see these types of objects so large.”

Although the words Primitive and primitivism are contested, Lewishon considers the woodblocks a form of oriental art, which is addressed to the future but with strong connection with the past.

The show was captivating and should pay a visit.

‘Plywood Transmission’ exhibition by Cedar Lewisohn was at the Cock ‘n’ Bull Gallery, Old Street, London, from 12th December 2014 until 9th January 2015.


David Franchi – Monday, 29th December 2014.

Mies Model Study, BW V, 2013/2014 © Joachim Brohm, co. Grimaldi Gavin, London

Mies Model Study, BW V, 2013/2014 © Joachim Brohm, co. Grimaldi Gavin, London

Vernacular and Modern’ is an interesting solo exhibition by Joachim Brohm, at the Grimaldi Gavin Gallery, London. The work is a sort of documentary about a Mies van der Rohe project of German allotment buildings, dismissed because of the Great Depression, but realized in the late 1970s. Together with the new series Mies Model Study, an entirely re-edited series ‘Typology 1979’ by the artist is displayed in London for the first time.

The new solo exhibition at Grimaldi Gavin, London, develops the Joachim Brohm his ongoing concern with architectural structures and in particular with the relationship between architecture as an environment for recreation. Vernacular, in fact, is a kind of architecture concerned with domestic and functional rather than public or monumental buildings. This exhibition brings together and counterpoints a brand new body of work that explores the modernism of Ludwig Mies van der Rohe with Brohm’s series Typology.

The story about ‘Vernacular and Modern’ is that more than 80 years ago, Mies van der Rohe took part in a competition to design a club house for the newly founded Krefeld Golf Club. Due to the Great Depression however, the house was never built. In 2013, Mies’ design was finally put into practice under the artistic directorship of Belgian architect Paul Robbrecht at the planned site on the outskirts of Krefeld. The model was built according to the original plans as a walkable architecture model at a scale of 1:1, thus creating a highly exceptional architectural exhibition.

Joachim Brohm spent time photographing the temporary model during 2013, creating a body of work entitled Mies Model Study consisting of both colour and black and white images. Fascinated with the rough nature of some parts of the structure as a contemporary interpretation of the incomplete Mies sketches, Brohm’s images gracefully reference the aesthetic language of modernist architectural photography of the 20th century.

Brohm’s fully re-edited series Typology 1979 will now be shown in London for the first time together with the new series Mies Model Study.

Typology 1979 is the retrospective title Brohm gave to a series of photographs he took in 1979 while studying at the Folkwang Hochschule in Essen and to a later monograph he published on the work. The series is devoted to recreational places and the activities of people living in the artist’s immediate area around the industrial Ruhr. Human presence is slight, even ethereal, as hardly any people can be spotted.

Joachim Brohm rose to prominence in the early 1980s as one of the first photographers in Europe to shoot exclusively in colour. From the late 1970s Brohm connected the visual possibilities of colour photography with a newly defined “everyday cultural landscape.” Major recent shows include Intractable and Untamed: Documentary Photography around 1979, Museum Ludwig, Cologne in 2014 and Re-Seeing the Permanent Collection: The Viewer’s Choice, Haggerty Museum of Art, Milwaukee, WI, USA; Industrial Worlds. MAST Collection, Bologna, Italy; This Infinite World, curated by Paul Graham. Fotomuseum Winterthur, Switzerland; Concrete – Photography and Architecture in 2013.

Vernacular and Modern’ exhibition, by Joachim Brohm, is ongoing until the 10th January 2014 at the Grimaldi Gavin Gallery, Mayfair, London.


David Franchi – Saturday, 20th December 2014

Tree (no 12) (PC146), 2014 © Tony Bevan, co. Ben Brown Fine Arts, London

Tree (no 12) (PC146), 2014 © Tony Bevan, co. Ben Brown Fine Arts, London

Trees and Archives is an interesting exhibition, at Ben Brown Fine ArtsLondon. Made of fifteen large scale works by British artistTony Bevan, the Ben Brown Fine Arts exhibition displays works of refined graphics with simple style. Reminding the Chinese approach to painting, from which Bevan takes inspiration, ‘Trees and Archives’ is a research into these two themes, trees and archives.

As per the Asian art style which invites to meditation, the rarefied figures depicted are a clever blend of old Chinese style brought into a Modern solution. The body of work of Tony Bevan relies on the irregular quality of charcoal and the vividness of his own pure acrylic pigments. Bevanpresses charcoal into the pores of not stretched canvases on the floor of his Deptford studio. He creates fragments and flakes that are fixed with the acrylic medium. This technique gives a particular effect: watching the canvas from far it seems made of one only pictures, while approaching the painting it emerges it is made of small pieces and crumble.

Whilst travelling in China between 2007 and 2008, the artist came across an ancient tree in the courtyard of a temple in the district of Dujiangyan, Sichuan Province, and he felt irremediably attracted by its forms and the architectural potential, together with the ancestral associations of the plant.

The Archives 2014 is the Bevan’s latest series. It is clearly inspired by the work of Jorge Luis Borges. It depicts a grid of bookshelves expanding to the edges of the canvas and beyond, invoking the surreal atmosphere of Borges’ text.

Tony Bevan (born 1951) studied at the Bradford School of Art (1968–71), Goldsmiths’ College (1971–74) and the

Archive (PC142), 2014 © Tony Bevan, co. Ben Brown Fine Arts, London

Archive (PC142), 2014 © Tony Bevan, co. Ben Brown Fine Arts, London

Slade School of Fine Art (1974–76). Since 1976, Bevan has exhibited widely, holding his first soloexhibition U.S. shows at Ronald Feldman Gallery in 1988 and L.A. Louver in 1989. Bevan has also exhibited at the ICA, London, (1987-88), Staatsgalerie Moderner Kunst Haus der Kunst, Munich (1989), Whitechapel Art Gallery, London (1993), and the Kunsthalle, Kiel (1988). A major retrospective was presented by the Institut Valencia d’Art Modern (IVAM) in Valencia, Spain (2005).

In March 2007, Tony Bevan was elected as a Royal Academician of the Royal Academy of Arts in London. His work is included in many prominent international collections such as the Museum of Contemporary Art in Los Angeles, The Metropolitan Museum of Art in New York, The National Portrait Gallery and the Tate Gallery, London.

Founded in 2004, Ben Brown Fine Arts prominently positioned itself on the contemporary art scene with the sole UK representation of artists and it is also renowned for its strong expertise in 20th Century Italian Art.

Trees and Archives’ exhibition by Tony Bevan is ongoing, at Ben Brown Fine Arts, Mayfair, London, until 3rd January 2015.