William Bradley "Endless Adventures" 2016 © Kristin Hjellegjerde Gallery, London

Kristin Hjellegjerde organised a remarkable double exhibition of Martine Poppe and William Bradley at her London gallery.

On display in the main space of Kristin Hjellegjerde Gallery London was the exhibition “Crinkled Escape Routes and Other Somewhat Flat Things” by Martine Poppe.

The Kristin Hjellegjerde Gallery’s exhibition came from a journey Martine Poppe made in the USA. The works on display were a melange of the practice of Poppe, pale and ephemeral, and the more realistic American rural landscapes. From images taken along the well-known Route 66, the works migrated from inner to outer elements by using symbols like landscapes or buffalo skull. It was a journey through the actual present and an ideally remembered past – for example, there were images but also real car pieces dispersed around the gallery.

The long named Poppe’s exhibition was an investigation of the relationship and distance between a completed piece of work and its original subject, while the artist explores new ways of creating. She said: “The subsequent fields of pixel-like marks open up spaces in which I make my decisions more apparent. I leave behind something open-ended and revealing on the surface.”

As with previous shows, Poppe has also integrated her blurred works with more figurative pieces in which part of the canvas is left exposed. By using taffeta for her figurative, she develops the materiality of her works so to contrast the blurred landscapes and to increase the sense of contemplative calm that prevails throughout the space.

The work of Martine Poppe can leave viewers in a slightly baffled mood while trying to understand her non figurative style. Martine Poppe explains: “As always my work is very conscious of its origins in photography. I'm developing the sense of meditative calm in the work, but also aiming to be more generous with my approach.”

Meanwhile, William Bradley displayed new paintings in the Project Space of the Kristin Hjellegjerde Gallery, London. An abstract artist, he continues to explore the painted depiction of painterly codes. This new body of work on exhibition looks increasingly towards digital intervention, such as Photoshop, as a tool for the manipulation of these codes. Bradley explains: “Digitally modifying my scanned watercolours, removes them yet another step away from the immediacy of the original authorial mark.”

The result of his work is an exploration of gestural marks or codes from the history of Abstraction, but this is coloured by its digital pre-planning. Since moving to California, Bradley’s work has also seen a change in the choice of colours, which are now livelier, with different associations and compositions between them and with more movement.

Martine Poppe is born in Oslo, Norway (1988) but lives and works in London. From the Slade School of Fine Art, University College London, she received her BA Hons (2011) and MFA (2013) in Fine Art. She has exhibited extensively throughout Norway as well as London and the United States. Recent solo exhibitions include 50% Grå, Trafo Kunsthall, Norway (2015) and Anatidaephobia at Kristin Hjellegjerde Gallery, London (2014). Her recent group exhibitions include Sotheby's inaugural exhibition S|2 x SF at their new S|2 space in San Francisco (2015), The Presence of Absence, Berloni Gallery, London, curated by Paul Carey-Kent (2015) and New Order II: British Art Today at Saatchi Gallery, London (2014). Poppe was the artist-in-residence at Hooper Projects, Los Angeles in the summer of 2015. She is the recipient of numerous scholarships and awards, having recently been chosen as a finalist for Contemporary Visions IV, Beers, London (2016) as well as having been shortlisted for the East London Painting Prize (2014) and the Threadneedle Prize (2013). Poppe's work can be found in the collections of Saatchi, UCL, NRK (Norwegian Broadcasting Corporation) and University of Oxford.

William Bradley (born 1984, York, UK) graduated with a Masters degree in Fine Art: Painting from Wimbledon College of Art, University of the Arts London. He has been selected for numerous prizes such as FutureMap 08 and the Catlin Art Prize in both 2009 and 2011. His works are included in many renowned private collections throughout the United States, including the Hort Family Collection, and collections within Europe such as the Nelimarrka Museum, University of the Arts London and the David Roberts Arts Foundation. Solo exhibitions include I’ll Meet You There, Galerie Richard, New York (2016), The Black Paintings, Berloni, London (2015), Tall Tales, Galerie Richard, New York (2013) and Good Plan, EBandFlow, London (2012), among others. Recent group shows include S|2 x SF, Sotheby's, San Francisco, California (2015), Work Hard, Play Hard (with Mark Selby), Berloni, London (2014) and Person, Place or Thing and Roster Crow, both at 68Projects, Berlin (2014). He was selected for the inaugural 68Projects/ Galerie Kornfeld residency in 2014 and was also an artist in residence at Hooper Projects in 2015. Bradley currently lives and works in London and Los Angeles.

The exhibitions “Crinkled Escape Routes and Other Somewhat Flat Things” by Martine Poppe and “Project Space: William Bradley” were at Kristin Hjellegjerde Gallery, London, from 6th May until 18th June 2016. 

Exhibition ‘currentmood’ Installation view, 2016 © Cory Arcangel, co. Lisson Gallery, London.

London – “Cory Arcangel: ‘currentmood’” was an interesting exhibition at the Lisson Gallery, but also online.

The exhibition “Cory Arcangel: ‘currentmood’” took place at Lisson Gallery London and extended online through an advertising campaign.

Arcangel is one of the most important exponents of technology - based art. He often post on social media using the hashtag #currentmood. Its practice mirrors the current web - culture dominating the entire world, including those countries apparently underdeveloped.

The new works of the Lisson Gallery London exhibition were presented in a ‘listicle’ way, including image dump self-portrait of Arcangel. New works were displayed IRL (Internet slang for “In Real Life”). The most interesting work, differentiating from the rest, was an installation of a series of slippers.

Source of inspiration for Arcangel is a multiplicity of media, including scans of Ibiza flyers, tracksuits and magazines; default Photoshop image effects; commercial and cell phone photography; low-res screen captures, as well as emulations and re-prints of earlier works by the artist.

For ‘currentmood’, online Arcangel diffused a series of tailored ads, scattered across the Internet as ‘promoted content’. Therefore, the general frame of the ‘currentmood’ exhibition is a drastic unranked position inspired by the Internet self governance.

In homage to the open source culture, Arcangel is keen to spread his own work by exhibiting the same image both IRL in a white cube and online as ‘click bait’. He is still loyal to open source culture and makes his work and methods available online, also giving references to the value of the art object.

The works at the exhibition at the Lisson Gallery London were inspired by the dualism of the business of technology which rapidly brings occasions but also forget with the same haste. Arcangel cares about collective memories, for example in recycling the Java applet ‘lake’ much used two decades ago, or other common software or web technology.

Kitsch, cheap or trite graphics and images are ironically included into a dialogue that blends art history, literature and music. Arcangel said: “I’m not taking sides with almost anything. For me, to see how these things change is my interest.” ¯\_(ツ)_/¯

It was in 1996, while studying classical guitar at the Oberlin Conservatory of Music, Cory Arcangel had the first occasion to use a high-speed Internet connection. He then was encouraged to major in music technology and start learning to code, and up to today these are his main approaches to the informatics and internet environment.

Cory Arcangel was born in Buffalo, New York, in 1978 and lives and works in Brooklyn, New York. He received a BM from the Oberlin Conservatory of Music in 2000. He is the youngest artist since Bruce Nauman to have been given a full floor solo exhibition at the Whitney Museum of American Art, New York (2011). Arcangel has had major solo exhibitions at Reykjavik Art Museum, Reykjavik, GAMeC, Bergamo and Espace Louis Vuitton München, Munich (all 2015); Herning Museum of Contemporary Art (2014); Fondation DHC/Art, Montreal (2013); Carnegie Museum of Art, Pittsburgh (2013); Barbican Art Gallery, London (2011); Hamburger Bahnhof, Berlin (2010) and Museum of Contemporary Art, Miami (2010). He was awarded the 2015 Kino der Kunst Award for the Filmic Ouvre. In 2014, he launched Arcangel Surfware, a merchandise and publishing imprint located at www.arcangelsurfware.biz; also in 2014, Penguin published his first novel, Working on My Novel.

 

The exhibition “Cory Arcangel: ‘currentmood’” was at the Lisson Gallery, London, from 20th May until 2nd July 2016.

Untitled by Theodore Chronis Metamorphosis Exhibition 2016 Artmoorhouse Gallery, London

 

 London – Artmoorhouse presented the interesting “Μεταμόρφωσις: Beyond Shapes”, a collective exhibition of Greek artists only.

The exhibition catalogue opens with the phrase: “Art is the free motion, an intuitive response to the reality in which it finds expression, of which it is the expression.” Philosophy is complicated and the concept adopted for this show is difficult as well.

The point is metamorphosis implies changes. A widely used concept, metamorphosis comes from biology and it is a process by which an animal physically develops after birth. As a topic it has been extensively adopted by any sort of art and expressed by using all media.

Metamorphosis is keen to another philosophical concept ‘Panta rei’, which means ‘Everything flows’. Heraclitus firstly expressed it, meaning that there is a constant movement in every aspect of life. Becoming is, according to Heraclitus, the essence of ‘Being’, because everything is subject to time and transformation.

Also quantum physics confirm it and it has been proven scientifically. Even what seems static to sensory perception in reality is dynamic and constantly changing. Everything we consider solid and composed of matter, as it can be a chair, an apple, or a human being, it consists in infinitely small atoms which are vibrating to a certain frequency: so there is movement.

In this sense the exhibition Μεταμόρφωσις: Beyond Shapes” present a common point between artistic and philosophical intuition concepts - but also physics and science should be added – look beyond the convenience of ordinary perspectives.

The logic of identity does not allow that one thing can be another, but at the Artmoorhouse exhibition it is art that captures this process, in its many different forms.

But not everyone is able to recognize this movement. Only a few could be awake, those who can recognize the common law of the nature, the others, the dormant, living in a dream, they are prisoners of the opposition, the struggle, the conflict, unable to rise to the unity of all.

Contemporary artistic practice has a tendency of be stick to reality conceptualizations avoiding abstracts. “Μεταμόρφωσις: Beyond Shapes” exhibition presents five artists whose work is an attempt to align the whole of non-representation with archetypes, which in this case lie not in the world of objects but in the sphere of philosophy and non-existence.

All Greek, the artists are Anna Antarti; Theodore Chronis; Vassiliki Koskiniotou; Konstantinos Mihalos; and Zacharias Papantoniou.

The composition of the work of Anna Antarti consists in vertical direction and shape, reflecting a powerful dynamic quality, in large scale canvasses with minimalistic elements.

Theodore Chronis considers himself a figurative painter with an understanding of limitations and loopholes of figuration and of painting in general.

Vassiliki Koskiniotou uses the ladder, the spiral and the helix as a leitmotif for his work, and to represent the female form or to suggest the double helix of life and creation nodding to the erotic aspect of it.

The caged figures of Konstantinos Mihalos symbolize modern man entrapment on a psychological but also social and cultural level. In its work he represents his own reflections on philosophy, spiritual and social concepts.

Rich in colour and texture, the work of Zacharias Papantoniou has an individual tone that uses contemporary visual language of multiple references and influences and it is focused on the artist’s personal internal concerns and reflection.

The exhibition “Μεταμόρφωσις: Beyond Shapes” was curated by Elisa Martinelli (Artmoorhouse, London, UK) and Avra Alevropoulou (Malou Art Consulting, Athens, Greece).

At the Artmoorhouse, “Μεταμόρφωσις: Beyond Shapes” run from 2nd June until 1st July 2016 Moor house, 120 London Wall, London, EC2 Y5ET.

Wandering and Wondering, 2016 © Stanley Whitney, co. of Lisson Gallery, London.

 

It has been a wonderful exhibitionStanley Whitney: Radical Times” at the Lisson Gallery, London.

With Radical Times, the painter Stanley Whitney was at its first exhibition in London, promoted by the Lisson Gallery.

Whitney exhibited a series of oil paintings and gouache on paper works made over the last few months and enthused by various sources, including global events, literature and music.

The exhibition name Radical Times comes from one of the new painting on display, which topic is related to the political and social chaos and to the considerable events we are experiencing today.

Another interesting work on show was Deep Water. This painting was made while the artists observed migrants coming to Greece escaping from the dreadful Middle East war zone.

Other works like Wandering and Wondering (2016), Nightlife and Dreamtime (2016) focused on holiday time, contemplation and relax in a contraposition with the hectic nature of life.

According to the personal style of the artist, the paintings on show at the Lisson Gallery of London were made following a repetitive pattern of colours, based on the use of a freely painted grid. His works rely on the visual impact on the value and saturation of colour.

Stanley Whitney uses contrasting colours to bring to mind liaisons, but they can be similar or discordant. It is abstract composition made up of coloured blocks and lines typically in three or more stacks. The juxtaposition between the coloured elements consents to Whitney to play without end. The artist, in fact, has an immeasurable number of options to modify the rectangular shapes by altering dimension, density, transparency and blurring.

However, using the same similar pattern in all his works may brings the eyes of the visitors to disaffection, because spotting the differences is laborious.

The artist has been investigating this approach for almost three decades. His practice of painted tessellation has been constantly refined and he refers to this enhancement process like an athlete training to stay in shape.

Another aspect of the work of Stanley Whitney is its strong connection to music, especially to jazz and African harmonies. He says he practices dance steps before doing canvas. Jazz clubs in Philadelphia and New York pulled him into a multi-ethnic bohemian lifestyle. He also uses a technique called “call and response” to decide which colours set nearby and it is adopted by the musical pattern of the same name.

Considering the rhythm of the works, Whitney quotes the painting Masters together with jazz renowned musicians, such as Charlie Parker or Ornette Coleman. He has often mentioned of the influence that Coleman’s album “The Shape of Jazz to Come” (1959) had on him when still at school.

Stanley Whitney was born in Philadelphia (US) in 1946. He lives and works in New York City and Parma, Italy. He holds a BFA from Kansas City Art Institute as well as an MFA from Yale University and is currently Professor Emeritus of painting and drawing at the Tyler School of Art, Temple University, Philadelphia. His major solo exhibition, ‘Dance the Orange’ was at the Studio Museum in Harlem, New York (2015) and he has been included in many group shows such as ‘Nero su Bianco’ at the American Academy in Rome (2015); ‘Outside the Lines: Black in the Abstract’, Contemporary Art Museum of Houston (2014); ‘Reinventing Abstraction: New York Painting in the 1980s’, Cheim & Read, New York (2013) and ‘Utopia Station’ at the 50th Venice Biennale (2003). He has won prizes including the Robert De Niro Sr. Prize in Painting (2011), the American Academy of Arts and Letters Art Award (2010) and was awarded a Guggenheim Fellowship in 1996. Whitney’s work is included in public collections such as the Nelson-Atkins Museum of Art, Kansas City, the Philadelphia Museum of Art and Yale University Art Gallery, New Haven.

The exhibition “Stanley Whitney: Radical Times” was at the Lisson Gallery, London, from 20th May until 2nd July 2016.