3rd || Monday
Fitting into a frame from Eom, Jeongwon on Vimeo.
1:60 by Eom Jeongwon, Korean Cultural Centre, Opening Reception 6pm to 8pm (RSVP required)
Jeongwon Eom is one of the winners of the 2017 KCCUK Open Call, with her proposal being chosen from over 40 applicants. She presents her first ever solo show in the UK (3 – 22 April 2017) where she will explore how one individual can use a series of self-measurements to creatively envisage their environment and make the territory surrounding it expand and grow.
6th || Thursday
Speedway, Transition Gallery, PV 6-9pm
The plot where Regent Studios now stands, was once a post-war waste ground, the terraced houses that once occupied it bombed, flattened and slum-cleared. This unloved negative space was, however, in the eyes of the local youths, ripe with possibilities. Inspired by this psychogeographic poetry of place, Transition Gallery, a Regent Studio resident since 2006, has commissioned a group of artists to make contemporary responses to long forgotten histories. Featuring Luci Eyers, Andrew Kotting and James Roseveare. Alongside the physical works, writer in residence Helena Haimes will be writing about the ideas around the show.
Mat Collishaw, The Centrifugal Soul, (detail), 2016, Courtesy the artist and Blain Southern, Photo Rémi Chauvin.
Mat Collishaw, The centrifugal soul, Blain|Southern, PV 6-8pm
Drawing on various forms of illusion, the exhibition explores ideas of superficial truth and the erosive effect of our primal urges for visual supremacy. Collishaw worked with evolutionary psychologist Geoffrey Miller – whose theory is that the origins of art stem from natural instincts of courtship and reproduction – to produce the title work and centrepiece of the exhibition. The Centrifugal Soul is a sculpture in the form of a zoetrope, a pre-film animation device that produces the illusion of motion through rapid rotation and stroboscopic light.
Ryoji Ikeda, systematics [nº1], punched tape for vintage computers,
acrylic panels, LEDs, stainless steel, 103 x 1,6 x 5,9 cm / 40,5 x 0,6 x
2,3 inches / © Ryoji Ikeda / Courtesy of DHC/ART Foundation for
Contemporary Art. Photo: Richard-Max Tremblay.
Ryoji Ikeda: π, e, ø, Almine Rech Gallery, PV 6-8pm
Japan’s leading electronic composer and visual artist Ryoji Ikeda focuses on the essential characteristics of sound itself and that of visuals as light by means of both mathematical precision and mathematical aesthetics. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media. He elaborately orchestrates sound, visuals, materials, physical phenomena and mathematical notions into immersive live performances and installations.
FELICITY HAMMOND: To Soften The Massing (2017), Courtesty of the Window Space and the Artist.
FELICITY HAMMOND: To Soften The Massing, Window Space, PV 6-8pm
For the third show commissioned by onepointfiveone at Window Space, Felicity Hammond presents a site specific installation which uses fragmented language taken from developers’ plans for Central House (London Metropolitan University). Their designs have not yet been released, only curious suggestions such as: to soften the massing, to activate the frontages, and to articulate the façade, can be found in their plans for the soon to be unoccupied Cass Faculty of Art’s building.
7th || Friday
Ana Vieira, THE LADY MMTS, 1967/2009, Wood, mirror, and enamel paint, 100 x 80 x 22.5 cm, © The artist 2017. Courtesy Galeria Graça Brandão, Lisbon.
The problem with having a body / is that it always needs to be somewhere, The Approach
Across generations and geographical and political contexts, the artists in this group exhibition share a concern with the way the female body occupies, structures and integrates with its surrounding space. Methods of casting and the direct contact between the body and the material are prevalent in the exhibition, exploring the human scale, performativity and spatiality through movement and physical labour. Some of the artworks will themselves perform: posing for pleasure, they seem self-aware of their capacity to incite desire and of their status as beautiful objects in the gallery, offered up to the audience for inspection. Other pieces construct the body as a living political and biohistorical archive, an interconnected system traversed by flows of materials, desire and power. [1]
11th || Tuesday
Pavla Sceranková, Research, 2015. Photo: Hynek Alt. Courtesy the artist and Drdova Gallery, Prague.
Pavla and Lucia Scerankovà, Pump House, PV 6.30-8.30
Pump House Gallery and Czech Centre London present an exhibition of new and existing work by sisters Pavla and Lucia Sceranková. Their first major exhibition in the UK reflects visual, material and conceptual influences on their work and its contexts. Pavla Sceranková’s sculptural installations and video-performances express minimalism, subtle humour and sensitivity to surroundings. They invite the viewer to interact and explore the relationships between perception and the perceived world. Lucia Sceranková makes photographic and sculptural installations, inspired by her surroundings, playing with illusion, reality and fiction.
12th || Wednesday
Sonia Boyce, We move in her way. Photo George Torode.
Artist’s talk: Sonia Boyce, ICA, 6.30pm
ICA exhibiting artist Sonia Boyce is in conversation with art historian Sophie Orlando discussing her work on the occasion of her exhibition Sonia Boyce: We move in her way. A new body of work created especially for the ICA, We move in her way involves the exploratory vocal and movement performances of Elaine Mitchener, Barbara Gamper and her dancers Eve Stainton, Ria Uttridge and Be van Vark, with an invited audience. The title of the work suggests two possible readings: that ‘she’ dictates our movements, or that we obstruct ‘hers’, with both interpretations suggesting power is at play.
24th || Monday
Lawrence Weiner’s books, vinyls, posters and works. Courtesy Moraes Barbosa Collection.
Sharing collections, talk, Delfina Foundation, 7pm
As part of the public programme for Collecting as practice, this event explores the relationships that are formed between collectors and artists. Resident collector Pedro Barbosa and artist Deyson Gilbert discuss their long-term collaboration exploring ephemera – posters, artists’ books and vinyl albums – produced by conceptual artists in the 1960s and 70s that form a substantial part of the Moreas-Barbosa Collection.
27th || Thursday
Marysia Lewandowska, The Women’s Audio Archive, 1986, Courtesy the Women’s Audio Archive.
Q&A: Artists in Conversation: Curator’s Tour, Whitechapel Gallery, 7pm (Booking required)
The curator of the exhibition Artist in Conversation (11 Mar. till 27 Aug. 2017), Nayia Yiakoumaki, leads a tour of the show, which reveals the richness of the interview format and the importance of the artist’s own voice in an art historical discourse. The event is free but booking is required.
Outside of London
11th || Tuesday in Glasgow
Image courtesy Claire de Rouen, London; Mary Mary, Glasgow.
For this exhibition, running until 23 April, Claire de Rouen has curated a selection of artist books which will be presented alongside artist selected publications that have influenced and are important to them, with contributions from Amanda Ross- Ho, Alex Olson, Jonathan Gardner and Milano Chow amongst many others, ranging from artist books to architecture to literature. A launch event on 13 April is planned for Alan Reid’s new monograph, ‘Warm Equations’ publication.
Silvia Meloni
Feature Image: Sonia Boyce, We move in her way. Photo George Torode.
References
[1] with reference to Paul Preciado, The Phantom Limb. Carol Rama and the History of Art, 2014.
CuratingtheContemporary (CtC) 