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RT @an_artreviews: Oliver McCall explores Mat Collishaw's installation of crime scene archive photographs @grainphotohub @LibraryofBham htt…
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Other Criteria London is NOW OPEN at Newport Street Gallery; Tuesday-Sunday 10am-6pm.
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Other Criteria London is now open alongside @NPSGallery at 9 Newport Street, London SE11 6AJ.
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Double dose: Mat Collishaw stages two new Midlands shows via @wallpapermag

@ContemporaryLdn thanks, we'd love to see the exhibition!

Modern Mythology: new works by Adam Dix at The Contemporary London @ContemporaryLdn

Opening at Newport Street Gallery

October 8, 2015 by Mary

The Other Criteria London shop, previously based in Marylebone, re-opens at 9 Newport Street, London in SE11. The shop will be located at Damien Hirst’s Newport Street Gallery.


Other Criteria at Newport Street Gallery will feature a rotating mixture of works by artists such as Damien Hirst, Mat Collishaw, Harland Miller, Tim Noble & Sue Webster, Polly Morgan, Polly Borland, John Isaacs, Don Brown, Rachel Howard, Gary Hume, Michael Joo, Eduardo Sarabia and Thomas Scheibitz. The full rosta of works published by Other Criteria will remain available online at and in our New York and Ilfracombe shops.

Newport Street Gallery is the realisation of Hirst’s long-term ambition to share his art collection with the public. Designed by architects Caruso St John, the gallery spans 37,000 square feet and includes six exhibition spaces – one with a ceiling height of eleven metres – split over two levels.

The construction of Newport Street Gallery involved the conversion of three listed Victorian buildings, which were purpose-built in 1913 to serve as scenery painting studios for the booming local and West End theatre industries. With the addition of two new buildings, the gallery now spans half the length of the street.

Newport Street Gallery’s inaugural exhibition, ‘Power Stations’, presents a selection of John Hoyland’s large-scale works dating from 1964 to 1982, displayed throughout all six of the gallery’s exhibition spaces. The first major survey of the artist to be presented since 2006, ‘Power Stations’ spans a pivotal period in Hoyland’s career, punctuated by his first solo museum show, at the Whitechapel Gallery in 1967, and his defining retrospective at the Serpentine Gallery (1979–80).

John Hoyland (1934–2011) is one of Britain’s leading abstract painters. Renowned for his intuitive manipulation of colour, form, line and space, Hoyland emerged at the forefront of the abstract movement in Britain in the early 1960s, and remained an energetic and innovative force within the field, until his death in 2011.

Other Criteria features new works to acompany this exhibition:

Modern Mythology: Lindsey Bull, Adam Dix, Jess Littlewood

October 7, 2015 by Mary

8 October - 7 November 2015
Private View: 7 October, 6.30-9pm

The Contemporary London
Space W10, 591-593 Harrow Road, London W10 4RA

The Contemporary London presents Modern Mythology, new works by Lindsey Bull, Adam Dix and Jess Littlewood that draw on a rich lexicon of imagery to explore our understanding of the world and the constructed belief systems used to navigate it. Drawing on resources from folklore, cult, witchcraft, religion, sci-fi and the occult, the central themes of each include motifs of ritual, religion and mysticism that culminate in a private and mysterious, ethereal and haunting mythology that transcends and overlaps their collective worlds.


Adam Dix, Beyond Expectation, 2015, ink and oil on panel
© the artist, courtesy The Contemporary London

Adam Dix explores modern manifestations of illusion, apparition or figments of the imagination and spiritual and electrical manifestations of the subconscious. Drawing inspiration from events such as séances and the birth of the telegraph, where the knockings of spiritual awareness replicate the electrical intermittent pulses of the telegraph operator’s action, Dix brings together technology and spiritual superstition. Our contemporary apparition is the digital image, an illusion presented by a veil of pixels which once examined is hazy, unfocused and non-tangible; an electrical spirit, a digital apparition. Through the thin layering of paint glazes, Dix’s painting process metaphors the shallow illusion of the digital screen and is an analogy to the surface character of a printed material. As such Dix’s works speak about communication, society, and our relationship with the constructed image.

Dix, Littlewood and Bull, each with their own distinctive voice, articulate and explore a circulation of connectivity. Submerged in mysticism and a sense of the transcendental and manifested through a language of ritual, this exhibition addresses ideas of human behaviour seen in the practice of religion, collective practice, mysticism, collective identity, community, communication and notions of how alternative realities and private mythologies realign our connection with the past and look to the future.

New monograph by Eduardo Sarabia

September 28, 2015 by Mary

Eduardo Sarabia's new monograph has been published on the occasion of the artist's mid-career survey, by Instituto Cultural Cabañas and Museo de Arte Contemporaneo Oaxaca, with the support of the State of Jalisco, Mexico. The book includes new texts by TMR Director and Chief Curator Cesar Garcia and DePaul Art Museum Director Julie Rodrigues Widholm. 


The book launch will take place on Wednesday, the 30th of September at The Mistake Room, 1811 E. 20th Street, Los Angeles, CA 90058

Books will be available for purchase at the event and the artist will be present to sign copies from 7pm to 8pm. A reception will follow book signing.

Mat Collishaw at The New Art Gallery Walsall

September 25, 2015 by Mary

25 September 2015 to 10 January 2016

The New Art Gallery Walsall presents a major survey exhibition by British artist Mat Collishaw, his largest UK show to date and his first in a UK public venue for over ten years. The exhibition will testify to the richness and breadth of Collishaw’s practice and will include sculpture, photography, film and installation.


Mat Collishaw, Insecticide 24, 2008, c-type photograph, 182 x 182 cm.
© the artist, courtesy BlainSouthern

Mat Collishaw is fascinated by the darker side of human nature. He has never shied away from difficult or challenging subject matter yet images that deal with death, destruction and decay are revealed as beautiful, hypnotic and compelling. In Collishaw’s world, seduction meets repulsion, the shocking becomes alluring, the beautiful becomes squalid and desire meets pain. As an artist, he is only too aware of the power of the image to manipulate and he draws his inspiration from a range of sources such as the slick world of advertising, the rich seams of art history, television, the media and popular culture, nature, mythology and the proliferation of images available through the internet. In pursuit of his distinctive conceptual language, he appears to move seamlessly between media and techniques, embracing both old and new technologies.

A major new work, All Things Fall (2014), will be shown in a darkened space on Floor 4. The work is based on the story of the Massacre of the Innocents, a Biblical story of infanticide by King Herod to avoid losing his crown. The tale has provided dramatic subject matter for artists throughout history including Rubens, Reni, Giotto and Tintoretto. Collishaw combines the old technology of the form of a zoetrope, an early means of presenting the illusion of a moving image, with new technologies to design and create the work. All of the 300 characters and architecture have been designed in the 3D Max programme and then printed as 3D models in resin. The circular sculpture rotates at speeds so high that the static scenes become suddenly animated. In this frantic and detailed scene, the eye struggles to focus on one point. It is constantly urged to move on and explore the multiple bodies in various contortions. This is, in part, why Collishaw approaches the subject in the form of a zoetrope as this proto-cinematic optical illusion engages and seduces the viewer before they fully realise they are complicit in a scene of genocide. Its visual similarities to the form of a carousel allude to leisure and entertainment yet the cycle of characters present a frenzied orgy of violence.


Mat Collishaw, All Things Fall, 2014
© the artist, courtesy BlainSouthern

In another ambitious installation, Deliverance (2008), repeated projections onto walls coated in phosphorescent paint present ghostly figures that appear suddenly and then slowly fade, only to be replaced by another. Drawing on the news coverage of the 2004 Beslan siege, Collishaw makes reference to the seemingly insatiable appetite of the press for images of disaster and trauma and of the complex and often ambivalent ways in which we as viewers respond to these distressing scenes. Last Meal on Death Row, Texas (2011) is a stunning series of photographs, presented in the manner of Flemish still life painting. Such paintings often acted as a memento mori, a reminder of the inevitability of death and the transience of life on earth. For these works, Collishaw researched the last meals requested by prisoners on death row prior to execution.

The exhibition also includes works from the photographic series’ Single Nights (2007), Insecticides (2006-ongoing) and Catching Fairies (1996) as well as the sculptural series The Venal Muse (2012) in which brightly coloured flowers, presented in vitrines, reveal on close inspection evidence of disease and decay. Influenced by Baudelaire’s book of poetry, Les Fleurs du Mal (1857), these works comment on man’s disregard for nature and the environment and the spectre of genetic manipulation.

Throughout his practice, Collishaw draws the viewer in with his seductive and compelling works, only to challenge us to look beneath the surface where darker and more malevolent forces are at play.

Concurrent with his exhibition in Walsall, Collishaw presents In Camera in the Gallery at the Library of Birmingham (18 September to 10 January). Commissioned by the Library and GRAIN with support from Arts Council England this new body of work was made in response to an archive of orphaned police crime scene images Collishaw discovered in the Library of Birmingham’s photography collection.

Harland Miller: In Dreams Begin Monsters

September 24, 2015 by Mary

24 September – 22 November 2015
Palacio Quintanar, Segovia

Palacio Quintanar, the innovation centre for the design and the culture of Castilla y Leon, shows "In Dreams Begin monsters" by Harland Miller, one of Britain’s most important contemporary artists, of the generation of Young British Artists British art scene. Miller’s first solo exhibition in Spain takes place during Segovia’s Hay Festival*.

The exhibition title –In Dreams Begin Monsters – is also the name of one of the large-scale works in the exhibition – an oil painting from Miller’s black and gold series, which is reminiscent of the giant canvases of Penguin Book covers, which brought him international acclaim. In this series, he reinterpreted the original covers of Penguin books, adding ironic titles invented by him, highlighting the contradictions associated with love.


In parallel, the title refers to "The Sleep of Reason Produces Monsters"(1979), one etching from the recorded series “Los Caprichos” by Francisco Goya. The link is important because Miller, as Goya, use the text of a poetic and profound way as an explicit part of his paintings. And both share a love of melancholy, satire, humour and art historical references. The message you hope to convey is that rationality can be subverted by the imagination, fantasy, vulgarity or romance.

The works in the exhibition have been selected according to Miller pictorial poetry dialogue with the dramatic architecture of the palace: oil paintings on wood and large format prints as well as three of Miller’s bronze umbrella sculptures.


Harland Miller ‘Wentworth Street’ (2010)
© Harland Miller. Photo © Todd-White Art Photography Courtesy White Cube

The exhibition, curated by Cristina Carrillo de Albornoz, also seeks to explore Miller's career as a writer.

*The tenth Hay Festival in Segovia will take place 24–27 September 2015. The festival brings writers and readers together to share stories and ideas in sustainable events on five continents.

Photos: Other Criteria at EXPO CHICAGO 2015

September 22, 2015 by Mary


In Camera: Mat Collishaw

September 18, 2015 by Mary

18 September 2015 – 10 January 2016
The Gallery, Library of Birmingham


In Camera: a legal term that means keep private, confined or hidden.

Camera obscura (Latin: ‘dark chamber’): an optical device that led to photography consisting of a box or room with a hole in one side through which light from an external scene passes through to make or reveal an image.

In Camera: a term used by photographers to indicate that an image is authentic, having been made from the real, and presented without any cropping or post production.

In 2014, Mat Collishaw was commissioned by GRAIN to make work in response to the Library of Birmingham photography collection. This exhibition of new work, supported by Arts Council England, is presented in parallel with a major survey of Collishaw's work being show at the New Art Gallery Walsall (25 September 2015 – 10 January 2016).

In Camera is an installation created around a series of 12 crime scene negatives made for Birmingham City Police Force during the 1930s and 1940s. Collishaw discovered these uncatalogued images, made to provide evidence in alleged and actual crimes committed in the city, hidden amongst an archive of orphaned police negatives whilst exploring the Library’s photography collections during 2014.

Extracted from their current, obscured institutional setting and detached from their referent case notes, in Collishoaw's new installation these unexceptional, transparent images become fluid, emotionally redolent and unsettling objects. Intermittent flash bulbs expose the images printed in phosphorescent ink and incarcerated in translucent vitrines. The scenes glow eerily in the darkness, as if lit for forensic analysis. Mundane depictions of empty rooms become charged by the illicit acts implied. These human stains appear as violation of decency, images that commemorate transgressions, as with the act of capturing an image; where the light contaminates the photographic negative.

The work prompts questions about the medium of photography, its historical role as witness and the way in which our reading of images are affected when they shift from the private to the public. devoid of human presence, the works invite the audience to speculate about these backdrops; the identity of suspects and victims and circumstances which led to the crimes being committed.

Here, as in the works on display at New art gallery Walsall, Collishaw continues to explore the potential for such images to be simultaneously shocking yet alluring, drawing us in with these seductive, unsettling and compelling works and asking us to look beneath the surface where complex questions and darker, more malevolent forces are at play.

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