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Open today from 10am-6pm alongside @NPSGallery and @Ph2restaurant #bankholiday #london https://t.co/5ewUDJKIbI
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Other Criteria #London will be open tomorrow from 10am-6pm alongside @NPSGallery and @Ph2restaurant #bankholiday https://t.co/RC64N3KVhC
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Join us in Ilfracombe today for drinks to celebrate Rachel Howard's new print series, Reasons. From 12-2pm https://t.co/CS5RGBU4EW
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Join Other Criteria Ilfracombe for drinks tomorrow from 12-2pm to celebrate Rachel Howard new prints series! https://t.co/52KHNymvxN
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Join Other Criteria Ilfracombe for drinks on Saturday to celebrate Rachel Howard new prints https://t.co/e4QRgCUiYK https://t.co/31WBb1SA0U
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Polly Morgan: Taxidermy Just Got Even Creepier https://t.co/TXoC3QiRXF via @ozy https://t.co/0NyhuivKdQ
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Other Criteria present limited editions by Jeff Koons to accompany @NPSGallery’s exhibition https://t.co/19kFzqVAZu https://t.co/DQBODqaWsp
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Drinks reception at Other Criteria Ilfracombe

May 26, 2016 by Mary

On the occasion of the exhibition of Rachel Howard‘s new print series, ‘Reasons’, Other Criteria is pleased to invite you for drinks, Saturday 28th May April, from 12–2pm. Please contact ilfracombe@othercriteria.com for more information.

Rachel Howard’s new series, ‘Reasons’,  will be exhibited in both Other Criteria London and Ilfracombe until the 10th of July, 2016.

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'I Prefer Life': Joanna Kirk at the Weserburg Museum for Modern Art

May 23, 2016 by Mary

The exhibition “I Prefer Life” brings together more than 100 pictures, sculptures and video works that investigate in a quite sensual and convincingly provocative manner issues of identity, the assignment of social roles, and also existential areas such as life and death. Highlights and previously undisplayed works from the Reydan Weiss Collection will be presented. The collector was born in Istanbul, grew up in Jordan, went to school in Jerusalem, and came to Germany as a young woman. The fact that she has access to several cultural contexts turns the exhibition into an experience that extends its perspective far past the bounds of Europe out onto the world. In addition to renowned artists such as Cindy Sherman, Nathalie Djurberg, Bettina Rheims as well as Gerhard Richter, Anselm Kiefer and Robert Longo, the exhibition presents many surprising new works, including African, Oceanic, Chinese, Japanese, Latin American and Caribbean positions.

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Joana Kirk, Benevolent, 2012
Pastel on board, 196 x 122 cm

The handling and enduring of cultural and individual differences, of tradition and modernism is a fundamental theme of the exhibition. Examples of this are changing photographic identities of Cindy Sherman, exceedingly strange shapes by Charles Fréger, and the not only initially threatening figure of Mircea Suciu concealed in a burka. But also issues such as life and death, beauty and old-age resonate in a convincing manner in many of the works on display. Mat Collishaw's photographic series “Last Meal on Death Row” shows composed still lifes that turn out to be prisoners' final meals before execution. Manabu Yamanaka presents photographs of naked, extremely old women who have been deeply marked by life. Through his death portrait, Andres Serrano is able to convey insights into the normally closed-off area of pathology.This collection includes some surprises never seen before in northwestern Germany.

The large number of outstanding, in some cases abstract paintings is remarkable. If one examines the pictures a considerable cross-section emerges of what is relevant and valid as painting in the 20th and 21st centuries. In addition to works by Gerhard Richter and Anselm Kiefer, as well as by Jonas Burgert, Norbert Schwontkowski, and the Lebanese artist Etel Adnan, there are works by the Australian painter Warlimpirrnga Tjapaltjarri, who up to now is not so well-known in Europe. His works are hung coequally alongside those of Bernard Frize and Peter Halley; precisely in spite of their contextuality and direct connection to the aboriginal culture of Australia, they are able to assert themselves in juxtaposition to many works marked by the European-American tradition. In other words: Tjapaltjarri is not assigned any “ethnologically” influenced special status, but takes his place in this collection as an international artist alongside many others whose works are on display here.

The focus is repeatedly on the question of how the diversity, sometimes even the exclusivity of intellectual claims and manners of thinking can continue to exist alongside and among each other. Transferred into the sphere of art, this means: whether and in which way an interconnection between aesthetics and ethics exists and can be experienced in the work of art. It is a matter of learning processes within the framework of an international exchange which are relevant to a broader and younger audience. It is also a matter of attaining another and new perspective onto a world that to some extent has become unhinged, of revising fixed concepts, and of attaining one's own standpoint in the world, alongside and together with other persons.

Artists:

Etel Adnan, Helene Appel, Emma Bennett, Bertozzi & Casoni, Nicole Bianchet, Jeremy Blake, Katharina Bosse, Ulla von Brandenburg, GL Brierley, Daniele Buetti, Jelena Bulajic, Jonas Burgert, Yoan Capote, Shen Chen, Patrick van Caeckenbergh, Mat Collishaw, Johan Creten, Tony Cragg, Keren Cytter, Nathalie Djurberg, Slawomir Elsner, Elger Esser, Inci Eviner, Paul Fägerskiöld, Famed, Claire Fontaine, Charles Fréger, Bernard Frize, Patrycja German, Rachel Goodyear, Paul Graham, Henriette Grahnert, Sigurdur Gudmundsson, Peter Halley, Dan Halter, Mark Handforth, Flora Hauser, Julie Heffernan, Evelyn Hofer, Linde Ivimey, Du Jie, Bharti Kher, Anselm Kiefer, Joanna Kirk, Ragnar Kjartansson, Imi Knoebel, Shio Kusaka, Alicja Kwade, Thomas Lerooy, Graham Little, Robert Longo, Rosa Loy, Rosilene Luduvico, Alastair Mackie, Kate MccGwire, Alex McQuilkin, Olaf Metzel, Marilyn Minter, Mohau Modisakeng, Jean-Luc Moerman, Yasumasa Morimura, Wangechi Mutu, Shirin Neshat, Julie Nord, Saskia Olde Wolbers, Jacco Olivier, Catherine Opie, Claire Partington, Elodie Pong, Shannon Plumb, Ged Quinn, Till Rabus, Bettina Rheims, Gerhard Richter, Daniela Rossell, Dennis Scholl, Thomas Schütte, Grace Schwindt, Norbert Schwontkowski, Sigga Björg Sigurðardóttir, Andres Serrano, Cindy Sherman, Laurie Simmons, Lorna Simpson, Andreas Slominski, Carolein Smit, Kiki Smith, Martina Steckholzer, Anett Stuth, Mircea Suciu, Warlimpirrnga Tjapaltjarri, Sandra Vàsques de la Horra, Nil Yalter, Manabu Yamanaka, Zhou Yangming, Young-Jae Lee.

Weserburg Museum of Modern Art
Teerhof 20, 28199 Bremen, Germany

21 May 2016 – 26 February 2017

Photos: Other Criteria at Art16

May 23, 2016 by Mary

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Other Criteria launch Rachel Howard’s first woodcut series at Art16

May 19, 2016 by Mary

Other Criteria launch Rachel Howard’s first woodcut series, ‘Reasons’, featuring a series of ten woodblock prints on paper at Art16, booth A10, on the 19th of May 2016. These new works are also available online and in-store.

"The act of carving is so satisfying but also unforgiving not unlike the process of making my drawings. The subject matter consists of recurring images that I use in my drawings and figurative paintings, the bridge, the body, suicide, my sister, … violence and beauty, the intimate and the distant, as with all my work be it figurative or abstract it’s dealing with what it is to be human" – Rachel Howard.

With an oeuvre that suggests the delicacy of flesh, the subjectivity of perception and the complexity of our emotional spectrum, Rachel Howard could be described as a painter of life. Each body of work is directly concerned with exploring the intricacies of what it means to be human, considering our capacity to feel, think, question, hurt, breakdown, worship, sin, rebel or conform.

Other Criteria's booth will also feature new and limited edition works by Damien HirstHarland Miller and Polly Morgan.

Art16 returns to Olympia London from 19 – 22 May 2016. Since the inaugural edition in 2013, Art16 has become a highlight of London’s cultural calendar, kicking off the summer season with a compelling edit of international artists and galleries from more than 30 countries from around the globe.

The Fair will present over 1000 outstanding artworks from artists and galleries from every continent, maintaining a unique commitment to showcasing exciting emerging talent alongside established contemporary artists.

The Fair was founded in 2013 to strong international acclaim by Tim Etchells and Sandy Angus the original founders of ART HK, Asia’s leading international contemporary art fair which was sold to Art Basel in 2012. Etchell’s and Angus have in recent years launched a portfolio of leading contemporary art fairs including Sydney Contemporary, Art International Istanbul and Art Central Hong Kong.

Since its launch in 2013, the award-winning London architects Stiff + Trevillion have been involved in the design of the Fair. They have been long associated with the arts, having installed numerous exhibition interiors for the Royal Academy, as well as for Art HK in 2012.

Other Criteria at Art16, booth A10
Olympia, Hammersmith Road, London W14 8UX

Preview: 19th May, 2pm–6pm
First Night: 19th May, 6pm–9pm
Fair: May 20th–21st, 11am–7pm & 22nd, 11am–5pm

Now You See Me: Exploring Body Politics at TJ Boulting

May 17, 2016 by Mary

The exhibition presents both established and emerging artists and includes various techniques within the photographic medium, from the historic to the contemporary. 'Now You See Me' shows the body as the ultimate versatile subject on which to project ideas of aesthetics, society, identity and politics.

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The use of the self-portrait in particular is a potent and direct one. American photographer Haley Morris-Cafiero sets up her tripod and takes self portraits in public places without much pre-meditated direction or composition. It is only afterwards that she selects the images where people behind her back pull faces in disgust or laugh at her size. It is a fascinating insight into the cruelty of human nature and bold territory for a photographer to embrace in relation to their own body.

The ultimate exploration of the physical self in relation to personal existence is depicted in the work of British artist Jo Spence. Living with cancer for the last decade of her life, the images here are from her series ‘The Final Project’. Concerned with the passing of time and with her own physical deterioration making new work difficult, she often showed her body in various double exposures on top of earlier work. In particular often ‘returning to nature’, floating superimposed on a rocky shore, or in a series of self-portraits, superimposed against existing images of torn materials, blood cells, or landscapes to create new works.

The aesthetic nature of the nude has long been depicted, but here three female artists show themselves in a playful and subversive manner. Juno Calypso’s surreal self-portraits taken as her alter ego ‘Joyce’ in a honeymoon hotel in Pennsylvania reference both society’s obsession with beauty, advertising and horror films. Rasha Kahil’s project ‘In Your Home’ shows the photographer naked or half-clothed in someone else’s home. Whilst her host had left the room she had quickly removed her clothes and taken a self-portrait. They return and are oblivious to what has just happened. Rachel Howard’s self-portrait from 1995 is of the young artist pregnant with her first child, angrily revealing her bump from under her wedding dress, physically and mentally trapped from her 7th floor council flat in Brixton.

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Self Portrait 1995 by Rachel Howard
Giclee print on 300gm Art Paper printed with pigmented inks
Edition 12 + 3 Aps, 36" x 24”

The body is also the perfect vehicle to harness various photographic techniques in both form and content. In Brazilian/American artist Juliana Cerqueira Leite’s life–size cyanotype from her series ‘Summertime Blues’ she lay on the roof of her studio in New York under hot summer light to expose the cyanotype fabric and reveal the shape of her own body. Eloise Fornieles’s cyanotype from her series ‘Sabine States’ traces the outline of the woman in the Florentine statue ‘Rape of the Sabine Women’ by Giambologna, within the outline of the body lie objects such as a pig’s heart and flowers.

Mat Collishaw’s ‘The Corporeal Audit’ simulates a modern-day CAT scan, and as the light moves up and down it reveals the image of a body in a technique similar to a traditional ‘lithophane’. The starting point of the work is a photograph which then translates to a sculptural relief. In ‘UV Garden, Alice and the Fairies’ the photographic image is screen-printed in UV paint onto acrylic, and is again only revealed when the UV light is shone on it. Collishaw’s imagery often references art history and this work in particular the 1917 faked photographic series ‘Cottingly Fairies’. It evokes a romantic nostalgia tempered with a darker contemporary sensibility and reference to a time when photography was a new and suspiciously viewed art form.

Finally French artist Thomas Mailaender presents two works from his series ‘Illustrated People’. Taking old large format negatives from the vast London-based photographic archive Archive of Modern Conflict he burned their images directly onto the skin of people using UV sun lamps. The body itself becomes part of the image-making process, a brutal but innovative twist on the physical nature of human skin imitating the developing chemical processes of photography.

TJ Boulting
59 Riding House Street, London W1W 7EG
18th May – 2nd July, 2016

Harland Miller at Blain|Southern Berlin

April 29, 2016 by Mary

Tonight We Make History (P.S. I Can’t Be There) is Harland Miller’s first solo exhibition in Germany. Departing from his use of appropriated imagery, the exhibition comprises many new large-scale paintings that incorporate his own designs, which is a first for the artist. He takes formal and conceptual inspiration from the abstract geometrical covers of popular psychology books of the 60s and 70s, an era when positive messaging often masked societal neurosis.

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Installation View, Harland Miller, Tonight We Make History (P.S. I Can't Be There), 2016
Harland Miller, Tonight We Make History (P.S. I Can't Be There), 2016
Courtesy Harland Miller and Blain|Southern
Photo: Jörg von Bruchhausen

Three-metre high paintings with titles such as Overcoming Optimism and Back on the Worry Beads occupy the main space of the gallery. Often the same text appears on different compositions, demonstrating how form and colour relationships can change the way in which titles are interpreted. Interspersed between the larger paintings, a number of smaller works act like punctuation marks. The sentiments of the artist’s phrases remain open enough to imbue every work with a different idiosyncratic significance to each individual viewer. Upstairs, a new body of the artist’s most iconic artworks, The Penguin Books Series paintings, are bought together including; High on Hope, I’ll Never Forget What I Can’t Remember and the titular Tonight We Make History (P.S. I Can’t Be There).

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Installation View, Harland Miller, Tonight We Make History (P.S. I Can't Be There), 2016
Harland Miller, Tonight We Make History (P.S. I Can't Be There), 2016
Courtesy Harland Miller and Blain|Southern
Photo: Jörg von Bruchhausen

The exhibition marks twenty-five years since the artist lived in Berlin. He first visited in 1985 prior to the fall of the wall and the experience had a lasting impact on his practice. Staying in Kreuzberg and exploring the east of the city, he encountered many German paintings that incorporated prominent use of text as an integral part of the work. Unable to speak the language and thus understand such texts, Miller found the appearance of these words as imagery equally as effective as the written message. Having been advised against the use of typography in painting at art school in the UK, this discovery of a direct communication between type and image was a defining moment.

Blain|Southern, Potsdamer Straße 77-87, 10785 Berlin
30 April 2016 – 30 July 2016

Mat Collishaw: Folly!

April 22, 2016

This summer, Mat Collishaw will be presenting two new site-specific sculptures at the National Trust's Fountains Abbey and Studley Royal Water Garden in North Yorkshire as part of their Folly! programme.


Mat Collishaw has created two striking new installations for the follies in Fountains Abbey and Studley Royal - a National Trust World Heritage Site in Yorkshire. A co-commission between the Trust and Blain|Southern, the works draw upon the history of the buildings, creating optical illusions that echo ghosts of the follies past.

Situated in the 18th century landscape surrounding the abbey, the follies will be transformed by Collishaw’s immersive and captivating installations. The Banqueting House is the site for a major new 3D zoetrope titled Seria Ludo. The work is a glowing, strobe lit chandelier, covered with 186 carousing Lilliputian figures, conjuring up a scene of excitement and debauchery as complex engineering rouses a spiralling dervish of dissolute behaviour.

Serenely stationed at the edge of the garden’s Moon Ponds, the Temple of Piety will be the setting for a more tranquil work, The Pineal Eye. Echoing the circulat forms of the ponds outside, the mirrored domes conjure upan ethereal mirage of the Roman depiction of piety; a daughter feeding her imprisoned father from her breast - an illusion which mirrors the Georgian relief located on the rear Temple wall.

The canals, ponds and cascade offer pictorial beauty and also function as hydraulic balancing systems for the river Skell that flows through Fountains Abbey. Inspired by this form of release both of Collishaw's works;  Seria Ludo and The Pineal Eye reveal an explosion of tension, with themes that plumb into the follies' principles of pleasure and piety.

Folly! at Fountains Abbey and Studley Royal,
Ripon, HG4 3DY
April 23–October 30th 2016

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