Galerie Mikael Andersen
25 May - 13 July 2012
Selected works from the SØR Rusche Collection and Christian Achenbach / Johannes Albers / Tom Anholt / Christian Awe / BEZA / Fritz Bornstück / Jonas Burgert / DAG / Julius Deutschbauer / Roger Eberhard / Marcus Eek / Leonard Forslund / Günther Förg / Thorleif Griess-Nega / Amelie Grözinger / Philip Grözinger / Søren Jensen / Eske Kath / Clemens Krauss / Andrei Loginov / Adrian Lohmüller / Bjørn Melhus / Ulrik Møller / Lars Nørgård / Julia Oschatz / Steve Schepens / Moritz Schleime / Sebastiaan Schlicher / Rigo Schmidt / Emanuel Seitz / Lucy Teasdale
Water is the basis for all life. Precisely because it is such an existential element, it has fascinated humans for thousands of years and has provided considerable sustenance for mythology, poetry, music and the visual arts. The human body consists primarily of water and 70% of the earth’s surface is covered by water - oceans seas, lakes and rivers. It is the ambivalence that we associate with the sea - on the one hand calmness, great distances and freedom, on the other uncontrollable forces, unfathomable depths and a mysterious aura - that polarises the imagination and the pioneering spirit of man. Only in Christianity does God rule the waters. Moses can divide it, Jesus is able to walk on it and the church instrumentalises it as a symbolic tool of faith for baptism.
When the power of the church and the aristocracy began to fade in the 17th century and the commissions for portraits and religious painting began to wane, artists began to turn to genre painting and discover water as a subject. Significantly, a number of seascapes were painted by 17th century Dutch masters. Up to this day, water plays an important role as a motif for artists. Its primordial violence is erratic, sinking luxury cruise liners like the Titanic, destroying entire coasts with Tsunamis and pulling people to their death. This bizarre violence sparks the imagination. Portraying the element water is not just a technical challenge, but remains a concern and a need of artists then and now.
The exhibition ALLES WASSER in the Galerie Mikael Andersen is dedicated entirely to this classical subject. The exhibition is curated by the artist Philip GrÀ¶zinger, who, in cooperation with Dr. Dr. Thomas Rusche, has placed selected positions of masters of the 17th century from the SÀ˜R Rusche Collection Oelde/Berlin.
To see Johannes Albers work with Other Criteria, click here.
Summer Exhibition 2012
Royal Academy of Arts,
4th June–12 August 2012
Rachel Howard - London Painting (leaving town), 17" x 17",
Oil, household gloss and acrylic on canvas
The Summer Exhibition attracts a high volume of entrants annually with over 11,000 entries received this year.
Inside the Main Galleries, paying homage to Matisse’s The Red Studio, the Wohl Central Hall will show a vibrant display of colourful works. Gallery III, the grandest space in Burlington House, will be curated by Tess Jaray RA. Containing a large quantity of smaller work, this will demonstrate that work of a more modest scale can be as powerful as larger work. As a former teacher at the Slade School of Art, Jaray is mindful of providing a forum for established and younger artists to show their work to the public.
Chris Wilkinson RA and Eva Jiricna RA will curate the architecture gallery of the Summer Exhibition this year. Their curatorial direction will seek to blur the boundaries between architecture and fine arts.
Other highlights will include a video room dedicated to the work of Jayne Parker and a gallery of Scottish and Irish artists arranged by Barbara Rae RA. Other artists exhibiting this year include Christopher Le Brun PRA, Michael Landy RA, Tracey Emin RA, Ken Howard RA, Raqib Shaw, Calum Innes and Keith Coventry among others. Rachel Howard will be exhibiting her painting above and Lupus Lupus at the exhibition this year.
For more information, visit the Summer Exhibition website.
Colin Glen has a framed proof of Re made II available to view at his house in Stroud for the occasion of the Site 2012 Festival until 31st May. Please email firstname.lastname@example.org to arrange a visit or for more information, visit Colin Glen’s website.
Re made II – Colin Glen
"The specific object of the Bottlerack was chosen for the print due its significance as Marcel Duchamp's first readymade of 1914, a quotidian object that can still be acquired and used (for drying bottles) - but it is also an iconic image from the history of modern art known principally through its photograph - generally representing the move from the hand-made artwork to that in which ideas are more important.
Incidentally, the title Re made takes the word 'readymade' and removes three letters to be instead about reproduction, but with something missing. In the process of titling the prints in 2H pencil you can see a ghost images of the letters which have been 'removed'."
Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS 2012
To celebrate the opening of Tramshed, Damien Hirst has created a new sculpture specifically for the restaurant. 'Cock and Bull' (2012). A Hereford cow and cockerel preserved in a steel and glass tank of formaldehyde – is installed 4 metres above diners. The work forms part of the 'Natural History' series, Hirst's seminal collection of preserved animals.
Alongside Hirst's monumental formaldehyde work, the artist has created a painting entitled 'Beef and Chicken' (2012) specifically for the restaurant. Installed at the mezzanine level, the painting depicts the 1990s cartoon characters 'Cow and Chicken' (Cartoon Network).
Photographed by Prudence Cuming Associates
© Damien Hirst and Science Ltd. All rights reserved, DACS 2012
For more information contact Tramshed at:
32 Rivington Street, London EC2A 3LX
For reservations, click here.
Damien Hirst - Two Weeks One Summer
Until 8 July 2012
'The void of painting is always a difficult thing. It's infinite really. There's no gravity in painting, so it's even more infinite than space.'
Damien Hirst in conversation with Michael Craig-Martin, Tate catalogue
For his first exhibition at White Cube Bermondsey, Damien Hirst will present a series of dynamic new paintings that he started working on in the summer of 2010. This exhibition coincides with the first UK retrospective of Hirst’s work at Tate Modern.
Painting has always been an important part of Hirst's oeuvre, but unlike the spot paintings and photorealist series which were made using a collaborative studio process, this body of work is altogether more personal: painted from life, by Hirst in his Devon studio.
The paintings, often intimate in size, could be seen as traditional still life, depicting an array of carefully arranged elements, both natural and inanimate, sometimes momento mori, alongside objects and formal devices that have made their appearance in Hirst's sculptures and installations before. Exquisitely coloured birds on display stands or in simple glass boxes, butterflies, fruit and cherry blossom at the peak of its beauty, intimate the pure joy of spring’s transition into summer but also the temporal significance of this natural phenomenon. Next to these bucolic objects, more sinister symbols take their place: oversized scissors, a shark's gaping jawbone, bell jars and even several lonely single or conjoined foetuses floating in jars, elements that are displaced from the laboratory table rather than the domestic one. Some objects are painted with clarity and impasto; others appear hazy and faint, as if they are somehow more insubstantial, part of a sudden apparition or dream-like vision.
In Blossom with Water Glass or Two Parrots, the support structure of the table has been removed so that the objects simply float, isolated, against a solid azure blue background, implying a dizzying sense of space and a flattening out or stretching of depth and perspective. In some works the lines of the original drawings have been left, or the image has been overlaid with regular white spots as if a rudimentary grid has been used to create some distance from the sheer beauty of the arrangement in an attempt to retain a minimal sense of order. In other works, such as Sorrow or A Magpie, the solid background has been striated as if seen through a curtain of rain.
With their bold handling of paint, accents of bright colour and sharply defined highlights, these works invoke a sense of the moment, a creative urgency. Different textures, depths of colour, tactility and paint application work to create beguiling images that collage various different emotive qualities, setting them apart from the conceptualism of Hirst's earlier work. As Manuela Mena has written in her catalogue essay: “Hirst creates his system of inextricably woven and flexible order... to create space: he is not tied to perspective, contrasts of light and shadow, planes of flat colours. He has addressed the subject of still-life with a code of expression that is entirely his own.”
A fully illustrated catalogue to accompany the exhibition is coming soon. It will include a text by Manuela Mena, Senior Curator, Prado Museum and Damien Hirst in conversation with curator and writer Francesco Bonami.
For more information on the exhibition, visit the White Cube website.
'Two weeks one summer', White Cube Bermondsey South Galleries
23 May - 8 July 2012
© the artist
Photo: Ben Westoby
Courtesy White Cube
Until 21st June 2012
Other Criteria, 14 Hinde Street, London W1U 3BG
The Queen's Diamond Jubilee celebrations take place over the weekend 2nd–5th June 2012, marking 60 years of The Queen’s reign.
What better way to celebrate than with beautiful photography by world renowned photography Rankin. The portrait of HRH Queen Elizabeth II is currently exhibited with a selection of other Rankin prints in our shop/gallery until 21st June 2012.
View all Rankin's work available through Other Criteria here.
The Rankin exhibition coincides with the launch of our ‘photography room’ - a space on the lower ground floor of our Hinde Street store dedicated entirely to photography in which exhibitions will be held throughout the year. For more information email us on email@example.com.
With the recent death of Adam Yauch, the Beastie Boys have been in everyone's thoughts and here at Other Criteria we've been listening to a lot of their music in the office.
Beastie Boys Take 5, 1985 – Josh Cheuse
Josh Cheuse: "This was on Long Beach, Long Island where Rick Rubin grew up. It was blazing hot. I love this moment when the usually zany lads just stopped and rested, shielding their eyes from the sun."
To celebrate the life of MCA we thought we'd share a photographic print by Josh Cheuse shot on the set of the Beastie Boys first proper MTV music video, "She's on it".
Also below is our huge Beastie Boys playlist - listen & enjoy!