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.
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.
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.
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.
18 September – 31 October 2015
Private View: Thursday 17 September 6-8pm
Frith Street Gallery, Golden Square; 17-18 Golden Square, London W1F 9JJ
British artist Fiona Banner designed a new font, titled Font.
Press release – Banner’s font is an amalgamation of typefaces she has worked with previously, through full stop sculptures and typeset and published works.
It’s a family tree arrangement where the child of Avant Garde and Courier mates with Peanuts and Didot’s child. Bookman and Onyx mate; their child mates with Capitalist and Klang’s offspring – the final font is an unpredictable bastardisation of styles and behaviours. – Fiona Banner
Font was conceived during the artist’s attempt to survey her practice, in preparation for this exhibition and her first survey exhibition, forthcoming at Ikon, Birmingham. She deploys it as the font for the Ikon exhibition and it appears here, forming a link between the two.
The attempt to survey is also a theme in Banner’s new film Harrier which features the artist’s most recent publication, an illustrated reprint of Joseph Conrad’s Heart of Darkness. In this film a drone camera simultaneously observes and harries the book like a hawk chasing down its prey. As the drone attempts to focus on the text and images, the downdraught from its blades blow the pages back and forth in an endless fluttering dance. The publication under scrutiny takes the form of a glossy magazine bringing to mind notions of luxury and desire. Here the text is paired with images of the City of London that Banner commissioned from Magnum conflict photographer Paolo Pellegrin. The book also contains Banner’s drawings depicting close-ups of pinstripe, a play on the livery and camouflage of the Square Mile.
A second video shows two fan-operated windsocks rising and falling as if in an animated discourse with one another. They become expressive characters humorously reflecting on the theatre of the gallery space.
Performance is also referenced in the long raised platform that runs the length of the gallery, evoking the architecture of fashion shows. In this case the catwalk is stage to a graphite drawing on canvas where pinstripe patterning morphs into runway markings.
Pinstripe appears again as an adornment in the sculptural drawing Nose Art which sees two Harrier Jump-Jet nose cones fixed high on the wall. The term ‘Nose Art’ refers to a military form of folk art, where aircraft are graffitied often with popular cultural icons. Banner sees the nose cone as the most heroic part of an aircraft, in this piece they are reminiscent of hunting trophies or breasts.
A found 19th Century baptismal font partially obstructs the entrance/exit to the gallery, engraved with the word ‘font’ it creates a playful slippage between naming, language and object/image; a recurrent theme in Banner’s work.
Fiona Banner was born in Merseyside in 1966. She studied at Kingston Polytechnic and Goldsmith’s College London. Her exhibition Scroll Down and Keep Scrolling runs at Ikon Gallery, Birmingham 10 October 2015 – 17 January 2016. This exhibition is accompanied by a major new artist’s book of the same title.
Heart of Darkness will be co-published by Banner’s imprint The Vanity Press and Four Corners Books on 9 September 2015. This publication has its origins in an invitation to create a show of works drawn from the Archive of Modern Conflict, a major collection of photographs and ephemera relating to war and conflict, in 2012. After researching the archive Banner observed a lack of images relating to here and now. In a reversal of roles she commissioned Paolo Pellegrin, a conflict photographer who has worked extensively in the Congo, to observe the City through Conrad’s text. . A selection of these images now form part of the Archive, they can be found filed under ‘Heart of Darkness, 2014’. These images formed the basis of Banner’s exhibition, Mistah Kurtz – He Not Dead at Peer, London in 2014.
Banner first referenced Heart of Darkness in her work ‘Apocalypse Now’, 1996 – which was based on the Coppola film of the same name which had used Conrad’s novel as its narrative framework – and then subsequently in her first artist’s book THENAM, 1997.
The Type-face Font will be available to download on www.fionabanner.com from 17 September.
Texas Contemporary returns to Houston's historic downtown district October 1–4, 2015. Other Criteria is pleased to present works by Damien Hirst, Harland Miller and Eduardo Sarabia in Booth 405.
The fifth edition marks the launch of the fair's dynamic partnership with The Mexican Consulate in Houston's Department of Cultural Affairs to present The Other Mexico, soon to be a conduit for contemporary art between Houston and Mexico.
To celebrate this partnership, Other Criteria has chosen to highlight Mexican American artist, Eduardo Sarabia’s newest series. This series of mixed media collages find their roots in traditional Talavera ceramic making and the Mexican folk art of ‘papel picad’, a craft form of cutting and elaborately designing paper with small chisels.
Extending Sarabia’s exploration of the intersection between traditional Mexican art-making and modern contraband culture, a feature of the Sarabia exhibition in Other Criteria’s booth will include a handmade tapestry inspired by the ‘narcomantas’ of Mexico. These crudely made coded messages are traditionally hung in Mexico’s public spaces by gangs and drug cartels. Our narcomanta has been reinterpreted by the artist as a message of love, reading, ‘Amor, Amor, Amor.’
George R. Brown Convention Center, HALL A3
1001 Avenida De Las Americas, Houston, Texas 77010
General access October 2–4, 2015
Friday, Saturday: 11am - 7pm
Texas Contemporary Preview
Benefitting Contemporary Arts Museum Houston
Thursday, October 1, 2015
8-10pm: the Preview opens to VIP Pass and Fair Pass holders