This Month’s Events
158 New Cavendish St
Thursday 9th January 2020 to Saturday 15th February 2020
Private view: Thursday 9th January 2020, 6 – 8 pm
FOLD is pleased to present DROOR’NGS a solo show by Kes Richardson.
For his third solo show with the gallery Richardson presents a selection of recent paintings that range in scale from domestic to monumental.
Continuing his exploration in the qualities and potential of his small studies in marker pen on paper, and the act of enlarging them to painted works, these new paintings are his most faithful translations to date. The discovery of using heavy duty PVC as a support has afforded the appropriate speed of brush needed to mimic the quick marks and throwaway revisions that are made on the coated paper he uses for the studies. This process of transcription he likens to a forger replicating a signature on an important document. The attitude of attack is more important than structural accuracy.
The resulting works then act as uncanny doppelgängers of their origins. Bringing to mind examples of deepfake technology where the appearance of an ‘other’ is transposed on to existing media with an effect that is known to be false, but is convincing enough to be accepted on its own terms. In Richardson’s paintings the translation to some extent replaces the romanticised gesture found in the drawings and inserts an imitation that invites objective scrutiny and operates in shallow pictorial space.
The works in the exhibition relate to drawings made over the last four years, some of which revisit motifs found in previous paintings. Richardson finds this connection across space and time intriguing. A drawing made years ago now speaks strongly enough to be chosen for transformation. Collectively the paintings span the visual gamut from undone and provisional – to multilayered and dense – yet all are bound by the same transformative process.
Kes Richardson (Born 1976, UK), Lives and works in London. Selected solo exhibitions include: DROOR’NGS, FOLD Gallery, London, UK / 2020. Spoiler, Ridgeway Road, London, UK / 2019. Fair Game, FOLD Gallery, London, UK / 2016. Garden Paintings, FOLD Gallery, London, UK / 2013. Selected group exhibitions include: Bad Actors, KARST, Plymouth / 2019. Notes on Painting II, The Koppel Project Central, London / 2019. The Inhuman/Difficult Transition, Thames-Side Gallery, London / 2019. Recreational Grounds IV, London / 2019. Do Re Mi So La Te, Griffin Gallery, London / 2018. Painting & Structure, Kennington Residency, London / 2017.-
Camden Image Gallery
174 Royal College Street
17th January – 22nd January – daily (11AM – 6PM)
Private View: 16th January 2020 (6PM – 8PM)
In the exhibition ‘Scattered Dreams’, Andreea Andrei will be showing a various range of photographs made over the years since she moved in the UK in 2015. The exhibition is about the artist’s feelings towards everything that happened since she managed to get out from her comfort zone and follow her mother by packing up her entire life in 4 boxes and let the fear and unknown to soak her in a new person and move abroad for a better life, fulfilling her dream of becoming a upcoming visual artist full time. Her work varies from portraiture, fashion and social documentary and even trying to experiment with chemical soup for unsatisfied polaroids that she made since November 2015.
Andrei is a visual artist based in United Kingdom. She went to Film School in Bucharest and managed to do a short course at National Film and Television, UK (NFTS) with Col Spector in 2017. She had solo exhibition at Camden Image Gallery in 2017, Balkanik Festival in Romania 2017 and various group exhibition from USA, Hungary, Romania etc. since 2015. She also participated at Tate Exchange programme in March 2017 showcasing her social documentary project made entirely of polaroid film.
Asked about her solo exhibition, Andrei said that while she tries to keep her photography personal and sometimes intimate, she enjoys working along with other creative people to deliver a great project.
The ‘Scattered Dreams’ solo exhibition will surprise the the gallery visitors with colourful portraits, street photography while traveling solo in the US and chemically manipulated polaroids that get a second chance at been seen by the public.
Full information can be found on the website : http://www.camden-image-gallery.co.uk/upcoming-exhibitions#scattered-dreams & also on the artist’s personal website : https://andreeaandrei.com/
32 Rivington Street
Exhibition dates: 17 January – 15 March 2020
Private View: Thursday 16 January, 6.30 – 8.30pm
HIX ART is delighted to present I know you are but what am I, a presentation of new work by Elizabeth Eade, winner of the 2018 HIX Award.
Eade is primarily an installation artist, and in this exhibition – her first major solo show – she explores her attitude towards a range of social and political issues, some serious, some frivolous. This oscillatory approach is embodied in two of the featured installations.
People who’ve pissed me off is a kinetic installation, which sporadically produces the names of people who have pissed Eade off. Included amongst the thousands of people featured in this work are the Kardashians, Piers Morgan, almost all of her friends and Pol Pot. Each name is given equal weight and eventually disappears from view. Playful and acerbic, it invites the viewer to share or rebut Eade’s subjective prejudices, whilst also creating a portrait of herself – or, as she puts it, a visual display of ‘a mind at boiling point’.
An altogether more serious note is struck by Net Realisable Value, (NRV). The artist was compelled to produce this piece in response to the deaths of 26 teenage girls who, it is believed were being trafficked from Nigeria into the sex industry. All were found drowned off the coast of Italy in 2017. It is comprised of an identical number of clay and copper figures, which were immersed in sea water, an interaction that resulted in the formation of green crystals on the surfaces. Two of the girls were pregnant, which is revealed in the sculptures. On another, Eade has engraved “I’m super happy”, the upbeat slogan that featured on one of the girl’s T-shirts. ‘NRV’ is a term used by insurance companies for lost and damaged goods, and chillingly, the artist shows the method of calculating this loss – the net realisable value – to accompany the installation. The final sentence reads ‘This is what the inventory was worth to you’.
Says Sophie Harriott, Director, HIX ART: ‘Part of winning the HIX Award is the opportunity to have a solo exhibition at HIX ART, and we are privileged to be showing this compelling and deeply powerful body of work by this extraordinarily gifted artist.’
The Redfern Gallery
20 Cork Street
22 January to 15 February 2020 (Mon to Fri 11.00am – 5.30pm | Saturday 11.00am – 2.00pm)
Private View: 22 January, 6 – 8pm
The Redfern Gallery is delighted to present THEM, an exhibition examining the work of five artists who came to prominence in the early 1970s, including Duggie Fields, Andrew Logan and Derek Jarman. Curated by James Birch, the show’s title derives from an article of the same name written by the cultural historian Peter York for Harpers & Queen that appeared in October 1976. With great acuity, it sought to unravel an aesthetic sensibility apparent in young Londoners of the time.
To be ‘Them’, York wrote, was to be part of ‘a mysterious aesthetic conspiracy’ prepared to sacrifice almost anything to ‘look interesting rather than sexy’. This ‘look’ was a highly refined form of camp and came at a time when, according to York, ‘marketing of all sorts of things sold to non-queer people.’
York cited many things that weren’t Them, but also those who personified it. These included the singer and songwriter Bryan Ferry and the fashion designer Zandra Rhodes, while the David Bowie film, The Man Who Fell to Earth (1976), which he considered a Them movie and Andrew Logan’s Alternative Miss World contest as the ultimate Them event.
The date of its publication is significant, because one month later on 26 November, The Sex Pistols released Anarchy in the U.K., an event that effectively swept away the concept of Them.
This exhibition, which brings together more than twenty works dating from the late 1960s to the 1980s, including paintings, sculptures and collage, examines the aesthetics behind the concept of THEM through the prism of art. While some of the five featured artists were named in York’s article— Andrew Logan and Duggie Fields are labelled as ‘The Gang’ —this was not a movement in any sense, but a sensibility around which they all loosely confederated.
It is perhaps in Kevin Whitney’s Chelita Secunda (1969/70), a monumental portrait of the late journalist and fashion stylist Chelita Secunda, that this spirit is most evident. The work, rendered in oil, depicts Secunda spilling out of the window of a sports car, her arms flailing as she clasps a small revolver. Dangerous and carefree, the smudge of glitter under her eyes alludes, perhaps, to her role kickstarting the glam rock revolution of the early 1970s.
Created a year after he graduated from Chelsea School of Art, Duggie Fields’ Fireside Cookies (1969) presents two young women in swimming suits sprawled on a rug in a kitsch, domestic setting. Quotidian items surround the subjects — clothing lies scattered across the floor alongside half-read books and burning cigarettes, while beside the glowing fire sits a coal bucket and household plant. Combining elements from disparate vocabularies, Field’s painting is a masterclass in exuberant, post-Pop figuration.
In contrast, Derek Jarman’s The Kingdom over the Sea (1987), strikes a darker note. One of his celebrated Black Paintings, it was created shortly after he was diagnosed with AIDS in 1986 and acts as an autobiographical visualisation of his psychological mindset at that time. Embedded into tar are various found objects such as a candle and smashed glass in which words have been violently scratched, acting as a metaphor for Jarman’s reaction to his diagnosis.
The late Luciana Martinez de la Rosa’s epic painting Pru Pru (1981) offers a homage to Manet’s Olympia. However, here the reclining nude female figure is accompanied not by a servant but the artist herself attired in a kimono-like garment, a nod to the influence of Japanese prints in the original work. One of the so-called ‘Blitz Kids’, the band of fashionable club-goers that dominated the cultural dialogue in the early eighties, this work embodies that spirit of assimilation and artful contrivance. Also influenced by 16th-century Florentine court portraitist Bronzino, de la Rosa´s canvases are anything but diffident; her vivid palettes include magenta, tangerine and sheets of gold leaf; boldly modelled, her women are powerful, confident and mostly nude.
Andrew Logan is represented by his iconic Pegasus sculptures, Life Birth and Death (c.1980s). Constructed from fibreglass, glass, resin and glitter, they link back to the artist’s childhood obsession with Greek and Roman myth; his imagination was fire fired by the tale of the winged white horse that sprang from the severed neck of the Gorgon, slain by hero Perseus. His very first Pegasus in 1980 was built in six weeks and presented at the London premiere of the Alternative Miss World film, then paraded through Chelsea, Knightsbridge and Fulham. At least one new Pegasus has been created in each decade since. In white, red and black, these three Pegasus symbolise three different aspects of existence – life, birth and death – which is interchangeable according to the viewer’s perspective.
Says James Birch: ‘It is more than forty years since Peter York wrote about Them. It was a time — perhaps the last time — before culture became commodified. And while its time in the spotlight was fleeting, it has endured and the art created by the featured artists remains as fresh and exciting, almost timeless, and is still invested with the power to provoke and disorientate, amaze and excite.’
The exhibition is accompanied by a catalogue which includes essays by the playwright Polly Stenham and the cultural historian Barry Miles, as well as interview by art historian Adrian Dannatt with Peter York.
Pippy Houldsworth Gallery
6 Heddon St
Exhibition runs 24 January to 22 February 2020
Private view & performance 23rd January
Taking its title from an East African proverb, the exhibition features new paintings that explore life and love in the city of Maputo, in Mozambique the artist’s birthplace and home for several years. Veering between the polarities of joy and pain, Namoda foregrounds individual human experience alongside observations about life in a post-colonial, post-communist society. Namoda, who travels constantly and has no fixed studio, grew up between Mozambique, Haiti and the United States. She incorporates the fluidity created by this mixed cultural and racial identity into her artistic practice, reflecting a sense of flux in the very composition of her paintings. Each work is made up of images drawn from archival photographs, memories and imagination, weaving together personal experience and broader historical and fictional narratives.
About the performance at the private view:
During the exhibition’s opening night the artist will activate her installation Tea of Nostalgia in a new performance, during which she will steep tea leaves harvested in her grandfather’s region of Gurúè in an original colonial tea set. In this performance the artist brings together past and present, simultaneously asserting her place within her family history while also forming a new relationship with the audience.
The Thames Festival Trust in partnership with the Port of London Authority
Friday 31 January 2020
The Thames Festival Trust in partnership with the Port of London Authority is pleased to announce that the deadline to submit photos into our annual Thames Lens photography competition has been extended to Friday 31 January, giving you extra time to explore the river’s every nook and cranny with your camera or smartphone. Find out how to enter here.
This year’s theme is: Thames Discovered, and we’re asking entrants to get up close and personal with the river and stumble upon parts of it they haven’t before – be it an Illuminated River bridge, riverside walk, getting onto the foreshore or just one of the many stunning views that the Thames offers, we want to see your shots.
We are also thrilled to announce that as part of the competition, photographer Hannah Smiles, who is also a judge for the competition, will be leading a photography walk focusing on all things mudlarking, plastic pollution and the wonderful photography opportunities that the River Thames offers, on Sunday 12 January at 9.30am – 11am. The walk will take place on the Foreshore around Southwark Bridge, where you will stumble across rotting Victorian jetties, ancient tree roots, plastic pollution and more. Get your tickets here.
You could be in the chance of winning some great prizes, including afternoon tea with Brigit’s Afternoon Tea Bus Tour, lunch with Petersham Hotel, photography courses with London School of Photography, trips on Thames Lates with Thames Rockets, plus a ticket to board Thames Clippers and lunch in a riverside location, courtesy of the PLA! There is also the chance to be displayed in an exclusive exhibition of Thames Lens winners and runners up at a stunning riverside location, attended by high profile guests from river interest and arts organisations.
The winners will be chosen by a panel comprised of representatives from Thames Festival Trust, Port of London Authority and Hannah Smiles.
Thames Lens is supported by the Port of London Authority. Alistair Gale, Director of Corporate Affairs says “Thames Lens is a highlight of the year. The river means different things to different people – a place to relax by the riverside, a way to get around, at the heart of sporting communities, a trading hub, as a unique and valued habitat, and so much more. The images submitted to Thames Lens every year reflect this and I can’t wait to see this year’s entries!”
Director of Thames Festival Trust, Adrian Evans, says “London’s past, present and future is reflected in the turbulent waters of the River Thames. I urge you all to get creative with your camera and smart phone and capture the spirit and hidden treasures of this iconic river of ours.”
The deadline for submissions is Friday 31 January. The Thames Lens 2019 judging panel includes representatives from the Thames Festival Trust and Port of London Authority alongside photographer Hannah Smiles. Find out more about how to enter Thames Lens.