tag:blogger.com,1999:blog-74079562024-03-13T05:16:58.452+00:00Rough VersionWork and ideas by Francesca GavinFrancesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.comBlogger396125tag:blogger.com,1999:blog-7407956.post-15013215296292361502016-11-24T23:44:00.000+00:002016-11-25T20:33:07.788+00:00Word Machine<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: black; color: white; font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; color: #3e3e3e;">Have had four features our this week so thought I</span><span style="background-color: white; color: #3e3e3e;"> should get them out in the big wide world (and this is the tip of the iceberg - i've been a word machine for the past six weeks)</span></span></div>
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<span style="background-color: black; color: white; font-family: "arial" , "helvetica" , sans-serif;">1) Me on <a href="http://europe.newsweek.com/captiva-robert-rauschenberg-art-tate-modern-520360">Robert Rauschenberg and Captiva Island</a> for Newsweek to coincide with the massive Tate Retrospective opening Dec 1</span></div>
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<span style="background-color: black; color: white; font-family: "arial" , "helvetica" , sans-serif;">2) A profile of <a href="https://www.bonhams.com/magazine/22710/">Gunther Uecker </a>for Bonhams magazine (pictured above)</span></div>
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<span style="background-color: black; color: white; font-family: "arial" , "helvetica" , sans-serif;">3) An interview with <a href="http://www.anothermag.com/art-photography/9283/goshka-macuga-on-symbolism-theatricality-and-performance">Goshka Macuga for AnOther</a> online</span></div>
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<span style="background-color: black; color: white; font-family: "arial" , "helvetica" , sans-serif;">4) An interview with Michelangelo Pistoletto in the new issue of <a href="http://www.sleek-mag.com/current-issue/">Sleek magazine</a></span></div>
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Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-85217637345745209072016-11-11T21:49:00.000+00:002016-11-12T10:10:42.601+00:00Trolls, Social Media and Extreme Politics<div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="mso-bidi-font-weight: normal;">Trolls, social media and extreme politics<o:p></o:p></b></div>
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Every
one thought trolls were harmless. Maybe it’s in the nickname. Half way between
a garden gnome and a creature in Lord of the Rings. Comment threads and social
media feeds were their lairs. Spaces to vent anger, racism, sexism, terrorism.
Where any extreme view and violent fantasy could run rampant. No one was policing trolls comments. Like plucking grey hairs, if someone did slam one
account down, three more would grow in its place. The anonymity of the Internet
revealed humanity’s hidden frustration and foulness. <o:p></o:p></div>
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Rather
than view the troll as a real valid thinking individual, we dehumanised them. We
could imagine the troll as a spotty teenager who couldn't get laid or an angry
office worker taking their anger and boredom and lack of autonomy out on the
screen. Yet in the wake of Brexit and the election of Trump, trolls don't look
harmless anymore. Social media may not be the cause of extremist thinking but
it has fed it. Negativity has flourished first on blogs and then disseminated
via news feeds on Facebook and Twitter.<o:p></o:p></div>
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Trump
is President of the Trolls. His political speeches became an extension of his
Twitter feed. Unedited. Unrepressed. Short, fast, retweetable, immediate
thoughts shared with the public in seconds. Out of his mind and onto the
screen. Would Trump have become president if his fans didn't feel he
represented the every man? He was just like us, wasn't he? He even tweeted at 4
in the morning when he couldn't sleep, like the rest of us. <o:p></o:p></div>
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I first noticed the relationship between social media and
extreme political views it in August 2014. My Facebook news feed was filled
with a wave of hatred and anti-Semitism in the wake of the Israeli invasion
into Palestine. It started with some comparisons to the Holocaust. The next
thing liberal open minded people - artists, fashion stylists, photographers,
musicians who were my acquaintances and friends - were posting strange blog
posts with increasingly violent content. I saw images of Jews being lynched. I
saw people quoting 1930s fascist speeches. I was so upset by the content hitting
me like an algorithmic wave, I couldn't sleep. I decided to get off Facebook
and deleted 1500 ‘friends’. <o:p></o:p></div>
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Yet I stayed on Twitter. I grew to love Instagram. I slowly
began to dabble with Facebook again. I was choosy with who I followed. Whose
feed I wanted to glimpse. I increasingly created a bubble of my own interests -
an echo of my view of the world. After Brexit I realised I was not the only
person to create a buffer of like-minded virtual souls around me. What became
clear is people with opposing views - the slight majority - were also doing the
same thing. We were all living in an echo chamber of our own politics. There
was none of the even-handed political detachment that journalism and the law
was said to uphold. Newspapers increasingly began to echo the extreme anger of
the troll. Headlines (largely from Rupert Murdoch’s empire) were written in troll
speak. The world became binary - us versus them, good versus bad, right versus
wrong. The whole concept of a referendum was made for this atmosphere. There
was no nuance. We lived in world where there was only a yes or no without any
discussion of the in between. ‘You’re wrong and here’s a death threat to go
with it.’ <o:p></o:p></div>
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In contrast, a wave of petitions became to emerge online -
a social media version of good fairies. I signed numerous online petitions -
against war, protect the NHS, stop Monsanto, save the bees. I would receive
passionate emails from 38 degrees and Change.org. They felt like positive ways to
have a little say and reminded me of the Amnesty International letters I would
copy and sign and send off as a teenager to save someone lingering in a
foreign jail. I imagined children who wanted to change the world presenting
these heart felt petitions on the steps of Downing Street. Yet nothing seemed
to quite come from these notes sent into the ether. No serious political
change. When over 4 million people signed a petition for a second Brexit
referendum, people were calmly sent a transcription of the discussion between
20 people in a closed doors meeting in a back room ignoring the request. If 4
million digital signatures have no effect, that online click form of resistance
isn’t working.<o:p></o:p></div>
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Meanwhile, social media companies have said nothing. In
fact, it was in their favour to keep quiet. They want our shock, our outrage.
They want us to post lists from Buzzfeed and blog responses to media stories. These
all increase advertising revenue. Youths in Macedonia began to create fake
pro-Trump websites in order to entice Facebook thread clicks which earned them
pocket money. As Adam Curtis recently in an interview with the Evening
Standard. “The fact is that angry people click more and clicks are gold dust,
clicks are the measure of success for all corporations and media platforms. So
the more angry you get, the more you actually keep everything stable. Your
anger fuels those systems.”<o:p></o:p></div>
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So where does that leave us and what can we do? Leap off of
social media like lemmings of a cliff? In ‘Fuck Off, Google’, a chapter in the
The Invisible Committee’s last book ‘To Our Friends’ they present an
alternative. <span style="mso-spacerun: yes;"> </span>“Understanding how the
devices around us work, brings an immediate increase in power, giving us a
purchase on what will then no longer appear as an environment, but as a world
arranged in a certain way and one that we can shape. This is the hacker’s
perspective on the world.” We have to shape and change and take control of the
virtual structures of the internet. We need to pull ourselves away from private
companies with strong financial stakes. We need to create a brave new virtual
world. <o:p></o:p></div>
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<o:p>(c) Francesca Gavin 2016</o:p></div>
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Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-14479889247572375572016-09-21T17:37:00.001+00:002016-09-21T17:37:42.673+00:00Click Here<div dir="ltr" style="text-align: left;" trbidi="on">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVdO0HMFJ1uO4F0W3JGvIhDdVW3iIKflruyEhwqU5LLiKt4zWbbBOVk5uf_2_nqgvVVNeAiqMG5rylWT87tYgeQDQiZSsT-ti_EfJes5Up9qcFRsUxuW8f5dVTIyP1IPKtSeI1/s1600/Screen+Shot+2016-09-21+at+19.35.30.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVdO0HMFJ1uO4F0W3JGvIhDdVW3iIKflruyEhwqU5LLiKt4zWbbBOVk5uf_2_nqgvVVNeAiqMG5rylWT87tYgeQDQiZSsT-ti_EfJes5Up9qcFRsUxuW8f5dVTIyP1IPKtSeI1/s320/Screen+Shot+2016-09-21+at+19.35.30.png" width="320" /></a></div>
</div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<span style="background-attachment: initial; background-clip: initial; background-color: black; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 150%;">The sound of a
computer mouse has become so familiar we are barely aware of it. The tap of
this hand size, ergonomic button-box or track pad as it is pressed and released
echoes our mental engagement. We think therefore we touch. The invitation this
presents to enter or activate something is a beautiful thing for an artist.
There is almost something of a fairy tale about this interaction. Like cake to
Hansel and Gretel.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<span style="background-attachment: initial; background-clip: initial; background-color: black; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 150%;">Artists have
been disseminating and creating work for computers and the internet for decades
now but I want to focus on how artists are using the internet at this
particular moment and the growing issues around these spaces. There are obvious
pros presented by the Internet – a space to exhibit, to experiment and to distribute
art, that is cheaper, faster and looked at by a huge portion of the population
everyday.<o:p></o:p></span></div>
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<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 150%;">The most
immediate example of how to do this is the website as artwork. </span><span style="line-height: 150%;">Margot
Bowman’s piece <i style="mso-bidi-font-style: normal;">Heaven is for Quitters</i>
(heavenisforquitters.com), which also functions as a very abstract music video
for Faltydl, is a great example. As the viewer clicks around the screen,
various animations of people and furry characters are depicted having sex. A
scrolling text links these different couplings stating, “You are sad, You are
so alone, You are very lonely”. The viewer can download their unique version
from the page to save. Here the artwork lives online, where is has a sense of
completeness and access, and lives in another form offline.<o:p></o:p></span></span></div>
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<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 150%;">Another well
established form of online dissemination is the website as gallery or
institution. There are numerous online sites d</span><span style="line-height: 150%;">edicated to showing online
work. Such as <i style="mso-bidi-font-style: normal;">Opening Times</i> (otdac.org),
a British non-profit that commissions work and creates online residencies. <i style="mso-bidi-font-style: normal;">Opening Times</i> also integrate their work
into third party websites with temporary digital takeovers of the Goethe
Institute or Philips auction house’s home pages. They have commissioned work
like </span><span style="line-height: 150%;">Ruth Proctor’s <i style="mso-bidi-font-style: normal;">Always</i> (always.otdac.org), a </span><span style="line-height: 150%;">standalone
website that displays a clock, continuously counting from the launch of
the <i>Opening Times </i>website. Every time the viewer visits you
can press a button and download the time of your interaction.<o:p></o:p></span></span></div>
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<span style="color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; margin-left: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGi868ilEDWAvqQyQD4DoHSABErrlzCOYbeVocU5aTCu5u_R19p1IDOyu0p1AoFQIGAi66jPLelSunf6Nh4ah5VR3ov769UOVbn-OhxnM9OcionwYeIXTaF9hoFrcopH4UdT0t/s1600/13735690_1761491890760373_7596361739925973580_o-700x360.png" imageanchor="1" style="background-color: black; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGi868ilEDWAvqQyQD4DoHSABErrlzCOYbeVocU5aTCu5u_R19p1IDOyu0p1AoFQIGAi66jPLelSunf6Nh4ah5VR3ov769UOVbn-OhxnM9OcionwYeIXTaF9hoFrcopH4UdT0t/s320/13735690_1761491890760373_7596361739925973580_o-700x360.png" width="320" /></a></span></div>
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<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;"><span style="line-height: 150%;">Cosmos Carl</span></i><span style="line-height: 150%;">
(cosmoscarl.co.uk) is another online space but one that uses existing
platforms. Their upcoming shows are advertised via their Facebook page and each
project is simply a new weblink presented on their home page. This consists of
the name of each different artist and a fresh URL. These temporary shows –
which are not archived – lead through to projects on sites such as </span><span lang="EN-US" style="line-height: 150%;">Ebay, Pinterest, YouTube, Vimeo, Google Maps,
Soundcloud, Google Earth, Facebook, Kickstarter and even the dark web. A recent
piece was </span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 150%;">Hannah Anbert’s 'Sacred Work
(Karaoke version)', a karaoke video of a euphoric pop song on Youtube, with
lyrics about capitalism and economic structures. These works live outside of
Cosmos Carl as things people can accidentally discover outside of a web art
context. This sliding into the internet’s infrastructures is both critical and
accessible, detached and integrated.</span><span style="line-height: 150%;"><o:p></o:p></span></span></div>
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<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="line-height: 150%;">This approach of using well-known sites or apps in art projects is
thriving. Artist Maya Livio is </span><span class="uficommentbody"><span style="line-height: 150%;">currently doing a residency in a very interesting
“digital guest room” created by Rachel Stuckey, which is laid out like a line drawing
of a domestic space that people can click on.
(http://homepageguestroom.wixsite.com/guest-room-maya-jp) Livio’s project includes
links to Google docs, Youtube and Twitter. Of particular note are the care
packages space on the room’s coffee table that links to </span></span><span style="line-height: 150%;">videos of dogs, naïve drawings of severed arms and
apt texts on immaterial labour and data harvesting.<o:p></o:p></span></span></div>
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<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 150%;">Faith Holland (faithholland.com) has made interventions into the porn
hub Redtube, with a series of videos that are tagged with pornographic clickbait
like “amateur” and “solo girl” and touch on ideas of sex or fetishes but are
much more weird. One video for example depicts the artist shaving her legs. The
results are detached and almost uncomfortable – which perhaps is a very
appropriate comment on the videos uploaded to the porn site in a wider sense.<o:p></o:p></span></div>
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<span style="color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; margin-left: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEVuGE79rttekZKy5dPnVKrz3x_M4XzDMZHimqHyEMiUbfBEKo7cHQJz8Z2bHGspsJuaG3CnrTbvV0kgwGTfdMe84b_s6gxGl1Gr6VcpiDmIrl5o0ZiHGgOWYXN58jp23YFCxR/s1600/Screen-Shot-2016-09-06-at-9.35.24-AM.png" imageanchor="1" style="background-color: black; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEVuGE79rttekZKy5dPnVKrz3x_M4XzDMZHimqHyEMiUbfBEKo7cHQJz8Z2bHGspsJuaG3CnrTbvV0kgwGTfdMe84b_s6gxGl1Gr6VcpiDmIrl5o0ZiHGgOWYXN58jp23YFCxR/s320/Screen-Shot-2016-09-06-at-9.35.24-AM.png" width="209" /></a></span></div>
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<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="line-height: 150%;">Angela Washko makes computer game and video projects </span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 150%;">that examine and rework </span><span style="line-height: 150%;">console-based
role playing games such as World of Warcraft. Her latest exhibition <i style="mso-bidi-font-style: normal;">The Game: The Game</i> at Transfer Gallery
is a dating simulator game where the player in the body of a female protagonist
tries to avoid pick up artists in a crowded New York bar. Washko’s work is very
much about looking at how games, which are now often online, reinforce and exaggerate
cultural and gender stereotypes and violence.<o:p></o:p></span></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="background-color: black; color: white; line-height: 150%;"><br /></span></span></div>
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<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; margin-left: 1em; margin-right: 1em;"><br /></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="background-color: black; color: white; line-height: 150%;"><br /></span></span>
<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="line-height: 150%;">Kari Altaman often uses Tumblr in works that explore ideas around evolving
tags, images and videos. For example in sites such as gardenclub.tumblr.com and
softmobility.tumblr.com, she explores ideas around </span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 150%;">feminism,
posthumanism, survivalism and alternative currency. Her chosen images and ideas
are linked by social media tags such as #jailbreakgesture, #softmobility or <span style="mso-spacerun: yes;"> </span>#vitalcontent. <o:p></o:p></span></span></div>
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<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
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<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 150%;">Yet Altmann has had serious issues with Tumblr. </span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 150%;">In
Kari’s words, “At some point Tumblr got bought out and went super corporate. At
that point a lot of my accounts got shut down without warning, either for
having a name like pier1, which Pier One Imports decided they had a right to,
or they were shut down for url camping, if they had only one post or no posts.
It was considered “hoarding” – part of the problematic way that these platforms
eventually try to whittle your identity options down into a very small consumer
unit, so they can monitise and wrap information around you via a single
algorithm.” </span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 150%;"><o:p></o:p></span></span></div>
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<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<span style="background-attachment: initial; background-clip: initial; background-color: black; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 150%;">For Altmann, the increasing corporatisation of social media is leaving
no space for conceptual approaches, privacy filters and different kinds of
content. (She has been starting to write about these issues using a new tag #metaimage.)
The writer Dennis Cooper had a more high profile recent case of shutdown by Google.
His blog <i style="mso-bidi-font-style: normal;">the DCs</i>, which contained
over a decade’s worth of work and research as well as gif novels in the style
of this collage-like Zacs Haunted House
(http://www.kiddiepunk.com/zacshauntedhouse) were deleted entirely without
notice - as was his gmail account. Cooper is a writer whose work is notably
controversial – often inhabiting the intersection between horror and
homoeroticism. His blog inhabited the same space, for example showing profiles
of Russian rent boys. He hadn’t backed up his blog and for three months was
given no explanation to why his work has been removed entirely. He was
exceptionally lucky that due to very high profile interviews and online
campaigns, he was given his archive back and is working on reposting it to a dedicated
site slowly over time. However, this is something that is not available to many
less well-connected artists.<o:p></o:p></span><br />
<span style="background-attachment: initial; background-clip: initial; background-color: black; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 150%;"><br /></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ8DVCB0OQX_TOFRaF_GPCeNUMsHBjEAHvF9lDw9k_VbknRpQM9KO7uuLbgALDc5lCqG3hOtBZu8v-MWroPiw6FOGhwlH_xT-A4M4gaYlGdbdakgpwULZpFASXMhuyni1n__rM/s320/Screen+Shot+2016-09-21+at+19.31.27.png" width="183" /></span></div>
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<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<span style="background-attachment: initial; background-clip: initial; background-color: black; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 150%;"><br /></span>
<span style="background-attachment: initial; background-clip: initial; background-color: black; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 150%;">These examples highlight the innate problems around the dissemination of
art online. Corporate ownership, corporate censorship, and the commodification
of social media and the individual. Instagram has been lauded as a space for
artists to show work and reach an exceptionally wide audience outside of the
limits of the art world. Yet in its heart, it is a form of marketing where
someone’s body and creativity are positioned into a structure predetermined by branded
desires. Instagram, now owned by Facebook, own our pictures. We don’t. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<span style="background-attachment: initial; background-clip: initial; background-color: black; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 150%;">Advertising is being increasingly inserted into apps and sites. There
are ads in between posts on Twitter, Facebook and Instagram – even between
prospective dates on apps like Tinder and Happn. There are ads popping up
inside Google searches, even within our own email feeds. In the same way that
street art once occupied ignored spaces within urban architecture before they
were aggressively taken over and commodified by ad sales companies, so the wild
west utopian possibilities that accompanied the early days of the Internet are
clearly over.<o:p></o:p></span></div>
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<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<span style="background-attachment: initial; background-clip: initial; background-color: black; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 150%;">The design of a smart phone or tablet – and increasingly of computers,
especially Macs – do not enable people to amend, change and develop their modes
of creation. We are essentially locked out of the white box and not even a
screwdriver will get us in. The open source movement is an attempt to combat
this yet perhaps reaching a limited code-literate audience. The artwork that
will hopefully rise out of the Block Chain is still in its infancy.<o:p></o:p></span></div>
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<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<span style="background-attachment: initial; background-clip: initial; background-color: black; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 150%;">Peter Lunenfeld in his book <i style="mso-bidi-font-style: normal;">The
Secret War Between Uploading and Downloading</i>, writes, “The computer is a
rational device par excellence, driven by the exigencies of the Enlightenment,
but it is also a desiring machine of the new economic order… Revolution has
been co-opted by the marketers… Technologies certainly open up spaces, but they
also close them down.” Perhaps this is also part of the legacy of modernism and
the entire concept of cultural progress. Lunenfeld quotes Susan Sontag,
“Stripped of its heroic stature, of its claims as an adversary sensibility, modernism
has proved acutely compatible with the ethos of an advanced consumer society.” It
is impossible to make work using social media or the Internet without being
strongly aware and critical of its relationship to global capitalism. To put it
simply, shopping isn’t going to change the world.<o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<br />
<span style="background-color: black; color: white;">(c) Francesca Gavin</span></div>
</div>
Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-1855720493860622172016-09-21T16:02:00.001+00:002016-09-21T16:02:46.670+00:00Tout Pres Art Interview<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJsMeISKYcW_j_d9Kl1nqmmNzRGF2bHrf5bJG5xfielbIhBV2HT9MVsgid5EIPyUm7R2qGnwkBkM_f5e2vogMdsX5USOeh-Gjo3pG-7sN8RPaPhil3EsS8AylzO1QVCZD272hX/s1600/Fran-Gavin-TPA-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="background-color: black; color: black;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJsMeISKYcW_j_d9Kl1nqmmNzRGF2bHrf5bJG5xfielbIhBV2HT9MVsgid5EIPyUm7R2qGnwkBkM_f5e2vogMdsX5USOeh-Gjo3pG-7sN8RPaPhil3EsS8AylzO1QVCZD272hX/s400/Fran-Gavin-TPA-1.jpg" width="400" /></span></a></div>
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<span style="background-color: black;"><br /></span></div>
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<span style="background-color: black;"><span style="font-family: "arial";">I did quite a personal
little interview for</span><span style="font-family: "arial";"> </span><span style="font-family: "arial";"><a href="http://toutpresart.com/2016/09/13/london-based-curator-on-why-she-is-a-nerd-at-heart/"><span style="mso-bidi-font-size: 12.0pt;">Tout Pres Art</span></a> - thought i'd
post it up here too<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background-color: black; font-family: "arial";">LONDON-BASED
CURATOR FRANCESCA GAVIN EXPLAINS WHY SHE IS A NERD AT HEART<o:p></o:p></span></b></div>
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<span style="background-color: black;"><i><span style="border: 1pt none; font-family: "arial"; padding: 0cm;">September
13, 2016</span></i><span style="font-family: "arial";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 17pt; text-align: justify; vertical-align: baseline;">
<span style="background-color: black; font-family: "arial";">Francesca
Gavin is prolific when it comes to her work as a curator, writer and
editor. As the Visual Arts Editor at Dazed & Confused, she also writes
for other publications including Another and Kaleidoscope. This comes on top of a
bevy of influential publications that she contributes for, plus a
significant art collection she cultivated for Soho House Group when she
worked as their curator. But what lies underneath the professional aura is
someone who has experienced a vibrant and effervescent life. She talks with
Daniel Kong about inheriting her mother’s postcard collection at age nine,
what experiencing sexism has taught her and why she considers herself a nerd.<o:p></o:p></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 17pt; text-align: justify; vertical-align: baseline;">
<br /></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 17pt; text-align: justify; vertical-align: baseline;">
<span style="background-color: black; font-family: "arial";">You’ve
established yourself as one of London’s most influential art editors. Were you
the sort of person who always excelled in school?<o:p></o:p></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 17pt; text-align: justify; vertical-align: baseline;">
<span style="background-color: black; font-family: "arial";"><br /></span></div>
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<span style="background-color: black;"><span style="font-family: "arial";">I was
obviously a nerd – completely and utterly a nerd! But a very unusual one. I
always did very well in school, I was always very academic, and I got
scholarships to really good schools when I was younger. However at the same
time, I wouldn’t say that I’m the most diligent person on earth. What drives me
is my enthusiasm for culture. I’ve always been obsessed with books, magazines,
music… I even learned to read music before I even learned to read! So I’ve
always been really culturally interested. This is probably because of my
parents – </span><span style="border: 1pt none; font-family: "arial"; padding: 0cm;">my mother was a writer who went
to art school</span><span style="font-family: "arial";"> and my father was an
actor and a singer.<o:p></o:p></span></span></div>
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<span style="background-color: black; font-family: "arial";"><br /></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 17pt; text-align: justify; vertical-align: baseline;">
<span style="background-color: black; font-family: "arial";">What was
it like to live in a very cultural and creative household?<o:p></o:p></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 17pt; text-align: justify; vertical-align: baseline;">
<span style="background-color: black; font-family: "arial";"><br /></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 17pt; text-align: justify; vertical-align: baseline;">
<span style="background-color: black; font-family: "arial";">Growing
up, I didn’t have anything to rebel against! Music was always very present in my
relationship with my dad. And I’ve always lived with a piano, whenever I can. I
would sing with my father, and I’ve been playing piano since I was three.<o:p></o:p></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 17pt; text-align: justify; vertical-align: baseline;">
<span style="background-color: black; font-family: "arial";">But with
both my parents, the things that connected us were politics and their love of
books. So we always had an overwhelming number of books about everything
in the house. From the occult, to cookbooks, to art books, I definitely think
growing up and wandering around my parents’ bookshelves was a huge influence.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9tTaQ8VU0LRTnIDO0YgYJCZy__j89OZNrA4L4c_XHt8XtRkcUvt_e3ZZGgMy9ZivJfPlZJx8RfpreACsP3695Pq-67wAyDGBSa-lwB3sI-nlFWrpRhU7PGCu7_evWrpoxACCC/s1600/Francesca-Gavin-family-Story-1.jpg" imageanchor="1" style="line-height: normal; margin-left: 1em; margin-right: 1em; text-align: center;"><span style="background-color: black; color: black;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9tTaQ8VU0LRTnIDO0YgYJCZy__j89OZNrA4L4c_XHt8XtRkcUvt_e3ZZGgMy9ZivJfPlZJx8RfpreACsP3695Pq-67wAyDGBSa-lwB3sI-nlFWrpRhU7PGCu7_evWrpoxACCC/s400/Francesca-Gavin-family-Story-1.jpg" width="400" /></span></a></div>
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</div>
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<span style="background-color: black; font-family: "arial";">What
would a typical dinner at the family table look like?<o:p></o:p></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 17pt; text-align: justify; vertical-align: baseline;">
<span style="background-color: black; font-family: "arial";"><br /></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 17pt; text-align: justify; vertical-align: baseline;">
<span style="background-color: black; font-family: "arial";">I’m a
child of the 80s, so we didn’t really sit down for dinner that much. Me and
three sisters, we’re all Scorpios. We were probably a handful and it was always
a little chaotic. But also, I always felt like I was treated as an engaged
adult. I was always treated as someone with an intelligent point of view since
I was a child.<o:p></o:p></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 17pt; text-align: justify; vertical-align: baseline;">
<span style="background-color: black; font-family: "arial";"><br /></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 17pt; text-align: justify; vertical-align: baseline;">
<span style="background-color: black; font-family: "arial";">To be
honest, my family are the most interesting people. I still adore my mother and
my sisters, and am constantly interested in their heads. They have very
unusual reference points. One of my sisters is an artist and the other one is
in the film industry. I’m a bit obsessed with my family’s brains, so we all
connect really nicely. It’s a very unusual and bohemian family.<o:p></o:p></span></div>
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<br /></div>
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<span style="background-color: black; font-family: "arial";">How did
you learned to read music before you learned to read?<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";"><br /></span></div>
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<span style="background-color: black;"><span style="font-family: "arial";">We were</span><span style="border: 1pt none; font-family: "arial"; padding: 0cm;"> living in Los Angeles</span><span style="font-family: "arial";"> at
the time between the ages of three and five, and my mum suggested I go to a
Suzuki school on the weekends. So I learned chord structure and how to read
music before I was even at kindergarten at five years old. So I’m really good
at sight reading. Even as a teenager at school, I would always be at the music
rooms to practise in. I would often sneak off on our lunch hour break and play
Mozart!<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 17pt; text-align: justify; vertical-align: baseline;">
<span style="background-color: black; font-family: "arial";"><br /></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 17pt; text-align: justify; vertical-align: baseline;">
<span style="background-color: black;"><span style="font-family: "arial";">Music
continued on from there, as I also sang for a long period of time when I was
older. I would sing jazz and blues. I would do this just to earn a living when
I was a teenager, playing at Harrods, hotels, restaurants or underneath the </span><span style="border: 1pt none; font-family: "arial"; padding: 0cm;">Everyman Cinema.</span><span style="font-family: "arial";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 17pt; text-align: justify; vertical-align: baseline;">
<span style="background-color: black; border: 1pt none; font-family: "arial"; padding: 0cm;"><br /></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 17pt; text-align: justify; vertical-align: baseline;">
<span style="background-color: black; font-family: "arial";">How would
you describe your experience growing up – in high school and primary school? I
can’t speak about your experience. But when I went to high school, we had to
act a certain way.<o:p></o:p></span></div>
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<span style="background-color: black;"><span style="font-family: "arial";">In
Woodstock Elementary School, it didn’t really apply. Everyone was a bit weird,
to be honest. Most of the parents were either drug dealers or worked for
computer companies. So it was kind of a strange set-up. When I came to London
with an American accent, I was enrolled at a girls school because I got a
scholarship. At that time I was getting straight </span><span style="border: 1pt none; font-family: "arial"; padding: 0cm;">As</span><span style="font-family: "arial";"> and wearing awful
hand-me-down clothes from my cousins. So for the first three years, it was
really tough. I found it difficult and was very isolated.<o:p></o:p></span></span></div>
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<span style="background-color: black; font-family: "arial";">But because
of that experience, I became very fashion-conscious and saw how our fashion
choices communicate with people – particularly in a girls’ school. Fashion was
often connected to popularity – more than sex, more than being attractive. It
was much more about how you connect with other people. I learned a lot from
that process. That’s probably why I still like writing for fashion magazines. I’m
very particular about nice things.<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">Growing
up, did you have someone that you look up to or respected in the <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0cm; padding: 0cm;">art field</span> that also influenced your life’s path?<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">Not
really. I’m a bit of a hustler in a sense that I’ve always felt that
opportunities come to me. I’ve always been very lucky. I’ve always kept my
fingers in different things, partly because I always think that you can’t be
reliant on one. So no, I never had any one person. I also never got offered the
right editorial job, nor any contacts when I began at all. I was just
enthusiastic, friendly and smart. I had to create my own roles and it worked
from there.<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">Even
still, I look at people’s careers in the world that I’m in. There are some
women I really respect like Emily King, Alice Rawthorne and Jennifer
Higgie. But I can’t really see anyone’s career path and immediately identify
that with mine.<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">At age
nine, your mother gave you a collection of postcards. Did that influence you or
spark an interest in art as well?<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">Yes, it’s
where my knowledge of history of art began. I have a really solid knowledge of
history of art because of it. And I still collect art postcards and make little
Muji photo albums out of them. I probably have around 3,000 to 4,000 now!<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">The
reason why my mother gave them to us is because one day my sister and I were playing
with stickers. My mum told us that stickers were ridiculous, and let us use her
art postcards instead in the hopes that we’d learn something. And to be honest,
I think it was <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0cm; padding: 0cm;">enormously</span> influential. It totally
changed everything.<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">As
someone who is passionate about working in the <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0cm; padding: 0cm;">art world</span>, you obviously
love what you do. But what frustrates you the most about the work environment?<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">Well, you’re
catching me in a really interesting moment, because I experienced sexism this
summer. I co-curated a massive biennial called Manifesta and barely got credit
for it. So that’s been a massive learning curve.<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">I’m
actually in a bit of shock, because it’s something that I’ve never really
experienced before. I’ve always felt women can do whatever they want, and you’re
going to get credit for what you do. But then you realise it doesn’t really
work that way, and that shocked me. I don’t want to dwell on it because I
still really enjoyed the work and I’m proud of the work that I did.<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">But the
experience of the event – resulting in people editing me out of the process,
which has multiple reasons as to why it happened – it has made me very
conscious as a writer and curator about crediting and making sure that everyone
involved in a project gets attention in some way for what they do.<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">And
before this happened, you never experienced sexism?<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">No, not
really. I’m very straightforward. I’ve always gotten good work. I’ve always
been credited for my work. I’m quite good at getting my own name out. But
often, it’s been me publicising myself. Maybe it’s because I have a low
voice and am strongly opinionated.<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">What
advice would you give to someone else who might be going through a similar
situation?<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">Definitely
speak to your contemporaries. I have a lot of respect for the women in my
industry for getting it out there. I did a great interview with AQNB about the
incident, and I really felt there was support from other individuals in the art
world.<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">As a
self-proclaimed nerd, did you have a favourite teacher at all?<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">When I
went to school for A-levels, I had an amazing history of art teacher called
Kate Evans who was super feminist and really political. We studied 19th century
French Art, and she was brilliant – definitely the best teacher I’ve had. I
mean, to be honest, probably better than most of the teachers I’ve had at
university. She was just a really great, engaged and smart woman. And so as a
result of doing A-levels with her, there was no question about what interested
me.<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">When you’re
looking at artwork, I’ve learned through her that there are so many different
ways to understand it. You can expand on it, whether it is through the artist’s
biography, or the political context or the social context or technique. Art for
me is part of the wider world.<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">Outside
of art, I’ve noticed on Instagram that dance plays a big role in your life.<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">Yes, I
love my hobby! I started dancing three years ago. And it probably took about
two years before I even put a video online. It’s quite common when you’re
studying commercial dance for music videos to film yourself. That’s how you
learn to get better at what you do. I remember the first time when I decided
that I was finally going to share my secret hobby to people. And now whenever
anyone sees me at art openings, they are like: “I love your dance videos!”<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">It’s also
really nice that I have things outside of the art world. I think that’s really
important. And the great thing about moving your body is you use your brain
less. I have a very cerebral work life, so it’s really wonderful to do
something that uses my body.<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">Can you
describe what happens when you’re listening to your favourite song?<o:p></o:p></span></div>
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<span style="background-color: black;"><span style="font-family: "arial";">It’s such
a nice feeling. There’s such a sense of satisfaction. And also, the actual
dancing is hilarious! Because you’re like… kind of doing </span><span style="border: 1pt none; font-family: "arial"; padding: 0cm;">the baby-Beyoncé-semi-Rihanna-slight-slut-drop.</span><span style="font-family: "arial";"> I mean, it’s ridiculous. It’s such a hyper-feminised way of
being. It’s totally unlike my life in the art world. Plus the persona or role
of what I do when I’m dancing – it’s just great!<o:p></o:p></span></span></div>
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<span style="background-color: black; font-family: "arial";">And if
you had to pick an element that best represents you and your personality, what
would it be?<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">Can it be
something effervescent? Probably. What fizzes? I would think of myself as
something fizzy.<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">Like
champagne?<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">Yes, but
maybe something more mineral than that. In my mind, when I think of my
personality, it makes me think of effervescent powder in a glass of water. Not
as glamorous, clean or tidy as champagne. Something a little bit more grounded.
A mineral that you put into water that fizzes, bubbles and gets excited.<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">And that
represents you because of your energetic nature?<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">Yes, I
see myself as someone friendly and excited about things. I don’t know if it’s
true, but that’s how I see myself. It’s not necessarily about how I look,
because that would be a Cockapoo, a Cavapoo or even a Beagle-Spaniel breed. But
as a personality and who I actually am, it’s fizzy.<o:p></o:p></span></div>
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<span style="background-color: black; font-family: "arial";">Photo
Credit: Profile (Niall O’Brien), family portrait (Henry Diltz) and postcards
(Francesca Gavin <a href="https://www.instagram.com/roughversion/">@roughversion</a>)<o:p></o:p></span></div>
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Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-83418073500711905642016-09-06T18:09:00.001+00:002016-09-06T18:25:23.746+00:00Ten Really Reasonable Art Editions to Buy Now<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXZgrJbmFlWMvIBzpf8N9_F_8j8dlMA9wCnL_2ppj476vuBlsHKTfTzFUBaxSHPAieSMUEvufgeRZLAk6H_I-mZF1NqmWGWPbnlmKm0vFPqN6NC2nWWreVC6j4wWIUxvZfErVZ/s1600/unnamed-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXZgrJbmFlWMvIBzpf8N9_F_8j8dlMA9wCnL_2ppj476vuBlsHKTfTzFUBaxSHPAieSMUEvufgeRZLAk6H_I-mZF1NqmWGWPbnlmKm0vFPqN6NC2nWWreVC6j4wWIUxvZfErVZ/s320/unnamed-5.jpg" width="320" /></a></div>
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I've always been obsessed with buying editions - it is the perfect way for people to experiment with collecting and support artists and spaces. I've seen so many good ones recently I had to share some of my recommendations - many are recent, some are gems that are still available. Prices start at super bargain £50 (though if you want to go ever cheaper check <a href="http://shop.jakeanddinoschapman.com/">Jake and Dinos Chapman's online shop</a>)<br />
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<a href="http://www.farbvision.net/shop/declan-clarke-farbvision-riso-edition">Declan Clarke</a> for <a href="http://www.farbvision.net/shop/">Farbvision</a> 75 Euros (pictured above). Also check the other Risographs in the series and the great offshoot vinyl projects<br />
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<a href="http://www.sundayartfair.com/editions.html">Kate Cooper </a>for Sunday Art Fair £120<br />
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<a href="http://glasgowinternational.org/item/erica-eyres-garnet-mcculloch/"></a><br />
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<a href="http://glasgowinternational.org/item/erica-eyres-garnet-mcculloch/">Erica Eyres and Garnet McCulloch </a>for Glasgow International £300<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFS1rfYB4tyNiPrI12NGdqc-V7rJVe9NJc4lXFDv7NFMQeU-Hcp066zI5-U2gAqXTFyCHVBL0kn2x6XddDwqE3sFhXB8URv6EmIopVEDSsP7tFUqtZmvNUqLsrK0XmkNyAewdh/s1600/crying-onion-edit.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFS1rfYB4tyNiPrI12NGdqc-V7rJVe9NJc4lXFDv7NFMQeU-Hcp066zI5-U2gAqXTFyCHVBL0kn2x6XddDwqE3sFhXB8URv6EmIopVEDSsP7tFUqtZmvNUqLsrK0XmkNyAewdh/s320/crying-onion-edit.jpg" width="320" /></a></div>
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<a href="http://houseofvoltaire.org/collections/prints-editions/products/colby-2016">Celia Hempton</a> for Studio Voltaire £200<br />
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<a href="http://www.camdenartscentre.org/shop/p/artist-editions/hand-painted-by-hand-2015">Jonathan Monk </a>for Camden Arts Centre £250<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgabUjtL4hGsUOOMvzYutjt5Pf9hJS0J-sm0knq9b9CW78m1kpb2FgcUgfWU44ZhHj1Wvcanj1g_UTeip7l3knhmyGNiQBhzSWFokC8PfYnJMmPez7vjaz8ogf7kRBuALox_-8G/s1600/Jonathan-Monk.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgabUjtL4hGsUOOMvzYutjt5Pf9hJS0J-sm0knq9b9CW78m1kpb2FgcUgfWU44ZhHj1Wvcanj1g_UTeip7l3knhmyGNiQBhzSWFokC8PfYnJMmPez7vjaz8ogf7kRBuALox_-8G/s320/Jonathan-Monk.jpg" width="240" /></a></div>
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<a href="http://grand-union.org.uk/shop/mat-jenner-chanel-series/">Mat Jenner</a> for Grand Union £60<br />
(And i cant believe you can still buy this <a href="http://www.camdenartscentre.org/shop/p/artist-editions/paulina-olowska-chanel-edition">Paulina Olowska</a> 'Chanel' fro £120)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsj2grQkZ1TrxFO__TrOpREDR4UbKn6Rj9zCnHV2wdmRfOGL6lZkwCP80J8CiaEVnIWmQvNHvcs4Zhx1-7erPqC6ksxiChawV1i1p43GG8iyA2AkPIEYn12VqMkaiggugf7TTo/s1600/Jenner_007-533x800.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsj2grQkZ1TrxFO__TrOpREDR4UbKn6Rj9zCnHV2wdmRfOGL6lZkwCP80J8CiaEVnIWmQvNHvcs4Zhx1-7erPqC6ksxiChawV1i1p43GG8iyA2AkPIEYn12VqMkaiggugf7TTo/s320/Jenner_007-533x800.jpg" width="213" /></a></div>
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<a href="http://www.morepublishers.be/edition/50">Kirsten Pieroth </a>for MOREpublishers #SUNDAY series 70 Euros<br />
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<a href="mailto:seanagavin@gmail.com">Seana Gavin</a> risograph printed by Ditto Press £50<br />
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<a href="https://www.printedmatter.org/catalog/30258">Peter Sutherland </a>for Printed Matter $300<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Z07KnHT-GTEW_2JJ0YzA1Fig84oUjCWbVaUV2MVofb2bOHKLUwLDWciMXFmxVK-p72K2it7iCUkEMee-J3Hq_VhKxRVHN_aZFtOsGK4IdyKX16JnTFUohAQ7aJnXpZDNvy-R/s1600/pp9vedk5mirlwx4dtur3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Z07KnHT-GTEW_2JJ0YzA1Fig84oUjCWbVaUV2MVofb2bOHKLUwLDWciMXFmxVK-p72K2it7iCUkEMee-J3Hq_VhKxRVHN_aZFtOsGK4IdyKX16JnTFUohAQ7aJnXpZDNvy-R/s320/pp9vedk5mirlwx4dtur3.jpg" width="320" /></a></div>
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<a href="http://www.peeruk.org/limited-edition-works/limited-edition-by-andrew-lanyon">Andrew Lanyon</a> for Peer UK £175<br />
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Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-80912093956738746992016-08-17T10:25:00.000+00:002016-08-17T10:25:01.051+00:00Salon Hanging<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="text-align: left;">Winding up my work with Soho House, this was the last house I installed in the Lower East Side in New York. Thought I'd collect some images together of the other hangs over the years around the world!</span></div>
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Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-65422627030356139712016-08-15T21:07:00.001+00:002016-08-15T21:07:53.348+00:00Summer Love<div dir="ltr" style="text-align: left;" trbidi="on">
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So I've been avoiding the word work this summer, yet have still managed to edge out a few little nods into the cultural ocean...<br />
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I interview <a href="http://www.dazeddigital.com/artsandculture/article/32413/1/artist-scorpion-dagger-s-honest-fuck-you-to-art-history">Scorpion Dagger for Dazed</a> (the author of the gif above which could be a portrait of me this summer....)<br />
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I did a top <a href="http://www.dazeddigital.com/artsandculture/article/32271/1/these-art-instagrams-prove-instagram-was-made-for-art">ten Instagram</a> round up also for Dazed<br />
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I reviewed three shows on <a href="https://monocle.com/radio/shows/the-monocle-arts-review/371/play/">Monocle24</a> - Energy Flash at MUHKA in Antwerp, Making and Unmaking at Camden Arts Centre, London and Dada Afrika at the Berlinische Galerie, Berlin<br />
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and I'm off to DJ at the <a href="http://m11.manifesta.org/en/event/2505">Manifesta Night</a> in Zurich on <b>August 26 - <a href="https://www.tfaforms.com/434146">RSVP here</a></b><br />
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Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-23903579733139517992016-04-06T07:02:00.000+00:002016-04-06T07:02:29.404+00:00<div dir="ltr" style="text-align: left;" trbidi="on">
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The artist list for The Historical Exhibition of Manifesta11, that I am co curating has been announced - <a href="http://m11.manifesta.org/sites/default/files/uploads/files/m11_pk_05.04.2016_pressrelease_anhang_en.pdf">go see </a>(a few missing names still being added including the amazing archive of Aaron Moulton) <div>
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Too many to list here but here are some personal highlights include: Evelyne Axell, James Son Thomas, Giovanna Olmos, Paulina Olowska, Susan Hiller, Bhakti Baxter, Chris Burden, Aleksandra Domanovic, Michael Smith, Steven Claydon, Mark Leckey, Thomas Ruff, Frances Stark, Trisha Baga, Sophie Calle, Coco Fusco, Martine Syms, Jeremy Shaw amongst many other (around 100 artists in total...)</div>
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It's gonna be a busy couple of months...</div>
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<span style="font-size: x-small;">(Image A<span style="font-family: 'Figgins Sans Regular';">nne
Collier, </span><span style="font-family: 'Figgins Sans Regular';">Women
With Cameras, 2014, </span><span style="font-family: 'Figgins Sans Regular';">Sixty-one 35 mm
slides, 35mm slide projector, pedestal stand, and base, </span><span style="font-family: 'Figgins Sans Regular';">Edition of 3 +
1 AP, </span><span style="font-family: 'Figgins Sans Regular';">Courtesy
of the artist and The Modern Institute/Toby Webster Ltd, Glasgow, </span><span style="font-family: 'Figgins Sans Regular';">Lender
Name: The Modern Institute/Toby Webster Ltd, Glasgow)</span></span></div>
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Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-56293097914018241432016-03-19T08:00:00.002+00:002016-03-19T08:00:46.743+00:00Manifesta11 The Historical Exhibition<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="text-align: left;">So been quite busy at the moment. I'm officially the co-curator of The Historical Exhibition of Manifesta11 which opens in Zurich this June. The artist list for my contextual show, which I have been curating with the main curator Christian Jankowski, gets announced April 5 and will take place across the city at the Kunsthalle Zurich, Migros Museum, Luma Foundation and Helmhaus. The theme of the biennial is What People Do For Money. Sneak peaks in the coming months.</span></div>
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Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-57458110552093409152016-01-08T11:45:00.000+00:002016-01-08T11:45:12.276+00:00Best in Show: 2015<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #cccccc; font-family: Arial, Helvetica, sans-serif;">Stuck this up <a href="http://www.dazeddigital.com/artsandculture/article/28848/1/2015-s-most-show-stopping-exhibitions-from-across-the-globe">on Dazed Digital </a>but wanted to archive here too. My best of 2015! </span></div>
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<span style="color: #cccccc; font-family: Arial, Helvetica, sans-serif;">Apart from my own shows of course...</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #cccccc;">December is the ideal time to round up an abundance of exhibitions in a tidy top ten – to compare </span><span style="color: #cccccc; line-height: 22.4px;">and contrast what we saw, missed, liked and hated. There is no way anyone can be comprehensive. We still mourn missing shows in Paris, NYC, Istanbul, LA and all the rest that aren’t included below. Nonetheless, these are some of the best exhibitions you could see in 2015. Work that made us cry, tingle, laugh, spin out and look at the world in a different way.</span></span></div>
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<span style="color: #cccccc;"><strong style="box-sizing: border-box;">WOLFGANG TILLMANS AT DAVID ZWIRNER, NEW YORK</strong><br style="box-sizing: border-box;" /><strong style="box-sizing: border-box;"></strong></span></div>
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<span style="color: #cccccc;"><a href="http://www.dazeddigital.com/tag/wolfgang-tillmans" style="box-sizing: border-box;">Tillmans</a> first major solo exhibition with <a href="http://www.davidzwirner.com/" style="box-sizing: border-box;" target="_blank">David Zwirner</a> in New York was jaw-droppingly good. The huge exhibition felt as thorough and expansive as a museum solo show and highlighted how Wolfgang is often at his best when he focuses on the everyday. Some of the show-stoppers were a simple weed in a pavement, a pile of dirty washing and oddly formed tomatoes.</span></div>
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<figure class="inline-img expandable" data-img="17e90966-8161-4735-8bdd-a571011da35f" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/1500/azure/dazed-prod/1150/3/1153323.jpg" style="box-sizing: border-box; cursor: -webkit-zoom-in; font-family: sans-serif; font-size: 16px; line-height: 22.4px; margin: 0px 0px 22px; max-width: 620px; position: relative;"><div class="pin-btn pin-hover" style="box-sizing: border-box; margin-left: 5px; margin-top: 5px; opacity: 0; position: absolute; text-align: left; transition: opacity 0.4s linear; z-index: 5;">
<a data-pin-config="none" data-pin-do="buttonPin" href="http://www.pinterest.com/pin/create/button/?url=http://www.dazeddigital.com/artsandculture/article/28848/1/2015-s-most-show-stopping-exhibitions-from-across-the-globe&media=http://dazedimg.dazedgroup.netdna-cdn.com/533/azure/dazed-prod/1150/3/1153323.jpg&description=Grey%20jeans,%20inside,%202012" style="box-sizing: border-box;"><span style="color: #cccccc;"><img alt="Pin It" src="data:image/png;base64,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" style="border: 0px; box-sizing: border-box; vertical-align: middle;" /></span></a></div>
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<img alt="Wolfgang Tillmans" class="img" data-aspect-ratio-type="portrait" data-aspect-ratio="0.67" data-max-height="2600" data-max-width="1733" data-responsive-widths="375,467,480" src="http://dazedimg.dazedgroup.netdna-cdn.com/480/azure/dazed-prod/1150/3/1153323.jpg" style="border: 0px; box-sizing: border-box; height: auto; line-height: 22.4px; max-width: 100%; vertical-align: middle; width: 480px;" /></div>
</span><figcaption class="img-caption" style="box-sizing: border-box; font-size: 0.85em; min-width: 400px;"><span class="caption" style="box-sizing: border-box; display: block; font-size: 0.85em; font-weight: bold; margin-top: 7px; text-align: left;"><span style="color: #cccccc;">Grey jeans, inside, 2012</span></span><span class="credit" style="box-sizing: border-box; display: block; font-size: 0.85em; font-style: italic; text-align: left;"><span style="color: #cccccc;">Courtesy David Zwirner, New York</span></span></figcaption></figure><div class="expanded-img" data-img="17e90966-8161-4735-8bdd-a571011da35f" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/1500/azure/dazed-prod/1150/3/1153323.jpg" style="-webkit-box-align: center; -webkit-box-pack: center; align-items: center; background: rgba(255, 255, 255, 0.901961); box-sizing: border-box; cursor: -webkit-zoom-out; display: flex; font-family: sans-serif; font-size: 16px; height: calc(100% - 59px); justify-content: center; left: 0px; line-height: 22.4px; opacity: 0; padding: 0px; position: fixed; top: 59px; transform: scale(0.9); transition: transform 0.2s, opacity 0.2s, visibility 0s 0.2s; visibility: hidden; width: 1305px; z-index: 100;">
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<strong style="box-sizing: border-box;"><span style="color: #cccccc;">LYNETTE YIADOM-BOAKYE AT THE SERPENTINE GALLERY, LONDON</span></strong></div>
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<span style="color: #cccccc;"><a href="http://www.dazeddigital.com/artsandculture/article/26874/1/black-british-artists" style="box-sizing: border-box;">This British painter</a>’s major solo show at <a href="http://www.serpentinegalleries.org/exhibitions-events/lynette-yiadom-boakye-verses-after-dusk" style="box-sizing: border-box;" target="_blank">The Serpentine</a> proved she is arguably one of the best painters of her generation. Black figures were presented in heroic, hypnotic portraits. This work in particular reinvented the representation of the figure as well as an approach to blackness in one of its most nuanced forms.</span></div>
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<figure class="inline-img expandable" data-img="820ba61c-e8f5-407d-bae1-a571011d9293" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/1500/azure/dazed-prod/1150/3/1153320.jpg" style="box-sizing: border-box; cursor: -webkit-zoom-in; font-family: sans-serif; font-size: 16px; line-height: 22.4px; margin: 0px 0px 22px; max-width: 620px; position: relative;"><div class="pin-btn pin-hover" style="box-sizing: border-box; margin-left: 5px; margin-top: 5px; opacity: 0; position: absolute; text-align: left; transition: opacity 0.4s linear; z-index: 5;">
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<img alt="Lynette Yiadom-Boakye " class="img" data-aspect-ratio-type="portrait" data-aspect-ratio="0.65" data-max-height="2482" data-max-width="1611" data-responsive-widths="375,454,480" src="http://dazedimg.dazedgroup.netdna-cdn.com/480/azure/dazed-prod/1150/3/1153320.jpg" style="border: 0px; box-sizing: border-box; height: auto; line-height: 22.4px; max-width: 100%; vertical-align: middle; width: 480px;" /></div>
</span><figcaption class="img-caption" style="box-sizing: border-box; font-size: 0.85em; min-width: 400px;"><span class="caption" style="box-sizing: border-box; display: block; font-size: 0.85em; font-weight: bold; margin-top: 7px; text-align: left;"><span style="color: #cccccc;">4am Friday, 2015</span></span><span class="credit" style="box-sizing: border-box; display: block; font-size: 0.85em; font-style: italic; text-align: left;"><span style="color: #cccccc;">Courtesy of Serpentine Gallery</span></span></figcaption></figure><div class="expanded-img" data-img="820ba61c-e8f5-407d-bae1-a571011d9293" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/1500/azure/dazed-prod/1150/3/1153320.jpg" style="-webkit-box-align: center; -webkit-box-pack: center; align-items: center; background: rgba(255, 255, 255, 0.901961); box-sizing: border-box; cursor: -webkit-zoom-out; display: flex; font-family: sans-serif; font-size: 16px; height: calc(100% - 59px); justify-content: center; left: 0px; line-height: 22.4px; opacity: 0; padding: 0px; position: fixed; top: 59px; transform: scale(0.9); transition: transform 0.2s, opacity 0.2s, visibility 0s 0.2s; visibility: hidden; width: 1305px; z-index: 100;">
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<img src="http://dazedimg.dazedgroup.netdna-cdn.com/1500/azure/dazed-prod/1150/3/1153320.jpg" style="border: 0px; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-height: 100%; max-width: 100%; vertical-align: middle;" /><figcaption class="img-caption" style="box-sizing: border-box; text-align: center;"><span class="caption" style="box-sizing: border-box; display: block; font-size: 0.85em; font-weight: bold; margin-top: 7px;"></span><span class="credit" style="box-sizing: border-box; display: block; font-size: 0.85em; font-style: italic;"></span></figcaption></div>
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<strong style="box-sizing: border-box;"><span style="color: #cccccc;">HAROON MIRZA AT MUSEE TINGUELY</span></strong></div>
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<span style="color: #cccccc;"><a href="http://www.dazeddigital.com/music/article/21607/1/10-of-the-most-exciting-musical-art-shows-right-now" style="box-sizing: border-box;">Mirza</a>’s show at the <a href="https://www.basel.com/en/museum-tinguely" style="box-sizing: border-box;" target="_blank">Musee Tinguely in Basel</a> was the best exhibition that you probably haven’t seen. The artist layered his work – in the form of his studio <a href="http://www.hrm199.com/" style="box-sizing: border-box;" target="_blank">Hrm199</a> – over the museum’s own collection of kinetic art. The British artist presented incredible audio, light and sculptural installation works, including collaborative pieces with artists including <a href="http://www.dazeddigital.com/tag/jeremy-deller" style="box-sizing: border-box;">Jeremy Deller</a> and <a href="https://www.artbasel.com/catalog/artist/8965" style="box-sizing: border-box;" target="_blank">Channa Horwitz</a>. If you missed it, at least get the catalogue.</span></div>
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<figure class="inline-img expandable" data-img="001fc76a-ac6d-4477-82d1-a571011d7484" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/1500/azure/dazed-prod/1150/3/1153315.jpg" style="box-sizing: border-box; cursor: -webkit-zoom-in; font-family: sans-serif; font-size: 16px; line-height: 22.4px; margin: 0px 0px 22px; max-width: 620px; position: relative;"><div class="pin-btn pin-hover" style="box-sizing: border-box; margin-left: 5px; margin-top: 5px; opacity: 0; position: absolute; text-align: left; transition: opacity 0.4s linear; z-index: 5;">
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<img alt="Haroon Mirza" class="img" data-aspect-ratio-type="landscape" data-aspect-ratio="1.30" data-max-height="1533" data-max-width="2000" data-responsive-widths="375,480,786" src="http://dazedimg.dazedgroup.netdna-cdn.com/786/azure/dazed-prod/1150/3/1153315.jpg" style="border: 0px; box-sizing: border-box; height: auto; line-height: 22.4px; max-width: 100%; vertical-align: middle; width: 786px;" /></div>
</span><figcaption class="img-caption" style="box-sizing: border-box; font-size: 0.85em; min-width: 400px;"><span class="credit" style="box-sizing: border-box; display: block; font-size: 0.85em; font-style: italic; text-align: left;"><span style="color: #cccccc;">Courtesy of Lisson Gallery</span></span></figcaption></figure><div class="expanded-img" data-img="001fc76a-ac6d-4477-82d1-a571011d7484" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/1500/azure/dazed-prod/1150/3/1153315.jpg" style="-webkit-box-align: center; -webkit-box-pack: center; align-items: center; background: rgba(255, 255, 255, 0.901961); box-sizing: border-box; cursor: -webkit-zoom-out; display: flex; font-family: sans-serif; font-size: 16px; height: calc(100% - 59px); justify-content: center; left: 0px; line-height: 22.4px; opacity: 0; padding: 0px; position: fixed; top: 59px; transform: scale(0.9); transition: transform 0.2s, opacity 0.2s, visibility 0s 0.2s; visibility: hidden; width: 1305px; z-index: 100;">
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<img src="http://dazedimg.dazedgroup.netdna-cdn.com/1500/azure/dazed-prod/1150/3/1153315.jpg" style="border: 0px; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-height: 100%; max-width: 100%; vertical-align: middle;" /><figcaption class="img-caption" style="box-sizing: border-box; text-align: center;"><span class="credit" style="box-sizing: border-box; display: block; font-size: 0.85em; font-style: italic;"></span></figcaption></div>
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<span style="color: #cccccc;"><strong style="box-sizing: border-box;">SAMARA GOLDEN AT</strong> <strong style="box-sizing: border-box;">CANADA GALLERY, NEW YORK</strong></span></div>
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<span style="color: #cccccc;">Walking into <a href="https://www.canadanewyork.com/artists/samara-golden/" style="box-sizing: border-box;" target="_blank">this space</a> was the most disorientating experience. The floors mirrored with projected clouds floating across them while tables were on the walls. A heavy noise drone played throughout the space – making things even more upside down. One of the most refreshingly odd experiences of the year.</span></div>
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<figure class="inline-img expandable" data-img="ce352185-c927-4a6e-a6cd-a571011d89ca" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/850/azure/dazed-prod/1150/3/1153319.jpg" style="box-sizing: border-box; cursor: -webkit-zoom-in; font-family: sans-serif; font-size: 16px; line-height: 22.4px; margin: 0px 0px 22px; max-width: 620px; position: relative;"><div class="pin-btn pin-hover" style="box-sizing: border-box; margin-left: 5px; margin-top: 5px; opacity: 0; position: absolute; text-align: left; transition: opacity 0.4s linear; z-index: 5;">
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<img alt="Samara Golden" class="img" data-aspect-ratio-type="landscape" data-aspect-ratio="1.56" data-max-height="546" data-max-width="850" data-responsive-widths="375,480,786" src="http://dazedimg.dazedgroup.netdna-cdn.com/786/azure/dazed-prod/1150/3/1153319.jpg" style="border: 0px; box-sizing: border-box; height: auto; line-height: 22.4px; max-width: 100%; vertical-align: middle; width: 786px;" /></div>
</span><figcaption class="img-caption" style="box-sizing: border-box; font-size: 0.85em; min-width: 400px;"><span class="credit" style="box-sizing: border-box; display: block; font-size: 0.85em; font-style: italic; text-align: left;"><span style="color: #cccccc;">Courtesy of Canada Gallery</span></span></figcaption></figure><div class="expanded-img" data-img="ce352185-c927-4a6e-a6cd-a571011d89ca" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/850/azure/dazed-prod/1150/3/1153319.jpg" style="-webkit-box-align: center; -webkit-box-pack: center; align-items: center; background: rgba(255, 255, 255, 0.901961); box-sizing: border-box; cursor: -webkit-zoom-out; display: flex; font-family: sans-serif; font-size: 16px; height: calc(100% - 59px); justify-content: center; left: 0px; line-height: 22.4px; opacity: 0; padding: 0px; position: fixed; top: 59px; transform: scale(0.9); transition: transform 0.2s, opacity 0.2s, visibility 0s 0.2s; visibility: hidden; width: 1305px; z-index: 100;">
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<img src="http://dazedimg.dazedgroup.netdna-cdn.com/850/azure/dazed-prod/1150/3/1153319.jpg" style="border: 0px; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-height: 100%; max-width: 100%; vertical-align: middle;" /><figcaption class="img-caption" style="box-sizing: border-box; text-align: center;"><span class="credit" style="box-sizing: border-box; display: block; font-size: 0.85em; font-style: italic;"></span></figcaption></div>
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<strong style="box-sizing: border-box;"><span style="color: #cccccc;">CYPRIEN GAILLARD AT SPRUETH MAGERS, BERLIN</span></strong></div>
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<span style="color: #cccccc;">This 3D film work was so well made that thousands came through the doors of <a href="http://www.spruethmagers.com/" style="box-sizing: border-box;" target="_blank">Sprüeth Magers</a><a href="http://www.spruethmagers.com/" style="box-sizing: border-box;" target="_blank">’</a> Berlin space. The piece focused on weird swaying trees, grown from seed presents (to American Olympic winner Jesse Owens) by the Nazis, and fireworks above the 1936 Olympic Stadium against a looped perfect sample from <a href="http://www.biography.com/people/alton-ellis-20906145" style="box-sizing: border-box;" target="_blank">Alton Ellis</a>’ Blackman’s Word. The work of <a href="http://www.dazeddigital.com/artsandculture/article/25386/1/the-best-exhibitions-to-see-this-summer" style="box-sizing: border-box;">Gaillard</a>’s career.</span></div>
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<figure class="inline-img expandable" data-img="3f6046f9-a33f-4aa6-a623-a571011d999d" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/695/azure/dazed-prod/1150/3/1153322.jpg" style="box-sizing: border-box; cursor: -webkit-zoom-in; font-family: sans-serif; font-size: 16px; line-height: 22.4px; margin: 0px 0px 22px; max-width: 620px; position: relative;"><div class="pin-btn pin-hover" style="box-sizing: border-box; margin-left: 5px; margin-top: 5px; opacity: 0; position: absolute; text-align: left; transition: opacity 0.4s linear; z-index: 5;">
<a data-pin-config="none" data-pin-do="buttonPin" href="http://www.pinterest.com/pin/create/button/?url=http://www.dazeddigital.com/artsandculture/article/28848/1/2015-s-most-show-stopping-exhibitions-from-across-the-globe&media=http://dazedimg.dazedgroup.netdna-cdn.com/695/azure/dazed-prod/1150/3/1153322.jpg&description=Cities%20of%20Gold%20and%20Mirror,%202009" style="box-sizing: border-box;"><span style="color: #cccccc;"><img alt="Pin It" src="data:image/png;base64,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" style="border: 0px; box-sizing: border-box; vertical-align: middle;" /></span></a></div>
<span style="color: #cccccc;"><div style="text-align: left;">
<img alt="Cyprien Gaillard" class="img" data-aspect-ratio-type="landscape" data-aspect-ratio="1.52" data-max-height="456" data-max-width="695" data-responsive-widths="375,480,695" src="http://dazedimg.dazedgroup.netdna-cdn.com/695/azure/dazed-prod/1150/3/1153322.jpg" style="border: 0px; box-sizing: border-box; height: auto; line-height: 22.4px; max-width: 100%; vertical-align: middle; width: 695px;" /></div>
</span><figcaption class="img-caption" style="box-sizing: border-box; font-size: 0.85em; min-width: 400px;"><span class="caption" style="box-sizing: border-box; display: block; font-size: 0.85em; font-weight: bold; margin-top: 7px; text-align: left;"><span style="color: #cccccc;">Cities of Gold and Mirror, 2009</span></span><span class="credit" style="box-sizing: border-box; display: block; font-size: 0.85em; font-style: italic; text-align: left;"><span style="color: #cccccc;">Courtesy of Spruth Magers</span></span></figcaption></figure><div class="expanded-img" data-img="3f6046f9-a33f-4aa6-a623-a571011d999d" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/695/azure/dazed-prod/1150/3/1153322.jpg" style="-webkit-box-align: center; -webkit-box-pack: center; align-items: center; background: rgba(255, 255, 255, 0.901961); box-sizing: border-box; cursor: -webkit-zoom-out; display: flex; font-family: sans-serif; font-size: 16px; height: calc(100% - 59px); justify-content: center; left: 0px; line-height: 22.4px; opacity: 0; padding: 0px; position: fixed; top: 59px; transform: scale(0.9); transition: transform 0.2s, opacity 0.2s, visibility 0s 0.2s; visibility: hidden; width: 1305px; z-index: 100;">
<button class="expanded-img-close-btn" style="border: 0px; cursor: pointer; font-family: inherit; font-size: 16px; height: 21px; margin: 0px; padding: 0px; position: absolute; right: 10px; top: 10px; width: 21px;" type="button"><span style="color: #cccccc;"><span class="icon icon-cross" style="box-sizing: border-box;"></span></span></button><figure class="content-image" style="box-sizing: border-box; height: calc(96% - 50px); left: 39.1406px; margin: 0px; position: absolute; top: 4.76562px; width: 1226.69px;"><div class="image" data-type="image" style="box-sizing: border-box; height: 407.906px; max-width: 100%; position: relative; top: 203.953px; transform: translateY(-50%);">
<img src="http://dazedimg.dazedgroup.netdna-cdn.com/695/azure/dazed-prod/1150/3/1153322.jpg" style="border: 0px; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-height: 100%; max-width: 100%; vertical-align: middle;" /><figcaption class="img-caption" style="box-sizing: border-box; text-align: center;"><span class="caption" style="box-sizing: border-box; display: block; font-size: 0.85em; font-weight: bold; margin-top: 7px;"></span><span class="credit" style="box-sizing: border-box; display: block; font-size: 0.85em; font-style: italic;"></span></figcaption></div>
</figure></div>
<div class="embed-content" style="box-sizing: border-box; font-family: sans-serif; line-height: 22.4px; margin-bottom: 24px; word-break: break-word;">
<div style="box-sizing: border-box; margin-bottom: 12px; text-align: left; width: 620px;">
<strong style="box-sizing: border-box;"><span style="color: #cccccc;">HIPPIE MODERNISM AT THE WALKER ART CENTER, MINNEAPOLIS</span></strong></div>
<div style="box-sizing: border-box; margin-bottom: 24px; text-align: left; width: 620px;">
<span style="color: #cccccc;">The <a href="https://www.walkerart.or/" style="box-sizing: border-box;" target="_blank">Walker Art Center</a> programming is so good you know why Minneapolis' local Prince stays in the area. The latest show explores the counter-cultural experiments in art, architecture and design – from geodesic domes to the graphic work of <a href="http://www.dazeddigital.com/artsandculture/article/20981/1/emory-douglas-arts-rebel-without-a-pause" style="box-sizing: border-box;">Emory Douglas</a>, the show demonstrates how radical creativity in the late 60s really was and what we can learn from it.</span></div>
</div>
<figure class="inline-img expandable" data-img="15c34e8a-bd76-4098-96f3-a571011d794b" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/960/azure/dazed-prod/1150/3/1153316.jpg" style="box-sizing: border-box; cursor: -webkit-zoom-in; font-family: sans-serif; font-size: 16px; line-height: 22.4px; margin: 0px 0px 22px; max-width: 620px; position: relative;"><div class="pin-btn pin-hover" style="box-sizing: border-box; margin-left: 5px; margin-top: 5px; opacity: 0; position: absolute; text-align: left; transition: opacity 0.4s linear; z-index: 5;">
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<span style="color: #cccccc;"><div style="text-align: left;">
<img alt="Hippie Modernism" class="img" data-aspect-ratio-type="landscape" data-aspect-ratio="1.5" data-max-height="640" data-max-width="960" data-responsive-widths="375,480,786" src="http://dazedimg.dazedgroup.netdna-cdn.com/786/azure/dazed-prod/1150/3/1153316.jpg" style="border: 0px; box-sizing: border-box; height: auto; line-height: 22.4px; max-width: 100%; vertical-align: middle; width: 786px;" /></div>
</span><figcaption class="img-caption" style="box-sizing: border-box; font-size: 0.85em; min-width: 400px;"><span class="caption" style="box-sizing: border-box; display: block; font-size: 0.85em; font-weight: bold; margin-top: 7px; text-align: left;"><span style="color: #cccccc;">The Struggle for Utopia, 2015</span></span><span class="credit" style="box-sizing: border-box; display: block; font-size: 0.85em; font-style: italic; text-align: left;"><span style="color: #cccccc;">Courtesy of Walker Art Center</span></span></figcaption></figure><div class="expanded-img" data-img="15c34e8a-bd76-4098-96f3-a571011d794b" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/960/azure/dazed-prod/1150/3/1153316.jpg" style="-webkit-box-align: center; -webkit-box-pack: center; align-items: center; background: rgba(255, 255, 255, 0.901961); box-sizing: border-box; cursor: -webkit-zoom-out; display: flex; font-family: sans-serif; font-size: 16px; height: calc(100% - 59px); justify-content: center; left: 0px; line-height: 22.4px; opacity: 0; padding: 0px; position: fixed; top: 59px; transform: scale(0.9); transition: transform 0.2s, opacity 0.2s, visibility 0s 0.2s; visibility: hidden; width: 1305px; z-index: 100;">
<button class="expanded-img-close-btn" style="border: 0px; cursor: pointer; font-family: inherit; font-size: 16px; height: 21px; margin: 0px; padding: 0px; position: absolute; right: 10px; top: 10px; width: 21px;" type="button"><span style="color: #cccccc;"><span class="icon icon-cross" style="box-sizing: border-box;"></span></span></button><figure class="content-image" style="box-sizing: border-box; height: calc(96% - 50px); left: 39.1406px; margin: 0px; position: absolute; top: 4.76562px; width: 1226.69px;"><div class="image" data-type="image" style="box-sizing: border-box; height: 407.906px; max-width: 100%; position: relative; top: 203.953px; transform: translateY(-50%);">
<img src="http://dazedimg.dazedgroup.netdna-cdn.com/960/azure/dazed-prod/1150/3/1153316.jpg" style="border: 0px; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-height: 100%; max-width: 100%; vertical-align: middle;" /><figcaption class="img-caption" style="box-sizing: border-box; text-align: center;"><span class="caption" style="box-sizing: border-box; display: block; font-size: 0.85em; font-weight: bold; margin-top: 7px;"></span><span class="credit" style="box-sizing: border-box; display: block; font-size: 0.85em; font-style: italic;"></span></figcaption></div>
</figure></div>
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<div style="box-sizing: border-box; margin-bottom: 12px; text-align: left; width: 620px;">
<strong style="box-sizing: border-box;"><span style="color: #cccccc;">SOFTWARE, HARD PROBLEM AT CUBITT, LONDON</span></strong></div>
<div style="box-sizing: border-box; margin-bottom: 24px; text-align: left; width: 620px;">
<span style="color: #cccccc;"><a href="http://morganquaintance.com/" style="box-sizing: border-box;" target="_blank">Morgan Quaintance</a> is a curator (writer and broadcaster too) with a brilliant take on creating exhibitions. He has now been appointed curator of artist run <a href="http://cubittartists.org.uk/" style="box-sizing: border-box;" target="_blank">Cubitt</a> in Islington and his first show with <a href="http://www.dazeddigital.com/tag/cecile-b-evans" style="box-sizing: border-box;">Cecile B Evans</a>, Dazed Emerging Artist Award Winner <a href="http://www.dazeddigital.com/tag/lawrence-lek" style="box-sizing: border-box;">Lawrence Lek</a> and older artist <a href="http://www.emohr.com/" style="box-sizing: border-box;" target="_blank">Manfred Mohr</a> was a great take on the role of software in art.</span></div>
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<figure class="inline-img expandable" data-img="4471da56-d253-4e9d-9077-a571011d9606" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/1197/azure/dazed-prod/1150/3/1153321.jpg" style="box-sizing: border-box; cursor: -webkit-zoom-in; font-family: sans-serif; font-size: 16px; line-height: 22.4px; margin: 0px 0px 22px; max-width: 620px; position: relative;"><div class="pin-btn pin-hover" style="box-sizing: border-box; margin-left: 5px; margin-top: 5px; opacity: 0; position: absolute; text-align: left; transition: opacity 0.4s linear; z-index: 5;">
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<span style="color: #cccccc;"><div style="text-align: left;">
<img alt="Software, Hard Problem" class="img" data-aspect-ratio-type="landscape" data-aspect-ratio="1.33" data-max-height="900" data-max-width="1197" data-responsive-widths="375,480,786" src="http://dazedimg.dazedgroup.netdna-cdn.com/786/azure/dazed-prod/1150/3/1153321.jpg" style="border: 0px; box-sizing: border-box; height: auto; line-height: 22.4px; max-width: 100%; vertical-align: middle; width: 786px;" /></div>
</span><figcaption class="img-caption" style="box-sizing: border-box; font-size: 0.85em; min-width: 400px;"><span class="credit" style="box-sizing: border-box; display: block; font-size: 0.85em; font-style: italic; text-align: left;"><span style="color: #cccccc;">Courtesy of Cubitt</span></span></figcaption></figure><div class="expanded-img" data-img="4471da56-d253-4e9d-9077-a571011d9606" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/1197/azure/dazed-prod/1150/3/1153321.jpg" style="-webkit-box-align: center; -webkit-box-pack: center; align-items: center; background: rgba(255, 255, 255, 0.901961); box-sizing: border-box; cursor: -webkit-zoom-out; display: flex; font-family: sans-serif; font-size: 16px; height: calc(100% - 59px); justify-content: center; left: 0px; line-height: 22.4px; opacity: 0; padding: 0px; position: fixed; top: 59px; transform: scale(0.9); transition: transform 0.2s, opacity 0.2s, visibility 0s 0.2s; visibility: hidden; width: 1305px; z-index: 100;">
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<img src="http://dazedimg.dazedgroup.netdna-cdn.com/1197/azure/dazed-prod/1150/3/1153321.jpg" style="border: 0px; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-height: 100%; max-width: 100%; vertical-align: middle;" /><figcaption class="img-caption" style="box-sizing: border-box; text-align: center;"><span class="credit" style="box-sizing: border-box; display: block; font-size: 0.85em; font-style: italic;"></span></figcaption></div>
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<div style="box-sizing: border-box; margin-bottom: 12px; text-align: left; width: 620px;">
<strong style="box-sizing: border-box;"><span style="color: #cccccc;">JON RAFMAN AT ZABLUDOWICZ, LONDON</span></strong></div>
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<span style="color: #cccccc;"><a href="https://www.google.co.uk/search?client=safari&rls=en&q=Manfred+Mohr+dazed&ie=UTF-8&oe=UTF-8&gfe_rd=cr&ei=-RFwVp32I9HMoAeFioOgCw#q=Jon+Rafman+dazed" style="box-sizing: border-box;" target="_blank">Rafman</a>’s solo show at London’s <a href="http://www.zabludowiczcollection.com/" style="box-sizing: border-box;" target="_blank">Zabludowicz collection</a>, which followed a solo in Montreal, was filled with video installations that were watched lying down on waterbed mattress, sitting on a massage chair, in a pool of floating plastic balls, in hot tight metal cabinets, in the set of a stained teenagers bedroom and in a 3D fake garden maze. The perfection mix of computer nerd tropes and contemporary art dialogues.</span></div>
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<figure class="inline-img expandable" data-img="50243286-fce3-461c-a4c7-a571012582ec" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/1500/azure/dazed-prod/1150/3/1153350.jpg" style="box-sizing: border-box; cursor: -webkit-zoom-in; font-family: sans-serif; font-size: 16px; line-height: 22.4px; margin: 0px 0px 22px; max-width: 620px; position: relative;"><div class="pin-btn pin-hover" style="box-sizing: border-box; margin-left: 5px; margin-top: 5px; opacity: 0; position: absolute; text-align: left; transition: opacity 0.4s linear; z-index: 5;">
<a data-pin-config="none" data-pin-do="buttonPin" href="http://www.pinterest.com/pin/create/button/?url=http://www.dazeddigital.com/artsandculture/article/28848/1/2015-s-most-show-stopping-exhibitions-from-across-the-globe&media=http://dazedimg.dazedgroup.netdna-cdn.com/1000/azure/dazed-prod/1150/3/1153350.jpg&description=Main%20Squeeze" style="box-sizing: border-box;"><span style="color: #cccccc;"><img alt="Pin It" src="data:image/png;base64,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" style="border: 0px; box-sizing: border-box; vertical-align: middle;" /></span></a></div>
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<img alt="Jon Rafman" class="img" data-aspect-ratio-type="landscape" data-aspect-ratio="1.78" data-max-height="1080" data-max-width="1920" data-responsive-widths="375,480,786" src="http://dazedimg.dazedgroup.netdna-cdn.com/786/azure/dazed-prod/1150/3/1153350.jpg" style="border: 0px; box-sizing: border-box; height: auto; line-height: 22.4px; max-width: 100%; vertical-align: middle; width: 786px;" /></div>
</span><figcaption class="img-caption" style="box-sizing: border-box; font-size: 0.85em; min-width: 400px;"><span class="caption" style="box-sizing: border-box; display: block; font-size: 0.85em; font-weight: bold; margin-top: 7px; text-align: left;"><span style="color: #cccccc;">Main Squeeze</span></span><span class="credit" style="box-sizing: border-box; display: block; font-size: 0.85em; font-style: italic; text-align: left;"><span style="color: #cccccc;">Courtesy of Zabludowicz Collection</span></span></figcaption></figure><div class="expanded-img" data-img="50243286-fce3-461c-a4c7-a571012582ec" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/1500/azure/dazed-prod/1150/3/1153350.jpg" style="-webkit-box-align: center; -webkit-box-pack: center; align-items: center; background: rgba(255, 255, 255, 0.901961); box-sizing: border-box; cursor: -webkit-zoom-out; display: flex; font-family: sans-serif; font-size: 16px; height: calc(100% - 59px); justify-content: center; left: 0px; line-height: 22.4px; opacity: 0; padding: 0px; position: fixed; top: 59px; transform: scale(0.9); transition: transform 0.2s, opacity 0.2s, visibility 0s 0.2s; visibility: hidden; width: 1305px; z-index: 100;">
<button class="expanded-img-close-btn" style="border: 0px; cursor: pointer; font-family: inherit; font-size: 16px; height: 21px; margin: 0px; padding: 0px; position: absolute; right: 10px; top: 10px; width: 21px;" type="button"><span style="color: #cccccc;"><span class="icon icon-cross" style="box-sizing: border-box;"></span></span></button><figure class="content-image" style="box-sizing: border-box; height: calc(96% - 50px); left: 39.1406px; margin: 0px; position: absolute; top: 4.76562px; width: 1226.69px;"><div class="image" data-type="image" style="box-sizing: border-box; height: 407.906px; max-width: 100%; position: relative; top: 203.953px; transform: translateY(-50%);">
<img src="http://dazedimg.dazedgroup.netdna-cdn.com/1500/azure/dazed-prod/1150/3/1153350.jpg" style="border: 0px; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-height: 100%; max-width: 100%; vertical-align: middle;" /><figcaption class="img-caption" style="box-sizing: border-box; text-align: center;"><span class="caption" style="box-sizing: border-box; display: block; font-size: 0.85em; font-weight: bold; margin-top: 7px;"></span><span class="credit" style="box-sizing: border-box; display: block; font-size: 0.85em; font-style: italic;"></span></figcaption></div>
</figure></div>
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<strong style="box-sizing: border-box;"><span style="color: #cccccc;">MARK LECKEY AT CABINET, LONDON</span></strong></div>
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<span style="color: #cccccc;">Who doesn’t love <a href="http://www.dazeddigital.com/tag/mark-leckey" style="box-sizing: border-box;">Mark Leckey</a>? Leckey has created a new film work that debuted at <a href="http://www.cabinet.uk.com/" style="box-sizing: border-box;" target="_blank">Cabinet</a> gallery that will floor fans of Fiorucci Made Me Hardcore. An incredible cut and paste narrative that brings together the artist’s own biography and themes about changing media interfaces and our relationship to the space race alongside the music and moods of popular culture.</span></div>
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<figure class="inline-img expandable" data-img="85537bef-8df8-4847-8bd6-a571011d88c8" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/956/azure/dazed-prod/1150/3/1153318.jpg" style="box-sizing: border-box; cursor: -webkit-zoom-in; font-family: sans-serif; font-size: 16px; line-height: 22.4px; margin: 0px 0px 22px; max-width: 620px; position: relative;"><div class="pin-btn pin-hover" style="box-sizing: border-box; margin-left: 5px; margin-top: 5px; opacity: 0; position: absolute; text-align: left; transition: opacity 0.4s linear; z-index: 5;">
<a data-pin-config="none" data-pin-do="buttonPin" href="http://www.pinterest.com/pin/create/button/?url=http://www.dazeddigital.com/artsandculture/article/28848/1/2015-s-most-show-stopping-exhibitions-from-across-the-globe&media=http://dazedimg.dazedgroup.netdna-cdn.com/956/azure/dazed-prod/1150/3/1153318.jpg&description=The%20Universal%20Addressability%20of%20Dumb%20Things,%202013" style="box-sizing: border-box;"><span style="color: #cccccc;"><img alt="Pin It" src="data:image/png;base64,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" style="border: 0px; box-sizing: border-box; vertical-align: middle;" /></span></a></div>
<span style="color: #cccccc;"><div style="text-align: left;">
<img alt="Mark Leckey" class="img" data-aspect-ratio-type="landscape" data-aspect-ratio="1.51" data-max-height="635" data-max-width="956" data-responsive-widths="375,480,786" src="http://dazedimg.dazedgroup.netdna-cdn.com/786/azure/dazed-prod/1150/3/1153318.jpg" style="border: 0px; box-sizing: border-box; height: auto; line-height: 22.4px; max-width: 100%; vertical-align: middle; width: 786px;" /></div>
</span><figcaption class="img-caption" style="box-sizing: border-box; font-size: 0.85em; min-width: 400px;"><span class="caption" style="box-sizing: border-box; display: block; font-size: 0.85em; font-weight: bold; margin-top: 7px; text-align: left;"><span style="color: #cccccc;">The Universal Addressability of Dumb Things, 2013</span></span><span class="credit" style="box-sizing: border-box; display: block; font-size: 0.85em; font-style: italic; text-align: left;"><span style="color: #cccccc;">Courtesy of Cabinet</span></span></figcaption></figure><div class="expanded-img" data-img="85537bef-8df8-4847-8bd6-a571011d88c8" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/956/azure/dazed-prod/1150/3/1153318.jpg" style="-webkit-box-align: center; -webkit-box-pack: center; align-items: center; background: rgba(255, 255, 255, 0.901961); box-sizing: border-box; cursor: -webkit-zoom-out; display: flex; font-family: sans-serif; font-size: 16px; height: calc(100% - 59px); justify-content: center; left: 0px; line-height: 22.4px; opacity: 0; padding: 0px; position: fixed; top: 59px; transform: scale(0.9); transition: transform 0.2s, opacity 0.2s, visibility 0s 0.2s; visibility: hidden; width: 1305px; z-index: 100;">
<button class="expanded-img-close-btn" style="border: 0px; cursor: pointer; font-family: inherit; font-size: 16px; height: 21px; margin: 0px; padding: 0px; position: absolute; right: 10px; top: 10px; width: 21px;" type="button"><span style="color: #cccccc;"><span class="icon icon-cross" style="box-sizing: border-box;"></span></span></button><figure class="content-image" style="box-sizing: border-box; height: calc(96% - 50px); left: 39.1406px; margin: 0px; position: absolute; top: 4.76562px; width: 1226.69px;"><div class="image" data-type="image" style="box-sizing: border-box; height: 407.906px; max-width: 100%; position: relative; top: 203.953px; transform: translateY(-50%);">
<img src="http://dazedimg.dazedgroup.netdna-cdn.com/956/azure/dazed-prod/1150/3/1153318.jpg" style="border: 0px; box-sizing: border-box; display: block; margin-left: auto; margin-right: auto; max-height: 100%; max-width: 100%; vertical-align: middle;" /><figcaption class="img-caption" style="box-sizing: border-box; text-align: center;"><span class="caption" style="box-sizing: border-box; display: block; font-size: 0.85em; font-weight: bold; margin-top: 7px;"></span><span class="credit" style="box-sizing: border-box; display: block; font-size: 0.85em; font-style: italic;"></span></figcaption></div>
</figure></div>
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<div style="box-sizing: border-box; margin-bottom: 12px; text-align: left; width: 620px;">
<strong style="box-sizing: border-box;"><span style="color: #cccccc;">TETSUMI KUDO AT HAUSER & WIRTH, LONDON</span></strong></div>
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<span style="color: #cccccc;">Dazed was ahead of the game when we profiled the late Japanese auteur <a href="http://www.dazeddigital.com/tag/tetsumi-kudo" style="box-sizing: border-box;">Tetsumi Kudo</a>, who this year got a deservedly exciting solo show at <a href="http://www.hauserwirth.com/" style="box-sizing: border-box;" target="_blank">Hauser & Wirth</a> in London and Zurich. In both spaces, the interior of the gallery was covered with bright green Astroturf to provide a plus setting for Kudo’s straight electro penis cage, acid terrarium sculptures and UV tech-organic installations. Hard to forget.</span></div>
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<figure class="inline-img expandable" data-img="d935aa55-2f04-4e3f-b896-a571011d8455" data-src="http://dazedimg.dazedgroup.netdna-cdn.com/1500/azure/dazed-prod/1150/3/1153317.jpg" style="box-sizing: border-box; cursor: -webkit-zoom-in; font-family: sans-serif; font-size: 16px; line-height: 22.4px; margin: 0px 0px 22px; max-width: 620px; position: relative;"><div class="pin-btn pin-hover" style="box-sizing: border-box; margin-left: 5px; margin-top: 5px; opacity: 0; position: absolute; text-align: left; z-index: 5;">
<a data-pin-config="none" data-pin-do="buttonPin" href="http://www.pinterest.com/pin/create/button/?url=http://www.dazeddigital.com/artsandculture/article/28848/1/2015-s-most-show-stopping-exhibitions-from-across-the-globe&media=http://dazedimg.dazedgroup.netdna-cdn.com/538/azure/dazed-prod/1150/3/1153317.jpg&description=Cultivation%20of%20Nature%20%26%20People%20Who%20Are%20Looking%20at%20It%20(1970-71)" style="box-sizing: border-box;"><span style="color: #cccccc;"><img alt="Pin It" src="data:image/png;base64,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" style="border: 0px; box-sizing: border-box; vertical-align: middle;" /></span></a></div>
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<img alt="Tetsumi Kudo" class="img" data-aspect-ratio-type="portrait" data-aspect-ratio="0.67" data-max-height="2600" data-max-width="1749" data-responsive-widths="375,471,480" src="http://dazedimg.dazedgroup.netdna-cdn.com/480/azure/dazed-prod/1150/3/1153317.jpg" style="border: 0px; box-sizing: border-box; color: #cccccc; height: auto; line-height: 22.4px; max-width: 100%; vertical-align: middle; width: 480px;" /></div>
</span><figcaption class="img-caption" style="box-sizing: border-box; font-size: 0.85em; min-width: 400px;"><span class="caption" style="box-sizing: border-box; display: block; font-size: 0.85em; font-weight: bold; margin-top: 7px; text-align: left;"><span style="color: #cccccc;">Cultivation of Nature & People Who Are Looking at It (1970-71)</span></span><span class="credit" style="box-sizing: border-box; display: block; font-size: 0.85em; font-style: italic; text-align: left;"><span style="color: #cccccc;">Courtesy of Hauser & Wirth</span></span></figcaption></figure></div>
Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-4505040330846610742015-11-28T11:33:00.001+00:002015-11-28T11:33:56.549+00:00A bit Berlin and little of London<div dir="ltr" style="text-align: left;" trbidi="on">
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I've got some curation things underway. The prints I curated
for absolutart.com have launched online - and a selection are on display in the
Absolut Art Apartment at Moritzplatz in Berlin Until Dec 6. (and for those who
like liquid there is free coffee in the day from 11 and free cocktails between
5 an 7pm daily). Top Floor, Prinzenstrasse 84, Berlin. Artists include Gregor
Hilderbrant, Hanna Schwarz, Thomas Helbig, Juliette Bonneviot, Matthias Bitzer
and Ei Cortinas.</div>
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Londoners save the date -December 17 for #officeparty</div>
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7pm-midnight </div>
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The last party with a DJ set by Dave MacLean (Django
Django), dance class by Joelle D'Fontaine, and free photocopy artworks by Aaron
Angell, Alexandre da Cunha, Jeremy Deller, Benedict Drew, Celia Hempton,
Allison Katz, Oscar Murillo, David Noonan, Athena Papadopolos, Peles Empire,
Prem Sahib, Daniel Silver, Marianne Spurr, Julie Verhoeven, Jesse Wine, Bedwyr
Williams and more...</div>
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<span style="line-height: 22px;">#officeparty GIF by Ben Sansbury, 2015. Courtesy the artist</span></div>
Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-41314940761656142512015-10-15T19:17:00.001+00:002015-10-15T19:17:37.335+00:00CocksandCunts for Kaleidoscope Videoclub<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg87meScJV2P1JP-pGGzpyLu_pVj5gIKaNReqPTKGokSpnlF500eSqg6Q1356DyBxwS3DHY0Twj3I3cqfJRgaPTDy-z9b-jRDwUI1oMvTsVkE3jm69_qkhLlm2vPU8qeP4seeGO/s1600/Total-Flex-2-digital-video-6mins-47secs-Adham-Faramawy-2012-3.jpg" imageanchor="1" style="background-color: white; margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg87meScJV2P1JP-pGGzpyLu_pVj5gIKaNReqPTKGokSpnlF500eSqg6Q1356DyBxwS3DHY0Twj3I3cqfJRgaPTDy-z9b-jRDwUI1oMvTsVkE3jm69_qkhLlm2vPU8qeP4seeGO/s400/Total-Flex-2-digital-video-6mins-47secs-Adham-Faramawy-2012-3.jpg" width="400" /></a></div>
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I was honoured to curated a video project for <a href="http://kaleidoscope.media/videoclub/category/cocksandcunts/">Kaleidoscopemagazine</a> to coincide with their Art and Sex issue (I've interviewed Celia
Hempton in the mag itself and I'm also doing a talk at Frieze Art Fair Reading
Room Friday 530pm with her and Julie Verhoeven)<o:p></o:p></div>
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It's called <a href="http://kaleidoscope.media/videoclub/category/cocksandcunts/">Cocksandcunts</a> Here are more details! <o:p></o:p></div>
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The selected works by The ARKA group, Adham Faramawy,
Richard Kern, Reija Merlainen, Julie Verhoeven, John Walter and Zoe Williams
explore the representation of sexuality and the naked body, veering from
fetishism to playful humour, from choreographed performance to an almost
abstract approach. Here, ideas of feminism, movement, power and the structure
of art manifest into a deeply human form, emphasizing the human sex as
something layered with meaning.<o:p></o:p></div>
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PS Longlyst also printed <a href="http://www.lyst.com/longlyst/dazed-magazines-visual-arts-editor-on-londons-best-galleries/">my Top Ten London galleries</a><o:p></o:p></div>
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Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-13723085663741165632015-10-11T08:05:00.000+00:002015-10-11T08:05:17.360+00:00Freezing<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://www.dazeddigital.com/artsandculture/article/26891/1/the-unmissable-events-at-frieze-london-this-year"></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtr3-9T6nPkgcPu_oL4QUs4Hy0jl_ml88SfrbP_Kn7N_B5P-uLsC-q2-yTdoXJvIlg1S0vCy5YI5Cam4ZWijElTNNnaAMdy_nEr9iKvKFt0-TO5IfAglM-EsZOt81q0bfRoubx/s1600/1144476.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtr3-9T6nPkgcPu_oL4QUs4Hy0jl_ml88SfrbP_Kn7N_B5P-uLsC-q2-yTdoXJvIlg1S0vCy5YI5Cam4ZWijElTNNnaAMdy_nEr9iKvKFt0-TO5IfAglM-EsZOt81q0bfRoubx/s400/1144476.jpg" width="400" /></a></div>
<br class="Apple-interchange-newline" /><span style="color: #0000ee; text-decoration: underline;">My recommendations </span>leading up to Frieze are up.<br />
<br />
Also if you're there Friday, head to the <a href="http://friezelondon.com/readingroom/">reading room</a> at 530pm to hear me talk with Celia Hempton and Julie Verhoeven for Kaleidoscope. I'll also be posting a VIDEOCLUB project to coincide next week. News to come!<br />
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<br /></div>
Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-85989023262022084302015-10-03T07:34:00.001+00:002015-10-03T07:35:29.432+00:00Hot off the press<div dir="ltr" style="text-align: left;" trbidi="on">
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Here is some of the latest work out at the moment</div>
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- the cover feature of the <a href="http://howtospendit.ft.com/art/92191-neo-neoclassical-art">Financial Times How To Spend it</a> Magazine</div>
<br />
- a six page feature on artists working with poetry and text in <a href="http://www.sleek-mag.com/">Sleek magazine </a>with profiles on David Raymond Conroy, Quinn Latimer, Megan Rooney, Harry Burke and Agnieszka Polska<br />
<br />
- lots of top tens for Dazed Digital coming - <a href="http://www.dazeddigital.com/artsandculture/article/26763/1/in-london-dont-miss-this-grassroots-art-weekend-art-licks">Art Licks weekend</a>, and pre and post Frieze and Fiac to come<br />
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Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-62865813981517586442015-07-02T08:29:00.000+00:002015-07-02T09:18:42.681+00:00SPECTRUM at CHART Art Fair<div dir="ltr" style="text-align: left;" trbidi="on">
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SPECTRUM at <a href="http://www.chartartfair.com/">CHART </a></div>
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The
performance programme is at the year’s edition of <a href="http://www.chartartfair.com/program/performances">CHART</a> works with
demonstrating the vitality of colour and showing how it can be relevant,
engaging and complex in a series of conceptual performance art works.</div>
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The
diverse variety of performance artists is curated by the English curator,
writer and editor Francesca Gavin. Gavin has primarily invited Nordic artists
who work with different elements such as, architecture, sound, lighting and
textile. The artists will create individual performances but are asked to work
within the shared thematic of colour in creating their works.<o:p></o:p></div>
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Colour
has a bad reputation. From the Grecian concepts of aesthetics though 20th
century modernism to contemporary conceptual art, colour is often described as
something about spectacle, emotion, expression, the irrational. The responses
and experience colour creates in a viewer is often downplayed as simple
sensationalism. This programme of performances aims to resist this redundant
argument.<o:p></o:p></div>
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The
performance programme of CHART draws on David Batchelor’s concept of
‘chromophobia’. He argues, “colour is made out to be the property of some
’foreign’ body – usually the feminine, the oriental, the primitive, the
infantile, the vulgar, the queer or the pathological. Colour is relegated to
the realm of the superficial, the supplementary, the inessential or the
cosmetic… Colour is routinely excluded from the higher concerns of the Mind.”<o:p></o:p></div>
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The
aim of these works is to reposition colour as something equally important as
line, idea, and form in the creation of art. Show that colour is something
important outside of the expected mediums of painting or graphics. That colour
can be an intelligent way to engage with politics and meaning, and has an
important role in contemporary cultural production and communication.<o:p></o:p></div>
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The
artists in this programme will invited to draw on the idea of the spectrum or
create a performance around a specific colour (so there could be an excitement
amongst viewers to ‘collect’ the experience of different coloured
performances).<o:p></o:p></div>
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PERFORMANCES<o:p></o:p></div>
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FRIDAY
the 21st of August<o:p></o:p></div>
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<br /></div>
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<a href="http://www.toriwraanes.com/">ToriWrånes </a><o:p></o:p></div>
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Norwegian
artist Wrånes creates dramatic aural audio works. Featured in the Sydney
biennial and the last Performa, her space-specific performance works that often
use hanging elements, props, costume and architecture. For CHART, she will
perform a “vision for the future”.<o:p></o:p></div>
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SATURDAY
the 22nd of August<o:p></o:p></div>
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<a href="http://www.sirra.net/">SirraSigrún Sigurðardóttir </a><o:p></o:p></div>
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Sigurðardóttir’s
work focuses on interactive spaces and projects that investigate the idea of
the spectrum, space and movement. For CHART, the Icelandic artist will create a
Prism performance-installation working with colour as visual information gained
from scans of viewers invisible radiant energy.<o:p></o:p></div>
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<a href="http://www.mullett.tv/">David Mullett </a>& Duncan Ransom<o:p></o:p></div>
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Director
David Mullett is unveiling his first abstract psychedelic virtual reality work
as part of the performance programme of CHART. Trained at the Royal College of
Art, Mullett is founder of VR agency <a href="http://www.virtualizevr.com/">Virtualize</a> and has written about
innovations in Virtual Reality for Dazed, Sleek and Blackbook.<o:p></o:p></div>
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Duncan
Ransom is the founder of The Endless, a high-end Virtual Reality content
creation studio. With over 10 years experience working for major VFX studios in
the feature film industry, he is currently focused on the development of
delicious augmented and virtual reality based environments, interactions and
applications.<o:p></o:p></div>
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SUNDAY
the 23rd of August<o:p></o:p></div>
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<br /></div>
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<a href="http://www.nadinebyrne.com/">Nadine Bryne </a><o:p></o:p></div>
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Swedish
artist Nadine Bryne creates works that reflect an interest in ritual, nature
and femininity. Alongside a practise that includes sculpture and film, her
performance works have incorporated textiles, dance and fabric elements. For
CHART, she will create audio-visual work inspired by the projection and
contrast of colour. <o:p></o:p></div>
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<a href="http://www.julieverhoeven.com/">Julie Verhoeven</a> & <a href="http://peterjensen.co.uk/">Peter Jensen</a><o:p></o:p></div>
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Verhoeven’s
chaotic performative installation works include objects, sound, sculpture,
moving image and painting. She has also created collaborative real time
performances at the ICA, London and moving image performance with Jimmy Merris
at the Hordaland Arts Centre, Norway. She is creating a new performance
inspired by the colour spectrum for CHART.<o:p></o:p></div>
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Peter Jensen was born in Denmark and educated at Central
Saint Martins in London. He established his brand in 1999 and is known for a
mastery of colour and print, with work that crosses between fashion, art and
graphic image. He has collaborated in the past with Tim Walker, Dover Street
Market and Topshop, and a retrospective of his work was exhibited at the
Copenhagen Arts Museum in 2011. </div>
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<o:p></o:p></div>
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Spectrum
Risograph Print Project<o:p></o:p></div>
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This
commissioned project is a series of six limited risograph prints each inspired
by a different colour in the spectrum, which will be given away free. The
project aims to rethink ideas of value and consumption within the context of
the fair with works that explore wider ideas about the colour spectrum. The
contributing artists are Alex da Corte, Clare Woods, James Hoff, John Korner,
Peter Linde Busk and Richard Coleman.<o:p></o:p></div>
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Francesca
Gavin <o:p></o:p></div>
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Gavin
is a curator, writer and editor based in London. She has curated international
exhibitions including E-Vapor-8 (319 Scholes and Site Sheffield), The Dark Cube
(Palais de Tokyo), and The New Psychedelia (Mu). She is also the Visual Arts
Editor of Dazed & Confused, Art Editor of Twin and contributing editor at
Artsy.net, Sleek, Le Pan and AnOther. She has written five books including ‘The
Book of Hearts’, ‘100 New Artists’ and ‘Hell Bound: New Gothic Art’ and is the
curator of the Soho House group collection.</div>
</div>
Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-15936019784862864442015-05-25T15:58:00.001+00:002015-05-25T16:02:30.313+00:00Nazafarin Lotfi: Indexical Realness<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #f3f3f3; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVYyeamIEl5byuWdJpMRV-_5ol0F9GCoWiQGaWEgaaFLe2H54aAJ2BS63N2E5hU7Z1FO_N4woLzE141Yzg1CHSiot22uVpM9eI7n50qyU8_BJbn6VBwCcabe6pikY7WHbl3SYi/s1600/Screen+Shot+2015-05-25+at+16.37.45.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVYyeamIEl5byuWdJpMRV-_5ol0F9GCoWiQGaWEgaaFLe2H54aAJ2BS63N2E5hU7Z1FO_N4woLzE141Yzg1CHSiot22uVpM9eI7n50qyU8_BJbn6VBwCcabe6pikY7WHbl3SYi/s320/Screen+Shot+2015-05-25+at+16.37.45.png" width="257" /></a></span></div>
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<span style="color: #f3f3f3;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;"><a href="http://www.nazafarinlotfi.com/">Nazafarin Lotfi</a>:<i> Indexical Realness</i></span></b></span></div>
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<span style="color: #f3f3f3;"><span style="font-family: Arial;">May 29-July 12015, </span><span style="font-family: Arial;"><a href="http://www.clubmonaco.com/home/index.jsp">ClubMonaco,</a> 58 Main St, South Hampton, NY</span></span></div>
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<span lang="EN-US" style="font-family: Arial;"><o:p><span style="color: #f3f3f3;">Curated by Francesca Gavin</span></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial;"><span style="color: #f3f3f3;">Nazafarin
Lotfi is an artist with a nuanced approach to abstraction, texture and tone.
Born in Iran, Lotfi is based in Chicago where she completed her MFA in Fine
Arts. Her work has been exhibited in Milan, Chicago, Seoul, Budapest and New
York. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Arial;"><span style="color: #f3f3f3;">Lofti
began working on this series of<b style="mso-bidi-font-weight: normal;"> </b>small-scale
paintings in 2010 alongside larger works, increasingly attracted to their
intimacy. Part of what makes them so interesting is their focus on texture. “References
of time passing on the surfaces of things always intrigued me,” the artist
explains. “It was a reward to find the layers of dust in the corners of my
bedroom or kitchen, all the places that I didn’t reach. When I rented a studio
the marks left from the previous artists or the rubbed and worn floors were
always fascinating. They are so much about a lived experience that is not
present at the moment and these residues focus your attention to their
thing-ness. I wanted to create that in my paintings.”<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: Arial;"><span style="color: #f3f3f3;">Her
reduced color palette to a spectrum of monochrome tones is part of what makes
the results so interesting and surprisingly broad. “I needed to focus and pay
attention to what was in front of me. Then all the possibilities of different
grays opened up and it became about all the colors between black and white.”
When making the work, Lotfi covers her canvases in black and paints over this
white, layering and sanding each layer when dried for weeks. Some pieces
included found elements from her studio – old drawings, cut papers. Here the
image itself reflects the process of addition and removal. As she notes, “I
wanted to spend time with the work and do an activity- the traces of my
presence and touch is left on the surfaces.”<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Arial;"><span style="color: #f3f3f3;">The
presentation of the work was something conceived by the artist. “I like how the
paintings coexist together. They are all part of a larger entity but can also
function on their own.” Sculpture is the serious focus of Lotfi’s work outside
of these paintings – influenced by vessels, ritualistic objects and the work of
artists like Franz West and Jessica Jackson Hutchins. Recent piece include
paper molds of everyday objects with a surface relating to her textured 2D
pieces. Her practice as a whole reflects an intelligent take on the abstract.
“Abstraction came to me as a world of possibility, in some ways liberating and
opening. We usually tend to go for the narrative, that is how we understood the
world at the first place but I think we should move forward and learn to live
without it.” This is work about experience itself.<o:p></o:p></span></span></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;"><span style="color: #f3f3f3;"><a href="http://www.nazafarinlotfi.com/">nazafarinlotfi.com</a>;
text and curation Francesca Gavin <a href="http://roughversion.blogspot.com/">roughversion.blogspot.com</a><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;"><span style="color: #f3f3f3;">For enquiries
contact fgavin@gmail.com<o:p></o:p></span></span></div>
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<span style="color: #f3f3f3;">Images from top: All courtesy ofthe artist</span></div>
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<span style="color: #f3f3f3;"><span style="font-family: Cambria; font-size: 12pt; text-align: center;">Untitled (2012) </span><span style="font-family: Cambria; font-size: 12pt; text-align: center;">Mixed media on canvas</span></span></div>
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Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-9213049037416213532015-05-24T18:35:00.002+00:002015-05-24T18:35:33.631+00:00My Best of Venice 2015<div dir="ltr" style="text-align: left;" trbidi="on">
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<img alt="Kerry James Marshall’s fluro abstract paintings" src="http://dazedimg.dazedgroup.netdna-cdn.com/786x700/azure/dazed-prod/1120/0/1120459.jpg" height="400" itemprop="image" style="border: 0px; box-sizing: border-box; display: block; margin: 0px auto; vertical-align: middle;" width="300" /></div>
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<br /><span style="color: #f3f3f3; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">These two posts went up on Dazed but i'm putting links here too for a bit of archival action. I</span></div>
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<span style="color: #f3f3f3; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: small; line-height: 1em;"><a href="http://www.dazeddigital.com/artsandculture/article/24732/1/the-top-artists-at-this-year-s-venice-biennale" style="line-height: 1em;">The top artists at this year’s Venice Biennale</a> and <a href="http://www.dazeddigital.com/artsandculture/article/24641/1/ten-things-to-search-out-at-the-venice-biennale">Top Ten things to search out at Venice Biannale</a></span></div>
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Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-7861028040736459882015-04-29T07:33:00.001+00:002015-04-29T07:33:08.816+00:00Watch This Space <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7jAsQkIFTz6qB7NCzO_FJjYYp-jYlFT5A4k0bI9N9Ckx09G1DfFISTdJaBZQRA2AzfQp6S948cWxrPZXLk0Cnl1L1i8WYsf1ej9Cs4ID920WV_l-EdAcr_cjBgGkEf6hBdtm6/s1600/Screen+Shot+2015-04-29+at+08.04.45.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7jAsQkIFTz6qB7NCzO_FJjYYp-jYlFT5A4k0bI9N9Ckx09G1DfFISTdJaBZQRA2AzfQp6S948cWxrPZXLk0Cnl1L1i8WYsf1ej9Cs4ID920WV_l-EdAcr_cjBgGkEf6hBdtm6/s1600/Screen+Shot+2015-04-29+at+08.04.45.png" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Originally presented as the keynote lecture at STRP Festival March 2015.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Watch This
Space</b><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Text Francesca
Gavin</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This is an
examination about our relationship to screens. How that association is changing
our daily experience, our ways of thinking, our ways of looking. Lets start
small – with the phone. It is the most intimate example of our relationship to
technology. The screen-object we carry with us everyday. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">If you search
“looking at phone” what comes up is a <a href="https://youtu.be/wl0JojWH1rQ">YouTube clip</a> of people staring at their
phones. It is described as “an epidemic of texting while walking” and
positioned as something seriously dangerous. Illustrated by funny amateur phone
footage, this humorous news excerpt is a perfect example of our relationship
with our phones. How we fall into our focus on the screen – forgetting the
physical space around us. Forgetting our own physicality. <span style="line-height: 150%;">I love the
phrase “inattention blindness”. But in fact, it is the opposite. The people
featured are consumed with attention – they are just looking down at the object
in their hands not at their ‘real’ surroundings.</span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Where is the screen?</span></b></div>
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<o:p></o:p></div>
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<span style="font-family: Arial, Helvetica, sans-serif; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGY_Szrh9sZyjO4LHPQKzmKibagpY-L_Y9aQl_hwN6_JYMChyphenhyphene1EVlIVlqRa11oRtoVAYTvA0q-ZrQPT_C8lgDWQqwNnZOq7Xwbp9mZO6SmdnioQrVV9si-NyDR-fw_MycCc-V/s1600/DSCN1844.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGY_Szrh9sZyjO4LHPQKzmKibagpY-L_Y9aQl_hwN6_JYMChyphenhyphene1EVlIVlqRa11oRtoVAYTvA0q-ZrQPT_C8lgDWQqwNnZOq7Xwbp9mZO6SmdnioQrVV9si-NyDR-fw_MycCc-V/s1600/DSCN1844.jpg" height="240" width="320" /></a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Where is the
screen in contemporary life? We wake up and check our screens for messages. If
we travel to work on public transport, more than half of us are on our phones.
We stare at screens for work, communication, play and diversion throughout the
day. Travel home, and watch a screen again for entertainment. Sometimes with a
second screen on our lap. Then we go to sleep with our screens next to our
beds. We experience screens in advertising – moving alongside us on the
escalator, blown up in public space. At music gigs or exhibitions or cultural
experiences, everyone is watching things through their screens, capturing the
moment in some form. Amateur mobile screen footage is now normal on the news. </span><span style="font-family: Arial, Helvetica, sans-serif; line-height: 150%;">As James
Bridle in his essay ‘The New Aesthetic and Its Politics” writes, “protest,
repression, revolt and schism are framed not through the lens of critique, but
the lens of iPhones and iPads held aloft.”</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In recent
years, there has been a wave of literature deconstructing our relationship to
technology – often criticising it even from within. Jaron Lanier, an American
computer scientist and pioneer of virtual reality, in his book ‘You Are Not A
Gadget’ from 2010 criticised the limitations of the structure of programming
and how it restricts human expression and communication. Devices, he notes, are
“inert tools and are only useful because people have the magical ability to
communicate meaning through them… The most important thing to ask about any
technology is how it changes people.”<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">For me the
most influential text to sum up our experience with technology and what it
means to exist now is Jonathan Crary’s ‘24/7’ that appeared last year.
Subtitled ‘Late Capitalism and the Ends of Sleep’, the book is deeply critical
of the political and commercial interests that oversee our relationship to
technology. If you’re checking your emails or feeds in the middle of the night
on the tablet next to your pillow, this book will make you feel very
uncomfortable. In particular much of the focus of the book is on the speed of
consumption – the current accelerated formats of image and information
absorption. Nothing is ever really off – just resting, waiting to be activated
at a single gesture, touch or glance. Here the screen becomes a device that is <i>limiting</i>
not increasing our activity. To quote Crary, “Devices are introduced (and no
doubt labelled as revolutionary), they will simply be facilitating the
perpetuation of the same banal exercise of non-stop consumption, social
isolation, and political powerlessness.”<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Crary points
out how the myths of open source egalitarianism and the empowerment of
technology have been cultivated. “The idea of technological change as
quasi-autonomous, driven by some process of auto-poesis or self-organisation,
allows many aspects of contemporary social reality to be accepted as necessary,
unalterable circumstances, akin to facts of nature. In the false placement of
today’s most visible products and devices within an explanatory lineage that
include the wheel, the pointed arch, movable type and so forth, there is a
concealment of the most important techniques invented in the last 150 years:
the various systems for the management and control of human beings.” To
paraphrase, we voluntarily kettle ourselves in cyberspace.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">The screen as interface</span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">My aim here is
not to join the choir of criticism. Though my feelings are ambivalent – a
midpoint between horror and fascination, admiration and addiction. Rather than
the wider discussion around technology, I want to focus on the interface – the
screen itself. Many theorists have focused on the content of the screen – the
ideas around the network and the effect of technology on our psychology,
actions and thinking. Yet there is very little discussion about the black
void-like rectangles we stare into so much. To begin with, what is a screen?<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">When I first
started thinking about this topic it was such an easy thing. It was something
that grew directly out of the construction and composition of painting –
referencing the dimensions and constructions of the canvas. The modern screen
was an extension of the cinema screen and the television, which became the
monitor, the laptop screen, the phone screen and the flatscreen. Yet, as the
academic and writer Peter Lunenfeld pointed out to me, my conception was
perhaps limited. “The newest screens really are sort of only pseudo screens.”
The screen today is no longer necessarily a black rectangle or square. It is
also an a oculus rift headset or a projected surface with moving imagery like
the blank tunnels on the London tube system which are transformed into screens
between trains. The screen has moved beyond the confines of the screen.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Scale is
something Peter also discussed with me - the emergence of the ‘phablet’. A
phone with a bigger screen space to watch things on. In the 21<sup>st</sup>
century we are seeing a move away from mid ‘human’ size towards the tiny or the
supersized. The same applies to narrative itself. “The classic Aristotelian
dramatic unity of the 90 to the 120 minute theatrical presentation, which moves
from Greek theatre into medieval passion plays, into narrative length films -
that just disappears in favour of the Vine at six seconds and Game of Thrones
at 28 hours.” There is a strong connection between how and what we watch and
the changes in our devices.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">The New Intimacy<o:p></o:p></span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><o:p> </o:p><span style="line-height: 150%;"> </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I think one of
the most interesting changes in our relationship to the screen is a new sense
of intimacy. Screens live in our pockets, our bags. We often touch them or
check them for reassurance. Sometimes numerous times per hour. The content of
the screen<i> is </i>life. As Baudrillard the postmodern French sociologist and
philosopher wrote in his essay ‘Screened Out’ in 1996: “Distance is abolished….
between stage and auditorium, between subject and object, between the real and
its double.” He goes on, “There is no separation any longer, no empty space, no
absence: you enter the screen and the visual image unhindered… The video image
– and the computer screen – induce a kind of immersion, a sort of umbilical
relation, of ‘tactile’ interaction as McLuhan in his day said of television…”
Here our addiction and relationship to the screen is fuelled partly by a desire
for self-immolation. As Baudrillard states, “from the desire to disappear, and
the possibility of dissolving oneself into a phantom of conviviality.”<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Screens have a
bad reputation. They are blamed for eye ache, sleep damage, rewired brains, and
social isolation. A recent Norwegian study observed teens slept less when they
used computer screens more. The artificial light activated wakefulness and
suppressed melatonin. Charles Arthur, in his 2008 article in The Guardian ‘It's
the screens, not the internet, that are making us stupid’ wrote, “Low resolution
monitors (including all computer screens until now) have poor readability:
people read about 25% slower from computer screens that from printed paper.” A
study from Manchester University found reading on paper 10-30% faster than on
screens. (Interestingly the screen is always being positioned in contrast to
the book page – again a throw back to the work of Marshall McLuhan.)<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In McLuhan’s
‘The Medium is the Massage’ the focus was the television, yet his ideas could
easily be applied to the modern screen. He writes, “In television there occurs
an extension of the sense of active, exploratory touch which involves all the
senses simultaneously, rather than that of sight phenomena, the visual is only
one component in a complex interplay… Television demands participation... It
will not work as background. It engages you. Perhaps this is why so many people
feel their identity has been threatened.” Its amusing to think anyone would
feel this way about TV after so much more invasive technology has been developed.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The
screen has increasingly become a space for human psychological expression or
dissolution or distrust.<b> </b>Andre Nusselder’s in<b> ‘</b>Interface Fantasy:
A Lacanian Cyborg Onotology’ argues that the computer functions in cyberspace
as a psychological space – as the screen of fantasy. At one point she mentions
the work of MIT professor Jozeph Weizenbaum, who wrote the first computer
psychotherapy program <a href="http://www.masswerk.at/eliza/">ELIZA</a> in 1966 – which Lacan was fascinated by.<span style="color: #222222;"> S</span>he explains, “Lacan
acknowledged that ELIZA appears to produce some sort of transference relation.
People find something (of themselves) in the machine; they unconsciously
transfer (fantasmically) the object of their desire onto it. Computers may
appear as fellow “humans”: you can talk to them, they can ask you questions,
you can play and cooperate with them.” We see our screens as sentient.<span style="line-height: 150%;"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Psychologist
Sherry Turkle has been strongly critical of the changing emotional fallout from
technological developments. In ‘Life on Screen’ (1995) she writes, “We have
learned to take things at interface value. We are moving towards a culture of
simulation in which people are increasingly uncomfortable with substituting
representations of reality for the real”. More recently in her 2012 Ted Talk
‘Connected, but alone?’ she laments the opportunity for self-editing and
distance that technology allows us.<b> “</b>Texting, emailing, posting lets us
present the self as we want it to be. We get to retouch. Human relationships
are messy. We clean them up with technology. We sacrifice conversation for
connection.” She notes that the phone presents the fantasy that we are never
alone, will always be heard. “Being alone feels like a problem that needs to be
solved. I share therefore I am.”<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Future Fantasies<o:p></o:p></span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The future
looks even crazier. The TV series ‘Wild Palms’ is a great metaphor for the
possibilities of what the screen can be. This mini series was released in 1990
– following the avant-garde approach of Twin Peaks. It was based on a comic
strip by Bruce Wagner. It was partly created and produced by Oliver Stone with
episodes directed by Kathryn Bigelow among others. The series focused on a
future Hollywood in a fictionalised 2007 where an underground movement, the
Friends, were in resistance to the right wing Fathers who owned the media and
had political and religious control. The way the populace were manipulated and
controlled was through a virtual reality holographic technique ‘Mimecom’. The
protagonist’s son is set to star in a Channel 3 series “Church Windows” using
this new media, which would project a holographic character into your domestic
space. Here the screen literally broke out of the fourth wall and touched you.
This was an exploration of the possibilities of virtual reality (sometimes
exaggerated by an addictive drug mimezine).</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Steven
Spielberg’s ‘Minority Report’ provides another metaphor of the transformed
screen – in the context of marketing, advertising and consumerism. You could
literally feel capitalists get turned on the minute that film was released.
Both of these examples highlight something central to what a lot of artists and
writers are highlighting – the ownership and possible exploitation of
technology. (Something Lunenfeld explores very well in his book ‘The Secret War
Between Uploading and Downloading’).</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">There are
rumours of Facebook’s messenger app recording people’s conversations and
ruffled feathers over Samsung's amended Terms and Conditions warning users of
their Smart TVs that [records?] conversations within earshot of their products.
The screen is watching us as much as we are watching the screen. Television
today is often a two-screen interaction – with phones and tablet interaction
encouraged to revive traditional passive media. Sony have just patented
methods, systems, and computer programs for converting television commercials
into interactive network video games. In one method, a broadcast or streamed
commercial is accompanied by an interactive segment. A media player would
present users with an enhanced and interactive mini-game commercial that could
be played with other ‘viewers’. It could be inserted within the television
program, overlaid on frames or last the duration of a commercial spot.
Interactive adverts already exist on services like Hulu.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Ageing Technology</b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Getting back
to the present, it is also important to define what the modern screen’s
appearance is. It has its own texture, colour and illumination. Many artists
that are making work today reflect this – like Rafaël Rozendaal, who will be
talking later today, the digital animations of Daniel Swan, the projections and
print work by Travess Smalley. The way images disintegrate on the modern screen
is also very important. Laura Marks writes in ‘Touch: Sensuous theory and
multisensory media’: “The noise of a failed Internet connection Soundbite? is a
declaration of electronic independence. It grabs us back from the virtual space
and reminds us of the physicality of our machines.” She emphasises that digital
media are in fact analogue. They are unpredictable, make errors, breakdown,
connections cut out – these are all things that remind us of technology’s
physicality rather than its transcendence. Failure is inbuilt into technology
design. As Marks puts it “technologies age and die just as people do.” It is
just manufacturers and techno evangelists with vested interest that make us
want to dream it is superhuman.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Esther Leslie
in her Slade Contemporary Lecture of 2010 questioned <a href="https://www.youtube.com/watch?v=sl5ZmQOx8IA">“Is there a liquid crystalaesthetic?</a>” For Leslie, HD screens <i>are</i> the new contemporary media in
themselves. The ability of LCD and plasma screens to be flicker free, still at
any moment and negate the time progression of narrative is influencing creative
content. Here art’s progress is bound up with the imitation of nature – depth,
perspective etc. The definition of mimesis. Today’s photorealistic 3D animation
attempts to do the same thing – to make fiction invisible. Yet at the same time
digitization is a simulation. A computer transforms an image into pixels, code,
a language – the result is a version of something.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">We can
conclude that the screen is complex. It is becoming the focus for all kinds of
issues of modern life. Physical, psychological, cultural, political. We have
never been more obsessed with looking at the moving or still image in screen
space. Nathan Jeurgenson notes in ‘The IRL Fetish’ “the plain fact that our
lived reality is the result of the constant interpenetration of the online and
offline.”<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Between the Passive and the Active </span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">So how are
artists addressing this relationship? I think this can be positioned between
the idea of the passive and active screen. The passive screen is one observed,
a screen as object. In its most simple form, this is a screen we watch. <a href="http://www.camillehenrot.fr/en/work/68/grosse-fatigue">CamilleHenrot ‘Grosse Fatigue’ </a>(2013) is a beautiful example of a film, which
documents our computer screen relationship. The piece examines the way we look
and accumulate information. There is a strong sense of rhythm and editing in
the work, which was developed during a residency fellowship at the Smithsonian.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">She discussed
the project with me in 2013. “I was doing a lot of Internet research on the
Smithsonian database. I often had a lot of windows open on my desktop. When you
look at a cluster of windows on a desktop and try to find reason, it results in
a kind of primitive thinking – a sort of ultra rationality. You see the images
together and then your mind makes these connections, not because there is a
connection but because your brain needs to resolve the images.”<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Here the
screen becomes the subject of work itself. Shown as a projection, nonetheless
our engagement is one of observer watching the film from the point of a
relatively passive audience. Another contemporary example of this passive,
observant screen relationship is Dis’ #Artselfie project, which was recently
released as a book. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Part art
project, part viral meme, the artselfie revealed the audience’s desire to
capture themselves alongside the artwork, even inside the artwork. The subjects
become temporary collectors who are able to have their experience intertwined
with a digital ownership of the work in some form – even if only within the
screenscape. The results feel like a prosaic take on performance documentation.
In this way the art object becomes something communal, sharable and conceptual
rather than physical.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://legion-tv.com/wp-content/uploads/2014/01/Samara-Scott-press.pdf">Samara Scott</a>
is an artist better known for her work in 2D space – sculptures, paintings and
installation pieces. However, she created a fascinating web project for Legion
TV that I think is of note as an example of an artist drawing on ideas of the
passive screen interaction. Scott is interested in how the screen perverts gaze
– “shifts and melts and inverts natural legibility”. Her work was an attempt to
make a narrative film but this emerged as a diary of snapchats and scenes she
had casually collected placed together on the screen, which popped up over
whatever was on the viewer’s desktop. Playing with the logic of collage, this
moving image was largely footage of textures, soft things, hard things, woven
objects. “Textual encounters” as she puts it. The result was a very visceral
experience to watch – a digital creation of sensation. She is currently making
a body of work photographing and filming sanitising hand gel on an iPad.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">The Screen as Object</span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The next stage
of the passive screen is one where the screen is embedded in the work – often
within the sculptural or painting field. Ken Okiishi does this by making the
screen into a canvas for paintings. Nate Boyce does this by making sculptural
plinth part of a work holding a screen. The work of British based artist <a href="http://adhamfaramawy.blogspot.co.uk/">Adham Faramawy</a> is a great example, placing screens within complex sculptural objects. Based in the UK, originally from Egypt and
is a graduate of the RA schools. He was originally influenced by the arrival of
flat screen TVs and how they were replacing cathode ray monitors and the way
this changed how we receive and perceive an image.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; line-height: 150%;">His use of the embedded screen emerged after
he began working with animators to produce sculptural computer programs and
later particle animation. “I started to get familiar with the logics and the
languages of the interfaces to the programs producing these moving images.
They're inherited from analogue, physical traditions like film editing, clay
modelling and masonry, but unlike the given conditions of these traditions,
with computer modelling you can't make assumptions, you have to assign physical
conditions and physics to an object.” contained within highly textured cases
and plinth structures. Often the screen is upturned in his work. He explains,
“Shifting the angles at which a viewer receives an image was, for me, intended
to point at the physicality of the image, thinking about the substrata carrying
that image as a sculptural body, a form within a composition.”</span></div>
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<o:p></o:p></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Another
passive example of screen use is deconstructed and taken apart but still
functions in some way as a screen. One example would be the work of <a href="http://www.yuripattison.com/">Yuri Pattison</a>, an artist who is currently in residence at the Chisenhale Gallery and
was part of the collective Lucky PDF. He has used digital signage monitors,
which present self shot iPhone footage – commenting on our consumption of
screen based information. His current interest is in e-ink panels. Pattison often
takes apart screens and displays their inner workings, revealing the mechanisms
of display. As a result, we can see a small number of manufacturers are making
these parts – Samsung panels are being used by numerous brands for example. He
removes the façade of slick design and marketing. “The stripping of the screens
cosmetic body and branding also highlights the mechanisms that support the
display of the image – these mechanisms are normally invisible, deliberately
hidden by the manufacturer to present a seamless experience.” Pattison notes.
“We view screens as a window on to something, so in the way we don't think of
the glass in the window we don't think of the processes behind the
representation on the screen. There are numerous layers we don't perceive, or
barely perceive, in the act of viewing something on a screen.”<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Berlin-based
artist <a href="http://032c.com/2014/artist-simon-denny-is-shaping-berlins-disruptive-startup-culture/">Simon Denny</a> who is representing New Zealand in the next Venice Biennale
is very interested in a deconstructed screen. His work has examined TV hacking,
the thinning of monitor, how we receive information, the design, packaging and
structure of the companies behind the consumption of technology, and
conferences that promote and position devices in society. Here the screen is
printed on panels. Analogue materials replicate the structure and format of the
screen.<b> </b>The screen is ripped apart, reimagined and revealed.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Another way
the passive screen is explored in artworks is when it is translated into
something outside of the screen – the screen space in real space so to speak.
Dutch artist <a href="http://www.constantdullaart.com/">Constant Dullaart </a>does this well. “The screen is our contemporary
landscape. We spend more time daydreaming and staring at screens then we look
out of windows. The screen is a personal experience more and more, which brand,
design or lifestyle you subscribe to. This fetishisation of the private
experience seems to be a response to knowing most networked screen based
communication is not private at all,” he points out. “How private can a screen
get, can it get more private then the Oculus Rift, Microsoft Hololens, or
Google Glass? If we have these private views, are we leaving our shared
experiences to be mediated by commercial companies?”<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">The active screen</span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The next level
artists are engaged with the screen as what I’m going to call the active
screen. This is where artists are exploring ideas around interaction and space.
I curated a show called <a href="https://www.youtube.com/watch?v=vaUme6DY8Lk">‘Responsive Eyes’</a> a couple of years ago that I want to
bring up at this point. It was inspired by documentation of the opening of ‘The
Responsive Eye’ an exhibition held at MOMA in New York in 1965. It brought
together artworks by so-called ‘Op’ and minimalist artists such as Bridget
Riley, Josef Albers and Viktor Vasarely. The curator William Seitz described
the show an “exhibition that would indicate an activity, not a kind of art”. He
argued in the exhibition’s catalogue this was “non-objective perceptual art”,
art that “exists primarily for its impact on reception rather than for
conceptual examination… Ideological focus has moved from the outside world,
passed through the work as object, and entered the incompletely explored region
area between the cornea and the brain.”</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The reason I
wanted to highlight this moment in art is because I think our interaction with
the screen has decades of legacy of technological advancements that have played
with human perception and physicality. I want to connect these ‘retinal’ works
with gifs, digital paintings and 3D animation. How we relate and view the
constant influx of movement, imagery, sound and informational content in modern
screen life.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The exploration
of screen interaction can be lo fi. <a href="http://www.datenform.de/">Aram Bartholl</a>’s show which closed earlier
this month at Baby Castles in New York questioned the screen perspective. “Most
of our reality today is taking place in that phone rectangle. The screen
constantly moved closer to our eyes over the past decades (from cinema to
phones). The screen will be attached to our eyes soon (glasses or lenses).”
Playing on the exchange and selling of imagery though the screen, Bartholl’s
exhibition was very much made for interaction and dispersion through social
media. He created giant photo picture cut outs so people could pose as if
within the phone screenspace for Instagram, Twitter or Facebook. The main aim
was to get visitors to interact with each other.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Selfie sticks,
head mounted cameras like GoPro or Google Glass played with the idea of the POV
image (what is this?). He created head mounted phones during a workshop at the
Atlantic Center of the Arts, experimenting with filming POV techniques. “In the
end it appeared to me that the picture of someone wearing his/her phone on the
forehead obviously filming is even more interesting than the actual clip shot
with that head mounted phone.” He explains, “The whole thing is a bit cyborg
but in a silly, lite [light?] way.”</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The active or
living screen can be seen in the work of <a href="http://www.aaaaaaa.org/">Antoine Catala</a>. In his video
projection works and sculptural installations the screen appears to literally
come to life. He uses membranes that appear to be breathing, moving in a techno
organic way. He has streamed television into fluid blobs shapes – ‘alive’ in
some form. He uses display technology and reflection to create screen-like
space. Many of these pieces are a step beyond a mere passive screen as it is
one alive, in flux – closer to the conceptual approach of someone like Bruce
Nauman and his real time video experiments. Our engagement may still be as
observers but the screen itself comes to life in some way.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">The Human Touch</span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The next level
of active screen is one that is activated by human touch or a click – such as
in the online installation pieces by <a href="http://bmruernpnhay.com/">Brenna Murphy</a> or the websites by Rafaël
Rozendaal. Murphy makes immersive installation pieces in real space, often with
sound elements and performance, but her interactive pieces are largely based
online. The intimacy of the screen relationship is key. “I make art that is
meant to be viewed on the Internet by people privately browsing from their own
device. I think this is an intimate and powerful way of transmitting and
experiencing media.” Here viewers click on audio files so they overlap with
rhythmic gifs, video montage and scrolling images she makes from her own video
footage. The results are very psychedelic. Clicking on images takes us through
a maze of digital collage imagery. The aim of her web <a href="http://bmruernpnhay.com/temprl~toolarray.html">‘Labyrinths’</a> is to make us conscious
of the role of the screen.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Her work is so
successful because it relates to how we are used to using our screens for input
and interaction. The simple click and arrow (or in some examples touch). Other
artists also create active screen works that replicate the interactive pathways
and experience of exploring the Internet, such as the online questionnaires and
page-to-page pathways of <a href="http://cecilebevans.com/">Cecile B Evans’</a> online project for Serpentine Gallery
AGNES. A spambot that generates experiences beyond the virtual, and created a
sense of connection and emotion query. Here the screen touches on those
sensations of Lacanian transference<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The active
screen relationship is very clear in artworks that draw on gaming –
increasingly a source of inspiration for a generation of artists including
Lawrence Lek, Tabor Robak and the Dutch artist Rosa Menkman of whom we will
also see work in the Vertical Cinema program tonight. Games give the illusion
of interactive but in fact the audience is still largely controlled by the
artist, the developer, the structure of the screen – something that
metaphorical reflects our relationship to technology and screens as a whole.
Devices that, for the majority of users, force us into a passive position.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">There are also
structural and aesthetic aspects of screen game interactivity that emerge. Jon
Rafman and Rosa Aiello’s online film work “Beyond Carthage” was conceived of
spaces from “Uncharted 3: Drake’s Deception” and “Second Life” to look at ideas
around history and self through largely architectural spaces. As Aiello notes,
“The decay and historical movement of a digital object occurs laterally,
through pixellation and a loss of image quality, rather than by rusting or
crumbling or scars.”</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9h-hEhJREJnKR6nd0rt59XuR5JGM5PMRODhb4FBDRrWkGm0Wh3-G2f3xBGzzBl3RQT8kZLMjX14PcXq2dhXG7__57nMrGcLcA4Yj5UM6rCvlbJFmfzgu8_jBI8dDpCSSn0EaG/s1600/7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9h-hEhJREJnKR6nd0rt59XuR5JGM5PMRODhb4FBDRrWkGm0Wh3-G2f3xBGzzBl3RQT8kZLMjX14PcXq2dhXG7__57nMrGcLcA4Yj5UM6rCvlbJFmfzgu8_jBI8dDpCSSn0EaG/s1600/7.jpg" height="300" width="400" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.benwashington.org/">Ben Washington</a>
is an incredible British artist using the interactive screen in his
exhibitions. He creates sculptural installations in galleries and then
recreates these spaces, though often with strange failure and pathways, digital
as an interactive game he places within the exhibition space. The viewer
(standing behind the controls of an arcade machine) will, for example, find
themselves in a virtual version of the exact same physical gallery space in
which they are standing. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The result is
an experience that contrasts seeing the real and the virtual version of
something at the same time. They both become fused and influenced by each
other. Washington explained to me, “the interest between screen space and real
space arises at the point at which they converge and diverge. The focus in my
work has been on these uncanny moments.”</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The
interactive nature of the screen is of particular note to Washington from a
more social perspective. He points out, “How much we are going to let the
screen encroach into real space and into our social norms? Already it is
evident that socially it is now almost totally acceptable to wander around with
your face in a smart phone. And you would expect newer technologies such as
Google glass, and interactions such as augmented reality, but interestingly it
feels that both these developments have stalled. I’m as interested as much by
that which we decide to discard along the way as that which we finally decide
to assimilate with.”<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4RRScb2Jv4P4GSDe1w8HnYgDiVwnGoNU90ornw-33XUodqRHvhdnha7Fy7pzyBRL-Fc5afLw5anAs8aZlIyVFyjjg3zbE6_QS-j6rCIb_5fDk6QBsdM6qPFAa28RS5g79CKix/s1600/LisaWedding_virtual+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4RRScb2Jv4P4GSDe1w8HnYgDiVwnGoNU90ornw-33XUodqRHvhdnha7Fy7pzyBRL-Fc5afLw5anAs8aZlIyVFyjjg3zbE6_QS-j6rCIb_5fDk6QBsdM6qPFAa28RS5g79CKix/s1600/LisaWedding_virtual+copy.jpg" height="266" width="400" /></span></a></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Washington was
particularly excited by development kits being produced for Oculus Rift and the
other contenders in the Virtual Reality market – Sony's ‘Morpheus’, ‘Steam VR’
and the ‘Sulon Cortex’. William Gibson’s version of cyberspace made flesh.
Director David Mullett, who is currently working on a VR project and has been
writing on the subject, describes the attraction of the VR screen. “VR has a
frame in the sense that it is a screen tied to your face – but with a software
coding sleight of hand and optics advancements alongside the accelerometers and
gyroscopes built into smart phones, it appears as if there is no frame
whatsoever. And our relationship to screens is so addictive and obsessive
that we need to ramp up our stimulation to tug the emotions or get that
dopamine hit we are so hungry for.”<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Artists are
beginning to experiment with VR itself in a more conceptual way rather than
gaming context. The Sundance film festival had a whole VR exhibition project.
Oscar Raby’s <a href="http://oscarraby.net/wp/assent/">‘Assent’ </a>documented the artist’ cathartic exploration of his
father’s traumatic memory of a mass execution in Chile in the seventies. Part
interactive, part cinematic a physical and poetic journey into trauma. A hybrid
between first person gaming and the protagonist in a film narrative.
Perspective’ by Morris May and Rose Troche reveals an extremity of first-person
filmmaking where the audience is put in the shoes of a teenage girl being date
raped at a house party, then in the shoes of the guy doing to raping. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Max Rheiner’s
<a href="http://somniacs.co/">‘Birdly’</a> is a flying-simulation installation where your entire body is used to
fly like in a dream. As Mullet notes, “With VR immersion, your unconscious
brain actually thinks that it is doing these things, indicating that the
technology will rewire our brains in critical ways with extent of use and
intensity of experience.” He imagines flipping through immersive channels like
TV surfing. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">As the
boundaries of the screen transform the future is looking pretty crazy – though
I admit the excitement and fantasy of tech literature over the past twenty or
so years always sees wild changes on the near horizon. Writer, curator and artist
<a href="http://hxrts.com/">Sam Hart</a> sees the post screen future for art as something more to do with the
structure of the internet itself. In fact a new decentralised Internet. Artwork
coming out of the blockchain space. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">As Hart
explains, “the blockchain is nothing more than a publicly visible, distributed
database whose entries are immutable once instantiated. The “blocks,” or
records, comprising the database are uniquely addressed and have a
cryptographic key which entails ownership.” Hart suggests this space could
become a novel medium for digital art by encoding line and colour values,
sequences and relationships. The yet to be launched platform for decentralized
applications Ethereum (<span style="color: windowtext;"><a href="http://www.ethereum.org/">www.ethereum.org</a></span>), for example, embeds an
entire programming language for design. As Hart explains, “I think it
represents a significant progression in digital artistry: a uniquely relational
medium that circulates through body and network by way of the screen.” The
results are unknowable at this time but these new languages point to new screen
based structures to create work within and upon. As Lanier points out, the structure
of programming has a huge influence on the results we experience. Rethink our
entire approach to that and you have a different future in formation.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">So where does
this leave us and our little black screens? Sam Hart sees the screen as “a
hopeful object, representing possibility better than most anything.” Despite
the anxiety around them, they are the site of a lot of creativity. It is
impossible to be comprehensive in the many ways artists are using the screen in
their work – what is so interesting is how varied approaches are. Interactive,
passive, three dimensional, flattened, virtual, literal – the screen has a lot
more conceptual depth than a void. In fact the void-like nature of the screen
can be seen as what makes it so exciting. It is waiting to be filled with
imagery, information </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">and ideas.<o:p></o:p></span></div>
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<span style="line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;">(c) Francesca Gavin 2015
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Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-72565965226566431322015-04-24T08:01:00.000+00:002015-04-24T08:01:03.695+00:00New Shows in London<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilAsgh9IaegmMZe7X82VSYGfKOVfO6GaOalH-5PmVsjova9LbwO5U_rAMUfx3OjLnjCxUaD7KMJTRWoGMSBrym7Z3-0vbodCi0MSltVBw3v2r9VlFkWbp3mXRe340wmK70qzzK/s1600/Oliver-Laric-3D-scan-of-18th-Century-Statue-Mars-by-John-Bacon-2015-2_jpg_573x380_crop_q85.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilAsgh9IaegmMZe7X82VSYGfKOVfO6GaOalH-5PmVsjova9LbwO5U_rAMUfx3OjLnjCxUaD7KMJTRWoGMSBrym7Z3-0vbodCi0MSltVBw3v2r9VlFkWbp3mXRe340wmK70qzzK/s1600/Oliver-Laric-3D-scan-of-18th-Century-Statue-Mars-by-John-Bacon-2015-2_jpg_573x380_crop_q85.jpg" height="205" width="320" /></a></div>
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Work has bamboozled me and I have missed the following openings that I intend to catch up on fast:</div>
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Oliver Laric @ <a href="http://www.acflondon.org/exhibitions/oliver-laric-exhibition-opening/">Austrian Cultural Forum</a></div>
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(image above)</div>
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<a href="https://www.ica.org.uk/whats-on/seasons/looks">Looks</a> @ ICA</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHqBNZhPOUiFYAes9ZLWfB2-h0KT-P4aZED5n2SLZ9wruUL4E9whwHpO47_yUciTTuQkeRcMX9Su3LlMXQODJgU4qb6bIyjvZi2Dq1H9MShIzbPlaZunHQBPlSbxhtIBqXQlkg/s1600/webLooksYou+Can+Come+and+Get+It_Lores.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHqBNZhPOUiFYAes9ZLWfB2-h0KT-P4aZED5n2SLZ9wruUL4E9whwHpO47_yUciTTuQkeRcMX9Su3LlMXQODJgU4qb6bIyjvZi2Dq1H9MShIzbPlaZunHQBPlSbxhtIBqXQlkg/s1600/webLooksYou+Can+Come+and+Get+It_Lores.jpg" height="320" width="212" /></a></div>
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Carol Bove @ <a href="http://www.davidzwirner.com/exhibition/carol-bove-3/">David Zwirner</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqAlSY2yldnozEo80njajsFA2zP6hYwkh1hiQckvJVaK_FP8ht0yqJ9GJ90-lEpSbTO9TkNEso5KnJKuZFrzexPDWrUEjKazsMVjNH_sdqvB_USvW2fasBtNxczIK_8cGk-D3W/s1600/CBDZLSHOW2015-1-100-600x433.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqAlSY2yldnozEo80njajsFA2zP6hYwkh1hiQckvJVaK_FP8ht0yqJ9GJ90-lEpSbTO9TkNEso5KnJKuZFrzexPDWrUEjKazsMVjNH_sdqvB_USvW2fasBtNxczIK_8cGk-D3W/s1600/CBDZLSHOW2015-1-100-600x433.jpg" height="230" width="320" /></a></div>
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<a href="http://www.maureenpaley.com/exhibitions/future/aa-bronson-and-general-idea"></a><a href="http://www.maureenpaley.com/exhibitions/future/aa-bronson-and-general-idea">AA Bronson</a> @ Maureen Paley</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggScoKE7MLnEF6zV5vquYqyd7g4VsvacUSSXKlBG2Qat55Eb6jrjkAnKSIafMBPmKbi1nvYxAfp2Xd7MyhMNLOfoUji4zjuXJsUbmvbfSL1ai3TyiXaLZg_cwy0hS8cQGGR3jO/s1600/AA_cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggScoKE7MLnEF6zV5vquYqyd7g4VsvacUSSXKlBG2Qat55Eb6jrjkAnKSIafMBPmKbi1nvYxAfp2Xd7MyhMNLOfoUji4zjuXJsUbmvbfSL1ai3TyiXaLZg_cwy0hS8cQGGR3jO/s1600/AA_cover.jpg" height="320" width="320" /></a></div>
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David Douard @ <a href="http://unionpacific.co.uk/">Union Pacific</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjviKhvxH6y9d0ohL7vy2Si2vRBfzvniXlc39aC_NDNYdl2OfxbnLb3tS9IAjYKgOdxEM9b92xk2ZJ6_uE5WJHrTfcRfsHrPTotLsEGjnJHLHuz0HQ0ZLxFNWgp8r_k6HKQyYrX/s1600/AD_mousse_info.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjviKhvxH6y9d0ohL7vy2Si2vRBfzvniXlc39aC_NDNYdl2OfxbnLb3tS9IAjYKgOdxEM9b92xk2ZJ6_uE5WJHrTfcRfsHrPTotLsEGjnJHLHuz0HQ0ZLxFNWgp8r_k6HKQyYrX/s1600/AD_mousse_info.jpg" height="320" width="240" /></a></div>
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<a href="http://www.victoria-miro.com/exhibitions/397/">Tal R</a> @ Victoria Miro, Wharf Rd</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZgb01G-uepGJfSzhOgP1_kWUVhCmNFuWKn41HmeO0gIy9Tl-n_EeZtOpPjbd6-nTE7hfbUJBTTQkPfNSVb1wsK4NNJkXSo3FpVfCiXuo-38plKVO-8lQpi9Baa-ya_OCXV-4w/s1600/tr_vmg_1_2009.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZgb01G-uepGJfSzhOgP1_kWUVhCmNFuWKn41HmeO0gIy9Tl-n_EeZtOpPjbd6-nTE7hfbUJBTTQkPfNSVb1wsK4NNJkXSo3FpVfCiXuo-38plKVO-8lQpi9Baa-ya_OCXV-4w/s1600/tr_vmg_1_2009.jpg" height="190" width="320" /></a></div>
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<a href="http://www.cabinet.uk.com/index.php?art-of-the-symptom">The Symptom of Art II Schizoanalysis</a> @ Cabinet (with my favourite Danny Macdonald)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIb6uaLlK00faC4f0GITodJbcb6rY8SK2CDYLzdbdIddkTX4XqHi7gJo4vS3CnlwXwLWjR6hz0aMH9zRUzfmFlO0Wu33_1rHi1WSjYKHk5_D53D9dUBnp36nRurVJ9AFRyUt9S/s1600/fed9368b0ec599952a10a9c34a6c1c51.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIb6uaLlK00faC4f0GITodJbcb6rY8SK2CDYLzdbdIddkTX4XqHi7gJo4vS3CnlwXwLWjR6hz0aMH9zRUzfmFlO0Wu33_1rHi1WSjYKHk5_D53D9dUBnp36nRurVJ9AFRyUt9S/s1600/fed9368b0ec599952a10a9c34a6c1c51.jpg" height="320" width="318" /></a></div>
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<a href="http://www.studiovoltaire.org/programmes/current-sanya-kantarovsky/">Sanya Kantarovsky</a> @ Studio Voltaire</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyHkLZ7qNp1FaxpYSGu_GBcMeiBqkn91p7H2RR3q4vK1KcnHi94eWGvqYSTvIm9Q4hO3cLpgQudxzMIiBRHsgZtJoU8sNC_60hX-D6f5KTVAZ8Oy2CWOibx0xaS0O9_6Qge7Fu/s1600/TheFlight.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyHkLZ7qNp1FaxpYSGu_GBcMeiBqkn91p7H2RR3q4vK1KcnHi94eWGvqYSTvIm9Q4hO3cLpgQudxzMIiBRHsgZtJoU8sNC_60hX-D6f5KTVAZ8Oy2CWOibx0xaS0O9_6Qge7Fu/s1600/TheFlight.jpg" height="320" width="203" /></a></div>
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<a href="http://www.pacegallery.com/london/exhibitions/12734/new-work">Adam Pendleton</a> @ PACE</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgewiU0J-FNsd__V7GH9gpM9mk7HnME4WzQGtUols3oyI8nr0vetCNuLx_wUSlHvK1ZukKQ4qCBcBTRJ-0NS6ZsrHBHNXVPfKmDVZST3wp_2uGl2WLlPfvpY2aSR0ViGsbb8EW6/s1600/adam-wallpaper006-converted_2000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgewiU0J-FNsd__V7GH9gpM9mk7HnME4WzQGtUols3oyI8nr0vetCNuLx_wUSlHvK1ZukKQ4qCBcBTRJ-0NS6ZsrHBHNXVPfKmDVZST3wp_2uGl2WLlPfvpY2aSR0ViGsbb8EW6/s1600/adam-wallpaper006-converted_2000.jpg" height="320" width="231" /></a></div>
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<a href="http://www.vigogallery.com/?exhibitions,current,2014,pressrelease">Toby Christian</a> @ Vigo Gallery</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpFTtQMVW0Pm9gUmWIMFp3ZiNguHfGnlu1_PHJUP5KkrXV9s3l881cqnZwEFSCu5McH7ZG4IaIBmv6JY1m8WcqxCy9-RddSgWTld3rbyKUY3dH-ROU4D5zj2aDfQKF_BXIlMN3/s1600/912wk_img1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpFTtQMVW0Pm9gUmWIMFp3ZiNguHfGnlu1_PHJUP5KkrXV9s3l881cqnZwEFSCu5McH7ZG4IaIBmv6JY1m8WcqxCy9-RddSgWTld3rbyKUY3dH-ROU4D5zj2aDfQKF_BXIlMN3/s1600/912wk_img1.jpg" height="320" width="221" /></a></div>
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<a href="http://www.abigailreynolds.com/" style="text-align: start;">Abigail Reynolds </a><span style="text-align: start;">@ Rokeby</span></div>
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Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-51556257361886574662015-04-19T07:57:00.000+00:002015-04-19T08:02:00.152+00:00Istanbul Guide<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: black; color: #f3f3f3; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I've been to Istanbul four time in the past six months working on the Soho House out there and these are my tips:</span></div>
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<span style="color: #f3f3f3; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="background-color: black;">Eat</b></span></div>
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<span style="background-color: black; color: #f3f3f3; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="http://www.lokantayeni.com/">Yeni Lokanta</a>, Kumbaracı Yokuşu No:66 Beyoğlu (reserve)</span></div>
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<span style="background-color: black; color: #f3f3f3; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="http://www.timeoutistanbul.com/en/fooddrink/venue/9230/M%C3%BCnferit">Munferit</a>, <span style="line-height: 15px;">Yeni Çarşı Caddesi 19, Taksim, Beyoğlu </span>(reserve)</span><br />
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<span style="background-color: black; color: #f3f3f3; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="http://unter.com.tr/">Unter</a> </span><span style="background-color: black; color: #f3f3f3; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Good spot in Karakoy. Get Menemen for breakfast and also turns into bar/area at night </span></div>
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<span style="background-color: black; color: #f3f3f3; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="http://www.theguideistanbul.com/spots/view/3696/gaspar/">Gaspar</a> <span style="line-height: 15.6000003814697px;">Müeyyetzade Mahallesi, Necatibey Caddesi, Arapoğlan Sokak No.6, </span><span style="background-color: rgba(251, 250, 248, 0.8); color: #33302d;">Karaköy</span></span></div>
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And the <a href="https://www.sohohouseistanbul.com/en">Soho House Istanbul </a>is stunning - and there are lots of parts including the ground floor garden open to non members.</span><br />
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<span style="background-color: black; color: #f3f3f3; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>See and </b><b>Do</b></span></div>
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<span style="color: #f3f3f3; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="http://ayasofyamuzesi.gov.tr/" style="background-color: black;">Haiga Sofia </a></span><br />
<span style="background-color: black; color: #f3f3f3; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">One of the only building that may trump Rome's Pantheon in the awe stakes. You dont have to join long queue that's for groups - there are machines just to left when you enter to buy a ticket fast!</span></div>
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<span style="background-color: black; color: #f3f3f3; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="http://yerebatansarnici.com/">The Cistern</a> - go early when not too crowded, right near Hagia Sofia and amazing. Wet, fishy, ancient.</span></div>
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<a href="http://www.istanbularkeoloji.gov.tr/main_page">Archaeological museum</a> Particularly for the garden - which is a good coffee spot and has some amazing things outside.</span></div>
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<span style="background-color: black; color: #f3f3f3; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Kadikoy</span></div>
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<span style="background-color: black; color: #f3f3f3; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Get a boat from Karakoy to the Asian side to Kadikoy and wander around antique shops and randomness etc nice chill vibe. Get meze lunch at <a href="http://www.ciya.com.tr/">Ciya</a> </span></div>
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<span style="background-color: black; color: #f3f3f3; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="http://kilicalipasahamami.com/">Kili Cali Pasa Hamami</a></span></div>
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<span style="background-color: black; color: #f3f3f3; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Got to be the best hamman in the city. Women in the am. Men afternoon and pm. Worth it for the building alone let alone the serious scrub.</span></div>
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Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-70666361137953251502015-04-09T10:06:00.003+00:002015-04-16T07:36:52.120+00:00Images from Hands Off!<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: black; color: #f3f3f3; text-align: left;">Here's documentation from the show which has now closed. List of works below.</span></div>
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<span style="background-color: black; color: #f3f3f3;"><br class="Apple-interchange-newline" />Harry Burden<o:p></o:p></span></div>
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<span style="background-color: black; color: #f3f3f3;">Body Part Search Result, 2015<o:p></o:p></span></div>
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<span style="background-color: black; color: #f3f3f3;">Boxes and Objects bought from internet<o:p></o:p></span></div>
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<span style="background-color: black; color: #f3f3f3;">Approx. 170 x 150cm</span></div>
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<span style="background-color: black; color: #f3f3f3;">Aleksandra Domanović<o:p></o:p></span></div>
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<span style="background-attachment: initial; background-clip: initial; background-color: black; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #f3f3f3; font-size: 10pt;">Shanghai prototype, 2014<o:p></o:p></span></div>
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<span style="background-color: black; color: #f3f3f3;">Laser sintered PA plastic, polyurethane, Soft-Touch & brass & flocked finish<o:p></o:p></span></div>
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<span style="background-color: black; color: #f3f3f3;">Courtesy the artist and Tanya Leighton Gallery, Berlin</span></div>
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<span style="background-color: black; color: #f3f3f3;">Benedict Drew<o:p></o:p></span></div>
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<span style="background-color: black;"><span style="color: #f3f3f3;">No Body, 2014<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="background-color: black; color: #f3f3f3;">C-Type print on Kodak Metallic paper mounted on 2mm aluminium paper with battens<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background-color: black;"><span style="color: #f3f3f3;">Edition of 50 (plus 5 artist's proofs)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="background-color: black; color: #f3f3f3;">240mm x 184mm<o:p></o:p></span></div>
<span style="background-color: black;"></span><br />
<div class="MsoNormal">
</div>
<br />
<div class="MsoNormal" style="-webkit-text-stroke-width: 0px; color: black; font-family: Times; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;">
<div style="margin: 0px;">
<span style="background-color: black; color: #f3f3f3;"><br /></span></div>
<div style="margin: 0px;">
<span style="background-color: black; color: #f3f3f3;">Courtesy of Matt’s Gallery, London</span></div>
</div>
</div>
<div class="MsoNormal">
<span style="background-color: black;"><span style="color: #f3f3f3;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-size: 10pt;">Nina Beier and Simon Dybbroe Møller</span><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="background-color: black;"><span style="color: #f3f3f3;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-size: 10pt;">The Industrial Revolution, 2013</span><br /><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">Replicas of the Rodin sculptures, The Hand of God, The Secret, Two Hands, Hand of Pianist, The Cathedral Bronze, plaster, resin, acrylic paint</span><br /><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">Dimensions variable<o:p></o:p></span></span></span></div>
<div class="MsoNormal">
<span style="background-color: black; color: #f3f3f3;">Courtesy Laura Bartlett Gallery, London</span></div>
<div class="MsoNormal">
<span style="background-color: black; color: #f3f3f3;"><br /></span></div>
<div class="MsoNormal">
<span style="background-color: black; color: #f3f3f3;">Anonymous<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background-color: black; color: #f3f3f3;">Untitled<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background-color: black; color: #f3f3f3;">Reproduction painting on vintage found manuscript paper<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background-color: black; color: #f3f3f3;">22cm x 17cm<a href="https://www.blogger.com/null" name="_GoBack"></a><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background-color: black;"><span style="color: #f3f3f3;"><br /></span></span></div>
<div class="MsoNormal">
<span style="background-color: black; color: #f3f3f3;">Celia Hempton<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background-color: black; color: #f3f3f3;">Caspar, 2014<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background-color: black; color: #f3f3f3;">Risograph<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background-color: black; color: #f3f3f3;">Edition of 80 + 20 AP<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background-color: black; color: #f3f3f3;">297 x 420 mm<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background-color: black;"><span style="color: #f3f3f3;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-size: 10pt;">Courtesy Studio Voltaire and Lorcan O'Neill Gallery.</span><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="background-color: black;"><span style="color: #f3f3f3;"><br /></span></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<span style="background-color: black; color: #f3f3f3;">Harry Burden<o:p></o:p></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<span style="background-color: black; color: #f3f3f3;">The Relatives, 2015<o:p></o:p></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<span style="background-color: black; color: #f3f3f3;">Digital print on 300gsm archival paper in artists frame <o:p></o:p></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<span style="background-color: black; color: #f3f3f3;">297 x 420mm <o:p></o:p></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<span style="background-color: black; color: #f3f3f3;">Ed. 5 (with 30 free prints on lower paper stock)<o:p></o:p></span><br />
<span style="background-color: black; color: #f3f3f3;"><br /></span>
<span style="background-color: black; color: #f3f3f3;">Neil Rumming</span><br />
<span style="background-color: black; color: #f3f3f3;">Pink Nose, 2013</span><br />
<span style="background-color: black; color: #f3f3f3;">Acrylic, silkscren, relief ink on canvas</span><br />
<span style="background-color: black; color: #f3f3f3;">50 x 40cm</span><br />
<span style="background-color: black; color: #f3f3f3;"><br /></span>
<span style="background-color: black; color: #f3f3f3;">Anthony Antonellis</span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<span style="background-color: black; color: #f3f3f3;"><span style="color: #222222; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">dollhead.gif,
</span><span style="color: #222222; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">2012<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="background-color: black; color: #f3f3f3;"><br /></span>
<span style="background-color: black; color: #f3f3f3;">Bhakti Baxter</span></div>
<div class="MsoNormal">
<span style="background-color: black; color: #f3f3f3;"><span style="background: white; color: #222222; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">HEADS (Planck)</span><span style="font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><o:p></o:p></span></span><br />
<span style="background-color: black; color: #f3f3f3;"><span style="background: white; color: #222222; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">2012</span></span><br />
<span style="background-color: black; color: #f3f3f3;"><span style="background: white; color: #222222; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Ink on vinyl, light bulb, fan</span></span><br />
<span style="background-color: black; color: #f3f3f3;"><span style="background: white; color: #222222; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">3 x 4 x 5ft</span></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<span style="color: #f3f3f3; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span style="background-color: black;"><span style="color: #f3f3f3;">courtesy of Gallery Diet and
the artist</span></span><o:p></o:p></span><br />
<br /></div>
<div class="MsoNormal">
<br /></div>
<br /></div>
Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-47796643457354306792015-04-02T07:07:00.000+00:002015-04-02T07:07:16.358+00:00Finissage of Hands Off! this Easter Sunday in Berlin<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica Neue, Helvetica, Arial, sans-serif; font-size: small;"><span style="font-weight: normal; line-height: 17.6000003814697px;"><iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="https://player.vimeo.com/video/123686304" webkitallowfullscreen="" width="500"></iframe> <a href="https://vimeo.com/123686304">HANDS OFF!, Finissage Sunday 05.04, 15h-19h, ROOM OF REQUIREMENT BERLIN @ HORSEANDPONY Fine Arts</a> from <a href="https://vimeo.com/hannesribarits">Hannes Ribarits</a> on <a href="https://vimeo.com/">Vimeo</a>.</span></span></h1>
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Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-69886225009130550122015-02-19T18:15:00.000+00:002015-02-19T18:15:37.489+00:00Hands Off! A group show opening March 12<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-weight: 700;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Hands Off!</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A group show curated by Francesca Gavin</span></div>
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<span style="font-weight: 700;"><span style="font-family: Arial, Helvetica, sans-serif;">Aleksandra Domanović </span></span></div>
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<span style="font-weight: 700;"><span style="font-family: Arial, Helvetica, sans-serif;">Anthony Anthonellis </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-weight: 700;">Benedict Drew</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Bhakti Baxter<br />Celia Hempton<br />Harry Burden<br />Neil Rumming<br />Nina Beier and Simon Dybbroe Møller</b><br /><br /><span style="font-weight: 700;">ROOM OF REQUIREMENT @ HORSEANDPONY Fine Arts
Altenbrakerstrasse 18</span><br /><b>12053 Berlin</b></span></div>
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<span style="font-weight: 700;"><span style="font-family: Arial, Helvetica, sans-serif;">Opening: Thursday, March 12th at 7pm
Duration: 13.03. – 05.04.2015
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<span style="font-family: Arial, Helvetica, sans-serif;">On view by appointment: <span style="color: blue;">info@horseandponyfinearts.com
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<span style="font-family: Arial, Helvetica, sans-serif;">This is a show about fragmentation. In a post-digital world we are becoming increasingly detached from our physical
selves. Literally cut off from our bodies. The work in this exhibition highlights how this disembodiment creates an
image of a prescient computer or digital avatar in search of a body. The results can be uncanny, disturbing, or
amusing. These almost-human pieces are unreal or impossible. These body parts feel removed, detached, robotic,
sometimes lacking in emotion or presenting a performance of the emotional. Here hands, heads, teeth, cocks and
legs appear to exist in a different realm. Hovering outside of the human. Stuck in some digital limbo. Half us, half tech.
Together they emphasise the failure of technology to replicate and the failure of art to represent.
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-weight: 700;">Aleksandra Domanović </span>is based in Berlin and represented by Tanya Leighton. She has exhibited at the Gallery of Modern Art in
Glasgow, New Museum and the Kunsthalle Basel. Her work is included in the current New Museum Triennial in New York. Her
upcoming solo show is at museum Boijmans Rotterdam in June. <span style="color: #0053cd;"><a href="http://www.aleksandradomanovic.com/">aleksandradomanovic.com</a></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-weight: 700;">Anthony Antonellis </span>is an artist based on the internet in New York. His work has been exhibited at venues such as the
Photographers' Gallery, London, Darbast Platform, Tehran, and Transfer Gallery, Brooklyn. He is the creator of online-gallery
directory <span style="color: #0053cd;"><a href="http://netartnet.net/">netartnet.net</a>. <a href="http://www.anthonyantonellis.com/">anthonyantonellis.com</a></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-weight: 700;">Benedict Drew </span>graduated from Slade School of Fine Art and was a LUX Associate Artist. He is represented by Matts Gallery,
London. Recent solo exhibitions include <span style="font-style: italic;">Heads May Roll, </span>Matt’s Gallery, London, <span style="font-style: italic;">Now Thing, </span>Whitstable Biennale and <span style="font-style: italic;">Gliss </span>at Cell
Project Space. <span style="color: #0053cd;"><a href="http://www.benedictdrew.com/">benedictdrew.com</a></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-weight: 700;">Bhakti Baxter </span>shows with Federica Schiavo and Gallery Diet in Miami, where he is based. He has had solo exhibitions at the
Museum of Contemporary Art in North Miami and Emmanuel Perrotin in Paris. <span style="color: #0053cd;"><a href="http://www.federicaschiavo.com/">federicaschiavo.com</a></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-weight: 700;">Celia Hempton </span>exhibited at last year’s Gwangju Biennale, as well as at the Kunstverein Aachen, South London Gallery, and Studio
Voltaire. She is represented by Southard Reid in London and Galleria Lorcan O’Neill in Rome. <span style="color: #0053cd;"><a href="http://www.southardreid.com/">southardreid.com</a>, <a href="http://www.lorcanoneill.com/">lorcanoneill.com</a></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-weight: 700;">Harry Burden </span>is based in London, Burden was included in the New British Art show at MOCCA Toronto and has exhibited at
Kunsthalle Exnergasse in Vienna, Palais de Tokyo and Forgotten Bar in Berlin. <span style="color: #0053cd;"><a href="http://www.harryburden.co.uk/">harryburden.co.uk</a></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-weight: 700;">Neil Rumming </span>is an artist based in London who studied at Kingston University. Recent exhibitions include solo shows at COLE, HD
Projects in New York and inclusions in groups show at Studio Voltaire and Kinman. <span style="color: #0053cd;"><a href="http://www.neilrumming.com/">neilrumming.com</a></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-weight: 700;">Nina Beier </span>is a Danish artist represented by Metro Pictures in New York and Croy Nielsen in Berlin. She has had solo shows at the
Nottingham Contemporary, Proyectos Monclova and soon at Kunstverein Hamburg. <span style="color: #0053cd;"><a href="http://www.metropictures.com/">metropictures.com</a>, <a href="http://www.croynielsen.de/">croynielsen.de</a></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-weight: 700;">Simon Dybbroe Møller </span>is a Danish artist represented by Laura Bartlett Gallery in London and Andersens Contemporary in
Copenhagen. He has had solo shows at Objectif Exhibitions, Lulu and upcoming a large commission for the Centre Pompidou.
<span style="color: #0053cd;"><a href="http://www.laurabartlettgallery.com/">laurabartlettgallery.com,</a> <a href="http://www.andersenscontemporary.dk/">andersenscontemporary.dk</a></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-weight: 700;">Francesca Gavin </span>is a curator and writer based in London. She is the Visual Arts Editor of Dazed & Confused, Art Editor of Twin, a
contributing editor at Sleek and AnOther and the curator of the Soho House Group. She has written five books including ‘The Book of
Hearts’, ‘100 New Artists’ and ‘Hell Bound: New Gothic Art’, as well as curating exhibitions including E-Vapor-8 (Site Sheffield
and 319 Scholes), The Dark Cube (Palais de Tokyo) and The New Psychedelia (MM).</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">ROOM OF REQUIREMENT <span style="font-style: italic;">is a series of exhibitions held in alternating spaces throughout Berlin. Different curators
are invited to host limited numbers of rotating events until the space is finally returned to its original function. The room
could disappear at any given moment yet also reappear at other times and locations in instances of requirement.
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-style: italic;">Formerly housed in a temporarily unused office building in Kreuzberg, 2015 Room of Requirement will be hosted by
</span>HORSEANDPONY Fine Arts.
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<span style="color: blue;"><span style="font-family: Arial, Helvetica, sans-serif;">www.roomofrequirementberlin.tumblr.com
www.horseandponyfinearts.com
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-style: italic;">Room of Requirement Berlin </span>is organised by Hannes Ribarits / funded by BKA Austria</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Image 1: <span style="text-align: center;">Anonymous, reproduction painting on found manuscript paper</span></span><br />
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</span><span style="font-family: Arial, Helvetica, sans-serif;">Image 2: </span><span style="font-family: Arial, Helvetica, sans-serif;">Neil Rumming, </span><span style="color: #1a1a1a; font-family: Arial, Helvetica, sans-serif; font-style: italic;">Pink Nose, </span><span style="color: #1a1a1a; font-family: Arial, Helvetica, sans-serif;">2013, Acrylic, silkscreen, relief ink on canvas (50cm x 40cm) </span></div>
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Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-51450634595891672622015-02-08T09:54:00.001+00:002015-02-08T09:54:28.820+00:00Ten Art Editions to Buy Now<div dir="ltr" style="text-align: left;" trbidi="on">
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I've always been obsessed with looking at editions you can buy online and it amazes me how many are available and forgotten. These are ten that I'd buy before they go (and um maybe have bought for myself already). I recommend all these 10 pieces. </div>
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<a href="http://omgyoungteam.tumblr.com/post/100017123419/edition-of-30-jonathan-meese-glasgow-works">Jonathan Meese</a> £500</div>
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<a href="http://www.mattsgallery.org/artists/drew/editions-1.php">Benedict Drew</a> £120</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc3_0r-v_ZCj21-8lyDemoCdqbBn16d4gbNEhfb7C0KIN8qqi_7vc8vxscU1IXRso8I3xUyQAOi7AfirRTmkRpit8rmKc0EaFbJC87m-fdmzL7xJ-V2icL7sxYxbv_-dfX3Mv4/s1600/BD-blue-hand_lighter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc3_0r-v_ZCj21-8lyDemoCdqbBn16d4gbNEhfb7C0KIN8qqi_7vc8vxscU1IXRso8I3xUyQAOi7AfirRTmkRpit8rmKc0EaFbJC87m-fdmzL7xJ-V2icL7sxYxbv_-dfX3Mv4/s1600/BD-blue-hand_lighter.jpg" height="245" width="320" /></a></div>
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<a href="https://ballroommarfa.org/item/107/">Raymond Pettibon</a> $2500</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbeM04WC6abHOrJ3HywEZV2unuuYnivM98ZVaZY_omfZ-ZCdVMlaI_JX_Fwl0_gjY-r61HzzsgBpMaLva7MMKqsdSSBPfiVv9Fle-QZXWv6UjoYbx2JAKzX9vrfdszVUadi1qU/s1600/Screen+Shot+2015-02-08+at+09.18.32.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbeM04WC6abHOrJ3HywEZV2unuuYnivM98ZVaZY_omfZ-ZCdVMlaI_JX_Fwl0_gjY-r61HzzsgBpMaLva7MMKqsdSSBPfiVv9Fle-QZXWv6UjoYbx2JAKzX9vrfdszVUadi1qU/s1600/Screen+Shot+2015-02-08+at+09.18.32.png" height="320" width="254" /></a></div>
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Dawn Mellor £50</div>
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<a href="https://www.ica.org.uk/shop/editions/isabelle-cornaro-mixed-feelings-2014">Isabelle Cornaro</a> £500</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLtELqm8pUCAOnDp_gQ4XbgrUKQbEb0lEVLha5Ewi6W7YNnP8m3qft8eWxBgOnGAQnDKs-Qkbwgr1JPoW22bP7yifBJI4F4v4m5Cek1bae11afH2zy4wBuZliAIqqEWq_jTuSK/s1600/Isabelle+Cornaro+cropped_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLtELqm8pUCAOnDp_gQ4XbgrUKQbEb0lEVLha5Ewi6W7YNnP8m3qft8eWxBgOnGAQnDKs-Qkbwgr1JPoW22bP7yifBJI4F4v4m5Cek1bae11afH2zy4wBuZliAIqqEWq_jTuSK/s1600/Isabelle+Cornaro+cropped_0.jpg" height="320" width="226" /></a></div>
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<a href="http://artistsspace.org/store/editions">Duncan Campbell</a> $150</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgMdcg5QeBJEZgUASv7y31SxulGd2yPxP5zrNvt988M2X2hmW2RRFUaCkJDpGNU38c0CUgyRPhQCAkUKCyzUEOhyphenhyphen3nNqmXrVJ1vr-cJ7uO978m-qLdxDaMJNZ7yVraygyIsitg/s1600/jJhOvHnG3g.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgMdcg5QeBJEZgUASv7y31SxulGd2yPxP5zrNvt988M2X2hmW2RRFUaCkJDpGNU38c0CUgyRPhQCAkUKCyzUEOhyphenhyphen3nNqmXrVJ1vr-cJ7uO978m-qLdxDaMJNZ7yVraygyIsitg/s1600/jJhOvHnG3g.jpg" height="320" width="204" /></a></div>
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<a href="https://printedmatter.org/tables/692/38220">Dorothy Iannone</a> $100</div>
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<a href="http://chisenhale.org.uk/shop/edition_details.php?id=64">Christina Mackie</a> £240</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpEbq0BXKdsCmoLrPRK5QMdmFE7tk30AFOuut6HdafRMATsn3b8K0N-hFWvAo5Q6f8mrmBFCVn4OnEBFOP1ZuNldJxBQzUAAU0UeVNHTNu8HlDAC1BGyVA_uU1mC0fNUkspOXe/s1600/cmedition_webimagesmll.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpEbq0BXKdsCmoLrPRK5QMdmFE7tk30AFOuut6HdafRMATsn3b8K0N-hFWvAo5Q6f8mrmBFCVn4OnEBFOP1ZuNldJxBQzUAAU0UeVNHTNu8HlDAC1BGyVA_uU1mC0fNUkspOXe/s1600/cmedition_webimagesmll.jpg" height="245" width="320" /></a></div>
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<a href="http://www.serpentinegalleries.org/shop/ribbons-fuck-my-life-2014">Ed Atkins</a> £150</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFzeqwL6efr6jju2Icd9tKhC85JHCTtj73XKfkUKj6k8lsyRDrbu0YqUk-8m7m1xxUXOUv9WCV3_L32y7wbLSbkq8Fonc3tMFpJVjJ6Yd8YdjT2DsIBBl4BEg9QkyOMRsrhWtA/s1600/Photo+Tomas+Rydin+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFzeqwL6efr6jju2Icd9tKhC85JHCTtj73XKfkUKj6k8lsyRDrbu0YqUk-8m7m1xxUXOUv9WCV3_L32y7wbLSbkq8Fonc3tMFpJVjJ6Yd8YdjT2DsIBBl4BEg9QkyOMRsrhWtA/s1600/Photo+Tomas+Rydin+web.jpg" height="320" width="228" /></a></div>
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<a href="http://www.camdenartscentre.org/shop/p/artist-editions/paulina-olowska-chanel-edition">Paulina Olowska </a>£120 (<a href="http://www.camdenartscentre.org/shop/p/artist-editions/paulina-olowska-rossellini-edition">or a pair</a> for £200)<br />
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Francesca Gavinhttp://www.blogger.com/profile/14219874478356114067noreply@blogger.com0tag:blogger.com,1999:blog-7407956.post-56602655806910023382014-12-24T23:47:00.000+00:002014-12-24T23:47:14.035+00:00Best in Show 2014<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQsu6yENA9tap7UoXDp-FcqqoZoE7sWKYxWPSuRY1ZMybEvbCecdbG9noaiKJHWcnaY3E5hWaD-yRvp_YJpPO8V-lqothej3kOMxD9OV7z4XfFuu5xZAukwMOe9ohrlyaUCdMB/s1600/Fantasy-world-a-still-f-0121.jpg" imageanchor="1" style="font-family: sans-serif; line-height: 22.3999996185303px; margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: #f3f3f3;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQsu6yENA9tap7UoXDp-FcqqoZoE7sWKYxWPSuRY1ZMybEvbCecdbG9noaiKJHWcnaY3E5hWaD-yRvp_YJpPO8V-lqothej3kOMxD9OV7z4XfFuu5xZAukwMOe9ohrlyaUCdMB/s1600/Fantasy-world-a-still-f-0121.jpg" height="400" width="373" /></span></a></div>
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<span style="color: #f3f3f3;">My annual round of up of the top ten shows of the year made it on to <a href="http://www.dazeddigital.com/artsandculture/article/22944/1/the-year-s-best-art">Dazed this year</a> (with explanation) but here is the round up again in list form (with my own picture selection)</span></div>
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<span style="color: #f3f3f3;"><span style="font-family: Helvetica;">1 PIERRE HUYGHE AT <a href="http://www.hauserwirth.com/">HAUSER AND WIRTH</a>,
SAVILE ROW</span><span style="font-family: Helvetica;"><o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx-133KKY7k84yzlbZWl-06BldLKvMY44LRP-hboq8FsTdhf727OF480V3kCV6kepYLp48A7rZj4nNaITTmTLT6js7G314T-C3_DbA7LTALqERAvDqxTbFepFaFFiV1jndVxuw/s1600/Screen+Shot+2014-12-24+at+23.36.32.png" imageanchor="1" style="line-height: 22.3999996185303px; margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: #f3f3f3;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx-133KKY7k84yzlbZWl-06BldLKvMY44LRP-hboq8FsTdhf727OF480V3kCV6kepYLp48A7rZj4nNaITTmTLT6js7G314T-C3_DbA7LTALqERAvDqxTbFepFaFFiV1jndVxuw/s1600/Screen+Shot+2014-12-24+at+23.36.32.png" height="269" width="320" /></span></a></div>
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<span style="color: #f3f3f3;"><span style="font-family: Helvetica;">2 KERRY JAMES MARSHALL AT <a href="http://www.muhka.be/">MUHKA ANTWERP</a></span><span style="font-family: Helvetica;"><o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB80aj2SL7c342ILLGpUAhP-xWwJHnTHz2yQhKMb3A02VjuYpAuP6DgmmJgYpznNpvx-9T-wR6pHqWZIwhLlC-JJi0Pd5_Djch9lD3a9wOfWgbo9I53NLOYIXl-HEFGsHKpMa8/s1600/kpbrehmer24.jpg" imageanchor="1" style="line-height: 22.3999996185303px; margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: #f3f3f3;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB80aj2SL7c342ILLGpUAhP-xWwJHnTHz2yQhKMb3A02VjuYpAuP6DgmmJgYpznNpvx-9T-wR6pHqWZIwhLlC-JJi0Pd5_Djch9lD3a9wOfWgbo9I53NLOYIXl-HEFGsHKpMa8/s1600/kpbrehmer24.jpg" /></span></a></div>
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<span style="color: #f3f3f3;"><span style="font-family: Helvetica;">3 KP BREHMER or YVONNE RAINER AT <a href="http://www.ravenrow.org/">RAVEN ROW LONDON</a></span><span style="font-family: Helvetica;"><o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd7V-VkONZu5T9_5dtGol7OSRybsdvErIf3aBk7j9JjQ-wZMl9HjvUxsZoA9HmZy3fkHD2b5_voaLjqTEYOFsq7oxAEBjg6co7hvbW1IfwoB5816k-Xt8ocsbgPRoXh0oBoG-D/s1600/Camille-Henrot-at-Chisenhale-Gallery_Andy-Keate_15-600x450.jpg" imageanchor="1" style="line-height: 22.3999996185303px; margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: #f3f3f3;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd7V-VkONZu5T9_5dtGol7OSRybsdvErIf3aBk7j9JjQ-wZMl9HjvUxsZoA9HmZy3fkHD2b5_voaLjqTEYOFsq7oxAEBjg6co7hvbW1IfwoB5816k-Xt8ocsbgPRoXh0oBoG-D/s1600/Camille-Henrot-at-Chisenhale-Gallery_Andy-Keate_15-600x450.jpg" height="240" width="320" /></span></a></div>
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<span style="color: #f3f3f3;"><span style="font-family: Helvetica;">4 <a href="http://www.dazeddigital.com/artsandculture/article/18447/1/camille-henrots-animal-obsession">CAMILLE HENROT</a> AT <a href="http://www.chisenhale.org.uk/">CHISENHALE</a> AND <a href="http://www.newmuseum.org/">NEW MUSEUM</a></span><span style="font-family: Helvetica;"><o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyhmc3Mwe-3h8fm8Mo-cGKv4eSzvyf3SqiBEw-CRwpnlhffNOG5s81acDZL23F_RXUu6Q6JjgYZqzT7V9D445RL3GOngM5FcElVkx7AKWhz4mjJIi0So0hxX5iivr4iwg0iJ5U/s1600/648x415_chocolate-factory-paul-mccarthy-ecrit-insultes-entendues-moment-agression.jpg" imageanchor="1" style="line-height: 22.3999996185303px; margin-left: 1em; margin-right: 1em;"><span style="color: #f3f3f3;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyhmc3Mwe-3h8fm8Mo-cGKv4eSzvyf3SqiBEw-CRwpnlhffNOG5s81acDZL23F_RXUu6Q6JjgYZqzT7V9D445RL3GOngM5FcElVkx7AKWhz4mjJIi0So0hxX5iivr4iwg0iJ5U/s1600/648x415_chocolate-factory-paul-mccarthy-ecrit-insultes-entendues-moment-agression.jpg" height="204" width="320" /></span></a></div>
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<span style="color: #f3f3f3;"><span style="font-family: Helvetica;">5 </span></span><span style="color: #f3f3f3; font-family: Helvetica; line-height: 16.8pt;"> <a href="http://www.dazeddigital.com/tag/paul-mccarthy">PAUL
MCCARTHY</a></span><span style="color: #f3f3f3; font-family: Helvetica; line-height: 16.8pt;"> AT </span><a href="http://www.monnaiedeparis.fr/" style="font-family: Helvetica; line-height: 16.8pt;">MONNAIE DE PARIS</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj04OCLN7QWfBU9jHw9v_1voA4fLBIGIi_ea2HkXRdmL6g5IhyJq0AlptJze_jqojM58z1J0msL-ngmXgegRDPDss-iEguY4lR041J169IDh5ymSR2VeaVtYuhM-avC0gSLj6Bl/s1600/tumblr_n31z6lEp1n1qz872lo7_1280.jpg" imageanchor="1" style="line-height: 22.3999996185303px; margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: #f3f3f3;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj04OCLN7QWfBU9jHw9v_1voA4fLBIGIi_ea2HkXRdmL6g5IhyJq0AlptJze_jqojM58z1J0msL-ngmXgegRDPDss-iEguY4lR041J169IDh5ymSR2VeaVtYuhM-avC0gSLj6Bl/s1600/tumblr_n31z6lEp1n1qz872lo7_1280.jpg" height="213" width="320" /></span></a></div>
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<span style="color: #f3f3f3;"><span style="font-family: Helvetica;">6 ISA GENZKEN AT <a href="http://mcachicago.org/">MCA CHICAGO</a></span><span style="font-family: Helvetica;"><o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRIhmN3_h7KYE3oUEIwtOrrFzdq21mZoKayZ2nVBuNWa12CrJBOIkMUbgUHG_FE1UPoq2zuGA_3leDpfv4Rubw_Q67IogEAIFdIBHnWNBNJl1iu20YTHjy3uLsCZgS2pOsbl1S/s1600/image.jpg" imageanchor="1" style="line-height: 22.3999996185303px; margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: #f3f3f3;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRIhmN3_h7KYE3oUEIwtOrrFzdq21mZoKayZ2nVBuNWa12CrJBOIkMUbgUHG_FE1UPoq2zuGA_3leDpfv4Rubw_Q67IogEAIFdIBHnWNBNJl1iu20YTHjy3uLsCZgS2pOsbl1S/s1600/image.jpg" height="240" width="320" /></span></a></div>
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<span style="color: #f3f3f3;"><span style="font-family: Helvetica;">7 <a href="http://www.dazeddigital.com/projects/article/22541/1/58-ed-atkins">ED ATKINS</a> AT <a href="http://www.serpentinegalleries.org/">SERPENTINE
GALLERY</a></span><span style="font-family: Helvetica;"><o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMYrEn10p1vVshLGPFkz38P_-JcRnOkGhR7yTnjrNDKvM6pMjvGHIBTfGtEQo0JSvH97Vbxh4KyQxxJNQECzZ9m7JMZjtomibHMm-faVsaeVQe8KpgvBjT7uWL5X0v9vpTf4vS/s1600/Michael-Smith-004-600x400.jpg" imageanchor="1" style="line-height: 22.3999996185303px; margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: #f3f3f3;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMYrEn10p1vVshLGPFkz38P_-JcRnOkGhR7yTnjrNDKvM6pMjvGHIBTfGtEQo0JSvH97Vbxh4KyQxxJNQECzZ9m7JMZjtomibHMm-faVsaeVQe8KpgvBjT7uWL5X0v9vpTf4vS/s1600/Michael-Smith-004-600x400.jpg" height="213" width="320" /></span></a></div>
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<span style="font-family: Helvetica;"><span style="color: #f3f3f3;">8 MICHAEL SMITH AT <a href="http://www.tramway.org/Pages/home.aspx">TRAMWAY</a>,
GLASGOW</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkIgLm2of5CREPpmDwgtcjV62zcnbH1jRiIqca_75MrpaWe4tgdh-GEwob0FJXkVYmiQWKRaBdjeQWIKGk0Hu65HzMZ4U2p9fElAmG1YC2qQ8_aqMwx_pCpwr83oN94zEYhxC2/s1600/3.JPG" imageanchor="1" style="line-height: 22.3999996185303px; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkIgLm2of5CREPpmDwgtcjV62zcnbH1jRiIqca_75MrpaWe4tgdh-GEwob0FJXkVYmiQWKRaBdjeQWIKGk0Hu65HzMZ4U2p9fElAmG1YC2qQ8_aqMwx_pCpwr83oN94zEYhxC2/s1600/3.JPG" height="183" width="320" /></a></div>
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<span style="color: #f3f3f3;"><span style="font-family: Helvetica;">9 ART AND SOUND AT <a href="http://www.fondazioneprada.org/">FONDAZIONE PRADA</a>, VENICE</span></span></div>
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<span style="font-family: Helvetica;"><span style="color: #f3f3f3;">10 <a href="http://www.themovingmuseum.com/">THE MOVING MUSEUM</a>, ISTANBUL</span></span></div>
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<span style="font-family: Helvetica;"><span style="color: #f3f3f3;">And special mentions to Sigmar Polke at the Tate Modern and Iwona Blaswick's incredible show with NEON in Athens 'A Thousand Doors'.</span></span></div>
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