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DTSTART;VALUE=DATE:20181016
DTEND;VALUE=DATE:20181104
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SUMMARY:Drawn to London
DESCRIPTION:Drawn to London\nWithin the shadow of the Tower\n  \n16 October – 3 November\nCurated by: Philippa Beale \n  \nArtists: Alexandra Blum\, Philippa Beale\, John Blandy\, Stella Carr\, Paul Cosquieri\, Paul Finn\, Sue Hackney\, Susannah Hubert\, Martin Harrison-Priestman\, Maryellen Lamb\, Mark Long\, Natasha Lien\, Fiona McIntyre\, Seema Manchanda\, Emma Perring\, Pat Phippard PRofit\, Karen Summers\, Jacqueline Wedlake-Hatton\, Marion Wilcocks\, Alice White\, Les Williams\, Sandra Wroe \n  \n  \n“Sir\, when a man is tired of London\, he is tired of life; for there is in London all that life can afford.” \nSamuel Johnson\, ‘The Life of Samuel Johnson Vol 3’\, James Boswell\, 1851 \n  \nThe exhibition brings together a variety of artists who have responded to the life and history of London. They follow in a tradition that reaches back to Hogarth’s etchings of Gin Lane and Monet’s impressionist visions of the Thames to Rachel Whiteread’s ghostly House in east London and Gilbert and George’s lurid evocations of Brick Lane. London has long been a conspicuously successful multi-cultural metropolis where people from different cultures have combined to create a dynamic and positive place to live\, work and create art. \nThe show will reflect and celebrate this energy\, but will also probe the implications of the city cutting itself off from the wider world in the aftermath of Brexit. \nThe exhibition will include members from The Society of Graphic Fine Art\, The Lloyds Art Group\, Gibraltar Fine Arts Society and invited artists whose work reflects different aspects of life in London. \nThe exhibition includes around 80 or more works of art including paintings\, prints\, drawings\, photographs\, film\, sound and installation. The themes found in the works range from the women held as prisoners in Bermondsey Abbey to the minutiae of flora and fauna found within the cracks of the city itself. While some artists have collaborated with communities in London\, celebrating the practice of drawing; others have engaged with the buildings and building sites\, aiming to capture the essence of the city. The iconic Trafalgar Square will be newly observed\, while the quotidian more mundane moments that make up parts of the everyday lives of Londoners will be under close scrutiny. \nThere is guaranteed something of interest for everybody in this new exhibition and works will be for sale. \n  \n \nAlexandra Blum \n  \n \nPaul Finn \n  \n \nLes Williams \n  \n \n  \nNatasha Lien \n  \n  \nEmma Perring \n  \n \nPat Phippard \n  \n \n  \nAlice White \n  \n \n  \nPhilippa Beale \n  \n \n  \nSandra Wroe \n  \n \n  \nJaqueline Wedlake Hatton \n  \n \n  \nSeema Manchanda \n  \n \n  \nPaul Cosquieri \n  \n \n  \nSusannah Hubert \n  \n \n  \nPhilippa Beale \n  \n \n  \nMaryellen Lamb \n  \n \n  \nKaren Summers \n  \n \n  \nFiona McIntyre \n 
URL:https://project-space.london/event/drawn-to-london
CATEGORIES:Events,Previous Exhibitions
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20181106
DTEND;VALUE=DATE:20181111
DTSTAMP:20260619T120845
CREATED:20181019T113502Z
LAST-MODIFIED:20190720T103401Z
UID:5851-1541462400-1541894399@project-space.london
SUMMARY:Nick Malone: The Disappearance of Makepeace - A Tale of Two Lives
DESCRIPTION:The Disappearance of Makepeace\nA Tale of Two Lives\nNICK MALONE\n6-10 November 2018\n  \n \n  \n  \nThe exhibition follows on from an earlier solo at BPS\, which acted as a springboard in developing this particular way of working. It interacts with the text of a graphic novel concerning the mysterious disappearance of its eponymous hero James Makepeace that sets the exhibition within a wider context of narrative\, adventure and dream. The exhibition will combine installation\, images\, animation\, and soundscape to enable words and images to interact and operate together in new ways. \n  \n\n A catalogue is available with an essay by Sacha Craddock\n\n  \n\n Accompanying podcasts will be available from www.nickmalone.com\n\n  \n\nPodcasts of the novel that underpins the exhibition are available at: http://nickmalone.libsyn.com
URL:https://project-space.london/event/nick-malone-the-disappearance-of-makepeace-a-tale-of-two-lives
CATEGORIES:Events,Previous Exhibitions
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20181114
DTEND;VALUE=DATE:20181202
DTSTAMP:20260619T120845
CREATED:20181018T161210Z
LAST-MODIFIED:20190720T103401Z
UID:6556-1542153600-1543708799@project-space.london
SUMMARY:Christina Reihill: Glad I Did It
DESCRIPTION:Glad I Did It\nChristina Reihill\n14 November – 1 December\n  \n  \nNight club manageress Ruth Ellis (1926 – 1955) poses for one Captain Ritchie\, 1954. The setting is probably the flat above her club on the Brompton Road in Knightsbridge\, London. In 1955\, Ellis was convicted of the murder of her lover\, David Blakely\, and hanged at Holloway Prison\, becoming the last woman to receive the death penalty in Britain. (Photo by Hulton Archive/Getty Images)\n  \n  \nThis November\, installation artist Christina Reihill will recreate the prison cell of Ruth Ellis\, the last woman in Britain to be executed by the state\, after she shot her abusive lover\, 25-year-old racing driver David Blakely in 1955. Glad I Did It will be an artist’s interpretation of Ruth Ellis’ cell\, imagined moments after her hanging\, informed by a close reading of the psychiatric notes\, prison files and diaries. A video piece on the lower level of the gallery will feature an exclusive interview with the artist presented by Madeleine Keane\, Literary Editor of the Irish Sunday Independent. \n  \nRuth Ellis’ execution on 13th July 1955 was a turning point in the death penalty debate in the UK. Ellis unapologetically declared her intent was to kill her lover\, who she shot five times at point-blank range. In court she infamously stated: \n  \n“It’s very obvious that when I shot David Blakely I intended to kill him” \n  \nMany sympathised with the abuse she suffered at the hands of Blakely\, who famously caused her to miscarry following an alcohol-fuelled row about another woman. \n  \nGlad I Did It asks visitors to step into Ellis’ mind at this crucial moment in history and to consider how easily they could have been in her shoes. The installation examines the thwarted desires and impulsive behaviours that led to Ellis’ execution\, and explores how we all can be victims to our own addictions. \n  \nRecalling the darkness of her own addiction to drugs and alcohol\, artist Christina Reihill prompts visitors to questions how ambition\, desire\, loss and grief impacts our lives and asks the question ‘how dissimilar are we all from Ruth Ellis really?’ \nThe prison files illustrate Ellis’ relationships with her family\, psychiatrist\, lawyer and even the prison warden\, and reveal the woman behind the media speculation\, who has been on trial by the British public ever since. \n  \nEllis famously declared her reason for wanting to die:  “I want to join him” she repeated despite efforts that could have saved her from the hangman’s noose.  If she had presented herself as a victim this could have spared her execution. But she didn’t. The artist believes Ellis wanted to die and appreciated her time in jail. \n  \nIn her prison cell\, Ellis\, a Jewish nightclub hostess dismissed as a “tart”\, could\, for the first time in her life\, experience the respect and dignity she needed.  Here she was addressed as “Mrs. Ellis” and listened to\, and the relationship plagued by violence and alcoholism that her lover had tried to hide\, was front page news. \n  \nThe artist Christina Reihill claims that in all that has been written\, staged\, documented and filmed\, Glad I Did It reveals facts about Ruth Ellis\, never identified before. \n  \n  \n  \nAbout the trial of Ruth Ellis \nEllis\, a 29- year old Jewish girl from North Wales was working as a nightclub hostess in Knightsbridge when she met wealthy racing car driver David Blakely. Their affair was passionate but violent\, marked by alcoholism\, abortions and infidelity.  On Easter Sunday at 9pm\, April 10th 1955\, Ellis shot Blakely five times at close range\, outside the Magdala Tavern in Hampstead and put the gun to her head for the last bullet\, which failed to discharge. She was hanged for his murder three months later. “It’s obvious I intended to kill him” she famously declared in court. Her trial was highly publicised and caused widespread controversy\, as details of the violence she endured throughout her life emerged. Following pressure from the British media including the Evening Standard and the Daily Mirror\, the case against the death penalty was strengthened\, and in 1965 it was abolished in Great Britain. \n  \nAbout Christina Reihill \n \nBorn and educated in Dublin\, Christina studied psychology at Harvard\, and later went on to read multi-media and communications at the London Institute\, before starting a 12-year career in journalism working for Vogue\, The Evening Standard\, Irish Times and Sunday Independent. \nIn the early 90’s she returned to Ireland for drug and alcohol treatment at The Rutland Centre. For the next decade she trained and practiced as apsychotherapist. During this time she wrote her debut book SoulBurgers\, and later created a performance based on the book\, and has since produced a number of award-winning installations. In 2012 she won the Allianz Tile Style Artist of the Year Award. Christina created an Urban Art work in 2016\, called WallWalks and last year staged Wit’s End\, a major installation at Smock Alley Theatre on Dorothy Parker’s last days before her death\, opened by Patrick Murphy\, Director of the Royal Hibernian Academy.
URL:https://project-space.london/event/glad-i-did-it-2
CATEGORIES:Events,Previous Exhibitions
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20181207
DTEND;VALUE=DATE:20181223
DTSTAMP:20260619T120845
CREATED:20181129T121606Z
LAST-MODIFIED:20190720T103401Z
UID:5880-1544140800-1545523199@project-space.london
SUMMARY:Galerie Ernst Hilger : From the Heart of Europe
DESCRIPTION:Andreas Leikauf\, Expect nothing\, 2015\, Acrylic on canvas\, 140 x 100 cm/ 55 x 39 1/3 in\nGalerie Ernst Hilger\nFrom the Heart of Europe\n7 – 22 December 2018\n\nPrivate View: 12th December\, 6 – 9pm\n\nArtists: Daniele Buetti\, Maria Bussmann\, Gunter Damisch\, Oliver Dorfer\, Joannis Avramidis\, Alfred Hrdlicka\, Paulina Korobkiewicz\, Andreas Leikauf\, Oswald Oberhuber\, Hans Staudacher and Miha Strukelj.\n  \nCultural exchange with Vienna-based Galerie Ernst Hilger focuses on the dialogue between Painting\, Photography Drawing and Sculpture. The exhibition is comprised of works in various mediums by ten international artists. \n  \n\nDaniele Buetti is one of the principle artists concerned with consumerism and informed society. His installations\, videos\, light boxes\, sculptures\, drawings\, and performances reflect\, comment on\, and underline our present times in physically powerful\, atmospheric images.\n\n  \n\nThe drawings of the artist Maria Bussmann\, who lives in Vienna and New York City\, are often based on philosophical writings. In generously conceived series\, the artist implements chains of graphical associations\, which she understands not so much as illustrations\, but rather as open commentaries on philosophical thinking in general.\n\n  \n\nGunter Damisch is an influential proponent of the Neue Wilde style is one of Austria’s most significant contemporary artists. His art features strong colouring and is highly abstract\, with sweeping brushstrokes and a furious and intense painting style on the mainly large-format works.\n\n  \n\nA picture says more than a thousand words. In the case of Oliver Dorfer’s work\, this saying is more than appropriate. Dorfer’s pictures should speak for themselves – by means of their own picture language\, a syntax established out of signs from the world of films\, comics\, graphic designs and other pop culture influences that serve as the raw material for his work.\n\n  \n\nJoannis Avramidisʼ work always circled round the human figure. In his search for a compression of the figurative form\, simultaneously with abstraction of the form\, Avramidis always oriented himself in the Greek archaic and classical sculpture.\n\n  \n\nAlfred Hrdlicka was an important Austrian sculptor\, draughtsman\, painter\, and writer. He is considered a political artist\, many of his works being memorials warning against war and fascism.\n\n  \n\nPaulina Korobkiewicz is a Polish visual artist\, photographer and self-publisher. Her practice explores how the political transition influenced contemporary landscape in Poland and neighbouring post-communist states. Her photographs draw inspiration from sculpture and architecture\, and translate to a graphic conceptual style.\n\n  \n\nBest described as “reflexive art gone rock and roll\,” Andreas Leikauf’s masterful style and imagery incites multi-dimensional reverberations\, as he likes to amp up his scenes to a dark and fervent crescendo.\n\n  \n\nOswald Oberhuber is an Austrian painter\, sculptor and illustrator whose works cover a broad artistic spectrum: pieces using or built from plastic\, paintings\, collages\, assemblies and sculptures.\n\n  \n\nHans Staudacher is a multiple award-winning\, Austrian painter whose work is attributed to the genres of Tachism and Action Painting. He is the founder of Art Informel in Austria.\n\n  \n\nSlovenian artist Miha Strukelj is drawn to the ambiguous nature and the confines of space (both in a compositional and geographical sense).  He focuses on urban landscapes and through his paintings and drawings he creates a new sense of place\, combining real and fictitious elements or abstracting real topologies.\n\n  \n 
URL:https://project-space.london/event/galerie-ernst-hilger-from-the-heart-of-europe
CATEGORIES:Events,Previous Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190109
DTEND;VALUE=DATE:20190125
DTSTAMP:20260619T120845
CREATED:20190109T124530Z
LAST-MODIFIED:20190720T103401Z
UID:5904-1546992000-1548374399@project-space.london
SUMMARY:Mel Ramos
DESCRIPTION:MEL RAMOS (1935 – 2018)\nPAINTINGS\, SCULPTURES & EDITIONS\n9 – 24 January 2019\n\nGitanes\, 2012\, Polychrome resin\, 85 x 48 x 70 cm\, 33 ½ x 19 x 27 ½ in\n\n\n\nMel Ramos\, Roy Lichtenstein and Andy Warhol exhibited together in a seminal show at the Los Angeles County Museum of Art in 1963. It was the era of Playboy (then a publishing phenomenon) and of Marshall McLuhan’s ‘the medium is the message’ analysis of advertising manipulation. Ramos’ ironic commentaries on the use of sex to sell any commodity (and the Californian obsession with the body beautiful) reflected other American artists’ – like Claes Oldenburg\, James Rosenquist\, Tom Wesselmann and Wayne Thiebaud – reaction to the soft power of popular culture and the mass media. Pop Art rapidly became an influential movement that still resonates today\, and Ramos is regarded as a key participant in its evolution.\n\nInitially the Feminist movement of the 1970s\, and now current social issues concerned with misogyny and the #MeToo movement\, have redefined Ramos’ work as controversial. Even his depictions of famous comic book characters have come under negative scrutiny\, when re-viewed through the lens of contemporary sensibilities. Nevertheless\, his confrontational use of the female nude\, configured with branded products\, to generate an ‘instant recognition’ factor\, has paved the way for the uninhibited\, sexualised subject matter common in 21st century Post-Pop art.\n\nThe art of Mel Ramos is included in the Whitney Museum of American Art; Museum of Modern Art in New York; and a major exhibition was held at the Albertina in Vienna in 2011. His first solo show in the UK is at the Bermondsey Project Space in 2019.\n\nRamos was art professor at California State University\, East Bay (1966 -97)\, and emeritus professor (1998-2018).
URL:https://project-space.london/event/mel-ramos
CATEGORIES:Events,Previous Exhibitions
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190129
DTEND;VALUE=DATE:20190310
DTSTAMP:20260619T120845
CREATED:20190110T172447Z
LAST-MODIFIED:20190720T103401Z
UID:5913-1548720000-1552175999@project-space.london
SUMMARY:Mark Baldwin: Embodied Knowledge
DESCRIPTION:Embodied Knowledge\nMARK BALDWIN\nJANUARY 29  – MARCH 9\n  \n \n\nNicola Clayton FRS\nProfessor of Comparative Cognition at the University of Cambridge\nFellow of the Royal Society (FRS)\n\nEmbodied knowledge captures those thought processes that emerge when the brain and the rest of the body come together in a meeting of minds: the cerebral mind’s metacognitive eye coupled with the corporal intuitive wordless thoughts. The brain is not a vat of knowledge that works in isolation\, depending on a mutually beneficial relationship with the body. They interact with the world and are shaped by the environment they inhabit because all thoughts move\, whether they are wordless images or they are pictures and sounds that are accompanied by words.  The environment affects the way in which these thoughts move\, influenced by the substrate\, the morphology\, the atmosphere\, the ambience…\n \nThoughts shimmer and change through space and time\, depending on our emotional well being and our current perspective\, capturing fleeting moments in the active process of memory and mental time travel~ travelling backwards and forwards in the mind’s eye to reflect upon the past\, inventing new futures and creating new ways of thinking. Sometimes these strategies are deliberate and mindful\, where the brain has conscious access to the thoughts we create; but sometimes these thoughts arise de novo as a result of unexpected triggers which may be manifest as insight and intuition\, created through improbable connections and surprising parallels\, and sometimes the body knows these things long before the mind is afforded conscious access to them.\nThe body remembers as well as the brain and therefore it is interesting to contrast those two types of memory. Psychologists differentiate between procedural memory (body memory/corporal thoughts)\, and declarative memory (mental memory/cerebral thoughts). With procedural memory\, the body acquires the knowledge of what to do and how\, but there doesn’t have to be conscious access to the process through which the information was acquired. By contrast\, declarative memory depends on conscious access\, when the mind is well aware of what it knows and remembers. Mental time travel is an especially important process because it allows us to constantly reconfigure our memories and thoughts\, supporting our need to contextualize the present and make it our own\, because it is controlled and constrained by who we are – past\, present and future – and in turn it creates our identity\, our sense of self and a sense of self-involvement. As the famous American psychologist William James remarked “For a memory to become my memory\, to own it\, requires more than the mere dating of a fact in the past. It must be dated in my past.”\nA powerful way of experiencing these features of memory is through movement\, and especially through contemporary dance and other forms of conceptual art. This ‘mental time travel’ feature of memory makes it great for creativity\, allowing us to think outside the box\, engage in divergent thought and explore new ideas. However\, there is a downside to this process. Our memories are not accurate repositories of what really happened.\nThere is another feature of memory that is all about movement\, namely suppleness.  We use the past to create the future\, and when we recall the past it is the suppleness of our imagination that allows us to create and recreate those memories. This is a powerful creative tool\, particularly when the physical suppleness of a dancer meets the cognitive suppleness of the mind. It is this physical and cognitive suppleness that allows the dancer to engage with the choreographer (the person who invents the dance) in a deep sense.\nSo memory is not static\, nor is it just focused on the past.  It is forward-looking not backward\, and it is flexible not fixed\, which is precisely what allows it to be supple. These ideas are the very things that are expressed in Mark Baldwin’s masterful art. All of the images move in the mind of the viewer because even static images can capture movement\, and they can tell a story\, reminiscent of the paintings of lions and horses in the caves of Chauvet and Lascaux created by our early ancestors to capture the vitality of the living form. Mental time travel is an essential feature of the human mind\, one that may have originated before our ability to read and write.\nMark’s art is all about ideas and why and how they move. His creative process reveals the complexities of how to use a transferable skill across domains~ the conceptual visual artist\, the choreographer\, the Renaissance man inspired by science and the arts: they are both the same and different.\n\nMovement in Mind\nMark Baldwin and Nicky Clayton have been collaborating for the past ten years\, exploring the exciting commonalities between science and art\, about ideas expressed through the medium of movement. For Mark it’s about the dancer and the choreographer; for Nicky it’s about the crow and the scientist fascinated by their manners and movements. There are in fact many parallels in the practice of an artist and a scientist: they use different tools and methods of inquiry\, but many of the questions remain the same.  How can we represent complex abstract ideas through the medium of movement without the need for words to represent and explain these things? What might mental time travel be like in the absence of words\, and what kinds of evidence might we look for in such an endeavour?\nWhat happens when our worlds meet and we create something new together? Typically for us these are ideas that have inspired seven new choreographic works including “Comedy of Change” to celebrate Darwin’s bicentennial and the 150th anniversary of “On the Origin of Species” or “Seven for a secret never to be told” with its emphasis on the importance of play for cognitive development in young children and other animals\, notably crows or “The Creation”\, which was inspired by the origins of life in the universe. These ideas of our mutual ways of working are expressed pictorially in this series of watercolours painted by Mark\, ideas that evolved mutually from Mark and Nicky’s discussions\, questions that grew and emerged organically through a decade of exploring and playing with ideas together.\nMovement in Mind investigates the creative process through a series of open-ended questions\, in the hope of inspiring new questions and new ways of thinking and working.\n  \n \n \n\n  \n  \n  \n  \n  \n  \n  \n  \n\n  \n  \n  \n\nWORKSHOPS & EVENTS\n  \nMARK BALDWIN – ARTIST WORKSHOP \nSaturday 02/02/2019\, 12pm\nThe artist process with Mark Baldwin\nA rare pair of workshops led by Mark Baldwin OBE\, on the process of embodied knowledge\, crossing between art and dance.\nLearn how to use your own embodied knowledge to create art and dance. Following his debut solo exhibition Mark presents a practical workshop of the ideas behind his work\, looking at inspiration\, process and performance. \nEver wondered what knowledge is in your body? \nRecommend for people interested in visual arts and/or dance. Loose clothing required. Drawing materials provided. \n  \nMEMORY – INTERACTIVE TALK \nWednesday 06/02/2019\, 6pm\nThe Dancer Remembers with Prof. Nicky Clayton FRS\nPart-talk\, part-workshop Professor Nicky Clayton FRS and Clive Wilkins MMC combine both Tango and science to help us understand how memory works and what is its purpose. The presentation will consist of both observation and participation to demonstrate these ideas.\nHow do you access memory? Where are your memories? Could you say that remembering the past is a form of time travel? When we think of the future\, does this engage the same process? The same parts of the brain? \n  \n  \nMEMORY – WORKSHOP \nSaturday 09/02/2019\, 12pm\nWho am I? with Carolyn Bolton \nProfessional dance artist Carolyn Bolton leads two separate movement based workshops\, focusing on internalising physical memories and accessing them. Through the sessions you will seek to access your ancestral\, future\, past\, embodied knowledge and find an enriching experience.\nWorkshop 1 – will guide you through a series of improvised sequences that open up our creative memory\, whilst opening up your archived knowledge to lead you in the future. \nWorkshop 2 – will lead you through a series of task-based work\, which culminates in a mini-art performance in the gallery based on memory. \nCould you say that remembering the past is a form of time travel? \nThe workshops are aimed at anyone with dance experience who wants to investigate their own embodied knowledge to generate and explore movement. \nParticipation in both workshops is highly advised. \nLoose clothing required. \n  \nPLAY – PANEL DISCUSSION \nWednesday 13/02/2019\, 6pm\nThe Playground discusses\n  \nThe success of the playground as a place of collaboration and sharing of ideas between artists of different disciplines motivates this panel.\nThe Playground is normally hosted at Rambert’s building on Southbank. This panel will give a unique insight into the inner workings of the artist’s mind.\nFinding out how process can be integral to finding common ground. Questioning how to work with difference and overcoming and embracing challenges.\n  \nPLAY – WORKSHOP \nSaturday 16/02/2019\, 12pm\nThe Playground deeper with Vanessa Kang \nThe Playground is a place of collaboration and sharing of ideas between artists of different disciplines. This workshop extends upon those ideals. Normally hosted at Rambert’s building on Southbank\, this workshop will give a different context to learn about collaboration.\nFacilitator Vanessa Kang will lead through a series of exercises\, games and scenarios to enable tools for collaboration. Placing emphasis on dealing with difference and maintaining a sense of identity whilst working with others. \nPlay can create a joyful body so for any starting point\, what better place to be.\nPlay is essential to children’s development but also to non-verbal forms of process. Whilst as adults we can be discouraged against our ‘childlike’ selves\, this embodiment of potential is an exciting one. \nObservers welcome. \n  \nGENDER – PANEL DISCUSSION \nWednesday 20/02/2019\, 6pm\nDo I feel my Gender? Young artists talk about today’s challenges in a gendered world. Young artists talk about today’s challenges in a gendered world.\nAs alternative and parallel thinking of gender are becoming more prominent\, artists discuss what it means today. How does this relate to their practice and what does it mean for audiences. The work of Mark Baldwin OBE travels through various non-binary/gender specific identities\, prompting the topic of Gender. \nA panel of dance and visual artists will discuss what does gender mean to them in their embodied forms. Thought-provoking discussion\, including a Q&A. \nWhat is gender\, a construct or instincts? Do we feel our gender? Is it internal or what we show? \n  \nGENDER – WORKSHOP \nSaturday 23/02/3019\, 12pm\nGendered bodies with Stephen Quildan \nWhat is gender\, a construct or instincts? Do we feel our gender? Is it internal or what we show?\nPractical movement based workshop looking at the performing of gender\, based on observation\, imitation and embodiment. Starting with projections of gender as a social construct\, Choreographer Stephen Quildan leads a series of two workshops on what it means to perform Gender. By recognising what is our own and what we have learnt he hopes to uncover more of our true selves. \nThis workshop is appropriate for all levels of movement. Loose clothing recommended. \n  \nCOMPOSITION – PANEL DISCUSSION\nWednesday 27/02/2019\, 6pm\nA score of movement\, Composers discuss \nA panel of musical composers will spin through their practices and philosophies of composition and reveal their crafting of time and sound. Using the themes of the exhibition ‘Embodied Knowledge’ the talk will create discourse on what it means to compose music for the moving body.\nHow do you capture movement\, in a painting\, score or picture? \n  \nCOMPOSITION – WORKSHOP \nSaturday 02/03/2019\, 12pm\nImage Making with Jack Thomson \nJack Thomson will be leading two fascinating workshops investigating the relationship between dance and the camera\, revealing his artistic practice and processes along the way.\nWorkshop 1 – role of the photographer with the subject/dancer. \nWorkshop 2 – role of the dancer/subject and how these roles work together to create composition. \n“Combining my interests inside and outside the dance studio\, has developed my personal\, multidisciplinary interests and work. Most of the work I make is largely about the relationship between the moving body and the camera and the context in which these two come together.”\n– Jack Thomson \nParticipation in both workshops is highly advised. \nBring your own cameras and loose clothing recommended. \n  \nCULTURE – ARTIST TALK \nWednesday 06/03/2019\, 6pm\nIn conversation with Mark Baldwin and friends. Mark Baldwin OBE discusses with other artists what does embodied knowledge means to them. Does your personal culture become art?\nExploring the culture-makers responses to the world around them and discussing what they feel. Highlighting quirkiness and being silly\, amongst the deeply skilful and serious aspects of an artist. \n  \nCULTURE – WORKSHOP \nSaturday 09/03/2019\, 12pm\n‘Borderless?’ with Mark Baldwin \nMark Baldwin OBE\, artist of ‘Embodied Knowledge’ leads this rare practical movement workshop. Co-creation and embodied knowledge have led him to make new work with artists of specific cultural backgrounds\, such as African Zulu\, New Zealand Maori and worked in dance ecologies in Japan\, Colombia\, Turkey and Europe.\nIn the workshop Mark will open up collaboration\, improvisation and endless invention for artists to learn to further develop their own territory and voice. \n“I start most of my work by listening and moving to music\, I can also read music so if I have written score I will learn to follow it as I hear and see it on the page. I also make paintings. It’s in these actions that I begin to make sense of what I might be trying to say\, essentially I am looking for “something” by playing with ideas in time and space. I find music opens up my brain to all kinds pictorial thoughts\, atmospheres\, manners\, attitudes\, memories and feelings both from my body and my mind. I tend to listen to several different pieces of music usually along a chosen theme or musical direction e.g. choral works\, new music\, string sounds lately Japanese or Polynesian drumming. I am trying to go beyond the ideas and move towards another place where my Embodied Knowledge is informing me of a key direction.” \nNo previous dance experience necessary. \nLoose clothing recommended. \n\n  \n  \nWorkshop days consist of two sessions 12pm-1pm & 2pm-3pm.\nThat workshops are £10 or £15 for two workshops on the same day. £6 concessions.\nAll other events are £7/£5 concessions \nConcessions are\, over 60 \, under 18\, Student\, Equity/BECTU. \n  \n  \n BOOK ADVANCE TICKETS FOR TALKS\n\n\n \nPowered by Eventbrite\n\nBOOK ADVANCE TICKETS FOR WORKSHOPS\n\n\n \nPowered by Eventbrite\n\n  \n   \n\n\n\n  \nAbout Mark Baldwin\nMark Baldwin is a choreographer and a dancer\, therefore these images came into the world via a particular stance\, dance. For this exhibition\, his first\, grids are his preferred method of transport. The paintings in his grids stand-alone but make a whole new picture when stacked next to each other. They\, represent his choreographic notes\, the squiggles on the back of an envelope writ large which carry information about timing\, shift\, sound\, shapes\, mood\, character and plot.\n\nThe paintings inhabit the universe of memory; “Mental Time Travel” and the “imagination system” allowing him to make a dance in time and space that is flat but constantly shifting up\, down\, back\, forth\, inside\, outside\, left\, right\, high and low etc. We all have embodied knowledge which some might argue sits on the surface of who we are\, where we came from\, and who we hope to become.\n  \n\n  \nPowered by Eventbrite\n\nhttps://www.facebook.com/markbaldwinstudios/videos/1128634683962937/
URL:https://project-space.london/event/mark-baldwin-embodied-knowledge
CATEGORIES:Events,Previous Exhibitions
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190312
DTEND;VALUE=DATE:20190317
DTSTAMP:20260619T120845
CREATED:20190216T124314Z
LAST-MODIFIED:20190720T103401Z
UID:6017-1552348800-1552780799@project-space.london
SUMMARY:Yana Rits: Body Talks
DESCRIPTION:BODY TALKS\nYANA RITS\nMARCH 12 – MARCH 16\n  \n \n  \n‘We\, as humans\, carry within ourselves all angels of heaven alongside every demon of hell blending one with the other\, a cocktail complementary to circumstances and personal tastes. This impermanence is as infinite as it is beautiful. The human personality is rich and iridescent like an artfully cut diamond\, and it is the diversity of these innumerable facets that I try to reflect in my works’.   Yana Rits \n  \nBorn and raised in St. Petersburg\, London based artist Yana Rits’ photography and cinematography combines the sublime moral character and rich cultural heritage of these beautiful cities. In her photographic practice\, the artist uses her own body to study not only concepts of time\, form\, and space but also the whole gamut of human existence – from cultural aspects such as religion\, gender and racial privilege to more primal ones like sexuality and age. \nThe beauty\, harmony and fragility of the human body\, male or female\, are the focus of the artist’s work and they represent an incomparable tool for the embodiment of philosophical themes. The use of a single model in various hypostases united in a single-frame allows the artist to achieve the effect of presence in several spatial planes simultaneously\, thus transferring the idea of unity in a single moment in time. The technique of black and white allows the artist to create a language of metaphors and abstractions – the image thus becomes a means to establish a conversation between the viewer and the artist’s inner universe. \n  \n \nThe exhibition will be held in conjunction with SMart Network\, the arts-based registered charity which helps homeless and socially marginalised individuals to regain a sense of purpose using creative expression. Some of the proceeds of the exhibition sales will be generously donated by Rits as a way to raise valuable funds to promote existing art projects and to inspire the creation of new ones. \nBeing an artist myself\, I find it crucial to utilise art in supporting others\, who’s life circumstances do not allow them to express themselves or even fulfil their basic human needs of food and shelter.  I would be very proud to help SMart in their work of raising funds and awareness of the issues of homeless people. I find it very important that art can play an active role and serve the most vulnerable people\, help rediscover themselves\, find new meaning in their life and get back on their feet again.I find it very important that art can play an active role and serve the most vulnerable people\, help rediscover themselves\, find new meaning in their life and get back on their feet again. \n – Yana Rits (March 02\, 2019)
URL:https://project-space.london/event/yana-rits-body-talks
CATEGORIES:Events,Previous Exhibitions
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190318
DTEND;VALUE=DATE:20190401
DTSTAMP:20260619T120845
CREATED:20190307T151058Z
LAST-MODIFIED:20190720T103401Z
UID:6025-1552867200-1554076799@project-space.london
SUMMARY:SUMMER SALON 01 BRITISH PAINTING : DISPOSITION
DESCRIPTION:SUMMER SALON 01 British Painting\nDISPOSITION\nCurated by Marguerite Horner\nExhibiting Artists: John Atkin\, Franki Austin\, Day Bowman\, Luke Caulfield\, Claudia De Grandi\, Alex Hanna\, Kaori Homma\, Ben Johnson\, Graham Martin\, Sneh Mehta\, Kate Mieczkowska\, Alan Rankle\, Rob Reed\, Katherine Russell\, Sarah Shaw\, Andrew Stahl\, Judith Tucker.\nMARCH 18 – 31\n  \n  \n  \nDisposition is defined as an arrangement of things in relation to each other. While the relationship between artists\, their practices and the perception of audience are not always empirically definable\, this exhibition attempts to bring together a group of artists whose common link is that\, they are all contemporary practitioner living and working here and now\, and endeavouring to put the ether into material form\, each in their unique and individual way\, their consciousness manifest through material process to be experienced by the ‘other’- the viewer who brings their own associations.\nMerleau-Ponty states: ‘precisely because Painting does not ‘copy’ things\, and because it does not offer things to thought as does science but presents them immediately and bodily\, in their depth and movement\, that painting gives a true sense of the world and what it means to see it’.\n  \n  \nJohn Atkin deploys a clear physicality to the artworks through the use of collage alongside materials such as Perspex.  The use of digital media together with traditional methods of practice has permitted an experimental approach to the application of colour and form used in preparatory drawing and prints.\n  \n  \n \nFranki Austin‘s work revolves around Dartington Hall in Devon and on the international community of artists who were living and working at Dartington in 1930s. This research led the artist to value the relationships and interactions between artist\, community and place.\n  \n  \n \nDay Bowman is a painter whose work lies on the axis of figuration and abstraction. In her current body of work she confronts and questions our notion of the coast and the seaside and asks ‘is it now more border than holiday destination?’\n  \n\nLuke Caulfield’s work is founded on instable\, shifting\, temporal elements and perceptual uncertainty. The work seems to toy with the idea that he may not be making a work of art himself but instead making a “documentation” of other works of art.\n  \n  \n \nFrom 2017 onwards Claudia De Grandi has been concentrating on large scale paintings based on her studies and observations of the sea\, from the shores of East Sussex and Northern California.\n  \n  \n \nAlex Hanna‘s work is based around arrangements of objects\, materials and surfaces. Much of his work has been about the painting as both an illusory device and simultaneously an object.\n  \n  \n \nKaori Homma uses Invisible ink made with lemon juice to render images\, altering the delicate balance of paper. For the artist\, the resulting image contains a level of fragility and notion of death within it by nature.\n  \n  \n \nBen Johnson He is best known for his paintings based on architectural spaces (some almost forensically accurate\, others heavily manipulated) and his large-scale\, intricately detailed cityscape.\n  \n  \n \nGraham Martin is interested in the ideas which shaped the original social and architectural concepts of development\, the dystopian themes associated with it today and the inevitable entropy to which it has succumbed.\n  \n  \n \nSneh Metha current series ‘Psychological Portraits’ is an exploration of the intangible in the human condition through ‘moods’\, ‘emotions’\, ‘relationships’ and ‘states of being’.\n  \n  \n \nKate Mieczkowska is a British born artist inspired by history\, politics and the world around her. Her work often explores identity in terms of nationality and gender.\n  \n  \n \nAlan Rankle is an artist and curator whose work explores historical\, social and environmental issues informed by his interest in the evolution of landscape art.\n  \n  \n \nRob Reed practice re-evaluates the everyday scenery and the discovery of its symbolic qualities which can present an environment for solitary contemplation for audiences.\n  \n  \n \nKatherine Russell tries to dissimulate a fraction of the mass of imagery that we encounter on a daily basis. Her work looks at how we as individuals\, inevitably engage with these images on a personal\, subjective and an emotional level.\n  \n  \n \nAndrew Stahl ‘s process is based around his personal experience. Andrew Stahl has exhibited frequently in London and the UK and widely internationally across Europe\, Asia and America. He is a recipient of many awards  Scholarships and residencies.\n  \n \nSarah Shaw’s process revolves around the building up and stripping down of imagery\, exploring different painterly languages then reducing down to the lowest denominator.\n  \n \nJudith Tucker‘s work explores the meeting of social history\, personal memory and geography; it investigates their relationship through drawing\, painting and writing.\n  \n  \n  \nMARGUERITE HORNER Time Keeps Slipping\nSolo Show\nMARCH 18 – 31\nOur minds slip in and out of linear time\, bringing memories\, thoughts and beliefs that exist outside of linear time into the present as we recall.\nThis body of work originates from the recalled reality of my personal experience which acts as a metaphor for my internal world with which I explore notions of transience\, intimacy\, loss and hope.\n‘For the only equivalent of the Universe within is the Universe without’.\nJung\n  \n\n\n\n\n \n  \n  \n\n\n\n\n  \n\n\n\n  \n  \n\n\n\n  \n  \n  \n  \n  \n  \n  \n  \n  \n  \n  \n  \n  \n 
URL:https://project-space.london/event/summer-salon-01-british-painting-disposition
CATEGORIES:Events,Previous Exhibitions
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190402
DTEND;VALUE=DATE:20190414
DTSTAMP:20260619T120845
CREATED:20190307T174200Z
LAST-MODIFIED:20190720T103401Z
UID:6075-1554163200-1555199999@project-space.london
SUMMARY:1/3 MeelPress
DESCRIPTION:1/3 MeelPress\n\n\n\nPortuguese Contemporary Artists \nCurated by João Silvério\n\n\n\n\n\n\n\n2nd – 13th April 2019\n\n  \n\n\n\nBermondsey Project Space is delighted to announce its forthcoming exhibition\, titled “1/3MeelPress”\, curated by João Silvério. This is a non-profit showcase sponsored by Camões IP with the Embassy of Portugal in the United Kingdom and Calouste Gulbenkian Foundation.\nThis exhibition celebrates the past five years of print work from MeelPress Studio by Portuguese contemporary artists. Its aim is to present their work in an international context\, choosing the city of London as an acknowledgment of teaching and learning relationships established between Portuguese artists and British institutions.\n“1/3 MeelPress” was projected by Hugo Amorim\, Constança Arouca and Mara Alves\, and will show artworks from the following artists: Alexandre Conefrey\, Ana Jotta\, Ana Yokoshi\, Ana Pérez-Quiroga\, André Romão\, Ângela Ferreira\, Belén Uriel\, Constança Arouca\, Edgar Pires\, Elisa Pône\, Francisco Tropa\, Henrique Pavão\, Hugo Amorim\, Joana Villaverde\, Julião Sarmento\, João Louro\, João Paulo Feliciano\, João Queiroz\, Luís Paulo Costa\, Luísa Cunha\, Miguel Palma\, Paulo Brighenti\, Ricardo Jacinto\, Rui Calçada Bastos\, Salomé Lamas\, Susana Mendes Silva\, Thierry Simões\, Tomás Cunha Ferreira.\n\n\n\n  \n  \n \n\n\n\nMiguel Palma \nUntitled\, 2016\nMonoprint\, Chine-collé\, on 300g Somerset White paper Paper dim.: 76 x 56 cm\nUnique proof \n\n\n\n  \n  \n\n\n\nJoão Silvério exhibition’s Curator\, comments:\nThe exhibition 1/3 MeelPress brings together a group of contemporary artists from different generations whose work was developed in collaboration with MeelPress print studio\, founded in Lisbon in 2013 by the artist and printmaker Hugo Amorim.\nThe singularity of the exhibition project is anchored in the diversity of artistic projects which\, emerging within a great historical tradition\, reveals a strong experimental component present in the art works on show. This print studio has assumed a dual role in the context of Portuguese contemporary art\, as both a space for production of printed work and an artist’s studio where they can create and develop new art work.\n\n\n\n\n1/3 MeelPress is the collective expression represented by printmaking in contemporary art production.\n  \n\n\n\n\n\n\nAbout Meel Press Studio:\nThe MeelPress studio was founded in 2013 by the artist and printmaker Hugo Amorim with the primary purpose of creating a collaborative space for contemporary artists\, in the production and diffusion of print editions\, as well as other cultural agents\, curators and gallerists.\nMeel Press printed with the following artists for their solo shows: Alexandre Conefrey\, Ana Jotta\, Ana Pérez Piroga\, Belén Uriel\, Constança Arouca\, Elisa Pône\, Henrique Pavão\, João Queiroz\, Miguel Palma\, Paulo Brighenti\, Rui Calçada Bastos\, Salomé Lamas\, Thierry Simões\, Tomás Cunha Ferreira.\nMeel Press printed editions for the following group exhibitions: “Appleton Square 10 Anos” (10th anniversary book of prints)\, Appleton Square (2018) : Alexandre Conefrey\, Ana Jotta\, Ana Yokoshi\, Ângela Ferreira\, Belén Uriel\, Edgar Pires\, Francisco Tropa\, Joana Villaverde\, Julião Sarmento\, João Louro\, João Paulo Feliciano\, Susana Mendes Silva; “BAT bon à tirer”\, Appleton Square (2018): Alexandre Conefrey\, Ana Jotta\, Ana Yokoshi\, Ana Pérez Piroga\, André Romão\, Ângela Ferreira\, Belén Uriel\, Constança Arouca\, Edgar Pires\, Elisa Pône\, Henrique Pavão\, Hugo Amorim\, Joana Villaverde\, Julião Sarmento\, Luís Paulo Costa\, Luísa Cunha\, Miguel Palma\, Paulo Brighenti\, Ricardo Jacinto\, Rui Calçada Bastos\, Salomé Lamas\, Susana Mendes Silva\, Thierry\nSimões; “Mercadoria Chinesa”\, Galeria Cristina Guerra (2014): Ana Jotta\, André Romão\, Julião Sarmento\, João Louro\, João Paulo Feliciano\, Luís Paulo Costa\, Luísa Cunha\, Ricardo Jacinto.\nAbout the Curator João Silvério:\nJoão Silvério (1962) is an Art Curator based in Lisbon. He works as a curator for the Art Collection of the Luso- American Development Foundation (www.flad.pt) and is the President of AICA (International Association of Art Critics) Portuguese section 2013-2015. In 2007 he created the independent project EMPTY CUBE (www.emptycube.org).\nHe holds a Master’s Degree in Curatorial Studies from the Fine Arts Faculty of Universidade de Lisboa and is currently preparing his PhD dissertation at the Arts College of Universidade de Coimbra.\nHe is the author of art books\, writes regularly on art projects in catalogues\, publications and websites including the www. emptycube.org\nFrom the exhibitions curated by João Silvério we select: Imaginário da Paisagem – Colecção BESArt – Centro de Artes de Visuais\, Coimbra\, 2010; all to wall\, Parte I Parte II\, Cristina Guerra Contemporary Art\, 2011\, Lisbon; Dois Desenhos\, Uma Escultura\, de José Pedro Croft \, Appleton Square\, Lisbon\, 2012; INDEX – Julião Sarmento\, Museu de Arte Contemporânea de Elvas – Collection António Cachola; Co-Curator with Suzanne Cotter of the exhibition HABITAR(S) Group show with works form the collections of the Fundação Luso-Americana para o Desenvolvimento and Fundação de Serralves – Biblioteca Municipal Almeida Garrett\, Porto\, 2013; Passagem de Nível\, exhibiton of Rui Calçada Bastos\, Invaliden1 Galerie\, Berlin\, 2014; Colecção de Arte Contemporânea Arquipélago\, uma selecção\, Arquipélago Centro de Artes Contemporâneas\, Ribeira Grande\, S. Miguel\, Azores\, 2015; shadow pieces on Body frames – Julião Sarmento\, CAPC-Círculo Sereia\, Bienal Ano Zero\, Coimbra\, Portugal(2015); As Good As it Gets- Julião Sarmento\, Museum of Fine Arts / Kula Gallery/ Institut Hazu\, Split and Museum of Contemprary Art Zabgreb\, Croatia\, 2016; Ponto de Partida\, Coleção Figueiredo Ribeiro\, Quartel – Galeria Municipal de Arte\, Abrantes\, 2016; Uma Colecção = Um Museu\, 2007- 2017\, António Cachola Collection 10 Years Exhibiton program\, MACE\, Elvas and Badajoz\, Spain\, 2017; EDP FOUNDATION’S NEW ARTISTS AWARD 2017\, Lisbon.\nIn 2018 he has curated Mesa dos Sonhos: duas coleções de arte contemporânea – Fundação Luso-Americana para o Desenvolvimento e Fundação de Serralves\, Museu de Arte Contemporânea Nadir Afonso\, Chaves\, Centro de Cultura Contemporânea de Castelo Branco – CCCB (2018); “O Estado das Coisas – Obras da Colecção da Fundação PLMJ”\, Kunstraum Botschaft / Camões Berlin (2018). In 2019 he is curator and member of selection Jury of 2019 EDP FOUNDATION’S NEW ARTISTS AWARD.\n\n\n\n\n\n\nAbout Hugo Amorim (Meel Press Founder):\nHugo Amorim (1975) is an artist printmaker and editor who was born in Lisbon where he lives and works. Between 2004 and 2007 he was the teacher and head technician for the Printing Studio at Ar.Co – Independent Art School\, in Almada. In 2013\, Hugo Amorim founded MeelPress Studio with the main purpose of creating a Print Studio to collaborate with artists and develop print editions.\nHugo Amorim studied at Ar.Co – Independent Art School\, where he graduated from the Complete Painting Studies\, in 2002\,\nthe Advanced Course in Visual Arts\, in 2004\, the Cinema/ Moving Image Course\, in 2005\, and Sculpture Practice in 2006. He participated in the following group shows: Selected artists for the prize Amadeo Souza-Cardoso (2017)\, Amarante; Mostra15 (2015); “Sim Não”\, with Francisco Tropa\, included in the project: “O corpo como utensílio\, o corpo como matéria”\, Auditório da Fundação de Serralves (2006)\, Porto; “Ar.Co\, Bazar”\, Centro Cultural de Belém (2006)\, Lisbon; “Exposição de Finalistas e Bolseiros”\, Ar.Co\, Cordoaria Nacional (2005)\, Lisbon; “Exposição de Verão”/ Open Studio\, Ar.Co (2004)\, Almada.\nAt MeelPress Studio he printed with the following artists for their solo and group shows: Alexandre Conefrey\, Ana Jotta\, Ana Yokoshi\, Ana Pérez Piroga\, André Romão\, Ângela Ferreira\, Belén Uriel\, Constança Arouca\, Edgar Pires\, Elisa Pône\, Henrique Pavão\, Hugo Amorim\, Joana Villaverde\, João Louro\, João Queiroz\, João Paulo Feliciano\, Julião Sarmento\, Luís Paulo Costa\, Luísa Cunha\, Miguel Palma\, Paulo Brighenti\, Ricardo Jacinto\, Rui Calçada Bastos\, Salomé Lamas\, Susana Mendes Silva\, Thierry Simões\, Tomás Cunha Ferreira.\nHe printed editions for the following group exhibitions: “Appleton Square 10 Anos” (Livro)\, Appleton Square (2018); “BAT bon à tirer”\, Appleton Square (2018); “Mercadoria Chinesa”\, Galeria Cristina Guerra (2014)\nAbout Constança Arouca (“1/3 Meel Press” Project Manager – Portugal):\nConstança Arouca (Lisbon\, 1976) is an artist and researcher based in Lisbon. She has developed her work in the fields of drawing\, printmaking and moving image.\nShe graduated from the Advanced Course of Visual Arts\, in 2004\, and Individual Project at Ar.Co\, Lisbon\, in 2005. In 2006\, she participated in Calouste Gulbenkian Foundation’s Visual Arts Course. In 2009 and 2011 she was an artist in residence at Amsterdams Grafisch Atelier. In 2016 she graduated from Nova University’s Master Program of Anthropology-Visual Cultures.\nHer solo shows include: “Uma escada é um bom tema para uma pintura?” O Armário\, Lisbon\, 2019; “Meia Cana Chanfrada”\, FRESS Museu de Artes Decorativas\, Lisbon\, 2018; “Pick a Prime”\, Galeria Diferença\, Lisbon\, 2017; BÁ Studio\, Lisbon\, 2012; Módulo\, Centro Difusor de Arte\, Lisbon\, 2006; Módulo\, Centro Difusor de Arte\, Porto\, 2006. From her group shows we select: Orto di Incendio\, Istituto Centrale per la Grafica\, Rome\, 2019; “BAT bon à tirer”\, Appleton Square\, Lisbon\, 2018; Her research work in printmaking includes: The Case Study of Iohannes Moll’s Copper Plate\, conference: “Stones\, Blocks and Plates: Matrices/ Printing Surfaces in Research and Collections”\, Courtauld Institute of Art\, London\, 2017; Neptuno e Coronis\, Vieira Lusitano\, 1724 – co- presentation with Dra Alexandra Markl\, Museu Nacional de Arte Antiga\, 2017; Lisboa Prática (e materialidade) Desenho Indireto: conference: “Ways of doing\, Ways of being: artistic practices in and with anthropology”\, Museu Nacional de Etnologia\, Lisbon\, 2017.\nIn 2018 she was an artist in residence at the Decorative Arts Museum’s Chiseling workshop. In 2019 travelled to Vietnam with a scholarship from the Orient Foundation\, where she has been researching on Vietnamese printmaking and folk painting since 2017.\n\n\n\n\n\n\nAbout Mara Alves (“1/3 Meel Press Project Manager – London):\n\n\n\n\nLisbon-born Artist\, Contemporary Art Curator and Advisor with a Degree in Fine Arts and Curatorial Studies. Mara was accepted to an MA in Art Business programme at Sotheby’s Institute of Art\, with impressive merit\, in 2019. Over eight years in Managerial roles in the Arts Industry.\nBetween 2010 and 2015 Mara developed and led educational and cultural programmes for students and the general public at a studio and gallery that she founded in Lisbon. In 2015 and before moving to London\, Mara founded PortugArt\, a project that globally promotes Portuguese culture. Between 2015 and 2016 Mara has developed a drawing programme for one year for the Independent Art School in London\, to improve the student’s capacities of representation and concentration.\nFor three years she was Chief Curator and Manager with start-up gallery D Contemporary in Mayfair\, dealing with emergent\nand mid-career artists. In 2018 Mara was a Guest Curator and Advisor for Caspia Contemporary Gallery\, and a Guest Speaker at various events including COBA (Contemporary Balkan Art) and the International Art Congress\, Brazil. Also\, Mara conducted and organised a series of art salon evenings during Frieze week.\nCurrently\, Mara was appointed as Head Of Projects and Senior Curator with The Dragon Gallery focusing on highly contemporary work from emerging and mid-career artists\, and she is also independently managing and mentoring individual artist’s careers. Mara has enrolled as a cultural facilitator and project manager in London with MEELPress to bring a group of Portuguese contemporary artists to Bermondsey Project Space in April 2019\, and will be presenting and curating a solo exhibition with Caracas-born analogue photographer Alexandro Pelaez.\nAbout Bermondsey Project Space:\nA cutting edge\, creative platform to encourage personal development through visual art and support the fusion of art\, photography and culture. A not-for-profit space supporting community initiatives in the heart of London\, the Bermondsey Project Space comprises three galleries\, three floors\, three thousand square feet of exhibition space and offices located in one of the most vibrant arts areas of London\, in the shadow of the Shard and minutes from White Cube\, and close to Borough Market and Tate Modern.\nThe BPS has created high profile exhibitions with some of the UK’s leading photographers and partnered with internationally renowned agencies – like Magnum Pictures and Camera Press – to showcase the best in British photography. In 2018\, the gallery’s efforts to encourage interaction and participation within the area’s many diverse interests were generously recognised by Southwark Council who shortlisted the BPS for two awards\, alongside finalists of the calibre of the Old Vic and Brunel Museum.\nThe Bermondsey Project Space has become a popular destination for art collectors\, residents and visitors to London from the UK and beyond. The area has become a beacon for art thanks to nearby White Cube gallery and Tate Modern.\nAll press enquiries should be sent to e-mail: maracralves@gmail.com tel.: +44 (0) 74 2508 9060\nAll general enquiries should be sent to e-mail: hmc.amorim@gmail.com tel.: +351 919600410 www.meelpress.com\nSponsored by:\nCamões IP with the Embassy of Portugal in the United Kingdom and Calouste Gulbenkian Foundation\n\n  \n\n\n\n\n\n\n\n\n \n\n\n\n\n\n \n\n\n\nAna Jotta \nthen\, I saw\, 2017\nDrypoint on 300g Somerset Soft-white paper Paper dim.: 45 x 35 cm\nUnique proof \n\n\n\n  \n \n\n\n\nBelén Uriel \nUntitled\, 2018\nMonotype on 300g Somerset Soft-white paper Paper dim.: 38 x 27\,8 cm\nUnique proof \n\n\n\n  \n \n\n\n\nRui Calçada Bastos \nLandscape for the Vanished II\, 2018\nPhotogravure on 300g Somerset Soft-white paper Paper dim.: 28 x 43 cm\nImage dim.: 28 x 43 cm\nEd. 3 + 1 AP + 1 HC \n\n\n\n  \n \n\n\n\nJoão Paulo Feliciano \nUntitled\, 2017\nPhoto etching\, “a la poupée” printing with the artist blood on 300g Somerset Soft-white paper\nPaper dim.: 45 x 35 cm\nImage dim.: 11\,6 x 13\,9 cm\nEd: 10 + 3 AP \n\n\n\n  \n \n\n\n\nJulião Sarmento \nOuro\, 2017\nHard ground\, soft ground\, on 300g Somerset Soft-white paper Paper dim.: 20 x 25\,5 cm\nEd: 10 + 3 AP
URL:https://project-space.london/event/1-3-meelpress
CATEGORIES:Events,Previous Exhibitions
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190425
DTEND;VALUE=DATE:20190513
DTSTAMP:20260619T120845
CREATED:20190306T152509Z
LAST-MODIFIED:20190720T103401Z
UID:6044-1556150400-1557705599@project-space.london
SUMMARY:Rear View Mirror: Jack Milroy\, Five Decades of work
DESCRIPTION:Rear View Mirror: Jack Milroy\, Five Decades of work\n25 April – 12 May 2019\n  \nThis is a celebratory exhibition to chart Jack Milroy’s artistic evolution from art school rebel of the late 1950s\, to his heretical ‘evisceration’ of books and printed matter\, which continues to this day. The recent works are consummate examples of his pioneering treatment of the printed page\, revealing him to be a gentle and wry surrealist commentator. There is genuine astonishment at his virtuosic facility – but it is a skill that is simultaneously underpinned by a steady intellect and purpose.\nJackie Wullschlager\, chief visual arts critic of the Financial Times\, has commented on Milroy’s output in her round-up pieces for ‘Critic’s Choice’ observing that “Jack Milroy’s sculptural collages blend fairy tale and conceptual art\, mediations on rhythms and shapes with references to Darwin”. She points out that sometimes his rearrangement of species\, gravity\, day and night – is fraught with twenty-first century tension about science and nature. This is clearly the case in the two metre tall Grey Skies\, 2015\, where the metallic greys of aeroplanes designed for war dominate the upper section\, with bountiful cottage flowers clustered in colourful array beneath them\, tended in the margins by pretty butterflies innocently echoing the perilous pattern of flight implied above.\nMilroy’s titles alone tell you that he is a man of verbal as well as visual wit. There is often brevity and subversion: he uses his scalpel cut things up\, but in doing so\, he sets things free\, revealing them\, reordering them\, liberating or juxtaposing them to convey his point of view. His overall interest lies in regeneration\, and the paradox of creation through destruction. His work in the Victoria & Albert Museum’s collection is called ‘The Librarian’s Garden’\,1999. It is a table top piece in which the prickly cacti emerge in three dimensional form from the book’s pages onto a rectangular surface – ‘a beautifully evocative piece which uses the book as both container and liberator’\, the label explained.\nLatterly\, digital prints have emerged from the studio – one of them an arrangement of words from a lively collaboration with the author A S Byatt called Into the Dark Wood\, 2002. And there are still actual books\, hard covered and sculptural\, with their contents popping out of their covers as in Francis Chichester\, 1992\, or in Surgery as a Pastime\, 1997\, where anatomical body parts tumble down from the book’s pages\, suspended in streams of cut up medical text.\n‘Ophelia’ 2015 belongs to Milroy’s ‘art about art’ output\, like the earlier Garden of Earthly Delights series\, inspired by Hieronymous Bosch or Le Rouge et le Noir\, 2010 which is Milroy’s version of a Jackson Pollock. He takes liberties with his updated renderings\, paying tribute to the original painted compositions\, while using digital printing methods and exploiting the three dimensional possibilities of his paper or acetate film constructions\, which he arranges in Perspex boxes with topical inclusions (spot the Tesco plastic bag floating in Ophelia’s watery world).\nMilroy’s developments within different series over five decades consistently demonstrate the range and the calibre of his ideas alongside the constant testing\, teasing\, thoughtful approach to the codification of knowledge\, the products\, and the art of the times in which we live.\nCut Out\, (Black Dog Publishing\, 2016) is a fully illustrated monograph on Jack Milroy’s work\, containing essays by Philip Hensher\, A S Byatt\, and Andrew Lambirth\, with William Packer as the overall author and co-ordinator. It offers a most engaging lexicon of the artist’s work over a 50 year period. Copies are available from the gallery during the exhibition\, and from Art First thereafter.\nFor further information and exhibition\, biographical and collection history\, please visit our website: www.artfirst.co.uk or contact us for the pricelist and out of hours visits :\nClare Cooper: clare@artfirst.co.uk\nBenjamin Rhodes: Benjamin@artfirst.co.uk\nInstagram: @artfirstlondon\nFacebook: @artfirstlondon\nExhibition opening times are Tuesday – Saturday 11am – 6pm Venue Tel: 0203 441 5152\, email: abps@project-spacelondon\n  \n \n  \n  \n  \n 
URL:https://project-space.london/event/rear-view-mirror-jack-milroy-five-decades-of-work
CATEGORIES:Events,Previous Exhibitions
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20190521T110000
DTEND;TZID=Europe/London:20190615T180000
DTSTAMP:20260619T120845
CREATED:20190523T123115Z
LAST-MODIFIED:20190720T103401Z
UID:6165-1558436400-1560621600@project-space.london
SUMMARY:British Painting II: A Summer Show By Independent Artists
DESCRIPTION:British Painting II: A Summer Show By Independent Artists\n21 May – 15 June 2019\n  \nExhibiting Artists\n\nFelicitas Aga\, John Atkin\, Philippa Beale\, Day Bowman\, Laurence Causse-Parsley\, Mercedes Carbonell\, Stella Carr\, Francesca Cho\, Mi-Young Choi\, James Cockburn\, Kate Cragg\, Claudia De Grandi\, Paul Finn\, Andrew Flint-Shipman\, Martin Galton\, Carolyn Gowdy\, Adam Gray\, Elizabeth Hannaford\, Connie Harrison\, Frances Hatch\, Adrian Hemming\, Marguerite Horner\, Gennadiy Ivanov\, Michael Jarvis\, Robyn Litchfield\, Martin Harrison-Priestman\, Alan Rankle\, Robert Sample\, Rob Reed\, Pauline Smith\, Charlotte Snook\, Helen De Sybel\, Richard Walker\n  \n \n\n\n\nSabine   \nacrylic on canvas \nFELICITAS AGA \n\n\n  \n  \n\n \n  \nVanishing Point No. 2   2018/19 \ncollage\, oil\, perspex\, MDF on board \nJOHN ATKIN \n\n  \n  \n \n  \nThe Poplars Across the Road  2018 \noil on canvas \nPHILIPPA S BEALE \n  \n  \n \nStudy I  Fortress  2019 \noil\, charcoal and conte on canvas \nDAY BOWMAN \n  \n  \n \norders II   2019 \nmixed media on board \nLAURENCE CAUSSE-PARSLEY/LAC \n  \n  \n \nJuanito Asencio  2017 \noil on linen \nMERCEDES CARBONELL \n  \n  \n \nI Will Hold You In The Heat   2018 \noil on board \nSTELLA CARR \n  \n  \n \nTwin but Twin V   2018-9 \n(from ash & wind)  ash and mixed media \nFRANCESCA CHO \n  \n  \n \nCase for the Defense   2019 \noil on linen \nMI-YOUNG CHOI \n  \n  \n \nTartan Road\, Argyll. Scotland    2019 \noil on canvas \nJAMES COCKBURN \n  \n  \n \nGirl\, 5    2018 \ngouache on canvas \nKATE CRAGG \n  \n  \n \nWaves & Horizons – Graphite 17  2019 \noil and graphite on aluminium \nCLAUDIA DE GRANDI \n  \n  \n \nSan Gimignano Autumn    2011 \noil on linen \nPAUL FINN \n  \n  \n \nIn honour of Ianna  2018 \nacrylic\, liquid metal & whisky on linen \nANDREW FLINT SHIPMAN \n  \n  \n \nMartin Sibley and the Austin 10   2019 \noil pastel and house paint on paper \nMARTIN GALTON \n  \n  \n \nUnwrap Your Inner Magic   2018 \noil and mixed media on canvas \nCAROLYN GOWDY \n  \n  \nLosing Faith  2018 \noil on burlap \nADAM GRAY \n  \n  \n \nBlack Hole  2019 \noil\, grit on canvas \nELIZABETH HANNAFORD \n  \n  \n \nGrid III 2018 \noil paint and wax on canvas \nCONNIE HARRISON \n  \n  \n\n \nPerigree Supermoon Smudge  2018 \ngouache lay-by litter and earths on paper \nFRANCES HATCH \n  \n  \n  \n \nHeliconia  2016 \noil on canvas \nADRIAN HEMMING \n  \n  \n \nExit   2011 \noil on linen \nMARGUERITE HORNER \n  \n  \n  \n \nEgyptian Emotions II   Division series 2018 \noil on canvas \nGENNADIY IVANOV \n  \n  \n \nAlbens  2018 \nmixed media \nMICHAEL JARVIS \n  \n  \n  \n \nLake Brunner  2017 \noil and acrylic on canvas \nROBYN LITCHFIELD \n  \n  \n  \n \nWall Scape  2018 \nposter monoprint\, collage\, pencil\, acrylic on paper \nCHRISTIANNA MARION MITCHELL \n  \n  \n  \n \nA Requiem for Industry   2019 \noil on canvas \nKATE MIECZKOWSKA \n  \n  \n  \n \nIn the Cafe   2019 \nacrylic on canvas \n  \n  \n  \nWILLIAM OXER  F.R.S.A. \n \nLe Jokey 2019 \noil on linen \nM. HARRISON-PRIESTMAN \n  \n  \n  \n \nUntitled Painting XXII (Bodiam)  2017 \noil on canvas \nALAN RANKLE \n  \n \nAvenue  2017 \noil on canvas \nROB REED \n  \n  \n \nHead Down Duvet  2018 \noil on board \nROBERT SAMPLE \n  \n  \n \nBlossom in Twilight in Brixton   2012 \noil on canvas \nPAULINE SMITH \n  \n  \n  \n \nNude in the Studio with Dogman  2018 \noil on board \nCHARLOTTE SNOOK \n  \n  \n  \n \nLandscape Bucks  2018 \nmixed media \nHELEN DE SYBEL \n  \n  \n \nWest End Boy  2019 \nacrylic and pencil on canvas \nRICHARD WALKER
URL:https://project-space.london/event/british-painting-ii-a-summer-show-by-independent-artists
CATEGORIES:Events,Previous Exhibitions
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20190528T183000
DTEND;TZID=Europe/London:20190528T213000
DTSTAMP:20260619T120845
CREATED:20190511T134940Z
LAST-MODIFIED:20190720T103401Z
UID:6143-1559068200-1559079000@project-space.london
SUMMARY:MASTER YOUR FLASH AND START GETTING PAID (WITHOUT BREAKING THE BANK!)
DESCRIPTION:Master your flash and start getting paid\n(without breaking the bank)\n\n\n  \n  \nIt goes without saying that knowing how to properly use on and off camera flashes enables you to work everywhere with confidence and increases the chances of you getting hired by a potential client. That being said many photographers find flashguns confusing due to their wide range of functions and settings as well as the vast choice and high cost of flash accessories available on the market. After completing this workshop\, you will have a very good understanding of a variety of accessories\, including shapers\, modifiers\, triggers and light-stands including some tips on how to save money on your equipment. In addition\, not only will you be able to take full control of your flash but also achieve the results that will help you get paid for your next commission. \nRequirements \nIt is not necessary to bring your own equipment to attend this workshop\, however should you wish to get bespoke advice you will only need to carry a digital SLR Camera and a dedicated flash unit. \nTopics covered \n– Flash settings including zoom\, TTL and manual\n– Fill flash and flash exposure compensation\n– How to balance ambient light with flash\n– Bouncing flash off ceilings and walls\n– Working with off camera flash\n– Off camera flash lighting set ups for portraits and events\n– How and when to use reflectors\, diffusers and umbrellas\n– Posing the model\n– Flash modifiers\n– Marketing and insider tips\n– Who is this course for \nThis course is aimed at photographers wanting to push their creative image-making skills to the next level and get the most out of their flashguns in order to start their own business without breaking the bank. \nAbout the workshop leader \nBaldo Sciacca is a London based photographer\, originally from Sicily with a degree in Photojournalism and Documentary photography from the London College of Communication. He has been exhibited worldwide and was shortlisted commended photographer for the 2015 Sony World Photography Awards. His work ranges from commercial assignments and time pressure portraits of personalities to more personal and thought-provoking projects during which he frequently uses speedlights.\nwww.baldosciacca.com \nPlease Note: This workshop is limited to small groups therefore booking in advance is strongly recommended. \n  \nBOOK YOUR PLACE AT:\nhttps://www.fillerproduction.co.uk/workshops
URL:https://project-space.london/event/master-your-flash-and-start-getting-paid-without-breaking-the-bank
CATEGORIES:Events,Previous Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190625
DTEND;VALUE=DATE:20190707
DTSTAMP:20260619T120845
CREATED:20190411T151957Z
LAST-MODIFIED:20190720T103401Z
UID:6116-1561420800-1562457599@project-space.london
SUMMARY:Dawn Parsonage: The Boring Exhibition
DESCRIPTION:Dawn Parsonage: The Boring Exhibition\n26 June – 6 July 2019\n\n\nA playful celebration of boredom through the eyes of artist and collector Dawn Parsonage.\nHumorous and often beautiful\, this collection of images explores boredom through found images and contemporary portraits. Boredom is a rare emotion to capture in a photograph and this is why Dawn has been drawn to collecting these images for over 20 years.\nThe exhibition is playful in itself. The images of bored people are displayed\, as are boring photographs along with the opportunity for the viewers to take their own boring photograph. There is a playful nature to the fact they were taken in the first place. They show an intimacy between the sitter and the photographer.\nDawn enjoys the juxtaposition of the aesthetic of the snapshot\, which is designed to be treasured and celebratory\, containing something so contrary to that.\nHer contemporary answer to these images is also presented as she looks at our relationship with boredom today\, with the same playful themes.\nDawn Parsonage has been collecting photographs for over 20 years and has amassed over 10\,000 images. She uses these images in her artistic practice\, curating collections and presenting these images in a new light.\nShe works from her studio in London.\n  \n\n\n\n\n\n  \n  \n\n\n\n\n  \n\n\n\n\n\n\n\n\n\nSupported by:
URL:https://project-space.london/event/the-boring-exhibition
CATEGORIES:Events,Previous Exhibitions
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