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DTSTART;TZID=UTC:20171212T100000
DTEND;TZID=UTC:20180113T180000
DTSTAMP:20260607T050404
CREATED:20171108T110650Z
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SUMMARY:The Arborealists- The Art of Trees 2017
DESCRIPTION: The Arborealists: The Art of Trees 2017\n curated by Philippa Beale\n12 December 2017-13 January 2018 \nGALLERY ONE\nThe appearance of the Arborealists in 2013 is an extraordinary phenomenon within the pervading orthodoxy in an art world that values post modernist objects\, film and popular culture. Where events\, interventions and installations engage the viewer\, what can ‘tree painters’ (the Arborealists are for the most part painters)\, offer a public that is understandably titillated by Jeff Koons and Damien Hirst. Nevertheless\, the incredible success of the David Hockney exhibition at the Tate proves that the general public are still interested in artists who reveal nature. \nIn recent years\, many artists have discovered that trees have become one of their most penetrating of influences. The story of their existence and survival is intrinsic to our history and culture\, they are even a part of our political landscape. They are a metaphor for our own survival. They live in tribes and families\, in forests and groves. As ‘specimens’\, they also can stand alone\, not out of choice but like brave\, solitary people who stand up to be counted\, like ‘the one just man’ who does not remain silent when evil is done. \nTrees represent the holy\, the exemplary\, the beautiful and the strength required of mankind. Cut down a tree and it reveals its whole history in the rings of its trunk\, all its scars\, struggles and suffering. The attacks of axe\, saw and storms leave scars but as every forester knows\, the hardest woods have the narrowest rings and it is in the most infertile places that the strongest and most indestructible trees grow. Trees permeate our history providing inspiration for religions\, literature\, poetry\, visual art and architecture. \nPhilippa Beale. \nVaux en Couhé\, France\, May 2017 \nExcerpt from the exhibition catalogue. \nCatalogue available \n 
URL:https://project-space.london/event/coming-soon-arborealists-art-trees-2017
CATEGORIES:Events
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DTSTART;TZID=UTC:20171212T110000
DTEND;TZID=UTC:20180113T180000
DTSTAMP:20260607T050404
CREATED:20171116T122832Z
LAST-MODIFIED:20180825T102254Z
UID:4780-1513076400-1515866400@project-space.london
SUMMARY:Kirsten Reynolds - Dark Ages
DESCRIPTION:Kirsten Reynolds: Dark Ages\n12 December 2017- 13 January 2018\nGALLERY TWO\nKirsten Reynolds is an English artist whose current work uses photography\, painting\, printmaking and sound / light installation to re-interpret classical themes relating to landscape\, nature and the environment. Preferring to work off the beaten track\, Reynolds chooses significant locations to make nocturnal light drawings that capture dynamic traces of the artist’s movements in response to each specific landscape. Whilst this technique has been much used over the years in science and the arts\, Reynolds has developed a unique approach and her background in music and sound art makes her intuitive physical response to the chosen location both compelling and powerful. \n‘The photographs she takes record her explorations of place and time through drawing. She weaves skeins of light before the lens\, sometimes white\, sometimes coloured. Her trajectory leaves traces whose shapes shift from transparent\, through opaque\, to sinuous\, web-fine lines with the tensile strength of steel. Sometimes the landscape is barely discernible\, just a dense tactile space\, at other times the forms drift over recognisable terrain like mist that is impossibly articulated\, or a bolt of fine silk\, each fold of which is impossibly crystalline\, or a transparent titanium sculpture. They look like an extraordinary natural event: the aurora borealis\, or freak electrical activity.’ Simone Witney\, Hastings Independent Press\, 2017 \n‘The drawing process has a lot in common with making music; and I’d say drumming in particular. There is only one chance in each frame to get it right\, although there is no pre-defined idea of what is ‘right’. It’s almost like visual improvising with the landscape. The environment is very influential\, and intuition and experimentation are important every time. Each location needs to present a new challenge as repetition and predictability within the process results in images that lack dynamism.’ Kirsten Reynolds\, 2017 \nReynolds has exhibited worldwide from the Hayward Gallery in London for Sonic Boom; The Art of Sound\, the first international exhibition of Sound Art\, to the Sydney Festival with Power Plant\, in which five artists present over thirty site-specific sound and light installations botanic gardens and public parks. Power Plant has won critical acclaim at major arts festivals around the world from the Hong Kong Arts Festival 2011 to the Auckland Arts Festival 2017. \nArtist Richard Wilson says of Reynolds’ work:  \n‘This is not ephemeral art\, this is light\, action and location all suspended in time as a gestural moment of magic.‘ \nCatalogue available 
URL:https://project-space.london/event/coming-soon-kirsten-reynolds-dark-ages-2
CATEGORIES:Events
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BEGIN:VEVENT
DTSTART;TZID=UTC:20180116T110000
DTEND;TZID=UTC:20180120T180000
DTSTAMP:20260607T050404
CREATED:20171116T123240Z
LAST-MODIFIED:20190615T152208Z
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SUMMARY:'A1 Britain on the Verge' an exhibition by Peter Dench
DESCRIPTION:‘A1: Britain on the Verge’ an exhibition by Peter Dench\n16 – 20 January 2018 \nBritain is about to change. The fault lines that exist across the country have been exacerbated by the nation’s 2016 decision to leave the EU and the unconvincing outcome of the June 2017 general election. Communities and families have been divided. Is life in Britain about to become better or worse? Will employment opportunities increase or diminish? Will the economy and industries collapse or thrive? Are the British worried about the future and do elderly people\, the majority of whom voted Leave\, care less about it than the young? Will Britain leaving the European Union mean immigrants will feel unsafe and be forced to leave? How proud do people feel to be British? \nThese are some of the many questions photojournalist Peter Dench put to the people of Britain. The A1\, Britain’s longest numbered road\, was his tendril to them\, an artery that connects as much as it divides. It begins near St Paul’s in the City of London\, zipping north through the suburbs of Bedfordshire\, the industrial East Midlands\, northeast England and the east coast of Scotland\, ending around 410 miles later in Edinburgh. Dench traveled its length photographing the eclectic characters he met along the way; in truck stops and cafes\, temples and homes\, businesses and bars. It provided Dench with a route of certainty in a time of tumult\, through a nation on the verge. \nPeter Dench: \nThe Angel of The North stands stoically still to the east of the A1\, just south of Gateshead. It has seen it all and is seen by around 33 million people a year. It sees the many fast food outlets McBlotting the landscape. It sees the discarded adult magazines in the lay-by\, the cars being cleaned in the shadow of the Ferrybridge power stations and the goats gamboling at the tongue twisting Esshottheugh Animal Park. It sees the truckers reading complimentary copies of Truckstop News (the national newspaper for truckers) at Flo’s Cafe\, where customers can also take a selfie with a cardboard cutout of the Queen. It sees the Gurdwaras being hosed clean on Sunday morning and Muslims kicking their shoes off on the pavement for Friday prayer. \nDriving the length of the A1\, Britain doesn’t seem full. At times it feels lonely. The east coast of Scotland is largely empty except for the occasional nuclear power station\, cement factory and caravan park. The Labour voters I met along the A1 say they are doing okay. The Conservative voters I met say they are doing okay. This is Britain on the verge. If the stoicism\, drive and grit of the people I met is an accurate reflection of the nation\, Britain is going to be okay. As my journey trundles to a conclusion under a Scottish sunset\, I pull over and pull out a copy of Truckstop News\, rereading a few lines from the relatable poem Trucking Journeys\, submitted by Daphne Dawkins from Scunthorpe: \nAs the wheels hum along through the rain. \nThis week they’re cruising the roads of Britain\, \nTheir journeys could take them to far-off places \nAnd they must meet some very different faces. \nThis job is not easy\, tiring long hours\, it’s true\, \nBut as every day passes\, they see something new. \nCatalogue available. \n  \n 
URL:https://project-space.london/event/coming-soon-a1-britain-verge-exhibition-peter-dench-2-2
CATEGORIES:Events
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180123
DTEND;VALUE=DATE:20180204
DTSTAMP:20260607T050404
CREATED:20180124T115519Z
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SUMMARY:SPi Street Awards 2017
DESCRIPTION:SPi Street Awards 2017\nWinner and Finalists\n23 January – 3 February\n  \nStreet Photography International are a collective of street photographers who formed with the aim to promote the best Street Photography from around the world\, and to provide a platform for unrepresented photographers with talent. \nThe SPi Street Awards 2017 exhibition at Bermondsey Project Space will showcase the winner\, Merel Schoneveld\, in a solo exhibition and the following 20 finalists in the concurrent group exhibition from 23rd January – 3rd February \nAdnan Mahmutovic | Alexander Munoz | Anna Ligia Machado | Aristide Economopoulos | Daniel Tschitsch  Esther Rodriguez Johansson James Davey | Jeremy Perez-Cruz | Julie Hrudova | Julius Manzano | Ken Walton  Laurent Delhourme | Marco Domenico Parenti |Lorenzo Fasola | Mykolas Juodele | Valerie Six | Mithail Afrige Chowdhury | Rafayat Haque Khan | Sacha Wühle | Patrick Dreuning \nMerel Schoneveld\nMithail Afrige Chowdhury\nSacha Wühle\nKen Walton\n                                                                                                                                             \n  \nFeatured image: Mykolas Juodele
URL:https://project-space.london/event/spi-street-awards-2017-2
CATEGORIES:Events
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