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X-WR-CALDESC:Events for Bermondsey Project Space
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DTSTART;TZID=UTC:20160301T110000
DTEND;TZID=UTC:20160401T180000
DTSTAMP:20260422T055421
CREATED:20160221T122105Z
LAST-MODIFIED:20190615T152209Z
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SUMMARY:Carlos Puente - Shadows of Spain
DESCRIPTION:Carlos Puente \nShadows of Spain \nPost-war Spain was a culturally complex nation. Bitter with its memories of the Civil War – itself a legacy of the little known Carlist Wars of the 19th century – and divided by the regime of Francisco Franco. With Western politics focused on the USSR and its satellite states\, Franco felt secure with his nationalist (anti-communist) stance. When the painter\, Carlos Puente de Ambrosio\, was born in Santander in 1950\, the society he entered was in a state of flux. \nArt schools\, as a traditional hotbed of revolutionary ideas both cultural and political\, were thus subject to surveillance. So after studying at the Escuela de Artes Aplicadas e Santander in 1969\, Carlos Puente made the traditional migration to Paris\, which had a long association with artists from Spain\, Picasso and Dali being perhaps the most legendary. As it turned out\, it was to be Italy that would subsequently inspire and succour the young Puente and he was to flourish in the environments of Celle Ligure and Milan\, not least under the auspices of the Galleria San Carlo\, which specialises in works by the CoBrA group. These painters\, Pierre Alechinsky\, Karel Appel\, Corneille\, Asger Jorn and Roberto Matta\, together with their decided opinions on the content and nature of painting\, helped focus the young Spaniard and continue to inform his work and philosophy. It is a banner he carries without embarrassment to this day. \nFor me the language of art must be international\, my stance has always been against localism and nationalism. But it is difficult to escape from the mother culture. I left my homeland at 18 years old\, looking for connections with other worlds – air\, light and freedom. I really did feel a prisoner of poverty\, blackness\, without a horizon… I survived by my involvement with art\, with beauty… \n  \nMy work starts with a vital feeling\, with an idea\, diving into the unconscious\, digging in the dark. For me it is important to work on a series\, a number of artworks simultaneously with interrelationships between the various pieces. Later\, I like each individual picture or sculpture to develop its own space and its own individual ability to express the emotions I am feeling. I work on several things at once\, 30 or more pieces\, several materials: fabric\, paper\, wood\, ceramic… It is a cycle. It is intense work where I get lost\, I can’t leave it for later\, I must finish it while the energy and the desire dominate the process. For me art is in the act of making\, working hard\, loneliness\, complete days without leaving the studio – listening to music\, jazz or opera\, the radio is my only company – until the work is finished. Then comes another cycle – of doing nothing\, looking at the stars and watching the grass grow. Just waiting for a work cycle to begin. My art comes from my heart\, sex\, life… \n 
URL:https://project-space.london/event/carlos-puente-shadows-of-spain
LOCATION:Gallery 1\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom
CATEGORIES:Events
ATTACH;FMTTYPE=image/png:https://project-space.london/wp-content/uploads/2016/02/Screen-Shot-2016-02-20-at-12.38.53.png
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DTSTART;TZID=UTC:20160404T110000
DTEND;TZID=UTC:20160430T180000
DTSTAMP:20260422T055421
CREATED:20160324T125519Z
LAST-MODIFIED:20190615T152208Z
UID:6486-1459767600-1462039200@project-space.london
SUMMARY:Alan Rankle "Pastoral Collateral"
DESCRIPTION:Art Bermondsey Project Space is pleased to announce the upcoming exhibition of paintings by\nAlan Rankle\nPastoral Collateral \n4-30 April 2016\n  \nIn association with Maerz Contemporary\, Berlin \n  \nAlan Rankle was born in Lancashire in 1952. His first exhibition dates back to 1973\, at the Institute of Contemporary Arts of London.\nPastoral Collateral is a suite of new paintings that follows on from shows in Copenhagen\, Milan and Berlin. The show coincides with the launch of his new book Alluvione di Nero commissioned by the Marriott Resort and Spa in Venice. Rankle revitalises the tradition of landscape art within the context of our post-industrial\, and arguably pre-apocalyptic\, world. In his works he fuses aspects of Classical/Romantic painting with Abstract Expressionistic gestures.\n  \n\nCatalogue available\nPress contact Serenella Martufi\n\nsm@project-space.london \n0203 441 5152\n  \nPastoral Collateral\nby \nJudy Parkinson \nFollowing on from major shows in Copenhagen\, Milan and Berlin\, Alan Rankle arrives in London with a suite of new paintings ‘Pastoral Collateral’ in which he continues his preoccupation with revitalising the tradition of landscape art within the context of our post-industrial\, and arguably pre-apocalyptic\, world.\nRankle fuses aspects of Classical/Romantic painting with Abstract Expressionistic gestures; he paints trompe l’oeil elements as though from a 19th Century naturalist’s journal.  He knowingly references conceptual asides to provide an undercurrent of contemporary unease.  All these elements collide as portentous montages in the paintings\, depicting a world splintering and fragmenting towards chaos\, yet still evoking an eerie\, and somehow threatening\, illusion of harmony. \nIn 1998 the critic\, Anthony Wallersteiner observed that Rankle’s paintings “represent re-workings of a single theme: that of a sudden encounter with a dark edge of water – a pond or river – on the outskirts of the city. A place reeking of desolation and the potential energy of decay\, the meeting of urban and rural landscape.”  Now in the 21st Century that dark edge looms between our whole planet and the abyss. \nAs with much of Rankle’s work this evolving series has a multi-layered aspect. The 2007 title ‘Formal Concerns’ for example refers to the way “abstract” artists of the 1970s\, when Rankle was a student\, would distance their work from an involvement with “ordinary life” and political issues by using the term to describe their aims. It refers also to the belated pronouncement by the British Government’s Chief Scientist who recently expressed “Formal Concerns” on the subject of Global Warming.  Further to this\, the title could be considered in the light of Rankle’s interest in the formal structures within the Baroque and Modernist paintings he emulates. \nIndividual painting titles: ‘Hybrid’\, ‘Landscape with Electrostatic’\, ‘Fællenparken: Ice Shelf’\, ‘Picturesque: Industrial Memoir of the Earth & Air’\, ‘Running from the House’ and ‘Pastoral Collateral’ add to an informed reading of these works. \nPutting all of these social and political implications aside (as Robert Smithson once put it “sooner or later politics comes and bites the artist in the ass”)\, Rankle is equally keen to state his intention is essentially to create a language for landscape art in modern times. \n  \nPress images on request. \n  \nTel: 0203 441 5152 \n  \n[row][one_col] \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			\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			\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				\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[/one_col][/row] \nphotos by Alice Cox
URL:https://project-space.london/event/alan-rankle-pastoral-collateral-2
LOCATION:Gallery 1\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom
CATEGORIES:Events
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