The Lisson Gallery & The Vinyl Factory held Everything at Once at Store Studios recently to mark its anniversary with this exhibition. Of the 24 artists included I’ll mention 2: Richard Long with Pelopennese Line, a temporary mural made directly on the wall.Al Arabia Al Madfuna III by Wael Shawky had me transfixed; here are a few stills from the film where the production in negative created a mythical and dreamlike atmosphere whilst the text dealt with history, estrangement and, at times, horror.
The Crypt Gallery is to be found below the huge church on Euston Road and is an atmospheric warren of spaces to explore.
White Noise, an artists’ collective, showed there recently including Annamarie Dzendrowskyj whose oil paintings evoke a sense of mystery and uncertainty Hanna ten Doornkaat has been featured in my posts before – her scribbled, scratched and scraped pieces telling of unknown histories This large canvas by Sandra Beccarelli intrigued me with its systematic arrangement of marks both on and in the canvas.
London Clubland (not the dancing type) is a world that most of us are only vaguely aware of and the Royal Overseas League is a case in point. A magnificent building tucked in a courtyard in St James and overlooking Green Park, it really is hidden away in the centre of London.
I’d heard about it but never actually been till very recently when invited to attend the Young Masters Art Prize exhibition, held there for the first time.
Organised by the Cynthia Corbett Gallery, the Young Masters celebrates artists “who pay homage to the skill and techniques of the past; knowing that young artists today are not afraid, unlike their predecessors, to look back at art history and its lessons.” Painting, photography, video and ceramics were all included.
This skylight and the next couple of photos give a small indication of the interior as well as how well the artwork sits within it.
Work by Antoine Schneck and Christoph Steinmeyer below.Isabelle van Zeijl‘s photography is on the left.These 3 photos by Sandro Miller (apologies for the photo quality but it was pretty dark) had me perplexed for a while but I got it by the third one. Can you?Lauren Nauman’s frail porcelain and brass piece below was only one of several ceramic artists shown. ROSL, as it is commonly known, was the first London club to accept female members from the beginning and has an ongoing programme of art and music. For more information please visit the website.
Cerith Wyn Evans created this sculpture called Forms in Space…by Light (in Time) filling the gallery above our heads with neon shapes drawn in space. The structure begins with a circle
then 3 symbols used by opticians for eye tests , also used by Marcel Duchamp in his The Bride Stripped Bare by Her Bachelors, Even (the Large Glass)
followed, as you walk through, by shapes initially inspired by the gestures of Japanese Noh theatre.
You don’t , of course have to view it from front to back; wandering around it gives so many different viewpoints. I also wanted to mention the way the whole thing has been suspended – the support has a fascination of its own.You can see more of his work in London in the lobby of the recently opened Four Seasons hotel at 10 Trinity Square .
Weaving Magic is the exhibition of “The Caged Bird’s Song”, set in a darkened room surrounded by a monochrome painted chorus of dancers.
The original painting below is in watercolour, a subtle medium where, due to rapid drying times, you have to work fast. This fluidity has been beautifully translated into the completely different and painstakingly slow medium of tapestry weaving.
Look how the painting below has been reproduced in a massively enlarged scale and in yarn. This took several master weavers over two and a half years to produce.Here are a couple of close-ups showing the blend of yarns. Such is the level of detail I went back to scour the watercolour to check whether what I saw in the tapestry was in the painting – it was. The tapestry will move to its permanent home at the Clothworkers’ Company at the end of August so visit the Sunley Room before then if you can.
It always surprises me when I see work at this show that I never noticed at a previous New Designers exhibition which just shows what visual overload can do.
Katy Gillam-Hull is one such maker whose loving recognition and restitution of old fragments and tools were, for me at least, quite moving. Her interventions encourage us to look again at items which have been forgotten and discarded, and she gives them a new incarnation whilst retaining a connection with their previous life.These ceramic fragments are a case in point.The top to this old bottle has been made taking into account all the irregularities, ensuring a perfect fit.as does this stopper Apologies for some of the slightly blurred shots here, my macro setting went a bit weird on me.
Part of the Barbican’s exhibition, Into The Unknown: A Journey Through Science Fiction, this installation by Conrad Shawcross is hidden 2 floors away from the rest of the show in The Pit so needs a bit of an effort to get down there.
I entered a dark space, where a kind of growling, almost animalistic sound came from a constantly moving machine in the middle of a henge made of lightweight perforated screens.
The “creature” explores its space with a slow-moving probe, all the while making these sounds between organic and machine.
John Hainsworth showed a collection of restrained and delicately detailed works. I really liked the small and intimate paintings such as this one below.
My neighbour, Israeli artist Hila Laiser Beja, came over to London especially for the show and, although mainly a sculptor, showed works on paper as they are more easily transported. This portrait was one of my favourite pieces on her stand.
I’ve featured Hanna ten Doornkaat before: she too is obsessed by the experiental nature of memory but expressed in a very different way to me.
These are only glimpses of work seen before opening time at The Other Art Fair in April as I didn’t get the chance to see everything on show. Nevertheless I wanted to share these pieces with you; to investigate more just click on the links.
Paul West works in landscape; this charcoal drawing takes you into his world.
In contrast, Anne Lacheiner-Kuhn was showing witty and thought-provoking photo collages gleaned from 1970s photographs inherited from her grandmother.
Benjamin Parker continued his explorations into the relationship humanity has with nature.
Using popular culture and found elements their work reveals more with time and study.
Kaiten, below, was one of my favourite pieces and dominated the space as the backdrop to the stage (the microphone gives an idea of scale). It includes several of their preoccupations: the number 5, Japanese imagery and the unavoidable partnering of life and death.
For those like me who didn’t know what a Kaiten was , it’s a manned suicide submarine used by the Japanese during the second world war, the underwater equivalent of a kamikaze.
On a gentler note the ever popular Instagrammable butterfly wings are here interpreted from a Rorschach image with the detail also formed of Rorschach marks. I’m not sure the person standing there was aware of being exactly in the appropriate place for this shot.
Continuing the ambivalence of destruction and life, the love bomber flying horses soared over our heads, ready to create chaos by dropping their bombs.