Maestro Arts in collaboration with Shapero Modern are delighted to bring you Dutch architect and artist, Jan Hendrix’s, first UK solo exhibition BOOK VI: Heaney Hendrix. The exhibition will showcase the artist’s most recent working partnership with renowned Irish poet, playwright and translator, Seamus Heaney.
Back for its third year running, Tintype presents Essex Road III, 8 specially commissioned short films that each delve into the iconic North London street from which the exhibition takes its name.
Whether it’s Susan Collins‘ ‘Wildlife’ depicting the various creatures (real and not) that inhabit the neighbourhood, or Lynn Marsh‘s ‘Resurrection Restoration’ filmed on location at Gracepoint during the restoration of a former 1930’s cinema and incorporating a gospel choir, each of the 8 contemporary artists who’s work will be screened through the front windows of the gallery, has approached the brief in their own unique manner.
Shapero Modern is delighted to present their upcoming exhibition, Chroma hunt, a collection of hand-coloured etchings by renowned British artist, Hugo Wilson.
A portfolio of nine etchings will be on view at the Mayfair gallery, all of which are related to the artist’s most recent painting series portraying the most primal of all human rituals, the hunt.
It is important to recognise the history of hunting paintings when considering this work; hunting scenes were popular with wealthy collectors in the seventeenth and eighteenth centuries. They represented a sort of ‘trophyism’ as well as a physical way of displaying man’s mastery over the natural world.
Wilson’s etchings for this exhibition are based on, or inspired by, famous hunting paintings by old masters including Rubens and Stubbs, but instead of the typical narrative of man vs. beast, they illustrate strange and unlikely events where lions, crocodiles and other fierce creatures have been trained to hunt other animals. The human hunter remains entirely unseen.
If you ask me, there is nothing that rings in the holiday season more than brightly coloured things that shine. From tree ornaments to jewels to candlelight, Christmas is all about the sparkle, so now that it’s almost December I’d suggest running not walking to Tristan Hoare for their latest exhibition Cell-(estial), a collection of enchanting work by French-born Lebanese artist Flavie Audi.
Audi is best known for her mouthwateringly beautiful gem-like glass sculptures, but for this exhibition she also includes photography and film as a means to investigate the points at which the natural and artificial worlds meet.
Glass is a naturally occurring, organic material, yet through its modern usage in mobile and TV screens it has taken on technological significance – as an interface through which real and virtual worlds are mediated – and it is this collision of realities that is at the heart of Audi’s practice. To explore how these realms interact, the show has been divided into two distinct installations, one representing the physical, the other digital, chaotic nature placed alongside the rational and man-made.
We are delighted to have had the opportunity to speak with Audi about this exhibition and her general practise.
Have a read below and then as previously mentioned, get to the gallery immediately!
In anticipation of Riflemaker‘s upcoming Being and Time, an exhibition of new works by Philipp Rudolf Humm, we are thrilled to have been able to speak with the Belgian/German artist about his practise.
Humm’s paintings are infused with art history references, in particular of the Renaissance and Pop art. From these inspirations and other sources, he creates playful mise-en-scènes that allow him to comment on the world around him.
Humm works in oil, using bold colours and familar scenes. His paintings are both dramatic and fun. We anticipate this exhibition to be a truly exciting and unique event on your art calendar this year
In anticipation of the opening of Searching for Eve in the American West at Tristan Hoare, ArtAttack had the chance to speak with photographer Maryam Eisler about her collection of work on view and general artistic practise.
Inspiration for the exhibition comes from Eisler’s visit to Ghost Ranch in Abiquiú, New Mexico, former home and studio of renowned American Modernist Georgia O’Keefe. Eisler spent time in the desert on her trip, working day and night as she traveled further and further into the nature of the area.
She recalls, ‘The search for Eve, my muse, somewhere between the majestic heavens and Mother Earth, standing atop the rocky inclines, as sensual and as powerful as the monumental nature that had surrounded her.’
We spoke to Maryam to delve deeper into her experience, the specifics of this show and also to hear about her beginnings as an artist.
It seemed to me that the interrelation between these two sides: order in nature on the one side, and the human condition on the other, was the undefinable drama to be grasped, dealt with and communicated by me. – Franciszka Themerson, Bi-abstract Pictures, 1957
One of our favourite London gallery’s, l’étrangère, is coming to us November 4 with a brand new solo exhibition of paintings drawings and calligrammes by Franciszka Themerson, a seminal figure in the Polish pre-war avant-garde.
Walking into Tristan Hoare today I suddenly felt transported into another world. The hustle and stress of my busy Tuesday could do nothing but fade away in the symphony of black and white that is their latest exhibition, Ensō.
Coming soon to Hoxton Gallery is Unseen Paintings, 1954-1960, a thrilling survey of works in oil by the late British artist Keith Cunningham.
This will be one those exhibitions where perhaps the story is just as fascinating as the works themselves. Keith Cunningham was one of the most promising artists of the 1950’s, graduating from the Royal College of Art, studying alongside Frank Auerbach and Leon Kossoff, even being approached by Beaux Arts Gallery and showing work with the prestigious London Group. For all intensive purposes, Cunningham was going to “make it.”
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