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Exhibition 11 July – 31 August 2011 Howick Place London SW1P 1BB
Citation preview
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Live music frOm
ana Bon-Bon / andrew wickenden with tom campbell / marine Kulture
artwOrKs By
adrian cosma / alan mcQuillan / anastasia Gereluk / andrew Lindesay / andy clydesdale /
anna ho / chris Barr / claire undy / colin mortimer / f s D / fiona m. mcGovern / Graham reid /
Gwyn williams / harmony Johnston / hayley Giles / ian Bell / ivgenia Naiman / James Lander /
Jessica mander / Joe hewlett / Joseph Nichol / Karen wright / Karin Kihlberg & reuben henry /
Lynn sivanand / marcelo Borges / mark hudson / mark melvin / mark seiltz / mike mcclafferty /
mike mcmillin / Nathalie hambro / Paddy Gould and roxy topia / Patricia Oliveira /
Patricia Pisanelli / Pennicott + fleming / Perce Jerrom / Phil macmahon / rita almeida freitas /
ross martin / simon shepheard / stephen Gilbert / william mackrell
inside out LONDON staff art shOw
summer 2 011 a t HOWICK PLACe
It always amazed me, in all my years in the art world, to accidentally
find out how many dealers, curators, museum directors or
auctioneers had a secret past as artists. It is not widely known
for instance that the collections of the Cabinet des Estampes at
the Musées d’Art et d’Histoire in Geneva includes some works
done by Thomas Krens, the visionary former Director of the
Solomon R. Guggenheim Foundation, some time way back when
he was himself an artist. Roger Mandle, Executive Director of the
Qatar Museums Authority, was also an artist in his distant past.
The legendary dealers Ernst Beyeler and Jan Krugier enjoyed
being artists themselves. It was apparently Alberto Giacometti
who recommended to Jan Krugier that he might be better off
abandoning his ambitions as an artist. In my own very distant past
I also entertained the ambition of becoming an artist. Through
the years I discovered that most of my colleagues, regardless of
whether they were working on the specialist or the administrative
side of the business, all at times at least intermittently gave in to
the practice of art. I am therefore very happy that we can offer
them the chance to use our beautiful premises at Howick Place for
once to exhibit some of their own works.
FoReWoRdSimon de Pury, Chairman, Phillips de Pury & Company
aNa BON-BON
“Nodding to old blues, gospel, and Tin Pan Alley tunesmithing, Vancouver’s Ana Bon-Bon and her full-bodied voice and accordion playing bring a vintage, bawdy-house, bon-temps vibe to life” – Rupert Bottenberg, Montreal Mirror
“Exotic prairie gospel” – the late, great Ray Condo (‘Canadian King of western swing’)
A blues cabaret songstress who delivers deep, esoteric blues roots music as readily as light-hearted double-entendre confections! Bon-Bon has relocated from the wilderness of British Columbia and Vancouver’s downtown eastside to London, where she continues to develop her delivery of rhythmic atonal jump blues, sensual spirituals, and countryfied cabaret, taking influence from 1930s cabaret, jump blues, Delta and Chicago blues, traditionals, spirituals, and western swing.
Coming from the renown North American west-coast roots scene, ‘The Fabulous’ Bon-Bon has concerts and interviews broadcast on CBC Radio, is a regular guest on the perversely diverse Accordion Noir radio, and recipient of the coveted Canada Council for the Arts funding for independent musicians. She most recently recorded a 45rpm with some of Vancouver’s best, squeezing every droplet from her new theme song ‘Bathtime’ and the rousing ‘Someone Let the Kitty Out’. Bon-Bon has previously released two solo albums and one EP with her country-blues duo, Bon-Bon & Rose and is a featured vocalist on two of alternative country punks Swank’s albums and video. She fronted and wrote songs on the side for a hard-rock band for four years and performed vaudevillian burlesque with the best as a principal member of uninhibited Empire Follies troupe in Canada. Her latest album ‘Bare Naked Blues’ album of all original blues, cabaret, and spirituals.
Ana Bon-Bon has appeared at the following venues: as hostess of regular nights Ana Bon-Bon Presents… and Ana Bon-Bon Sings Spirituals, and more, at the Railway Club and Marine Club in Vancouver, and as a performer at clubs, pubs, halls and events as musician, compère, and workshop hostess,at several festivals including Dawson City Music Festival, Salmon Arm Roots & Blues Fest, POP Montreal, Vancouver Film Festival, Stan Rogers Festival, Rendez-Vous Sourdough Yukon, Rude Harsh, Cabaret, Vancouver International Burlesque Festival as musical hostess in Canada, Amal Blues Fest Sweden, Paris Fete de la Musique, and more. She has played at a variety of venues, including The Rex Hotel and Mitzy’s Sister in Toronto, The Hideout in Chicago, The Fernie Arts Centre and the Dream Cafe in British Columbia, The Black Dog in Edmonton, The Snake Pit and Bombay Peggy’s in The Yukon, Lydia’s in Saskatoon, Tease-O-Rama Burlesque conventions in California, The 12 Bar Club and the Blues Kitchen in London, and countless more. She has also been a regular guest act with Ray Condo & The Ricochets, The Twisters; on tours with Linda McRae and David P. Smith, shows/shared stages with Paul Pigat/Cousin Harley, Big Joe Louis, The Molestics, Guy Klucevsek, Geoff Berner, Alice Walker, Big John Bates, John Doe, Dita Von Teese, and The Subhumans; and has featured on CBC radio play, in concerts, and in interviews.
www.anabonbon.comhttp://www.myspace.com/anabonbon
aNDrew wicKeNDeN with tOm camPBeLL
Andrew will debut tracks from his solo project The Plain Parade, before being joined by Tom on guitar, when as an acoustic duet they will cover a selection of songs, including new takes on some pop classics.
Andrew has played at the following venues: O2 Academy, Oxford; LSE, Holborn, London; Cargo, London; The Barfly, Camden; Buffalo Bar, Highbury, London; The Rhythm Factory, Whitechapel, London; The Spice of Life, Soho, London; The Hope & Anchor, Highbury, London; The Betsy Trotwood, Farringdon, London; The Dublin Castle, Camden; The Water Rats, Kings Cross, London.
www.myspace.com/theplainparade
mariNe KuLture
“Think Human League, Joy Division and all sorts of electronic goodness” – Rough Trade Records
“It’s June, and summer is actually happening this time around … an emerging London band, Marine Kulture are embarking on a string of live gigs in the sweltering capital, to refresh the current musik scene with their aquatic electro rhythms and deep engaging electronic rock fused dance music for these times of austerity. Independence is a necessity and has been at the formation of the group’s live and recording output, and more music is being released this summer to continue on this path of self reliance.
“The group began as a solo project for DJ and independent London producer Mark Costello to create with his rapidly expanding home studio gear. This is not laptop-based production, he works only with hardware and builds tracks through synths and samplers that recall an earlier period of electronic music that is being rapidly forgotten. After a few self-released albums he decided that it was time to step up to a different level of the project
“After meeting up with video artist/photographer Marcelo Borges in Brazil, who started playing bass guitar in the group to expand the low end of the music, Marine Kulture started to evolve, and with the addition of Marina Bulgareli on backing vocals and percussion and Luca Giudici on drums, the band transformed to the next stage of oceanic electro deepness with more exciting live gigs and more new music to follow, this band continues to take it’s rightful place in the world of independent dance music and sets to challenge the slowly dying major label music business.
“Marine Kulture sets sail for further adventures in this new world, and should be seen live to appreciate where this band is heading.”
– Laurence Kay, London
DIsCOgrAPHy
Point of View, CD, 2003Undergrowth of You, CD, 2005Remain, CD, 2007‘Remain’ / ‘Crazy Little Devil’s’, 7" vinyl, 2008‘Could of Cried’ / ‘Mirrors’, 7", Rough Trade, 2010:
“Straight out of the gate with this fresh two-track assault from the excellent Marine Kulture. Limited to 100 and hand-numbered. Think Human League, Joy Division and all sorts of electronic goodness.”
‘Process’ / ‘Christine’, 7" vinyl, Rough Trade, 2011: “Next up from Marine Kulture comes this double hitter of ‘Process’ backed with a cover of Siouxsie and the Banshees’ ‘Christine’. 150 vinyl copies only too. They do that goth, electronic Joy Division thing real good. Check it out.”
Marine Kulture have played at the following venues:The Vortex Jazz Club, Dalston; The Redroom at the Comedy Pub, Piccadilly; Dry Bar, Barbican; 93 Feet East, Brick Lane; Oh Bar, Camden; The Fiddlers Elbow, Camden; The Hope and Anchor, Islington; The Lark in The Park, Islington; The Windmill, Brixton; George Tavern, Whitechapel; Vibe Bar, Brick Lane; The Half Moon, Brixton; Maresia, Itapoa, Brazil; 92 Degrees, Curitiba, Brazil; Wonka Bar, Curitiba, Brazil; 229 Club, Great Portland Street, London; Big Moo Festival, Milton Keynes; Elixir Bar, Camden; Zigfrid Von Underbelly, Hoxton Square, London; Dublin Castle, Camden; Water Rats, King’s Cross, London. Tommy Flynn’s, Camden; Camden Rock, London; The Enterprise, Camden; The Spice of Life, Soho, London; Nanbucca, Holloway Road, London; Workshop at the Roadtrip, Old Street, London; The Bowery, New Oxford Street, London.
www.marinekulture.com
aDriaN cOsma
A Problem that Refuses Dissolution, 2011Watercolour and pigment on paper. 149.5 × 66.5 cm.
ArtIst’s stAtement
I aim to identify and examine new aesthetics of pictorial language taking in consideration the visual knowledge, the context and the semantics of an image. I am mostly interested in studying the subject in a phase where matter, in process of dissolution, is losing its shape and structure, until a stage where the silhouette can still be identified.
aLaN mcQuiLLaN
Cold Comfort, 2011Cast bronze and patina. 21 × 24 × 18 cm.
aNastasia GereLuK
Untitled (6 Wise Men), 2011 (work in progress)Oil on board. 56 × 71 cm.
Anastasia Gereluk earned a Bachelor of Fine Arts at the beautiful Okanagan University in Canada, majoring in site-specific installation and performance art. She was awarded a foreign scholarship for the Master’s Program at Boston School of the Museum of Fine Arts, and a Vancouver Foundation Artist Grant for developing collaborative performance art. She has been working as performance artist for Christian Nicolay / Arthur Erickson, Richard Suarez, and Women in the Arts, Kelowna Art Gallery. She has made drawings and performances at Vancouver ITCH collective, Alternator, Moss Street Paint-In, TART Gallery, café and group exhibitions, Canada. She is also a preparator, custom framer and musician.
aNDrew LiNDesay
The Consequences of Plagiarism (i.m. Edwin Morgan, with apologies), 2011C-type print on FujiColor Crystal Archive paper. 112.5 × 76.5 cm. This work is unique.
ArtIst’s stAtement
This is a pale imitation of the visual poem ‘Message Clear’ by the Scottish poet, the late Edwin Morgan. The text comes from The Consequences of Pragmatism by Richard Rorty.
thereisthereisnothingthereisnothing therethereis usthereis us therethereis ourselves we have nothing except ourselvesthereis us except ourselves nothing except ourselvesthereisnothing inside inside ourselvesthere we have put ourselvesthere deepdown insideus deepdown insideus we have ourselvesthereis down inside whatwe have put there we have ourselves nothing deepthereis deep deep insideus deepdown insideusthereis whatwe havethereis deep insideus whatwe have nothing except whatwe havethereisnothing except whatwe have put there nothing deepdown down insideusthereis insideus ourselvesthereisnothing insideus except ourselvesthereisnothing insideus except whatwe havethereisnothing deep insideus except whatwe have whatwe have put there ourselvesthereisnothing deepdown insideusthereisnothing deepdown insideus except whatwe have put there ourselves
aNDy cLyDesDaLe
Section taken from Forgotten Hollywood from American Dream Machine [illustrated]Nine 2-colour risograph prints, mounted as one piece. Overall: 40 × 295 × 8 cm. Signed and dated on reverse. This work is 1 from an edition of 5.
Michael Jackson’s Funeral from American Dream Machine 3-colour risograph print. Overall: 30 × 40 × 3 cm including frame. Signed and dated on reverse. This work is unique.
I Can Dream from American Dream Machine2-colour risograph print. Overall: 30 × 40 × 3 cm. Signed and dated on reverse. This work is unique.
aNNa hO
Four works, each Untitled, 2005Digital C-type prints. Colour images: each 24.2 × 31.6 cm; black-and-white images: each 42 × 29.7 cm.
chris Barr
Untitled (Apollo), 2011 [illustrated]Framed book pages. Approximately 30 × 25 cm.
Basic Instructions Before Leaving Earth, 2011Nasa stock image, iridescent film, silver box frame. Approximately 20 × 30 cm.
Shroud, 2011Two-way mirror, found book pages, steel, adapted music stand, black cord and tassel. Each plate approximately 21 × 27 cm.
Untitled, 2011Carbon paper, tin, black and gold picture nails. Approximately 29 × 21 cm.
cLaire uNDy
16/100, 2011Mixed media on wooden stretchers. Overall: 260 × 220 cm; each of 16 pieces: 50 × 40 cm.
cOLiN mOrtimer
Social Networking [illustrated]Steel, brass and aluminium ironmongery. 200 × 70 cm.
Dirty BusinessResin, Swarovski crystals. 9 × 7 cm.
Rule BritanniaCarrier bags. 110 × 120 cm.
ArtIst’s stAtement
This body of work aims to make the viewer look more deeply into everyday issues,both at home and around the world. Globalisation was intended to create greater transparency and understanding between cultures, leading to an improvement in people’s quality of life. Recently there has been disenchantment with this ideology and the global dream seems in danger of imploding.
f s D
07:52, 2010C-type print on FujiColor Crystal Archive paper. Blackberry 5.0 MP camera.
fiONa m. mcGOverN
take it gracefully from The Grace Series, 2011 (detail)Oil on canvas. Approximately 150 × 100 cm.
Graham reiD
Untitled, 2011Light installation. Dimensions variable.
GwyN wiLLiams
Untitled [illustrated]Solid concrete vase. Height: 30 cm.
Dic Aberdaron, 2011Double-sided light box: wooden box, opal acrylic sheets with vinyl illustrations. Approximately 50 × 50 × 15 cm.
harmONy JOhNstON
Untitled, 2010 [illustrated]Watercolour on Silk Habotai. 260 × 115 cm.
Untitled, 2010Watercolour on Silk Habotai. 190 × 95 cm.
Untitled, 2009Ink and acrylic on paper. 85 × 165 cm.
Untitled, 2009Oil on canvas. 100 × 50 cm.
hayLey GiLes
Untitled (Mitcham), 2011C-type metallic print. 76.2 × 101.6 cm.
iaN BeLL
Santa Fe, 2011 [illustrated]Dye destruction print, Diasec mounted. 45 × 75 cm. This work is from an edition of 4. There is further edition of 10, unmounted, 32 × 50 cm.
Pen y Fan, 2010Dye destruction print. 32 × 50 cm. This work is 1 of an edition of 5.
Rockies, 2011 Dye destruction print. 32 × 50 cm. This work is 1 of an edition of 10.
ivGeNia NaimaN
Billionaires Fair, 2009–10 [illustrated]Oil on canvas. 110 × 122 cm.
Untitled from the series London/Montreal, 2001–11 Diptych: oil on black-and-white fibre photo paper. Each panel: 50.8 × 61 cm.̀
James LaNDer
Without a title, 2011Paper, PVA, nylon. 214 × 220 × 220 cm.
ArtIst’s stAtement
To disrupt the architecture of the institution is to question what rights an individual has to their own body and to space. To subvert what is imposed from above is to interrogate notions of ascribed status and sovereignty, in Georges Bataille’s terms “an aspect that is opposed to the servile and the subordinate”. Situated aside from the bourgeois conception of autonomous art, defined by Peter Bürger as the “apartness of art from the praxis of life” historically associated with courtly patronage, the spectator is placed somewhere they cannot help but feel put-upon. Choreographed spectatorship, enforced by common materials, embodies the opposite of aristocracy and develops Antonio Negri’s case for the empowerment of the poor person, asserting autonomy not in individual production, rather in the collective imagination of what art is not, as Jacques Rancière sets out “The autonomy is the autonomy of the experience, not of the work of art”.
www.jameslander.co.uk
Jessica maNDer
Candice from the series Providence, Rhode Island, 2009 [illustrated]C-print photograph. 50.8 × 40.6 cm.
Other works in the series on show include: Raven, Crystal, Bambi, Cherry, Raquel, Chanel and Nikki, 2009C-print photographs. Each: 50.8 × 40.6 cm.
JOe hewLett
Ruby’s World, 2011 [illustrated]Plasticine. Diameter: approximately 2 cm.
On the Swing, 2011Lithograph. Approximately 35 × 25 cm.
On the Scooter, 2011Lithograph. Approximately 35 × 25 cm.
JOsePh NichOL
Fairest of them all, 2011Digital painting, using paint tool SAI and Photoshop.
KareN wriGht
Ettore Spalletti’s studio near Pescara, Italy, 2011 [illustrated]Digital photograph.
Giuseppe Penone’s studio in Turin, 2011Digital photograph.
Lara Favaretto’s studio in Turin, 2011Digital photograph.
ArtIst’s stAtement
These are from a series of photographs of artist’s studios shot on my iPad in June 2011.
KariN KihLBerG & reuBeN heNry
Troxy Super Cinema, 2011C-type print. 33 × 44 cm.
This is one of five images on show here from a series of 32 images depicting the locations of the ex-cinemas of Portsea Island, Portsmouth. More information can be found at www.karinkihlberg-reubenhenry.org.
LyNN sivaNaND
Flyer, 2011 [illustrated]Oil on canvas. 40.6 × 45.7 cm.
Flood, 2011Oil on canvas in two parts. Each: 40.6 × 45.7 cm.
Untitled, 2009C-print photograph. 33 × 45.7 cm.
ArtIst’s stAtement
Growing up, I wanted to be an artist. Now most of my art is a product of broken sleep. Flyer and Flood are among several furiously painted canvases, completed in a couple of hours late at night between days where I am busy not being an artist. The photograph was taken from a moving bus on the road between Brussels and Maastricht.
marceLO BOrGes
God’s Reading Room, 2011 [illustrated]Burned Scandinavian wood. 270 × 90 × 80 cm. This work is signed and numbered 1/3 from an edition of 3.
43 Lungs, 2011Photovideo installation: Giclée Hahnemühle print, 16 × 24 cm; SD card; 7" flat screen, artist’s frame, 29 × 36 cm. Duration: 4 minutes 17 seconds, loop. This work is signed and numbered 1/3 from an edition of 3 plus 2 artist’s proofs.
Covent Garden 89, 2011Giclée Hahnemühle print. 23 × 48 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.
Thames 89, 2011Kodak metallic print. 11 × 24 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.
Peter Doherty The Libertines, London, 200966 Giclée prints. Each: 19 × 28 cm; hanging grid: 167 × 210 cm. This work is signed and numbered 1/3 from an edition of 3 plus 2 artist’s proofs.
Thom Yorke Radiohead, London, 2009Kodak metallic print. 98 × 73 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.
Ian Brown, Oxford, 2009Giclée Hahnemühle print. 73 × 57 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.
Nick Cave, London, 2009Kodak metallic print. 98 × 72 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.
Bobby Gillespie Primal Scream, London, 2008Giclée Hahnemühle print. 75 × 49 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.
Only Kick the Dead When They’re Cold, 2000Video installation: DVD, Speakers, CT-4003M Chaser, PAR Spotlight. Duration: 4 minutes 17 seconds, loop. This work is signed and numbered 2/3 from an edition of 3 plus 2 artist’s proofs.eXHIBIteD Curitiba, Brazil, 59th Salão Paranaense, 2002; São Luís, Maranhão, Brazil, Guarnice Film and Video Festival, 2002; Curitiba, Brazil, Marques de Sade Project, 2003; London, Shortwave Films, 2004; Brixton, London, SO NOW THEN, 2008http://www.youtube.com/watch?v=_tSlk5j9TPI&feature=channel_video_title
Unica Coisa, 2000Single-channel VHS transferred to DVD. Duration: 75 minutes, loop This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.eXHIBIteD Curitiba, Brazil, Cinemateca de Curitiba, 2000; Curitiba, Brazil, Fundação Cultural de Curitiba, 2000; Tokyo, 23rd Tokyo Video Festival, 2001; Curitiba, Brazil, FREE ZONE Festival, 2001; São Luís, Maranhão, Guarnice Film and Video Festival, 2002; São Paulo, Brazil, TV Cultura, 2002; Curitiba, Brazil, TV Educativa, 2002; London, Shortwave Films, 2004; London, Brixton SO NOW THEN 2008http://www.youtube.com/user/marceloborges#p/u/1/Oz61-cpSWdwhttp://www.youtube.com/user/marceloborges#p/u/3/pMCdwUEMAbA
Johnny Rotten Sex Pistols, São Paulo, Brazil, 1996Giclée Hahnemühle print. 75 × 99 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs. Published in the Gazeta do Povo newspaper, Brazil, 1996
Johnny Rotten Sex Pistols, São Paulo, Brazil, 1996Giclée Hahnemühle print. 49 × 54 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs. Published in the Gazeta do Povo newspaper, Brazil, 1996.
http://fadeoutster.blogspot.com
marK huDsON
The Causeway, Poynings, West Sussex, 2008 [illustrated]C-type print on FujiColor Crystal Archive paper. 84.1 × 118.9 cm. This work is unique.
The Huts, Åhus, Skåne, Sweden, 2008C-type print on FujiColor Crystal Archive paper. 53 × 68 cm. This work is from an edition of 5.
The Harbour, Åhus, Skåne, Sweden, 2008C-type print on FujiColor Crystal Archive paper. 34 × 44 cm. This work is from an edition of 10.
Maglehem, Skåne, Sweden, 2007C-type print on FujiColor Crystal Archive paper. 34 × 44 cm. This work is from an edition of 10.
Kristinehamn, Värmland, Sweden, 2009C-type print on FujiColor Crystal Archive paper. 34 × 44 cm. This work is from an edition of 10.
marK meLviN
T.R.Y., 2009 [illustrated]Aluminium-cased light box, lit with fluorescent tubes, with coloured vinyl. 64 × 46 × 18 cm. From a series of 5 plus 1 artist’s proof.
Mirror no. 3, 2009Mirror with teak frame (trapezium – light), blackboard paint. 69 × 36 × 2.5 cm. This work is unique.
Mirror no. 4, 2009Mirror with teak frame (trapezium – dark), blackboard paint. 79 × 34 × 2.5 cm. This work is unique.
Mirror no. 5, 2009Mirror with teak surround (rounded trapezium – light), blackboard paint. 71 × 37 × 2.5 cm. This work is unique.
Stammer, 2007Neon (white), aluminium shelf. 24 × 30 × 16 cm. From a series of 10 plus 1 artist’s proof. Made with the support of the Uhoda Collection.
ArtIst’s stAtement
T.R.Y. is a piece whose title is taken from text used in previous works made by Melvin, Tomorrow Remember Yesterday. The light box depicts the text in descending size, mimicking loosely the format of an optician’s eye chart. The piece appears clinical in its execution, with a message asking the viewer to contemplate the moment, be that their here-and-now or the moment of encounter with the artwork itself.
Stammer is a work inspired by Melvin’s friend Jim Tonge who suffers daily from a stutter. The piece endeavours to articulate of moment of incoherent utterance through a piece of abstract, manipulated neon, a material we usually find bent to shape text and image. Although Stammer is in a series of ten, no single piece is exactly alike in form.
marK seiLtz
Untitled, one of five on show from a series of 16, 2011Collage on book covers. Dimensions variable.
http://markseiltz.com
miKe mccLafferty
Untitled, one of 5 on show from the series Without Looking, 1997Black and white silver gelatin print. Dimensions variable.
ArtIst’s stAtement
Since he first had the idea for the Without Looking project in 1997, he has photographed random moments in New York, Russia, Morocco, Sri Lanka and at fairgrounds and circuses all over England, snapping his camera to capture the scene without looking through the
viewfinder. While his work as an art director is all about composition and working to a specific brief, the Without Looking series of photographs is about throwing away the rule book and letting chance take over. “I keep my camera on me at all times,” he says. “There’s beauty and inspiration everywhere.”
This is the first public viewing of this project and any comments would be appreciated. For more information or to purchase any of the work, contact Mike on 07956 658871 or email him at [email protected].
miKe mcmiLLiN
Architectural Drawing: A-Z 1B 18 (4F 63), 2011Wood, plasterboard, paint. 250 × 830 × 83 cm.
NathaLie hamBrO
Tools #1, ‘dies & taps’, 2011Giclée print. 60 × 85 cm. From an edition of 3 plus 2 artist’s proofs.
Tools #2 ‘dies and taps’, 2011 [illustrated]Giclée print. 60 × 85 cm. From an edition of 3 plus 2 artist’s proofs.
Tools #3 ‘rods & u-bolts’, 2011Giclée print. 65 × 90 cm. From an edition of 3 plus 2 artist’s proofs.
Tools #4 Architectonic Tower, 2011Giclée print. 65 × 90 cm. From an edition of 3 plus 2 artist’s proofs.
Gutted, series #1, 2011C-print. Set of 4: steel and aluminium, hand-tooled container. Each: 22 × 11 cm. Each work is unique.
Gutted, series #2, 2011C-print. Set of 3: steel and aluminium, hand-tooled container. Each: 22 × 11 cm. Each work is unique.
crime or suicide #1 (pills), 2011C-print. 40 × 50 cm. This work is unique.
crime or suicide #2 (glove), 2011C-print. 40 × 50 cm. This work is unique.
mirror, 2011C-print. 30 × 40 cm. This work is unique.
ArtIst’s stAtement
My new body of work is photography-based and mixed media. Some are grouped as installations, each with a hand-crafted handle, so the works become portable objects to look at, and re-assess in various contexts, thus assuming a nomadic role.
The images are both a tool for psychological exploration and conceptual art. Works are loosely fitting into themes: shoe fetishism, urban, industrial, and conceptual.
PaDDy GOuLD and rOxy tOPia
Wiped Out, 2011 [illustrated]Painted ceramic. 7 × 18 × 8 × 7 cm.
Schoon Me, 2011Pen and coloured pencil on paper. 35 × 30 cm.
eXHIBItIOn HIstOry
2011 Contemporary Drawing, The Bohemia Space, Liverpool2010 New Contemporary Art Part One, George and Jorgen, London Liverpool Reflections, Atelierhaus Salzamt, Linz, Austria2009 Evil Night (with Sam Savage and Gema Melgar), Wolstenholme Projects,
Liverpool Hitler Night (with Ben Gould, Cormac Gould, Gary Dower and Clare
McMahon), Wolstenholme Projects, Liverpool Portrayal and Perpetration, Wolstenholme Projects, Liverpool2008 More Than This, Oriel Dafydd Hardy, Caernarfon, Wales
resIDenCIes
2010 ‘Urban Interventions’, Atelierhaus Salzamt, Linz, Austria
PuBLICAtIOns
2010 The Drawing Paper, issue 1
www.topiagould.wordpress.comwww.georgeandjorgen.com
Patricia OLiveira
Composite I & II, 2011Multi-channel video installation: black and white and colour Super-8 transferred to video. Duration: 9 minutes 11 seconds, loop.
Patricia PisaNeLLi
Eliza Doolittle and friends, 2011 [illustrated]Fabric paint on Bob the Builder design sliced ham, vacuum sealed. 20 × 26 cm.
Mr. Griffin and wife, 2010Fabric paint on Halloween design sliced ham, vacuum sealed. 20 × 26 cm.
Luncheon on the grass, 2009Fabric paint on bear design sliced ham, vacuum sealed. 20 × 26 cm.
Immortalizing the famous friends, 2009Fabric paint on bear design sliced ham, vacuum sealed. 20 × 26 cm.
Christmas day, 2010Fabric paint on check pattern design sliced ham, vacuum sealed. 22 × 27 cm.
ArtIst’s stAtement
These works are part of a series that has been in development since 2009. They are paintings on slices of processed ham. The ham is produced with different shades of pink through the dyeing of the meat, forming children’s designs such as Billy the Bear and Bob the Builder or celebratory designs such as the Easter Rabbit or the Halloween pumpkin.
The paintings are made through a process similar to tattooing. They are portraits of real people or characters that represent different social status.
Patricia is a painter from São Paulo, Brazil, who has been living in London for the past five years. Since childhood she has been attracted by the appearance of industrialized confectionery and artificial-looking products. Inevitably this has been incorporated into her artwork, in which she uses crisps, food colouring and jelly as some of her materials. Thinking of the fetishism of commodities in contemporary society, she brings such products into an arts context and explores notions of what is meant to be looked at and what is meant to be consumed.
PeNNicOtt + fLemiNG
Self-Portrait: Tom by Edwin / Edwin by Tom, 2010LightJet prints.
www.pennicottfleming.co.uk
Perce JerrOm
Moloch Memorabilia, Great Owl on Dollar Bill, 2011 [illustrated]Framed photographic print. 96 × 36 cm.
Moloch Memorabilia, Great Owl of the Bohemian Club, 2011Mixed media. 59 × 104 cm.
PhiL macmahON
Dining Table ‘Good Choice Sir’, 2011Lacquered box section, steel, cast concrete, glass. 80 × 160 × 80 cm. Designed for Foreign Bear Studio, London.
www.foreignbearstudio.com
rita aLmeiDa freitas
Untitled, 2010Digital C-print. 27.9 × 35.6 cm. This work is from an edition of 4.
rOss martiN
3 6 8 10 12 (11), 2011 [illustrated]Acrylic on canvas. 74 × 74 cm.
3 55 77, 2011Acrylic on canvas. 61 × 122 cm.
simON shePhearD
Emits [illustrated]Set of four digital photographic prints mounted on MDF board. Each: 50 × 50 cm.
AtacamaSet of three C-type photographic prints. Each: 75 × 50 cm.
TianaC-type photographic print. 100 × 67 cm.
stePheN GiLBert
Untitled, 2011 [illustrated]Mixed media. 11.5 × 9.5 × 3 cm.
Untitled, 2011Mixed media. 7 × 9.5 × 17.5 cm.
wiLLiam macKreLL
Between Sky, Day and Earth, 2010 [illustrated]Lambda C-type print. 125.2 × 114.5 cm.
Conical, 2010Lambda C-type print. 101.6 cm × 101.6 cm.
Between Warm White and Cool White, 2010Lambda C-type print. 90 cm × 63.5 cm
The 2011 London Staff Art Show comprises works of art by Phillips de Pury & Company’s London staff. The exhibition includes works in all media, from painting and photography to sculpture and installation art, and reflects the contemporary practices of arts professionals active in the international art market.
Adrian Cosma
Alan McQuillan
Anastasia Gereluk
Andrew Lindesay
Andy Clydesdale
Anna Ho
Chris Barr
Claire Undy
Colin Mortimer
F S D
Fiona M. McGovern
Graham Reid
Gwyn Williams
Harmony Johnston
Hayley Giles
Ian Bell
Ivgenia Naiman
James Lander
Jessica Mander
Joe Hewlett
Joseph Nichol
Karen Wright
Karin Kihlberg & Reuben Henry
Lynn Sivanand
Marcelo Borges
Mark Hudson
Mark Melvin
Mark Seiltz
Mike McClafferty
Mike McMillin
Nathalie Hambro
Paddy Gould and Roxy Topia
Patricia Oliveira
Patricia Pisanelli
Pennicott + Fleming
Perce Jerrom
Phil MacMahon
Rita Almeida Freitas
Ross Martin
Simon Shepheard
Stephen Gilbert
William Mackrell
inside Out: London staff art show11 July through August 2011 (closed 29 August)Monday – Friday, 10am–6pm
Phillips de Pury, Howick Place, London SW1P 1BB
This is a selling exhibition and the artists are accepting offers for sale of the works. To get in touch with an artist, email [email protected]
Sales & EnquiriesTom Campbell, Office [email protected]+44 20 7318 4068
acknowledgementsThis exhibition and catalogue has been made possible by: The Directors of Phillips de Pury & Company, London Simon de Pury, Bernd Runge, Finn Dombernowsky Show Co-ordinator and Project Manager Tom Campbell Curator-in-chief Arianna Jacobs Assistant Curators Emma Lewis, James Lander, Megan McGee, William Mackrell Catalogue Andrew Lindesay, Mark Hudson, Mike McClafferty, Tom Radcliffe Press Fiona McGovern Additional Volunteers and Assistants Andy Clydesdale, Gwyn Williams, Ian Bell, Jenny Thomas, Jon Stonton, Harmony Johnston, Luke Scanlon, Marcelo Borges, Mark Seiltz, Mike McMillin, Oliver Gottschalk, Rita Almeida Freitas, Sam Martin