August 2013

Gallery News

Matt’s Gallery is delighted to announce three new members of the gallery’s Board of Trustees: Lucy Byatt, Director, Hospitalfield Arts;  Magnus af Petersens, Chief Curator, the Whitechapel Gallery; and Elizabeth Price, artist.

Forthcoming Exhibition

Lindsay Seers, Entangled² (Theatre II), 9 October – 1 December 2013

Sailor Girl

Lindsay Seers’ film installation Entangled² will be reimagined for the space at Matt’s Gallery. Delving into a seaside past where the boundaries between people blur, a pair of female actresses dressed as men are filmed singing on the stages of Margate’s two great entertainment venues, the Theatre Royal and the Winter Gardens. Both theatres historically hosted scores of famous performers, and Seers takes particular interest in two male impersonators from early 20th century music hall, Hettie King and Vesta Tilley. As in all of Seers’s work, Entangled² (Theatre II) weaves several narratives together: the actresses’ doubled identities connect to Seers’s fascination with her great-great uncle’s condition Heterochromia, where different coloured eyes result from one twin subsuming the other in the womb. 

Matt’s Gallery Offsite Exhibition

Willie Doherty, UNSEEN, City Factory Gallery, Derry, 27 September 2013 – 4 January 2014

Willie Doherty, Remains, 2013. HD video still.

UNSEEN is a major exhibition of photographic and video works by Willie Doherty, curated by Matt’s Gallery, London and  Nerve Centre, Derry. The exhibition will be a core part of Derry’s City of Culture celebrations and is accompanied by a significant publication with essays by Jean Fisher, Colm Tóibín and Susan McKay.

Artists’ News

Matt Stokes Announced as Bartlett Fellow, University of Newcastle and Matt’s Gallery

Matt Stokes, Cantata Profana, 2010. Installation view. Photo by Nils Klinger.

Matt’s Gallery and the University of Newcastle are delighted to announce that our new Bartlett Fellow is Matt Stokes. Matt will begin his residency at the university this autumn, and will work towards a solo exhibition for Matt’s Gallery ready for spring 2015.

Mike Nelson, Contemporary Art Gallery, Vancouver, 14 September – 3 November 2013

Mike Nelson, The Amnesiacs, 1997. Installation view at Galeri Campbells Occasionally, Copenhagen.

Mike Nelson has been commissioned to make new work for this major exhibition in Vancouver, which will be accompanied by a new publication.

Mike Nelson, permanent commission at Focal Point Gallery, opening 30 September 2013

For this permanent commission, Mike Nelson is working directly with the architects and contractors of the new Focal Point Gallery, in order to create a unique artwork housed within a void space between two internal walls of the gallery. Measuring only 0.8m deep by 4.5m long, the space will eventually be inaccessible to staff and visitors.

Mike Nelson, Folk Devil, David Zwirner, New York, until 9 August 2013

Mike Nelson, Amnezi skalk kask, 2012.

Folk Devil, an exhibition curated by David Zwirner’s Associate Director Rodolphe von Hofmannsthal, presents a comment on the tendency to create artificial connections between a group of individuals, while it also contains a self-referential statement on the yearly summer shows held at many art galleries under various umbrella themes. Artists include Lynn Chadwick, Spartacus Chetwynd, Marlene Dumas, Nikolas Gambaroff, Brian Griffiths, Roger Hiorns, Ryan McGinley, Oscar Murillo, Mike Nelson, Eddie Peake, Jason Rhoades, Steven Shearer, Oscar Tuazon, Sophie von Hellermann, Franz West, and Lynette Yiadom-Boakye.

Lindsay Seers, Monocular⁴, QUAD, Derby, 27 September – 1 December 2013

Lindsay Seers, Monocular³, 2012. Exterior view at Gallerei Festiviteten, Norway.

Lindsay Seers, The Red Queen, MONA, Tasmania, until 21 April 2014

Lindsay Seers, Nowhere Less Now, 2012. Commissioned by Artangel, Museum of Old and New Art, Tasmania, and Sharjah Art Foundation.

Lindsay Seers’ ciritically acclaimed work Nowhere Less Now is restaged at Museum of Old and New Art, Tasmania, as part of the exhibition The Red Queen.

Lindsay Seers, Narrative Structures, Stryx, Brimingham, 30 August – 11 September 2013

Lindsay Seers, Angel Foot, 2003/2009. Mouth photo.

Group exhibition featuring Lindsay Seers’ mouth photos.

Imogen Stidworthy, Monday Begins on Saturday, Bergen Assembly, 31 August – 27 October 2013

Imogen Stidworthy, Sacha, 2011. Video still.

Monday Begins on Saturday the first edition of Bergen Assembly, which takes the form of an international exhibition, publication, and symposium. For this major international exhibition Imogen Stidworthy has been commissioned to make new work, which draws on her ongoing research into the Russian author Aleksandr Solzhenitsyn.

Imogen Stidworthy, About the House, Audenhaus, Kirchstetten, Austria, 31 August 2013 – 30 April 2014

Imogen Stidworthy, Topography of a Voice, 2008-9. Copperplate and offset prints. Installation view.

This group exhibition, curated by Ricarda Denzer, is sited in the former home of the poet W H Auden. The exhibition includes Imogen Stidworthy’s print work Topography of a Voice, 2008-9.

Imogen Stidworthy, The Collection as a Character, M HKA, Antwerp, until 22 September 2013

Imogen Stidworthy, I Hate, 2007. Installation view.

This collection display will reflect the current priorities of the M HKA collection and discusses the nature of images today, to articulate the importance of the performative and the socially-engaged in contemporary art. The exhibition includes Imogen Stidworthy’s video installation I hate, 2007.

Nathaniel Mellors, Artist in Residence, Hammer Museum, LA

Nathaniel Mellors is undertaking a year-long residency at the Hammer Museum, LA, which began in July 2013. During this time he will be developing and producing a number of new works.

Nathaniel Mellors, Baltimore Museum of Art, until 29 September

Nathaniel Mellors, The Saprophage, 2012. Video still.

This exhibition is Mellors’ first USA museum show and includes the Ourhouse episode 1, The Saprophage and photographic works.

Video Room: Erkka Nissinen and Nathaniel Mellors, Museum Boijmans Van Beuningen, Rotterdam, The Netherlands, 24 August 2013 – 12 January 2014

Nathaniel Mellors, Ourhouse Episode 3: The Cure of Folly, 2011. Video still.

This exhibition curated by Saskia van Kampen-Prein will feature Mellor’s Ourhouse Episode 3 alongside photographic works.

Willie Doherty, 1813. Siege, fire and reconstruction of San Sebastian, San Telmo Museum, Spain, until 6 January 2014

Willie Doherty, Shifting Ground, 1991. On exhibition at Alexander and Bonin, New York, 28 January-10 March 2012.

This group exhibition is the first in a series of shows entitled Peace Treaty. The exhibition comprises historical and contemporary works by artists including Goya, Hogarth, Dalí, and Duchamp, and includes a series of Willie Doherty’s early black and white photographs with text.

Willie Doherty, Secretion, Irish Museum of Modern Art, until 1 September 2013

Willie Doherty, Secretion, 2012. HD video still. On show at Statens Museum for Kunst, Copenhagen, until 24 February 2013.

First shown to critical acclaim at dOCUMENTA 13, Secretion draws on the possibilities of lost and forgotten narratives located somewhere between recent history and a near future.

Jordan Baseman, artSOUTH, Aspex Gallery at Omega Street, 7 September – 1 December 2013

Jordan Baseman, True Crime, 2013. Film still.

As part of the artSOUTH programme, Jordan Baseman is showing two films, True Crime and Skin Coloured Chairs. Drawing on the perspective of both people who commit crimes and people who are victims of crime, this commission will examine crime from an experiential point of view of both offenders and victims, with a particular focus on political and popular discourse.

Jordan Baseman and Paul Rooney, 3am, The Bluecoat, Liverpool, 28 September – 24 November 2013

Jordan Baseman, Nasty Piece of Stuff, 2009. Film still.

In this exhibition, curated by Angela Kingston, over 20 UK and international artists explore various themes related to 3 a.m. – psychological, sociological, natural and astronomical – to capture something of the strangeness of the night and the extraordinary range of emotions, states and experiences it witnesses. Jordan Baseman will be showing his video work Nasty Piece of Stuff, 2009.

Jordan Baseman, Filmfestival Kitzbühel, 28 – 31 August 2013

Jordan Baseman, Tokyo=Fukushima, 2013. Film still.

 Jordan Baseman’s film tokyo = fukushima, 2013, has been selected for this year’s Filmfestival Kitzbühel.

Benedict Drew, The Onesie Cycle and The Onesie Cycle (VIP), Two Queens and the Phoenix, Leicester, 9 August – 7 September 2013

Benedict Drew, The Onesie Cycle (VIP) Poster, 2013.

This two-part solo show comprises The Onesie Cycle VIP, a newly commissioned exhibition at Phoenix accompanied by an online artwork. These both form a new part of The Onesie Cycle, a film and sculptural installation showing concurrently at Two Queens.

Benedict Drew, Blastomere: Beyond Planet Claire Bishop, Young Projects Gallery, Los Angeles, 18 September – 1 November 2013

Benedict Drew, Gliss, 2012. Photo by Milika Muritu. Installation view at Cell Projects Space, London.

This group exhibition includes work from Benedict Drew’s acclaimed solo exhibition Gliss at Cell Projects, London, in 2012. Other artists exhibiting include Turner Prize nominee Laure Prouvost, Jimmy Joe Roche and Peter Coffin.

Benedict Drew, Bold Tendencies, London, until 30 September 2013

Benedict Drew, Now That’s What I Call Feedback, 2013. Installation view at Bold Tendencies, London.

Bold Tendencies is a non-profit summertime commissioning project dedicated to showcasing new art by international artists. Held on the top four floors of a disused multi-storey car park in Peckham, South London, this year’s exhibition includes a new commission by Benedict Drew.

Benedict Drew, Space Time: Convention T, Wysing Arts Centre, Saturday 31 August 2013

Benedict Drew will be performing live at Wysing’s annual festival of art and music. A mix of live music, sound, spoken word performance, film screenings, artists’ stalls and activities for families, loosely curated around the theme of hidden systems and structures. The day-long event takes place on three stages across Wysing’s rural site.

David Osbaldeston, Living Matter – Inflection Sandwich, Piper Keys, London, 14 September – 20 October 2013

David Osbaldeston, Living Matter – Inflection Sandwich, 2013.

For his latest solo show Living Matter – Inflection Sandwich, David Osbaldeston presents a new installation of animated projections with composite prints, furniture, and an egg sandwich. The work addresses the viewer and itself as a same but differently repeating image, involved as much with daily life as outside of it.

Fiona Crisp, Extraordinary Renditions, BALTIC, Gateshead, 7 –12 September 2013

Extraordinary Renditions: the Cultural Negotiation of Science features new art works in development by artists from BxNU, a research institute inaugurated within the award-winning partnership between BALTIC Centre for Contemporary Art and Northumbria University based at BALTIC 39. For the duration of the British Science Festival Borland/Condon, Fiona Crisp and Chris Dorsett will use Level 1 of BALTIC, Gateshead to show evolving projects that challenge the instrumental status of art in the promotion of scientific understanding.

Roy Voss and Juneau Projects, The Russian Club presents Wonderland, Annely Juda Fine Arts, until 30 August 2013

Roy Voss, View, 2013. Digital print on canvas.

This group exhibition curated by The Russian Club for Annely Juda Fine Arts features Roy Voss alongside Rupert Ackroyd, Natsue Ikeda, Juneau Projects, Richard Paul, Yuko Shiraishi, Clare Rojas and Simon Cunningham.

Roy Voss, AFTER/HOURS/DROP/BOX, Supernormal Festival, Brazier’s Park Oxfordshire, 9 – 11 August 2013

Roy Voss, Dad’s Keeping Mum, 2012. Video still.

AFTER/HOURS/DROP/BOX is a project by artist John Lawrence which examines the influence of the music video and its relationship to contemporary art. The programme includes work by artists including Roy Voss, Mark Dean and George Barber.

Susan Hiller, Channels, CAC Synagogue Delme, France, until 29 September 2013

Susan Hiller, Channels, 2013.

Susan Hiller’s recent Matt’s Gallery exhibition Channels tours to CAC Synagogue Delme, France. 

Susan Hiller and Jimmie Durham, Curiosity and the Pleasures of Knowing, Turner Contemporary, until 15 September 2013

This exhibition, curated by Brian Dillon in association with Cabinet magazine, takes its inspiration from the cabinets of curiosity that flourished in Europe in the seventeenth century.  Including work by both Susan Hiller and Jimmie Durham, it is an exploration of the ambiguous history and present meaning of wonder, attention and the urge to know. 

Jennet Thomas, Magic Eye, Grand Union, Birmingham, until 10 August 2013

Jennet Thomas, I AM YOUR ERROR MESSAGE, 2013.

A group exhibition of sculpture, installation and video, featuring the UK premier of Jennet Thomas’s new installation I AM YOUR ERROR MESSAGE. By turns absurd, amusing and unsettling, the video suggests malfunction and misinformation in Thomas’s anarchistic and bleakly humorous style. 

Paul Rooney, Paul Rooney and Leeds United, Edinburgh College of Art, 1 August – 1 September 2013

Paul Rooney, Feral Knowledge, 2012. Video still.

This exhibition extends the relationship and deliberately blurs the edges between the work of Paul Rooney and collective Leeds United. On display will be new video and text works, including a video documenting an attempt to claim the Loch Ness monster for the collection of the Museum of Modern Art and a dark and ominous film concerning Yorkshire rhubarb sheds.

Graham Fagen, re:new Contemporary Art from the Permanent Collection, The McManus, Dundee, 23 August – Spring 2014

Graham Fagen, Where the Heart Is, 2002.

Graham Fagen’s hybrid tea rose sculpture Where the Heart Is, 2002 will be shown as part of an exhibition of recent acquisitions to the Dundee Art Galleries and Museums Collection.  

Brian Catling, The Blind Leading the Blind, Modern Art Oxford and Dorchester Abbey, 14 –15 and 28 – 29 September 2013

Brian Calting will be performing as part of the international performance collective Wolf in the Winter. Their new project The Blind Leading the Blind is inspired by the Bruegel painting of the six ragged figures stumbling across a rural landscape. This proverbial metaphor of desperate trust and hopeless failure seems as relevant now as it was in Biblical times. The tour will start at Modern Art Oxford, then go to Dorchester Abbey, Oxfordshire, as part of the Contemporary Arts in Dorchester Abbey programme. The Wolves will later tour to Birmingham as part of Fierce Festival.

Michael Curran, The Sacred & Profane Love Machine, Wild West Active Space, Maastricht, The Netherlands, 10 September – 26 October 2013 

A Photo Mission / Egle Trezzi, Distribution of Erotica, 2013.

The Sacred & Profane Love Machine, a collective founded by Michael Curran and Adam Hilliker, arrive at Wild West Active Space in Maastricht to perform a series of rituals and spells, interrogating distorted masculinity/femininity through the prism of magical thinking. During the course of this manifestation there will be a series of film screenings, which will include Michael Curran and Osnat Haber’s film Fistula, 1995.

Jimmie Durham, The Encyclopedic Palace, Giardini & Arsenale, Venice Biennale, until 24 November 2013 

Jimmie Durham is among the over 150 artists from 37 countries in an exhibition with works spanning the past century alongside several new commissions.  The exhibition draws upon the model of a utopian dream conceived by Marino Auriti who filed a design with the U.S. Patent office in 1955 depicting his Palazzo Enciclopedico (The Encyclopedic Palace): an imaginary museum meant to house all worldly knowledge.  Though it never became a reality, Auriti’s plan demonstrates the reoccurrence of the dream of universal, all-embracing knowledge forwarded by a variety of thinkers throughout history in an attempt to capture the variety and richness of the world. 

John Russell, O Chair O Flesh, Treignac Projet, Treignac, France, until 29 September 2013

An exhibition curated by Matt Packer exploring the relationship between the human body and the redistribution of environmental relationships as a measure of cultivated life through a range of artistic approaches and responses to the region surrounding Treignac.