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’ 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
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.
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, The Book Lovers – The Novel as an Art Form, Museum of Modern Art, Warsaw, 26 – 27 October 2013
This symposium will study the crossover between narrative literature and the visual arts: from the space of the page to the novel understood as a relational object, a form of public intervention ‒ from uncreative writing to the social life of the book. The programme features Lindsay Seers, Bart de Baere, Barbara Browning, Angus Cameron (on behalf of Goldin+Senneby), Sebastian Cichocki, Ann Demeester, Jan Gondowicz, Will Holder, Yayoi Kusama, Chus Martínez, Tom McCarthy, Momus, Simon Morris, Ingo Niermann and Mark von Schlegell.
Willie Doherty, Catalyst: Contemporary Art and War, IWM North, Manchester, 12 October 2013 – 23 February 2014
The first major exhibition of Imperial War Museum’s outstanding national contemporary art collection features work by some of the most significant artists exploring war and conflict today.
Willie Doherty, 1813. Siege, fire and reconstruction of San Sebastian, San Telmo Museum, Spain, until 6 January 2014
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.
Mike Nelson has been commissioned to make new work for this major exhibition in Vancouver, which will be accompanied by a new publication.
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.
Hayley Newman, The World Turned Upside Down, Buster Keaton, Sculpture and the Absurd, Mead Gallery, Warwick, 4 October – 14 December 2013
Curated by Simon Faithfull and Ben Roberts, The World Turned Upside Down places the work of over twenty international artists working in film, sculpture, installation art and performance in direct relation to Buster Keaton’s films to track a lineage from the melancholic and at times anarchic comedy of Keaton to the dry wit of conceptual practice. Hayley Newman will be showing a selection of dishcloths from her work Domestique, 2013.
Hayley Newman, Café Carbon DVD launch, 14 November 2013
The Gluts – Gina Birch, Kaffe Matthews and Hayley Newman – will be launching a DVD of their Café Carbon DVD with Live Art Development Agency. Café Carbon was a musical performance originally performed on the streets of Copenhagen during the Climate Conference in December 2009, and subsequently performed at Modern Art Oxford, Whitechapel Art Gallery, Cafe Oto and Camden Arts Centre.
Hayley Newman will be reading from her text Elfie und Eleonore, a description of the water system on an off grid houseboat, written from the perspective of a twelve year old girl.
This solo exhibition presents a body of new and recent work, in which the possibilities of painting and the act of observation are as central as what is represented. A publication Alison Turnbull: Exercise Book with an essay by Briony Fer will accompany the exhibition.
Alison Turnbull has been commissioned by Modus Operandi to produce a major artwork to be integrated within the Duke Street façade of the newly redeveloped Wigmore Street building, designed by ORMS Architects.
Alison Turnbull, Universal Fragments: Conversations with Trevor Shearer, Large Glass, London, 11 October 2013 – 17 January 2014
Alison Turnbull will be showing new work as part of a group exhibition commemorating artist Trevor Shearer who died at the beginning of 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.
Imogen Stidworthy, Tip of the Iceberg: Art from Up North, Contemporary Art Society, London, 4 October 2013 – 3 January 2014
This exhibition brings together a selection of artists from the Contemporary Art Society’s pioneering membership programme CAS North.
Imogen Stidworthy presents recent projects that examine the interpretive use of sound as a process of visualization. Curated by Nav Haq for the fifth edition of curated by_Vienna, entitled Why Painting Now?. In the context of this exhibition, which takes place across 20 Viennese galleries, these works can also be understood as a reflection on the dialogue between new visualizing technologies and more historically rooted image technologies, such as painting and cartography.
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.
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.
Video Room: Erkka Nissinen and Nathaniel Mellors, Museum Boijmans Van Beuningen, Rotterdam, The Netherlands, until 12 January 2014
This exhibition curated by Saskia van Kampen-Prein will feature Mellor’s Ourhouse Episode 3 alongside photographic works.
This major international group exhibition curated by Noam Segal will feature Nathaniel Mellors’ The Nest, 2011 from the Ourhouse series.
Nathaniel Mellors will be showing The Saprophage, 2012 as part of exhibition Chambres des Canaux: The Tolerant Home, which takes place at a number of special locations around the Amsterdam canals.
Nathaniel Mellors, Ghost in the System – Scenarios for Resistance, 5th Moscow Biennial, National Centre for Contemporary Arts, Moscow, until 5 October 2013
Nathaniel Mellors will present The Time Surgeon, 2007 as part of this group exhibition which brings together a selection of recent video works and installations from the collection of De Hallen Haarlem, The Netherlands.
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.
Graham Fagen, re:new Contemporary Art from the Permanent Collection, The McManus, Dundee, Until Spring 2014
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.
Graham Fagen, LIVING WITH WAR: Artists on War and Conflict, Gallery of Modern Art, Glasgow, until 9 March 2014
LIVING WITH WAR is an exhibition of work from Glasgow Museums’ art collections which illustrates how artists from places as far ranging as Berlin, Brazil, Glasgow, London, Los Angeles, the Middle East and South Korea respond to the effects and prevalence of war and conflict around the world. Graham Fagen will be showing two works, Shamrock and Lily.
Fabrica will present a new site-specific film commission by Jordan Baseman. A Cold Hand on a Cold Day is a 17 minute film that features funeral director Cara Mair. Visually the film is driven by hand-processed colour 16mm time-lapse images of deeply dark skies. The piece will be accompanied by two other new and previously unshown works, How to Manage Stillness and Old Blood.
The Royal College of Art has appointed Jordan Baseman as the new Head of Sculpture within the School of Fine Art. Baseman will welcome the Sculpture students at the start of the new autumn term and officially takes up his post in late November 2013.
Jordan Baseman is undertaking a residency at YARAT Contemporary Art Space, Azerbaijan throughout October.
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.
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.
Melanie Jackson, The Nexus book launch at Stoke Bishop Campus, The University of Bristol, 31 October 2013
Benedict Drew, Blastomere: Beyond Planet Claire Bishop, Young Projects Gallery, Los Angeles, until 1 November 2013
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.
Michael Curran, The Sacred & Profane Love Machine, Wild West Active Space, Maastricht, The Netherlands, until 26 October 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.
Anne Bean and Richard Wilson will be showing work as part of a group exhibition which explores the contradictions, complexities and convolutions exposed through artist renderings of the ‘explosive’ and the deployment of explosive materials. The exhibition brings together a selection of international contemporary artists and includes art, film, documentation and time-base sculptural works and events from the 1960s to the present day.
Silver Fiat Vox is a narrative text led installation of a short journey in a car, a devastating, traumatic love story in two parts. The script evolves from a material “love story” to a meditation on meaning, intensity, power, language and trauma, exposing the linguistic film which lies on top and orders a non-hierarchical chaos of the public and private realms of Silver Fiat Vox.
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.