Upcoming at Matt’s Gallery, 92 Webster Road, SE16 4DF
Borbala Szanto, Hyphen, Matt’s Gallery, London, private view 5 October 6-9pm, exhibition open daily 12-6pm, 6-14 October 2018
Borbala Szanto, Hyphen, 2018, production image. Courtesy of the artist and Matt’s Gallery, London.
Rebecca Lennon, WORDS ARE ANGULAR SHARP, TENANT, Matt’s Gallery, London, private view 19 October 6-9pm, exhibition open daily 12-6pm, 20-28 October 2018
Rebecca Lennon, WORDS ARE ANGULAR SHARP, TENANT, 2018, video still. Courtesy of the artist and Matt’s Gallery, London.
November 2018
Jo Stockham, Capture, Matt’s Gallery, London, private view 2 November 6-9pm, exhibition open daily 12-6pm, 3-11 November 2018
Jo Stockham, Capture, 2018, production still. Courtesy of the artist.
Followed by…
Naomi Pearce, Osteon, Matt’s Gallery, London, 16-18 November 2018
Amikam Toren, Framework, Matt’s Gallery, London, private view 22 November 6-9pm, exhibition open daily 12-6pm, 23 November-2 December 2018
Matt’s Gallery thanks Ron Henocq Fine Art for their generous support.
Richard Grayson, Possessions_inc.
Richard Grayson, Possessions_inc., 2018. Image courtesy the artist and Matt’s Gallery, London
Possessions_inc is a video and web project by Matt’s Gallery and Richard Grayson. Episode 28 is currently available to watch.
Over 2016-2018 Matt’s Gallery will be posting monthly instalments of the video project Possessions_inc. Part series, part blog, part essay, part talking head, Possessions_inc. is an expanding exploration of: ideas of value, ways we invest in objects, the Bilderberg owl, animatronics, the mystery of Rennes Le Chateau, codes, fakes, oligarchs, the missing head of Philip K Dick, treasure hunting, M.R. James, the V.I.P. Lounge, drug smuggling, computer animation, animism, Pygmalion and the insurance industry.
To subscribe please sign up to the Matt’s Gallery mailing list
To watch the episodes click here
Artists’ News
Richard Wilson, 20:50, showing in Space Shifters, Hayward Gallery, London, until 6 January 2019
Richard Wilson, 20:50, 1987/2018, installation shot at Hayward Gallery, London. Photo by Robin Klassnik. Courtesy of the artist and Matt’s Gallery, London
This major group exhibition brings together sculptures and installations that explore perception and space. Featuring 20 artists and spanning a period of roughly 50 years, the exhibition includes innovative, minimalist sculpture from the 1960s as well as recent works that extend the legacy of this ‘optical’ minimalism in different ways. It also features new commissions that have been made in response to the architecture of the Hayward Gallery.
Artists: Leonor Antunes, Larry Bell, Fred Eversley, Felix Gonzalez-Torres, Jeppe Hein, Roni Horn, Robert Irwin, Ann Veronica Janssens, Anish Kapoor, Yayoi Kusama, Alicja Kwade, John McCracken, Josiah McElheny, Helen Pashgian, Charlotte Posenenske, Fred Sandback, Monika Sosnowska, Daniel Steegmann Mangrané, De Wain Valentine and Richard Wilson.
Lindsay Seers, Every Thought There Ever Was, Focal Point Gallery, Southend-on-Sea, until 23 December 2018
Lindsay Seers, Every Thought There Ever Was, 2018. Photo by Simon Mills. Image courtesy the artist and Matt’s Gallery, London
Incorporating industrial robotics in conjunction with a three-screen video projection, the work is shaped by philosophical ideas and scientific research concerned with the phenomenon of consciousness. Through digital animation, special effects, drawing and sound design, Every Thought There Ever Was explores the extraordinary brain functioning that occurs in the condition of schizophrenia. Two screens, supported by robot arms, move with the images, bringing agency to them as an active element in the work.
The work draws on an experimental treatment known as Avatar Therapy, in which those living with schizophrenia can speak to their persecutors in a digital world. Guided by first person accounts and a collaborative drawing exchange, Seers’ work has been shaped by conversations with scientific partners including Anil Seth at The Sackler Centre for Consciousness Science and Chris Frith, Emeritus and Professor of Neuropsychology, UCL to explore the current studies and thinking on the condition.
Pursuing her on-going fascination with how an individual’s biography embodies history, Seers takes Victorian surgeon James Miranda Barry as her narrator. Barry transcends time through a connection with the offspring she gave life to by performing a groundbreaking emergency Caesarian section operation. Barry’s future life sees her manifest as an Avatar with an ability to cure.
Every Thought There Ever Was is funded by Wellcome and is co-commissioned by Matt’s Gallery, London; The MAC, Belfast; Focal Point Gallery, Southend-on-Sea; Hospitalfield, Arbroath; and John Hansard Gallery, Southampton.
The exhibition will open at Focal Point Gallery, Southend-on-Sea, from September 8th to December 23rd 2018. In 2019 it will tour to Hospitalfield and in 2020 to John Hansard Gallery, following its premiere at The MAC, Belfast earlier this year.
Leah Capaldi, Shooting and Fishing, showing in Alter Heroes Coalition, Mimosa House, London, until 15 December 2018
Leah Capaldi, Shooting and Fishing, 2018. Video still. Courtesy of the artist.
A new 2-channel video sculpture by Leah Capaldi is featured in the group exhibition Alter Heroes Coalition, which presents a selection of artworks, artefacts, texts and images, exploring the concept of an alter ego. The artists included in the show reinvent themselves as unconventional and empowering heroes reflecting on cultural displacement, belonging and unbecoming. Collectively, they suggest ways of inhabiting and negotiating different personas and healing split identities.
Featuring: Tomaso Binga, Leah Capaldi, Cibelle Cavalli Bastos, Gery Georgieva, Yolanda López, Kent Monkman, Tabita Rezaire, Super Sohrab and Super Taus
Lindsay Seers, A Woman’s Place at Knole, Knole House, Kent, until 14 November 2018
Lindsay Seers, 2018. Image courtesy the artist and Matt’s Gallery, London
Lindsay Seers is presenting a new work as one of six commissions highlighting the progression towards equality through the stories of the women who have contributed to the spirit and history of Knole. Curated by Lucy Day and Eliza Gluckman, the project shines a light on historical women’s voices, marking 100 years since the Representation of the People Act that gave women the vote in the UK for the first time. The history of women’s rights is well illustrated at Knole, where Vita Sackville-West, the only child of the 3rd Baron Sackville, was prevented from inheriting the house because of her gender. The loss of Knole deeply affected Sackville-West, leading her to write that ‘Knole is denied to me forever, through a technical fault over which we have no control’. Seers’ work focuses on ‘the love letter’, the famous description of Virginia Woolf’s book Orlando dedicated to Vita Sackville West. Drawing in particular on the correspondence between Vita and Virginia it takes the form of a digital book with text, spoken word, music and film. Other commissioned artists are Lubaina Himid, CJ Mahony, Emily Speed, Alice May Williams and Melanie Wilson.
Jo Bruton, John Moores Painting Prize 2018, The Walker Art Gallery, Liverpool, until 18 November 2018
Jo Bruton, Tassel Talk, 2016. Image courtesy the artist and Matt’s Gallery, London
Jo Bruton is one of 60 artists whose paintings will feature in the John Moores Painting Prize 2018 exhibition, marking 60 years of the UK’s longest-established painting prize. Paintings were selected from more than 2,700 entries by an esteemed panel of jurors. This year’s jurors include artists Marvin Gaye Chetwynd, Lubaina Himid MBE, Bruce McLean and Liu Xiaodong, and curator Jenni Lomax. In celebration of the Prize’s anniversary year, an additional award will be offered to the first prize winner – a three month fellowship at Liverpool John Moores University together with an in-focus solo display at the Walker Art Gallery in 2019.
Mike Nelson, Eighty Circles Through Canada (The Last Possessions Of An Orcadian Mountain Man), part of Indicators: Artists on Climate Change, Storm King Art Center, Cornwall, New York, until 11 November 2018
Mike Nelson, Eighty Circles Through Canada (The Last Possessions Of An Orcadian Mountain Man), 2013. Installation view at Tramway, Glasgow. Photo by Keith Hunter. Courtesy the artist and 303 Gallery, New York; Galleria Franco Noero, Turin; Matt’s Gallery, London; and neugerriemschneider, Berlin.
Mike Nelson’s Eighty Circles Through Canada (The Last Possessions Of An Orcadian Mountain Man) (2013) is being shown in the exhibition Indicators: Artists on Climate Change exploring the impacts of the changing climate. Both indoor and outdoor installations, including pieces newly created for the exhibition at Storm King, will illuminate the threats of a changing climate to our biological world and to humanity.
Informed by his friend and collaborator, the artist and mountaineer Erlend Williamson, the piece comprises a large set of driftwood shelves laden with Williamson’s last possessions before falling to his death in the Scottish Highlands. The reverse of the structure acts as a screen on which to project 80 transparencies of discarded stone fire circles, found and documented between Banff and Vancouver in 2012-13. The exhibition at Storm King marks the first time this work will be shown in the United States. The organizers of the exhibition are Nora Lawrence, Curator; David Collens, Director and Chief Curator; and Sarah Diver, Curatorial Assistant, who collaborated closely with artists to develop their ideas and proposed projects for the exhibition. Participating artists include: David Brooks, Dear Climate, Mark Dion, Ellie Ga, Justin Brice Guariglia, Allison Janae Hamilton, Jenny Kendler, Maya Lin, Mary Mattingly, Mike Nelson, Steve Rowell, Gabriela Salazar, Tavares Strachan, Meg Webster, and Hara Woltz.
Benedict Drew, THE ANTI ECSTATIC MACHINES, Middlesbrough Art Weekender, 4-7 October 2018
Benedict Drew, THE ANTI ECSTATIC MACHINES, 2018. Courtesy of the artist and Matt’s Gallery, London.
Hot on the heels of the first incarnation of THE ANTI ECSTATIC MACHINES at Matt’s Gallery, London, this new exhibition by Benedict Drew has morphed into a second version, reconfigured for the post-industrial town of Middlesbrough, in the North East of England. Middlesbrough Art Weekender showcases a wide selection of international and local artist across multiple venues. With a strong DIY ethos, MAW works in collaboration with local artists, galleries and institutions as well as creating new cultural space in slack and empty spaces across the town.
Alison Turnbull, PSYCHE Or, the butterfly – An expanded field guide, London book launch, Más Arte Más Acción, 5 November 2018, 6.30-9pm
Alison Turnbull Butterfly Barcode 2018 (detail) Watercolour on paper, 56×76 cm. Courtesy of the artist and Matt’s Gallery. Photograph by Jonathan Bassett.
Más Arte Más Acción
Lower Ground
5 Old Nichol Street
London, E2 7HR
Alison Turnbull will be in conversation with Marina Warner at the launch of this new publication. In 2017 artist Alison Turnbull travelled to Chocó, Colombia at the invitation of Más Arte Más Acción to study butterflies in the Pacific rainforest, working alongside Dr Blanca Huertas, butterfly expert and Senior Curator in Lepidoptera at the Natural History Museum, London.
PSYCHE Or, the butterfly – An expanded field guide is Alison Turnbull’s observational record, both literal and imaginary, of the expedition. Comprising a wide variety of idioms – drawings, photographs, notes, fragments and literary sources – this book of butterflies is a field guide in the broadest sense. The collection includes ‘The Mimic Net’, an essay by writer and mythographer Marina Warner. Accompanying the book is Some Butterflies of La Chocoana and Surroundings, an illustrated guide to the butterflies of the region by Dr Huertas, assisted by Danilo Palacios.
Psyche is the ancient Greek word for both butterfly and soul.
The project has been developed in partnership with the British Council.
David Osbaldeston, The Serving Library V David Osbaldeston, Bonington Gallery, Nottingham, private view 1 November 5-7pm, continues until 15 December 2018
David Osbaldeston, Untiled (Deception), 2018. Courtesy of the artist.
Founded in New York in 2011 and based in Liverpool since 2016, The Serving Library (TSL) is a non-profit organisation that serves as a publishing platform, a seminar room, a collection of framed objects, and an event space. The enterprise is rooted in a journal published biannually as Dot Dot Dot from 2000–10, Bulletins of The Serving Library from 2011–17, and now annually as The Serving Library Annual, released simultaneously online (for free) and in print (for a fee) every autumn.
This autumn, Bonington Gallery will showcase TSL’s collection of framed objects; each one the source of an illustration that has appeared in one of the journals. The 100+ collection includes items as diverse as record sleeves, watercolours, woodcuts, polaroids, drawings, screen-prints, airbrush paintings, a car number plate, and a Ouija board. Together, these varied objects decorate the walls of the library to serve as a toolbox for teaching.
The space will be further populated by a new work by occasional Serving Library contributor David Osbaldeston, who – in response to a theme of translation – has produced a new series of images exploring how visual essentials such as black, white and repeating shapes progress through a sequence of depicted forms. As a system of signs that become open to subjective interpretation, each image is assisted by a single word, which could be seen either as an associative descriptor or erratic linguistic type.
Graham Fagen, Conversations with Paolozzi, Royal Scottish Academy of Art and Architecture, Edinburgh, until 28 October 2018
Graham Fagen, Our Shared, Common, Private Space, 2011. Courtesy of the artist.
Conversations with Paolozzi will bring together responses of Royal Scottish Academicians to the Scottish-Italian artist, Sir Eduardo Paolozzi (1924-2005). Timed to coincide with the publication of Paolozzi at Large in Edinburgh (Luath: Edinburgh, 2018), co-edited by Christine de Luca and Carlo Pirozzi, the exhibition considers the impact of Paolozzi’s legacy on art in Scotland today.
Exhibiting Artists: Michael Agnew, William Brotherston, Alfons Bytautas, Doug Cocker, Michael Docherty, Graham Fagen, Paul Furneaux, Eileen Lawrence, James Pattison, Alan Robb, Michael Visocchi, Arthur Watson
Imogen Stidworthy, Dialogues with People, Württembergischer Kunstverein Stuttgart, Germany, 27 October 2018 – 13 January 2019
Imogen Stidworthy, Closing/Close by, 2001. Courtesy of the artist and WKV, Stuttgart.
The first major solo exhibition in Germany by British video and film artist Imogen Stidworthy. With her films and installations, Stidworthy asks how social relationships take shape when words fail, are unstable, or absent. What other forms of meaning and communication emerge at the borders of language?
The exhibition focuses on nine video installations produced over the past twenty years, alongside new work. They involve close personal exchanges with figures such as Belgian wiretap analyst Sacha van Loo (Sacha, 2011), the Korean shaman Sun Deok (Speaking in the Voices of Different Gods, 2012/18), and Iris Johansson, a Swedish therapist and writer who is autistic and was nonverbal until the age of twelve. These works share a preoccupation with different forms of voicing, in relation to our sense of self and our connection to others. They sound the spaces between voice, speech, and somatic languages, and the uncertainty of sharing a common ground.
Jordan Baseman, gendersick, Fort Worth Contemporary Arts, Fort Worth, Texas, 10 October – 17 November 2018
Jordan Baseman, gendersick, 2018. Video still. Courtesy of the artist.
gendersick asks questions about our understanding of gender today: What does it mean to identify as an agender, asexual person? How does the construct of gender impact on expressions of identity for the individual? How is gender represented and perceived and understood within our culture? How are non-binary individuals represented?
Jordan Baseman, Little Boy, showing at Punto y Raya Festival, Wrocław, Poland, 28 October 2018
Jordan Baseman, Little Boy, 2014, still. Courtesy of the artist.
Jordan Baseman, La La La La, part of Aesthetica Film Festival, York, 7-11 November 2018
Jordan Baseman, La La La La, 2017, still. Courtesy of the artist.
Having recently been awarded Best Experimental Short at Oregon Independent Film Festival, La La La La features five residents, who live in a care home for people with dementia. Many hours of interviews and recordings have been collaged together to present multiple narratives simultaneously. Fragmentation, overlapping: a conflux of information visually and aurally collide in this work. La La La La in many ways is an experimental portrait of living with Dementia, featuring residents living in a care home in North Shields, people with moderate and severe Dementia. The production of the film itself is a result of a scientific study exploring Citizenship and Authenticity with people suffering from dementia and within residential care homes.
La La La La is a Wellcome Trust funded collaboration with the NHS psychiatrist and leading Dementia specialist, Professor Julian Hughes, University of Bristol, RICE Professor of Old Age Psychiatry.
Jordan Baseman, Radio Influenza, 2018, Production Still. Courtesy of the artist.
Wellcome have commissioned Jordan Baseman to produce an ambitious digital commission to mark the centenary of the 1918 influenza pandemic, known as Spanish Flu. The work, Radio Influenza, will be delivered as 365 daily audio soundtracks over the full course of a year. Starting on 1 November 2018, the commission will capture the everyday experience of how news, rumour and health information and dis-information was shared and experienced through newspaper accounts at the time. Users will be able to follow the unfolding story through a dedicated website, podcast, Facebook and Twitter feeds.
The 1918 influenza pandemic was one of the most significant and wide-reaching international health crises of the twentieth century, which killed at least 50 million people worldwide. This year Wellcome is marking the centenary by funding a wealth of projects exploring local, national and international response to the reality and devastation of the Spanish Flu. Baseman’s work will draw on original source materials from 1918-19 and follow the patterns and rhythms of everyday life over the course of a year. From individual, local stories to national and international responses, the project will represent the devastation of the epidemic through the everyday, exploring how information about it filtered into every aspect of life. Using contemporary reporting from the British Newspaper Archive held by the British Library, it will track scientific developments and failures, the public’s hopes and fears, and governments’ action and inaction.
Lucy Gunning, My Heart is like a Singing Bird, 2018. Courtesy of the artist.
Bernice Donszelmann, Lucy Gunning, Helen Robertson, Incandescent, 2018. Courtesy of the artists.
Mike Nelson, Imperfect geometry for a concrete quarry, 2016, Installation view, Kalkbrottet, Limhamn, Malmö. Courtesy the artist and 303 Gallery, New York; Galleria Franco Noero, Turin; Matt’s Gallery, London; and neugerriemschneider, Berlin.
For the GB Commission, Mike Nelson will reinterpret the former Armed Forces’ Gwangju Hospital, a site of great intensity during the 1980’s Gwangju Democratization Movement, from a different viewpoint. As an artist who digs deep into the materiality of structures, Mike Nelson will shed new light on various components of the remaining ruins of the former Armed Forces’ Gwangju Hospital such as the light switches, doors, and doorknobs. He will introduce a new piece of artwork using motifs of time and history in relation to the absence of an empty building and the present-ness of its remaining ruins.
Mike Nelson, Re-bar, wire-mesh, cross-hatch (Romanian heroes), 2018, installation view, Sandwich, Bucharest. Courtesy the artist and 303 Gallery, New York; Galleria Franco Noero, Turin; Matt’s Gallery, London; and neugerriemschneider, Berlin.
Mike Nelson, Again more things (a table ruin), V-A-C Foundation, Venice, until 22 October 2018
Mike Nelson (b. 1967), Again, more things (a table ruin), 2014. V-A-C collection © Whitechapel Gallery, London; photo: Stephen White
Curated by Whitechapel Gallery Director Iwona Blazwick, the exhibition revisits and expands four displays from the V-A-C collection, first seen at the Whitechapel Gallery from 2014 to 2015. The Explorers who have brought together remarkable finds from the collection, ranging from ancient African figures to iconic masterpieces of the 20th century, are contemporary artists. Each is a leading exponent of one medium – Lynette Yiadom-Boakye is a painter and James Richards is a moving image artist; Mike Nelson is a sculptor; Fiona Banner is a creator of text based images and installations They have embarked on a journey through the V-A-C collection and present their discoveries in solo displays. Through their unorthodox installations, each artist also transforms each collection display into a new work of art.
Nathaniel Mellors and Erkka Nissinen, Aalto Natives, MAXXI, Rome, 20 October 2018 – 24 February 2019
Nathaniel Mellors and Erkka Nissinen: The Aalto Natives at the Finnish Alvar Aalto Pavilion, 57th International Art Exhibition La Biennale di Venezia. Photo: Ugo Carmeni / Frame Contemporary Art Finland.
A version of Mellors’ and Nissinen’s The Aalto Natives will be part of Low Form. Imaginaries and Visions in the Age of Artificial Intelligence at MAXXI, Rome. An exploration of the technological and surreal imaginary of the artists of today, from computer-generated dreams to creative algorithms and avatars that question the meaning of existence. More than just an exhibition, but a workshop for study and debate on themes and issues associated with our relationship with technology and the incredible scenarios opened by its evolution: Low Form. Imaginaries and Visions in the Age of Artificial Intelligence is an immersive, multimedia and multisensory display.
In an era in which technologies evolve increasingly rapidly and we are questioning how far the relationship between man and machine can go, the exhibition presents the visions of 16 international artists showing a present and a future, the representation of which is the offspring of technological unconsciousness and a dilated imaginary, in which traditional analogical references and the contemporary hyperconnected digital consciousness are combined.
Artists: Zach Blas & Jemima Wyman, Carola Bonfili, Ian Cheng, Cécile B. Evans, Pakui Hardware, Jamian Juliano-Villani, Nathaniel Mellors & Erkka Nissinen, Trevor Paglen, Agnieszka Polska, Jon Rafman, Lorenzo Senni, Avery K Singer, Cheyney Thompson, Luca Trevisani, Anna Uddenberg, Emilio Vavarella
Tina Keane, Visions in the Nunnery Part 1, The Nunnery, until 28 October 2018
Tina Keane, Couch, detail (2003) © Tina Keane, courtesy England & Co and the artist
The Nunnery Gallery’s renowned showcase of recent moving image and performance. Three programmes will present an international overview of some of the most exciting and boundary-pushing digital art, showing over 60 international artists selected from over 1,000 submissions. Programme 1 is led by revered multi-media artist Tina Keane, whose work and teaching has had a profound influence on the development of digital art. Alongside three of Keane’s own works – Deviant Beauty (1996) and Couch (2003, neon and film) – the programme’s works will explore the body, feminism, obsession and the search for identity, probing themes for which Keane’s pioneering films laid the groundwork. The selection includes moving image and digital installation, showcasing some of the most arresting, clever and quietly provocative works commenting on gender today.
There will be a performance event, a screening of Faded Wallpaper (1988), and a screening and discussion event at Queen Mary University. More details in the Visions in the Nunnery listings.
Marianna Simnett, Blood in My Milk, The New Museum, until 6 January 2019
Marianna Simnett, Worst Gift, 2017. Installation shot. Image by Jonathan Bassett. Image courtesy of the artist and Matt’s Gallery.
Composed of new multi-channel edits of four of Marianna Simnett’s most important works to date — The Udder (2014), Blood (2015), Blue Roses (2015), and Worst Gift (2017), which was first shown at Matt’s Gallery, London — Blood In My Milk is a survey of her filmic universe and a continuation of her ongoing investigation of anxieties around the body and the self. Experienced as a single storyline unfolding across five screens and featuring never-before-shown material, this new work chronicles Simnett’s exploration of organs, body parts, and infection through the lens of medical treatment and procedures. A tour de force of the past five years of Simnett’s work, Blood In My Milk constitutes the artist’s first encompassing visual epic, bringing her many characters in dialogue with one another across time and space.
Anne Bean and Richard Wilson, Bow Gamelan Ensemble: Great Noises that Fill the Air, Cooper Gallery DJCAD, 26 October 2018 – 15 December 2018
Bow Gamelan Ensemble, 51° 29′.9” North – 0°11′ East, Rainham Barges, 1985. Courtesy ALTERIMAGE.
Bow Gamelan Ensemble: Great Noises that Fill the Air at Cooper Gallery DJCAD is the first retrospective of Bow Gamelan Ensemble (Anne Bean, Paul Burwell, Richard Wilson), who have since 1983 inspired artists with their radical collaborative and cross-disciplinary practice. Utilising found objects, invented instruments and everyday sound, Bow Gamelan Ensemble define an urgently creative and discursive space resonating with collaboration, improvisation, conviviality and provocation.
Preview and Performance: Friday 26 October, 5.30 – 7.30pm. Scoring Noise, Symposium, including invited speakers Sam Ainsley & David Harding, Bow Gamelan Ensemble, Rob La Frenais and David Toop: Saturday 24 November, 2–6pm
Jennet Thomas at Cologne Short Film Festival, 15 November 2018
Jennet Thomas, I AM YOUR ERROR MESSAGE, 2013, performance still. Courtesy of the artist.
Jennet Thomas will be the featured as the SPOTLIGHT artist at this year’s Cologne Short Film Festival on the evening of Thursday 15th November, presenting a mini retrospective of works including: SHARONY!, THE UNSPEAKABLE FREEDOM DEVICE, Animal Condensed>Animal Expanded#1 and #2 and doing a live performance of I AM YOUR ERROR MESSAGE.
Angus Braithwaite, A Home of Ghosts and Spirits, Art Seen, Nicosia, Cyprus, 12 October – 24 November 2018
Angus Braithwaite, Gwisin (posted), 2018. Courtesy of the artist and Matt’s Gallery, London
Angus Braithwaite, who exhibited at Matt’s Gallery, London earlier this year, will present his first solo exhibition outside of the UK at Art Seen, Nicosia, in Cyprus, curated by Maria Stathi.
For this new commission, Braithwaite has invited four Ghosts who inhabit constructed environments to spend six weeks in the Nicosia gallery. This is the first time these haunted artworks can been seen together. Interestingly, each work of art has taken a different journey to the gallery – be that through the postal system, as a relations’ hand–luggage or by boat. The exhibition features Gwisin (posted), 2018, first seen at Matt’s Gallery in March this year.
Comments are closed, but trackbacks and pingbacks are open.