Matt’s Gallery presents Swete Brethe, a site-specific installation and generative sonic work by Phil Coy.
Sited at the boundary line of the U.S. Embassy in Nine Elms, Wandsworth, the installation defines a square of land featuring a windsock and an anemometer, instruments for measuring wind speed and direction. The live wind speed data will be transmitted to mattsgallery.org where it sonically alters a trumpet solo composed especially for the project by virtuoso jazz musician Byron Wallen.
The commission is presented in partnership with London-based property developer and site owner, Dominvs Group, who have specially adapted the area in order to facilitate this temporary installation.
Q6 is the sixth in a series of artist interviews by Matt’s Gallery Deputy Director Tim Dixon, published to coincide with Phil Coy Swete Brethe.
We’re thrilled to share a digital iteration of Rebecca Lennon’s three-channel video work THE KNOT COMMONS, recently exhibited at Southwark Park Galleries // Dilston Gallery, 15-31 October 2021, as part of an annual collaboration between SPG and Matt’s Gallery.
THE KNOT COMMONS (2021) joins Liquid i (2020) at mattflix.video. Both works form part of the body of the work LIQUID i the Knot Commons, currently being developed by Lennon with Matt’s Gallery and Southwark Park Galleries in London, and Primary, Nottingham.
Frances Scott, Aureole, 6pm 19 November—5.59pm 17 December 2021
We’re pleased to announce the final instalment of 2021: Aureole (2021), a new work by Frances Scott, commissioned especially for MattFlix.
Scott (b. 1981, Barrow-in-Furness) is a London-based artist working with moving image. Her work considers the narratives and histories at the periphery of cinematic production and its apparatus, to produce films composed of their metonymic fragments.
Graham Fagen, New Arrivals: From Salvador Dalí to Jenny Saville, Scottish National Gallery of Modern Art (Modern One), Edinburgh, From Saturday 27 November 2021
We’re delighted to announce that Graham Fagen’s 2015 video installation The Slave’s Lament has been acquired by the Scottish National Gallery of Modern Art.
‘The Slave’s Lament’ was Robert Burns’ only work to empathise with the appalling hurt of the displaced, the trafficked and the enslaved. Replete with a moving score written by Sally Beamish, performed by the Scottish Ensemble and Reggae singer Ghetto Priest, and produced by legendary On-U-Sound founder Adrian Sherwood, Graham Fagen creates a fascinating soundclash, where Burns’ poetry finds a haunting bedfellow in Jamaican reggae music – and finds much common ground. This evocative video installation was curated by Hospitalfield, Arbroath and exhibited at Scotland + Venice 2015, when Graham Fagen represented Scotland at the Venice Biennale.
Opening on Sat 27 November at Modern One, Edinburgh, the work will be displayed alongside a range of modern and contemporary work including painting, sculptures, films and more, by artists such as Damien Hirst, Jenny Saville, René Magritte, Salvador Dalí, Oskar Kokoschka, John Bellany, Marie Harnett and Pablo Picasso.
Curated by Ben Borthwick, Bodies in Space presents work by artists using the figure in painting and drawing to question and understand how we occupy, move through and negotiate the public and private spaces of daily life. The exhibition also reflects how figurative painting and drawing becomes more visible at times of wider social and political change.
Nicola Bealing will be showing four paintings in the exhibition, alongside works by Flo Brooks, Andrea Büttner, Andrew Pierre Hart, Nick Jensen, Claudette Johnson, Joy Labinjo, Bruno Pacheco and Charmaine Watkiss.
A pile of fur coats,
you put one on,
a second skin,
the coat now hangs on the door.
Rebecca Lennon’s (((()))) was released on 2 November 2021 by Thanet Tape Centre, artist Benedict Drew’s label.
Words and Music: Rebecca Lennon
Voices: Rebecca Lennon, Skiffle and Julian Lennon Dee
Cover Image: Still from Words are angular sharp Tenant, 2018, feat. Laura Dee Milnes
Cover Design: Benedict Drew
(((()))) Developed via performances at Taco, Thamesmead and At Practise, David Dale Gallery, Glasgow
Nathaniel Mellors’ solo exhibition Browserer is currently on view at Galerie Crèvecoeur’s space at 9 rue des Cascades, Paris. The exhibition consists of new paintings and video works and is open until 18 December 2021.
PERMANENT PRESENTS is published to accompany Nathaniel Mellors’ solo exhibition of the same name at Frac Bretagne, Rennes, 8 October 2021–2 January 2022.
This book brings together, for the first time, the entire series of films around the figure of Neanderthal Man produced by Nathaniel Mellors since 2012. This book is not only a documentation of the exhibition, including numerous installation views, but also an extension of this project with a text by Marie de Brugerolle and two interviews by the artist with Italian art critic Mattia Tosti and American editor Clayton Eshleman, notably known for his translations of César Vallejo and his studies of cave painting and the Palaeolithic imagination. All texts are in French and English.
In Q2.5, Clare Gasson reflects on ACT, her 2019 solo exhibition at Matt’s Gallery, performance, her practice, and her current work. The text, Gasson by Clare, looks at a range of different works from the artist’s practice and the threads running through them.
Benedict Drew, Estuary Magic Episode 4: The Job is Not the Work, Saturday 6 November 2021, 2-3pm (GMT) on Resonance Extra
Benedict Drew’s monthly broadcast Estuary Magic returns for its fourth outing, The Job is Not the Work (in praise of the non profesional). To listen live, tune in to extra.resonance.fm at 2pm (GMT), Sat 6 November.
Artist Leah Capaldi will be undertaking her studio residency at the British School at Rome over the month of November. Capaldi was awarded the residency as an alumnus of New Contemporaries.
Visit the brand new kindofdifferent.org to watch Jordan Baseman’s short animated film A Different Kind of Different (2020). You’ll also find recordings of the live screening and illustrated talk event series, programmed by Matt’s Gallery, that marked the premiere of the film in January 2021. Additionally available now are two newly commissioned texts by the artist, Jordan Baseman, and Dublin-based writer and research Maeve Connolly, which contextualises the film both within Baseman’s wider practice and contemporary moving image work.
With thanks to An Endless Supply for the website design and build.
Anne Bean’s 1978 work Mortality (Shouting Mortality as I Drown) will be travelling to PARIS PHOTO with England & Co 11-14 November.
The work is taken from a series of Bean’s performances to camera in the 1970s. They emerge from her fearless dialogues with the elements, fire and water; from risk-taking, often perilous performances that tested her endurance and fearlessness.
We’re pleased to share that Jordan Baseman is one of six artists selected to take part in the next round of the Arts Council England-funded Meeting Point programme.
Emma Smith, Savinder Bual, Anna Cady, Enam Gbewonyo, Jordan Baseman, and Chisato Minamimura have each been commissioned by one of six museums and heritage sites in Southern England to create a new work of art inspired by the venue and its collections.
Baseman, who will be working with the National Paralympic Heritage Centre in Aylesbury, says: “I am thrilled to be awarded a Meeting Point commission to make an artwork for the National Paralympic Heritage Trust. Working alongside the Oral Historians, the staff at NPH, and the National Spinal Unit, I will make an experimental portrait that discusses motion, movement, repetition, structure, discipline, routine, motivation, practice, failure, defeat, recovery, control, ambition, freedom, transcendence.”
Palazzo dell’Agricoltore presents “The House of the Farmer”, a site-specific installation conceived by British artist Mike Nelson and curated by Didi Bozzini. The exhibition has its origin in the history of the building, reflecting on the political, economic and social role it has played over 82 years since its construction in 1939. The building history is reflected in its name — Palazzo dell’Agricoltore — and by the title of the exhibition, The House of the Farmer. The palace was the seat of the corporation that organised and facilitated agricultural activities under the Fascist government.
It occupies all its floors, drawing on the visceral and poetic power of the palace and the materials that inhabit its halls, taken from the wild landscape in the rural region surrounding the city; rocks, tree trunks, branches, and roots, and even the entire side of a hill has been moved inside the building as if part of its architecture. This way, Nelson leads you to imagine the building as a sculpture itself and attempts to provide a mental and material path between reflection and fantasy, between nature and culture.
In Nathaniel Mellors’ solo exhibition, PERMANENT PRESENTS, Frac Bretagne brings together for the first time the entire film series incorporating central Neanderthal figures produced by Mellors since 2012.
Films screening during the exhibition include The Sophisticated Neanderthal Interview (2012); Neanderthal Container (2014); and Neanderthal Crucifixion (2021). As a sort of prequel to the trilogy, the exhibition at Frac Bretagne looks back at Ourhouse (2010 – ) British TV drama being eaten from the inside out. It stages the eccentric Maddox-Wilson family’s lives destabilized when their house (‘Ourhouse’) is occupied by The Object (Brian Catling), whom the family fail to recognise as a human-being, each perceiving a different form in its place.
Lucy Gunning’s 1993 video work Climbing Around My Room is currently on show as part of group exhibition The Soft Prison at Museum of the Home, London.
The Soft Prison brings together works by ten contemporary artists to explore the landscape of our private space and the home’s capacity to contain and sustain us.
It features intimate photographs, documentary, installations and filmed portraits by artists including Gunning, Rachel Whiteread, Gregor Schneider, Mona Hatoum, Richard Billingham, De’Anne Crooks, Donald Rodney and Clio Barnard.
A group exhibition reflecting on the transformation of labor in the post-industrial and digital era, between awareness and disillusion, precariousness and empowerment, curated by Samuele Piazza with Nicola Ricciardi.
Fifty years after the publication of Vogliamo tutto – a novel by Nanni Balestrini about the struggles of the working class in 1969 Turin – does it still make sense to want it all?
The exhibition includes works by: Andrea Bowers, Pablo Bronstein, Claire Fontaine, Tyler Coburn, Jeremy Deller, Kevin Jerome Everson, LaToya Ruby Frazier, Elisa Giardina Papa, Liz Magic Laser, Adam Linder, Sidsel Meineche Hansen, Mike Nelson, and Charlotte Posenenske.
Vogliamo tutto. An exhibition about labor: can we still want it all? Curated by Samuele Piazza with Nicola Ricciardi.
A new work by Mike Nelson, Amnesiac Beach Fire (MoD II) (2021), is currently on view in this year’s RA Summer Exhibition alongside over 1,300 works selected by coordinator Yinka Shonibare and a panel of artists, under the theme of ‘Reclaiming Magic’.
Held every year without fail, the Summer Exhibition is a celebration of contemporary art and architecture. Anyone can enter their work – leading artists, household names, new and emerging talent – and it provides a platform for the artistic community to showcase what they’re doing.
Graham Fagen, New Symphony of Time, Mississippi Museum of Art, Mississippi, USA, Until September 2021
New Symphony of Time expands the boundaries of Mississippi’s identity, casting light on a shared past to help reflect an expansive, more inclusive future. This ongoing exhibition features a single screen version of Graham Fagen’s, Slave’s Lament amongst other contemporary pieces such as Benny Andrews’ Mississippi River Bank and Jeffrey Gibson’s Sharecropper, pieced quilts, historical paintings, and self-taught artwork, which provide an alternate lens from which to consider the significant creative contributions of the state of Mississippi and its place as part of a broader, American narrative.