Special View of Zoo Art Fair
for Culture+ Members

Courtesy of The Times & The Sunday Times

Saturday 17 October 2008 – 10.30 am – 12.00 pm

Become a Culture+ Member

Culture+ is an exclusive programme of arts and entertainment rewards for subscribers to The Times and The Sunday Times. Every subscriber is automatically awarded with a complimentary membership with their newspaper subscription.

Membership entitles you to a wide range of benefits including a free membership to The Art Fund, which gives you free entry to over 200 charging museums, galleries and historic properties across the UK and 50% off entry to many major exhibitions. It also provides priority booking for the most talked-about plays, shows and exhibitions, plus exclusive offers and invitations to events.

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Enjoy access with breakfast and guided tours before the public arrives

Culture+ members have the chance to purchase a limited number of tickets for an exclusive Fair View from 10.30am on Saturday October 18th, 2008. Public access is from 12pm.

Tickets: £150 per person

Includes breakfast and guided tours, complimentary catalogue and visitor map. Tickets available on a first-come first served basis.

Zoo Art Fair

The fifth Zoo Art Fair will be held from 17-20 October at Royal Academy of Arts, 6 Burlington Gardens in central London. One of the foremost international platforms for emerging contemporary art talent, the Fair showcases under 6 year-old commercial and non-commercial arts organisations. Exhibitors include galleries, project spaces, artist collectives, curatorial groups and publications.

Zoo Art Fair is a non-profit enterprise supported by the generous sponsorship of established collectors, galleries, brands and arts businesses as well as public funding including Arts Council England.

For collectors, curators, critics, dealers, artists and art enthusiasts, Zoo Art Fair remains a considered introduction to the next generation of art professionals.

Visiting Information

Zoo Art Fair will be located at Royal Academy of Arts, 6 Burlington Gardens in central London directly behind the Royal Academy of Arts, Burlington House. The closest tube stations are Piccadilly Circus and Green Park. Bus numbers 8, 9, 14, 19, 22 and 38 stop outside the Royal Academy of Arts on Piccadilly.

Zoo Art Fair

 

 By arrangement with Royal Academy of Arts, 6 Burlington Gardens.

T&C’s: Calls cost 10p a minute from any landline. For full terms and conditions please visit www.seetickets.com. If booking online a transaction fee of £1.25 is charged per order, not per ticket. Calls cost 10p a minute from any landline. The main text above forms part of the terms and conditions of this offer. Tickets are non-transferable, non-refundable and not valid for resale. Event: Offer available to Culture+ subscribers only and is subject to availability. There is an allocation of 50 tickets which will be sold on a first come first serve basis. Cannot be used in conjunction with any other offer. Tickets must be booked before 15 October and are only valid for Sat Oct 18th. Two tickets per person only.  
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A brand new work from Wes Lang:::: Pretty evil and nasty::…

Julie Nord, september/oktober 2008.

THE BEAUTIFUL CHILDREN:

International gruppeudstilling med tegninger, kurateret af Joakim Costa Borda og Com Lally.

E:vent. The Wharf Road Project
The Wenlock Building 50-60
Wharf Road, London N1
U.K

Private Wiew 3rd october
Open wed-sun 12-7 pm.
4th-19th oct.

SOVEREIGN EUROPEAN ARTPRICE 2008:

Udvalgt til finalen i Sovereign European Artprice 2008.
Udstillingen og siden auktionen af de nominerede værker, finder sted på:

Private Wiew, 1’st oct. 18.30-21.30
Open for the public from 2 – 10’th october.
Auction on october 10’th.

Soveriegn’s Internet -publikum-nominering (Vote for your favorite artist):

(Indbydelse til auktionen (også muligt over nettet) og /eller åbning, kan i begrænset mængde rekvireres gennem Sovereign Art Foundation)

NYE AHUS Projektet:

Permanent udsmykningsprojekt udført til NYE AHUS. Kurator/projektleder Claes Søderquist.
Øvrige kunstnere bla. Tony Cragg, Troels Worsel, Gunilla Klingberg, mfl.

NYE AHUS
Nordbyhagaveien 30
1474 Nordbyhagen
Norge

Fernisering tor. d. 23 oktober.

Houldsworth
Sovereign Art Foundation
Eventnet Work

Bo Bjerggaard

GERARD BYRNE
‘FORMS OF ABSTRACTION’

Galerie Nordenhake presents ‘Forms of Abstraction’, Gerard Byrne’s first solo exhibition in Sweden. Gerard Byrne’s art practice utilizes video and photography to question the ways in which images are constructed, transmitted and mediated. His work examines the modes and conventions of image making and analyzes the mechanics of representation itself. Influenced by literature and theatre, Byrne’s work consistently references a range of sources, from popular magazines of the recent past to iconic modernist playwrights like Brecht, Beckett, and Sartre.

The works presented at Galerie Nordenhake all in some way stage the act of representation, contrasting the information presented in the image with supplemental textual information. Forms of Abstraction is a reference to the legibility or illegibility of lens-based images. Each work suggests a play with the discrepancies, fragmentation and incompleteness of each representation. By doing so Byrne proposes the idea that all representations are abstract.

‘*ZAN -T185 r.1: (Interview) v.1, no. 4 – v.2, no. 6, 19 (1969 -Feb. 1972); (Andy
Warhol’s (Interview) v.2, no. 21 – v.3, no. 9′ 2007 is a video installation presenting a series of reconstructed interviews which were made with aspiring New York based actors at the New York Theater Workshop in May 2007. Neither documentary nor fiction, ‘*ZAN -T185…’ was shot by cult cinematographer Chris Doyle. The interviews Byrne reconstructs with these actors derive from microfilm records held in the New York Public Library of the Performing Arts at Lincoln Center and document interviews with peripheral ‘celebrities’ from early issues of Andy Warhol’s ‘Interview’ magazine from c.1974.

The exhibition includes a range of diverse photographic works of disparate and seemingly unrelated subject matter, all linked through a chain of captions that weave narrative connections across the works, mirroring the way newspapers use language to anchor photographic images. Byrne’s photographs are both unequivocally clear and strangely enigmatic at the same time. The related larger photographic work ‘One year four weeks and four days ago’ is a unique photographic document of a specific moment in the ever-changing display of a typical magazine newsstand. Referencing Walker Evan’s famous series of photographs of newsstands, the work counters the throwaway flux of photographic imagery with a unique photographic print, whose exact age is chronicled in an ever-changing title.

Also in the exhibition is Byrne’s newest work ‘1968/ Mica and Glass (temporally removed) or A counter-enthropic exercise in Epic Theatre’, demonstrated by workers from Statens Museum for Kunst. Presented here for the first time in its completed form on 16 mm color film, it is a motion-activated installation addressing the relationship between film, object and space – an attempt to reconfigure the spatial dynamics of Minimalism and Robert Smithson’s sculpture ‘Untitled (Mica and Glass)’ from 1968.

Gerard Byrne (b.1969) is a visual artist working with photographic, video, and live art. In 2007 he represented Ireland at the Venice Biennale. His work has been shown at international biennials including the Sydney Biennial (2008), the Lyon Biennale (2007), the 3rd Tate Triennial (2006), and the 8th Istanbul Biennial (2003) as well as in major museums in Europe and the US. Solo exhibitions of his work include the Dusseldorf Kunstverein (2007), the Charles H. Scott Gallery, Vancouver (2007), Frankfurter Kunstverein (2003), the Douglas Hyde Gallery, Dublin (2002). In 2006 he was a recipient of the Paul Hamlyn award. He lives and works in Dublin.

Nordenhake

Works from Raddum show @ Brandstrup::::
Brandstrup

SUZANNAH SINCLAIR
SOLO EXHIBITION: EYES FOR NO ONE

LOYAL is proud to present EYES FOR NO ONE, a new group of paintings by New York based artist SUZANNAH SINCLAIR.

There is a captivating emotion in these elegant watercolor on birch-panel paintings of female figures. The portraits reveal much more than the physical in a look or a gaze. Personal yet with an untouchable mystique, the figures are always alone and in intimate poses. Sad, proud, hopeful, exasperated, a range of human sentiment is transfered. The matter-of-fact nakedness of the subjects tends toward confrontational and examines whether we are more comfortable with the sexual than with the emotional. The consistency of Sinclair’s style of portraiture brings to mind the haunting and alluring portrait photography of Horst P. Horst, who said about his photograph “Odalisque”, New York 1943, “I don’t know how I did it. I couldn’t repeat it. It was created by emotion.”

Born in 1979 in Frankfurt, Germany, Suzannah Sinclair is based in New York. Sinclair completed two solo exhibitions this spring at Voges + Partner Galerie, Frankfurt and at Samson Projects, VOLTA NY. Previous solo shows include Samson Projects, Boston and New Image Art Gallery, Los Angeles. Sinclair was part of the 3 person show “I’ve Been Setting Fires All Day” at LOYAL in Spring 2007. This is her first solo show at LOYAL.

Galleri Loyal



Schroeder Romero is pleased to announce Future Darwinist a collaborative installation mimicking a Victorian salon by Andy Diaz Hope and Laurel Roth.

Future Darwinist is a multimedia installation dedicated to humanity’s desire to break free from the tethers of Darwin’s Laws. Modeled on a scholar’s salon from a past age that has been projected into the near future, Future Darwinist synthesizes the potential of modern science with the aesthetics and enthusiasm of the Age of Discovery. The nineteenth century was an era when the wealthy elite went on voyages of discovery without sacrificing the luxury of their plush, red velvet surroundings. It was also a time of unbridled enthusiasm for scientific thought and folly, when discovery and theory progressed by leaps and bounds as overeager collectors wiped out entire species in order to fill their collecting cabinets. This exuberance can still be found in today’s research climate, but the aesthetics of the Victorian era conjure a profound sense of adventure into the unknown that is more difficult to grasp with images of modern science.

No longer satisfied to work within the bounds of natural selection, the Future Darwinist strives to overcome the rigid restrictions of evolution. His collection cabinets display the best of his work. His walls are lined with the skulls of companion animals whose physiologies have been altered to please his aesthetic demands. He is surrounded by examples of his own interventions into natural selection, whether through examination of animals bred for food or with small suits designed for pigeons to disguise them as extinct birds, visually returning biodiversity lost through his own folly.

In his library, illuminated portraits of pharmacists and medical marijuana purveyors preside over landscapes of the post-Darwinian mental terrain, where one’s mental state is determined by psychopharmaceutical regimen instead of natural stimulus and genetics. In the living area, a colorful kinetic mobile of the Ritalin molecule soothes the Future Darwinist’s child. The room is decorated with a tribute to man’s cont rol over the reproductive cycle and fertility in the form of a crocheted quilt of embroidered panty-liners. Illuminating the room is a chandelier sparkling with syringes and garlands of crystal and pills, illustrating the danger and allure of this newfound ability of the Future Darwinist to effect and control ever-expanding areas of body and mind.

A centerpiece of the Future Darwinist study is a 6.5’ x 8.5’ woven Jacquard tapestry dedicated to the turning point of evolutionary forces from Darwinian Natural Selection to human centric evolution. The tapestry, titled “Allegory of the Monoceros,” is inspired by the 15th century Unicorn Tapestries and weaves a tale of medicine, discovery and evolution through the ages beginning with early medicinal botanicals and ending in the gene age. Utilizing tra ditional textile design and botanical illustration and woven on a computer controlled jacquard loom in Belgium, the technology used to create the tapestry spans the age of computers from 19th century punch card to current CNC machinery. In the tapestry, a Cerberus made up of the first cloned dog fused with his genetic and birth parents sits guard at the base of an apple tree whose branch structure is based on Darwin’s first sketch of his theory of Natural Selection titled “Tree of Life”. The tapestry is a tribute to the new forms of life being created and the species that lose their place in the new order.

Our research in pharmacology led to a greater interest in science and society as a whole, in particular an aesthetic and thematic fascination with natural history exploration. Rather than merely romanticize cabinets of curiosity and collections of natural history, we consider this fascination a lens through which to explore our contemporary age. From the Age of Reason through the Age of Discovery to Darwin’s pivotal book On the Origin of Species, natural philosophers and citizen scientists created the framework on which our modern society operates. Early development of the scientific method, taxonomy, biology, chemistry, and genetics led to the Industrial Revolution, the downfall of monarchies, and the birth of modern society. Three centuries of exploring, cataloguing and experimenting have led to a wealth of knowledge and immense power over the fundamental processes of life on Earth, from gene-modification to controlling the reproductive cycle to cloning. We have moved from a world of natural selection to one of man-directed selection, from On the Origin of Species to On the Creation of Species. The modern era, sometimes called the Gene Age or the Third Industrial Revolution, has fields of study and exploration that open before us much like the new world and natural philosophy did for Victorian scientists, with a new awareness of man’s own hand in the creation and alteration of our current and future world. Evolution did not end with Darwin’s popularizing of his theory; the impact of man on his environment is now more than ever pervasive and all encompassing. Never before has man had greater power and responsibility over life on earth.

Schroeder Romero

Group show:::

Avanthay Contemporary