Marian Goodman Gallery Cerith Wyn Evans
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Stage by Stage South Bank: 1988 – 1996
Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’. -
Anya Gallaccio
ANYA GALLACCIO Born Paisley, Scotland 1963 Lives London, United Kingdom EDUCATION 1985 Kingston Polytechnic, London, United Kingdom 1988 Goldsmiths' College, University of London, London, United Kingdom SOLO EXHIBITIONS 2019 NOW, The Scottish National Gallery of Modern Art, Edinburgh, Scotland Stroke, Blum and Poe, Los Angeles, CA 2018 dreamed about the flowers that hide from the light, Lindisfarne Castle, Northumberland, United Kingdom All the rest is silence, John Hansard Gallery, Southampton, United Kingdom 2017 Beautiful Minds, Thomas Dane Gallery, London, United Kingdom 2015 Silas Marder Gallery, Bridgehampton, NY Lehmann Maupin, New York, NY Museum of Contemporary Art San Diego, San Diego, CA 2014 Aldeburgh Music, Snape Maltings, Saxmundham, Suffolk, United Kingdom Blum and Poe, Los Angeles, CA 2013 ArtPace, San Antonio, TX 2011 Thomas Dane Gallery, London, United Kingdom Annet Gelink, Amsterdam, The Netherlands 2010 Unknown Exhibition, The Eastshire Museums in Scotland, Kilmarnock, United Kingdom Annet Gelink Gallery, Amsterdam, The Netherlands 2009 So Blue Coat, Liverpool, United Kingdom 2008 Camden Art Centre, London, United Kingdom 2007 Three Sheets to the wind, Thomas Dane Gallery, London, United Kingdom 2006 Galeria Leme, São Paulo, Brazil One art, Sculpture Center, New York, NY 2005 The Look of Things, Palazzo delle Papesse, Siena, Italy Blum and Poe, Los Angeles, CA Silver Seed, Mount Stuart Trust, Isle of Bute, Scotland 2004 Love is Only a Feeling, Lehmann Maupin, New York, NY 2003 Love is only a feeling, Turner Prize Exhibition, -
Gallery Guide Is Printed on Recycled Paper
THE PLACE IS HERE 22 JUN – 10 SEP 2017 MAIN & FIRST FLOOR GALLERIES ADMISSION FREE EXHIBITION GUIDE THE PLACE IS HERE LIST OF WORKS 22 JUN – 10 SEP 2017 MAIN GALLERY The starting-point for The Place is Here is the 1980s: For many of the artists, montage allowed for identities, 1. Chila Kumari Burman blends word and image, Sari Red addresses the threat a pivotal decade for British culture and politics. Spanning histories and narratives to be dismantled and reconfigured From The Riot Series, 1982 of violence and abuse Asian women faced in 1980s Britain. painting, sculpture, photography, film and archives, according to new terms. This is visible across a range of Lithograph and photo etching on Somerset paper Sari Red refers to the blood spilt in this and other racist the exhibition brings together works by 25 artists and works, through what art historian Kobena Mercer has 78 × 190 × 3.5cm attacks as well as the red of the sari, a symbol of intimacy collectives across two venues: the South London Gallery described as ‘formal and aesthetic strategies of hybridity’. between Asian women. Militant Women, 1982 and Middlesbrough Institute of Modern Art. The questions The Place is Here is itself conceived of as a kind of montage: Lithograph and photo etching on Somerset paper it raises about identity, representation and the purpose of different voices and bodies are assembled to present a 78 × 190 × 3.5cm 4. Gavin Jantjes culture remain vital today. portrait of a period that is not tightly defined, finalised or A South African Colouring Book, 1974–75 pinned down. -
Collection Grants 2016-17 Contents
Collection Grants 2016-17 Contents Collection Grants 2016-17 Guildhall Art Gallery Alexandra Park and Palace Museum of the Royal Philatelic Society of London Museum of Army Music Museum of Wimbledon Charles Dickens Museum Society of Antiquaries of London Estorick Collection of Modern Italian Art Bethlem Museum of the Mind Kingston Museum Valence House Museum Keats House Museum of the Order of St John Freud Museum Guildhall Art Gallery 2 The Garden Museum Freud Museum 2 World Rugby Museum Museum of Richmond Burgh House Dorich House Collection Grants 2016-17 For the second year running this small grants scheme, managed by Yvette Shepherd, with expert input from Libby Finney, Regional Conservation Officer, was oversubscribed, with a total of 37 applications; 16 for the first, June tranche and a further 21 for the October tranche. In all 21 grants of approximately £500.00 were awarded over the two tranches to 19 different museums, with an additional 2 projects supported through the Regional Conservation Team programme as a direct result of their Collection Grant applications. A total of £10,162.12 was awarded through the 2016-17 Collection Grant programme. All the projects were completed to schedule and 9 of the 19 museums provided additional funds towards the final project. What the grants were used for: Projects to enhance collection care/housekeeping through purchase of equipment or materials. 10 Conservation or conservation assessment of objects 2 Projects to improve collection management through purchase of materials, digitisation, training etc 4 Projects to improve emergency preparedness 1 Projects to enhance environmental monitoring 4 Notable successes this year included a project to scan a portrait of Catherine Dickens, held in the Charles Dickens Museum collection, to determine its provenance. -
About Lumiere
ABOUT LUMIERE Lumiere London is a major new light festival that, over four evenings, transforms many of the capital’s most iconic streets and buildings in the West End and King’s Cross. It brings together some of the world’s most exciting artists working with light. Expect large-scale video-mapped projections, interactive pieces and jaw-dropping installations. Produced by Artichoke and supported by the TRANSPORT ADVICE Mayor of London, Lumiere London is completely free to attend. Plan your visit using the map inside, The best way to experience Lumiere London is and get ready to see the capital in a new light. on foot. Use this map or download the London Official City Guide app (from the App Store or THURSDAY 14 - SUNDAY 17 Google Play) to find your way around. JANUARY 2016 Please leave your car at home, walk or use public 6.30PM - 10.30PM transport when possible. There will be road closures to facilitate the festival, which will cause significant Don’t miss… disruption to road traffic in Central London. The Heart and Soul of the City Free event, supported by Bloomberg During Lumiere London, expect Tube stations and bus Philanthropies routes nearby to be busier and operate differently Friday 15 January, 2pm – 4.30pm from normal, especially on the evenings of Thursday 14 and Friday 15 January. Lumiere London artists discuss and debate the life of the city and the public realm, and how they can For updated travel advice across Central London be transformed by communities and artists. during the festival, please visit tfl.gov.uk/lumiere Bloomberg London Headquarters For festival news and updates follow City Gate House, 39-45 Finsbury Square, #LumiereLDN on Twitter London, EC2A 1PQ Got a question? Find out more and get your ticket: Look out for the Team London volunteers who are on visitlondon.com/lumiere/symposium hand to help you during the Lumiere London festival. -
Michael Landy Born in London, 1963 Lives and Works in London, UK
Michael Landy Born in London, 1963 Lives and works in London, UK Goldsmith's College, London, UK, 1988 Solo Exhibitions 2017 Michael Landy: Breaking News-Athens, Diplarios School presented by NEON, Athens, Greece 2016 Out Of Order, Tinguely Museum, Basel, Switzerland (Cat.) 2015 Breaking News, Michael Landy Studio, London, UK Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK (Cat.) Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam, The Netherlands Three-piece, Galerie Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia (Cat.) H.2.N.Y, Alexander and Bonin, New York, USA (Cat.) 2004 Welcome To My World-built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK (Cat.) 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, Artangel Commission, London, UK (Cat.) 2000 Handjobs (with Gillian -
Freud's House
Freud’s House: The Double Mirror Dr Anneke Pettican | Brass Art Freud’s House: The Double Mirror Dr Anneke Pettican | Brass Art To explore the idea of the uncanny using strategies of visual and sonic repetition and simultaneous ‘doublings’, seeking Project a physical manifestation in the unsettling experience of the mirrored projection and its intimate binaural soundtrack Description as manifest in the final installation. Freud’s House: The Double Mirror (2015) is a video work with binaural soundtrack created at the Freud Museum, London that seeks to explore a fundamental instability akin to an expanded view of the uncanny. The work exists in two forms: a single screen work with binaural sound titled Freud’s House: The Double (2015); and a two screen, floating, suspended video installation with binaural sound transmitted to wireless headphones titled Freud’s House: The Double Mirror (2015). Project Duration: Research began in 2014. Brass Art began the project in 2015 and first installed the artefact at The International 3 from 17th September – 30th October 2015. Funder: Freud’s House: The Double Mirror has been widely exhibited and screened across Europe and Asia, and its themes have been further developed in journal articles, essays and conference symposia. Brass Art is the collaborative art practice of: Chara Lewis Manchester School of Art – MMU, Kristin Mojsiewicz Edinburgh College of Art – The University of Edinburgh, and Anneké Pettican School of Art, Design, Architecture – University of Huddersfield. Brass Art have collaborated since 1999 and exhibit nationally and internationally. Research Partners, consultants, collaborators: Freud Museum, London University of Salford - the Commission to Collect Programme Arts Council England - the Commission to Collect Programme Manchester Metropolitan University (MMU) Edinburgh College of Art (ECA) at University of Edinburgh (UoE) University of Huddersfield (UoH) Freud’s House: The Double Mirror (2015) Installation with binaural headphones, 4minutes 15s loop, International3 Gallery, Salford. -
Read the 2015/2016 Financial Statement
ANNUAL REPORT 2015-16 National Theatre Page 1 of 87 PUBLIC BENEFIT STATEMENT In developing the objectives for the year, and in planning activities, the Trustees have considered the Charity Commission’s guidance on public benefit and fee charging. The repertoire is planned so that across a full year it will cover the widest range of world class theatre that entertains, inspires and challenges the broadest possible audience. Particular regard is given to ticket-pricing, affordability, access and audience development, both through the Travelex season and more generally in the provision of lower price tickets for all performances. Geographical reach is achieved through touring and NT Live broadcasts to cinemas in the UK and overseas. The NT’s Learning programme seeks to introduce children and young people to theatre and offers participation opportunities both on-site and across the country. Through a programme of talks, exhibitions, publishing and digital content the NT inspires and challenges audiences of all ages. The Annual Report is available to download at www.nationaltheatre.org.uk/annualreport If you would like to receive it in large print, or you are visually impaired and would like a member of staff to talk through the publication with you, please contact the Board Secretary at the National Theatre. Registered Office & Principal Place of Business: The Royal National Theatre, Upper Ground, London. SE1 9PX +44 (0)20 7452 3333 Company registration number 749504. Registered charity number 224223. Registered in England. Page 2 of 87 CONTENTS Public Benefit Statement 2 Current Board Members 4 Structure, Governance and Management 5 Strategic Report 8 Trustees and Directors Report 36 Independent Auditors’ Report 45 Financial Statements 48 Notes to the Financial Statements 52 Reference and Administrative Details of the Charity, Trustees and Advisors 86 In this document The Royal National Theatre is referred to as “the NT”, “the National”, and “the National Theatre”. -
Bortolami Gallery Through June 15Th, 2019.” Art Observed, May 30Th, 2019, Illus
BORTOLAMI Virginia Overton (b. 1971 in Nashville, Tennessee) Lives and works in Brooklyn, New York Education 2005 University of Memphis, TN, MFA 2002 University of Memphis, TN, BFA Solo Exhibitions 2019 Água Viva, Bortolami, New York, NY Francesca Pia, Zürich, Switzerland (forthcoming) 2018 Built, Don River Valley Park, Toronto, Canada secret space, Biel, Switzerland Built, Socrates Sculpture Park, Queens, NY Virginia Overton, University of Memphis Fogelman Galleries, Memphis, TN 2017 Why?! Why Did You Take My Log?!?!, Museum of Contemporary Art, Tucson, AZ 2016 Winter Garden, Whitney Museum of American Art, New York, NY White Cube Bermondsey, London, England Sculpture Gardens, Whitney Museum of American Art, New York, NY The Aldrich Contemporary Art Museum, Ridgefield, CT 2015 White Cube, London, England 2014 Flat Rock, Museum of Contemporary Art North Miami, North Miami, FL 2013 Westfälischer Kunstverein, Munster, Germany Kunsthalle Bern, Bern, Switzerland Mitchell-Innes & Nash, New York, NY 2012 The Kitchen, New York, NY Deluxe, The Power Station, Dallas, TX 2011 Freymond-Guth, Zürich, Switzerland 2010 Untitled (Milano), N.O. Gallery, Milan, Italy Cheekwood Museum of Art, Nashville, TN True Grit, Dispatch, New York, NY 2008 Moving on South, curated by Dana Orland, White Box, New York, NY This Is Not A Ladder, Artlab at AMUM, Memphis, TN 39 WALKER STREET NEW YORK NY 10013 T 212 727 2050 BORTOLAMIGALLERY.COM BORTOLAMI 2007 Skytracker, Powerhouse, Memphis, TN Selected Group Exhibitions 2019 Downtown Painting, curated by Alex Katz, Peter -
Minutes Covent Garden Community Association
Minutes Covent Garden Community Association Planning Sub-Committee meeting held on Monday, 12 January 2015 at 17:00 at Covent Garden Community Centre (Shelton Room), 42 Earlham Street WC2H 9LA www.CoventGarden.org.uk TheCGCA @TheCGCA 1. Attendance 1.1 Apologies received: David Bieda, Shirley Gray, Richard Hills, Jo Weir, Rhu Weir 1.2 Present: Elizabeth Bax, Robert Bent, Selwyn Hardy, Gary Hayes, Meredith Whitten 2. Presentation: None scheduled 3. Planning Applications & Appeals Address & Application No. Proposal Comments CAMDEN APPLICATIONS 3.1 24 Cambridge Circus Installation of 11 condensors and a The CGCA objects to these proposals because of WC2H 8AA kitchen extract at roof level with the noise and disturbance impact on residential associated ducting. amenity. According to the noise report submitted 2014/6633/P by the applicant, as proposed, the cumulative McDonald’s/McDonald’s noise from the new condensers and extract Restaurant Ltd.; Planware equipment is predicted to be at worst equal to the Limited (agent) quietest existing background noise level at the closest receptor property, in violation of DP28. This location already has a history of noise-related complaints from local residents. Thus, at a minimum, the applicant should be required to meet the Council’s requirement that the cumulative plant noise shall not exceed 5dB below the quietest background level. Mitigation measures should be required by condition, but only after the proposed new equipment meets minimum requirements on its own merits. Granting permission for equipment already deemed to exceed noise thresholds would mean that local residents would be reliant on the applicant to consistently maintain the equipment and its mitigation measures. -
Types & Forms of Theatres
THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them. -
The Enigma of the Hour 100 Years of Psychoanalytic Thought
The Enigma of the Hour 100 Years of Psychoanalytic Thought An exhibition to mark the centenary of The International Journal of Psychoanalysis curated by Simon Moretti with Goshka Macuga and Dana Birksted-Breen Freud Museum London Exhibition Guide On the occasion of the centenary of a return to disintegration of the death drive Linder, Goshka Macuga, Simon The International Journal of Psychoanalysis, the of Thanatos. In dialogue with the curators, exhibition The Enigma of the Hour: 100 Years the group of researchers and psychoanalysts of Psychoanalytic Thought presents archival explored in collaboration various aspects of the Moretti, Daniel Silver, Paloma material around specific themes, which touch history of the International Journal, the fruit of on the origins and life of The International which is exhibited in the Display Case in the Journal, alongside contemporary artworks. Exhibition Room and elaborated on in the Varga Weisz with additional Originally conceived by the Journal’s editor- Compendium to it. in-chief Dana Birksted-Breen and curated works by Duncan Grant, by artists Simon Moretti and Goshka Macuga The exhibition includes new commissions with Dana Birksted-Breen, the exhibition by Simon Moretti and Goshka Macuga, brings together themes central to both psycho- made in response to the themes and archives Barbara Ker-Seymer & John analysis and art: translation, transformation, chosen, as well as especially selected works temporality, the unconscious, metaphor and by their invited artists, Linder, Daniel Silver dreams. The theme of Oedipus, which was so and Paloma Varga Weisz, and loans from the Banting, Rodrigo Moynihan critical to Freud’s theorizing, with Oedipus British Psychoanalytic Society, and the Tate and the Sphinx from a painting by Ingres Gallery, including works by Duncan Grant, chosen as logo of the Journal, also appears Barbara Ker-Seymer with John Banting and as a leitmotif in the exhibition.