Press Release

Total Page:16

File Type:pdf, Size:1020Kb

Press Release Press Release Chris Ofili 25 June – 3 August 2002 The Victoria Miro Gallery presents new paintings by Chris Ofili in his first solo show since the Serpentine Gallery and winning the Turner Prize in 1998. The exhibition will comprise of two separate bodies of work created over the past three years. The upper floor of the Victoria Miro Gallery will house a series of thirteen paintings, each one a meditation on a single colour and single motif. The paintings will be exhibited in a specially constructed space within the gallery that has been conceived by the artist and designed in collaboration with the architect David Adjaye. In the lower galleries Chris Ofili will exhibit part of an ongoing body of work which revolves around the three colours of red, black and green, including Triple Beam Dreamer (2001 – 2002) and Afromantics (2000 – 2002). Chris Ofili recently exhibited in Cavepainting with Laura Owens and Peter Doig at the Santa Monica Museum, Los Angeles (8 February - 31 March 2002). His work is included in the touring exhibition One Planet under a groove: Hip Hop and Contemporary Art, Bronx Museum of the Arts, New York (25 October - 3 March 2002), touring to Walker Arts Center, Minneapolis (July – October 2002) and Spelman College Museum of Fine Art, Atlanta (Spring 2003). Chris Ofili was born in Manchester in 1968. He studied at Thameside College of Technology, Chelsea School of Art and the Royal College of Art. The artist lives and works in London. For further press information please contact Kathy Stephenson, 020 7 549 0422, [email protected] .
Recommended publications
  • TURNER PRIZE: Most Prestigious— Yet Also Controversial
    TURNER PRIZE: Most prestigious— yet also controversial Since its inception, the Turner Prize has been synonymous with new British art – and with lively debate. For while the prize has helped to build the careers of a great many young British artists, it has also generated controversy. Yet it has survived endless media attacks, changes of terms and sponsor, and even a year of suspension, to arrive at its current status as one of the most significant contemporary art awards in the world. How has this controversial event shaped the development of British art? What has been its role in transforming the new art being made in Britain into an essential part of the country’s cultural landscape? The Beginning The Turner Prize was set up in 1984 by the Patrons of New Art (PNA), a group of Tate Gallery benefactors committed to raising the profile of contemporary art. 1 The prize was to be awarded each year to “the person who, in the opinion of the jury, has made the greatest contribution to art in Britain in the previous twelve months”. Shortlisted artists would present a selection of their works in an exhibition at the Tate Gallery. The brainchild of Tate Gallery director Alan Bowness, the prize was conceived with the explicit aim of stimulating public interest in contemporary art, and promoting contemporary British artists through broadening the audience base. At that time, few people were interested in contemporary art. It rarely featured in non-specialist publications, let alone in the everyday conversations of ordinary members of the public. The Turner Prize was named after the famous British painter J.
    [Show full text]
  • 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,
    [Show full text]
  • Turner Prize Winner Lubaina Himid to Exhibit Unique Instructional Version of Vernet’S Studio in South Africa
    NOT A SINGLE STORY –Turner Prize winner Lubaina Himid to exhibit unique instructional version of Vernet’s Studio in South Africa. Hosted from 12 May – 29 July at the NIROX Sculpture Park in the Cradle of Humankind, NOT A SINGLE STORY is a collaboration between the NIROX Foundation, South Africa and Wanås Konst, The Wanås Foundation, Sweden. NOT A SINGLE STORY is the NIROX Winter sculpture exhibition 2018. The exhibition and its educational program are made possible with the support of The Swedish Postcode Foundation, The Swedish Institute and the Swedish Embassy. NIROX Foundation: Facebook | Twitter| Instagram Wanås Konst, The Wanås Foundation: Facebook | Instagram On Saturday 12 May, the NIROX Sculpture Park opens the exhibition NOT A SINGLE STORY. The title references “The Danger of a Single Story,” a TED Talk presented by acclaimed novelist and feminist writer, Chimamanda Ngozi Adichie, which posits that our differences strengthen rather than divides us. Curated by Elisabeth Millqvist and Mattias Givell, co-directors of the Wanås Foundation, the exhibition is a celebration of diversity and includes works made of wishes, space blankets and large scale sound pieces by established and emerging artists from the continent and abroad. Notable is the participation of 2017 Turner Prize winner Lubaina Himid (ZNZ/UK) who will exhibit eight figures from the 26-piece installation Vernet’s Studio uniquely produced under instruction by studio artists at NIROX. This installation comprises of female artists from art history featuring the likes of Frida Kahlo, Rosemary Trocke, Maud Sulter and Georgia O’Keefe. This work is exemplary of Himid’s practise, which is embedded in foregrounding stories and narratives.
    [Show full text]
  • Grayson Perry
    GRAYSON PERRY Born in Chelmsford in 1960 Lives and works in London SOLO EXHIBITIONS 2017 The Most Popular Art Exhibition Ever!, Serpentine Galleries, London; travelling to Arnolfini, Bristol (2017) 2016 Hold Your Beliefs Lightly, Bonnefantenmuseum, Maastricht, The Netherlands; travelling to ARoS Aarhus Art Museum, Aarhus, Denmark My Pretty Little Art Career, Museum of Contemporary Art, Sydney 2015 Provincial Punk, Turner Contemporary, Margate Small Differences, Pera Museum, Istanbul, Turkey 2014 Who are You?, National Portrait Gallery, London Walthamstow Tapestry, Winchester Discovery Centre 2013 - 2017 The Vanity of Small Differences (UK Art Fund/British Council National and International Tour): Sunderland Museum & Winter Gardens, Tyne and Wear; Manchester Art Gallery, Manchester; Birmingham Museum and Art Gallery, Birmingham; Walker Art Gallery, Liverpool; Leeds City Art Gallery, Leeds; Victoria Art Gallery, Bath; The Herbert Museum and Art Gallery, Coventry; Croome Park, Worcester; Beaney House of Art and Knowledge, Canterbury; Izolyatsia Platform for Cultural Initiatives, Kyiv, Ukraine; Museum of Contemporary Art Vojvodina, Novi Sad, Serbia; National Gallery, Pristina, Kosovo; Art Gallery of Bosnia and Herzegovina, Sarajevo, Bosnia 2012 The Vanity of Small Differences, Victoria Miro Gallery, London The Walthamstow Tapestry, William Morris Gallery, Walthamstow 2011 Grayson Perry: The Tomb of the Unknown Craftsman, The British Museum, London Grayson Perry, Louis Vuitton Maison, London Grayson Perry: Visual Dialogues, Manchester Art
    [Show full text]
  • Press Release
    Press Release Abigail Lane Tomorrows World, Yesterdays Fever (Mental Guests Incorporated) Victoria Miro Gallery, 4 October – 10 November 2001 The exhibition is organized by the Milton Keynes Gallery in collaboration with Film and Video Umbrella The Victoria Miro Gallery presents a major solo exhibition of work by Abigail Lane. Tomorrows World, Yesterdays Fever (Mental Guests Incorporated) extends her preoccupation with the fantastical, the Gothic and the uncanny through a trio of arresting and theatrical installations which are based around film projections. Abigail Lane is well known for her large-scale inkpads, wallpaper made with body prints, wax casts of body fragments and ambiguous installations. In these earlier works Lane emphasized the physical marking of the body, often referred to as traces or evidence. In this exhibition Lane turns inward giving form to the illusive and intangible world of the psyche. Coupled with her long-standing fascination with turn-of-the-century phenomena such as séances, freak shows, circus and magic acts, Lane creates a “funhouse-mirror reflection” of the life of the mind. The Figment explores the existence of instinctual urges that lie deep within us. Bathed in a vivid red light, the impish boy-figment beckons us, “Hey, do you hear me…I’m inside you, I’m yours…..I’m here, always here in the dark, I am the dark, your dark… and I want to play….”. A mischievous but not sinister “devil on your shoulder” who taunts and tempts us to join him in his wicked game. The female protagonist of The Inclination is almost the boy-figment’s antithesis.
    [Show full text]
  • Stephen Willats
    PRESS RELEASE STEPHEN WILLATS THE WORLD AS IT IS AND THE WORLD AS IT COULD BE 7 May - 12 June 2010 From the 1960's until today, London-based conceptual artist Stephen Willats has concentrated on ideas that today are ever-present in contemporary art: communication, social engagement, active spectatorship, and self-organization. Stephen Willats has situated his pioneering practice at the intersection between art and other disciplines such as sociology, cybernetics, systems research, learning theory, communications theory and computer technology. Victoria Miro is delighted to present new and unseen works by Stephen Willats in THE WORLD AS IT IS AND THE WORLD AS IT COULD BE. This exhibition furthers Willats' interrogation of social interactions and the polemics of contemporary life in urban society. Through his ongoing preoccupation with developing a new graphic language that establishes continuity between film, photography, text and drawings, here Willats takes the idea of a journey through two parallel realities, the world as it is - the world we live in - and its transformation into the world as it could be. Via this strategy, Willats explores the idea of art as something that motivates people to change their perceptions of reality, to embrace the notion that the world in which they live could be quite different, that one can effect change. The exhibition features a large new installation Cybernetic Still Life (2010), comprised of a monumental wall drawing that incorporates film projections, as well as several photographic and text based works. Employing a diagrammatic framework to express fluidity and transience in relationships - concepts that define the locus of production and exchange of information - these new works explore the very human side of perceptions, our relationships to each other and our tendency to stereotype and make instant assumptions based on brief glimpses into the lives of others.
    [Show full text]
  • Conrad Shawcross
    CONRAD SHAWCROSS Born 1977 in London, UK Lives and works in London, UK Education 2001 MFA, Slade School of Art, University College, London, UK 1999 BA (Hons), Fine Art, Ruskin School of Art, Oxford, UK 1996 Foundation, Chelsea School of Art, London, UK Permanent Commissions 2022 Manifold 5:4, Crossrail Art Programme, Liverpool Street station, Elizabeth line, London, UK ​ ​ 2020 Schism Pavilion, Château la Coste, Le Puy-Sainte-Réparade, France ​ ​ ​ ​ ​ ​ ​ ​ Pioneering Places, Ramsgate Royal Harbour, Ramsgate, UK ​ ​ 2019 Bicameral, Chelsea Barracks, curated by Futurecity, London, UK ​ 2018 Exploded Paradigm, Comcast Technology Centre, Philadelphia, USA ​ 2017 Beijing Canopy, Guo Rui Square, Beijing, China ​ 2016 The Optic Cloak, The Energy Centre Greenwich Peninsula, curated by Futurecity, London, UK ​ Paradigm, Francis Crick Institute, curated by Artwise, London, UK ​ 2015 Three Perpetual Chords, Dulwich Park, curated and managed by the Contemporary Art Society for ​ Southwark Council, London, UK 2012 Canopy Study, 123 Victoria Street, London, UK ​ 2010 Fraction (9:8), Sadler Building, Oxford Science Park, curated and managed by Modus Operandi, Oxford, ​ UK 2009 Axiom (Tower), Ministry of Justice, London, UK ​ 2007 Space Trumpet, Unilever House, London, UK ​ Solo Exhibitions 2020 Conrad Shawcross, an extended reality (XR) exhibition on Vortic Collect, Victoria Miro, London, UK ​ ​ Escalations, Château la Coste, Le Puy-Sainte-Réparade, France ​ ​ ​ ​ ​ ​ ​ ​ Celebrating 800 years of Spirit and Endeavour, Salisbury Cathedral, Salisbury,
    [Show full text]
  • Global Corporate Collections, Aspen and Contemporary Art
    Aspen Insurance Holdings Ltd, London, United Kingdom “Our longstanding interest in art has evolved with our business and we are passionate about supporting artists whose creativity and innovation are an integral part of their work. With the emphasis of our collection on contemporary art, we are proudly now also helping an emerging generation of artists through our online art award at a time when support of the arts by business is vitally important.” Chris O'Kane, Group CEO of Aspen FIONA RAE I Feel Comfortable with my Heart Exhilarated, 2004 Oil and acrylic on canvas 231 x 190 cm 27 Aspen Insurance Holdings Ltd, London, United Kingdom In 2002, Aspen Insurance Holdings Ltd was founded in alongside that of younger, less experienced artists, HOPE GANGLOFF Bermuda. One year later, the fast-moving company, identified for their promise and critical recognition. Lininus, 2010 which operates within the global markets for property Paintings, sculptures and video works by the likes of Acrylic on canvas 152 x 266 cm and casualty insurance (Aspen Insurance), as well as in such established masters of contemporary art as the reinsurance (Aspen Re), already floated on the New American conceptual painter JOHN BALDESSARI, York Stock Exchange. As of 31 December 2013, the the French-American “Grand Dame” of contemporary Year of foundation / 2002 Curator / Fabienne Nicholas and Helen company had roughly 7.4 billion euros in total assets sculpture LOUISE BOURGEOIS, who died in 2010 at Nisbet at Contemporary Art Society and 945 employees in 31 wholly-owned subsidiaries the ripe old age of 98, and the post-Pop portrait Location / London Head office and in and offices across the globe.
    [Show full text]
  • Hernan Bas “Thirty-Six Unknown Poets (Or, Decorative Objects for the Homosexual Home)” Galerie Perrotin, Paris / 8September
    “Unknown poet # 5 (He thought Baudelaire overrated)”, 2012 “Unknown poet # 9 (The bible was his bible)”, 2012 “Unknown poet # 13 (He was obsessed with color)“, 2012 Acrylic, 24K gold leaf and graphite on gold dusted paper Acrylic, 24K gold leaf and graphite on gold dusted paper Acrylic, 24K gold leaf and graphite on gold dusted paper 33 x 28 cm / 13 x 11 inches 33 x 28 cm / 13 x 11 inches 33 x 28 cm / 13 x 11 inches Hernan Bas Hernan Bas “Thirty-six Unknown Poets « Thirty-six Unknown Poets (or, decorative objects for the homosexual home)” (or, decorative objects for the homosexual home) » Galerie Perrotin, Paris / 8 September - 27 October 2012 Galerie Perrotin, Paris / 8 septembre - 27 octobre 2012 Galerie Perrotin, Paris is organising a solo show entitled “Thirty-six Unknown La Galerie Perrotin, Paris organise une exposition personnelle de l’artiste de Poets (or, decorative objects for the homosexual home)” by the Detroit-based Détroit, Hernan Bas, « Thirty-six Unknown Poets (or, decorative objects for the artist, Hernan Bas, from 8th September to 27th October 2012. homosexual home) » du 8 septembre au 27 octobre 2012. His new works presented at the Gallery explore the relationship between Ses nouvelles œuvres présentées à la Galerie explorent la relation entre art et art and décor, celebrating 36 ‘poètes maudits’. For the first time he is using décor, célébrant 36 poètes maudits. Pour la première fois il emploie la feuille d’or gold and silver leaf in his drawings with ‘Klimtian’ accents and is also unveil- et d’argent dans ses dessins aux accents Klimtiens et dévoile aussi des paravents ing Japanese-like screens inspired by Nabis such as Bonnard and Vuillard.
    [Show full text]
  • Gagosian Gallery
    Artforum January, 2000 GAGOSIAN 1999 Carnegie International Carnegie Museum of Art Katy Siegel When you walk into the lobby of the Carnegie Museum, the program of this year’s International announces itself in microcosm. There in front of you is atmospheric video projection (Diana Thater), a deadpan disquisition on the nature of representation (Gregor Schneider’s replication of his home), a labor-intensive, intricate installation (Suchan Kinoshita), a bluntly phenomenological sculpture (Olafur Eliasson), and flat, icy painting (Alex Katz). Undoubtedly the best part of the show, the lobby is also an archi-tectural site of hesitation, a threshold. Here the installation encapsulates the exhi-bition’s sense of historical suspen-sion, another kind of hesitation. Ours is a time not of endings but of pause. My favorite work, viewed through the museum’s huge glass wall, was the Eliasson, a fountain of steam wafting vertically from an expanse of water on a platform through which trees also rise up. It’s a heart-throbbing romantic landscape. Romantic, but not naive: The work plays on the tradition of the courtyard fountain, and the steam is piped from the museum’s heating system. Combining the natural and the industrial in a way peculiarly appro-priate to Pittsburgh on a quiet Sunday morning in early autumn, it echoed two billows of steam (or, more queasily, smoke?) off in the distance. When blunt physical fact achieves this kind of lyricism, it is something to see. Upstairs in the galleries, Ernesto Neto’s Nude Plasmic, 1999, relies as well on the phenomenology of simple form, but the Brazilian artist avoids Eliasson’s picturesque imagery.
    [Show full text]
  • 'Trinidad Perspective'
    Major group exhibitions 1967 Torre Abbey, Torquay (Group Exhibition) 2005 “Homage to Bob Marley” National Gallery, 1971 Ikon Gallery, Birmingham, England Kingston, Jamaica ‘Trinidad perspective’ (Three-Man Exhibition) 2006 “The Caribbean in the Age of Modernity: An New Paintings by Rex Dixon 1975 Curwen Gallery, London, England Exhibition of Photo-based works by Caribbean (Group Exhibition) artists and photographers” - co-curated with Patricia Mohammed, National Library, 1977 “Midlands Art Now”, Ikon Gallery, Birmingham Port of Spain, Trinidad and Museum of England (Group Exhibition) Modern Art, Santo Domingo. 1977 “Mid Art 77”, Dudley Art Gallery 2006 “A Suitable Distance: Impressions of Trinidad by (Group Exhibition) five artists” - Rex Dixon, Peter Doig, Chris Ofili, 1981 “Mid-Art 81”, Dudley Art Gallery Kofi Kayiga and Roberta Stoddart: at Soft Box (Group Exhibition) Studios, Trinidad, Curated by Andy Jacobs 1981 “Ikon Gallery Touring Show” - Various Venues in 2002 - 2012 “The Jamaica National Biennial” National Midlands Gallery of Jamaica, Kingston, Jamaica 1982 “Sade 82”, Cork, Ireland, (Group Exhibition) 2008- 2013 Annual Summer Exhibition, Engine Room 1984 Arts Council Gallery, Belfast, N. Ireland Gallery, Belfast, Northern Ireland. (Four-Man Exhibition) 1990 Bay Gallery, Montego Bay, Jamaica (Three Man Exhibition) 1991 Galerie Malraux, Los Angeles, U.S.A. (Group Exhibition) 1992 Marpad Art Gallery, Miami, U.S.A. (Group Exhibition) 1994 “Home & Away - Seven Jamaican Artists” October Gallery, London, England 1994 Second Biennial of Caribbean & Central American Painting, Museum of Modern Art, Santo Domingo, Dominican Republic 1997 Third Biennial of Caribbean & Central American Painting, Museum of Modern Art, Santo Domingo, Dominican Republic 1997 “Black as Colour” National Gallery of Jamaica, “Tomb” Acrylic on paper, 2014 12 x 9 ins Kingston, Jamaica th th 1985 - 2001 “Annual National Art Exhibition” Thursday June 26 to July 17 , 2014 National Gallery of Jamaica James Wray & Co 2003 Grove Gallery, Down Patrick, Northern Ireland 14 – 16 James St.
    [Show full text]
  • Gagosian Gallery
    Hyperallergic February 13, 2019 GAGOSIAN Portraits that Feel Like Chance Encounters and Hazy Recollections Nathaniel Quinn’s first museum solo show features work which suggests that reality might best be recognized by its disjunctions rather than by single-point perspective. Debra Brehmer Nathaniel Mary Quinn, “Bring Yo’ Big Teeth Ass Here!” (2017) (all images courtesy the artist and Rhona Hoffman gallery) Nathaniel Mary Quinn is one of the best portrait painters working today and the competition is steep. Think of Amy Sherald, Elizabeth Peyton, Kehinde Wiley, Nicole Eisenman, Allison Schulnik, Mickalene Thomas, Jeff Sonhouse, Toyin Ojih Odutola, Chris Ofili, Njideka Akunyili Crosby and Lynette Yiadom- Boakye to name a few. It could be argued that these artists are not exclusively portrait artists but artists who work with the figure. The line blurs. If identity, memory, and personality enter the pictorial conversation, however, then the work tips toward portraiture — meaning it addresses notions of likeness in relation to a real or metaphorical being. No longer bound by functionality or finesse, contemporary artists are revisiting and revitalizing the portrait as a signifier of presence via a reservoir of constructed, culturally influenced identities. The outsize number of black artists now working in the portrait genre awakens the art world with vital new means of representation. It makes sense that artists who have been kept on the margins of the mainstream art world for centuries might emerge with the idea of visibility front and center. Without a definitive canonical art history of Black self-representation, there are fewer conventions for the work to adhere to.
    [Show full text]