October 2014

7 October 2014



Yuri Pattison, Free Traveller, Cell Project Space


18 September – 2 November 2014

258 Cambridge Heath Road, London E2 9DA

Cell Project Space presents a new body of work by Berlin & London based artist Yuri Pattison for his solo exhibition in the gallery. Alongside video work and sculpture, Pattison will produce a new online work, which will form the basis of the commission and will run throughout the duration of the exhibition then disappear. This new work builds on Pattison’s evolving interest in the Internet as a physical place in relation to usage and the human need to contextualise virtual space, and the metaphors used to do this.

Pattison’s Free Traveller is inspired by various narrative fictions that exist in time from the 1940’s island narrative, The Invention of Morel, by Adolfo Bioy Cesares, reading this from a modern perspective to Visit Port Watson!, the anonymously published travelogue credited by Semiotext (e)’s SF as originating from the (possibly fictitious) 1985 Ohio zine called Libertarian Horizons: A Journal for the Free Traveller and later gaining a cult following in HTML form amongst early adopters of the world wide web. Visit Port Watson! is about a freedom lover’s island, Sonsorol, with a history of piracy, and now through the reforms of a new leader it operates as a free port, tax free zone and offshore bank with the income of the islanders guaranteed by profits from these enterprises. Specific to the exhibition Pattison focuses on the Island metaphor in relation to the development of the Internet with it’s promise of an alternative cultural & economic system, interpreting the island in Morel as virtual space and Port Watson as a model of the unregulated Internet.

Click HERE for more information

Yuri Pattison, Free Traveller, 2014,  modified IKEA VITTSJÖ Shelving units, mixed media, dimensions variable

Yuri Pattison, Free Traveller, 2014. Modified IKEA VITTSJÖ Shelving units, mixed media, dimensions variable. © Mariell Amelie 


William Hunt, Playing the Goat, PEER


24 September – 6 December 2014

97 & 99 Hoxton Street London N1 6QL

William Hunt‘s practice is primarily performance-based. In recent years he has presented a number of elaborate scenarios for galleries in which he performs music in physically restrictive conditions; often the residue of these actions might be left as a sculptural installation. He additionally stages work outside the gallery context, which is performed to be documented and later exhibited as video installations and photographs. At a basic level Hunt investigates the communication of human emotion and its relationship to the creative act. Although in extreme contrast to John Baldessari’s 1971 work I Am Making Art – where the artist makes precise and studied gestures while intoning these words with deadpan repetition – Hunt’s performances through very different means and process deliver the same message.

Through his work, Hunt deliberately creates a tension with the viewer. Presenting himself both as heroic protagonist and foolish prankster, Hunt’s performances can engender an empathetic awkwardness among his audience. Through these actions, which are at times almost unbearable to witness, Hunt sets out to test universal truths about what it is to feel joy, pain, love, anger, frustration, isolation, fear, excitement – yet he knows that these emotional states are not absolutes, their definitions can fuse and confuse, especially when realised through the languages of making art. Hunt’s actions are finely balanced on the edge of success and failure, between the absurd and the rational; or, as he has described it, ‘practicing being something else just in case you’re not what you think you are.’

Click HERE for more information

William Hunt, Still yourself and calm your boots , 2014, video still

William Hunt, Still yourself and calm your boots , 2014. Video still. Courtesy the artist and PEER.


Lizzie Fitch/Ryan Trecartin, Zabludowicz Collection


2 October – 21 December 2014

176 Prince of Wales Road, London NW5 3PT

Zabludowicz Collection is pleased to announce the first UK solo exhibition by Lizzie Fitch/Ryan Trecartin, two artists whose collaborative practice is one of the most significant in contemporary art today. The exhibition is an ambitious and completely new reconfiguration of the installation Priority Innfield. Commissioned for The Encyclopedic Palace at the 55th Venice Biennale, and supported by the Collection, Priority Innfield was for many the highlight of the Biennale. The Zabludowicz Collection exhibition marks the start of twelve months of special activity celebrating 20 years of the Collection.

For the Zabludowicz Collection, Fitch and Trecartin will push their remarkable exploration of the impact of technology on communication, language and the construction of identity to new extremes. The whole gallery will be turned into a unified space through the application of an internal skin of paint and carpet. Visitors will enter a sealed environment, suggestive of shifted states of experience and perception.

Based upon the artist’s own finely-honed scripts and realised in meticulously created visual worlds, the video works of Ryan Trecartin are also fluid and open – a composite of contributions from a whole cast of collaborators. Fitch and Trecartin work together to create the sculptural installations in which the movies are presented, and the forms of sculpture that exist inside the movies themselves such as the sets and wardrobe. The sculptural installations invoke the mise-en-scène of everyday life, allowing the work to intertwine with memory and lived experience. Viewers are invited to enter this intensely disorientating yet disturbingly familiar space, with Fitch and Trecartin seeing the audience’s physical engagement as a crucial extension of the life of the work.

Click HERE for more information

Ryan Trecartin, Still from CENTER JENNY, 2013.

Ryan Trecartin, Still from CENTER JENNY, 2013. Courtesy the artist and Zabludowicz Collection.


Constructing Worlds: Photography and Architecture in the Modern Age, Barbican Centre


25 September 2014 – 11 January 2015

Silk Street, London EC2Y 8DS

Constructing Worlds brings together eighteen exceptional photographers from the 1930s to the present day who have changed the way we view architecture and perceive the world around us.

From the first skyscrapers in New York and decaying colonial structures in the Congo, to the glamorous suburban homes of post-war California, and the modern towers of Venezuela, we invite you on a global journey through 20th and 21st century architecture.

Featuring over 250 works, this exhibition highlights the power of photography to reveal hidden truths in our society.

Click HERE for more information

Bernd & Hilla Becher, Constructing Worlds, Photography and Architecture in the Modern Age, Installation images, Barbican Art Gallery, 25 Sept 2014 – 11 Jan 2015, © Chris Jackson / Getty Images

Bernd & Hilla Becher, Constructing Worlds, Photography and Architecture in the Modern Age, Installation images, Barbican Art Gallery, 25 Sept 2014 – 11 Jan 2015, © Chris Jackson / Getty Images


Frieze Projects 2014, Frieze London


15–18 October 2014

Frieze London is located in the south of The Regent’s Park with the entrance off Park Square West. The postcode is NW1 4NR.

Frieze Projects is a programme of artists’ commissions realised annually at Frieze London. Frieze Projects is a not-for-profit initiative. If you are visiting the Fair this October be sure not to miss this programme of exciting commissions.

Sophia Al Maria. Al Maria (b.1983, USA) will carve out subliminal routes across the fair, pointing to potential conspiracies.

Jérôme Bel. In partnership with Dance Umbrella, Frieze Projects will bring Jérôme Bel’s (b.1964, France) acclaimed Disabled Theatre to London for the first time.

Jonathan Berger. Jonathan Berger (b.1980, USA) will reassemble fragments from Andy Kaufman’s personal life and career, and restage a forgotten piece of music from Kaufman’s 1979 variety show at Carnegie Hall.

Isabel Lewis. Isabel Lewis (b. 1981, Dominican Republic) will host a series of ‘occasions’ throughout London, including one at the Old Selfridges Hotel, that play with the accepted behaviours between host and guest.

Tobias Madison. Tobias Madison (b.1985, Switzerland) will construct an experiential environment in which visitors’ movements will be translated into light.

Nick Mauss. At the fair, Nick Mauss (b.1980, USA) will create a ‘living stage’ on which a new ballet will be performed each day.

Cerith Wyn Evans. Offsite from the fair, Cerith Wyn Evans (b.1958, UK) will locate a new work and performance in the heart of ZSL London Zoo.

Isabel Lewis photographed by Joanna Seitz, 2014

Isabel Lewis photographed by Joanna Seitz, 2014. Courtesy Frieze London



Phyllida Barlow: GIG, Hauser & Wirth Somerset, Somerset


15 July – 2 November 2014

Durslade Farm, Dropping Lane, Bruton, Somerset BA10 0NL

Hauser & Wirth is proud to present Phyllida Barlow’s GIG, the inaugural exhibition at Hauser & Wirth Somerset. Following Barlow’s critically acclaimed Duveen Galleries Commission ‘dock’ at Tate Britain, GIG comprises an entirely new body of work created in response to the architecture and surrounding landscape of Hauser & Wirth Somerset. Occupying the 18th-century Threshing Barn, adjoining farm buildings, outdoor spaces and one of the new galleries, Barlow’s dense and exuberant sequence of installations celebrates the rejuvenation of Durslade Farm that lay derelict and unoccupied prior to its recent conversion into an arts centre.

Since the late 1960s, British artist Phyllida Barlow has focused on the physical experience of handling materials, which she transforms through layering, accumulation and juxtaposition. Barlow’s direct and practical processes of making utilise readily available materials such as cardboard, cement and plaster, polystyrene, timber and paint. Barlow’s sculptural practice is grounded in an anti-monumental tradition and is concerned with the relationship between objects and the space that surrounds them.

Click HERE for more information

Phyllida Barlow, Installation view, Phyllida Barlow. GIG, Hauser & Wirth Somerset, 2014 © Phyllida Barlow. Courtesy the artist and Hauser & Wirth. Photo: Alex Delfanne

Phyllida Barlow, Installation view of GIG, Hauser & Wirth Somerset, 2014 © Phyllida Barlow. Courtesy the artist and Hauser & Wirth. Photo: Alex Delfanne


Toby Ziegler: Expanded Narcissistic Envelope, The Hepworth Wakefield, Yorkshire


13 September – 16 November 2014

Gallery Walk, Wakefield WF1 5AW

Expanded Narcissistic Envelope is a new installation by Toby Ziegler made in response to The Hepworth Wakefield’s new space The Calder.

The exhibition comprises a group of aluminium sculptures and a series of digital prints covering the walls and areas of the gallery floor. The installation is anchored by a painted floor grid that recalls the geometric visualisation of three-dimensional space in computer programming. Each of the sculptures is derived from an original source image taken from the internet, often of a body or body part, which Ziegler reconfigures and resizes into a new sculptural object.

This immersive installation continues Ziegler’s interest in processes of translation: from image to sculpture, figuration to abstraction, from the virtual to the physical.

Ziegler’s new sculptures are made from thin aluminium sheets that create reflective, faceted surfaces, which echo the sculptures’ digital origins. Several of the works have been conceived as pairs where one acts as a distorted mirror of the other, giving physical form the conceptual processes of transformation that run through Ziegler’s practice.

The wall and floor-based printed surfaces, which carry images enlarged to the point of distortion, further highlight Ziegler’s interest how our perception of the world is increasingly mediated by technology.

Click HERE for more information














Image: Installation view, ‘Toby Ziegler / Charles Sargeant Jagger: No Man’s Land’, 2014. Photo:Asadour Guzelian / Guzelian.  Image courtesy the artist, The Hepworth Wakefield and Simon Lee Gallery. 


Karen Guthrie & Nina Pope, Past, Present, Somewhere, Kettle’s Yard, Cambridge


13 September – 23 November 2014

Castle Street, Cambridge CB3 0AQ

A rare opportunity to enjoy the collected films and projects by artist duo Karen Guthrie & Nina Pope, in this their first gallery exhibition since they won the Northern Art Prize in 2008.

Working collaboratively under the name Somewhere since the mid 90s, their participatory projects range from interactive online worlds to – in summer 2014 – a vast community-built ‘model village’ made from cob (an ancient earth building technique), a commission for the University of Cambridge’s North West Cambridge Development. Visitors to the exhibition will encounter a diversity of work from the analogue to the digital – from a cob-based installation to earlier examples of the artists’ ground-breaking digital and video works.

This exhibition follows the artists from their early video installations and websites to later large-scale sculptural work and feature-length films, screened daily in a gallery cinema.

Click HERE for more information

Karen Guthrie & Nina Pope, Jaywick Escapes, 2010, production still

Karen Guthrie & Nina Pope, Jaywick Escapes2010. Production still. Courtesy the artists and Kettle’s Yard


Emotional Resources, Northern Gallery For Contemporary Art, Sunderland


19 September 2014 – 10 January 2015

City Library and Arts Centre, Fawcett Street, Sunderland SR1 1RE

Victor Alimpiev, Amalia Ulman,  Johann Arens,  Renate Bertlmann,  Ian Breakwell, Harry Burke, Moyra Davey, Július Koller, Daniel Lichtman, Harry Meadley, Erica Scourti, Matthew Smith, Pilvi Takala, Marie Toseland,  Phoebe Unwin, Donald Urquhart

To intimate is to communicate with the sparest of signs and gestures, and at its root intimacy has the quality of eloquence and brevity”  – Lauren Berlant

What does it mean to convert private experience into public speech? Emotional Resources is a group exhibition that brings together art works from an international group of artists from the Seventies to the present day, exploring forms of intimacy and the everyday. The artists employ a range of approaches and media, including painting, video, photography and performance.

The artworks shift between embodied forms of conversation such as speech and gesture towards more textual forms of communication, registering a curiosity in the overlooked details of daily life. Intimacy, to paraphrase Lauren Berlant, has the ability to repel the rhetoric and logic of law and politics within the public sphere and engender more intuited relationships. We can see the love letter in the workplace as a radical act; vulnerability and awkwardness can be a quest for something more authentic.  At a moment when the division between private and public is increasingly dissolved, how do we value emotionalism?

Click HERE for more information

Phoebe Unwin, '(Framed) Sketchbooks' (2013-2014)












Image: Phoebe Unwin, (Framed) Sketchbooks, 2013-2014


Jeremy Deller: English Magic, Turner Contemporary, Margate


11 October 2014 – 11 January 2015

Rendezvous, Margate, Kent  CT9 1HG

William Morris returns from the dead, a hen harrier seeks revenge on a Range Rover, and Jersey’s capital St Helier burns as Turner Prize winning artist Jeremy Deller conjures his English Magic in Margate.

Deller uses English Magic to explore mysterious acts and ‘magical’ transformations in British society – its people, myths and folklore as well as its broad cultural, socio-political and economic history.

The mythical power of popular music, the transformative promise of socialist movements and the trickery and concealment of politicians, oligarchs and big businesses all come under the spotlight as Deller assembles large-scale murals, drawings, photographs, film and historical materials to question what Englishness really means today.

From Neolithic hand axes, through William Morris, John Ruskin and the socialist movement, to David Bowie’s 1972 Ziggy Stardust UK tour, 21st Century capitalism and the invasion of Iraq, the exhibition weaves a mythical narrative through moments and events from Britain’s shared cultural memory, moving back and forth between the past, present and an imagined future.

This is your chance to see the final showcase of English Magic, commissioned by the British Council for the British Pavilion at the 2013 Venice Biennale.

Click HERE for more information

Jeremy Deller, A Good Day for Cyclists, painted by Sarah Tynan, Courtesy of British Council

Jeremy Deller, A Good Day for Cyclists, 2013. Painted by Sarah Tynan. Courtesy of British Council


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