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X-WR-CALDESC:Events for Arts House Magazine
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20241107T080000
DTEND;TZID=Europe/London:20250330T170000
DTSTAMP:20261023T052039
CREATED:20241101T132901Z
LAST-MODIFIED:20241101T132901Z
UID:101177-1730966400-1743354000@artshousemagazine.co.uk
SUMMARY:Picasso: printmaker
DESCRIPTION:The unhesitating way Picasso drew made him a natural at prints\, and this survey of his vast output should be dazzling.
URL:https://artshousemagazine.co.uk/event/picasso-printmaker/
LOCATION:British Musuem\, Great Russell Street London WC1B 3DG\, London\, United Kingdom
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20241106T080000
DTEND;TZID=Europe/London:20241108T170000
DTSTAMP:20261023T052039
CREATED:20230926T101140Z
LAST-MODIFIED:20230926T101140Z
UID:93309-1730880000-1731085200@artshousemagazine.co.uk
SUMMARY:Michelangelo\, Leonardo\, Raphael
DESCRIPTION:At the turn of the 16th century\, three titans of the Italian Renaissance – Michelangelo\, Leonardo and Raphael – briefly crossed paths\, competing for the attention of the most powerful patrons in Republican Florence. \n\n\n\n\nOn 25 January 1504\, Florence’s most prominent artists met to advise on an appropriate location for Michelangelo’s nearly finished David. Among them was Leonardo da Vinci\, who – like Michelangelo – had only recently returned to his native Florence. \nStarting with Michelangelo’s celebrated Taddei Tondo\, this exhibition explores the rivalry between Michelangelo and Leonardo and the influence both had on the young Raphael. \nSee some of the finest examples of Italian Renaissance drawing\, including Leonardo’s Burlington House Cartoon and the studies by Leonardo and Michelangelo for their murals commissioned by the Florentine government for the newly constructed council hall in the Palazzo Vecchio. \nExhibition organised by the Royal Academy of Arts\, London\, in partnership with Royal Collection Trust and the National Gallery\, London.
URL:https://artshousemagazine.co.uk/event/michelangelo-leonardo-raphael/
LOCATION:The Royal Academy of Arts\, Burlington House Piccadilly\, London W1J 0BD\, London\, United Kingdom
CATEGORIES:Art Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20241101T080000
DTEND;TZID=Europe/London:20250309T170000
DTSTAMP:20261023T052039
CREATED:20241101T133413Z
LAST-MODIFIED:20241101T133413Z
UID:101181-1730448000-1741539600@artshousemagazine.co.uk
SUMMARY:Drawing the Italian Renaissance
DESCRIPTION:Mind-boggling masterpieces by Leonardo da Vinci and Michelangelo\, plus wonderful works by the likes of Fra Angelico and Titian – but also some filler.
URL:https://artshousemagazine.co.uk/event/drawing-the-italian-renaissance/
LOCATION:King’s Gallery\, The King's Gallery\, Buckingham Palace\, London\, United Kingdom
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20241004T080000
DTEND;TZID=Europe/London:20241012T170000
DTSTAMP:20261023T052039
CREATED:20241001T201752Z
LAST-MODIFIED:20241001T201752Z
UID:100785-1728028800-1728752400@artshousemagazine.co.uk
SUMMARY:Sammy Baloji
DESCRIPTION:Goldsmiths CCA presents a solo exhibition by Sammy Baloji (b.1978\, Lubumbashi). Comprising two new commissions and important recent works\, all of which will be on display in the UK for the first time\, this major exhibition presents interconnected strands of Baloji’s artistic research on climate\, tropical architecture\, Belgian Art Nouveau\, and extraction from the Democratic Republic of Congo.
URL:https://artshousemagazine.co.uk/event/sammy-baloji/
LOCATION:Goldsmiths Centre for Contemporary Art\, St James’ London SE14 6AD\, London\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://artshousemagazine.co.uk/wp-content/uploads/2024/10/0_dfedyM7ZSIRrRmhp-3.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20241002T080000
DTEND;TZID=Europe/London:20241015T170000
DTSTAMP:20261023T052039
CREATED:20241001T201023Z
LAST-MODIFIED:20241001T201023Z
UID:100776-1727856000-1729011600@artshousemagazine.co.uk
SUMMARY:Emma McNally: The Earth is Knot Flat
DESCRIPTION:The Earth is Knot Flat will be Emma McNally’s first solo institutional exhibition in the UK and her most ambitious installation to date. \nThis exhibition uses drawing to think through the materially entangled\, interconnected nature of gender\, racial and environmental injustices. McNally makes her large drawings in a building constructed for rope making in London’s Woolwich Dockyards and she has a view onto the Tate and Lyle sugar refinery. Both sugar – known in the 18th Century as ‘white gold’ – and rope\, are products that represent global entanglements of domination and subjugation. Drawing on this history and the complexity of her Irish/Australian ancestry\, the exhibition will be the physical manifestation of the artist’s ongoing conversations with international thinkers such as theorist and poet Fred Moten and physicist Karen Barad. \nCascading from the ceiling in large ‘plates’ to the floor\, McNally’s installation will resemble geological and environmental movement\, suggesting rock falls\, avalanches and shifting tectonics. Torn fragments of drawing floating across the floor are reminiscent of sea ice\, glaciers\, dust and refuse\, whilst suspended woven knots made of wire and string accumulate in clusters overhead. An immersive film\, made in collaboration with Manon Schwich\, casts light and shadows on the various elements and generates an uncertain atmosphere\, a confusing mixture of presence and absence. Visitors to the exhibition are invited to make and share different ways of drawing\, using crochet and other creative activities to make their own knots and suspend them; over the duration of the exhibition a growing\, multi-authored installation will emerge in the adjacent gallery. Sharing traditions of making\, such as Irish Crochet Lace\, is a way of understanding history through material production and will form an important\, interactive element of the project.
URL:https://artshousemagazine.co.uk/event/emma-mcnally-the-earth-is-knot-flat/
LOCATION:Drawing Room\, Unit 1B New Tannery Way London SE1 5WS\, London\, United Kingdom
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20241001T080000
DTEND;TZID=Europe/London:20241017T170000
DTSTAMP:20261023T052039
CREATED:20241001T200442Z
LAST-MODIFIED:20241001T200615Z
UID:100772-1727769600-1729184400@artshousemagazine.co.uk
SUMMARY:Moe Satt: Rest the Thumbs on the Cheekbones
DESCRIPTION:Where musings on resistance and experiments on embodiment fuse into dance. \nRest the Thumbs on the Cheekbones\, the first European solo exhibition by artist Moe Satt from Myanmar\, brings a new commission alongside recent and early works in conversation to showcase the artist’s relentless\, dynamic exploration of embodiment\, identity\, and political resistance. The exhibition builds on Satt’s two-year residency at Rijksakademie from 2022-2024 as well as his 2020 residency at Delfina Foundation\, and extends into a collaboration with Tate on a new iteration of his performance f n’ f (face and fingers) (2008) in The Tanks. \nAt the forefront of a generation of artists from Myanmar that emerged in the 2000s\, Moe Satt is most known for his conceptual\, performance\, and video works that experiment with his own body as a field of symbolism and sense making. The exhibition title is excerpted from his artist book f n’ f (face and fingers) (2024)\, which details how to transition through his choreography of 108 combinations of face and fingers. It also highlights Satt’s recent interest in expanding the notion of embodiment beyond his own body through instructions\, participatory installations\, and group performances. \nMany of Moe Satt’s works draw from the social-political turbulences of Myanmar and wrestle with oppression and censorship. Satt says\, “my country has gone back and forth with military rule since 1962\, which is why we cannot avoid political issues in our work”. Storyline (voted/gun/revolution/thumbs down) (2024)\, for instance\, outlines four significant political chapters in the recent history of Myanmar through four hand gestures\, all symbols of collective sentiment and actions. Body Inside T-Shirt (2024) draws inspiration from a 2005 performance by the artist and comments on the current political situation in Myanmar — three distorted T-shirt plaster sculptures act as metaphors of the fact that many outside the country know something is happening inside\, but are uncertain about the actual developments on the ground.
URL:https://artshousemagazine.co.uk/event/moe-satt-rest-the-thumbs-on-the-cheekbones/
LOCATION:Delfina Foundation\, 29/31 Catherine Place London SW1E 6DY\, London\, United Kingdom
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20241001T080000
DTEND;TZID=Europe/London:20241001T170000
DTSTAMP:20261023T052039
CREATED:20241001T201442Z
LAST-MODIFIED:20241001T201442Z
UID:100781-1727769600-1727802000@artshousemagazine.co.uk
SUMMARY:Riar Rizaldi\, Mirage
DESCRIPTION:Overview\nIndonesian artist and filmmaker Riar Rizaldi explores the relationship between science\, fiction\, and technology. \nFollowing a residency at Gasworks at the beginning of the year\, Riar has developed new work based on a dialogue between contemporary particle physics and ideas about the nature of God in tropical Sufi mysticism\, a movement that thrived in the 15th-Century philosophical sphere of the Indo-Malay archipelago. \nHis Gasworks exhibition\, Mirage\, presents the first and second chapter of a ten-year project exploring how modern science and advanced technology effect the lives of humans and non-humans in Southeast Asia. \nThe newly commissioned film\, Mirage – Eigenstate (2024)\, weaves together analogous investigations into the nature of reality\, positioning Western science as just one methodology among many in a constellation of pluralistic worldviews. The film explores different interpretations of reality\, from Sufi mysticism and Monorealism to theories of quantum mechanics. \nEdited in the style of American astronomer and planetary scientist Carl Sagan’s 1980s television show\, Cosmos\, which sought to explain the origin of life and the fourth spatial dimension\, Mirage – Eigenstate references scientific mass communication\, where complex concepts are described in straightforward ways\, often through images. \nThe exhibition also includes the first film in the series\, Mirage – Metanoia (Prelude) (2023)\, which uses 1970s Hanna-Barbera style animation to stage a conversation between two cosmologists about the presence of God in atoms.
URL:https://artshousemagazine.co.uk/event/riar-rizaldi-mirage/
LOCATION:Gasworks\, 155 Vauxhall Street London SE11 5RH\, London\, United Kingdom
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240927T180000
DTEND;TZID=Europe/London:20241117T220000
DTSTAMP:20261023T052039
CREATED:20240922T161732Z
LAST-MODIFIED:20240922T161732Z
UID:100598-1727460000-1731880800@artshousemagazine.co.uk
SUMMARY:Alexi Marshall: A Return to Innocence
DESCRIPTION:San Mei Gallery is pleased to present A Return To Innocence by Hastings-based artist Alexi Marshall. This will be the seventh exhibition in San Mei Gallery’s public-facing window space\, home to a new commercial programming strand presenting micro-exhibitions with works available for sale by emerging contemporary artists.  \nAlexi Marshall creates mosaics made with glass tiles and excess wooden substrate sourced from local carpenters. Taking an intuitive approach which leans into the subconscious to explore what may arise\, Marshall’s mosaics are bold images acting like snapshots or motifs\, with words and symbols that come to the surface. \nA Return To Innocence offers a return to the playfulness of art-making; to the images and symbols that always remain in the psyche\, and to unquestioned intuition as a source of creativity\, allowing the images to weave a story themselves.
URL:https://artshousemagazine.co.uk/event/alexi-marshall-a-return-to-innocence/
LOCATION:San Mei Gallery\, 39A Loughborough Road London SW9 7TB\, London\, United Kingdom
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240925T180000
DTEND;TZID=Europe/London:20241025T203000
DTSTAMP:20261023T052039
CREATED:20240922T161347Z
LAST-MODIFIED:20240922T161347Z
UID:100594-1727287200-1729888200@artshousemagazine.co.uk
SUMMARY:SHOES AND STARS\, Eva Bosch paintings 1997 to now
DESCRIPTION:…..from exhibition essay by Ansel Krut \n…’Each of Bosch’s paintings starts\, and ends\, with stories that are both personal and universal. Her protagonists are the shapes\, the forms\, she uses. They look pre-existent\, as though drawn from a bank of universal human archetypes\, but actually\, they evolve through hours in the studio\, morphing on the canvas\, gaining and losing heads\, swapping genders\, growing limbs\, until they find themselves and their relationships one to the other. Evocative and suggestive\, operating through symbols and mood rather than through linear narrative each image unfolds for the artist as she paints\, finding its way through her memories and influences\, coalescing around her expressive urgency…..’ \n….and from Matthew Tree \n….’Eva Bosch’s work\, diverse though it is\, has at least one unifying factor which could\, perhaps\, best be first described in negative terms: there is nothing fanciful or capriciously superfluous about it. On the contrary\, in every painting\, through the use of shape\, colour and – on occasion -suddenly recognisable images\, it is crystal clear that everything (and every thing) that she has painted\, has been done so out of absolute necessity. At the risk of using an overused word\, her work is driven\, that is to say\, mandatory for the artist herself\, and therefore compulsive and compelling for the onlooker….’
URL:https://artshousemagazine.co.uk/event/shoes-and-stars-eva-bosch-paintings-1997-to-now/
LOCATION:Benjamin Rhodes Arts\, 62 Old Nichol St London E2 7HP\, London\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://artshousemagazine.co.uk/wp-content/uploads/2024/09/0_dfedyM7ZSIRrRmhp-2.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240925T080000
DTEND;TZID=Europe/London:20241020T170000
DTSTAMP:20261023T052039
CREATED:20240922T160937Z
LAST-MODIFIED:20240922T160937Z
UID:100590-1727251200-1729443600@artshousemagazine.co.uk
SUMMARY:Maria Loizidou: The Place I Am Not
DESCRIPTION:An evocative exhibition of specially created new work by Cypriot artist Maria Loizidou titled “The Place I Am Not”\, invited by the Hellenic Centre\, taking place at both the Freud Museum and The Hellenic Centre in Central London. \nThis unique collaboration explores the themes of identity\, belonging\, and the immigrant experience through the lens of Sigmund Freud’s life in London—a city where he created a home away from home without ever truly feeling a sense of belonging. The exhibition reflects on these diasporic experiences\, central to the artistic practice of Loizidou\, who engages in an open dialogue with spaces\, objects\, and stories—elements that are transitory yet pivotal in shaping hybrid identities. \nAt both venues\, the artworks will delve into fragmented identities\, emotional traumas\, and diasporic realities\, offering insights into what it means to be an immigrant. “The Place I Am Not” questions the elusive concept of home\, the construction of safe spaces\, and the complex interplay between environment and identity. This exhibition promises to be a profound exploration of how people of the diaspora shape their sense of self and establish places of security and belonging in unfamiliar territories.
URL:https://artshousemagazine.co.uk/event/maria-loizidou-the-place-i-am-not/
LOCATION:Freud Museum London\, 20 Maresfield Gardens London NW3 5SX\, London\, United Kingdom
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240922T080000
DTEND;TZID=Europe/London:20240922T170000
DTSTAMP:20261023T052039
CREATED:20240922T162010Z
LAST-MODIFIED:20240922T162010Z
UID:100603-1726992000-1727024400@artshousemagazine.co.uk
SUMMARY:Yuko Shiraishi: Through
DESCRIPTION:Annely Juda Fine Art is delighted to announce a new exhibition entitled Through from artist Yuko Shiraishi. Through presents a series of exquisite recent paintings and a major new architectural installation; ‘Bunk Bed Odyssey – Parallel Lullaby’. \nShiraishi is recognised for her abstract canvases with delicate layered brushwork and transparent washes revealing nuances of light and colour in bands or carefully placed dots and circles. New paintings in this exhibition reference Shiraishi’s long-standing fascination with dreams\, which spans the scientific and the poetic and goes beyond the dreams we remember. \n‘Bunk Bed Odyssey – Parallel Lullaby’ is a new installation work in Shiraishi’s ongoing ‘Imaginary Architectural Project’ series which includes previous works: ‘Space Elevator Tea House’\, ‘Confession Box’ ‘Ancient Egyptian Tomb’ and  ‘pass age’.  This new piece examines the space that exists between two people sleeping on a bunk bed; they might be family\, friends or strangers – and the location a house\, train\, ship\, prison\, hotel or school – physically occupying the same space but in their sleep\, dreams taking them to completely different places. Shiraishi has said previously that her installation works also tap directly into her interests in the theory of the universe\, architecture\, space\, humans and history and cites a multitude of influences spanning her Japanese cultural heritage\, Taoist philosophy and western influences including science fiction writers and film makers such as Arthur C Clarke The Fountains of Paradise theorist Konstantin Tsiolkovsky and Stanley Kubric’s 2001 A Space Odyssey.  With ‘Bunk Bed Odyssey – Parallel Lullaby’ Shiraishi says that the idea for this work came directly to her in a dream…
URL:https://artshousemagazine.co.uk/event/yuko-shiraishi-through/
LOCATION:Annely Juda Fine Art\, 4th Floor\, 23 Dering St London W1S 1AW\, London\, United Kingdom
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240912T080000
DTEND;TZID=Europe/London:20241012T170000
DTSTAMP:20261023T052039
CREATED:20240908T165500Z
LAST-MODIFIED:20240908T165500Z
UID:100360-1726128000-1728752400@artshousemagazine.co.uk
SUMMARY:Audit
DESCRIPTION:Audit\, the solo exhibition by Reinis Lismanis at the Gerald Moore Gallery\, continues the artist’s investigation of everyday processes\, labour\, and the materiality of image-making\, while contemplating notions of quality\, success\, and failure in both art and daily life. The show’s title draws on the etymology of the word\, which originates from the Latin “auditus\,” meaning “a hearing.” In contemporary usage\, an audit implies a systematic examination or review. For Lismanis\, this concept of “taking stock” became literal as he moved studios\, offering an opportunity to reevaluate the methods and materials present in his creative practice. Audit runs from 12th September to 12 October 2024. The private view is on Thursday 12th September 2024 from 6 – 8pm. \nLismanis broadens his repertoire of techniques\, combining inkjet ink\, spray paint\, printed imagery\, and repurposed advertising banners to create new works on canvas. This approach reflects his interest in giving new life to discarded or previously rejected materials and exploring the ephemeral nature of commercial image-making. A crucial aspect of this new body of work is the artist’s experimental approach to printing on canvas. Using an old inkjet printer\, Lismanis folds and forces larger canvases through the device\, embracing the unpredictability and serendipitous outcomes that arise from this process. This method embodies his fascination with the intersection of intentionality and chance in art-making\, while also serving as a metaphor for navigating constraints in both artistic and quotidian contexts.
URL:https://artshousemagazine.co.uk/event/audit/
LOCATION:Gerald Moore Gallery\, Mottingham Lane London SE9 4RW\, London\, United Kingdom
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240912T080000
DTEND;TZID=Europe/London:20240928T170000
DTSTAMP:20261023T052039
CREATED:20240908T170548Z
LAST-MODIFIED:20240908T170548Z
UID:100369-1726128000-1727542800@artshousemagazine.co.uk
SUMMARY:Monsoon Clouds and Golden Orioles: The essential beauty of Indian miniature painting
DESCRIPTION:The Gerald Moore Gallery is pleased to present Monsoon Clouds and Golden Orioles – The essential beauty of India miniature painting\, a solo exhibition by Jacqueline Synnott from 12th to 28th September 2024 in the Paul Henderson Gallery (1st floor). The private view will be on Thursday 12th September from 6 to 8pm. \nAs a creative artist\, Synnott is interested in the age-old ways of depicting people and the natural world\, as well as the traditional tools and techniques used for centuries in the creation of illuminated manuscripts and the elaborate patterned borders on an Arts and Crafts mural. \nHer Eurasian heritage has been a very valuable and significant influence on her art. Her mother\, who is also an artist\, was born and raised in Pakistan and she often shared her warm and colourful memories of the rich landscapes\, the humid monsoon season and details of certain birds\, flowers and trees with Synnott growing up. For the artist\, these visuals and stories from her mother’s memory carry a strong sense of nearness within her own paintings.
URL:https://artshousemagazine.co.uk/event/monsoon-clouds-and-golden-orioles-the-essential-beauty-of-indian-miniature-painting/
LOCATION:Gerald Moore Gallery\, Mottingham Lane London SE9 4RW\, London\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://artshousemagazine.co.uk/wp-content/uploads/2024/09/66140fc356751-4.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240911T080000
DTEND;TZID=Europe/London:20241109T170000
DTSTAMP:20261023T052039
CREATED:20240908T165047Z
LAST-MODIFIED:20240908T165047Z
UID:100356-1726041600-1731171600@artshousemagazine.co.uk
SUMMARY:Ella Walker: The Romance of the Rose
DESCRIPTION:Pilar Corrias is pleased to present a solo exhibition of new paintings by artist Ella Walker at its Savile Row gallery. \nFor her first exhibition with the gallery\, Walker intricately weaves imagery from broad swathes of history and popular culture – medieval manuscripts to modern ballet\, the cinema of Fellini and Pasolini to fetishwear magazines – to produce emotive\, stage-like scenes. Interrogating traditional depictions of women throughout art history\, Walker’s paintings offer a counterpoint to the traditional casting of female subjects as exemplars of vice and virtue. Freed from this moral framework\, her figures are recalibrated\, reentering the world of images as complex\, contradictory\, unruly beings. \nThe exhibition takes as its point of departure the thirteenthcentury French poem\, The Romance of the Rose\, in which a lover hunts for an object to love. The allegorical tale of courtly love is replete with patriarchal language – the repeated references to ‘plucking’ the perfect ‘rosebud’ underscore the imperativeness of feminine chastity and the process of deflowering as a chivalrous project. As he attempts to navigate love’s true course\, the narrator encounters a series of generic female characters representing various vices\, including Idleness\, Avarice\, Hatred and Envy\, all of whom serve as cautionary obstacles. In Walker’s compositions\, however\, this chorus of archetypes are relieved of their duties. Each figure becomes self-sufficient\, with their own interior life.
URL:https://artshousemagazine.co.uk/event/ella-walker-the-romance-of-the-rose/
LOCATION:Pilar Corrias\, Savile Row\, 2 Savile Row London W1S 3PA\, London\, United Kingdom
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240908T080000
DTEND;TZID=Europe/London:20240908T170000
DTSTAMP:20261023T052039
CREATED:20240908T165810Z
LAST-MODIFIED:20240908T165810Z
UID:100365-1725782400-1725814800@artshousemagazine.co.uk
SUMMARY:Ian Davenport: Pathway
DESCRIPTION:Coinciding with Frieze London\, the artist’s sixth solo show with the gallery will unveil new and recent works on paper informed by twentieth-century music\, process\, and rhythm.
URL:https://artshousemagazine.co.uk/event/ian-davenport-pathway/
LOCATION:Cristea Roberts Gallery\, 43 Pall Mall London SW1Y 5JG\, London\, United Kingdom
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240830T080000
DTEND;TZID=Europe/London:20240928T170000
DTSTAMP:20261023T052039
CREATED:20240811T175355Z
LAST-MODIFIED:20240811T175355Z
UID:99947-1725004800-1727542800@artshousemagazine.co.uk
SUMMARY:Don Brown: a late summer breeze
DESCRIPTION:https://www.sadiecoles.com/exhibitions/1139-don-brown-a-late-summer-breeze/press_release_text/
URL:https://artshousemagazine.co.uk/event/don-brown-a-late-summer-breeze/
LOCATION:Sadie Coles HQ\, Bury Street\, 8 Bury Street London SW1Y 6AB\, London\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://artshousemagazine.co.uk/wp-content/uploads/2024/08/66140fc356751-2.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240822T080000
DTEND;TZID=Europe/London:20241018T170000
DTSTAMP:20261023T052039
CREATED:20240811T174825Z
LAST-MODIFIED:20240811T174825Z
UID:99938-1724313600-1729270800@artshousemagazine.co.uk
SUMMARY:Marlene Smith: Ah\, Sugar
DESCRIPTION:Co-commissioned with Reid Gallery\, The Glasgow School of Art \nMarlene Smith’s solo exhibition will include new sculptural and drawing work\, emerging from the artists’ ongoing interest in the material and bodily qualities of sculptural practice and inquiries into the cyclical nature of social histories and familial entanglements. \nMarlene Smith is a British artist and curator\, and one of the founding members of the BLK Art Group. She was director of The Public in West Bromwich and UK Research Manager for Black Artists and Modernism\, a collaborative research project run by the University of the Arts London and Middlesex University. She has recently exhibited work as part of ‘The More Things Change’ at Wolverhampton Art Gallery; ‘Cut & Mix’ New Art Exchange\, Nottingham; ‘The Place Is Here: The Work of Black Artists in 1980s Britain’ Nottingham Contemporary.
URL:https://artshousemagazine.co.uk/event/marlene-smith-ah-sugar/
LOCATION:Cubitt Gallery\, 8 Angel Mews London N1 9HH\, London\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://artshousemagazine.co.uk/wp-content/uploads/2024/08/66140fc356751-1.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240816T080000
DTEND;TZID=Europe/London:20240914T170000
DTSTAMP:20261023T052039
CREATED:20240811T174300Z
LAST-MODIFIED:20240811T174300Z
UID:99927-1723795200-1726333200@artshousemagazine.co.uk
SUMMARY:Cupid
DESCRIPTION:Celebrating the many entanglements between love and creativity\, Elizabeth Xi Bauer presents Cupid. Exhibiting works by nine couples: 16 individual artists within their romantic partnerships and an artist duo. \n 
URL:https://artshousemagazine.co.uk/event/cupid/
LOCATION:Elizabeth Xi Bauer\, Elizabeth Xi Bauer Gallery London SE8 3DX\, London\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://artshousemagazine.co.uk/wp-content/uploads/2024/06/0_dfedyM7ZSIRrRmhp-3.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240811T080000
DTEND;TZID=Europe/London:20240811T170000
DTSTAMP:20261023T052039
CREATED:20240811T175134Z
LAST-MODIFIED:20240811T175134Z
UID:99943-1723363200-1723395600@artshousemagazine.co.uk
SUMMARY:Liorah Tchiprout: I love the flames\, but not the embers
DESCRIPTION:In new paintings\, Tchiprout presents moments of intimacy and community\, staging hand-made dolls in a world that is self-referential and protected. Her dolls are modelled after herself and her peers\, female protagonists from Yiddish literature\, and historical figures including the Jewish dancer Els Keezer. In painting figures that are activated by their expressions and likenesses\, though lifeless in their slack physique\, Tchiprout muddies the boundary between imaginary and real\, animate and inanimate. However\, despite her depiction of gentle touches\, sisterhood\, care\, and communion – experiences drawn from her Jewish upbringing – Tchiprout’s dolls are not entirely immune to our challenging reality. Cast in deeply psychological spaces\, drawing on emotions of longing or exclusion\, Tchiprout’s paintings address what the artist views as an intrinsically Jewish tradition of finding joy within pain\, and catharsis through connection and memory. \nHaving established her career in printmaking\, Tchiprout paints the different textures and materials of her dolls – modelling clay\, human hair\, vintage fabric and wood – with direct and graphic brushstrokes. She builds warm-toned layers of oil paint with the same logic as a monotype. In I know where I stand with the skylarks\, Tchiprout’s palette is at its most vibrant\, with vert olives\, bismuth and lemon yellows casting a bilious glow reminiscent of early 20th century German Expressionism. Influenced by the intensity of artists including Kathë Kollowitz and Paula Modersohn-Becker\, Tchiprout’s thick\, decisive line-making and bold\, non-naturalistic colour invite a tension within the dreamy\, quiet realm that her subjects inhabit. Though the painting’s title\, a reference to English poet Christina Rossetti’s 1864 poem Twice\, has associations with longing and romance\, the artist counterbalances the intimacy and comfort of the scene with foreboding veils of dark brushstrokes. Tchiprout’s central figure casts a nervous glance sideways\, wary of an unseen disturbance\, or even the presence of the viewer. The comfortable stillness between the sitters is threatened\, implying an awareness of the fragility of their world
URL:https://artshousemagazine.co.uk/event/liorah-tchiprout-i-love-the-flames-but-not-the-embers/
LOCATION:Pippy Houldsworth Gallery\, 6 Heddon Street London W1B 4BT\, London\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://artshousemagazine.co.uk/wp-content/uploads/2024/08/0_dfedyM7ZSIRrRmhp.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240811T080000
DTEND;TZID=Europe/London:20240811T170000
DTSTAMP:20261023T052039
CREATED:20240811T174544Z
LAST-MODIFIED:20240811T174544Z
UID:99933-1723363200-1723395600@artshousemagazine.co.uk
SUMMARY:Spines
DESCRIPTION:Artists\n\n\nAlex Olson
URL:https://artshousemagazine.co.uk/event/spines/
LOCATION:Josh Lilley\, 40-46 Riding House Street London W1W 7EX\, London\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://artshousemagazine.co.uk/wp-content/uploads/2024/08/66140fc356751.webp
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240802T080000
DTEND;TZID=Europe/London:20240920T170000
DTSTAMP:20261023T052039
CREATED:20240729T065850Z
LAST-MODIFIED:20240729T065850Z
UID:99682-1722585600-1726851600@artshousemagazine.co.uk
SUMMARY:Landscape\, Reimagined [SAATCHI Gallery]
DESCRIPTION:BEERS London returns to Saatchi Gallery with The Landscape\, Reimagined\, a group exhibition including eight internationally-based emerging and mid-career artists who reinterpret the conventions of landscape painting as radical and contemporary. \nThe landscape is among the most traditional of subject matter. For British audiences\, artists like Turner\, Constable\, and Gainsborough are synonymous with a history of landscape painting. But in recent years\, the painted landscape has been reinvigorated with fresh styles that push the limits of this timeless tradition. \nThe eight artists here are interested in pushing the boundaries of landscape through technique\, interpretation\, or even utilizing representational modes that toy with digital and analog modules. These contemporary landscape painters embrace both crude\, abstract tendencies and forward-thinking new formats. Whether utilizing digital image-mapping techniques (Quiñonez) or a wildly unconventional colour palette (Bader)\, these artists bring a topsy-turvy\, and wholly unexpected approach to landscape painting. From the dreamlike textures of (British\, Australia-based) Ross Taylor or the impasto\, reductive technique of (Canadian\, US-based) Caroline Larsen\, these works resituate the landscape within a contemporary art context.
URL:https://artshousemagazine.co.uk/event/landscape-reimagined-saatchi-gallery/
LOCATION:BEERS London\, 51 Little Britain London EC1A 7BH\, London\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://artshousemagazine.co.uk/wp-content/uploads/2024/07/66140fc356751-19.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240731T080000
DTEND;TZID=Europe/London:20240907T170000
DTSTAMP:20261023T052039
CREATED:20240729T064936Z
LAST-MODIFIED:20240729T064936Z
UID:99674-1722412800-1725728400@artshousemagazine.co.uk
SUMMARY:Your Mind is Now an Ocean
DESCRIPTION:Pilar Corrias presents Your Mind is Now an Ocean\, a group exhibition with Koo Jeong A\, Keren Cytter\, Sophie von Hellermann\, Manuel Mathieu\, Mary Ramsden\, Rachel Rose and Julião Sarmento.
URL:https://artshousemagazine.co.uk/event/your-mind-is-now-an-ocean/
LOCATION:Pilar Corrias\, Savile Row\, 2 Savile Row London W1S 3PA\, London\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://artshousemagazine.co.uk/wp-content/uploads/2024/07/0_dfedyM7ZSIRrRmhp.webp
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240720T180000
DTEND;TZID=Europe/London:20240804T210000
DTSTAMP:20261023T052039
CREATED:20240715T065007Z
LAST-MODIFIED:20240715T065007Z
UID:99434-1721498400-1722805200@artshousemagazine.co.uk
SUMMARY:Battle Cat\, Adam Hogarth
DESCRIPTION:Battle Cat is a new collection of drawings and prints that explore post-nuclear legacies\, destructivism\, folklore and storytelling by artist Adam Hogarth. \n“We all desire the future to turn out more happily than I have figured it. In particular we desire our present civilization to advance steadily toward some kind of Utopia. The thought that it may decay and collapse\, and that all its spiritual treasure may be lost irrevocably\, is repugnant to us. Yet this must be faced as at least a possibility.” Olaf Stapledon\, ‘Last and First Men’. \nThere was a disaster! A house of cards teetering on oblivion finally toppled. Under their own top-heavy weight\, political and bureaucratic structural systems of yesteryear finally collapsed. A series of nuclear wars ensued\, followed by a complete ecological and environmental disintegration. Crops collapsed and as nuclear reactors failed one by one\, huge swathes of land\, and oceans became contaminated and uninhabitable. Inevitably\, the excess of nuclear meltdown finally permeated the entire earth. \n“No more Internet. No more social media\, no more scrolling through litanies of dreams and nervous hopes and photographs of lunches\, cries for help and expressions of contentment and relationship-status updates with heart icons whole or broken\, plans to meet up later\, pleas\, complaints\, desires\, pictures of babies dressed as bears or peppers for Halloween.” Emily St. John Mandel\, ‘Station Eleven’.
URL:https://artshousemagazine.co.uk/event/battle-cat-adam-hogarth/
LOCATION:Thames-Side Studios Gallery\, Thames-Side Studios Royal Borough of Greenwich\, London SE18 5NR\, London\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://artshousemagazine.co.uk/wp-content/uploads/2024/07/66140fc356751-16.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240720T080000
DTEND;TZID=Europe/London:20240720T170000
DTSTAMP:20261023T052039
CREATED:20240715T065428Z
LAST-MODIFIED:20240715T065428Z
UID:99438-1721462400-1721494800@artshousemagazine.co.uk
SUMMARY:Nathalie Olah on Beryl Cook
DESCRIPTION:Writer Nathalie Olah leads a talk in response to the art of Beryl Cook. \nSituating Cook in the British mid-century\, Olah explores the artist’s work in relation to the academic interests of that time — namely pop-culture as a relatively new phenomenon\, and the spread of American soft power through its entertainment machine. With reference to writers and theorists including Raymond Williams\, Richard Haggard and Stuart Hall\, Olah offers a re-reading of Cook’s practice. \nThis event forms part of our Saturday Talks series\, in which artists\, curators and writers lead personal responses to Beryl Cook / Tom of Finland. These talks\, readings and performances are an opportunity to explore specific aspects of the exhibition\, from ‘bad taste’ to class tourism\, masculinity and sexuality in the military\, and London’s lost queer spaces.
URL:https://artshousemagazine.co.uk/event/nathalie-olah-on-beryl-cook/
LOCATION:Studio Voltaire\, 1a Nelsons Row London SW4 7JR\, London\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://artshousemagazine.co.uk/wp-content/uploads/2024/07/66140fc356751-17.webp
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240718T180000
DTEND;TZID=Europe/London:20240831T200000
DTSTAMP:20261023T052039
CREATED:20240715T064629Z
LAST-MODIFIED:20240715T064629Z
UID:99430-1721325600-1725134400@artshousemagazine.co.uk
SUMMARY:Ksenia Dermenzhi: Invisible Paths
DESCRIPTION:There exists an ongoing trope in art wherein the artist\, so impassioned in their pursuit to become one with nature\, describes this process as a literal dissolvement of the self into the earth. In Shakespeare’s The Tempest (1623)\, an elemental spirit sings of a shipwrecked king’s human form blending into the ocean floor\, detailing for audiences how his body parts have scattered into coral and pearls. And this is a tradition that extends both  From German Romanticism to Rousseau’s cryptic paintings that seem to pull the viewer into the mystic landscape; and more contemporarily too: Antony Gormley’s carbuncle encrusted bronze male statues that reveal themselves with the changing tides\, and Doig’s entire body of work seems to relate to desirous surroundings (and\, possibly\, his perpetual status as a physical and psychological outsider)\, or even Vija Celmins explorations where the artist’s hand seems to disappear into the process. \nThis tradition continues with Moldovan artist Ksenia Dermenzhi’s newest body of work\, whose Invisible Paths brings her sophomore solo BEERS London after a sold-out exhibition in 2022 and a recent group show with James Cohan Gallery in New York that placed the young artist in the purview of noted American collectors\, as well as a forthcoming inclusion in an exhibition focusing on contemporary landscape painters at London’s prestigious Saatchi Gallery.
URL:https://artshousemagazine.co.uk/event/ksenia-dermenzhi-invisible-paths/
LOCATION:BEERS London\, 51 Little Britain London EC1A 7BH\, London\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://artshousemagazine.co.uk/wp-content/uploads/2024/07/66140fc356751-15.webp
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240717T180000
DTEND;TZID=Europe/London:20240831T200000
DTSTAMP:20261023T052039
CREATED:20240715T064339Z
LAST-MODIFIED:20240715T064339Z
UID:99426-1721239200-1725134400@artshousemagazine.co.uk
SUMMARY:Revelation & Concealment
DESCRIPTION:JGM Gallery presents Revelation & Concealment\, an exhibition of paintings and prints by 18 Indigenous Australian artists. The starting points for this exhibition are the dual themes of “revelation and concealment” in Indigenous contemporary art\, a dialectic which curator Stephen Gilchrist identifies in his 2016 analysis of Shorty Lungkarta Tjungurrayi’s Children’s Water Dreaming (1972) (Gilchrist\, 2016). \nThe tension between these polarities is often manifest in the relationship between abstraction and realism. Indeed\, a great strength of Revelation & Concealment’sexhibiting artists is their capacity to reconcile these two approaches\, which they achieve using a variety of formal innovations. \nIn Jennifer Ingkatji’s Seven Sisters Story\, the narrative of its Tjukurpa (“Creation Story”)\, which tells how the Pleiades cluster came into being\, is not articulated sequentially. Instead\, the painting gives an impression of creation through Ingkatji’s auratic sprays of dotwork. Superimposed over a preliminary layer of paint\, these dots dazzle the viewer\, suggesting fields of energy emanating from astral beings\, or the clarity of constellations against an abyssal night sky. However\, this dotwork also slightly obscures the composition below. Thus\, while impacting the viewer in a manner akin to the experience of revelation\, Ingkatji’s dotwork can also be seen to function as a mask\, concealing the forms beneath.
URL:https://artshousemagazine.co.uk/event/revelation-concealment/
LOCATION:JGM Gallery\, 24 Howie Street London SW11 4AY\, London\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://artshousemagazine.co.uk/wp-content/uploads/2024/07/66140fc356751-14.webp
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240712T080000
DTEND;TZID=Europe/London:20240727T170000
DTSTAMP:20261023T052039
CREATED:20240708T065715Z
LAST-MODIFIED:20240708T065715Z
UID:99296-1720771200-1722099600@artshousemagazine.co.uk
SUMMARY:Tbilisi Independent
DESCRIPTION:‘Tbilisi Independent’ highlights five young\, female-run galleries from the Georgian capital: E.A Shared Space\, Gallery 4710\, The Why Not Gallery\, MAUDI\, and CH64 Gallery. A collaboration with Reach Art Visual\, the exhibition builds its narrative around two central pillars in the history of Georgian abstraction: Alexander Bandzeladze (1927–1992) and Tamuna Sirbiladze (1971–2016)\, including artists such as Lia Bagrationi\, Mariana Chkonia and Sopho Kobidze. \nThe show then brings the story into the present day with outstanding figurative works by contemporary artists Anuk Beluga\, Saba Gorgodze\, Merab Gugunashvili\, Gvantsa Jishkariani\, Giorgi Khaniashvili\, Niniko Morbedadze\, Tamar Nadiradze\, Temple Pharmacy and Nata Varazi. The result is an exhibition that offers a compelling insight into Georgian art and culture\, and the emerging voices in the country amid rising political and social upheaval.
URL:https://artshousemagazine.co.uk/event/tbilisi-independent/
LOCATION:Frieze No. 9 Cork Street\, 9 Cork Street London W1S 3LL\, London\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://artshousemagazine.co.uk/wp-content/uploads/2024/07/66140fc356751-11.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240710T080000
DTEND;TZID=Europe/London:20241208T170000
DTSTAMP:20261023T052039
CREATED:20240710T064313Z
LAST-MODIFIED:20240710T064313Z
UID:99348-1720598400-1733677200@artshousemagazine.co.uk
SUMMARY:Grayson Perry: The Vanity of Small Differences
DESCRIPTION:Grayson Perry: The Vanity of Small Differences opens at Pitzhanger Manor & Gallery this July–December 2024. \nFor the first time\, this exhibition brings the Turner-Prize-winning artist’s six large-scale tapestries to a building where William Hogarth’s A Rake’s Progress\, the inspiration behind Perry’s tapestries\, were purchased for and displayed. \nSir Grayson Perry CBE RA Hon FRIBA is an internationally celebrated chronicler of contemporary life\, drawing us into intricately designed works of art with wit and nostalgia. In his work\, Perry tackles subjects that are universally human: identity\, gender\, social status\, sexuality and religion. Autobiographical references—to the artist’s childhood\, his family\, and his cross-dressing—can be read in tandem with questions about décor and decorum\, class and taste\, and the status of the artist versus that of the artisan. The exhibition invites viewers to consider their own connections with the tapestries’ vivid storytelling and rich\, allegorical imagery. \nThe set of monumental tapestries offer a contemporary re-reading of William Hogarth’s A Rake’s Progress\, a series of eight satirical paintings depicting a riches-to-rags tale of Tom Rakewell in 18th-century London. Hogarth’s original paintings were bought by Sir John Soane’s wife 222 years ago to be displayed at Pitzhanger. The Soanes subsequently moved with their art collections to Lincoln’s Inn Fields. However\, Pitzhanger continues to display a full series of framed 18th century engravings of A Rake’s Progress in their original setting of the vibrant red walls of the Soane’s drawing room. Visitors to the exhibition will be in the unique position to be able to compare and contrast both intricately detailed morality tales in the home of Hogarth’s series.
URL:https://artshousemagazine.co.uk/event/grayson-perry-the-vanity-of-small-differences-2/
LOCATION:Pitzhanger Manor & Gallery\, Ealing Green London W5 5EQ\, London\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://artshousemagazine.co.uk/wp-content/uploads/2024/07/66140fc356751-13.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240710T080000
DTEND;TZID=Europe/London:20241208T170000
DTSTAMP:20261023T052039
CREATED:20240708T065409Z
LAST-MODIFIED:20240708T065409Z
UID:99291-1720598400-1733677200@artshousemagazine.co.uk
SUMMARY:Grayson Perry: The Vanity of Small Differences
DESCRIPTION:Grayson Perry: The Vanity of Small Differences opens at Pitzhanger Manor & Gallery this July–December 2024. \nFor the first time\, this exhibition brings the Turner-Prize-winning artist’s six large-scale tapestries to a building where William Hogarth’s A Rake’s Progress\, the inspiration behind Perry’s tapestries\, were purchased for and displayed. \nSir Grayson Perry CBE RA Hon FRIBA is an internationally celebrated chronicler of contemporary life\, drawing us into intricately designed works of art with wit and nostalgia. In his work\, Perry tackles subjects that are universally human: identity\, gender\, social status\, sexuality and religion. Autobiographical references—to the artist’s childhood\, his family\, and his cross-dressing—can be read in tandem with questions about décor and decorum\, class and taste\, and the status of the artist versus that of the artisan. The exhibition invites viewers to consider their own connections with the tapestries’ vivid storytelling and rich\, allegorical imagery.
URL:https://artshousemagazine.co.uk/event/grayson-perry-the-vanity-of-small-differences/
LOCATION:Pitzhanger Manor & Gallery\, Ealing Green London W5 5EQ\, London\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://artshousemagazine.co.uk/wp-content/uploads/2024/07/66140fc356751-10.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240708T180000
DTEND;TZID=Europe/London:20240711T210000
DTSTAMP:20261023T052039
CREATED:20240708T065144Z
LAST-MODIFIED:20240708T065144Z
UID:99286-1720461600-1720731600@artshousemagazine.co.uk
SUMMARY:Postgraduate Design Show 2024
DESCRIPTION:See some of the newest names from postgraduate design courses at Camberwell College of Arts and Chelsea College of Arts\n\nCamberwell courses:\nMA Designer Maker\nMA Global Collaborative Design Practice\nMA Graphic Design Communication\nMA Illustration\nMA Interior and Spatial Design \nThe following course from Chelsea College of Arts will also be showing:\nMA Textile Design \nOpening times:\nMonday 8 July 12noon – 8pm\nTuesday 9 July 12noon – 9pm\nWednesday 10 July 12noon – 8pm\nThursday 11 July 12noon – 8pm \nLast entry 30 minutes before close
URL:https://artshousemagazine.co.uk/event/postgraduate-design-show-2024/
LOCATION:UAL\, Camberwell College Of Arts\, 45-65 Peckham Road London SE5 8UF\, London\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://artshousemagazine.co.uk/wp-content/uploads/2024/07/66140fc356751-9.webp
END:VEVENT
END:VCALENDAR