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Thursday, 16 April, 6:30pm
Tate Modern, Starr Auditorium
In this evening lecture, artist Marlene Dumas talks about her current retrospective exhibition at Tate Modern, The Image as Burden. The title of the exhibition is taken from her a small 1993 painting depicting one figure carrying another. As with many of Dumas’s works, her choice of title deeply affects our interpretation of the work.
21 March – 2 May 2015
West Cork Arts Centre, Skibbereen, County Cork
Daphne Wright uses a wide range of materials – plaster, tinfoil, video, printmaking, found objects and performance – she creates worlds that are beautiful and rather eerie and which feel like the threshold to somewhere new. For her solo exhibition Antrum in the James O’Driscoll Gallery, she has created four new unfired clay still lifes to be displayed along side Sons, 2011, a pair of jesmonite casts of the artist’s sons from the chest up. The resulting figures are lifelike but not alive, they seem present but indifferent, already long gone. The new still life pieces have moved away from the uncanny precision of work like Sons. The instability of unfired clay adds to this feeling of flux, but their pallid wornness ages them like archaeological finds.
Two video works, ‘If you broke me’ and ‘I am the beginning’ both show a solitary boy speaking in riddles to the camera. Here, popular riddles are made strange, the monotony of each boy’s voice and their unblinking stare creates a heightened tension, and the riddles take on a different significance beyond that of simple childhood. This work explores the issues of guilt and love, life and loss that surround parenting and being a child.
Deep Purple, Red Shoes
20 March – 31 May 2015
Be-Part, Waregem, Belgium
For Be-Part Apfelbaum has created a design made with carpet that almost entirely covers the exhibition spaces. The work, entitled ‘Deep Purple, Red Shoes’, includes three carpet installations in shades ranging from intense red to deep purple.
Polly Apfelbaum mixes contemporary discourse with the tradition of hand-woven carpets from the state of Oaxaca in southern Mexico. The carpets are from the village of Teotitlán del Valle, known for its centuries-long tradition of hand-woven carpets. In addition, local sheep wool is used, which is coloured with natural pigments from the region.
Frith Street Gallery is delighted to announce Raqs Media Collective and Marlene Dumas will be participating in the Venice Biennale 2015. Curated by Okwui Enwezor, “All The World’s Futures” will feature a series of rarely-exhibited Skull paintings by South African-born Dumas and two new major works by Delhi-based Raqs Media Collective. The new works by Raqs Media Collective include a significant sculptural installation entitled Coronation Park which will unfold outside of the Central Pavilion in the Giardini, and a video installation in the Arsenale which draws from their performative piece The Last International.
Venice Biennale 56th International Art Exhibition
9 May – 22 November 2015
It is possible because it is possible
7 March – 28 June, 2015
University Museum of Contemporary Art (MUAC), Mexico City
It is possible because it is possible is a claim against a defeatist determinism. Faced with the uncertainty of that I would prefer not to [do so rather] the character created by Melville, in his Bartleby, the Scrivener, “It is possible because it is possible” it is imperative on the possibility of passing from potency to act, and holding open against possible; for collective involves what can happen, because as stated, is already happening.
© Copyright 2015 Frith Street Gallery