Archive for ‘Exhibitions’

Play What’s Not There 

Wednesday, June 11th, 2014

17 April to 22 June 2014

Works by Steven Campbell, Edward Krasinski, Linder, Bruce Nauman, Robert Whitman, Katharina Wulff and Cerith Wyn Evans

Curated by Michael Bracewell

 

Edward Krasinski spear

Edward Krasinski
Spear, c. 1963/64
Photograph by Eustachy Kossakowski
© Hanna Ptaszkowska and archive of Museum of Modern Art Warsaw
Courtesy Paulina Krasińska and Foksal Gallery Foundation

 

Taking its title from an exhortation made by Miles Davis to his musicians, this exhibition identifies occasions in art when the seductions of consummate style or cleverness are sacrificed to gain access to a greater artistic, philosophical or spiritual reality. Such attainment may be achieved in varied ways: by invoking states of invisibility or self-negation, by the assumption of a mythic identity, by transforming repetition into incantation, or through the conversion of aphoristic elegance into gestures of transcendence.

These ideas are informed by the existentialist writings of Søren Kierkegaard on the nature of subjectivity and faith, and the inspiration taken from them by W.H. Auden, notably in his poem ‘New Year Letter’, written subsequent to his arrival in New York in 1939 and shortly before his reconversion to Anglicanism.

 

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Cerith Wyn Evans – Leaning Horizon (Neon 1.7 m)

Saturday, May 31st, 2014

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Victor Burgin – A Sense of Place

Monday, December 2nd, 2013

Victor Burgin first came to prominence in the late 1960s as an originator of Conceptual Art, when his work appeared in such key exhibitions as When Attitudes Become Form (1969) and Information (1970). He has since remained one of the most consistently influential artists and art theorists of his generation.

Victor Burgin taught at the Polytechnic of Central London (now the University of Westminster) from 1973 to 1988. He was nominated for the Turner Prize in 1986. His achievements as a visual artist are unique in that he is equally influential both as a practitioner and as a theorist. His still and moving image works, and his extensive and widely translated writings, have had a profound effect on the landscape, language and teaching of the visual arts in general, and photography in particular, both in Britain and abroad.

He is Professor Emeritus of History of Consciousness at the University of California, Santa Cruz; and Emeritus Millard Chair of Fine Art at Goldsmiths College, University of London. Burgin’s theory books include Parallel Texts: interviews and interventions about art (2011), Situational Aesthetics (2009), The Remembered Film (2004), In/Different Spaces: place and memory in visual culture (1996), The End of Art Theory: criticism and postmodernity (1986), and Thinking Photography (1982).

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