Tuesday - Friday: 11am - 7pm
Saturday - 12pm - 6pm
Or by appointment
3rd April – 15th June 2014
Paul Huxley, Miler Lagos , Glenda León, Troika, United Visual Artists and Bill Viola
Maddox Arts is delighted to present About Time, a group exhibition curated by Laura Culpan, bringing together artists who use very diverse medium within their practice united, for this exhibition, by the concept of time. Time is a strange thing… that is, if you take the time to think about it. Properly. We try to control it, to quantify it, to keep it, to lose track of it, to make it stand still. It flies by. Sometimes.
In this exhibition the viewer will be invited to take their time to consider time, with this selection of international artists using different approaches from the poetic to the scientific and from the literal to the conceptual: it is About Time.
Time is quantified in a visual manner in Cuban artist Glenda León's evocative installation Wasted Time, that sees the hourglass overflow to a mound of uncontainable sand and in United Visual Artists' light installation Always Never inspired by the form of a sundial, it generates a mesmerizing flow of shadow created by light that is controlled by the digital passage of virtual time: in this work it is as if you are seeing the daylight hours synchronized, simultaneous and delicately animated before you.
The process of time features in Colombian artist Miler Lagos' careful and painstakingly (not to mention time-consumed) constructed newspaper collages and sculpture that seemingly reverse the process of production from end material (The Times newspaper) back to source material (trees) in a conceptual and visual way whilst at the heart of Troika's sculptural dice 'drawings' it is the element of the time that it takes for the patterns and behaviours of the dice to emerge, that defines the aesthetic outcome of the contained 'drawings'.
In 'Metronome' Paul Huxley's painting from the 1970s the metronome is the abstracted subject matter that suggests balance, rhythm and also the controlling and 'keeping' of time, whilst acknowledging the art historical references within Cubism both in the choice of the subject matter and its depiction and abstraction on the canvas.
Finally, in Bill Viola's work, time is manipulated and slowed down in such a way that you, the viewer, are forced to join his pace: you cannot rush a Bill Viola work.
In our high-speed contemporary visual culture, where images are thrown at you in every available digital and non-digital way, it is somewhat refreshing to be forced to slow down and take a moment to consider and experience what it is you are seeing, and with the exhibition About Time at Maddox Arts it is via the artists' eyes that you are invited to take a moment to do so.
Paul Huxley RA (United Kingdom, 1938) lives and works in the UK. He is a Royal Academician, an Honorary Fellow and Professor Emeritus of the Royal College of Art, a Trustee of the Tate and has been recipient of The Art Fund award for Outstanding Service to the Arts. He has exhibited in some of the most important institutions worldwide and figures in Public Collections such as the Walker Art Gallery, Liverpool; Tate Gallery, Royal Academy of Arts and Victoria & Albert Museum, London; Leeds City Art Gallery; Pallant House Gallery, Chichester; Fundação Calouste Gulbenkian in Lisbon, Museum of Contemporary Art Sydney and MoMA – Museum of Modern Art, in New York, Miler Lagos (Colombia, 1973) lives and works in Colombia. He is currently exhibiting at The Patricia & Phillip Frost Art Museum in Miami. Lagos has exhibited at The Saatchi Gallery in the PAPER exhibition in 2013 and at Gasworks, both in London and at the Biennial of the Americas 2010, in Denver. His work is part of The Saatchi Gallery and of the Museo de Arte Moderno La Tertulia collections.
Glenda León (Cuba, 1976) lives and works in Madrid. She has represented Cuba at the Venice Biennial - 55th International Art Exhibition, and showed at the 10ª Havana Biennial in Cuba. She has had exhibitions at institutions such as The MFA - Museum of Fine Arts, in Boston; The Brooklyn Museum of Art and the Bronx Museum of the Arts, all in New York City; at the Centre for Contemporary Art, in Montreal; and at CCCB - Centre de Cultura Contemporània de Barcelona.
Troika (United Kingdom, 2003) are a London based artist collective established by Eva Rucki, Conny Freyer and Sebastien Noel. Troika has exhibited internationally, including at MoMA, New York, 2008; the Victoria & Albert Museum, London, 2009; The Art Institute of Chicago, 2009; and Tate Britain, London, 2007. Their work is represented in the permanent collections of the Israel Museum Jerusalem, the British Council, The Art Institute of Chicago, the Victoria and Albert Museum, London, and the MoMA, New York. They currently have a solo exhibition on at the Daelim Museum of Contemporary Art in Korea
United Visual Artists (United Kingdom, 2003) are currently showing at The Curve gallery at the Barbican Arts Centre and the Towner Art Gallery in Eastbourne. They are a London based artistic collective who have been commissioned by the Tate Gallery, the Royal Academy of Arts, the Victoria and Albert Museum and The Serpentine Gallery, National Maritime Museum all in London; the YCAM, in Japan. They have exhibited worldwide in cities as Barcelona, Beijing, Hong Kong, New York, Paris, São Paulo and Tokyo.
Bill Viola (United States, 1951) is considered one of today's most important contemporary artists, and his work figures in more than 50 institutional collections around the world. Among them are Tate Galleries, in London; MoMA - Museum of Modern Art, in New York; Fondation Cartier pour l'art contemporain, in Paris; Hamburger Bahnhof - Museum für Gegenwart, in Berlin; Stedelijk Museum Amsterdam; Museo Nacional Centro de Arte Reina Sofía, in Madrid. Viola has participated in three editions of the Kassel Documenta and has been awarded many prizes, such as the Eugene McDermott Award in the Arts, MIT, and the Commander of the Order of Arts and Letters by the French Government. He holds honorary doctorates from the Syracuse University, The School of the Art Institute of Chicago, the California Institute of the Arts and the Royal College of Art, in London.
Santiago Montoya, Improbable Landscapes
29 May – 22 June 2014
Colombian artist, Santiago Montoya, opens one of the most eagerly awaited exhibitions of the year, Improbable Landscapes at Halcyon Gallery's New Bond Street space, on 5th June 2014. Montoya's second solo exhibition coincides with London's International Latin American Art Fair PINTA, 10-14th June at London's Earls Court where Montoya's work will be on show.
Improbable Landscapes explores the aesthetics of materials in order to introduce meaning and challenge perceived truths. A striking culmination of the artist's endeavours over the past two years, more than 35 new works have been produced for this show between Montoya's native Colombia and his current studio in Miami, Florida.
Featured in the exhibition is a series that the artist first launched at PINTA Art Fair in London, back in 2011. Entitled Forgive me Father for I have Painted, a set of over 30 methacrylate resin blocks have been imbedded with Montoya's own paint brushes and used tubes of acrylic paints. These pieces work in response to the conflict over painting within the contemporary arts, particularly the fascination and development within new media and technology, thus resulting in the condemnation of the classical and art historical techniques. A brush and tube of paint are now fossilised; frozen in time to be seen as a way of the past. Montoya opens this debate as he asks, "if painting is a means and not an end in itself, why all the fuss?"
Another focus of the exhibition, large scale Jacquard-style tapestries will be showcased for the first time. Montoya continues to explore the psychological aesthetic, as well as the cultural and ritualistic aspects of currency, across new and textural surfaces. Redefining the iconography once printed on paper bills is now a richly woven story, depicting scenes of somewhat conceivable yet non-existent landscapes. These new interpretations present a concept of what is really at stake in our 'new' economic and cultural landscape, while harking back to early Modernism when tapestries were not only portable, but were indicative of enormous wealth and standing. Digitally printed onto the textiles, these works pay homage to the modern tradition of pointillism which originated during a time of social and economic unrest in Europe dating back over a century yet still relevant today.
Collecting words, quotes and phrases found in political speeches and articles, Montoya strategically allows the chosen words and images, now removed from their original context, to be seen anew, creating a new dialogue and a dynamic tension between the text and their accompanying scenes. Carefully selected and designed, through these highly personal works the artist aims to uncover harsh realities and continues to debate our assumptions.
To mark the exhibition, a comprehensive monograph of Montoya's oeuvre dating from 2008 to the present will be published, including texts by Justine Ludwig, Curator at the Contemporary Arts Centre in Cincinnati, Ohio, Robin Greeley, Professor of Modern & Contemporary Latin American Art History, UCONN, and edited by Professor Jose Luis Falconi, Art Forum Curator at the HYPERLINK "http://drclas.fas.harvard.edu/"David Rockefeller Centre for Latin American Studies at Harvard University.
The exhibition opens on Thursday 29 May and runs until Sunday 22 June 2014.
The Book and an exhibition catalogue will be available for sale during the exhibition.
37 Rathbone Street,
London W1T 1NZ
+44 20 7637 1133
Tuesday – Friday 11-7pm
mehran elminia (MEM)
11 june – 24 july 2014
rosenfeld porcini is proud to present 'Painting', a solo exhibition of Iranian painter Mehran Elminia's most recent works. The gallery will showcase oil
paintings on canvas of varying dimensions. This exhibition follows on from
Elminia's 2012 inaugural UK exhibition 'Revealing Harmonies'.
Mehran Elminia is a painter in the purest sense of the word. His artistic search is not to comment on politics, psychology, sociology, religion or human relationships. He is interested in exploring the language of painting as an end unto itself. This purity of intent connects him to the world of American abstract expressionism whose critic philosopher, Clement Greenberg, drew attention to the fact that renouncing narrative liberated the language of painting to be of itself without the need for anything else. The first cubisms of Picasso and Braque were also essentially concerned with language and revolutionising the picture plane, but there was still a narrative to be portrayed; the same could be said for literature, where within the experimental language of James Joyce in 'Finnegans Wake' there is still a story being recounted.
The connection between Joyce and Mehran Elminia goes further; both use their stream of consciousness to arrive at a certain level of spontaneity through thoughts and words, or as in Elminia's case, marks and gestures. Capable of working almost 24 hours without a break, he strives to reach a state of total oneness with the painting where nothing is premeditated and everything is consumed in a seamless continuum of successive moments. In fact, the energy and visceral quality of Elminia's compositions can be directly related to this approach.
Of course simply to arrive at a pure spontaneity is no guarantee of the quality of an artist, quite the opposite in fact. Mehran Elminia, however, is both a great colourist and possesses a natural sense of composition. His works, with their great complexity, never appear as the fruit of a purely spontaneous working method on the contrary they have a classically considered coherence; this may well be one of his greatest achievements as an artist and certainly a testament to his unique qualities:
The ability to develop his very own pictorial language which, on first impressions, belies his working method.
For a painter to find his own original approach is the most arduous thing of all when one considers the history of art. Notwithstanding his best intentions, Mehran Elminia also discovers at the termination of a work, as he steps back and emerges from his trance like state, that his finished painting contains various figurative elements; his complete unawareness of the fact is testimony to the uniqueness of his process.
Notes to the editors
Mehran Elminia was born in Tabiz (Iran) in 1975. He obtained his masters in art from Rome University of Fine Arts and currently lives and works in Iran. Elminia has exhibited with several galleries and art fairs in Italy including Rome International Art Fair and Milan International Art Fair along with solo exhibitions in Iran. He has further contributed to group exhibitions in Dubai and Rome and was featured in the 2010 Biennale of Contemporary Religious Art, Stauròs Museum, Italy. This will be his second solo UK exhibition.
Rosenfeld Porcini Gallery
Founded in June 2011 by Ian Rosenfeld and Dario Porcini, rosenfeld porcini occupies a prime location in the heart of the dynamic gallery district of London's Fitzrovia with 3,000 square feet of gallery space. rosenfeld porcini has a strong international outlook. The gallery values a cross referencing approach both through exhibitions curated around themes in art and a cultural program focusing on unique events involving artists across all disciplines – visual arts, performance and music , which are meant to challenge perceptions.