Wednesday, 20 May 2015
New works on paper
Info here..
Fumbally Exchange Dame lane, Dublin, May 28th-June 8th. Private View May 28th, 5.30-8pm
Tuesday, 17 September 2013
Friday, 13 September 2013
Friday, 6 September 2013
V1 GALLERY PROUDLY PRESENTS
TOOT TOOT TOOTSIE GOODBYE
A group exhibition with:
Jake & Dinos Chapman, Stephen Dunne, Neal Fox, Susan Hiller, Dionisis Kavallieratos, Dennis Rudolph
Curated by Francesca Gavin
OPENING: FRIDAY SEPTEMBER 13. 2013. TIME: 17.00 - 22.00
EXHIBITION PERIOD: SEPTEMBER 14 – OCTOBER 19. 2013.
In 1945, the Nazis would broadcast German propaganda speeches on loudspeakers to the Allied enemies. Then a US soldier deactivating landmines, writer, director and actor Mel Brooks would respond by setting up speakers and singing Jewish musical theatre performer Al Jolsonʼs song ʻToot Toot Tootsie Goodbyeʼ on repeat to the Germans.
Mel Brooks has spent much of his career parodying Hitler and German national socialists. Yet his desire was not to lessen the horrors of war and genocide. As he stated in a 2006 interview with Der Spiegel, his aim was to bring Hitler and Nazis down with ridicule and laughter. “You can laugh at Hitler because you can cut him down to normal size... Of course it is impossible to take revenge for 6 million murdered Jews. But by using the medium of comedy, we can try to rob Hitler of his posthumous power and myths.”
Although much of the work in this exhibition is responding to the legacy of World War II and Nazis, the aim is to create an exhibition that highlights the increasing perils of the far right in contemporary Europe. The objective is to create a discussion that highlights the worrying current rise of parties who are exploiting a moment of economic crises for political aims – such as the Golden Dawn in Greece, Svoboda in the Ukraine, the Jobbik party in Hungary.
The point of the exhibition is not to soften or lessen the impact of the Nazis and the far right extremist rhetoric and violence. The intention in putting together this exhibition was to emphasise the importance of a continued awareness of the impact and horrors of the far right.
The lessons and experience of mid-20th century Europe are all too easily forgotten. By placing together work that veers from the satirical to the deeply disturbing, the aim is to create a real effect in the viewer. Hitting them with horror and the unacceptable at moments when humour has lowered their barriers.
_
Francesca Gavin is a curator and writer based in London. She is the author of 4 books including ʻ100 New Artistsʼ and ʻNew Gothic Artʼ, is the Visual Arts Editor of ʻDazed & Confusedʼ magazine and the curator of the Soho House Collection. Francesca Gavin has curated shows internationally that include The Dark Cube at the Palais de Tokyo 2012, and The New Psychedelica at MU Eindhoeven 2011.
We look forward to seeing you. V1 Gallery
TOOT TOOT TOOTSIE GOODBYE
A group exhibition with:
Jake & Dinos Chapman, Stephen Dunne, Neal Fox, Susan Hiller, Dionisis Kavallieratos, Dennis Rudolph
Curated by Francesca Gavin
OPENING: FRIDAY SEPTEMBER 13. 2013. TIME: 17.00 - 22.00
EXHIBITION PERIOD: SEPTEMBER 14 – OCTOBER 19. 2013.
In 1945, the Nazis would broadcast German propaganda speeches on loudspeakers to the Allied enemies. Then a US soldier deactivating landmines, writer, director and actor Mel Brooks would respond by setting up speakers and singing Jewish musical theatre performer Al Jolsonʼs song ʻToot Toot Tootsie Goodbyeʼ on repeat to the Germans.
Mel Brooks has spent much of his career parodying Hitler and German national socialists. Yet his desire was not to lessen the horrors of war and genocide. As he stated in a 2006 interview with Der Spiegel, his aim was to bring Hitler and Nazis down with ridicule and laughter. “You can laugh at Hitler because you can cut him down to normal size... Of course it is impossible to take revenge for 6 million murdered Jews. But by using the medium of comedy, we can try to rob Hitler of his posthumous power and myths.”
Although much of the work in this exhibition is responding to the legacy of World War II and Nazis, the aim is to create an exhibition that highlights the increasing perils of the far right in contemporary Europe. The objective is to create a discussion that highlights the worrying current rise of parties who are exploiting a moment of economic crises for political aims – such as the Golden Dawn in Greece, Svoboda in the Ukraine, the Jobbik party in Hungary.
The point of the exhibition is not to soften or lessen the impact of the Nazis and the far right extremist rhetoric and violence. The intention in putting together this exhibition was to emphasise the importance of a continued awareness of the impact and horrors of the far right.
The lessons and experience of mid-20th century Europe are all too easily forgotten. By placing together work that veers from the satirical to the deeply disturbing, the aim is to create a real effect in the viewer. Hitting them with horror and the unacceptable at moments when humour has lowered their barriers.
_
Francesca Gavin is a curator and writer based in London. She is the author of 4 books including ʻ100 New Artistsʼ and ʻNew Gothic Artʼ, is the Visual Arts Editor of ʻDazed & Confusedʼ magazine and the curator of the Soho House Collection. Francesca Gavin has curated shows internationally that include The Dark Cube at the Palais de Tokyo 2012, and The New Psychedelica at MU Eindhoeven 2011.
We look forward to seeing you. V1 Gallery
Tuesday, 11 May 2010
Sophisticated Boom Boom review.....
REBECCA GELDARD'S TOP 10 LONDON SHOWS IN MAY AND JUNE 2010
Sophisticated Boom Boom (in b&w)
Domobaal
Until 15/5
This group exhibition, as Ailbhe Ní Bhriain's filmic dissolution of place, context and matter in the stairwell suggests, is as inkily elusive in concept as in form. In the most simple sense, perhaps, it describes a sensory breach of expectation. Grey, the mid-ground or the norm, becomes a transmutable substance pulled between the polar ends of the tonal spectrum; tuned in and out of pictorial focus by the presence of colour (the key placement in the upstairs galleries of Lizi Sanchez's Koonsian evocation of sculpture, a box-frame done up like a dog's dinner on a plinth and Lothar Götz's ode to abstract-painterly and retro-domestic spaces on canvas). The “boom, boom” of the fabulous Shangri-Las song at its core varies in potency, work-to-work: from the thud of an assumption hitting the decks (when you realise that the toolbox debris in the stationary compartments of a desk draw have been hand-carved by Mhairi Vari out of granite) to the distant foghorn call of a memory just before it arrives in the mind (such as Jeffrey T Y Lee's white-wax and black-ink deptictions of Borneo and Sharon Kivland's re-framed images of locomotive smoke), and the shoeshuffle into the surreal (as Stephen Dunne's watercolour man in mono prepares to hammer-whack the space where his head should be).
Sophisticated Boom Boom (in b&w)
Domobaal
Until 15/5
This group exhibition, as Ailbhe Ní Bhriain's filmic dissolution of place, context and matter in the stairwell suggests, is as inkily elusive in concept as in form. In the most simple sense, perhaps, it describes a sensory breach of expectation. Grey, the mid-ground or the norm, becomes a transmutable substance pulled between the polar ends of the tonal spectrum; tuned in and out of pictorial focus by the presence of colour (the key placement in the upstairs galleries of Lizi Sanchez's Koonsian evocation of sculpture, a box-frame done up like a dog's dinner on a plinth and Lothar Götz's ode to abstract-painterly and retro-domestic spaces on canvas). The “boom, boom” of the fabulous Shangri-Las song at its core varies in potency, work-to-work: from the thud of an assumption hitting the decks (when you realise that the toolbox debris in the stationary compartments of a desk draw have been hand-carved by Mhairi Vari out of granite) to the distant foghorn call of a memory just before it arrives in the mind (such as Jeffrey T Y Lee's white-wax and black-ink deptictions of Borneo and Sharon Kivland's re-framed images of locomotive smoke), and the shoeshuffle into the surreal (as Stephen Dunne's watercolour man in mono prepares to hammer-whack the space where his head should be).
In Case We Don't Die - Berlin, May 29th-June 11th
Stephen Dunne // Andreas Emenius // Bibi Katholm // Shane Bradford // Ida Kvetny // Jacob Kirkegaard // Ralph Dorey // Iben Toft Nørgård // Alex Hudson // John Strutton // Wonderland
CURATED BY: Bibi Katholm
LOCATION: Chausseestraße 105, 10115 Berlin Mitte.
GRAND OPENING: Saturday 29th May from 17.00 - 22.00
OPENING HOURS: Monday - Saturday 11.00 - 17.00 or by appointment.
29th May - 12th June 2010
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