Gashed with a sharp tool
Irritated by the application of caustic plant juices
Smothered by dark pigments such as ground charcoal and gunpowder. Angled corner, buttress and facade are marked this way.
Scarification turns the building’s outer surface into a timeless mouth-part. A superb ephemeral gob for all the ages.
The Goss-Michael Foundation is pleased to announce the debut presentation in a US non-profit institution by London based artist, Ben Sansbury.
Whereas Sansbury’s work has often been marked by excess and singularity (one off works of hyperbolic collage, heavily overworked/handmade anthropomorphic masks and tableaux or large scale installation), this exhibition focuses on his ongoing experimentation with simplified, serially produced sculptural forms.
Careful meditations on the properties of various ‘unknown’ architectural structures, a field of freestanding monochromatic objects made from block-moulded plaster speaks not of the particular – but the universal.
To modulate, stack, pair and balance – that we might attribute these tendencies not just to these works, but to the Paleolithic menhir builder as to the high-modernist architect is to understand something about the eternality of the human mind: it’s contiguity-in-form.
The objects on display in this exhibition thus exist nowhere and everywhere in time. They are visions you see when you rub the closed lids of your tired eyes; the impossible flat-pack offices blocks that cajole the any-city-whatever.
Ben Sansbury lives and works in London. He studied at the Royal College of Art, London and has exhibited in galleries including: SPACE (solo), London, UK; The Baltic (solo), Gateshead, UK; Palais de Tokyo (group), Paris, France; MU Museum (group), Eindhoven, Netherlands.
I love when artists step away from walls and galleries and do other things. One of my favourite Berliners Paul McDevitt and his long time collaborator Cornelius Quabeck have hooked up to release noise drone experimental stuff from Gabriel Saloman of Yellow Swans and Jefre Cantu-Ledesma on their own Infinite Greyscale imprint. The handmade insert, screen print vinyl 10 inches ltd editions are blood gorgeous – even if you havent got a record player.
Working on my next exhibition which is a Mel Brooks-inspired response to the rise of the far right. It opens in Copenhagen Sept 13. Here’s the invite and explanatory press release as a teaser…
Image credit: Dionisis Kavallieratos ‘Heil Filter #2′ (2013) 40 x 31.5 cm pencil on paper
If this debut track is anything to go by, Dornik is stupidly good. I am literally on tenderhooks until this is released properly by PMR Records. Have soundcloud on repeat. Twitter @dornikspeaks
Dornik 'Something About You'
One day only, 8 shows. A perfect Saturday afternoon in London.
As you all may have noticed the end of the world didnt happen last year.In the anticlimax of this none apocalypse I have curated a night of artists’ films at Import Projects in Berlin this Friday at 8pm. Artists included are Robert Boyd, Chris Dorland, Benedict Drew, Myles Painter, David Blandy and Ian James Marshall (pictured above). All details of the night are here.
Mike Nelson is one of those artists that make me get chills. I was very lucky to have interviewed him a couple of years ago for Dazed when he was installing at Camden Arts Centre.
His latest show at Matts Gallery is incredible. You’re only allowed in a certain number at time. Instead of a warren of rooms or an installation, Nelson has created a space filled with odd anthropomorphic sculptures. Odd pieces made from plaster, concrete, sleeping bags, vintage badges, chicken wire, pitchforms. The result is incredible and deeply atmospheric. One of those shows so worth making the pilgrimage to.