Interview with New Movement Collective's Malgorzata Dzierzon - NEST producer & co-choreographer

Malgorzata Dzierzon, photo by Filipe Alcada

The Grade II listed Welsh Chapel on Shaftesbury Avenue, originally designed by James Cubitt in 1888 and counting 1980’s super-club ‘The Limelight’ amongst its past tenants, would soon host an exciting multi-disciplinary dance show for 2 weeks called NEST. Dance, architecture, animation and interactive light technologies combine to create a tapestry of exploration and adventure. Becoming directly involved with a promenade dance performance the audience are free to weave their own experience, threads of movement, structure, and live music draw participants around the striking spaces and hidden corners of a disused former chapel.

We have interviewed the producer & co-choreographer Malgorzata Dzierzon to learn more about the production.

Q1: New Movement Collective is a group of dancers and choreographers. Could you tell us a bit more about how this idea of coming together started?

A: New Movement Collective was formed in 2009 and currently consists of 11 members. Many of us have worked together at some point for Rambert , but our dancers/choreographers  come from diverse backgrounds and have worked with Mathew Bourne’s New Adventures, Wayne McGregor/Random Dance Company and Manchester- based Company Chameleon among others.

There were many choreographers emerging from within the group at the time, often dancing in each other’s work and we wanted to form a platform to showcase our choreography and continue the collaboration.

As NMC we presented 2 separate evenings of choreography, curated by Clara Barbera in Spain, but found that the traditional platforms for dance, such as theatres were quite difficult or too expensive to access.

During this time we started a partnership with AAIS (Architectural Association Interprofessional Studio) which is a post graduate course in performance and design with focus on collaboration, where we take turns to tutor a group of 5-6 students each year. 

This partnership added a new dimension to our work and created performance opportunities in unusual settings - a derelict building in Covent Garden, Matadoro Cultural Centre in Madrid, a post industrial building-turn gallery space in Cologne, Zaha Haidid-designed Roca Gallery in London.

Last year we created our first independently produced full length work, commissioned by Will Alsop for Testbed 1, a 650 sq meters ex-diary space in Battersea. Casting Traces was based on Paul Auster's New York Trilogy and performed within a giant architect-designed paper labyrinth. Following the opening performance we were approached by Stone Nest (former Welsh Chapel) and invited to visit and pitch a production proposal for their building in Shaftesbury Avenue. After a few weeks and several brain storming meetings with a group of invited collaborators we came up with a performance and design concept for NEST, based on Homer's Odyssey.

photo by Laurent Liotardo

Q2: the venue of NEST has not been used for a period of time, what are the key challenges you face when you first started to plan the show in this space? (Any particular exiting or frustrating moments you would like to share with us?)

A: The venue had an immediate appeal to us, not just because of its central location but also its lay out -  visiting the rooms of the former Chapel takes you on a real journey. We wanted to create a performance which gives the public a sense of freedom to explore, yet has enough structure for them to follow. 

The Chapel has gradually revealed itself to us, it has now been stripped down from the remains of the night club/bar era, and the original features became a lot more visible. We wanted to celebrate the building in its glory, so our designs needed to be sensitive and respond to the surroundings, unlike in a theatre, where you can create a new world with the scenery for every act, without e consideration of the building's style or history.

We put a funding application in before Christmas and while we had been able to start the  artistic planning with collaborators beforehand, it would be had been difficult to recruit a crew and technical manager without offering a guarantee of pay and you really need that expertise and man power as early as possible in a venue where all equipment needs to be brought in for the performance. The facilities are being improved for the opening and we are now working with a small technical team, but it is a huge job to provide power and transform the rooms in order to create the desired experience for the public.

Photo by  Andrej Uspenski

Q3: What are the differences between a project in the traditional performance venue and one in an alternative venue like this?

A: Every building is different, unlike with a more traditional performance you can't just turn up with a show and expect to re-created it as is. Each building will have its own technical and access challenges, for the performers and public alike.

The venues we have worked with offer the use of the building and give us a lot of artistic freedom, which is absolutely amazing,  but unlike theatres they don't have departments dedicated to fund-raising, marketing or technical support of the production, so that's our sole responsibility - in addition to choreographing and performing the work. 

Nest Trailer 2 from new movement on Vimeo.

Q4: There are a lot of collaborators from other creative areas involved in the production. How do you feel about the process and how would the production began to take shape with all the various inputs from different directions?

A: We have gathered a team of architects, lighting technology artists, costume designer and composer quite early on. They were all invited to pitch and discuss the ideas together, but their sides of production are being delivered across a staggered time line. 

It was important  for us to have the main set component early, in order to respond and choreograph with it, so the structure designed by architects from Studio Weave was finished a month before the opening. The music composition was delivered around the same time, but with the input from MLF (interactive lighting technologies), Chris and Anna ( the composers) continued to tweak it until a few days last week. We needed the costumes to be delivered quite early in order to generate some production images for marketing and test how the proposed reflective material "behaves" in the light. All departments are invited to feedback, so it was good to allow this time to accommodate any specific requests.

The choreography was developed in a series of research periods and then shared online, as we often work from remote locations in the early stages of the production.

This method has its challenges but also gives perspective and allows more time for reflection. However, it feels good to have everyone working in the same space in the final weeks leading up to the opening - it makes for a lot more enjoyable and productive process. 

Nest Trailer 1 from new movement on Vimeo.

Q5: We understand that the work is site specific. However it is only running for under 2 weeks. Are there any plans for re-runs or tour?

A: We are a young organisation, so we are taking it step by step. We have nearly tripled the amount of performances in comparison to last year's production. We want to continue to offer an intimate, unique viewing experience for the audiences, which means we need to limit the amount of tickets sold per show. We have nearly 30-strong team of artists and crew working each night, which makes for a rather expensive production. In addition, our members have ongoing commitments to their individual projects and employers, such as Rambert which need to be accounted for. 

We are travelling to Denmark this August to re-create Casting Traces at Carlsberg's former brewery site, and we hope to be able to perform NEST in the future as well.

The building is due for re-developemnt, so we will have to see what happens - it is a matter of finding the right space and enough money to bring everyone together again!


The show would be running from 15-24 July only, for details please check this link -

Interview with Ed Gray

Painter Ed Gray is the ambassador of Float Art, an innovative and high-profile art exhibition on the Dixie Queen paddleboat, moored by Tower Bridge. There is also a corresponding art award for emerging artists (deadline for entries is June 2013). The event would be part of this year's Thames Festival. We have interviewed him to learn more about the event and his connection with the River.

Q1: When were you approached for the opportunity to be Float Art's ambassador?
EG: My involvement came through Chris Livett, Director of Thames luxury Charters who own the venue. His enthusiasm for my work led to my show on the Dixie Queen 'Ebb and Flow' last November. The idea of Float Art came from that exhibition GX Gallery and I created for Chris on board the Dixie Queen. There was a real buzz about that show which saw me giving talks about my work to over 750 visitors over the course of the weekend that it lasted.  This event was picked up on by the Adrian Evans of the Thames Festival who loved the idea of using a boat as a floating art space. Davide Mengoli, from GX Gallery had wanted to create an event to showcase the work of graduate artists as extension of the in-house graduate shows they've been holding at GX for some time. Once Chris said we could use the boat again this all seemed like the perfect opportunity. I agreed to help with Floatart because I live in the area and I saw what possibilities are there for the space at my own show. Most importantly I know how hard it is to pick up on your own when you leave art college. Butler's Wharf has had a long connection with artists going back to the late 1980's when they  had their studios in the old disused wharehouses. It's amazing how much the area has changed. Hard to believe it's the same city really.

Vauxhall Bridgefoot, 120x120cm Acrylic on paper

Q2: What are you plans for Float Art? Do you intend to create or select some special pieces for the show?
EG: I'm working on new pieces in the studio. I don't think they'll be ready in time but you never know.

Billingsgate 2, 100x80cm Acylic, chalk and charcoal on canvas

Q3: You have been working with GX Gallery for a decade. How would you sum up the development over the past years?
EG: When I began working with Davide and GX I was a young artist with not much idea about how I wanted to be promoted or how to do it. At first I was wary and concerned about survival and keeping going. I kept to myself and concentrated on solely making my work. I was a school teacher in Peckham at the time. The success of our partnership led me to leave my job as teacher and my paintings sell for much more than I could have imagined after years of sell out shows. I've always tried to stay true to my interests as a painter despite this. Since I've been with GX my work has taken me all over the world. I've lived and painted  in New York and  Mexico, Tokyo and Cape Town. Davide has supported me all the way, giving me invaluable business advice and he's pushed me to have a more public profile. As an artist it's easy to lock the studio door and disappear but my work has gained much from meeting the Londoners that  I paint about at my shows and events and hearing their stories.

City of London  from The Gherkin Looking South, 230cmx180cm Acrylic on paper

: Do you have any works primarily associated with the Thames? If not, why and would you consider making some in future?
EG: The Thames has been a major source of inspiration for me. I've painted several of London's bridges - it's a long term theme of my work. I painted the Dixie Queen and the river from the top floor of  the Gherkin in City of London from The Gherkin Looking South for my Ebb and Flow show. I've also been offered the opportunity to go out drawing on the river on board one of Chris Livett's tugs which I'd love to take up soon. That might lead to some new river work.

Wintry Morning London bridge 2, 120x100cm

Q5: What advice do you have for fresh art graduates? Compared with the times when you graduated and came out of university, do you think the current graduates have more opportunities or less?
EG: I think you create your own opportunities as an artist. There's a lot of people still buying art despite the tough times we live in. Look at the media interest and the queues for the art fairs. When I graduated that was just beginning. Artists were taking control of their destinies and creating a buzz about the work themselves, working in partnership with their galleries. These days digital media means it's easy to do your own  PR if you haven't got someone doing it for you. You can create an online following and let people know about events and shows and the things that are developing in your career. If you engage with it all then the opportunities will be there for you, providing you are true to your work and that you capture the public's imagination in some way. Many artists by nature will not find it easy to engage but I would encourage them look beyond the studio walls and see the possibilities that are out there throughout their careers.

King Henry's Wharf, 100x80cm

Further Reading:
Page - Ed's official website 

mayfair art walk - april 2013

The mayfair art scene has gone minimal and zen last month with the following shows in the neighbourhood.

Bischoff/Weiss gallery

Londoner Nathaniel Rackowe was showing in this simple space on Hay Hill (off Dover Street). The gallery walls are plain white and the floor are laid with zig-zag wooden tiles. It feels like an unoccupied studio/loft space.

Nathaniel's works have created an interesting tension with the gallery space. The sterile cold cathode lights juxtapose with colour neons. Mirrors and sheets of glass form new shadow dimensions within the exhibition space, amplifying the presence of passing-by visitors. These reflections connect individual pieces around together to become an integral piece as a whole, with the visitor's movements injecting a temporary dynamic component to it.

Full photo set here

Gazelli Art House

Over Dover Street, we saw Italian artist Aron Demetz & Korean artist Shan Hur in a joint show. The connection between the works of the two artists are not obvious, in fact it is almost non-existent.

Aron's raw wooden figures are fascinating in the way they tries to represent life in two dimensions - that they are made of timber which was alive in the past and its form are human. He even has fake mushrooms growing from some of the figures, pretending life is thriving again on these dead logs.

this crack is a small-scale replica or Doris Salcedo's giant crack in Tate Modern Turbine Hall? 

Shan's works on the contrary are more site-specific and look like a parody of the gallery experience. As part of the gallery's Window Project, he duplicated the gallery entrance's columns right behind the entrance doors and twisted one of them as one of the show pieces.

Full photo set here


Further Readings
Page: official press release for the Tainted show
Page: Garden fence uprising designed by Nathaniel Rackowe; by Manijeh Verghese for

form, memory and the “thingyness of things” – Ivan Seal in conversation

by Vanessa Champion

Ivan Seal
Contemporary Art Society Centre Street Gallery

Ivan Seal in conversation at the Contemporary Art Society

The room is a bright ash white and Ivan Seal’s paintings seem to bounce off of the walls and straight towards you, inviting you in, drawing you in. Vibrancy of colour, shape and form, they dazzle you with arousing fascination. Moving closer to the paintings, you can see the sculptural application of paint, applied he said “with whatever is in the studio”, including cardboard. The energy and creative passion that’s inherent in each of his works reveals the playful elements of his methods of composition.

He doesn’t paint objects, he doesn’t paint from photographs, he paints from memories and explores the “thingyness of things”. Moments, a connection, a fleeting vision, a passing of time, a “taste”; memories of these things then play out in his mind as he paints. He is driven by what he is thinking in his own space, in that very personal space that is the artist’s studio; as he paints and creates it’s a little like a form of “escapism”. He is fascinated how memory is like a form of architecture, with doors and windows opening, more and more, leading to more and more rooms. Life he says is like art, things “mushroom” more things growing off other things. It’s reflected in his paintings, layer upon layer. Like language, his painting series and production is like an “endless alphabet, a sentence which has no full stop.”

I was particularly taken by his comment that “making art is totally different to viewing art”, something happens when it leaves the studio. The art itself becomes a language. The paintings are there to let the viewer see, hear and interpret what they want to see, to have the internal dialogue, the “fight” he called it.

Each painting is given a title, which as you read them, the words seem at times Latin names for flowers, or philosophical terminology, then the more you look, they become nonsensical, whimsical even, and yet familiar: cylamwosomboot  or  helianphorachinantensis. Must be a nightmare for the curator and proofreader of the catalogue! He generates these new words with a computer programme, thus the paintings and words form a new language platform, a unique method of communication, between you and the painting.

Ivan Seal “ors devurth at seven (swingerbuffetbit)”

The paintings are currently on view at Central, the Contemporary Art Society’s gallery space in London from 24 April until 29 May 2013. The exhibition of paintings is accompanied by some kitsch porcelain ornaments and other small curios from his own collection in low hip high display cases, further highlighting his notion of form and collection over perfection or historical importance.

The talk by the artist was held to celebrate two of his artworks gifted by the Contemporary Art Society to the Norwich Castle Museum and Art Gallery; the works being “Plemploted fowidead” and the accompanying drawing “ors devurth at seven”.

london art/brunch episode 1

the Riding House Cafe x Mark Wallinger's the Underground at Anthony Reynolds Gallery

Our first ever London Art/Brunch collaboration with the Breakfast Boys London was held a couple weeks ago. Organised in less than a month, it was a bit rush but we took the challenge & made it.

Our wonderful breakfast was hold in the private dining room of the Riding House Cafe.

The @Breakfast_Boys and our guests Creative Consultant @matthewzorpas from & Co-founder @katsi111 of 

Artist / History teacher @cmjones85 & Independent champagne merchant @ChampagneEdward

After our sumptuous breakfast and great conversation on a constellation of topics, we got over to Anthony Reynolds Gallery for Mark Wallinger's show 'The Underground'.  

Mark's show is a display of some pieces in his recent city-wide installation with Art on the Underground in an unprecedented scale. It features a labyrinth-like print mounted on the wall of every underground station. This is an exhibition which is truly London and hence the reason we picked it for our debut art brunch.

Video by Jared Schiller - more about the making of this film here

Visit our facebook page album for more images of the day.

We thank every guest joining us for the day and hope they all had a good time. For those who can't make it to our art brunch, don't worry - we would organise the next one very soon! Keep an eye on our twitter and follow both @londonart & @breakfast_boys to make sure you could join next time!

interview with jester jacques gallery

by Tom Rowbotham

The Other Art Fair will open in a week's time (25-28.04.2013), with 'buying direct from artists' as its USP. Jester Jacques gallery is teaming up with the fair's media sponsor FAD to showcase several emerging artists in their stand. We had an interview with co-owner of Jester Jacques, Karen Shidlo to tallk about their participation.

Q: Is there a recurring theme throughout this presentation, 'Electric Moon Candy', in the fair?

A: Each of the artists I chose brings something unique to the show yet they tie together quite nicely. The work of Steven Quinn and Super Future Kid go hand in hand through the artists’ approach and process; both use the cut and paste technique, whether in painting or collage. Both are outwardly playful, with Quinn’s series exploring apocalyptic Americana scenes, whilst SFK’s characters can be a bit haunting and sinister. In a similar vein, the work of Nicholas Goodden offers layered narratives through his tightly composed architectural shots or captures the faint silhouettes of strangers in timeless images of London.

Chris Daniels and Rob Bellman both attended Royal Academy / Royal College of Art and they both lean towards abstraction. Bellman is multidisciplinary, highly adept at installation work, constructing sculptures, and creating drawings, whilst Daniels uses acrylic and oil paints to create an impeccable finish on the surfaces of the paintings allowing the viewer to engage in the strong tensions between figure and ground. The drawings and paintings of these two artists work very strongly together and tackle the fundamentals of colour and form.

Hydapes and Issus by Chris Daniels

Q: What motivated you to choose these artists?

A: I met Steven Quinn and Rob Bellman last year and loved their work from the start; I was simply waiting for the opportunity to show their art. I wanted to exhibit work that worked welltogether, yet showed a variety of genres and techniques; setting out to be bold, whimsical and engaging, I chose Daniels and Super Future Kid, as both are incredibly strong painters with their own compelling style. Nicholas Goodden is an artist I came across online whose photography really captured my attention, and I felt his voice would be cohesive with the other artists work.

Q: Do you have any favourite pieces from the exhibition?

A: I like every piece for a different reason, but I feel that ‘Smoking on the Moon’ by Steven Quinn is particularly poignant and really represents his current body of work. Having spent time with him, I know his process is painstaking and that allows me to appreciate it on another level!

I also love both paintings by Chris Daniels as I have a degree in painting and his work is exactly the kind of painting I am passionate about; I love Ellsworth Kelly and Ab Ex in general, so I really engage with his work.

Scuta II by Chris Daniels

Q: Have you always been interested in curating?

A: Even though I studied painting in college, I interned for most of my 4 years at Pratt Institute and I think that is where my passion for curating started. I worked at a few different galleries, an art agency and an art council on Long Island, and I began to feel that even though I loved painting, my heart was really more in the business side of art.

Curating is only one aspect of my job, and I love it, but I relish every part of what I do, from meeting artists and doing studio visits, to dealing with clients and organizing pop ups, exhibitions and art fairs.

Q: Do you have any advice for young curators?

A: I would say to go to as many museums and galleries as you can and try to make connections. Make mental – or physical, if necessary – notes on similarities you see. Also, when you go to an exhibition that is either particularly exciting for you or has received wonderful press, make sure you ask yourself as you go around what makes it stand out and cohesive? What themes are there, how is the work hung, etc.?

As far as work goes, I know a lot of people are against internships, but I did them for 4 years – sometimes for no pay, sometimes for little pay – and what I learned from them was incredible! Something that they can’t teach you in school, you get real life experience and, if you are lucky, a good connection for the future. Build up as many experiences for your CV and trust me, people will give you a chance, especially if you show that you are hard working.

Legio II by Chris Daniels

Q: What is the most memorable exhibition you have seen?

A: When I was studying in New York City, I went to The New Museum desperate to see an exhibition of Mary Heilmann. When I walked in, I saw the shipping crates stacked against a far wall in a closed off area through the large glass window. It was then that it struck me that they were taking the exhibition down; it was the last day of the show! All of a sudden, a beautiful painting caught my eye. It was ‘Surfing on Acid’ byHeilmann and it was breath taking. I stared at it for a good long time and even though I couldn’t see all the works, seeing that one was enough to satiate me. I was lucky enough to see her solo show at Hauser & Wirth last year here in London.That was wonderful!

Q: What do you have in-store for the near future?

A: After The Other Art Fair, I want to get back to what Jester Jacques is all about – working closely with emerging artists! We will be working on getting more artwork for our online shop, an on-going project which is very slow and tedious, as everything is hand-picked. We meet all the artists, discuss their work and build our stock slowly.

We will also be working on putting together a book, maybe doing a pop up in Shoreditch, definitely another workshop and planning more future events for the long term/later in the year. Perhaps more art fairs! We are also working on a monthly, online curated image gallery, where we select the best submissions of art to our website and work with a guest curator to put it all together to create an online venue of interest, discussion and learning. Our first curator is Tabish Khan, Art Critic for Londonist.

travelling back to the tudors

The Northern Renaissance: Dürer to Holbein
The Queen's Gallery
till 14.04.2013

We were invited to a bloggers preview of this exhibition in the Queen's Gallery earlier. The exhibition celebrates the Renaissance in northern Europe, the counterpart to the revolution in art and scholarship that took place in Italy during the 15th and 16th centuries. In this period, religious changes moved art away from motive devotional scenes to non-religious subjects such as portraiture and mythology. 

It was a fascinating experience to find out the connections among all these different works, and get an glimpse of life in the Tudors era.

St John Devouring the Book by Albrecht Dürer - The invention of printing press has allowed for mass production of art work in the form of illustration prints. 

There are a couple tapestries featured in the exhibition

The Misers by Follower of Marinus van Reymerswaele - it is obvious that bankers in the middle age were not any better than nowadays

This is where the portrait of Henry VIII in everyone's mind comes from - Copy of the destroyed Whitehall Mural

Full photo set here

Curator Kate Heard talked about about how long it has taken to make the show, ‘Exhibitions take some years to plan, from the first idea, through selecting works, researching them, writing the catalogue, working with the conservation and exhibition teams planning the display, to installation.  We have been working on the Northern Renaissance exhibition since 2008. It’s a real treat to be able to spend such an extended time studying and thinking about such wonderful works. And of course it’s really exciting to see it finally all come together.’

Remember to collect your free audio guide when you visit.

The next exhibition after this one in the Gallery continues to look at life during the Tudor's era - "In Fine Style: The Art of Tudor and Stuart Fashion" and would open in May 2013.

Further Readings -
Page: Conserving Holbein's 'Hans of Antwerp'

fitzrovia art walk

It has been a while since we last checked out the art gallery neighbourhood in Fitzrovia (last time we were at Paradise Row for this). Despite the exceptionally cold and gloomy days last month, we found cool stuff in these galleries.

Spaces in Transition by Alfonso Batalla, Chris King, Fernando Perez Fraile and Paul Tucker

Hanmi Gallery
Maria Marro-Perera

Hanmi gallery was holding a show curated by Maria Marro-Perera during our visit. The gallery's interiors is stripped to prepare for a major refurbishment, so it is interesting to see the exposed structure and finishes in contrast to the spaces of the photography works by the artists.

Baby Monitoring by Spanish artist Alfonso Batalla

Works of Chris King shown in the gallery


Winter Group Show

In Wolff Gallery a few minutes' walk away from Hanmi Gallery, we found a handful of playful works by Finn Stone, Susila Bailey Bond and Clay Sinclair etc.

Finn Stone's camera dogs

Love Thy Neighbour by Clay Sinclair

Pop by Susila Bailey Bond - video link


Paradise Row

In Paradise Row, a group show of "contemporary neo-noir ffrom L.A." curated by Price Latimer Agah was on. The inspiration is taken from the sensibilities and concerns of film noir culture that flourished in L.A. in the 1940s and 50s. Works consist of various media from sculpture, installation, painting to film. It feels like walking into a time tunnel in the basement.

Tom and Restored Newspaper #2 (Pre-Resurrection) (2010) by Glenn Kaino

Basement showing film at one end

Full photo set of the above 3 shows here


Rosenfeld Porcini Gallery

Rosenfeld Porcini was catching the London Fashion Week moment and brought German artist Silvia Hatzl's costume-like pieces in town. From the shopfront one almost believes this is a boutique selling neo-millennial minimal pieces. Intriguing enough, the gallery has shopfronts to both Rathbone Street & Newman Street. And the walkthrough experience together with Silvia's dress-like pieces make visitors feel like they are entering a out-of-scale walk-in wardrobe.

View out to the Shopfront at Rathbone Street

Details in a piece

Full photo set here


Further Readings -
Review: Review of Kiss Me Deadly by Róisín Lacey-McCormac on Aesthetica Blog, 12.02.2013
Review: Review of A Fragile Existence by Bob Chaundy on Huffington Post UK, 17.01.2013

top picks in the frieze week 2012

Venue Design by Kevin Carmody & Andrew Groarke for Frieze Art Fair 2011

With the return of Frieze Art Fair to its home town after a trans-atlantic conquer in New York earlier this year, it would be interesting to see how its spin-off fair Frieze Masters would fare among fellow art critics and audience. Continuing its well-praised tradition last year, Carmody & Groarke is reappointed (see photo above) to design the venue of the main fair this year. The Masters show next door would be, interestingly, designed by New York-based Selldorf Architects. It seems the competition between the two global cities are everywhere.

As usual, apart from the Giant Frieze, Moniker Art Fair in Village Underground and Sunday Art Fair in Ambika P3 are catering to a slightly more specific audience and do not cost a penny to get in. For the numerous shows in galleries around the whole city, we have shortlisted the followings for those who have no time to do the window-shopping: (in no particular order)

Kris Ruhs in the Wapping Project - full photo set here

Landing on Earth by Kris Ruhs in the Wapping Project
Kris has created a series of large installations in the power station (see photo above) that have a dialogue with each other as well as the space.

Elmgreen & Dragset's transformed attic space in Victoria Miro

Harvest by Elmgreen & Dragset in Victoria Miro (@victoriamiro) -
The duo who put a bronze boy on a rocking horse on the 4th plinth is making two distinct spaces inside the gallery's two floors in their latest show in town.

snails on junk in one of Bertozzi & Casoni's works in the show

Regeneration by Bertozzi & Casoni in All Visual Arts (@allvisualarts) -
Examine the bizarrely colourful life-like works of the Italian duo which are almost renaissance paintings come alive in 3D.

Left: Untitled 12050; Right: Untitled 12044 (2012) by Lee Knagwook

Invisible by Lee Kangwook in Hada Contemporary -
Korean artist Lee uses colour pencils and charoal to create minimalist works (see photo above) that look vibrant yet intriguing in order as a whole. The sparkle highlights in his works make a glam touch to the works.

Revolver presents works by ten artists made between 1983 and 2012 in discrete spaces in the gallery in a three-part series of short exhibitions. Show 2 features Anna Barham's live installation, Graham Gussin's sepia toned photographs and Tai Shani's sound-tracked installation.

Spazio di Luce by Giuseppe Penone in Whitechapel Gallery (@_thewhitechapel) -
No other artist have made a more poetic piece for Whitechapel Gallery's columned room yet than Penone (see photo above).

Ligurian Sea Saviore (1993) by Hiroshi Sugimoto

Dark Paintings & Seascapes by Rothko and Sugimoto in Pace (@pacegallery) -
If you think David Chipperfield's museum space is a must-see, a joint show of Mark Rothko & Hiroshi Sugimoto inside a space designed by Chipperfield would be one that is seen to be believed. See the above teaser photo. We hope the show can stay forever, it is timeless.



Blastfurnace by Atelier Van Lieshout in Carpenters Workshop (@cwgparislondon) - 
Carpenters Workshop is renown for their taste of craft designs. It is showing a few pieces of AVL's works that viewers can view the chemistry among them when they are all in the same space. 

On a sidenote, there was outrageous queue everyday in the Barbican Curve gallery since its current show opened last week (see below photo), those who live in London should avoid getting there in frieze week to save your valuable time in this period.

Random International (also represented by Carpenter Workshop)'s interactive Rain installation in the Barbican Curve gallery

A Kassen's work in Sunday Art Fair 2011 represented by New Gallerie Paris

A Kassen's work in Nettie Horn, 17A Riding House Street

17A Riding House Street by A Kassen in Nettie Horn (@nettiehorn) -

Danish Collective A Kassen is known for their reaction with the environment and space in their works. The show would see how they respond to the relocated gallery (from Vyner Street) in its new premise and hence an one-off not to be missed.