Gallery run 5th April

To start the Plus1 series, several invites have been made and sent out to people in the art world. This is perhaps the fantasy aspect of this project but sets out some of the key markers that define what Gallery Runner is about. This week features two of the best invites sent out. Alas, for the reader expecting a co-runner already, there are no takers yet. Fingers crossed on this one. Cards went to amongst others, Hans Ulrich Obrist of The Serpentine Gallery and Victoria Siddall of Frieze, featuring on the front covers the best Gallery Runner images acquired from the various shows they staged.

HansSerpentine Gallery, best of.

VictoriaFrieze, best of.

The images from my solo run are shown below and were harvested from a run up to Hackney along the Regent’s Canal. Here Hales Gallery featured and then slightly west, Beers UK. Then we see two artists at BlainSouthern. Michael Werner features on the western flank of the run close to Hyde Park, whilst the run due south brings us to Corvi Mora and Greengrassi. The respective photos of the eight artists showing at these galleries are shown below along with the various captions that have already been used on Instagram.

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Sebastiaan Bremer of Hales Gallery with altered photographs modified through the application of minute drops of paint on the surfaces.

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Daniel Jensen at Beers London with sculptures made from simple everyday materials.

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Mark Posey at Beers London with delicate paintings of still-lifes.

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Wim Wenders of Blain Southern with a selection of his many Polaroids taken during his film-making.

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Gabriella Boyd at Blain Southern with slightly surreal paintings.

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A.R.Penck of Michael Werner with colourful paintings from the 1980’s when the artist had finally crossed from East Germany to the west.

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Government building near Westminster actually looking rather good in the afternoon sun today.

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Myra Greene at Corvi Mora with small photographic portraits that use pigment on glass, a process used 150 years ago and a hint too at the important freedoms won for slaves in the US by Lincoln at the same historic period.

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David Musgrave of Greengrassi with illusionistic paintings of peeling paint.

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Gallery run 1st February

This is Condo season where many London galleries participate in an exchange scheme with galleries from around the world, offering a platform for their artists and a diversity of artistic themes that the London viewing public can experience and enjoy. The day begins with a jog along the Regent’s Canal to Hackney and a first stop at Maureen Paley Gallery. Downstairs, Eduardo Sarabia has exhibited paintings and ceramic vases. The vases contain icons from his Mexican home and though they are rendered beautifully in slick drawing further enhanced by the glazing from a subsequent firing, the viewer quickly realises these are not intended for decorative effect since they depict weapons and the paraphernalia of drug taking.

On the way to the next gallery a stunning house catches the eye. It is large, white and clearly a grand design, but the dissonance that makes it stand out is the large amount of black paint that has been expertly brushed, thrown and sprayed all over its walls in an act of sublime disdain for the modernist ideal of a white cube. These days street art, which is what is on display here, is increasingly engaging with mainstream architecture and it turns out from further internet browsing that this property is by the architect David Adjaye R.A. and proudly bears the name “Dirty House”, whilst its occupants were and may still be the artists Tim Noble and Sue Webster.

At Mother’s Tankstation, a gallery further west in Holborn Viaduct, there is another helping of Condo. Mairead O’hEocha catches the eye with a vivid painting of flowers which is exhibited amongst a group show that combines resident artists with those from the visiting guest gallery. The flowers themselves have distinct patterning and the eye moves from one bloom to another like a hungry bee, no less!, enjoying the sensations of light and colour that the artist has imbued in them.

Finally, back south of the River there is an emerging hub of galleries near Lambeth Bridge. Though the most well known of these is Damien Hirst’s Newport Street gallery, a smaller very interesting space can be found on Lambeth Walk which runs parallel. Here Rob Tufnell has moved into an old shop and located his London gallery. Do not underestimate the importance of this space by its humble context. This is an outfit with a second gallery in Cologne and frequent participations at the international art fairs including Frieze. Amongst a selection of exhibitors, the art collective Inventory has a great sculpture on display consisting of a ladder-like arrangement of computer keyboards. The keyboards are attached like the horizontal bars of the ladder to a vertical hanging structure, but at the base of this display entropy appears to have taken over in the only way possible with such keyboards, namely that their various letters seem to have FAL_EN O_T, causing them to scatter and roll like dice across the gallery floor. LJ.BL..T……K……X..C………L…………….F!


Eduardo Sarabia at Maureen Paley hosted as part of Condo London 2018.


Michaela Eichwald at Maureen Paley hosted as part of Condo London 2018.


Tom Burr of Maureen Paley who are hosting Condo London 2018.


On Chance Street and Whitby Street near Brick Lane.


Andrea Geyer at Hales Gallery with socially charged logos from 60’s women’s publications.


Great Eastern Street art intervention billboard, by Sr.X


Mairead O’hEocha of Mothers Tankstation who are hosting Condo London 2018.


Sam Anderson at Mothers Tankstation as part of Condo London 2018.


Inventory at Rob Tufnell hosting Condo London 2018.

Gallery run 15th November

With a lap round The Serpentine in Hyde Park taking the time up to ten o’clock, the first gallery of today’s run should now be open. But alas, my check of opening times on the internet last night was not done accurately enough and it turns out the gallery is in fact closed today for refurbishments. Fortunately one of their artists, Sanford Biggers, is showing just a few hundred metres away at Phillips auction house. The good fortune of spotting the gallery artist in this alternative venue is further enhanced by the quality of the work. It comprises a delicately stitched, embroidered quilt cover with a back story that it was donated to the artist along with many others from families whose ancestors were effected by slavery. This has become part of the rich historical narrative of the artwork itself.

A few blocks along in Victoria Miro, Stan Douglas is displaying photographic-based work. Although primarily the show focuses on high-resolution photographic reconstructions of the London riots of 2011, there are also two abstract works. These additional abstract works are fascinating because they are actually based on simple jpeg images of geometric shapes but where the information of the original digital files has been altered in a systematic way. The resulting rhythmic patterns, we are told, reveal the wave patterns that make up the structure of all jpeg files.

Nearby in the hub of galleries close to the Royal Academy, Pace Gallery is showing some of the American Abstract Expressionists. The dominant figure in this group, at least from an historic perspective, is Kenneth Noland, and the show builds on this popularity by also including works from other important artists from that movement including Frank Bowling and Sam Gilliam. The former has poured paint down the canvas and despite the absence of a brush, has created an elegant and ordered painted surface, evidenced by the clean boarders on either side of a main channel that comprises a complex multi-layered surface of paint. Meanwhile, the latter artist has removed his canvases from their stretchers altogether. They have been bunched up into a few hanging points and suspended from the gallery walls.

The London art scene is buzzing right now with the Basquiet show at the Barbican. Today’s run actually takes in a concurrent show in the building’s second gallery, known as The Curve. John Akomfrah has collected a multitude of chemical containers with their coloured residues still visible in white plastic grooves. He has then suspended them from the ceiling where they mingle with the lighting to create a stunning spectacle of glowing white plastic. The artwork actually references the anthropocene, an emerging name for Earth’s most recent age, and one that is characterised by human influence rather than geological change. On this account, the artwork draws more attention, in fact, to the pollution of these chemical containers than to their sublime beauty. Perhaps also on this solemn note, it is where today’s blog comes to a close, though the run itself would take in David Blandy at Seventeen, Omar Ba at Hales Gallery, Alan Belcher at Greengrassi and Abel Auer at Corvi Mora, all offering great exhibitions over the rest of the day.

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Sanford Biggers of Massimo De Carlo on show, and for auction, at Phillips.

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Stan Douglas at Victoria Miro with a manipulation of a jpeg file. These familiar digital files, used for storing images, use clever techniques to compress them and the artist has intervened in some way to produce an image that reveals this underlying technique as an image of its own.

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Frank Bowling often represented in London by Hales Gallery on show here at Pace Gallery.

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Sam Gilliam at Pace Gallery with a detached canvas.

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John Akomfrah represented by Lisson Gallery showing at Barbican. These are chemical containers that the artist has used to represent, with some beauty, the Anthropocene, our current geological time period by some accounts.

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David Blandy of Seventeen Gallery with a digital reconstruction of the solar system.

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Omar Ba of Hales Gallery draws on the experiences of his native Senegal to develop his rich symbolic language in paintings.

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Alan Belcher at Greengrassi with paintings of geometric objects that accompany, in his show, paintings of ducks, fish and shellfish each having a surreal quality.

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Abel Auer of Corvi Mora.

Gallery run 20th October

At Stephen Friedman Gallery Rivane Nauenschwander has produced an installation based on the Brazilian version of the board game known in the UK as risk. Flags represent the individual countries that the players would normally roll dice for in their pursuit of world domination. Long all-nighters with friends playing this game have imbued this artwork with a particular aura for me. Round the corner in Grafton Street Sprueth Magers have been doing a refit to their gallery. It looks very slick and the formerly creaking floorboards have now been lovingly preserved and firmly secured. Gary Hume has experimented with gloss paint on paper and the effect is very interesting. The painted surface takes on a mottled form due to the paper support yielding in some way to the gloss, yet it still looks as though it has the solidity of a worked and beaten metal support.

Further down Grafton Street at David Zwirner, Sherrie Levine is displaying work made by re-photographing some iconic images made in a 1940 project to document rural American life during The Great Depression. The display itself is striking with about 50 images hung in a perfect grid on the gallery wall. After visiting this hub of three closely placed galleries the next stop is Grosvenor Hill where Almine Rech and Gagosian have created a new hub comprising two expansive white spaces. The former gallery is showing Ernst Wilhelm Nay. The abstract paintings are reminiscent of seeds and foliage yet they are not restricted to this interpretation. This ambiguity lends them an additional magic which also complements their perfect balance of colour.

The word is out that Almine Rech and Gagosian have teamed up with the estate of Tom Wesselmann. Both galleries have produced identical press releases describing the artist’s shaped canvases that predominate in his series of bedroom paintings. Various bedside objects such as clocks and designer lamps interweave the limbs, feet and hands that the artist has sketched and then blown up into full size paintings. In the Gagosian on Davies Street a subtle black and white maquette of two painted boards placed in front of one another simulate the two ends of a bed. A large pair of elegant feet obscure the rest of a body whilst the lamp peers out from further behind. This completes the Mayfair region for today and now it is time to embark on the old favourite route along the Regent’s canal whereupon one arrives at the gas storage frameworks that offer a familiar landmark for Hackney.

Two of the new galleries exhibiting at Frieze this year are Campoli Presti and Hales gallery, whilst a new artist has been taken on at Herald Street, called Jessi Reaves. These additions offer the chance to see three new artists in this region of the city which is really the birthing place for new talent and with its exceptionally high rate of Turner Prize nominations is also sustainable in its own right with no need to interact with or be fostered by the Mayfair galleries to the west. Jessi Reaves is an American artist and hence of international importance, who makes sculptures from old furniture. The assistant in the gallery invites me to sit down on the rebuilt comfy chairs and this highlights the critical space that the work operates in, being utilitarian in some respects but stripped of any designer chic. Concluding this exploration after a quick stop at Beigal Bake is a visit to Hales gallery. Since its early days on Deptford High Street as a well respected gallery cafe, it has now become important internationally. Frank Bowling is one of seventeen artists on their books and he is showing colourful abstract paintings incorporating small objects offered up by friends, as well as cutting and sewing, which all contribute to a complex and interesting surface.

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Rivane Neuenschwander of Stephen Friedman Gallery with an installation based on the board game risk. Each flag represents a risk territory. On the back is written “war”. This would be “risk” in the Uk version.

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This paving slab on Grafton Street appears to be made up of two parts?

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The gallery is open again! Gary Hume of Sprueth Magers uses his trademark gloss to produce a mottled finish on paper in his new works.

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Sherrie Levine has rephotographed and appropriated American Depression photos of farmers by Russell Lee. What was once an attempt to boost morale when they were made in 1940 has now become historical document. Shown at David Zwirner gallery.

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Ernst Wilhelm Nay at Almine Rech Gallery. Beautiful images with natural motifs but in bright colours.

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Brice Marden of Gagosian using terre verte, green earth pigment, from several well known paint suppliers, has produced 9 canvases of varying greenness.

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Tom Wesselmann at Gagosian with Bedroom Paintings.

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Jessi Reaves of Herald Street with sculpted furniture, cut up and reassembled.

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Frank Bowling of Hales Gallery with abstract compositions on stitched canvases.