THE THING IS THE THING - ASC GALLERY - LONDON

5 November – 17 December 2011

Preview Friday 4 November 6-9pm                            

Monday to Saturday 1.30 – 5.00pm

SLAM LAST FRIDAYS / Artist’s Talk: Friday 25 November 6 - 8pm

www.southlondonartmap.com

The Thing is the Thing

This exhibition brings together artists whose work reflects an idiosyncratic response to science and technology. Integral to the work are archetypal elements such as the formalist principles of modernism reflected in colour, geometry and pattern, and re-examined in the context of science, technology or architecture. Alongside are iconographic images of fictitious modernist structures, as well as culturally mediated and personal reinterpretations of images and objects from both science and science fiction.

Taking Frank Stella’s famous epigram ‘what you see is what you see’ as a starting point, the title references endgame strategies. Steeped in the zeitgeist of 1960s minimalism, Stella’s statement can be seen as reflecting the final throws of the prevailing ism-centric and linear history of modern art. In stark contrast, John Carpenter’s 1981 classic The Thing takes some of the paranoia more commonly associated with 50s B movies and relocates it to the edge of the world in an Antarctic research laboratory. The carnage that ensues is spectacular, stretching science fiction towards an apocalyptic gore-fest of special effects and obliterations – an endgame that may be less cerebral but is no less memorable.

The Works

The collection of objects allude to the existence of a once active social group or order. Planetary constellations, acicular patterns and archaic transmitters hark to an age of discovery. The worn and aged surfaces suggest a utility, proposing an involvement in a symbolic act or experiment. Although humble in appearance the works strive to make sense of their environment. Their titles appear to offer explanations to enlighten but their capacity to do so has diminished. The objects, now redundant, become symbolic totems for a quest to make sense of one’s existence.

Orbitor

2011

Straw, acrylic and wood stain

94cm dia x 1cm

For We Tell Thy

2011

Bakelite, brass, wood, plastic, copper, metal fixings, acrylic, salt
201cm x 36cm x 36cm

For We Tell Thy (detail)

2011

Bakelite, brass, wood, plastic, copper, metal fixings, acrylic, salt.
201cm x 36cm x 36cm

We Make Sense

2011

Wood, wax, acrylic, varnish and upholstery pins

54cm dia x 3cm

United in Different Guises XLIX

2011

Acrylic, varnish, cotton, bulldog clips

76cm x 45cm

United in Different Guises LXI

2010

Acrylic, varnish, cotton, bulldog clips

205cm x 138cm

United in Different Guises XLIV

2010

Acrylic, varnish, cotton, bulldog clips

76cm x 45cm

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Publication

ISBN 978-0-9565608-3-4

The Others - Turin - Italy

The Anti-Library - Space - London 2011

04 NOV–17 DEC ²⁰¹¹

THE ANTI-LIBRARY

LIBRARY: "… a private library is not an ego-boosting appendage but a research tool. Read books are far less valuable than unread ones […] You will accumulate more knowledge and more books as you grow older, and the growing number of unread books on the shelves will look at you menacingly. Indeed, the more you know, the larger the rows of unread books. Let us call this collection of unread books an anti-library."

- Nassim Nicholas Taleb

We encounter this provocation in the opening section of Taleb’s 2007 book The Black Swan: The Impact of the Highly Improbable. Citing author Umberto Eco (who himself maintains an impressive anti-library), Taleb goes on to espouse the virtue of the anti-scholar, “someone who focuses on the unread books, and makes an attempt not to treat his knowledge as a treasure, or even a possession, or even a self-esteem enhancement device.” 

The possibility of an anti-library, as well as ideas of anti-knowledge and un-learning, informs a new project in SPACE’s LIBRARY gallery. For six weeks in November and December, the Anti-Library will house unread books gathered from over 150 invited contributors each asked to present a single book from their own anti-library, as well a short text outlining their selection. The project will include submissions from:

Oliver Laric, Cally Spooner, Arnaud Desjardin, Ed Atkins, Åbäke, Jamie Shovlin, Am Nuden Da, Pieternel Vermoortel, Mike Sperlinger, Kathy Noble, Maria Fusco, Kate Owens, Gavin Everall, Ian Law, Francesco Pedraglio, Athanasios Argianas (amongst many others). 

The Anti-Library will be displayed within an environment developed by Fay Nicolson and Oliver Smith, in which all the books and short texts submitted by participating artists will be available to handle and read.

SPONSOR

bloomberg on

Artist in Residence - The Glenfiddich Distillery - Dufftown, Scotland 2011

GLENFIDDICH RESIDENCY - DUFFTOWN, SCOTLAND 2011

http://timellis-glenfiddich-residency.blogspot.com/

Exhibition 2: 30th September - 16th October

Progress Progress Progress / The Happy Valley

The collection of works proposes the existence of a social group or order. Orchestrated from what seem like disparate sources, the author has arranged what appear to be artefacts from a once active society. The characteristics of this society ranges from harmless brotherhoods to specific financial and political objectives. The works operate at various tiers of this social structure from aspiration and indoctrination to exportation and exploration. Conjuring notions of clandestine rites, converted knowledge and exclusivity of members, the collection offers a glimpse of and an engagement with the mechanisms for social order.

From Left to Right: 'With Form becomes Meaning / The Happy Valley', 'For it is the Young that will continue the Progress', 'The Bearers', 'Sun Charmer' and 'The Ambassadors' .

From Left to Right: 'For it is the Young that will continue the Progress', 'The Bearers' and 'The Ambassadors' .

From Left to Right: 'For it is the Young that will continue the Progress', 'The Bearers', 'The Ambassadors', 'Sun Charmer' and 'For all that is Worthy, We Stand For This'

From Left to Right: 'With Form becomes Meaning / The Happy Valley', 'The Bearers', 'For it is the Young that will continue the Progress', 'The Ambassadors' and 

'For all that is Worthy, We Stand For This'

Through Form Becomes Meaning/ The Happy Valley

Leaves, Butterflies, acrylic, metal fixings, varnish, plastic, glass

2011

For It Is The Young that will continue The Progress

Wood, paper, acrylic and metal fixings

2011

The Ambassadors

Wood, metal fixings, plaster, acrylic, varnish, felt, flagons

2011

For All that is Worthy, We Stand for This

Chrome, enamel, wood, acrylic and metal fixings

2011

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List of Works:   Progress Progress Progress / The Happy Valley

Through Form Becomes Meaning/ The Happy Valley

Leaves, Butterflies, acrylic, metal fixings, varnish, plastic, glass

2011

For It Is The Young that will continue The Progress

Wood, paper, acrylic and metal fixings

2011

The Ambassadors

Wood, metal fixings, plaster, acrylic, varnish, felt, flagons

2011

For All that is Worthy, We Stand for This

Chrome, enamel, wood, acrylic and metal fixings

2011

For the Bearers

Copper, plastic, bakelite, Iron, wood, ceramic and metal fixings

2011

Sun Charmer                                                                       

Copper, plastic, wood, acrylic and metal fixings

2011

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Exhibition 1: 12th August - 18th September

Tondi

Acrylic, wood stain, varnish, metal on barrel ends

2011

Tondi the plural of Tondo refers to the shape of the work, a term used to denote a circular work of art. A common characteristic of all Tondi being that the background is largely omitted allowing the foreground to be the main subject of interest. The centres or foregrounds in both works transform the structures or backgrounds from which they have originated. One alludes to heraldic imagery taking the form of a shield, the other a scroll taking the form of a trophy. Both surfaces are worn and split but looked after suggesting a utility. There function now sits somewhere between a communitive role and the symbolic.

 For Those Who Are Our Greatest

Acrylic, enamel, varnish, metal fixings and plastic

2011

The work takes the form of an empty worn plaque or registrar. Using symbolic imagery specific to the area a gilded header and surround frame the work. The colour and design allude to a sense of grandeur and importance. Its title and text conjure notions of persistence and endurance, perhaps withstanding some great feat. Although empty it acts as a proposition for qualifying what is deemed worthy.

SECRET SOCIETIES - SHIRN KUNSTHALLE - FRANKFURT, GERMANY - 2011

SECRET SOCIETIES - SHIRN KUNSTHALLE - FRANKFURT, GERMANY - 2011

Secret Societies. TO KNOW, TO DARE, TO WILL, TO KEEP SILENCE
23. June - 25. September 2011

Man has always been fascinated with secret societies and their clandestine rites, their covert knowledge, and exclusive circle of members. The character of secret societies ranges from harmless brotherhoods to powerful associations with very special financial and political objectives. Particularly in times of crises, secret societies provide surrogate values for the prevailing political, social and technological systems of order.

The exhibition is aimed at answering the question in how far secret societies also reflect certain mechanisms of contemporary art. Drawing on a combination of works of art and historical documents such as books, weapons, and Scotland Yard files, the exhibition pursues the nature of the secret along a labyrinthine course and discloses a range of bizarre and wondrous discoveries. The show’s circle of members includes such presumed artists as Enrico David, Gretchen Faust, Jenny Holzer, Joachim Koester, Terence Koh, Elad Lassry, Fabian Marti, Goldin+Senneby, Markus Schinwald, Ulla von Brandenburg, Carl Michael von Hausswolff and Michael Esposito, Cerith Wyn Evans, and Lisa Yuskavage. A certain degree of darkening will be inevitable, because the knowledge of secret societies has to remain obscure if it is to survive.
Curators: Cristina Ricupero and Alexis Vaillant, Paris
Project Management: Matthias Ulrich, SCHIRN

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Publications

Secret Societies

Secret societies—a somewhat intriguing theme in art context. The publication helps to implement the theme and presents correlations.

29,80 €

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List of works Exhibited 

Font

2010

Ceramic, copper, wood, fabric, wire, wood, acrylic, wood stain and metal fixings

122cm 31cm x 31cm

Allegorical Reflections Part I

2010

Wood, vinyl, enamel and wood stain

88.5cm x 60.5cm x 3.2cm

Phantasmagoria

2011

Enamel, etched primer, spray paint, wood, glass and metal fixings

58cm x 42cm

External Compass

2010

Burn wood, varnish, metal fixing 

32.5cm x 42.5cm x 2.5cm

Allegorical Reflections Part II
2010
Wood, vinyl, enamel and wood stain
88.5cm x 60.5cm x 3.2cm

'FRIENDSHIP OF THE PEOPLES' - Simon Oldfield Gallery - London - 2011

'FRIENDSHIP OF THE PEOPLES' - Simon Oldfield Gallery - London - 2011

Curated by Tim Ellis and Simon Oldfield

EXHIBITION INFORMATION

Friendship of the Peoples

Friendship of the Peoples unites a group of 40 artists through a framework that is structured around the concept of “community” – a word derived from the Latin communitas; a broad term for fellowship or organized society. 

The show explores the very human and primeval desire to belong to something greater than one’s self.   Traditionally a "community" has been defined as a group of interacting people organized around shared common values and interests.  A longing to belong manifests itself on a local level within physical communities, which grow and develop to become more established.  Communities are amorphous; sometimes getting stronger, sometimes becoming lost – but what remains constant is the individual’s desire to assert their identity.

The concept of building a community is at the core of the show and is reflected in the process of selecting each artist as well as what each artist will be asked to submit.   The curatorial approach creates a foundation group of 20 artists to form the basis of the community, who then each propose one other artist to participate in the exhibition; expanding the community.  
Crucially, there will be no overt or deliberate shared intent or theme, other than the objective to create a community.  The core unifying factor is that all artists will be required to submit work that conforms to the idea of a poster which follows these specific requirements:

·         Material: paper

·         Size: A1

The poster was chosen because of its role as an effective tool of communication and because of its undiscriminating nature of its content. The origins of the poster date back to the late 19^th century when the printing industry perfected colour lithograph.  This advancement allowed information to be uniformly mass-produced.  As a consequence, standards and particular restrictions were imposed, such as shape and size, creating a standardized format for communication.

Friendship of the Peoples proposes a greater shared function beyond that of the individual.  The nature of the chain coupled with the ethos behind the poster allows for a transparent manufactured community.  Consequently, the collective works will function as a group that sits somewhere between a communicative role and the symbolic; allowing an engagement with notions of the individual existing within a community.

To Live Beyond Ones Usefulness

Acrylic and Varnish on A1 paper

2011 

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ISBN 978-0-9568329-2-4

The Royal Academy Summer Exhibition - London - 2011

Invited Artist

ISBN 978-1-907533-22-8

'SONS OF PIONEERS' - FURINI CONTEMPORARY - ROME, ITLAY - 2011 - Solo Exhibition

Tim Ellis - Sons of Pioneers

Tim Ellis, United in Different Guises - Midday on the Mount, 2011

Wondering about the unexpressed possibilities of the artefact, altering the purpose to which it was originally put with the intention of reassessing its value and function, bringing out the process that leads a found object to take on a different cultural value.
Tim Ellis’s practice is based on the juxtaposition of culturally different materials and objects and probes both their formal value and their original purpose, obliging the viewer to raise questions about notions of functionality, authorship and display. Through mental relations and the imperceptible alteration of forms, the young English artist declares a sort of relative commitment to the concept of artefact and that of artifice, to the principle of creativity and seriality.

The title of the exhibition refers to the idea of being threatened by the weight of history, while it is laid out as if it were a proposal for the beginning of a new ideology. Both sculpture and painting - models, trophies and testimonies to something bigger - focus their tension on that juncture in perennial balance between the fact and the historical object, between its manufacture and its distribution, suggesting reflections on the role of artifice within the process of production of meaning.

On this occasion the paintings use exactly the same emblem, a sort of iconic monument or totemic construction whose colour varies with the season and the time of day, and in this way opposes the inevitable ravages of time. These works continue the series of progressively numbered paintings grouped under the title United in Different Guises. Proposing as they do a dual function, with a role of representation as well as communication, at the root of their imagery lies an intentional fusion of signs and design, a visual strategy that is then recomposed and codified under a more generically symbolic appearance. Through technical devices such as the bending of the support, the scratching and the progressive and gradual aging of the surface and the colour, the painting itself is transformed into a succession of functional propositions. What is offered to the gaze is in the end an object that brings into question the notions of symbolism and authenticity, allowing the final image to go beyond the confines of painting itself.

Bio: Tim Ellis (Chester, 1981, lives and works in London) studied at Liverpool John Moores 2000-2003 and the Royal Academy Schools 2006-2009. His Solo and Group shows include ‘The Tourist’ 2011 (Solo) Spacex, Exeter, England, ‘A Foundation for Exchange’ Primopiano Lugano Switzerland 2010 (Solo). ‘The John Moores Painting Prize 26’ The Walker Art Gallery Liverpool 2010, ‘Newspeak - British Art Now Part I.’ Saatchi Gallery London 2010. ‘Tag 3 to 36 New London Painting’ Brown Gallery London 2010. ‘New Sensations’ The A foundation London 2009. ‘Alexandre Pollazzon Presents’ Alexandre Pollazzon London 2008, ‘Falling from an Apple Tree’ Wilde Gallery Berlin 2008. ‘Premiums’ The Royal Academy London 2008. ‘The Last Gang in Town’ Arena Gallery Liverpool 2006. Forthcoming exhibitions include ‘Secret Societies’ Schirn Kunsthalle, Frankfurt, Germany.


Tim Ellis | Sons of Pioneers
May 4 – July 16, 2011
Opening: May 4, 6:30pm
Furini Arte Contemporanea, Via Giulia 8, Roma
Open days: Wensday-Friday 1-7 pm, Saturday 3-7 pm
Info: +39 06 68307443, info@furiniartecontemporanea.it
Website: http://www.furiniartecontemporanea.it/

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Installation Views

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Associated Information



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Links

http://www.furiniartecontemporanea.it/eng/news/news/

http://furiniartecontemporanea.blogspot.com/