14 October 2019
14 - 24 October 2019
Open daily from 10:00 to 18:00
Beyond a dull moment is a collaborative project by Eugene Macki that turns St. Augustine’s Tower into a temporary studio.
The space will be used for production, reading, as well as to stage experimental performance.
Eugene Macki invites eleven artists working across a broad spectrum; Emily Durtnall, Barbara Tong, Oona Culley, Robin Footitt, Arlene Wandera, Jinyong Park, Steve Hines, Jennifer Booth, Hester Reeves, Anita Delaney, and Fanny Aboulker.
Each day throughout the duration there will be two or more artists in the space at the same time.
St. Augustine's Tower Hackney, St. Augustine's Tower, Kingsland, London E8 1HT, UK
22 July 2019
Exhibition featured on Art Mirror HERE
1 July 2019
... "Having a bilingual title was my way of introducing this thought of duality – the English term clutch has a host of meanings, I found out that it’s even used in sports as a way of describing someone who came through in a difficult or trying time. Now, I asked a Portuguese friend if there was a similar term and he gave me two suggestions “agarrar” which means to grab, grasp, hold, cling, seize, clutch… the other was “apertar” which is to tighten, press, squeeze, pinch, clamp, clutch… so even in this I was reinterpreting meaning! Ultimately it will be about finding an unsettled middle ground – I’ve also played with the Portuguese language in some of my titles, finding symmetry in palindromes such as ‘Luz AzuL’, ‘SaraS’ and ‘SeleS'. The visual influence of Lisbon is included in a use of repeated azulejo tile patterns from Museu Nacional do Azulejo as well as producing a tile pattern directly from a sample of ‘Les raboteurs de parquet’." ...
4 June 2019
In his first exhibition at the gallery British artist Robin Footitt examines what is lost in the connection between working with our hands and how we now operate technology. Communicating in a visual language through disparate materials including drawing, print and collage, Footitt takes a thought or larger idea and deconstructs its meaning by stretching and testing its boundaries. CLUTCH typifies this practice and highlights the need to create in addition to the gentle touch of a digital screen or contactless transaction by grasping at something tangible beyond.
The principle works feature images superimposed on synthetic textiles. Building a narrative around the construction of virtual space, Footitt employs a multiple “image search” contextual premise that fluctuates from French Impressionist Gustave Caillebotte’s ‘Les raboteurs de parquet’ which reveals the act of painting by showing the bare canvas beneath the floorboards being scraped. Presented alongside a rendition of the painting is a remixed study of the balcony iron fretwork endlessly repeated in the Portuguese azulejo tile tradition as well as two additional examples from Museu Nacional do Azulejo, Lisbon. The Lycra patterns were obtained by replicating the magnified red, green and blue pixels present on various display phone, tablet and monitor screens in cut paper collage, the nine original designs shown here for the first time.
This sense of a shifting composition is also present in the 2016 series of three screenprints (LIKE, SHARE, COMMENT) which fracture the shape of language and recomposit their elements into the dimensions of a social media profile image depicted in Facebook Blue. The visual language of social media reoccurs in a series of hand studies with “blur effect” spray painted edges commonly used to square an image on Instagram. These drawings mimic the pointed finger cursor icon often used as alternative to the arrow in modern computing.
Robin Footitt (b. 1982) studied at Central Saint Martins and Royal College of Art, London. Footitt lives and works in Bow, East London and is a former resident of Acme Studios’ Fire Station Residency, Bromley-by-Bow, London (2010 – 2015), The Florence Trust, London (2009) and Cité Internationale des Arts, Paris (2008). Recent exhibitions include Open Window (2018) and Modern Grammar (2016) New Art Projects, London; What Cannot Be Contained, Smiths Row, Bury St Edmunds, Suffolk (2015); The Trouble With Painting Today, Pump House Gallery, Battersea Park, London (2014); Closed Circuit Saga, Edel Assanti, London (2014); A Town Without Pity, 4 Windmill Street, London (2013).
Carlos Carvalho Arte Contemporânea, R. Joly Braga Santos, Lote F – R/c 1600-123 Lisboa Portugal
Nesta sua primeira exposição em Portugal, o artista britânico Robin Footitt investiga o que é perdido na nossa relação com o trabalho manual pela forma como agora operamos os meios tecnológicos. Comunicando numa linguagem visual através de materiais diversos, incluindo desenho, fotografia e colagem, Footitt detém-se num pensamento ou numa ideia e desconstrói o seu significado por intermédio de uma operação de extensão e de teste aos seus limites. CLUTCH tipifica esta prática e destaca a necessidade de criar, simultaneamente ao toque macio de um écran digital ou à transação comercial contactless, algo além do tangível.
Os trabalhos principais apresentam imagens sobrepostas em tecidos sintéticos. Criando uma narrativa em torno do conceito de espaço virtual, Footitt emprega uma “pesquisa de imagem” múltipla, uma premissa contextual que deriva do trabalho ‘Les raboteurs de parquet’ do Impressionista francês Gustave Caillebotte quando este mostra a tela crua atrás das placas de madeira do soalho a serem raspadas. Ao mesmo tempo que apresenta este retorno à pintura, expõe um estudo remixado de uma varanda de ferro que é repetido infinitamente seguindo a tradição do azulejo português, além de outros dois exemplos adicionais recolhidos do Museu Nacional do Azulejo, em Lisboa. Os padrões de Lycra foram obtidos pela replicação de pixels vermelhos, verdes e azuis amplificados que estão presentes nos vários dispositivos como o telemóvel, tablet ou écran de monitor aqui mostrados em colagens com papel cortado, nove desenhos originais expostos pela primeira vez. Esta sensação de composição em movimento é também mostrada na série de três serigrafias (LIKE, SHARE, COMMENT) que fracturam a forma da linguagem e recompõem os seus elementos nas dimensões de uma imagem de perfil das redes sociais representada em azul Facebook. A linguagem visual das redes sociais reaparece numa série de desenhos de mãos com spray de “efeito borrão” usado frequentemente para enquadrar uma imagem no Instagram. Estes desenhos imitam a representação do dedo indicador usado como ícone do cursor como alternativa à seta nos computadores modernos.
Robin Footitt (Londres, 1982) estudou na Central Saint Martins and Royal College of Art, Londres. Footitt vive e trabalha em Bow, East London e foi residente dos Acme Studios’ Fire Station Residency, Bromley-by-Bow, Londres (2010 – 2015), The Florence Trust, Londres (2009) e Cité Internationale des Arts, Paris (2008). Exposições recentes incluem Open Window (2018) e Modern Grammar (2016) New Art Projects, Londres; What Cannot Be Contained, Smiths Row, Bury St Edmunds, Suffolk (2015); The Trouble With Painting Today, Pump House Gallery, Battersea Park, Londres (2014); Closed Circuit Saga, Edel Assanti, Londres (2014); A Town Without Pity, 4 Windmill Street, Londres (2013).
Carlos Carvalho Arte Contemporânea, R. Joly Braga Santos, Lote F – R/c 1600-123 Lisboa Portugal
15 May 2019
Carlos Carvalho Arte Contemporânea PHOTO LONDON 2019
Presentation of Anthony Goicolea, Isabel Brison, Jessica Backhaus, Mónica de Miranda and Robin Footitt. Carlos Carvalho Arte Contemporânea, Lisbon, Main Pavillion, Booth G6; May 16 - 19
Wednesday 15th May | Preview Day | VIP + Public Vernissage 6 - 9pm
Photo London was created to give London an international photography event befitting the city’s status as a global cultural capital. Now in its fifth edition, Photo London has established itself as a world-class photography Fair and as a catalyst for London’s dynamic photography community. From the capital’s major museums, to its auction houses, galleries large and small, right into the burgeoning creative communities in the East End and South London, Photo London harnesses the city’s outstanding creative talent and brings together the world’s leading photographers, curators, exhibitors, dealers and the public to celebrate photography, the medium of our time.
Along with the selection of the world’s leading galleries showing at the Fair, Photo London presents the Discovery section for the most exciting emerging galleries and artists; there is an original Public Programme bringing together special exhibitions, installations, a Talks Programme curated by William A. Ewing, renowned curator and writer, former Director of the Musée de l’Elysée, and former Director of Exhibitions at the International Center of Photography, New York. Each edition of the Fair also sees a number of Awards announced, headlined by the Photo London Master of Photography Award. Beyond the Fair, Photo London regularly hosts Pre-Fair Talks and related events engaging with the craft, market and knowledge of photography.
Photo London is a place to encounter the most innovative emerging artists, new work by established masters and rare vintage pieces, and as such is guided by a Curatorial Committee comprised of some the field’s most esteemed curators, critics and museum directors.
A high level Advisory Board advises on the development of Photo London. The members of the Board play a key role in encouraging the development of the various networks on which Photo London depends. The Advisory Board is committed to maintaining Photo London as a major event in the international art world calendar.
PUBLIC HOURS:
THURSDAY – FRIDAY, MAY 16, 17 (12noon – 9pm)
SATURDAY, MAY 18 (12noon – 7:30pm)
SUNDAY, MAY 19 (12noon - 6:30pm)
One Day Pass - £ 27.00. Access to Photo London on the selected day
Weekend Pass - £ 32.00. Unlimited repeat access between 18-19 May 2019. Ticket is non-transferable
Student Day Pass - £ 19.00. Student ID is required upon entry
Student Weekend Pass - £ 27.00. Student ID is required upon entry
Youth ticket (13-17) - £ 19.00
Child ticket (0-12) - £ 0. Must be accompanied by an adult with a pass or VIP card at all times. School groups and group bookings of 10 or more please email info@photolondon.org
Photo London is located at Somerset House, Strand, London WC2R 1LA
All exhibition spaces at Somerset House are fully accessible
Tickets and Security
Security checks will be made at the entrances to the Fair located at the Strand and Victoria Embankment. Security Searches will be carried out at these entrances. It will not be possible to enter Somerset House and the Fair via the River Terrace from Waterloo Bridge.
All visitors to Photo London are required to present their ticket before entering the Fair, but once inside they will be able to move freely between the galleries without having to present their ticket again.
Bag Policy
Please do not bring large bags to the fair unless absolutely necessary. Visitors will be asked to put backpacks, suitcases and other large bags (anything bigger than a laptop bag) into the cloakroom before entering the Fair. Only one bag per person is allowed inside the Fair.
Cloakroom
Small bags, coats and umbrellas may be left in the cloakroom situated in the New Wing at Somerset House. Backpacks, suitcases and large bags will incur a £2 charge per item. Small bags (anything laptop-sized or smaller), coats and umbrellas can be checked free of charge. Photo London is not liable for items left in the cloakroom.
Entrances
Strand
Security check. Best for Box Office and Cloakroom. Enters directly onto courtyard Pavilion, with access to Seamen’s Hall and all levels to Somerset House.
Victoria Embankment
Security check. Best for the Embankment Galleries, Stamp Stair and Screening Room. Elevator access to Seamen’s Hall.
The Somerset House information desk is in Seamen’s Hall.
Public Transport
London Underground
Temple (Circle & District lines), Embankment (Circle & District lines), Charing Cross (Bakerloo & Northern lines), Covent Garden (Piccadilly line)
Rail
Charing Cross, Blackfriars, Waterloo
Bus
Buses 1, 4, 6, 9, 11, 13, 15, 23, 26, 59, 68, 76, 87, 91, 139, 168, 171, 172, 176, 188, 243, 341, 521, RV1 and X68 all pass along the Strand and/or Aldwych, stopping within 100-200 metres of Somerset House
5 February 2019
... "Open Window is the second solo project I’ve had at New Art Projects, and continues a theme which takes modernism into the realm of communication through image abstraction when using technology. The perception of an open window has changed in recent times from a sense of escape and outward potential to a much more singular, internalised, anxious pursuit born out of working on layered computer screens." ...
5 February 2019
... "Open Window broadly speaking is a feeling that something has been lost in the connection between working with our hands and how we operate technology. I see it as a two-word poem rather than a title - the thought that an open window was once a symbolic means to break free and escape the life you are living has been shattered by its basis in computer terminology as the area of the screen you are presently working on in real time. It's a jarring thought when you anticipate the human interaction with a binary system." ...
13 October 2018
An open window was once symbolic of freedom, escape and new greener pastures. The term open window has now been applied to on screen work activity. For Robin Footitt’s second exhibition at New Art Projects he comments upon the way in which the now familiar language of the screen, tablet or smart phone can sometimes complicate or obsure the real meaning of an image.
The new digital formats of viewing images have become so widespread that their limitations are forgotten. We swipe, we enlarge, we delete, we touch, we copy, we paste… we edit. It has become a new language in our lives, with new gestures and a new form of mark making which impact on Footitt’s process of making art.
Napkin Variations comes from a series of drawings scaled to the dimension of his own phone screen. The playful unfolding of a napkin becomes a time-based ritual for idle hands, arranged in a composition familiar as a window. The open window is manipulated to “square” the drawing and the image is cropped to fit the dimensions of the social media platform Instagram.
This exhibition also extends the themes from his previous exhibition Modern Grammar,2016. In You Left Me he revisits the plurality of loss with three images of an undeveloped 35mm camera film, three photographs captured but never resolved – only to be developed years later when both moment in time has passed and the photographer has passed away.
As well as exhibiting his solo show Robin will also be curating The Toast, an exhibition of his contemporaries.
THE TOAST
Appau Jnr Boakye-Yiadom / Stewart Cliff / David Edwards / George Little / Eugene Macki / Simon Mathers / Sarah Poots
“The Toast is loosely based on experience – every unappreciated person has been overlooked at some point in their lives, whether it is to be marginalised or simply underplayed at a significant stage of their development. It is my wish to turn these occasional setbacks into a positive appraisal and look towards my peers and their own practices, celebrating what is relevant to art making and, in a generational sense, current today.”
- Robin Footitt
Appau Jnr Boakye-Yiadom (b. 1984) London, lives and works in London, studied at Winchester School of Art and Royal Academy Schools. Recent exhibitions include; V22 Young London, London (2018); Michael Jackson: On The Wall, National Portrait Gallery London (2018); Cuchifritos Gallery & Project Space, New York, USA (2018); Fashion Arts Commission 2017/18, Christies London (2018); Naming Rights, Thomas Dane Gallery, London (2017) Untitled: Art on the Conditions of Our Time, New Art Exchange, Nottingham (2017); Critical Contemplation with 198 Contemporary Arts and Learning, Tate Modern, London (2017). Screening work at Serpentine Gallery, London (2017), as part of Intimate Trespass: Hapticality, Waywardness and the Practice of Entanglement on the occasion of Arthur Jafa’s solo show. Upcoming shows include Untitled, Kettles Yard, Cambridge, UK (2020), Solo Presentations, Jerwood Space, London (2019). Boakye-Yiadom has been awarded residence at Villa Lena, Tuscany, Italy (2019) and is a recipient of Jerwood Visual Arts Artist Bursary (2017)
Stewart Cliff (b.1982) studied at Goldsmiths College and Royal Academy Schools. The recipient of Jerwood Painting Prize (2010), New Contemporaries (2008) and Richard Ford Award (2005). Recent exhibitions include; V22 Young London, London (2018); The Sleeping Procession, Cass Sculpture Foundation (2017); New Relics, Thames Side Project Space (2018) and Fade Out curated by Francesca Gavin (2014). Forthcoming projects include Benetton Imago Mundi project
David Edwards (b. 1977) studied at Chelsea College of Art and Royal College of Art, London. Edwards works in Bow, East London. Exhibitions include Bow Open, Nunnery Gallery, London (2017); The Harboured Guest, 4 Windmill Street Gallery (2012); Masters in Photography, Royal College of Art, London (2012) and Festival Alt. +1000, Rossinière, Switzerland (2011)
George Little (b.1988) studied at University of Brighton and Royal College of Art. An Anglo-Danish national, Little lives and works in Hackney and Stockwell, London. A participant in Arte Contemporanea Prize (2017-18) and Bloomberg New Contemporaries (2012-2013). Recent exhibitions include Split Bisque, Deweer Gallery, Belgium (2017); Peace, Love and Happiness, Curated by Kris Day, Menier Gallery, London (2017); Modern Talk: Gunther Forg, Deweer Gallery, Belgium (2016); Painting Made and Do It, Dot Project, London (2016); Under The Cloche, Bosse And Baum, London (2015); Tutti Frutti, Turps Banana Gallery, London (2015); New Order II, Saatchi Gallery, London (2014); Classification Bouillabaisse, Ana Cristea Gallery, New York (2013). Little has also widely participated in art fairs in New York, Los Angeles, Brussels, Milan and Dallas. This summer Little has been working on an installation and exhibition for the Drake Hotel, Toronto.
Eugene Macki (b. 1988) studied at Chelsea College of Arts, London and Sheffield Hallam University, South Yorkshire, England. Macki lives and works in Hackney, East London and was awarded a fellowship to attend Skowhegan School of Painting and Sculpture: Summer Residency Program, Maine, USA (2018). Previous residencies include Threads Micro, Folkestone (2018), Unit 1 Gallery | Workshop, London (2018), Atelier Austmarka, Norway (2015) and The Muse Gallery, London (2014). Recipient of the Departure Foundation Studio Bursary, London (2011 – 2013). Recent exhibitions include; Substitution and other Enacted Stories, The Stone Space Gallery, London (2018); Artist Film Festival, The Bomb Factory Art Foundation, London (2018); Open Biennial, NN Contemporary Art, Northampton (2018); Drawing for Sculpture, 2021 Visual Arts Centre, Lincolnshire (2017); Draw the Line, Surface Gallery, Nottingham (2017).
Simon Mathers (b. 1984) lives and works in London. He studied at Goldsmiths and Royal College of Art, London. Recent solo shows include Bad Butter, Lyles and King, New York (2018); You Are Underground, Gianni Manhattan, Vienna (2017) and Beyond the Trees, Canopy Project Space, Brussels (2016). Mathers was also included in 2016 sommer.frische.kunst residency project in Bad Gastien Austria and has recently come back from painting in Mexico where he made a new body of work on paper as well as organising Mystery Dramas, a roving project space that takes place in rental cars; the first of which was an exhibition by Finnish artist Aki Ilomaki. Current exhibitions include Ahhhhh Real Monsters, Clages, Cologne; a group presentation with Gianni Manhattan at Vienna Contemporary and a solo show at Akbar Project Space in London, all in September 2018.
Sarah Poots (1982, N. Ireland) studied at the Royal Academy Schools, London and Glasgow School of Art, Glasgow. She lives and works in London and Nottingham and is a previous recipient of the Acme Studio’s Chadwell Residency. Solo exhibitions include One unit and the next, ANDOR, London (2015) and Can be used over and over, CCA, Londonderry (2014). Recent group exhibitions include; Marching through the Fields, Warbling Collective, London (2018), The Manchester Contemporary, Syson Gallery (2017); Outpost Open, selected by Chris Rawcliffe and Lynda Morris, Norwich (2016); You can’t blame gravity for falling in love, Lychee One, London (2016); The Plymouth Open, Plymouth University(2015); Autocatalytic Future Games, No Format, London (2015); Stopped Clocks in Places of Busyness, Fold Gallery, London (2013); Artist of the Day, selected by Bridget Smith, Flowers Gallery, London (2013); John Moores Painting Prize, Walker Art Gallery, Liverpool (2012).
31 January 2017
Ten Years of Solo Focus
Pier 90, New York, USA
New Art Projects, London (Booth D2)
Wednesday 1st March 2017 | Guest of Honour Preview 5 - 7pm | VIP + Public Vernissage 7 - 10pm
VOLTA NY is the invitational fair of solo artist projects and is the American incarnation of the original Basel VOLTA show, which was founded in 2005 by three art dealers as a fair “by galleries, for galleries.
New Art Projects is pleased to announce a Solo Presentation by Robin Footitt.
Robin Footitt looks at the way we use our online presence, complete with its own language of emoticons, to punctuate our lives. His work alters distorts and reassembles the grammar of social media.
Robin Footitt (b. 1982) studied at Central Saint Martins and Royal College of Art, London. Footitt lives and works in Bow, East London. Footitt is a former resident of Acme Studios’ Fire Station Residency, Bromley-by-Bow, London (2010 – 2015), The Florence Trust, London(2009) and Cité Internationale des Arts, Paris (2008). Recent exhibitions include Modern Grammar, New Art Projects, London (2016); What Cannot Be Contained, Smiths Row, Bury St Edmunds, Suffolk (2015); The Trouble With Painting Today, Pump House Gallery, Battersea Park, London (2014); Closed Circuit Saga, Edel Assanti, London (2014); A Town Without Pity, 4 Windmill Street, London (2013).
PUBLIC HOURS:
THURSDAY – SATURDAY, MARCH 2 – 4 (12noon – 8pm)
SUNDAY, MARCH 5 (12 – 5pm)
General Admission $25
Students/Cultural Institutions $20
Groups (10+) $20
VOLTA NY / The Armory Show Combination Ticket
Single Pass $60
Groups (10+) $50
Mutually acknowledged VIP access between VOLTA NY and The Armory Show
DIRECT SHUTTLES:
Direct shuttle from The Armory Show, Pier 94 to VOLTA NY, Pier 90
PUBLIC TRANSIT:
C and E train to 50 Street / 8 Avenue
1, A, B, C, D to 59 Street / Columbus Circle
For general enquiries please contact us at info@voltashow.com
For enquries regarding our VIP Preview please contact us at vip@voltashow.com
12 September 2016
Dojo App Modern Grammar feature HERE
12 September 2016
... "This exhibition is a significant step forward for me as New Art Projects is a vast space with four separate rooms - overlap is not necessary here and I can afford to be more generous with how I present ideas in paintings, prints and sculptures. Many of the works in this show break down or reform previous structures and that is where the consideration to Modern arrives." ...
18 August 2016
18 August 2016
17 May 2015
What Cannot Be Contained
21st May – 4th July
PV Thursday 21st May 6-8pm
Robin Footitt, Loukas Morley, Claire Price
What Cannot Be Contained is a group exhibition which offers different propositions towards an understanding of contemporary painting.
The exhibition places its focus on the enduring appeal of the materiality of paint, through the work of three artists who use painting as their primary medium or as a central part of their practice. Prioritising the very act of painting and the nature of paint itself, it can be said the works within What Cannot Be Contained speak as much of ‘painting’ as they do of ‘painters’.
The use of abstraction weaves between the artists’ works, with gestural, physical, performative and perceptual concerns all pronounced. From spirited and generous uses of colour, texture and layering, sculptural properties emerge. The painted works explore the possibilities and restrictions of the canvas or surface, where edges both confront and contain paint, shifting the emphasis towards the technical and material parameters of the painterly process. For Footitt and Price, this extends to an interest in a choreographed installation of their work, which further resists traditional approaches to reading painting.
How do these artists expand or distil notions of contemporary painting? This exhibition aims to resist foreclosing any possibilities, instead choosing to offer painting as a medium that materially, physically and theoretically, thrives when it is not contained.
Smiths Row
The Market Cross
Cornhill
Bury St Edmunds
Suffolk
IP33 1BT
Opening times:
Admission to Smiths Row is free
Monday – Saturday
10.00am – 5.30pm
Sunday
11:00am - 4:00pm
Contact:
+44 (0) 1284 762081
8 December 2014
A Union of Voices
13th December – 18th January
PV Friday 12th 6-9pm
A Union of Voices unites a group of 108 artists through a framework that is structured around the concept of “community”. The exhibition explores the human and primeval desire to want to belong to something greater than one’s self. This wanting to belong manifests itself within all communities, growing, responding and developing, uniting all within it. For the exhibition each artist has been asked to responded to the concept, bringing their own set of values and asserting their own position and identity.
At the exhibitions core is the concept of building a community and this 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 54 artists to form the basis of the community, who then each propose one other artist to participate in the exhibition, thus expanding and ultimately doubling the community over a geographically broad area.
The book was chosen because of its role as an effective tool of communication and because of the undiscriminating nature of its content. This allows all participants to freely reflect the depth of their artistic practices and as a whole create a dynamic and artistically varied library.
A Union of Voices proposes a greater shared function beyond that of the individual. The nature of the chain coupled with the ethos behind the book allows for a transparent manufactured community. Consequently, the library allows an engagement with the notions of the individual existing within a community.
Artists
Bruce Asbestos | Robert Barta | Dominic Beattie | Rob Bellman | Hannah Birkett | Katrina Blannin | Juan Bolivar Guy Bourner | Milo Brennan | Joey Bryniarska | Rachael Champion | Rian Coughlan | Rhys Coren | Stewart Cliff | Jack Cheetham & Alex Sarkisian | Kelly Chorpening | Chris Daniels | Karen David | Maria De Lima | Alexander Devereux | Steve Dowson | Luke Drozd, Marion Jdanoff and Damien Tran | Alasdair Duncan | Robert Eagle | David Edwards | Andrew Ekins | Tim Ellis | Mark Essen | Andy Fairgrieve | Pennicott & Fleming | Robin Footitt | Nick Fox | Archie Franks | Adam Gardener | Rose Garcia | Luey Graves | Nick Goss | Phill Goss | Flo Gordon | Joe Graham | David Hancock | Gabriel Hartley | Kate Howard | Carl Imthurn |Oliver Jennings | Melisa Jordan | Dominic Kennedy | Julian King | Richard Kirwan | Thomas Kitchin | Hiroe Komai |Alex Knell | Alec Kronacker | Anneliese Krueger | Phanos Kyriacou | Alana Lake | Rob Leech | Cedar Lewisohn | Juliette Losq | Ewan McClure | Mike McMillin | Rory McQueen | Richard Meaghan | Markus Merkle | Hannah Newell | Jack Newling | Carlos Noronha Feio | Fani Parali | Richard Parry | Tessa Payne | Kasper Pincis | Mark Pearson | Robert Pratt Graham Reid | Kes Richardson | John Richert | David Rhodes | Mike Ruben | Alan Ruiz | James Ryan | Angus Sanders – Dunnachie | Alex Scarfe | Mark Seiltz | Benet Spencer | Sophia Starling | Lexi Strauss | Anton Stuckardt and Andrea di Serego | Susan Sluglett | Marianne Spurr | Chloë Sylvestre | Linda Taylor | Francis Thorburn | Jonathan Trayte | Claire Undy | James Unsworth | Mandy Ure & Peter Manson | Markus Vater | Lucia Vera | Matthew Verdon | Roy Voss | Ross Walker | Martin Westwood | Bethan Wilkins | John Wilkins | Annie Whiles | Barnaby Whitfield | Hannah Wooll | Yohei Yashi | Daniel Zalkus
The Lord Nelson
66 Canon Beck Rd
Rotherhithe
London
SE16 7DN
Opening times:
By Appointment
Contact:
thomas@horatiojr.com
10 October 2014
THE TROUBLE WITH PAINTING TODAY
OPENING 29 OCTOBER, 6:30 - 8:30PM
30 October - 14 December 2014
Russell Chater, Brian Cheeswright, Yumi Chung, Susan Connolly, Sarah Cooney, Daisy Delaney, Robin Footitt, Marita Fraser, Abi Freckleton, Tina Jenkins, Nnena Kalu, Hannah Luxton, William Mackrell, Jaya Mansberger, Cara Nahaul, Raksha Patel, Niki Russell, Ellis Sharpe, Lucy Smalley, Joan Sugrue, Guo-Liang Tan, Sarah West, Felice Zhukov
Curated by Hannah Conroy and members from Wandsworth University of the Third Age (U3A)
Pump House Gallery celebrates its second annual open call exhibition The Trouble with Painting Today, curated by Hannah Conroy and members from U3A.
Selecting works from over 260 submissions, curators from U3A will work with Hannah to explore painting in all its forms and varieties and present a reinterpretation of the medium.
By working with people new to the curatorial process, this exhibition will offer a new perspective to it, promising to engage the public in a thought provoking and stimulating experience.
The University of the Third Age provides life-enhancing and life-changing opportunities to retired and semi-retired people. Members come together to share their skills and life experiences.
Hannah Conroy is the current Curator of Folkestone Artworks. U3A is an organisation that provides opportunities to learn and discover for retired and semi-retired people.
Pump House Gallery
Battersea Park, London
SW11 4NJ
+44 (0)20 8871 7572
info@pumphousegallery.org.uk
Wednesday - Sunday 11am - 5pm
Buses: 19, 44, 49, 137, 239, 319, 344, 345
Train: Battersea Park or Queenstown Road
Tube: Sloane Square
11 June 2014
SOHO SCULPTURE PRIZE 2014 - Shortlisted
Morgan Lovell, 16 Noel Street, London, W1F 8DA
Shortlisted Artists:
George Charman, Mark Davey, Manuel Ferreiro Badia (winner), Robin Footitt, Stefan Nenov, Eugene Macki, Susan Phillips, Frances Richardson, Shaun Stamp, Nick Wells
7 March 2014
ROBIN FOOTITT CLOSED CIRCUIT SAGA
OPENING 19 MARCH, 6 – 9PM UNTIL 10 MAY 2014
Edel Assanti is pleased to present Closed Circuit Saga, Robin Footitt's first exhibition at the gallery.
Closed Circuit Saga is an exploration of the manner in which form can belie content, and in which meaning in visual or spoken language definitively shifts over time. The exhibition meditates on the uncomfortable reality that an observed outcome is often not the product of an intentional series of events, but rather the result of arbitrary circumstances. The exhibition consists of three complementary series - gum strip sculptures, photographic works and monochrome paintings.
Footitt's flexed aluminium sculptures, the second series he has created in this medium, have been anodised in order to imbue them with colour. Each sculpture takes the form of a letter or an element of a letter, as the gestural shapes scramble to annunciate their own semantic meanings, collectively spelling out the word FATE.
The series of photographs are printed from found negatives of a TV closed circuit experiment at Byrd Elementary School, South Carolina, USA, on Friday 13th April 1962. Footitt has silk-screened a pair of "doublet" words on the board mount of each photograph. A doublet is a term used in etymology to describe two or more words that have different phonological forms but the same etymological root. As the relationship between words that have the same root and the same meaning is obvious, the term is mostly used to characterise pairs of words that have diverged in meaning.
Alongside these works, the exhibition presents a series of Footitt's "exposure monochrome" paintings. Through a gestural, layered application of paint, Footitt creates a monochrome surface that conceals a figurative drawing in permanent marker pen underneath. As with the process of anodising aluminium, the outcome is unfixed, as the reaction of oil paint and marker is idiosyncratic, allowing the figurative element of the work to resurface in unpredictable ways. The series of paintings take inspiration from an illustrated newspaper strip entitled Dream of the Rarebit Fiend by Windsor McCay, published by The New York Herald from 1904 until c. 1925. The strip had no continuity or recurring characters. Instead, it had a recurring theme: a character would have a nightmare, usually after eating a Welsh rarebit (a cheese-on-toast dish). The character would awaken from the dream in the last panel, regretting having eaten the rarebit. The dreams often revealed the darker sides of the dreamers' psyches-their phobias, hypocrisies, discomforts, and dark fantasies.
Robin Footitt studied at Central Saint Martins and the Royal College of Art. Footitt is currently undertaking Acme Studios' Fire Station Residency in London (2010 - 2015) and is a former resident of The Florence Trust, London (2009) and Cité Internationale des Arts, Paris (2008). He was selected by Matthew Higgs for White Columns Curated Artist Registry, New York (2010). Recent exhibitions include A Town Without Pity, 4 Windmill Street, London (2013); Part of a Collection: Outset / RCA Acquisitions 2009-11, Royal College of Art, London (2012); SUNDAY, Ambika P3, (with Ian Homerston 2011). Footitt lives and works in London.
Edel Assanti, 272-274 Vauxhall Bridge Road, London, SW1V 1BB
T +44 207 828 0660
E art@edelassanti.com
W www.edelassanti.com
17 November 2013
THE
FIRE STATION PROJECT - PUBLICATION
A new artist-designed book, The Fire Station Project, has been
published which records and celebrates Acme Studios’ Residency &
Awards Programme since its inception in 1997. The publication focuses on the
Fire Station Work/Live Residencies and contains biographies and images of
the 50 artists who have benefited to date. One artist from each of the four
previous programmes provides a case study of their experience: Lindsay
Seers, Erika Tan, Ben Cove, and Briony Anderson, who also designed the book
as one half of AndersonMacgee/Flit London. There are two essays:
‘Environmental Studies’ by Martin Coomer and the ‘The Old Fire Station’ by
Jonathan Harvey, as well as a complete list of the over 100 artists who have
benefited from Acme’s Residency & Awards Programme.
The Fire Station Project can be downloaded from the Acme website and
a limited number of original copies are available to buy for £15.00, contact
jack@acme.org.uk for more details.
Acme
Artists Studios Limited, 44 Copperfield Road, Bow, London E3 4RR
T +44 208 981 6811
E mail@acme.org.uk
W www.acme.org.uk
13 March 2013
ROBIN
FOOTITT A TOWN WITHOUT PITY
OPENING 17 APRIL, 6 – 9PM UNTIL 11 MAY 2013
"No it
isn’t very pretty what a town without pity can do.” - Gene Pitney, A Town
Without Pity (1961)
4 Windmill Street presents A Town Without Pity by British
artist Robin Footitt. The title, which derives from the Gene Pitney pop
song, strikes a particular chord with Footitt’s multi-disciplinary approach,
drawing parallels and conflicts within painting, sculpture and installation.
It is a melody of romantic tragedy, urgency and bewilderment when Pitney
sings, “we need an understanding heart” against the backdrop of metaphors
for young love. This presentation of recent work tunes into the substance of
celebration and marks the conclusion of a recent award that has seen the
artist frequently travel between London and New York over the past three
years.
There is an element to Footitt’s use of focal subject that can provoke
unending resolution – being as the general purpose to ‘make sense’ is
extracted from almost any potential medium. It never goes on, It never
comes off (2013) is a series of photographs which account for the
meeting point between opening and closing down, boxes are present and
objects appear new inside a shop of some description, but these objects are
also stripped of purpose, something that was once a ceiling fan has hit the
ground and become a mangled chrome mess. Similarly other works pass through
a contrasting filter; a pair of deflated yellow balloons stretched to hold a
sheet of paper become a monochromatic surface in Yellow Moon (2013)
and a print of Emilie Floge and Gustav Klimt in a rowboat is re-edited to
make the bow and stern of the vessel romantically linked in Lovers
(2013).
Robin Footitt (b. 1982, Sutton) studied at Central Saint Martins
College of Art & Design and the Royal College of Art, lives and works in
London. Footitt has been selected for Acme Studios’ Fire Station Residency
in Bow, London (2010 – 2015) and is a former resident of The Florence Trust,
London (2009) and Cité Internationale des Arts, Paris (2008). He was awarded
British Airways Great Britons Travel Bursary (2009) and selected by Matthew
Higgs for White Columns Curated Artist Registry, New York (2010). Recent
exhibitions include Mains, COLE, London (solo, 2011); Part of a
Collection: Outset / RCA Acquisitions 2009-11, Royal College of Art,
London (2012); SUNDAY, Ambika P3, (with Ian Homerston 2011);
Radiaal Moderne: Art Rotterdam, Rotterdam (with Simon Mathers 2011) and
SCREENING, Old Brompton Road, London (2010). His work is held in
private collections worldwide.
A specially commissioned ice cream and accompanying lid has been made for
the opening courtesy of the artist and Minghella Ice Cream.
4 WINDMILL STREET
LONDON W1T 2HZ +44203 397 3149 www.4windmillstreet.com
THURS – FRI, 1 – 5PM; SAT 11AM – 5PM, OR BY APPOINTMENT
FOR GENERAL ENQUIRIES, ARTIST BIOGRAPHIES OR MORE INFORMATION, PLEASE
CONTACT art@4windmillstreet.com
8 January 2013
The
Lindt Big Egg Hunt 2013
Participating in Action for Children’s Big Egg Hunt, launching on 12
February in Covent Garden, London and then touring Birmingham, Manchester,
Liverpool and Glasgow before returning to London; finishing with an online
auction for the charity on 1 April.
For more
information visit www.thebigegghunt.co.uk
2 October 2012
Part of a Collection: Outset / RCA Acquisitions,
2009-11
Thursday 11 – Tuesday 16 Oct 2012
The exhibition in the newly opened Dyson Building’s gallery brings together
the 17 works acquired for the painting collection form 2009-11 as part of
the Outset Acquisitions Fund. Presented as a group of works, the exhibition
reveals the range of practices and approach over the last three years.
The fund, which allowed the RCA to acquire works by graduates, was the first
initiative of its kind for the collection - which is primarily comprised of
gifts and works left by students. Alongside the paintings, drawings,
photography and installations will be archival display showing documents
relating to key moments in the collection's history, placing these works and
the Acquisitions Fund itself, in a wider artistic, historical and
institutional context.
Royal College of Art, Dyson
Building, 1 Hester Road, Battersea, London SW11 4AN
10am – 5.30pm daily
For more information, telephone: +44 (0)20 7590 4444
or email media@rca.ac.uk
2 August 2012
2012
Thursday 6 – Friday 14 Sept 2012, 9:30am to 4:30pm
Sotheby’s
24 – 35 New Bond Street
London W1A 2AA
All proceeds go to The Prince’s Foundation for Children and the Arts
(Registered Charity No. 1103747)
12 September 2011
SUNDAY Art Fair
Thursday 13 – Sunday 16 Oct 2011
Ambika P3
35 Marylebone Road
London NW1 5LS
SUNDAY is
a gallery-led art fair of 20 young international galleries organised by Croy
Neilsen, Limoncello and Tulips & Roses.
Arcade (London); BolteLang (Zurich); Cole (London); Croy Nielsen (Berlin);
Gaudel de Stampa (Paris); Laurel Gitlen (New York); Hopkinson Cundy
(Auckland); Tanya Leighton (Berlin); Limoncello (London); Lüttgenmeijer
(Berlin); Francesca Minini (Milan); Motive Gallery (Amsterdam);
MOTINTERNATIONAL (London/Brussels); TARO NASU (Tokyo); Neue Alte Brücke
(Frankfurt); New Galerie (Paris); On Stellar Rays (New York); Projectos
Monclova (Mexico); Supportico Lopez (Berlin); Tulips & Roses (Brussels).
Arcade - Caroline Achaintre, Maria Zahle; BolteLang - Florian Gemann; Cole -
Robin Footitt, Ian Homerston; Croy Nielsen - Joshua Petherick, Hugh
Scott-Douglas; Gaudel de Stampa - Dove Allouche, Jessica Warboys; Laurel
Gitlen - Allyson Vieira; Hopkinson Cundy - Kate Newby; Tanya Leighton -
Oliver Laric, Dan Rees; Limoncello - Sean Edwards; Lüttgenmeijer - Matt
Connors, Susanne M. Winterling; Francesca Minini - Francesco Simeti; Motive
Gallery - Aurélien Froment, Pierre Leguillon; MOTINTERNATIONAL - Florian
Roithmayr; TARO NASU - Ryan Gander, Taka Izumi; Neue Alte Brücke - Tim
Davies, Simon Fujiwara; New Galerie - A Kassen; On Stellar Rays - Brody
Condon, Debo Eilers; Proyectos Monclova - Christian Jankowski; Supportico
Lopez - Franziska Lantz, Zin Taylor; Tulips & Roses - Raimundas Malašauskas.
Entry Free
Wednesday
12 October 2011: 9pm-1am Party hosted by Mousse at the ICA Bar
Thursday 13 October 2011: 12-8pm
Friday 14 October 2011: 12-11pm Art Pub Quiz by Quizmaster Bedwyr Williams
at Bryan's Bar
Saturday 15 October 2011: 12-8pm
Sunday 16 October 2011: 12-6pm
E: info@sunday-fair.com
W: www.sunday-fair.com
T: +4420 7739 2363
Fair
Manager: Katy Partridge +447811406703 /
info@sunday-fair.com
Press: Anna Larkin +447867974088 /
anna@all-arts.co.uk
Rebecca May Marston +447835112114 /
limoncello@limoncellogallery.co.uk
Henrikke Neilsen +491797935836 /
henrikke@croynielsen.de
Jonas Žakaitis +37069800017 /
jonas@tulipsandroses.lt
SUNDAY is
generously sponsored by Zabludowicz Collection.
12 August 2011
ELIZABETH HOUSE
Thursday 18th August 2011
6 – 9pm
39 York Road
City of London
London
SE1 7NQ
1st Floor:
Marie Angeletti, Mandy El Sayegh, Robin Footitt, Sachin Kaeley, Jack Lavender, Oscar Murillo, Yelena Popova, Richard Sides, Julia Tcharfas and Timothy Ivison
Nearest Tube: Waterloo
11 May 2011
Fire Station Centenary
Open Weekend
Saturday 21 and Sunday 22 May, 12 noon to 6pm
On 19 May 1911, a new Fire Station opened in Poplar, E14. One of the first built for motorised fire engines, the station served heavily-bombed East London during the Blitz of WWII.
Decommissioned in the 1970s, the building was converted in 1997 and became the permanent home of Acme Studios’ Fire Station Work/Live Residency Programme. Over 50 artists have already benefited from the residencies; the current artists are:
Briony Anderson, Gemma Anderson, Kate Atkin, Jonathan Baldock, George Charman, Melan Clifford, Susan Corke, Robin Footitt, Haroon Mirza, Matthew Noel-Tod, David Osbaldeston and Emma Smith
To celebrate the building’s centenary and its new life as the base for a major artists’ residency programme, the Fire Station will be opening its doors to the public. As well as a chance to meet the artists and view the work/live units, the artists will be responding to the centenary with new work.
www.acme.org.uk/firestationworklive.php
8 April 2011
Robin Footitt: Mains
6 April - 7 May 2011
Click here to download pdf (file size 811 kB). A printed version is also available at the gallery.
10 March 2011
PRESS RELEASE
Robin Footitt: Mains
6 April - 7 May 2011
Private View: 5 April, 6 - 8pm
Cole Contemporary, Little Portland St, London
(www.colecontemporary.com)
Mains as an expression of first impression.
An imprint follows which creates structure and reasoning.
If the power was placed elsewhere other than electricity would aspects of modernism have become condensed via mechanical means?
Each the first step; all the Mains.
Cole Contemporary is pleased to present Mains, a solo exhibition from Robin Footitt that opens a dialogue with understanding. Principally taking a basis in the removal of caste ingredients to reassess creative alternate histories, Footitt refines such notions inherent in painting and sculpture to the point of reform.
Central to the exhibition is Dig! (2011), a pair of protracted weapons carved from a single Western Red Cedar tree; unrealistic renditions of a prehistoric caveman club both in scale and effectiveness. Its standing as a relic is contested as no such gesture can be evidenced in reality and its confusion inside a swarm of ideals fractures object purpose from every angle. This is a vocabulary not altogether unfamiliar in Footitt’s practice, often assuredly traversing a theoretical approach within the studio. In his essay “The Weight and the Carried Mark Across Canaletto’s Views of London” (Turps Banana, Issue 8, 2010) the artist plots the migration of a single brush mark across Canaletto’s theatrical vista painting of London’s Thames waterway.
The anticipation of a ‘what if?’ scenario inevitably places conditions whereby electricity becomes replaced metaphorically – the act of looking and the trace of society are open to alterations. Mains dials back and forth between the surreal and infinitely possible, with The Next Soufflé Accordion (2011) tuning into this motion. What once was a recipe book has now been diffused with paint, the cover image all but broken. Indeed paint becomes a material to transmit the absence of other choices whether it be for substance value (Fossil Fuel, 2011) or image delivery (Stick & Tyred, 2011). At a time when more conversations and definitions could be made, Mains identifies with the current apprehension or neglect of outside broadcasts, suggesting a sense of fracturing into self-perpetuating mono histories.
Robin Footitt b. 1982 in Sutton, UK, lives and works in London. Footitt studied at Royal College of Art (2009) and recently presented Radiaal Moderne with Simon Mathers for Cole Contemporary at Art Rotterdam 2011. He previously co-curated The Drifting Canvas at Cole Contemporary (June 2010) based on his 2008 essay. Recent exhibitions include SCREENING (2010), 203-5 Brompton Road, London and Tour Operator (2010), 27AD, Bergamo, Italy. Footitt was the recipient of British Airways 2009 Great Britons Travel Bursary and is currently part of Acme Studios Fire Station Work/Live Residency, Programme 4 (2010-15).
31 January 2011
ART ROTTERDAM 2011
10 – 13 February 2011
Private view; Wednesday 9th February 6 – 9pm
Cruise Terminal, Rotterdam, Wilhelminakade 699, 3072 AP Rotterdam, Netherlands
www.artrotterdam.nl
Radiaal Moderne: Robin Footitt & Simon Mathers
presented by Cole Contemporary, London (Stall #21)
www.colecontemporary.com
Accompanying publication ‘Radiaal Moderne: a conversation between John Slyce, Robin Footitt and Simon Mathers’ (published by Ditto Press/Cole Contemporary, 2011) will be made available at the fair, info@colecontemporary.com to request more information.
7 January 2011
BERGAMO ART FAIR 2011 / BERGAMO ARTE FIERA 2011
14 – 17 January 2011
Private view; Friday 14th January 6pm
Quartiere Fieristico di Bergamo, Italy
www.bergamoartefiera.com
Robin Footitt presented by 27AD, Bergamo, Italy
www.27ad.eu
28 October 2010
SCREENING WALKTHROUGH TOUR with Robin Footitt & Sachin Kaeley + guests
Monday 1st November; 7:30 - 8:30 PM
Doors open at 7 PM to view the exhibition prior to the event. Numbers are limited so please email events@londonscreening.com to confirm.
21 September 2010
SCREENING
13 October – 10 November 2010
Private view; Tuesday 12th October 6 – 9pm
RSVP: rsvp@londonscreening.com
Frame by frame. The interruption of a measurable medium suggests an evolving dialogue that edits the established trajectory: image capture. The video format has readily adapted within the sphere of the internet. In turn, painting can shape to surrounding open source availability, images and media. Thus possibilities in painting elaborate through associations with other mediums. Video practice enters a similar status by recording real time form (linear narrative, reportage, edit), arriving at a manipulation which traverses experience.
SCREENING is an independent artist-led initiative considering the subtleties of display in materiality; bringing together established international and exciting emerging British artists with video works by Oliver Michaels, Paul Pfeiffer, Ryan Trecartin and Tom Smith and the paintings of Albert Oehlen, Armen Eloyan, Daniel Sinsel, George Young, Robin Footitt, Sachin Kaeley, Stewart Cliff and Toby Ziegler.
The function of selection is a dilemma for all visual artists. Conditions for the encounter of painted and projected surfaces present conducted media with an appearance of finality. For this exhibition, the artists enter into a discussion with new and recent progressions; disengaged with a final rhetoric, reclassifying the trajectories authored by painting and video. The location to enter such a proposition is also temporary; a purpose built event structure inside a 5000+ sq ft. two-storey Knightsbridge office block. SCREENING is accompanied by a series of events.
Visit www.londonscreening.com for regular updates. For more information contact Robin Footitt, info@londonscreening.com or call 020 7987 2523.
Support from Outset Fund, Brompton Design District, Williams & Hill and GFSmith
203-205 Brompton Road
Knightsbridge
London
SW3 1LA
Admission Free
13/10 - 10/11/2010
Tues - Sat; 10am - 6pm
T: 020 7987 2523
E: info@londonscreening.com
Tube: South Kensington & Knightsbridge
Buses: C1, 9, 10, 14, 49, 52, 74, 345, 360, 414 & 452
Featured in TANK, Volume 6 Issue 4
THE ART ISSUE (p. 16, text by Sally Mumby-Croft)
SCREENING
Video and painting meet in a new context
The rate at which technology accelerates makes it easy to forget how far the computer age has advanced accessibility of video recording in recent years. The sphere of the Internet has turned anonymity on its head and self-published orators have found unexpected audiences to ridicule and rate their output in equal measure. Although images are readily captured and disseminated on sharing networks, how this advancement has affected the progression of contemporary painting practice is an intriguing and altogether uncharted prospect.
Independent group exhibition SCREENING is an artist-led initiative that brings together established international and exciting emerging British artists; with video works by Oliver Michaels, Paul Pfeiffer, Tom Smith and Ryan Trecartin and the paintings of Stewart Cliff, Armen Eloyan, Robin Footitt, Sachin Kaeley, Albert Oehlen, Daniel Sinsel, George Young and Toby Ziegler.
The project, which was initiated by Robin Footitt and Sachin Kaeley, will be presented as a temporary and preliminary structure built inside a 5000+ sq. ft, two-storey office block in Knightsbridge, London, opening during Frieze Art Fair week. Footitt has instigated a number of curatorial projects as an artist, mostly recently The Drifting Canvas (2010), Cole Contemporary, London and Through The Wall (2009), A Foundation, London, which was described as a successor to the independent Goldsmiths’ shows during the last recession.
SCREENING will include Ryan Trecartin’s multi-layered video piece I-Be AREA (2007), combining video effects, an assorted cast of characters and a rich, compressed dialogue that discusses far ranging topics such as cloning, adoption, self-mediation, life-style options, virtual identities and the perplexities and possibilities of life in this digi-cyber age. Trecartin, who will also be featured in a solo presentation with Elizabeth Dee Gallery, New York in Frieze Art Fair, will be exhibited alongside recent paintings loaned from influential German artist Albert Oehlen, whereby the medium of paint and slippage into digital narrative produces an interesting discussion – to be developed with a series of talks and events taking place at the venue. Many of the works reproduce the act of presentation, George Young’s often immersive framing techniques ‘capture’ the sparsely painted surfaces presented in unison and Tom Smith’s bespoke computer program CocoaGL breaks down film into its constituent frames – creating abstract horizontal lines which slowly fill the screen turning the motion picture into a still one, in real time. This reflects the show’s provisional title, a defining moment to see the most prominent London show this autumn.
28 June 2010
The Florence Trust Summer Exhibition 2010; Maurice Citron, Erica Donovan, Nadège Druzkowski, Nisha Duggal, Robin Footitt, Anne Harild, Caroline Kha, Tamiko Kusuhara, Bo Magnus, Ute Panella, Louise Thomas.
Private view Thursday 8th July 2010, 6 – 9 pm. Open Monday to Sunday; 12 – 6pm; 9th to 19th July 2010. Full-colour catalogue available (text by Soraya Rodriguez), see website for more details
www.florencetrust.org
27 June 2010
The Drifting Canvas, published in association with Cole Contemporary/Ditto Press is now available on digital format.
Click here to download pdf (file size 2.33 MB). A printed version (edition of 100) is also available.
www.colecontemporary.com
3 June 2010
Selected by Matthew Higgs, Director/Chief Curator white columns, New York for White Columns Curated Artist Registry
www.whitecolumns.org
18 May 2010
Turps Banana Issue #8 out now
‘The Weight and The Carried Mark Across Canaletto’s Views of London’ text by Robin Footitt (p.44)
www.turpsbanana.com
11 May 2010
PRESS RELEASE
The Drifting Canvas
Cole Contemporary, Little Portland St, London
(www.colecontemporary.com)
17 June – 17 July 2010
Harry Beer, Robin Footitt, Ian Homerston, Thomas Livesey, Tom McParland, Ellen MacDonald, Simon Mathers, Jamie Partridge
The Drifting Canvas presents eight artists painting in the context of the digital information age, as ever developing CGI technology creates new and innovative ways of approaching the visual.
As the increasing layers of CGI in film create a superimposed way of looking, computer effects replace images that were once conjured, thus removing elements of suspense and calling into question the credibility of the image. This drift from the real to the unreal can be characterised as the overall ubiquity of digital recording, and can also be presented as a means of rescue or escape - a unifying approach to a fragmented installation of images or a dislocation of subject and context. When capturing an image it can initially be seen as a record but with the presence of elemental form, i.e. the pixel which is contrastingly both the greatest quantity and smallest detail. The actions of painting have in turn informed and proliferated from such method.
The Drifting Canvas forms a dialogue present in contemporary painting practice, dissolving abstraction and special effect with works by Harry Beer, Robin Footitt, Ian Homerston, Thomas Livesey, Tom McParland, Ellen MacDonald, Simon Mathers and Jamie Partridge.
5 March 2010
PRESS RELEASE
Tour Operator, curated by Nicola Scaglione
27AD, Bergamo, Italy (www.27ad.eu)
15 March – 30 April 2010
Vernissage 15 March, 7PM
Vincent Fournier, Robin Footitt, Andrew Curtis, Arthur Steward, Marie T. Hermann
Text by Nicola Scaglione, translated from Italian
“A tour operator is a commercial company that sells, creates (or simply ‘assembles’) tourist packages, generally including hotel reservations, a/o transfers (for example plane tickets), insurance policies, overnight stays, and other on the spot services (if all services are included in the package, it includes all meals and drinks, we call this an ‘all inclusive’ treatment).
A tour operator therefore puts together tourist packages inclusive of transfers and overnight stays and not excluding that risks are possible. So in the second collective exhibition of Galleria 27AD curated by myself, my commitment is to stage a collection of artists, who have in common not only youth and that they are already considered promising, but also that their work commonly has contrast and does not exclude risks.
The contrast begins with ‘Rescue attempt’ by Robin Footitt, the performer who has his picture behind him while he recites, two different beings, yet conscious of his own dichotomy. And a light box which has RESCUE written in red which perhaps indicates what to do. What to do in case of danger, of inconvenience. It is a luminous emergency sign. So our dichotomy we only see in times of emergency. Let us try our crown, the circle which measures our cranial circumference, but we keep it hidden (‘The Wire’ + ‘Inner Circle’ by Robin Footitt). From protagonists of double personality, we begin our organised journey passing from the almost artificial coloured and dreamy scenery of Vincent Fournier to the colourless corners of a concrete London suburb, where ghosts appear as a black presence of shade or of robust agaves and from large Aculei that break the tedious calmness with adolescent excitement (‘New Empire-Shadow Before’ by Andrew Curtis). And we are still ourselves.
It is not without risks, as I had promised you, and the ‘Hostage’ by Robin Footitt reminds us of this. Positively coloured panels which seem innocuous, yet on the contrary they captivate us, and at a certain point they reveal the hidden image of a delinquent which takes us hostage and which threatens us with a pistol. Again near the London suburbs observed by the illusory plant Arucaria, as if an inhabitant from another dimension who watches and waits (‘New Empire, Araucaria Araucana’ by Andrew Curtis).
The contrast, because to create contrast in a good organised journey you need to talk; we never want to leave for a journey and at our destination find exactly that which we have left behind, we never want to enter an exhibition and leave the same as before, contrast continues really with the heart and the reassuring domestic hearth of a table and white plates. The deformed white plates, stuck to the walls, engraved into the white surface of the memory, the table. The contrast between that which we remember and that which no longer exists.
It no longer exists in the chaotic life of the modern city, complicated and tense. The work of Marie T. Hermann emanates calm, they are pieces of recollection, they are pieces of furniture yet they move our senses in an attempt to reconcile us with ourselves. They are the opposite yet the same of the enormous works of Arthur Steward, with his black bitumen sceneries on white polystyrene. The black material, rubbery, heavy, that runs down covering, so cancelling the white surface. The enormous piece reminds us of Monet’s waterlillies seen again in an important contemporary setting, it almost seems like a photograph of a metropolis when the lights are low and the shadows become significant, it reminds us of that which is insignificant yet which underneath really matters, and is the ambiguous contrast between purity and perversion. Sometimes the contrast is not clear but subtle. Sometimes we try not to see what is really inside of us and leave our exterior to lead with greater redemption.
Agota Kristof writes:
- They have a shrunken face with an eternal expression of kindness. But who can know what they are trying?
- You, probably.
- I only see the external. Composed.
- What is composed?
- That something external surrounded by another external becomes internal, just as internal that welcomes internal changes unquestionably into external."
Tour Operator
Nicola Scaglione
4 January 2010
The Florence Trust Open Studios 2010; Maurice Citron, Erica Donovan, Nadège Druzkowski, Nisha Duggal, Robin Footitt, Anne Harild, Caroline Kha, Tamiko Kusuhara, Bo Magnus, Ute Panella, Louise Thomas. Private view Friday 29th January 2010, 6 – 9 pm. Open Saturday 30 & Sunday 31 January 2010, 12 noon – 6 pm
www.florencetrust.org
21 December 2009
Announced the winner of British Airways Great Britons Award
www.greatbritons.ba.com/news/3
17 December 2009
Selected for Programme 4 (2010-2015) at Acme Studios' work/live residency at The Fire Station; Briony Anderson, Gemma Anderson, Kate Aktin, Jonathan Baldock, George Charman, Melanie Clifford, Susan Corke, Robin Footitt, Haroon Mirza, Matthew Noel-Tod, David Osbaldston, Emma Smith), Bromley-by-Bow, London established in 1997. For more information follow www.acme.org.uk/firestation.php