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Saturday, 28 November 2009

Art Basel Miami Beach British Galleries Exhibiting

Fair: United Kingdom Galleries Exhibiting At Art Basel Miami Beach

Art Basel Miami Beach takes place December 3 - 6, 2009.

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UK Galleries Exhibiting at Art Basel Miami. Click on link to gallery to see lists of artists.An exclusive selection of more than 250 leading art galleries from North America, Latin America, Europe, Asia and Africa will exhibit 20th and 21st century artworks by over 2,000 artists. The exhibiting galleries are among the world's most respected art dealers, offering exceptional pieces by both renowned artists and cutting-edge newcomers. Special exhibition sections feature young galleries, performance art, public art projects and video art. The show will be a vital source for art lovers, allowing them to both discover new developments in contemporary art and experience rare museum-calibre artworks.

Art Basel Miami Beach is one of the most important art show in
the United States. It is a cultural and social highlight for the Americas. It is the sister event of Switzerland's Art Basel an influencial mainstay for the past 40 years,
Art Basel Miami Beach combines an international selection of top galleries with an exciting program of special exhibitions, parties and crossover events featuring music, film, architecture and design. Exhibition sites are located in the city's beautiful Art Deco District, within walking distance of the beach and many hotels.
Top-quality exhibitions in the museums of South Florida and special programs for art collectors and curators also help make the event a special time for encountering art. And every year, a greater number of art collectors, artists, dealers, curators, critics and art enthusiasts from around the world participate in
Art Basel Miami Beach - the favorite winter meeting place for
the international art world.

This year 20 top British galleries have crossed the pond to exhibit.

Friday, 20 November 2009

Nothing Really Mattress

'Found Art' or is this the next new thing?

Text Paul Carter Robinson Photo Ellis Nadler

The most exciting contemporary art is often spontaneous and contextual. The endless documentation and written sketch books which are required by art colleges seem to have knocked the wind out of spontaneity. It has created a whole new generation of calculating and overly self - conscience artists in Britain and the US and is responsible for much of the lame work we see in the galleries today. On the other end of the spectrum, it has prompted a reaction to over-formalized approaches and opened the doors for ‘street artists’ like Banksy in the UK and Dan Colen in the US. The later a graduate of RISD (one of the leading formal art colleges in America).

My friend Ellis Nadler took the “Nothing Really Matress” photo on the way to his studio, last week, in the East End of London.
I think, besides the humour element, (mattress is misspelled and the play on the expression or Queen lyric) it is one of the most interesting works of art I have seen this year. When it was put up on the net it went viral and has now had over 75,000 hits.
Is this serious art? Well there isn’t a sketchbook and the documentation to make it a contender for the Turner Prize but maybe that’s not such a bad thing. Text Paul Carter Robinson Photo Ellis Nadler © 2009

Wednesday, 18 November 2009

Does School Of Saatchi Have Simon Cowell's X Factor?

Will The Saatchi Experiment Prove Britain’s Got Talent ?
(Unfortunately, This is going to be Charles's epitaph)

Charles Saatchi was a man who represented his time in both his contribution to modern advertising and also for his cultural contribution to visual art in Britain. Along with his brother Maurice they created some of the most successful ad campaigns of the era, including, “ Labour isn’t working” and the shocking, ‘pregnant man’ poster. His genius for marketing and creative manipulation won the Tory party a landslide victory in 1979, which lasted until 1997. His other legacy has been his virtual domination of the visual art scene in the UK for over 25 years. Saatchi not only founded The Saatchi Gallery, which is a privately funded very public gallery, but was also the champion behind the YBA (Young British Artists) movement also known as Brit-Art. As in many past dynasties, the Saatchi period has abruptly come to a close. First he was accused of being just another art dealer when after aggressive marketing, he decided to sell 130 of his purchases through Christies in 1998. This continued with the high profile sale in 2003, when he sold many of his works by Damien Hirst back to the artist and to the London dealer Jay Jopling. It was reported that, Hirst paid Saatchi a bargain basement $15 million for 12 of his best-known pieces. It is also known that Saatchi has been selling through the major auction houses for years culminating with a reported partnership with Phillips de Pury, the Luxembourg, New York and now London auctioneers.
After launching his impressive new gallery in Chelsea in 2008, Saatchi is not doing himself or his reputation any favours by making the irreparable mistake of lending his overstretched name to something even more unacceptable than Margaret Thatcher. This faux pas has been re-packaged in the form of an X Factor style show masquerading as an arts program on the BBC.Boring old Auntie (That’s the BBC to our readers elsewhere) in her quest to replace as much broadcasting time with cheap to - make, reality programming, have been sold the idea by the advertising mogul. The objective of this fluff is to humiliate 100 young, amateur and professional artists as they aimlessly have their 15 minuets of fame in front of the cameras. The winning prize is the chance to be included in a group show organized by Saatchi at the Hermitage in St. Petersburg It is going out under the hilarious title “The School Of Saatchi”. God help us and God help Charles Saatchi whose popularity and reputation has plummeted. In this years ArtReview’s, 100 most influential people. He has moved from number 1 in 2002 to 14 in 2008 to the staggeringly poor 72 in 2009. I am not a Saatchi basher. But this beggars belief. It is sort of an unforgivable misdemeanour that will not be easy to recover from. Unlike Alan Sugar, Saatchi will not be appearing on this reality show himself. He will be represented by some unknown from the gallery along with Barbican curator, Kate Bush and publicity hound artist, Tracey Emin. I am horrified at the dumbing down of an area that we at ArtLyst take extremely seriously. The show begins airing on 23 November BBC 2 See more on -- ArtBitch 2009

Tuesday, 17 November 2009

Angela Palmer Ghost Forest Installation Trafalgar Square London

Ghost Forest Angela Palmer
© photo/text Paul Carter Robinson ArtLyst
I went to see the amazing Ghost Forest installation in Trafalgar Square created using ten tree trunks imported from the rain forests in Ghana by British artist Angela Palmer. Most of the trees were originally the height of Nelson’s column and these stumps and roots are the remains of these once great trees. The exhibition highlights the 90% decimation of Ghana’s rainforests.
The instillation will now be shipped to Copenhagen in time for the climate Change Conference 7-18 December. The artist has made this statement,” The connection between deforestation and climate change, and the challenge to express that visually, is the basis for my most ambitious and logistically challenging work yet. The concept is to present a series of rainforest tree stumps as a ‘ghost forest’ – using the negative space created by the missing trunks as a metaphor for climate change, the absence representing the removal of the world’s ‘lungs’ through continued deforestation. Over the past few months I’ve made several field trips to a commercially logged primary rainforest in Ghana where we sourced a group of 10 tree stumps. The Ghost Forest will be in Trafalgar Square in London until November 22, courtesy of the GLA, and will then be shipped directly to Copenhagen where it will be exhibited in Thorvaldsens Plads, a magnificent city centre square next to Parliament Square and the National Museum, to coincide with the UN Climate Change Conference The future of rainforests will lead the agenda at the UN conference, which will be attended by over 11,000 delegates from 192 countries”.
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Saturday, 14 November 2009

Ryan Gander : Lecture Pete & Repeat 176 Zabludowicz Collection 14 November 2009

I just attended a performance piece by the British artist Ryan Gander at gallery 176 / Zabludowicz Collection. It was in conjunction with the ‘Pete And Repeat’ exhibition, which has been running since September. Gander along with John Baldessari, Peter Coffin, Keith Tyson and others have contributed to the exhibition, which explores the theme of repetition.
Gander’s work covers an assortment of mediums ranging from Video, text, paintings, animation and lectures. Today’s piece took the form of a semi formal talk and explored the subject of authority and truth. It was presented to the audience as an academic lecture, although much of what was undertaken, in subject was derived from personal experience and family recollection. This created the atmosphere of an oral history and delved into homespun topics involving grandparents, the war and popular television programs. The subjects flowed as in a friendly conversation and different topics were introduced in a rhythm natural to the pace of a casual conversation. I don’t think anyone attending today’s lecture could have walked out of the rather drafty, former church hall without having a more intimate relationship with the artist, perhaps this was the point of the exercise. If you have never seen Ganders work, I would highly recommend a trip down to Pete And Repeat, which runs until 13 December. I have now successfully uploaded a video of my short interview with Ryan Gander, which is viewable on the ArtLyst1 channel on YouTube, or see more interviews, reviews and articles on Text and Photo © Paul Carter Robinson 14/11/09

Thursday, 12 November 2009

Royal College Of Art 'Secret 2009' Annual Exhibition of Postcards by A- Listers & Students

It's that time of year again and bargain hunters will be queuing up around the block, in order to pick up an original work of art by the likes of Julian Opie or Gerhard Richter for £40. Many big names have generously donated original works of art on postcards. The proceeds will benefit the Royal College of Art. Details are listed below.


RCA Secret is an annual exhibition and sale of original postcard-sized art, made by professional artists, designers and illustrators, plus the Royal College of Art’s current postgraduate students.

This year’s exhibition of over 2,000 pieces includes work by the renowned artists Bill Viola, Julian Opie and Grayson Perry.

Open at the Royal College of Art, Kensington Gore, London SW7 2EU from Friday 13 November until Friday 20 November 11-6pm, 11-8pm on Thursday 19 November. Free admission. The postcards will also be available for viewing on this website from Friday 13th November. The full exhibition will not be open on the morning of the Sale.


The postcards are signed only on the reverse, so the author of each work remains a secret until after purchase, and the signature on the back is revealed.

Over 800 artists have donated work to RCA Secret 2009 so far, including Yoko Ono, Cornelia Parker, David Bailey, former Stone Roses guitarist John Squire, and animator Nick Park, as well as fashion designers Sir Paul Smith, Manolo Blahnik and Erdem. Many leading American artists have also contributed this year including Lawrence Weiner, John Baldessari and Alex Katz.


The cards, priced just £40 each, will be sold to the public in a huge one-day Sale on Saturday 21 November, 8am-6pm. You must register in advance of the Sale. If you would like to register please click here.

Please note: online registration will close on Tuesday 17th November (end of day).

Postcards will only be available to purchase in person at the Sale, (four per person).

First-Fifty Raffle tickets for a chance to win a place at the front of the Sale queue will be on sale at the Exhibition, until half an hour before the close of the exhibition on each open day.

For more news, photos, and tips visit our Facebook page.

All proceeds to the RCA Fine Art Student Award Fund, which supports student artists during their training at the Royal College of Art.

Paul Carter Robinson

Monday, 9 November 2009

Fall of the Berlin Wall “Work in Progess” by Manon Awst and Benjamin Walther

Manon Awst and Benjamin Walther Photo: © ArtLyst 2009 Text By Paul Carter Robinson

The Fall of the Berlin Wall was commemorated today with a “Work in Progress” by Manon Awst and Benjamin Walther. The giant ice sculpture was erected in Belgrave Square a London park close to the German embassy to mark this important 20th century event.see video on:
When I spoke to the artists they had been up all night constructing the project."We had lots of coffee and are very pleased with the outcome of the installation".
The Official launch took place this morning with Duncan Sandys, Lord Mayor of Westminster together with Ben Bradshaw, Secretary of State for Culture, Media and Sport and German Ambassador Georg Boomgaarden, who organized the event to commemorate the fall of the Berlin Wall.This high profile art event utilized the backdrop of an 11.5 ft melting Ice Wall to point out the fragility of society in the 21st century. Walther explained, "there are still many walls around the world in need of demolition".

About the Artists:
Berlin-based husband and wife team Manon Awst and Benjamin Walther are sculptural performance artists who incorporate material such as gelatin, ice, gold, glass, and feathers into their investigations of power dynamics and the divisions between our bodies and our consciousness.

About the art work

The art installation “Work in Progess” was created by artists Manon Awst, UK, and Benjamin Walther, Germany, in cooperation with the company Eskimo Ice. A frozen 11.5 ft high fragment of a wall made out of ice will look as though it is about to crumble and fall. The image will be captured still, freeze-framed, to allow a moment of hesitation and reflection upon what is the continuous process of German unification, a continuum of both time and the German people themselves. The setting for the wall is a typical roadwork site, highlighting factors of process and time. Within the
fenced boundaries of the site, under the theatrical air of bright industrial lamps, a string of subtle, playful happenings will take place over the course of the day that hint at the chain of events that was finally able to melt the ice and bring the Cold War era to an end.
Creating an installation for this occasion not only provides scope to reflect on a powerful symbol which was once the expression of the political and ideological separation of the world, but also demands consideration of the divisions which still exist today. During the course of the day, the appearance and perception of the installation will gradually change: the ice wall will alter due to the subtle melting process, and external factors such as day and night, weather and passing traffic will all contribute to the peculiar character of the setting. The overall fleeting nature of the installation suggests that boundaries – both physical as well as mental and emotional ones – can be overcome.

Thursday, 5 November 2009

The Age of the Marvellous exhibition

Photo by ArtLyst © 2009

Age of the Marvellous, Holy Trinity Church, 1 Marylebone Rd, London 13-21 October was coordinated by the unorthodox partnership of Joe La Placa and Mike Platt of ‘All Visual Arts’ is a experiment in the art world. Both collectors, and dealers AVA only collect the work of artists they highly admire, and like dealers they then mount shows with which to promote this work to the wider public. Rather than taking on a gallery, situations appropriate to the exhibition proposed are found as and when they are needed, removing overhead costs and ensuring the most exciting of exhibitions. The Age of the Marvellous is the third such exhibition by the pair since their partnership in 2008. Inspired by the Cabinets of Curiosity, popular, in the late Renaissance and Baroque period these were rooms filled with natural wonders, art works and relics; in an era characterised by a revival of leaning such rooms symbolically conveyed the patrons control of the world, often the collections of rulers and aristocrats. It is the diversity of such collections which has inspired provided the framework for this exhibition; looking to a varied, cross-disciplinary approach each artist was commissioned to create works which ventured outside the boundaries of traditional art making. The cabinet of curiosity was constructed in order to incite awe, wonder and astonishment, it is this notion that informs the both the content and the situation of the exhibition. A theatrical notion is apparent through the method of entering the exhibition, the spectator is invited to draw aside a thick red velvet curtain in order to enter. Commencing in such a way, with a necessity for the observer to interact with the space immediately differentiates this from the open plan spaces of modern galleries, for example the Tate Modern. In a brave and successful move the viewer moves fist into two small, dark, rooms; minimal lighting removes the visitor from the busy street and into a new physical and psychological state. Outstanding within these rooms for is Ben Tyers’ Breathe (2009), drawing attention to this unconscious process within the viewer themselves Tyers promotes a synchronisation between the art and viewer and many consciously consider and alter their breathing to concur with the inanimate work. In a transition unashamedly created to insight awe the visitor is invited to again pull back curtains and move into the most spectacular space of the exhibition, the nave of the former church. Immediately captivating is Polly Morgans At the Beginning, a hanging framework apparently suspended by the flight of several birds. At the Beginning, inspired by a Victorian proposal for a flying machine is a hauntingly evocative work which is displayed to great effect within the vast nave. Confronting the viewer as they enter Morgans installation develops to become more than a work placed within a space, but one which is impacted upon and crucially one which impacts upon the majestic room. Dramatic shadows are thrown to the outer limits of the space impacting upon spectators, works surrounding it and the naves great mirrors. Even as a one turns away from the work in order to consider MccGwires alluring sculptural forms more intently the effects of Morgans work remain. This enigmatic space is filled with diverse works, referencing nature, power, intrigue, beauty and, in the case of Kate MccGwire’s forms simultaneously fear and repulsion. MccGwire’s Urge (2009) and Wrest (2009) are intrinsically disconcerting unidentifiable forms meticulously constructed from magpie, pigeon and jackdaw feathers. Whether these forms are emerging, evolving, escaping or dying each form appears to take on a living capacity, enticing the viewer yet simultaneously leaving the viewer unsettled by their writhing form.
Text extracted from The Pandorian Sara Kellett
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Sunday, 1 November 2009

ArtLyst Showcase for MAID Central Saint Martins Industrial Design Department

ArtLyst is proud to announce a partnership with MAID, The MA program of Industrial Design at Central Saint Martins London. Over the coming weeks ArtLyst, as a platform for cutting edge design, will be showcasing the best new international design available.