This Month we are taking you back to East London – the place of the first Contemporary Key tour! We will be looking into a variety of gallery spaces and practices in the streets of Shoreditch and see why the energy of the East is unrivalled in London.

Our itinerary will be:
Eb & Flow - Briony Anderson
Hales Gallery – Aubrey Williams
Kate MacGarry – B Wurtz
Mummery + Schnelle – Philip Ackermann and Maria Chevska
Saturday 15th June, 3 – 5pm
Tickets are £18 pp

Eb & Flow

B&Flow provides a platform to exhibit and support contemporary artists in London. The gallery occupies a converted print works across two floors in the heart of Shoreditch.
 Established by Margherita Berloni and Nathan Engelbrecht, at the core of EB&Flow’s ethos is the aim to build long term relationships with artists from a formative stage in their career and as their practice develops.

EB & Flow Gallery was created by Margherita Berloni and Nathan Engelbrecht after they met each during their Art Business studies at Sotheby’s in London. The gallery  was established to specialize in emerging artists. It has a keen interest in artist career development and will provide their artists with a level of support which will include onsite studio space plus other development strategies which are inspired from creative industries such as film and fashion

Briony Anderson

The artworks shown take as their reflective starting point and subject matter, historical landscape paintings. From these Anderson removes the figures, or any signs of material presence, so that our relation to the landscape can be explored. The landscape becomes utterly timeless. Anderson then questions what exactly landscape represents, constrained to remits of absence and void, abstraction and subtraction.

The paintings build on research that has been investigating the western visual tradition of landscape painting and the historical specificities of its development, particularly in the north. The concept of landscape offers a framework for exploring our fragmented experience and understanding, and previous work has focused on sceptical readings of landscape aesthetics, exploring landscape as a sociopolitical category.

 

Hales Gallery

Hales Gallery opened in 1992 as a contemporary art space in Deptford, South London. From this venue, Paul Hedge and Paul Maslin successfully launched the careers of a number of emerging British artists at that time, including among many others, Jake and Dinos Chapman, Mike Nelson and Sarah Jones. 

The Gallery became a social focal point for artists and created a good environment for the development and exchange of ideas. The space was regularly written about in the art press, national and international newspapers and attracted worldwide media attention. 

In 1997 Hales Gallery began representing artists from international backgrounds including Tomoko Takahashi, Hew Locke and Hans Op de Beeck. 2004 saw Hales move to its current new gallery space designed by architects HawkinsBrown in the Tea Building in London’s East End.

Aubrey Williams

Aubrey Williams’s Shostakovich series was created in response to close listening, over a long period, to the symphonies and string quartets, of one of the greatest composers of the mid-twentieth century. Williams was an erudite painter, deeply knowledgeable of European art and the theories of modernism: he was well aware of Kandinsky’s ideas concerning colour and ‘the spiritual in art’, and of Baudelaire’s idea that ‘correspondences’ can be discovered between the arts of music, poetry and painting.  Williams had experimented for some time with the idea of using colour as the basis of formal equivalents but had not been happy with the results. Now, immersed daily in the sound world of the Russian composer, he set to work with a complete freedom from programme or premeditation.

For Williams, Shostakovich was universal in his creativity; his music had drawn so much from beyond the European tradition, from early Chinese, Indian, African music, from American jazz.  It was a stupendous effort to bring into painting his passionate feeling for the music, and to convey in concrete terms something of its variety, its elemental power and its emotional structures. The outcome was a profoundly coherent body of work: – in response to Shostakovich’s fifteen symphonies and fifteen string quartets, executed in less than two years – characterised by the most extraordinary variety and complexity of formal device, colour and spectacle. It was an astounding accomplishment, its scale and power matching anything in painterly abstraction made in the late twentieth century.

 

Kate MacGarry

Kate MacGarry is a contemporary art gallery located in London. The gallery represents several international artists including Goshka Macuga, Iain Forsyth and Jane Pollard, Francis Upritchard, Peter McDonald, Matt Bryans, Dr Lakra, Marcus Coates and Ben Rivers. Established by Kate MacGarry, it first opened in November 2002 on Redchurch Street in London’s East End, UK. From April 2007 to April 2011 the gallery was located on Vyner Street, and in May 2011 the gallery moved back to its roots on Old Nichol St, close to Redchurch St in Shoreditch.

B Wurts

Wurtz has spent over forty years crafting simple yet deeply considered works of art. Skilfully combining existing, commonplace things with raw materials, his work is characterised by paradoxical imagery: rigorous and delicate, crude and poised, classical and totemic.

Wurtz uses found objects such as socks, plastic bags and shoelaces, alongside more traditional art materials such as wood, metal and marble. Such juxtapositions in Wurtz’s work make lowly materials icons of ordinariness. The exhibition will feature works from 1970 to the present day including Untitled (Autobiographical Sculpture), 1972, made with found wood elements that track significant events in the artist’s life to that moment. The show will also include his Garment series made during the 1980s: blocks of painted colour on flat canvas with a t-shirt motif.

 

Mummery + Schnelle

Mummery + Schnelle was established in 2007 by Andrew Mummery and Wolfram Schnelle. The gallery exhibits international contemporary art, building on an artist base established by Andrew Mummery, that focuses mainly on painting and photography.

The gallery’s exhibition programme has recently started to feature conceptual art made in the 1960s and 70s and employing photography as its primary medium. Last year the gallery started to work with British artist Stuart Brisley, probably best known for the series of key performance related works created in the 1970s and 80s that re-defined what “performance art” might be and encompass. In September 2012 the gallery staged an exhibition that which included key photographic works from the 1970s by two important Colombian artists, Miguel Angel Rojas and Fernell Franco. In September 2013, the gallery will present an exhibition of postwar photography from Poland focusing on rarely seen material from the 1950s and 60s.

Philip Ackermann and Maria Chevska 

A juxtaposition of the works of Philip Akkerman and Maria Chevska raises questions about the nature of studio painting and the implications of working in series. Both artists concern themselves with authorship and the performative in painting, and to put their works in dialogue invites reflection on both the medium’s historicity and its contemporary status.

There are two constants in Akkerman’s work. The first is technique: a traditional one of building up the painting in layers, starting with a neutral ground colour on which the image is drawn, followed by the addition of grisaille – an under-painting, usually in shades of grey – which is crucial for giving unity, volume and depth to the composition. It is the grisaille that gives Akkerman the freedom to paint exactly as he likes, and to express whatever he wants in the final layer of oil paint. For him, painting is anarchistic, a question of the freedom of individual expression.

Maria Chevska’s exhibition contains works from her new series From the diary of a fly, which is made up of paintings and small collage/paper sculptures displayed on individual plinths. Chevska has taken details and colours from these and used them as the basis of her compositions. The original source material is, however, difficult to see. The fragments have been exaggerated and distorted, shrunk and expanded in the act of painting. Chevska has spoken of wanting to make the paint “eventful”, the viewer able to see how the paintings “got there”. They are made quickly, although some are repeatedly painted over, and the temporal aspect of them is important.

Bethnal Green Gallery Tour - Saturday 25th June 2016

An evening at Whitechapel Gallery - Thursday 24th March 2016

Shoreditch Gallery and Graffiti Tour - Saturday 28th November 2015

Bethnal Green October Tour - Saturday 25th October 2014

Shoreditch February Tour - Saturday 22nd February 2014

Phoebe Unwin Studio Visit - Thursday 30th January 2014

Bethnal Green Tour - Saturday 27th October 2012

Hoxton Tour - Saturday 25th February 2012