ORGAN THING: Artist Emma Harvey on the performances of Marnie Scarlet and Amy kingsmill at Debased

Last week both Amy Kingsmill and Marnie Scarlet took part in the opening night of a group show or contemporary painters, performers, street artists, print makers and more, a show called Debased, curated by Cultivate, over at BSMT Space (Dalston, London N16)

Cultivate Debased - Amy kingsmill

Cultivate Debased – Amy kingsmill

Both Marnie and Amy has appeared and performed at a number of Cultivate events now. We never ask performance artist Amy Kingsmill what she’s actually going to do, we trust her, we respect her art, she tells us what we need to know and tells us what she might need, besides that, the space is hers. We kind of thought we vaguely knew what to expect this time but Amy’s art is evolving again, Bloom was astounding, it was disturbing, it was intensely beautiful…

“Wonderful review of Bloom performed at Cultivate Debased at BSMT Space ‘Never has a packed art gallery been so quiet, so transfixed and fully focused … Not a word said in the basement, complete silence for Amy’s half-hour performance save for the noise drifting down from the street… A gallery almost stunned, silence as Amy Kingsmill’s white dress turned red and her performance twisted people’s expressions’ – Some words from the review of the whole show that featured performance and wall-based art from a selected group of painters, performers and more that appeared on the Organ pages, words that were then picked up on my Amy who re-posted them on social media and posted by her along with this rather powerful post-performance photo

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Post performance of Bloom photo by James Copeman

“Salvation in suffering. There is a beauty, a divinity I find in sacrifice, in enduring an ordeal. With each step of this action I tranform, through embracing beauty with pain I become beautiful then in turns grotesque. I feel so beautiful when I bleed, when I suffer. N/B This is not about torturing myself this is about embracing the full spectrum of feeling and the specific head spaces which can only be entered through extreme endurance”.(Amy Kingsmill)

CULTIVATE: Debased - Emma Harvey

CULTIVATE: Debased – Emma Harvey

Emma Harvey, painter and show co-curator, offered these thoughts afterwards….

The two performances at the opening night of Debased somehow worked so strangely well together side by side. Marnie Scarlet’s first interactive performance art piece ‘Face Dress’ featured her ‘Dress that is made of Me’ – a dress full of used make-up face wipes, full and flowing and trailing out behind her. She entered the space with a clean white make-up’ed face, and began to paint on bright blue eyebrows, rosey red cheeks and a paint roller of bright pink rolled over her lips ‘Don’t I look beautiful?’ she asked. Oh yes. No mirror needed here as the audience answered her question as we enjoyed the bright paints covering her face. We were then invited to pin on more of her used face wipes onto her dress, fill out her dress with used wiped off make-up, making her even more beautiful. The performance ended as she took off her freshly applied painted make-up with a wipe which was then also added and pinned to her dress and off she went with a flourish. We cheered, we clapped, we laughed (with her and at ourselves) and all our made-up faces cracked with delight… Fantastic.

CULTIVATE: Debased - Marnie Scarlet

CULTIVATE: Debased – Marnie Scarlet

Then shortly after along came Amy Kingsmill and her new performance piece ‘Bloom’. From the off Amy created an atmosphere, a space and a feeling that made us look, and stare and keep with her and stat totally focused on what was happening. The slow intensity of her picking out roses and laying them at her feet, each one carefully considered, smelt, understood and laid on the floor, the roses creating a circle around her, a cage like space slowly growing around her that we could only look in to from outside. We kept with her, what would happen next? What was this all about?

CULTIVATE: Debased - Amy Kingsmill

CULTIVATE: Debased – Amy Kingsmill

and then we found out…as she plucked a fresh petal from the last white rose and using a needle pinned it to her face. Deathly silence overcame us, no-one dared move or say a word, we were all transfixed. As her face become slowly covered in pinned white petals, blood starting to creep down her face creating bright, flowing marks down her satin cream dress, she continued on. Each petal considered, each placed and pinned so carefully on her face, each one felt, each one adding more, and more, and more. The slow controlled movements became harder to accept, the blood flowing from a few, as her face became covered in petals. Beauty is in the eye of the beholder. Until her face was full of pinned petals, white and red, complete. And just as carefully and considered, one by one, each petal and pin taken out, laid down, dropped onto the floor. The fresh white petals stained with red blood laid on the floor, used. Every petal and pin taken out created a new flow of blood down her face. The release. We were remained transfixed in silence as we watched each one coming out, until finally they were all gone. She was free of petals with blood covering her face and dress. She stared at us and slowly, gracefully walked away, and yet still no-one could speak.

CULTIVATE: Debased - Amy Kingsmill

CULTIVATE: Debased – Amy Kingsmill

The first words I heard a couple of minutes later were ‘Well she just stole the show’. Indeed she did, wonderfully so. A performance that was both hugely affecting and liberating, difficult and freeing, painful and beautiful, all these things and so much more. Just making us stop and think and consider amongst all the mess of our lives was perfect. Control and action. Delight and debased. Thank you Amy, Thank you Marnie. (EH)

Click on an image ot enlarge or run the slide show….

ORGAN PREVIEW: Dan Baldwin, vividly Under The Influence at Maddox Gallery this October

Dan Baldwin has a new show opening over at Maddox Gallery (Mayfair, London W1), opening night is October 4th, the show is called Under The Influence, no doubt the gallery walls will be alive with Dan’s vivid colour once more, we’ll leave you with this little taster and some blatantly cut’n paste style words from the gallery themselves while we get on with the business of debasing some more, this is a non-stop operation, but unlike the man in the red hat, we will always make the time, art excites us, going out and exploring art excites us, not for us the option of sitting at home posting photos in a silly red hat and telling people “I don’t care”. Rather looking forward to this latest Dan Baldwin show….

To The Forest, copyright Dan Baldwin 2016 Maddox Gallery

“Maddox Gallery, Mayfair, is pleased to present UNDER THE INFLUENCE, the gallery’s first solo exhibition of paintings from respected British artist Dan Baldwin. The October exhibition will see the contemporary painter unveil a new body of work as he reflects upon his last decade as an artist.

UNDER THE INFLUENCE is Baldwin’s fifteenth solo show. A contemplation of the last ten years of his life, this exciting new body of work looks towards the future with a fresh new perspective, as well as assessing his work and its themes over the last decade.

Through his combination of mixed media, Baldwin presents provocative images merging political, religious and cultural motifs in a playful and vibrant palette. His work is layered both thematically and physically, using an array of carefully selected found objects, glazes and acrylics. Though this exhibition focuses on Baldwin’s painting, there is a depth and uneasiness in the opposite forces at play throughout all of Baldwin’s work, and it is this juxtaposition of playful and dark imagery in his unique style, which makes his work so difficult to place. Widely sought after, Baldwin’s inimitable work has the ability to both provoke and bemuse his audience.

Your family Needs Autoflow, copyright Dan Baldwin 2016, Maddox Gallery

Dan Baldwin comments, “I don’t plan paintings, everyday new thoughts and influences enter my studio through the media and I surround myself with resource material, a resource formed of thousands of images and objects collected over the past 25 years. I begin to paint, layering and over painting eliminating what isn’t working, and keeping what does. Works can often take months sometimes even years to complete. There is no grand plan or vision in my mind, I work until it’s right. Each finished work is an expression of the many paintings that live below the surface overpainted until I feel it is complete. Harmony and balance are vital, a perfect tension between my suggestive themes and symbols of life, death, memory, love, conflict and nostalgia.”

Baldwin adds, “This new body of work contrasts sharply from the dark musings that featured in my previous show FEAR OF LETTING GO, influenced by trips to Los Angeles and Majorca these paintings celebrate the sunshine and colour I witnessed and craved. Interwoven with the language of past paintings and a new found nostalgia these works represent a new chapter for me and one that I hope engages and invites a dialogue with the viewer.”

L-R: L: Hypa Aware Overkill R: Milagro copyright Dan Baldwin 2016 Maddox Gallery

“Looking at Dan’s work is like meeting old friends for me. It looks as though at some point in our careers we used the same casting agency. I am flattered that Dan writes that he was influenced by my work. It’s fascinating to see Mickey and all the chaps used in a newer different way, and I have really enjoyed his work.” Sir Peter Blake

Born in Manchester in 1972, Dan initially studied at Eastbourne College of Art before completing a BA in Illustration from the Kent Institute of Art. He has since gone on to become one of the most prominent artists working in the UK today, with his multi- dimensional and ethereal work found in prominent international collections and institutions around the world. Previously citing Damien Hirst, Gilbert & George and Peter Blake as his key influences, it is these same artists who collect Baldwin’s work and now credit him as a key artist and influencer of his generation.

Maddox Gallery is fast emerging as one of the smartest young contemporary art destinations in Mayfair. This spring it made global headlines when it exhibited ‘Make America Great Again’ the provocative Donald Trump nude by Ilma Gore. Censored by Facebook it became the first truly viral artwork of the Instagram age and provoked political, social and creative debate across the globe. Housed in a beautiful 3750 square foot Victorian townhouse in the heart of London, their roster of cutting edge international contemporary artists and photographers includes Dan Baldwin, Chris Moon, Robi Walters, Bradley Theodore, Tyler Shields, Finn Stone, Simafra, Tony Kelly, Retna, Yves Hayat, and Michael Moebius.

L-R: Acid Reflux , The Proposal, Escape copyright Dan Baldwin 2016 Maddox Gallery

The Private View is on Tuesday 4th October 2016, 6-9pm , the exhibition runs from the 5th to the 25th October at  Maddox Gallery, 9 Maddox Street London W1S 2QE

 

Organ Thing of The Day? Here’s a new Miguel Mendez song…

Organ Thing of The Day? Here’s a new Miguel Mendez song (and video), we’re still coming down after all the Debased activity of the weekend, Here, have a quick one, have this mellow piece of goodness and some words from Deathbomb Arc while we clean up. This is a track from the new album ‘Love is For The Rich’ released on the aforementioned ever worth your while label that is L.A’s very fine Deathbomb Arc in collaboration with Psychedelic Thriftstore Records.


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“Miguel Mendez has been a member of Love As Laughter, and collaborated with musicians such a J Mascis, Farmer Dave of Beachwood Sparks, Joel Jerome of DIOS, and even experimental musicians like Brian Kinsman of True Neutral Crew. On rare occasion though, Mendez puts forth his own work – a uniquely rude yet gentle form of psyche-country. Raised on both 70s ballads and 90s gangsta rap, Miguel Mendez is at once deeply romantic and armed with a bitter tongue. It can be hard to decipher if his lyrics are sympathetic or satirical. Or both. Or neither. He plays with mystery both in his words and the lush orchestration of his tracks. ‘Love Is For The Rich’ is an ominously delivered piece of wisdom: Just chill.”

MIGUEL MENDEZ 'love is for the rich' artwork

MIGUEL MENDEZ ‘love is for the rich’ artwork

ORGAN THING: Trumpet blowing and more blood spilled, another busy art show in a London basement…

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Well that was quite an eventful weekend spent over on the edges of Hackney down in a Dalston basement at the foot of the Stoke Newington Road in amongst all the noise and people of N16. We’re in Monday morning recovery mode now and musing on all that went on, that was eventful!  Big thanks to everyone who came to the Debased show, big thanks to all of those who came along for that rather packed opening and thanks to those who made the effort to come explore the exhibition over the long weekend.  I think we can say that was a particularly successful (dare we say significant?) one.  I think we can say that went rather well can’t we?. Big big thanks to all who made the effort to come along and to all the artists who took part (and to those artists who we couldn’t fit in to the show this time). I think that marked five years of doing it the Cultivate way rather well… we’ll start work on the next shows in a minute, let’s get some thoughts about this one committed to (electronic) paper.

Rather pleased with  the artisan flavours we had this time, the cross-pollination of contemporary painters mixing with the graphic sign-writing, the crafted gilding, the hand-printed rolls of wallpaper or the fabric delivered with attitude, rather liked all that hanging next to the big canvas pieces and the brush stokes and the delicate details and the bold abstractions, rather liked the mixing of the performance, the painters, the fine art printmakers and street art flavoured illustrators – cross-pollination was the phrase again this weekend – and, yes, the politics, rather proud to have had that powerful Megan Pickering piece right there in the middle of things demanding attention (more about Megan’s powerful piece later on, it deserves an article all to itself later this week)..  

debased_sept2016It is no secret that Cultivate is an Organ thing and that we here at the now long-running Organ (almost thirty years of Organ) opened Cultivate as a gallery space some five years ago now – all documented over on the Cultivate blog, Cultivate is now nomadic, Cultivate, like Organ, is ever evolving – so yes, we are blowing our own big-mouthed trumpets here again, so what?! The goings on of the last five days deserve some trumpeting and if we don’t do it then who will?

And so five days were spent in a basement art gallery space over in London N16, the opening night was intense (it wasn’t a private view, we open for everyone, we don’t do private view, everyone is welcome at our art shows), the opening was beautiful, and these notes were hammered into a mobile phone in wake during the show over the weekend in between conversations with visitors and…

Marnie Scarlet, post performance, back in the day wear

Marnie Scarlet, post performance, back in the day wear

The cold light of a Dalston Friday almost reaching down in to the BSMT Space basement, the scars of last night almost cleared up, one lone blood-covered piece of slightly mutilated rose left from Amy Kingsmill’s rather challenging piece of performance art.  Never has a packed art gallery been so quiet, so transfixed and fully focused (London art audiences are by habit, loud things). Not a word said in the basement, complete silence for Amy’s half-hour performance save for the noise drifting down from the street, from outside the open door, the busy traffic rushing by, the passing of people getting on with their shopping and their rushing home or their rushing out to a bar or just hanging about up there oblivious.  A gallery almost stunned, silence as Amy Kingsmill’s white dress turned red and her performance twisted people’s expressions.  Of course besides the hundred or so who happened to be in the gallery at the time, no one will really know any of it ever happened, the fadish art press showed their usual lack of interest in what’s really going on week after week right under their noses in spaces like this, the London art maps who never seem to find their way to map these things and such, no sign of the demander of properly written artistic essay either, must have been busy arranging her footnotes and making sure her academic pontificating was all formally correct and that all signs of excitement are removed from the process of (writing about) art, that or she had a headache, she’s being saying she’s too ill to make it this week for five years or so now.  Why is it that the London art media so very very rarely actually gets out and covers the actual art that’s happening? Surely nothing to do with who pays for advertising space and who doesn’t? Surely that cynical Art Map page doesn’t run like that?

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Chain of thought broken down in the gallery by Mr Yogi, a passing fortune-teller, I do like this space on the crossroads where Kingsland Road turns into Stoke Newington High Street, just beyond all the colourful noise of mercifully ungentrified Ridley Road Market (catch it while you can people, treasure it, I love walking through there, love buying big bags for fruit for half the price you pay in the supermarket, love the noise, the voices), Mr Yogi is the latest of a stream of colourful characters dropping in today – school kids, construction workers, religious pamphlet pushers, the occasional artist, a passing dry-cleaning delivery man supposedly rushing a dress to a customer, said he couldn’t resist the sign outside and a quick look (see galleries, signs outside, they really do work, much better than hiding behind a locked door and an uninviting bell).  Mr Yogi failed to get anyone in the gallery to cross his palm with a “small financial tribute”, he was very complimentary though, and rightly so, this is, even if I do say so myself, a rather satisfying show.  If last night’s opening was about intensity and attitude, then today has just been about enjoying the art and exploring a whole cross-section of London’s artist-led creative pro-active underground. Sixteen artists hanging on the walls, the art reflecting off the shine of the floor, the art hiding in the beautiful brick alcoves that add so much to this excellent underground art space, sixteen artists who were joined by three performance artists for last night’s rather exciting, rather busy, rather buzzing opening.

Amy kingsmill

Amy kingsmill

This is an important show, for no other reason other than that it opened on Joan Jeff’s birthday, she’d appreciate that Boys Suck piece that threw so many off the scent just when they thought they had worked the artist out.  An important show because down here in this basement, this artist-led coming together of a show represents, once again, where the real energy is in terms of the people, the contemporary creativity and the right-here-right-now – a dozen and a half artists sharing wall space, floor space, energy and ideas. Megan Pickering excited to be showing art next to Emma Harvey and her circles, Emma exited to share walls with Bruce Lovelock‘s large painting – “I imagine him as one of those artists who are discovered later on in life with hundreds of works stored away…I like his work, there is a dark strange edge there, I don’t see anything else out there like his work. It poses questions to me, rather than handing it all on a plate I do ‘feel’ from Bruce’s work…”.  Quiet British Accent, Jane Mutiny and her pumping hearts and herons, a table full of prints, zines – Jane Laurie AKA the street artist known as Mutiny has been painting her hearts and endangered species on the walls if London all summer and this weekend she’s up on the wall next to Ian Bailey‘s deliciously rich hand-printed rebellious wallpapers – dare we say the punk rock William Morris? Love having Ian’s work on the wall, brilliant. .

Emma Harvey

Emma Harvey

These are the people who have recovered from the tedious bindings of art school, the rules and the restrictions, the chains of formality and the “correct” way of doing things (I reckon it takes about five years before an ex art student has got real and thrown off the shackles and started to produce something worth engaging with, either that or given up and become an estate agent vitriolically upping the rents and closing down the art spaces they no longer visit or got to hang work in. Of course the art establishment can’t see beyond the end of term degree shows in terms of looking for the exciting new artists, if the establishment gallery machine doesn’t snap you up the minute you graduate then it ignores you for ever more. The London art scene is a fractured thing, the really exciting artists and events are the ones that come together like this one in space like this one, this is where the spirit of Joshua Compston flows on, a better Woolworths, this is art getting on with it without all the uninviting formality and the cold-hearted footnotes.

Marnie Scarlet

Marnie Scarlet

And so Amy Kingsmill’s needles lay of the floor along with the blood and the silence until the music pieced it all and night moved on and evolved again, before Amy Cultivate regular Marnie Scarlet held centre stage with a performance and a dress made from the make-up encrusted tissue wipes of previous encounters, her white face painted by an audience invited to engage and doing so with delighted enthusiasm in-front of the paintings and a crowd packed in and perched on the stairs, squashed in to corners, elbowing with the camera-snappers and the mobile phones that were sharing it all instantly.

Megan Pickering - Breadline

Megan Pickering – Breadline

Meanwhile Apple Tart is wandering around questioning gender in her dress and people are asking questions about the food lists and the reproduced 80’s miner strike leaflets, those who were around at the time explaining to those who weren’t. Megan Pickering is from the mining community of Durham, her piece on the wall is particularly powerful, it was important to place it right in the middle of the show, a place of prominence, not lost in the noise of the other art. A piece of art called Breadline – a piece we had seen before and particularly wanted in this show, I think we’ve said before Megan is one of our favourite London-based artists, her video piece at last year’s Play show was special, all of her appearances at Cultivate have been (we first got to know of Megan when she came in to curate her own group show and few years back, see, all about the energy of artists doing it themselves). Breadline features the lists compiled by the artist’s grandmother while she was in charge of the food parcels and the donations sent in in support of the striking miners and the communities threatened by Thatcher’s hatred back in her days of government – the list of food supplies is powerful, this is a vital piece of art, a vital piece of social documentation – strong statement, important statement, this piece of work really does deserve far more attention than it will ever get down here in one of our shows.

Quiet British Accent

Quiet British Accent

And so a show alive with contradictions, the usual street-art crowd who tend to inhabit BSMT Space are grasping it, well the ones who have bothered to show up, alas many of the regulars have opted not to step outside of their comfort zones, “I usually go but it didn’t look like my thing” said one on-line – well yes, the usual game of street art bingo was not on offer tonight, no bad Bowie stencils or conforming skulls or Star Wars clichés that they like to say are “smashing it” in that street art way that does so amuse – oh but there was the flowing black and white style of This One, the strong urban colour of Rosso and there was the heart-felt beauty of Mutiny and her endangered heron and there was that bloke who repeatedly paints those tag-like leaf-things on found pieces of wood and such recycled from the street and them hangs them back out on the street walls, and you would surely have appreciated the meaty substance of Espira’s pop art and Tesco bags and vintage porn and angelic wit, and that painted penny that Quiet British Accent refused to sell (despite the repeated requests) because it wasn’t about the money – painted penny piece was put out on the Dalston street after the show, attached to a wall, there to be taken, that’s “smashing it”.  But then everything must stay in a box and be neatly labeled – this box from the appreciators of contemporary art, that one over for the urban art followers and never the two shall dare to meet and where shall we put Elizabeth Sandford Richardson‘s black and white digital holography in all of this? Her subtle photography, her printmaking, her diffraction that’s evolving, where does that fit in? What is going on here, how dare you cross pollinate like this!  Pretty sure Elizabeth came along with Apple Tart, although I never did see the two of them in the same room at the same time.

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yes, this was about cross-pollination, artists uniting and sharing space, contradicting, complimenting, questioning, outside the rules and pigeonholes – the painterly colour, the portraits and the bright (bright) wearable art of Diane Goldie (do like the creative questions Diane constantly throws out),  the ever evolving Matisse-flavoured colour and cut out shape of Swiss artist and music maker Christopher Cachelin (AKA Kidd Feather), the dark mystery (and taxidermy) of Mia-Jane Harris hiding delightfully in the corner arch waiting to be explored, the bold personality and rich colour of Rosso, her punk rock edge there on her big bright canvas, her wearing of everything on her painted metaphorical sleeve. There’s a strong defiant smile to Rosso’s painting, a developing self-awareness, a need to convey her hope, her fear, her excitement, her questions.

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And then there’s Deborah Griffin‘s sailing of her pirate ship (was it a pirate ship or was that just me reading that wholesome blackness?), her big self-portrait, the artist as a sailing ship (surely a pirate ship?), do love Deborah’s work, never know what she will bring when invited but it is always rewarding and with a slight gothic undercurrent that it so good to drink in, a painterly style like nobody else, we always delight in asking her back  There’s Lynne Blackburn‘s previously documented craft, her high-end contemporary print making there in the frames hanging on the brickwork, her celebration or mark and colour that is so much more than just mark and colour and glorious texture when you really take the time to look and yes I am blowing trumpets about the artists we invited to take part, of course I am! There’s a lot of time and effort, argument and debate that goes into the selection (and indeed the hang), into the balance of the show, the potential relationships between the pieces on the wall of the gallery, lots and lots of pulling together – there were others we would have loved to ask but would they fit with this particular body of the work and this group of artists in this particular space?   

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And so another Cultivate show happened (there’s been about 150 of them now and she’s been too ill this week to make any of them), this time it happened in a basement space in Dalston and a take over of the BSMT Space gallery.  Sixteen artists shared the walls, some performance artists performed on the opening night, lots of people came along, a triumph art show happened – maximalism, cross-pollination, positive contradiction, punk rock,  trumpet blowing – a good time was had, some thought-provoking was thrown out along with the entertainment, the beauty, the darkness, the politics, the creativity and a barb or two.  The man in the red hat didn’t come, neither did anyone of the pontificating speakers from the Art Conference who like to tell us what’s going on, the art-fair art pimps who send out the e.mails telling us how much they “love your work and you can have a couple of inches of badly lit wall space for a couple of days if you part with a couple of hundred notes” (well a lot more actually), non of those art-pimps made it – lots of people did come though, lots of real people made it, lots of art happened, debate took place, smiles on faces, pieces sold, friendly argument on the merits of this and that.

Marnie Scarlet

Marnie Scarlet

Mr Yogi said it was good, Mr Yogi was right, and when a show as good as this one happens then an unashemed trumpet or two is going to be loudly blown. Like we keep saying on these organic pages, shows like this are happening almost every week in this city of ours, as fractured and under threat as we artists are, as difficult as space is to find now, art is still very much alive in the back rooms of London and if you’re willing to get out and engage with it then these are very rewarding time. We had a great time in the basement, we’ve had a great time doing this Cultivate thing over the last five or so years, we like being a thorn in your side (sometimes they do indeed have thorns), thanks everyone, thanks for coming, we’re going to blow our own trumpets, now what shall we do next? (SW)          

Click on an image to enlarge or to run slide show….          .

 

 

ORGAN THING: The beautiful printmaking of Lynne Blackburn, the glorious wallpaper of Ian Bailey, both at Debased this week…

Lynne Blackburn - Ghost Building

Lynne Blackburn – Ghost Building

Debased is almost upon us, we’re rather looking forward to it, I’m especially looking forward to seeing Ian Bailey’s work in the flash. This will be Ian’s debut in terms of Cultivate, he was last seen at the V&A where some of his beautiful hand-printed wallpaper was being on show..

Debased is a maximalist art show, a group show, Debased is about cross-pollination, about artists who probably don’t cross paths that often being on the same walls, sharing spAce and ideas and energy. We rather like the idea of street artists sharing space with contemporary painters, performers, print makers, dress makers, and in Ian’s case, someone who created beautiful hand printed wallpaper.   There’s something exciting about a good repeat pattern, especiAlly a slightly rebellious one – “Student of the late seventies and still angry. Ian’s art and repeat pattern wallpaper designs are inspired by Pugin, Strummer, Jamie Reid, Ickey, Banksy, Orwell and Delia Smith CBE”  I’d throw William Morris in that pot as well but then William is a hero of mine and I am a frustrated textile designer,  I was delighted when Ian asked if he could take part in Debased, I can’t wait to see his wallpaper hanging next to a This One canvas or an Emma Harvey painting.

CULTIVATE DEBASED is at BSMT Space 22-25 September 2016. Opening night: Thursday 22 September, 6pm until 9pm then open: Friday 23, Saturday 24 and Sunday 25 September 11am until – 7pm each day.  BSMT Space is found at 5d Stoke Newington Road, Dalston, London, N16 8BH

debased_sept2016CULTIVATE returns to Dalston and that beautiful basement knows as BSMT Space. In March it was DEBASER and slicing up eye balls, on September 22nd it will be DEBASED. Another gathering of pro-active artists and a maximalist exercise on cross-pollination. A room alive with contemporary painters, so-called street artists, performers, print makers and more…. Artists taking part include: ADAM ESPIRA, AMY KINGSMILLAPPLE TART,  BRUCE LOVELOCK,  CHRISTOPHER CACHELIN (aka Kidd Feather),  DEBORAH GRIFFINDIANE GOLDIEELIZABETH SANDFORD RICHARDSON, EMMA HARVEYIAN BAILEY, MUTINY,  LYNNE BLACKBURN, MARNIE SCARLETTMEGAN PICKERING, MIA-JANE HARRIS, QUIET BRITISH ACCENT,  ROSSO, SEAN WORRALL,  THIS ONE….

Gill Saunders, curator of prints at the V&A, talking about Ian Bailey’s ‘Rebellion’ wallpaper

Gill Saunders, curator of prints at the V&A, talking about Ian Bailey’s ‘Rebellion’ wallpaper

LYNNE BLACKBURN has been quite a regular at Cultivate, we always get so much out of Lynne being involved in out group shows and exhibitions. Now I’m no printmaker  and I don’t really know how she achieves what she does but her beautiful multi-screened prints are so alive with colour, with texture, depth and I guess (although I don’t know) alive with technical dexterity – and although there’s obviously a high degree of skill involved, with all due respect and admiration, I don’t really care that much about that side. I’m more interested in the result of whatever it is Lynne does, the interest is in the piece that ends up on the wall – beautiful colours, delicious repeats, glorious textures and often with a not to obvious slice of a social or political undercurrent,  There’s print makers and then there’s artists who really do explore the possibilities of print making, the layers and relationships of shape and colour, the glory of texture. Lynne Blackburn isn’t an artist who comes jumping off a wall demanding your immediate attention, her  work is just there, quietly waiting for you to take a proper look rather than a polite glance, art there to really be discovered and get lost in. I can spend hours just looking at  a Lynne Blackburn print, indeed I have done just that when we’ve had shows on, why do you think we keep asking her back, there’s something rather special about a Lynne Blackburn print, rather looking forward to seeing what she has for us this Thursday evening., she promises a new series of prints called Ghost Building….

Here’s a load of past Lynne Blackburn images “borrowed” off social media and such, click on an image to enlarge or run the slide show and get a small flavour of her world….

Both Lynne Blackburn and Ian Bailey produce their work at Hippo Screeenprinting studio.

HIPPO SCREENPRINTERS is a fine art printmaking studio, specialising in hand-pulled screen print editions for artists, art galleries, band merchandisers, interior designers and publishers. At our studio, which is situated in the Essex countryside, we also have facilities for etching and digital printing”.

Hippo Screenprint studio

Hippo Screenprint studio

 

 

ORGAN THING: This One’s street art style gets Debased this week…

debased_sept2016This One is a Yorkshire man slowly painting his way through every wall in London, well rather rapidly actually, This One is a prolific street artist who’s tattoo-flavoured illustrative style kind of stands out on cluttered the walls he’s adding to. Unlike a lot of the current crop of London’s street artists This One‘s standout black and white style translates rather well to canvas on a gallery wall, his paintings on canvas or on doors, or boats or bike frames look as fine inside a gallery as they do fighting through the clutter, the advertising and he estate agents boards on the the East London Streets.

This One has become an almost regular contributor to Cultivate shows over the last year and a half, he’ll be joining us again this Thursday for the Debased show over at Dalston’s Basement space

CULTIVATE returns to Dalston and that beautiful basement knows as BSMT Space. In March it was DEBASER and slicing up eye balls, on September 22nd it will be DEBASED. Another gathering of pro-active artists and a maximalist exercise on cross-pollination. A room alive with contemporary painters, so-called street artists, performers, print makers and more…. Artists taking part include: ADAM ESPIRA, AMY KINGSMILLAPPLE TART,  BRUCE LOVELOCK,  CHRISTOPHER CACHELIN (aka Kidd Feather),  DEBORAH GRIFFINDIANE GOLDIEELIZABETH SANDFORD RICHARDSON, EMMA HARVEYIAN BAILEY, MUTINY,  LYNNE BLACKBURN, MARNIE SCARLETTMEGAN PICKERING, QUIET BRITISH ACCENT,  ROSSO, SEAN WORRALL,  THIS ONE….

This One

This One

CULTIVATE DEBASED happens at BSMT Space on 22nd to the -25th September 2016. Opening night: Thursday 22 September, 6pm until 9pm then open: Friday 23, Saturday 24 and Sunday 25 September 11am until – 7pm each day.  Find: BSMT Space at 5d Stoke Newington Road, Dalston, London, N16 8BH

Find out more about the Debased show and the artists talking part over on the Cultivate blog, come along and find out who Apple Tart is…

Apple Tart

Apple Tart

Here’s some photos of This One’s art that we just blatantly stole off social media, click on an image to enlarge or run the slide show….

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ORGAN THING: Green Bastard, orange baked beans, churning doom monsters, Listening Woman? Who are Listening Woman?

Sr. X @ BSMTspace

Sr. X @ BSMTspace

Monday morning, paint to throw, in-box busting with music submissions – “you’re gonna love this band, they’re right up your street” said the PR guy. No, we’re not! They sound like every other unremarkable personality-free indie-landfill band championed by the NME over the last twenty years, next….

We’re going to stick with the in-box and work our way through until something worthy of the honour that is Organ Thing of The Day, we shall plow through until something bites our ears.

This next band being just about tolerated now are apparently “channeling the spirit of northern soul” so says the press release,. If this is channeling Northern Soul then that half eaten piece of toast over there is most certainly channeling the spIrit of GG Allin – look, that burnt bit with the strawberry jam splattered on it does look a bit like GG!   The northern soul wannabees actually sound like an insipidly awful take on everything bad that came with all the Arctic Monkeys hype without the occasionally good bits that that dreadfully average band ripped off of Sir John Cooper Clark, positively chickentown!  They sound like the Libertines without the drugs or the songs, Nolan Porter must be spinning on his head with laughter, Northern Soul? Come on PR man how can we take any of your e.mails seriously when you make claims like that about the bands you’re pimping at us? Next please…

The Sweet Shop

The Sweet Shop

Stillhound? I think I’d rather go hang out with Shed Seven and take up yesterday’s invite, next….  Next up, yet another rule-obeying baked-bean flogging generic cookie monster heavy metal copycat band who want to sound like all the bands they listen to. The dragon on their disaster of an album cover has to be one of the worst we’ve seen for oh at least two weeks, “Their music is influenced by the current metal scene” too right it is!  Very much so, not the slightest hint of a desire to add a tiny bit of something original. Heavy metal these days is rather like street art, everything must conform, be the same as all the others, make a stencil just like the rat Banksy copies off that other bloke.  Who was that band who once told us the metal they made was like baked beans? Apparently according to said band, no one wants blue baked beans, it all has to be orange, people want their baked beans orange. They really did say that, in to a tape recorder, back in the days of cassettes in the Wardour Street Marquee dressing room, Blue Blud they were called (yes, that is how the bean pushers spelt it, what would the Stormchild have said, now there was a band worth their beans), they were opening for Faith no More at the Marquee and really struggling to get their bean-brain metalheads around why the Marquee was full of people there for this strange new band from California who’s beans really didn’t sound very much like orange baked beans.. next…  .

Green Bastard - Pyre

Green Bastard – Pyre

Green Bastard are a “New England stoner-doom trio who have just announced their debut LP,Pyre due out November 16 on Midnight Werewolf records on cassette and download. Does anyone have a cassette player anymore, surely not?  There are mountains of tapes in here, not had a player for years, do people just buy these hip-this-week cassette releases as ornaments to put on their shelves next to their Star Wars dolls and their cans of orange baked beans?  Got a pile of eight track cartridges over there, beat that one retroposers, you’re not a serious musichead unless you’ve got Slade Alive on eight track cartridge, don’t come here with your newfangled cassettes you lightweight hipsters!

This second Green Bastard song, is it a song? This second Green Bastard track has been churning along for almost fourteen minutes now, we’ve heard it all before but there is a little something extra in here and it is positively hypnotic in a St-Vitus does Earth kind of way, stoner soundart rather than just the usual aimless bludgeon riffola. These guys are pounding us towards submission, we give in to the relentless churn! We like it, we like the doom and damnation, hell, we love it! love the raw stew of sound, have there been any vocals yet? Not noticed, seems like they’ve been playing for hours now, is this three track album on repeat?   Hang on, it isn’t on repeat, this third track is rather different, this is serious doomy depression and he claims he woke up screaming in the dark – the vocals have kicked in, is that bit there sounding like Stone Roses wanting to be Candlemass? Did they say they were playing Manchester soon? Manchester New Hampshire you say? Rebuild the Hacienda and get them booked over here! That bit there 8.26 in is Stone Roses for doomheads who have no idea who the Stone Roses are let along what they sound like, Green Dream is the name of the song, this one certainly is a song, another fourteen minute song.. We’re back to the first track now, Thorus, they did have vocals in there with the churn and the riffs and cement mixer and the holding of heads under the sea. This is an impressive wall of fog and fuzz and doom and stoner puss and low-end rumble and most of all positive repetition, positively pounding at you until you give in to the raw power of it all….

Green Bastard

Green Bastard

Here’s the official press release and some much-needed clarity

GREEN BASTARD ANNOUNCE DEBUT LP ‘PYRE’:  New England stoner-doom trio Green Bastard have announced their debut LP, ‘Pyre’ due out November 16 on Midnight Werewolf records on cassette and download.

Pyre’ is an immense listen. Comprised of three sprawling tracks, it takes just under an hour to run its course, but has an intangible gift of drawing the listener into its own reality. In the vein of Sleep, Green Bastard churn out groovy, driving riffs, which are further blended with the filthy fuzz of Boris and Monolord. Touches of post-rock and post-metal reveal themselves in evocative guitar lines that glide over the top of the rolling mass. Mastered by Will Killingsworth of Ampere and Orchid, it is an excellent new work from the fertile New England heavy music scene.

Opening track ‘Thoros’ is a fitting introduction to the album, luring the listener in with atmospheric droning before monumental riffs pummel down the channels. When the track turns onto a new path of its journey midway, soaring guitar separates itself from the thick fuzz, a patient payoff from the minutes of hypnotic build before it. These transitions mark the milestones of ‘Pyre’; the outro to the monstrous second track ‘Cyclopean Walls’, for instance, has the relentlessly thick riffs disintegrate into noisy, disharmonious wails reminiscent of Neurosis. ‘Green Dream’ closes off the record, a brooding piece that contemplates the existential anguish of a clairvoyant. The tone of the track begins mournfully, progressing into a heavy catharsis as singer and bassist Spencer Benson moves his dynamic voice from contemplative singing to a raucous shout. The music follows, using chord progressions that build in the manner of post-rock and delivering angry, lamenting guitar and bass riffs. Drums crash through forceful rhythms beneath, and the combination constructs a potent emotional imagery, capturing the sense of the character and the fantastical nature of the track’s setting. ‘Pyre’ is an assured, sophisticated, and downright filthy statement from a band who, like the seer in ‘Green Dream’, appear to know themselves a little too well for comfort – but more than well enough for riffs.

Green Bastard, nice shirt, no orange bean sauce there!

Green Bastard, nice shirt, no orange bean sauce there!

Here’s an old Green Bastard track that’s nowhere near as good as this new stuff, the new stuff isn’t on line yet, you’ll have to make do with Furious George here, nowhere near as good as the new album though, hang on, haven’t we posted this before? .

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Here, have a Cardiacs cover while we wait for Green Bastard ot post up thir new album

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Meanwhile “here’s my new favorite band, Listening Woman” said Gregory

 

“Room Divider” from Listening Woman’s second release “Getting “Mystic. Coming Fall 2016 on OSR Tapes.  Directed, shot, and edited by Ari Ratner, here’s some links, we’ll go find out more, we always take note on what Gregory has to say….

Listening Woman
https://listeningwoman.tumblr.com/
https://www.facebook.com/listeningwom…
http://osr-tapes.com/

Here you go, these baked beans were never orange, these were the finest of baked beans, what were Blue Blud on about that time? How on earth did Trespass morph in to Blue Blud antway? What were they thinking?

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More tomorrow…. maybe… here, have some of Dark Star‘s blue baked beans

ORGAN THING: The Splendour and Misery of Clipping….

Clipping

Clipping

Clipping have a new album, this is a good thing, a very good thing, splendid indeed, no misery here. Splendor & Misery is the name of the cutting edge album, it came out earlier this week on Sub Pop, it smells like something or other. The Los Angeles outfit have been putting together some powerful musical collage for some time now, you don’t really need our words, music doesn’t need be written about, there it all is, judging it for yourselves, we merely need to point you in the direction, not like those days when the written word was everything and the music press chose what to feed us. Will we ever work out why, when there were so many fine bands, the mainstream music press chose to champion so many of the dreadful things they did while ignoring so many of the fine things that were right there under their noses? Here’s the new Clipping album (now if only they could spell Splendour it would be perfect) .

STOP PRESS “Hello. Saw your clipping post, thank you. Going to get one correction on it: the album is a corelease between sub pop and Deathbomb Arc, not just on sub pop Thank you! Brian”  (Brian is from Deathbomb Arc….

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What kind of fresh hell is this? Imagine it, stuck in a Butlins holiday camp in the rain and wind of an English November and the only way to escape the grey wet weather is to go inside and endure the even greyer and wetter Shed Seven. The return of Bentley Rhythm Ace for gawd sake, stuck in some kind of nightmare with loads of fat middle-aged men in faded washed Wonderstuff t-shirts that don’t fit them properly. An exciting offer!? God help us, Ash for gawd sake!? We spent the 90’s avoiding this lot the first time around

upsilon_tour“Hi Sean, Hope you are well! Got an exciting offer for you here!  We’re looking after the hugely popular Shiiine On Weekender this year (with Echo & The Bunnymen, Happy Mondays, Ash, Black Grape, Ride & more confirmed to play) and we’re looking for people to review the event. There’s only a limited number on the list for this one (the whole event is already over 80% sold out), but I just wanted to drop you a line to see if you’re free 11th – 14th November and if you might be interested in coming down to Butlins Minehead Arena to review the festival? It’d be great to get you involved!

It’s a big one for the festival this year, following the sell-out success of the Shiiine On Weekender 2015, further quality has just been added to its already stellar line up making this unique event a must-see. The event combines some of the biggest names in Britpop, indie and dance, with this year’s line-up featuring the likes of: Echo & The Bunnymen, Happy Mondays, Ash, Black Grape, Mark Gardener (Ride), Steve Lamacq, Shed Seven, Cast and more – full line-up here. There will be a tonne of other stuff going on too, with theatre performances, cinema screenings, talks from Britpop legends and Bez (Happy Monday’s) will even be hosting a pool party!  Anyway, I’d love to hear what you think about coming along to review this one. If you want any more info on the festival then just drop me a line!  Many thanks, Will”

Really not sure Will would really like to know what we think, Cast!?!* Shed Seven?! Surely this wasn’t a serious invite? So much exciting rewarding music around, why would anyone want to be stuck in a holiday camp in November with Cast and Shed Seven?

the_stink

 

ORGAN THING: Cultivating in a Dalston basement, the art of cross-pollination…

debased_sept2016Been a few days over five years since we started this Cultivate thing, we’ll we had been cultivating before that, the Stinging Netil fair, the Hundred Paintings show and such, but it was just over five years ago that we formally started Cultivate. The first four years were on that now infamous corner smack bang in the middle of the now sadly missed Vyner Street, since then we’ve been moving around, nomadic contradictions, basements, warehouses, formal galleries, dog shows, beachfronts, railway bridges…

Next Thursday we’re back in Dalston, the edges of Hackney where east becomes north London Cultivate returns to Dalston and that beautiful basement known as BSMT Space. Back In March it was Debaser and slicing up eye balls, on September 22nd it will be Debased. Another gathering of pro-active artists and a maximalist exercise in cross-pollination. A room alive with contemporary painters, so-called street artists, performers, print makers, wallpaper creators and more…. . Opening on Thursday evening (6pm until 9pm although I expect we’ll go on a bit longer) and then a short sharp shock of a show through the weekend and closing on Sunday – no messing about, just artists, walls, people and ongoing Cultivation

Debaser, March 2016, Bruce Lovelock

Debaser, March 2016, Bruce Lovelock

Artists taking part include:
ADAM ESPIRA,
AMY KINGSMILL,
BRUCE LOVELOCK,
DEBORAH GRIFFIN,
DIANE GOLDIE,
EMMA HARVEY,
IAN BAILEY,
MUTINY,
CHRISTOPHER CACHELIN aka KIDD FEATHER,
LYNNE BLACKBURN,
MARNIE SCARLETT,
MEGAN PICKERING,
QUIET BRITISH ACCENT,
ROSSO,
SEAN WORRALL,
THIS ONE

And we rather expect one or two more may join us for the opening night and the weekend for the debased cross-pollination. This is about taking art and artists out of those comfortable little boxes that the London art scene appears to need, mixing things up, messing with the rules – a wallpaper printer (currently hanging in the V&A), alongside a street artist currently painting East London walls, a London dress-maker currently raging against London Fashion week, a contemporary painter currently exploring the view found through a circle, a performance artist freshly returned from her LA performance next to a pro-active artist still questioning the destruction of he mining communities. Expect previews and features on all the artists here on these pages throughout the weekend and the days leading up to Thursday’s opening (SW)

Debaser, March 2016

Debaser, March 2016

Diane Goldie...

Diane Goldie…

Bruce Lovelock

Bruce Lovelock

Debaser, March 2016, Rosso

Debaser, March 2016, Rosso

ORGAN THING: The art fair season is upon us, The monster that is the Frieze Art Fair is almost upon us, the sculpture park details have just been announced…

 

29: Frieze 2015

29: Frieze 2015

We’re coming up to art fair season, I have a love/hate relationship with the whole idea of art fairs, they can occasionally be good things when they’re done right.  Art Fairs are very rarely are though all art shoehorned in, a badly lit hall or a million room dividers squashed into warehouse, art fair season is rarely a good thing, certainly not a dignified thing..

From a working artist’s point of view I’m really not a fan, especially not of the smaller ones that pop up as an almost cynical fringe cash-ins on the main events during art fair season – the cram them in and charge the artists an arm and a leg merchants whose practices really do need to be questioned (you want some actual light shining on your painting, that will be an extra £40 on top of the vast fee you already paid to take part  please artist). I’m not a fan of art fair cattle markets, if you want to see art go somewhere where you can breathe, where the art can breathe, then go to a gallery.

2: Frieze 2015 - the entry tunnel

2: Frieze 2015 – the entry tunnel

If an art fair must be attended then it may as well be the mother of them all, at least at Frieze you have some elbow room and a curatorial policy that means it isn’t just going to be full of the art made by anyone who can stump up the cash required.  Frieze is about the world’s leading galleries showing us what they have to offer, the art that the high-end galleries from around the globe think is the cream, the exciting artists and the art they are are making from the galleries point of view, a window in to that high-end world.  Is their art any more exciting that the art we encounter most weeks around the back streets of London? We shall see, we shall be at London’s Frieze Art Fair again this year to bring you more opinionated thought and fractured imagery, words from the galleries and artists and whatever else we find. Well they did invite us again, it really would be rude not to accept the invite really.

128: Frieze 2015

128: Frieze 2015

The Frieze Art Fair is high-end I know, but then Frieze is nowhere near the cynical cattle market that the others can be. Went to one so-called London art fair earlier this year and you really could not swing a sketch book let alone a cat. Angry artists tripping over each other as they counted their loses, no way to get in and get a decent view of what the cynically-exploited artists did have in there on the stalls (that they’d paid a fortune to hire and be part of said print fair). No, if it is to be an art fair then it has to be Frieze. You can breath at Frieze, there’s space to spread out and explore the art properly at Frieze, space for the galleries to hang the art properly. Of course there’s no way for small galleries or artists to take part, it is all seriously high-end and expensive and we were actually invited once, the price to rent a space in “emerging gallery” was more then our entire year’s rent in Vyner Street.  Frieze is the serious high end, the top of the tree, the entry ticket isn’t cheap but do be warned, if you decide to go then you really do need (at least) one full day. What giant 30ft cat, I didn’t see a giant 30ft cat? Where was the cat?

61: Frieze 2015 - Adam Pendleton

Of course one of the best things about the giant Frieze Art Fair in London’s Regent Park is the sculpture park. The free to enter (again and again should you wish) Sculpture park is right there out in the open, in the park, open to everyone, right next to the giant (and we mean giant) tented contemporary art fair. The sculpture park stays there long after the fair has been packed up.  You don’t need to pay to visit the sculpture park, you don’t need a ticket. And the sculpture park remains in place for three months this year. Has it been there for three months before? The Sculpture park, right in the middle of the city, is always a treat.

Frieze Sculpture Park

Frieze Sculpture Park

Frieze Press Release:  Frieze Sculpture Park, a Free Outdoor Exhibition for Three Months

Frieze is pleased to announce that the Sculpture Park will be open from 5th October 2016 until the 8th January 2017, with free entry to all. Selected by  Clare Lilley (Director of Programme, Yorkshire Sculpture Park), 20 iconic works by 20th-century masters and new commissions by contemporary talents will be placed throughout the English Gardens of The Regent’s Park, creating a free outdoor exhibition at the centre of London.
Frieze Sculpture Park

Frieze Sculpture Park

World-leading galleries in Frieze London and Frieze Masters (6–9 October) will extend their shows outside the fair, dramatizing the landscape of The Regent’s Park, and beyond Frieze Week, with 19 works remaining on view until 8 January 2017.

Robert Dingle, Contemporary Projects Manager, Art Fund, said: ‘The Frieze Sculpture Park is without a doubt one of the key highlights of Frieze week, and we are so pleased to be its programming partner this year. To have a sculpture exhibition, for free, right in the heart of London, is fantastic and its staying open long after Frieze London and Masters have closed will mean everyone will have even more time to visit.

The exhibition includes the park’s first-ever conceptual work – a remaking of a rare 1969 piece by Ed Herring – and classic painted sculptures by Claes Oldenburg and Jean
Dubuffet alongside a newly created work by Eddie Martinez
.
British post-war artists are represented by Eduardo Paolozzi, Barry Flanagan and Lynn Chadwick, whilst young and established international artists Nairy Baghramian, Zeng Fanzhi, Claude Lalanne, Huang Rui, Jose Dávila, Matthew Monahan and Goshka Macuga amplify the selection. Mikayel Ohanjanyan, Renato Nicolodi, and Fernando Casasempere
each offer newly made works, as does Conrad Shawcross, whose six-metre-high steel sculpture is a study for his major 2016 commission for the Greenwich Peninsula, while
Henry Krokatsis’ imaginary sauna-shed reflects the traditional bandstands and shelters found in London’s parks.’ The exhibition will captivate and energise both Frieze and Park visitors and I’m gratified that Camden Council has again agreed to extend the end date until January 2017, giving Londoners a wonderful cultural resource over the winter months.’
In place from 5th October 2016 to 8th January 2017, the Sculpture Park is located in the English Gardens of The Regent’s Park, a short walk to the east of the entrance of Frieze London. Entrance to the Sculpture Park is free to the public.
Frieze Sculpture Park

Frieze Sculpture Park 2014

And here’s some footage of Anri Sala (with André Vida): To Each His Own (in Bridges). Live Performance, Frieze Sculpture Park 2015. Regent’s Park, London (UK), October 14, 2015.

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“As part of its 2015 Sculpture Park, Frieze Art Fair London presented a live performance by the Albanian-born, Berlin-based artist Anri Sala. The piece is called To Each His Own (in Bridges), and was made in collaboration with the US composer and saxophonist André Vida. It is based on 74 different pieces of music, combining fragments of jazz, folk, and pop songs (i.e. from the Beatles). The work is played on the saxophone, clarinet and trombone.  For the other works in this year’s Frieze Sculpture Park, click here

22: Frieze 2015 - Yngve Holden

22: Frieze 2015 – Yngve Holden

The London Frieze Art Fair takes place in Regent’s Park from October 6th to October 9th, more details via that link right there. The Sculpture park is open n place from 5th October 2016 to 8th January 2017, the Sculpture Park is located in the English Gardens of The Regent’s Park

PREVIOUS FRIEZE COVERAGE ON THE ORGAN PAGES

ORGAN THING: Ice creams, Chicago potholes, Anri Sala in the Frieze Sculpture Park, the Chrome and Black Winter Graff battle and a classic bit of Hackney…

ORGAN: Five art shows the Frieze whinny whiney-arse from New York should have checked out this year before shouting his mouth off…

ORGAN: Frieze part two, back for more. A whinny-arse New Yorker, a giant cat, some washing machines and…

ORGAN THING: “We are a challenge to Frieze because in many ways we don’t exist…”, one year on and we still can’t agree…

ORGAN THING: Frieze time once more, brothers and Sisters, time to kick out the art fair jams…

ORGAN THING: More Frieze week, more from the car park, the Sculpture Park, Kaws, Yayoi Kusama, We Could Not Agree…

ORGAN THING: “We are a challenge to Frieze because in many ways we don’t exist…”  Next week’s We Could Not Agree art show in a car park

120: Frieze 2015 - Kate MacGarry Gallery

120: Frieze 2015 – Kate MacGarry Gallery and space for art to breathe

Footnote: All fractured photos (Sean Worrall), we have no idea who wrote the official Frieze sculpture park press release, pretty sure no one is going to moan about us reproducing it as part of the coverage though

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