All posts filed under: Exhibitions

Courtesy Danh Vo

Horror Film The Exorcist the inspiration for new Danh Vō exhibition

The exhibition is centered around Vō’s expansive 2015 installation, named after lines spoken by the demon in the infamous William Friedkin film The Exorcist, from 1973. Vō suspends over 600 mammoth fossils from the late Pleistocene period, as well as a carved ivory figure from the 17th century, from the ceiling throughout the gallery, its corridors and stairwells. The installation was first presented at the Crystal Palace, Museo Nacional Centro de Reina Sofía, Madrid as part of the 2015 exhibition Banish the Faceless / Reward your Grace. Danh Vō, pronounced yon voh, was born in 1975 in Bà Rịa, Vietnam. After the Communists’ victory and the fall of Saigon, the Vo family and 20,000 other South Vietnamese were brought in 1975 to the island of Phú Quốc. When he was four-years-old, Danh and his family fled South Vietnam in a homemade boat and was rescued at sea by a freighter belonging to the Danish Maersk shipping company. The family members settled in Denmark,  and the events that led up to their flight from Vietnam, and their assimilation into Nordic culture, are reflected in …


Tom Esam, Don't Just Ask For A Better Esam. Vote For One, 2016. Printed 100% silk georgette 50gsm with white hem, 94 x 94 cm, unique. Courtesy of Roman Road and the artist. © Tom Esam

Complex Problems, Simple Solutions at Roman Road

Broadly defined as the use of language that has a persuasive or impressive effect, rhetoric was at the heart of social and political life in ancient Greece and Rome. Dating back to the 4th century BC, it was an esteemed practice among Greek speakers who would adopt this art of communication to influence their hearers towards a certain course of action. While rhetoric is often regarded as speech that lacks sincerity, it is essentially the skill of a speaker to use reasoned argument to persuade. The question is, as Tom Esam addresses in his first solo exhibition at Roman Road: have politicians lost the art of rhetoric? Esam has dedicated his contemporary practice to exploring the ways in which slogans and imagologies are used in advertisements, charity promotions and political campaigns. Often using his surname and image in his artworks, he highlights the ways in which such propagandist tools can be used to create covert systems of ideals and anti-ideals that aim to influence our behaviours and opinions. With his Complex Problems, Simple Solutions, Esam expands …



Dynasty Marubi – A hundred years of Albanian studio photography

A selection of photos from the archive of the Albanian photo studio Marubi, from 1856 to 1959, showcasing three generations of photographers made studio portraits of a wide variety of people, ranging from the urban bourgeoisie, shepherds, the Ottoman emperor and King Zog, to criminals and famous actors and painters, are about to go on show at Foam, Amsterdam.



Like Monkeys On A Rock

The exhibiting artists include Tim Smyth’a series In your Absence, which deals with the new ways in which we interact with each other in today’s hyper-connected world. Anthony Dawton, Jim McFarlane and Giuseppe Aquili will display work from trips to Niger, Gaza and the Syrian refugee camp at Zaatari on the Syrian – Jordanian border (taken on behalf of UNICEF and Save the Children). Like Monkeys On a Rock also presents a selection of prints from Henri Kisielewski’s series “Buena Onda” will stand alongside Ana Curbelo’s portrayal of post-embargo Cuba. Unseen work from much celebrated photojournalist and artist Neil Libbert is also on show. Individually, these images highlight the boundless diversity, unimaginable absurdity, and widely accepted inequality that characterise human life on our planet. Perhaps together they can point to the likeness we bear to each other as monkeys on a rock going round the sun in space. The show brings together photographers from different generations, disciplines and parts of the world for one evening. The show took place the Averard Hotel, an abandoned Victorian hotel on …



Atopia. Migration, Heritage and Placelessness

It is, in its traditional use, at the same time, a category of otherness. The word can therefore address the ways in which artists have dealt with ideas of place, geography and migration, and the crossing of national, social and cultural borders. A new exhibition at focuses on the practices and representations of the ways in which artists have accessed and negotiated concepts of “place” or “place of origin,” – their past, heritage, and cultural ambiguities. Geography and place-bound symbolisms incorporates a (very rigid) signifying system through which individuals and collectives register and express their identities. As “writing about the earth,” the science of geography has traditionally bridged human and physical science to map out places of presence and embodiment. “Gradually the geographic denotation of space has shifted in favor of a more fluid and multi-layered meaning, invested with personal and intimate affects and complicated by subjectivities and their interaction,” Place-specific and locational narratives have thus become important figures of the artistic expressions of the past decade, but also projective sites of stereotyping and (post-colonial or ethnicizing) simplifications. Artistic …


Howard Schatz (American, born 1940). Boxing Study 1805 Sergio Martinez, 2010. Archival pigment print, 42 x 42½ in. (106.7 x 108 cm). Photograph by Howard Schatz from At the Fights: Inside the World of Professional Boxing. Courtesy of the Staley-Wise Gallery, New York

He Shoots, He scores! A History of Sports Photography

2016 has already proved to be an eventful year for sport. As we were just about getting over the Euros hangover, Andy Murray won Wimbledon for the second time, Russia has been banned from competing in the Rio Olympics this summer, we sadly bid farewell to boxing legend Muhammad Ali, and, how could we forget the shock victory of Leicester City football club winning the Premier League. The new exhibition at the Brooklyn Museum, “Who Shot Sports: A Photographic History, 1843 to the Present” could not be more timely. Boasting a collection of over 230 photographs and featuring some 170 international photographers, the show seeks to provide a platform for the photographers that were the masters of suspending movement. “No one captures moments like sports photographers,” says curator and author Gail Buckland. “People don’t understand the mastery in the beauty of sports photography because they get so dazzled by either the action or the individual. I want to turn the lens on the photographers and tell their stories. Explain who they are and tell something about …


Tunisian, Egyptian and other nationals flee Libya during fighting between rebels and pro Qaddafi forces and arrive at the border crossing in Ras Jdir near Ben Gardenne, Tunisia. 2011

Magnum Photographers Show Images of Refugees at Visa Pour L’Image

The exhibition, at Visa Pour L’Image Perpignan, is a collaboration between Magnum Photos and Canon, who will also be providing a free portfolio reviews for emerging photographers at the festival. Providing a historic context to the current migration crisis in Europe, Exile, will include images of civilians returning home following World War II by Robert Capa; Philip Jones Griffiths’ Vietnamese woman fleeing a US bomb attack; and John Vink’s documentation of the displaced in South Sudan. Presenting coverage of conflicts ranging from the Six Day War, Iraq, Rwanda and the Arab Spring the exhibition also includes work by Abbas, Bruno Barbey, Robert Capa, Thomas Dworzak, Alex Majoli, Susan Meiselas, Paulo Pellegrin and Jerome Sessini amongst others. Forgoing historical, chronological or geographical order, the exhibition aims to illustrate the sheer number of those uprooted, made homeless and transient, progressing towards an uncertain future. Exile, in collaboration with Canon at Visa Pour L’Image Perpignan, France, will go on display 29 August – 4 September 2016. For more information see here.


Audry Hepburn, 1956 by Yousuf Karsh

Yosuf Karsh: An Armenian Refugee’s Pursuit of Greatness in Portraiture

Born in Armenia in 1908 to Christian Armenian parents, Karsh’s early childhood was defined by the atrocities committed by Turkey against the Armenian population at the start of the twentieth century. His father was forced into hiding to avoid arrest and, in 1921 the Karsh family were able to escape to Syria, accompanied by a donkey and no belongings. The course of Karsh’s life was changed when his uncle, George Nakash, wrote to the family from Canada asking for help in his photography studio. Karsh was sent on the 29-day trip from Beirut to Halifax in the second-class deck to join his uncle in Sherbrooke, Québec. His uncle recognised that the boy had a natural talent for photography and sent him to join his friend and fellow portrait photographer, John H. Garo, in Boston. Garo encouraged Karsh to attend evening art classes where he studied the Old Masters, specifically Rembrandt and Velázquez, and learnt to utilise composition and lighting to portray a sitter to their best advantage. In 1931 Karsh left Boston for Ottawa, with the …


BJP Staff