Photo Series #6: Identical Twins by Gao Ronggu

Gao Rongguo

(b. 1984, Binzhou, China)

“There are different explanation about the fate, but the age of fifties is often called the years to know it. So, I decided to photograph identical twins over the age of fifty. He/she used to have the same face, living in the same family, but their lives changed due to various reasons after growing up. I take these identical twins in their fifties face-to-face. This is a way similar to the way one looking into the mirror, “Taking people as mirror, one can know its gain and loss by revealing oneself”. (Artist’s statement)

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Bridget Riley: The Stripe Paintings 1961-2014 at David Zwirner Gallery

After the National Gallery showing some of her recent works alongside old masters paintings in the Sunley Room in 2010-11, another exhibition last year at Karsten Shubert gallery presenting some black and white geometrical drawings from the sixties, Bridget Riley is back in London this year with a three floor exhibition at David Zwirner gallery. This time, the display focuses on her famous stripe paintings, with works dating back to the early sixties until today.

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Artist ID #7: Blake Rayne

Blake Rayne

Lives and works in New York (b. 1969, Lewes, Delaware)

“The painting doesn’t exist solely as a material object but as a vehicle with which to articulate a conceptual idea—a practice continually being shaped by linguistic, institutional and physical relations and not defined by any static or ahistorical definition that might characterize painting as purely visual.”(Marina Cashdan, quoted in the press release from 1301PE)

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Photo Series #5: Senescence by Chloe Sells

Chloe Sells

(b. Aspen, Colorado, US)

“I use the natural world throughout my imagery and create pictures that describe remnants of places that I have lived, traveled and explored. After making the pictures, I have an in-depth darkroom process that layers colors and textures to create unique pieces. I use this combination of processes to consider ideas about how we experience our environments and how we understand what is exotic or familiar.” *

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Fresh Faced + Wild Eyed 2014 at the Photographers’ Gallery

Spring is almost always synonym of renewal. After the busy season of graduate shows, students are still at the forefront with the new exhibition organised at the Photographers’ Gallery: a good occasion for us to spot tomorrow’s talents. Created 7 years ago, Fresh Faced + Wild Eyed aims to give young graduates from across the UK the opportunity to exhibit their works in one of the most dynamic galleries in the country. This year, the selection is not lacking diversity. On your way, you will find well mastered series of black and white prints, digital assemblages of colour photographs along with hand crafted collages, but also some experimental videos and narrative book projects. In short: a fireworks full of promises!

Here is a selection of the best projects:

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Artist ID #6: Klaas Kloosterboer

Klaas Kloosterboer

Lives and works in Amsterdam (b.1959, Schermer)

“You could call my work abstract. It does not depict or
resemble anything in particular. Instead of calling my work abstract, I´d rather refer to it as concrete. (…) My work is based on certain particular notions. These notions derive from my activities in the studio, from my thinking and acting as an artist. To me, these notions are determining realizations which I call ‘laws’. One of these laws is: “To be does not coincide with to do”
Other laws are: “Meaningful actions are acted actions”, “The other knows more, sees more, feels more than I do” and “The work does not matter”. A more recent law is: “Everything can be anything.” For a part my work consists of a programmatic executing of these axioms or laws.” (interview by Peter Nijenhuis)

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Photo Series #4: White Africans by Katharine Cooper

Katharine Cooper

(b. 1978, Grahamstown, South Africa)

“I cannot produce a photograph without some sort of connection, however brief, with the person that I am photographing. The people in Coronation Park, for example, were squatters, and I lived with them for a week in order to really immerse myself. I cannot create an image out of nothing: getting to know them is important, as is the character of the person, how they interact with one another, and that is only possible once they are at ease. It is at that moment that something happens. I love it when I miss something, when the subjects react and bring me a little closer to their lives. In this way a sort of magic is created. The portraits are taken from forward facing positions, which is very important for me.” (Interview from the Art Media Agency)

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Artist ID #5: Esther Ruiz

Esther Ruiz

Lives and works in New York (US)

“My work serves to physically commemorate and celebrate ideas, thoughts, words, instincts, feelings, passions, actions, secrets, fears, loves, hates, unknowns, curiosities, wonderments, knowledge, stupidities, explorations, events, emotions, places, spaces, and things that are drawn in my mind and stick long enough to share with you.”

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Jacqueline Humphries at Modern Art

After the Whiteney Biennale in New York earlier this year, Jacqueline Humphries comes to London with a new set of large abstract paintings. For her third solo show with Stuart Shave / Modern Art, the American painter was given both spaces in Helmet Row and Fitzroy Square to further invest and work on. Instead of replicating a similar display in each location, the artist chose to take advantage of having two spaces by creating totally different shows: two microcosms that both dialogue and contradict one another.

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Lynn Chadwick: Retrospectives at Blain Southern

For the centenary of Lynn Chadwick’s birth, Blain Southern gives the artist a nice gift by organising a large survey of his work across the gallery’s three spaces in London, New York and Berlin. The British sculptor, who died in 2003, is seen as a key figure in post war British sculpture. In perfect harmony with his time, he was one of the first to incorporate industrial materials, such as steel, bronze or wood, in his works . He used to describe his sculptures, halfway between figuration and abstraction, as ways to study movement and position. The beautifully designed exhibition succeeds in giving a complete overview of Lynn’s remarkable work and paying a much deserved tribute to the late sculptor.

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