110 x 78.6 cm
110 x 78.6 cm
3 November – 22 December 2018
Dawood’s exhibition presented a (televisual) series of storyboards, masquerading as large-scale landscape paintings. In addition we featured the latest episode of the artist’s multi-year, multi-part series Leviathan, co-commissioned by the gallery.
Leviathan Cycle, Episode 4: Jamila reverses the usual path of migration (from North Africa to Italy) to question ideas of migration historically always being one way, and to question how crossings between Italy and North Africa are also deeply impacted by climate change affecting the marine environment both above and below the sea.
A series of dreams or hallucinations take the place of the Netflix image and narrative feed, by substituting the moving image for the still (if unstable) image of a volatile future. If the works in the exhibition act as a mirror to places and narratives so far unexplored, it’s because they represent the landscapes of as yet uncharted narrative arcs in Shezad Dawood’s imagination. These still images, or fragments of narrative, are punctuated by text from existing and forthcoming chapters of Dawood’s stream-of-consciousness monologues that score the various episodes of Leviathan. Playing with the function of the serialisation of narrative, the installation at HE.RO allows the viewer to insert themselves in this logic of the ebb and flow between narrative and iconic image; the space between the world as it is and as it may be.
Step in, the water’s warm.
Shezad Dawood (UK, 1974) trained at Central St Martin’s and the Royal College of Art before undertaking a PhD at Leeds Metropolitan University. He is a Research Fellow in Experimental Media at the University of Westminster. He lives and works in London.
Shezad Dawood works across disciplines film, painting, neon, sculpture and more recently virtual reality to deconstruct systems of image, language, site and narrative. Using the editing process as a method to explore both meanings and forms, his practice often involves collaboration and knowledge exchange, mapping across geographic borders and communities. Through a fascination with the esoteric, otherness and science-fiction, Dawood interweaves histories, realities and symbolism to create richly layered artworks.
Recent solo exhibitions include: Leviathan, Mostyn, Wales (2018); Leviathan, Fondazione Querini Stampalia, Venice (2017); Timothy Taylor, London (2016); Galerist, Istanbul (2016); Pioneer Works, Brooklyn (2015); Fig.2 at the ICA studio, London (2015); Parasol Unit, London; Leeds Art Gallery and OCAT Xi’an, China (all 2014), Modern Art Oxford (2012). And group exhibitions include: the Gwangju Biennial (2018); Rubin Museum of Art, New York (2018); The Drawing Room, London (2017); Mori Art Museum, Tokyo (2016); Taipei Biennial (2014), Marrakech Biennial (2014), MACBA Barcelona (2014), Witte de With (2013), Busan Biennale (2010), Tate Britain, Altermodern (2009), and the Venice Biennale (2009). Shezad Dawood’s work is in major public and private collections including Tate, London; LACMA, Los Angeles; National Gallery of Canada, Ottawa; The British Museum, London; Kiran Nadar Museum of Art, Delhi; Mathaf, Arab Museum of Modern Art, Doha; UBS Collection; US Government Art Collection; Government Art Collection, UK; Bill & Melinda Gates Foundation; Art Jameel, Dubai; Devi Art Foundation, Delhi; EKARD Collection.
curated by Nick Hackworth
15 September – 27 October 2018
A group show of work that variously critiques and co-opts the techniques of mass-markets, often succeeding in both at once. The exhibition comprises both historical and recent work, mapping out creative responses to the steady intensification of consumer culture engendered by the dominance of neoliberalism from the 1980’s onwards.
Opening the exhibition are artists who have faced and responded to this trend from early in their trajectories, with works like: Martha Rosler Reads Vogue (1981), the artist’s seminal deconstruction of the magazine’s iconography, Untitled (1988), Atelier van Lieshout’s sculptural appropriation of beer cases and various examples from Guillaume Paris’ critical examination of commodity culture from the 1980’s onwards.
The exhibition’s narrative arc brings us to a present where younger artists derive their vocabulary from within a landscape of consumption. Whether as adaptive mechanisms or underhand critiques, their works are articulated in the spectacle’s very language: DIS’s Thinkspiration (2016), an ironic conflation of philosophy and brand culture, Gabriele Beveridge’s elegant manipulations of retail aesthetics and Ed Fornieles’ insidious Finiliar series, which makes use of the latest devices in empathically focused, corporate marketing strategies.
A central question haunts the exhibition and the works within it:
In which forms and in what kinds of spaces can art exist, when the realm of self-fulfillment has been so ruthlessly colonized by consumer culture?
Market Forces was curated by Nick Hackworth, Creative Director of Modern Forms, a London based art collection and platform. www.modernforms.org
Athanasios Argianas (GR, 1976) lives and works in London and Athens. Solo exhibitions include EMST National Museum of Contemporary Art (Athens), The Barbican Art Gallery (London) and The Serpentine Gallery (London). Notable group shows include Kunsthalle Wien, Fondazione Prada Milano, Ca Corner Venice and Tate Britain in London. In 2012 his work was featured in the Biennale of Sao Paulo, Brazil, in 2013 at PERFORMA Biennial New York, and in 2017 at Documenta 14, Kassel. Argianas is taking up residence this september at the Camden Arts Centre (London), ahead of a major solo exhibition in 2020.
Andreas Ragnar Kassapis (GR, 1981) lives and works in Athens, Greece. Notable group shows include Documenta 14 in Athens (2017), SMFA in Boston (2014) and Palais de Tokyo in Paris (2013). He also participated in the 2nd Athens Biennale.
Peter Schuyff (NL, 1958) came to prominence in 1980’s New York, alongside the likes of Philip Taaffe, Peter Halley and Ashley Bickerton, part of the loosely defined ‘Neo Geo’ movement. His signature style is a kind of proto-digital, geometric abstraction.
His most recent body of work Yellow Paintings (2018) is the 10th in a sequence which he started back in 1979 in Vancouver, Canada. That same year Dennis Hopper shot his film Out of the blue there, and used the very first of Peter’s yellow works as a backdrop in one of the scenes. Every four years or so since then, Schuyff paints a series of pictures in yellow, white, grey and black; always in acrylic, on paper.
Peter has painted this series over the past four months in his studio in Amsterdam North, adjacent to HE.RO. The twenty-seven works, which are exhibited for the first time, are light hearted and often humorous; playfully referring to American contemporaries such as Christopher Wool, Robert Indiana or Richard Serra and suggesting a subtle yet evident irony.
The use of multiple vanishing points lends a 3D perspective to the images, which carry the proto-digital, geometric abstraction that make them immediately recognizable as Schuyff’s.
The works seem to be part of an enormous psychedelic exhibition space, a gallery or museum, in which the yellow texts and structures are sculptures on display. In this fictional exhibition, black-and-white versions of Peter’s well-known oil paintings are often seen hanging on the walls, creating a museum within a museum, a world that belongs to the artist himself and to whom the spectator is invited to take part of.
In the Frontspace: The Great Peter Schuyff Art Robbery
Instead of showcasing moving images, this month HE.RO’s Frontspace features stills. Eliane Gerrits (NL, 1960), who studied both graphic design and painting, calls herself a draughtsman: an illustrator, cartoonist as well as a painter. This is her very first gallery solo-exhibition.
Following Peter’s suggestion to portray him, Gerrits ultimately decided to make a series of 20 large drawings (180 x 140 cm), which form a comic story. The hilarious narrative depicts an art robbery which ends up as an exhibition in Japan, and features elements of Peter’s fascinating biography, in which many of his illustrious friends (Andy Warhol, Basquiat, Madonna and Sylvester Stallone – to name a few) make a guest appearance.
In his manifesto The Barbarians (2006), Alessandro Baricco describes a cultural shift where the rule of the elitarian few (aristocracy, church, intellectuals, cultural elite), has been replaced by the rise of young ambitious outsiders. The works exhibited in ‘Into the Woods’ playfully illustrate how technological innovation has mutated our cultural values into a rapid experience along the surface of things. The exhibition explores the state of global culture and how connectivity is changing the way we experience it.
Into the Woods features new works by Daniel Boccato (BR, 1991), Stevie Dix (BE, 1990), Rindon Johnson (US, 1990), Thomas van Linge (NL, 1989), Dustin Pevey (US, 1980), Victor Payares (CU, 1985), Gino Saccone (UK, 1979) and Lara Verheijden (NL, 1990).
Furthermore, @theoffice we present ‘I Will Be Wolf’, a solo exhibition by photographer Bertien van Manen (NL, 1942). In 1975 she made a series of black-and-white photographs capturing daily life in metropolitan Hungary. I will be Wolf brings together many of these beautiful and never-before-seen images with the editorial direction of renowned British photographer Stephen Gill. Her snapshots of commuters, grocers, chemists, café workers, and street vendors contain all the hallmarks of a bygone era, before the grip of globalisation was able to make its mark on the country. Imbued with an air of ambivalent nostalgia, the series takes its title from the poem Grief by the Hungarian poet József Attila.
For enquiries, please send an e-mail to firstname.lastname@example.org, or call Gabriel Rolt at +31(0)625005374.
From 27 January until 7 April 2018 HE.RO presented a major exhibition of the work of 16 international artists to mark the launch of the new gallery space.
The inaugural exhibition took its name from a term developed by the sociologist Max Weber. For him, “ideal-types” are models that share characteristic with actual real-life objects but do not derive from or correspond to any specific example; that is, they hold no relation to an external reality to represent.
Embracing uncertainty rather than defined knowledge, the exhibition opened up to the possibility of reading things differently, without claiming representation.
A number of works had been specially commissioned for the show. The exhibition was curated by Alfredo Cramerotti (director of MOSTYN, Wales and head curator of the APT Global Artist Pension Trust).
1. Valerio Adami
2. Athanasios Argianas
3. Adriana Arroyo
4. Ewa Axelrad
5. Chloë Cheuk
6. Fabrizio Cotognini
7. Shezad Dawood
8. Sarah Entwistle
9. Laurence Kavanagh
10. Alice Pedroletti
11. Peter Schuyff
12. Peter Sköld
13. Peter Tillessen
14. Alesch Vital
15. Gernot Wieland
16. Bedwyr Williams