Tina Keane and England & Co at Frieze London
Regent’s Park, 4–7 October 2018 (Stand S 6)
England & Co are pleased to announce that they will be exhibiting the work of Tina Keane in the Social Work section of Frieze London.
For Social Work, Frieze asked a panel of eminent female art historians and critics based in the UK to put together an international group of women artists whose work responded to the extraordinary political and social schisms of the 1980s.
Tina Keane (b.1940, London) is a forerunner of multimedia art in the UK, who has worked with film, video, digital media, neon sculpture, installation and performance. A founding figure in the women’s art movement, her work is primarily about ‘identity and play’, and reflects her feminist perspective and explorations of political concerns, social issues, gender roles and sexuality.
Tina Keane at the Herbert Read Gallery
6 October – 9 November 2018
Tina Keane is one of more than 20 artists represented in From the Kitchen Table: Drew Gallery Projects 1984-90. The exhibition at the Herbert Read Gallery, UCA Canterbury, brings together original and related works to celebrate the legacy of 1980s curator Sandra Drew. Other artists include Phyllida Barlow, Catherine Elwes, Hamish Fulton, David Mach and Yoko Terauchi.
Clay Perry and Signals: two exhibitions
Photographer Clay Perry is a contributor to two current London exhibitions devoted to Signals gallery: one at Sotheby’s S/2 Gallery (Signals, 27 April – 13 July 2018) and the other, a presentation by kurimanzutto at the Thomas Dane Gallery (Signals: If You Like I Shall Grow, 8 June – 21 July 2018).
In the summer of 1964, Clay Perry became the house photographer for Signals London, producing iconic images for the Signals Newsbulletin, the publication that provided a forum for artists, writers and poets involved in experimental art and was ‘dedicated to the adventures of the modern spirit’.
Perry’s archive from the 1960s is represented by England & Co, and director Jane England wrote an essay about him for the book Signals published by S/2 Gallery and also by Sotheby’s online.
Cecilia Vicuña’s Disappeared Quipu at Brooklyn Museum
18 May 18 – 25 November 2018
Cecilia Vicuna’s installation in the Great Hall of Brooklyn Museum, her Disappeared Quipu, re-imagines the Andean tradition of the quipu, the complex record-keeping system made of knotted cords.
Disappeared Quipu pairs ancient quipus from the Museum’s collection with a newly commissioned installation by Vicuña in the Great Hall that combines monumental strands of knotted wool with a four-channel video projection. On view in the adjacent gallery are thirteen ancient Andean textiles selected by Vicuña from the collection and featured in her video projection. These quipus of the past and present “explore the nature of language and memory, the resilience of native people in the face of colonial repression, and Vicuña’s own experiences living in exile from her native Chile.”
Heinz Henghes and Surrealism
Until 7 October 2018
A long-unseen sculpture by Heinz Henghes from 1939 is included in the exhibition Lee Miller and Surrealism at The Hepworth Wakefield. The exhibition focuses on Surrealism in Britain through the photographs of Lee Miller and works by her Surrealist friends and associates.
This stone sculpture, Bride (Guda), by Henghes was reproduced in the Surrealist’s London Bulletin, but has rarely been seen since it was acquired by Wakefield. It was first exhibited at Peggy Guggenheim’s London Gallery, Guggenheim Jeune, in 1939.
England & Co held a major retrospective Heinz Henghes (1905–1975) in 2006 and continue to work with his Estate.
Eduardo Kac: Tales of a rabbit gone viral
2 – 23 June 2018
The exhibition ‘… and the bunny goes POP!‘, curated by Bronac Ferran and Andrew Prescott at The Horse Hospital in London’s Bloomsbury, presents a selection of Eduardo Kac‘s works and pop culture responses to his celebrated work GFP Bunny, a transgenic bunny that glows green under blue light.
Ever since 2000, when Kac created Alba, a living, green-glowing rabbit, there have been countless materialisations of the meme-spawning bunny. The exhibition draws examples from the immediate response to Alba’s birth, her appropriation by pop culture, and the artist’s own response to the Alba phenomenon.
Cecilia Vicuña: La India Contaminada
19 May – 6 July 2018
Cecilia Vicuña’s exhibition, La India Contaminada, at Lehmann Maupin gallery in New York opened in May and includes quipu wool installations, paintings, mixed-media sculptures and videos. It runs concurrently with Vicuña’s solo exhibition, Disappeared Quipu, at Brooklyn Museum, and with the inclusion of a selection of her early performance and photographic works in that museum’s iteration of the traveling exhibition, Radical Women: Latin American Art, 1960–1985.
England & Co at Photo London 2018
17 – 20 May 2018
England & Co participated in Photo London for a third year, showing works from the 1970s and 1980s, in particular, British conceptual photography, together with performance images by Anne Bean and Cecilia Vicuña. The gallery’s presentation received favourable comments in the French edition of The Art Newspaper in the report by Natacha Wolinski: ‘Photo London Monte en Game’.
John Dugger’s Mountain Banners at Telluride
25 – 28 May 2018
John Dugger returns for the second time as the featured artist at Telluride Mountain Film Festival in Colorado, this year celebrating its 40th anniversary. His solo exhibition includes 12 of his Mountain Banners, from the earliest to his most recent works.
Paule Vézelay at HKW Berlin
Until 9 July 2018
England & Co have loaned a painting by Paule Vézelay to Neolithic Childhood. Art in a False Present, c. 1930 at HKW (Haus der Kulturen der Welt) Berlin. This exhibition of artworks and archive documents demonstrate the role played by art and visual culture in grappling with the crises around 1930. This period, “c. 1930”, was a time of crisis in modernity and, for the artistic avant-gardes in Europe, the contemporary condition also became problematic. Taking its cue from texts by the extra-academic art historian Carl Einstein, this exhibition and conference thematises the upheavals, openings, and contradictions that became manifest in art and the humanities from the 1920s into the 1940s. “Neolithic Childhood” was a concept used by Carl Einstein to characterize his understanding of Hans Arp.