Archive for the ‘Artists’ Category

Sedition & The Hospital Club Gallery Presents NEW HORIZONS

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Contemporary Art For Screens
Art Anywhere You Go

Sedition is excited to be returning to the Hospital Club in Covent Garden to present an exhibition of screen-based art by some of the worlds leading contemporary artists: Elmgreen & Dragset, Damien Hirst, Yoko Ono, Tracey Emin, Mat Collishaw, AES + F, Jenny Holzer, Lee Lee Nam and also Isaac Julien.

Join us for the private view on 17th July at The Hospital Club Gallery. Artworks will be displayed digitally on the latest curved OLED And ULTRA HD4K screens from global technology brand LG, NEW HORIZONS and is aimed to explore the screen as a medium to display artworks.

Members and non-members of Sedition can browse digital editions of artworks within the gallery and also start their own digital art collection. Artworks will be available for sale as gift cards that can be purchased and sent to friends to redeem on the site.

We hope that you can make it!

18 – 20 July 2014, 11am-6pm
Private view: Thursday, 17 July 2014, 7-9pm

The Hospital Club Gallery
24 Endell Street, London, WC2H 9HQ

RSVP to the private view: marketing@seditionart.com

Updated 24 July 2014

Check out photos from the private view. Thanks to everyone who came out to make the event a great success!

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Universal Everything presented by Sedition & The Hospital Club

Walking City CitizensWalking City Citizens, 50 Unique Iterations, HD Video, 2014

Sedition is pleased to partner with The Hospital Club to present digital art and design studio Universal Everything’s first comprehensive solo-exhibition in the UK. The show surveys both new and less recent work that spans a variety of disciplines and media, with the exhibition moving fluidly from film direction and identity design to mobile software art and site-specific installations.

At the viewer is presented with explorations of the body and its movement through the use of motion-tracking technologies, such as in the ‘Presence’ series (2013), and witnesses the mapping of textures onto the human form with ‘Transfiguration’ (2013), and ‘Walking Cities’ (2014). Other works are interactive audio- visual installations or apps enabling a spectator to participate in the creative process; like ‘76 Seeds’ (2011), an instructional drawing app, and ‘Gliders’ (2014), an interactive installation inviting the viewer to design a flying creature. ‘Voxel Posse’ (2011), a series of 3D printed vector creatures, explores elements of the human form through abstract shapes and is an illustration of the studio’s physical body of work that mirrors its digital projects. Alongside these works, Universal Everything presents their voice-reactive sculpture ‘Transformer’ (2014), an interactive work reacting to spectator’s audio input; and ‘Seeds’ (2011), a series of botanical drawings by founder Matt Pyke based on a set of automatically generated and seemingly incongruous digital instructions, its methodology referencing 20th century Dada and Fluxus.

For the exhibition, Sedition has launched a new artwork by Universal Everything. Walking City Citizens is a work created exclusively for Sedition which includes 50 unique iterations of their most recent work Walking City (2014). Walking City is a 3D human shrouded in a digital costume shifts and breaks, reshapes and endlessly evolves into a  video sculpture that continuously walks in the centre of the screen.

Transfiguration’, ‘Presence 2.1’, ‘Presence 5.1’, ‘Walking City Citizens’ are available as digital editions on www.seditionart.com. All other works in the exhibition are available for purchase through The Hospital Club.

Universal Everything, The Hospital Club Gallery, 23 May until 26 May 2014, 11:00am until 6:00pm, sponsored by LG and Laurent Perrier. Join us for the private view 22 May 2014, 7-9pm. RSVP is essential: marketing@seditionart.com.

 

Sedition x Eyebeam Presents: The New Romantics Collection

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Ryan Whittier Hale, Shifting Landscape, digital edition, 2014

Sedition has partnered with Eyebeam, Art & Technology Centre in New York to present The New Romantics Collection. The collection includes exclusive artworks by artists in The New Romantics exhibition curated by Claudia Hart, Nicholas O’Brien, and Katie Torn that opens at Eyebeam from 17 April – 10 May 2014. The collection will launch on Sedition on 8th May 2014 and at the closing reception of the exhibition during Frieze New York.

The New Romantics is an exhibition and collection exploring the ways in which contemporary artists using digital media engage the body, representations of nature, poetic irony, and expressions of individuality as originally expressed in 19th Century Romanticism. By drawing equivalences between then and now, this exhibition identifies a critical precedent for artists today that are responding to their ever changing technological environment. Just as the Romantics responded to the industrial revolution, this group of artists are similarly responding to the information revolution.

The New Romantics presents a unique selection of works by artists not based on formal similarities, but on expressive affinities. By employing a myriad of contemporary techniques – including digital fabrication, 3D simulation, software-based collage, video game engines, and peer to peer networking tools – the artists in the collection expose an underlying thread of individual expression that extends beyond mere tech-fetishism.

The New Romantics Collection includes work by artists: Tim Berresheim, Ryan Whittier Hale, Claudia Hart, Sophie Kahn, Sara Ludy, Shane Mecklenburger, Jonathan Monaghan, MSHR and Katie Torn.

The closing reception will take place 8th May at 6-9pm at Eyebeam, 540 W 21st St. New York, NY 10011.

Follow Eyebeam on Sedition to receive an invitation to the 24-hour online private view: seditionart.com/eyebeam

In the studio: Interview with Ergin Çavuşoğlu discussing his work inspired by Marcel Duchamp

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Following his recent launch on Sedition, we caught up with Ergin Çavuşoğlu who talked us through his latest artworks, his interest in Marcel Duchamp, and his meticulous creative process.

Could you tell us a little more about the pieces you have created for Sedition?

I created specifically for Sedition three video pieces entitled One Hundred Thousand Balls, Joker Shuffle and Bubble Dart, all (2013). All three works convey ideas influenced by and comment on Marcel Duchamp’s ironic certificate called the Monte Carlo Bond or Obligation pour la Roulette de Monte Carlo, which he issued in 1924. For instance One Hundred Thousand Balls reflects on the Company Statutes document, which Duchamp used to advisedly legitimise his illicit bonds. Bubble Dart on the other hand substitutes with a dartboard the roulette wheel onto which his photograph taken by Man Ray is superimposed, thus making him a target. Moreover Joker Shuffle visually and contextually interprets his portrait with hair covered in foam and shaped into pointed horns, and so on and so forth.

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Ergin Çavuşoğlu’s studio in Camden, London

Can you tell us about your creative process when approaching making new works?

My approach to art making is that it is foremost a scholarly activity and my creative process frequently involves distilling complex visual and textual information and contextual materials that all somehow have hypothetical relevance to the perceived systems of art. Interestingly the visual manifestation of an artwork is the last element I consider in the course of developing an idea. For example this particular body of works begun a while ago with a concept, which I will outline below in the very abstract and incoherent format entered in my notebook:

“Artists indexed market value of currencies. Each country will be rated according to the calibre of artists it produces and their place in the stock market. Rather elitist results predicted. Artists determined market value is the only real value as it is abstract and unsolicited…” (20 August 2012)

Another statement I wrote in my notebook on 17 June 2012 declares that:

“The most creative times are when you are not making artworks, but thinking about them. The making of art devoids of creativity.”

In an essence I first map out and test the concept, content, and context of the project over a prolonged period before I launch into making. Although I am better known for the large-scale spatial video installations, my practice is grounded in classical understanding of art, both in the making and the thinking. Therefore I will approach each concept with the medium it necessitates rather then being driven by so called signature style and medium specificity.

What inspired you to use Duchamp’s Monte Carlo Bond as a reference point for your digital editions on Sedition?

Possibly the most important aspect of Duchamp’s practice for me is the layering of contexts and the engagement with the intellectual rather then the visual. It is that extra depth and complexity in his work I find very rewarding. Moreover in the Monte Carlo Bond he questioned the actual system of art, and in the process helped establishing the current modes of art production, distribution and consumption, which is also curiously related to aspects of the digital format of dissemination employed by Sedition.

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How do the works contribute to your wider practice and ideas explored in your work?

The themes explored in these pieces are very much intrinsic to broader ideas I am currently developing for a large narrative video installation piece. In that sense the films are both part of a larger body of works, but moreover of interrelated systems of creative thinking.

What interests you about distributing your work digitally?

The de-materialisation of the images in the process of digitisation allows the viewer to test the conceptual and contextual parameters of the artwork without the guidance and the tools employed by the traditional art establishments. It is certainly more democratic, but at the same time challenging. The work of art has to compete with an array of visually complex high and low production imagery available across various digital media platforms that are inextricably generative and occupy a large chunk of our everyday interactions and communications with the outside world. I quite like the idea of positioning art within these very competitive and fast-paced domains of popular culture.

What are your favorite artworks on Sedition?

I like works that are intellectually challenging and multifaceted. Works that offer not just visual, or retinal complexity and satisfaction, but also generate an intellectual thought and discourse and thus threading a connectedness to established art forms from past and present.

What are your current projects and exhibitions? What are your plans for the upcoming months?

In the last two years I have been developing a project entitled Desire Lines -Tarot and Chess, which will consist of a large-scale three channel video and sound installation, sculptures, paintings and anamorphic drawings. The work was commissioned by Extra City Kunsthal, Antwerp in partnership with Witte de With, Rotterdam, FLACC and 0090 Festival, Belgium and more recently Focal Point, Southend-on-Sea. The final piece will manifest itself next year in a series of large-scale solo exhibitions, site-specific works and process driven projects across the different venues. Desire Lines – Tarot and Chess examines the convergence of destiny and chance, and the disjunction and dissonance that takes place when juxtaposed with notions of the logical, categorical and rational, and which will be broadly positioned in the realms of the speak-able and the visible, or the literary and the pictorial.

The installation will consist of three distinct elements. The conceptual framework is based on the tarot and the game of chess, with references to their depictions in literature. The Tarot section takes its cue from Italo Calvino’s book ‘The Castle of Crossed Destinies’ (1973), whereas Chess remotely reflects on elements from Vladimir Nabokov’s book ‘The Luzhin Defence’ (1930). Calvino’s book portrays an encounter of travelers who tell their adventures (or whose adventures are told for them) using tarot cards instead of words. The interpretations of the cards in the book allude to classic tales such as Faust, Oedipus, and Shakespearian narratives such as Hamlet, Macbeth and King Lear. The third component of the installation will be a scene that depicts a poetry-reading event. This scene will act as a catalyst that will attempt to arbitrate between the Tarot and Chess elements. The poems will be commissioned specifically for the project under the theme of Desire Lines. They are broadly paths of will that represent the search for the shortest navigational route between an origin and destination. Structurally the work will attempt to entwine and present a series of moral and philosophical tales in the tangible format of theatrical performance.

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Ergin Çavuşoğlu’s One Hundred Thousand Balls, Joker Shuffle and Bubble Dart are available exclusively on Sedition.

Collectors can take advantage of a 10% discount when purchasing the entire Ergin Çavuşoğlu Collection.

Ryoichi Kurokawa’s syn_, a new audiovisual concert experience

Japanese audiovisual pioneer Ryoichi Kurokawa is bringing his concert ‘Syn_’ to London’s iconic BFI Southbank this Thursday 26th September 2013. The concert will showcase Kurokawa’s definitive mixed-media style; bringing together the elements of video and sound together to create a multi-sensory experience. Syn_ will feature clouds of sound that will pulsate in conjunction to video that will be projected on two dual screens. The event has been curated by art and technology organisation Alpha-ville.

Ryoichi Kurokawa by Ed Jansen
(Kurokawa live at Todays Art, photo by Ed Jansen)

Due to overwhelming public demand, tickets for the event are no longer available. However to coincide with the UK premiere of Syn_, Ryoichi Kurokawa will be releasing a brand new artwork exclusively on Sedition: ‘Syn_mod.1″. The artwork is akin to the cinematic stylings sought by avant-garde directors such as Paul Klee and Vassily Kandinsky. Watch the video trailer below.

Followers of Ryoichi Kurokawa on Seditionart.com will have exclusive access to view and buy ‘Syn_mod.1′ via our new Online Private View feature opening 24 hours before the public release. The artwork will go on general sale on Sedition from Thursday 26 September.

Chalk, painting and poems, an interview with Idris Khan

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Courtesy the Artist and Victoria Miro, London
© Idris Kahn. Photography © Suki Dhanda

Birmingham-born artist Idris Khan is renowned for drawing inspiration from the history of art, philosophy and music. After Twombly…One Evening is a homage to late artist Cy Twombly and features Khan’s signature creating and erasing process. We took some time out with Idris Khan to find out more about After Twombly…One Evening, featured as Artwork Of The Week on Sedition, and his solo exhibition Beyond The Black at Victoria Miro Gallery opening 20 September – 9 November in London.

How did you find out about Sedition in first instance?

A friend and curator Adam Waymouth introduced me to Sedition. I loved the concept and then I found that several artist from Victoria Miro gallery had made work for the site.

What do you find most compelling about the digital medium?

It’s daunting and endless possibilities.

After Twombly… One Evening is featured as artwork of the week on Sedition. Could you share how you created this piece? Did you plan the work in digital format or did you transform it? 

When I make my photographs I always start with a digital camera, photographing marks that I make over and over again on a chalkboard. The original concept for the piece was to make a still image. In a way it’s a stop frame animation. The camera is set up in one place and then I write the poem on a chalkboard, photograph it and the rub it out and photograph that. The photographs were then brought into final cut and a short film was made from around 100 still photographs.

The work references the scribbled, calligraphic-style of American artist Cy Twombly. What inspires you most about Twombly’s work?

This work was actually inspired by Twombly’s photographs he took of his own pairings in his studio. He was quite passionate about photography and always documented different stages of his work in his studio. One photograph in particular was of four of his chalk paintings resting against each other and I loved the way the lines seem to leap from one painting to another. This gave me the idea to record every mark of a painting and bring them together with a thousand pictures.

Can you explain a little more about the barely legible poem that features in the piece?

It was a poem taken from a Twombly Painting about a wilting peony.

Your third solo exhibition Beyond the Black opens this month at Victoria Miro in London. What can visitors expect from the exhibition?

In the exhibition’s seven paintings and one large wall I use a mixture of black pigment, rabbit skin glue and slate dust to create an absorbent ground which I apply to aluminium panels or directly to the wall and then sand back to produce a smooth, slate-like surface. The paintings are intensely dark with a dense radial constellation of words creating an image that suggests a contained energy emanating from a central point.

Do you have any upcoming projects or exhibitions you can share with us after Beyond The Black

Yes. I’m have been asked to design the sets for a ballet by Wayne McGregor set to Max Richter’s version of The Four Seasons at the Zurich Opera House which opens in April next year.

Sedition is currently involved in setting up a number of digital exhibitions in contemporary museums – what are your thoughts on this trend in the future? 

It should happen more and more.

Michael-Morris

Image by Michael Morris

Follow Idris Kahn on Sedition and keep up to date on his new releases.

Tracey Emin’s I Promise To Love You collection on display at The Atkinson

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The Tracey Emin I Promise To Love You digital collection from Sedition is on display at The Atkinson galleries in Southport, UK in an exhibition titled Love Stories: Romance Obsession & Heartbreak. Emin’s collection features her notable neons which she has used as a consistent medium since the 1990’s. Pastel coloured light tubes, bent to mimic the artist’s handwriting, spell out illuminated thoughts and feelings: passions, love declarations, disappointments and fears, or simply insults. And the subject is always Emin herself: we read her disappointments, her desires, her experiences, her infatuation and her anger – her neon works are her written confession.

The Love Stories exhibition at The Atkinson explores the universal experience of love and loss in five stages: flirtation and courtship; the choice; marriage; obsession and betrayal; settled love. A broad spectrum of media is used to chart this journey, from traditional oil paintings to contemporary installations and moving image. The exhibition is on from 7 September until January 2014.

Mark Amerika and Shu Lea Cheang exhibition at London’s Furtherfield Gallery

Mark Amerika (b.1960) opens exhibition with fellow ‘net native’ artist Shu Lea Cheang at London’s Furtherfield Gallery on 31 August. Amerika is a US-based media artist, novelist and theorist who has been exploring the nature and possibilities of the internet and how virtual communication and reality interact with and affect everyday life since the early 1990s. He is known as a pioneer of virtual concepts, creativity, and communication – and the possibilities that all of the latter offer the individual in a postmodern world.

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8-Bit Heaven
, Mark Amerika, 2012

 Featured in the exhibition are three works from Amerika’s Museum of Glitch Aesthetic (MOGA) series: Lake Como Remix, The Comedy of Errors and 8-Bit Heaven. Museum of Glitch Aesthetic was originally commissioned by Abandon Normal Devices for the 2012 AND Festival.  These are shown alongside two pieces by Shu Lea Cheang.

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Lake Como Remix
, MOGA (2012)
by Mark Amerika

Amerika has also launched two new digital editions on Sedition to coincide with the exhibition: #NewAesthetics TV (Extended Play Remix) from the MOGA series and Honolulu Hermes, two new works available exclusively on Sedition in editions of 300.

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#NewAesthetics TV (Extended Play Remix)
 by Mark Amerika

In his career, Amerika been named named a “Time Magazine 100 Innovator” in their continuing series of features on the most influential artists, scientists, entertainers and philosophers into the 21st Century. His work has been exhibited internationally at venues such as the Whitney Biennial of American Art, the Denver Art Museum, the Institute of Contemporary Arts in London, and the Walker Art Center. In 2009-2010, The National Museum of Contemporary Art in Athens, Greece.

If you happen to be in London, don’t miss the exhibition that will be running until 20 October at Furtherfield Gallery – McKenzie Pavilion, Finsbury Park, London N4 2NQ. For more information visit the gallery website. 

Tracey Emin’s exclusive digital artwork raises funds for the NSPCC


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Tracey Emin’s exclusive digital limited edition on Sedition raises vital funds for the NSPCC – the UK’s leading children’s charity specialising in child protection.

For every digital edition sold of Tracey Emin’s This is My Favourite Little Bird, the full retail price (£50) will be donated to the NSPCC to support its post-abuse therapeutic services for vulnerable children and young people across the UK.

The artwork is a 1 minute 25 seconds digital animation featuring a tiny bird that recalls the cool-blue neon that Emin created in 2010 for the façade of London’s Foundling Museum. The image unfolds upon a gently-creased fabric, and it is as if we are encountering the invisible hand of the artist embroidering the outline of a bird perched on a leafy branch. The scene is punctuated by a rainbow of multi-coloured flowers that emerge above, while the work’s title is delineated in Tracey’s handwriting below.

Tracey Emin said: “I have always supported the NSPCC. The Sedition project was exciting and inventive. The Little Bird is one of my favourite images. A small fledgling. I was more than happy to donate this to the NSPCC.”

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_MG_9027Photo credit: Jon Challicom

Funds raised from sales of the digital limited edition will go towards the NSPCC’s Rebuilding Childhoods Appeal, created to help fund post-abuse therapy for children.

To view and purchase the work visit: http://www.seditionart.com/tracey_emin/this_is_my_favourite_little_bird