26 May - 8 August 2021
Three new exhibitions across our Upper, Tall and Sunken Galleries
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UnTurning is the first exhibition in the United Kingdom by Canadian-born and New York-based painter Ambera Wellmann.
Wellmann’s paintings negotiate the devastation of the present, one in which the cultural logic of heteronormativity and capitalism are naturalized in the human psyche. Traversing distinctions between human and animal, and figure and ground, Wellmann visualizes an illogical state where bodies transmute. Populated with elusive figures and motifs manifesting in uncanny physical forms, Wellmann’s works embody processes of erasure and revision, engaging with the potential of chance, vulnerability, and failure.
We are pleased to present the first institutional exhibition by artist Maya Balcioglu, consisting of large scale works on paper, latex and fabric completed over a 15-year period.
Balcioglu makes work which is deliberative, intended for consideration or discussion, a process which she sees as democratic, to imply a moral act, inviting others in, to cognize the world through others, and to consider values which are outside of the self. Balcioglu’s works are neither figurative nor abstract but in an intermediary condition. For Balcioglu experiment and transgression are necessary; she does not cultivate the image. She works on a flat surface using ink and other liquid materials and does not step back while working, only seeing what is in front of her and never the entire picture plane as composition.
Dutch artist Jaap Pieters is a stalwart specialist of Super 8mm filmmaking. He has created dozens of films on the small-gauge “amateur” medium over the course of four decades. Confining himself to the duration of a 3-minute Super 8 reel, he works with minimal equipment and manipulation.
Pieters began shooting films in Super 8 in 1985. His work concentrates on urban subjects – trams, crossroads, city dwellers and drifters – to which Pieters directs his unique gaze to capture their everyday existence. His films are essentially about seeing, observing and isolating his subjects in a way which requires the viewer to look beyond the superficial or obvious. In this exhibition, The Eye of Amsterdam, Pieters’ mastery of his subject and medium directs us to actively pay attention to the people involved, recognising the innate humanity played out on the street.
Our gallery programming is proudly supported by Gilbert-Ash