Alexandre da Cunha will be in conversation with Head of Art on the Underground Eleanor Pinfield and Director of Gasworks, Alessio Antoniolli

Da Cunha will speak about his recent commission for Art on the Underground, which opened at Battersea Power Station in September this year.

Stretching 100m and 60m in length, the artwork incorporates two friezes that face each other along the length of the ticket hall. Made using an outdated advertising mechanism – the rotating billboard – Alexandre da Cunha has created a moving sculpture. The artwork was inspired by the former control room at Battersea Power Station and its system of vertical bars that regulated the production and output of electricity into the city. Bringing these resonances together with the daily flow of dawn to dusk, ‘Sunset, Sunrise, Sunset’ refers to cycles, routine, the everyday and eternity.

7 December 2021, 7-8pm

Gasworks
155 Vauxhall Street
London
SE11 5RH

A work by Xie Nanxing will be placed in Christie's Hong Kong 20th/21st Century Art Evening Sale: Worlds in A Hand tomorrow, 1 December, as part of ‘Artists for ClientEarth’, a collaborative initiative designed to propel the art world in the fight against climate change.

Gallery Climate Coalition has joined forces with member and patron Christie’s to raise money, awareness and support for the essential environmental work of ClientEarth.

Xie Nanxing’s work, ‘f o r a d a c a s a #3’, 2020, is the third to be offered in this series, raising funds directly in support of ClientEarth.

Caragh Thuring’s ‘Great Things Lie Ahead’, 2020, is a new public artwork at Holborn House in Bloomsbury.

The work is embedded throughout Holborn House and takes inspiration from the building’s 100 year history, from stories of local communities, and from Holborn’s distant past as a forest.

It was commissioned by Holborn Community Association as part of the building’s renovation by 6a architects and is now open to the public.

To read more, please see the link in the bio.

35 Emerald Street, London WC1N 3QW

 'Unmoored from her reflection' is installed at the top of The Courtauld’s historic staircase, which leads to the Great Room, where masterpieces from the Gallery's collection of Impressionist and Post-Impressionist paintings are displayed. The ambitious work was commissioned as part of The Courtauld's most significant modernisation project in its history, and references works in the Gallery's world-renowned collection.

Caragh Thuring will be part of a panel discussion at the Hayward Gallery tomorrow.

Alongside Director Ralph Rugoff and artists Allison Katz and Vivien Zhang, the panelists will discuss how painters treat the canvas as a landing pad, where references from different territories and time periods come together to create ambiguous, composite images.

Thuring’s work is currently on show as part of the Hayward Gallery’s exhibition ‘Mixing It Up: Painting Today.’

Mixing It Up: Slippery Images Panel Discussion
Thursday 11 November at 7pm
Royal Festival Hall
£7

We are looking for an Archive Assistant to join the team in London.

The successful candidate will work alongside the Gallery Archivist on both digital and physical records, supporting the daily activities of the gallery.

We are looking for a highly organised individual, capable of juggling their own workload whilst managing priorities and projects in tandem. The role requires a keen attention to detail, a good understanding of digital photography and file types and an interest in artist archives and documentation. Some prior experience working with databases and archives is preferred though this could be from other fields outside the gallery world.

The closing date for applications is 30 November 2021.

Thomas Dane is pleased to announce the gallery’s attendance at Gallery Climate Coalition’s November Conference: Decarbonising the Art World.

The conference, hosted by Louisa Buck, will mark GCC’s first anniversary, and will aim to set out actions for the art sector going forward.

The morning event will include panel discussions and shorter talks, focusing on the practical measures galleries can take to improve sustainability and lower collective carbon footprint, and will also feature conversations with environmental and cultural leaders about the potential for art to inspire change.

Contributors will be announced in the coming weeks.

24 November 2021
9:30am - 1:30pm GMT

The event will be recorded and made available to watch via the GCC website. To register for the live stream, please email info@galleryclimatecoalition.org

Work by Steve McQueen is included in the exhibition A Biography of Daphne at the Australian Centre for Contemporary Art, Melbourne.

A Biography of Daphne revisits the Classical myth of Daphne as the starting point for an investigation of trauma and metamorphosis, symbiosis and entanglement in contemporary art.

The exhibition explores the integrity and vulnerability of bodies, their performative or prosthetic enhancements, and the alliances they enter – across species or registers of representation – that open identity to the possibility of a radical othering.

In Steve McQueen’s film Charlotte, we see the eye of British actor Charlotte Rampling in extreme close-up while McQueen’s finger moves around it, poking and caressing it, pulling at the tender skin of her eyelid and briefly brushing the eyeball.

Rampling’s eye readjusts to the different intensities of McQueen’s ocular violence, much as the camera lens refocuses on the scene, to grasp the image of an act of aggression that blinds its victim, unable to see either the attack or the apparatus that records it.

A Biography of Daphne is now re-opening to the public on Tuesday 2 November and will continue to 14 November.

Steve McQueen’s End Credits is part of 7th Athens Biennale ECLIPSE.

This edition of the Biennale proposes to “challenge oppressive mechanisms and outdated idealism by deploying various immersive techniques such as real game play, radical gossip, persuasive realities, “emotional hypnosis”, bodying, synthesis, and visualization”.

The Biennale runs until 28 November 2021.

Glenn Ligon is featured in the 2021 New York Times’ T Magazine The Greats issue.

“In 1996, the artist Glenn Ligon made his first “Stranger in the Village” painting, stenciling fragments of James Baldwin’s 1953 essay on a gessoed canvas with oil stick, black on black: a visual play on Baldwin’s words, the blackness literally hard to read. The essay, one of the writer’s most famous, recounts his experiences at age 27 in the Swiss hamlet of Leukerbad, where he had been staying with his boyfriend while finishing his first novel. “It did not occur to me — possibly because I am an American — that there could be people anywhere who had never seen a Negro,” he writes. The alienation Baldwin evokes is total, the simple racism of the village becoming a lens through which he sees with fresh clarity the more elaborated and systematized version of it back home. “In the beginning, it was not only wanting to be with Baldwin but wanting to be Baldwin,” says Ligon.

“This intense identification with his queerness, with his Blackness, but also his engagement with what it means to live in America. In some ways it’s less about the specifics of the words, because I’d always taken his words and made them abstract.” Now that Ligon is 61 and one of the most celebrated artists of our time, he says it took him this long to be able to confront the text of “Stranger in the Village” in its entirety. Over the years, Ligon has often been asked the question of whether he considers himself “a political artist” — which now seems preposterously naïve in its presumption of a neutral ground. “When I first started showing in the ’90s,” he says, people would say, “‘Oh, your work is about your Black identity.’ And I was like, ‘That’s not a well that you just dip in and drink from.’”