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.’”

We are pleased to announce that Cecily Brown’s 'There’ll be bluebirds', has sold for £3.5 million to benefit global environmental charity ClientEarth in Christie’s 20th/21st Century Sale in London.

The work was generously donated by Cecily Brown and launches the Artists for ClientEarth series, organised by Gallery Climate Coalition together with Christie’s in support of ClientEarth.

ClientEarth approaches the climate crisis in a unique and systemic way, by using the law to challenge industries, corporations and governments that are involved in the most polluting activities. The GCC and Christie’s have come together with ClientEarth to raise money, awareness and support from the art world for this essential work through the Artists for ClientEarth initiative.

Frieze Masters Talks: Amie Siegel in conversation with Nicholas Cullinan

Dr. Nicholas Cullinan (Director, National Portrait Gallery), will be in conversation with Amie Siegel about her new work Asterisms (2021), and Bloodlines, a work-in-progress, that will premiere in the UK in 2022.

Curated by Cullinan, Frieze Masters Talks provides a platform for leading artists, museum curators, writers and critics to discuss the history of art and its continuing significance in contemporary practice.

The talk will be online and available to Frieze VIPs and members on Sunday 17 October, 3pm BST, and from Monday 18 October to the public,  as part of Frieze's two free weekly article allocation.

Alexandre da Cunha in collaboration with Noel Stewart. 

‘Rio de Janeiro – New York – Lagos – Paris – Moscow – New Delhi – Beijing – Tokyo’, 2021. Unique edition, series of 8

Ahead of his exhibition at Brighton CCA Alexandre da Cunha was commissioned to make a new public art work for the gallery facade in the form of a banner covering the windows. In this work, titled ‘Arch’, da Cunha combined an iconic image of a black stiletto anchored within a concrete fairy cake: symbols of innocence and adulthood, indulgence and luxury, power and celebration.

‘Arch’ was installed from 14 June - 30 July 2021. The work was then taken down and da Cunha collaborated with milliner Noel Stewart to create a series of wearable sculptures made from the fabric of the original banner.

These hats are available to buy from Atelier CCA, with all proceeds going to the artist and supporting the Brighton CCA programme.

‘Michael Landy H.2.N.Y’ - a newly commissioned performance to mark the 25th anniversary of Museum Tinguely. 

Friday, 24 September, 5.45pm CET

Jean Tinguely has been a guiding artistic figure for Michael Landy ever since Landy saw the 1982 Tate exhibition of the Swiss sculptor as a nineteen year-old student.

In 2006 Landy produced a series of drawings and paintings from photographs of Jean Tinguely's ‘Homage to New York’, a 23 feet long and 27 feet high "self-constructing and self-destroying" sculpture-machine that self combusted in front of a live audience on the evening of March 17, 1960 in the Museum of Modern Art Sculpture Garden. Landy also began to research a possible re-enactment of ‘Homage’, re-constructing some parts of it, and creating a documentary about the work.

Now, on the occasion of Museum Tinguely's 25th birthday, Landy presents his re-imagining of the original ‘Homage to New York’, with dancers and a choreography developed in collaboration with Tabea Martin.

Kaserne Basel, Klybeckstr. 1b, CH-4057 Basel