#white cube mason's yard

[noconcessions]

[abwwia]

Alia Ahmad الصفحة الرئيسية (b.1996, Riyadh) x

An exhibition of new paintings by Alia Ahmad (b.1996, Riyadh) will open at Mason’s Yard in February 2025. White Cube announced global representation of the artist in September 2024.

Ahmad’s vibrant, expressionistic paintings draw inspiration from memories and observations of her native Riyadh; informed by local textiles, poetry, calligraphy, digital graphics and the rich diversity of the surrounding industrialised desert landscape and plant life. 

[artintestine]

Cinga Samson, Nzulu Yemfihlakalo, White Cube Mason's Yard, London, 2023

[webionaire]

White Cube Mason’s Yard, as the follow-up to Marclay’s hugely popular The Clock. A 24-hour compilation of film clips in which timepieces that feature fleetingly in movie scenes are always telling the actual time in the viewer’s reality, The Clock has been described as one of the most important artworks of the 21st century and as one of the greatest pieces of conceptual art ever, if not the greatest. Since its launch in 2010, it has had huge reactions all over the world. It’s fun, entertaining in a way we don’t expect of conceptual art, and is actually a clock in its own right.

Tall and bespectacled, with a husky New York drawl that makes him appear laconic even when he’s talking at length, Marclay isn’t keen on Doors being thought of as a “follow-up”. It took him 10 years to make and the facile idea of the follow-up feels antithetical to the rarefied world of conceptual art – Marclay isn’t crazy about being thought of as a conceptual artist either. “I’m an artist,” says the 68-year-old, “and I do different things.” Nor is he looking for another hit. “That’s only for pop musicians. My purpose is to do the things I want and if the audience is interested, that’s great. I was grateful for the success of The Clock, but it became a nightmare, like a band having a hit and everyone wanting to hear the same song over and over again.”

[alinemadebywalking]

10 Favourite Art Shows I Saw in 2023 (all of them in London):

1 Body Politic, Antony Gormley, White Cube Bermondsey 2 AYE!, Lutz Bacher, Raven Row 3 Doors, Christian Marclay, White Cube Mason's Yard 4 Grenfell, Steve McQueen, Serpentine Galleries 5 Eyes of the Storm: Photographs 1963-1964, Paul McCartney, National Portrait Gallery 6 Allegorhythms, Bill Daggs, Metroland (photo 1) 7 Andy Warhol: the Textiles, Fashion and Textile Museum 8 A Whistling Woman, a Crowing Hen, Carl Gent, Deptford X (ph2) 9 The Visible Turn, Arnaud Adami, Carl Kostyál (photo 3) 10 Architects' Houses, Sir John Soane's Museum

[longlistshort]

Quarantine, 2018, from Julie Curtiss’ exhibition Altered States at VSF gallery in Los Angeles in 2018.

From the press release from that show-

Depicting mostly female subjects in her works, Curtiss creates an undulating dreamscape where the depths of a woman’s psyche are as important and palpable as her body. Rife with swirling curvatures and oscillating lines that convey both physical movement as well as cognitive dissonance, Curtiss’ subjects are secretive and faceless, inhabiting uncanny narratives driven by the logic of dreams. Teetering between dichotomies of seduction and repulsion, feral and domestic, their countenances are strategically concealed with thick mounds of serpentine hair, clawed hands and razor-sharp nails that conjure the anatomy of cold-blooded beasts. For Curtiss’ latest series of paintings and gouaches on paper, marine imagery permeates the narratives: koi, lotuses, fishtails in lieu of feet, a lobster claw clasping a glossy manicured finger … a nod to the 1980s science-fiction film “Altered States,” whose protagonist descends into a bottomless search for the self by way of floatation tanks – sensory deprivation chambers filled with body-temperature saltwater (water being the Jungian dream symbol for the unconscious). While Curtiss invites us to dive deeper into the layered, mercurial mind of her subjects, we are inevitably faced with a reflection of our own subconscious.

She is currently showing her newer work, which includes sculptures, at White Cube Mason’s Yard, in an exhibition titled Monads and Dyads, closing 6/26/21.

[anniversary-magazine]

Random Access Memory by Miroslaw Balka Presented at White Cube, London

White Cube is pleased to present ‘Random Access Memory’ by Miroslaw Balka at Mason’s Yard, a new work that links and transforms each of the gallery spaces.

Throughout his practice, Balka has emphasised how the viewers’ experience and their negotiation of space is fundamental to meaning. In this exhibition, he reflects on this through a radical artistic gesture, whereby both floors of the gallery are partially blocked by heated metal walls spanning the entire width of each space.

The title for the exhibition, ‘Random Access Memory’, refers to the complex form of computer data storage that we all use but do not necessarily comprehend, as well as to more generalised conceptions of ‘memory’, both in terms of the personal and the collective. It can also be seen as a reflection on our current political climate in which access to memory and history is often deliberately manipulated or even denied.

In his sculptures, Balka regularly incorporates various sensorial effects as a way of highlighting how all of our senses support cognition. In this way, the ‘invisible’ and the ‘visible’ can be of equal importance, as with the pauses, negative spaces and markers of absence (the materials or measurements associated with the body) which are foregrounded. Composed of corrugated metal sheets, the walls are heated to a temperature of 45 degrees Celsius, the point in the body at which blood will coagulate and enzymes denature. At their top, a one-metre gap remains, allowing limited access to the space beyond. Functioning as both barrier and container, these temporary walls make direct reference to the increase in national border control as well as to the escalating crisis of global warming.

While registering a point of danger, the work also suggests comfort, safety, an inference of an ‘other’ and the locus of human energy. Balka has frequently used heat in this way in earlier works; in sculptures reminiscent of tombstones, for example, where slabs of terrazzo were heated to variable standard bodily temperatures, or in his 1997 monument to the victims of the Estonia ferry disaster, where the physicality of heated walls honour the memory of those who perished. In these works, the measurement of degrees Celsius, like the centimetre measurements of so many of his artwork titles, become part of an objective system, demarcating the presence of the body and alluding to the line between life and death, sickness and health.

While the installation draws attention to the viewer’s psychological reaction, whereby they understand the walls are ‘hot’ before physically experiencing that heat, Balka encourages us to touch. Evoking a plurality, the process of touching sets up a dialogue between the individual singular viewer and the collective experience, marking a place where we are no longer alone. As with his previous installation Touch me / Find me at Kiasma, Helsinki (2013), dirt or marks that build up as a consequence of the invitation to interact with the work become a poetic register of human presence throughout the duration of the exhibition.

Formally resonant of memory structures in the brain as well as those of digital technology through the trapezoid structure of the material, ‘Random Access Memory’ deals with the enduring erosion of historical memory. It suggests perhaps, that access to memory is always controlled and that the possibilities and responsibility for its safeguarding lies entirely with us.

“ There’s place intangible a void and room. For were it not, things could in nowise move; Since body’s property to block and check Would work on all and at times the same.”

— Lucretius ‘On the Nature of Things’, The Void, Book 1, from 1st century BC (trans. by William Ellery Leonard, 1916)

[simichiamano]

Julie Mehretu Sextant, White Cube Mason’s Yard, 2018

[mentaltimetraveller]

David Altmejd White Cube Mason’s Yard 23 November - 14 January 2023

[jordi-gali]

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 David Altmejd, ‘9³’ (2022) at White Cube Mason's Yard

[whatdoesshedotothem]

Wednesday 9 August 1837

8 ½

12 ¾

slept with A- came to me on getting into [bed] said she was naughty and was all right but I could not get her to tell what had been the matter fine morning F66° now at 9 25 and breakfast and A- sat with me till after 10 when Mr. SW- came for the day to make up her rent book and accounts and having done before 5pm did up my rent book and accounts – out soon after 10 – with Parkinson in the carriage court at the rain water cistern concern-arches  or what – then with Robert Mann + 7 at the terrace wall-race low end for little tower staircase down into the field – let the 2 dry arches fall in this morning – Roberts’ son David Mann and another within an [?] of being buried beneath the walls this afternoon or rather evening about 6 when the outer wall fell down with a sudden crash they having dig close up to it lower than the foundation – Robert + 5 at the wall-race digging + 2 of Nelson’s men came just before dinner to begin laying the foundation of the little tower staircase – Sam Booth and Jack Green all the day getting up thorns against the road wall at the top of the old paddock in the way of the platform-stuff carts – sodding up this afternoon – got a piece raised high enough and planted about 1/2doz. thorns and 1 Ragland oak – (John Bottomley + 2 from the platform brought us 3 loads of the sods for 1/. and Abraham (with my own gin job-cart brought us one load) – sometime with Mark Hepworth (with 3 carts) on the front embankment ordering about how the stuff from front of house and terraces is to be got up – said they must have a new price (7d. per yard cube at present) they should only make 4/. per day per house – (ought to make 5/.) – Booths’ 2 men Edward Waddington and John Sharpe on the top of the house at slate mending, gutters, etc. an opening made over the red room passage last night – the whole of the gutter over this to be made flat and raised – 2 or 3 of Booths’ masons (Robert Wharton Abraham recently returned to us and Gray the labourer) at the terrace steps – 2 masons James and Robert Sharpe at the hay barn I suppose – and Amos Ambler at the pen-trough (Listerwick engine pit) dirlling making holes for the mill wrights – 4 of Parkinsons’ masons at the low terrace-walls, and one or 2 of his men hewing for his carriage court job – 6 of Mawsons’ men moving stuff at the Lodge – a little while there after the men went to dinner at 12 – came in to A- about 12 ½ - brought her upstairs to my room from SW- sat talking about ¾ hour – then to Messrs. Gray and Harper – stood talking sometime in the little dining room – then in the drawing room (G- with us till near 2) till 3 (talking with H- from about 1 20 to 3) A- rode off to Cliff hill just before 3, that I did not see her till dinner at 7 40 H- had seen Mr. Parker last night – Mr. Carr had gone down to him that morning in a great passion saying his landlord had behaved very ill to him, and he was determined to do him all the injury he could – would sell me his (C-s’) 9 coaches and let me the white Swan for the remainder of his term till next May, so that I or my hotel tenant, might have his (C-s’) custom at the White swan till the hotel was ready, and then shut up the white swan – I said I would have nothing to do with Mr. Carr’s purposes of spite and revenge – would not lend myself to anything so dishonourable – I had been told of C-‘s having this scheme of intimidation against his landlord a year or 18 months ago – (Marin told me – heard I think from Mrs. Holmes) – on its being made appear that if I did not buy the coaches C- would sell them to someone else, and that I might have my own way in seeing Mr. Rayner and satisfying him I meant nothing underhand, I agreed to desire Mr. Parker to inquire into Mr. Carr’s proposal and lay it regularly before me – long talk about Mr. Charles Priestley – all his friends all his dependence for pecuniary assistance in York – H- seemed to think he would not and I inclined to think he would take the hotel – if he would better settle it the sooner the better and let him take out the licence and take the coaches and all at once – to write and ask him to call upon me here in the course of tomorrow – the less I had to advance the better said H- but quite agreed that if I must set a man up, it had better be CP- than Ward, or Sir John Ramsden’s valet butler – H-‘s grandmother Mrs. Myers had a farm near Sir JR-‘s her farm servants know all the R- servants – inquiries can easily be made as to advisability of taking the valet Littledale, if

SH:7/ML/E/20/0107

CP- declines the hotel – H- advises letting the market on a lease of 21 years at a fixed rent – likes Mr. Gray’s plan for the exchange etc only afraid there is not room enough – will think it over and give me a birds’ eye sort of perspective view of the 2 markets exchange buildings and the whole of the ground laid out – gave him away with him the ground plan of Northgate and G-‘s 2 sketches the exchange pile, and the [streeting]- H- advised that if C- should come to terms for the coaches, I should have a person to overlook his coachbooks to see what the 9 coaches would be worth – H- to find the person to do this – Mr. Dobson the great coach account auditor at York would overlook the books and collect the facts and Kemplay of Leeds the auditor general as it were son to Kemplay the school master (has £400 a year for this which takes him but little time) and a man of £800 to £1000 a year independence would vale the custom for me to oblige Mr. H- not a man to do it for money – H- if I wanted to apply to him by letter will be till next Monday morning at the house of ‘Mr. James Hacking, Enfield, near Blackbrune’ (I rather think this Hacking is uncle to Mr. Husband) – and will pass thro’ Bradford per coach and be at the Talbot Inn there at 5pm. on Monday evening next – Messrs. Harper and G- together (after H- had had Hainsworth on his Harper’s leaving me at 3) setting out the East tower so that the foundations can be laid and the cellar done, and setting out the back Lodge till H- went away at a little before 5 – I out from 3 to 7 20 about but chiefly with Sam and Jack planting the ½ doz. thorns and 1 Ragland oak – Zebedee fetched up Booths’ 2 long timbers from the meer to the haybarn for wall-plates – Hainsworth came to me about 6 50 with a long bill for stones – said it must be checked by Mr. Booth – mentioned his not coming to the rent day as a thing that must not occur again – and he promised it should not – then mentioned the market – TG- having spoken about it – I suppose a deputation coming about it – mentioned the names of Mr. Whitley and old Mr. Mitchell – H- seemed to know nothing about it – said I had my own plans but would oblige the town if I could – told H- to get me 2 tenants for my 2 fields – 2 votes – A- and I were determined to have voters – would not rest till we had about 50 – H- much pleased – entering upon a long recital of our praises at the conservative association now consisting 600 members – wanted a room for general meetings that would hold one thousand people – on coming in wrote and sent by Frank (who went this morning to inquire if Thomas Greenwood would hire him as carter) my note to ‘Messrs. Parker and Adam solicitors H-x’ saying that after my note of last night perhaps it was hardly necessary to say I should be much obliged to Mr. P- to communicate with C- and lay his proposal before me, as it seemed not impossible some terms might be come to – dinner at 7 40 – coffee – A- very agreeable and sat long at table and afterwards at coffee till we both came upstairs together at 10 5 and she sat with me in the blue room 20 minutes or more – then wrote all the above of today till 11 55 very fine day F57° at 10 5 pm

[artintestine]

David Altmejd, White Cube Masons Yard, London, 2022

[k00268522]

Artist Research Christian Marclay

The Clock by Christian Marclay

‘The Clock’ is a 24-hour video supercut that features clocks or time pieces. Time is expressed in it when a character interacts with a clock, watch or simply a particular time of day. It premiered at White Cube Masons Yard in London in October 2010. It functions as a working timepiece in itself, synchronised to the local time.

‘The Clock’ plays with how audiences experience narrative in film which I find really interesting. When watching, the audience is removed from normal time and swept up in a new register that corresponds to the narrative at hand. I really like this work as it’s an interesting and unique concept. I feel like in art it is really important to have a piece that really draws the viewer in to what the artist is trying to portray and I feel like Marclay has achieved this with ‘The Clock’.

[chez-mimich]

VERTIGINE DELLA LISTA, OVVERO COSA HO VISTO, LETTO, ASCOLTATO NEL 2019.

“Cold War" di Pawel Pawlikowski, Anteo Milano, 01.01.19

“Racconti parigini” a cura di Corrado Augias, 03.01.19

“La bestia che mi porto dentro” di Francesco Piccolo, 09.01.19

“Il gioco delle coppie” di Olivier Assays. 12.01.19

“Haruna kuyateh & Ararata Ensemble Orchestra”, caserma Passalacqua Novara Jazz Winter, 26.01.19

“La Favorita” di Yorgos Lanthinos, 27.01.19

“L’arte sopravviverà alle sue rovine” di Anselm Kiefer, 27.01.19

"Orchestra Sinfonica Cantelli" Teatro Coccia. Mozart, Haydn, Beethoven, Liszt, 30.01.19

“Green Book”, di Peter Farrely, 01.02.19

“Col Hakolot” coro ebraico, Broletto di Novara, 03.02.19

"My River runs to thee”, Taste of Jazz, Opificio, 07.02.2019

"Santiago, Italia" di Nanni Moretti 09.02.19

"Masahisa Fukase", Fondazione Sozzani, 09.02.19

“The Gumbos”, Taste of Jazz, 21.02.19

“Cuore di cane” di M. Bulgakov, Teatro Grassi Milano,23.02.19

“Shades of Freedom”, Taste of Jazz, Opificio, 28.02.19

“Roma” di Alfonso Cuaròn, 02.03.19

Giorgio Andreotta Calò “Cittadimilano”, Hangar Bicocca 09.03.19

“Capri Revolution” di Mario Martone, 15.03.19

"Broken Nature: Design Takes on Human Survival, Triennale Milano 23.03.18

"Una giusta causa" di Mimi Leder, 30.03.19

"Surrogati. Un amore ideale" Osservatorio prada, Milano, 31.03.19

“Ibrahim Mahama, Firend”, Porta Venezia Milano, 06.04.19

“Design Week-Fuorisalone”. Statale, Meravigli, Cairoli, Brera, Garibaldi. 10.04.19

“Design Week-Fuorisalone”. Centrale Ventura, Via popoli Uniti, 12.04.19

“Design Week-Fuorisalone”, Via Tortona, Base, Vie Bergognkne, 13.04.19

“Musica in scena: Irene Veneziani”, pianoforte, Teato Faraggiana, 24.04.19

“Dilili a Parigi” di Michel Ocelot, 25.04.19

“Christian Marclay”, White Cube Mason’s Yard, Londra, 07.05.19

“Phyllida Barlow, Cul de Sac”, Royal Accademy, Londra, 07.05.19

“Prahabavathi Meppayil, PACE”, Royal Accademy, Londra, 07.05.19

“Dorothea Tanning”, Tate kdern, Londra, 08.05.19

“Franz West”, Tate Modern, Londra, 08.05.19

“Jenny Holzer” Artist Room, Tate Modern, Londra, 08.05.19

“Magic Realism”, Tate Modern, Londra, 08.05.19

“Kaleidoscope”, Saatchi Gallery, Londra, 09.05.19

“Artic New Frontier”, Saatchi Gallery, Londra, 09.05.19

“Ara Güler, Gallery 12”, Saatchi Gallery, Londra, 09.05.19

“Johnnie Cooper” Saatchi Gallery, Londra, 09.05.19

“Boilly, Scenes of Parisian Life”, National Gallery, Londra, 10.05.19

“Sean Scully, Sea Star”, National Gallery, Londra, 10.05.19

“Emme Kunz, Visionary Drawings”, Serpentine Gallery, Londra, 10.05.19

“Hito Steyler, Power Flowers”, Serpentine Sakler Gallery, Londra 10.05.19

“Sylvie Felury, Hypnotic Poison”, Galerie Thaeddeus Ropac, Londra, 10.05.19

“Gerwald Rokenschaub”, Thaeddeus Ropac, Londra, 11.05.19

“Munch” di Steffen Kaverneland, 15.05.19

“The Repetitition (s) Histoire (s) du Theatre” di Milo Rau Teatro Streheler Milano, 11.05.19

“Piano City Milano: Marta Meszaros”, Casa Melis, Milano, 19.05.19

“World Press of the Year 2019”, Fondazione Sozzani, 19.05.19

“People of Tamba”, Fondazione Sozzani Milano, 19.05.2019

“Matteo Bortone solo” Novara Jazz, 25.05.19

“Ariel Tessier & Severin Morfin” Novara Jazz, 25.05.19

“Three Days of Forest” Novara Jazz 25.05.19

“No Tongues” Novara Jazz 25.05.19

“Severin Morfin e Ronan Coutry” Novara Jazz 26.05.19

“Ronan Prual & Matthieu Prual” Novara Jazz, 26.05.19

“Giulio Corini, Libero Motu” Nivara Jazz, 30.05.19

“Elephank Project” Novara Jazz, 30.05.19

“Ill Considered” Novara Jazz, 31.05.19

“Khalab Feat. Tamar Collocutor e Tommaso Cappellato” Novara Jazz, 31.05.19

“Francesco Bigoni Solo” Novara Jazz, 01.06.19

“Italian String Trio” Novara Jazz, 01.06.19

“Olmo”, Novara Jazz, 01.06.19

“Animanz & Juanita Euka”, Novara Jazz, 01.06.19

“Sanne Huijbregts Solo”, Nivara Jazz, 02.06.19

“Erios Junior Jazz Orchestra+Michael Steinman”, Novara Jazz, 02.06.19

“Marco Remondini+Banda Filarmonica di Oleggio”, Novara Jazz, 06.06.19

“Roberta Brighi L.W. 6TET”, Novara Jazz, 06.06.19

“Workshop de Lyon+Trio Impro+L’Effet Vapeur”, Novara Jazz, 07.06.19

“Simone Graziano Frontal”, Novara Jazz, 07.06.19

“Ben Van Gelder” Novara Jazz, 08.06.19

“Jeuselou du Dimanche” Novara Jazz, 08.06.19

“Reiner Baas & Ben Van Gelder” Novara Jazz, 08.06.19

“Marmite Infernale”, Novara Jazz, 08.06.19

“Barre Phillips Solo”, Novara Jazz, 09.06.19

"Serotonina" di Miche Houellebecq, 30.06.19

"Miro, au delà de la peinture" Fondation Maeght, St. Paul de Vence, 06.07.19

"Koln Duo", Ramatuelle, 10.07.2019

“Un mondo in parole” di Paul Auster, 11.07.19

“Edison, l’uomo che illuminò il mondo” di Alfonso Gomez-Dejon, 25.07.19

“Mirò parle” di Joan Mirò, 25.07.19

“Sheela Gowda, Remains”, Hangar Pirelli Bicocca, 31.08.19

“Yossi Rakover si rivolge a Dio” di Zvi Kolitz. 05.08.19

Roger Ballen "The Body, the Mind, the Space", Fondazione Sozzani, 18.08.19

“Anna Maria Maiolino”, Pac Milano, 19.08.19

Gilbert & George,“There were two Young Men”, 25.08.19

“Laurent Hasley,“Too Blessed 2 Be Stressed”, Fondation Vuitton, Parigi, 25.08.19

“Sally Mann, a thousand crossing”, 24.08.19

Marc Pataut, “de proche en proche”, 24.08.19

“Nous les Arbres”, Fondation Cartier Parigi, 26.08.19

“Préhistoire, un enigme moderne”, Centre Pompidou, 27.08.19

"Takesada Matsutani", Centre Pompidou, 27.08.19

"Bernard Frioeze", Centre Pompidou, 28.08.19

"Cao Fei", Centre Pompidou, 28.08.19

“Champs d’Amours”, Hotel de Ville, Parigi, 27.08.19

“Berthe Morisot”, Musée d’Orsay Parigi, 29.08.19

“À la plume, au pinceau, au crayon” Ima, Parigi, 29.08.19

“Hella Hongeriujs”, Lafayette Anticipation, Parigi, 30.08.19

“Ernst Macoba: I shall dance in a different society”, Centre Pompidou Parigi, 27.08.19

“Eloisa Manera, Duende”, Piccolo Coccia EJC, Novara, 11.09.19

“WE3 di Francesco Chiapperini”, Piccolo Coccia, EJC, Novara 12.09.19

“Raffaele Casarano, Mirko Signorile”, Piccolo Coccia, EJC, Novara, 12.09.19

"Piero Bittolo Bon, Bread & Fox”, Sala Borsa Novara, EJC, 13.09.19

"Roberto Ottaviano con “Eternal Love”, PIccolo Coccia Novara, NJC, 13.09.19

"Marco Colonna solo", Basilica di San Gaudenzio Novara, 14.09.19

“Filippo Vignato Quartet”, Teatro Coccia Novara, EJC ,14.09.19

"Andrea Grossi, Songs and Poems", Teatro Coccia. EJC, Novara, 14.09.19

“Crossing Quartet”, Teatro Coccia Novara, EJC, 14.09.19

"Federica Michisanti, Horn Trio", Chiostro della Canonica Novara, EJC, 15.09.19

"L'incredibile viaggio delle piante" di Stefano Mancuso , 20.09.19

"5 E'il numero perfetto" di Igort, 23.09.2019

Alex Prager, "Silver Lake Drive" Fondazione Sozzani Milano, 23.09.19

"C'era una volta a Hollywood" di Quentin Tarantino, 30.09.19

"Danie Steegmann Mangrané, A Leaf-Shaped Animal Drawn the Hand", Hangar Bicocca Milano, 31.09.19

"Joker" di Todd Phillips, 05.10.19

"Anastasiya Pteryshak e Enrica Savigni, suonano Paganini", Chiesa di San marco, 07.10.19

“Training Hunans” Osservatorio Prada Milano, 12.10.19

“Yan Pei-Ming”, Galleria De Carlo Milano, 12.10.19

“Raoul” di e con James Thierrée, Teatro Strehler 12.10.19

Giulia Biagetti, organo. San Gaudenzio 13.10.19

“Romancero Gitano” di Federico Garçia Lorca, con Nuria Espert, Teatro Grassi, 22.10.19

Kevin Browyer organo, San Gaudenzio 23.10.19

"Golden Variations" con Camilla Monga, Novara Jazz, 24.10.19

"Erlend Apneseth Trio", Novara Jazz, 26.10.19

"Dontown Abbey" di Michael Engler, 27.10.19

"Lupi5" Tast of jazz, Opificio Novara 31.10.19

"Canova, Thorvaldsen, la nascita della scultura moderna", Gallerie d'Italia Molano, 01.11.19

"Ritorno a Reims" Teatro Studio Melato, 05.11.19

"Canova Trio" Taste of Jazz, 08.11.19

"Il libro di tutti i libri" di Roberto Calasso, 20.10.19

Cerith Wyn Evans "...Illuminating Gas" Hangar Pirelli Bicocca Milano, 16.11.19

"Florasia", Taste of Jazz, Opificio Novara, 22.11.19

"L'ufficiale e la spia" di Roman Polanski, 28.11.19

"Un giorno di pioggia a New York" di Woody Allen, 2.12.19

"La Belle Epoque" di Nicola Bedos

"Cité. Lieux vides, rues passantes", 05.12.19

"Simone Quatrana e Davide Rinella", Taste of Jazz, 06.11.19

"Wes Anderson, il sarcofago di Spitzmaus e altre meraviglie", Fondazione Prada Milano, 08.12.19

"Tower Jazz Composer Orchestra" recensione, 09.12.19

"Boom Collective", Taset of Jazz, 14.12.19

"Louis Armstrong. Satchmo oltre il mito del jazz", 18.11.19

"Vito Emanuele Galante in solo", San Giovanni decollato, 18.11.19

"Paolo Fabbri Jazz Ensemble" Taste of Jazz, 19.12.19

"1.15 K" Recensione, 19.12.19

"Australia, storie dagli antipodi", Pac Milano, 21.12.19

"La dea fortuna" di Ferzan Opzetek 26.12.19

“Parasite” di Bong Joo-Ho, 29.12.19

“Pinocchio” di Matteo Garrone, 31.12.19

[kevinspaceyarchives]

Kevin Spacey visits the world of art for the private view of Dinos and Jake Chapman’s latest exhibition If Hitler Had Been A Hippy How Happy Would We Be, at the White Cube Gallery in Mason’s Yard | May 29, 2008 (HQ)

[mrb33]

ART Mooching Catch up

Some of the Art I’ve seen over the last month or so.

Starting with LOOK - Christian Marclay at White Cube Gallery, Mason’s Yard.

Short Stories

Massimo Vitali at Mazzoleni Gallery

Details...short stories to be heard?

5 Decades of Sculpture

Bruce Mclean at Bernard Jacobson Gallery

Splash Painting 1986

Jug 1987

Coconut Butter rub 1987

László Moholy-Nagy

At Hauser & Wirth to 7 September 2019

Kestner Portfolio

CH Space 6 1941

Typographic collage 1922

Light prop for an Electric stage 1930

Light Play 1930

Writings on The wall

Waddington Custot to 30 June 2019

Antoni Tapies - Duat 1994

Brassai - Graffiti 1935-1950

Jean Dubuffet - Pisseur au mur 1945

Jean Dubuffet - Homme coince dans les murs 1945

(detail)

Antoni Tapies - Tap 2003