Leviathan: Memories of the Future Pt.2

Shezad Dawood - Murat Reis, 2018 Silkscreen, acrylic, spray paint on vintage and fortuny textile 198 x 286 cm

SHEZAD DAWOOD

Leviathan: Memories of the Future Pt.2

3 November – 22 December 2018
Opening reception: Saturday 3 November, 17 – 20 hrs

HE.RO is proud to announce Shezad Dawood’s first solo exhibition at the gallery.

Dawood’s exhibition presents a (televisual) series of storyboards, masquerading as large-scale landscape paintings. In addition you can see the newest episode of the artist’s multi-year, multi-part series Leviathan, co-commissioned by the gallery.

Leviathan Cycle, Episode 4: Jamila reverses the usual path of migration (from North Africa to Italy) to question ideas of migration historically always being one way, and to question how crossings between Italy and North Africa are also deeply impacted by climate change affecting the marine environment both above and below the sea.

A series of dreams or hallucinations take the place of the Netflix image and narrative feed, by substituting the moving image for the still (if unstable) image of a volatile future. If the works in the exhibition act as a mirror to places and narratives so far unexplored, it’s because they represent the landscapes of as yet uncharted narrative arcs in Shezad Dawood’s imagination. These still images, or fragments of narrative, are punctuated by text from existing and forthcoming chapters of Dawood’s stream-of-consciousness monologues that score the various episodes of Leviathan. Playing with the function of the serialisation of narrative, the installation at HE.RO allows the viewer to insert themselves in this logic of the ebb and flow between narrative and iconic image; the space between the world as it is and as it may be.

Step in, the water’s warm.

About Shezad Dawood

Shezad Dawood works across disciplines film, painting, neon, sculpture and more recently virtual reality to deconstruct systems of image, language, site and narrative. Using the editing process as a method to explore both meanings and forms, his practice often involves collaboration and knowledge exchange, mapping across geographic borders and communities. Through a fascination with the esoteric, otherness and science-fiction, Dawood interweaves histories, realities and symbolism to create richly layered artworks.

Recent solo exhibitions include: Leviathan, Mostyn, Wales (2018); Leviathan, Fondazione Querini Stampalia, Venice (2017); Timothy Taylor, London (2016); Galerist, Istanbul (2016); Pioneer Works, Brooklyn (2015); Fig.2 at the ICA studio, London (2015); Parasol Unit, London; Leeds Art Gallery and OCAT Xi’an, China (all 2014), Modern Art Oxford (2012). And group exhibitions include: the Gwangju Biennial (2018); Rubin Museum of Art, New York (2018); The Drawing Room, London (2017); Mori Art Museum, Tokyo (2016); Taipei Biennial (2014), Marrakech Biennial (2014), MACBA Barcelona (2014), Witte de With (2013), Busan Biennale (2010), Tate Britain, Altermodern (2009), and the Venice Biennale (2009). Shezad Dawood’s work is in major public and private collections including Tate, London; LACMA, Los Angeles; National Gallery of Canada, Ottawa; The British Museum, London; Kiran Nadar Museum of Art, Delhi; Mathaf, Arab Museum of Modern Art, Doha; UBS Collection; US Government Art Collection; Government Art Collection, UK; Bill & Melinda Gates Foundation; Art Jameel, Dubai; Devi Art Foundation, Delhi; EKARD Collection.

His film works have been screened internationally, including Art Rotterdam (2018); New Adelphi Exhibition Gallery, Manchester (2018); Screen City Biennial, Stavanger (2017); Pera Film | Pera Museum, Istanbul (2016); MoMA, New York (2015); Floating Cinema, London (2015); Nitehawk Cinema, Brooklyn (2015); Kurz/ Dust, CCA Warsaw (2015); Art Dubai Film (2014); Aspen Art Museum (2014); Flatpack Film festival, FACT Liverpool, Manchester Cornerhouse, Sheffield Showroom, Arnolfini, Nottingham Broadway, Cambridge Picturehouse, Oxford Picturehouse and London Sci-Fi Film Festival (all 2013).

Dawood is a Jarman Award nominee (2012), and one of the winners of the Abraaj Capital Art Prize (2011).

Shezad Dawood was born in London in 1974 and trained at Central St Martin’s and the Royal College of Art before undertaking a PhD at Leeds Metropolitan University. Dawood is a Research Fellow in Experimental Media at the University of Westminster. He lives and works in London.


Market Forces (15 September – 27 October 2018)

#5 Market Forces

curated by Nick Hackworth
15 September – 27 October 2018

Atelier van Lieshout / Aukje Dekker / Ceel Mogami de Haas / David Birkin & Mariam Ghani / Desiree Dolron / DIS / Ed Fornieles / Gabriele Beveridge / Guillaume Paris / Jake & Dinos Chapman / Jeremy Hutchison / Keith Coventry / Leo Fitzmaurice / Martha Rosler / Michael Pybus / Wayne Horse / Yoan Mudry

 

Guillaume Paris, Mégane (Hommage à Franz Fanon,2005, 80 x 80 cm

Guillaume Paris, Mégane (Hommage à Franz Fanon) 
2005, ed. 5, 80 x 80 cm

A group show of work that variously critiques and co-opts the techniques of mass-markets, often succeeding in both at once. The exhibition comprises both historical and recent work, mapping out creative responses to the steady intensification of consumer culture engendered by the dominance of neoliberalism from the 1980’s onwards.

Opening the exhibition are artists who have faced and responded to this trend from early in their trajectories, with works like: Martha Rosler Reads Vogue (1981), the artist’s seminal deconstruction of the magazine’s iconography, Untitled (1988), Atelier van Lieshout’s sculptural appropriation of beer cases and various examples from Guillaume Paris’ critical examination of commodity culture from the 1980’s onwards.

The exhibition’s narrative arc brings us to a present where younger artists derive their vocabulary from within a landscape of consumption. Whether as adaptive mechanisms or underhand critiques, their works are articulated in the spectacle’s very language: DIS’s Thinkspiration (2016), an ironic conflation of philosophy and brand culture, Gabriele Beveridge’s elegant manipulations of retail aesthetics and Ed Fornieles’ insidious Finiliar series, which makes use of the latest devices in empathically focused, corporate marketing strategies.

A central question haunts the exhibition and the works within it:
In which forms and in what kinds of spaces can art exist, when the realm of self-fulfillment has been so ruthlessly colonized by consumer culture?

Market Forces was curated by Nick Hackworth, Creative Director of Modern Forms, a London based art collection and platform. www.modernforms.org

 


Songs (4 augustus – 8 september)

#4     Athanasios Argianas
Andreas Ragnar Kassapis

‘SONGS’

 August 4 – September 8, 2018

Andreas Ragnar Kassapis (2018), Hoing Torture (projector), oil and pencil on wood panel. 40×50

 

Athanasios Argianas (GR, 1976) lives and works in London and Athens. Solo exhibitions include EMST National Museum of Contemporary Art (Athens), The Barbican Art Gallery (London) and The Serpentine Gallery (London). Notable group shows include Kunsthalle Wien, Fondazione Prada Milano, Ca Corner Venice and Tate Britain in London. In 2012 his work was featured in the Biennale of Sao Paulo, Brazil, in 2013 at PERFORMA Biennial New York, and in 2017 at Documenta 14, Kassel. Argianas is taking up residence this september at the Camden Arts Centre (London), ahead of a major solo exhibition in 2020.

 

Andreas Ragnar Kassapis (GR, 1981) lives and works in Athens, Greece. Notable group shows include Documenta 14 in Athens (2017), SMFA in Boston (2014) and Palais de Tokyo in Paris (2013). He also participated in the 2nd Athens Biennale.

 


Yellow Paintings

#3  YELLOW PAINTINGS
PETER SCHUYFF
21 June – 21 July 2018

Front space: The Great Peter Schuyff Art Robbery, Eliane Gerrits

 

Peter Schuyff (NL, 1958) came to prominence in 1980’s New York, alongside the likes of Philip Taaffe,  Peter Halley and Ashley Bickerton, part of the loosely defined ‘Neo Geo’ movement. His signature style is a kind of proto-digital, geometric abstraction.

His most recent body of work Yellow Paintings (2018) is the 10th in a sequence which he started back in 1979 in Vancouver, Canada. That same year Dennis Hopper shot his film Out of the blue there, and used the very first of Peter’s yellow works as a backdrop in one of the scenes. Every four years or so since then, Schuyff paints a series of pictures in yellow, white, grey and black; always in acrylic, on paper.

Peter has painted this series over the past four months in his studio in Amsterdam North, adjacent to HE.RO. The twenty-seven works, which are exhibited for the first time, are light hearted and often humorous; playfully referring to American contemporaries such as Christopher Wool, Robert Indiana or Richard Serra and suggesting a subtle yet evident irony.

The use of multiple vanishing points lends a 3D perspective to the images, which carry the proto-digital, geometric abstraction that make them immediately recognizable as Schuyff’s.

The works seem to be part of an enormous psychedelic exhibition space, a gallery or museum, in which the yellow texts and structures are sculptures on display. In this fictional exhibition, black-and-white versions of Peter’s well-known oil paintings are often seen hanging on the walls, creating a museum within a museum, a world that belongs to the artist himself and to whom the spectator is invited to take part of.

In the Frontspace: The Great Peter Schuyff Art Robbery
Instead of showcasing moving images, this month HE.RO’s Frontspace features stills. Eliane Gerrits (NL, 1960), who studied both graphic design and painting, calls herself a draughtsman: an illustrator, cartoonist as well as a painter. This is her very first gallery solo-exhibition.

Following Peter’s suggestion to portray him, Gerrits ultimately decided to make a series of 20 large drawings (180 x 140 cm), which form a comic story. The hilarious narrative depicts an art robbery which ends up as an exhibition in Japan, and features elements of Peter’s fascinating biography, in which many of his illustrious friends (Andy Warhol, Basquiat, Madonna and Sylvester Stallone – to name a few) make a guest appearance.

 

Peter Schuyff, RADIATOR (2018), acrylic on paper, 150 x 300 cm

Peter Schuyff, BISCUIT (2018), acrylic on paper, 150 x 190 cm

Peter Schuyff, CALL THE POLICE THEY CANT HEAR YOU I AM THE POLICE (2018), acrylic on paper, 150 x 200 cm

Eliane Gerrits, The Great Peter Schuyff Art Robbery #cover (2018), acrylic ink on paper, 180 x 140 cm