6 June – 1 August 2015

The Chicken and The Egg, The Chicken

Mark Aerial Waller, Shadi Habib Allah, Duncan Campbell, Lukas Duwenhögger, Haris Epaminonda, Apostolos Georgiou, Tamara Henderson, Emre Hüner, Iman Issa, Ian Law, Shahryar Nashat, Christodoulos Panayiotou, Eftihis Patsourakis, James Richards, Cameron Rowland

Mark Aerial Waller (b. 1969, High Wycombe) lives and works in London.

Mark Aerial Waller has been using cinema as material for his videos, be that film or films and videos by other artists. Mostly known for his interventionist film installations where the material world and the filmic merge through a magical moment of some sort of effect.  Mark Aerial Waller studied Fine Art (Film & Video) at Central Saint Martins College of Art, London (BA Hons). His solo exhibitions include SO-LA, Cell Projects, London (2012); Offering Transmissions, Rodeo, Istanbul (2012); The Cassiopeia Plan, Wysing Arts Centre, Cambridge (2010); Resistance Domination Secret (event), 0-60, ICA, London (2008). His group exhibitions include Assembly. A Survey of Recent Artists’ Film and Video in Britain, Tate Britain, London (2014); Random Acts, ICA, London (2013); Baltic Triennial, CAC Vilnius, Lithuania (2012); Superpower: Science Fiction in Africa, Arnolfini, Bristol (2012); More Soup & Tart (sculptural performance), Barbican, London (2011); Performing Presence, The National Centre for Contemporary Art, St Petersburg (2010); This Place You See Has No Size At All…, Kadist Foundation, Paris (2009); Heaven, 2nd Athens Biennale, Athens (2009); You Have Not Been Honest, Museo d’Arte Contemporanea Donnaregina, Naples (2007); Changing Times, Tate Britain, London (2003). Mark Aerial Waller participated in the Wysing Arts Centre residency in 2009-2010, and received the Elephant Trust Award (2009).

 

Shadi Habib Allah (b. 1977, Jerusalem) lives and works in New York.

His practise traverses installation, video and sculpture, in order to examine the structural and material circulations of objects, people, histories and economy. A common thread amongst his various works is the reworking of existing structures and the making images of images in ways that eventually erase or replace the original. Eventually it becomes unclear what is the original and what is the copy.  Shadi Habib Allah studied at Bezalel Academy of Arts and Design, Jerusalem (BFA) and School of the Arts, Columbia University, New York (MFA). His solo exhibitions include Asparagus Pimp, Reena Spaulings Fine Art, New York (2014); Evacuated Containers, Green Art Gallert, Dubai (2013); 99, Nashashibi Center, Jerusalem (2005); Untitled 2004, sponsored by A.M. Qattan Foundation, Al-Hajaj Gallery, Ramallah (2004). His group exhibitions include New Museum Triennial, New York (2015); Nouvelles Vagues, Palais de Tokyo, Paris (2013); Frozen Lakes, Artists Space, New York (2013); Caravan, Maraya Art Centre, Sharjah (2011); 3rd Riwaq Biennale, Ramallah (2009); Palestine c/o Venice, Venice Biennale, Venice (2009); In Focus, Tate Modern, London (2007). Shadi Habib Allah was twice awarded Second Prize in the Young Artist Award from the A.M. Qattan Foundation, and has attended residencies at Cittadelarte, Fondazione Pistoletto in Biella, Italy and Gasworks in London, England. He has works in the collections of Zabludowicz Collection, London and the Barjeel Art Foundation, Sharjah. Shadi Habib Allah was nominated for the Luma Award (2011), and was also the 2012 recipient of the Louis Comfort Tiffany Award.

 

Duncan Campbell (b. 1972, Dublin) lives and works in Glasgow.

Campbell has extensively been focusing on less known historical moments and using material that derives from them is a central element in his sculptural films. Revealing a political situation via portraits of sunken heroes and heroines, his deconstructed editing and combination of historical footage along with personal propose a new way of looking at history and the present past. Duncan Campbell studied at University of Ulster, Belfast (BA) and Glasgow School of Art (MFA). His solo exhibitions include Duncan Campbell, IMMA, Dublin (2014); Scotland and Venice, Scottish pavilion, Venice Biennale (2013); Duncan Campbell, Carnegie Museum of Art, Pittsburgh (2012); Make It New John, Artists Space, New York (2010); Duncan Campbell, Kunstverein Munich, Munich (2009); Bernadette, Scottish National Gallery of Modern Art, Edinburgh (2009); Bernadette and Sigmar, MUMOK, Vienna (2009); Art Now Lightbox: Duncan Campbell, Tate Britain, London (2009). His group exhibitions include Turner Prize 2014, Tate Britain, London (2014); Manifesta 9, Genk, Limburg (2012); Les Prairies, Les Atelier de Rennes Biennale d’art contemporain (2012); British Art Show 7, Nottingham Contemporary, Nottingham and Hayward Gallery, London (2010); 1000 Lives, 8th Gwangju Biennale, South Korea (2010); Asking Not Telling, Institute of Contemporary Art, Philadelphia (2009); Fight The Power, Museo Nacional Centro de Arte Reina Sofia, Madrid (2009); Art Now, Tate Britain, London (2006); Manifesta 5, San Sebastian (2004). He has works in the collections of MoMA, New York; MoMA, Warsaw; Tate, London; Pinakotek, Munich, The Scottish National Gallery, Edinburgh; mumok, Vienna; FRAC, Nantes; and Arts Council England, London. Duncan Campbell is the recipient of the Turner Prize 2014.

 

Lukas Duwenhögger (b. 1956, Munich) lives and works in Istanbul.

A painter by introductions, his real preoccupations are architecture, disegno and real beauty. Lukas Duwenhögger studied at the Kunstakademie München, Munich and the Kunstakademie Düsseldorf, Düsseldorf. His solo exhibitions include Made in Hot Weather, Rodeo, London (2014); Prinzenbad, Kunstverein Hamburg, Hamburg (2004); Malmö Museet, Malmö (1997); Künstlerhaus Stuttgart, Stuttgart (1995). His group exhibitions include Signs Taken in Wonder, MAK, Vienna and Kunstverein Hannover, Hannover (2013); Disidentification, Göteborgs Konsthall, Göteborg (2010); dOCUMENTA (12), Kassel (2007); The Subversive Charm of the Bourgeoisie, Van Abbemuseum, Eindhoven (2006); 9th International Istanbul Biennial, Istanbul (2005); The Undiscovered Country, Hammer Museum, Los Angeles (2004); Organized Conflict, Proje41, Istanbul Museum of Contemporary Art, Istanbul (2003); The Passion and The Wave, 6th International Istanbul Biennial, Istanbul (1999); From The Corner of The Eye, Stedelijk Museum, Amsterdam (1998); Oh Boy…It’s A Girl, Kunstverein München, Munich (1994). Future solo shows include Artists Space, New York (March 2016) and Raven Row, London (June 2016). His work is in several private collections.

 

Haris Epaminonda (b. 1980, Nicosia) lives and works in Berlin.

A collector by nature, Epaminonda gathers elements stemming from all civilizations and times. Working with paper, photography, video and bringing all sometimes in what we want to call installations, her work can also be seen as an endless performance. The found world in abysmally new constellations handled with immense sensitivity and humour, like someone making a bouquet of rare flowers. Haris Epaminonda studied at Chelsea College of Art & Design, London, Kingston University, London and Royal College of Art, London.

Her solo exhibitions include Chapter IV, Fondazione Querini Stampalia, Venice (2014); Chapters, Modern Art Oxford, Oxford (2013); South of Sun, Kunsthaus Zurich, Zurich (2013); Vol. VII, Projects 96, MoMA, New York (2012); Chronicles II, Schirn Kunstalle, Frankfurt (2011); Chronicles I, Site Gallery, Sheffield (2010); Vol. VI, Tate Modern, London (2010); Vol. IV, Rodeo, Istanbul (2009); Vol. I, II & III, Malmö Konsthall, Malmö (2009). Her group exhibitions include Mythologies, 3rd Mardin Biennale, Mardin (2015); Preis Der Nationalgalerie Für Junge Kunst 2013, Hamburger Bahnhof, Berlin (2013);  Everywhere But Now, 4th Thessaloniki Biennale, Thessaloniki (2013); End of Summer, dOCUMENTA, Kassel (2012); Heaven, 2nd Athens Biennale, Athens (2009); The Generational. Younger Than Jesus, New Museum, New York (2009); Provisions for the Future, 9th Sharjah Biennale, Sharjah (2009); When Things Cast No Shadow, 5th Berlin Biennale, Berlin (2008); Tarahi III, IV & V, Cyprus Pavilion, Venice Biennale (2007); Gift, Liverpool Biennial, Liverpool (2006). Future solo shows include Le Plateau Frac Ils de Frace, Paris (September 2015),  Rodeo, London (January 2016), Casey Kaplan, New York (March 2016). Her work is in the collections of Tate, London; Collection Louis Vuitton, Paris; FRAC Nord-Pas de Calais; FRAC Ile-de-France, Paris; EVN Collection, Austria; Daimler Art Collection, Stuttgart; Centre national des arts plastiques, Paris; and EMST, Athens. Epaminonda is a recipient of the Preis Der Günther-Peill-Stiftung, Leopold-Hoesch-Museum & Papiermuseum Düren (2014), SB9 Award, Sharjah Biennale Awards, Sharjah (2009) and Undo Foundation Award, Nicosia (2007).

 

Apostolos Georgiou (b. 1952, Thessaloniki) lives and works in Athens and Skopelos.

His large-scale paintings are staged performances of the unconscious. Events we see and moments that happen and we don’t see. The scale of the paintings magnify the emotional scale of the state of the everyday. The men and the women are cartoons stuck in real dramas with the men go through an endless existential caricature for a life. Apostolos Georgiou studied Architecture at Hochschule für Angewandte Kunst, Vienna and Accademia di Belle Arti di Firenze, Florence. His solo exhibitions include Lost Dreams, AD Gallery, Athens (2015); Everyday A Stage, Rodeo, Istanbul (2014); Apostolos Georgiou, gb agency, Paris (2014); Macedonian Museum of Contemporary Art, Thessaloniki (2012); Apostolos Georgiou. Painting, EMST, Athens (2011). His group exhibitions include Burning Down The House, 10th Gwangju Biennale, Gwangju (2014); This is not my Beautiful House, Kunsthalle Athena, Athens (2014); Everywhere But Now, 4th Thessaloniki Biennale, Thessaloniki (2013); Who Is There?, Macedonian Museum of Contemporary Art, 1st Thessaloniki Biennale, Thessaloniki (2007). He has works in the collections of Pompidou, Paris; Collection Pinault, Venice; and the National Gallery of Victoria, Melbourne.

 

Tamara Henderson (b. 1982, New Brunswick) lives and works in Vancouver.

A nocturnal being, she makes work while the rest of us sleep. A poet by nature, the sculptures, films and paintings are translations of emotions and dreams into forms and colours. Substances matter and spirits too. Deep into psychoanalysis and the reading of dreams and parallel existences, her furniture take the shape of bodies and the shape of her dreams. Tamara Henderson studied at the Nova Scotia College of Art and Design, Halifax, Städelschule Staatliche Hochschule für Bildende Künste, Frankfurt and Royal Art Academy, Stockholm (MA). Her solo exhibitions include Consider The Belvedere (with Julia Feyrer), Institute of Contemporary Arts, University of Pennsylvania, Philadelphia (2015); Sans Tete au Monde (with Santiago Mostyn), Kunsthall Stavenger, Norway (2014); Charmer Scripture, Rodeo, London (2014); Tapped Out And Spiralling in Stride, Grazer Kunstverein, Graz (2014); Bottles Under The Influence (with Julia Feyrer), Walter Philips Gallery, Banff (2013); Evergreen Minutes of the Phantom Figure, Kunstverein Nürnberg – Albrecht Dürer Gesellschaft, Nürnberg (2013). Her group exhibitions include This Sentence, curated by Public Fiction, China Art Objects, Los Angeles (2015 – upcoming); Ashes of Roses and the Smell of Birch, Rupert, Vilnius (2014); The Hypnotic Show, Toronto Kunstverein, Toronto (2014); On The Tip Of My Tongue, Magasin 3, Stockholm (2013); Norwegian Pavilion, Performa13, New York (2013); dOCUMENTA(13), Kassel (2012).

 

Emre Hüner (b. 1977, Istanbul) lives and works in Istanbul.

Preoccupied with archaeology and technologies of advance and progress, the work is deeply rooted in the Modern. Man’s journeys into the unknown, his failures and achievements come together in the drawings and sculptures that usually become elements of the dystopia that hovers the work. Playful and sad, miniature and grand cohabit the universe of an old but young man. Emre Hüner studied at the Brera Academy of Fine Arts, Milan. His solo exhibitions include Floating Cabin Rider Capsule Reactor Cycle, CCA, Kitakyushu (2015); Mam Project 019: Emre Hüner, Mori Art Museum, Tokyo (2013); Aeolian, Rodeo and Nesrin Esirtgen Collection, Istanbul (2013); Salt 6, Utah Museum of Fine Arts, Salt Lake City (2012); The New Horizon, Stroom Den Haag, The Hague (2010); Juggernaut, Rodeo, Istanbul (2009). His group exhibitions include 14th Istanbul Biennial (2015 – upcoming); Approximately Infinite Universe, Museum of Contemporary Art San Diego, San Diego (2013); Signs Taken In Wonder, Mak Austrian Museum of Applied Arts / Contemporary Art, Vienna (2013); Station K43, Remap, Athens (2013);

Doris Duke’s Shangri La, New York Museum of Art and Design, New York (2012); Manifesta 9, Genk (2012); In 15 minutes Everyone Will Be In The Future, Center for Contemporary Art, Ancient Baths, Plovdiv (2012); Out of here, Van Abbemuseum, Eindhoven (2011); Paradise Lost, Istanbul Modern, Istanbul (2011); The Future Of Tradition, Haus Der Kunst, Munich (2010); Living In Evolution, Busan Biennal, Busan (2010); The Generational: Younger Than Jesus, New Museum, New York (2009); Apt, 6th Asia Pacific Triennial of Contemporary Arts, Queensland (2009); Moment Of Agency, Kunsthalle Basel & Kunstmuseum Basel, Basel (2008); Module 1 / Carte Blanche À L’Association DCA, ‘Fear And Desire’, Palais de Tokyo, Paris (2008); 10th Istanbul Biennial, Istanbul (2007). His works are in the collections of Tate, London; Princeton University Museum, New Jersey; and The Spencer Museum, Lawrence. Hüner participated in the Rijksakademie Van Beeldende Kunsten residency, Amsterdam (2010).

 

Iman Issa (b. 1979, Cairo) lives and works in New York.

Working around memory and how urban living and its cultural irritations affect the way we can create meanings of our past and continue to the present and the future, her work uses language as primary material. Then form follows and can be anything, from video, to sculpture to a sound piece, her formal resolutions to questions of culture, heritage and the monumental. Iman Issa studied Fine Art at the American University in Cairo, Cairo (BA) and at Columbia University, New York (MA). Her solo exhibitions include Heritage Studies, MACBA, Barcelona (2015); Iman Issa, Perez Art Museum, Miami (2015); Iman Issa, Glasgow Sculpture Studios, Glasgow (2015); Lexicon, Rodeo, London (2015); Post: Iman Issa, Kunsthal Charlottenborg, Copenhagen (2013); Iman Issa, Tensta Konsthall, Stockholm (2013); Short Stories, Sculpture Center, New York (2011); Subjective Projections, Bielefelder Kunstverein, Bielefeld (2010). Her group exhibitions include Sharjah Biennial 12, Sharjah, UAE (2015); Don’t You Know Who I Am? – Art After Identity Politics, M HKA, Antwerp (2014); 8th Berlin Biennale, Berlin (2014); Tea With Nefertiti, SMAK, Munich (2013), l’Institut du Monde Arabe, Paris (2013); IVAM, Valencia (2013); Mathaf Arab Museum of Modern Art, Doha (2012); When It Stops Dripping From The Ceiling, Kadist Art Foundation, Paris (2012); The Ungovernables, Second New Museum Triennal, New Museum, New York (2012); Seeing Is Believing, KW Institute of Contemporary Art, Berlin (2011); 7th Gwangju Biennale, Gwangju (2008). Her work is in the collections of MACBA, Barcelona; Sharjah Art Foundation, Sharjah; Barjeel Foundation, Sharjah; and Daimler Art Collection, Stuttgart. Issa is the recipient of the Han Nefkens Foundation MACBA Award for Contemporary Art, Barcelona (2012) and the Abraaj Group Arts Prize, Dubai (2012).

 

Ian Law (b. 1984, UK) lives and works in London.

Always in quest of tension and ambiguity in the space where he is invited to show, the work is made somewhere in between there. Language comes hand in hand with forms and questions of human relationships and balancing. One borrows the language of abstraction not to be abstract, but to give materials life and extract moments of life that are transported into the act of making work. Queerness is not in absentia and the absence is present when one is in quest of friendship and love. Ian Law studied Painting at Royal College of Art, London (MA). His solo exhibitions include Ian Law, MiArt, Milan (2014); Like a Virgin, VI,VII, Oslo (2014); Make Sure, Rodeo, Istanbul (2012); Add A Description, Galeria Plan B, Berlin (2011); Is Many, Supplement, London (2011). His group exhibitions include Things That Tumble Twice, Tenderpixel, London (2015); Painful Zombies Quickly Watch a Jinxed Graveyard, with Richard Sides and Lorenzo Senni, Cripta747, Torino (2014); Da Da Da, Peles Empire, London (2014); Provisional Information, Camberwell Space, London (2013); Young London, V22 Workspace, London  (2011); History of Art, The David Roberts Art Foundation, London (2010); Bloomberg New Contemporaries 2008, Greenland Street, Liverpool and Rochelle School, London (2008). His work is in the collection of Collezione La Gaia, Busca.

 

Shahryar Nashat (b. 1975, Geneva) lives and works in Los Angeles.

Looking for classical moments in the current civilisation, an endless force to break that into animistic and humorous new shapes, forms and readings. Constantly elevating the parergon, it becoming the central figure whether abstract or with real limbs. The (male) body is broken into art historical fragments and is used as a prop and an excuse to tell a modern story set in a neo-mystic setting, a museum, a temple under renovation, a green backdrop. Shahryar Nashat studied at the Ecole Superieure des Beaux-Arts, Geneva and the Rijksakademie van beeldende kunsten, Amsterdam. His solo exhibitions include Lauréat du Prix Lafayette 2013, Palais de Tokyo, Paris (2014); Städtische Galerie Nordhorn (2013); Stunt, Kunstverein Harburger Bahnhof, Hamburg (2012); One Stop Jock, Rodeo, Istanbul (2011); Workbench, Studio Voltaire, London (2011); Line Up, Kunstverein Nürnberg, Nuremberg (2010); Remains To Be Seen, Neue Kunsthalle Sankt Gallen, Sankt Gallen (2009); Plaque, Baltic Centre for Contemporary Art, Newcastle (2009); Plaque and Others, Brandenburgischer Kunstverein, Postdam (2009); No Norm, Stiftung Wilhelm Lehmbruck Museum, Duisburg (2007); Overthrowing the King in his Own Mind, Kunstmuseum, Solothurn (2005); Unreasonably Resonant, Centre pour l’Image Contamporaine, Geneva (2002). His group exhibitions include The Cold Libido-The Goetz Collection at Haus der Kunst, Haus der Kunst, Munich (2015); Off Broadway, CCA Wattis, San Francisco (2015); 8th Berlin Biennale, Berlin (2014); The Act of Seeing With One’s Own Eyes, CAG Vancouver, Vancouver (2014); Exhibiting, Folkwang Museum, Essen (2013); When Attitudes Became Form Become Attitudes, CCA Wattis, San Fransico (2012); ILLUMInations, 54th Venice Biennale, Venice (2011); Based in Berlin, Hamburger Bahnhof, Berlin (2011); H-Box, New Museum, New York (2010); Beyeler Foundation, Basel (2010), Orange County Museum, Orange County (2009), Centre Pompidou, Paris (2008), Tate Modern, London (2008); 7×14, Staatliche Kunsthalle Baden, Baden (2009); Shifting Identities, CAC, Vilnius (2009), Kunsthaus Zurich, Zurich (2008); Art in the Auditorium, Whitechapel Art Gallery, London (2008); The Eye of the Storm, Kunstmuseum St. Gallen, St. Gallen (2007); Gravity, De Appel Foundation, Amsterdam (2006); Shadows Collide With People, Swiss Pavilion, 51st Venice Biennale, Venice (2005); Emozion Eins, Frankfurter Kunstverein, Frankfurt (2004). His work is in the collection of Galeries Lafayette, Paris. Nashat is a recipient of the Swiss Exhibition Award (2009).

 

Christodoulos Panayiotou (b. 1978, Limassol) lives and works in Limassol.

What remains after the party is over? How can we measure expenditure? Whether this is an ejaculation of sweat, emotions, wealth or drama, what is the absence and its memory? While coming from dance and choreography, his work brings together the elements of dramaturg; it is a stage. We are spectators in a story yet to be written and yet to be finished by us. Christodoulos Panayiotou studied Dance at the Arts du Spectacle, Université Lumière Lyon and Performing Arts at the Arts du Spectacle, University of Surrey, Roehampton – Université Lumière Lyon (MA). His solo exhibitions include Two Days After Forever, Cyprus Pavilion, 56th Venice Biennale (2015); Stories From The Lives of My Friends, Point Centre for Contemporary Art, Nicosia (2015); Days and Ages, Moderna Museet, Stockholm (2013); And, Casino Luxembourg, Luxembourg (2013); In the Light of the Day the Fireflies are Like Any Other Insect, CCA Kitakyushu, Kitakyushu (2013); The Price of Copper / To Bring Back The World to The World, CAC Brétigny, Brétigny-sur-Orge (2012); One Thousand and One Days, Contemporary Art Museum St. Louis, St. Louis (2012); Christodoulos Panayiotou, Kunsthalle Züruch, Zürich (2010); Prologue: Quoting Absense, Museum of Modern Art, Oxford (2006). His group exhibitions include The Sea is My Land, Triennale de Milano, Milan (2014); 8th Berlin Biennial, Berlin (2014); Sacre 101 An Exhibition Based on The Rite of Spring, Migros Museum, Zürich, Switzerland (2014); 35/22/35/36D, Bonniers Konsthall, Stockholm (2014); The Unexpected Guest, Liverpool Biennial, Liverpool (2012); When Attitudes Become Form Become Attitudes, CCA Wattis Institute for Contemporary Arts, San Francisco (2012); dOCUMENTA (13), Kassel (2012); You Are Not Alone, Joan Miro Foundation, Barcelona (2011); The End of Money, Witte de With, Rotterdam (2011); The Living Currency, 6th Berlin Biennial, Berlin (2010); 2nd Athens Biennial, Athens (2009); The Columns Held Us Up, Artists Space, New York (2009); 6th Taipei Biennial, Taipei (2008); Expenditure, Busan Biennial, Busan (2008). He has works in the collections of FRAC Nord-Pas de Calais; FRAC Champagne, Reims; EVN Collection, Austria; Queensland Art Gallery, South Brisbane; Moderna Museet, Stockholm; Dakis Joannou Collection Foundation, Liechtenstein; and the Collection Louis Vuitton, Paris. Panayiotou is the recipient of The Future of Europe prize, Museum of Contemporary Art, Leipzig (2010) and the DESTE Prize, DESTE Foundation for Contemporary Art, Athens (2005).

 

Eftihis Patsourakis (b. 1967, Crete) lives and works in Athens.

Picks up forgotten stories from the streets and places that provide the past in vast quantities. A conservator who restores stories and brings back ghosts forgotten and unseen, his paintings, sculptures and installations are immersive fragments of a past most of us recognise and relate to. Eftihis Patsourakis studied Fine Art at Athens University of Fine Arts, Athens (BA) and at Central Saint Martins College of Art and Design, London (MA). His solo exhibitions include Doings on Time and Light, two-person exhibition with Michael Anastassiades, Rodeo, Istanbul (2014); Desire For Truth, Eleni Koroneou Gallery, Athens (2010); Problems Of Everyday Life, Rodeo, Istanbul (2008); History In Memory, Eleni Koroneou Gallery, Athens (2007); Xippas Gallery, Paris & Athens (2005). His group exhibitions include “Nautilus” Navigating Greece, BOZAR, Brussels (2014); Double Double, Workplace Gallery, Gateshead (2011); Une Idee, Une Forme, Un Etre -Poesie/Politique du corporel, Migros Museum, Zurich (2010); BYOB, Kunsthalle Athena, Athens (2010); Paint-Id, Macedonian Museum of Contemporary Art, Athens (2009); Expanded Ecologies, National Museum of Contemporary Art, Athens (2009). His work is in the collection of the Migros Museum, Zurich. Eftihis Patsourakis is the recipient of the DESTE Prize, Museum of Cycladic Art / DESTE Foundation, Athens (2001).

 

James Richards (b. 1983, Cardiff) lives and works in Berlin.

The videos that he composes are emotional explosions made of images that come from our collective unconscious. Tough and popular by first sight what hides underneath are a blossoming flowers lying in the mud. The work goes from video and sound to layers of images on top of each other, work with fabrics and weaving patterns he gathers from books, videotapes and poetry.  James Richards studied Fine Art at Chelsea School of Art and Design, London (BA). His solo exhibitions include James Richards, Kunstverein München, Munich (2015); The Screens, Rodeo, Istanbul (2013); James Richards, CCA, Kitakyushu (2012); Not Blacking Out, Just Turning The Lights Off, Chisenhale Gallery, London (2011); Art Now: Clunie Reid and James Richards, (with Clunie Reid), Tate Britain, London (2010); Call and Bluff, Tramway, Glasgow (2009). His group exhibitions include Aleksandra Domanović, Yngve Holen and James Richards: Ars Viva 2014/2015, Bonner Kunstverein, Bonn (2015); Biennale of Moving Images 2015, Museum of Old and New Art, Tasmania, Australia (2015); Ars Viva 2014/2015, Hamburger Kunsthalle, Hamburg (2014); Moving Images at the Heart of the Centre. Biennale of Moving Images 2014, Centre d’art contemporain, Geneva (2014); Cut to Swipe, MoMA, New York (2014); Burning Down the House, 10th Gwangju Bienniale, Gwangju (2014); Turner Prize 2014, Tate Britain, London (2014); Looking Back: The Eighth White Columns Annual, White Columns, New York (2014); Meanwhile … Suddenly and Then, 12th Biennale de Lyon, Lyon (2013); Otherwise Unexplained Fires, Malmö Konsthall, Malmö (2013); The Encyclopaedic Palace, 55th Venice Biennale, Venice (2013); Frozen Lakes, Artist Space, New York (2013); The Imaginary Museum, Kunstverein München, Munich (2012); Coming After, The Power Plant, Toronto (2011); Generational: Younger Than Jesus, The New Museum Of Contemporary Art, New York (2009). His work is in the collections of MoMA, New York; Zabludowicz Collection, London; FRAC Midi-Pyrenees, Toulouse; Collection Louis Vuitton, Paris; Arts Council England, London; and Tate, London. Richards is the recipient of the Ars Viva Prize (2014), DAAD Artist in Berlin Programme (2013-2014) and the Derek Jarman Award (2012). He was shortlisted for the Turner Prize (2014).

 

Cameron Rowland (b. 1988, Philadelphia) lives and works in New York.

Formally coming from Duchamp and the principles of Arte Povera he is a challenger of a current socioeconomic system of property and ownership in decline. Engaging with the economy of art, the distribution of his work and the dynamics between collector-gallery-artist, he engages the system to a contractual process of renting some of his work while not everything. The material for his work is always reflective of a structure that represents the oppressive, obsessed with surveillance and class struggles that still and probably more than even dominate our societies. Cameron Rowland studied Studio Art and Wesleyan University, Middletown, Connecticut (BA). His solo exhibitions include Artists Space, New York (2015, forthcoming); Bait, Inc, ESSEX STREET, New York (2014); An Agreement, Wilfred Yang, Los Angeles (2013). His group exhibitions include Slip of the Tongue, Punta della Dogana, Venice (2015); International Currency, Lodos, Mexico City (2015); Theater Objects: A Stage for Architecture and Art, LUMA Foundation, Zurich (2014); Concerns and Returns, Weingrüll, Karlsruhe (2012).