A couple’s relationship is tested when uninvited guests arrive at their home, disrupting their tranquil existence. from filmmaker darren aronofsky (black swan, requiem for a dream), mother! Stars jennifer lawrence, javier bardem, ed harris and michelle pfeiffer in a psychological thriller about love, devotion and sacrifice.
In theatres September 15th, 2017
TweetWhen the Kingsman headquarters are destroyed and the world is held hostage, their journey leads them to the discovery of an allied spy organization in the US called Statesman, dating back to the day they were both founded. In a new adventure that tests their agents’ strength and wits to the limit, these two elite secret organizations band together to defeat a ruthless common enemy, in order to save the world, something that’s becoming a bit of a habit for Eggsy…
In theatres September 20th, 2017
TweetThe show ‘Sad But Happy’, the duo stated; ‘It fits every single piece, we think, and fits our style in general. Ambivalence. Schizophrenia even. That’s us. That’s the essence of Herakut.’
This series of new works sees the duo progress with their distinctive and dark style. Depicting children and animals with large emotive eyes, they draw the viewer in to their mysteriously eerie world, making them contemplate the statements scribbled across the canvas and their relationship with the characters in the works.
Their dark use of colour contrasts with the bright and fast use of movement and brush work. Their style welcomes a kind of imperfect perfection, the brushstrokes seeming erratic and fluid but also so beautifully placed.
Their joint creative art process is about storytelling, the creation of imaginary worlds and inspiring their figures with individual characters. Hera sets the characters’ form and proportions, whilst Akut paints the photorealistic elements.
We are excited to have the duo back at StolenSpace again with this new body of work which promises to be beautiful as ever.
Opposite – Priorities, 2017
Exhibition runs through to September 24th, 2017
Perrotin
17th Floor, 50 Connaught Road, Central
Hong Kong
China
John Henderson’s oeuvre has long revolved around the problematic of modernism, abstraction, and the painterly gesture. In this sense, he could possibly be situated in the context of a larger wave of process based abstraction in recent years, one that is marked by the flatness of the picture plane, a preoccupation with process, and improvised gestures indexing the real. As the critic David Geers has argued, this trend is “in equal parts, a generational fatigue with theory; a growing split between hand-made artistic production and social practice; and a legitimate and thrifty attempt to ‘keep it real’ in the face of an ever-expansive image culture and slick ‘commodity art’.
Yet what sets Henderson apart is his reflexive distance to the painterly, putting the romance of the authorial gesture and the assumption of an unproblematic spectatorship into question. On the one hand, the artist admits the performative element to his work, but on the other, he problematizes it by “translations”, “documentations”, and erasures. Understanding painting as performance is, of course, nothing new. Since the heyday of Abstract Expressionism in the 1950s, when the critic Harold Rosenberg declared that henceforth paintings would be “an arena in which to act… What was to go on the canvas was not a picture but an event”, the performative gesture in painting has been a guarantee of presence. In the present age, this guarantee of presence also firms up the value of painting in the face of digital and new media incursions.
Opposite – Reticle (model 06), 2017
Exhibition runs from September 7th through to November 7th, 2017
Perrotin
17th Floor, 50 Connaught Road, Central
Hong Kong
China
For the past several decades, photographer Eugene Richards (American, b. 1944) has explored complicated subjects, including racism, poverty, emergency medicine, drug addiction, cancer, the American family, aging, the effects of war and terrorism, and the depopulation of rural America. His style is unflinching yet poetic, his photographs deeply rooted in the texture of lived experience. In his wide range of photographs, writings, and moving image works, he involves his audience in the lives of people in ways that are challenging, lyrical, melancholy, and beautiful. Ultimately, his works illuminate aspects of humanity that might otherwise be overlooked.
This exhibition—the first museum retrospective devoted to Richards’s work—explores his career from 1968 to the present through 146 photographs and three moving image works, which will screen continuously in the Dryden Theatre during regular museum hours Tuesday through Saturday. These moving image works include:
Exhibition runs through to October 22nd, 2017
George Eastman House
900 East Avenue
Rochester
14607 NY
Seventeen-year-old Phil (Louis Hofmann) is on the search. As little as he knows about his past and especially his father, his presence is so chaotic: with his mother Glass (Sabine Timoteo), who once again has a new lover (Sascha Alexander Geršak), but does not seem to give up as fast as his Predecessor. With his twin sister Dianne (Ada Philine Stappenbeck), who is increasingly withdrawing into her own world, which she shares with no one. There is an enigmatic ice age between Tereza (Inka Friedrich) and Pascal (Nina Proll), who also belong to Phils’ patchwork family. Good, that at least his best friend Kat (Svenja Jung) is left with the he can chill and hang out. And then it happens: A new student enters the class after the summer holidays and Phil falls immortal in the second. Nicholas (Jannik Schümann) seems to return his feelings, but he also gives Phil many puzzles.
In theatres September 15th, 2017
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