Saturday, 1 February 2014

The Great War
Harold de Bree, Florian Heinke, Eric Manigaud, Hugh Mendes
Private View
Thursday February 13th 6.30-8.30pm
Exhibition Dates
Friday February 14th – Saturday March 22nd 2014
Gallery Hours
Wednesday-Saturday 11am-6pm or by appointment

CHARLIE SMITH LONDON presents four European artists to mark the centenary of the beginning of The Great War.

Working across mediums in installation, drawing and painting, Harold de Bree (Netherlands), Florian Heinke (Germany), Eric Manigaud (France) and Hugh Mendes (United Kingdom) have made new work in response to the brief. Each artist was specifically invited by gallery director Zavier Ellis for their ongoing investigations into world war, with it being a dominant theme in all of their practices. Hailing from European countries that played significant roles between 1914 and 1918, each artist approaches the theme with profound and reflective endeavour.

Dutch artist Harold de Bree is known for making large scale installation and sculpture that replicates military hardware and public monuments. Playing on historical institutional tropes, de Bree poses complex questions about power, culture and nationalism. In this exhibition de Bree will present a site specific piece that resembles a WWI monument that might be found anywhere in Europe, but which also acts as a border marker. With wheels attached beneath, it is possible for the monument to move, hence commenting on the historical flux of national borders, and the implication of mutable frontlines that are defined by the processes of war and politics.       

German artist Florian Heinke uses black paint exclusively as a "radical medium". His subjects are derived from traditional and digital media sources and often combine text to create an aesthetic that suggests a polemic poster or advertisement. Heinke’s paintings are aggressive, political and nihilistic. This unrestrained approach is intended to provoke the audience into an emotive reaction, much in the same way that corporate businesses and political parties manipulate the public with powerful combinations of imagery and slogans. Heinke’s confrontational strategy reveals a deep lying cynicism of the modern age but also an artist who is profoundly concerned with current socio-political issues.     

French artist Eric Manigaud is renowned for his impeccable large scale photorealist drawings. Derived from historical sources, Manigaud’s choice of imagery is based on monumental historical moments of the modern age. For this exhibition Manigaud has returned to his ongoing war series, which to date has included depictions of WWI trench warfare; WWI injured soldiers; and WWII bombed cities. Focusing on the impact of war in his homeland, Tranchée de Calonne is a devastating drawing over two metres wide that depicts the skeletal remains of soldiers killed near the famous road, which was a site of ferocious fighting during WWI and represented for some time the eastern French front.         

British artist Hugh Mendes was born on Armistice Day in a British military hospital in Germany. His mother was a military nurse and his father a British Intelligence code breaker. Mendes is recognized for his paintings of newspaper pages, where he has continued to relentlessly track and transcribe obituaries and war stories. Mendes approaches WWI with irony and scepticism, choosing to focus on the absurd and whimsical, but with underlying pathos. His obsessive paintings are a personal reflection on the obsessions of the media. Sgt. Stubby, for example, is a recreation of a photograph of WWI’s most decorated war dog, who served 18 months in the trenches of France serving the US army. Stubby was decorated for, amongst other things, saving injured comrades in no man’s land, capturing German spies and detecting gas attacks.    

In combination these artists will form a thought provoking exhibition that ruminates on the meaning and effects of war.

For images and further information please contact the gallery on direct@charliesmithlondon.com or +44 (0)20 7739 4055  

BIOGRAPHICAL
Name
Harold de Bree
Born
1966
Education
1991-1995 Royal Academy of Art, Den Hague
Selected Exhibitions
2013: ‘s Gravenhaarlem, Haarlem, Nieuwe Vide; Stealth Drones, Twente Biennale; Joan of Art, Maldives Pavilion,  Venice Biennale; Collapsed Bailey Bridge, Gemeentemuseum, Den Hague; SOS Sauna Boat; Joan of Art, Five Years Gallery, London; Am Tisch, Schau Fenster, Berlin; 2012: Being Homonym, Uhm Collective, Den Hague; 2011: I Should Have Done That, Nest, Den Hague; 2010: Bipolar, Plan-d, Düsseldorf ; 2008: Manifesta 7, European Biennale of Contemporary Art; Harold de Bree & Carol Rama, Galerie West, Den Hague; 2007: Lost Tongues Rediscovered, Stroom, Den Hague; 2005: TYP XVII, Gem Museum voor actuele Kunst, Den Hague; 2004: I Work, Museum of Tampere; 2003: Entrance A-37, Raumars Art Museum
Collections
Private collections throughout Europe

Name
Florian Heinke
Born
1981
Education
2009: MA of Fine Arts, Städelschule, Frankfurt am Main; 2005: Städelschule, Frankfurt am Main; 2004-2005: Johannes Gutenberg Universität Mainz
Solo Exhibitions
2010: Savee Couture, Velvet, Frankfurt am Main; The last curs fight the bricks, Galerie Perpetuél, Frankfurt am Main; Florian H., Moloko, Frankfurt am Main; 2009: Still my own idol, PSM-Gallery, Berlin; Florian Heinke, bKi, Darmstadt; Apart from heaven, Galerie La Brique, Frankfurt am Main; 2008: A fast way downstairs, Sammlung-Lenikus, Wien; Paradise overdosed, Galerie Campagne Premiere, Berlin; Pervers durchs Paradies, Kunstverein Familie Montez, Frankfurt am Main
Selected Group Exhibitions
2011: When Poets Die, Galerie Anita Beckers, Frankfurt am Main; 2010: Home - EAST/WEST Project; Dam Stuhlgarter Gallery Brooklyn, Berlin; Nobel geht die Welt zu Grunde, Atelierfrankfurt, Frankfurt am Main; Setzen! 5!, Galerie Wolfstädter, Frankfurt am Main; 2009: Viel vor, viel dahinter (2 Jahre Artsite.tv), Kunstverein, Frankfurt am Main; Die Dinge des Lebens, Galerie P13, Heidelberg; Dude, where´s my carreer?, Absolventenausstellung Städelschule , Zollamt MMK, Frankfurt am Main; Lob der Kritik. Ihre Meinung ist uns wichtig, Galerie Frühsorge; 2008: Dirty Storm, Raum SOD, Frankfurt am Main; Simple exploding men, Artnews Projects, Berlin
Collections
Private collections throughout Europe

Name
Eric Manigaud
Born
1971
Education
1996: Agrégation d’Arts Plastiques, University of Fine Arts, Saint Etienne; 1993: Maîtrise d’Arts Plastiques, University of Fine Arts, Saint Etienne
Solo Exhibitions
2013: The Shadow Line, CHARLIE SMITH london, London; Klinikum Weilmunster, Olivier Houg Galerie, Lyon; Dreams and Ruins, Galerie d'Art Moderne, Sarajevo
Selected Group Exhibitions
2013: Paper, Saatchi Gallery, London; 2012: Saatchi Gallery & Channel 4’s New Sensations and The Future Can Wait (curated by Zavier Ellis, Simon Rumley & Rebecca Wilson), B1, Victoria House, London; Anthology, CHARLIE SMITH london, London; 2010: Figure Toi!, FRAC Haute-Normandie, Rouen; Fake!, Stedelijk Museum, Alost; 2009: L'Afrique en Noir et Blanc, Musée Senlecq, l’Isle-Adam; Fragile, Museum of Art, Mannyun-dong Seo-gu Daejeon, Corée; 2006: 1914-1918, Musée d'Histoire du XXème Siècle, Estivareilles; 2005, Focalise, les voies de l’optique, Musée d’Art et d’Industrie, Saint Etienne
Collections
Saatchi Gallery, London; The SØR Rusche Collection, Oelde / Berlin; FRAC Haute-Normandie, Rouen; Landesmuseen Scloss Gottorf, Schleswig; Paul Dini Museum, Villefranche-sur-Saône; Julian and Stephanie Grose, Adelaide; Randal J. Kirk, Virginia; private collections in Belgium, France, United Kingdom & United States

Name
Hugh Mendes
Born
1955
Education
2000- 2001: MA Fine Art, City and Guilds of London Art School; 1975-1978: BA (Hons) Fine Art, Chelsea School of Art, London
Solo Exhibitions
2013: D.OA. the Good, the Bad and the Ugly, Gusford, Los Angeles; 2012: Obituaries, CHARLIE SMITH london, London ; 2011: 9/10/11, KENNY SCHACHTER / ROVE, London
Selected Group Exhibitions
2012: Saatchi Gallery & Channel 4’s New Sensations and The Future Can Wait, Victoria House, London; Polemically Small (curated by Edward Lucie-Smith), Klaipeda Culture Communication Centre, Klaipeda; The Future Can Wait presents: Polemically Small, Torrance Art Museum, Torrance; 2010: Press Art, Museum der Moderne, Salzburg; 2008: New London School (curated by Zavier Ellis & Simon Rumley), Mark Moore Gallery, Los Angeles; 2006: New London Kicks, Wooster Projects, New York; 2005: Fuckin’ Brilliant, Tokyo Wonder Site, Tokyo; Art News, Raid Projects, Los Angeles; 2004: Forest, Rockwell Gallery, London; 2003: Chockafukingblocked, Jeffery Charles Gallery, London; 2002: Yesteryearnowadays, Hales Gallery, London
Collections
Jerry Hall, London; Peter Nobel, Zurich; Kenny Schachter, London; Steve Shane, New York; Bill Wyman, London; Wooster Projects, New York; private collections in China, Germany, United Kingdom & United States





de Bree, Harold 'Koning Willem II', 2012 Mixed media




Heinke, Florian 'War Loves Us 1', 2013 Acrylic on untreated cotton 100x80cm




Manigaud, Eric 'Tranchée de Calonne, 1918', 2013 Pencil & graphite powder on paper  140x230cm 




Mendes, Hugh 'Sgt Stubby', 2013 Oil on linen 30x20cm 




Saturday, 21 December 2013

YOUNG GODS, selected and curated by Zavier Ellis, takes place simultaneously at CHARLIE SMITH london and the Griffin Gallery in 2014




YOUNG GODS

2013 London Graduates & Postgraduates
Curated by Zavier Ellis

Griffin Gallery

Private View
Wednesday January 8th 2013 6.30-8.30pm

Exhibition Dates
Thursday January 9th- Friday February 7th 2014

The Griffin Gallery, The Studio Building, 21 Evesham Street, London, W11 4AJ, www.griffingallery.co.uk


CHARLIE SMITH London

Exhibition Dates
Thursday January 9th-Saturday February 8th 2014

CHARLIE SMITH London, 336 Old Street, 2nd Floor, London EC1V 9DR, www.charliesmithlondon.com


Artists

Ralph Brealey (Chelsea College of Arts)
Jelena Bulajic ( City & Guilds of London Art School)
Mr & Mrs Phillip Cath (Goldsmiths University of London)
Yussef Hu (Slade School of Fine Art)
Virgile Ittah (Royal College of Art)
David Lane (Chelsea College of Arts)
James H Robertson (Royal Academy Schools)
Molly Rooke (Royal College of Art)
Mitra Saboury (Goldsmiths University of London)
Marie von Heyl (Royal Academy Schools)


The 2014 edition of annual exhibition YOUNG GODS will take place simultaneously across two locations in west and east London for the second year running. Selected and curated by Zavier Ellis, Director of Shoreditch gallery CHARLIE SMITH London and co-founder of THE FUTURE CAN WAIT, the exhibition will be a multi-disciplinary presentation of London's most exciting graduates from the summer of 2013. YOUNG GODS is presented in association with the Griffin Gallery, supported by fine art brands Winsor & Newton, Conte a Paris and Liquitex.

The exhibition promises to be a relevant focus o London's most exciting future talent as Ellis continues to identify the capital's best artists directly from art college. Previous selections have included Steven Allan, David Blandy, Leah Capaldi, Oliver Clegg, Tessa farmer, Sam Jackson, Annie Kevans, Alexis Milne, Nika Neelova and Douglas White.

This year's edition will combine painting, sculpture, video, performance, photography, collage and installation by artists fro six different countries, emphasising the international and cross-disciplinary nature of London's best Art Colleges. Each artist will exhibit at both venues and with several already going into major collections such as the Saatchi Gallery. YOUNG GODS will also provide great opportunities to new and experienced collectors.

Please contact the Griffin Gallery or CHARLIE SMITH london for images and further information
info@griffingallery.co.uk      direct@charliesmithlondon.com






IN ASSOCIATION WITH :
 
 





 
 
 



 

 
 

TOM BUTLER. ABSENTEES 2013 CHARLIE SMITH london

CHARLIE SMITH london is delighted to present Tom Butler with his first one person exhibition at the gallery, following extremely successful debuts at Volta Basel and THE FUTURE CAN WAIT where he was placed in world class private collections.
 
 
Butler is most recognised for his ongoing series of painted calling cards. Used widely from the mid-19th century after the invention of albumen prints by Louis Désiré Blanquart-Evrard, the cabinet card remains a familiar visual object. Butler relentlessly collects these cards and works over the surface in immaculately rendered gouache. His unique and technically consummate approach makes him a leading proponent in this genre.   
 
Balanced delicately between beauty and the grotesque, Butler works seamlessly over the faces of the sitters, where they become overtaken by hair; feathered or mottled surfaces; and more recently bandages or geometric patterns. Occasionally features of the subject remain unpainted, asserting the presence of the subject from beneath some parasitic growth that appears to emanate from within. There are clear allusions to a visualisation of the unconscious where the monstrous becomes apparent. Contemporaneous to the use of cabinet cards were the psychoanalytical theories of Freud and the high point of public interest in freak shows, and Butler recalls these areas of interest simultaneously.      
 
Butler uses the same technique with etchings and postcards. The compositions of these appropriated images are more complex, which encourages the artist to express a macabre sense of humour, revealing a satirical approach towards art historical, religious and domestic scenarios. Throughout, anonymity is forced upon the subjects where the artist denies their identity with the assertion of his own imagination.
 
      
Please contact gallery for images and further information


 
'Casco', 2013 Gouache on Victorian Cabinet Card, 16.5x11cm




 
'Field', 2013 Gouache on Victorian Cabinet Card, 16.5x11cm
 
 
 
 

 
'Holmes', 2012 Gouache on Albumen print 22.5x15cm
 
 
 

 
'Mr Fortune', 2013 Gouache on Albumen print 16.5x10.5cm
 
 
 
 

 
'Parkinson', 2013 Gouache on Albumen print 16.5x10.5cm
 




 

Wednesday, 30 October 2013

100 London Artists by Edward Lucie-Smith & Zavier Ellis available in the iBookstore now for just £2.49!

100 London Artists celebrates London as a centre for contemporary art with a huge population of artists. Selected by Edward Lucie-Smith & gallerist Zavier Ellis, Vol 1 showcases the work of 50 young painters – responding to painting's powerful revival. Vol 2 will feature sculptors, makers of installations, video & performance. Links to galleries & institutions connect you to the vibrant London art scene. Elizabeth Beecher Publishing is the leader in innovative art publications which enable users to interact with and immerse themselves in art.

The book can be read on any iPad or Mac with Mavericks software.

To buy please click here.

Friday, 18 October 2013

THE FUTURE CAN WAIT Private View 16.10.2013





Curated by Zavier Ellis 














 Photography by Joel Knight


THE FUTURE CAN WAIT in collaboration with The Saatchi Gallery & Channel 4's New Sensations.

Victoria House, Bloomsbury Square Wc1B 4DA

THE FUTURE CAN WAIT

12. -17.10.2013

Curated by Zavier Ellis AKA Charlie Smith london with The Saatchi Gallery and Channel 4's New Sensations




John Stark
'The Atonement' 2013
Oil on wood panel
122x150cm






Filippo Caramazza
'A Discussion on Optics - (the finding of) Little Moses'
Oil on linen
41x46x46cm






Biggs & Collings
'807 Years'
Oil on canvas
152.4x152.4cm




Adeline De Monseignat
'Hairy Eye Ball', 2011
Vintage fur, glass, pillow, filler
30cm diameter



Saturday, 5 October 2013

THE SAATCHI GALLERY & CHANNEL 4’S NEW SENSATIONS AND THE FUTURE CAN WAIT


Location:B1, Victoria House Basement, Bloomsbury Square, London, WC1B 4DA

Saturday October 12th 1:00pm-6:00pm  
Sunday October 13th– Thursday October 17th 11.00am-6.00pm




The Saatchi Gallery & Channel 4’s New Sensations and THE FUTURE CAN WAIT are returning for the third year to present to the international art world the biggest exhibition of emerging to mid-career artists in London during Frieze week this October. 

Established as London’s biggest and most exciting independently curated event, it will be possible to see the most vibrant artists working in the UK today, enabling collectors, curators and gallerists to discover the best graduates fresh out of college, young artists in the early stages of their careers and artists with established reputations.     

New Sensations, sponsored by Absolut, and THE FUTURE CAN WAIT, were initiated in 2007. New Sensations was launched by the Saatchi Gallery and Channel 4 to find and support the most imaginative and talented young artists in the UK and to present their work to an international audience during Frieze week. THE FUTURE CAN WAIT was launched by Zavier Ellis and Simon Rumley as an ambitious, curated exhibition of emerging to mid-career artists to offer an alternative experience to the traditional gallery and art fair systems.      

New Sensations and THE FUTURE CAN WAIT will present over 60 artists working in painting, sculpture, installation, video and photography. All works will be for sale. In a unique initiative, works by artists from THE FUTURE CAN WAIT section will be available to buy on the new online platform Kids of Dada for one week before and three weeks after the show.     

The exhibition will take place at Victoria House in Bloomsbury Square, a stunning 22,000 sq ft space very close to the British Museum. The exhibition will run from 12-17 October 2013 and will be free entry. There will be an invitation only VIP Preview on the morning of 12 October. 

For more information please go to www.thefuturecanwait.com or contact gallery@charliesmithlondon.com 


Sponsors for 
THE FUTURE CAN WAIT










Venue Provider 

Principal partner for New Sensations 2013







Wednesday, 4 September 2013

TOM ORMOND | Everywhere from Nothing

Open Fri 6th Sept - Sat 5th Oct 11am - 6pm

Private View Thurs 5th Sept 6:30pm

CHARLIE SMITH london is delighted to present Tom Ormond with his first one person exhibition at the gallery.

Ormond’s paintings operate between the rustic and the futuristic. Overtly architectural, we are shown interior views or isolated buildings in sparse landscapes. Paying great attention to the physicality of a structure, Ormond renders constructions by combining great, angular struts with worn, textured surfaces. However, these are impossible structures that in the hands of the artist become sentient. They are in flux, either in a state of implosion or explosion, where the derelict points towards what was, and what will be. This flight of logic leads to the heart of the paintings. More often than not the subject begins with the dynamics of the artist’s own studio - and by extension every artist’s studio - which is then transformed into an environment beyond time and place. Looking closely, one will identify the detritus of artistic production: brushes, paint pots, bits of wood, models and empty cups. Each of these is suggested by earlier layers of paint and mark making, and refer to the power of transformation from the everyday to the mysterious.

The idea of transformation is augmented by the light structures that dominate many of Ormond’s paintings. Appearing within and outside of the buildings, complex constructions of geometric light forms come to dominate the environment. Suggesting power and force, they overwhelm and illuminate otherwise moribund environments. But these are more than architectural structures. And as with many elements in Ormond’s paintings there is uncertainty and slippage underpinning the immediately evident. These illuminating structures suggest hope, and point to the supernatural. Relating to Ormond’s long standing interest in off-grid communities, the artist alludes to unseen forces that might be harnessed but are not necessarily fully understood or utilised.

Beneath all of this lies a complex set of knowing visual devices applied with technical expertise. The paintings are built on Euclidean axioms including horizon lines; vanishing points; and rectilinear grids, and material is applied variously from thinly poured paint to broad sweeping brush strokes to scrapings of paint residue from the artist’s palette. And again, these techniques are used to create conundrums as flat planes attempt to describe curved surfaces and rectangles become triangles. Such are the complexities that Ormond employs in order to present us with an impossible architecture of opposites.


 'Inside Out' 2013. Oil on linen. 183x193cm

Saturday, 27 July 2013

ERIC MANIGAUD | The Shadow Line | Images


Eric Manigaud Affaire de la Rue Houdon # 1, 2007 Pencil & graphite powder on paper 179x79cm 



Eric Manigaud August 6th 1945, 15 past 8, 2013 Pencil & graphite powder on paper 180x155cm



Eric Manigaud Dulmen 1945, 2011 Pencil & graphite powder on paper 179x179cm



Eric Manigaud Gueule Cassée, 2006 Penci & graphite powder on paper 180x139cm



Eric Manigaud Jungle # 4 Sentier dans la Brousse, 2008 Pencil & graphite powder on paper 179x135cm



Eric Manigaud Klinikum # 5, 2010 Pencil & graphite powder on paper 177x131cm


ERIC MANIGAUD | The Shadow Line | Press Release



ERIC MANIGAUD

The Shadow Line

Private View
Thursday June 27th 6.30-8.30pm

Exhibition Dates
Friday June 28th – Saturday July 27th 2013

Gallery Hours
Wednesday–Saturday 11am–6pm or by appointment


CHARLIE SMITH london is delighted to present Eric Manigaud with his first one person exhibition in London.

Eric Manigaud, French born and based in St Etienne, is recognised for his impeccably rendered large scale drawings in pencil and graphite dust. Often reaching 180cm in height or width, every piece represents an obsessive accomplishment of technical expertise and takes two to four months to complete. As the French art critic Philippe Piguet states:

Everything in his work is of a degree of minutiae taken to an extreme, which propels the model he uses into a kind of meta-reality exceeding the details…He is an accomplished artist gifted with an astonishing virtuosity which competes with a rare expressiveness.

In parallel with such a commanding deployment of technique is a brutal choice of subject matter, where the power of the image combines with its realisation to create an overwhelming and emotive presence. Manigaud searches relentlessly in order to source second hand imagery, where an instinctive discovery will trigger a new series of work. Selecting only historical images that refer unintentionally to the evolution of the modern age, Manigaud reveals empathy for mankind and simultaneously critiques its progress. Bombed cities, murder sites, asylums and the African interior are all theatres where modern man has faltered.

Manigaud’s depictions of 19th century asylum inmates express unparalleled pathos whilst recalling the Salpêtrière Hospital in Paris, where a young Sigmund Freud (1856-1939) studied under Jean-Martin Charcot (1825-1839), the accepted founder of modern neurology. Latterly Michel Foucault (1926-1984) would discuss the Salpêtrière Hospital when tracing the history of the treatment of the insane in Madness and Civilization. Manigaud’s drawings of murder victims are based on photographs by the criminologist Alphonse Bertillon (1853-1914), who introduced photographic anthropometry into the judicial system by devising classification techniques that enabled the cataloguing of criminals and crime scenes. Similarly, photographs taken on expedition to the Ivory Coast by Marcel Monnier (1853-1918), grandfather of Roland Barthes (1915-1980), are used in Manigaud’s jungle series. Taken during Mission Binger, the expedition was designed to help delineate the frontier, being redolent therefore of 19th century European imperial ambitions that would be realized in the catastrophic World Wars of the 20th century, from where Manigaud derives his series of war victims and bombed cities.   

Taken together, these series draw on the archival to represent an intertwined history of culture, science and politics. Specifically, they are touchstones to significant events and developments in the modern French period, but which resonate universally.


Please contact gallery for images and further information


Eric Manigaud Klinikum # 5, 2010 Pencil & graphite powder on paper 177x131cm 

GAVIN NOLAN | Mise en Abyme | Images




Gavin Nolan Means of Production 2013 Oil on board 122x92cm

Gavin Nolan The Crash, 2013 Oil on board 122x92cm

Gavin Nolan Private View, 2013 Oil on canvas 127x92cm


Gavin Nolan The Visit, 2013 Oil on board 122x91.5cm

Gavin Nolan Untitled, 2013 Oil on board 61.6x48.5cm

Gavin Nolan Tundra, 2013 Oil on canvas on board 60x40cm

Gavin Nolan Preacher, 2013 Oil on board 60x40cm


Installation Images