Workplace is pleased to announce participation in Art Cologne Palma Mallorca with a group presentation of works by Laura Lancaster, Rachel Lancaster, Wang Pei, and Ki Yoong.

Art Fair Feature Image

Spain

Palma

Art Cologne Palma Mallorca

Workplace is pleased to participate in NADA Miami 2024 with a group presentation of works by Simeon Barclay, James Cabaniuk, Sooim Jeong, Laura Lancaster, Rachel Lancaster, Robin Megannity and Meredith Sellers.

A detail of a work by Simeon Barclay of photographs collaged onto a blue background

Miami

NADA Miami

Workplace is pleased to participate in Minor Attractions 2024 with a group presentation, highlights include Laura Lancaster, Rachel Lancaster, and Pei Wang.

Minor Attractions is a week-long art fair hosted in The Mandrake Hotel inviting global commercial galleries and not-for-profit art spaces taking place from the 8-13th October, 2024. The fair is designed as a space where art and nightlife meet, allowing the swells of international collectors in the city to mingle with the art workers and artists that make the art world tick. Galleries are encouraged to bring exciting and daring work, creating a new context for London’s buzzing art scene.

A detail of a painting by Rachel Lancaster of a person's blonde hair dramatically lit against a dark background

United Kingdom

London

Minor Attractions

For NADA Miami 2023, Workplace is delighted to present a group booth of three emerging women painters who each deal with the concept of 

 to articulate complex relationships with different modes of narrative: of memory, the dramatic, and of global economic and political narratives.

Sooim Jeong relocates a combination of past memories into the quotidian places around her, for example: a small incidental weed growing on the top of a wall that she walks past on the way to her studio, or other such surroundings from her daily routine, are contrasted against significant events from her past, often of a brutal or traumatic nature. Using minimal brushstrokes and spare, sensitive colour palettes, she creates oil paintings that play with composition and metaphor - relocating human figures in remembered and imagined spaces, and often abstracting and de-identifying them through pattern and motif.

For Rachel Lancaster, painting slows down the act of looking; it invites the gaze to linger upon the otherwise overlooked. With a focus on the intersections of painting with cinema, photography and music, Lancaster edits and translates photographic ‘stills’ into oil paintings, drawing on found moving imagery. She draws upon film theory and depicts objects and characters divorced from greater narratives, rendering those fragments both descriptive and abstract, ambiguous and open-ended; figures and objects are rendered uncannily illuminated and enigmatic. Lancaster applies multiple thin layers of paint to the canvas, to produce varied optical effects – the immediacy of the paint’s surface playing off against the hazy, half-remembered qualities characteristic of her chosen images. She manipulates colour and utilises cropping and mark-making techniques, to play upon the latent, dreamlike sense of otherness found in cinema, reimagining this upon the canvas.

Meredith Sellers’ paintings utilize images from art history, stock photography, advertisements, and the media to examine systems of power and violence. Sellers considers the mediated image and its relationship to power, history, and cycles of consumerism, desire, and apathy, through the frame of the window as both an architectural and digital space. Sellers’ paintings depict isolated stock photos and borrowed images set amongst fields of vivid colour. Recently, she has employed symbols and tropes of memento mori in historical Dutch still life painting, reframing them next to contemporary images of consumption and violence to explore the seeds of globalized capitalism. Forced into conversation, these seemingly unrelated images form their own enigmatic languages that speak of macro-economics, the climate emergency and the tectonic tension between the quotidian and the grand-narratives of our time.

A cropped image of a painting by Rachel Lancaster depicting the back of a female head showing hair tied up in a large pink bow in front of a dark green background

NADA Miami 2023

Workplace is pleased to participate in the 9th edition of NADA New York, presenting works by Eric Bainbridge, Simeon Barclay, Sooim Jeong, Joel Kyack, Laura Lancaster, Rachel Lancaster, Julia Maiuri, Robin Megannity and Dylan Williams. In his book The Savage Mind (1962), Claude Lévi-Strauss used “bricolage” to describe the characteristic patterns of mythological thought which, according to Lévi-Strauss, attempts to re-use available materials in order to solve new problems. For NADA NY Workplace presents a curated booth of 10 artists who employ such strategies, combining images or objects that are found and interwoven with personal histories and socio-political narratives to navigate problematic contemporary conditions.

Joel Kyack, TIME TIME TIME (still), 2020, Single channel video

548 West 22nd Street, New York, 18 - 21 May 2023

NADA New York 2023

Workplace is pleased to participate in the focus section of the inaugural edition of ART SG in Singapore with a two-person booth with new works by Chinese-American artist Olivia Jia and London based Thai artist James Prapaithong. The artists have been paired as they share a common pictorial sensibility and a tendency to create composition which are suspended between the real and the imaginary. The use of photographic images taken and collected by the artists in disparate locations is the inception of both Jia and Prapaithong’s practices which through different modes of representation and painterly lexicons question the art historical legacy of the specific medium whilst exploring disparate themes of identity, longing and memory.
 
For Workplace’s presentation at Art SG, Jia and Prapaithong have decided to create two body of works whose source material will be put together in a collaborative effort. In anticipation to the fair, they will be in conversation with one another to share imagery that will become the starting point for the works that will be on view at the gallery’s booth. Through this process the artists hope to engage in a transnational exchange of ideas and references and create a presentation that will connect in a poetic and subtle way Prapaithong’s cinematic and hazy landscapes and Jia’s intimate and hyperreal still lifes.
 





The artists’ connection with non-Western heritages will also be a central theme within this presentation. Subtle references to the orient emerge in different and often unconscious way in the work of Jia and Prapaithong who are both of Asian identity, although they have grown up or spend a large part of their lives in Western countries. The artists’ heritage and backgrounds have moved them to question how certain symbols, artifacts and stereotypes assume different meanings across geographies and cultures and this personal investigation is reflected throughout their oeuvre.


 




In the space of Jia’s paintings, disparate images of family members, Chinese artefacts in Western museums, objects collected during her travels in Asia and the US amongst others, exist together, are pinned down and made tangible. Focusing on an image’s visual specificity and the metaphorical, narrative, and subtextual relationships that may be generated when two images are placed beside each other, the artist paints, sands, swaps, and repaints images in relation to one another until they hold an affect, a frisson, an allusion to something that cannot be named.
 
James Prapaithong explores memory, isolation and longing through his filmic paintings which deliberately use the aspect ratio of the screen and are devoid of people. Resembling enlarged photographs of familiar yet distant places and using high colour saturation with a particular attention to light, Prapaithong’s hazy, dream- like landscapes become vehicles to communicate the uncertainty of recall, the construction of memory and the space between connection and estrangement. In a similar way to some Eastern philosophies, elements of the natural world and their relation to human experience constitute a focal point of Prapaithong’s work.

James Prapaithong, Sunset/Moonrise/City Night, 2022, Oil on Canvas, 120 x 180 cm

Marina Bay Sands, Singapore, 12 - 15 January 2023

ART SG

Workplace its pleased to announce its participation in NADA Miami Art fair, presenting a curated booth with works by James Prapaithong, Simeon Barclay, Cristian Avram, Laura Lancaster, Julia Maiuri and Miko Veldkamp.

Workplace's booth at Nada Miami 2022. White walls with artworks by James Prapaithong, Simeon Barclay, Cristian Avram, Laura Lancaster, Julia Maiuri and Miko Veldkamp.

Ice Palace Studios, Miami, 30 November - 3 December 2022

NADA MIAMI

Workplace is pleased to be taking part in the second edition of Hit! Super-Micro Art-Fair, with works by Katinka Lampe, Laura Lancaster, Rachel Lancaster and Robin Megannity.

a close crop image of a painting of a woman sleeping by Laura Lancaster 

Studio la Città, Verona, 10 - 13 November 2022

HIT! #2 Verona 

For the Armory 2022 Workplace proposed a two-person booth, in which new works by Miko Veldkamp and Olivia Jia will be presented at the fair for the first time. 

Olivia Jia is interested in the systems that we use to organise knowledge and for her bird book series she looks at the cataloguing of animals, in particular rare and endangered species. Although hyperreal, Jia’s still-lifes are never a literal reproduction of existing objects and images, but instead they are compositions of disparate elements which the artist puts together to allude to new metaphorical, narrative, and subtextual relationships between them. 

Miko Veldkamp was born in Suriname and grew up in the Netherlands before relocating to the US. His work is a response to living across dispersed geographies and the ways in which his identity has shifted in the process of navigating degrees of otherness. Upon first glance his compositions are vibrant and playful, but incorporated elements such as coca and tobacco leaves represent both the beauty and the cultivated danger hidden within a fructified landscape. These imagined spaces are drawn from the artist’s memories and represent the felt experience of wandering. ​​The artists’ non-Western background will be a focus for the booth, where the presented works will have subtle references to Asian diasporas and colonialism. 

Veldkamp’s and Jia’s heritages have moved them to question how certain symbols and artifacts assume different meanings across geographies and cultures and these personal investigations are reflected throughout their oeuvre.


Workplace's booth at The Armory Show, New York, 2022 with works by Olivia Jia and Miko Veldkamp 

New York

The Armory Show

The Focus section of the Armory Show on Pier 90 is curated by Jamillah James, Curator, Institute of Contemporary Art, Los Angeles. Focus is devoted to solo and dual-artist presentations of today’s most relevant and compelling artwork.

WORKPLACE presents two emerging women painters based in the North of England: Louise Giovanelli and Laura Lancaster. Both artists are concerned with the mediation and re-staging of found imagery to address complex issues relating to the image, its origin and multiplicity in a post-truth world.

makes intense, luminous, paintings that refer to art history and contemporary mechanics of viewing and consuming imagery. Cropped and isolated images gleaned from historical painting are repeated and restated, dislocated from their origin and repositioned within a rhizomatic sequence of works. Giovanelli employs a layering technique to build works that simultaneously explore multiple modes of representation and painterly lexicons of flatness, translucence, abstraction and realism.

transposes the discarded photographs of strangers into an ambiguous territory between

abstraction and figuration. Divorcing her subjects from their specific context and time, Lancaster renders these images uncanny and strange. Shifting between the sentimental and the grotesque she relocates them to a place of collective memory. Confronting a gendered history of painting, Lancaster draws upon a range of influences including the work of Francis Bacon, Willem DeKooning, Lovis Corinth, and James Ensor. Lancaster subverts the notion of authorial autonomy, allowing her work to become a conduit through which the lives of the lost and the nameless are connected with our own.

Click here for further information / online viewing room:
https://www.workplacegallery.co.uk/viewing-room/the-armory-show-2020/

Workplace's booth at The Armory Show in 2020 featuring paintings by Laura Lancaster and Louise Giovanelli


For Manchester Contemporary 2018 we are delighted to present works by 4 artists who each have a forthcoming solo exhibition at Workplace Foundation, Gateshead in the next 6 months. Workplace Foundation is a new charity based in Gateshead in the North of England founded by Workplace to support emerging and under-represented artists - with a specific commitment to UK art scenes outside of London.

Over the past year and a half, Matt Antoniak has quietly collected the scraps of paper used to test materials in an art shop. These scraps of paper are covered in doodles, throwaway marks and inconsequential scribes. These images are then cropped and scaled up, before being painted in forensic details. Working in this manner is an attempt to step away from the prevailing 20th century idea of the genial artist, creates micro-authorships and uses chance to push against ideas of individualism. Antoniak is interested in the interplay between scrutinising these marks at a forensic level of detail, before translating and re-presenting them, and the chance element of using the found bits of paper. In the creation of these works, the artist is reliant upon others. The demographic of people who enter the art shop is broad, with many being ‘hobbyists’ or amateurs, some children and some professionals. By faithfully recreating these marks in paint, Antoniak toys with the idea of artistic hierarchy, time and chance. 

Matt Antoniak was born in 1991 in Nottingham, UK. Antoniak lives and works in Newcastle upon Tyne. He will open his first solo exhibition at Workplace Foundation, Gateshead in January 2019.
 


Simeon Barclay is interested in exploring the dynamic nature of language, the mediated image, and in objects that both seduce and provoke. These impulses are understood in relation to the human condition, an existence Barclay perceives as being caught up in the tumultuous, unfixed process of situating and defining ourselves within culture and tradition. Drawing on advertisements, magazines, television and music, he combines images of culturally significant moments and figures with his personal memories to understand how we define and situate ourselves within society. Barclay uses references from popular culture from his time growing up in the north of England to explore masculine and feminine roles and the expectations of society. In recent years he has received critical attention through projects with Arcadia Missa, NYC; Rodolphe Janssen, Brussels, W139, Amsterdam, Baltic 39, Newcastle and Jerwood Foundation, London. In 2016 he was selected as a Liverpool Biennial Associate artist showing work in the Liverpool Biennial. He has had recent solo exhibitions at Cubitt, London and Tate Britain as part of the Art Now series. Simeon Barclay was born in Huddersfield in 1975 and lives and works in Leeds. Barclay will open a new solo exhibition at Workplace Foundation, Gateshead in March 2019 as part of a touring commission with The Tetley, Leeds and The Turnpike, Leigh.
 


Louise Giovanelli’s practice is informed by ways of looking and perceiving, with the act of looking itself as a kind of content. She employs found and generated images, cultural references and excerpts from other art forms to investigate the languages and histories of painting. Her ideas are increasingly visceral and unstructured. Images are chosen intuitively for their further painterly potential. She has recently included various visual phenomena such as light effects and surface textures. Her approaches to synthesising such images are process led and are gradually distilled through an associative process of arranging, collaging and drawing - providing scope for them to mature, fall away and settle. Although vague, this allows the possibility that something will be created rather than illustrated. "I am exploring some fundamentals of abstraction within a figurative language - simplification, flattening and tension between planes. 
 
"I am interested in configurations of intersecting under/overlaps and how this might allow the work to exist at an interchange between figuration and abstraction - where I believe painting is most vital and dynamic."
 
Louise Giovanelli was born in London in 1993. She lives and works in Manchester. Her work was recently featured in ‘Contemporary British Painting’ published by Anomie Books. She will open a solo exhibition at Workplace Foundation, Gateshead in February 2019 followed by a solo exhibition at Manchester Art Gallery in May 2019.
 


Since 2014, Emily Hesse has collected the now discarded, material fragments of industrial Teesside in brick form. The bricks themselves all once formed the homes, buildings and structures of Hesse’s home town of Middlesbrough and were originally manufactured in the North East. Each brick speaks of personal, collective or political mythologies associated with her land and it’s people or is made from, in clay form, that land itself. The direct marking of the bricks or their altering by re-firing and treating as ceramic objects is done so with everyday and found materials such as correction fluid, chalk, sand and glass but also more valuable gold leaf and copper in order to distort ideas of worth, value, invisibility and validity. In Hesse’s ongoing plight to write marginilised communities into history, she considers these works as building blocks; they not only hold the historical weight of an untold regional history, but also create a space for previously silenced and unheard voices to speak. Emily Hesse, was born Middlesbrough in 1980. She lives and practices in the North East of England. Hesse has recently exhibited at MIMA, Middlesbrough and is featured in ‘Vitamin C: Clay and Ceramic in Contemporary Art’ published by Phaidon. Her solo exhibition The Taste of this History: a Church in My Mouth opens at Workplace Foundation, Gateshead in November this year.

Workplace Foundation

The Manchester Contemporary

WORKPLACE at DALLAS ART FAIR
 
13 - 15 April 2018
 
BOOTH D7 : WORKPLACE / AND NOW 
 
Eric Bainbridge
Hugo Canoilas
Marcus Coates
Jennifer Douglas
Laura Lancaster
Rachel Lancaster
 
Click here for a list of works or contact Miles Thurlow

12 - 15 April 2018

Dallas Art Fair


WHAT IS GOING TO HAPPEN IS NOT THE FUTURE, 
BUT WHAT WE ARE GOING TO DO. 


Future Section curated by Chus Martínez, Elise Lammer, and Rosa Lleó
 

 (*1977 in Lisbon, lives and works in Vienna) works in the light of popular aesthetics channelled through politics and ideas from philosophy and poetry. Drawing upon the thought of 20th century philosophers and writers including Derrida, Heidegger and Fernando Pessoa, his work maintains a nuanced dialogue between abstraction and social realism. The work of Hugo Canoilas has been featured at group exhibitions such as the 30th Săo Paulo Biennial (2012); When elephants come marching in at De Appel (2014); the 4th Industrial Ural Biennial, Ekaterinburg (2017) and Publishing as an artistic toolbox: 1989-2017 at Kunsthalle Wien (2018). Solo presentations of his work include Vota Otávio Pato at the Franfurter Kunstverein (2007); Endless Killing at Huarte Contemporary Art Center (2008); Spirit of the air, Wiener Art Foundation, Vienna (2013); Someone a long time ago now, Cooper Gallery, Dundee (2015) and Under the volcano, MNAC, Lisbon (2016).

Workplace' booth at ARCO Madrid featuring a large painting on canvas of a pair of Brontosaurus dinosaurs

Madrid

ARCO Madrid

Artissima 
 
Workplace Gallery
Dialogue Section 
Booth: Dark Blue 15 
 


Artissima, OVAL Lingotto Fiere
via Giacomo Mattè Trucco 7010126 Turin, Italy
 


3 – 5 November 2017Vernissage (upon invitation): 2 November 2017
Opening Hours: 12 – 8pm
 


Workplace Gallery is excited to exhibit a group presentation of Jo Coupe, Jennifer Douglas and Laura Lancaster, three artists based in the Northeast of England who explore alchemical processes of transformation and entropy within a context informed by art history, gender politics and feminism. 

Jo Coupe’s interest in science as well as religion, the paranormal, and witchcraft has led to periods of research in diverse environments ranging from the industrial to the domestic. For Artissima we will show a new series of floral collages created from antique botanical copper plate illustrations. Painstakingly cut out by scalpel and separated into constituent parts (leaves, stems, fruit, flowers, roots etc) before being reassembled into a new and complete hybrid and pinned delicately against the wall with dissection pins, Coupe’s work refers to archetypal narratives of cutting and healing, and to the oppositional forces of destruction and renewal intrinsic in processes of transformation. 



Jennifer Douglas’ recent paintings reference the working environments of heavy and light industry in Northern Britain and find painterly equivalents within the history of modern and contemporary art. Using proletarian materials such as industrial floor paint, Douglas uses gold and silver leaf to cover her industrial grey monochromatic surfaces, allowing natural chemical reactions to destabilise and tarnish the surfaces to create minimal paintings that resist the symbolism of wealth and point back, earth-bound, to the elemental properties of materials and their inevitable, yet beautiful decline.


Laura Lancaster's recent portraits of women in silhouette are based upon found anonymous analogue photographs collected by the artist. Selected from badly shot holiday snaps and family pics, Lancaster purposefully restates these rescued images as potent, provocative inversions of the male gaze. In her Shadow series, figures are abstracted towards base matter, indivisible from the pictorial surroundings. Faces dissolve into meaty swathes of colour while blackened socket like eyes stare impassively and powerfully, confronting the viewer with truths of time.
 


For further information on the works shown click here or contact: miles@workplacegallery.co.uk




Jo Coupe Vermicular, 2014, Cutout and rearranged botanical prints from 'Wayside and Woodland Blossoms (vol 3)' by Edward Step (1933 edition), archival tape, dissection pins, 81 x 81 x 8 cm (JCP0105)

Jennifer Douglas A Tacit Understanding (Silver / Slate), 2017, Silver leaf, floor paint on linen, 150 x 120 cm (JD0165)


Laura Lancaster, Untitled, 2017, Acrylic on canvas, 100 x 80 cm (LL0783)



2 - 5 November 2017

Artissima 

About WORKPLACEWorkplace was founded by Miles Thurlow and Paul Moss in 2002 in the Northeast of England as an artist-led group. In 2005 we opened Workplace Gallery in Gateshead Town Centre to commercially represent a group of artists based in one of the most economically deprived areas of the UK and help them access the international artworld.In 2017, after over a decade of successfully developing international careers for our artists, Workplace set up Workplace Foundation to support and exhibit emerging and under-represented artists - with a commitment to cutting through the excluding barriers of race, sexuality, gender, class and privilege, and with a focus upon countering a poverty of opportunity that exists outside of the Capital.Workplace Foundation is a registered charity based in Gateshead in the Northeast of England, and is part of Arts Council England’s National Portfolio of Organisations. Workplace Gallery continues to grow as a separate commercial gallery and is based in London and Gateshead.Our stand at Manchester Contemporary 2017 reflects the recent and forthcoming programme at Workplace Foundation in Gateshead, and our commitment to supporting artists from across the UK and abroad.Works by: Agnes Calf, Daniel Davies, Susie Green, Robert McNally, Mick Peter, and Milk Collective (Matt Antoniak, James Hindle, Max Lee, Joe Shaw).

27 - 29 October 2017

Workplace Foundation at The Manchester Contemporary 2017

6 - 9th April
 
Booth D10
 
Eric Bainbridge
Hugo Canoilas
Marcus Coates
Jo Coupe
Laura Lancaster
 
 
To view a list of works online please click here

6 - 9 April 2017

Dallas Art Fair 

WORKPLACE
 
at Artissima 2016
 
November 4 - 6
Vernissage November 3rd 
OVAL Lingotto Fiere, Turin
 
Dialogues 
Hall Violet 
Stand 4
 
Eric Bainbridge
Marcus Coates
Laura Lancaster

4 - 6 November 2016

Artissima

GRANPALAZZO
EDIZIONE 2016
PALAZZO ROSPIGLIOSI
ZAGAROLO,
ROMA
 
http://www.granpalazzo.org
 
28 - 29 May 2016
 
Workplace is pleased to present the work of Marcus Coates at this years's GRANPALAZZO.
 
Since 2004 Marcus Coates (b. London, 1968) has been developing an ongoing body of work in which he performs a shamanic ritual on behalf of a live audience. Through a combination of his earnestness as a Shaman, the absurdity of the Shamanic ritual in a contemporary setting, and his deadpan documentary style Coates seeks a new subjectivity for himself and in turn an approach to pragmatism that is irrational, uncontrolled, yet effective. Coates questions how culture supports our separation from nature and reflects on how nature as a human concept is a clear definition of our own needs and troubles as a species. The presentation for GRANPALAZZO 2016 includes films of his rituals, where he achieves a trance-like state and communes with the animal kingdom to address social issues as well as objects that address our problematic relationship with nature and thus ourselves. Ritual for Reconciliation (2015) is a series in which Coates describes the culture of wildlife photography as a fetishistic act of consumption. This works are the result of a ritualistic process where the artist makes high quality prints and compresses them in his hands. Lesser spotted woodpecker (Picoides minor) (2014), is a taxidermied starling that has been hand-painted by Coates to take the markings of this rare and elusive woodpecker, a bird Coates has never managed to see. Bassbone/Goose caller (2009) is a trombone fitted with a bassoon reed employed by Coates during his shamanic rituals to communicate with animals in his spirit world, thus being able to obtain information that they might hold.
 
Marcus Coates has shown in institutions such as: Serpentine Gallery, London; Joan Miró, Barcelona; Milton Keynes Gallery; Kunsthalle, Zurich; Sydney Biennale; Tate Britain, London; MANIFESTA 7, Trento, Italy; the Venice Biennale; Malmo Konsthall; Barbican Art Gallery, London.
 
Dal 2004 Marcus Coates (Londra, 1968) lavora ad una serie di opere in cui mette in scena un rituale sciamanico di fronte a una platea di spettatori. Coates, combinando la sua conoscenza da Sciamano, l’assurdità del rituale sciamanico nel contesto contemporaneo e il suo stile documentario, è alla ricerca di una nuova soggettività per se stesso e di un approccio pragmatico irrazionale, incontrollato, eppure effettivo. Coates mette in discussione il modo in cui la cultura sia causa della nostra separazione dalla natura e riflette su come l’idea di natura, intesa dall’uomo, definisca le nostre necessità e problematiche come specie. L’installazione proposta per GRANPALAZZO 2016 include film dei suoi rituali, in cui Coates raggiunge uno stato di trance e comunica con il regno animale per riferirsi a questioni sociali e presentare oggetti che narrano la nostra relazione con la natura. Ritual for Reconciliation (2015) è una serie in cui Coates descrive la cultura della fotografia naturalistica come un atto di consumo feticistico. Queste fotografie sono il risultato di un processo ritualistico in cui l’artista scatta delle foto per poi accartocciarle. Lesser spotted woodpecker (Picoides minor) (2014) è uno storno impagliato, dipinto a mano da Coates con i colori di un picchio raro e sfuggente che l’artista non ha mia avuto modo di incontrare. Bassbone/Goose caller (2009) è un trombone, al cui interno è posta una canna di un fagotto utilizzato da Coates durante i suoi riti sciamanici per comunicare con gli animali, così ottenendo informazioni di cui sono i soli detentori.
 
Marcus Coates ha esposto in istituzioni come: Serpentine Gallery, Londra; Joan Miró, Barcellona; Milton Keynes Gallery; Kunsthalle, Zurigo; Sydney Biennale; Tate Britain, Londra; MANIFESTA 7, Trento; Biennal di Venezia; Malmo Konsthall; Barbican Art Gallery, Londra.
 
GRANPALAZZO is an exhibition-event involving some of the most interesting, serious, and consistent artists and galleries  in the contemporary art scene. The challenge of the project is to create a bridge between epochs: a respectful, reciprocal relationship between the art of the past and the interpretation of the present age. GRANPALAZZO is open Saturday May 28 and Sunday May 29 for a week-end dedicated to contemporary art.
 
To view the works exhibited please click here
 
for all enquiries please contact: miles@workplacegallery.co.uk

28 - 29 May 2016

Granpalazzo

DALLAS ART FAIR




WORKPLACE
Booth D8
 
Eric Bainbridge
Hugo Canoilas
Marcus Coates
Laura Lancaster
Rachel Lancaster
 
To download a list of works please click here
For all enquiries please contact: miles@workplacegallery.co.uk 
 
Dallas Art Fair
Friday 15th - Sunday 17th April 2016 
1807 Ross Avenue, Dallas, 
Texas 75201, USA
http://dallasartfair.com

15 - 17 April 2016

Joel Kyack 
Circle of Hell / Ringer of Bell




 
WORKPLACE
Art Basel Hong Kong
Discoveries Section
Booth 1C48
 




For the Discoveries section of Art Basel Hong Kong 2016, Workplace will exhibit a new solo project by Los Angeles-based artist Joel Kyack.  Drawing from its rich contemporary and historical context, Kyack will produce a new sculptural installation that explores the conflicts and parallels between the intense consumerism, cultural conditions, and traditions of Hong Kong. 
Kyack will spend a period of time in residence in Kowloon region of Hong Kong prior to Art Basel Hong Kong researching and making work from objects and materials that he will collect throughout his time there. Combined with a suitcase of specific items brought from Los Angeles (masks, hollywood prosthetics, images, texts), these components will be transformed into provisional water-fountains, kinetic and static sculptures, and wall pieces. Though discreet objects themselves, they will combine in this presentation to form a complete, fervent grotto.
 
Improvisation and working with materials-at-hand are cornerstones to Kyack’s practice. Circle of Hell / Ringer of Bell will harness his ad-hoc, urgent, and pragmatic methodology revealing comic impropriety and moral ambiguity. As a ‘foreigner’ who has never travelled to Hong Kong or Asia before, Kyack’s unique perspective and particular vision will produce a body of work that creates an anthropological collision with a cultural past and present that is simultaneously at odds and in step with one another. Kyack’s black comedic strategies will be pushed to the extreme in this context, to create a sculptural pantomime that explores the vulgarity and profanity of ‘the tourist’ alongside the Post-colonial realities of Hong Kong as existential metaphor.
 
Symbolic objects such as bells, vessels and tapestries found in Hong Kong will provide starting points for sculptural and two-dimensional work that establish conceptual and formal relationships between common, inexpensive products that define contemporary culture. Conflating the extremes of wealth and poverty in places like Kowloon with the shocking depictions of purgatory found in some Taoist and Buddhist temples, Kyack’s installation will employ the Circle as both opening and orifice, entrance and exit, where the bell is rung for both the sacred and the profane. Circle of Hell / Ringer of Bell will attempt to bring together the grotesque polarities of human experience through the filter of a Western artist working in Hong Kong.
 
Kyack’s practice brings together a combination of unlikely elements, often purchased from hardware stores, health care industries and Hollywood prop-houses to create surreal, darkly humorous objects and paintings that evince a dysfunctional and chaotic social context as their origin. Kyack maintains a Dadaist anti-bourgeois position rejecting ‘taste’ and traditional aesthetic sensibilities. He instead finds pragmatic yet subversive relationships between functional objects to achieve an outcome that relates back to the body and to the abject absurdity of the individual in relation to a disturbing and complex social world, always with the potential for violence and the grotesque.
 
Joel Kyack was born in Born in 1972 in Pennsylvania, USA. He received his BFA from the Rhode Island School of Design in 1995, studied at Skowhegan School of Painting and Sculpture in Maine in 2004, and received his MFA from the University of Southern California in 2008. Recent solo projects include The Very First Day at Workplace Gateshead, Old Sailors Never Die and Escape to Shit Mountain at Francois Ghebaly, Los Angeles; Point at the Thing That’s Furthest Away at Praz-Delavallade, Paris; Superclogger, a public project produced in collaboration with LA>

24 - 26 March 2016

Art Basel Hong Kong

Matt Stokes, Laura Lancaster
 
WORKPLACE at Art Los Angeles Contemporary 
 
Booth D12
 
Art Los Angeles Contemporary
Barker Hangar, Santa Monica, LACalifornia 90405
https://artlosangelesfair.com
 
January 28 - 31, 2016
 
Thursday, January 28:Opening VIP Reception: 5 - 7 PMPublic reception: 7 - 9 PMFriday, January 29: 11am - 7pmSaturday, January 30: 11am - 7pmSunday, January 31: 11am - 6pm
 
For further information on the work exhibited please contact: miles@workplacegallery.co.uk

28 - 31 January 2016

Art Los Angeles Contemporary

30 - 31 May 2015

GRANPALAZZO

9 - 12 April 2015

15 - 17 March 2015

15 - 18 October 2014

Frieze London

25 - 28 September 2014

15 - 18 May 2014

11 - 13 April 2014

26 - 29 September 2013

19 - 22 September 2013

Expo Chicago

23 - 26 May 2013

11 - 14 April 2013

24 - 27 January 2013

Art LA Contemporary

27 - 30 September 2012

The Manchester Contemporary - 2012

20 - 23 September 2012

18 April - 22 March 2012

Art Cologne - New Contemporaries 2012

8 - 11 March 2012

The Armory Show - New York 2012

19 - 22 January 2012

1 - 4 December 2011

NADA Art Fair - Miami 2011

4 - 6 November 2011

ARTISSIMA 18 - Turin 2011

30 - 31 July 2011

NADA Hudson

3 March - 6 April 2011

The Armory Show - New York 2011

3 - 6 March 2011

Moving Image - New York 2011

2 - 5 December 2010

NADA Art Fair - Miami 2010

21 - 24 October 2010

FIAC - Paris

20 - 25 April 2010

Openspace - Art Cologne

3 - 7 March 2010

The Armory Show - New York

3 - 6 December 2009

NADA Art Fair - Miami 2009

15 - 19 October 2009

Zoo Art Fair - London 2009

25 - 27 September 2009

22 - 26 April 2009

Openspace - Art Cologne 2009

3 - 7 December 2008

NADA Art Fair - Miami 2008

17 - 20 October 2008

Zoo Art Fair - London 2008

16 - 20 April 2008

3 - 6 April 2008

101 Tokyo

5 - 9 December 2007

NADA Art Fair - Miami 2007

12 - 15 October 2007

Zoo Art Fair - London 2007

19 - 22 April 2007

DC, Dusseldorf Contemporary - 2007

6 - 10 December 2006

NADA Art Fair - Miami 2006

13 - 15 October 2006

Zoo Art Fair - London 2006

Washing Line 3, 2004 by Joe Clark: An image of a washing line at night with snow on the ground.

Art Fairs