• ‘Unclaimed Baggage’ by Jitish Kallat, opened at Albion in May 2007. The two most important series in the show were Dawn Chorus and Autosaurus Tripous. The Dawn Chorus series reflects upon the socio-economic effects of globalisation on the city of Mumbai. Dawn Chorus foregrounds the disadvantaged and their daily grind, a result of living in the most populous city in India. Based on photographic images, the paintings in Dawn Chorus depict the faces of young boys who Kallat saw selling popular international books at street traffic lights in Mumbai.  Given the monumental size and the colour palette of the canvases, the paintings resemble city billboards, an abundant feature in the landscape of the city. The artist mounts his canvases on bronze sculptures that are recreations of gargoyles that adorn the city’s 130-year-old Victoria Terminus train station. Central to Dawn Chorus 9, as in the other paintings in the series, is the compelling image of the boys’ hair wherein a single figure becomes a composite of many stories. Everyday imagery, traffic, people and animals pile up like a crumbling cascade of narratives, as if the hair was a manifestation of their inner exchanges. Autosaurus Tripous was created from fibreglass fabrications of the bones of several animals; the overall effect seems humorous, yet one is not sure why. “This redundant vehicle is the carrier of several themes. It is supposed to be burlesque, grotesque and arabesque at the same time. I was inspired by undesirable images in the media of torched vehicles during riots, and at the same time it looks like an unearthed relic," says Kallat. It is rare in spite of protest to the contrary for exhibitions to sell out. This show did sell out and created a waiting list. The Indian art market at this point, like the Chinese market was booming. However the Indian art market was driven by investors Who didn’t understand that taking profits of 300-400% within 18 months would lead to a catastrophic crash. #JitishKallat #India #AlbionBarn #AlbionGallery #DawnChorus #DawnChorusSeries #AutosaurusTripous #Art #UnclaimedBaggage
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    ‘Unclaimed Baggage’ by Jitish Kallat, opened at Albion in May 2007. The two most important series in the show were Dawn Chorus and Autosaurus Tripous. The Dawn Chorus series reflects upon the socio-economic effects of globalisation on the city of Mumbai. Dawn Chorus foregrounds the disadvantaged and their daily grind, a result of living in the most populous city in India. Based on photographic images, the paintings in Dawn Chorus depict the faces of young boys who Kallat saw selling popular international books at street traffic lights in Mumbai.  Given the monumental size and the colour palette of the canvases, the paintings resemble city billboards, an abundant feature in the landscape of the city. The artist mounts his canvases on bronze sculptures that are recreations of gargoyles that adorn the city’s 130-year-old Victoria Terminus train station. Central to Dawn Chorus 9, as in the other paintings in the series, is the compelling image of the boys’ hair wherein a single figure becomes a composite of many stories. Everyday imagery, traffic, people and animals pile up like a crumbling cascade of narratives, as if the hair was a manifestation of their inner exchanges. Autosaurus Tripous was created from fibreglass fabrications of the bones of several animals; the overall effect seems humorous, yet one is not sure why. “This redundant vehicle is the carrier of several themes. It is supposed to be burlesque, grotesque and arabesque at the same time. I was inspired by undesirable images in the media of torched vehicles during riots, and at the same time it looks like an unearthed relic," says Kallat. It is rare in spite of protest to the contrary for exhibitions to sell out. This show did sell out and created a waiting list. The Indian art market at this point, like the Chinese market was booming. However the Indian art market was driven by investors Who didn’t understand that taking profits of 300-400% within 18 months would lead to a catastrophic crash. #JitishKallat #India #AlbionBarn #AlbionGallery #DawnChorus #DawnChorusSeries #AutosaurusTripous #Art #UnclaimedBaggage
  • Politics of Fear opened at Albion in March 2007. The group exhibition by eleven international artists addresses personal and public principles, governance and society. It was a nod to Frank Furedi’s book, The Politics of Fear: Beyond Left and Right (2005), which addresses the exhaustion of public life in the UK and the US and argues for a new conception of politics, one that re-moralises and humanises the political realm. The works included projection, film, performance, interactive video, assemblages, and sculpture by artists such as Kader Attia, Shilpa Gupta, Rashid Rana, Xu Bing, Reza Armesh, and Jorge and Lucy Orta. Each artist was given the opportunity to address their own conception of the “culture of fear” in different ways. Rashid Rana’s Meeting Point, a digital animation of two planes flying toward each other, was projected so that the corner of the gallery wall became their implied destination. Another of his works, Veil, relied on the difference between seeing at a distance and seeing from up close. From afar, three veiled figures emerged from a grid of what appeared to be the enlarged pixels of a photograph; closer inspection revealed that the entire image was comprised of minute pornographic photographs. The inversion of Orientalism as a grid of representation was wonderfully developed — the pornographic gaze, and the desire to see, know, and control aroused by the veil as a Western construct, came together to make us think about the connections between vision, violence, and lens-based media. This kind of attention to the tyranny of the visual was evident throughout the show. The curatorial intention behind this exhibition was the offering of a collective response to a perceived political crisis and the prevalence of fear in the current political climate. #RashidRana #KaderAttia #AvishKhebrehzadeh #XuBing #JorgeandLucyOrta #ShilpaGupta #AlbionGallery #AlbionBarn #PoliticsofFear
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    Politics of Fear opened at Albion in March 2007. The group exhibition by eleven international artists addresses personal and public principles, governance and society. It was a nod to Frank Furedi’s book, The Politics of Fear: Beyond Left and Right (2005), which addresses the exhaustion of public life in the UK and the US and argues for a new conception of politics, one that re-moralises and humanises the political realm. The works included projection, film, performance, interactive video, assemblages, and sculpture by artists such as Kader Attia, Shilpa Gupta, Rashid Rana, Xu Bing, Reza Armesh, and Jorge and Lucy Orta. Each artist was given the opportunity to address their own conception of the “culture of fear” in different ways. Rashid Rana’s Meeting Point, a digital animation of two planes flying toward each other, was projected so that the corner of the gallery wall became their implied destination. Another of his works, Veil, relied on the difference between seeing at a distance and seeing from up close. From afar, three veiled figures emerged from a grid of what appeared to be the enlarged pixels of a photograph; closer inspection revealed that the entire image was comprised of minute pornographic photographs. The inversion of Orientalism as a grid of representation was wonderfully developed — the pornographic gaze, and the desire to see, know, and control aroused by the veil as a Western construct, came together to make us think about the connections between vision, violence, and lens-based media. This kind of attention to the tyranny of the visual was evident throughout the show. The curatorial intention behind this exhibition was the offering of a collective response to a perceived political crisis and the prevalence of fear in the current political climate. #RashidRana #KaderAttia #AvishKhebrehzadeh #XuBing #JorgeandLucyOrta #ShilpaGupta #AlbionGallery #AlbionBarn #PoliticsofFear
  • ‘Beginning of the End’ was a global project #MarikoMori undertook over a number of years. #AliaAlSenussi helped to complete this project in Brasilia and Albion was able to show it completed for the first time ever in 2006. It travelled on to the Pinchuk centre in Kiev among other institutions. . . ‘Beginning of the End’ began in 1995 and ended in 2006. ‘Body Capsule’ was the initial work. Visiting thirteen sites globally over an 11 year period, Mariko Mori conflates cultural, temporal, and spacial axis. The earliest work was created in Giza, the latest work was taken in Dubai. . . Tom Na H-iu is an ancient Celtic site of spiritual transmigration where souls are considered to spend a long time until the next migration. Inspired by this legend, Mariko Mori created a sculpture that symbolizes life and death in our time. When a star dies, ‘Tom Na H-iu’ momentarily lights up. . #albionbarn #albiongallery #pinchukartcentre
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    ‘Beginning of the End’ was a global project #MarikoMori undertook over a number of years. #AliaAlSenussi helped to complete this project in Brasilia and Albion was able to show it completed for the first time ever in 2006. It travelled on to the Pinchuk centre in Kiev among other institutions. . . ‘Beginning of the End’ began in 1995 and ended in 2006. ‘Body Capsule’ was the initial work. Visiting thirteen sites globally over an 11 year period, Mariko Mori conflates cultural, temporal, and spacial axis. The earliest work was created in Giza, the latest work was taken in Dubai. . . Tom Na H-iu is an ancient Celtic site of spiritual transmigration where souls are considered to spend a long time until the next migration. Inspired by this legend, Mariko Mori created a sculpture that symbolizes life and death in our time. When a star dies, ‘Tom Na H-iu’ momentarily lights up. . #albionbarn #albiongallery #pinchukartcentre
  • Albion Barn’s current show ‘Doors and Windows’ by @richardwoodsstudio questions the quotidian and aesthetic choice of colours. How does one pick the colour of their door or car? What does it say about them? . As told by Richard, ‘during the past six months I’ve played around with the scale of the windows and doors. For a time I thought they needed to be oversized: ‘super-sized’ kitchen windows, ‘mega-sized’ dining room doors, but the works have all ended up being ‘normal’ sized. I think the 1:1 scale gives the works an objectivity. It’s important to me that the doors can be rehung as real doors, this also adds to the unhelpful debate of the differences between art and design and between useful and useless art. I was thinking a lot about Roy Lichtenstein’s back to front canvas stretcher paintings. The artist’s canvas when viewed from the front is an image. By flipping it back to front Lichtenstein not only gives us a window frame but also turns the canvas image into an object. We are presented with an image of the object that is the back of the painting. . By hanging the doors and windows on a gallery wall I am proposing that the design decisions we all make are read as art, and it is the place where art and design and architecture get all mixed up, this is the place I like the most’. . . Albion Barn hopes to reopen the show in the coming month. We look forward to seeing you then. ——————————————————- #AlbionBarn #RichardWoods #RoyLichtenstein #WindowsandDoors #Quotidien #AlbionGallery
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    Albion Barn’s current show ‘Doors and Windows’ by @richardwoodsstudio questions the quotidian and aesthetic choice of colours. How does one pick the colour of their door or car? What does it say about them? . As told by Richard, ‘during the past six months I’ve played around with the scale of the windows and doors. For a time I thought they needed to be oversized: ‘super-sized’ kitchen windows, ‘mega-sized’ dining room doors, but the works have all ended up being ‘normal’ sized. I think the 1:1 scale gives the works an objectivity. It’s important to me that the doors can be rehung as real doors, this also adds to the unhelpful debate of the differences between art and design and between useful and useless art. I was thinking a lot about Roy Lichtenstein’s back to front canvas stretcher paintings. The artist’s canvas when viewed from the front is an image. By flipping it back to front Lichtenstein not only gives us a window frame but also turns the canvas image into an object. We are presented with an image of the object that is the back of the painting. . By hanging the doors and windows on a gallery wall I am proposing that the design decisions we all make are read as art, and it is the place where art and design and architecture get all mixed up, this is the place I like the most’. . . Albion Barn hopes to reopen the show in the coming month. We look forward to seeing you then. ——————————————————- #AlbionBarn #RichardWoods #RoyLichtenstein #WindowsandDoors #Quotidien #AlbionGallery
  • As we await the easing of lockdown restrictions in the UK, we are taking this time to look back on archives and present our ongoing projects. We are excited for the reopening of @joana_vasconcelos_official at @yspsculpture. . . Yorkshire Sculpture Park presents a major exhibition of over 25 works by leading conceptual Portuguese artist Joana Vasconcelos. A prominent female visual art practitioners in the world, this is Vasconcelos’ largest exhibition ever held in the UK and YSP’s headline presentation for 2020 in a year of programming dominated by women artists. Bringing together works produced over the last twenty years, Joana Vasconcelos presents a dramatically choreographed selection of vibrant sculptures that engage with one another across YSP’s unique contemporary architecture and 18th century landscape. Shown in the Underground Gallery and extending into the surrounding gardens, the exhibition presents dynamic and playful sculptures that examine, expose and celebrate the creative lives of women. 📸 @jontywilde —————————————————————————————— #JoanaVasconcelos #yorkshiresculpturepark #AlbionBarn #AlbionGallery #YSP
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    As we await the easing of lockdown restrictions in the UK, we are taking this time to look back on archives and present our ongoing projects. We are excited for the reopening of @joana_vasconcelos_official at @yspsculpture. . . Yorkshire Sculpture Park presents a major exhibition of over 25 works by leading conceptual Portuguese artist Joana Vasconcelos. A prominent female visual art practitioners in the world, this is Vasconcelos’ largest exhibition ever held in the UK and YSP’s headline presentation for 2020 in a year of programming dominated by women artists. Bringing together works produced over the last twenty years, Joana Vasconcelos presents a dramatically choreographed selection of vibrant sculptures that engage with one another across YSP’s unique contemporary architecture and 18th century landscape. Shown in the Underground Gallery and extending into the surrounding gardens, the exhibition presents dynamic and playful sculptures that examine, expose and celebrate the creative lives of women. 📸 @jontywilde —————————————————————————————— #JoanaVasconcelos #yorkshiresculpturepark #AlbionBarn #AlbionGallery #YSP
  • Song of Songs opened in April 2005. The show by Jaume Plensa continued his interest in the dialectics of language and transparency. His longstanding fascination with communication exemplified here with texts from the Old Testament and his likeness of touch entranced the audience. ——————————————————————————- #AlbionGallery #AlbionBarn #JaumePlensa #SongofSongs
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    Song of Songs opened in April 2005. The show by Jaume Plensa continued his interest in the dialectics of language and transparency. His longstanding fascination with communication exemplified here with texts from the Old Testament and his likeness of touch entranced the audience. ——————————————————————————- #AlbionGallery #AlbionBarn #JaumePlensa #SongofSongs