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Exhibition – (X) A Fantasy (8 Sept – 7 Oct 2017)

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(X) A Fantasy
8 Sept – 7 Oct 2017

Opening Reception: Thurs 7 Sept, 7.30–11pm
With performances by Fernanda Muñoz-Newsome Hannah Regel, Urara Tsuchiya and Zoe Williams, and DJ set by New Noveta.

Special opening times during Frieze week: Mon 2–Sat 7 Oct, 12–6pm

DRAF presents  (X) A Fantasyan exhibition of new commissions and works by historical and contemporary artists. With Dora Budor, Helen Chadwick, Keren Cytter, Jimmy DeSana, Theaster Gates, Harry Gruyaert, Celia Hempton, Melike Kara, Tala Madani, Paul MahekeFrance-Lise McGurn, Pierre Molinier, Julian Opie, Hannah Quinlan and Rosie Hastings, Megan Rooney, Prem Sahib, Wolfgang Tillmans, Danh Vo and Zoe Williams.

When does the individual experience become a political statement? Over thirty artworks explore the subversion of the quotidian and the transgression of boundaries between public and private spheres. Living, eating, dancing, seducing, reading, watching films, going online; the exhibition traces how individual and collective engagements make the political personal.

On the occasion of the Opening Reception, the exhibition is activated with performances by choreographer Fernanda Muñoz-Newsome, and artists Hannah Regel and Urara Tsuchiya.

Upstairs in DRAF Studio, artist Zoe Williams presents her ambitious commission Ceremony of the Void, a voluptuous banquet inviting visitors to experience her fantastical immersive environment and large-scale performance involving artist-made delicacies, musicians, actors, video projections and new ceramic sculptures. This unique performance will take place during the Opening Reception.

DRAF Studio is supported by Arts Council England and DRAF Galleries Circle.

Thanks to in-kind supporters of the performance Ceremony of the Void: scent provided by Nishane, Istanbul; costumes designed by Hydra in collaboration with Zoe Williams; ceramic works produced by Rochester Square; and Suze Saveur d’Autrefois liqueur provided by Pernod-Ricard.

With thanks to the Canadian High Commission to the United Kingdom for their support.

Media partner: cura

ARTISTS

Dora Budor (b. 1984, Croatia) lives and works in New York City. Through her work, Budor considers the representation of emotional and physical experience within mainstream cinema. She focuses in particular on Hollywood production methods and special effects, where ideas transfer between states of materialisation, fictionalisation and digitalisation. Selected solo exhibitions include Dora Budor: Ephemerol, Ramiken Crucible, New York, 2016 and Dora Budor: Spring, Swiss Institute, New York, 2015. Her performance MANICOMIO!, 2017 was included in Frieze New York Projects, 2017. Selected group exhibitions include Le Rêve des formes, Palais de Tokyo, Paris 2017; Vienna Biennale, MAK, Vienna, 2017; Streams of Warm Impermanence, DRAF, London, 2016; Dreamlands: Immersive Cinema and Art, 1905–2016, Whitney Museum of American Art, New York; 9th Berlin Biennale, KW Institute for Contemporary Art, Berlin, 2016; and Inhuman, Fridericianum, Kassel, Germany, 2016. Budor is represented by New Galerie, Paris.

Helen Chadwick (b. 1953, Croydon, UK ­– d. 1996, London, UK) was a British sculptor, photographer and installation artist. Chadwick embraced the sensuous aspects of the natural world, breaking taboos of the “normal” and “traditional” in art historical pedagogy. Her influence upon a young generation of British artists was cemented through her teaching posts at the Royal College of Art, Chelsea School of Art and the London Institute. Her experiments with material were innovative and unconventional and captured a world in a state of flux. Nominated for the Turner Prize in 1987 her work is included in the Tate Collection as well as the collections of the Victoria & Albert Museum and the Museum of Modern Art, New York. Solo exhibitions included Efflivia, Serpentine Galleries, London, 1994; Bad Blooms, the Museum of Modern Art, New York, 1994, and Of Mutability, Institute of Contemporary Art, London, 1986-87. The estate of Helen Chadwick is represented by Richard Saltoun Gallery, London.

Keren Cytter (b. 1977, Tel Aviv, Israel) creates films, video installations, and drawings that represent social realities through experimental modes of storytelling. Characterised by a non-linear, cyclical logic Cytter’s films consist of multiple layers of images; conversation; monologue, and narration systematically composed to undermine linguistic conventions and traditional interpretation schemata. Recalling amateur home movies and video diaries, these montages of impressions, memories, and imaginings are poetic and self-referential in composition. The artist creates intensified scenes drawn from everyday life in which the overwhelmingly artificial nature of the situations portrayed is echoed by the very means of their production. Selected solo exhibitions of Cytter’s work include: Ocean, Pilar Corrias, London, 2016; Panoramas, Mathew Gallery, New York, 2016; Keren Cytter Selection, Künstlerhaus Halle für Kunst & Medien, Graz, Austria, 2016; Keren Cytter, Museum of Contemporary Art, Chicago, 2015; Here and There, Noga Gallery, Tel Aviv, 2015; and Rose Garden, Indianapolis Museum of Contemporary Art, Indianapolis, 2015. Recent group exhibitions include: Nothing But Longing, Void Gallery, Derry, UK, 2017; House of Commons, Portikus, Frankfurt, 2016; and Political Populism, Kunsthalle Wien, Vienna, 2015. Cytter is represented by Pilar Corrias, London.

Jimmy DeSana (b. 1949, Detroit, USA – d. 1990, New York, USA) was an American artist and a key figure in the East Village punk art scene of the 1970s and 1980s. DeSana’s photography has been described as “anti-art” in its approach to capturing images of the human body. He began to take photographs as teenager, mostly photographing his friends and acquaintances striking silly and sexy poses in houses and gardens. He moved to New York in 1973, and DeSana continued to picture the human body as the primary subject. De Sana died in 1990 from AIDS related illness. Following his death, his work continues to be exhibited internationally at group and solo exhibitions including Performing for the Camera, Tate Modern, London, 2016; The 1970s: The Blossoming of a Queer Enlightenment, The Leslie-Lohman Museum of Gay and Lesbian Art, New York, 2016; Greater New York, MoMA PS1, New York, 2015; Party Picks, Salon 94, New York, 2013. DeSana’s estate is represented by Wilkinson Gallery, London.

Theaster Gates (b. 1973, Chicago, USA) lives and works in Chicago. Gates’ practice includes sculpture, installation, performance and urban interventions that aim to bridge the gap between art and life. Gates works as an artist, curator, urbanist and facilitator and his projects attempt to instigate the creation of cultural communities by acting as catalysts for social engagement that leads to political and spatial change. Gates has described his working method as “critique through collaboration” – often with architects, researchers and performers – to create works that stretch the idea of what we usually understand visual-based practices to be.  Gates trained as both a sculptor and an urban planner and his works are rooted in a social responsibility as well as underpinned by a deep belief system. His installations and sculptures mostly incorporate found materials – often from the neighbourhoods where he is engaged and have historical and iconic significance. Perhaps Gates most ambitious project, however, is the ongoing real estate development, simply known as ‘The Dorchester Project’. In late 2006, Gates purchased an abandoned building on 69th and Dorchester Avenue on Chicago’s South Side, collaborating with a team of architects and designers to gut and refurbish the buildings using various kinds of found materials. The building and, subsequently, several more in its vicinity, have become a hub for cultural activity housing a book and record library and becoming a venue for dinners (choreographed occasions entitled ‘Plate Convergences’), concerts and performances. Gates describes this project as “real-estate art”, part of a “circular ecological system” since the renovations of the buildings are financed entirely by the sale of sculptures and artworks that were created from the materials salvaged from their interiors. Solo exhibitions include To Speculate Darkly: Theaster Gates and Dave, the Slave Potter, Milwaukee Art Museum, 2010; Seattle Art Museum, 2011; MCA Chicago, 2013; and The Black Monastic residency at Museu Serralves, Porto, 2014. He has exhibited widely, including group shows such as the Whitney Biennial, New York, 2010; dOCUMENTA (13), Kassel, Germany, 2012; The Spirit of Utopia, Whitechapel Gallery, London, 2013; When Stars Collide, Studio Museum, New York, 2014. In 2013, Gates was awarded the inaugural Vera List Center Prize for Art and Politics, and he has since won the Artes Mundi 6 prize, 2015. Gates is also the founder of the non-profit Rebuild Foundation and currently Professor in the Department of Visual Arts, University of Chicago.

Harry Gruyaert (b. 1941, Antwerp, Belgium) lives and works in Paris. He studied at the School of Film and Photography in Brussels from 1959 to 1962 and made films as director of photography for Flemish television before turning to colour photography in the early 1960s. In the early 1970s, while he was living in London, he worked on a series of colour television screen shots which “cover” the Munich Olympics of 1972 and the first Apollo flights, later to become the TV Shots, now included in the Centre Pompidou collection. Gruyaert joined Magnum Photos in 1981 and made trips including Asia, USA, Middle East and Russia. He has photographed his homeland and produced two books, Made in Belgium, 1981-3, and Roots, 2012. Recent exhibitions include Western and Eastern Light, Michael Hoppen Gallery, London, 2017; It’s not about cars, GALLERY FIFTY ONE, Antwerp, 2017; and Harry Gruyaert, Maison Européenne de la Photographie, Paris, 2015. He will be the subject of a major retrospective at the FotoMuseum, Antwerp, in 2018. His work is included in collections including Bibliotheque Nationale de France, Centre Pompidou, Fondation d’Entreprise Hermes, Metropolitan Museum, Tokyo. Gruyaert is represented by GALLERY FIFTY ONE, Antwerp.

Celia Hempton (b. 1981, Stroud, UK) lives and works in London. Hempton makes abstract and figurative paintings, sculptures, installations and sound works, that often explore the human form and the spaces and landscapes it inhabits. Much of her work plays with the display, exposure and performance of the body in our social encounters and relationships—both online and in person—turning the human form into a type of landscape in itself. Selected forthcoming exhibitions include Art in the Age of the Internet, 1989 to Today, ICA Boston, USA (2018), and selected solo exhibitions include presentation for Frieze, London with Southard Reid, Art Night with ICA, London, UK, The Magazine Sessions in collaboration with Fiorucci Art Trust, Serpentine Sackler Gallery, London, UK, (2016); Celia Hempton, Michael Lett, Auckland, New Zealand; Lupa, Galerie Sultana, Paris, France; FLY ASH, White Cubicle, The George & Dragon, London, UK (2015); Chat Random, Southard Reid, London, UK (2014). Selected group exhibitions include 31 Women Breese Little, London, UK, Transmissions from the Etherspace, La Casa Encendida, Madrid, Spain, Sans Titre 2016 Vol.3, Sans Titre, Paris, France (2017); Gettin’ The Heart Ready, The Royal Standard, Liverpool, UK, The Female Gaze, Part II: Women Look at Men, Cheim & Read, New York, USA, No Ordinary Love, Galerie Sultana, Paris, France, Prediction, Mendes Wood DM, São Paulo, Brazil, The Painting Show, British Council Touring Exhibition, Electronic Superhighway 2016 – 1966, Whitechapel Gallery, London, UK (2016). Hempton is represented by Southard Reid, London and Galerie Sultana, Paris.

Melike Kara (b.1985, Bensberg, Germany) lives and works in Cologne. She studied at Dusseldorf Academy under Rosemary Trockel. Kara focuses on the immediacy of bodily forms rendered through frenetic accumulations of lines. Composed of simple forms and mostly monochromatic colours, Kara’s figures convey emotional and psychological energy through gesture. Selected solo exhibitions include Melike Kara, Peres Projects, Berlin, upcoming 2017; In Your Presence, Peres Projects, 2016; Lunch, Salon Kennedy, Frankfurt Am Main, 2015; Flying Dinner, Open Forum, Berlin, 2015; Real Sorbet, Ortlo , Leipzig, Germany, 2014; Das kleine Schwarze, (duo with Peppi Bottrop), Boutique, Cologne, Germany, 2013. Selected group exhibitions include MIDTOWN, Salon 94 and Maccarone Gallery, Lever House, New York, 2017; Melike Kara, Talisa Lallai, Lindsay Lawson, Studiolo, Milan, 2016; Wild Style: Exhibition of Figurative Art, Peres Projects, Berlin, 2016; In Wonderland, Salon Dahlmann, Berlin, 2016; SURRREAL, König Gallery, Berlin, 2016; Lanzarote, Union Pacific, London.

Paul Maheke (b.1985, Brive-la-Gaillarde, France) lives and works in London. Maheke works in video installation, performance and sculpture. His practice is grounded in decolonial and emancipatory thought with a focus on cultural identity and new subjectivities. His current research imagines the body as an archive, a territory with its cartography and its colonised zones. Selected solo-exhibitions include Acqua Alta, Galerie Sultana, Paris, 2017; What Flows Through and Across, Assembly Point, London, 2017; In Me Everything is Already Flowing, Room E-1027, Berlin, 2016; I Lost Track of the Swarm, South London Gallery, London, 2016, and Green Ray Turns Out To Be Mauve, Green Ray, London, 2016. Selected group shows and performances include Ten Days Six Nights, Tate Modern, London, 2017; Diaspora Pavilion, Venice Biennale, 2017; Partitions Performances, Fondation Ricard, Paris, 2017; The problem with having a body / is that it always needs to be somewhere, The Approach, London, 2017; Transition, Galerie Alain Gutharc, Paris, 2016; Hypersea, in collab. with Sophie Mallett, Turner Contemporary, Margate, UK, November 2016; Seeking After *deep within*, Grand Union, Birmingham, 2016; As Far As You Are Unconcerned, The Showroom, London, 2016; Lock Eyes and Bare with Me, Tate Modern, London, 2016; Decolonial Love, Eventually, Document Film Festival, CCA, Glasgow, 2016; Paul Maheke: Unwritten Handbook, Serpentine Galleries, London, 2015; Posthuman Complicities, Akademie der Künste, Vienna, 2014. Maheke is represented by Galerie Sultana, Paris.

Tala Madani (b. 1981, Tehran, Iran) lives and works in Los Angeles. Madani’s work is characterised by loose expressive brushwork rendered in a bold, distinctive palette. Rich in narrative and heavy in irony Madani’s paintings depict darkly comic mise-en-scénes. Whilst her more abstract large-scale works usually contain a mass, group or collective, Madani’s more descriptive and intimately scaled paintings, and painterly video animations, depict uncomfortable scenes in which bald, middle-aged men engage in absurd scenarios that fuse playfulness with violence and perversity. She has an MFA from Yale University School of Art, 2006. Recent solo exhibitions include: Tala Madani, La Panacée, Montpellier, France, 2017; Shitty Disco, Pilar Corrias Gallery, London, 2016; First Light, MIT Visual Arts Center, Cambridge, USA, 2016; Smiley has no nose, David Kordansky Gallery, Los Angeles, 2015; Tala Madani, Centro Andaluz de Arte Contemporáneo, Seville, 2014; Tala Madani: Abstract Pussy, Pilar Corrias, London, 2014; Tala Madani, Nottingham Contemporary, Nottingham, UK, 2014; Rip Image, Moderna Museet Malmö & Stockholm, 2013; The Jinn, Stedelijk Museum Bureau, Amsterdam, 2011; Manual Man, Pilar Corrias, London, 2011. Recent group exhibitions include: Whitney Biennial, New York, 2017; Hope and Hazard: A Comedy of Eros, Hall Art Foundation, New York, 2017; Made Masculine, Museum of Art at the University of New Hampshire, USA, 2017; The Distance of a Day, The Israel Museum, Jerusalem, 2016; Inside Out, Galerie Eva Presenhuber, Zurich, 2016;  The Great Acceleration: Art in the Anthropocene, Taipei Biennial, 2014; Made in L.A. 2014, Hammer Museum, Los Angeles, 2014; Where are we Now?, 5th Marrakech Biennale, Marrakech, 2014;  Speech Matters, Danish Pavilion at the 54th International Art Exhibition, La Biennale di Venice, 2011; The Great New York, P.S. 1 MoMA, New York, 2010.

France-Lise McGurn (b. 1983, Glasgow, UK) lives and works in Glasgow. She graduated with a BA from Duncan of Jordanstone College of Art in 2005 and with an MA from the Royal College of Art in 2012. McGurn works with painting and drawing. Her work is developed from a non-indexical archive of collected imagery and moving image files. References for her work arise from social and emotional phenomena including, but not limited to: family, privacy, club culture, disobedience, sexuality, and ecstasy. Selected projects include Archaos (solo), Alison Jacques, London, 2017; residency and stairwell commission at Tate St Ives, 2017; Mondo Throb, Bosse and Baum, London, 2016; The Old Things, Crévecoeur, Paris, 2016; Sexting, Kate Werble Gallery, New York, 2016; NEO-PAGAN BITCH-WITCH! Evelyn Yard, London, 2016; Only with a light touch will you write well, freely and fast,Supplement, London, 2016 and David Dale Gallery, Glasgow, 2015; ‪3am (solo), Collective Gallery, Edinburgh, 2016; A collaboration with Marianne Spurr, Studio Leigh, London, 2015; Nos Algae’s (a performance), Tramway, Glasgow, 2014. She was part of collaborative performance Amygdala N.O.S with Kimberley O’Neill and Cara Tolmie at South London Gallery in 2015 for the launch of Love your Parasites, edited by Camilla Wills, to which she also contributed. McGurn runs a club night residency at the poetry club in Glasgow in collaboration with Katie Shannon called DAISIES,which invites DJs and artists to contribute to the decor and installation.

Pierre Molinier (b. 1900, Agen, France, d. 1976, Bordeaux, France) was a surrealist painter, photographer and object maker who worked alongside the Surrealists, including Andre Breton who organised his only solo show in his lifetime at L’Etoile Scellee (1957). By embodying an androgynous identity and through his fetishistic, erotic portraiture, he challenged norms of morality and decency, as in the self-portrait series Mon cul. He committed suicide in 1976, and a retrospective at Centre Georges Pompidou was held the following year. Molinier’s work in photography and photomontage furthered a fantastical, erotic vision, and served as inspiration for a later generation of artists including Robert Mapplethorpe and Cindy Sherman.

Fernanda Muñoz-Newsome  (b 1984, London, UK) is a London-based dance artist, who creates and performs choreographies across the UK and Europe. She works with composers, visual artists, pop/punk bands and other choreographers and dance artists in live performance and video works. She has collaborated recently with Pumarosa’s Nick Owen on still point, 2017 at Oval Space, London and the ICA, London; with Shelley Parker on Passage, 2016 and Let the Body at Arnolfini, Bristol, 2016; with Helm at South London Gallery, 2015; and with Savages and A Dead Forest Index in Station to Station at Barbican, 2015. She has performed pivotal works by Yvonne Rainer, Trio A and Simone Forti Huddle and Hangers at Hayward Gallery were she also worked with Xavier Le Roy and Marten Spangberg in Production. She is currently finishing her MA at Siobhan Davies, Independent Dance and Trinity Laban. She co-founded the cross- disciplinary performance night London Topophobia, keeping London’s performance scene fired up.

Julian Opie (b. 1958, London, UK) lives and works in London. Opie’s distinctive formal language is the result of digital alteration, presenting images as black outlines and simplified areas of colour; it speaks of Minimal and Pop art, of billboard signs, classical portraiture and sculpture and Japanese woodblock prints. Opie ‘paints’ using a variety of media and technologies, from inkjet on canvas and painted aluminium to vinyl on walls and sculptures of everyday features: scaled-down buildings, life-size cars, signposts. Opie graduated from Goldsmith’s School of Art, London in 1982. Solo exhibitions include Kunsthalle Helsinki, Finland, 2015; Museum of Contemporary Art Krakow (MoCAK), Poland, 2014; National Portrait Gallery, London, 2011; IVAM, Valencia, Spain 2010; MAK, Vienna, Austria, 2008; CAC Malaga, Spain, 2006; Neues Museum, Nuremberg, Germany, 2003; Ikon Gallery, Birmingham, UK, 2001; Kunstverein Hannover, Germany, 1994 and Institute of Contemporary Arts, London, 1985. Major group exhibitions include the Victoria & Albert Museum, London, 2016; Barbican Art Gallery, London, 2014; Tate Britain, London, 2013; the Shanghai Biennale, 2006; 11th Biennial of Sydney, 1998; documenta 8, Kassel, Germany, 1987; and XIIème Biennale de Paris, 1985. His public projects include works for hospitals, such as Barts & the London Hospital, 2003; the Lindo Wing, St Mary’s Hospital, London, 2012; Heathrow Terminal 1, 1998; the prison Wormwood Scrubs, London, 1994; and his design for the band Blur’s album, 2000, for which he was awarded the Music Week CADS for Best Illustration in 2001. Opie’s work is held in many major museum collections including the Arts Council, England; British Museum, London, UK; Carnegie Museum, Pittsburgh, PA, USA; IVAM Museum of Modern Art, New York, NY, USA; MoMAT Tokyo, Japan; National Gallery of Victoria, Melbourne, Australia; National Portrait Gallery, London, UK; Städtische Galerie im Lenbachhaus, Munich, Germany; Stedelijk Museum, Amsterdam, Netherlands; Tate Collection, London, UK and the Victoria and Albert Museum, London, UK. Opie is represented by Lisson Gallery, London.

Hannah Quinlan and Rosie Hastings (b. 1991, Newcastle/ London) live and work in London. They graduated from Goldsmiths, University of London in 2014. Their work centers themes of queerness and resistance, and includes an ongoing project @Gaybar, Wherein the artists rematerialise the historic gay bar as a container for queer practice.  Selected solo/duo exhibitions include Fuck Me On The Middle Walk, Truth and Consequences, Geneva, 2017; GENTRIFICATION, presented by Daata Editions and Zuecca Projects, 15th Venice Architecture Biennale, 2016; How to survive a flood @Gaybar, DRAF Studio, London, 2016; Cruising Extinction, @Gaybar, Oslo 10, Basel, 2015; If These Fossils Could Talk They Would Tell You Who Got Fucked and Who Didn’t, Room E10-27, Paris, 2015; Tifkas, Arcadia Missa, London, 2015. Selected group exhibitions include Coming Out, Walker Art Gallery, Liverpool, 2017; Late at Tate, Platinum Paradise (event), Tate Britain, 2017; Utopian Voices Here & Now, Somerset House, London, 2016; No! I Am No Singular Instrument, Various Small Fires, Los Angeles, 2016; Curators’ Series #9: Ways of Living by Arcadia Missa, DRAF, London, 2016; CONDO Cinema (screening), Genesis Cinema, London, 2016; Frieze Art Fair, London, 2016; and S, Arcadia Missa, London, 2015. Forthcoming shows include a solo exhibition at Arcadia Missa, London, 2017, and Queer Thoughts, New York, 2018. They are represented by Arcadia Missa, London and Truth and Consequences, Geneva.

Hannah Regel (b.1990, Nottingham, UK) is an artist based in London. Regel is currently completing her MFA in Sculpture at the Slade School of Fine Art and is also the co-editor of the feminist journal SALT. She has performed and exhibited internationally and was selected for Bloomberg New Contemporaries in 2013. She has also appeared as a panelist for discussions on contemporary feminism at institutions including the ICA, Goldsmiths College, Tate and Tenderbooks.

Megan Rooney (b. 1986, Canada) lives and works in London. Her practice unfolds across painting and murals, written and spoken word, sculpture and installation. Her works evoke characters: women with acrylic made-up pillowcase faces in film Tilia Americana (2015); sleeping sofa bags with tights as heads in sculpture A Petit Maison (2015); or ghosts, faces drawn like pillowcases, in paintings rendered on both canvas and Topshop magazines. Recent exhibitions include Sun Up Moon Down, Freymond-Guth Fine Arts, Basel, 2017; Ministry of Internal Affairs, MoMA Warsaw, Warsaw, 2017; Quiet, Barbara Seiler Gallery, Zurich, 2017; HULLABALOO, Cordova, Vienna, 2017; Animals on the bed, Seventeen, London, 2016; Piggy Piggy, Croy Nielson, Berlin, 2016; Grand Gestures, Freymond-Guth Fine Art, Basel, 2016 ; Natural Instincts, Les Urbaines, Lausanne, 2015; Till the stars turn cold, Glasgow Sculpture Studios, 2015; Tilia Americana, Opening Times Digital Commissions, 2014; Der Leone have Sept Cabeça (with Quinn Latimer), CRAC, Alsace, 2014. Performances include, f on your tongue, LUMA foundation for Project 1049, Gstaad, 2016;  Last Days, Last Days. Last Days at Serpentine Galleries, London, 2015 and O labor, Sister Continent (with Quinn Latimer), at DRAF, 2014; Pleasure and Charity – sharing in the experience, Art Gallery of Ontario, 2014. Rooney is represented by Seventeen Gallery, London and Freymond-Guth Fine Arts, Basel.

Prem Sahib (b. 1982, London, UK) lives and works in London. Through objects, performances and installations, Sahib explores both formal and autobiographical themes, relating often to intimacy, sexuality, relationships, desire and community. Sahib is interested in exploring the relationship between public and personal spaces, often evoking a sense of intimate encounters that remain hidden from plain sight in public places. Forthcoming solo exhibitions include Balconies, Kunstverein in Hamburg, Hamburg, Germany, Prem Sahib in collaboration with Celia Hempton, Southard Reid, London, UK (2017). Recent solo exhibitions include Cruising the House, residency, Inclusartiz Institute, Rio de Janeiro, Brazil, Grand Union, Grand Union, Birmingham, UK (2016); Side On, ICA, London, UK, END UP, Southard Reid, London, UK (2015); Tongues, Jhaveri Contemporary, Mumbai, India, Forget Amnesia, Fiorucci Art Trust, Italy (2014); Night Flies, Southard Reid, London, UK, (2013). Select group exhibitions include Si Sedes Non Is, The Breeder, Athens, Greece, ISelf Collection: Self-Portrait as the Billy Goat, Whitechapel Gallery, London, UK (2017); CRUISING, SALTS, Basel, Switzerland, NEON: The Charged Line, Grundy Art Gallery, Blackpool, UK, Prediction, Mendes Wood DM, São Paulo, Brazil, Secret Surface, KW Institute for Contemporary Art, Berlin, Germany (2016); The Ultimate Vessel, Koppe Astner, Glasgow, Sensorium, Sunaparanta, Goa Centre for the Arts, India, Thinking Tantra, Jhaveri Contemporary, Mumbai, India, Touring Exhibition; fig-2 25/50 in collaboration with Celia Hempton and Cecilia Bengolea, ICA Studio, London, UK, Britain Can Make It, Hayward Gallery, London, UK, and I am here but you’ve gone, Fiorucci Art Trust, London, UK (2015). Sahib is represented by Southard Reid, London and Galleria Lorcan O’Neill, Rome.

Wolfgang Tillmans (b. 1968 Remscheid, Germany) lives and works in Berlin. Tillmans studied at Bournemouth and Poole College of Art and Design in the early 1990s. In 2000 he was the first photographer and the first non-British artist to receive the Turner Prize. He has also been awarded the Hasselblad Award, the Royal Photographic Society’s Centenary Medal, the Royal Academy Summer Exhibition’s Charles Wollaston Award, The Culture Prize of the German Society for Photography, and is a member of the Royal Academy of Arts. Tillmans’s work has been recognised with international exhibitions, including solo-exhibitions Wolfgang Tilmans: 2017, Tate Modern, London, 2017; In Dialogue: Wolfgang Tillmans, Philadelphia Museum of Art, Philadelphia, USA, 2013; Lignine Duress, Galerie Chantal Crousel, Paris 2008; Freedom from the Known, MoMA PS1, New York, 2006; and Wolfgang Tillmans, Museum of Contemporary Art, Chicago, 2006. Since 2006, he has directed and curated Between Bridges, a nonprofit gallery first located in London and now in Berlin since 2014. Tillmans is represented by Maureen Paley, London, and David Zwirner, New York.

Urara Tsuchiya (b. 1979, Japan) lives and works in Glasgow and London. Tsuchiya works mainly with performance, video, and live events, often incorporating soft sculpture, costumes, ceramics and home cooking. These function as props to set up an alternate environment for out of the ordinary behaviours to take place. Solo shows include:Room Service, Union Pacific, London, 2016,Connoisseurs world, Queen’s Park Railway Club, Glasgow, 2015; You have been selected, Embassy Gallery, Edinburgh, 2012; Supercial Summer Club, (series of events and performances) as a part of 10 days in Summer, Queen’s Park Railway Club, Glasgow, 2012; The Naked Woodcutter, South London Cultural Centre, London, 2009. Group shows include: Cheateux Double Wide, Glasgow International Festival, collaboration with Zoe Williams, ARTBASH, Texas, USA, 2015; Eternal Bronzer, The Penarth Centre, London, 2015; Chew Crew, Transition Gallery, London, 2014; Statics, Transmission, Glasgow, 2013. Residencies include: Shonibare Studio, London, 2016; Hospitalfield House, Arbroath, UK, 2015; CCA, Glasgow, 2014; Embassy of Foreign Artists in Geneva, Switzerland.

Danh Vo (b. 1975, Bà Rịa, Vietnam) lives and works in Berlin and Mexico City. Vo is a graduate of the Kongelige Danske Kunstakademie, Copenhagen (1998–2002), and the Städelschule, Frankfurt (2002–05). His practice, existing at the intersection of autobiography and collective history, explores the signification found within archival traces as well as the malleable nature of personal identity. With references to migration and integration, Vo’s largely conceptual body of work destabilises the embedded structures of legitimacy within citizenship and identification. He represented Denmark at the Venice Biennale in 2015 and participated in the International Exhibition of the Venice Biennale in 2013. Solo exhibitions include Danh Vo, White Cube, Hong Kong, 2016; Ng Teng Fong Roof Garden Gallery Commission, National Gallery Singapore, 2016; Banish the Faceless: Reward your Grace, Museo Nacional Centro de Arte Reina Sofia, Madrid, 2015; Danh Vo Homosapiens, Marian Goodman Gallery, London, 2015; Aspen Museum of Art, USA; Ydob eht ni mraw si ti, Museum Ludwig, Cologne, 2015; Go Mo Ni Ma Da, Musée d’art moderne de la Ville de Paris, 2013; I M U U R 2, Guggenheim Museum, New York, 2013; and We The People (detail), Art Institute of Chicago, 2012. In 2015, Danh Vō co-curated Slip of the Tongue with Caroline Bourgeois at the Punta della Dogana, Francois Pinault Collection, Venice. He was the winner of the Hugo Boss Prize (2012) and awarded the ARKEN Art Prize, Denmark (2015). Vo is represented by Marian Goodman Gallery, London.

Zoe Williams (b. 1983, Salisbury, UK) lives and works in London. Selected solo-exhibitions include Opening Times, online artwork commission, 2017; Châteaux Double Wide series (Chamber Aide), Pel, Galerie Antoine Levi, Paris, 2015; Movements in Love, Galerie Antoine Levi, Paris, 2014; and You Consume Me, Kunstforeningen GL STRAND, Copenhagen, 2014. Selected group exhibitions include Granpalazzo, Ariccia, Rome, Solo with Galerie Antoine Levi, 2016; Sex Living – New Noveta residency fundraiser, London, 2016; Centers of Indetermination, SixtyEight Art Institute, Copenhagen, 2016; Skins, Ellis King, Dublin, 2016; Tender Touches, Austrian Cultural Forum, London, 2016; Paris Internationale 2016, Booth with Galerie Antoine Levi, Paris; Chateaux Double Wide Pop up bar, for solo exhibition by Urara Tsuchiya, Union Pacific, London, 2016; AFA 2, Art-O-Rama, Marseille, 2016; ART-O-RAMA, Marseille International Fair of Contemporary Art, Booth with Galerie Antoine Levi, Marseille, 2016; H Y P E R C O N N E C T E D, MMOMA, part of 5th Moscow International Biennale of Young Artists, 2016. Williams is represented by Galerie Antoine Levi, Paris.

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  • Jimmy DeSana, Gauze, 1979. Courtesy The Jimmy DeSana Trust and Amanda Wilkinson Gallery, London.
Copyright The Jimmy DeSana Trust
    1/8Jimmy DeSana, Gauze, 1979. Courtesy The Jimmy DeSana Trust and Amanda Wilkinson Gallery, London. Copyright The Jimmy DeSana Trust
  • Dora Budor, strepitoso, 2017. Courtesy the artist and New Galerie, Paris.
    2/8Dora Budor, strepitoso, 2017. Courtesy the artist and New Galerie, Paris.
  • Hannah Quinlan and Rosie Hastings, Tifkas, 2015. Courtesy the artist and David Roberts Collection, London.
    3/8Hannah Quinlan and Rosie Hastings, Tifkas, 2015. Courtesy the artist and David Roberts Collection, London.
  • Melike Kara, Love Story, 2017. Courtesy the artist and David Roberts Collection, London.
    4/8Melike Kara, Love Story, 2017. Courtesy the artist and David Roberts Collection, London.
  • Danh Vo, Untitled, 2014. Courtesy the artist and David Roberts Art Collection, London.
    5/8Danh Vo, Untitled, 2014. Courtesy the artist and David Roberts Art Collection, London.
  • Harry Gruyaert, TV Shot. Men in Suits, 1972. Courtesy the artist and David Roberts Collection, London.
    6/8Harry Gruyaert, TV Shot. Men in Suits, 1972. Courtesy the artist and David Roberts Collection, London.
  • Megan Rooney, Untitled (snake), 2016. Installation view at Croy Nielsen, Berlin. Courtesy the artist and Croy Nielsen
    7/8Megan Rooney, Untitled (snake), 2016. Installation view at Croy Nielsen, Berlin. Courtesy the artist and Croy Nielsen
  • (X) A Fantasy. Drawing by Zoe Williams 2017. Courtesy the artist and Galerie Antoine Levi, Paris
    8/8(X) A Fantasy. Drawing by Zoe Williams 2017. Courtesy the artist and Galerie Antoine Levi, Paris