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12^th September 2011

SUNDAY Art Fair
Thursday 13 – Sunday 16 Oct 2011
Ambika P3
35 Marylebone Road
London NW1 5LS

SUNDAY is a gallery-led art fair of 20 young international galleries organised by Croy Neilsen, Limoncello and Tulips & Roses.

Arcade (London); BolteLang (Zurich); Cole (London); Croy Nielsen (Berlin); Gaudel de Stampa (Paris); Laurel Gitlen (New York); Hopkinson Cundy (Auckland); Tanya Leighton (Berlin); Limoncello (London); Lüttgenmeijer (Berlin); Francesca Minini (Milan); Motive Gallery (Amsterdam); MOTINTERNATIONAL (London/Brussels); TARO NASU (Tokyo); Neue Alte Brücke (Frankfurt); New Galerie (Paris); On Stellar Rays (New York); Projectos Monclova (Mexico); Supportico Lopez (Berlin); Tulips & Roses (Brussels).

Arcade - Caroline Achaintre, Maria Zahle; BolteLang - Florian Gemann; Cole - Robin Footitt, Ian Homerston; Croy Nielsen - Joshua Petherick, Hugh Scott-Douglas; Gaudel de Stampa - Dove Allouche, Jessica Warboys; Laurel Gitlen - Allyson Vieira; Hopkinson Cundy - Kate Newby; Tanya Leighton - Oliver Laric, Dan Rees; Limoncello - Sean Edwards; Lüttgenmeijer - Matt Connors, Susanne M. Winterling; Francesca Minini - Francesco Simeti; Motive Gallery - Aurélien Froment, Pierre Leguillon; MOTINTERNATIONAL - Florian Roithmayr; TARO NASU - Ryan Gander, Taka Izumi; Neue Alte Brücke - Tim Davies, Simon Fujiwara; New Galerie - A Kassen; On Stellar Rays - Brody Condon, Debo Eilers; Proyectos Monclova - Christian Jankowski; Supportico Lopez - Franziska Lantz, Zin Taylor; Tulips & Roses - Raimundas Malašauskas.
Entry Free
 

Wednesday 12 October 2011: 9pm-1am Party hosted by Mousse at the ICA Bar
Thursday 13 October 2011: 12-8pm
Friday 14 October 2011: 12-11pm Art Pub Quiz by Quizmaster Bedwyr Williams at Bryan's Bar
Saturday 15 October 2011: 12-8pm
Sunday 16 October 2011: 12-6pm

E: info@sunday-fair.com
W: www.sunday-fair.com
T: +4420 7739 2363

Fair Manager: Katy Partridge +447811406703 / info@sunday-fair.com
Press: Anna Larkin +447867974088 / anna@all-arts.co.uk

Rebecca May Marston +447835112114 / limoncello@limoncellogallery.co.uk
Henrikke Neilsen +491797935836 / henrikke@croynielsen.de
Jonas Žakaitis +37069800017 / jonas@tulipsandroses.lt
 

SUNDAY is generously sponsored by Zabludowicz Collection.

12^th August 2011

ELIZABETH HOUSE
Thursday 18th August 2011
6 – 9pm

39 York Road
City of London
London
SE1 7NQ

1st Floor:

Marie Angeletti, Mandy El Sayegh, Robin Footitt, Sachin Kaeley, Jack Lavender, Oscar Murillo, Yelena Popova, Richard Sides, Julia Tcharfas and Timothy Ivison


Nearest Tube: Waterloo

11^th May 2011

Fire Station Centenary
Open Weekend
Saturday 21 and Sunday 22 May, 12 noon to 6pm
 

On 19 May 1911, a new Fire Station opened in Poplar, E14. One of the first built for motorised fire engines, the station served heavily-bombed East London during the Blitz of WWII.

Decommissioned in the 1970s, the building was converted in 1997 and became the permanent home of Acme Studios’ Fire Station Work/Live Residency Programme. Over 50 artists have already benefited from the residencies; the current artists are:

Briony Anderson, Gemma Anderson, Kate Atkin, Jonathan Baldock, George Charman, Melan Clifford, Susan Corke, Robin Footitt, Haroon Mirza, Matthew Noel-Tod, David Osbaldeston and Emma Smith

To celebrate the building’s centenary and its new life as the base for a major artists’ residency programme, the Fire Station will be opening its doors to the public. As well as a chance to meet the artists and view the work/live units, the artists will be responding to the centenary with new work.

www.acme.org.uk/firestationworklive.php

8^th April 2011

Robin Footitt: Mains
6 April - 7 May 2011

Click here to download pdf (file size 811 kB). A printed version is also available at the gallery.

10^th March 2011

PRESS RELEASE

Robin Footitt: Mains
6 April - 7 May 2011

Private View: 5 April, 6 - 8pm
Cole Contemporary, Little Portland St, London (www.colecontemporary.com)
 

Mains as an expression of first impression.

An imprint follows which creates structure and reasoning.

If the power was placed elsewhere other than electricity would aspects of modernism have become condensed via mechanical means?

Each the first step; all the Mains.


Cole Contemporary is pleased to present Mains, a solo exhibition from Robin Footitt that opens a dialogue with understanding. Principally taking a basis in the removal of caste ingredients to reassess creative alternate histories, Footitt refines such notions inherent in painting and sculpture to the point of reform.

Central to the exhibition is Dig! (2011), a pair of protracted weapons carved from a single Western Red Cedar tree; unrealistic renditions of a prehistoric caveman club both in scale and effectiveness. Its standing as a relic is contested as no such gesture can be evidenced in reality and its confusion inside a swarm of ideals fractures object purpose from every angle. This is a vocabulary not altogether unfamiliar in Footitt’s practice, often assuredly traversing a theoretical approach within the studio. In his essay “The Weight and the Carried Mark Across Canaletto’s Views of London” (Turps Banana, Issue 8, 2010) the artist plots the migration of a single brush mark across Canaletto’s theatrical vista painting of London’s Thames waterway.

The anticipation of a ‘what if?’ scenario inevitably places conditions whereby electricity becomes replaced metaphorically – the act of looking and the trace of society are open to alterations. Mains dials back and forth between the surreal and infinitely possible, with The Next Soufflé Accordion (2011) tuning into this motion. What once was a recipe book has now been diffused with paint, the cover image all but broken. Indeed paint becomes a material to transmit the absence of other choices whether it be for substance value (Fossil Fuel, 2011) or image delivery (Stick & Tyred, 2011). At a time when more conversations and definitions could be made, Mains identifies with the current apprehension or neglect of outside broadcasts, suggesting a sense of fracturing into self-perpetuating mono histories.


Robin Footitt b. 1982 in Sutton, UK, lives and works in London. Footitt studied at Royal College of Art (2009) and recently presented Radiaal Moderne with Simon Mathers for Cole Contemporary at Art Rotterdam 2011. He previously co-curated The Drifting Canvas at Cole Contemporary (June 2010) based on his 2008 essay. Recent exhibitions include SCREENING (2010), 203-5 Brompton Road, London and Tour Operator (2010), 27AD, Bergamo, Italy. Footitt was the recipient of British Airways 2009 Great Britons Travel Bursary and is currently part of Acme Studios Fire Station Work/Live Residency, Programme 4 (2010-15).

31^st January 2011

ART ROTTERDAM 2011
10 – 13 February 2011
Private view; Wednesday 9th February 6 – 9pm
Cruise Terminal, Rotterdam, Wilhelminakade 699, 3072 AP Rotterdam, Netherlands
www.artrotterdam.nl

Radiaal Moderne: Robin Footitt & Simon Mathers presented by Cole Contemporary, London (Stall #21)
www.colecontemporary.com
 

Accompanying publication ‘Radiaal Moderne: a conversation between John Slyce, Robin Footitt and Simon Mathers’ (published by Ditto Press/Cole Contemporary, 2011) will be made available at the fair, info@colecontemporary.com to request more information.

7^th January 2011

BERGAMO ART FAIR 2011 / BERGAMO ARTE FIERA 2011
14 – 17 January 2011
Private view; Friday 14th January 6pm
Quartiere Fieristico di Bergamo, Italy
www.bergamoartefiera.com

Robin Footitt presented by 27AD, Bergamo, Italy
www.27ad.eu

28^th October 2010

SCREENING WALKTHROUGH TOUR with Robin Footitt & Sachin Kaeley + guests
Monday 1st November; 7:30 - 8:30 PM

Doors open at 7 PM to view the exhibition prior to the event. Numbers are limited so please email events@londonscreening.com to confirm.

21^st September 2010

SCREENING
13 October – 10 November 2010
Private view; Tuesday 12th October 6 – 9pm
RSVP: rsvp@londonscreening.com

Frame by frame. The interruption of a measurable medium suggests an evolving dialogue that edits the established trajectory: image capture. The video format has readily adapted within the sphere of the internet. In turn, painting can shape to surrounding open source availability, images and media. Thus possibilities in painting elaborate through associations with other mediums. Video practice enters a similar status by recording real time form (linear narrative, reportage, edit), arriving at a manipulation which traverses experience.

SCREENING is an independent artist-led initiative considering the subtleties of display in materiality; bringing together established international and exciting emerging British artists with video works by Oliver Michaels, Paul Pfeiffer, Ryan Trecartin and Tom Smith and the paintings of Albert Oehlen, Armen Eloyan, Daniel Sinsel, George Young, Robin Footitt, Sachin Kaeley, Stewart Cliff and Toby Ziegler.

The function of selection is a dilemma for all visual artists. Conditions for the encounter of painted and projected surfaces present conducted media with an appearance of finality. For this exhibition, the artists enter into a discussion with new and recent progressions; disengaged with a final rhetoric, reclassifying the trajectories authored by painting and video. The location to enter such a proposition is also temporary; a purpose built event structure inside a 5000+ sq ft. two- storey Knightsbridge office block. SCREENING is accompanied by a series of events.

Visit www.londonscreening.com for regular updates. For more information contact Robin Footitt, info@londonscreening.com or call 020 7987 2523.

Support from Outset Fund, Brompton Design District, Williams & Hill and GFSmith
 

203-205 Brompton Road
Knightsbridge
London
SW3 1LA
Admission Free

13/10 - 10/11/2010
Tues - Sat; 10am - 6pm

T: 020 7987 2523
E: info@londonscreening.com

Tube: South Kensington & Knightsbridge
Buses: C1, 9, 10, 14, 49, 52, 74, 345, 360, 414 & 452
 

Featured in TANK, Volume 6 Issue 4
THE ART ISSUE (p. 16, text by Sally Mumby-Croft)

SCREENING
Video and painting meet in a new context

The rate at which technology accelerates makes it easy to forget how far the computer age has advanced accessibility of video recording in recent years. The sphere of the Internet has turned anonymity on its head and self-published orators have found unexpected audiences to ridicule and rate their output in equal measure. Although images are readily captured and disseminated on sharing networks, how this advancement has affected the progression of contemporary painting practice is an intriguing and altogether uncharted prospect.

Independent group exhibition SCREENING is an artist-led initiative that brings together established international and exciting emerging British artists; with video works by Oliver Michaels, Paul Pfeiffer, Tom Smith and Ryan Trecartin and the paintings of Stewart Cliff, Armen Eloyan, Robin Footitt, Sachin Kaeley, Albert Oehlen, Daniel Sinsel, George Young and Toby Ziegler.

The project, which was initiated by Robin Footitt and Sachin Kaeley, will be presented as a temporary and preliminary structure built inside a 5000+ sq. ft, two-storey office block in Knightsbridge, London, opening during Frieze Art Fair week. Footitt has instigated a number of curatorial projects as an artist, mostly recently The Drifting Canvas (2010), Cole Contemporary, London and Through The Wall (2009), A Foundation, London, which was described as a successor to the independent Goldsmiths’ shows during the last recession.

SCREENING will include Ryan Trecartin’s multi-layered video piece I-Be AREA (2007), combining video effects, an assorted cast of characters and a rich, compressed dialogue that discusses far ranging topics such as cloning, adoption, self-mediation, life-style options, virtual identities and the perplexities and possibilities of life in this digi-cyber age. Trecartin, who will also be featured in a solo presentation with Elizabeth Dee Gallery, New York in Frieze Art Fair, will be exhibited alongside recent paintings loaned from influential German artist Albert Oehlen, whereby the medium of paint and slippage into digital narrative produces an interesting discussion – to be developed with a series of talks and events taking place at the venue. Many of the works reproduce the act of presentation, George Young’s often immersive framing techniques ‘capture’ the sparsely painted surfaces presented in unison and Tom Smith’s bespoke computer program CocoaGL breaks down film into its constituent frames – creating abstract horizontal lines which slowly fill the screen turning the motion picture into a still one, in real time. This reflects the show’s provisional title, a defining moment to see the most prominent London show this autumn.
 

28^th June 2010

The Florence Trust Summer Exhibition 2010; Maurice Citron, Erica Donovan, Nadège Druzkowski, Nisha Duggal, Robin Footitt, Anne Harild, Caroline Kha, Tamiko Kusuhara, Bo Magnus, Ute Panella, Louise Thomas.

Private view Thursday 8th July 2010, 6 – 9 pm. Open Monday to Sunday; 12 – 6pm; 9th to 19th July 2010. Full-colour catalogue available (text by Soraya Rodriguez), see website for more details

www.florencetrust.org

 

27^th June 2010

The Drifting Canvas, published in association with Cole Contemporary/Ditto Press is now available on digital format.

Click here to download pdf (file size 2.33 MB). A printed version (edition of 100) is also available.

www.colecontemporary.com
 

3^rd June 2010

Selected by Matthew Higgs, Director/Chief Curator white columns, New York for White Columns Curated Artist Registry

www.whitecolumns.org
 

18^th May 2010

Turps Banana Issue #8 out now
‘The Weight and The Carried Mark Across Canaletto’s Views of London’ text by Robin Footitt (p.44)

www.turpsbanana.com
 

11^th May 2010

PRESS RELEASE

The Drifting Canvas
Cole Contemporary, Little Portland St, London (www.colecontemporary.com)
17 June – 17 July 2010

Harry Beer, Robin Footitt, Ian Homerston, Thomas Livesey, Tom McParland, Ellen MacDonald, Simon Mathers, Jamie Partridge

The Drifting Canvas presents eight artists painting in the context of the digital information age, as ever developing CGI technology creates new and innovative ways of approaching the visual.

As the increasing layers of CGI in film create a superimposed way of looking, computer effects replace images that were once conjured, thus removing elements of suspense and calling into question the credibility of the image. This drift from the real to the unreal can be characterised as the overall ubiquity of digital recording, and can also be presented as a means of rescue or escape - a unifying approach to a fragmented installation of images or a dislocation of subject and context. When capturing an image it can initially be seen as a record but with the presence of elemental form, i.e. the pixel which is contrastingly both the greatest quantity and smallest detail. The actions of painting have in turn informed and proliferated from such method.

The Drifting Canvas forms a dialogue present in contemporary painting practice, dissolving abstraction and special effect with works by Harry Beer, Robin Footitt, Ian Homerston, Thomas Livesey, Tom McParland, Ellen MacDonald, Simon Mathers and Jamie Partridge.
 

5^th March 2010

PRESS RELEASE

Tour Operator, curated by Nicola Scaglione
27AD, Bergamo, Italy (www.27ad.eu)
15 March – 30 April 2010

Vernissage 15 March, 7PM

Vincent Fournier, Robin Footitt, Andrew Curtis, Arthur Steward, Marie T. Hermann

Text by Nicola Scaglione, translated from Italian

“A tour operator is a commercial company that sells, creates (or simply ‘assembles’) tourist packages, generally including hotel reservations, a/o transfers (for example plane tickets), insurance policies, overnight stays, and other on the spot services (if all services are included in the package, it includes all meals and drinks, we call this an ‘all inclusive’ treatment).

A tour operator therefore puts together tourist packages inclusive of transfers and overnight stays and not excluding that risks are possible. So in the second collective exhibition of Galleria 27AD curated by myself, my commitment is to stage a collection of artists, who have in common not only youth and that they are already considered promising, but also that their work commonly has contrast and does not exclude risks.

The contrast begins with ‘Rescue attempt’ by Robin Footitt, the performer who has his picture behind him while he recites, two different beings, yet conscious of his own dichotomy. And a light box which has RESCUE written in red which perhaps indicates what to do. What to do in case of danger, of inconvenience. It is a luminous emergency sign. So our dichotomy we only see in times of emergency. Let us try our crown, the circle which measures our cranial circumference, but we keep it hidden (‘The Wire’ + ‘Inner circle’ by Robin Footitt). From protagonists of double personality, we begin our organised journey passing from the almost artificial coloured and dreamy scenery of Vincent Fournier to the colourless corners of a concrete London suburb, where ghosts appear as a black presence of shade or of robust agaves and from large Aculei that break the tedious calmness with adolescent excitement (‘New Empire-Shadow Before’ by Andrew Curtis). And we are still ourselves.

It is not without risks, as I had promised you, and the ‘Hostage’ by Robin Footitt reminds us of this. Positively coloured panels which seem innocuous, yet on the contrary they captivate us, and at a certain point they reveal the hidden image of a delinquent which takes us hostage and which threatens us with a pistol. Again near the London suburbs observed by the illusory plant Arucaria, as if an inhabitant from another dimension who watches and waits (‘New Empire, Araucaria Araucana’ by Andrew Curtis).

The contrast, because to create contrast in a good organised journey you need to talk; we never want to leave for a journey and at our destination find exactly that which we have left behind, we never want to enter an exhibition and leave the same as before, contrast continues really with the heart and the reassuring domestic hearth of a table and white plates. The deformed white plates, stuck to the walls, engraved into the white surface of the memory, the table. The contrast between that which we remember and that which no longer exists.

It no longer exists in the chaotic life of the modern city, complicated and tense. The work of Marie T. Hermann emanates calm, they are pieces of recollection, they are pieces of furniture yet they move our senses in an attempt to reconcile us with ourselves. They are the opposite yet the same of the enormous works of Arthur Steward, with his black bitumen sceneries on white polystyrene. The black material, rubbery, heavy, that runs down covering, so cancelling the white surface. The enormous piece reminds us of Monet’s waterlillies seen again in an important contemporary setting, it almost seems like a photograph of a metropolis when the lights are low and the shadows become significant, it reminds us of that which is insignificant yet which underneath really matters, and is the ambiguous contrast between purity and perversion. Sometimes the contrast is not clear but subtle. Sometimes we try not to see what is really inside of us and leave our exterior to lead with greater redemption.

Agota Kristof writes:
- They have a shrunken face with an eternal expression of kindness. But who can know what they are trying?
- You, probably.
- I only see the external. Composed.
- What is composed?
- That something external surrounded by another external becomes internal, just as internal that welcomes internal changes unquestionably into external."

Tour Operator
Nicola Scaglione
 

4^th January 2010

The Florence Trust Open Studios 2010; Maurice Citron, Erica Donovan, Nadège Druzkowski, Nisha Duggal, Robin Footitt, Anne Harild, Caroline Kha, Tamiko Kusuhara, Bo Magnus, Ute Panella, Louise Thomas. Private view Friday 29^th January 2010, 6 – 9 pm. Open Saturday 30 & Sunday 31 January 2010, 12 noon – 6 pm     www.florencetrust.org

21^st December 2009

Announced the winner of British Airways Great Britons Award     www.greatbritons.ba.com/news/3

17^th December 2009

Selected for Programme 4 (2010-2015) at Acme Studios' work/live residency at The Fire Station; Briony Anderson, Gemma Anderson, Kate Aktin, Jonathan Baldock, George Charman, Melanie Clifford, Susan Corke, Robin Footitt, Haroon Mirza, Matthew Noel-Tod, David Osbaldston, Emma Smith), Bromley-by-Bow, London established in 1997. For more information follow www.acme.org.uk/firestation.php