It’s The Catlin Art Prize’s 3rd year at Londonewcastle’s project space on Redchurch Street…

With fresh graduates and emerging artists from across the UK, the exhibition is always going to be out of the ordinary and this year is no exception.

The seven finalists have cleverly utilised the space, transforming the gallery in ways that that are difficult to appreciate unless you’re there (nonetheless);

Justin Hammond, Curator of the The Catlin Art Prize has firmly established the award as one of the most essential and serious BA and MA Fine Art graduate prizes in the whole of the UK. Each year, Justin curates what are, in his view, the next challenging artists across the UK.

To visit the exhibition and place your vote, head down to the gallery by 24th May.

Brooklyn-based photographer Amber Pollack - who originally hails from London - is to debut at this year’s Other Art Fair.

She started out in the traditional way out in the darkroom at age 14, later moving to New York to pursue her career as a photographer via a BFA at Parsons, the New School of Design. She continues to work between her Brooklyn base and London - and now is the time to see this emerging talent.

Amber will be showing works from the 2013 series ‘To be a Lady’ - a challenging and disarming body of work that sees tightly cropped images of the female figure paired and collaged, offering multiple and contradictory ideas of femininity, sexuality and beauty.

Walking a fine line between attraction and repulsion, many of the images have an unsettling feeling reflecting the artists’ frustration with the reality of being a woman.

One to watch for the future - but buy now.

THE OTHER ART FAIR THURSDAY 24 - SUNDAY 27 APRIL 2014 AT AMBIKA P3, 35 MARYLEBONE ROAD, LONDON.

www.theotherartfair.com

Shop Amber’s work on The Other Art Fair Website

Following Londonewcastle’s joint sponsorship of the gala back in the spring, the good people of The Roundhouse invited us to the private view and unveiling of Conrad Shawcross’ work ‘TIMEPIECE’ - this year’s Summer Exhibition (August 1st to 25th, actually).

The mechanical piece is in fact a clock (of sorts), playing on the 24 columns around the circular space featuring revolving hands with bright bulbs on each end, suspended from the roof and moving around a large central ‘spike’ (not the technical term) which casts shadows on the floor - like a sundial. Who knows if it tells the time accurately, who actually cares? That’s the point…

It’s a simple and powerful piece, fabricated with incredible skill and craftsmanship (4,000 man hours in the studio), thats shines in your eye yet creates a sense of thoughfulness in the vast surroundings.

The exhibition is on until 25th August, click here for more details.

Despite the fact the show is nearing its end, there is still time to offer a review on what has passed. Largely because it would be remiss not to give this fine exhibition some due respect. Curated by respected agent Hobby Limon of TAG Fine Arts, this solo show of Stephen Walter’s work benefits from a little time spent indoors away from the simmering heat of Shoreditch’s summer streets.

Alongside his now-famous and incredibly detailed maps of London sits other more abstract works which reveal the inner workings of this fine contemporary artist.

But there’s no doubt that after a play with the imaginative APP and beautifully crafted Victorian viewing magnifier, visitors will be drawn to the collage of individually framed areas of London from the mammoth Nova Utopia work, to search out their own neighbourhood and see what the artist has to say…

The exhibition continues until Sunday 28th July @ Londonewcastle Project Space.

Residents of the soon to be available Rosebery Avenue development in Clerkenwell will benefit from a piece by world renowned contemporary artist Marco Brambilla.

Following his piece ‘Heaven & Hell’ that can be experienced in the lifts of The Standard Hotel in NYC’s meat-packing district, Londonewcastle and The Third Quarter have procured a new piece from artist - in his first ever UK project - entitled ‘Materialization/ De-materialization’.

This is a sneak preview for those not fortunate enough to snap up one of the interior-designed duplex penthouse apartments available in Spring 2014.

Thursday afternoon and the sun was still beaming down gloriously on London. Just the spotlight our Shoreditch Gallery needed for the opening night of ‘Three Acts of Will’. Artist Jeff Robb fused holograms for his latest offering.

Despite Pimms jugs and after work drinks calling most to the pub, the turnout filled the gallery from wall to wall with art enthusiasts. I moved through the gallery experiencing the exhibition precisely as it was titled - in three acts. Apart from a visual element there was also audio which is controlled by how you move in the room.

Esteemed art paper METRO kicked off the flood of coverage due on Jeff Robb’s new show opening (to Private View only, sorry) at Londonewcastle Project Space this evening.

Word of warning to people interested in the show - which opens its doors ot the public on the 7th and runs daily from 11am - 7pm until 13th June, if you head on foot or search for “The Gallery, Shoreditch” on Google you will end up at a residential development on Commercial Road. Don’t do it! Turn round and head back to Redchurch Street, No.28 to be precise.

Full details of the show here.

Correct location details here.

The Catlin Art Prize 2013 reached an exciting climax with the announcement of this year’s overall winner and the visitor’s vote winner to a packed gallery audience.

Terry Ryu Kim took top honours and won a £5,000 prize for her installation “Screening Solution I, II and III”:

Judge Ceri Hand commented: “We selected Terry Ryu Kim because the work – ideas, materials, execution and installation – felt mature, concise, pertinent and unique. It draws on public spaces and speaks of intimacy, control, collective identity and the fragmentation of the self. It is a haunting, beautiful work”.

The panel of judges –Turner Prize nominated Dexter Dalwood, gallerist and curator Ceri Hand, and collector Valeria Napoleone – also commended the other artists for producing a strong and committed selection of new works.

Visitors once again had the opportunity to vote for their favourite artist and they did so in great numbers - via ballot box and online. The £2,000 prize put up by sponsor Catlin went to media favourite Juno Calypso for her kitsch and unsettling, yet strangely erotic photographs of staged scenes in which she performs under the guise of a character called Joyce.

Organiser Peter Allen reflected on the show, “It’s been great to work with curator Justin Hammond and the team once again this year and my thanks extend to the continued support by sponsor Catlin. The show is truly exciting and the work rate of the artists - especially the marathon performance by Nicky Deeley - is astonishing.

Because of Justin’s vision and resulting quality of new talent on display, this is a must-see show on the London art calendar. It’s a key showcase for the best new talent - and the fact that in a direct head-to-head review by Time Out with the Saatchi ‘New Order’ show across town, Catlin was awarded four stars and Saatchi two is a big compliment. The point is not the score, but the comparison itself - to share the same page with such a respected organisation is a massive validity for all the hard work.”

The show continues until 4pm on Sunday 26th May. Click here for full details.

It’s nearly the end of May in London, but it could be winter. I stumble my way down to a wet and dreary Shoreditch High Street, having successfully negotiated the stressful London underground rush-hour crush. Umbrella up and head down I make my way across the street, only vaguely aware of groups of young men deep in conversation, apparently staring at walls in the lane which leads to my destination.

I arrive. I can’t find the entrance. A woman stands in a dark alcove. She is dressed in a dusty overall, and expertly holds a cigarette between her lips in a pose which I instantly recognise as being based on a sitcom character whose name, just for the moment, escapes me. I ask her where the entrance is, She’s never heard of the place.

I step back from the pavement on to the street, narrowly missing an elderly cyclist with a soggy baguette under one arm. The whole wall against which the smoking women stands is bright yellow, contrasting bizarrely with the dark graffiti-laden walls of the adjacent buildings. Then I see it. As she turns, the alcove reveals a door and, next to the door in precise but small lettering it says ‘Catin Art Prize - until 26 May’.

I am at the Londonewcastle’s Project Space to meet Peter Allen, marketing manager of the property development company which describes itself as “one of London’s top design-led residential-focussed mixed-use property developers”. Peter has not arrived. The friendly receptionist invites me to have a wander around and offers to look after my dripping umbrella. Low lighting and ominous sounds fill the first space which opens up to reveal another, then another and yet another. As I explore, I can’t decide whether this feels more like an old-fashioned mechanical ghost train or a modern multimedia exhibition. What I do know is that it feels like a journey.

I see a wall of TVs showing a young women in a white gown climbing over bricks, bizarre screens where I catch glimpses of myself at different angles and colours, what appears to be an old school room with a large Sesame Street-like elephant, an amazing light show and am confused if the effect is achieved by lasers or by wire, a strangely peaceful video of a group of men operating model trains, a bright gallery containing a pixellated stained glass window and oil cans, and an eclectic collection of large photographs and paintings.

Peter is back at the entrance, having managed to expertly negotiate the sudden closure of an underground line. He introduces me to Justin Hammond, Catlin Art Prize Curator. Justin explains that some 40 artists were selected for this year’s prize of which nine were shortlisted are are displaced in the month-long exhibition at Project Space, The Catlin Prize was set up in 2007 to give UK artists a support system for at least a year after leaving college and this is its second year at Project Space. Justin says that he really likes the venue because the Londonewcastle managers are very supportive and do not attach unnecessary conditions. This year, for example, he has been able to construct several walls and put in additional lighting. The only condition is that he returns the space to its original state.

Justin takes me back into the galleries. He explains that his aim is to bring west-end production values and museum standards to the event. He describes the year-long process of finding the best artists, supporting them to produce work for the prize, organizing the shortlist and displaying their work to best effect. He is warm with his praise for Londonewcastle as he finds that they, like him, want to develop a relationship of trust and are keen to work with him in a partnership rather than see themselves as simply hiring out a gallery space.

I don’t think I have ever been fortunate enough to have been given a personal guided tour of any exhibition by its curator. And of course Justin has not just been gathering and exhibiting works of art - he has been actively involved with the artists, supporting them both financially and with advice and ensuring that individual artists are displayed to their best advantage and that the experience works as a whole. He describes it as ‘a journey’ - yes, I am delighted. But my credibility takes a dive, I think, when I liken the journey through the carefully assembled exhibits to walking along an Ikea store’s prescribed buying route.

Justin carefully talks me through each artist’s work and highlights the two prize winners - Terry Ryu Kim winner of the 2013 Catlin Art Prize for his “Screening Solution I, II and III”, and Juno Calypso for her unsettling and strangely erotic photographs who was winner of the visitor vote among the several thousand people who attended the exhibition.

And on the way back out, the elephant walks! I see that it’s not actually an elephant but, wonderfully, the artist Nicky Deeley who has performed in five costumes every day, all day of the exhibition’s 30 day run.

Before I brave the London rain, I have time to ask Peter why Londonewcastle run Project Space. He tells me that the company’s ethos is to develop design-led properties which have inspiring, vibrant environments and that promoting arts, and particularly new artists, matters a lot to the them. Londonewcastle’s aim with their arts programme, he says, is to provide environments donated for artists’ use, reducing the financial burden on new creative talent. Their programme also supports street art by providing large canvases for local, regional, national and international artists; established, emerging, infamous or just unknown.

A quick look at the Project Space programme for the rest of the year shows a bewildering variety of painting, drawing and photography exhibitions by solo artists, mixed media events, performance and street and fashion and design shows. I question Peter about Londonewcastle’s apparent low profile in support the arts. He recognizes that this may seem a little strange this but says that its just how they go about their business.

Happily when I leave Project Space after a wonderful two hours, the rain has eventually stopped. I’m almost at the station when I remember that I have forgotten my umbrella. On my way back I see Peter talking to one of the groups I had seen earlier, taking photographs of a large colourful mural on one of the walls. Peter shouts me over and introduces me to James Reka, a well known street artist from Melbourne. Reka has just finished his latest work on one of Londonewcastle’s buildings next to Project Space. He says that he is is extremely happy with his work and is full of praise for Londonewcastle’s support. He points out other large works on adjoining buildings by renowned artists Roa Hedgehog and Ben Eine.

I finally leave Project Space, the Catlin Prize and Shoreditch High Street, surprised and impressed with what is happening and at the skill and enthusiasm of those involved. And there is so much going on; so many ideas, so much dedication. My mind races as I eventually board the train for my journey home, only to discover that, in my excitement, I have forgotten my umbrella a second time.

If you can’t wait, here’s a sneak preview of Jeff Robb’s ‘Three Acts of Will’ show that will be exhibiting at Londonewcastle Project Space in Shoreditch between 5th and 12th June only.

The show will be the first ever exhibition for holographic sculpture, an entirely new 21st century art form invented by the British artist.

More details of the show here.

A full review to follow once the show opens!

You might have noticed, if you read Time Out, decent newspapers and find yourself on Redchurch Street of a weekend, that there’s a kid on the block. He isn’t new. In fact, he/ she/ them are 7 this year. And there’s 9 of them. And they are shining so very brightly this year.

It’s May, which means it’s Catlin Art Prize time. Time to visit, time to ponder, time to vote.

But this year, time to wonder too. Behind the simple glazed doors on the artfully graff’ed street (this ain’t Mayfair), you enter a perfectly executed labyrinth displaying the hottest new artists, selected by the ever upbeat but deadly-eyed curator Justin Hammond.

The very best of installation, sculpture, painting, performance, video (sometimes all in one artist’s oeuvre) are here as you navigate the galleries. Don’t skip past Fatma Bucak’s video work of a woman toiling over ruins in an unknown town as you enter.

Ponder on the translucent screens that you pass through - like a traveller in airport security perhaps - in Terry Ryu Kim’s work Screening Solution I, II and III before you are hit by David Ogle’s lasers.

Stumble forward into the dream/ nightmare that is Nicky Deeley’s fantastical performance piece;

Take a breather with Robert Crosse’s fascinating Folkstone Model Railway Club which looks - reverentially I felt - at communal activity;

And then emerge into gallery#3 and Bee Griffith’s arresting nudes, juxtaposed with Steve Allan’s targicomedy banana-man paintings and Conall McAteer’s contemporary pixelated version of Notre Dame cathedral’s north rose window.

And we haven’t even mentioned the media’s star of the show, Juno Calypso. Go and see what all the fuss is about yourself.

Open until 26th May at Londonewcastle Project Space. Full details here.

All images courtesy and copyright Peter Hope www.peterhope.eu

The Catlin Art Prize 2013, now in its seventh year, is an annual exhibition that feature the most exciting art graduates in the UK one year on from their degree shows. This year’s exhibition will be held back at Londonewcastle Project Space from 2nd – 26th May 2013 and will showcase brand new work by 8 artists, each chosen for their potential to make a significant impact in the art world over the next decade and beyond. The prize is unique in offering a framework for artists to develop a new body of work during the first year out of art school. Each artist receives a bursary to support their progress. The Catlin Art Prize 2013 finalists are: - Steven Allan (Royal College of Art) - Fatma Bucak (Royal College of Art) - Juno Calypso (London College of Communication) - Robert Crosse (Slade School of Fine Art) - Nicky Deeley (Royal College of Art) - Bee Griffith (Goldsmiths) - Terry Ryu Kim (Slade School of Fine Art) - Conall McAteer (Central St Martins) - David Ogle (Lancaster University).

Justin Hammond, Art Catlin curator, comments: “From David Ogle’s light sculpture to Nicky Deeley’s marathon performance piece, this particular exhibition is designed to celebrate diversity rather than draw tenuous parallels or proclaim some kind of new art movement. It’s a very strong line-up, but perhaps this latest chapter will demand more from the viewer than in previous years.” A panel of judges will award one artist with a prize of £5,000 at a private ceremony on 22nd May. The 2013 judges are: - Former Turner Prize nominee Dexter Dalwood - Art gallery director Ceri Hand - Renowned collector Valeria Napoleone. The public also have the opportunity to take part in the ‘Visitor Vote’ and pick their favourite artist in the exhibition. Votes can be cast on www.artcatlin.com and via a ballot box at the show. The winner is awarded £2,000. Previous finalists have gone on to feature in major exhibitions in the UK and internationally. 2013 winner, Julia Vogl has since completed a number of public commissions, including HOME, a multi-coloured public living room constructed in Peckham during the London Olympics. She was recently selected alongside Martin Creed, Gavin Turk, and Jake and Dinos Chapman to take part in Museums at Night 2013. Last year’s recipient of the Visitor Vote, Adeline de Monseignat, has enjoyed a string of London shows and is now represented by Ronchini Gallery.

Last Thursday, Jonathan Ellery opened the doors of the Londonewcastle Project Space on Redchurch Street for the private viewing of his new exhibition ‘The Hen House’. The artist has transformed the gallery into a beautifully lit space and installed his themed minimalistic artwork.

Gallery One exhibits 2 pieces of his stunning artwork decorating the wall. This room brings to the forefront Ellery’s interest in light and contrast. The photographs are an unfolding narrative.

Gallery Two has three iron and steel rings on the floor. Ellery’s construction of this room allows the viewer to work through his awareness of the absurd.

And in Gallery Three, the focus is on five large format machined brass sculptures hanging from the wall. How it is installed gives this series a narrative, it is deceptive in its simplicity but gives the work a continuation. Once again the overriding theme is of beauty and class.

Following the recent show at Londonewcastle Project Space, artist Heidi Locher spoke to London Real about the show.

During the interview, the artist gives us an insight into the thinking behind the show:

“Anyone can go in there and get something from it … this is a bunch of ideas, see what you think. Does it have resonance [for you]? Does it make you think beyond your everyday?”

This is an excerpt of a longer interview with London Real. Click here to watch it on YouTube.

Following the earlier entry, here is a video of the panel discussion, “Real-Life Solutions to Financial Viability” that was held at Goldsmiths at the end of November. Robert Soning was there to discuss the Londonewcastle Art Programme and our contribution to the art scene in London.

Other speakers on the panel hosted and moderated by ALISN director Iavor Lubomirov included:

• Julia Alvarez, Director of Bearspace, and South London Art Map

• Victoria Browne, Founder of KALEID editions

• Will Lunn, Director of Sumarria Lunn

ALISN will be at the London Art Fair in January 2013 where they are taking over three booths and making them affordable to artist-led galleries and projects. Visit the main show in booth P29, with films taking part in the film programme booth P28 next door, as well as performance art in the Talks & Discussions Theatre near the cafe in the atrium.

Camera, sound and editing: Helena Doyle

Robert Soning appeared on the panel at the 2nd Annual Goldsmiths Conference for Emerging Art Organisers Conference. Here he responds to Iavor Luminov of ALISN who hosted the conference and invited the Londonewcastle chief to attend.

Londonewcastle operates from an unusual position - you are a property business, which also supports an art programme. Could you tell us about your motivation for your involvement with art?

We are passionate about art and my business partner and I are collectors and decided to extend this interest. We liked the idea of giving talent a platform and we have always believed in collaboration.

Importantly, we had some great spaces that were lying empty in the right places whilst being brought forward for redevelopment so it made sense to put them to good use rather than keep them under lock and key.

An aspect I find particularly striking about the way you have chosen to design your art programme, is that you are supporting emerging art, rather than becoming involved with established names - what draws you to doing so?

We are quite anarchistic and don’t follow the mass market, so we are not interested in the usual names – the Londonewcastle Project Space is simply not open to them. Essentially, we provide a ‘leg up’ – by providing a large space - which at 3,500 sq.ft is bigger than emerging artists typically get the opportunity to present their work.

We’ve been offered big name shows, but we frequently turn them down. All too often they don’t really want to ‘collaborate’ - and that’s not what we are about.

Are there synergies or contrasts between your attitude to art and the way you do business?

There are both similarities and contrasts between our attitude to art and way we do business. We are a design-led boutique property developer – which means we relate to the creative industries and they relate to us. And we only work with people we like, that are passionate and open to collaborate.

The Londonewcastle Art Programme includes work with Catlin Art Prize. Could you tell us about some of the synergies you have found there and why you collaborate?

The Catlin Art Prize is exactly why we set up the programme – they are the ‘vehicle’ and we are the ‘platform’ for new up and coming artistic talent. Justin Hammond, the curator is honest, professional and straight talking and the execution of the show is great – with a lot of attention to detail.

Also now more than ever it is important to do this. In a tough climate our programme is important.

Londonewcastle also runs a street art programme, can you tell us about this?

Again, it came out of our love of the genre and fact that graffiti art has evolved into an art form and should be accepted in mainstream art – this happened years ago in Paris and New York – we are years behind! It’s still quite anti-establishment and that appeals.

We saw talented artists being arrested and we wanted to provide a canvas for the next generation of artists – to give our own seal of approval for this authentic art form.

We’ve now worked with some pretty big names including EINE; Shepard Fairey; Pure Evil, Stik, ROA, David Choe, Blek Le Rat, etc BUT crucially it is supported by local artists and crews like TEZ and TEK13.

One of the ways that Londonewcastle supports the arts is by providing exhibition space in Redchurch Street. Are there other benefits, both immediate and long-term, that your programme creates for artists?

The immediate benefit is that artists get to exhibit in the space with total creative freedom. The long term hope is that it will have a positive impact on artists careers by providing a ‘spring board’ through the use of the space.

The discussion topic for the panel is *financial viability and for many emerging organisers finding and paying for suitable exhibition spaces is a serious logistical and financial challenge. Some solve this by working with organisations like yours which are able to offer access to properties. Do you have any advice about the best ways to approach businesses? What are some of the things you look for in an organisation that wishes to work with you?*

Be organised! Write a good proposal fulfilling all of the requirements laid out by the gallery / space provider - clearly communicating what you want to do and why that will be interesting.

Try and lock down some – even minimal – financing to ensure that your show can go ahead and can cover; for example, production and insurance costs. Also, if you need sponsorship, get it sorted before applying for space use – or at least approach potential sponsors before you submit your proposal.

Be flexible on scheduling and realistic about your run; enlist as much help as you can from others and finally, consider how you will run the show – and promote it – on a day to day basis.

You work with artists, curators and organisations. How deeply do you get involved with the realisation of projects?

We supply the platform – success or failure is part of the learning process - it’s all down to the individuals.

How closely do you work with the artists and curators?

We work closely with all exhibitors, BUT we don’t dictate on content.

What are some of the most rewarding projects you have been involved with and what drew you to them?

• Emma Richardson from Band of Skulls solo show of paintings entitled ‘Cruisin’ for a Bruisin’ in Feb 2012 – because we feel she is a real talent.

• Lawrence Watson’s ‘The World is Yours’ photography show in June 2009 – art takes many forms and music is one of them.

• Plus Arts Projects ‘Neon & Vinyl’ in October 2011 – Kerry Ryan is an authentic craftsman – a humble sign maker of Neon’s turned curator and artist.

• ‘150 Voices’ for Providence Row curated by Shiraz Bayjoo – a charity that is close to our hearts dealing with real issues on our streets. And art draws attention to these issues and engages people.

• ‘Hel Yes!’ pop up restaurant and exhibition presented by The Finnish Institute for London Design Festival in September 2010 – explored the theatre of food – again food art fusing with design and music and performance.

• ‘218 Gherkins’ by the pupils of William Davis Primary School for NSPCC’s Childline – showed local children expressing themselves through art and the pride of seeing their pictures on walls in a gallery.

• Chris Moon’s recent breakthrough show ‘Reverie’ in October this year – a young outsider artist who lives in a squat, producing quality oil paintings that are older than his years.

How far is your arts programme philanthropic?

I guess, basically it is, but it makes life interesting – it’s got nothing to do with the money. It’s a project we have chosen – a ‘journey’ on which we have met some interesting, like-minded people. We don’t see it as philanthropy – we view people as equals.

Are there aspects of your arts programme that benefit the property business side of Londonewcastle?

Yes - it provides an opportunity for people to come into contact with Londonewcastle and establish an idea of us as a business – who knows, they could be buying a flat from us next year.

It also increases awareness of Londonewcastle as a creative business and reinforces our reputation as innovators in what most people outside of the industry regard as a pretty dull business.

Is there something that art can do for other property developers and for other businesses?

Not really – other people might play at it, but they frequently get it wrong because they don’t have the knowledge, experience, attitude or contacts to do it properly. Art should not be a ‘pony’ for industry – it IS an industry.

In the charity sector it’s a good way in which to get your message across and raise awareness of your issues.

Is there a place for art in business in general?

Yes – now it’s all about the creative industries and collaboration.

How can conversation between art organisers and business be brought about?

It’s down to the art industry to present itself in a way where it can be seen to be beneficial to both sides. It’s about collaboration – we are living in that environment now.

There are an increasing number of businesses which are finding reasons to become involved with and to support emerging art. Collyer Bristow uses their law offices to put on exhibitions of emerging art. Departure Gallery, Art Catlin, Londonewcastle Arts Programme, Artspace Lifespace all use their property-related businesses to support the emerging arts. What do you think is driving this interest amongst businessmen to spend on supporting emerging art?

I think it all stems from an interest in the arts and fostering/ promoting an interest in the arts from an early age.

As a businessman with experience of working with art organisations and curators, you have a unique perspective on the way that we work. Are there any insights you have gained through working with art organisers and is there some advice you can give us as a business professional?

Art is no different from other industries – there are good and bad people. Yes, it can be quite egotistical. My advice is keep your feet on the ground and remember where you came from.

Above all, art’s got to be fun - so enjoy it.

ArtLyst coverage of the event.

After the successful exhibition of Tom Oxley ‘Face to Face’ which finished last week, last night our beloved Heidi Locher opened her show ‘Hotel Kalifornia’, an immersive mixed media show.

Before I arrived at the private viewing I was excited to see what Heidi had done with the Project Space. She had told us before what she was planning but I couldn’t quite picture it, however, it exceeded all my expectations.

When I entered the space I felt I that I had been immersed into a different world that I didn’t understand but bit by bit the puzzle unfolded.

The show runs until the 27th of November make sure you go and see it!! For more details click here.

Legendary US graffiti artist Sherpard Fairey has just completed a new wall in Ebor Street, Shoreditch to coincide with his forthcoming show at the StolenSpace Gallery. The Obey “Sound & Vision” is showing from 20th October to 4th November.

The Sound and Vision show is Shepard Fairey’s first UK show in five years and will feature a range on new material including mixed media paintings on canvas, works on paper, retired stencils collages, rubylith cuts, and as well as serigraphs on wood, metal and paper.

The new wall replaces the piece produced by FLIP earlier in the year and is keeping the calibre of creative collaborations at a peak.

Check out this piece and then get down to the gallery to see the rest!

If you’ve been hiding and know nothing about the artist…

Shepard Fairey has been on a meteoric rise over the past five years. In 2008, his ‘HOPE’ portrait of then Democratic candidate, Barack Obama, became an internationally recognised emblem of the campaign and a symbol of political change for many. In 2009, Fairey’s Obama portrait was inducted into the Smithsonian’s National Portrait Gallery as the official presidential portrait.

Since last exhibiting in London, Fairey has continued to progress with his art and with a 20 Year Retrospective museum exhibition that began at the ICA, Boston in 2009 and continued to the Warhol Museum and Contemporary Art Centre in Cincinnati. In 2011, he was commissioned by TIME Magazine to design his second cover for the magazine.

To The Old Vic Tunnels last night for the opening of Lazarides’ final instalment in his dark art exhibition/ experience trilogy, following successes with Hell’s Half Acre in 2010 and Minotaur in 2011. As before, the show gets out of the traps before Frieze starts and serves as an antidote to the bright lights of the Regents Park based fair. As Steve himself has said,

“Bedlam over the years has become synonymous with madness, chaos and pandemonium, it seemed like the perfect theme for a world gone mad. Be afraid.”

It is with this in mind that we entered the fray and after a beer to settle the nerves, set about exploring the tunnels and the pieces hung, installed and found within. And what a treat it was. From the disturbing works of Dan Witz set into the crumbling brick walls to the cinematic staging of Conor Harrington’s paintings. And from Doug Foster’s immersive Psychotron to his frightening yet mesmerising Brainwasher (that no one I saw dared sit in) there was plenty to keep you engaged.

My favourite piece in the show is Doug Foster & Nachev’s enormous projection entitled Lidless which shows the movements of a human eye - absorbing, distrubing and beautiful all at the same time.

Participating artists: Conor Harrington, Doug Foster, Nachev,Tessa Farmer, Karim Zeriahem, Tina Tsang, Tobias Klein, ATMA, Del Naja, War Boutique, Jane Fradgley, Klaus Weiskopf, Lucy McLauchlan, Artists Anonymous, Michael Najjar, Dan Witz and Antony Micallef.

‘Bedlam’ is brought to you by Steve Lazarides and The Old Vic Tunnels and is running from 9th - 21st October.

Free tickets are available here.

As part of BMW’s sponsorship of the London Olympics, the brand has brought their Art Cars to a brutalist multi-storey car park in Shoreditch. It’s co-hosted by the ICA and their touch shows in the cool, minimalist staging.

It’s the first time in 35 years of the programme that the cars have been to the UK and they are only here for 2 weeks - so we would advise a visit before the show closes on 4th August.

There are 16 cars in the exhibition which span international road and race cars from 1975 to 2010. The vehicles might be highlights alone for car fanatics (3.0CSLs, Z1, M3s, 850CSI, 635CSIs, M1, 535i…), but it’s the line-up of international artists and their interpretation of moving art that impresses most.

it all started with Alexander Calder in 1975 and takes in Frank Stella, Lichtenstein, Warhol, Fuchs, Rauschenberg, Hockney, Holzer and others, ending with Jeff Koon’s 2010 M3 GTR which raced at Le Mans.

Everyone will have their favourites. I’d take Frank Stella’s 1976 3.0CSL as a daily driver and put Jenny Holzer’s 1999 V12 LMR up on my heated garage wall.

It’s barely open, but I’ve made two trips to the show already. Produced by the tireless Ed Bartlett of The Future Tense in collaboration with Opera Gallery who represent France’s highest profile, contemporary art photographer Gerard Rancinan.

The show opens with a bang and doesn’t let up until you get into the final gallery space. The images are large, glossy and absorbing - more so with the accompanying notes beside each one which help the viewer to understand Rancinan’s vision and take on the modern world.

The exhibition is the final act which will complete the series - click here to see the making of the other pieces. Back to this show - and the final gallery, in which is installed a set, lights and camera. I’m not sure visitors get this, but this is the setting for the final piece that will be photographed by Rancinan and his team next Tuesday, 12th June. What makes this special is that the participants in the piece will be drawn from a public casting - an amazing opportunity to be involved in a composition that could be worth £100,000 today - and more in the future. The piece below sold recently at Phillips De Pury auction for £97,250 - a world record for the artist and a living French photographer (see it in the gallery until the 24th June close).

It’s an intriguing proposition: lots of contemporary art locks you out, with this you get to become a part of it. Details of how to be a part in the casting here.

The winners of the Catlin Art Prize, which we’ve been delighted to host at The Londonewcastle Project Space this month, were announced last Wednesday. Closing on 25th May, there’s not long left to catch the eclectic selection of contemporary work by ten of the UK’s most promising artists, as handpicked by respected curator Justin Hammond during his tour of last year’s degree shows.

Julia Vogl scooped the £5000 prize for her installation ‘Let’s Hang Out’ which encourages public interaction and has been cause for much conversation and amusement throughout the show. Visitors are asked to choose one of several suggested pastimes - Tweet, Daydream, Call Mum, Masturbate, Have a Cuppa, Ask Me About It - each represented by a coloured carpet tile, and place it on a square on the checkered communal area. The project is part of a wider focus in Julia’s work to create site specific ‘social sculptures’, drawing on her passion for colour, architecture and the power of art to influence a community.

Julia Vogl - Let’s Hang Out

For the first time since the prize was launched in 2007, there was also a Visitor’s Vote cast by public ballot. It was one of our personal favourites, Adeline de Monseignat, who won the £2000 prize for her slightly unnerving sculpture, ‘Hairy Eye Ball’. It consists of a ball of vintage fur encased in glass, which on close inspection appears to be breathing. Adeline plays with our concept of the familiar, with the juxtaposition of safe vs threatening, and through the introduction of kinetic motorised movement in her work, the animate vs inanimate.

Hairy Eye Ball by Adeline de Monseignat

Justin Hammond reflects on this year’s show: “These artists are less than a year out of art school, but the technique and execution of the work in this showcase is way beyond that of the average degree show. They’ve produced an extremely cohesive exhibiton and – despite the competitive element – nobody was interested with hogging attention. Each of the finalists thoroughly embraced this opportunity, and they’re already making plans to kick on with their careers.”