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Viewing A new exhibition explores how artists are employing tech and machinery to enthralling effect

The Wick Culture - Viewing A new exhibition explores how artists are employing tech and machinery to enthralling effect
Above  
The Wick Culture - Viewing A new exhibition explores how artists are employing tech and machinery to enthralling effect
Above  
The Wick Culture - Viewing A new exhibition explores how artists are employing tech and machinery to enthralling effect
Above  
The Wick Culture - Viewing A new exhibition explores how artists are employing tech and machinery to enthralling effect
Above  
The Wick Culture - Viewing A new exhibition explores how artists are employing tech and machinery to enthralling effect
The Wick Culture - Viewing A new exhibition explores how artists are employing tech and machinery to enthralling effect
The Wick Culture - Viewing A new exhibition explores how artists are employing tech and machinery to enthralling effect
The Wick Culture - Viewing A new exhibition explores how artists are employing tech and machinery to enthralling effect

Double Take

LVH Art
30 May – 22 June 2024

Technology and machinery have become increasingly integrated into our daily lives, but how have these contemporary tools impacted the way we see and experience the world? An ambitious group exhibition at LVH Art takes on the topical theme exploring perception and the ways artists over the last century have used visual tricks on the human eye to prompt questions about mechanical and technological intervention.

Artists included range from Andy Warhol, who preempted the possibilities of technology in his creative process, to artists like Nate Lowman, who mines mass produced images and transforms them to create paintings, sculptures and installations that have a strange familiarity (see a 2023 oil painting of stacks of boxes of Tic Tacs). Also included is WangShui, who employs AI “as a kind of oracle”, as critic Brian Droitcour put it, in videos and installations that seek consciousness-shifting.

Housed in a vast, brutalist warehouse on Curzon Street, Mayfair, Double Take is the latest ‘What’s Up’ exhibition curated by the suave, London-based independent art advisor and collector, Lawrence Van Hagen. Van Hagen’s surveys, which he has been organising since 2016, have become known for mixing up established, major names with emerging, rising stars in unusual and unexpected settings. Double Take promises to be just as worthy of a visit – just be sure to book, as viewings are by appointment only.
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Dates
30 May 2024 — 22 June 2024

Viewing age-old practices of weaving and ceramics at Tristan Hoare Gallery

The Wick Culture - Marie Hazard International love, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard International love, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Marie Hazard Oiseau de papier, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard Oiseau de papier, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Marie Hazard Ale Ale, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard Ale Ale, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Marie Hazard Boro Boro, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard Boro Boro, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Marie Hazard Espirales. Marie También, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard Espirales. Marie También, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Masaomi Yasunaga Skeleton of a Box, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
Above  Masaomi Yasunaga Skeleton of a Box, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
The Wick Culture - Masaomi Yasunaga Melting Vessel, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
Above  Masaomi Yasunaga Melting Vessel, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
The Wick Culture - Masaomi Yasunaga Molted Shell, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
Above  Masaomi Yasunaga Molted Shell, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
The Wick Culture - Masaomi Yasunaga Skeleton of a Box, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
Above  Masaomi Yasunaga Skeleton of a Box, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
The Wick Culture - Marie Hazard International love, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard International love, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Marie Hazard Oiseau de papier, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard Oiseau de papier, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Marie Hazard Ale Ale, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard Ale Ale, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Marie Hazard Boro Boro, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard Boro Boro, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Marie Hazard Espirales. Marie También, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard Espirales. Marie También, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Masaomi Yasunaga Skeleton of a Box, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
Above  Masaomi Yasunaga Skeleton of a Box, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
The Wick Culture - Masaomi Yasunaga Melting Vessel, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
Above  Masaomi Yasunaga Melting Vessel, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
The Wick Culture - Masaomi Yasunaga Molted Shell, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
Above  Masaomi Yasunaga Molted Shell, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
The Wick Culture - Masaomi Yasunaga Skeleton of a Box, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
Above  Masaomi Yasunaga Skeleton of a Box, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.

Marie Hazard & Masaomi Yasunaga

Tristan Hoare Gallery
30 May – 28 June

Bringing these two artists and their chosen materials together is a way of finding connections between the age-old practices of weaving and ceramics, both involving intensive physical labour. Specifically in the woven works of Hazard and in the ceramic vessels of Yasunaga, both artists engage in radical acts to bring their artworks to life, in an attempt to dissociate their chosen mediums from associations with function. Yasunaga, for example, employs glaze as his primary material from which he builds his sculptural works, using fire as a sculpting tool. Each glazed piece is then prepared for firing by burying it under protective layers of sand and kaolin which organically fuse together in the kiln.

Hazard, meanwhile, presents works from a new series, begun in 2017, exploring the Japanese notion of boro boro – referring to textiles that have been stitched, patched, mended or rewoven together. In her works, Hazard introduces woven Japanese paper into her small-format weavings. “One might think they are veils meant to conceal, but they are actually transparent, lightweight. You can see the woven pattern behind the veil.” Hazard explains. “The veils are meant to convey a sense of nobility, of preciousness to a set of techniques usually associated with discards and poverty.”

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Viewing Kenturah Davis invokes trailblazing Black female creatives in drawings, carvings and essays

The Wick Culture - Kenturah Davis, 'clouds XII', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘clouds XII’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, ‘duration I (jada)’, 2024. Lenticular print , 48.9 x 68.3cm (19 1/4 x 26 7/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘duration I (jada)’, 2024. Lenticular print , 48.9 x 68.3cm (19 1/4 x 26 7/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'volume I (k)', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper with ash vessels in a walnut frame. Two parts, each 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed 154.6 x 96.5cm (60 7/8 x 38in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘volume I (k)’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper with ash vessels in a walnut frame. Two parts, each 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed 154.6 x 96.5cm (60 7/8 x 38in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'clouds VIII', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘clouds VIII’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'volume II (marjani)', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper with a walnut and brass vessel in a walnut frame, 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed: 78.1 x 98.1cm (30 3/4 x 38 5/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘volume II (marjani)’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper with a walnut and brass vessel in a walnut frame, 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed: 78.1 x 98.1cm (30 3/4 x 38 5/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'planar vessel XXVII (jada)', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper. Four parts, each 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed: 155.3 x 155.3cm (61 1/8 x 61 1/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘planar vessel XXVII (jada)’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper. Four parts, each 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed: 155.3 x 155.3cm (61 1/8 x 61 1/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'clouds VI', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘clouds VI’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'clouds XII', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘clouds XII’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, ‘duration I (jada)’, 2024. Lenticular print , 48.9 x 68.3cm (19 1/4 x 26 7/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘duration I (jada)’, 2024. Lenticular print , 48.9 x 68.3cm (19 1/4 x 26 7/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'volume I (k)', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper with ash vessels in a walnut frame. Two parts, each 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed 154.6 x 96.5cm (60 7/8 x 38in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘volume I (k)’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper with ash vessels in a walnut frame. Two parts, each 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed 154.6 x 96.5cm (60 7/8 x 38in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'clouds VIII', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘clouds VIII’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'volume II (marjani)', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper with a walnut and brass vessel in a walnut frame, 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed: 78.1 x 98.1cm (30 3/4 x 38 5/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘volume II (marjani)’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper with a walnut and brass vessel in a walnut frame, 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed: 78.1 x 98.1cm (30 3/4 x 38 5/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'planar vessel XXVII (jada)', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper. Four parts, each 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed: 155.3 x 155.3cm (61 1/8 x 61 1/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘planar vessel XXVII (jada)’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper. Four parts, each 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed: 155.3 x 155.3cm (61 1/8 x 61 1/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'clouds VI', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘clouds VI’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.

Kenturah Davis: clouds

Stephen Freidman Gallery
31 May – 20 July 2024

It’s London Gallery Weekend, and galleries across the city will play host to special exhibitions, talks and events, with many opening their summer blockbuster shows to coincide with the event. At the top of our list is Kenturah Davis’ UK debut solo show, clouds, coming to Stephen Friedman Gallery. New series of drawings and carvings designed by the artist come together with an essay penned by Davis, in which she invokes the spirits of trailblazing figures, such as the choreographer Katherine Dunham, composer Florence B. Price, theorist Saidiya Hartman, author Toni Morrison, and physicist Carlo Rovelli.

Two stunning new bodies of work are portraits, on paper, and carved by Davis’ partner to her designs from ebony and ash. To make them, Davis invited black women to visit her studio and improvise movement, and took long exposure photographs. These photographic studies are translated into drawings, and on closer inspection, parts of Davis’ writing emerges, in which she details the careers of Katherine Dunham – a choreographer who infused dance with anthropology, and Florence B Price, the first Black female musician to compose for a national symphony orchestra.

A further body of work is based on Davis’ photographs of clouds – a muse and metaphor for Davis, and an anchor for this exhibition, which is all about the possibility of metamorphosis and transformation. Davis will discuss the work with Dr. Zoé Whitley on Friday 31 May at a special opening event, and the gallery will extend its opening hours all weekend.
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Dates
31 May 2024 — 20 July 2024
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