Milca Ronzoni exhibits works made during and following her residency at DRAWinternational at the Alliance Française, Buenos Aires.

Chernobyl

A series of 25 drawings that explore the 'interference between man and nature' by the traces he leaves behind, in particular reference to the nuclear disaster in the Ukraine in 1986 and the "Red Forest",  the pine forest that absorbed the radiation situated close to the city.

Milca Ronzoni is a visual artist who was born in Argentina in 1985. She trained in the workshops of Juan Doffo, Silvia Brewda, Ariela Naftal. Milca learnt lithography with Natalia Giacchetta and handmade binding with Carlos Quesada and Claudio Di Natale. She studied Visual Arts at the former IUNA and Arts at the UBA.

Since 2001 Milca has exhibited individually and collectively in numerous spaces in Argentina and abroad such as: Eduardo Sivori Museum of Plastic Arts, MAC Salta, Municipal Museum of Fine Arts of Luján, Maritime Museum ex-presidio of Ushuaia, art x art, French Alliance of Buenos Aires, Isidro Miranda, arteBA, among others.

The Alliance Française, Buenos Aires is pleased to present artists, artist groups, curators, curator groups that will exhibit their projects in the galleries of the Belgrano Center, the Flores Center, the Martínez Center and the Palermo Center within the framework of the 2019 schedule.

This call call was aimed at artists, groups of artists, curators, groups of curators from 18 to 35 years of age as of December 31, 2018 inclusive, native or naturalized Argentines who prove their  residence in the country.

C'est un grand plaisir d'avoir des nouvelles d'anciens artistes en résidence que le travail qu'ils ont commencé ici à Caylus continue de les inspirer.

“Cela fait deux ans depuis j'étais artiste en résidence avec vous tous et je pensais qu'il était temps de vous donner des nouvelles de mon travail, en particulier depuis qu'il est réuni dans une exposition solo cet automne ici à ma faculté et qu'il a tout à voir avec mon temps à Caylus.

Le sanglier sur le canapé sera une pièce maîtresse, maintenant que je l'ai fini avec toutes sortes de déchets sous le canapé, et la chaise opposum a été rejointe par quelques autres meubles avec des créatures sauvages qui n'appartiennent pas, ainsi que quelques sculptures. L'une des plus grandes pièces utilise un motif de papier peint inspiré du papier peint à fleurs du studio et possède une cheminée similaire à celle du studio.”

DEANNA PETHERBRIDGE : PLACES OF CHANGE AND DESTRUCTION

DRAWINGS  6 september - 14 october 2017

ART SPACE GALLERY

Michael Richardson Contemporary  Art

84 St. Peter’s Street, London N1 8JS

Following the highly-acclaimed retrospective at Whitworth Art Gallery, Manchester (2016-17) this exhibition of drawings by Deanna Petherbridge focuses on her most recent work. It is a selection that shows her response to specific places and cultures that she has visited worldwide and her readiness to challenge head-on the political issues, and even the atrocities, of our time. 

Since the 1960s Deanna Petherbridge has sustained the dual role of practising artist and distinguished writer, lecturer and pioneer of critical thinking on drawing and its place in art. She has travelled across continents to work, study and lecture and regularly takes as her subject the places she has visited. In Goa and Kerala, it is the juxtapositions of rural scenery and vernacular buildings under threat from urban sprawl that has fascinated her. In Italy it is the effects of industrial blight on the local architecture and the passage of the river Tiber. And in Syria the horrors of war have prompted ‘The Destruction of the City of Homs’ and ‘The Destruction of Palmyra’ which will form the focal point of this exhibition.  

Rigorously executed with a skilful use of closely hatched repetitive designs in ink and ink-wash on paper, Deanna Petherbridge weaves together architectural and ornamental structures that evoke strange and beguiling places. The single viewpoint is absent, inside and outside space is ambiguous, and complex rhythms and unexpected intervals are all deployed in pursuit of images that reflect real experience of place with purposeful political engagement and historical research.

From 1995 – 2001 Petherbridge was a Professor of Drawing at the Royal College of Art where she set up the Centre for Drawing Research. She has curated numerous exhibitions including The Primacy of Drawing: An Artists View (1991) followed by the publication of her acclaimed book The Primacy of Drawing: Histories and Theories of Practice (2010). Her works are in public and private collections worldwide and the monograph Deanna Petherbridge – Drawing and Dialogue was published by Circa Press in 2016. 

ARTIST TAE EUN AHN is the winner of the Open Call Prize Exhibition 

ANTHOLOGY 2017 at CHARLIE SMITH LONDON. It is the seventh edition of this annual juried exhibition.

Selected and curated by internationally respected art world professionals, Anthology is a multi-disciplinary exhibition that reaches out democratically to artists worldwide. The 2017 jury is Kate Bryan (Art Historian, Curator, Broadcaster), Matthew Collings (Artist, Writer), Faye Dowling (Curator, Editor, Producer), Zavier Ellis (Gallery Director, Curator, Collector) and Bert Moore (Collector).

Tae Eun Ahn 

Untitled 

2017 Performance 1hours 30min 

This performance is a response to a question about where we come from and head to. Throughout the performance, a performer continues to build a structure with clay that has the same weight as her body. By using clay which is often referenced as earth or dirt—which we all are made out of(‘The Lord God formed a man from the dust of the ground and breathed into his nostrils the breath of life, and the man became a living being’ : Genesis, chapter2, verse 7) and where we naturally go back after our death when we are buried—the performance is to construct a shelter for one’s body which can only be achieved after laborious endeavour against its materiality. 

Also, the notion of the process is deeply rooted in this performance. Clay has a condition which needs certain amount of time to build a structure upwards, as it needs to be harden enough to support the loads. But as the performance is continued without stopping or waiting for the clay being dried, the clay structure keeps collapsing. Despite of the collapse, the performer continues to build the structure until she uses all the clay she prepared. By allowing collapsing of the clay and accepting the collapse as another way of building rather than a failure, the performance focuses the “process” of building rather than what is being made out of. 

EXHIBITION ‘Deanna Petherbridge’ at the Whitworth Art Gallery

2 December 2016 – 4 June 2017

A solo show of pen and ink drawings from across a 45-year career.

Since the 1960s, Deanna Petherbridge has pioneered critical thinking on drawing and its place in art and architecture.

Travelling extensively through Europe, India, the Middle East and Far East, her detailed monochrome drawings are inspired by diverse landscapes, cities and cultures: from mathematical patterns of Islamic design, to rustic Umbrian dwellings and Manchester’s industrial cast-iron structures. Detailed geometric studies or free inventions in brush and wash, her distinctive works deal with the impact of colonialism, industrialisation and warfare. Her passionate condemnation of present conflicts is expressed in the 2016 triptych The Destruction of the City of Homs.

This exhibition brings together over 40 works from across her career, including the Manchester Suite a collection of drawings made during her six-month residency at Manchester Art Gallery in 1982. Her studies of the city’s Victorian architecture during its first wave of regeneration in the 1980s led to a consideration of the resonance of history in cities, places and landscapes, a central theme of the exhibition.

From 1995-2001 Petherbridge was Professor of Drawing at the Royal College of Art where she set up the Centre for Drawing Research, the first doctoral programme in drawing in the UK. She has curated numerous exhibitions including The Primacy of Drawing: An Artist’s View in 1991, which led to the publication of her acclaimed book The Primacy of Drawing: Histories and Theories of Practice in 2010.

This exhibition coincides with the publication of a major new monograph, Deanna Petherbridge: Drawing and Dialogue, by Circa Press available from December 2016 in our bookshop.