The exhibition An Englishman Abroad with artworks by British artist Jordan McKenzie challenges traditional perceptions of aesthetic and art as an endeavor disjointed by a social component. His artworks, a varied mix of performances, videos, installations and prints, bring into the fore issues of social realism, identity and gender in a British society that is increasingly in crisis. An Englishman Abroad explores, with a peculiar
My Estate of Mind is a new exhibition for the Museum of Contemporary Cuts by the British artist Jordan McKenzie. In his artworks McKenzie explores the relationship between hierarchical systems of power, mythological representations of grandeur and the constantly incumbent presence of these systems in people's daily lives. The artist pierces the traditional representation of British society presenting the viewer with a critique that, by
No Rest for the Wicked is a curatorial project presented at ArtInternational in Istanbul by Lanfranco Aceti. The project will showcase recent artworks by Bill Balaskas as well as a series of exhibitions and art projects developed by MoCC (Museum of Contemporary Cuts) since 2012. No Rest for the Wicked will provide the opportunity to engage with an international organization and a range of international
The Aesthetics of Scale: Or on How to Grasp the Little Things is a convened curatorial talk at the John Hansard Gallery in Southampton that will see my participation as well as that of distinguished speakers Bill Balaskas, Bronwen Buckeridge, Sunil Manghani and Helen Sloan. The talk will focus on the concepts that underpin the exhibition The Small Infinite and provide a moment of reflection
The Small Infinite is a new exhibition I have conceived and am curating at the John Hansard Gallery together with Vince Dziekan. The preview is August 4, 2014 from 6pm to 8pm. The featured artists are: Mark Amerika, Elif Ayiter, Bill Balaskas, Bronwen Buckeridge, Sophie Clements, Susan Collins, Max Eastley, Tim Head, Henriette Heise, Chris Henschke, John Latham, Mark Lewis, Karl Lemieux, Patrick Pound, Charlie
I have been invited to be part of this exciting exhibition, Public Domain, initiated by Lo and Behold and presented at Milkshake Agency from June 26 to August 24, 2014. The project includes 25 artists / 25 site specifics located in 12 different cities in 10 countries and is curated by Artemis Potamianou and Giorgos Papadatos. After receiving the commission I decided to create the
The exhibition An Opera of Labour and Revolution takes an unsentimental look at the collective and its expressions both today and in the past, juxtaposing artworks based on the iconography of heroic, revolutionary gestures or collaborative, unified action. The artists selected for this exhibition are Bill Balaskas, Paolo Cirio, Revital Cohen & Tuur Van Balen, Felix Gmelin and Taus Makhacheva. The exhibition reminds of the
Car Park is a new participatory performance and installation in public space by Lanfranco Aceti, curated by Helen Sloan, Director of SCAN, as part of the exhibition Internet of Cars at the Hansard Gallery in Southampton. The works that comprise Car Park are inspired by themes of hard labor, economic exploitation, erosion of social rights and socio-political deprivation. The installation and public performances will take place in Southampton
Suggestions for Art That Could Be Called Red is the new exhibition by the Museum of Contemporary Cuts (MoCC), which presents artworks by Bill Balaskas, Felix Gmelin, Benjamin Grosser, Karl Heinz Jeron, Kevin Logan, Owen Mundy and Charmaine Ortiz. The exhibition is curated by Lanfranco Aceti and Susanne Jaschko. The exhibition launches a provocation and asks a series of questions on contemporary social structures. What
In Your Face by Lanfranco Aceti is a new installation and series of artworks curated by Susanne Jaschko and Marquard Smith. The event is part of the Platform Project @ Art-Athina, Director Artemis Potamianou - May 15-18, 2014. The artist will buy 5 screams for fifty euros and resell them at 500,000 euros. In an age in which, after having been left at the margins
