Serpentine Gallery, London

John Latham
A World View

John Latham (1921 – 2006) is widely considered a pioneer of British conceptual art.

His multifaceted practice encompasses sculpture, installation, painting, film, land art, engineering, found-object, assemblage, performance happenings and theoretical writings, the diversity of which is galvanised by his unique understanding of our place in the universe.

This publication traces the trajectory of Latham’s practice and brings together archival material, including documentary photographs, texts, correspondence and various ephemera, in order to build a picture of the artist’s life and work. Latham saw the artist as holding up a mirror to society: an individual whose dissent from the norm could lead to a profound reconfiguration of reality as we know it.

Latham has been associated with several national and international artistic movements, including the first phase of conceptual art in the 1960s. He was an important contributor to the Destruction in Art Symposium of 1966, and also a co-founding member of the Artist Placement Group APG (1966-89).

The Serpentine Gallery exhibition (and this accompanying catalogue) spans Latham’s career to include his iconic spray and roller paintings; his one-second drawings; films such as Erth (1971), and Latham’s monumental work, Five Sisters (1976) from his Scottish Office placement with APG.

Texts by Rita Donagh, Amira Gad, Richard Hamilton, Katherine Jackson, Elisa Kay, Adam Kleinman, Noa Latham, Hans Ulrich Obrist, Yana Peel, Cally Spooner, Barbara Steveni, David Toop.

Published on the occasion of the exhibition, A World View: John Latham at Serpentine Gallery, London, 2 March – 21 May 2017.

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Helen Marten
Drunk Brown House

This catalogue is released on the occasion of Helen Marten’s exhibition, Drunk Brown House at the Serpentine Sackler Gallery (29 September – 20 November 2016).

Marten combines disparate imagery and materials to create eclectic, large scale works. These works often serve as repositories for elaborate sculptural tableaux whose assembled detritus (wood, clay, steel, fabric) create a string of hieroglyphs or a kind of archaeological anagram. Her output includes sculpture, videos, text, and screen-printed paintings.

The volume will focus on key artworks produced in recent years, and conceived as an artist book, it will offer detailed perspectives on Marten’s meticulous installations. It will include an essay by Brian Dillon that investigates Marten’s practice, as well as fictional texts by Travis Jeppesen and Eileen Myles that takes inspiration from the artist’s works.

Helen Marten is shortlisted for both the Turner Prize, and the Hepworth Prize for Sculpture in 2016.

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Mark Leckey
SEE, WE ASSEMBLE

The now very scarce Mark Leckey publication “SEE, WE ASSEMBLE”.

In a multi-disciplinary practice that encompasses sculpture, sound, film and performance, Leckey explores the potential of the human imagination to appropriate and to animate a concept, an object or an environment.

Drawing on his personal experiences as a London-based artist, who spent his formative years in the north of England, Leckey returns frequently to the themes of desire and transformation.

Leckey’s fascination with the affective power of images is another recurring theme. Meticulously sourced and reconfigured archival footage is a predominant feature of some of his best-known works. Fiorucci Made Me Hardcore (1999) is a seminal exploration of the history of underground dance culture in the UK from the mid- 1970s to the early 1990s.

In the recent performance piece GreenScreenRefrigeratorAction (2010), Leckey sought to communicate the inner life of a ‘smart’ fridge – one that keeps an electronic tally of its contents – and to render audible its ‘voice’.

Included is an interview between the artist and Julia Peyton-Jones and Hans Ulrich Obrist, and an extract from a script by Mark Leckey and Martin McGeown.

Published on the occasion of the exhibition Mark Leckey: SEE, WE ASSEMBLE at Serpentine Gallery, London, May – June 2011.

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Simon Denny
Products for Organising

 
This is the first solo show in London for this artist, who works with sculptural installations that include print, graphics, moving images and texts. The exhibition will feature new installations that revolve around contemporary radical management practices and the historical hacker organisational forms that may have inspired them.

Simon Denny has risen to critical acclaim with his work, New Management (2014) and most recently with the installation Secret Power (2015), New Zealand’s pavilion for the 56th Venice Biennale.

Denny is one of the leading figures of a generation of artists who employ content from the tech industry, the language of advertising and the aesthetics and ideologies of corporations or governmental bodies to scrutinise technology’s role in shaping global culture.

With the precision of an investigative journalist, Denny’s complex and layered installations explore the commodification of information, branding and marketing strategies, as well as the relationship between private and public industries.

Published on the occasion of the exhibition at the Sackler Gallery, The Serpentine, London (25 November 2015 – 14 February 2016).

 

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