Daisy Delaney . Deej Fabyc . Marc Quinn . Dolores Sanchez Calvo . Beat Streuli
The exhibition is installed in a gallery in the former London office of Deutsche Bank AG, who vacated the space last November. In the walnut-panelled office on the third floor, the whiteboard still bears the traces of the subjects under discussion: Risk Management, Capital Liquidity, Private Wealth, Oil, Bonds, Leverage. Looking down out of the window one sees a well-proportioned terrace, which in turn faces the Portland stone elevations of the pedestrianised avenue. The hubris of the street doesn’t penetrate this room or this exhibition, which both reflects and cuts a section through the current situation. In Beat Streuli’s work, a woman’s headscarved face scrutinises the office from the wall, reminding us that workers are at the disposal of the banking class. In an echo of reality, Streuli’s work forms part of the world renowned Deutsche Bank Collection. There is writing on the whiteboard on the wall behind the bankers desk - is it from this that the woman in Dolores Sanchez Calvo’s oil painting hides her face? Is this world an uncomfortable reality, which she would rather not know? On the over-large TV screen on the cabinet Deej Fabyc’s performance shows the woman from the painting walking into the room, sitting at the desk, breathing rather too hard, and with her hands covering her face, she begins to sob. Marc Quinn’s fast-frozen flower landscapes show that human will has prevailed over nature, but at the expense of life, and are also represented in the Deutsche Bank Collection. But, Deutsche Bank are no longer here...
Daisy Delaney’s work for this show has the theme of the returning crises of capitalism, and suggests that the Bank of England can speak on the subject of the present scheme of property ownership; and the interests that lie behind it.
Deej Fabyc presents a new work made in response to Risk Management . This performance to camera engages with and reflects the work of Dolores Sanchez Calvo, and addresses the current situation from within a bankers office.
Italian Landscape . Permanent pigment on canvas . 2000
As part of an installation for the Prada Foundation, Quinn created Garden, comprised of flowers gathered from around the world placed into refrigerated vitrines of frozen liquid silicone. For the Italian Landscape series, Quinn photographed Garden and had the images transferred to canvas using permanent pigment.
Dolores Sanchez Calvo
Incongruent Thoughts . Oil on canvas . 2009
Sanchez Calvo’s work depicts a woman hiding her face in her hands, showing signs of disbelief, sorrow, or perhaps concern for the present situation in which we are engulfed. Painted in a reduced palette, the figure reflects the complex dialogue between human alienation and worldly interaction.
Bruxelles 05/06 I . Plexibox framed C print . Edition 1/3 . 2006
Streuli’s Brussels series was mostly shot in the neighbourhood around his home in the centre of the city, which is largely populated by immigrants and diverse ethnic groups...Streuli’s approach is refreshingly non judgmental, and unpretentious despite being decidedly voyeuristic. Katerina Gregos
Daisy Delaney lives and works in London, UK. Her conceptually based work is rooted in the political and includes street installation, design, performance and photography. Delaney’s work specializes in delivering messages via the aesthetic language of unquestioned authority.
Deej Fabyc is based in London and works with performance, installation, photography and video. Her work has for many years addressed the psychological dimensions of the personal and political experience of trauma. A sense of ambivalence and ‘schlock horror’ permeates her oeuvre.She is founding director of Elastic Residence, artist project space, London and is a key figure in KISSS, an international curatorium of artists working with issues of surveillance. She recently completed a residency bursary at Artsadmin, London and residencies at Dartington School of Art, Devon, the Cite Internationale des Arts, Paris, and Rules and Regs,at A Space Gallery, Southampton. Performances include Details at L’abracada Festival International d’Art Contemporani, Castell de la Bisbal, Spain 2006; And She Watched, Trace Installation Artspace, Cardiff, 2005 and Kingsgate Gallery, London 2004; and in Don't Call it Performance, Centro de Arte Reina Sofía, Madrid and Centro Parraga, Murcia, Spain, 2003. In 2011 she was resident artist at the Alkatraz Gallery in Ljubljana.
Marc Quinn’s wide-ranging oeuvre displays a preoccupation with the mutability of the body and the dualisms that define human life: spiritual and physical, surface and depth, cerebral and sexual. Using an uncompromising array of materials, from ice and blood to glass, marble or lead, Quinn develops these paradoxes into experimental, conceptual works that are mostly figurative in form. Quinn’s sculpture, paintings and drawings often deal with the distanced relationship we have with our bodies, highlighting how the conflict between the ‘natural’ and ‘cultural’ has a grip on the contemporary psyche. Marc Quinn has exhibited in many important group and solo exhibitions internationally including Sonsbeek ’93, Arnhem (1993), Give and Take, Victoria and Albert Museum, London (2001), Statements 7, 50th Venice Biennale (2003) and Gwangju Biennale (2004). Solo exhibitions include Tate Gallery, London (1995), Kunstverein Hannover (1999), Fondazione Prada, Milan (2000), Tate Liverpool (2002), Irish Museum of Modern Art, Dublin (2004), Groninger Museum, Groningen (2006) and MACRO, Rome (2006), DHC/ART Fondation pour l’art contemporain, Montréal (2007) and Fondation Beyeler, Basel (2009).
Dolores Sanchez Calvo is a Spanish artist and curator. Dolores is also Director of Arthemisia.eu, an arts organisation that supports emerging international artists by increasing the visibility and dissemination of contemporary art practice and has been a co-founder of a number of artists groups. Since relocating to London in 1998, the artist has frequently exhibited in the UK and abroad. In the UK she has enjoyed prominent success as a finalist in the National Portrait Gallery’s 2007 Photographic Portrait competition and as a winner of the Westminster Arts Photographic Award, 2008. Her work was selected by Phyllida Barlow for Creekside 11. Previous shows have included Fundación Focus-Abengoa in Seville, Centre Jacques Frank, Bruxelles, Giorgio de Chrico Art Centre in Greece, Bienal de Fotografiía in Tenerife and the ICA. Her multidisciplinary work addresses such questions as how humans relate to humanity. Violence, trauma, human dislocation are reflected in her work that is pervaded by nihilism and existentialism.
Beat Strueli was born in Switzerland in 1957, and is now living and working in Zurich, Brussels and Dusseldorf, Streuli is highly regarded for his photography, billboards and transparencies, which present striking images of urban citizens and environments from diverse cities ranging from Sydney to New York, and Tel Aviv to Tokyo. His work has been shown at the 17th Biennale of Sydney, NSW and at Murray Guy New York City. Beat Streuli's solo shows include the Barcelona series, Galeria Senda 2009, Art Now at Tate Britain 2006, Dogenhaus Galerie Leipzig 2006. Beat Streuli has exhibited extensively in group shows including Street and Studio: An Urban History of Photography Tate Britian London 2008, Identity in Motion MK Galerie, Berlin 2009, Fluid Street: Alone together, Klasma Museum of Contemporary Art, Helsinki 2008, Die Kunst Zu Sammeln, Museum Kunst Palast, Dusseldorf 2007, The Spirit of Globalisation.
46 New Broad Street is located in the conservation area in the financial district of London, known as the The City of London, which is run by the City of London Corporation, the oldest local authority in the UK.
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