“It seems that the space of VITRINE actually gives a new found power and extra layer of meaning to the work towards a new more unexplored area, that touches on themes of commodification- exposing the question of the nature of the connection between the work and the art market.”
Eva Tomopoulou review’s Sarah Burger’s exhibition “New Continents, Light Lines” at VITRINE London in After Nyne magazine. Read more here.
Richard Hughes reviews Clare Kenny’s Industrial Romantic at Touchstones Rochdale for Corridor 8.
“Kenny encourages the viewer to question the truth of reality and speediness of time, conjuring personal memories of different ages within our lives and how they affect who we are in the present. Industrial Romantic in some places relates to the many monotonous aspects of Northern lives, with Kenny quite humbly describing the populace with light-hearted sincerity and sensitivity, paying homage to the sometimes forgotten essences of existence.” Read more here.
Osage art foundation and Fundaziun Nairs cordially present “Interval In Space” – A Switzerland/Hong Kong Cultural Exchange Project.
“In early July a group of young Hong Kong artists [including Nadim Abbas] will travel to the village of Scuol in the picaresque Engadin valley in south-eastern Switzerland in order to take part in a residency program and to share information about their artistic practices with a group of artists from Switzerland and Austria…”
Read more here.
“The VITRINE space is a demanding one, one that doesn’t please a possible white-cube desire of anonymous interior walls. The space itself is an entity with which I somehow worked – although from a distance. Beside its’ unwieldy dimensions, which intrigue me, it was also the fact that it is embedded in a public situation that made me think around the tension between its’ limited exhibition area and its’ actual site-taking presence. The shows at VITRINE happen outside. It’s not given where the exhibition starts, you can see it from far away when you walk towards the square. People who work or live in the buildings around see it when they look out of their window. When there is the market on the square, the VITRINE becomes the background scenery of a daily life situation. ” Read more from Sarah Burger in Traction Magazine here.
“Wil Murray is more influenced by literature than by visual art, a fact made clear by the title of his contribution to the Alberta Biennial.
The Onlyes Power Is No Power takes its name from Russell Hoban’s post-apocalyptic novel Riddley Walker. The phrase encapsulates the main character’s revelation during a séance and, as Murray explains it, means ‘power actually lies in not struggling for power, it lies in giving up the idea of power.'” Read more about Wil Murray at Alberta Biennial here.
Art Magazin/ Das Kunstmagazin reviewed our current exhibition at VITRINE, Basel in this ‘Recommended exhibitions to see outside Art Basel’ together with some of our favourite Basel neighbours Freymond-Guth Fine Arts Depuis 1788, Trikot, S.A.L.T.S. Read more here. (German)
Sarah Burger ‘New Continents, Light Lines’, opens Tuesday 27th June and runs until 3rd September – VITRINE, London. Read more here. (French)
‘Architecture plays a fundamental role within this exhibition where artists are able to make works viewable in-the-round from the public square, allowing choreography and the ways in which the viewer moves around the works an integral element to the production of this exhibition.’ ‘Identify your limitations, acknowledge the periphery’ at VITRINE, Basel, featured in Wall Street International. Read more here.