A First Look at Banksy’s New Art Exhibition Housed Inside a Dystopian Theme Park
Everything about this park is amazing....
WESTON-SUPER-MARE — Inside the walls of a derelict seaside swimming resort in Weston-super-Mare, UK, mysterious construction over the last month—including a dingy looking Disney-like castle and a gargantuan rainbow-colored pinwheel tangled in plastic—suggested something big was afoot. Suspicion and anticipation surrounding the unusual activity attributed to fabled artist and provocateur Banksy has reached a Willy Wonka-esque fervor. Well, if Banksy’s your bag, continue fervoring. If not, there’s more than a few reasons to continue reading.
The spectacle has since been revealed to be a pop-up art exhibition in the form of an apocalyptic theme park titled Dismaland (“The UK’s most disappointing new visitor attraction”) that will be open to the public for five weeks.
Opening Reception for 3 new exhibitions to mark 40 years
Saturday September 19, 6:30 to 9:30pm
Southbank III Artists Panel Discussion: 6:30pm to
with Ferdinand Maravilla, Sandee Moore, Debbie Westergaard
7:30 to 9:30pm
Views from the Southbank III: Information, Objects,
Sylvia Grace Borda, Elizabeth Carefoot, Walter
Dexter, Willa Downing, Connie Glover, Sara
Graham, Adad Hannah, Davida Kidd, Robert
Kleyn, Cora Li-Leger, Don Li-Leger, Robert Linsley, Stuart
McCall, Ferdinand Maravilla, Aaron S. Moran,Sandee
Moore, Fred Owen, Barry Parker, Jeff
Rasmussen, Ben Reeves, Michael Soltis, Tracie
Stewart, Lesley Tannen, and Debbie Westergaard Tuepah.
September 19 to December 13, 2015
It’s everywhere: people plugging in and
playing on smartphones; iPods blaring on the buses; GPS leading us to our
destinations; screens clamouring for our attention in our homes, offices, cars,
and pockets. In an age saturated with information, instant updates, and
constant connectivity, how do artists respond to this ever-present
yet ever-changing reality? Views from the SouthbankIII brings together three different
sets of artwork by twenty-four artists who respond to this societal
shift while, at the same time, capturing a cross section
of Surrey and its surrounding South of Fraser region. Some of
the artists directly engage with the stuff of our digital
world—infographics, information, data systems—weaving in this new reality to
their work. Pouring and peeling back large drips of paint, Debbie Westergaard
Tuepah makes vibrantly coloured graphs and charts based
on Surrey demographics. Ben Reeves throws darts at a map
of Surrey and then drives to these randomly selected sites where he makes
one small painting for each location, mounting the panels on his car steering
wheel as he works. Another series of artworks reimagines how
we interact with information through forms of mapping and counter-mapping.
Sandee Moore creates an interactive first-person animated video
game with environments influenced by the suburban townhome developments found
in her home town centre of Cloverdale. A third group of artists resists
the electronic digital and ephemeral world by returning to the physicality and
tangibility of objects through such forms as pottery, assemblage art, and
textile sculpture. Connie Glover’s wheel-thrown ceramics and
hand-built sculptures featuring local materials harken back to early forms of
nature such as seedpods and buds. Marking
the Gallery’s 40th anniversary, this is the third and final
part of the Views from the Southbank series of exhibitions
that has featured over seventy-five artists from Surrey and
its surrounding region south of the Fraser River throughout 2015.
Thank you Robin Laurence for the Fall Arts Preview!
photo by Alex Waterhouse-Hayward
In 2009, Fiona Ackerman created a painting titled Distraction. In it, a man and a baby sit at either end of a brown sofa, staring accusingly at the woman who is depicting them. The man is Ackerman’s husband and the baby is her son, then six months old, and together they embody the challenges that still face women when they take on the triumvirate of marriage, motherhood, and career.... Read more of the article below. http://www.straight.com/arts/530781/fall-arts-preview-2015-fiona-ackermans-paintings-mash-forms
Winsor Gallery Presents Halberds Army, a collection of imperfect linear abstractions. Bradley
Harms sees the world with a critical eye which he expresses through form,
design and colour. His abstract compositions are striking and seductive
and challenge traditional symmetry with randomness and disorder. Harm's paintings
have a surprisingly simple but complex character and provide a multi-dimensional
visual from distance at odds with the disunity of close inspection.The Imperfect Grids appear almost computer generated,
but on upon closer inspection, the marks of the painter’s hand and colour palate
selection become clear. Bold primary
colours contrast against the absence of hues and more muted tones in his
structure.Harms’ challenges the
preconception of order and seeks harmony from disorder.