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Susan Hiller, Psi Girls, 1999, Video installation: 5 synchronised programmes, 5 projections, colour with stereo sound, real-time audio processing, Programme duration 20 minutes, Dimensions variable.

Susan Hiller, An Entertainment, 1990, Video installation: 4 synchronised video projections, quadraphonic sound duration 19 minutes; dimensions variable, AP (Edition 1 + 1AP).

Susan Hiller, Magic Lantern, 1987, Audio-visual installation: slide projections with synchronised soundtrack; 3 carousels each with 12 35mm slides, driven by electronic pulses, Programme duration 12 minutes, Dimensions variable, Edition 1/3.

Susan Hiller, The J.Street Project, 2002-2005, Video installation: single channel projection colour, stereo, PAL, 16:9 FHA, 67 min, looped.

Timothy Taylor Gallery
15 Carlos Place
020 7409 3344
London
Susan Hiller:
Proposals
and Demonstrations
October 31-December 13, 2008

Susan Hiller uses ephemeral, everyday objects to tell stories and to extract new meanings from them — producing an art that is both visually stimulating and emotionally compelling. She is intrigued by the unspoken, the unrecorded and the unnoticed — in the gaps and overlaps between space and time, dream and experience. For Proposals and Demonstrations, Hiller premieres new video and photography, alongside earlier works from the 1970s and 1980s, all focusing on her long-term interest in the relationships between altered states of consciousness such as dream states, trance, meditation and art practice. The consistency and significance of Hiller’s output since the 1970s is currently being acknowledged by curators and collectors alike. The Last Silent Movie, 2007, on disappearing languages, was considered by many to be one of the high points of the recent Berlin Biennale.

At the heart of Proposals and Demonstrations lies the ambitious new video presentation, From Here to Eternity, 2008, a group of animated projections based upon historical labyrinth patterns, by means of which the viewer may achieve a contemplative state of mind. Like many works by Hiller, From Here to Eternity reminds us of the strong links between modernism and the occult, spiritual practices and traditions of the past — which influenced the work of Mondrian, Miró and others. Hiller continues her mapping of this 'ghostly' legacy of Modernism in two new photographic works in the exhibition: Auras: Homage to Marcel Duchamp, 2007/8 and Levitations: Homage to Yves Klein, 2007/8 which explore the popular phenomenon of internet self-portraiture of subjects who depict themselves levitating, flying, or emitting multicoloured auras.

The inclusion of significant earlier works in the exhibition reveals Hiller’s long association with the exploration of the hidden: Brian Dillon describes Hiller’s work as "conjuring the visible from the non-visible, tracking the movements of the unseen, tracing the outlines of the evanescent — hearing voices out of the ether and giving a shape to what is not there." One of the earliest works shown is Dream Mapping, 1974, a series of notebooks that record the dreams of participants who slept under the stars in mushroom æfairy ringsæ in rural Wiltshire, as part of a performance orchestrated by Hiller. In Magic Lantern, 1987, a signature work originally commissioned for the Whitechapel Art Gallery, Hiller blurs the boundaries between scientific enquiry and the unruly and irrational, as ghost stories, optics, technology and aesthetics collide.

Susan Hiller (b. 1940, Tallahassee, Florida) lives and works in London and Berlin. Hiller is represented extensively in international private and public collections, including Tate; The British Council; The Henry Moore Sculpture Collection; The Victoria and Albert Museum; The Arts Council of Great Britain; The Government Art Collection; Museum Ludwig, Cologne; The Ella Fontanals Cisneros Foundation, Miami; The UBS Collection; Tokyo Metropolitan Museum of Photography; Israel Museum, Jerusalem, and others.

Hiller’s five channel video installation, Psi Girls, 1999 is currently installed in the States of Flux wing on level 5 of Tate Modern, London. Her most recent exhibitions have included a mini-retrospective entitled Outlaw Cowgirl and Other Works at The BAWAG Foundation, Vienna, and presentations of The Last Silent Movie at the 5th Berlin Biennial for Contemporary Art, and at Matt’s Gallery, London (all 2008), as well as solo exhibitions at Moderna Museet, Stockholm (2007), Castello di Rivoli,Turin (2006), Kunsthalle Basel (2005), Baltic Centre, Gateshead (2004), and Museo Serralves, Porto (2004). Forthcoming solo events in October and November this year include The J. Street Project at Der Deutsche Bundestag, Berlin and The Jewish Museum, New York; and screenings of The Last Silent Movie at the Museum of Modern Art and Anthology Film Archives, New York in November.

A double publication, commissioned by the ICA and co-published with BookWorks, containing images and texts by the artist will be available during the exhibition in paperback format and as a limited, boxed edition.

Union Gallery
57 Ewer Street
+44 (0) 207 928 3388
London
Anika Lori / AVPD /
The Destruction of Atlantis curated by Jesper Elg
October 1-
November 29, 2008

These three exhibitions in one show feature new works by Anika Lori and AVPD plus a group show of international artists curated by Jesper Elg.

In, Nobody Puts Baby In A Corner, Anika Lori works in mixed media creating art that transgresses formal barriers and achieves a mastery of expression and language that is uniquely and resolutely hers. Her work is an expression of a sincere and sanguine fascination with sexuality and an appreciation of its diversity.

Visibilities, is an installation show by AVPD (Aslak Vibæk & Peter Døssing). The central piece is Stalker, which unfolds as sequence of four connected and uniform corridors. To walk inside is to encounter an image of oneself standing behind oneself, one is forced into a position of detachment and into taking the role of being ones own stalker.

The Destruction of Atlantis reflects and comments on the legend of Atlantis through painting, photography, sound, drawings, sculpture and installation and draws parallels to our own civilization and environment. The group show curated by Jesper Elg features new works by a diverse group of young international artists including: Ulrik Crone, Michelle Blade, Wes Lang, Julian Röder, Steve Powers, Todd James, Troels Carlsen, Andrew Schoultz, Jakob Boeskov, Kasper Sonne, HuskMitNavn, Matthew Stone, Hesselholdt & Mejlvang, Alex Lukas, Peter Funch, Jes Brinch and Richard Colman.

Anika Lori's Nobody Puts Baby In A Corner is a series of collages employing materials which glitter, glare and wink. This frenzied portrayal is conveyed through the use of weird animals, crying clowns, vintage porn, masks, fashion images, wigs and moustaches. Her work is an expression of a sincere and sanguine fascination with sexuality and an appreciation of its diversity. It explodes before the viewer like a confetti packed firecracker that leaves the ears ringing with a strange poetry in which complementary difference is celebrated to the exclusion of all else.

During the last five years AVPD / Aslak Vibæk (*1974) and Peter Døssing (*1974) have increasingly strengthened their position as one of the most original, experimental and odd artist collaborations in Scandinavia. From the outset of their career AVPD's complex spatial works have been focusing on examinations of how time, space and subject interrelate.

In this the first presentation of AVPD in Britain three new works are presented dissecting and exploring the human perception. The main work Stalker is a new installation which unfolds as a segregated sequence of four connected corridors. Inside the installation four huge mirrors are positioned in angles creating an endless 360º reflection in each of the four mirrors. The reflections in the four mirrors conflicts with the reflections of a single mirror. Instead of observing one's mirror image the subject perceive oneself from behind as he/she is a another person, standing behind oneself.

The subject observes oneself as another subject. In other words the subject is forced into the role of being the one's own stalker. Apart from being one's own observer the mirror reflections forces the subject to observe all other present subjects in the installation and simultaneously being observed by them. The installation becomes a performative space.

Transparencies II is a series of works, each consisting of layers of 70 x 100 cm transparency film fixed in several displaced layers. Because of the displacements and overlaps of the transparency films variations of tones occur creating a vibrant spatiality on the the 2-dimensional surface. The transparence of the transparency films changes character and color depth depending on the light intensity and light angle and the perceptive position of the subject. Sphere constitutes at the same time both as a simple and complex sculptural object. By the use of approximately 1000 meter tiny wooden fillets constructed in a triadic system the work appear as a dense spherical object.

According to the subjects physical distance to the object, Sphere becomes subject matter of how the human eye perceive space and objects. On one level the works by AVPD can be characterized as accessible to a direct physical and mental experience frequently confronting the subject with an immediate sensation of confusion, bewilderment and vertigo. On another level the works is influenced by different sources as Science Fiction literature, movies and science which endow the direct physical experience with a complex and intensified content in this way place demands to the subject on both a physical and intellectual level.

Jesper Elg with Peter Funch founded the V1 Gallery in 2002. In 2004 Mikkel Grønnebæk joined the gallery. The gallery in Copenhagen, Denmark represents a select group of emerging and established artists and is committed to introducing art with something at heart to an international audience. Seeing art as a profound and competent media for social and political engagement, the gallery has a desire to challenge both the viewers, the norms and itself and aspires to create a space with no limitations other than quality and nerve.

Anika Lori (b.1975), Black Cloud, 2007, Mixed media collage, 100 x 70 cm.

AVPD (Aslak Vibæk b.1974, Peter Døssing b.1974), Sphere, 2008, 1000 m wooden fillets (dimension 1x2 mm), glue, approx. 55 cm.

Yu Jinyoung (b. 1977), A family in disguise (Adult 2), 2008, Pvc, mixed media, 156 x 39 x 25 cm.

Union Gallery
94 Teesdale Street
+44 (0) 20 7928 3388
London
Yoo Jinyoung.
A Family in Disguise
October 4-
November 1, 2008

In Yoo Jinyoung's uncanny sculptures we can discern a carnivalesque alienation of the family, the terrifying and sad figures staring into the viewer.

We keep on living as we continuously meet many people and be apart, remember and be forgotten. In this kind of life, we disguise ourselves and live a hypocritical life to distinguish one's existence and to be recognized from the other. An instinct to find a free and true self, escaping from this yoke can never be concealed. However, the people have to make exaggerated gestures and stiff expressionless faces, and they live with contrary faces as they adapt themselves to this fast modern society. For each moments of being confused and controlled as we live with these numbers of people, we feel an impulse to identify a true face of oneself. 'What is the true face of me?'

Yu Jinyoung portrays truth and illusions of a family with a house, the hideaway of these people, as a background. The artist's previous work expresses a portrait of humans trapped in a society, and he has moved the meeting of his work into a fence called as home. Through everyday lives of family in very limited space called home, the inner world of family is closely examined.

The family wants to turn away their eyes from all discords and indifferences that are happening in a form of home, which should be intimate the most. They refuse an exposure to the outside by hiding themselves because they don't want to show their pretentious look as a friendly family. How the alienated family disguises themselves as friendly ones is portrayed through an uncomfortable meeting with guests who attend to family events like big holidays. The children, who came to terms with reputations and bluffs of adults from guest's visitation, automatically adapt themselves to hold down their emotions. The emotion spreads so far as to a dog.

Yu Jinyoung (b. 1977, Korea) lives and works in Seoul. She received a BFA in in sculpture in 2001 from Sungshin Women's University, Seoul and an MFA in Sculpture in 2005 from Sungshin Women's University in Seoul.

Recent solo exhibitions have included Welcome, Kimi Art Gallery, Seoul, 2007; Abundant Emptiness, Ami & Kanoka Gallery, Osaka, Japan; and Abundant Emptiness, Chang Gallery, Seoul, 2007. Recent group exhibitions include The Battle of Taste, Sangsangmadang, Seoul, 2008; 2007 l Design, Kumho Museum, Seoul, 2007; Funny (Baton Touch), Art Space Hyun, Seoul, 2007; and A Complex, Sungkok Museum, Seoul, 2007.

Wilkinson
50-58 Vyner Street
+44 20 8980 2662
London
Main Galleries
Phoebe Unwin:
Feelings
And Other Forms
September 4-
October 12, 2008

As a painter Unwin manages to break free from the weight of the medium's long history to create works that experiment with and push the supposed limits and boundaries of paint. Eschewing physical source material, photographic or otherwise, her works attempt to conquer the blankness of the empty canvas without the safety of self-imposed limits of form or motif. Unwin is not seeking some ultimate goal in the practice, more excitedly questioning the length and breadth of reaction that can be elicited with pigment on surface. Each work a unique experiment for the artist.

Ranging widely in its formal nature the exhibition includes wholly abstract washes of colour, part abstract portraiture, and minimal still lives. The creative process is integral to the end product. Each work is a process in progress, a reaction to its previous counterpart; some starting with colour or texture and others with subject or shape. Worked out in books first and then transferred, adjusted and edited onto a multitude of differently sized and prepared canvases, the artist works prolifically, only to carefully edit the output before public consumption.

The diverse formal subject matter depicts the essence of the artist's personal emotion without ever troubling the viewer with the non-universal back-story. Emotions are set in the abstract. This is demonstrated with the deliberate and effective confusing of outlines and spaces allocated to different depicted objects, including people which distances the viewer's concentration from the actualities of subject matter. In withholding the specifics Unwin makes her work raise more questions than answers, taking the look of cinema without the latter's traditional constraint of having to tell a story.

Colour has long played a significant role in Unwin's life, having spent much of her formative childhood living near San Francisco, surrounded by the optimistic palette of the Californian landscape and the strong influence of Mexican culture which counteracted the overriding belief in monochrome of her British, European, birthplace. The world that these works inhabit now however has progressed from these early influences, imbuing the colour with a very adult emotional intensity.

Unwin attended Newcastle University (1998-2002) and the Slade School of Fine Art (2003-2005). Her first solo show, The Grand and the Commonplace, took place at Wilkinson in 2006 and since she has exhibited in group shows in Copenhagen, Amsterdam, Reykjavik and at Thomas Dane Gallery, London (all 2007). In that year she also had a major solo show at the Milton Keynes Gallery. She is currently exhibiting in a group show at Honor Fraser Gallery, Los Angeles. In September she is participating in a group show curated by Barry Schawbsky at Centre Cultural Andratx, Mallorca. Unwin was born in Cambridge in 1979 but now lives and works in London.

Phoebe Unwin, Untitled, 2008, Acrylic and oil on linen, 120.5 x 145 cm.

Phoebe Unwin, Yellow Room II, 2008, Acrylic on linen, 152.5 x 183 cm.

Phoebe Unwin, Beach Portrait, 2008, Oil on linen, 61 x 51 cm.