new exhibitions

4 Hanover Square, W1S 1BP
020 7493 4492

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undergroundOxford Circus

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Nov 29, 2017 - Jan 13, 2018
For the second in Blain|Southern’s new series of exhibitions, collectively titled Lodger, its curator Tom Morton has invited the artist Sophie Jung to develop a new sculptural installation, accompanied by a performance that exists as both a live event and a looping video work. For this exhibition, Come Fresh Hell or Fresh High Water, Jung will transform Blain|Southern’s lower gallery into an environment that recalls at once a bunker, an ice cellar, a Brechtian stage set, and a dressing room. Scale, here, is subject to sudden glitches, and the most mundane of objects – coffee mugs, shower curtains, hat stands – hum with histories, ironies, and a simmering sense of fury.
Performances on 16 December, 6 January, 13 January. See website for details.

Click to enlargeRACHEL HOWARD : DER KUSS
Jan 24 - Mar 17, 2018
Private view Thu Feb 1 6pm - 8pm
Blain|Southern presents Der Kuss, an exhibition of Rachel Howard’s newest paintings and sculptures.
The exhibition focuses on internal and external violence, the violence of the mind and the body. Der Kuss, the kiss, is a delicate point of intimate contact, of love or betrayal.
The exhibition is divided into two rooms, in the first are paintings of grids and lines, disintegrated surfaces that hint at unstable worlds, entropy and collapse. There are also crashed planes here; based on everyday press images. Howard suspends the image in a pastel haze, transmuting these snapshots into images of universal suffering, or perhaps they are self-portraits installed into a delicate afterlife, where we can look at them forever.
press release

Jan 24 - Mar 17, 2018
Private view Tue Jan 23 6pm - 8pm
For the third exhibition in Blain|Southern’s Lodger series, the British sculptor Brian Griffiths has drawn on stage- and screen-writing techniques to develop a ‘character’ who will inhabit the gallery’s basement space. Appearing in a series of sculptural situations, often on the point of collapse, or running through some seemingly meaningless protocol, Griffiths’ creation is a tragi-comic figure: a naked, puppet-like Caucasian male who seems not to know that his strings – if they ever held him up – have now been decisively cut. Bald, blind, and with his pink paintwork and wooden body showing signs of wear and tear, this little performer clunks through his part.
press release


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