MARK RUWEDEL:LOS ANGELES
Dec 11, 2020 - Feb 19, 2021
Mark Ruwedel’s new exhibition at Large Glass is a selection of photographs taken from his in-progress epic Los Angeles: Landscapes of Four Ecologies. At a time when predictions of climate catastrophe are becoming ever more frequent, these gelatin silver prints, hand printed and mounted by the artist, feel especially timely as evidence of this moment of escalating consequences, and are imbued with - in Ruwedel’s words - a “tragic beauty”.

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LG NOTATIONS
Apr 24 - Dec 31, 2020
A series of curated online broadcasts of audio material from a selection of artists, curators and friends of the gallery: lglondon.org/index.php/lg-notations

THE HYBRID GUEST
Oct 16 - Dec 3, 2020 FINAL WEEK
The duo exhibition questions perceptions of the female identity within the context of contemporary Western society by setting side by side the practices of Filipino-born artists Rhine Bernardino and Lilibeth Cuenca Rasmussen.
 
Originating from a visceral necessity to manifest their presence in space, an urgency to ‘be seen’ beyond their singularity – both practices exist within the realm of the displaced and the in-between. As immigrants residing respectively in Copenhagen (Cuenca Rasmussen) and London (Bernardino), they articulate the political through the body and its manifestations.
 
Endurance, repetition, struggle and participation is what connects both practices, primarily originating from a performative stance later developing into a multimedia body of works encompassing photography, sculpture, installation, video and sound.
 
Both interested in human behaviours and the condition of the self versus an other, the chimerical works of Bernardino and Cuenca Rasmussen are often uncannily interfering with notions of feminisation, ultimately seducing and repelling.
 
The tensions between the representation of clichés, taboos, accepted stereotypes and mysticism, define the exhibition’s dynamics. The Hybrid Guest is the accidental visitor, a chance comer, a suspicious stranger. It is both the artists themselves and the visitor that are prompted into an ambiguous environment wherein the works’ potential is hidden within their layers of experience.
 
Works on display include: Regla Series (Bernardino, 2016-2017) and Blood Flags (Cuenca Rasmussen, 2014). In the basement, the on-going work Territorial Pissing (Bernardino, 2020 -) and Tow with the flow (Cuenca Rasmussen, 2018 -), an installation and a film by Cuenca Rasmussen engaging students from New York and Copenhagen in a collective participatory process. Mobile Mirrors (Cuenca Rasmussen, 2010 -) will also be performed live on the Opening Night and exist as a sculptural piece throughout the duration of the exhibition.
press release

AT HOME
Dec 18, 2020 - Feb 20, 2021
Private view Fri Dec 18 4pm - 8pm
A group show in a domestic private flat setting with Martin Creed, David Tremlett, Philomene Pirecki, David Connearn, Dean Hughes, Grace Weir, Amy Stephens and more.

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ENRICO CASTELLANI
Dec 4, 2020 - Feb 27, 2021
Presenting never-before exhibited sculptures in aluminium.

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LUX ONLINE PROGRAMMING
See website
www.lux.org.uk

JAMIE CREWE: ASHLEY
Nov+Dec
Dragging a wheelie case behind them, Ashley arrives at an isolated beachside cottage. They hope that this weekend in the countryside might be the change they need: a change from depression, from heartbreak, from the pain of a shifting identity. As the weekend unfolds, however, their hope wavers: things go wrong in their body, or perhaps in their mind — or perhaps there really is something, outside, developing an appetite for them...
 
Ashley is a semi-autobiographical rural horror film filmed on the West Coast of Scotland, designed for cinema viewing. Its only character is played onscreen by the artist, and voiced in narration by the poet and performance maker Travis Alabanza. Drawing on the conventions of the rural horror genre (seen in television series such as the BBC’s West Country Tales, 1982–83) and of Margaret Tait’s work in the Scottish landscape tradition, the film takes an experience of modern femininity and mines it for terror. In doing so, it animates the fears, stresses, and vivid transformations of a certain kind of trans life.
 
Alongside the film itself, the exhibition includes Ashley’s oil (2020), a room scent co-composed by Jamie, Charlotte Percival, John Turrell, and Tom Turrell, who shot Ashley together in July 2019. Reflecting the landscape of the film, as well as memories of filming it, the oil brings the redolence of wet, woody things into the gallery, as well as citronella to repel midges.
 
In the library an untitled collage on a dark grey felt board includes an oil pastel drawing by Jamie, as well as the original title cards filmed for Ashley’s opening, intertitles, and credits.
 
To accompany the exhibition Jamie Crewe presents a recorded artist’s talk in which they discuss a technique that recurs throughout their practice. They have named the technique PEOPLE HAVE COME, and it describes courting and avoiding publicness. For certain kinds of people the desire to be seen, recognised, and understood is as powerful as the urge to hide, be illegible, and repel investigation. In reference to Ashley, as well as to other works and experiences, this talk traces eruptions of this ambivalent seam in Jamie’s life and practice. PEOPLE HAVE COME will be available online on the LUX website for the duration of the show.
press release

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