new exhibitions

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May 7 - 13, 2021 FINAL WEEK
In the meantime… is an online public programme of commissions by Camden-based artists, whose works act as a companion for our audience to explore the stories, both past and present, between Somers Town in north-west London and neighbouring Camden Art Centre.
The uncertainty of the pandemic has become an everyday state of being. Seeking comfort has taken many forms – we may turn to the solace of a book, listen to music, or a podcast. As we journey through these unprecedented times, we have looked to the potential of companionship, envisaged as standing side by side. In the meantime… acts not as a guide or map, but instead runs parallel to the public. A longing for companionship and belonging has informed our public programme – we present sound, imagery and the written word from Esther Leslie, Sonia Uddin, Louise Gholam, Lucy Joyce, Joygun Nehar, Javier Calderón, Caroline Mawer and Jaimie Denholm as companion pieces to each other, to their users and to a moment shrouded in isolation.
Without predetermining the narrative that the programme will explore, we wish to leave space for the fluidity of storytelling, rather than appropriating this knowledge or experience as our own. We have invited contributors to contemplate small moments of exchange, anecdotes or personal resonances that speak to moments missed and moments that have remained and sustained them in the area between Somers Town in north-west London and neighbouring Camden Art Centre. In the Meantime… is a directory, an interactive PDF and a collection of sound recordings, to be published online on the 7th of May 2021.
In the meantime… we walk, we wander, we wonder.
In the meantime… is curated by Ted Targett, Lolita Gendler, Olivia Abando, Johnnie Valantine, Seulki Yoo and Isadora Graham from the MA Curating Contemporary Art Programme as part of the Graduate Projects 2021, Royal College of Art in partnership with Camden Art Centre.

May 21 - Jul 11, 2021
Camden Art Centre is delighted to host an exhibition by photographic artist Steffi Klenz as part of Camden Alive, a programme of arts and cultural events that celebrates the people of Camden.
In spring 2019 Steffi Klenz and rap artists Brownsilla and Boss B were artists in residence at the Camden Local Studies and Archives Centre, where they explored the histories of the Maiden Lane estate. Designed by architects Benson and Forsyth, Maiden Lane was a visionary, modernist scheme, which included plans for 400 new homes, shops, sports facilities, a community centre, a primary school and open spaces. Due to financial pressures in the late 1970s the plans were not fully realised, resulting in a split site and years of practical and social challenges.
Throughout 2019 Steffi Klenz spent time at Maiden Lane estate talking with residents and immersing herself in the architecture of the space. The resulting body of work Tensed Muscles explores the relationship between the architectural promise of modernist living, and the reality of living in Maiden Lane in the 40 years since its inception. Klenz’s complex abstract collages of images, photograms, Scriptio Continua, graph work and line drawing disrupt the discipline of architecture as a measured, rational and ordered space; interrupting this with human agency, interaction and the realities of life on a London estate.
Klenz’ works will be presented alongside lyrics and a new album by rap artists Brownsilla and Boss B. Weaving stories of the estate with their own experiences of living and being in London, the artists reflect on what has been, and of its relevance to lives today. The resulting album presents a complex view of Maiden Lane, one of tension and frustration but also of confidence and optimism.

May 21 - Aug 29, 2021
Following his studio residency at Camden Art Centre in early 2020, American artist Walter Price returns for his first major institutional exhibition in the UK. During his residency, Price experimented with scale, narrative and material to create new paintings, works on paper, and sculptural works. In this new exhibition, he will present elements of this body of work, alongside a group of new paintings and works on paper made during lockdown in New York.
Walter Price (b. 1989, Georgia, USA) lives and works in New York. His practice incorporates familiar forms and recurring motifs including palm trees, bathtubs, sofa’s and automobiles, which become a language of very personal symbols amid shifting horizon lines and bright fields of colour. Price’s painted and drawn compositions often blur the lines between collective history and individual memory, figuration, and abstraction, depicting uncertain urban and domestic landscapes populated by the suggestion of people, objects, images and text.
Before going to art school Price served in the US Navy, and his experiences as an African-American man growing up in the south, as well as his time in the military, both inform the restless complexity, expanse and reach of his paintings. In a forthcoming essay on the artist, writer and art historian Darby English writes:
“When I look at Walter Price, I recall the instability of the black figure in visual art and of blackness in the public imagination, and I am reminded that constructing an abstract or inclusive or difficult image needn’t mean forsaking one’s own. Price stands firm (and invites us to join him) in a turbulent formalism full of identity that adheres to no single identity politics. This keeps his image strange and buoyant, distinguishing it from so much obvious art.”
Price attempts to disrupt and reconcile what he sees as a ‘wrongness’ in painting by questioning its conventions, from the viewing experience to the materials and techniques he might employ within a work. Sometimes including unconventional materials such as metallics, stickers and tape, and a broad textural range of thickly applied paint and brushwork, Price pushes the mediums of painting and drawing, grappling with canonical issues of convention and taste, all held together within a bold and exuberant exploration of colour.

May 21 - Aug 29, 2021
Camden Art Centre will present the first solo UK institutional exhibition by New York-based artist Olga Balema (b. 1984 Ukraine), with a major new commission responding to the iconic architecture of Gallery 3. Balema’s work was included in the 2019 Whitney Biennial alongside a critically acclaimed exhibition at Bridget Donahue Gallery, New York and has gained increasing visibility in the US and Europe over the past five years.
Balema’s practice is dynamic, inventive and constantly developing and her installations often engage very directly with the spaces that contain them, antagonising their boundaries and disorienting their coordinates. The new floor-based work plays with the idea of a flat sculpture. It unfolds from a series of pixelated images of a domestic carpet, laid out in a grid-like arrangement and printed on billboard material. A large sheet of plastic has been worked on by hand and foot, in the studio, outside and on the computer; as a whole, and in pieces. The work bears an accumulation of marks: hairs traced with a pencil, dirt, and the frottage of New York pavements and visitors to the gallery are invited to walk on top of the work, incorporating their footsteps with existing composition of marks.
The work comes out of the artist’s thinking around meaning as a function of lived time and aligns with a definition of art that is primarily concerned with communicating in terms of its integrity as a formal production. Balema’s sculptures are often unwieldy and aesthetically demanding, and challenge conventions of legibility within structures and mechanisms that accompany the making and consuming of exhibitions. Balema engages a set of protocols, or a specific combination of actions and gestures of making, that nevertheless connect the work with the world, society, history, place, time and art-making. Guided by an enthusiasm for the exploration of materials and gesture, and an inventive spirit, each new body of work sets its own rules and goals.


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