Exquisite Corpse with Carne Griffiths

benjaminmurphycarnegriffithsThis Saturday myself and Carne Griffiths will be doing a live drawing game of Consequences at Inkd Gallery in Brighton.

Tickets are £50 but there are only two places left so head over to www.ink-d.co.uk quicksharp.

the event is sponsored by Derwent Pens and St. Cuthberts Mill.

Decline of Conscience

nick_js_thompson_06-DoCwebRooms Magazine asked me to curate a show with them, the first in their series of many. I chose the photographer (and good friend of mine) Nick JS Thompson, and his series of works documenting the dereliction and destruction of the Brutalist housing project The Heygate Estate in South London.

The show opens this Thursday at Hundred Years Gallery in Hoxton.

Event details at the below link:

https://www.facebook.com/events/113997528959797/

The estate, left empty for 7 years after the 3,000 residents were “decanted” is now being regenerated although only 3% of the new homes will be available for social renting. This disparity in planned housing echoes what is happening across much of London.

The Brutalist architecture of the Heygate, which was completed in 1974, was hailed as a new modern style of living. This perception changed over time and towards the end of the Estate’s life it became renowned for crime, and dilapidation. The residents of Heygate have been rehomed due to this new construction project, which adds to the increasing gentrification of the area.

Many architects, planners and professionals have analysed the site over the years and many came to the conclusion that it could easily be regenerated (for less than demolishing and starting again)using the existing, structurally sound buildings. One previous estimate of what it would cost to refurbish the Heygate Estate to a modern standard was £35m. The cost of evicting the residents for Southwark Council was £65.5m and the site was sold for £55m but Lend Lease (the developers) are expected to make a profit of £195m from the sale of new flats.

The Heygate Estate’s fate differs greatly from the fortunes of other Brutalist housing projects such as The Barbican or Trellick Tower, which have both been awarded Grade II listing status.

 

Hope to see you there!

 

The Wallace Collection/ Soho Revue

Yesterday I was involved in two charity exhibitions for some great causes.

 

The first was in aid of Reprieve and was hosted at The Wallace Collection in London. There was only two artworks in the auction, a ceramic man by Grayson Perry, and a portrait by myself.Mine raised £2500 for the charity.

 

The second was in aid of The Hepatitis C Trust and hosted at Soho Revue. Art On A Postcard had works from some amazing artists, including:

Peter Blake, The Chapman Brothers, Michael Craig-Martin, David Shrigley, Andrew Salgado, Julian Opie, Polly Morgan, Harland Miller, Bob and Roberta Smith, Rowan Newton, David Bray, Ryca, and LOADS more.

This one is still open, and the works are viewable/ buyable online at this link:

http://theauctionroom.com/auctions/149

 

Mine may or may not be #69 and #70…

Saatchi/ Hemyca Collaboration for LFW

vanitas drawingI’m excited to be collaborating with M&C Saatchi and Hemyca for London Fashion Week this September. We will be creating an installation in the M&C Saatchi offices in Soho for the models to walk on, which will involve me doing some tape art on the floor.

The above drawing is a sketchbook page that I did recently, and isn’t really related to this post but I thought it was nice so here it is.

Also I found a few APs of previously sold out prints and have added them to my shop, link above.

Liam Gillick – the Thought Style Meets The Thought Collective

Originally published through This Is Tomorrow

www.thisistomorrow.info

The real beauty in Liam Gillick’s work is his unpretentious approach. His art is, in his own words ‘aprofound’. Taken to mean unprofound, this is a refreshingly original stance for an artist to take. Much like all Relational Art, his work is intentionally vague and undefined, and for that reason has many meanings.

Specifically, Gillick’s title is referencing the ways in which artwork is produced within collective artistic communities. Mary Douglas interpreted the works of the scientist and sociologist Ludwik Fleck, and this in turn inspired Gillick. Fleck was deeply interested in the idea of the ‘thought collective’, and how truths can only be called true when regarded in the thought collective that deems them to be such. Comparative epistemology and cross-pollination between thought collectives is the best way to share ideas and learn from other’s perspectives that your individual group may have missed. This way of sharing brings with it a new group of issues which when combined with the tension between group and individual, creates contradictions and intransigent positions that are unavoidable.

In the first room, one is greeted by two large text pieces that are similar to the show title, and a short-wave radio receiver. The radio is unassumingly placed directly on the floor, off-center and unevenly lit. The audio contains elements of the Marxist/socialist utopian science-fiction novel ‘Looking Backward’ by Edward Bellamy, in which an individual time-travels over a century into the future. Published in 1888, Bellamy predicted many of the political and social conditions of the then-future with surprising accuracy. The novel spawned many ‘Bellamy Clubs’, who debated and spread his theories religiously. This collective system of sharing ideas reflects the thought collectives developed by Fleck.

The second room is visually more interesting, containing a glittery floor, unlit bonfire, and three acrylic ceiling-hung assemblages.

Presented with this work is the set of artist-written instructions with which the work was created. Upon reading these instructions one learns that the swirls made in the glitter are the result of pouring a liter of vodka on the floor. (Vodka is incredibly flammable, and seems to tempt fate when spilled around an enormous unlit bonfire).

The bonfire reaches beyond the ceiling support beams and almost up to the very roof itself. Containing enough wood to destroy the building were it ever to go up in flames, this piece speaks of incredible potential energy and suggests the chaos that would ensue were it freed. It conveys feelings of tension in its seemingly innocuous raw material, and it is only when the wood is presented in this way that its true destructive power becomes evident.

This show is about communities and the potential perils that lie therein. Much of Liam Gillick’s work, and indeed much of Relational art on the whole, speaks to all. The beauty of this type of art is its universality, and its ability to be inclusive of all and any interpretations and readings.

Great art is art that promotes interesting discourse and encourages further discovery, and this exhibition does both.

Solo show – Jan 2016

IMG_5498 GCclose

 

I’m very pleased to announce I will be having my next London solo show (and first in the city for over a year) in January 2016.

I can’t give too much a way yet but It is with a gallery that I’ve respected for a long time and really wanted to exhibit with.

The work is also the most precise and detailed I have ever done, and is looking really good so far.

Attached is a small preview of one of the smaller, less-detailed pieces in the show, coin for scale.

It will predominately contain electrical tape works, but also some new and exciting mediums I haven’t exhibited before.

 

For press release email info@benjaminmurphy.info and you will be added to the list for once it’s sent out towards the end of the year.

Benjamin Murphy