• Peggy Franck, Someone, Anyone: Varieties in distances (P,G) 2015 C- print 90 x 72 cm - Courtesy ARCADE, London
  • Peggy Franck, Of naked ground V (ww) 2015 C- print 228 x 160 cm - Courtesy ARCADE, London
  • Peggy Franck - Of naked ground I (s) 2015 C- print 228 x 160 cm - Courtesy ARCADE, London
  • Peggy Franck - Salmon leaping time to a standstill 2015 Installation view: Luceberthuis, Bergen NH (NL) (Photography: Kristien Daem)
  • Peggy Franck - Salmon leaping time to a standstill 2015 Installation view: Luceberthuis, Bergen NH (NL) (Photography: Kristien Daem)
  • Donna Huanca, SCAR CYMBALS, 2016, performance view Commissioned by Zabludowicz Collection. Courtesy the artist and Peres Projects - Foto Thierry Bal
  • Donna Huanca, SCAR CYMBALS, 2016, performance view Commissioned by Zabludowicz Collection. Courtesy the artist and Peres Projects - Foto Thierry Bal
  • Donna Huanca, SCAR CYMBALS, 2016, installation view Commissioned by Zabludowicz Collection. Courtesy the artist and Peres Projects - Foto Thierry Bal
  • Donna Huanca, MELANOCYTES/ETHERIC TEMPLATE, 2016, detail Commissioned by Zabludowicz Collection. Courtesy the artist and Peres Projects Thierry Bal
  • Coco Crampton Bowers - from form to public Belmacz 11.10. - 23.12.2016 - Installation view - Courtesy of the Artist and Belmacz
  • Coco Crampton Bowers - from form to public Belmacz 11.10. - 23.12.2016 - Installation view - Courtesy of the Artist and Belmacz
  • Aimée Parrott, Installation View 1 , September 2016, Breese Little, London
  • Aimée Parrott, Installation View 1 , September 2016, Breese Little, London
  • Aimée Parrott, Banner, 2016, Latex, linen, thread, steel, wood, 245 x 166 cm - September 2016, Breese Little, London

From live art to sculpture, photography to painting, November brings a variety of museum and gallery exhibitions, featuring works by young international artists: amid the cosmopolitan chaos of London this autumn, galleries are transformed in spaces for meditative contemplation, where the audience experiences the pleasure and the physicality of the work itself, becoming part of it.

Aimée Parrott — Breese | Little Gallery
30 Sep 2016 – 26 Nov 2016

The solo exhibition of Aimée Parrott at Breese | Little brings together new works by the Royal Academy alumni, who combine multiple processes including printmaking techniques such as mono-printing and silk screening, as well as collaging fabric to create her paintings. The surface of the canvas became a metaphorical skin, a permeable barrier on which naked female bodies’ fragments freely float as if in a vacuum or deep underwater. Constantly surrounded by digital information and data, we look at these paintings and we feel a dense bodily connection with them: our own personal memories and impressions are translated into the gestural language of paint. It’s a moment of fit, of eye and hand, of self and world coming together.

Aimée Parrott, Installation View 1 , September 2016, Breese Little, London

Aimée Parrott, Installation View 1 , September 2016, Breese Little, London

The radical eye: modernist photography from the Sir Elton John Collection — Tate Modern
10 Nov 2016 – 7 May 2017

From Dorothea Lange’s documental photographs, which capture spontaneous moments of the everyday world, to the unconventional angles taken by Aleksandr Rodchenko, as well as the innovative portraits of artists, writers, musicians by Man Ray, The radical eye embodies the substance and quintessence of the subjects themselves. The exhibition focuses on the first half of the twentieth century, a period during which artists radically transformed photography thought their experiments. All the artworks belong to Sir Elton John, who started the collection in 1991 and includes over 8000 prints from the early twentieth century to the present. Radical new perspectives, socially as much as visually, which speak to us about contradictions, light and form, empathy, history and unfold the everyone’s experience.

Man Ray 1890-1976Glass Tears (Les Larmes) 1932Photograph, gelatin silver print on paper229 x 298 mmCollection Elton John© Man Ray Trust/ADAGP, Paris and DACS, London 2016.

Man Ray 1890-1976Glass Tears (Les Larmes) 1932Photograph, gelatin silver print on paper229 x 298 mmCollection Elton John© Man Ray Trust/ADAGP, Paris and DACS, London 2016.

Peggy Franck | With no hands. Like a sea — Arcade
16 Nov 2016 – 17 Dec 2016

Thought a carnivalesque combination of colors, forms, materials and media along painterly randomness and exploding dynamism, Peggy Franck immerses us in a pulsating new space. She explores and reinvents the environment creating different dimensions by juxtaposing and layering painting, installation, and photography: the result is something abstract, devoid of narrative. She gives us the impression that we have just missed the action, that we are seeing the remains of a process, the traces of the artist’s presence.
With no hands. Like a sea is an exhibition which highlights the process of navigating the everyday; we absorbed the artist’s world, becoming a physical part of her casual, playful, exhuberant installations.

Peggy Franck - Salmon leaping time to a standstill   2015   Gouache on paper   300 x 350 cm   Installation view: Luceberthuis, Bergen NH (NL)   (Photography: Kristien Daem)

Peggy Franck – Salmon leaping time to a standstill 2015 Gouache on paper 300 x 350 cm Installation view: Luceberthuis, Bergen NH (NL) (Photography: Kristien Daem)

Donna Huanca: Scar Cymbals — Zabludowicz Collection
29 Sep 2016 – 18 Dec 2016

This at Zabludowicz Collection represents Huanca’s largest and ambitious solo exhibition to date: she has designed a three storey glass structure to respond to the height and neoclassical architecture of the chapel, alongside sculptural and sound installations, pastel painted naked performers moving slowly and interacting with the surrounding works, totem and altars. Huanca invokes the physicality of our senses through deep vibrations coming from the floor’s speakers, the smell of wood and the kaleidoscopic pigments on performers’ skin: we enter a meditative state during which we feel more aware, not only of our body, but of our mind too. We become gender-fluid, post-human and holy beings who are no longer limited by meanings and interpretations of identity.

Donna Huanca, SCAR CYMBALS, 2016, performance view Commissioned by Zabludowicz Collection. Courtesy the artist and Peres Projects - Foto Thierry Bal

Donna Huanca, SCAR CYMBALS, 2016, performance view Commissioned by Zabludowicz Collection. Courtesy the artist and Peres Projects – Foto Thierry Bal

Coco Crampton | Bowers – from form to public — Belmacz
11 Oct 2016 – 23 Dec 2016

Crampton’s Bowers are a series of geometric structures composed of wood, metal, ceramic and other vibrantly coloured materials; they look like unusual hanging systems, varying in scale, orientation and complexity. Installed here to stimulate our senses and rouse our imagination, they create a new realm which is domestic and impressive, playful and austere at the same time. Looking at the Bowers lead me to imagine other countries, other eras or parallel universes in which such unusual sculptures would have their place. They invite us to contemplate: like a daydream, whose irrationality jolt us out of our ordinary life.

Coco Crampton Bowers - from form to public Belmacz 11.10. - 23.12.2016 Courtesy of the Artist and Belmacz

Coco Crampton Bowers – from form to public Belmacz 11.10. – 23.12.2016 Courtesy of the Artist and Belmacz