The collective’s readings for the V&A’s Selected Poems series, with readers including Liz Berry, Matthew Gregory, Tim Cockburn and Abigail Parry, are now available for listening on the Clinic website.

With titles such as The Age Of Insecurity, Hermione And Frog: Honeymoon Days In The Blue and Google, the playlist is sure to be an entertaining audio experience no matter what your poetic taste.

Listen to Selected Poems — The Recordings here.

clinicpresents.com

Words by Carla Seipp

Held together by no specific theme, his images are poetic plays on light and space. Taking images of everyday experiences, there’s an anonymity to his photographs that hints at stories the viewer can only imagine. Whether it’s a girl teetering over the precipice of New York or an alien smoke puff hanging above a kitchen sink, Barber’s camera intimately and lovingly records moments in life.

Tim Barber: Untitled Photographs exhibition and book signing is tonight at 7pm at Mother, Biscuit Building, 10 Redchurch Street, London, E2 7DD

RSVP Richard@webberrepresents.com

tim-barber.com

motherlondon.com

Words by Boudicca Fox-Leonard

In the Seventies, Burdett was a post-boy at Island Records when he came across a dumped tape intriguingly labelled, “Nick Drake, Cello Song. With love.” It was 20 years before he actually listened to it, discovering an earthy version of Drake’s famed song and another few years passed before he decided what to do with his discovery.

Inspiredly, instead of releasing it into the online ether, Burdett  travelled the length and breadth of Britian, stopping some famous people and some not on streets, hills and work places to offer them a chance to hear the song. Each time, he took a portrait of the listener.

The results are now on display at the Idea Generation gallery in East London. The Strange Face Project, takes it’s name from the first line of Cello Song and also refers to the expressions Burdett observed of his listeners and a fitting ode to one of music’s lost talents.

The Strange Face Project is at the Idea Generation gallery until Sunday, February 12.

ideageneration.co.uk

Words by Boudicca Fox-Leonard

Self’s colourful pencil drawings of female subjects from the 1960s, addressing the zeitgeist of passivity and fear during the Cold War, as well as the escapism that entertainment offered during this period, will be on display.

Whilst Self’s work is a thoughtful reflection on the isolation of the individual, consumer culture and politics, the screening of American film artist Kenneth Anger’s 6-minute short film Puce Moment offers an exploration of Hollywood hedonism.

Glasgow-based creative Sophie Macpherson, known for her work on the formation of self-identity through communication, presents an archive of Barbara Hulanicki for Biba dresses for the exhibit, while sculpture artist Clare Stephenson has created digital cut-and-paste martini glass designs as a representation of decadence.

Showing in the Victorian-style interior of temporary arts space The Hidden Noise, House Of Yvonne is an interesting and eye-opening fusion of art and fashion.

House Of Yvonne is on display at The Hidden Noise, 1/1, 24 Hayburn Crescent, Glasgow, G11 5AY, until February 11.

thehiddennoise.info

Text by Carla Seipp

At the opening party for their installation Numéros Privés, a sea of Chanel clad beauties, including Diane Kruger and Alexa Chung,  were transported through ten magical spaces inspired by the brand’s iconic codes. The materials, figures, symbols, colours and coveted objects that make Chanel so recognisable were transformed and reinterpreted.

From a recreation of Coco Chanel’s Paris apartment to a room with quilted leather walls in tribute to the 2.55 bag, Numéros Privés is a magical microcosm of Chanel’s world.

If you haven’t already received your invitation then it’s time to beg, borrow or steal your way into their breathtaking installation.

Numéros Privés by Chanel is at the Wynn Las Vegas until January 28th

Words by Boudicca Fox-Leonard

The nascent print form was adopted for producing prototypes but is now being explored as a means to an end. The Send to Print / Print to Send exhibition unites designers and studios both emerging and established to showcase not only the enduring significance of this stage in the design process, but also the potential of this technology.

Highlights include Chau Har Lee’s exquisite heels – a departure from more conventional footwear, but nonetheless visually arresting – modern tapestries by Chloe McCormich and Nicholas O’Donnell-Hoare and Assa Ashuach’s textual homeware. These designers are not only experts in their fields, but dare to dabble with 3D printing to take their designs to the next level.

Chau Har Lee comments: “My knowledge of traditional shoemaking helps me know how and where I can break boundaries. Importantly, although my most conceptual designs are showpieces, they are still built to adorn the foot.”

Perhaps Chloë McCormick sums it up best, though, when she says, “the intention of Warped Tapestry was not to work against new technologies but to find a balance where they would work with each other.”

Send to Print / Print to Send is at The Aram Gallery, 110 Drury Lane, London WC2B 5SG until 25th February.

thearamgallery.org

Words by Katie Rose

Assa Ashuach, Twist Loop Light

Chloë McCormick Warped Tapestry, 2010

Chloë  McCormick and Nicholas O’Donnell-Hoare, Tapestry Spectacle, 2011

Images courtesy of The Aram Gallery and Shira Klasmer

(Top) Chau Har Lee, Rapid Form Shoe, 2009

From tomorrow he’s holding a pop up registry office in the Royal Festival Hall where he’ll commemorate the quarter of a million lives that are born and die in the space of 12 hours around the world.

Members of the public can add themselves and their loved ones to the work. Each circle will mark the ebb and flow of life, showing people as more than just a number.

Sam Winston: Birthday will be at the Royal Festival Hall 27 January 2012, 10:00am – 29 January 2012, 23:00pm. Watch a film about the event here

samwinston.com

Words by Boudicca Fox-Leonard

Having recently published a limited edition artist book, Drinking Air, as well as a new video work, In Search of Lightening, Twin spoke to the artist about her art…

Drinking Air looks back at six years of your work – while selecting the images for the book did you observe how your work has developed?

The book compiles a selection of works from 2004 – 2010, punctuated with fragments of narrative short texts. The feeling of the whole project (a small edition of artist books) was to have a sense of the process, so it almost functions like something between a sketchbook and book, bringing together fragments of writing, reference images, works in progress and final works.

My work as a whole has continually become more fluid I think. The book helped me think about the relationship between my writing and the visual works, and the way my new film work has incorporated the two into one piece. The book is also sort of inadvertently pre-empting the end of a relationship that spans that period and before. Sometimes you put into writing and images things that you don’t realize are happening in your life.

How does your painting relate to your video work?

Painting into and onto photographs is a very similar process in some ways to collaging different images together or editing/ montaging different filmed shots together and working with voiceover and sound with that footage. All the processes are adding something to the image, while in some ways also obscuring the image. Both the painted photographs and the film work is creating a fictional space, which opens up relationships to myth and narrative

Your film In Search of Lightning is beautifully melancholic – did the images inspire the words or vice versa?

I have actually worked on the film for a long time, but was not sure at first what I was making. I’ve been filming some of the locations without a set piece in mind for over a year ago. Then in the summer of 2010 I was spending a lot of time in the old, forgotten greenhouse attached to the palace in the city I grew up in. I just sat in that space reading and writing, trying to figure out the changes in my life. I wrote the voiceover during the most beautiful thunderstorm and then knew what the film would be. I finished the last filming this summer and then edited it down from hours of footage to just a few minutes.

Where was the film shot?

It is shot in several locations (different swamps, caves and greenhouses) within a few hours radius of my parent’s house in southern Germany in the Rhine Valley.

You seem drawn to nature and the classical body…

I suppose a lot of my work looks at a sense of a primordial space of home – whether in the landscapes of swamps and caves or within the bodies of mother and lover. I am interested in bodies and flesh, in skin and our fragility as well as our strength.

In the film there is a distinct absence of living bodies, the only presence the narrator’s voice describing the physical effects of loss and grief. The statues surrounding her become loaded with narrative in relationship to her words. The discoloured marble statue at the end begins to look like living bruised flesh

As an artist, what drives you to keep creating?

The need to talk about experiences, whether mine or others’, and create a space in which these can be relived, restaged – not within a literal re-enactment, but rather within another space of metaphor and fiction.

The works of other artists, writers and filmmakers makes me want to keep making work and leads me to new ideas. Visiting each other’s studios and spending time with friends talking about life and work, which are never really separate, makes me continue to work. But most of the work probably comes from the things I can’t really even talk about, which is why I guess they become images, films, and stories.

estherteichmann.com

Words by Boudicca Fox-Leonard

Since 1977, Japan’s foremost contemporary artist has, of her own free will, lived in a psychiatric institution and has been a victim of her own neurotic and obsessional behaviour. This behaviour however, has transformed itself over four decades, into startling, astounding art.

Come February 9th, the Tate Modern offers a diverse parade of her work, from paintings and drawings, to captured performances and immersive installations.

She may be mostly known for her slight dot obsession, but this exhibition explores further, celebrating her intensely fruitful career, and is sure to only garner her more fervent followers.

Yayoi Kusama is at the Tate Modern from 9th February – 5th June 2012

tate.org.uk

In 2004, Pape passed away aged 77 and her contribution has since been recognized at a major retrospective at the Reina Sofia in Madrid, a version of which is currently at the Serpentine Gallery.

Magnetized Space conveys the heat and rhythm of Pape’s life work, consisting of early drawings and poems from her Concrete period as well as later works which concentrated on the depiction of emotion and sensation and fellow artist Hélio Oiticica described as permanently open seeds.

Tonight, Guy Brett, a writer and curator who knew the artist personally, will talk through a selection of her films and her process behind them, all in the context of the Brazilian avant-garde’s history.

It’s a chance to remember an often forgotten Twentieth Century revolutionary, whose work playfully and skillfully mediated the politics and aesthetics of Brazilian society.

Lygia Pape: Film Work Talk by Guy Brett Thursday 12 January 2012, 7pm at the Centre for Possible Studies, W1U 8HR

Magnetized Space is at the Serpentine until 19 February 2012

Words by Lara Piras

serpentinegallery.org