Hung & Drawn: art news

Susanna Davies-Crook on this week's new art shows, spaces, books and performances

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SPACE OF THE WEEK: Charlie Woolley - Postscript (p.s. I love you) at Almanac Projects

On the ground floor of a Dalston warehouse, the exhibition space run by Astrid Korporaal, Francesca von Zedtwitz-Arnim and Guido Santandrea has set out its remit early on with two solo shows from young London-based artists Yves Scherer and Charlie Woolley. Aiming to consider the exhibition as a communicative device and a vehicle for change through creative collaboration, the emphasis is on dialogue and actively supporting artists in their individual practice.

15 March - 7 April 2013

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BC Reloaded, 2012. Bernadette Corporation with Benjamin Alexander Huseby. Courtesy the artists and Greene Naftali Gallery, New York; Cabinet, London; Galerie Meyer Kainer, Vienna; Galerie NEU, Berlin.

ART LEGENDS OF THE WEEK: Bernadette Corporation at ICA

From hosting parties in early 90s downtown New York under their 'mock incorporation', through to their adoption of brand strategies and advertising language for their own fashion label and their beautifully edited, politically motivated and theory driven films, Bernadette Corporation are looked to by a current generation of artists as bastions of how to be fluid, active, radical collaborative and potent. Their first UK retrospective, as one might expect, addresses the corporate, the personal behind the political, and the brand all at once.

27 March – 9 June 2013

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PERFORMANCE OF THE WEEK: The Memory of W.T. Stead: Ligeti’s Étude: Book 3, No. 16, Pour Irina by Lundahl&Seitl and Cassie Yukawa

Stepping into the quiet reverence of the Steinway showrooms sets the stage for this psycho-acoustic journey through the rooms and doorways of the legendary piano-makers. What follows is an intimate and detailed transcendental experience. The multi-sensory script takes its inspiration from the 'para-psychological musings' of English author and investigative journalist W. T. Stead, who predicted his own death by drowning aboard the Titanic, and is interspersed with live performance by experimental pianist Cassie Yukawa. The soothing voice appears just out of reach, or perhaps even in your own head, a binaurally recorded trademark this immersive theatre / live art duo are by now well practiced at.

“I lay my ten fingers on the keyboard and imagine music. My fingers copy this mental image as I press the keys.... The anatomical reality of my hands and the configuration of the piano keyboard have transformed my imaginary constructs” - György Sándor Ligeti (1923-2006)

27 March – 6 April 2013, Steinway Hall, London. 

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EXHIBITION OF THE WEEK: Christopher Kulendran Thomas

An examination of art, art networks and globalisation of the art market – this exhibition by the Goldsmiths graduate is typical of his investigations into exploiting the systems of the art world in order to manipulate the processes of production and distribution. His base material is the system in which he participates - where he purchases existing artworks 'from the margins of international art power' and reconfigures them in order to disembowel the body of global art from the inside.

16 March – 20 April 2013, Kraupta-Tuskany Zeidler, Berlin

BOOK OF THE WEEK: Skizo-Mails by Franco Berardi Bifo

Skizo-Mails is 'a daily diary of the abyss' edited by artist Riccardo Benassi. The text is a series of messages to the author / traveller as they journey into a vortex with reference to contemporary issues, events and discourses which demand our immediate attention, mulled over by legendary philosopher and activist Franco Berardi Bifo. Berardi updated the publication in his Hypocaliptic Book Launch at berlin's Import Projects on Sunday, with a performance of oral transmission and visual poetry aimed at addressing the new status of debt in post-Lehman collapse culture.

“The drift emerged in the recent Italian elections – and specifically the call for insolvency – will have European consequences: the financial apparatus supremacy is no more operative. The notion of debt has a mere linguistic function and therefore it could be reversed due to a new act of language”

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