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Dozie Kanu participates in the exhibition “Enzo Mari” curated by Hans Ulrich Obrist with Francesca Giacomelli at the La ...
14/05/2021

Dozie Kanu participates in the exhibition “Enzo Mari” curated by Hans Ulrich Obrist with Francesca Giacomelli at the La Triennale di Milano. The exhibition examines over 60 years of activity of one of Italy’s greatest masters and theorists of design and consists of a historical section and a series of contributions from international artists and designers – Adelita Husni-Bey, Tacita Dean, Dominique Gonzalez-Foerster, Mimmo Jodice, Kanu, Adrian Paci, Barbara Stauffacher Solomon, Rirkrit Tiravanija, Danh Vō, Nanda Vigo, and Virgil Abloh for the merchandising project – who have been invited to pay tribute to Mari with site-specific installations and new, specially commissioned works. Nineteen Research Platforms, specially created for the Triennale exhibition, give insights into the individual projects that have given rise to the key themes of Mari’s artistic vision and practice. The exhibition also includes a series of video interviews by Hans Ulrich Obrist that illustrate Mari’s constant ethical tensions, the depth of his theoretical understanding, and his extraordinary design skills with which he has given shape to the essential.

Image:
Dozie Kanu
Chair [ v ] (Electric Chair), 2018
Marble, steel and leather
Part One: 45 x 46 x 18 cm (17 3/4 x 18 1/8 x 7 1/8 in)
Part Two: 26 x 58 x 52 cm (10 1/4 x 22 7/8 x 20 1/2 in)
Part Three: 151 x 59 x 8 cm (59 1/2 x 23 1/4 x 3 1/8 in)

#doziekanu #projectnativeinformant #latriennaledimilano #enzomari #hansulrichobrist #francescagiacomelli

Dozie Kanu participates in the exhibition “Enzo Mari” curated by Hans Ulrich Obrist with Francesca Giacomelli at the La Triennale di Milano. The exhibition examines over 60 years of activity of one of Italy’s greatest masters and theorists of design and consists of a historical section and a series of contributions from international artists and designers – Adelita Husni-Bey, Tacita Dean, Dominique Gonzalez-Foerster, Mimmo Jodice, Kanu, Adrian Paci, Barbara Stauffacher Solomon, Rirkrit Tiravanija, Danh Vō, Nanda Vigo, and Virgil Abloh for the merchandising project – who have been invited to pay tribute to Mari with site-specific installations and new, specially commissioned works. Nineteen Research Platforms, specially created for the Triennale exhibition, give insights into the individual projects that have given rise to the key themes of Mari’s artistic vision and practice. The exhibition also includes a series of video interviews by Hans Ulrich Obrist that illustrate Mari’s constant ethical tensions, the depth of his theoretical understanding, and his extraordinary design skills with which he has given shape to the essential.

Image:
Dozie Kanu
Chair [ v ] (Electric Chair), 2018
Marble, steel and leather
Part One: 45 x 46 x 18 cm (17 3/4 x 18 1/8 x 7 1/8 in)
Part Two: 26 x 58 x 52 cm (10 1/4 x 22 7/8 x 20 1/2 in)
Part Three: 151 x 59 x 8 cm (59 1/2 x 23 1/4 x 3 1/8 in)

#doziekanu #projectnativeinformant #latriennaledimilano #enzomari #hansulrichobrist #francescagiacomelli

As part of Bambi Woods, Clémentine Bruno participates in group exhibition at Space52 and ERGO, Athens 20 - 30 May 2021. ...
12/05/2021

As part of Bambi Woods, Clémentine Bruno participates in group exhibition at Space52 and ERGO, Athens 20 - 30 May 2021.

Bambi Woods function like a radio that never announces its programme in advance. Initiated in 2019 and gathering contributions from over fifty voices, Bambi Woods are a collective enunciation springing from the anonymity of murmur, a molecular vibration infiltrating processes of individuation while encrypting the status of the author. Like a balaclava-covered DJ sticking black tape on their records’ labels, B.W. distribute chains of reactions and affects that are no longer based on recognition and identification.

Bambi Woods’ next intervention will take place across two mirroring spaces, ERGO Collective and Space52, both located in Athens. Combining curating, art making, poetry and performance, Bambi Woods Presents is an assemblage of ready-mades, radio stations, internet portals, photographic slides and not-yet-determined works of art that will attempt to recode architectonic forms of authorship through delegated chains of commands and mechanical processes. Throughout the project, B.W. will shapeshift into constellations of nameless entities, inviting the audience to follow a story without script in which power play, meaning production and the ideological figure of the ‘present author’ dissolve into a cadavre exquis of situations. Less a manipulation of the real than a simulated reality, Bambi Woods Presents deals with the phantom of wording and unfolds like a game of which the only rule is to be a game without rules.

#clementinebruno #bambiwoods #ergocollective #contemporaryart #collaboration #collectivity

As part of Bambi Woods, Clémentine Bruno participates in group exhibition at Space52 and ERGO, Athens 20 - 30 May 2021.

Bambi Woods function like a radio that never announces its programme in advance. Initiated in 2019 and gathering contributions from over fifty voices, Bambi Woods are a collective enunciation springing from the anonymity of murmur, a molecular vibration infiltrating processes of individuation while encrypting the status of the author. Like a balaclava-covered DJ sticking black tape on their records’ labels, B.W. distribute chains of reactions and affects that are no longer based on recognition and identification.

Bambi Woods’ next intervention will take place across two mirroring spaces, ERGO Collective and Space52, both located in Athens. Combining curating, art making, poetry and performance, Bambi Woods Presents is an assemblage of ready-mades, radio stations, internet portals, photographic slides and not-yet-determined works of art that will attempt to recode architectonic forms of authorship through delegated chains of commands and mechanical processes. Throughout the project, B.W. will shapeshift into constellations of nameless entities, inviting the audience to follow a story without script in which power play, meaning production and the ideological figure of the ‘present author’ dissolve into a cadavre exquis of situations. Less a manipulation of the real than a simulated reality, Bambi Woods Presents deals with the phantom of wording and unfolds like a game of which the only rule is to be a game without rules.

#clementinebruno #bambiwoods #ergocollective #contemporaryart #collaboration #collectivity

Sean Steadman’s solo exhibition “Cascade” must close this Saturday 15 May 2021. Appointments available all week, link in...
10/05/2021

Sean Steadman’s solo exhibition “Cascade” must close this Saturday 15 May 2021. Appointments available all week, link in bio. See it before it closes!

Image:
Sean Steadman
Bluff, 2021
Oil on canvas, framed
99 x 124 x 6 cm
39 x 48 7/8 x 2 3/8 in

#seansteadman #projectnativeinformant #contemporaryart #contemporarypainting #painting #paintingoftheday

Adam Gordon’s unique installation “Bald Woman” must close this Saturday 15 May 2021. The installation can be viewed from...
10/05/2021

Adam Gordon’s unique installation “Bald Woman” must close this Saturday 15 May 2021. The installation can be viewed from the street via the gallery’s corner window, no appointments necessary.

And if you haven’t had a chance, please do take a look at Gordon’s accompanying online project, featuring for the first time his unique photographs. Link in bio.

Image:
Adam Gordon
Untitled, 2021
C-type print, framed
31.75 x 26.35 x 2.5 cm
12 1/2 x 10 3/8 x 1 in

#adamgordon #projectnativeinformant

Adam Gordon’s unique installation “Bald Woman” must close this Saturday 15 May 2021. The installation can be viewed from the street via the gallery’s corner window, no appointments necessary.

And if you haven’t had a chance, please do take a look at Gordon’s accompanying online project, featuring for the first time his unique photographs. Link in bio.

Image:
Adam Gordon
Untitled, 2021
C-type print, framed
31.75 x 26.35 x 2.5 cm
12 1/2 x 10 3/8 x 1 in

#adamgordon #projectnativeinformant

08/05/2021

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#projectnativeinformant

“String Cell Spike Lens Loop” is live now, link in bio. Sean Steadman’s visual essay with sound provides a “behind the s...
06/05/2021

“String Cell Spike Lens Loop” is live now, link in bio. Sean Steadman’s visual essay with sound provides a “behind the scenes” perspective of the artist’s thought process in painting. The current gallery solo exhibitions of Steadman and Adam Gordon are both extended till 15 May 2021. To book an appointment, go to the link in the bio. #seansteadman #projectnativeinformant #contemporaryart #contemporarypainting #paintingoftheday #onlineproject #ovronnaz

“String Cell Spike Lens Loop” is live now, link in bio. Sean Steadman’s visual essay with sound provides a “behind the scenes” perspective of the artist’s thought process in painting. The current gallery solo exhibitions of Steadman and Adam Gordon are both extended till 15 May 2021. To book an appointment, go to the link in the bio. #seansteadman #projectnativeinformant #contemporaryart #contemporarypainting #paintingoftheday #onlineproject #ovronnaz

In his solo exhibition titled “Owe Deed, One Deep”, Dozie Kanu presented new sculptures and photograph. “Kanu asks viewe...
01/05/2021

In his solo exhibition titled “Owe Deed, One Deep”, Dozie Kanu presented new sculptures and photograph. “Kanu asks viewers to search for the multiple meanings layered into his works. While some of these themes are drawn out in the exhibition’s accompanying text, much is left unsaid. As such, Kanu invokes Caribbean philosopher Édouard Glissant’s theory of opacity from his essay ‘Poetics of Relation’ (1990), in which he sustained that systems of oppression could be subverted by the refusal of the dispossessed to exist transparently. This concept is reflected in works such as merill-y, featuring the buffed golden head of the Egyptian God Amun, whose name (which translates as ‘hidden one’) indicates this element of obscurity. Each of Kanu’s sculptures remixes and modifies found objects. The visible rust on many of them is a reminder of how readily items are discarded once they are deemed no longer productive. What, then, of the hands that built and employed these abandoned objects? To stand in a room with these works is to be among the spectres not only of the objects, but also those who used them and lent them form. Kanu repurposes objects deemed useless and, in so doing, honours and reanimates the people whose labour gave them function. In extending the lives of these unwanted items, he perpetuates the existence of those who brought them into being. His memorialization is a site of collective mourning of that which has not yet ceased to exist, acknowledging that the pathways and legacies of the oppressive systems of the past continue to characterize the present.” — Jamila Prowse, Frieze #doziekanu #projectnativeinformant #pniat8 #contemporaryart #contemporarysculpture #jamilaprowse #friezemagazine

In our continuing series of PNI Online, last November we presented Joseph Yaeger, “The Writer,” where he showed new pain...
29/04/2021

In our continuing series of PNI Online, last November we presented Joseph Yaeger, “The Writer,” where he showed new paintings and a new piece of writing, in an environment of still and moving images which inspire the artist. We are looking forward to the artist’s solo exhibition in the gallery opening 2 June 2021. #josephyaeger #projectnativeinformant #pniat8 #contemporaryart #contemporarypainting #onlineproject #ovr

Sophia Al-Maria’s cinematic masterpiece BEAST TYPE SONG is the primary component of the artist’s solo exhibition at Tate...
28/04/2021

Sophia Al-Maria’s cinematic masterpiece BEAST TYPE SONG is the primary component of the artist’s solo exhibition at Tate in 2019. “The imagined devastation of a solar war is pulled from Etel Adnan’s book-length poem, “The Arab Apocalypse”, written in immediate response to the outbreak of the Lebanese Civil War. Unable to fully curtail her experience into language, Adnan resorted to glyphs and drawings, which punctuate her poem throughout. “I was so inhabited by that ominous sense of disaster, of madness, that only that way could I express it,” Adnan has said of the poem’s composition, “I was writing on explosion per se, on apocalypse per se and I saw it in colour.” Many of Adnan’s glyphs appear full-screen in Al-Maria’s film, interrupting the flow of scenes like a deep space transmission. Al-Maria is also, like Adnan, occupied with the unsteady relationship between language, experience and gesture. Four protagonists relay stories of how colonisation has marked their identities, but these stories skip over specificities and are often difficult to hear in the echoey screening space at the Tate. Some of the stories are not even relayed using words – boychild’s writhing dances bookend the film. Like the memory of trauma, Al-Maria’s film it is not a discrete and easy-intelligible object, but something that suffuses experience, slipping in and out of coherence before flaring up suddenly.” — TANK magazine. Julia Stoschek Collection is streaming BEAST TYPE SONG for free on jsc.art for 72 hours starting Thursday, 29 April, 8:00 p.m. through Sunday, 2 May, 8:00 p.m. The work is part of the ongoing group exhibition A FIRE IN MY BELLY at JSC Berlin. #sophiaalmaria #tate #tatebritain #projectnativeinformant #annalenafilms #tankmagazine #juliastoschekcollection #pniat8

A new painting by Adam Gordon, of three, each representing an interior, domestic space void of humanity: a dining room w...
28/04/2021

A new painting by Adam Gordon, of three, each representing an interior, domestic space void of humanity: a dining room where a gathering may or may not have taken place. A window draws the eye towards a exterior world, one which is demarcated by long, unfettered limbs of trees. Light shines on the table in shards. Time is still. The season could be late Autumn or early Spring. So much is unclear but the feeling of loss is every present. If you haven’t had the chance, please view the artist’s unique installation at any time from the gallery’s front window and the accompanying online project on unique photographs, link in bio. Image: Gordon, “Untitled”, 2021, Oil on linen, framed, 60.96 x 45.72 x 4 cm (24 x 18 x 1 5/8 in) #adamgordon #projectnativeinformant

Kenneth Bergfeld’s debut exhibition at Project Native Informant titled “I, Spider” presented a new series of paintings. ...
27/04/2021

Kenneth Bergfeld’s debut exhibition at Project Native Informant titled “I, Spider” presented a new series of paintings. “12 paintings, limited to just two sizes, illustrate a continuing project to revisit the same portrait. Since his first Androgynous Angel (2015), Bergfeld has been examining this figure, with their hidden eyes, full lips, slick bouffant hair (although hairstyle does vary momentarily in the newest work) and colourful backgrounds that seem to perfectly match the mood of Bergfeld’s imagined subject. Sometimes quaint, sometimes camp, sometimes sinister: these backgrounds are either loaded with decorative detail or kept in block colour, which undermines any momentary certainty that they function usefully as indexical signifiers of deeper meanings within the inner psyche of the figure. Perhaps instead, these backgrounds enable a means to a formal end, space to investigate two-dimensional spatial organisation or even painting itself.” — Antonia Marsh, AnotherMag. We look forward to Kenneth’s second exhibition with the gallery in September 2021 #kennethbergfeld #projectnativeinformant #pniat8 #antoniamarsh #anothermag #contemporaryart #contemporarypainting #painting #paintingoftheday @antoniamarsh @anothermagazine

Sean Steadman’s solo exhibition “Cascade” is open all this week by appointment. To schedule a time, please visit the lin...
26/04/2021

Sean Steadman’s solo exhibition “Cascade” is open all this week by appointment. To schedule a time, please visit the link in our bio. Image: Steadman, “Cascade”, 2021, Oil on canvas, framed, 46.3 x 57 x 3.7 cm (18 1/4 x 22 1/2 x 1 1/2 in) #seansteadman #projectnativeinformant #contemporaryart #contemporarypainting #painting #paintingoftheday

For Art Basel in 2019, Hal Fischer presents two bodies of work unseen since the 1980s. Well known for the iconic Gay Sem...
26/04/2021

For Art Basel in 2019, Hal Fischer presents two bodies of work unseen since the 1980s. Well known for the iconic Gay Semiotics (1977), the artist captured the sprit of a generation of gay men active between the birth of the modern gay rights movement ignited by the 1969 Stonewall Inn riots, and the eruption of the AIDS pandemic in the early 1980s. “18th near Castro Street x 24” (1978) is a hybrid of performance, photography and portraiture. From 9AM to 8AM the next day, Fischer took a photograph of a bus stop bench on the corner near 18th and Castro Street in the heart of San Francisco’s gay village inhabited “with characters Arbus might have found intriguing”: from men cruising to locals gossiping, commuters waiting for the bus with shopping bags, and young adults smoking pot and drinking beer. Each hour Fischer returns to the same bench, encountering a different tableau described in the stories accompanying each image. Along the way, the artist cruises, catches up with friends, and gets increasingly drunk and high along the way. Fischer upends the temporality of photography to document more than just a finite moment of time, interjecting his own autobiography and affect into the image.”Boy-Friends” (1979) consists of ten diptych photos and text; each image is of a man with a black cross bar hiding the eyes, akin to salacious photographs of tabloid magazines. The portraits suggest a great deal of intimacy: some of the men are n**e while others look towards the camera in a friendly way. Each text includes a succinct title of the man in question—“the Hippie”, “the European Visitor”, “the Merchant down the street”, an extension of the archetypes of Gay Semiotics—a classification code noting date and location of meeting—a kind of sexual Dewey Decimal system—and a description of the subject. A living document of a time of sexual liberation, 18th near Castro Street x 24 and Boy-Friends together compose an autobiographical ethnography, personal moments in between historical bookmarks. #halfischer #gaysemiotics #projectnativeinformant #pniat8 #artbasel #contemporaryart #contemporaryphotography #concetualphotography

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