Procedures & Materials

A group show featuring five international contemporary artists whose practices emphasize the interaction between maker and medium.

About the exhibition
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Overview

Procedures & Materials

Group Show curated by Ariane Belisle

In the mid-1960s, process became a marked theme within the history of art. Rooted in the Dada movement and Abstract Expressionism, materials, procedures and facture began to take precedence over the final work. Eschewing the fabricated modular units of Minimalism, the artworks intentionally left exposed traces of their creation. Echoing the common refrain ‘it’s the journey, not the destination,’ Procedures & Materials follows in this tradition, investigating new processes in art. The exhibition brings together twenty-seven works by five international contemporary artists whose practices emphasize the interaction between maker and medium.

Printing, cutting, assembling and folding photographs into sculptural forms, Jessica Thalmann attempts to unravel conventional understandings of photographic images and their material implications. Meanwhile, archival imagery and constructed photographs form the basis of Alexandra Lethbridge’s practice. In both instances, the artist’s research becomes integral to our understanding and interpretation of their works.

Inspired by ideas and processes within photography, Will Thomson’s paintings seek to recreate the darkroom moment when an exposed print is placed in developer and appears almost instantaneously. The contrast between the control the artist wages over his variables and his inability to predict the final outcome is central to his practice.

Moving away from the photographic process, Scarlett Bowman’s abstract reliefs address the materiality that informs contemporary commodity culture. Playfully rearranging and casting sustainable materials, utility gives way to symbolism as she invites us to think about the shiny gleam of modern manufacture. Reappropriation is also central to Leni Dothan’s practice; her installations use repurposed wood and breezeblocks to create a set of alternative classical images. Choosing to depict nightmares over dreams, viewers are confronted with disturbing ideas that aim to sabotage patriarchal narratives.  

About the curator

Ariane Belisle is a London-based curator, art critic and advisor specializing in post-war and contemporary art. She established AIB Art Advisory (www.aibartadvisory.com) after her many years of first-hand experience in both the primary and secondary art markets. Ariane has worked closely with several major private art collectors, corporate collections, and foundations, advising on their acquisition and consignment strategies, and curating their collections on an international scale. 

 

Since receiving her MA in Curating from The Courtauld Institute of Art, Ariane has worked on a variety of curatorial projects with Swiss Institute Contemporary Art New York, Haus der Kunst, The Novak Djokovic Foundation, Foundation Beyeler, Leonardo DiCaprio Foundation, The Ingram Art Foundation, The Marrakech Museum of Photography and Visual Arts, The Victoria and Albert Museum, Sprueth Magers Gallery, The Courtauld Gallery, Tate Britain and The National Gallery of Canada.

 

Ariane is also a regular contributor to numerous art publications, including Haute Living Magazine, The Art of Design Magazine, Art & Museum Magazine, Espace Magazine, ArtNow Magazine, This Is Tomorrow: Contemporary Art Magazine, ARTUNER Magazine and Courtauld Reviews, and has written catalogue essays for Sotheby’s London, The Courtauld Gallery, The Victoria and Albert Museum and The Ingram Art Foundation.

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