The works of these artists is a daring rendition of abstractions in space. They manipulate their medium and encompass selected angles, frames, and junctions to offer a new perspective that is visually clean and concise, but technically complicated. The combination of these pieces in one show allows for a dynamic, precise experience.
 
O’Mahony uses a variety of mediums exploring the ways in which people engage with their surroundings. Her pieces are a practice in finding and capturing those moments of clarity and beauty amid urban disorders, confined spaces, and mundane routines. O’Mahony questions how visual art relates to everyday life and confronts its ability to function as both a form of escapism and realization.
 
Salcedo’s minimal palette is concerned with the wider concepts of personal and collective memory and identity. These series employ an almost silent rhetoric, combined in multiple manners to formulate what he calls “bodies of associations.” For him, these intimate associations and junctions between the planes that the artist perceives and images of the world are a threshold between the observer and the painter.
 
Jade’s art toys with the aesthetics of voyeurism. Beginning with the intimacy of photography at home, she translates the images into laser-woodcut figures, and playfully arranges and rearranges the ‘girls’ to create an endless amount of scenarios. In this process, she has the authority to manipulate the audience’s perception, questioning who holds power within the realm of voyeurism.
 
Curated by Tara Aghdashloo
 
For press and media enquiries contact: info@tilgallery.com

EOGHAN RYAN: OH WICKED FLESH!
5 MARCH – 12 MAY 2013, ADMISSION FREE, FIRST FLOOR GALLERIES
 
Following six months as the Nina Stewart Artist in Residence in the South London Gallery’s Outset Artists’ Flat, Eoghan Ryan presents a multi-faceted installation of new work in the first floor galleries. Drawing on his everyday encounters with people, places, animals and objects in the course of his stay, Ryan translates his experiences of them into an assemblage of disparate and often obscure references. Offering glimpses of the thought processes binding these elements together, a short film exposes the practice by which they were selected and lures us into its bizarre logic.
 
The Nina Stewart Artist's Residency with the South London Gallery and SPACE is funded by The Nina and Roger Stewart Charitable Trust, with additional support from Bloomberg.

Olia Lialina and Dragan Espenschied: One Terabyte of Digital Age
 
18 April - 17 June 2013
 
The cultural foundation for today‘s web was not created by Tim Berners-Lee, Mark Zuckerberg or Tom Anderson, but by its users, inside the tiny spaces they were assigned by Internet Giants.
The exhibition One Terabyte Of Kilobyte Age showcases thousands and thousands of amateur home pages from the free web hosting service Geocities, from the second half of the 1990s. Established in 1995 and purchased by Yahoo in 1999, Geocities was suddenly shut down by Yahoo in 2009. Realising its cultural significance, the Internet Archive team managed to rescue an incomplete portion of Geocities which now lives on as a massive downloadable Torrent file.
 
Over the period of the show, Olia Lialina and Dragan Espenschied will present a stream of snapshots of this lost city and its archival ruins, documenting the visual culture of the web and the creativity of its users. The project provides a glimpse into web publishing when users were in charge of design and narration in contrast to the automated templates of Facebook, YouTube and Flickr.
 
About the artists:
 
Moscow-born artist Olia Lialina has, for the past decade, produced many influential works of network-based art: My Boyfriend Came Back from the War (1996), Agatha Appears (1997), First Real Net Art Gallery (1998), and Last Real Net Art Museum (2000). Currently she is a professor at Merz Akademie in Germany. Lialina writes on digital culture, net art and web vernacular.
 
Dragan Espenschied, born in Germany. His music and online art has received international acclaim. He co-founded the home computer band Bodenständig 2000 that toured and released records throughout Europe and the USA. He has also won the Webby Awards People’s Voice NET ART (2004), and the ZKM International Media Art Award (2001).
 
Since 2002 Olia and Dragan have worked together. Among their collaborations are Zombie and Mummy (2002-2003), Midnight (2006), and Online Newspapers (2004, 2008, 2013), Digital Folklore Reader (2009). Individually and as collaborative partners, the work of both artists has been exhibited extensively online and at venues including Ars Electronica, Linz; the New Museum, New York; Museo Tamayo, Mexico City; Transmediale, Berlin; Havana Biennial, Cuba; ACAF, Alexandria; the Walker Art Center, Minneapolis; ABC Gallery, Moscow; ZKM, Karlsruhe; Madison Square Park, New York.

“Global STYLE Battles” WITH DANIELE TAMAGNI
 
PRIVATE VIEW THURSDAY 23rd of May
6:30 - 9:00PM
 
24th of May – 22nd of June
 
A handsome Congolese man in a Pepto-Bismol pink suit strides towards the camera, fat cigar clenched casually between his teeth. His red bowler hat sits in stark contrast to the fades beige of the buildings behind him, and the dusty asphalt beneath his feet, yet sits in perfect harmony with his brightly polished red shoes. Elsewhere, two Bolivian women in long flowing skirts of blue and green are caught mid-fight, as one launches a side kick at the other in a makeshift boxing ring in an old, faded courtyard, their long traditional, black braids dishevelled, lace petticoats flying, as crowds cheer them on.
 
These are just two of a diverse series of works exploring music and fashion and marking a mid-career retrospective of the works of Italian photographer Daniele Tamagni, spanning works from 2007 to date. Running from 24 May–22 June 2013 at ArtEco Gallery, in ‘Global Style Battles’, we enter the colourful and achingly hip world that includes ‘The Flying Cholitas’, ‘Playboys of Bacongo’, ‘Havana Glam’, ‘Afrometal’ and the original Django, spanning African hell riders and duelling Bolivian women.
 
How then, does an Italian street photographer end up in locations as exotic as Africa and Cuba? “I am interested in urban style worldwide,” explains Tamagni. “Not just in exotic locales, but also within my own country. However, I try to avoid the label ‘exoticism and ethnographic pictures’.” Enthralled by the light and colours of the South, Tamagni’s projects have taken him to cities such as Brazzaville, Gaborone, Johannesburg, Dakar, Havana and La Paz. “Moreover, I have a lot of African and Caribbean friends,” he explains. “Although I am Italian, I have always been open-minded about learning about and understanding different cultures. The last few years in particular have influenced my style and subject choices, producing portfolios which might generate a critical reflection on the identity of these people who consider elegance their main reason for existence inside a social reality so very different and so distant from that of our own.” Tamagni’s iconic photographs are a mixture of the staged and the in situ, depending on what occurs within a specific moment. The costumes and dress, however, are all real, although Tamagni smiles and says “if they appear to be constructed, then that is good, for I want to leave the viewer questioning what they see.”
 
With a background in art history, Tamagni is influenced by photographers such as Cartier Bresson and Alex Webb, who “prefer to capture and freeze the instant magic moment in aesthetically beautiful pictures.” In this vein, the Italian photographer seeks to explore the street style of subcultures in contemporary society, presenting them in different contexts, rather akin to Malick Sidibè or James Barnor, who documented street life in African communities in the 1960s and 70s.
 
While some works feature effortless chic, others (such as a group of young Smaartez from South African wearing pith helmets and short pants) hark to Colonialist images of the continent, steeped in irony and a keen questioning of the stereotypical imagery of culture and locations. “I’ve always been interested in the relationship between Africa, its colonial past, and its relationship to the West,” Tamagni admits. “There are always reminders – these icons are so strong that the urban landscape might even remind one of Berlin, yet is actually Johannesburg.”
 
Other highlights include ‘Gentlemen of Bacongo’, one of Tamagni’s most iconic and best-known projects. Set in Congo’s Brazzaville, the series explores the social and urban context of ‘Sapeurs’ – which the photographer considers “a revolutionary movement, because dressing up is a way to escape and forget poverty. Sapeurs in most cases are humble people and have come from low classes and have a dream to escape from Africa and have a better life.” These are juxtaposed by the Sapeurs of ‘Afrometal’. In their black leather pants and studded belts, boots and cowboy hats, they could not be further removed from the brightly coloured suits of their counterparts in Brazzaville, yet, for all their heavy metal references, these Botswana meatheads share with other Sapeurs around the country a passion to express themselves. While their clothes may have originated in the West, each iconic style has been re-adapted with African iconography.
 
There is much to see and explore in the works of Tamagni, and he currently seeks to expand his portfolio to re-explore his roots in Italy as well as return to the Soweto neighbourhood in South Africa’s Johannesburg. “I find that area so inspiring, I need to go back and finish a project,” he says. “Similarly, I would also like to document street life in South Italy, in Naples or Palermo. Coming from Milan, I’ve always had a passion for the former, and the latter has the special Mediterranean light; the people remind also to some extend of those in Havana.” Currently focusing on research and exploring other street-style related issues, Tamagni is also working on a book project; ‘Global Street Battles’ will feature all his works to date in different chapters organised by the specific subcultures related to them.
 
‘Global STYLE Battles’ runs from 24th May–22nd June 2013 at ArtEco Gallery, London, UK.
 
Information for journalists:
 
About Daniele Tamagni
Daniele Tamagni is a freelance photographer from Italy. In 2007 he won the Canon Young Photographer Award with a project on Congolese ‘Dandys’; Sapeurs of Brazzaville. This was followed by the publication of a book in 2009 entitled, Gentlemen of Bacongo. This book went on to influence designer Paul Smith, who wrote the preface, and who found inspiration in Tamagni’s works for his S/S 2010 collection. In 2010, Tamagni won the ICP INFINITY AWARD in the fashion category. He then travelled to Bolivia for a project on women wrestlers, winning the World Press Photo in Arts & Entertainment category in 2011. Currently, Afrometals is shortlisted for the Sony World professional Award in the art and culture category. Between 2001 and 2012 Tamagni has continued to explore street style trends and the aesthetics of transformation in cities that include Havana, Dakar, Bangkok and Kuala Lumpur, with the aim to publish a book on global street life that will include all these projects. Tamagni is an art historian who digs into marginal street cultures, seeking to connect with drop outs, lost kids and the poor in a search for identity and respect. And he finds them all over the world. www.photodantam.com
 
About ArtEco Gallery
ArtEco Gallery is the conceptual brainchild of Kristin Hjellegjerde, serving as a creative outlet following the success of her art blog of the same name, established in 2010. After moving from New York to London, Hjellegjerde decided to establish the gallery in south west London in order to offer a fresh outlook for Contemporary art in this part of the city. Based in Old York Road, the gallery seeks to showcase both emerging and established Contemporary artists from a range of backgrounds in an intimate and personal environment. Previous exhibitions include the inaugural After Munch, as well as Manmadegod. For more information, visit www.artecogallery.com
 
For further information and high-resolution images, please contact Kristin Hjellegjerde on khjellegjerde@mac.com

Food is essential for life and energy. For millennia it has been intrinsic to human culture and our relationship with it often reveals much about our lives. Yet, food is also a conundrum. For many it is pleasure, comfort or joy but for others it is pain, anguish and hardship, being both greed and hunger.
 
Through drawing and printmaking, Mary Dalton’s work is informed and enthused by stories and personal life experiences, from teaching the homeless, working at London’s renowned Borough Market to living close by a major pheasant shooting woods. The response is often personal, sometimes political, inspiring her to produce abstract, intricate and often dark narratives. Dalton is not afraid to confront the darker side of our relationship with food letting her works throw new light onto our need for food consumption and the enigma’s it can sometimes cause.
 
Exhibiting alongside the works will be Dalton’s first book, ‘Embracing the Surplus and the Unwanted’ and several textile pieces. Typeset by the award winning Whittington Press, the book contains numerous hand printed pages and illustrations focusing on our need and waste for food. The textile pieces are an extended canvas from the printing press, a second outcome for a larger narrative. The fragility of embroidery and disembodied figures play homage to and fully encapsulates the spirit of this exhibition and encourages us to think differently about the way we use food in daily life.

Neil Douglas
13 Jun - 29 Jun 2013
 
I am looking at the influence of photography and film in my painting, placing a greater emphasis on sketching and observations from life. Using my earlier works as the starting point of my research, I am leaving behind aspects of hyper-realistic representation, whilst maintaining its disciplines, with the aim of finding a fresh stylistic language capable of incorporating modern technologies without relying on them.

Philip Munoz is particularly concerned with the idea of beauty through transformation. This interest is channeled into his stylish portraits of attractive young women, adorned with tattoos and piercings. His fascination for city life is exemplified by his exceptional still-lives that cleverly capture the seduction and glamour of high-street window displays. A voyeuristic and passing gaze into a shop window, meticulously rendered in oil. These depictions of mass-produced objects of desire play on the relationship between commodity fetishism and hyperrealist painting.
 

Ron Bolt | Salt Water | Primal Light
13 Jun - 29 Jun 2013
 
Like many of us, Ron Bolt observes the degradation and destruction of the environment with growing alarm. ‘We are quite possibly living in the twilight of the natural world as we have known it. In that regard, my work is an act of preservation. To preserve the natural world is to preserve a language of the wind and shifting light, of stillness, silence and space.’

Brigitte Polemis | Just a Number
13 Jun - 29 Jun 2013
 
Urban spaces inhabited by faceless men in suits arranged in rows, circular formations, spirals, or overlapping layers as repeated motifs: these are the key features in the new group of works presented by Brigitte Polemis under the title “Just a Number”. Yet, although specified by their general title as works commenting on the dehumanisation of man in western industrialised societies, they seem however to strangely defy their ‘inhuman’ message, engaging the viewer in what one increasingly understands to be the imagery of the poetics of a world where man and machine have long been reconciled.

Artists John Lawrence and Roy Voss have conceived the exhibition ‘For What It Is’ for ANDOR. Developed through collaborative processes, the exhibition features new works by both artists including sculptural installations and gallery texts informed and influenced by ANDOR‘s invitation, and by the specific architecture of the gallery spaces.
 
John Lawrence lives and works in London. He graduated from the Royal Academy Schools in 2010. Selected recent exhibitions include Original Carbon Copy, FOLD Gallery, London, and SCREENING, Standpoint Gallery, London. In 2012 Lawrence also curated the video exhibition AFTER/HOURS/DROP/BOX at ANDOR.
 
Roy Voss lives and works in London and is represented by Matt’s Gallery, London. Recent exhibitions include Cast Matt‘s Gallery & Dilston Grove, London; The London Open, Whitechapel Gallery; Switch at Baltic 39, Newcastle-upon-Tyne.
 
The exhibition ’For What It Is' is kindly supported by Arts Council England as part of a series of gallery projects supporting artistic collaboration and the production of new artwork at ANDOR.

Bodil Furu’s (NO) accomplished screen works reflect on the social and environmental dynamics that shape change.The work draws on closely documented encounters with people living in vastly different situations – as far apart as an excessively polluted and overpopulated city in Peoples Republic of China and the remote region of northern Norway where an island might have a population of one.

Simon Tyzsko’s mixed media practice constructs narratives that allude to the joys and tragedies of a personal life but are
located within the dysfunctionalities of the wider social body. For Beaconsfield’s Arch Space, Tysko recycles a diverse range of machines and objects in two compositions of sound and light bound together with neon – a core symbol of consumer culture.

Deutsche Börse Photography Prize 2013
19 April - 30 June 2013
 
The four artists shortlisted for the Deutsche Börse Photography Prize 2013 are Mishka Henner (b. 1976, Belgium) Chris Killip (b. 1946, UK), Cristina De Middel (b. 1975, Spain) and the artist duo Adam Broomberg (b. 1970, South Africa) & Oliver Chanarin (b. 1970, UK). The winner will be announced at a special ceremony at The Photographers’ Gallery in May 2013. The annual award of £30,000 rewards a living photographer, of any nationality, for a specific body of work in an exhibition or publication format, which has significantly contributed to photography in Europe between 1 October 2010 and 30 September 2011.

Gasworks presents an exhibition of newly commissioned work by London-based artists and researchers Model Court, an ongoing collaboration between Lawrence Abu Hamdan, Sidsel Meineche Hansen, Lorenzo Pezzani and Oliver Rees.
 
Model Court investigate the spatial, aesthetic and geopolitical aspects of legal procedure. Using video, sound, drawing and installation, the group interrogates the production, dissemination and transmission of the law, addressing the many technical problems encountered in the administration of international justice today.
 
Their exhibition at Gasworks comprises a newly commissioned film and installation focusing on the recently concluded trial of François Bazaramba, a Rwandan national convicted of genocide by a small district court in the Finnish town of Porvoo. Bazaramba’s trial was particularly unique because it made use of so-called ‘telepresence’ technologies in unprecedented ways. During the course of the trial, Finnish judges and prosecutors travelled to Rwanda and Tanzania to gather testimony, eventually setting up temporary courts in the Rwandan Supreme Court and a Hilton hotel room. Meanwhile Bazaramba was held in Finland and became a Skype participant in his own trial from his Helsinki prison cell.
 
Owing to these peculiar circumstances, Bazaramba’s trial is an unparalleled case study for understanding the relationship between media technologies and the much debated principle of ‘universal jurisdiction’ – whereby states or organisations can claim criminal jurisdiction over accused subjects regardless of their nationality or where an alleged crime was committed. To what extent do emerging technologies used in these forums reorient the process of justice geographically? And how do fibre optic cables, video conferencing software such as Skype, and cameras alter the conventions of testimony?
 
Written from the perspective of an unnamed technician responsible for the audio-visual setup of Bazaramba’s trial, Model Court’s film uses a semi-fictional narrative to explore the trial’s relationship to notions of aid, neo-colonialism and the production of history. Housed within an installation that appropriates settings and the infrastructure present in the original trial, as well as in other courts of law, the film critically examines the complex and often dysfunctional, audiovisual infrastructure used to bridge the jurisdictional divide.
 
Taken together, the film, installation and an accompanying series of events aim to interrogate this extraordinary yet naïve attempt by a regional Finnish court to intervene in a genocide that took place many miles and years away. The intention is not to present a history of Rwanda or to contest the culpability of Francois Bazaramba, but rather to tell a story about the transmission of the Finnish legal space into Rwanda, thereby engaging with the cultural specificity of so-called ‘international’ justice and its vision for Africa (so far the only continent to have been investigated by the International Criminal Court).
 
The series of events accompanying the exhibition will feature invited guests, including international artists, media theorists and filmmakers, who will engage critically with the exhibition and expand upon the key issues raised by the project.