Valerie Beston Artists' Trust: First Decade

Valerie Beston Artists’ Trust The Valerie Beston Artists’ Trust was established in 2006 following the death of Miss Valerie Beston, a former director of Marlborough Fine Art, to support emerging young artists in their burgeoning careers. The Trustees are myself, as Miss Beston’s niece, assisted by Kate Austin, Alison Meek and Pilar Ordovas.

The charity is pleased to have collaborated with the Royal College of Art for the past 10 years, and has awarded an annual prize to one of their postgraduate Painting students, selected from the Summer Degree show.

The prize consists of four main elements: • the use of an artist’s studio for a year at SPACE; • a financial contribution towards their materials; • tutorial support provided by the RCA; • and an exhibition at the end of the year at Marlborough Fine Art. Our judges, Catherine Lampert and Pilar Ordovas, have chosen a total of 10 different prize-winners, all selected for their future artistic potential. Coming from a variety of different backgrounds, countries and artistic approaches, each of them has used the prize to develop their artistic practice and portfolios. They have all gone on to pursue a thriving artistic career.

The Valerie Beston Artists’ Trust is proud to be associated with this 10th Anniversary exhibition at Marlborough Fine Art, showing a selection of current work by each of our prize-winners.

ROSEMARY MORGAN CHAIRMAN, VALERIE BESTON ARTISTS’ TRUST

Valerie Beston Artists’ Trust: First Decade 2007–2016

9 – 17 SEPTEMBER 2016

Marlborough Fine Art 6 Albemarle Street London W1S 4BY + 44 (0)20 7629 5161 mfa@marlboroughfineart.com www.marlboroughlondon.com

4

Introductions

Pilar Ordovas It has been a privilege to be a trustee of the Valerie Beston Artists’ Trust. I can hardly believe it is our tenth anniversary already. To be able to be part of her legacy, and carry on her passion for helping artists, has been really important to me. In 2005 Miss Beston touched my life when I was working at Christie’s. Handling her Estate, which included works by many of my favourite artists, brought me close to her niece Rosemary Morgan and her lawyer and executor Alison Meek, as well as of course to Kate Austin who worked closely with her at the Marlborough gallery. As I was researching her works, the most amazing stories came to light

– paintings that were quietly bought at times when particular artists really needed the sales, with the artists only finding out all those years later when I asked about them…

Ten artists are showing in this exhibition, which marks the Trust’s tenth anniversary. I want to thank Catherine Lampert for making the selection process something I really look forward to every year. We both walk round the Royal College of Art degree show and make our notes and we always seem to choose the same artists and agree! They have gone on to do wonderful projects and continue to work and exhibit – congratulations to them all.

5

Catherine Lampert It’s been a pleasure to select artists for the prize that honours Valerie Beston. For fourteen years my office at the Arts Council of Great Britain was at 105 Piccadilly and so during my lunch hour I would regularly walk to Cork Street and nearby to visit exhibitions.

While organising Frank Auerbach’s show at the Hayward in 1978 I began stopping by the Marlborough with some frequency. Not only to seek their assistance and view exhibitions there, but later to be stopped by Miss Beston who led me to the showroom in the basement to look at a new painting by Frank or Francis Bacon, or I remember once a beautiful Courbet that was passing through their hands. She really loved and understood art, and liked to share it with others, in her reserved, selective manner.

From the very first time that Pilar Ordovas and I walked around the studios where painters graduating from the Royal College of Art were showing, it was pretty clear that not everything that stood out was going to be oil on canvas, and nor was there a prevailing style or idiom, certainly not in the case of the work that attracted our attention.

It was uncanny too that although we followed our own routes for the morning visit, we ended up with the same names on a short list. Now that ten years have passed, the common quality seems to be their distinctive voices and confidence – I think of a small, scrubbed space

where Katrin Koskaru set out her lightly marked work. The first artist Laura Oldfield Ford in 2007 was producing a prophetic fanzine about the reinvention of East London by property developers; this past June Seung Ae Lee had drawn and erased a sheet some 900+ times to make a strange, musical five-minute animation about a frog. In between there have been artists who could have shown in outstanding galleries that focus on the curious discipline of flat, wall-bound painting, for example, the resonant interiors in Caroline Walker’s work, the colourful parties of Jonathan Lux’s, and the illusionistic hybrids that David Cyrus Smith realises.

As the degree exhibitions become more organised and the professors and deans invite patrons and potential buyers to look around, and more of the students are non-EU and obliged to leave a city that is in any case expensive, there is more likelihood the supportive atmosphere of the college comes to an immediate halt. It seems increasingly valuable to have a ‘prize’ that is about a normal studio that ensures the privacy and security that goes with a year’s tenancy as well as some money and an event like this. After I finished an MFA in art, I lived five years in a SPACE studio in Shoreditch (illegally, my partner was the artist) and remember how fundamental it is to have a working space, and perhaps a few people to respect and to relax with in the same building.

6

The Practice of Painting: Ten Years of the Valerie Beston Artists’ Trust

Bringing together the work of ten artists, all Valerie Beston Artists’ Trust prizewinners of the past ten years, this exhibition tells more than one story.

The award, which is dedicated to enabling an artist in their early career, does not prescribe what type of work is produced but rather seeks out promise and potential, and in so doing comes to define the very possibilities of what painting might be today.

When these artists are presented together in an exhibition there may be little in terms of style or theme that unifies them. However, what is consistent across the practice of all ten recipients of the Valerie Beston Artists’ Trust Prize is a strong faith in the traditions and legacies of painting, together with an obligation to ask the question of how the medium might be tested and questioned today.

Art history, thankfully, is not as linear as its gatekeepers would sometimes wish. Concepts, themes, genres, techniques and strategies often return in variant forms, sometimes recognisable, other times not, but nevertheless renewing the practice of making as we know it.

Although this might be said of any form of art, this perhaps applies to painting more than any other medium.

This exhibition represents an opportunity to reassess the development of these ten artists. But moreover it suggests that this diverse grouping stands for something much larger. What is at stake here is nothing less than a critique of the practice of painting. What are its limits? What its possibilities?

If the Prize remembers Valerie Beston and her intense engagement with the art of her time, it also reminds us that even the most crucial moments in art history always have a human side, a form of engagement and encounter that is not exclusively limited to the studio. Art is not made in isolation but is part of a continuing dialogue both with the contemporary and also with that which has gone before. The Prize has always fostered such engagement.

In many ways this decade of painting offers the sum of possibilities of what painting might do today.

More than anything it reminds us that painting is always material, more than

7

Andrew Renton

image, as seen in the works of Lydia Gifford or Katrin Koskaru, for example.

The painting as object, making and unmaking its physical structures, from stretcher to the materiality of paint itself. A form of painting that reveals it structure (or lack). Painting in three dimensions.

And there is art that is barely painted at all, but which could only have emerged from the tradition of painting, as in the animation of Seung Ae Lee, or Nicholas Pankhurst’s visual conceits, which overflow into sculpture and other conceptual strategies.

In the work of Matthew La Croix, painting points us to other mediums, asserting that the painting may not only be the articulation of an image but also its disruption or dismantling.

Such strategies unite to make you look again.

There is a language within painting that may be both tactile and symbolic at the same time, as observed in the works of Jonathan Lux and David Cyrus Smith. Painting that is constantly testing the limits of its medium, while at the same time attempting to define an adaptable

vocabulary of signs that provide stability of form and flexibility of meaning. Sometimes that imagery is deconstructed on the surface itself, still recognisable. Figuration is the start of a story that lies beneath the process.

In sharp contrast, the painting can also be a site of imagination and narrative, as seen in the works of Gareth Cadwallader and Caroline Walker. Figuration here does not always offer a literal index of possibilities, even as we recognise the figuration on the canvas, but marks how figuration can function beyond imagery, to invoke a complex set of emotional responses and narratives.

Such work is always socially engaged, as in the work of Laura Oldfield Ford, where this strategy revives traditional techniques and opens a perspective onto underrepresented spaces and moments.

All of these works remind us that painting is the most specific, most generic of forms. A law unto itself. These ten artists exemplify its necessity.

8

List of works

’08 ’07

LAURA OLDFIELD FORD

Winstanley Estate 1 2014 Oil and acrylic on MDF board 28 x 38 cm Illustrated p. 12 Winstanley Estate 3 2014 Oil and acrylic on MDF board 38 x 28 cm Illustrated p. 13

LYDIA GIFFORD

Level (I) 2016 Cotton, board, gesso, dye, nails, wood 205 x 155 x 9 cm Courtesy the artist and Laura Bartlett Gallery, London Illustrated p. 16 Soften 2015 Towelling on board, gesso, oil paint, PVA glue 39 x 27 x 3 cm Courtesy the artist and Laura Bartlett Gallery, London Illustrated p. 17

’10 ’09 CAROLINE WALKER

Study for Afters 2016 Oil on paper 41 x 61 cm Illustrated p. 20 Picture Window 2016 Oil on linen 170 x 250 cm Illustrated p. 21

GARETH CADWALLADER

View from the Sailor Girl I 2016 Oil on canvas 25.5 x 17.5 cm Illustrated p. 24 Sailor Girl I 2014 Oil on canvas 27 x 23 cm Illustrated p. 25

’11

NICHOLAS PANKHURST

El Rey 2016 Silver gelatin print and paint 101 x 88 cm Illustrated p. 28 Cousin Pineapple 2016 Resin, brass and found ceramic 49 x 30 x 30 cm Illustrated p. 29

9

First Decade 2007–2016

’12

MATTHEW LA CROIX

Brothers 2016 HIPS Plastic, UV inkjet print Three, each, 70 x 50 cm (dimensions variable) Illustrated p. 32 A Season In Hell 2016 Corian 140 x 130 x 5 cm Illustrated p. 33

’16

’14 ’13

KATRIN KOSKARU

Come to Close Quarters 2014 Bleach and watercolour on cotton 200 x 120 cm Illustrated p. 36 Force I 2015 Felt pen and pen on polyester 50 x 30 cm Illustrated p. 37

JONATHAN LUX

Tagalong 2016 Oil on canvas 150 x 120 cm Illustrated p. 40 The Uninvited Guest 2016 Oil on canvas 150 x 120 cm Illustrated p. 41

’15

DAVID CYRUS SMITH

Cinnabar 2016 Oil and ink on paper 250 x 140 cm Illustrated p. 44 Bright-line Brown-eye 2015 Oil and ink on paper 250 x 140 cm Illustrated p. 45

SEUNG AE LEE

A Frog 2016 A single video Duration: 5 mins Animation drawings 2016 Pencil on paper Each 42 x 29.7 cm Illustrated p. 48 + 49

Laura Oldfield Ford “I am interested in places that are derelict, laid to waste. I’m interested in how places respond to economic fluctuations, and how the potential for radically different ways of engaging with those spaces can emerge.”

1979 Born Halifax

FORTHCOMING SOLO EXHIBITION: Showroom, London, January 2017

lauraoldfieldford.blogspot.co.uk EDUCATION:

SELECTED SITE SPECIFIC PROJECTS AND RESIDENCIES:

2015– PhD Sculpture, Royal College of Art, London (due to complete 2018)

2015 Tensta Konsthall, Stockholm

2013–14 Stanley Picker Fellow in Fine Art, Kingston University

Herbert Museum, Coventry

2005–2007 MA Painting, Royal College of Art, London 1997–2001 Slade School of Fine Art, London SELECTED EXHIBITIONS: 2016 Chthonic Reverb, Grand Union, Birmingham (solo) 2015 Itinerant Code, Tensta Konsthall, Stockholm (solo) 2014 Seroxat, Smirnoff, THC, Stanley Picker Gallery, London Ruin Lust, Tate Britain, London 2013–14 Soft Estate, Spacex, Exeter; Bluecoat Gallery, Liverpool 2014 Comics 2014 Unmasked, British Library, London 2012-16 Recording Britain, V&A, London (currently touring) 2012 Accidental Message, OCAT, Shenzhen, China There Is A Place, New Art Gallery, Walsall Desire Lines, Caja Madrid, Barcelona

Grand Union, Birmingham

2013–14 Stanley Picker Gallery, Kingston University 2012 Caja Madrid, Barcelona OCAT, Shenzhen, China 2011 New Art Gallery, Walsall SELECTED PUBLICATIONS: Savage Messiah, Verso, October 2011; contributing writer to Mute Magazine, Guardian, Art Review, Granta and Verso blog SELECTED RECENT TEACHING AND LECTURING: UCLA, Goldsmiths College, Central School of Speech and Drama, RCA, Arts University Bournemouth, Sandberg Institute, Amsterdam RECENT PUBLIC TALKS: UCLA, British Library, Tensta Konsthall, Stockholm, Grand Union, Birmingham, LSE, QEH Southbank, Goldsmiths College, London, Goethe Institute Netherlands, Amsterdam, Herbert Museum, Coventry, Tate Britain

12

Winstanley Estate 1 2014 Oil and acrylic on MDF board 28 x 38 cm

Winstanley Estate 3 2014 Oil and acrylic on MDF board 38 x 28 cm

13

Lydia Gifford “For me the objects are interrelated because of the duration, the passage of time. They’re made in and around each other and they hold an energy together, so the selection process is about working out which few objects or containers can create something interesting.”

1979 Born Cheltenham EDUCATION: 2006–2008 MA Painting, Royal College of Art, London 2005 Universität der Künste Berlin, Socrates Erasmus Scholarship

Lydia Gifford, Statements, Art Basel 42, Basel (solo) Young London, V22, London Tableaux, Magasin, Centre National d’Art Contemporain, Grenoble 2010 Brackets, Marcelle Alix, Paris (solo) Lydia Gifford, Manuela Leinhoß, Laura Riboli, Laura Bartlett Gallery, London

2004–2006 BA (Hons) Painting, Chelsea School of Art and Design, London

Session_9_Object, Am Nuden Da, London

SELECTED EXHIBITIONS:

Taj Mahal Travellers, Gallery, Nordenhake, Stockholm

2016 I am Vertical, Centre International d’Art et du Paysage, Île de Vassivière, (solo) 2015 To. For. With, Laura Bartlett Gallery, London (solo)

2009 Moon Star Love, Marcelle Alix, Paris

2008 Lydia Gifford, Laura Bartlett Gallery, London (solo) About, Auto Italia South East, London Between Shadows, Cordy House, London

Drawn by its Own Memory, Laura Bartlett Gallery, London

Pentimenti, Permanent Gallery, Brighton

Women’s Art Society II, MOSTYN, Llandudno

SELECTED PRESS:

Real Painting, Castlefield Gallery, Manchester

2016 Louise Darbly, I am Vertical, Art Review, May 2016

Adventures in Bronze, Clay and Stone, Arezzo City Arts Festival 2014 Drawn, BALTIC Centre for Contemporary Art, Gateshead (solo) Perfume, Jan Kaps, Cologne Autograft, Laurel Gitlen, New York 2013 Siding, Kunsthaus Baselland, Basel (solo) Can’t Hear My Eyes, Niekolaas Johannes Lekkerkerk, Nogueras Blanchad, Madrid White, Simon Dickinson, New York 2012 The Neighbour, Laura Bartlett Gallery, London (solo) Midday, David Roberts Art Foundation, London (solo) and Performance 2 February Distances, Galerie Micky Schubert, Berlin (solo) Prairies, 3rd Edition of Les Ateliers de Rennes: Biennial for Contemporary Art, Rennes

2015 Harry Thorne, Lydia Gifford: I’m learning how to let go. At times it feels like something’s being wrenched from you, Studio International, 14 April 2014 Barbara Hodgson, Lydia Gifford Reveals the Layers of her Baltic exhibition, The Journal, 21 June Lydia Gifford on Hélio Oiticica’s B17 Glass Bolide 05 ‘Homage to Mondrian’ (1965), TATE ETC, Issue 31, Summer 2012 Lydia Gifford, The Neighbour, Mousse online, October Quinn Latimer, Jonathan Binet, Lydia Gifford and David Ostrowski, BolteLang, Artforum, Summer

Minimal Myth, Museum Boijmans, Rotterdam

Chris Fite-Wassilak, Lydia Gifford: Midday, ArtReview, May

Jonathan Binet, Lydia Gifford and David Ostrowski, BolteLang, Zurich

Maya Singer, Lydia Gifford: Midday, Avenue, No. 32, January

2011 Its Hurtling Gold, Laura Bartlett Gallery, London (solo)

2011 Peter Suchin, Lydia Gifford, It’s Hurtling Gold, Art Monthly, No. 345, April

16

Level (I) 2016 Cotton, board, gesso, dye, nails, wood 205 x 155 x 9 cm

17

Soften 2015 Towelling on board, gesso, oil paint, PVA glue 39 x 27 x 3 cm

Caroline Walker “Occupying a place between document and fiction, my painting practice explores the relationships between the lived environment and performed female identities, reflecting on a history of representing women in art. A specific location, in this case a modernist house in California, is the starting point for creating a set on which the fictitious scenarios I develop can unfold.�

1982 Born Dunfermline, Scotland

Creative London, Space K Gwacheon, Seoul, and Gwangju, South Korea

www.carolinewalker.org

Body of Evidence, Francois Ghebaly Gallery, Los Angeles

EDUCATION: 2007–09 MA Painting, Royal College of Art, London

2011 Vantage Point, Ana Cristea Gallery, New York (solo)

2000–04 BA (Hons) Fine Art: Painting, Glasgow School of Art

Some Domestic Incidents: New Painting from Britain, MAC, Birmingham

SELECTED EXHIBITIONS:

2010 Anonymous Was A Woman, Ivan Gallery, Bucharest (solo)

2016 The Racket Club, Grimm Gallery, Amsterdam (solo) A Question of Perspective, Grimm Gallery, Amsterdam 2015 Bathhouse, Space K, Seoul (solo) The Nude in the XX & XXI Century, Sotheby’s S|2, London The London Open 2015, Whitechapel Gallery, London Reality: Modern and Contemporary British Painting, Walker Art Gallery, Liverpool

Expanded Painting: Some Domestic Incidents, Prague Biennale 5, Prague

2008 Jerwood Contemporary Painters, Jerwood Space, London 2006 John Moores 24, Walker Art Gallery, Liverpool FORTHCOMING SOLO EXHIBITIONS: Space K, Gwacheon, South Korea, January 2017, ProjectB, Milan, April 2017

East London Painting Prize Shortlist, The Rum Factory, London

COLLECTIONS:

2014 Set Piece, ProjectB Gallery, Milan (solo)

Jimenez-Colon Collection, Puerto Rico

Reality: Modern and Contemporary British Painting, Sainsbury Centre for Visual Arts, Norwich This Side of Paradise, Sotheby’s S|2, London Initiations, Enitharmon Editions, London (solo) 2013 In Every Dream Home, Pitzhanger Manor House and Gallery, London (solo) Glass to the Wall, ProjectB Gallery, Milan (solo) Nightfall: New Tendencies in Figurative Painting, Rudolfinum, Prague 2012 Nightfall: New Tendencies in Figurative Painting, MODEM, Debrecen, Hungary

The Franks-Suss Collection, London

OUTSET/RCA acquisitions, Collection of Royal College of Art, London Saatchi Collection, London Shetland Islands Council Woong Yeul Lee Collection, Korea SELECTED PUBLICATIONS: 2014 A Brush with the Real: Figurative Painting Today, Marc Valli and Margherita Dessanay, Laurence King, London 2013 Caroline Walker: In Every Dream Home, Matt Price, Text Jane Neal, Marco Livingstone, Matt Price, Anomie Publishing, Wakefield Her work will be featured in Vitamin P3, published by Phaidon, autumn 2016

20

Study for Afters 2016 Oil on paper 41 x 61 cm

21

Picture Window 2016 Oil on linen 170 x 250 cm

Gareth Cadwallader “The meaning of a painting changes as the painting changes, and there are so many things that contribute, consciously or unconsciously, to how it looks in the end, that it would be impossible to keep track of them all.�

1979 Born Swindon www.garethcadwallader.co.uk

2012 The Perfect Place to Grow: 175 Years of the Royal College of Art, London

EDUCATION:

2011 II, Hannah Barry Gallery, London (solo)

2008–2010 MA Painting, Royal College of Art, London

Window Paintings, Hannah Barry Gallery, London (solo)

2000–2004 BA (Hons) Painting, Slade School of Fine Art, London 2003 Hunter College of Art, New York City, exchange programme 1999–2000 BTEC Foundation Studies in Art and Design, Cheltenham and Gloucestershire College of Higher Education RESIDENCY:

Graham Little, Samuel Fouracre, Gareth Cadwallader, Take Courage Gallery, London 2010 NewSpeak: British Art Now, Saatchi Gallery, London 2009 The Peckham Pavilion, 53rd Venice Biennale Wunderbar, Galerie Kollaborative, Berlin Friends of the Divided Mind, The Centre of the Universe, London

2010 Cité Internationale des Arts, Paris

2008 Tobias and the Angel, Hannah Barry Gallery (solo)

SELECTED EXHIBITIONS:

Ruhe Bewahren, Kunsthaus Tacheles, Berlin

2016 Group Show, Corvi Mora /Greengrassi, London

2007 Death, Take Courage Gallery, London

Summer Mix, Turps Gallery, London

!WOWOW! at the Event, Curzon Street Station, Birmingham

Glorious Abandon, Dynamite Projects, Hockley Business Park, Redhill Chroma: Blue Issue, Safehouse 2, London What We All Lack, Hannah Barry Gallery, London, Jelly and Co, Geddes Gallery, London 2015 Dead, A Celebration of Mortality, Saatchi Gallery, London Borderlands, Arbus 3, Northampton 2014 Jack, Neil, Shane, Gareth and Matthew, Choi & Lager Galerie, Cologne 2013 Crashed Cyclist, London Art Fair Art Projects (solo)

2006-7 Why We Are Ourselves, W S Bartlett Gallery, London

24

25

View from the Sailor Girl I 2016 Oil on canvas 25.5 x 17.5 cm

Sailor Girl I 2014 Oil on canvas 27 x 23 cm

Nicholas Pankhurst “Unattainable locations, like the worlds which the silent movies inhabited and shapes and forms that seem to inhabit spaces beyond their natural placing in the world, symbols and signs with undisclosed messages make up the work.�

1975 Born London www.nicholaspankhurst.com

Europa, French Riviera, London Painting show and performances, Winter Projects, London O Malandro, Quare, London

EDUCATION: 2011 MA Painting, Royal College of Art, London 2000 BA Painting, Chelsea College of Art, London SELECTED EXHIBITIONS/ PERFOMANCES: 2016 It’s Always the Others Who Die, The Koppel Project, London $uction Cup$, Performance, ArtReview, London Das Hund, Performance, ArtReview, London 2015 Grand Magasin, French Riviera, London Tomorrowland, Borger bo, Copenhagen

Échange Éccosais, Embassy, Edinburgh 2012 Club House, David David Gallery, London Function Room 2, Basement of Solché, London Please wait while we contact your bank, French Riviera, London Pinata Party, The Peckham Hotel, London New things under the sun, DKTUS Gallery, Stockholm Les Télévisions, French Riviera, London 2011 Chelsea Arts Club Trust, London I live in my own world, but it’s ok, they know me here, Elizabeth House, London Mrs Darling’s Kiss, Cremer Street, London What Group, Art collective show, 24 Gray’s Inn Road, London The Strawberry Thief, Fine Art Society, London (curated by Jeremy Deller)

Hoy Hoy, Church Street, London

Bittersweet/Thunderspace, Hanmi Gallery, London

Cup$, Performance, Fulham dance studio, London

Training and effort, Pumphouse Gallery, London

Das Hund, Performance, ArtReview, London

2010 Moscow International Biennale, Moscow

A Bright Night, Das Hund Performance, Serpentine Gallery, London

Alchemical Reactions, Café Oto, London

Cup$, Performance, Dalston, London

2009 Z time, Blyth Gallery, London

2014 Edge of human, Los Angeles 2019, London

Unsettled, Holborn Community Centre, London

Das Hund & The Pilgrim Shells, Performance, Whitstable Biennale, Kent Cup$, Performance, Dalston, London 2013 Grand Magasin, French Riviera, London First come first served, Lion and Lamb, London Artist House 2, 39 Herne Place, London

If only this jukebox took tears, Hackney, London COLLECTIONS: David Ciclitira London Institute Soho House

28

El Rey 2016 Silver gelatin print and paint 101 x 88 cm

29

Cousin Pineapple 2016 Resin, brass and found ceramic 49 x 30 x 30 cm

Matthew La Croix “Using various cultural and archaic references, the work explores the transformation of images in symbolic and imagined spaces. The materiality is used to re-locate the pieces from their normal context to emphasise their loss of meaning and explore their discursive qualities.�

1987 Born Shropshire www.matthewlacroix.co.uk EDUCATION: 2010–2012 MA, Painting, Royal College of Art, London 2011 Hunter College, New York 2009 BA Fine Art, Chelsea College of Art and Design, London 2008 Erasmus Student Universität der Künste, Berlin SELECTED EXHIBITIONS: 2013 House, Simon Oldfield Gallery, London (solo) 2012 House of Voltaire Fundraiser 2011 After A Fashion, 9 Albemarle Street, London (solo) 2010 801 Senses, Queensgate Terrace, London Desire is a Golden Carrot, The Albion Building, London Underfoot, 99 Clerkenwell Road, London 2009 Overzealous, Guest, London SELECTED PUBLICATIONS: 2016 Dust jacket design, The Crumpled Envelope, Vincent Dachy, Eros Press 2015 Lobby part I & II, Exhibition Text, Tamsin Snow & Sarah Tynan, Oonagh Young Gallery, Dublin COLLECTIONS: University of the Arts, London The Victoria & Albert Museum, London

32

Brothers 2016 HIPS Plastic, UV inkjet print Three, each, 70 x 50 cm (dimensions variable)

A Season In Hell 2016 Corian 140 x 130 x 5 cm

33

Katrin Koskaru “My main interest lies in military landscape and in the atmosphere that war creates – a fear, apprehension, disturbance, sounds, light, atomic light, agony etc.

I’m interested how those experiences create memories and how they filter into human life and into our culture.”

1977 Born Tartu, Estonia www.koskaru.com EDUCATION: 2011–2013 MA Painting, Royal College of Art, London 2002–2005 BA, Faculty of Fine Arts, Estonian Academy of Arts, Tallinn 1998–2002 Diploma, Textile Design, Tartu Art College, Estonia RESIDENCY: 2015 Pascaline Mulliez Galerie, Paris SELECTED EXHIBITIONS: 2016 War Poem, Pascaline Mulliez Galerie, Paris (solo) 2015 House For Hanging, Westminster Waste, London (with Margarita Glutzenberg and Sanja Todorovic) Explosive Standards, La Petite Galerie, Paris 2014 Can’t Go On, Must Go On, Tallinna Kunstihoone, Estonia PA(Y)S(S)AGES, Pascaline Mulliez Galerie, Paris 2012 Archaeology and the Future of Estonian Art Scenes, Kumu, Tallinn, Estonia 2007 Continuous Past. Signs of the Soviet Era in Recent Estonian Art, Kumu, Tallinn, Estonia 8am till 5pm, Vaal Gallery, Tallinn, Estonia 2006 Anna Politkovskaja, Gallery Haus, Tallinn, Estonia (solo)

SELECTED PRESS: 2016 Interview lesjeudiesarty. squarespace.com 2014 kunst.ee and art:icurate, Hunter Braithwaite interview, From Representation to Obliteration

36

Come to Close Quarters 2014 Bleach and watercolour on cotton 200 x 120 cm

37

Force I 2015 Felt pen and pen on polyester 50 x 30 cm

Jonathan Lux “My work deconstructs memory and personal experience into an adventurously transgressive pictorial language. Vivid colours, untamed flowing lines, and carefree painterly gestures serve the subject matter but also actively work to subvert it. Thematically the outcome occupies a territory somewhere between pleasure and mischief.�

1976 Born Bluefield, West Virginia, USA www.jonathanlux.com

2011 Fear and Play, University of Maine Museum of Art, Bangor (solo)

EDUCATION:

Visual Vaudeville, TOAST co-op Gallery, New York

2014 MA Painting, Royal College of Art, London 2008 BA (Hons) Painting, Jacksonville University, Florida RESIDENCY:

Global Art Projects: Artists at Home & Abroad, Broadway Gallery, New York 2010 Stick to Your Guns, Crisp-Ellert Art Museum, St. Augustine, Florida (solo) 2008 Making Marks, Jacksonville Museum of Contemporary Art, Jacksonville

2012 Vermont Studio Center Residency, Johnson, Vermont

2007 Group show, OPAQ Gallery, Jacksonville

SELECTED EXHIBITIONS:

2006 Goodnight, Farewell, Moon Colony Razorblade, Jacksonville

2016 Modernist Lunch: Thrush Holmes & Jonathan Lux, Beers London, London Summer Exhibition, Royal Academy of Arts, London Jonathan Lux & Markus Vater, You’re invisible, but I’m going to eat you anyway, AMP, London Work Work Work Work Work Work, AMP, London

2005 Begin All Over Again: Recent Paintings

by Jonathan Lux, Alexander Breast Museum & Gallery, Jacksonville (solo) 2004 Recent Work: Jonathan Lux, Jerry Smith and Pete Petersen, Brooklyn Art and Design Center, Jacksonville

Contemporary Visions VI, Beers London, London

2003 New Paintings, Jacksonville Museum of Contemporary Art, Jacksonville (solo)

2014 Saatchi New Sensations 2014, Victoria House, London

Street Scene: A Decade of New Painting in Jacksonville, University of North Florida, UNF Gallery, Jacksonville

Summer Exhibition, Royal Academy of Arts, London 2013 First Come First Served, Lion & Lamb Gallery, London PGNT NOV, Henry Moore Gallery, Royal College of Art, London Our Shared Past, Cummer Museum of Art and Gardens, Jacksonville Young Curators Lightscapes: Selections from the permanent collection, University of Maine Museum of Art, Bangor 2012 2012 War of Words: Yes or No, Proteus Gowanus, Brooklyn

2002 Manacles and Fetters: Jonathan Lux and Ryan Rummel, Pedestrian Gallery, Jacksonville 2001 Thirty-second Friendship, Media Image Gallery, Gainesville (solo) The Neighborhood, Czigan-Rummel Gallery, Jacksonville (solo) Metamorphosis, Spiller-Vincenty Gallery, Jacksonville 2000 Face, Pedestrian Gallery, Jacksonville (solo) Absolute Space, Cummer Museum of Art and Gardens, Jacksonville

40

Tagalong 2016 Oil on canvas 150 x 120 cm

41

The Uninvited Guest 2016 Oil on canvas 150 x 120 cm

David Cyrus Smith “While there are ideas about psychological and emotional developmental processes held within the paintings I make, the things themselves are physical explorations into thinking, feeling, communicating and relating.�

1972 Born Hertfordshire

Baroque Reason, Keith Talent Gallery, London

davidcyrussmith.blogspot.co.uk

2007 Diamonds on My Windscreen, Keith Talent Gallery, London (solo)

EDUCATION: 2013–2015 MPhil Painting, Royal College of Art, London 1996–1999 Post Graduate Diploma in Painting, Royal Academy Schools, London 1992–1995 BA (Hons) Painting, Wimbledon School of Art RESIDENCIES: 2006–2011 Sugar House live/work Residency, Acme Studios 2010 Abbey Fellowship in Painting, The British School at Rome SELECTED EXHIBITIONS: 2016 Paper, Publication, Performance, Lychee One, London Cosmic Morsel, F2 Galería, Madrid 2015 Bloomberg New Contemporaries, Backlit, Nottingham, ICA, London 2014 Bloomberg New Contemporaries, World Museum, Liverpool, ICA, London, Newlyn Art Gallery, Cornwall 2012 Roma III, A.P.T Gallery, London 2011 Social Space, Fort Gallery, London 2010 Meet Me at The Cemetery Gates, The British School at Rome 2009 Instants et Glissements, La Box, Bourges, France

Salon Connexions, Contemporary Art Projects, London 2005 This drawing is ribbed for her pleasure, Cynthia Broan Gallery, New York COLLECTIONS: Oppenheimer Collection, Nermann Museum of Contemporary Art, Kansas

44

Cinnabar 2016 Oil and ink on paper 250 x 140 cm

45

Bright-line Brown-eye 2015 Oil and ink on paper 250 x 140 cm

Sueng Ae Lee “I make animations which explore the relationship between the drawn line, imaginative transformation and moving image. The animation features a series of erased drawings. I often refer to the worlds of other species rather than the human one in order to create a world that is persuasive in its own way.�

1979 Born Seoul www.bymonster.com EDUCATION: 2016 MA Painting, Royal College of Art, London 2006 B.F.A., Sungshin Women’s University, Seoul SELECTED EXHIBITIONS: 2012 The Unseen-Theme Exhibition of 4th Guangzhou Triennial, Guangdong Museum of Art, Guangzhou, China 2011 The Monstrum, Doosan Gallery, New York (solo) Type Wall, Soma Museum of Art, Seoul 2010 Fantastic Garden – Changwon Asia Art Festival, Sungsan Art Hall, Changwon, Korea Artists with Arario, Gallery Arario, Seoul and Cheonan, Korea 2009 Planet A – Emergence of Species, A prize-winning exhibition of Dong-A Art Festival, Ilmin Museum of Art, Seoul SPACE A, Gallery SPACE, Seoul Ultra Skin, Coreana Museum of Art Space C, Seoul Dissonant Visions, Seoul Museum of Art, Seoul 2008 The Monster, Arario Gallery, Seoul (solo) Eco@Asianism, Live and Morris Gallery, Tokyo Another Worlds, Arario Gallery, Cheonan, Korea

2007 ART LAN @ ASIA, ZAIM, Yokohama, Japan 2006

By Monster, Do Art Gallery, Seoul (solo) Pictures To Be Stamps, SBS Artrium, Seoul, Pick & Picks, Ssamzie Space, Seoul 2005 Window Gallery Show, Gallery Hyundai, Seoul (solo) 3 Days & 7 Artists, Gallery Skape, Seoul Art Basel, represented by Gallery Hyundai, Basel 2004 The Drawings, Gallery Nan, Seoul Young Skape, Gallery Skape, Seoul SELECTED PUBLISHING: 2011 The Monstrum, Doosan Gallery, New York 2010 Big Bang of Art – Young Korean Artists Who Opened a New Sensibility, Jin Suk Lee, Minumsa, Seoul COLLECTIONS: Arario Gallery Christie’s Doosan Collection

48

Animation drawings 2016 Pencil on paper Each 42 x 29.7 cm

49

50

Marlborough

LONDON Marlborough Fine Art (London) Ltd 6 Albemarle Street London, W1S 4BY Telephone: +44-(0)20-7629 5161 Telefax: +44-(0)20-7629 6338 mfa@marlboroughfineart.com info@marlboroughgraphics.com www.marlboroughlondon.com Marlborough Contemporary 6 Albemarle Street London, W1S 4BY Telephone: +44-(0)20-7629 5161 Telefax: +44-(0)20-7629 6338 info@marlboroughcontemporary.com www.marlboroughlondon.com MADRID GalerĂ­a Marlborough SA Orfila 5 28010 Madrid Telephone: +34-91-319 1414 Telefax: +34-91-308 4345 info@galeriamarlborough.com www.galeriamarlborough.com

NEW YORK Marlborough Gallery Inc. 40 West 57th Street New York, N.Y. 10019 Telephone: +1-212-541 4900 Telefax: +1-212-541 4948 mny@marlboroughgallery.com www.marlboroughgallery.com Marlborough Chelsea 545 West 25th Street New York, N.Y. 10001 Telephone: +1-212-463 8634 Telefax: +1-212-463 9658 chelsea@marlboroughgallery.com BARCELONA Marlborough Barcelona Enric Granados, 68 08008 Barcelona.

Telephone: +34-93-467 4454 Telefax: +34-93-467 4451 infobarcelona@galeriamarlborough.com www.galeriamarlborough.com

WITH WITH THANKS THANKS TO: TO:

David David Rayson, Rayson, Professor Professor and Head and Head of of Painting, Painting, for his forencouragement his encouragement and and support, support, JohnJohn Slyce, Slyce, Senior Senior Tutor Tutor and and Research Research Tutor, Tutor, and their and their colleagues colleagues at the atRoyal the Royal College College of Art. of We Art.are We are extremely extremely grateful grateful to Catherine to Catherine Lampert and Pilar Lampert Ordovas for her forcommitment. their commitment.

We would also like to thank all the artists We would also like to thank all the artists for their collaboration, Laura Bartlett for their collaboration, Laura Bartlett Gallery, The Cultural Endowment of Gallery and Sofia Ovsyannikov.

Estonia and Sofia Ovsyannikov.

Photography: The Artists, Laura Bartlett Works Gallery, photography: Prudence Name Cuming Surname Associates Design:Design: Shine Design, Shine Design, LondonLondon Print: Impress Print: Impress Print Services Print Services ISBN 978-1-909707-31-3 ISBN 978-1-909707-31-3 Catalogue Catalogue No. 658No. 658 Š 2016ŠMarlborough 2016 Marlborough