As part of the International Print Biennale, newly commissioned print editions have been produced by Adam Burns and Simon Le Ruez in collaboration with Newcastle-based printmaking workshops. These accompany their solo exhibitions at Vane, Absolute Colour Space (Burns) and This is where we meet (Le Ruez).
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For Simon Le Ruez’s second solo exhibition at Vane, the artist presents a new body of work including painting, sculpture, installation, and drawing. The show’s title suggests something definitive, a collision of ideas perhaps; it extends a pertinent invitation to the audience whilst remaining aloof about where this may lead.
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For his first solo exhibition at Vane, Adam Burns presents a series of complex and elusive abstract paintings, exploring both the psychology and the emotional impact of colour. Precisely executed sequences of lines derived from multiple perspective points and painted planes of colour gleam in a pure virtual space.
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‘Yummikraut’ brings together twenty-two artists studying under painter Kerstin Drechsel, guest professor in fine arts at the Kunsthochschule Kassel and curator of this exhibition of new work, whose first UK solo exhibition, ‘Jan-Holger’, was at Vane in 2008.
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‘Distance zkreslena’ is about being in a strange new place far from home and the manipulative power of global media. With the internet’s constant stream of information and the ease of international travel, can there be a real awareness of the distance travelled between locations any more: have we lost our sense of place?
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Jorn Ebner makes internet-based, photographic, print and sculptural works that reveal ordinary spaces and locations to be punctured through by tensions and contradictions. Taking the exhibition title from a phrase in Jack Kerouac’s novel On the Road, for ‘Uncertainty underneath immense skies’ Ebner creates imaginary realms that seem to hover somewhere between a vision of utopia and dystopia.
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‘The making of the landscape’ is Smith’s first solo exhibition at Vane, consisting of drawn, photographic and painted works produced over the last decade. Smith’s projects in sculpture, drawing, photography and video share a concern with fictionalised and idealised representations of nature and of place, rejecting the idea of one all-encompassing original ‘nature’ in favour of infinite interpretations, copies and inventions of the natural.
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‘Phantasieblume’ reveals Nick Fox’s aesthetic exploration of material and image, through which a nostalgic desire for a Wilde-like encoding of oppressed sexuality unfolds and is made potent. Fox’s paintings, drawings and objects are informed by romantic idealisation, cultural artifact and social codes.
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‘Café Carbon’, by The Gluts was performed (with varying degrees of success) on the streets of Copenhagen during the climate summit. In Copenhagen, people were asked to choose a dish from a menu of songs, which The Gluts then performed.
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