Art Sleuth made it to two excellent openings last night. The first being Control.Alt.Shift’s Unmasked Corruption. Original artwork for Political comic strips have been amassed from all corners of the globe, trailing events such as the Iranian Election, Barak Obahma’s election and the Iraq War.

Some comics tackle dark and little reported human rights scandals; Unspeakable Things by Paul O’Connell gives an account of the African ‘blood diamond’ (and tin, and oil and more) crisis. Black Holes by Dave McKean (with text from an anonymous writer) provides a shocking insight into an alleged scandal involving the suppression of HIV sufferers and vanishing funds for treatment by the Chinese government. Another shocking story is that of the ‘Skin Hunters’ in Poland from 1999 to 2002, a group of paramedics who delayed ambulances and killed off patients in a scam which gave them a cut of the funeral parlour fees of the victims, drawn by Janek Koza.

Some are more humorous, like the portrayal of Margaret Thatcher and her husband draw by Hunt Emerson in 1987. Excerpts from Alan Moore’s new magazine ‘Dodgem Logic’ are ingenious combining drawings and witty, off the wall story boards. A book of the cartoons and artwork from the exhibition is well worth the £5 fee.

The exhibition will be held at Lazarides Gallery, 8 Greek Street, Soho, London, W1D 4DG and runs from 6th - 28th November (Tuesday – Friday 11am -7pm and Saturday 12pm – 5pm).

And on to the Truman Breweries to see Cityscape, the group show comprising some big names in Street and Graphic Art both in New York and London. Well worth a visit if you’re popping down brick lane, it includes a large and varied selection of works and artists including pieces by Obey, Restitution Press, Unknown, Seripop, Swoon, Philip Lumbang and up and coming Ashes 57. The dubstep mash-up after party was banging too. Good one Lava Collective!

Cityscape, Lava Collective, Dray Walk Gallery, Truman Breweries. (5th to the 15th of November 2009).

As things get colder you might be able to drink the impending winter doom away with a free bottle of beer or two at some unsuspecting art show. Here are a selection of some interesting shows in London for the end of October, start of November and beyond. Including private view dates where possible.

Solo Exhibitions:

Eleven Gallery - Ben Turnbull I Dont Like Mondays Exhibition dates 21^st October to 7^th November 2009

“First solo show with London-based artist Ben Turnbull. Turnbull perverts objects associated with childhood to both reveal a darker side of youth and critique the way it’s often pictured in the media. His new series of works – seven school desks on which images of weapons have been painstakingly carved – is a direct comment on contemporary school life, alluding to the horrific crimes repeatedly splashed out in headlines, from knife murders in South London to the Virginia Tech and Columbine massacres. By whittling the desk down to expose these deadly shapes, Turnbull also hints at a latent feeling of violence, it’s as if the weapons were already there, waiting to be used.”

Fred Gallery: - Brian Montouri – Till 8^th of November. Brian Montouri’s quirky paintings capture a strange moment in American history when in a bid to increase tourism the twin towns of Niagra Falls pushed a raft over the Falls with live animals and human dummies on them. Work by Peter Davis also shown.

http://www.fred-london.com/index.php?mode=exhibitions

Group Shows:

Fitzrovia Pop Up Space: ‘Unrealistic Expectations’ is a ‘pop up’ exhibition of works by young and emerging Dutch and UK artists: Zakia el Abodi, Marcel Dingemanse, Caron Geary, Roderik Henderson, Alex Hudson, Claire de Jong, Kate Mayne, Stefan Sjouke, Anami Schrijvers, Joke Vrij, Martin C. de Waal.
24 October to 14 November 2009
Private View, Friday 23 October 17:00 until 21:00
Opening hours: Thursdays to Saturdays, 12:00 until 18:00
40 Riding House Street, W1W 7ES

The Vyner Street Gallery – ‘Archaeology of Subject/Object’ - a group show curated by Beata Kozlowska, the exhibition of painting, sculpture and photographs by exciting international and London artists.
Kalyi Amoto, Daphna Alon, Karima Al Shomely, Nandita Chaudhuri, Sivan Cohen, Lucy Cierniak, Beata Kozlowska, Bo Magnus, Agnieszka Pytlik, Margarita Trushina Exhibition runs 2nd-8th November 2009
Private View : Friday 2nd Nov 6.30-8.30
Late Night Opening: November 5th ‘First Thursdays’ until 9pm
JT Project 09 is: The James Taylor Gallery has invited six local artist-run organisations to each occupy a room within their vast Victorian warehouse organised by Fieldgate Gallery, Five Years, James Taylor Gallery, Katie Guggenheim, Supine Studios, The Centre of the Universe and Transition Gallery. Spread over two floors of a huge building, the project provides the opportunity to see shows by these peer organisations simultaneously.  Exhibition runs 14 October - 1 November

The Lava Collective - ‘Cityscape’ - Focussing on cities and urban culture, Cityscape features works by Cleon Peterson, Seripop, Peru Ana Ana Peru, Ashes 57 plus more TBA.  LAVA Collective [London Audio / Visual Art Collective] was founded in Summer 2009 to provide a platform in London for emerging artists from around the world. At the Old Truman Brewery. Preview on November 5th will be followed by an after party at the Princess Alice pub, 42-44 Commercial Street. LAVA Collective have invited dubstep luminaries Loefah, Mala, Pokes and Skipple to provide the soundtrack for the night.  To get free entry to the after party, just go along to the art show and put your name on the list. Capacity is limited so get there early. 5^th to the 15^th of November. www.lavacollective.com

Cell Project Space – ‘Lobby’ Stefano Calligaro, Karen Cunningham, Charlie Danby, Lieke Snellen, Mick Peter,  Simon and Tom Bloor, Francesca, Nobilucci Private View Friday 6th November 2009- 6.30-9.30pm
November 7th- December 6th 2009
http://www.cellprojects.org/

Core Arts - ’scare in the community’ – One night event showcasing video, performance, 2D and 3D works by artists addressing issues relating to community care as well as institutional critique both inside and outside the context of art. The theme of the show resonates with current tendencies to prioritise principles of care in the community over extended hospitalisation. The idea of the mentally ill being free to roam the streets and mingle with the general public has caused much fear amongst communities and frequently leads to sensationalist news headlines in the tabloids   Frank Bangay, George Barber, David Blandy, Ian Bourn, Boyle and Shaw, El Vonne Brown, Enda Burke, Leona Christie, CoolTan, Tessa Garland, Julika Gittner, Alex Ingram, IRE-MIND, Stephen Jackson, Terry Jones, Jean-Paul Martinon, Octavia Arts, Jo Panter, Laure Prouvost, Jon Purnell, Natasha Rees, Erica Scourti, Temple of Mithras, Josephine Wood - 109 Homerton High Street - Sat 24^th October  www.scareinthecommunity.com

Schwartz Gallery - ‘Celestial Contrakt’ navigates through the terrain of the ‘celestial’ and ‘ethereal’ in an attempt to offer different entry and exit points to the theme, to alternate possibilities of experiential environments.
Dominic Allen, Nikos Alexiou, Alex Bunn, Andrew Hladky, Bern Roche Farrelly, Stine Ljungdalh, Christina Mitrentse, Jonas Ranson, Lee Wagstaff, Marc Wayland.,
12 November – 6 December 2009
Friday-Sunday 12-6pm
Private view: Thursday 12th November 2009. 6-10pm
Guest sound Performers: Existjesus , Douce Angoisse,
Artist’s talk 2pm, Saturday 28th November, 2009

December:

Londonewcastle Project Space hosting RareKind London’s ‘3 Decades’ exhibition, celebrating 30 years of London graffiti art.  Running from 5 – 12 December 2009, the artwork will be exhibited according to decade showcasing exclusive art work, photographs and memorabilia from the ‘pioneers’ of the art form in the 80’s, following a linear history through to the 90’s ‘masters’ and on to the 00’s and the ‘new blood’ artists. 3 Decades is the largest and most comprehensive show of its kind to ever be exhibited in London.  It will include canvases and affordable prints by over 30 artists including Eine, Zomby, Prime, Roid, Tox, RT London, David Samuel as well as many more of London’s inimitable artists who have painted, sequestered in the shadows for more than thirty years, yet inadvertently changed the face of London’s urban art scene forever.  3 Decades will be open daily from 5-12 December 2009 from 11.00am to 7.00pm at Londonewcastle Project Space, 28 Redchurch Street, E2 7DP

Five Storey Projects guest-curate a series of events for the David Roberts Foundation in December 2009. 111 Great Titchfield Street London W1W 6RY
Charlesworth, Lewandowski & Mann, Lars Laumann,  Sam Craven, Raagnagrok, Susan MacWilliams and others Dec 03.12.09-17.12.09                                                                                                                                                                                                                                                           Also 2 October - 19 December 2009 The Object of Attack a series of footnotes and infiltrations parallel to the exhibition Sculpture of The Space Age at the Foundation. Deliberately reacting against a linear approach to interpretation, The Object of the Attack will work as an echo chamber to the main exhibition and raise multiple questions about art production and curatorial engagement, translations and communication, avoiding any fixed answers.
Artists have been invited to contribute to a collective and evolving conversation. The space will be constantly re-installed over the three months, hosting every week a new intervention, performance, artwork, sound piece, discussion, etc.
The set of the gallery will reflect this process, providing a space where the audience will be encouraged to have a more active and creative role. Artists Reto Pulfer and Patrizio di Massimo will create, one after the other, a different interpretation of what this space can be. For the final week, the space will host an installation by Roman Ondak.

Arty Party time:

Hunga Munga Halloween Party – Bethnal Green Working Men’s club on Sat the 24th of October

music, art and making stuff with the usual annual monster mash up that is our halloween party, with fancy dress, party games, competitions and prizes as well as the usual arts and crafts materials… perfect place tp make a halloween card or present or trick or treat costume…with live music from our lovely cabaret of crazy friends SLAPPER and more… and a special trick or treat gameshow for some lucky HungaMungarians…
it’s gonna be SPooOKtacular as always!!!
just £6 on the door!

http://www.facebook.com/home.php?#/event.php?eid=165090580468&index=1

THE DONDON LUNGEON Cosmicmegabrain presents
The horrors of 21st century London this HALLOWEEN Art, Music, Performance EXTRAVAGANZA 31 October from 10pm till late at 31B New Inn Yard EC2A with the support of: Hoxton Loft Society / Wild Life / I May Be Hungry But I Sure Ain’t Weird                   GUEST LIST ONLY! PLEASE RSVP TO: invite@hoxton.net

Yang Shaobin, X - Blind Spot No. 17,, 2008.  176 x 55 x 51 cm.

Celebs were in and out early for the champagne reception at Frieze this year, spotted were regulars Lily Allen and Gwyneth Paltrow. A Frieze worker said she got a radio call from one of her star-struck colleagues outside saying Kate Moss had turned up, and they didn’t know what to do with her! The likes of Grayson Perry and Tracey Emin were there too. Emin’s new work is an exercise especially for the more interactive art buyer. She is offering to make a commissioned work in which (quoting from the instructions) firstly you pay her “10,000 sterling”, before completing a simple questionnaire of 14 questions, then she will make a phrase in neon lights in response to the answers. She asks for a further “45,000 sterling” on completion. Contract signed and framed before of course. It might have been a mirage but was that art media magnate Louise MacBain I saw perusing the stand?

New to the show this year is a more edgy section called Frame displaying the work of younger galleries with more solo focused exhibitions, in part scooping up the littler Shoreditch ones, like Kate MacGarry gallery from a stone’s throw down on Vyner Street. This includes a few that used to reside at Zoo Art Fair. It will be interesting to see what impact this will have on the new look Zoo this year.

The Brazilian and Far Eastern galleries are rocking the international section. Galeria Fortes Vilaca, Sao Paulo stuck hundreds of chess pieces scattered like a misshapen map of the world across a wall and A Gentil Caricoca, Rio de Janeiro has artist Laura Lima performing a strange drawing technique with only one hand coming out from a hole in a white screen. Long March Space, Beijing, is showing among other brilliant works Yang Shaobin’s moving lifesize model of a freakishly flashing miner man and the Kukje Gallery, Korea is definitely worth a visit with Gimhongsok’s Canine Construction - a dog made from cast bin bags in spoof on Jeff Koon’s bunny and Haegue Yang’s mixed media sculptures consisting of blinds, lights, colanders, earth globes, shoes and more.

The big guns like White Cube Gallery have the old crooners out on display such as Gilbert and George and Hirst, but these types of artists seem to have less of a presence this year thankfully. Raqib Shaw a reasonably new artist on their books is a welcome change with his decadent ape-god scenes painted out in painstaking detail with diamantes and marble effects.

It’s hard to stop and look around in the hustle and bustle of the opening night, but Frieze seems to have a fairly decent standard of work this year, with a variety of artists and not an overkill of flash with no substance…. Perhaps best taken-in on a quiet day without the champers…..

Frieze Art Fair, Regents Park, London. 14th October- 18th October 09.

Some of the galleries metioned:

http://www.fortesvilaca.com.br/

http://www.katemacgarry.com/

http://www.agentilcarioca.com.br/

www.longmarchspace.com/

http://www.kukjegallery.com/

The cream of new contemporary art I hear you cry! Why yes here it is, the Turner Prize. And this year we have one oldie, a Mr Wright who has given a rather restrained response, Lucy Skaer who has given a mathematical, clean-cut, cultural experience, Ernesto David who will hurl us deep into the dark realms of his subconscious and Roger Hiorns who has continued to nurture his modern day momento mori theme into several distinguished pieces.

An interesting foursome then, and a difficult decision for the judges. Skaer has given us works in a variety of mediums. Brancusi’s ‘Bird in Space’ is reproduced 26 times in coal and resin to create ‘Black Alphabet (2008)’. The sculptures are placed carefully into rows, but some of the individual sculptures are clearly missing from the lines, in a sort of diminishing sequence. The remaining are placed in the corner, stacked up sideways like freshly cut logs hacked away from the regimented cubed forest in front of them. An antique wooden chair is displayed near by. Below the chair is a pile of bank notes with a printed image of glasses of water on them, a red triangular object in on the floor next to them. The chair’s parts have been deconstructed and printed in black ink onto a sheet of white paper forming illegible words, confirmed as such by the use of commas and apostrophes as something you could almost grasp as readable language but not quite. She has also been loaned a real sperm whale’s skull from a Scottish museum which is displayed through small openings in white walls, displacing the viewer’s experience, giving us just a glimpse of something impressive. She is reordering the museum experience and restructuring but not dislocating it from what it was. She has not violently ripped apart culture but has restructured the logic behind it.

Richard Wright’s main piece is a wall painting in gold leaf with detailed rococo swirls and sunsets, divided from the middle outwards creating a mirror image on both sides. It took him three weeks of hard labour to create it and you might suspect there to be a print underneath which he covered over with the hand painted gold, but material described is solely gold leaf, in which case it is an impressive effort. The affect of the whole is sumptuous and detailed but resembles nice bespoke wallpaper which is a little disappointing. Previous works on walls have had more innovation to them. They had movement and they worked with the environment and layout of the space. Here we get a block square. On the opposite wall above the door there are four red star-like shapes which do little to make a further impact to the room. Could he have not at least used a corner? His work since he rediscovered painting seems to be like a picturesque version of street art, but this is not one of his better examples.

Skaer has reconstructed the meaning behind objects but Hiorns has literally ground them down into a pulp. A passenger jet engine has been pulverised into dust, a symbol of what everything in the entire world will become one day. He admits he has a fear of flying and this piece contains obvious connections between airplanes and death. The layout of the dust with peaks and troughs and light and dark patches is reminiscent of an aerial view of mountains you might get from a plane. Hung on the walls are three sculptures, two of which are ivory coloured plastic casts injected with ground-up cows’ brain. They make a free-form grouping that look like slices of vertebrae from an alien animal. The other contains cows’ brain smudged into rectangular openings to create a regimented pattern in a stainless steel frame.

The materials’ previous identity has been removed by the industrial processes Hiorns has put them through. The only thing any of his work now still posses to their past self is the tenuous connotations of death, fatality and perhaps rebirth. Hiorns’ art here is a quiet and thoughtful conceptualism.

Ernesto David who some would describe as a latter-day Surrealist has made a long black stage stretching across the span of the room. A black cloth doll stretches across the entire length, its legs fall over various canvases and props, painted with eerie figures outlined in white and red on black. The doll could represent himself asleep and the props around him his dreams. Papier-mâché balloon men with faces resembling a young pouting George Michael, and a painting of faceless builders showing their arses provocatively are just some of the other motifs involved in creating this semi-nightmare world. It would help you to know that David is ‘in’ to gay pornography if you didn’t already. Inventive and slightly disturbing like all our dreams this piece is totally subjective to the viewers own experiences. If the Turner Prize is a good indication of shifts in trend then you could say that like the other three artists this year, David’s art is not sensationalist, the aim is not to be shocking or commercial, although it is an ‘uneasy’ consumption.

All of which asks the question are we moving into a subtle and more aesthetically appreciative period, with less emphasis on the sensational?

Richard Tuttle, Walking on Air, C1 2009, cotton with Rit dyes, grommets, thread, 2x panels

Richard Tuttle; Walking on Air, C3 2009. cotton with Rit dyes, grommets, thread, 2x panels

Richard Tuttle’  L’nger than Life, installation view, Photos taken from; http://www.modernart.net/

Now and again there is an exhibition that totally perplexes you because it asks the question; what is art? Richard Tuttle’s exhibition at the Modern Art Gallery does this, but unfortunately for all the wrong reasons.

Tie-die, the choice clothing embellishment of the traditional hippy could be the beginnings of a spectacularly different approach to an art exhibition. Here it seems that Tuttle, a well established ‘post minimalist’ artist has attached bits of died cloth together with grommets and then stuck them on the walls. Perhaps he employed young school children to produce them, which is honourable, but all in all the effect is rather disappointing and characterless.

Take ‘Walking on Air, C1’ for instance; an interesting mix of colours to combine and not asthetically displeasing; a sky blue cloth attached to a purple, white and red marble effect cloth. Then we have, (wait for it), ‘Walking on Air, C3”. This perhaps one of the most complex pieces being a green, red and white patterned sheet, joined onto a white sheet with a yellow splodge. But what is the point to it?

Richard Tuttle describes the meanings behind these works on www.artnews.org;

Tuttle describes his new work as being “in a syncretic tradition, where the equal and opposite can co-exist and the abstract and the real are not in a state of ambiguity.” Walking on Air represents for him an “expression of elation for the potential for a new beginning, the possibility to rebuild and discover a harmony for existing in the world today.”

http://artnews.org/gallery.php?i=166&exi=15334

Certainly he is getting at something here, a reconciliation of two seemingly disparate coloured cloths both totally unique and handmade (perhaps the way as humans our DNA is totally unique) united together to create a new start. The beautiful union of two bits of tie-died cloth! With this my friend, we could take over the world. Sorry, sorry, we could bring peace to the world. And the whole association with hippies, well, self explanatory.

But they just don’t speak to me. They are essentially an inspired idea but Tuttle’s most eloquent description does not translate into something tangible.

Am I missing the point here?  I probably I am. The Time Out review raved about how, “With work this good, this cogent and concise, how come it’s been almost 15 years since Tuttle’s last exhibition in this country?”

http://www.timeout.com/london/art/event/157146/richard-tuttle

And fair play to them, it must be me missing the tree hugger for the trees. (Bad joke)

Richard Tuttle at Modern Art Gallery till 10th of October - 23/25 Eastcastle Street, London,  W1W 8DF

click here to see the video: http://www.oneandother.co.uk/participants/Maya-Shamji

God bless Art Sleuth’s wonderful friend Maya Shamji for her most excellent performance on the plinth. If anything Antony Gormley has revealed that most Brits have little imagination. Reading a book or taking photographs of tourists? Surely there is more you can do in the sole hour of your life you have on this earth as a piece of live art?

I’m sure Nelson would agree.

But we cannot fault Maya on her art in action! She got over one thousand blue, pink and orange glow sticks to dangle in chains off the plinth in an hour! More importantly she got the crowd going. People were making pretty necklaces out of the fallen sticks, there was singing and perhaps a little dancing. We love you Maya!

Dana Goldstein, Punk boys

Archival Girls, Richard Kern

Tim Barber’s purple haired muse.

Candid Reich by Nico

Chubs, Jamie Lee Cuirtis Taete

Vice magazine has got some sort of reputation to live up to when it comes to its’ photos. So trendy it aches would be one way of putting it; like Dana Goldstein’s boys in rock star poses; and also a decent amount of nudity, girls snogging and some amusing commentary to undermine it all. Which this exhibition has. But it also includes some rather thought-provoking or technically impressive work too. Like Candid Reich by Nico, if true, the private photos taken by a WW2 photographer for the German army. To be honest they look pretty real. They show scenes from off duty soldiers on the road in their little round glasses and side-parted hair, mainly doing ‘off-the-wall’ type things; one guy has climbed up a tree looking a bit mental, a bunch of solders preparing a dead pig, and a man in long boots and underpants doing a heil Hitler! pose.

Tim Barber’s work both upstairs and down is compositionally beautiful, including a series of intimate portraits capturing his purple haired muse in various times and places. Martynka Wawrzyniak’s close up of kids captures their scruffy, naughty personalities in a single shot. Unfortunately they are slightly reminiscent of the children from the recent swine flu ad campaign. But I’m sure nobody else will notice.

The Chubs series by Jamie Lee Curtis Taete is the best thing about the whole exhibition, bringing a wry smile to peoples faces as they come across five portraits of over-sized men in nude poses; one hiding his decency with a conveniently placed teddy bear, (thank god) another presented rather majestically on his toilet. This is more like the Vice we come to know and love. Bring on ironic sordidness any day.

The VICE photo exhibition will run until Wednesday 26^th August at the Print Space, 4 Kingsland Rd, London E2

Pop along to the group show at Nettie Horn to see the likes of Emma Mcnally who has created large scale paper-on-pencil works of ‘geometric calamity’. With the use of protractors and compasses she has created a cosmic mapping system which displaces the notion of scientific diagrams for artistic purposes. Good use of your typical school maths stationary.

Also in this show Rosie Levington’s tower block of over 2000 novels, such classics as Jilly Cooper are used asbuilding bricks. Her sculptures are made from recyclable material. In the past she has cut the shape of a B52 into woods see: http://stevegray.com.au/blog/rosie-leventon-artist/rosie-levetons-b52-kings-wood-stour-valley-arts-project-uk/.

Abigail Reynolds uses photos from retro London tourist guides which are partly dismantled and re-structured into triangular compositions.  Perhaps reflecting the way memories get reordered at time goes on.

Gordon Cheung also makes an appearance with one of his signature creations using a rainbow of mixed-medium-paint on a background of stock-listings newspaper. This one is a gorgeous piece, created in admiration of Le Corbusier’s masterpiece of modern living.

Just finished was the The Sensationisnt exhibition at the Empire Gallery down the road, a 3D wonderland. 3D specs were issued at the door. Paint by numbers and twister just some of the activities provided!

Close by Monika Bobinska is exhibiting a group show called Mill concentrating on works on paper, akin to Nettie Horn, but perhaps just a coincidence. A mixed bag of an exhibition, highlights include art on paper cups and a sketch of a Henry Moore sculpture military tank. A good idea on paper needs to get along to these exhibitions!

Other exhibitions to see:

are Fred gallery: 2 x 2: Renie Spoelstra /Juliette Losq /Nina Bovasso/ Tatyana Gubash.

And coming up; Stolenspace’s Group Show 09, looks like a large one in the Old Truman Breweries, private view July 2nd.

Unfold at Nettie Horn is on till the 2nd of August at 25B VYNER STREET, LONDON, E2 9DG

 

Alexander Hoda’s animals delve deep into the realms of a twisted imagination. Like something out of a fantasy novel they possess Predator style teeth, teats growing out of their backs and armed with weird objects of indescribable weaponry. These are potential killer creatures. Many are in chains. Suggesting a tension, a threatening danger.

Hoda varies the textures of his sculptures. Some are a matt rubber finish smoothing over any clear features. Some use Polyurethane (also used by Sterling Ruby) to create a glossy finish and a marble effect of mixed colours. This lends itself to creating morphed or melted appearances, like they are swamp monsters. Intricate features like long bony fingers come out of the blur of dripping slime that obscures most of the features. This recognition of parts but leaving the whole unspecified feeds on our fear in the unknown. Their blurry faces like a Francis Bacon painting, also de-personifies these creatures, making them more likely to be cold-blooded killing machines, whose only actions are to bread and to hunt. Like Bacon said `We live, we die and that’s it, don’t you think?”

These animals feel alive, truly solid, three-dimensional things as tall as humans. Hoda wants us to believe in these things, to see them as something that could exist and that with the lack of clear definition we can build on our own concepts of terror like in a nightmare where we can only partially make out the monster that is chasing us. Ironically having said all of this, ‘Backlash’ a grouping of what resembles two distorted walruses twisted together in a sort of mating pose has a certain likeness to Rodin’s ‘The Kiss’, and perhaps shows that even evil slayer animals also have a capacity for tenderness.
Thursday 20 November - 9 January

At: The Arts Gallery, University of the Arts London, 65 Davies Street, W1K 5DA

Opening times: Monday - Friday 10am - 6pm and Saturday 11am - 4pm

More info: http://www.arts.ac.uk/events/hoda.htm