|PRIVATE VIEW THURSDAY 28 JUNE, 6-8PM
Exhibition dates: 28 JUNE - 1 DECEMBER 2007
ART AND SCIENCE: A NEW PARTNERSHIP
CAINO’S HANDBAG – HUMAN CLONED SKIN-I.
According to the words of Kofi Annan, “ARTISTS HAVE A SPECIAL ROLE TO PLAY IN THE GLOBAL STRUGGLE FOR PEACE. ART OPEN NEW DOORS FOR LEARNING, UNDERSTANDING AND PEACE AMONG PEOPLE” “I believe that dialogue is an opportunity for people coming from different cultures and traditions to get to know each other better, whether they live at the opposite ends of the world or wheter they live in the same street”
TG Gallery is pleased to announce an exhibition of installations (new media arts: science - art) by Andrea Tomasi. Opening concurrently at SAATCHI GALLERY (Europe) and TG GALLERY (USA), Andrea Tomasi: CAINO’S HANDBAG – HUMAN CLONED SKIN – I. is the artist's first exhibition in London over a decade. In these works, Tomasi expands on the iconic motif of the HandBag as a symbol of the beauty and inherent fragility of life, reaching new heights of complexity, refined detail and radiance.
To receive an invite please email mailto:ulc.advisor-at-gmail.com giving your name and address.
All images available for viewing on our website from opening date
- Series 1: Caino’s HandBag – Human Cloned Skin-I.
- Series 2: Caino’s HandBag – White
- Series 3:Caino’s HandBag – Black
- Serie 4: Caino’s HandBag – Kamikaze Bag
- Serie 5: Caino’s HandBag – White & Black
- Serie 6: Caino’s HandBag – With Barbered Wire
- Serie 7: Caino’s HandBag – With Chains
- Serie 8: Caino’s HandBag – Exposed To Fire
- Serie 9: Caino’s HandBag - With A Bar Code
- Serie 10: Caino’s HandBag – With A Bullet Hole
- Serie 11: Caino’s HandBag – Torn By A Blade
- Serie 12: Caino’s HandBag – Minotaur’s Bag
- Serie 13: Cainos’ HandBag – With a Cross
- Serie 14: Caino’s HandBag – With Piercing
- Serie 15: Caino’s HandBag – With Money
- Serie 16: Caino’s HandBag – With A Diamond Necklace
- Serie 17: Caino’s HandBag – With a Fashion Tie
- Serie 18: Caino’s HandBag – With An Exclamation Point
Throughout his work over the last ten years, Tomasi has taken a direct and challenging approach to ideas about existence. His work provokes a critical dialogue by calling into question our awareness and convinctions about the boundaries that separate desire and fear, life and death, reason and faith, love and hate. In his art Tomasi uses the tools of science (human cloned skin – I.) and religion, creating installations whose beauty and intensity offer the viewer insight into art that transcends our familiar understanding of those domains.
For inspiration and ideas:
The Saatchi Gallery, www.saatchi-gallery.co.uk ; The Australian Accademy of Science, http://www.science.org.au/reports/clone.pdf ; Arts Catalyst, www.artscatalyst.org.uk since 1993 has worked nationally and internationally to promote undertanding and cooperation between the arts and the sciences – a driving interest is to extend the practice of artists engaging with scientific processes, facilities and technologies in order to reveal and illuminate the social, political and cultural contexts that brought them into being; National Endowment for Science, www.Nesta.org.uk ; Arts Council of England, www.artscouncil.org.uk ; Science Museum, www.sciencemuseum.org.uk ; The Calouste Gulbenkian Foundation, www.gulbenkian.org.uk ; Institute of Contemporary Arts, www.ica.org.uk ; The Museum of Science and Industry in Manchester, www.msim.org.uk ;The Wellcome Trust, www.wellcome.ac.uk www.sciart.org.uk ; University of Wisconsin-Madison, www.wisc.edu ; The Serpentine Gallery, www.serpentinegallery.org ; Rena Bransten Gallery, S. Francisco, www.renabranstengallery.com .
Art is our one true global language. It knows no nation. It favors no race. It acknowledges no class. It speaks to our need to heal, reveal and transform. It transcends our ordinary lives and lets us imagine what is possible. It creates a dialogue between individuals, and communication between communities. It allows us to see and to listen to each other.
There has been in recent years an intriguing and important development in worldwide culture. Exhibition spaces, associated more usually with artists, have made room for the debates, findings and even the hardware of science. Laboratories, in amongst the daily and busy business of producing science, have welcomed into their communities artists of varying sorts, and given them the space to get on with their craft. It is not unusual now to find science centres and museums with works of art on permanent display; to hear of plays with specifically scientific themes, and to come across gatherings and conferences where scientists and artists debate their points of contact, and their differences. Finally, but significantly, the science-art collaboration , where an artist and a scientist work together on a common project, has become, if not commonplace, then at least a recognisable and legitimate activity, capable of drawing substantial grants from major funders, both in the arts and the sciences.
Part of the interest of science-art is the diversity of the people involved: sculptors, neurophysiologists, hospital architects, film makers, perfomance artists, psychologists, photographers, particle physicists, writers and mechanical engineers are all on the roll call. The list is long, and growing.
Some readers might doubt that there is anything very novel in the idea of exchange between science and art. As one scans back through history, there appear multiple examplea of the one influencing the other. The physicist Neils Bohr had a cubist painting on his wall – could this have helped him see a particle as both a wave and a particle? Was it not the roman poet, Lucretius, who in his didactic poem On the Nature of the Universe, propagated the ancient greek idea that the material universe is divisible into particles? Most people like to think that Leonardo da Vinci, with his catapults and his paintings, as both a scientist and an artist – the original renaissance man. Wee know too that the artist Jan Vermeer used optical devices to project the scenes he painted: most recently David Hockney, in his book Secret Knowledge argues that the old masters used lenses much often than had been thought. The idea of an artist being also a person of scientific skills is supported by the fact that for centuries a knowledge of human anatomy was central to the professional development of painters (George Stubbs, indeed, was an expert in comparative anatomy).
Scientists who have always had an interest in the arts now know that science-art collaborations have the formal support of major funding institutions.