•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
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Press Releases - CARTER presents

T H E N I R E M E M B E R E D


The Fire starter or the victim, the analyst or the theorist who is it that comes first, and why is it that victims often become the culprit? Artists express vulgar histories and question the present; a chaotic palingenesis.
Have we all forgotten our past (and are repeating it)? Or are we merely remembering what we have done? THEN I REMEMBERED expresses a satirical critique of the past, relived or re-evaluated expressing insecurities and obscurity. The present is represented by the mundane; domestic items dressed up to look idealised and a future that is a mere reflection of the past, a computer generated passage of pre-programmed, pre-fabricated fate. The exhibition is narrated by the vicious cycles we tend to become stuck in and sidelined by nonsensical slogans distracting us from what is constantly spiraling down the drain.

George Santayana said Those who cannot remember the past are condemned to repeat it ; when remembering the human brain often confuses reality with dreams; so is all that is ever expressed a vague ambiguity of what we are really only trying to remember? We are in a constant state of hypnological hyperreality; its only when we call on our past we realise we are in the present and can stop worrying about our future.

Paul Brandford

Paul Brandford s traditional painterly style akin to the likes of Hogath and Goya purposely disfigures those once portrayed as heroes, often painting dictators or political bodies he is hugely suspicious of . Branford was nominated finalist in The Threadneedle figurative Prize 2008 and he won First Prize in The Jerwood Drawing Prize in 2003. He studied at The Royal Academy Schools and he lives and works in London.

Tobias Collier

Playing with current ideas around Astronomy and Cosmology, Tobias Collier examines our cultural relationship to outer space and the limitations of science and knowledge though painting, performance and video and using objects of daily existence and combining them with scientific or astronomic ephemera to create readymade sculpture. Collier completed hisMA Fine Art, Central Saint Martin s College of Art and Design, and lives and works in London.

Daniel Jackson

Daniel Jackson explores the synthesis of computer code with human actions controlling the parameters of the software that he has purposefully created, and with the final edit of the output, he is able to produce rigorously constructed works of art, which encapsulate modern media whether they are classed as sculpture, paintings and one off prints.
Lives and works in London.

Vanessa Mitter

A recent graduate of Chelsea MA program. Vanessa Mitter's paintings and drawings are physical and visceral, employing action and violence, she writes and devises performances. The use of alter egos and autobiography are a constant theme as is the personal diary. Current shows include "Enjoy Democracy responsibly" London December 2010


Brian Reed

A formidable sense of the end of history permeates though Brian Reed s works which are predominantly found image such as identity photographs and text based; proclaiming slogans such as WASTED IDEALS and Ideology Converter . Reed s work is in public collections, Lisson Gallery and London University of the Arts and private collections in the UK and Germany, He lives and works in London.

Dalliz Seitz

Dallas Seitz is a Canadian artist who lives and works in London. Seitz unapologetically utilises the poetry of objects to combine his interest in collecting, museumology, colonization, personal history and the falsity of representation. The often absurd works expose an awareness of the thinking process while recalling museum collections and relationships between display and life.

Gavin Turk

Gavin Turk's art often involves his own image disguised as that of a more famous person. He has cast himself in a series of detailed life sized sculptures as different romantic heroes, including Sid Vicious, Jean-Paul Marat and Pop a waxwork of Turk as Sid Vicious (in white jacket and black trousers, pointing a gun - a work which toured London, Berlin and New York as part of the 1997 Sensation exhibition) Ambiguity features as much as self-obsession throughout Turk's work.



H e r m a n n N i t s c h

Born in Vienna, Nitsch received training in painting during the time he studied at the Wiener Graphische Lehr-und Versuchanstalt. He is associated with the Vienna Actionists, and like them conceived his art outside traditional categories of genre. Nitsch's abstract splatter paintings, like his performance pieces, established a theme of controlled violence, using bright reds, maroons, and pale greys that communicate organic mutilation. In the 1950s, Nitsch conceived of the Orgien Mysterien Theater (which roughly translates as "Theatre of Orgies and Mysteries"), staging nearly 100 performances between 1962 and 1998.

Nitsch's work, which can be considered both ritualistic and existential, first drew attention in the early 1960s when he exhibited a skinned and mutilated lamb. The lamb was crucified against a white fabric-covered wall, with the entrails removed and displayed below a white table, splashed with blood and hot water. This was accompanied by Nitsch's "Geräuschmusik". Nitsch's subsequent work has incorporated many similar elements, often combining slaughtered animals, red fruits, music, dancing, and active participants. Nitsch juxtaposed slaughtered animal intestines with quasi-religious icons such as staged crucifixions, satirizing and questioning the moral ethics of atavistic religion and sacrifice. Currently his work is often discussed in the context of our culture's fixation with violence seen on the news, movie screens, and in popular video games. Correlations have also been drawn to many instances of the intersection of violence and culture. These performance works, which have become known as "actions" have become more and more elaborate over the years. Hermann Nitsch has been repeatedly charged, tried, and even condemned to prison.

The music that Hermann Nitsch composed himself was becoming increasingly prominent in his performances. In 1972 he participated in Documenta V, Kassel, and staged 'Aktions' at the Mercer Center and Everson Museum of Art. In 1984, Hermann Nitsch staged a performance that lasted three days and three nights at Prinzendorf. In the mid-90's he co-directed and designed the set for the opera Herodiade by Jules Massenet at the Vienna State Opera. In 1996 he performed an 'Aktion' in the wine-yards of San Martino (Napoli), and in 1998 staged the 6-day play in Prinzendorf, an 'Aktion' that Hermann Nitsch sees as the greatest achievement of his career. In 2004, he held an abbreviated (2-day) version of the work. In 2010 he staged a one day performance in Naples.

By 1995 Nitsch had been so sufficiently embraced by the establishment, that the Vienna State Opera invited him to direct and design the sets and costumes for Jules Massenet's opera Hérodiade.

Nitsch continues to publish articles and release CDs.

Hermann Nitsch's works are in many national and private collections around the world. He is recognized as Austria's greatest living artist and is included in The Times Top 200 Artists of the 20th Century to Now.


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