A Road...

A Road... 2009, Plastic Stencil,

4 for Four: A speculative montage for David Oistrakh and Sergei Prokofiev

4 for Four: A speculative montage for David Oistrakh and Sergei Prokofiev 2010, Video,
© 2010 Michael Stevenson. All rights reserved

Untitled

Untitled 2010, Metronome and wristwatch, Installation dimensions variable

In the Company Of

In the Company Of 2008, Single channel video, ten channel audio,

The Wolf's Theme

The Wolf's Theme 2009, Installation,

In the Company of

In the Company of 2008, Single-channel video shot on HD, 10-channel audio, Duration 32 min 27 sec, Stills photography: Marie Snauwaert

Residual Stress

Residual Stress 2008, Glass (Prince Rupert's drop), Conditions of sale specified

The Railway Maintenance Workers...

The Railway Maintenance Workers... 2009, Paint on wall, Dimensions variable

The Wolf's Theme

The Wolf's Theme 2009, French horns, music stands, scores of Sergei Prokofiev's Peter and the Wolf, rope, Dimensions variable

Simon Gush

Current Review(s)

Wim Botha, Simon Gush and Zineb Sedira

Wim Botha, Simon Gush and Zineb Sedira at Stevenson in Cape Town

'Let no one destitute of geometry enter my doors.'

Entering Wim Botha’s fourth solo exhibition, the immortal phrase adorning the doors to Plato’s Academy seems appropriate. Indeed whilst the conjunctive nature of the title (‘Joburg Altarpiece & Amazing Things from Other Places’) seemingly implies that the show is composed of two separate bodies of work (enforced by their visual disparity), the intrinsic presence of Platonic visual motif finds itself functioning as a homogenising agent to Botha’s latest assortment of befuddlement and iconographic subversion.


06 August 2009 - 26 September 2009

Listings(s)

Sidestep

Simon Gush at Stevenson in Johannesburg

This is a slimmer version of Gush's solo exhibition at Michael Stevenson in September and his first solo at a mainstream gallery in Johannesburg.


15 October 2009 - 07 November 2009

Simon Gush: First Solo Exhibition in Europe

Simon Gush at Galerie West

Galerie West, the Hague,  presents ‘1st and 3rd’, the first European solo exhibition by Simon Gush. The exhibition is number 3 in a serial of exhibitions which West is organizing at the beginning of 2010 and is dedicated to promising young artists from outside the Dutch borders.

The exhibition will comprise of a new installation in the main gallery, as well as two recent videos: In the Company Of, 2008 and Underfoot (Vooruit), 2009.


21 April 2010 - 29 May 2010

‘IF ONLY I WAS MORE LIKE YOU’

Simon Gush at Unknown

An exhibition in 3 parts, this exhibition began with curator Yasmine Ostendorf choosing an artist who she admires, that person again chose another artist who he admires, and so on until there are 3 delegations of 3 artists in total.

The lineup so far is Zoro Feigl, Floris Bovee, Constant Dullaart, Daniel Dennis de Wit, Bas Schevers  and Simon Gush

1E Jacob van Campenstreet 59,
Amsterdam
www.dddw.org

 

 


21 November 2009 - 20 December 2009

Wim Botha, Simon Gush and Zineb Sedira

Wim Botha, Simon Gush and Zineb Sedira at Stevenson in Cape Town

Botha will exhibit a new monumental print work, along with an installation of his signature mixed media sculptural pieces. Young artist, Simon Gush, holds his first major solo show, comprising video, text pieces, sculptural installations and interventions. Zineb Sedira meanwhile, shows Middlesea, as part of Stevenson’s ongoing FOREX exhibition series.


06 August 2009 - 26 September 2009

'4 for Four: A speculative montage for David Oistrakh and Sergei Prokofiev'

Simon Gush at Stevenson in Cape Town

Simon Gush presents '4 for Four: A speculative montage for David Oistrakh and Sergei Prokofiev', a musical and visual composition with four storylines that are both independent and interrelated. Accompanied by Prokofiev's First Violin Sonata in F minor as soundtrack, the piece takes as its point of departure the relationship between the Russian virtuoso violinist David Oistrakh (1908-1974) and Sergei Prokofiev (1891-1953), one of the most important Russian composers of the 20th century.

Fascinated with the complexities of 'speaking politically', Gush adopts a strategy of not approaching things directly, believing that the most effective way to communicate is through allusion and devices such as metonymy and metaphor. Responding to Eisenstein's use of montage as a political tool, Gush offers an open ended piece where the act of 'saying something political' is continually examined and rehearsed.


21 October 2010 - 27 November 2010