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the-sound-of-laughter-isnt-necessarily-funny-copy

Jonathan Monk, The Sound Of Laughter Isn’t Necessarily Funny at The Gallery, De Montfort University Leicester

January 27 – March 11, 2017 / You are cordially invited to the Private View at The Gallery from 6pm to 9pm on January 26, 2017 / Refreshments will be served until 9pm / DJ’s upstairs until 10pm / Andy Hickford (Hepworth Wakefield) vs James Hickford (The Gallery) / RSVP: hugo.worthy@dmu.ac.uk by 23rd January 2017 / The Gallery, Vijay Patel Building, Mill Lane, De Montfort University, Leicester, LEI 9BH, UK
Simon Fujiwara, joanne

Simon Fujiwara’s Joanne at International Film Festival Rotterdam

Tiger competition for short films 5Joanne by Simon Fujiwara, UK, 14′ / Established in 2005, the Tiger Competition for Short Films presents cinema under 60 minutes in all its forms: fiction, documentary, essay film, animation and more. Brand new films from all around the world are presented to enthusiastic audiences and a jury of three international film professionals / January 25th-February 5th, 2017More info
lawrence-weiner-wolf-prize-copy

Dvir Gallery is delighted to announce Lawrence Weiner laureate of the Wolf Prize 2017

The jury panel of the 2017 Wolf Prize in arts has unanimously decided to award the prize in equal parts to two laureates: Lawrence Weiner and Laurie Anderson, for the radicalism and avant-garde at the core of their work, and for inspiring generations to come.

Lawrence Weiner (b. 1942) is one of the leading figures in the art world of the last decades. Present in the field of art since 1967, he is recognized as a pioneer of conceptual art, displaying an unprecedented use of language as material.

His texts create unexpected substitutes of sculpture and painting on brick, cement or glass walls, on transparent or opaque surfaces, in art institutes and other places. Whether in the context of art or the broader context of cities and landscapes, his texts create a multi-inspirational performance of humanism. Weiner’s texts are not limited to English alone, he uses a variety of local languages, a fact that enhances his accumulating work with a universal dimension, including a political core that doesn’t lose its strength as years go by. On the contrary – it accumulates more and more impact. His unique handwriting, recognizable and anonymous at once, maintains the non-materialistic dimension of conceptual art in the world of art that is becoming increasingly focused on objects. As such, Weiner’s work is a signature over ever-lasting radicalism.