ON VIEW | NOW

LAST DAY SATURDAY 5 APRIL 2025

OPEN 11-3pm

LIST OF WORKS

PAIRINGS

Riley + Tilson \ Stezaker + Braine \ Landy + Shrigley

Bridget Riley Untitled [Fragment 1] 1965 detail

FISCHLII + WEISS \ TWO WORKS

Since the late 1970s the artists have consistently captivated and amused audiences with their extraordinary transformations of the commonplace. Fischli and Weiss work across a wide range of media. Underlying all of their work is a childlike spirit of discovery which encourages the viewer to look afresh at their surroundings. In Fischli and Weiss’s world everyday objects take on an unexpectedly lifelike quality; they balance on each other, play off each other and collide into one another with a witty intelligence infused by the artists.

For Equilibres (Mr. and Mrs. Pear with Their Son) limited edition of 60, a well-known series of photographs from the mid-1980s, Peter Fischli and David Weiss balanced everyday household items on top of each other in an absurd equilibrium. The Equilibres photographs anticipate Fischli and Weiss’s iconic video from 1987, The Way Things Go. and features a cardboard paper-towel roll, a shoe, and a rubber glove, among other objects.

DER LAUF DER DINGE documents a long causal chain assembled of everyday objects and industrial materials in the manner of a Rube Goldberg machine, though without the trope of accomplishing a relatively mundane task at the end.

The installation was in the artists' Zürich warehouse studio, about 100 feet long, and incorporated materials such as tires, trash bags, ladders, soap, oil drums, old shoes, water, and gasoline. Fire and pyrotechnics were used as chemical triggers. The film is 29 minutes and 45 seconds long, but some of that is spent waiting for something to burn, dissolve, or slowly slide down a ramp. Long processes with little visible change are skipped with a fade out/fade in. The film is presented as a single sequence of events, but careful observation reveals over two dozen film edits.

The film evolved out of work the artists did on their earlier photography series, Quiet Afternoon, (German: Stiller Nachmittag) of 1984-1985. As the delicately unstable assemblages they constructed for the photos were apt to almost immediately collapse, they decided that they wanted to make use of this energy.

The movie was a public highlight of the documenta 8 exhibition in Kassel, Germany (June - September 1987), and is on permanent exhibition in the Museum of Modern Art in New York City, and in the Museum Wiesbaden in Wiesbaden. It is also part of Centre Georges Pompidou's collection in Paris.

Benjamin Parsons art gallery exhibition title featuring artists Christopher Brooks, Ham Darroch, Elliot Roberts, Kirsten Roberts, John Tiney, Robin Walden, Tom Wilmott, Camilla Wilson, Emily Wolfe

~ PART II ~

~ PART I ~

Benjamin Parsons gallery with paintings by Camilla Wilson, Emily Wolfe, Steven MacIver, Alistair Frost, Elliot Roberts, Christopher Brooks, Ham Darroch, Kirsten Roberts, John Tiney, Tom Wilmott

John TINEY \ WINDOWS

Drinks to celebrate 4-6pm SaT 30 NovEMBER 2024

30 November - 20 December 2024

Benjamin Parsons art gallery with paintings of candles by UK artist John Tiney

Windows, 2024. 107 x 81.3cm. Acrylic and pencil on canvas.jpeg

Windows II, 2024. Acrylic and pencil on canvas. 46 x 36cm..jpeg

Windows III, 2024. Acrylic on canvas. 46 x 36cm..jpeg

Windows IV, 2024. Acrylic on canvas. 46 X 36cm.jpeg

Windows - A lot of people use Windows or similar operating systems to view art, it is also in line with the notion of a painting being a window. Operating systems, the Windows logo is present in the paintings, part of the paintings’ operating system. The Windows paintings have grown out of the intrigue I had about an Instagram image of a candle that I saw used to honour the passing of their friend. The image was perfect, not unlike, in character at least, of the trio of candles in one of my works - Cave Painting III, 2020. The images of the candles in both seemed far more polished than a photograph of a candle might need to be and felt other worldly in their soft, hissing isolation. The eerily hyperreal images, perfect mirages of candles seemed the contemporary version of Gerhard Richter’s candles and his ‘capturing of reality as is, free of historical or personal bias’. Looking at any image of a candle will take me to Sonic Youth’s Daydream Nation and from there to Richter. The newer images have a supercharged pathos, and I was interested to see how my treatment of the subject would translate.

John Tiney November 2024