Koppe Astner, Glasgow
Through March 10, 2018

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Angell’s unique visual language extracts imagery from a wide range of collected pictures and literary sources— faulty medieval histories, craft gestures, poetry, botany and landscape— implementing the malleability of the medium to allow symbols to transcend their ascribed attributes and narratives.

Cranes and machine engines are recurring forms in this body of work. Based on fragments of images depicting the construction of medieval cathedrals and clad with large flowers, these structures appear as meaningful but dysfunctional objects while the blossoms, in their ceramic form become burnt and lifeless. Cabbage Platter revisits the story of John the Baptist who’s decapitated head was served to Salome on a platter. Here, John the Baptist’s head is replaced with a cabbage— one of Angell’s various formal reinterpretations of this biblical story.

These nine new sculptures are gas-fired at a high temperature and display the results of Angell’s recent experimentations with Shino glazing. Angell has also introduced sawdust and granite to his usual ceramic body mix, enabling a faster and more direct working process, an imitation of the style of Japanese Iga ware.
A limited edition print, produced in collaboration with poet Lucy Mercer accompanies More Sculpture about Dogs and Shadows. This poster poem is the first in a series by Angell and Mercer. The exhibition also coincides with Angell‘s solo show at Gallery of Modern Art, Glasgow. Angell will have a solo show at Kunstverein Freiburg in 2018 and a two person show with Ian Law at the University of Essex.
The installation, exhibited at the Venice Biennale in 2007 but since then hidden from public view, constitutes an exemplar of Vascellari’s oeuvre and despite belonging to his early period, contains many elements typical of his research. MAXXI, Roma
Working across mediums, with a concentration in sculpture and video as well as prose and poetry, New York-based artist Diamond Stingily draws on personal and collective memory in order to examine the condition of American identity today. Through her iconic use of found materials such as wood doors, chains, and synthetic hair associated with her childhood memories and experiences, Stingily imbues the readymade with political and personal urgency. ICA Miami
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Peres Projects, Berlin
Fondazione Sant'Elia, Palermo
From 27 to 29 July 2018
Galerie Rolando Anselmi, Berlin