This large survey book builds on the ZKM Karlsruhe exhibition tracing the multifaceted relationship between art, science and technology in Dutch landscape art around 1650. Long before digital satellite imagery, Dutch artists used modern systems of remote sensing. Their art works provide valuable insights into past exchanges of knowledge that anticipate the techniques of mapping used today.
Includes A Planetary Order.
Hardcover: 500 pages
Publisher: Hirmer (1 Dec. 2014)
Dimensions: 25.5 x 3.8 x 29.4 cm
Monday January 26, 2015. 10am till 6pm
Piet Zwart Institute, Karel Doormanhof 45 3012 GC Rotterdam
This day of lectures and presentations will focus on old and recent media technologies of temporal measurement and control, and how they animate and re-animate human life.
The keynote speaker is Zoe Beloff, who will discuss works she is presenting in the International Film Festival Rotterdam 2015 program, including: The Infernal Dream of Mutt and Jeff (2012) and Glass House (2014)
Further speakers that will expand on this topic of pervasive techniques of control, that mobilise audiovisual media to measure, categorise, and discipline us, include: Zoe Beloff, Aura Satz, Julien Maire, Martin John Callanan, Florian Cramer
The PIET ZWART INSTITUTE, MASTER MEDIA DESIGN (LENS-BASED MEDIA / NETWORKED MEDIA) is an intensive project-based research degree that will equip you to create a distinctive voice as an artist/designer in the contemporary media landscape. Our programme encourages students to explore the new possibilities released by the friction between media forms, critically working across the historical gaps between photography, cinema, animation, mobile media, information systems and technological networks. The curriculum combines collective learning, intensive individual tutorial support, practice-based research and theoretical inquiry.
Made possible with support from the British Council Travel Grant Fund
23 January – 22 March 2015
Preview 22 January 2015 / 6-10pm
MK Gallery, 900 Midsummer Boulevard, Central Milton Keynes, MK9 3QA.
Admission is free
January 2015 MK Gallery presents How to Construct a Time Machine (23 January – 22 March 2015), an exhibition of over twenty-five historical and contemporary works that explore how artists play with media in innovative ways to transform our experience of time.
What is time? How do we order the past, the present, and the future? Why are artists interested in time? How is art a machine, vehicle, or device for exploring time? How is art a means by which time ‘travels’, and how does art permit us to travel in time? Consideration of these and other questions has provided the exhibition rationale for guest curator, Dr Marquard Smith, Head of Doctoral Studies/Research Leader in the School of Humanities at the Royal College of Art, London.
The show’s title is taken from an 1899 text by the avant-garde French writer, Alfred Jarry, written in direct response to H. G. Wells’ science fiction novel The Time Machine (1895). Wells invented and popularised a distinctively modern, fictional concept of time travel, with the time machine as a vehicle that could be operated ‘selectively’.Jarry’s response crafted a pseudo-scientific fiction that presents the time machine and time travel as an instance of ‘the science of imaginary solutions’.
Taking this idea of the time machine, time travel, and perhaps even time itself as an instance of ‘the science of imaginary solutions’, the exhibition is divided thematically across the galleries and includes works by John Cage, Martin John Callanan, Jim Campbell, Edgar Cleijne and Ellen Gallagher, Matt Collishaw, Ruth Ewan, Tehching Hsieh, the Lumière Brothers, Chris Marker, Kris Martin, Manfred Mohr, Melvin Moti, Nam June Paik, Katie Paterson, Elizabeth Price, The Otolith Group, Raqs Media Collective, Meekyoung Shin, Sun Ra, Thompson & Craighead, Mark Wallinger and Catherine Yass, amongst others.
Film work ranges from George Méliès’ A Trip to the Moon (1902), an iconic silent movie which follows a group of astronomers as they explore the moon, to Thomson & Craighead’s The Time Machine in alphabetical order (2010), a complete rendition of the 1960s film version of the Wells’ novella re-edited into alphabetical order.
Sculptural work includes Mark Wallinger’s Time and Relative Dimensions in Space (2001), an aluminium version of Dr Who’s ‘Tardis’ police box that simultaneously disappears into the space-time continuum and reflects its own surroundings, and Ruth Ewan’s We Could Have Been Anything That We Wanted to Be (2012), a decimal clock which divides the day into ten (rather than twenty-four) periods, echoing a bold 18th century French Republican attempt to redefine and rationalise the day.
The exhibition will be accompanied by a catalogue, designed by Herman Lelie, featuring an extended Introduction by the exhibition’s curator and a translation of Jarry’s How to Construct a Time Machine, together with essays by Dutch cultural theorist and video artist Mieke Bal and radical philosopher Peter Osborne. The exhibition will be supported by a range of related events including tours by the curator and artists, seminars, academic conferences, and film screenings.
24 June – 8 August 2014
Opening Reception: Thursday, June 26, 6 – 8 PM
James Cohan Gallery is pleased to present The Fifth Season, opening on 24 June until 8 August 2014. An opening reception will be held on Thursday 26 June, 6 – 8 pm. This group exhibition explores the seasonal rhythms of natural systems, the human disruptions of these once-balanced cycles, and the increasing alarms of global climate change.
The theme of the “four seasons” has inspired countless works of art throughout history. As a subject, the seasons are metaphors for life cycles and transitions. The calendar propels our existence on a regular emotional and physiological schedule. The rhythm of life is inextricably connected to the quartered year.
Ecological and technological changes have created a less defined cycle of life, one that is sped up by the velocity of communication and slowed down by unpredictable environmental behavior, calling into question our long-held notions of how time behaves. One is confronted on a daily basis by unprecedented connectivity and growing awareness of irregular natural patterns, and we as a species are struggling to understand this new reality.
Whether addressing the conventional notion of the four seasons or reflecting on today’s intense technological hybridity and climate change, the exhibition presents an opportunity to situate ourselves in this fifth season—a highly nuanced, unfamiliar place.
Participating artists: Matthew Brandt, David Brooks, Charles Burchfield, Martin John Callanan, Claude Louis Châtelet, Jacques de Lajoüe, Mark Dion, Spencer Finch, Finger Pointing Worker, Futurefarmers, Carsten Höller, Pierre Huyghe, Natalie Jeremijenko, Beatriz Milhazes + BUF, Katie Paterson, Alexis Rockman, Erin Shirreff, Kota Takeuchi, Alison Elizabeth Taylor, Fred Tomaselli, and Erik Wysocan.
The exhibition will be accompanied by a free publication and guide containing complementary images and texts.
Georgina Sas Les belles infidèles Galería Horrach Moyà Plaça Drassanes, 15. Palma. Hasta el 1 de junio.
Durante la edad de oro de la literatura francesa traducían à sa manière los textos clásicos, que en muchas ocasiones dejaban irreconocibles los textos originales, de ahí la expresión “la fidelidad sin resolver de toda traducción literaria”. El proceso de traducción pasa por ser una operación de equivalencias, igual que la que puede ofrecer el arte. Cada espectador establece contactos diferentes con la obra que tiene ante él; su grado de cultura, su situación en la sociedad e incluso el pensamiento político, pueden variar la lectura de esa realidad sensible. El autor ha reproducido según su propia visión del mundo, pero el espectador se refleja en su propia realidad. Si para Aristóteles el concepto estético de la Mímesis era la imitación de la naturaleza como fin esencial del arte, para los creadores del siglo XXI les conviene erigir en conciencia y en coherencia. Creaciones que, por su heterogeneidad y diversidad han asumido la vocación de perturbar conscientemente nuestra percepción de lo real; luego la fragilidad y variabilidad de los juicios formulados sobre las obras pueden ser todos distintos y, sin embargo, todos poseer la misma legitimidad. De todo esto trata esta colectiva: once artistas con piezas que van de la escultura, a la pintura, a la fotografía o al vídeo; repartidas por las distintas salas, con un diálogo entrecruzado.
Me siento fascinada ante las obras de Girbent, con sus escenas crípticas, en las que entremezcla el sentimiento y la experiencia. También por Montserrat Soto, con una pieza fotográfica que provoca una percepción en un marco realmente desconcertante. Martin John Callanan, con una propuesta conceptual que investiga al individuo dentro de su propio sistema. Carles Congost con un vídeo de lenguaje depurado y sutil, con una indagación visual, una condición extraña y evanescente que permite ver lo invisible. Vasco Araújo con una alegoría de la infructuosa búsqueda de la humanidad para la comprensión, fruto de su contacto con Samuel Beckett; Susy Gómez, siempre audaz con sus vestidos convertidos en corazas y el simbolismo de cotidianidad; Alejandro Vidal con su fotografía refinada pero a la vez violenta; Joana Vasconcelos con una pieza cerámica enfundada de crochet o Aníbal López con una composición pictórica hecha a partir de su propia sangre.
Una selección reflexiva y gratificante que permite relacionar y seguir un recorrido singular y coherente. El artista no tiene más intención que recoger la realidad, no revelar la verdad, porque nunca lo verdadero se ha convertido en falso.
Galeria Horrach Moya, 5 April – 1 June, 2014
The poetess or if one prefers… The aroma and the rumor II. 2013
Oil on canvas
235 x 160 cm
Rafael Bordalo Pinheiro faience painted with ceramic
glaze, handmade cotton crochet
31 x 115 x 90 cm
Untitled. 265, 2006
Mixed media on printed image and
photographically enlarged on wood
240 x 180 cm
Invasion-Sucesion 23. 2011
220 x 235 cm
Easy Katz/ Bad Painting Series, 2013
6 min 22 sec
Who Where, 2011
Instalation : Digital Photographs
140x140cm; 65x65cm; 20x140cm
A-153167 (Aníbal López)
Fluidos corporales. , 2012
Blood on watercolor paper.
56 x 76 cm
Tension and Release, 2013
160 x 120 cm
Martin John Callanan
I Wanted To See All The News From Today, 2013
Web based program collecting
front covers of newspapers from around the world. Digital Print.
22 x 220 cm
Tu Tienes Prioridad, 2010
Result of the action of melting an original
dress in lost wax technique. Aluminium.
Real dimensions. 150 x 60 x 70 cm
The 7th Whitstable Biennale 31 May to 15 June 2014
Rosa Ainley • The ARKA Group • Bronwen Buckeridge • Martin John Callanan • Collaborative Research Group • Louisa Fairclough • S Mark Gubb • Neil Henderson • Susannah Hewlett • Max Leonard Hitchings • Ben Judd • Fiona James • Una Knox • Hannah Lees • Samuel Levack and Jennifer Lewandowski • Rachel Lichtenstein • Force Majeure • Louisa Martin • Jeremy Millar • Katrina Palmer • Colin Priest • Abigail Reed • Kieren Reed • Rachel Reupke • Margaret Salmon • John Walter • Laura Wilson • Richard Wilson and Zatorski + Zatorski
Wars During My Lifetime collects together wars that have taken place all over the world during one individual’s lifetime. A fascinating list, the film makes no comment, but quietly brings the list to our attention. Many are wars we hear about on the radio on a daily basis, others are long since finished, or so small or distant they haven’t touched our consciousness.
Wars During My Lifetime is the first commission in a new collection of permanent works that can be viewed anywhere in the world but will have no physical presence and will exist exclusively on Whitstable Biennale’s new website.
Wars During My Lifetime will sit permanently on Whitstable’s Biennale’s new website from late April 2014.
Wars During My Lifetime has been commissioned by Whitstable Biennale.
Thanks to Nicola Harrison, Martin Barbour BBC, and BBC Political Programmes.
A century of conflict
The first world war can seem hopelessly remote to the 21st-century mind. And yet, this war ushered in modernity and set the pace for the most murderous century of human history. It ripped through Europe, dissolved empires, changed the nature of warfare and continues to define global relationships.
For After a War, LIFT, Tim Etchells (Artistic Director, Forced Entertainment) and 14–18 NOW WW1 Centenary Art Commissions, have invited 25 artists and companies from across the world to think about the global impact and legacy of the first world war alongside contemporary issues of war and peace. Our programme culminates in this three-day weekender at Battersea Arts Centre — a potent venue which, from 1916 onwards, housed the trials of many of London’s conscientious objectors.
12 April – 13 July, 2014
An exhibition at the ZKM Museum of Contemporary Art
Opening: Fri, April 11, 2014, 7 p.m.
The ZKM throws new light on 17th century landscape painting. Comparable to modern satellite surveying (GPS), true to scale landscape representation is also indebted to the interdisciplinary exchange of knowledge: the alliance of geodesists, mathematicians, instrument makers and painters. Artists had designed modern surveying systems long before new media drew on images from outer space.
The exhibition Mapping Spaces examines, for the first time ever on this scale, the influence of early modern guide books in geography, the science of surveying and the construction of fortification on Dutch painting around 1650. The prelude to the project, developed at the University of Trier, is Pieter Snayers‘ large-format depiction of historical battle scenes, in which maps and landscape paintings are projected over one another so as to document the most recent developments in modern engineering, ballistics and the fortification construction.
Over 220 exhibits, among them paintings, surveying instruments, graphics devices, books, maps and globes drawn from the most important collections of works, such as from the Prado (Madrid), the Louvre (Paris), the Rijksmuseum (Amsterdam) or the Kunsthistorischen Museum (Vienna) testify to these new theses in pictorial science. The new mapping of an early modern area of knowledge is accompanied by contemporary works of art that thematize the influence of technological developments on our present-day perception of space.
Das ZKM wirft einen neuen Blick auf die Landschaftsmalerei des 17. Jahrhunderts. Vergleichbar der modernen Satellitenvermessung (GPS) verdankt sich auch die maßstäbliche Landschaftsaufnahme einem verzweigten Netzwerk des Wissens: der Allianz von Geodäten, Mathematikern, Instrumentenbauern und Malern. Lange bevor die Neuen Medien sich also digitaler Bilder aus dem All bedienten, entwarfen Künstler moderne Fernerkundungssysteme.
Die Ausstellung „Mapping Spaces“ untersucht erstmals in diesem Umfang den Einfluss frühneuzeitlicher Handbücher zur Geographie, der Vermessungskunde und dem Festungsbau auf die niederländische Malerei um 1650. Den Auftakt des an der Universität Trier entwickelten Projektes bilden die großformatigen Kriegspanoramen Pieter Snayers, in denen Karten und Landschaftsbilder übereinander projiziert werden, um die neuesten Errungenschaften des modernen Ingenieurwesens, der Ballistik und des Festungsbaus zu dokumentieren.
Mehr als 220 Exponate, darunter Gemälde, Messinstrumente, Zeichengeräte, Bücher, Karten und Globen aus den bedeutendsten Sammlungen der Welt wie dem Prado (Madrid), dem Louvre (Paris), dem Rijksmuseum (Amsterdam) oder dem Kunsthistorischen Museum (Wien) belegen diese neue, bildwissenschaftliche These. Die Neu-Kartierung eines frühneuzeitlichen Wissensraumes wird begleitet von zeitgenössischen Kunstwerken, die den Einfluss technologischer Entwicklungen auf unsere heutige Raumwahrnehmung thematisieren.
Published over six months, the newspapers were free for visitors to the Open Data Institute office.
Legal Deposit copies are held by the British Library.
Edith Russ Haus for Media Art
7 March – 21 April 2014
Opening: 06 March 2014, 19:00
Presstalk: 05 March 2014, 11:00
0100101110101101.org (Eva & Franco Mattes); Ivan Abreu; Amy Alexander; Marcel·lí Antúnez; Kim Asendorf; Lucas Bambozzi; Ryan Barone; Giselle Beiguelman; Amy Berk; Luther Blissett; Natalie Bookchin; Christophe Bruno; Maite Cajaraville; Martin John Callanan; Azahara Cerezo; Paolo Cirio; Arcángel Constantini; Vuk Cosic; Andy Cox; Critical Art Ensemble; Minerva Cuevas; Young-Hae Chang; Santiago Echeverry; Vadim Epstein; Evru; Fiambrera Obrera; Gonzalo Frasca; Belén Gache; Dora García; Daniel García Andújar; Gazira Babeli; Emilio Gomáriz; Ethan Ham; Luis Hernández Galván; Robin Hewlett; Steev Hise; Ricardo Iglesias; Daniel Jacoby; Sergi Jordá; Scott Kildall; Ben Kinsley; La Société Anonyme (José Luis Brea); Joan Leandre; Les Liens Invisibles; Olia Lialina; Rogelio López Cuenca; Iván Lozano; Alessandro Ludovico; Peter Luining; Fernando Llanos; Brian Mackern; Miltos Manetas; Rafael Marchetti; Iván Marino; Antonio Mendoza; Ricardo Miranda Zúñiga; Antoni Muntadas; Mark Napier; Eduardo Navas; Santiago Ortiz; Christian Oyarzún; Paolo Pedercini (Molleindustria); Raquel Rennó; Ricardo Barreto & Paula Perissinotto; Gustavo Romano; Benjamin Rosenbaum; Mario Santamaría; Santo_File (David Casacuberta & Marco Bellinzoni); Mark Shepard; Alexei Shulgin; Mark Skwarek; Darren Solomon; Stanza; Nathaniel Stern; Igor Stromajer; Taller d’Intangibles (Jaume Ferrer & David Gómez); Philipp W. Teister; The Electronic Disturbance Theater; The Yes Men; Thomson & Craighead; Eugenio Tisselli; Ubermorgen; Sander Veenhof; Elo Vega; Angie Waller.
The works shown in this exhibition of the internationally most relevant net artists belong to the collection of NETescopio, iniciated in 2008 and since then constantly developed by the Spanish Museum of Contemporary Art of Extremadura and Latin America – MEIAC, Badajoz. With NETescopio, the MEIAC is a pioneer in the availability of an Internet accessible art collection beyond the physical presence of the actual Museum. A selection of 120, partly no longer accessible, key works covers the panorama of net art production from the 1990s until today. This exhibition is in this sense a unique opportunity to gain an insight into the net art tendencies and their aesthetics. The main objective of the NETescopio archive, which makes also a historical classification of the collected works, is the preservation of the works, characterized by the incorporation of a large numbers of Spanish and Latin American net artists.
The curator Gustavo Romano has distinguished three strategies of artistic appropriation of the Internet with their various formats:
During the web´s early years the artists started to experiment with the new medium and dealt with the possibilities of interactivity, the use of interfaces and alternative browsers. It is in the first years of web art, which can be seen in this category, that show a greater radicalism with a stress on experimentation and the deconstruction of the medium.
The reuse of symbolic materials and artistic reactions to existing content play a key role in this work. In digital media information can be reproduced and manipulated, developing constant mutation. This poses in discourses to copy, original and authorship, as well as to owner and collector of net art. The artist’s role on the web is of a “redirector” of information.
These works refer to artistic intervention in a new public space, the “Internet”, which involve commonly used sites such as Wikipedia or Google Maps, which parody or subvert private pages, in order to undermine them through artistic contexts. Stealthily infiltration of the user’s computer or other computer systems is discussed here. The artist slips here into the role of spies, intruders and solitary flaneurs.
Das Irre an der Zeit ist, dass sie trotz eines wissenschaftlichen Einheitssystems eine überaus subjektive, stets changierende Größe ist. Etwa die, auf die Martin John Callanan aufmerksam macht. Sieben Jahre hat er ein Programm entwickelt und es mit Datenleitungen verknüpft, um in Echtzeit weltweit alle abgehenden Flüge komprimiert zu visualisieren. Aber wer mag wohl im Flieger nach Dubai auf Platz E 12 sitzen? Wie schaut er aus? Wie dem Datenmeer Sinnvolles entnehmen? Und was würde es bringen, so lange, wie es vermutlich dauern würde? Überlegungen, die in wenigen Sekunden aufblitzen. Anders Katie Patersons Skulptur nur wenige Meter entfernt: ein Plattenspieler, der in Erdrotationsgeschwindigkeit Vivaldis “Vier Jahreszeiten” abspielt – eine Runde am Tag. Aber Moment: Nach innen verjüngen sich die Kreise. Verlangsamt sich das Gerät? Dehnt sich die Zeit? Zeit ist eben relativ.
Bis 15. Februar, Di-Sa 11-18 Uhr, Friedrichstr. 123
A Planetary Order brings together three artists who, though working in very different media, all explore meta-narratives of time, landscape and systematic abstraction with a combination of sincerity and playfulness. The juxtaposition of painting, sculpture and new media works emphasises the conceptual concerns of the artists who also share a meticulous minimalist aesthetic. The works hover between seriousness and humour, the romantic and the rational, reduction and sublime scale, all within a dialogue which encompasses works made both with highly traditional means and the most current new media technology. The exhibition reflects a growing interest in a return to metaphysical themes, which though sincere, is not without critical distance and awareness of the comical.
The exhibition found its name in Martin John Callanan’s A Planetary Order (Terrestrial Cloud Globe) a 3D printed globe which, sitting directly on the gallery floor, on close inspection reveals the cloud cover of one single moment in time. This inconspicuous piece is in fact an ambitious ‘physical visualisation of real-time scientific data’ taken from cloud monitoring satellites overseen by NASA and the European Space Agency. Callanan’s transformation of data into artworks which articulate both the enormity of interconnected global systems and our place within them, continues with his most recent work, Departure of All; a flight departure board displaying the flight information for every international airport around the world. Running in real time, the speed of global transit creates a dizzying account of single moments. Katie Paterson provides a counterpoint to this overwhelm with her imperceptibly slow work, As The World Turns; a record player which, rotating at the speed of the earth, plays Vivaldi’s Four Seasons audible through headphones to only the most attentive listener. As with Callanan, Paterson’s artwork occupies a space far greater than the actual work- activating an imaginative space which is both metaphysical and comic; the record player suggesting the turning earth which we are able to look down upon. Along the long wall of the gallery hangs Notes on The Sea, a (diptych in twelve parts) the series of twelve minimal photorealist paintings calmly depicts fog veiled seascapes as polarities of night and day. In this work the archetypal romantic image enters into a contradiction with itself as it becomes part of a system. Playing with notions of duration, mathematic abstraction, and the possibility of painting a beautiful landscape, Partridge’s attempt to rationalize the epitomised romantic landscape is both meditative and absurd.
Martin John Callanan
1982, UK. Lives and works in Berlin and London
Martin John Callanan’s artwork has been exhibited and published internationally, he has recently been awarded the prestigious Philip Leverhulme Prize for outstanding research within visual arts. Recent solo exhibiitons include Departure of All, Noshowspace (UK) and Martin John Callanan, Horrach Moya (Spain). His work has been shown as part of Open Cube White Cube, (UK), Along Some Sympathetic Lines, Or Gallery (Germany), Es Baluard Modern and Contemporary Art Museum (Mallorca), Whitechapel Gallery (UK), Ars Electronic Centre (Austria), ISEA, Future,Everything, Riga Centre for New Media Culture (Latvia), Whitstable Biennale (UK),, and Imperial War Museum North (UK). Callanan graduated with an MFA from the Slade School of Fine Art, London in 2005, where he is currently Teaching Fellow in Fine Art Media.
1976, UK. Lives and works in Berlin and London
Rebecca Partridge gained an MA in Fine Art from the Royal Academy Schools, London in 2007, since which time she has been exhibiting internationally. Recent solo exhibitions include In The Daytime at Kunsthalle CCA Andratx (Spain), Cabinet Paintings at Newcastle University, (UK), as well as numerous international group exhibitions most recently Verstand und Gefühl, Landscape und der Zeitgenössiche Romantik at Springhornhof Neuenkirchen. In 2008 she was awarded a fellowship from Terra Foundation of American Art in Giverny (France). Other awarded residencies include the Sanskriti Foundation (New Dehli, India); Kunsthalle CCA (Spain); Nes residency (Iceland) and the TIPP Program for Contemporary Art (Hungary). She is currently working on several curatorial projects and is a Lecturer on both BA and MA Fine Art at West Dean College, UK.
1981, UK Lives and works in Berlin
Katie Paterson graduated from the Slade School of Fine Art, London in 2007. Paterson’s work is known internationally, recent solo exhibitions include In Another Time, Mead Gallery (University of Warwick, UK) Katie Paterson, Kettle’s Yard (Cambridge, UK) Inside This Desert, BAWAG Contemporary (Vienna) and 100 Billion Suns at Haunch of Venison (London). Her works have been exhibited in major exhibitions such as the Light Show at the Hayward Gallery (London); Dissident Futures, Yerba Buena Centre for the Arts (San Francisco); Light and Landscape at Storm King Art Centre (Hudson Valley, USA); Marking Time at MCA (Sydney) Continuum at James Cohan Gallery (New York) and Altermodern at Tate Britain (UK). She is represented in collections including the Guggenheim (New York) and Scottish National Gallery of Modern Art (Edinburgh).
Leverhulme Awards Recognise Rising Stars of Research
Martin John Callanan has been awarded the triennial Philip Leverhulme Prize in Visual Art 2014-17.
This year, the Leverhulme Trust awarded 29 Philip Leverhulme Prizes to recognise researchers at an early stage of their career, whose work has already had a significant international impact, and whose future research career is exceptionally promising. Prize winners receive an award of £70,000 over three years, which may be used for any research purpose. Nominations are accepted for work across 18 broad disciplines, with prizes in six of these disciplines offered each year.
The prizes recognise the achievements of researchers at an early stage of their career, whose work has already made an international impression, and whose future research holds exceptional promise.
The prizes were established to commemorate the contribution of Philip Leverhulme, the Third Viscount Leverhulme and former trustee, to the work of the Leverhulme Trust.
Twenty-nine prizes have been awarded across six disciplines (Astronomy and Astrophysics, Economics, Engineering, Geography, Modern Languages and Literature and Performing and Visual Arts).
noshowspace was at Multiplied Contemporary Art in Editions Fair 2013 with a presentation of new editions and unique work in series by Martin John Callanan, Nicholas Muellner, Daniel Jackson and Caline Aoun, as well as exhibiting work by Alistair McClymont, Eddie Peake, Stefan Gec and Jamie Robinson.
Martin John Callanan, Certificate of Existence, 2013. Unique in series of 20. Legal document with embossed stamp. Digital print 297 x 210 mm