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About Edel Assanti

Edel Assanti aims to establish a dynamic cultural hub in central London for a new generation of arts practitioners. With three floors of exhibition space and a separate artist’s studio floor, this multi-purpose contemporary art space presents an unprecedented collaborative ethos and approach to exhibition making.



June 2012

BOTH ENDS, a group show presenting interdisciplinary work by fourteen artists from Latin America.

BOTH ENDS is not a show about Latin America. It is not a show about London, or the UK, or Europe for that matter. It’s a study of cultural diffusion, interpretation and the relationships between countries and people. BOTH ENDS is an exercise in mutual understanding, an alliance of sorts that will allow us to understand ourselves better by studying the Other.
– Proyetos Ultravioleta

BOTH ENDS undertakes a reading of everyday social realities and cultural practices in the UK by a generation of artists from a comparatively ‘new’ geography to the occidental stage of contemporary art. Employing a self-referential, playful approach to producing art, the works in this exhibition aim to subvert traditions inherent in British society – monarchy, empire and the stiff upper lip – with the sense of humour and nonchalant fluidity characteristic of their Latin American cultural heritage. Some of the works engage with British ideas and institutions from a subjectively Latin American point of view, whilst others seek to generate symbolic equivalencies between analogous phenomena in their home countries. Underpinning all the works in the exhibition is a desire to establish a dialogue between Latin American culture and an art history specific to the United Kingdom.

Proyectos Ultravioleta is a multifaceted platform for experimentation in contemporary art, founded in 2009, and based in Guatemala City. It’s an initiative dedicated to the production of art exhibitions, multidisciplinary projects, discussion forums, loud concerts, happenings, public interventions, as well as a platform for intermediation between other local and foreign projects.

Artists exhibiting:





22nd September – 13th November 2011

With cities, it is as with dreams: everything imaginable can be dreamed, but even the most unexpected dream is a rebus that conceals a desire or, its reverse, a fear. Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.  Italo Calvino, Invisible Cities

Edel Assanti is pleased to present (In)visible, an exhibition of interdisciplinary works by six artists, and a specially commissioned redesign of the gallery’s exhibition space by architects Groves/Natcheva. Taking Calvino’s Invisible Cities as its curatorial starting point, Edel Assanti invite the viewer to reimagine the gallery, exploring the exhibition using Groves/Natcheva’s fantastical blueprint as a springboard.

In Calvino’s journey of storytelling, material and philosophical systems are allowed into the field of play only to be distorted. Nothing is what it seems. Everything conceals something else. (In)visible is based broadly on this tactic, bringing together artists who share an interest in blurring boundaries between surface and depth, and between past and present.

Groves/Natcheva have intertwined the exhibits and the gallery’s spaces with their architectural practice’s own memories and a generous infusion of fantasy. The drawing is in the building, and the building is in the drawing in this visual invitation to see and think as an architect can. It is a dreamscape of uncharted territory and a reminder that, as Aldo Rossi wrote in his influential The Architecture of the City, ‘The city is as irrational as any work of art, and its mystery is perhaps above all to be found in the secret and ceaseless will of its collective manifestations.’

Between the visible and the invisible, past and present, reality and the dreamscape, In(visible) entices us into fantastical cities of the mind.

[Extract from (In)visible – an essay by Ayla Lepine accompanying the exhibition.]

James Capper | Jodie Carey | Michael DeLucia | Robert Lazzarini | George Henry Longley | Livia Marin | Benedetto Pietromarchi | Darren Harvey-Regan

23rd June – 20th August 2011

Edel Assanti is proud to present Objet Dada, an exhibition of new sculptural works from eight international artists whose practices draw on the legacy of the Dadaist artistic tradition of the “readymade”.

“Whether Mr Mutt made this fountain with his own hands or not has no importance. He chose it. He took an ordinary article of life and positioned it so that its useful significance disappeared… he created a new thought for that object.” – Marcel Duchamp (speaking of his alter ego), 1917

In 2004, the Turner Prize committee proclaimed Marcel Duchamp’s Fountain, 1917 (a urinal laid on its side, signed “R. Mutt”) “the most influential work of modern art”. The eight artists comprising Objet Dada respectively undertake their own conceptual legacies of the once-controversial notion of the “readymade”, extending the intellectual underpinnings of Duchamp’s ideology.

Robert Lazzarini’s work transforms banal everyday objects into subtle meditations on the boundaries between representation and reality. Undermining the primacy of vision, Lazzarini’s sculptures employ a three-dimensional trompe l’oeil effect, anamorphically distorting the subjects they depict, whilst being constituted from to the same materials as their real-life counterparts. With the viewer in tow, the retro Phone is transported into an aesthetically sublime, contemplative space, where our sensory instincts of the “real” and familiar are disrupted and scrutinized.

By adjoining two ordinary wheelbarrows, Michael DeLucia’s Racecar explores the aesthetics of abstraction, creating an intermediary space for mutating materiality: a bridge with the virtual information realm in which DeLucia maps his sculptural assemblages. Inheriting Duchamp’s joy for linguistic manipulation, the title of the work evokes Fountain’s perversion of the original object’s function through the artist’s intentional act of selection, repositioning and reclassification. The transformation of tools of labour into art objects is also a focus of James Capper’s practice. Invoking the dilemma that befell Duchamp when, despite his intentions, his readymades were aesthetically admired by the public, here Capper isolates the very tools of construction used to fabricate other works as objects of contemplation and formal beauty.

In a similar vein, George Henry Longly’s Lighting Proposal #6 employs industrial neon strip lights to map abstract colour fields, alternating between robust formal rigidity and geometrically simplistic beauty. Recalling the sensory challenge posed by Lazzarini’s work, Darren Harvey-Regan’s Proximities explores the illusionary quality of light. An interdisciplinary foray between photography and sculpture, the senses’ ability to discern reality from fiction is scrutinized once more. Equally devoid of practical “purpose”, Benedetto Pietromarchi’s series of large light bulbs house intricate filament sculptures. The artist’s configurations indulge in dialectic games, at once conjuring familiar practical structures whilst exploring pure abstract form.

In a comparable gesture to Pietromarchi’s, Livia Marin transforms mass-produced objects into unique, handcrafted sculptures resembling ruptured fine china in the process of being melted down. Similarly existing in tension with their aura of calming familiarity, Jodie Carey’s chiffon lace sheets are immediately unsettling on the realization that their transient patterning is constituted from bone.

Despite their independent ideas, through employing the conceptual practices of appropriation and assemblage whilst re-examining our understanding of our everyday surroundings, the eight artists included in Objet Dada illustrate the ongoing importance and relevance of the “readymade”, a singular gesture that continues to play a seminal role in the birth of heterogeneous forms of postmodern art.


23rd March – 30th April 2011


Edel Assanti is proud to present an unprecedented survey of contemporary photography by nine established and emergent Latin American artists.  Curated by Evening Standard photography critic Sue Steward, Between Two Worlds is Edel Assanti’s second exhibition establishing a platform in London for contemporary art from the region.

Between Two Worlds explores the juxtaposition of reality and fantasy commonplace in everyday existence and culture throughout Latin America. Split over two floors, the exhibition divides the work into these distinct categories. The varied practices of the nine artists exhibited present a heady mix of poignant and unpredictable images, moving black and white portraits, penetrating cartoon-like fantasy and dashes of magical realism.

Journeying across South and Central America, the first floor of the exhibition bears witness to the daily hardships of rural Argentina, the chaotic mêlée of urban life in industrial Monterrey, culminating in the youthful abandon of inner city Lima. Alessandra’s Sanguinetti’s critically acclaimed series “On the Sixth Day” is shot at ground level, expressing greater empathy with the arduous existence of Argentina’s livestock than with humankind. Framed by the window of his taxicab, Oscar Fernando Gómez Rodríguez’s rapid-fire images offer a sincere, unfiltered vision of day-to-day street life in Mexico. Comparable in pace and intensity, Camila Rodrigo’s “Simulacro” series meanders through Lima’s backstreets and underground party scene, sharing in the camaraderie of the photographer’s social circle. Dramatically changing the pace of the exhibition, the mixture of intimate portraiture and pensive still life photography of Adriana Lestido’s “Mothers and Daughters” series is quietly reflective and emotionally charged.

The high gloss imagery on the exhibition’s second floor projects a radically contrasting, colour-saturated dreamscape.  Marcos Lopez’s hyperrealist image of the Carniceralooms imposingly tall over the viewer, at once terrifying and comically absurd.  Byron Marmol’s photographs provide unique insight into the “cosplayers” of Guatemala: hordes of Latino youths live out collective fantasies by dressing up and adopting the identities of their Japanese Manga alter egos. Glaring from behind the colourful mask of the Luchadore, Juan Pablo Echeverri’s “Mucho Macho” series employs probing cumulative self-portraits to raise questions of identity and sexuality in contemporary Latin American culture.  Finally, the ghostly, cerebral imagery of Edouard Fraipont conjures altogether more nightmarish scenarios.  Completed during his 2007 UK residency, these photographs explore the boundaries between the material and the ethereal, lucidity and the subconscious realm of dreams.

Straddling the otherwise clearly defined boundaries of fantasy and reality, Dulce Pinzón’s acclaimed series “The Real Story of the Superheroes” celebrates the exploits of Mexican migrant workers in New York. Pinzón transforms her actual subjects into famous comic book superheroes, empowered in their accentuated roles against the backdrop of their everyday work environments. Neither real nor truly fictitious, these iconic images employ the surreal lexicon of fantasy in order to celebrate the path forged by the ordinary individual in the familiar world.

Between Two Worlds offers a pinhole viewpoint onto the vast landscape of Latin American photography.  The photographers presented in the exhibition offer a diverse and challenging fusion of disparate heritage, technical approaches and conceptual stances.  Ranging from institutionally acclaimed artists to the most prominent emergent talent, Edel Assanti and Sue Steward aspire to open new audiences to a geography that is as rich in artistic innovation as it is in cultural identity.

To celebrate our first year at 276 Vauxhall Bridge Road, Edel Assanti is pleased to present an exhibition of new works from a selection of artists who have shown with the gallery over the past twelve months.

The twelve international artists exhibited continue to play critical roles in shaping the identity of the gallery. Their varied practices reflect the diversity and innovation that has remained consistent throughout Edel Assanti’s exhibition programme in 2010. The exhibition encompasses painting, photography, sculpture and installation, presenting a bold statement of our ambitions for 2011.


25th November 2010 – 8th January 2011


365 DAYS AT 276

27th January – 12th March 2011

Stuart Bailes | Yason Banal | Wendy Bevan | Gordon Cheung | Venetia Dearden | Gabriel Dubois | Noemie Goudal |Ann-Marie James | Peter Macdonald | Lucy May | Sayaka Maruyama | Carlos Zuniga

To celebrate our first year at 276 Vauxhall Bridge Road, Edel Assanti is pleased to present an exhibition of new works from a selection of artists who have shown with the gallery over the past twelve months.

The twelve international artists exhibited continue to play critical roles in shaping the identity of the gallery. Their varied practices reflect the diversity and innovation that has remained consistent throughout Edel Assanti’s exhibition programme in 2010. The exhibition encompasses painting, photography, sculpture and installation, presenting a bold statement of our ambitions for 2011.

I have not created images of war; however, I have created images of the landscape of the islands. The horror of war, abuse and fear are all underlying, encrypted to a secondary awareness.Edel Assanti is pleased to present Imperial Poem, contemporary Chilean artist Carlos Zuniga’s first European solo exhibition. This new body of work sees Zuniga’s gaze shift from the subject of the collective memory of his home country to that of the population and landscapes of the Falkland Islands.Continuing a line of investigation initiated in his practice over the last four years, Zuniga’s vivid, captivating images are composed through the artist’s unique process of manually erasing text line by line; the artist may black out words, paragraphs, or on one occasion the entire text of Darwin’s Origin of the Species. Zuniga began plotting his compositions on Chilean phone book pages with his seminal work Next (2008). In Imperial Poem, Argentinean phone book is employed as the basis for a probing examination of issues surrounding censorship, identity and collective consciousness.Over a quarter of a century after the conflict’s inconclusive resolution, to natives and Argentineans alike, the Falklands War remains a politically contentious subject. During a trip earlier this year, Zuniga spent ten days immersing himself in the islands’ unforgiving landscape and meeting the inhabitants of a region that serves as a provocative present-day reminder of Great Britain’s imperious past.Imperial Poem captures the artist’s journey of discovery, combining the dramatic landscapes of the Falkland Islands with austere portraits of their inhabitants. The resulting works resonate with a quiet calm and haunting ambiguity, opening a subtly intrusive inquiry into national identity and history’s resonance in the islands’ communities. Visually wholly consuming, Zuniga’s non-violent images resurface the turbulent history suffered by the Falkland Islands. Without reaching foregone conclusions, the works highlight Argentina’s continuing claims to sovereignty over the Falklands, recalling a conflict consigned to history, a territory now overlooked and a people almost forgotten.A fully illustrated catalogue featuring newly commissioned essays by Michelle Franke, Stefanie Kogler and Miriam Metliss will be published to accompany the exhibition.Carlos Zuniga was born in Chile in 1972, and studied architecture at Andres Bello National University, followed by design at the Professional Institute of Providencia, and fine art at the University of Chile. Zuniga has exhibited widely internationally, having had a solo-show earlier this year at AMS Marlborough Gallery, Santiago, and his work is included in some of the most highly regarded global art collections. He has been featured in several major survey exhibitions of Chilean art at the Contemporary Art Museum of Santiago and the Visual Arts Museum of Santiago. In 2007, Zuniga was awarded the Grant Fondart by the Chilean Ministry of Culture, as well as the Bicentenary Young Artist Exhibition Prize in Santiago. Carlos Zuniga lives and works in Chile.

Michael Ashcroft | Matthew Atkinson | Gordon Cheung | Sayshun Jay | Graham McNamara | David Northedge | Ed Payne | James Roper | Rob Sherwood | David Small | Andy Wicks | Rosalie WiesnerCurated by Andy Wicks and David NorthedgeLiterature and Hollywood have long been creating dark and empty visions of near future societies in decline. In the present day, materials addressing this subject matter have once again found their way onto reading lists and cinema screens, forming a focal point for contemporary popular culture.Projections of our universal future are often delivered in cautionary tones and serve as warning of how to avoid the total decimation of society. Notional futures of grim decaying interiors and bleak grey landscapes populated by savage inhabitants are the cultural benchmark for a morbid moribund world limping towards apocalypse.

Edel Assanti is pleased to present Glastonbury: Another Stage, the culmination of a body of work that represents a journey Venetia Dearden has undertaken for the last six years. Having grown up with the festival on her doorstep, a constant in her life since childhood, it seems only natural that it should provide the inspiration for her largest body of work to date.

As a photographer I was magnetically drawn to witness and understand what lies at its core. I decided to create an oasis amongst the crowds where I could meet and document some of the thousands of individuals who travelled from all around the world to make up this vast, eclectic gathering.

For anyone that has experienced the hedonism of a festival, it is impossible to view Dearden’s colourful, fleeting glances of Glastonbury’s landscapes without enjoying the warm pangs of nostalgia. Whilst these high-speed images echo our collective memories, they starkly contrast with the intense immediacy when Dearden’s gaze is turned upon Glastonbury’s crowds.

Set against an austere white backdrop, Dearden decontextualises the sitter, temporarily removing them from their disparate tribes. With the trappings of the festival stripped away, the viewer is compelled to address the subjects as individuals. Every multicoloured strand of hair, fleck of mud and square of tattooed flesh evokes an imagined narrative for each portrait; but what unites this multifaceted depiction of the world’s most celebrated festival is the sitters’ shared reverie of self-expression.

Like the festival itself, these images are a visual feast. An adventure playground of memories, the portraits are intensely personal and respectful, managing throughout to capture the playful exoticism that will drive people of all walks of life to reach for the wellies and rub shoulders in the mud this summer.

Venetia Dearden completed her postgraduate course in photojournalism at the London College of Printing in 2000. Images from Dearden’s celebrated Somerset series were shown for two consecutive years at the Photographic Portrait Awards, and in 2007, she was selected by Art and Commerce for their emerging talent Peek Awards. In 2008, Dearden published her book “Somerset Stories, Fivepenny Dreams”, followed shortly by “Glastonbury, Another Stage” in April 2010, which accompanies the present exhibition. Selected works from this series are currently on show at the National Portrait Gallery, London.

Last Warhol Stand In
12-6PM, SATURDAY 22ND MAY 2010
Yason Banal, in conjunction with No Soul For Sale at Tate Modern

Fresh from his participation in Tate Modern’s 10th birthday celebration, No Soul for Sale, Yason Banal’s Last Warhol Stand In will be taking place across the four floors of the Edel Assanti Project Space throughout the day on Saturday, 22nd May (12-6pm).

Involving tableaux vivant-like situations and interventions, the as yet unspecified number of “Warhol stand-ins” will roam the building’s galleries (Jack Bell Gallery, Edel Assanti and T1+2). The effect is eerily surreal as one encounters countless stand-ins who, encouraged to exude a sense of languid disenchantment with their surroundings, appear blissfully unaware of the observing public.

In an uncanny encounter, Banal imposes the voyeuristic authorial role of the iconic Pop artist on the audience of his spectacle. Mirroring Andy Warhol’s appropriation of the faces of the idolized celebrities of his day, Last Warhol Stand In stages the mass production of the living image of the Pop master himself.

The Alchemists
28TH APRIL – 30TH MAY 2010
Curated by Bright Treasure Art Projects
Jang-oh Hong – Meekyoung Shin – Vaishali Pathak – Juliette Losq – Gorka Mohamed

Edel Assanti and Bright Treasure Art Projects present The Alchemists, a group show of new work from five international artists. This interdisciplinary exhibition offers an exploration of the meaning of alchemy in relation to visual art. With their culturally disparate perspectives and differing technical approaches, the artists challenge the definitions of this theme through sculpture, painting and installation.

Historically, alchemy was concerned with the manipulation of elemental matter to produce gold from base metals. Contemporary concepts of alchemy are now inextricably linked with notions of the instability of value, both in the physical world around us and in society’s definitions of objective worth. This exhibition posits the artist as the ultimate alchemist, able to turn base materials into objects of aesthetic beauty, desire and intrigue.

These ideas are developed over three floors of the Edel Assanti Project Space in three chapters: ‘Colourless Eureka’, ‘Translated Time Machine’, and ‘Viewfinder of Babel’. In the building’s street-front window the visitor is greeted by Meekyoung Shin’s ‘translation-glass jar’, a series of vases exquisitely crafted from soap.

The first chapter ‘Colourless Eureka’ takes the form of an installation in the basement of the building, where Jang-oh Hong explores the potential of deploying transparent materials to achieve a process of inverse-alchemy in the study of disappearance. ‘Translated time machine’ on the second floor includes further works by Meekyoung Shin, as well as paintings, objects and installations by Juliette Losq and Vaishali Pathak. The third floor is given over to the ‘Viewfinder of Babel’, a series of paintings by Gorka Mohamed, whose compositions vacillate between humour and unease.

The transformation of matter and the evolution of ideas have become familiar in contemporary art as the physical and the conceptual jostle for independence and status in the mind of the viewer. The five artists in this exhibition pursue idiosyncratic forms of alchemy, combining unexpected elements in innovative and extraordinary artworks.

Jang-oh Hong (b.1974) is a Korean born, London based artist and a graduate (MA) of Goldsmiths College of Art. Juliette Losq (b.1978) is an English artist based in London and will be graduating from Royal Academy of Art this summer. Vaishali Pathak (b.1986) is a Chinese-Indian British artist based in London and graduate of the Slade School of Art. Meekyoung Shin (b.1967) is a Korean born artist based in London. She has participated in international exhibitions including The British Museum, the Korean National Museum of Art and the Nanjing Triennial. Gorka Mohamed (b.1978) is a Spanish artist based in London and graduate from Goldsmiths College of Art. He has shown in London, Zaragoza, Beijing and Santander.

25TH MARCH – 25TH APRIL 2010
Ann-Marie James

Edel Assanti presents Pareidolia, an exhibition of new works by Ann-Marie James.This body of work represents the most interdisciplinary survey of James’ practice to date. The exhibition sees James reinvigorate the traditional medium of the oil sketch, evoking memories of the extravagant Baroque gestures of the Dutch old masters. The six birch ply panels specifically created for Pareidolia witness vibrant pools of colour flowing over sinuous limbs, intertwining in orgiastic contortions.

Ann-Marie James, Affray, 2010

Encompassing James’ entire practice to date is a passionate interest in the employment of found imagery. James’ early video works appropriated footage from classical cinema, whereas her more recent drawing series, entitled Limited Means, focused on the reinterpretation of anatomical imagery from medical sources such as Gray’s Anatomy. Building upon this motif, in Pareidolia James varnishes the once bare-boned skeletal forms of her previous series withan opulent coating of flesh and blood.

Her latest series of paintings and drawings canonise the compositional and figurative elements of celebrated art historical figures, including Rubens, Bernini, Manet and Rodin. Prism, 2010, portrays Manet’s Olympia bearing down on the prostrate torso of The Laocoon. Whilst undeniably sensual, the arresting juxtaposition of anonymous limbs resonates more sinister undertones. The ensuing mêlée of biomorphic forms characterises James’ exploration of contemporary art’s continual desire to validate itself in a broader art historical context.

Ann-Marie James’ visual exploration remains open-ended: Pareidolia simultaneously presents us with a critique and celebration of the art establishment’s universal need for introspective self-affirmation.

Ann-Marie James lives and works in London. She completed her BA (Hons) at Central Saint Martins in 2004 and has since exhibited in France, Germany, Portugal, Venezuela and the United States, including a residency at Lantana Projects in Memphis, Tennessee in 2006. Recent exhibitions include The Group Show, at 3rd Ward, Brooklyn, New York; Changing The Nature, curated by Purge Projects at Vulpes Vulpes, London; The Westminster Open 2009; The Drawing Salon at The Mews Project Space, London and Danse Macabre at First Floor Projects, London.

Mondi Colour Holidays
Jonathan Lewis – Peter Lynch – Peter Macdonald

Edel Assanti presents its inaugural group exhibition of new works by three London based artists.

In his Designer Labels series, Jonathan Lewis manipulates nocturnal photographs of London’s most prestigious fashion houses. The window displays of Gucci, Prada and Dolce & Gabbana are instantaneously transformed into a sparkling array of pixels. Architecture, mannequins and merchandise are reduced into brief flashes of colour against an ominous backdrop. Straddling the border between mimetic and abstract traditions, the works vacillate between resolution and collapse. Lewis’ photographs marry a fascination for consumerist ritual with an investigation of algorithmic beauty.

Similarly, Peter Macdonald’s recent works take the journey of image creation beyond the point of legibility. Beginning with the naturalistic image, through meticulous mark-making, the composition recedes into a chaotic, post-realist environment. The physicality of Macdonald’s technique simultaneously contracts with the inorganic, technological aesthetics of Lewis’ practice. His intensive compositions juxtapose the eerie stillness of Lewis’ scenes in their exploration of fleeting, chaotic moments in which meaning can be glimpsed.

Jonathan Lewis, Chanel, 2009

Peter Lynch shares Macdonald’s sense of the artist’s hand as a weapon, employing it as a means to enter into a probing dialogue with the high priests of abstraction. Posturing his schematics against a white void, Lynch’s delicately balanced axes defy gravity, recalling Malevich’s Dynamic Suprematist compositions. Unlike his two contemporaries, Lynch breaches the realm of pure abstract form, and yet the intricate, interwoven textures of his structures demand to be treated as objective materials, superseding the white emptiness on which they exist.

Aligned for the first time here in Mondi Colour Holidays, through varying techniques and points of conception, these three artists converge in their openings of idiosyncratic dialogues with the aesthetics and mechanics of abstraction. The artists shared fascination with abstract art is channelled into original and innovative vernaculars through their engagement with contemporary media and subject matter, illustrating abstraction’s ongoing importance in artistic practice.

10 Comments leave one →
  1. alberto barbadoro permalink
    March 8, 2011 4:11 pm

    beautiful art works…..

  2. March 14, 2012 11:00 am

    really interesting to discover about this space, right down the road from where I work (Chelsea College of Art & Design) and I must have walked past many times without knowing what was there. I am also working as an Independent Curator, would love to explore more what work you are doing in your space. Thanks.


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