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London Exhibitions. Stephen Friedman Gallery Reopening

Stephen Friedman Gallery will reopen to the public on Monday 15 June

Gallery 1Andreas Eriksson, ‘Mapping Memories, Tracing Time’ (15 June–31 July 2020)
Monday–Friday, 11am–5pm

Viewing RoomYinka Shonibare CBE, ‘Justice for All‘ (15 June–31 July 2020)
(viewable from the street)

Gallery 2Jonathan Baldock, ‘Facecrime (suspect) (1–31 July 2020)
Monday–Friday, 11am–5pm

 

Stephen Friedman Gallery will reopen to the public on Monday 15 June.

The gallery relaunches its March exhibition of Andreas ErikssonMapping Memories, Tracing Time, which brings together a new series of large-scale handwoven tapestries. Rendered in subtle hues of undyed yarn, this body of work offers a unique window onto the artist’s rural surroundings in Medelplana, Sweden.

In light of the events of the past month and the Black Lives Matter movement, Stephen Friedman Gallery has been amplifying its artists voices in solidarity with the cause. To mark the reopening of the gallery, a monumental work by acclaimed British-Nigerian artist Yinka Shonibare CBE will be presented in the UK for the first time. The sculpture will be installed in the gallery’s Viewing Room, making ‘Justice for All’ visible from the street and giving the work the public focus it deserves. Lights will remain on during the night to make the sculpture available to the public 24/7.

Shonibare explains, “I wanted to think about Justice, especially in the light of George Floyd’s tragic death. This particular work was exhibited at Singapore’s Old Parliament House earlier this year. Justice has to be equally applied. People of African origin do not seem to have fair justice. Those injustices have always been there and things have to change. Some of these issues I’ve explored in my work have been going on for thirty years and I’m sad to think that those things are still going on.”

On Wednesday 1 July, the gallery presents Jonathan Baldock’s Facecrime (suspect), a new installation comprising precariously stacked ceramic columns. Baldock’s prevalent use of blue, almost Yves Klein-like in its intensity, makes the work shimmer and glow with a spiritual, alchemical quality.

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