Exhibition

The new C4RD building: Launch exhibition

15 Nov 2007 – 14 Dec 2007

Regular hours

Thursday
13:00 – 18:00
Friday
13:00 – 18:00
Saturday
13:00 – 18:00

Cost of entry

Free

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C4RD - Centre for Recent Drawing

London, United Kingdom

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The new C4RD building: launch party and exhibition

About

After a successful three years in London's East End, C4RD is moving to larger premises in Highbury Islington where it can securely pursue its programmes into the future at a location more accessible to the public. As a non-profit organisation and museum space, C4RD is in the unique position of being able to provide a whole building dedicated to drawing where it will be able to have regular exhibitions of a broad variety of drawing practice, and also be able to house residencies specifically for those for whom drawing is a core part of their practice. This is in addition to the C4RD web presence, online residencies and soon to be offered off-site residencies.

The launch exhibition will show artists throughout the building until 1st December 2007, including David Caldwell, Alex Calinescu, Phoebe Cope, Clara Drummond, Joan Edlis, Maggi Hambling, Tory Lawrence and Shane Waltener; and'Aquarium', curated by Paul Richards and Susila Subramaniam, until 14th December, with work by artists Max Dewdney, Jason Dungan, Jenifer Evans, Paul Jeszke, Peter Linde Busk, JT Lowen, Duncan Mckellar, Jonathan Murphy, Edward Peake, Paul Richards, Guy Rusha, Frances Scott, Susila Subramaniam, Gili Tal, Joe Walsh and Maria Zahle.

The Centre for Recent Drawing seeks to facilitate access and dialogue for current drawing practice by the exhibition of drawing, and the encouragement of drawing in response. C4RD's working definition of drawing as 'the exercise of human imagination on line' reinforces drawing's capacity as a performed analogy (mentally/manually) of the continuum that is human consciousness; two marks, as in mathematics, necessarily make a line. Drawing is a characteristically humanist mode of expression that is regaining the importance it once had as a way of thinking or acting that is fundamental to the human experience. It is increasingly being considered less as a particular use of materials or sub-activity of a particular disclipline, and more as an approach discrete in itself.

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