Featuring work by Athanasios Argianas, Ceal Floyer, Monika Grzymala, Victoria Haven, Susan Hiller, Sol LeWitt, Richard Long, Tom Marioni, Jonathan Monk, Julian Opie, Florian Pumhösl, Fred Sandback, Maximilian Schubert, Jorinde Voigt and K. Yoland
In today’s expanded field of contemporary art, drawing retains an association with two intrinsic characteristics – line and movement. In this group exhibition, each work is distinguished by the implementation of line as a physical entity, which is freed from any obligations to represent the outside world. Indeed, drawing could be regarded as much an intellectual proposition as it is a descriptive exercise, and in Line we find each artist employing line to articulate an idea or a concept. Avoiding a fixed substrate such as paper, lines are applied directly to the gallery walls, onto the floor; they extend into three dimensions, and into the atmosphere, via sound. The lines we see are often the residue of an action, or the trigger for unfolding events, and their transitory constitution apes the erasable line of pencil, and the inevitable residue it leaves in its wake.
Athanasios Argianas (b. 1976, Athens, Greece) lives and works in London and Athens since 1997. Studied at the School Of Fine Arts, Aristotle University, Thessaloniki, Greece (1994-1997); Kunstakademie Dusseldorf (Prof. Jannis Kounelis), Dusseldorf, Germany (1999-2000); and MA Fine Art at Goldsmiths College, London (2003-2005). Argianas runs Daedalus Street with Rowena Hughes, a project facilitating the development of new artworks by invited artists in their studio in Athens. Select solo exhibitions include Camden Arts Centre, London (2020); reading machines moving machines, On Stellar Rays, New York (2017); Silence Breakers, Silence Shapers +), Aanant & Zoo, Berlin (2015); Swimmer’s Arms Are Oars, On Stellar Rays, New York (2015); A Sequencer**, Aanant & Zoo, Berlin (2014); Laid Long, Spun Thin Max Wigram Gallery, London (2011); The Length Of A Piece Of String Cut At The Width Of Its Circumference, The Breeder, Athens (2011); Of The Length Of Your Arms, Unfolded (performance), The Barbican Art Gallery, London (2011); The Length Of A Strand Of Your Hair, Of The Width Of Your Arms Unfolded, EMST National Museum Of Contemporary Art, Athens (2010); and We All Turn This Way, The Serpentine Gallery Pavillion, London, (2008). Select group exhibitions include Antidoron / Documenta 14, Friedricianum, Kassel (2017); The Promise Of Total Automation, Kunsthalle Wien, Museumquartier, Vienna (2016); Line, Lisson Gallery, London, curated by Drawing Room (2016); Terrapolis, French Archaeological School, Athens and touring (2015); Don't Shoot The Painter, UBS Collection, GAM Milano, Villa Reale (2015); Art Of Its Own Making, The Pulitzer Foundation For The Arts, St Louis (2014); Art Or Sound, Fondazione Prada, Venice (2014); PERFORMA 13 Biennial, New York (2013); The Imminence Of Poetics, The 30th Sao Paulo Biennale, Sao Paulo (2012); Coquilles Mecaniques, CRAC Alsace, Altkirch (2012); Art Now Live, Tate Britain, London (2011); A Rock And A Hard Place, The 3rd Thessaloniki Biennale, Thessaloniki (2011); and Pale Carnage, Arnolfini, Bristol and Dundee Contemporary Arts, Dundee (2007).
Monika Grzymala (German, b. 1970, Poland) lives and works in Berlin. Grzymala studied at the Universities in Karlsruhe, Kassel and Hambourg. Her work focuses on three dimensional drawings. Recent solo exhibitions include: Raumzeichnung (Ison), Kunsthistorisches Museum Theseus Tempel, Volksgarten, Vienna (2015); Rückbau, Villa Zanders Städtische Galerie, Germany (2014); Raumzeichnung, Galerie der Gegenwart Kunsthalle, Hamburg (2014); Meander, Morph, Volumen II,Franz Josefskai 3, Vienna (2014); Raumzeichnung (refection), Fabrica, Brighton, (2014); Tree of Life, Woodner Company building and Dian Woodner Collection, New York (2014); The River II 49 Nord 6 Est, FRAC Fonds Regional d‘Art Contemporain de Lorraine, France (2013); Volumen, The Morgan Library & Museum, Gilbert Court, New York (2013); Drawing Spatially, Villa Arson Nice / France (2013); Aerial, Galerie Crone, Berlin (2012); Raumzeichnung, Sumarria Lunn, London (2011), Weiss in Weiss, Marstall Ahrensburg, Germany (2011); Ruptures, The Drawing Room (2008); Dual with Kelly Wood, Catriona Jeffries Gallery, Vancouver (2008); and Und, Giffelkunst, Hamburg (2008). Selected group exhibitions include: Draiwing Biennial 2015, Drawing Room, London (2015); Dark Material, XIU XIU, Donaufestival, Austria (2014); Raumzeichnung (northern light), Reykjavik Art Museum, Reykjavik (2014); Drawing the Land, Australia and Europe (2014); 24/12, Galerie Crone, Berlin / Germany (2013); Do you read me? Diane Kruse Galerie, Hamburg, Germany (2013), boesner art award 2012, Märkisches Museum Witten, Witten (2012), 18th Biennale of Sydney - Biennale of Sydney, Sydney, NSW (2012), Drawing 2011, Drawing Room, London (2011), The Serpentine Gesture and Other Prophecies, FRAC Lorraine Metz, France (2011), On Line. Drawing through the Twentieth Century, MOMA, New York (2010), Washi Made in Germany, Tokyo Art Museum (2010), The End of the Line: attitudes in drawing, MIMA Middlesborough, The Bluecoat, Liverpool, City Museum, Bristol and Fruitmarket, Edinburgh (2009). She is represented by CRONE Gallery, Berlin.
Victoria Haven (b. 1964, USA) received BFA in Painting from University of Washington, Seattle (1989) and a Masters in Fine Art rom Goldsmiths College, University of London (1999). Her recent solo and two person exhibitions include Overland, Planthouse, New York (2014); Proposed Land Use Action, Seattle Art Museum, Seattle (2012); Hit the North, Greg Kucera Gallery, Seattle (2011), and Hit the North, PDX Contemporary Art, Portland (2011).Haven's recent group exhibitions include Reclaimed, Seattle Art Museum, Seattle (2011); The Three Dimensional Line, Kirkland Arts Center, Kirkland (2011); Vortexhibition Polyphonica, Henry Art Gallery, Seattle (2010).
American born British artist Susan Hiller (b. 1940, Cleveland, Ohio) graduated from Smith College in Northamphton, Massachusetts in 1961. She studied Film and Photography at the Cooper Union (New York), Archaeology and Linguistics at Hunter College (New York) and went on to post-graduate study at Tulane University in New Orleans, with a National Science Foundation fellowship in anthropology. Hiller’s practice extends to a broad range of media including drawing, sculpture, installation, photography, video and performance. Recently Hiller exhibited at Matt’s Gallery an audio-visual installation where she presented a collection of near-death experiences via analogue television sets, emitting flickers of glowing blue in a darken room. Solo exhibitions by Hiller include venues such as Kunsthalle Nürnberg, Germany (2012), Tate Britain (2011), Prefix Institute of Contemporary Art, Toronto, Canada (2011), Centro Cultural Montehermoso, Vitoria-Gasteiz, Spain(2010), BAWAG-Generali Foundation, Vienna, Austria (2008), The Jewish Museum, New York, USA (2008). Recent Group exhibitions include dOCUMENTA (13), Kassel, Germany (2012), Olinka, Museo Rufino Tamayo, Mexico City (2012), Wide Open School, Hayward Gallery, London (2012).
Richard Long (b.1945, Bristol) lives and works in Bristol. He studied at West of England College of Art, Bristol and at St. Martin's School of Art, London. Recent solo exhibitions include: Richard Long, Haunch of Venison, London (2011); Richard Long, Galerie Tschudi, Zuoz, Switzerland (2011); Richard Long: Berlin Circle, Hamburger Bahnhof, Berlin (2011);. 2010: Richard Long: A Thousand Stones, James Cohan Gallery Shanghai (2010); and Richard Long: Heaven and Earth, Tate Britain (2009).
Tom Marioni (b.1937 Cincinnati, Ohio) attended the Cincinnati Art Academy and lives and works in San Francisco. His first sound work, One Second Sculpture (1969), was celebrated in the 2005 Lyon Biennial as presaging the work of many artists today who use sound and duration as subjects. His first museum show was in 1970 at the Oakland Museum of California. Titled “The Act of Drinking Beer with Friends is the Highest Form of Art,” it was an early example of social art as a sculpture action, and he has been invited to repeat the work around the world. He founded the Museum of Conceptual Art (MOCA) which has entered history as one of the first alternative art spaces. Marioni has had solo shows in many significant venues for early conceptual art, including: the Richard Demarco Gallery, Edinburgh (1972) and Gallery Foksal, Warsaw (1975). Marioni was included in For Eyes and Ears (1980) at the Academy of Fine Arts in Berlin, Live to Air (1982) at the Tate Gallery in London, and From Sound to Image (1985) at the Stuttgart Staatsgalerie in Germany. His work was shown in Out of Actions: Between Performance and the Object (1998) at the Museum of Contemporary Art in Los Angeles, and The Third Mind: American Artists Contemplate Asia, (2009) at the Guggenheim Museum in New York City. Drawing is central to Marioni’s art, and in 1999 he had a drawing retrospective at the Mills College Art Museum in Oakland.
Installation/performance venues include: Whitechapel Gallery in London (1972), the Institute of Contemporary Art in London (1973), the Centre Georges Pompidou in Paris (1980), and the Folkwang Museum in Essen, Germany (1982).Marioni received a Guggenheim Fellowship in 1981 and three grants from the National Endowment for the Arts during the 1970s. His work is in the collections of the San Francisco Museum of Modern Art, the Museum of Modern Art in New York, the Stadtische Kunsthalle in Mannheim, Germany, the Pompidou Center in Paris, among others. He is represented by Gallery Paule Anglim in San Francisco, the Margarete Roeder Gallery in New York, and the Carl Solway Gallery in Cincinnati.
