
Hanging Offence : Proud Galleries
Classic, limited edition printed photography in an age where most people have cameras in almost every electronic device they own (read more)
Classic, limited edition printed photography in an age where most people have cameras in almost every electronic device they own (read more)
It’s a travesty that political society, for the most part, doesn’t value artistic thinking and exploration as it should. This civilisation will be poorer in all ways as a result. (read more)
‘our aesthetic is bold, bright, high impact works with an emphasis on the skill or craft of creating works of art’ (read more)
They would then stalk, with a suitably knowing sneer creasing their upper lips, around the space and direct small troops of eager attendants to move paintings a little to the left or a little to the right. (read more)
I want this gallery to see through the golden cage of the absolute to the highest realms of freedom and possibility. (read more)
‘communications between gallerists, artists and the viewers can become misunderstood: rudeness, anxieties and insecurities are a lethal cocktail’ (read more)
‘I’m not sure there is such a thing as an artistic controversy, but there have certainly been many controversies surrounding art’ Ruth Garde, curator, talks to Trebuchet about Michaelangelo, Bernini and contemporaty artists such as Omer Fast. (read more)
‘although much of the popular appeal of contemporary art is in its ability to provoke, we need to be mindful of the media, politicians and governments in relation to the arts’ Erarta Galleries’ Beth Morrow (read more)
Not being able to have a physical gallery space has been challenging. But it in a way it is good, as it forces us to always look for projects that we wouldn’t otherwise and some pretty cool collaborations have come out of it (read more)
There is sometimes a tendency to overwrite, overanalyse, overcomplicate and over-theorize art. This might be an English thing, I’m not sure about that. Hanging Offence : Karin Janssen Project Space (read more)
I think it’s very hard to be controversial any more, it’s just become irrelevant and usually any one trying to do this with their work is doing it to get noticed, which usually, in my opinion, makes for dull work. (read more)
Hard to say why I did, but I ended up in London and discovered art as a new language to talk about everything I was discovering. It was scary and exciting and still is. (read more)
Secret Video Invite : MONO/POLY + FREE THE ROBOTS EUROPE TOUR MARCH 2013. Thurs 14-Mar-13 @ Village Underground (read more)
‘I am often attracted to art that is so challenging it feels as though it has hit me in the gut leaving me speechless and tangled in thoughts’ (read more)
‘Instead of Catholicism or religion, now we are programmed by the corporations’ . Artists Meg Cranston and John Baldessari talk to Trebuchet’s own artist in residence – Nicola Anthony (read more)
Controversy assumes that what artists are producing really matters. Otherwise, all it is is marketing or publicity. (read more)
I got involved with the art world in the beginning just so that I could give the women artists from the Gulf, who were under-represented at the time, a chance to show their works and to have a bigger voice in the wider world. (read more)
Picasso responded immediately to the art and culture that surrounded him in Paris – in the first part of 1901 he devoured the sights and excitement of the city and its artists. In the second part of the year, he responded more deeply and profoundly to the culture of symbolism and its creative possibilities. It was as if Picasso was digging ever deeper into the languages of art he found in Paris. (read more)
Arts Canteen is a new UK-based arts venture that explores intercultural artistic relationships between the Middle East and the UK. Trebuchet meets Kelvin De Veth, curator and link-maker. (read more)
Certain elements of the Art World feel the need to exclude others by making them feel unworthy of enjoying it. Great art will never require smoke and mirrors to achieve its deserved attention. (read more)
Opportunities are immense, they are global and with a little bit more planning and strategizing, a bit more knowledge, information and know-how when it comes down to how to navigate the art system, artists can become the next big thing. (read more)
We work on the premise that the gallery should always operate with increasing momentum, growing in step with the careers and aims of the artists we work with (read more)
Controversial ideas are often the more important and interesting ones. But no, controversy is a byproduct, not the end point.
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‘The UK is far behind the USA and France in the photography market and needs to catch up.’ (read more)
It is not an annex of The Wapping Project, it is a separate entity informed by all of the wild things I have done over the years at The Wapping Project. (read more)
A successful and well-established commercial space that is known for it’s unpretentious, welcoming environment that evokes familiarity within visitors and erases any notions of elitism commonly attached to the white cube gallery (read more)
‘Cultural producers detect and create a certain cultural temperature which gives a social climate a voice’ Henrik Schrat, interview (read more)
‘We are always looking for new ideas and artists to show. There is no point in us doing what the big galleries do’. Transition Gallery’s Cathy Lomax talks to Trebuchet (read more)
Trebuchet: What do you dislike most about art?
Charlotte Jansen: Pretentiousness. (read more)
Rashid Rana’s: Everything Is Happening At Once (read more)
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