1 Nov 2005
Lawrence Weiner - Within A Realm of Relative Form @ The Lisson Gallery, London 
From the official Lisson Gallery website: "Lisson Gallery is delighted to announce its first solo exhibition with Lawrence Weiner. Lawrence Weiner is one of the most significant and iconic artists of our generation. Throughout his practice he has pursued inquiries into language a radical redefinition of the artist/viewer relationship. Translating his investigations into linguistic structures and visual systems across varied formats and manifestations, he has produced books, films, videos, performances and audio works. The belief at the core of Lawrence Weiner's work is that art is a material reality between human beings and objects and between sets of objects in relation to human beings. Weiner considers language to be a sculptural material and believes that a construction in language can function as sculpture as adequately as a fabricated object."

The exhibition runs from 19 October - 23 November 2005.

Lisson Gallery
Opening times: Monday-Friday 10.00am - 6.00pm, Saturday 11.00am - 5.00pm
29 Bell Street
London
NW1 5BY

Tel: +44 (0)20 7724 2739
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Biting Tongues

In the grey days of late 1970s post-punk Manchester, youth culture was a serious affair: every musical performance was measured mostly by the conviction of its delivery. The term 'New Wave' opened up free vistas where acquired skills could once again be exercised after punk's monochrome blur. It could be applied to anything from a James 'Blood' Ulmer record to the latest Throbbing Gristle release, Magazine to Swell Maps. Move outside that terrain into Sun Ra, Parliament, Frank Sinatra and Martin Denny, and your options were suddenly without limit...

Then came Tony Wilson's Factory Club (at the Russell Club in Hulme) offering an open invitation to experiment that was taken up when Ken Hollings, Howard Walmsley, Eddie Sherwood and a few others decided to make some noise to accompany their 16mm silent epic Biting Tongues. A further performance followed a few weeks later, when Colin Seddon and Graham Massey disbanded their Post Natals project and joined up. The film itself, a flashing series of negative images, became a memory; the name remained.

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