http://www.solent.ac.uk/events/events-articles/2013/seven-billionth-citizen-exhibition.aspx 

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The exhibition is a direct response to an announcement by The United Nation of the world’s seven billionth citizen being born on 31 October 2011; drawing attention to the rapid global growth in recent years. The exhibition seeks to address the ambiguity of our era featuring themes of awe, tranquility, collectivity and isolation from a collection of international artists.

The exhibition revolves around five videos – each of which were made by different artists in densely populated zones of the world: America, Europe, Middle East & North African region, sub-Saharan Africa, and Asia & Oceania.

Each artist’s contribution follows an agreed formula, inspired by the nineteenth century landscape paintings of Caspar David Friedrich that show a lone figure facing away from the viewer gazing upon a sublime landscape. In each video, the figure holds an hourglass, an acknowledgement of our urge to measure the immeasurable.

The collaborating artists include:

- Ayman Ramadan whose video work reflects the life of Cairo

- James Muriuki who customarily works with digital media, investigating transitions in contemporary society in Kenya

- Naoya Hatakeyama, a photographer who has most recently engaged in documenting the effects of last year’s tsunami which destroyed his hometown of Rikuzentakata in Japan

- Brazilian printmaker and video artist Maria Lucia Cattani, whose work habitually engages repetition to reveal unseen pattern

- Nick Rands who works in a variety of media to understand the relationship between human scale and the planet

- John Gillett, a local academic, curator and artist interested in the ambition of scale which digital media makes possible

- Beth Harland, a local academic who works in painting and video, analyses time in the texture of the visual.

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http://www.carrollfletcher.com/exhibitions/11/overview/

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http://www.blainsouthern.com/exhibitions/2013/mat-collishaw-this-is-not-an-exit

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For his second solo exhibition at Blain|Southern, THIS IS NOT AN EXIT, the British artist Mat Collishaw returns to the medium of oil painting. However, as is usual with his practice, nothing is literal; the primary source material – magnified images drawn from the pages of glossy magazines – is a simple metaphor, one part of a prism conceived to examine moral questions provoked by the excessive binge culture that preceded the global financial crisis.

When seen from a distance, these large-scale works appear to be abstract paintings constructed on a classic modernist grid; closer inspection reveals them to be scraps of advertisements for luxury goods culled from ‘lifestyle’ magazines like Tatler and Vogue. But this is only partially the case; they are in fact facsimiles of the precisely folded, origami-like ‘wraps’ used by drug dealers to package cocaine, complete with powdery traces of the narcotic.

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http://bombsight.org/

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The Bomb Sight project is mapping the London WW2 bomb census between 7/10/1940 and 06/06/1941. Previously available only by viewing in the Reading Room at The National Archives, Bomb Sight is making the maps available to citizen researchers, academics and students. They will be able to explore where the bombs fell and to discover memories and photographs from the period.The project has scanned original 1940s bomb census maps , geo-referenced the maps and digitally captured the geographical locations of all the falling bombs recorded on the original map.

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http://www.tate.org.uk

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The Robinson Institute’s researchers have revisited Robinson’s last known journey, presenting his findings and film footage as an exhibition that features works by artists, mainly from Tate’s collection; writers, historians, geographers, cartographers and geologists; and a variety of other objects.

Audiences are invited to retrace Robinson’s steps and consider the connections that he makes. For example, the 1795 amendment to the Settlement Act, which enabled the rural poor to migrate more easily to industrial towns and cities, is shown alongside an unusually large meteorite that fell the same year. Robinson’s discovery of the Boyle-Hooke commemoration plaque on Oxford’s High Street, which celebrates two of England’s most important scientists, triggers further consideration of the historical events that led to the Industrial Revolution, as his photograph of the memorial site is juxtaposed with Ed Ruscha’s Mad Scientist 1975 and L.S. Lowry’s Industrial Landscape 1955.
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