This exhibition of films on art and art cinema brings together the work of leading artists and thinkers in Europe, from Manet to Bacon, from Beuys to Metzger, Derrida and Berger with short films and installations by Ken McMullen, Martha Parsey, Walter Dahn, Boscher Theodor and Johannes Stüttgen that explore the relationship between film, art theory, philosophy and painting.
The exhibition runs from October 3rd- November 21st in the form of Saturday Matinée screenings, by invitation and by appointment following current government guidelines.
MPHQ Salon des Refusés will be a new space opening in 2020/21 to present art and radical artistic discussion in an informal setting with exhibitions, talks and dinners; held by invitation.
Based on the gatherings of the Stein Salon that would help to define modernism in literature and art in the 20th century, these presentations, talks and extended private conversations will bring artists, collectors, curators and gallerists together, among friends, to extend the dialogue in person ‘en petit comité’; with the best in informal home dining.
Walter Dahn is a German painter, photographer and sound artist, who is one of the most important ‘Jungen Wilden’ of the 1980s and taught Painting at the Art School in Braunschweig. From 1971 to 1979 Dahn studied at the Art Academy in Düsseldorf as a Master Student of Joseph Beuys. His first works were drawings and installations in Room 19 of the Academy. The focus of his work rests largely in drawing, photography, and making Super 8 and 16mm films. From 1979 to 1982 he was a member of the Artists Collective Mülheimer Freiheit, along with Hans Peter Adamski, Peter Bömmels, Jiří Georg Dokoupil, Gerard Kever and Gerhard Naschberger. Walter Dahn lives and works in Cologne.
Ken McMullen is an award-winning film director and artist living currently in London. His feature films are distributed world wide, his documentaries broadcast extensively and his art works exhibited in leading contemporary art galleries in Europe, The United States and the Far East. Whilst his primary studio is in London he has been working in the CERN Prototype Workshop in Geneva and in Greece and Lisbon. Ken McMullen is an artist who became a filmmaker, and his films are both cinematic and painterly. He works intuitively and visually, with his films grounded in philosophy, history, psychoanalysis and literature. McMullen’s exhibition Signatures of the Invisible brought together artists and scientists working at CERN, the European particle physics facility near Geneva, and was shown at Centre de Edition Contemporaine, Geneve, the Museu Gulbenkian, Lisbon and at PS1 MOMA New York.
Due to current restrictions and the unfolding situation with the Corona Epidemic the screening planned for the 14 th March has been indefinitely postponed. When it is possible and appropriate to continue with FILM ON ART I ART ON FILM a new date will be sent out through our regular channels.
SCREENING 2: FILM ON ART I ART ON FILM
FRANCIS BACON I DEREK JARMAN ÉDOUARD MANET I REMBRANDT
Saturday 14th March at 6pm MPHQ Project Space London I Cologne
In the second screening of films on art and art cinema, this exhibition brings together the work of leading artists and thinkers in Europe, from Manet to Bacon, from Beuys to Metzge, Derrida and Berger with short films and installations by Ken McMullen, Martha Parsey, Walter Dahn, Boscher Theodor and Johannes Stüttgen that explore the relationship between film, art theory, philosophy and painting.
FILM ON ART I ART ON FILM
MPHQ Project Space London I Cologne presents:
Opening Saturday 15 th February from 6 pm with Ken McMullen, Martha Parsey, Walter Dahn, Boscher Theodor with a few words from Friedhelm Mennekes MPHQ Project Space London I Cologne
In a new series of screenings of films on art and art cinema, this exhibition brings together the work of leading artists and thinkers in Europe, from Manet to Bacon, from Beuys to Metzger, Derrida and Berger with short films and installations by Ken McMullen, Martha Parsey, Walter Dahn, Boscher Theodor and Johannes Stüttgen that explore the relationship between film, art theory, philosophy and painting.
MPHQ Project Space, London I Cologne, opened by Martha Parsey in 2018, combines her artistic interests from London, her birthplace, and her home town of Cologne, Germany. MPHQ presents and introduces artists Martha has got to know through exhibitions throughout Europe in an ongoing dialogue about what engages artists working today.
This is a space to encourage debate, cultural exchange and understanding, in an environment that explores creativity both individually and collectively. Through collaborations with other artists, MPHQ presents artists and projects that look at the cross-over and overlap of cultures and artistic disciplines.
Manifesto: ‘…es passieren die schönsten Sachen in unserem Leben. Man muss nur wach sein und diese königliche Momente bewusst genießen. Mit Stolz, mit innerem Glücksgefühl und mit einem passenden Bild…’
Martha Parsey, born in London, is a painter and film-maker who studied Fine Art and Film at Central St Martins College of Art, the University of the Arts London, the University of the Arts Berlin and the German Film and Television Academy.
Her films on Francis Bacon, made in collaboration with David Sylvester, have been screened at the ICA and Hayward Gallery, London, the Centre Pompidou, Paris, Haus der Kunst, Munich and at Ordovas Gallery, New York.
Shortlisted for the Lexmark European Art Prize and the Sovereign European Art Prize, her paintings have been exhibited widely in the UK, Europe and the US, with her work in a number of prestigous collections including the Ovitz Family Collection, the Zabludowicz Collection and the Musée National d’art Moderne, Paris.
In 2018 Martha founded MPHQ Project Space London I Cologne.
Frequently employing dark glamour and a wry deliberate humour, her paintings, depicting female impropriety, work within the tradition of feminist art to offer a riposte to self-censure.
Drawn to investigate the meaning of cultural trends she invites the viewer to reflect on the ways in which gender, class, sexuality and spectatorship slyly intersect to circumscribe the repertoire of legitimate actions available to women.
While sceptical of straightforward narratives of empowerment, the paintings depict the differences between private and public selves, as well as the adoption of protective guises as a form of subterfuge, often discomfortingly at odds with the inner self.