An exhibition of prints, drawings and fashion from 28th November- 24th December by appointment and online. All works available in the store here
ART MEETS CINEMA
Meeting Francis Bacon in London in the sixties, Henrietta Moraes became the most painted of his female subjects. In interview in the Marlborough Gallery London, Henrietta recalls her impressions of the artist, which intercut with archive film footage of Bacon in interview, forms a final dialogue between model and artist. Screened at the Bacon Retrospective exhibitions at the Centre Pompidou Paris, Haus der Kunst Munich, and ‚Bacon’s Women’ at Ordovas Gallery New York.
Shot at the Centre Pompidou, Paris, during the Francis Bacon retrospective, the film accompanies curator, critic and close friend David Sylvester, as he hangs the exhibition. Previously unpublished interviews between Bacon and Sylvester commentate the erection of this exhibition and form a final dialogue between artist and critic; a monument to Bacon’s supremacy as a painter. Screened at the Coutauld Institute, London.
One cinematic shot depicts Manet’s ‚Execution of Maximilian’. In a single shot ‘1867’ passes through the 18 months of historical and artistic events that led to Manet’s four versions of the execution. Commissioned by the Metropolitan Museum of New York, The John Paul Getty Foundation and Channel 4.
Cast: Dominic Pinon, John Shrapnel, Maria de Madeiros. This film explores the profound effect his father’s blindness had on Rembrandt and the way this influenced his work. Commissioned by BBC Television and Broadcast in 1992.
Shot in Jarman’s studio in Dungeness, UK and screened at the Berlin Film Festival, in this revealing documentary, Ken McMullen creates an elegant portrait of artist and filmmaker Derek Jarman, based on an interview conducted by John Cartwright. The questions are unobtrusive, allowing Jarman to reflect on his major films. Despite the debilitating effects of serious illness, we see an artist with his inner vision unimpaired; humourous, self effacing and disarmingly charming.
Gustav Metzger witnessed the rise of Nazism as a small child in Nuremberg and escaped to Great Britain aged thirteen. He trained as an artist before founding auto-destructive art in 1959. The scale of Gustav Metzger’s achievements and his contribution to contemporary culture are clearly demonstrated in Ken McMullen’s comprehensive film where Gustav Metzger speaks candidly and brilliantly of the influences which have shaped his own work, highlighting the importance of understanding the destructive impulses in human society.
‚Word Work’, ‚Discussions with a Gun’ and ‚Crowd Sculpture with Joseph Beuys’ are live performances shot with Joseph Beuys in Düsseldorf between 1971 and 1972. First shown at the Tate Gallery, London in 1972 and at the Joseph Beuys Retrospective at Tate Modern.
A dialogue between Pascale Ogier and Jacques Derrida, in an excerpt from the film ‚Ghost Dance’, explores the connection between cinema and psychoanalysis.
Ken McMullen brought John Berger, author of Ways of Seeing, to CERN to encounter the new physics and technologies to be found there. Berger arrived with the poem Happiness by Jorge Luis Borges and the following encounters found form in the film Art, Poetry and Particle Physics, screened at Tshingh University Beijing, Complesso del Vittoriano Rome, Centre d’Art Contemporain Geneva, Gulbenkian Gallery Lisbon, and P.S. 1 Contemporary Art Centre NY.
KNOEBEL AND STEINER
A break-in at Imi Knoebel’s studio and two cups battle it out to Rudolf Steiner’s ‘Die Rätsel der Philosophie’ in collaborations between Walter Dahn, Johannes Stüttgen and Boscher Theodor.
ART, POETRY AND PARTICLE PHYSICS
Shot on location in Particle Accelerator Number One, CERN, Geneva, ‘Lumen de Lumine’ is a meditation on solitude. A motion picture playing with quantum theory and the nature of light and near-miss particle collisions, this film turned the Torness nuclear power station into the largest ever public art installation in Europe. A collaboration between Ken McMullen and Martha Parsey, screened during the exhibition ‚Signatures of the Invisible’ at Atlantis Gallery, London, Tshingh University Beijing, Complesso del Vittoriano Rome, Centre d’Art Contemporain Geneva, Gulbenkian Gallery Lisbon, and P.S. 1 Contemporary Art Centre NY.
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 by appointment following current government guidelines.
Please contact the Space by e mail firstname.lastname@example.org for more information. Press release with further information about the films:
Films appear by kind permission of Ken McMullen.
MPHQ Salon des Refusés will be a new space opening in 2021 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.
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.
WHAT IS MPHQ PROJECT SPACE?
MPHQ Project Space, London I Cologne, was opened by Martha Parsey in 2018, and combines her interests and networks from London and Cologne. MPHQ presents established mid-career artists Martha has got to know in an ongoing dialogue about what engages artists working today.
This is a Space to encourage debate and cultural exchange to explore creativity both individually and collectively. Through collaborations with other artists and curators, MPHQ presents artists and projects that look at the cross-over and overlap of cultures and artistic disciplines.
‘…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.