Made In Britain: Contemporary Art from the British Council Collection 1980 - 2010 is a touring exhibition created in partnership with the Sichuan Provincial Museum, Xi'an Art Museum, Hong Kong Heritage Museum and Suzhou Museum. 
This exhibition will provide the first opportunity for audiences in the four regional cities in China to see original art works by leading British contemporary artists, and the works included in the display were specifically selected by Chinese curators working closely with the British Council's Visual Arts Department. 
Launching at the Sichuan Provincial Museum in Chengdu on 17 December, the exhibition features over 50 works by a wide range of artists, including Keith Arnatt, Helen Chadwick, Peter Doig, Gilbert &amp; George, Damien Hirst, Sarah Lucas, Cornelia Parker and Mark Wallinger, reflecting the breadth and diversity of British art throughout the 30 year period 1980-2010. 
Within the period since 1980 which the exhibition covers, enormous shifts have taken place in the role which art plays within British society. From Gilbert &amp; George's Intellectual Depression (1980) to Gary Hume's Sister Troop (2009), this exhibition tells the story of how art has mapped and reflected these changes - and indeed been at the very forefront of social change itself. 
Contemporary art in the UK has undeniably taken on a more socially engaged position in British society over the past three decades. Some of this shift can be attributed to the arrival of a new, entrepreneurial and ambitious generation of artists in the early 1990s, collectively known as the YBAs (Young British Artists) and including artists such as Michael Landy, Jake and Dinos Chapman, Damien Hirst, Sarah Lucas, and Gillian Wearing. 
Other factors, such as the introduction of the Turner Prize in 1984 (the first prize to be awarded to young contemporary artists in the UK); the opening of Tate Modern in 2000 (the first dedicated public gallery for modern and contemporary art in the UK); the elision of art, advertising and the creative industries, particularly following the launch of the Saatchi Gallery in 1985; and the abolition of admission charges to UK public galleries and museums in 2001, have all played their part in bringing contemporary art to far larger audiences than ever before - often audiences with no prior experience or knowledge of the visual arts.

Made In Britain: Contemporary Art from the British Council Collection 1980 - 2010 is a touring exhibition created in partnership with the Sichuan Provincial Museum, Xi'an Art Museum, Hong Kong Heritage Museum and Suzhou Museum. This exhibition will provide the first opportunity for audiences in the four regional cities in China to see original art works by leading British contemporary artists, and the works included in the display were specifically selected by Chinese curators working closely with the British Council's Visual Arts Department.

Made in Britain (Suzhou Museum)

The 11th edition of the globe spanning BFF hits London with film, art, music and parties, all in the name of bikes.Visit Gavin Turk and Ben Wilson 4H displayed in the foyer.

The Barbican’s Bicycle Film Festival 2011

The 11th edition of the globe spanning BFF hits London with film, art, music and parties, all in the name of bikes.Visit Gavin Turk and Ben Wilson 4H displayed in the foyer.

The first museum of contemporary art in Turkey, Proje4L/Elgiz Museum is hosting Gavin Turk with Turkish artists in its 10th anniversary exhibition “Elgiz 10 Istanbul” opening tomorrow.

“Elgiz 10 Istanbul” is curated by Dr. Necmi Sönmez who lives in Dusseldorf and organizes exhibitions in Europe and United States. It will be a reinterpretation of the Elgiz Collection which includes artists as Gerhard Richter, Louis Bourgeois, Andy Warhol, Robert Rauschenberg, Sol LeWitt, Tracy Emin, Gilbert&amp;George along with the Turkish contemporary artists as Abdurrahman Öztoprak, Ömer Uluç, Azade Köker and Bahar Oganer.

Turk will be displaying a wall mounted Turkish rug, Cave Rug along with several other works. These works will be hung on Turks Turkey Foil Wallpaper depicting hundreds of roasted turkeys. This will be the second time Gavin Turk has exhibited in Istanbul after his participation in the 6th Istanbul Biennial in 1999.

Other artists doing site-specific works to accompany the collection exhibition are Burak Bedenlier, Lale Delibaş, Nejat Satı and Iskender Yediler.

www.proje4l.org

Elgiz Museum

The first museum of contemporary art in Turkey, Proje4L/Elgiz Museum is hosting Gavin Turk with Turkish artists in its 10th anniversary exhibition “Elgiz 10 Istanbul” opening tomorrow.

Elgiz 10

On the 20th anniversary of Aurel Scheibler, the gallery presents TWENTY, an exhibition of works by artists it has shown since 1991 in Cologne and from 2006 onwards in Berlin.The heterogeneity of Aurel Scheibler!s artist roster is easily explained by his taste for underestimated upcoming artists and overlooked qualities in the oeuvre of the more established. In its first year, the gallery already defined its program with solo exhibitions of Chargesheimer, &Ouml;yvind Fahlstr&ouml;m, Joe Zucker and Jack Pierson. Scheibler further broadened it by showing Weegee, Mark Morrisroe, Bridget Riley, Dan Asher and the recently deceased Lucian Freud. Alongside establishing Pierson and Anthony Goicolea as household names in the art world, he is one of the first German gallerists to champion the art of Damien Hirst, Rachel Whiteread and Gavin Turk. More recently, Scheibler took on board two young British artists, Neil Gall and Tom Chamberlain, and premiered in Germany one of the pioneers of video art, Michel Auder.In 2006 the gallery opened in Berlin-Charlottenburg with an exhibition of works by Ad Reinhardt and a year later added a second space near Checkpoint Charlie, which today functions as the sole gallery. While Scheibler continues to surprise the Berlin art audience with solo shows of such historical figures as Jackson Pollock or Philip Guston, he never fails to search for new artistic positions with a long-term vision and has recently shown Thomas Rentmeister, Malcolm McLaren, Wolfgang Betke and Michael Wutz. Another important aspect of his work as a gallerist is the representation of the estates of Ernst Wilhelm Nay, Fahlstr&ouml;m and Alice Neel.Aurel Scheibler was born in 1960 in Cologne, where he began working in the art world while still at school and, upon graduating, at the auction house Kornfeld in Bern. Later he gathered invaluable experience in the print department at the New York branch of Christie's and as an assistant in the department of sculpture and painting at the MoMA. In the 1980s he worked for Ernst Beyeler in Basel and from 1984 to 1987 for Michael Werner in Cologne. In 1990 Aurel Scheibler edited the catalogue raisonn&eacute; of Ernst Wilhelm Nay's oil paintings for the Museum Ludwig in Cologne.Gavin Turk's Cave (Edition) is included in the show, a vacform plastic reproduction of the artist's original blue plaque installation of the same title.20 Years Aurel Scheibler Anderson &middot; Anonymous &middot; Asher &middot; Auder &middot; Betke &middot; Blumenfeld &middot; Bragdon &middot; Bruenchenhein &middot; Cain &middot; Chamberlain &middot; Chargesheimer &middot; Crabtree &middot; Factual Nonsense &middot; Fahlstr&ouml;m &middot; Freud &middot; Gall &middot; Goicolea &middot; Guston &middot; Hirschvogel &middot; Hirst &middot; Holstad &middot; Hughes &middot; Kalaman &middot; Katz &middot; Lefin &middot; Lindner &middot; L&ouml;ffelhardt &middot; von Luckwald &middot; McCarthy &middot; Morris &middot; Morrisroe &middot; Nay &middot; Neel &middot; Palermo &middot; Penck &middot; Pierson &middot; Polke &middot; Pollock &middot; Reinhardt &middot; Rentmeister &middot; de Reus &middot; Riley &middot; Robilliard &middot; Saul &middot; Scheibitz &middot; Scheibler &middot; Schink &middot; Schutter &middot; Schwarzkogler &middot; Selekman &middot; Spitzer &middot; Stappaerts &middot; Stauss &middot; Sullivan &middot; Togawa &middot; Turk &middot; Twombly &middot; Voigt &middot; Warhol &middot; Wedding &middot; Weegee &middot; Whiteread &middot; W&ouml;rsel &middot; Wurm &middot; Wutz &middot; Zucker

Twenty 

On the 20th anniversary of Aurel Scheibler, the gallery presents TWENTY, an exhibition of works by artists it has shown since 1991 in Cologne and from 2006 onwards in Berlin.

The exhibition &lsquo;Colour in Flux&rsquo; explores how artists since Jackson Pollock have dealt with free-flowing paint. Works by the most important representatives of Abstract Expressionism and Color Field Painting will be compared with works by younger artists. Highlighting the exhibition will be new works developed in situ by Katharina Grosse, K.H. H&ouml;dicke, Peter Zimmermann, Nicol&aacute;s Uriburu, Rainer Splitt, and others.In the late 1940s, the American painter Jackson Pollock ventured a simple and at the same time seminal experiment: he laid a canvas on the floor of his studio and began applying paint to it from above. Bent forward and making movements that incorporated his entire body, he poured and dripped acrylic and ordinary paint across the painting surface. This technique, which came to be known as Action Painting, subsequently inspired entire generations of artists. One began to understand color as a flowing material with specific physical features and to use it artistically. This was consciously done counter to well-rehearsed visual habits and as a new challenge to the senses and the mind.What followed were innovative concepts that supplemented, fundamentally reconceived, or revised Pollock&rsquo;s stance. Morris Louis, Sam Francis, and Helen Frankenthaler addressed the basic physical conditions of color in flux in highly different ways. Lynda Benglis countered the &ldquo;male&rdquo; gesture of Pollock&rsquo;s drippings with a more voluminous, &ldquo;female&rdquo; version made of polyurethane foam. Andy Warhol satirized Pollock&rsquo;s floor painting in his Oxidation Paintings. And the American Larry Poons let paint run vertically down canvases in order to apparently bow out of the production process as author. Artists in the 21st century are also taking up this broad spectrum of color concepts. What they are interested in are new, at first glance more investigative, observant, unemotional approaches that in remarkable actions at times tie the flow of color back into everyday life. They work in part with video recordings and performances. In an almost Pollockian snapshot in time, Tony Tassett squirts chocolate syrup into the air, and Patty Chang physically exposes herself to paint being flung through the room in her Fan Dance.Color in Flux in principle juxtaposes two artistic approaches: color as a means of artistic expression in terms of modernism and the more conceptual, experimental, even antipainterly treatment of color, in particular by younger artists. Yet despite&mdash;or even because of&mdash;these differences, it time and again comes to references and dialogues among one another, but also to the younger artists deconstructing, ironizing, and questioning their older counterparts. What is striking about this is that similar phenomena can obtain extremely different meanings. In the end, what is left is an energy-laden and captivating contrast of various artistic stances that all have one thing in common: the conscious handling of color, which as material, medium, and carrier of meaning above all turns itself into a theme.The Kerber Verlag is publishing a richly illustrated catalogue in conjunction with the exhibition. It includes introductory essays by Peter Friese and Raimar Stange, as well as analyses by Guido Boulboull&eacute; of more than fifty works.The featured artists are: Ai Weiwei &bull; William Anastasi &bull; Arman &bull; John M. Armleder &bull; John Baldessari &bull; Willi Baumeister &bull; Lynda Benglis &bull; Patty Chang &bull; Ron Davis &bull; Brad Downey &bull; Max Ernst &bull; Ceal Floyer &bull; Sam Francis &bull; Helen Frankenthaler &bull; Bernard Frize &bull; Christian Frosch &bull; Tom Fr&uuml;chtl &bull; Katharina Grosse &bull; K.H. H&ouml;dicke &bull; Kristof Kintera &bull; Kitty Kraus &bull; Franz Krause &bull; Gary Kuehn &bull; Morris Louis &bull; Joseph Marioni &bull; Bernhard Martin &bull; Paul McCarthy &bull; Andreas Paeslack &bull; Roxy Paine &bull; Sigmar Polke &bull; Jackson Pollock &bull; Larry Poons &bull; Gerhard Richter &bull; Dieter Roth &bull; Thomas Ruff &bull; Karin Sander &bull; Sarkis &bull; Kazuo Shiraga &bull; Robert Smithson &bull; Oskar Schlemmer &bull; Rainer Splitt &bull; Christian Stock &bull; Tony Tasset &bull; Andr&eacute; Thomkins &bull; Mark Tobey &bull; Rosemarie Trockel &bull; Gavin Turk &bull; Nicol&aacute;s Uriburu &bull; Andy Warhol &bull; Lawrence Weiner &bull; VA W&ouml;lfl &bull; Christine W&uuml;rmell &bull; Peter Zimmermann &bull; Larry Zox

Color in Flux

The exhibition ‘Colour in Flux’ explores how artists since Jackson Pollock have dealt with free-flowing paint. Works by the most important representatives of Abstract Expressionism and Color Field Painting will be compared with works by younger artists. Highlighting the exhibition will be new works developed in situ by Katharina Grosse, K.H. Hödicke, Peter Zimmermann, Nicolás Uriburu, Rainer Splitt, and others.

The Donjon de Vez, a private registered historic monument, will welcome for the first time in France an exhibition of 30 international artists to it&rsquo;s magnificent grounds.Turk has created L&rsquo;age d&rsquo;Or especially for the exhibition. A huge bronze sculpture of a door slightly ajar.This project has been initiated by Francis Briest, auctioneer and president of Artcurial Briest-Poulain-F. Tajan auction house and leader in his area of expertise in Modern and Contemporary Art. Susanne van Hagen, writer, curator and consultant to famous institutions such as the Palais de Tokyo has selected the sculptures of this exhibition.The environment and the medieval architecture will be used in the scenography; the works, mostly monumental and outdoors will fill the park, the garden of landscape architect Pascal Cribier, as well as the XIVth century chapel.Contributing Artists: Stefan Balkenhol, Sebastian Brajkovic, Olaf Breuning, Robert combas, Michael Craig-Martin, Jim Dine, Daniel Firman, Patrick Fleury, Laurent Grasso, Jeppe Hein, Carsten Holler, Kcho, Fran&ccedil;ois-Xavier Lalanne, Fernand L&eacute;ger, Thomas Lerooy, Los Carpinteros, Tony Matelli, Fran&ccedil;ois Morellet, Hans Op de Beeck, Julian Opie, Yazid Oulab, Arne Quinze, Pablo Reinoso, Gavin Turk, Joana Vasconcelos, Bernar Venet.

Small, Medium, Large

The Donjon de Vez, a private registered historic monument, will welcome for the first time in France an exhibition of 30 international artists to it’s magnificent grounds.Turk has created L’age d’Or especially for the exhibition. A huge bronze sculpture of a door slightly ajar.

Beer mats (Or Coasters as they are also known), are a fairly innocuous addition to most bars and pubs. They are as much a part of drinking culture as salted peanuts and beer itself. But, like the local boozer, the beer mat is under threat of extinction. As pubs up and down the country close, we don&rsquo;t only lose hubs of the community, but the many traditions and objects associated with them. It&rsquo;s not only tegestologists (beer mat collects), who should be worried, the decline of the beer mat would mean more than the loss of a convenient bit of paper to put a phone number on at the end of the night if you&rsquo;ve got lucky. If we lose the traditional beer mat we lose a whole world of culture, imagination and dreams. Beer mats for me are similar to alcohol, in that they reflect the good times and the bad in equal measure. The optimism of a great night out and the despair of whatever daily tragedy you care to mention. When I was asked to organise a project at the Bun House, I knew I wanted to do something which integrated artworks with the setting the gallery exists within, The Bun House pub. I wanted something that would be seen by the pubs regulars as well as the arty types who come by for the shows. That&rsquo;s where the beer mats came in. The idea is that for the duration of the project the artists beer mats will be placed on tables in the pub along with regular beers mats. Viewers who come to see the project will be directed to the tables where the artist&rsquo;s beer mats are located in the pub. I love the idea of artists designing beer mats that will actually be used in the pub. I really hope people put their pints on them and that they are the starting point for many debates and conversations. Not just about art, but everything people talk about in pubs. Life, death, politics, football and this very galaxy we call home. Cedar Lewisohn 2011

The Beer Mat Show

Beer mats (Or Coasters as they are also known), are a fairly innocuous addition to most bars and pubs. They are as much a part of drinking culture as salted peanuts and beer itself. But, like the local boozer, the beer mat is under threat of extinction. As pubs up and down the country close, we don’t only lose hubs of the community, but the many traditions and objects associated with them.

The exhibition is an inquiry into the value and status placed on contemporary art and the role it plays in society, regardless of its literal monetary value in terms of the materials from which it is made. For this project, GALERIE8 will be working with artists Gavin Turk, Adam Dant, Terry Castle, Le Gun artists, Matthew Killick and the Last Tuesday Society and Annabel Tilley.

Hackney Hoard

The exhibition is an inquiry into the value and status placed on contemporary art and the role it plays in society, regardless of its literal monetary value in terms of the materials from which it is made. For this project, GALERIE8 will be working with artists Gavin Turk, Adam Dant, Terry Castle, Le Gun artists, Matthew Killick and the Last Tuesday Society and Annabel Tilley.

Water has a great esoteric significance as the source of life. It is the matrix in the form of amniotic fluid and primordial water that preserves, and is the beginning of life. In ancient cosmologies water, as a primordial component, is a vital principle understood as a means of regeneration&rdquo;.What makes the fountains so special? Their style or the water flowing through them? &lsquo;Fountain Show&rsquo;, Reggio Emilia, presents the work of 11 internationally renowned artists, invited by dispari&amp;dispari project to build a fountain. This is not exactly a themed group show, but rather a work in progress that that will define the very concept of the exhibition during the opening days. &lsquo;Fountain Show&rsquo; is a project that has developed over several months through conversations with the invited artists, who have been asked to reflect on the possible styles and values, perhaps even Utopian, of fountains in contemporary society. &ndash; Steven Claydon, Flavio Favelli, Peter Goi, Brian Griffith, Thomas Kilpper, Erik Van Lieshout, Katrin Plavcak, Cullinan Richards, Patrick Tuttofuoco, Gavin Turk, Alterazioni Video and Klaus Weber.This device [that of a fountain], which has historically accompanied humanity in all its&rsquo; progress, has undergone a constant process of transformation that slowly changes its&rsquo; form and valor in a continuous alteration of its&rsquo; roles. For example between its&rsquo; possible social function, collecting and distributing water, as architectural function or as design element throughout a city. The presented works, many of them made especially for the exhibition, will be installed in the exhibitions&rsquo; space &ndash; as if an outdoor garden, and will welcome and entertain the audience with fantastic water games and peculiar sounds. Hair Fountains, organic sculptures, installation, video installation, paintings and drawings are just some of the fountains both real and not real that are at the heart of the exhibition.The exhibition Fountain Show opens the 7th May and will be open to the public until September 18, 2011.For more information about times and opening days please visit www.dispariedispari.org

Fountain Show

Water has a great esoteric significance as the source of life. It is the matrix in the form of amniotic fluid and primordial water that preserves, and is the beginning of life. In ancient cosmologies water, as a primordial component, is a vital principle understood as a means of regeneration”.

The title of the exhibition, Jack Shit!, is an English slang phrase meaning ‘worth nothing’. The self-effacing title belied the humour and pathos in the lovingly crafted pieces presented by Turk as he - through the show - examined his persona as a British artist working in the 21st century.

On display were a number of iconic pieces by the artist including&nbsp;Figure, a human scale maquette, which was later installed amongst the glass cathedrals of the city of London. Nailed into the ground behind the religious iconography of St Pauls, the rusty punk antique mourns the demise of the English working man.&nbsp;Missile is a painted bronze trompe l’oeil of a simple brick, the literal block upon which the establishment has been built removed and reimagined as a projectile to be hurled through the plate glass window of high art. 

The show also included two of Turk’s theatrical installations, reminiscent more of ephemeral museum objet than of art. The first, The Mechanical Turk,&nbsp;was a filmic reenactment of an elaborate 18th century hoax which fooled the most illustrious courts of Europe for over a decade. In the film, the disguised artist is replaying the Knights Move - a strategic yet pointless and circular ritual taking the Knight precisely and technically correctly through every square on the chess board.

Waiting for Gavo presented the audience with four sinister ventriloquist’s dummies, relics of a play written, directed and produced by the Turk studio in a loose adaptation of Samuel Becket’s Waiting for Godot. The handmade puppets are based on historical art figures: Marcel Duchamp, Joseph Beuys, Andy Warhol and the infamous art dealer, Scratchy. The labyrinth of history and art history, meaning and meaninglessness, reality and unreality is underscored by the paradoxical role of the artist as puppet.

Jack Shit!

The title of the exhibition, Jack Shit!, is an English slang phrase meaning ‘worth nothing’. The self-effacing title belied the humour and pathos in the lovingly crafted pieces presented by Turk as he - through the show - examined his persona as a British artist working in the 21st century.

The title of the show was taken from an image at its centre, a map of the world traced in the lines and patterns of peeling paint as if on a cell wall. The map, created from human refuse, navigates a society of supermarket shoppers through the detritus of their own consumerism. The show played with the transcription of dimension, of surface on form and form on surface.

The exhibition presented works produced between 2003 and 2011 including Transit Disaster Red (2010), displaying the working-class symbol of the white van through Warhol’s gaze, and Missile (2010), one of Turk’s signature painted bronze trompe l’oeils of a brick and the artefact of a revolution that never occurred.

The detritus of the street was explored through Pavement (2008), a section of broken concrete pavement immortalised as painted bronze, and The Beach (2010), a brass rubbing of a London pavement playing the role of sandy shores.&nbsp;Also on display were Turk’s Fresh Window series (2011), a droll take on Duchamp’s leather-bound sculptures, obscuring the rhetorical transparency of the window’s form with the opaque reality of the painting. 

An exquisite sculptural series including a small matchbox, an apple core and a toilet roll were on display, formed from the clay clodding of England’s ‘green and pleasant land’. The basic material formed the substance of a room filled with the most violent of Turks works, artefacts of a series of performances in which the artist invited audiences to resculpt slip clay casts of his head.&nbsp;The resulting images are bashed and torn and disfigured, revealing the innate desires of a public to destroy and corrupt rather than decorate and embellish.

&nbsp;

Before the World Was Round

The title of the show was taken from an image at its centre, a map of the world traced in the lines and patterns of peeling paint as if on a cell wall. The map, created from human refuse, navigates a society of supermarket shoppers through the detritus of their own consumerism. The show played with the transcription of dimension, of surface on form and form on surface.

The exhibition title refers to the themes of authorship, authenticity and celebrity that Turk explored in Warhol, Evlis, Gavara and Transit Disaster series. Surpassing appropriation, Turk’s canvases are pure simulation. By confronting the legacy of 20th century pop culture, Turk hijacked 1960s future-thrust aesthetics as a template for contemporary anxiety.

In the silkscreen prints displayed, the composition, subject matter and style are the product of perpetual re-enactment of modern mythology. The artist’s self-portraits play with ideas of substitution and ownership, as each star’s lionised image becomes is commodified and packaged for Hollywood, Warhol and eventually Turk himself. 

Styled on Warhol’s car crashes, Turk’s Transit Disaster series exceeded Warhol’s transfixing horror of banality. Substituting Warhol’s road side wrecks with the image of a torched transit van, Turk entwined ideas of social decline into Warhol’s glamorous oeuvre.

Me As He

The exhibition title refers to the themes of authorship, authenticity and celebrity that Turk explored in Warhol, Evlis, Gavara and Transit Disaster series. Surpassing appropriation, Turk’s canvases are pure simulation. By confronting the legacy of 20th century pop culture, Turk hijacked 1960s future-thrust aesthetics as a template for contemporary anxiety.

The exhibition brought together 16 rising and acknowledged contemporary artists who had all – in their own ways – contributed to the strategy of the wax sculptural praxis.

The sculptures in the show reflected experiments with sensation, immediacy and dialogue. In the light of the evolving sensory praxis, the exhibition, in a compelling and thought-provoking way, produced new experiences of wax as a sculptural material and media for depicting the important issues of our time.

The artworks in the exhibition were grouped according to their cognitive similarities. The themes were: Performing the Iconic, On the Edge of Being, Sensation in WAX, and Body Horror. The wax artworks of the exhibitions had a varying expression, from superrealism, where the sculpture has a surprisingly lifelike presence, to the abstract and minimalistic, where the focal point is the immediate expression of the artwork in relation to the senses of the spectator. Common to all the works in the exhibition is a critical reflection on the historical genres, motifs and expressions of sculptural praxis. Four artworks were created specifically for the exhibition by Christian Lemmerz, Andro Wekua and Emil Westman Hertz as well as Turk’s Somebody’s Son.

The participating artist were: Vanessa Beecroft, Hilary Berseth, Maurizio Cattelan, Michael Elmgreen &amp; Ingar Dragset, Robert Gober, Emil Westman Hertz, John Isaacs, Oleg Kulik, Christian Lemmerz, Kirsten Ortwed, Anne Schneider, Gavin Turk, Brigitte Waldach and Andro Wekua.

Wax, Sensation in Contemporary Sculpture

The exhibition brought together 16 rising and acknowledged contemporary artists who had all – in their own ways – contributed to the strategy of the wax sculptural praxis. The sculptures in the show reflected experiments with sensation, immediacy and dialogue. In the light of the evolving sensory praxis, the exhibition, in a compelling and thought-provoking way, produced new experiences of wax as a sculptural material and media for depicting the important issues of our time.