DENIS MASI 1968-1972

Denis Masi 1968-1972, curated by Andrée Cookeand Dan Edwards, is a segment of works which celebrates some of Masi’s most significant performance and photographic pieces from that period. 

In 1968 Denis Masi started presenting himself in his pieces as the subject, using his body as material for creating art works, during which time Body Art became an international trend. Throughout Masi’s career he has been drawn to the subject of performance and the theatrical, whether in the form of photographic ‘private’ and public performance or extending this into large-scale installations. ‘Performance is not (and never was) a medium, not something that an artwork can be, but rather a set of questions and concerns about how art relates to people and the wider social world’, (Jonah Westerman, 2016, art). Indeed, Masi’s works question these roles. 

His 1970s performances, or ‘body-works’ were primarily to camera, in which he explored psychological and physical ways of being, both alone and in relation to another person. His 1970s performance pieces, underpin recurrent ideas throughout Masi’s later career, which continues to demonstrate an interest in the shared human experience of questioning and resisting. 

Masi’s artwork and reputation from the 1960s to the 1980s became affiliated with the artistic movements in Europe of that time, and with the genres of Performance and Installation Art. As testament to his significance Masi’s pieces were exhibited in solo presentations in England at Camden Arts Centre (1969), The Arnolfini Gallery, Bristol (1976), ICA (1979 and 1984), and The Serpentine Gallery (1988). 

The exhibition is at Darbyshire London, N1 from 26th April to 27th July 2017, viewing by appointment only. 



The Estate of Rose Finn-Kelcey proudly announces the first posthumous exhibition of works by the highly acclaimed and influential artist Rose Finn-Kelcey (1945–2014). Life, Belief and Beyond at Modern Art Oxford.

Life, Belief and Beyond focuses on Finn-Kelcey’s explorations of power, performance, political commentary, and perceptions of the self, belief and spirituality.

The exhibition presents works from the early 1970s to 2014, including Divided Self (Speaker’s Corner), 1974; The Restless Image: a discrepancy between the seen position and the felt position, 1975; Glory, 1983; Bureau de Change, 1987; and It Pays to Pray, 1999. These examples of Finn-Kelcey’s diverse and exacting practice are presented alongside photographs, collage, performance documentation, preparatory material and sketches in progress – never before exhibited.

Finn-Kelcey’s work is conceptually powerful, profound and is characterised by a dry wit that belies the formidable intelligence and deep humanity that drove her practice. A central figure in the performance and feminist art scene in
Britain for over four decades, her work is intimately concerned with social dialogue, populism, activism, and how these tools of communication intersect with complex systems of power.

Finn-Kelcey’s far-reaching influence on conceptual art in the 1970s and 1980s extended locally to the generation of YBAs (Young British Artists) in the 1990s as she began to realise large-scale and technically complex installations. Avant-garde in her ideas both in art and politics, Finn-Kelcey’s endlessly inventive practice demonstrates the artist’s interest in creating socio-political statements with a visually arresting quality, often object-based, frequently combining her creative investigations with contemporary technologies.

Life, Belief and Beyond is a celebration of Finn-Kelcey’s work and pays tribute to her extraordinary practice and

Modern Art Oxford, 30 Pembroke Street, Oxford OX1 1BP



Revolt of the Sage is an exhibition featuring sixteen artists that takes its title from a work by Giorgio de Chirico painted in 1916.

Selected curated pieces reflect a ‘metaphysical interior’, crowded pictorial spaces overflowing with ephemeral things. Picking up on de Chirico’s vision of a ‘metaphysical interior’, Revolt of the Sage gathers a range of artists who use collage, juxtaposition, fragments, framing devices and layered imagery to explore ruptures in time and the alluring mysteries of the everyday. 

Andree Cooke is proud to announce that a selection of works by Simon Moretti, developed with her, will be on show at this exhibition. For private studio visits or exhibition tours please contact

Pictured: Paloma Varga Weisz, Woman, boarded, 2015, Courtesy of the artist and Sadie Coles HQ, London



Having introduced Linder to Dovecot Studios in 2013 the resulting collaboration  
 Diagrams of Love: Marriage of Eyes will feature in the British Art Show 2015, opening in Leeds City Arts Gallery from 9th October. 

Northern Ballet Performance, incorporating Diagrams of Love: Marriage of Eyes in Children of the Mantic Stain, Broderick Hall, Leeds City Museum, 20 November 2015

Image credit
Linder Sterling, Diagrams of Love: Marriage of Eyes (detail), 2015, rug created at Dovecot Tapestry Studio with Jonathan Cleaver, Vana Coleman and Dennis Reinmüller, image courtesy Dovecot Tapestry Studio, Stuart Shave/Modern Art, photo credit Michael Wolchover.