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Nathaniel Mellors: Bad Mantra (with Erkka Nissinen) 2–24 February 2019 | Ourhouse E3 feat. BAD COPY 18 April–27 May 2012 | Profondo Viola 8 September–31 October 2004 | Black Gold 7 February–1 April 2001 | Editions | Publications | Artist’s Website
|Nathaniel Mellors | Profondo Viola, 2004 | installation with video, sound, light and sculpture|
Since September 1979, Matt’s Gallery has been inviting artists to make work for the space in which it is to be exhibited. Nathaniel Mellors produced Black Gold at Matt’s Gallery in 2001; a cavernous lounge containing eight different takes on TV formats, from nature programme and game show, to serial-killer documentary. Profondo Viola (Deep Purple) extends Nathaniel Mellors’ interest in mainstream entertainment, mediation and immersion, and more specifically entertainment in relation to gallery-based art.
Profondo Viola is a cluster of humorous and satirical 16mm film, video and sound works, sculptures, props and lighting effects. Writing and editing his own music and scripts, Mellors has constructed and processed his own artwork and draws on the work of others, such as critical entertainers and artists Jean-Luc Godard, Spike Milligan, Wyndham Lewis and Throbbing Gristle. All of his films have original, coherent and structured plots at their core that gradually disintegrate and unravel over time. Real and fictional characters wrestle with language and environments that are slowly breaking down. There are several characters that drive the work, including a ‘man’ that investigates the progressive rock genre as a cover for political evil (Lab 75). In Swiss Village – a socio-political manifesto against global politics set inside a local supermarket – an unknown voice makes a series of increasingly absurdist declarations repeated to the point of destruction by a beautiful foreign female subject. In parallel to the film works, an equivalent process of erosion and disintegration takes place within the music and other visual structures of the exhibition.
A swimming pool, fantasy grotto and other objects invite the opportunity for
meditation and retreat. Pools and caves are familiar sculptural devices in film
and theatre symbolising solace and escape. These props also have negative connotations
as sites for death, horror and destruction. Within a gallery/studio environment,
these sculptures are able to function on a number of levels, as immersive spaces
able to suspend disbelief, as formalist sculptures up for artistic scrutiny,
and as abstract containers. The Maggot - a sculpture ‘eaten from
within’, pinpoints the part vicious, part humorous and disruptive world
of Profondo Viola.
This exhibition has been generously supported by The Elephant
Trust, Arts Council England, The Henry Moore Foundation and Univerity of the
Born Doncaster, England 1974, Lives and works in Amsterdam & London. Studied 1999–2001 Royal College of Art, London and 1996–1999 Ruskin School, Oxford University Solo Exhibitions & Performances 2011 Nathaniel Mellors - The Nest, Cobra Museum, Amstelveen, Netherlands; Giantbum, Performa Biennial 2011, Greene Room, New York; Nathaniel Mellors: Ourhouse Episodes 1 - 3 (screening) with inter-episodic live performances by God In Hackney & Socrates That & Socrates That Practices Music for Junior Aspirin Records; Performa Biennial 2011, New York; :Hypercolon:, SMART Projects, Amsterdam; Nathaniel Mellors: Ourhouse, ICA, London 2010 Ourhouse, De Hallen, Haarlem; The 7 Ages of Britain Teaser, Kiasma, Helsinki; The 7 Ages of Britain Teaser, MONITOR, Rome; Fun Palace (with Junior Aspirin Records), Centre Pompidou, Paris 2009 Volatile Dispersal, Whitechapel Gallery, London; Giantbum, Lombard Fried Projects, New York; Giantbum, Stedelijk Bureau, Amsterdam; The Time Surgeon, South London Gallery 2007 The Ill-Tempered Manifesto, Manifesto Marathon, Serpentine Gallery, London (performance); Nought to Sixty, ICA, London (Junior Asprin Records performance); The Timesurgeon, Artsway, Sway, Hampshire; The Lowry Block, Berwick Gymnasium Gallery, Berwick-upon-Tweed (withdrawn) 2006 First Blood Japan, Performance at Ikebukuro Festival of International Art, Tokyo (Grizedale Arts Commission); Hateball, Alison Jacques Gallery, London 2005 Nathaniel Mellors/Maaike Schoorel/Ibid Projects, Vilnius, Lithuania; Hateball, Collective Gallery, Edinburgh; Brain One/Mózg Jeden, Galeria Potocka, Cracow, Poland; The Pink Mist, Playstation, Galerie Fons Welters, Amsterdam, Netherlands 2004 Profondo Viola, Matt’s Gallery, London; The Landscape Critics Limp, Modern Art Oxford (with Ashley Marlowe); 2003 Prince Lightning – The Long Scratch, touring: The Changing Room, Stirling, Scotland; Turnpike Gallery, Leigh; The Brewery, Kendal [publication] 2001 Black Gold, Matt’s Gallery, London Selected Group Exhibitions 2011 British Art Show 7 - In The Days of the Comet, touring: The Slaughterhouse, Plymouth; CCA, Glasgow; Hayward Gallery, London; PQ2011 - Prague Quadrennial of Performance Design and Space, Prague; La Biennale di Venezia - 54th International Art Exhibition - ILLUMinations; Un’Expressione Geografica, Fondazione Sandretto Re Rebaudengo, Turin; Narrative Show, Eastside Projects, Birmingham; The Big Society, Galerie Georges-Philippe & Nathalie Vallois, Paris; Thinking Through Cinema (Deep Red), LUX Projects; Glasgow Tramway; 2010 British Art Show 7 -In The Days of the Comet, touring: Nottingham City Art Gallery; More Pricks Than Kicks, David Roberts Art Foundation, London; Hey, We’re Closed! - Hayward Gallery, London; Thinking Through Cinema (Deep Red), Artissima, LUX Projects 2009 The Time Surgeon, De Hallen, Haarlem; The Time Surgeon, New Forest Pavilion, Venice Biennale; Contour Biennial of Video Art 2009, Mechelen, Belgium; Altermodern, Tate Triennial 2009, Tate Britain 2008 Art Now, Tate Britain, London; Deep Screen Art in Digital Culture: Proposal for Municipal Acquisition 08 , Stedelijk Museum CS (SMCS), Amsterdam; Agrifashionistas, Arts / A Foundation, Rochelle School, London 2007 Expect Nothing, Gallery for One, Dublin; Open 2007, Rijksakademie van Beeldende Kunsten, Amsterdam; 00s THE HISTORY OF A DECADE THAT HAS NOT yet BEEN NAMED, Biennale de Lyon 2007, Lyon; The Present Order is the Disorder of the Future, De Hallen Haarlem, The Netherlands; Design for Living, Initial Access, Wolverhampton; The Return of the Seven Samurai, Galerie Lucy Mackintosh, Lausanne, Switzerland; Final Exhibition at 4 Clifford Street, Alison Jacques Gallery; The Scandinavian Underground...here...now, De Praktijk, Amsterdam 2006 Minotaur Blood, Jonathan Vyner / Fortescus Avenue, London; OHR, (performance), Virtually Grizedale, A Foundation, Liverpool Biennale; Tokyo Rambo, (film screening), Virtually Grizedale, A Foundation, Liverpool Biennale; Tokyo Rambo, (performance), Grizedale Arts programme at the Ikkebukuro Festival of International Art, Tokyo, July; Sculpture Garden, Phoenix Garden, London 2005 Encore, Byuk Londra Oteli, Istanbul Biennial; If You're Feeling Sinister..., Alona Kagan, New York Offside, Dublin City Gallery the Hugh Lane, Dublin 2004 Romantic Detachment, PS1, New York; Trailer, Man in the Holocene, London; No-How, Collective Gallery, Edinburgh; 2003 Pod War (The Landscape Critics), ‘Leave The Capitol’: Frieze Art Fair Film and Video Programme, London; We’ll Meet You In The Lobby, Londra Hotel, Istanbul Biennial, Istanbul; Someplace Unreachable, IBID Projects, London; Spiritual Hunger, Daniel Silverstein, New York; Senso Unico, Italia Telecom Building, Venice Biennale; Roadshow, Grizedale Arts and touring [publication]; 2002 Lets Roll, Apex Arts, New York; Junior Aspirin Promotional Video, Galerie Diana Stigter, Amsterdam; Band in Crisis (with SKILL 7 STAMINA 12), Cooper Gallery, Duncan of Jordanstone College, Dundee, Scotland [publication]; Nathaniel Mellors, Dan Perjovschi, A. Araminas, IBID Projects, London; It Rocks But Gently, Folly Gallery, Lancaster 2001 An Elephant Station, Vilma Gold Gallery, London 2000 Bloomberg New Contemporaries 2000, Milton Keynes Gallery and touring [publication]; Additional Research Into the Phenomenon, Glasgow Project Room, Scotland 1999 New Contemporaries ’99, Exchange Flags Building, Liverpool Biennial of Contemporary Art, South London Gallery [publication] Commissions, Residencies & Awards 2011 Cobra Art Prize 2008 Montehermoso Visual Arts Grant 2007 Rijksakademie van Beeldende Kunsten, Amsterdam Production Residency, ArtSway, Sway, Hampshire 2006 Berwick Gymnasium Fellowship, Berwick-Upon-Tweed 2002 Artist’s Work Residency, Grizedale, Cumbria 2001 Slot Art (with Barney Mellors), 3-minute commission for Channel 4, June
2012 Irene de Craen, ‘Nathaniel Mellors’ Frieze online, 13 January 2012 2011 Alastair Sooke, ‘Culture Review of The Year: The 5 Most Promising Artists of 2011 – In Pictures’, The Telegraph, 16 December 2011; Colin Perry, ‘TV Makeover’, Art Monthly 352, Dec 11 – Jan 12; J.J. Charlesworth, ‘Looking Back, Looking Forward: 5’, Art Review, December; Barbara Casavecchia, ‘Un’Espressione Geografica – Fondazione Sandretto Re Rebaudengo’, Frieze, September 2011; Nathaniel Mellors’ Muse Music, phaidon.com, 16 December 2011; Richard Dorment, ‘Venice Biennale: In every pavilion, a parallel universe’, The Telegraph, 6 June 2011; Adrian Searle, ‘The Venice Biennale’s Balance of Power’, The Guardian, 6 June; Joerg Heiser ‘Postcards from Venice No.5 – Surrealist Pro-Enactments’, Frieze Editors’ Blog, 6 June 2011; Charlotte Higgins, ‘Venice Biennale’, The Guardian, 31 May 2011; Steven Cairns, Nathaniel Mellors – Institute of Contemporary Arts, Artforum.com Critic’s Picks, 2 May 2011; Laura Cumming, ‘Nathaniel Mellors: Ourhouse - review’, The Observer, April 2011; Brian Logan, Ourhouse gives art & comedy a twisted new home, guardian.co.uk, 10 March 2011; Coline Milliard, ‘Nathaniel Mellors: Killer Serial – The British artist brings television into the gallery’, Modern Painters, March 2011; Gabriel Coxhead, ‘Nathaniel Mellors, ICA’, Time Out, March 2011; Martin Herbert, 'Now See This' Art Review, March 2011; Ossian Ward, ‘British art burns bright’, Time Out, 3 March 2011; Laura Mclean-Ferris, ‘National Treasures’, The Independent, 21 February 2011 2010 Laura McClean-Ferris, ‘The Year In Review: Best Visual Arts of 2010’, The Independent, 24 December 2010; Sean Ashton, ‘British Art Show 7: In the Days of the Comet’, Map # 24, Winter 2010; Francis McGee, ‘Interview with Nathaniel Mellors’, Metropolis M, No.5 Oct-Nov 2010; Laura Cumming, ‘Comic, historic, poetic, clever’, The Observer, 31 October 2010; Jacky Wullschlager, ‘Caviar and chewing gum’, Financial Times, 30 October 2010; Adrian Searle, ‘Have I got spews for you’, The Guardian, 26 October 2010; Artist’s Project, Frieze, Issue 133, September 2010, pp. 103–107; Colin Perry, ‘Gargantuesque Mellors’, Catalogue, Issue 4; Rebecca Davies, ‘The Long History of Short Films’, Telegraph (Culture), 18 April; Joerg Heiser, ‘Berlin Highlights’, Frieze editor’s blog, April 2010 2009 Tyler Coburn, ‘Nathaniel Mellors, Giantbum, Lombard-Freid Projects, New York’, Art Review, June 2009; Matthew Collings, ‘Getting to the Heart of God’s Bottom’, Modern Painters, May 2009; Edgar Schmitz, ‘Tate Triennial 2009’, Artforum, May 2009; Jonathan Jones, ‘This Altermodern Love’, Jonathan Jones, The Guardian online, 17 April 2009; Jorg Heiser, ‘Altermodern,-Tate Triennial’, Frieze, April 2009; Colin Perry, ‘Altermodern - Tate Triennial’, Art Monthly, March 2009; Dan Fox, ‘Altercritics’, Frieze Editor’s Blog, February 2009; Nicolas Bourriaud, interview, Metropolis M, February 2009; Charles Darwent, Altermodern: Tate Triennial, Independent on Sunday, 8 February 2009; Adrian Searle, Altermodern review: ‘The richest and most generous triennial yet’, The Guardian, 3 February 2009; ‘Tate Triennial 2009, Tom Morton interviews Nicolas Bourriaud’,Frieze, January 09; 2008 Melissa Gronlund, Focus London, Flash Art International 262, October 2008; Louise Cohen, ‘Meet The Art World’s Stars of Tomorrow’, The Times, 4 October; Jonathan Griffin, The Way in Which it Landed, Frieze, August 2008; Louisa Buck, Matt’s Gallery – Gallery Profile, Art World Issue 5 June/July 2008; 2007 Ryan Gander, ‘Best of 2007 – The Artsist’s Artist’, Artforum, Dec 2007 Skill 7 Stamina 12, Everett True, Plan B Magazine, March; The Compiler, Michael Bracewell, The Wire, March; Best of 2006, Jennifer Higgie, Frieze no. 104, Jan-Feb 2006 London, Eliza Williams, Flash Art International no.249, July-September; Artist's project, Untitled no. 38, Summer 2006; Nathaniel Mellors, Steve Beasley, Untitled no.38; Nathaniel Mellors, Martin Herbert, Artforum, May; Nathaniel Mellors: Hateball, Modern Painters, April; Prisoners of Art, Graham Hassell, What's On in London, February; Nathaniel Mellors, Guardian Guide, February; Jane Morris and Gareth Harris, The Art Newspaper, Feburary; Hateball, AN Magazine, September; Hateball, Jessica Lack, Critic's Pick, Gaurdian G2, July 2005 Nathaniel Mellors interview, Jean Wainwright, Audio Arts Magazine; Volkskrant, Amsterdam, March; Nathaniel Mellors, Cameron Irving, Untitled, Number 33 Spring; Nathaniel Mellors, Sally O’Reilly, Frieze, Jan-Feb 2004 ‘Picks of the Week’, Craig Burnett, The Guardian, 25 October; Alt Rock, The Wire, August; Nathaniel Mellors, Martin Herbert, Time Out, 13-20 October; Marcus Field, Independent on Sunday, October; ‘Critics Picks’, Emily Pethick, Artforum Online, October; The Mighty Mellors, Arena magazine, September; ‘Agenda 06_04’, Arena magazine, June; ‘The Arena O2 X Club Nominees’, Arena magazine, Feb 2003 Someplace Unreachable, Edgar Schmitz, Kunstforum p.345/6, Nov/Dec; Roadshow Catherine Wood, Art Monthly, September; Prince Lightning The Long Scratch, ‘New Releases’, Rough Trade Records, 25 August; Mellors’ Music Man Art, Fashion UK Magazine, 22 August; Bootleg, Jessica Lack, The Guardian Guide, 12-18 July; Nathaniel Mellors, Robert Clark, The Guardian Guide, 28 June – 4 July; Prince Lightning – The Long Scratch, ‘Previews’ A-N Magazine, July; Rap Star from the Sticks, Richard Smirke, Metro, 13 Jun; Inside the Mind of a Pop Icon, Leigh Reporter, 12 June; 2002 Dan Perjovschi, Nathaniel Mellors, Tom Morton, Untitled, Autumn; Dan Perjovschi, Nathaniel Mellors, Gabriel Coxhead, Contemporary, July/August; Dan Perjovschi, Nathaniel Mellors, Morgan Falconer, ‘What’s On’, April; Dan Perjovschi, Nathaniel Mellors, Sally O’Reilly, Time Out, 1724 April 2001 London Pats Itself on the Back, Mark Harris, NY Arts, Vol.4, May; ‘London’, Dan Fox, Bujitsu Techu, May; Michael Ellis, Frieze, May; Michael Wilson, Art Monthly, April; Simon Pooley, Varsity Magazine, March; John McEwen, Sunday Telegraph, March; Nathaniel Mellors, Martin Herbert, Time Out, 14-21 March; Sinister Side, Stephen Palmer,[a-n] MAGAZINE, March; ‘Previews London’, Charlie Ayres, Art Review, Volume LIII, March; Black Gold, Simon Pooley, ‘Culture’, The Independent on Sunday, 25 February 2000 ‘Editor’s Letter’, Charlotte Mullins, Art Review, July/August; From Wit to Witlessness, Richard Dorment, Daily Telegraph, 28 June Selected Publications 2011 Nathaniel Mellors – The Nest; Nathaniel Mellors, Dan Fox, Chris Bloor; Cobra Museum, Amstelveen; ILLUMInations: 54th International Art Exhibition La Biennale Di Venezia, ed. Bice Curiger; Roland – The ICA’s Magazine, Issue 9, February – May 2011 2010 Nathaniel Mellors - Book A or MEGACOLON or For & Against Language, John C. Welchman, Mick Peter & Nathaniel Mellors, Onomatopee Publishing; British Art Show 7 – In The Days of the Comet, Tom Morton & Lisa Le Feuvre, Hayward Gallery Publishing 2009 Nathaniel Mellors - Giantbum, Newsletter No.110, Jelle Bouwhuis, Nicolas Bourriaud, John C. Welchman, Stedelijk Museum Bureau Amsterdam; Serpentine Gallery Manifesto Marathon, Serpentine Gallery / Koenig Books; Altermodern, Nicolas Bourriaud, Tate publishing 2007 Nathaniel Mellors – B.OK, text + work / the Arts Institute at Bournemouth; 00s THE HISTORY OF A DECADE THAT HAS NOT yet BEEN NAMED, Biennale de Lyon 2007, JRP-Ringier; The Artist’s Joke, The Whitechapel Gallery & The MIT Press, Documents of Contemporary Art, Edited by Jennifer Higgie 2004 Profondo Viola, exhibition catalogue, first 1000 copies include free one-sided 7" ‘Moondoghuis’, Matt’s Gallery, London 2001 Black Gold Guide, multiple, collaboration with Dan Fox, Matt’s Gallery, London 2000 Bloomberg New Contemporaries 2000 1999 New Contemporaries ’99