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ln the studio RichardGalpin Exhibitions

Richard Galpin takes large-scalephotographs ofthe urban landscapeand excises them with a scalpel,removing parts ofthe surface layer ofphotographic emulsion to createintricate imagery that plays withcolour, perspective andfigurative/abstract meaning. Theworks in his newexhibition 'Elevation'are based on images ofdensecityscapes, including London and NewYork. He has a studio in Southwark.

So are you creating images oreradicatingthem?'Both. I've always been interested in

the process oferasure in art but I'malso interested in the erasure ofcities -destroying somethingold to buildsomething new- and the waythatthe

imagination can visuallyfill in the gapswhen something is incomplete, tomake itwhole again.'

Do the new works depict future cities?'They are more about urbanism thanarchitecture. I wanted to createstructures that looked futuristic andpossibly post-apocalyptic, but areactually made outof the city as it is now.ln these works I also wanted toincrease the visual tussle between theperspective of the original image andthe false depth I'm creating in thenew image.'

Which particularcities interest you?'Sao Paulo in Brazil is one. Afewyearsago the mayor banned all outsidebillboard adveftisting. When theposters were removed what remainedwere the empty, scaffolding-likeframes, so the city landscape itselflooked like it had been excised.'

How fiddly is yourworking process?'lt's importantto me to work physicallyon the photographs, ratherthan createthe images on a computer, because thefinished work retains the differenttextures and reactions to the light.I used to work with the scalpel veryintuitively but now I tend to plan more. lnthe past ltried, but if the image doesn'twork, you can't stickthe bits ofphotograph back on!'lnterview and poftrait: Helen Sumpter.'Elevation'by Richard Galpin is showingatHales untilMay 2 (see King's Crossto Shoreditch).

How to use the listings* Denotes an exhibition or event weparticularly recommend.FREE All venues and exhibitions arefree unless otherwise indicated.NEW Denotes a new opening.J lndicates a late opening (after7.30pm).> Before a date denotes a closingdate; after a date denotes a startingdate.

How to be listedPlease send to Art Listings or email(an@timeout.com) details of yourexhibition or other event by 12noonMonday nine days beforepublication. lnformation must includeany admission charge, times, datesnearest e/raillbus and telephonenumber that we can publish. Listingsare free but, as space is limited,inclusion is not guaranteed. Late orincomplete submissions will not beincluded.

Maiorspaces& institutionsBarbican Centrea 0845 120 7550. silh st, EC2Y SDS. Barbican. Mah gallery Mon, Fri, Sal, S:elt11run-Bptn, Tue and Wed until6Pm, Thurtntil 10Dm: The Curue Dai$, l lavvgpvl.

survey of the infl uential Srviss polymath'sinteriors, drawings, f umiture, paintings andsculpture, in addition to his utopianarchitectural models and designs. )May 24.

* Peter Goffin Installation of projectedvideo footage ofJapanese gardens withsculpturesandsound, in theCurue. )May 10.

British MuseumJ 020 7323 81 81.4,1 Great Russcll St,WCIB 3DC.e Hohorn/Russcll Sq.b ri t islznt tt se tr n.org : Sat - We d 1 0o m -5. 30 p nt,Thur & Fri 11am-8.30pnt (selected gallericsor4y'.World class p rmanentcolleetion ofart and artefacts from ancientand livingcultures.

The lntimate Portrait Over lS0Britishportraits in pencil, chalks, watercolours andpastels, from the 1730s-1830s. >May 31.

x Shah'AbbasJl 2. concs and 16-18yeors {10.Thethird in the series of fourgreal reigns explores 'The Remaking of Iran'by seventeenl h-century leader Shah 'Abbas.>Jun 14.

ffiJ 020 7472 5500. Arhnright Rd, NW36DG.Q Finchky Rrl. Tue-Sun 1)ant-6[nt,Wedattil9Pnt.

* Liz Arnold A posthumous showfor thelate 1990s London painter. )Apr 19.

Marcea Cantot Installation includinglive peacocks and flying carpets. )Apr 19.

Dulwich Picture Gallery020 8693 5254. Tcallery Rd, SE21 7AD.West Dulwichrail. Tue-Fri l)arn-Spm, Sat,Sun &banhholiday Mott 1Lon-SDm;Dtr! tobrrmoncttl rolhction and cxhibilion !-9,'spniors

!'H. cottc "fJ, rhiklrcn Irrc. England'soldest public art gallery's permanentcollection includes fine paintings byGainsborough, Murillo and Van Dyck.

i( Sickert in Vonice )NIay 31.See Reuiaus

The Hayward

Robert Fry

****AlexiaGoetheMayfair to Sloane Square

Everyone knows that the bestfigurative art goes beyond merelikenesses, but what exactlyconstitutes a captivating imageabove or instead of mererepresentation is often difficult topinpoint. So too is the spark in therelationship between artist and sitter.On one level the work of Robert Fry,a young London painter whose

intriguing solo debut prornises greatthings, suggests that little more thana kind of static fills the air betweenpainter and model. Surroundingmany of the figures in these printsand paintings are extended doodles -repeated figures of eight that read aschainmail, or the word'headfucker'written over again. Yet int imationsof distraction, frustration orpsychological isolation are not Fry'schief concern. Leading us back toPicasso via the spatial experimentsand fine line of David Hockney, Fryextends and contorts space so thatoften the artist and model appear tomorph into one another, while theviewpoint leavesus positioned high above them,looking down.

Fry has found a fruitful way ofusing the traditional skills shunnedby most artists of his age. While hisetchings lend themselves to crispexaggerations of facial expressionand posture, the best of his canvases,such as'Drawing Room Study 5',contain painterly expressionismwithin highly schematised designsso that the results are map-likeabstractions of an encounter.The lighter they become, the moreconvincing they seem.Marthr Coomer

a 0871 663 2519. Soutltbartk Cerilre, SEl8XZ. Waterloo. Dail! 10am-Gbtn, Fri untill]btn; {9:60+ !8, concs, sttrdpnts, 16-18s!6, under-l6s !4.50: under-12s (out ofschool hours), Southbanh nrcmbers free.

'Drawing Room Study 5',2008

t( Annette Messager >NIay 25.Sec h'etien

* Mark Wallinger Curates: TheRussian Linesman Thebest pieces stand,: :theirown merit and includeatinyphotoof nrgenerals caught in the firing line, one of whon:shouldn't be in thedoctored death squad, anciAemout Mik's collation of below-the-lineBosnian war fcrotage left on the cufting'roomfloor. There'salsoa disorientingconidorb]'Monika Sosnowska and Amie Sie.gel'srrnderful'BerlinRemake'. in rvhichshere-shurts Cormunist propagandafilms from theEast, in post-wallTechnicolor. (OW) )May.1.

Uiino and The RotatorsFizz. Soundsculpture installat ion made wil h dontesticappliancesand DJ mixingdecks, in theProject Space. )-{pr 24.

tcAJ 020 7930 36J7. The Mall, SWIY SAH.Q Charing Cross. Dail I2ttoort-7fm, Thuruntil 9Pnt.

Sean Snyder In a re-sequencingofa'60sSoliet propaganda film, the point is toquestion liotir ns of r.uriversal artistic values(the filnr dcpicrs \ arious sorts ofarterhibiti, m r. ih,,ugh unfortunatell' the resultfeels slighth. c, mfused and turgid. Muchmore successful is a -.tudl'ofcontemporaryu ar rep( [ tagr: nragazine imagesandanrateur i(,oiagc ir(,m the Afghanistanandh aq inlasir,ns. c,,nrbined rvith a thoroughlvfascinaiing c, rr]nlcnra4- aboutph' ,l,,gnlrlrr - rdr' ,1, 'gicrI implication\\'ithinschcn:cs iri,rporate.cornmercialandtechn,rl, ,giczrl e, ,1, ,;risatiut. (GC) > Apr 19.

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a o2t t l.':, ,. .'.: . :r -llurtin's Place,l1'C2H t tHE e (; ;r:try Cross. Dai$ 10arn-ripilt. Ti::t, r :', ,;.::. !p,t. Extensivepermanent collection oL portraitsrecording ir r' ..1;s''f thmousfacesfrrmpolitics. ir:s:, :-. :.:r:: culture.

Constable Portraits: The Painteland hisCircle :.;' ncs {'J.50/{1.Fiftyrediscolcl.i ;,::c -.:c,, ir )usl)' unseenportr aits b1' :i:. :.:: i.: 3 rrr celebrated for hisfamous landsc:i1.:. )Jun 11.

* Gerhard Richter Portraits/8,iuil.i L ; Li ;. ft 1. f.1-; . -1,,11 pyr,granrmaticst\-le has itself b.., ,me a sirle. t ith thepornaitscun.ntir, nsh,,rrsuntntingupbutone particular aspeci ,rf his career: theblurred snapshrrt i.r'it large. Elen post-Photosh,4r. rhcr d, ':r't disrppoint. Longbefore the norr lanri)iar pixellating ofimages, Richter dragged his brushwork togently distcrrt figure-. and faces into freeze-framed pauses. :pearral presences at once onthe nrove and 1'et plarrred back in black-and'rvhite time someq.here. (OW) ) May 31.

Parasol{,inii020 7490 7373. 1J WhatfRd, N] 7RW.e Okl St. Tue -Sat 1()ant-6Pn, SunlZnon-SPnt.

tK Robert lllanElold Mangold appearsacutely aware ofpaint as both symbol ofproductionand matel ial substance: theechoes ofabstraction past as one coloursings against another or the ivay a patchilyrendered srvatch might break up anronochronte column and pull the eye intohis spatial system. Ifs fortuitous, perhaps,

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