SOLO EXHIBITION of REMARKABLE at ART NOW TATE BRITAIN (2010) brings together the full series of large-scale screenprinted posters originally commissioned by Frieze Projects for the Frieze Art Fair in 2007, with the addition of a new six-panel piece, 'Three Ring', commissioned specifically for this exhibition.

METHODOLOGY: Drawing on the tradition of fairground ephemera, the posters employ unillustrated text and hyperbolic language to announce the presence of imagined figures and impossible acts. The prints are each produced digitally using typefaces based on traditional 19th-C letterpress, with each digital letter treated like an object and set manually into the page. The series includes five single black-and-white posters (‘Human Firefly’; ‘Faintgirl’; ‘The Regurgitating Lady’; ‘Barometric Contortionist’; and ‘Crystal & Blindspot: A Double Attraction’, each 1067mm x 1575mm) and a six-panel print ('Three Ring') commissioned as an addition to the series by Tate Britain for this solo exhibition at Art Now (six posters each 1575mm x 1067mm).

DISSEMINATION:

REMARKABLE continues to be shown in international solo and group exhibitions, and has been reviewed widely including:

SOLO EXHIBITIONS: Badischer Kunstverein, Karlsrhue (2011); Kitchener Waterloo Art Gallery (2009); Optica, Montreal Quebec (2008) and European Kunsthalle, Cologne (2008). It will also be shown in solo exhibition in 2012 at the Arts Club Chicago.

GROUP EXHIBITIONS: including Bucharest Bienniale (2012); ‘Reverse Desertification’, Bard College (2012); ‘Cactus Craze’, Kunstwerke Berlin (2010); ‘Trust Me’, Charles H Scott Gallery, Vancouver BC (2010); ‘Poor. Old. Tired. Horse’, ICA London (2009); ‘Yes No Other Options’, Sheffield Biennial, Site Gallery, Sheffield (2008); Galerie Krobath Wimmer, Vienna Austra (2008); ‘Janice Kerbel, Silke Otto-Knapp, Alan Ruppersburg’, Galerie Karin Guenther (2008), Hamburg; and ‘Dexter Sinister presents: (read)(spoken)(delivered), Somerset House London (2008).

BIBLIOGRAPHY:
Includes: Kim Dhillon, ‘See it Now or Miss it Forever: Materiality and Visuality in the work of Janice Kerbel’, Canadian Art Review, vol.36 no.2, 2011; Kitty Scott, ‘Janice Kerbel’, Creamier: Contemporary Art in Culture, Phaidon Press: London, 2010; Dexter Sinister (ed.), ‘Remarkable’, DotDotDot, issue 17, 2008; Ian Hunt, ‘Sheffield 08: Yes No and Other Options’, Art Monthly, April 2008.

Remarkable has been acquired by a number of private and public collections including National Bank of Canada and Banff Centre for the Arts.

https://research.gold.ac.uk/id/eprint/3392