Study (for Onslaught), oil on paper, transfer, collage, n.d., c.1977 *No signatureOnslaught, oil on canvas, c.1978 (restored 2017–2018) *Signed on the back. All Images by Aaron Christopher Rees. — *Study (for Onslaught)*, oil on paper, transfer, collage, n.d., c.1977 *No signature
*Onslaught,* oil on canvas, c.1978 (restored 2017–2018) *Signed on the back. All Images by Aaron Christopher Rees.

Copy of A Closer Look: Techniques of Paintings, The National Gallery, 2012.* Featuring memorabilia from the artist’s collection.*During his career, painter Roderich Tuhn (also known as Svetoslav S., the name with which he signed some of his works) s… — Copy of *A Closer Look: Techniques of Paintings,* The National Gallery, 2012.* Featuring memorabilia from the artist’s collection.
*During his career, painter Roderich Tuhn (also known as Svetoslav S., the name with which he signed some of his works) suffered from a lack of support and institutional disinterest, since his work was considered anachronistic and outdated.
On this occasion, we can clearly see part of his creative process, from the design and composition to the executed work. 'Onslaught' was recovered in the late 90s, after spending a little over a decade under lock and key and in the worst conditions, causing the pictorial surface to suffer severe damage. The works have been restored trying to preserve their initial quality and being faithful to their state and history.
In this Copy of ‘A Closer Look: Techniques of Paintings (The National Gallery 2012), we can see how his process was used, after his death, to illustrate books about artistic techniques. Until today, Tuhn is still considered a second-rate artist and not much has been written about his extensive oeuvre.

Copy of A Closer Look: Techniques of Paintings, The National Gallery, 2012.* Featuring memorabilia from the artist’s collection. All Images by Aaron Christopher Rees. — Copy of *A Closer Look: Techniques of Paintings,* The National Gallery, 2012.* Featuring memorabilia from the artist’s collection. All Images by Aaron Christopher Rees.

Installation view, (from left) Genevieve Pikó, 2018, The trail of an imprint, the beginning of a mark, video (9’11’’), Charlie Donaldson, 2018, CRISIS ENDING, inkjet print on plastic, 1.5 x 1m, Ashley Perry, 2018, Jimmy’s Story, mixed media ins… — Installation view, (from left) Genevieve Pikó, 2018, The trail of an imprint, the beginning of a mark, video (9’11’’), Charlie Donaldson, 2018, CRISIS ENDING, inkjet print on plastic, 1.5 x 1m, Ashley Perry, 2018, Jimmy’s Story, mixed media installation. All Images by Aaron Christopher Rees.

NO SAFE PLACE TO REST YOUR EYES: ASHLEY PERRY, BRIE TRENERRY, CHARLIE DONALDSON, EMANUEL RODRIGUEZ–CHAVES AND GENEVIEVE PIKÓ CURATED BY KATIE PAINE

The detective genre is haunted by the ghost of history: archivists compelled to dredge up secrets from the past, childhood traumas driving villains to commit unspeakable acts or conspiracy theorists reimagining the heavily warped and often censored narrative of history. For this project, exhibiting artists have created work concerning detective fiction and film: some consciously referencing mysteries or crimes, others taking on the role of a detective within their own practice. This exhibition references detective fiction in an expanded sense: from noir cinema to the concealment of corruption within bureaucratic institutions, crimes of cultural repatriation to the melodrama of Italian thrillers known as Giallo. No Safe Place to Rest Your Eyes focuses on how the detective genre can illuminate systems of meaning-making: the role language, film and images play in constructing narratives and the way they can be co-opted to perpetuate problematic narratives.

Group show, c3 Artspace, 2018