tag:blogger.com,1999:blog-81554345168261279432024-02-18T20:35:06.703-08:00Five SensesA Modern and Contemporary Art blog for London and around the world.Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.comBlogger66125tag:blogger.com,1999:blog-8155434516826127943.post-50212943588205987942016-03-18T07:42:00.001-07:002016-03-18T07:42:34.086-07:00Mark Wallinger at Hauser and Wirth, London<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/oQcPe5wLPfk" width="480"></iframe>Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-58380236151617655592015-04-08T04:36:00.003-07:002015-04-08T04:37:29.859-07:00Five Senses has moved - The new address is www.joshuaswhite.comI've now moved my blog to Wordpress at <a href="http://www.joshuaswhite.com/">www.joshuaswhite.com</a> where you can read new articles and see <a href="https://www.youtube.com/channel/UCuM-z4rFVOBSBAxFY-5gjiQ" target="_blank">The Art Channel</a> films I've made with Grace Adam.<br />
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I will keep up an archive here on Blogger for the time being.<br />
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Thank you for reading and your support.</div>
Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-8117217871060445702014-11-17T06:33:00.003-08:002014-11-17T06:42:59.944-08:00Shinro Ohtake at Parasol Unit<div class="separator" style="clear: both; text-align: center;">
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Shinro Ohtake takes the process of layering pieces of paper
to an obsession. As he randomly gathers magazine clippings, old photographs, bits
of scrap, tape, paper and card, he hangs them together with string and wire or encrusts
them onto supporting surfaces. The most significant piece in the show is a structure
resembling a cabinet called ‘Retina’ from 1993 which floods the eye with obscure
details, sifted, chosen and applied until the underlying object develops a skin
of many images. Each slip of glued paper accumulates without any prevailing
hierarchy of value. This profusion of cut and glued images initially suggests
Cubist collage but it’s actually quite different. These tiny images are so decontextualized
that they are reduced to the point of evaporation. Any narrative progression is
negated through an endless series of cancellations.<o:p></o:p></div>
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Ohtake describes this process as ‘pasting’, a deliberate
overlaying of material until it becomes an almost geological record of time and
labour. Claiming a Japanese attachment to the accretion of material, this becomes
problematic in a London exhibition space. In ‘Layers of Time Memory 2’ he takes
a deep box resembling the reverse of a stretched canvas and fills the hollow
space with strips of paper such that it becomes a web of accumulated lines that
obscure the space and its depth. ‘Time Memory 28’ from 2014 flattens the relief
effects of pasted paper so that he creates contrast between cut horizontal
strips and torn, bright red blobs of painted paper that fall and scatter across
the picture. From a distance the image resembles a Modernist grid and even
echoes the restrained colours of geometric Nicholson or Mondrian paintings. Up
close, you can see him filling space and making form akin to weaving or
embroidery. The expression of the material determines its patterns.<o:p></o:p></div>
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‘Scrapbook #66’ uses the thickly, pasted pages of a book as structural
strength so that it stands upright. We can see that the pages carry content but
they are so close together that it’s impossible to observe them individually. Ohtake
adds a leathery tail on the spine suggesting a reptilian mischief. This
scrapbook illustrates how his art has an introverted quality that teasingly
withholds significance. However, all of his work asks for an engagement.
Ohtake’s art is less Conceptual and better understood as a rich interdependence
of material, craftsmanship and process. They invite optical appreciation but threaten
to overwhelm the viewer with a vast and almost infinite cosmos of stuff,
floating free from any point of origin.<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-3142872207081859202014-11-03T07:17:00.001-08:002014-11-14T02:28:03.888-08:00 Yoshitomo Nara: Greetings From a Place in My Heart at the Dairy, Bloomsbury<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW9tPb-W4ZmlNHykbHqGi_0JfGQ5bYjYWjoyvu8fO7O4fOv8S7Mcjy6l3trxmoJT0OC8nasYJNholiSC68yhbsPbLJrUd2rEAjIoXVTJW4VNQBjofhOirK1oxAXT7n3MELFp6sXXIYklU/s1600/Nara-grab.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW9tPb-W4ZmlNHykbHqGi_0JfGQ5bYjYWjoyvu8fO7O4fOv8S7Mcjy6l3trxmoJT0OC8nasYJNholiSC68yhbsPbLJrUd2rEAjIoXVTJW4VNQBjofhOirK1oxAXT7n3MELFp6sXXIYklU/s1600/Nara-grab.png" height="320" width="300" /></a></div>
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Yoshitomo Nara is an artist whose work blends the naivety and mischief of children. At the Dairy in Bloomsbury, he's showing his distinctive paintings along with drawings and new sculptures inspired by the recent nuclear accident in Japan. His style and subject borrows largely from cartoons, particularly the winsome nature of Japanese ‘Animé’. Children
stare directly back at the viewer with exaggerated features, particularly
glossy, sparkling eyes in mismatching colours that sometimes incorporate symbols
such as the nuclear disarmament sign in ‘Wish World Peace’. Mouths are tautly
drawn in a horizontal slash and the nose is plainly described with two nostril
dots. These children project the confidence of adults, but maintain infantile features.
It is a disarming contradiction that Nara exhaustively repeats, setting up a
tension without resolution throughout his work.<br />
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This innocence is overlaid with an ironic maturity. Defiance characterises these intense figures, which fill the paintings with brooding
petulance. For all of their inherent charm, these characters
project a disobedient fury. Sometimes Nara will overlay the works with text
such as ‘Fuckin’ Politics! and ‘Rock’n Roll The Roll’ which suggest an anarchic
negation rather than a programme for revolt. Music’s role as a means of self-expression
and liberation is a recurring theme.<o:p></o:p></div>
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One room is devoted to Nara’s drawings over three decades,
which upstage both the paintings and sculptures with a direct simplicity. They
operate as an autobiographical record of work, travel and feeling. Any
calculated charm in Nara’s more commercial work appears ineffectual and
repetitive in comparison with these authentic and lively sketches that come to
life as part of a larger exhibition installation.<o:p></o:p></div>
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A fountain of stacked plastic babies crying a cascade of real
tears illustrates Nara’s propensity for theatricality. While some of life’s
grittier challenges are alluded to in the exhibition, Nara’s art veers dangerously
close to whimsy with an almost Victorian reverence for childhood
as a place of emotional sanctuary and nostalgic retreat for adults.<br />
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Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-53452321561179015422014-09-15T07:27:00.000-07:002014-09-15T07:30:10.589-07:00'Play What's Not Really There' at Raven Row<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHkyxSCztVtgWqMYMCDwF0N6fr9-o6vdR60OzfqHhT7KuEbw5ZfFwnC1VditG1gG2a5QyI8meIJdMOjxtCo2klYseMNILzXzX7-SQwXVuRxVqrCML7H7z8aa7fnlOJJfUZJf8LCe3zUCI/s1600/pwnt_15.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHkyxSCztVtgWqMYMCDwF0N6fr9-o6vdR60OzfqHhT7KuEbw5ZfFwnC1VditG1gG2a5QyI8meIJdMOjxtCo2klYseMNILzXzX7-SQwXVuRxVqrCML7H7z8aa7fnlOJJfUZJf8LCe3zUCI/s1600/pwnt_15.jpg" height="234" width="320" /></a></div>
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One of the most challenging exhibitions that I've recently seen in London was mounted at Raven Row over the summer, an
independent foundation based in one of London’s oldest, surviving shops in
Spitalfields. The starting point for the show can be summed up by the phrase
coined by Miles Davis to ‘play what’s not there’. This impossible act became a
metaphor for a larger enquiry around existential expression in art. Curator,
Michael Bracewell, chose to explore artists working beyond Soren Kierkegaard’s
description of ‘the despair of the aesthetic’, those infinite and potentially paralysing creative decisions, in order to achieve something
more profound and ‘spiritual’. It is a highly romantic notion of artists
as visionary and medium, compelled to reach for ‘truth’ despite the cost and then
to share knowledge with those who choose a safer, more prosaic route.<o:p></o:p></div>
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In a succinct essay, Bracewell examines Kierkegaard’s
philosophical quest for meaning in life. To illustrate the theme, he chose an eclectic
number of works dating from the 1960s. You needn’t have shared Kierkegaard’s
religious or intellectual interests to enjoy the show. The works ranged from
Linder’s ‘The Working Class Goes to Paradise’, a trance-like performance in a
Manchester nightclub to Edward Krasinki’s consciously awkward constructions in
wood and wire. Cerith Wyn Evans’ Leaning Horizons, two upright rods leaning against
the wall were neon illuminations embodying geometry, weight and gravity while standing
as cocky intrusions in the room.<o:p></o:p></div>
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Most of the pieces in the show were isolated within
dedicated rooms. This was appropriate for Robert Whitman’s Wavy Red Line, a
laser powered projection of flickering, red lines that traced the proportions
of an 18<sup>th</sup> century panelled room. The future incongruously met the
past here. Perhaps the work that most addressed the notion of boundaries and
transitions in comprehension was Bruce Nauman’s infamous ‘Clown Torture’ a pair
of video works illustrating psychic confusion whereby a two characters dressed
as clowns neurotically speak plaintive chants, which are later contradicted. He
stages two fictional characters performing statements that might be factual or
imagined, demonstrating the fine line between certainty and doubt and what lies
between them. It’s those ambiguous, narrow spaces in language or materials that
open up new meaning and knowledge.<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-86395112988907137672014-09-11T06:36:00.000-07:002014-09-11T06:44:33.281-07:00‘Lookout’: The Folkestone Triennial<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbz0baixBlY8NZUstbuUCP4ruTXWwB0W-H_KhKyfa0UgqBKJEIxN_k9g0seMNTs1eCum5G_p3hptOC5TW6liLJ6rhC2zobm0QFAOufV9SQQ4_G7cyypm8vBOlVh0Bf-Xmh6AteFwnYLhU/s1600/IMG_0295.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbz0baixBlY8NZUstbuUCP4ruTXWwB0W-H_KhKyfa0UgqBKJEIxN_k9g0seMNTs1eCum5G_p3hptOC5TW6liLJ6rhC2zobm0QFAOufV9SQQ4_G7cyypm8vBOlVh0Bf-Xmh6AteFwnYLhU/s1600/IMG_0295.jpg" height="240" width="320" /></a></div>
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Can art revitalise a town? The Folkestone Triennial,
now in it’s third edition, believes that it will. In tandem with the
establishment of a creative quarter, the town has embraced art and design as
way of attracting new visitors and activity to what was once an important port,
much of whose former cargo now bypasses it through the Channel Tunnel and whose
former visitors head south on cheap flights. This is a town compelled to
re-invent itself.<span style="mso-spacerun: yes;"> </span>The Triennial attempts
to integrate art into the very fabric of civic space. These 21 guest artists
take a guerrilla approach by placing artworks under bridges, on rooflines,
within disused sites and even under the sea.<o:p></o:p></div>
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Lewis Biggs, the director, has named this year’s festival
‘Lookout’ taking a cue from the town’s maritime character. Some artists have
embraced the theme, such as Pablo Bronstein’s ‘Beach Hut, in the style of
Nicholas Hawksmoor, which resembles a miniature lighthouse placed beside other,
more modest and traditional huts painted in jaunty, seaside colours. On press
day, I saw Alex Hartley’s ramshackle eagle’s nest protruding from the roofline
of a prominent hotel and Sixties eyesore, but missed the artist perching on the
platform jutting out precariously over a car park, facing the sea. For the
duration of the festival, he will periodically crawl out onto this makeshift
ledge like an occupier or solitary mystic, combining architectural intervention
with performance.<o:p></o:p></div>
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Marjetica Potrc and Ooze, an architectural and design
practice, have constructed a temporary lift that rises up adjacent to the
town’s extraordinary Victorian railway viaduct, the highest in Britain.
Originally conceived as wind-powered, <span style="mso-spacerun: yes;"> </span>the
weather proved unreliable so the solution now is a digital screen indicating
how much energy the turbine is feeding into the national grid and how much energy
the lift extracts. <o:p></o:p></div>
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Other artists have taken a less technical approach, addressing
specific sites and associated histories of the town. Jyll Bradley has built a
temporary installation on the site of a former gasworks. Remembering days spent
picking hops, a crop indigenous to Kent, she has constructed a matrix of string
courses used to encourage the vines, supported by illuminated, upright struts. <span style="mso-spacerun: yes;"> </span>‘Green/Light’ invites you to stroll through
this memorial to agricultural craft thereby revitalising what had become sad
and redundant.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMW7kMpQCTJ8ydRGJW9DzXsOGgMJJ9zucEAdIsL6JZYBwkF77UWIXyAIsErQ_em3VxV0WYKNAx7V_dYTr4SD-Xg9Br-6uHxbPt-8jt5zXfaRPgUu_RCjHuIpc_Le0hNNl98BuJyyW00fg/s1600/IMG_0263.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMW7kMpQCTJ8ydRGJW9DzXsOGgMJJ9zucEAdIsL6JZYBwkF77UWIXyAIsErQ_em3VxV0WYKNAx7V_dYTr4SD-Xg9Br-6uHxbPt-8jt5zXfaRPgUu_RCjHuIpc_Le0hNNl98BuJyyW00fg/s1600/IMG_0263.jpg" height="240" width="320" /></a></div>
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The highlight of my visit was a sound sculpture,
‘Undélaissé’ by Amina Menia, set up on a derelict site once inhabited by a food
shop bombed during World War One. In an air raid, 60 queuing residents died.
The pathos of that event is amplified by wandering across this neglected plot, now
overgrown with thick clusters of buddleia that cuckoo plant colonising no-man’s
land. Hidden speakers within the undergrowth repeat recipes for baking bread
brought to the town by new migrants carrying memories of their roots. It’s a
haunting work that links together death, loss and the simple but universal
bonds of food, the stuff of life.<o:p></o:p></div>
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By the old harbour, Gabriel Lester has erected an impressive
structure made of bamboo poles that sits above redundant railway lines, like
much of Folkestone’s old infrastructure. Drawing on memories of living in
China, the pavilion becomes a focus for considering the port’s historic relationship
with the sea as trade increasingly reverts eastwards towards Asia.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhylPhYI6gy-7Vj9z9V580WyB-yqmU66h1R2FUk78U8E3oK5hrz17V2b2-lp9LFVgkjkkm3v4a8Z4H6Y36ZLQOa0vSloWePEbyWhLHbT5SkSIRFT8lU2g6UBYQeRN3CD4D3SBWNjP4cIUY/s1600/IMG_0287.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhylPhYI6gy-7Vj9z9V580WyB-yqmU66h1R2FUk78U8E3oK5hrz17V2b2-lp9LFVgkjkkm3v4a8Z4H6Y36ZLQOa0vSloWePEbyWhLHbT5SkSIRFT8lU2g6UBYQeRN3CD4D3SBWNjP4cIUY/s1600/IMG_0287.jpg" height="240" width="320" /></a></div>
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As I strolled along the harbour front, I met Sarah Staton
standing outside her ‘sculptural pavilion’ a large freestanding steel sculpture
punctured with Modernist incisions. A bench shelters under the steel shell ringed
by edible plants. She’s hoping the hybrid shelter and bench can become a
permanent feature of the seashore.<o:p></o:p></div>
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Folkestone Triennial is not a grand affair like the Venice
Biennale or the Edinburgh Festival. It’s modest and humorous and vernacular
without losing ambition. While instigating the restoration of a local park, it
still hosts international artists such as Michael Sailstorfer whose ‘Folkestone
Digs’ has been generating most interest. Thirty pieces of gold are buried
beneath the sand of a harbour beach and ‘Folkestone Digs’ continues into the
future until all have been found. <o:p></o:p></div>
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I declined to roll up my trouser legs but enjoyed watching a
large scrum of journalists, visitors and locals digging through wet sand in a
hunt for gold hidden that morning under the cover of darkness. Despite some suspicions
of an elaborate hoax, the diggers trustingly began the mucky task with gusto, instinctively
hunting for treasure, like a pack hungry for food.<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-22448594671270026682014-07-09T10:02:00.000-07:002014-09-09T03:55:12.793-07:00Matisse: The Cut-Outs at Tate Modern<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjYy7yI6eilxbsIhyphenhyphenNHQsrwDLzKFA00-_dljwkppIORMZAXsWRLghINMfKXSikkRon7Q7hGPQSPQEdzyNuXFkzftOZjpZsLLoeoweY3OdP3-s5NegsCmlceNVTZm1i1ELTuxTm-ngUwKQ/s1600/Henri-Matisse---The-Parak-001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjYy7yI6eilxbsIhyphenhyphenNHQsrwDLzKFA00-_dljwkppIORMZAXsWRLghINMfKXSikkRon7Q7hGPQSPQEdzyNuXFkzftOZjpZsLLoeoweY3OdP3-s5NegsCmlceNVTZm1i1ELTuxTm-ngUwKQ/s1600/Henri-Matisse---The-Parak-001.jpg" height="143" width="320" /></a></div>
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<!--EndFragment--><span lang="EN-US" style="font-family: Times;"><span style="font-size: 12pt;">Responding to the restrictions of illness,</span> Henri Matisse found a means to return art to the line, not a drawn line but a
cut one. Simply manipulating scissors and painted papers, Matisse radically
evolved a technique that expressed elemental qualities of shape, colour and
silhouette. Tate Modern’s exhibition manages to elevate these humble Cut-Outs
to pre-eminent importance. Long overlooked in favour of Matisse’s paintings of
sensuous interiors and voluptuous nudes, these Cut-Outs leap off the wall in
their confident simplicity.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times;">The show starts by
illustrating the use of these cut paper forms as designs for still lives. A
pin-board holds apples and jugs held in place for their relational
effects. Matisse has infinite choices in his arrangement of these forms placed
on top of a table in a traditional still-life. Two diagonal pieces of
string describe mark out the table's edges. Beside this malleable design is
the completed painting characterised by Matisse’s fascination with pattern and texture seen here in some glazed ceramics, fruit, a tablecloth with a
cloud-like motif, and the jagged edge of a conch shell. All the elements fall
into place but we can see that the cut-out process was a crucial stage in
making the painting. In the corner of the exhibition's first room is a tiny, modest lyre made in
blue paper, the very first self-sufficient ‘decoupage’. It presents some of the
significant ideas that Matisse developed in cut paper: the silhouette and
positive form of the object set against the support which acts to pick out the fine
strings of the instrument.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times;"> ‘Jazz’, an
illuminated book, which Matisse produced from 1943, demonstrates the vitality
of these cut papers layered together, colours set against each other, and collage animating the image. The finished, printed plates
demonstrate the inherent delicacy of the Cut-Outs. However, they do not
reproduce well. The original materiality of the maquettes is diminished in the
printing process as the edges, crinkled layering and textures are pushed to a
graphic reduction . Matisse accepted that the project was flawed but it alerts us to the potential of this embryonic technique which he was developing in a time of war and occupation.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times;">The Cut-Outs offered
Matisse new opportunities particularly when immobilised by ill-health.
They became a private meditation on making images out of humble
materials. Collectively they form a ‘poor’ art without the privileged status of
oil paint or bronze. As you walk from room to room, you learn how these paper
pieces provided private entertainment and a new purpose. They began as single
pieces pinned to the wall of the studio where the draughts of air would gently
move them. Gradually they would accumulate and became immersive ‘installations’ determined by architectural dimensions and the
method of their production.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times;">Perhaps the greatest work
in the exhibition is the ‘Parakeet and the Mermaid’. Foliage here moves and
flows as if shaped by breezes and currents embodying both the sea and the
shore. What’s so artful is the choreography of the fronds in varying colours,
directions and sizes. Matisse imagined bringing the increasingly inaccessible
garden ‘inside’ in the manner of his paintings which connect the domestic
interior to the surrounding environment through open windows and doors. We
can see in a surviving photograph how this piece evolved in scale so that it
began to turn corners at 90 degrees, as if growing naturally. Matisse deploys
colour strategically here so that hot pinks and oranges project forward while cooler
greens and blues recede until the eye eventually sees the ripe, blue
pomegranates swaying in the gaps.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times;"> ‘Work with Two Masks’
is a pronounced contrast because this piece originated out of a commission for
a tiled mural in Los Angeles. Here Matisse begins a dialogue between
symmetrical, repeating motifs, which subtly vary because they are individually
hand-made. Blue neo-classical columns stand sentry at each end and a central
band resembling embroidered flowers slices the work into two. This enormous
assemblage of cut petals and seeds fluctuates between order and chance. In
the penultimate gallery you can see the final, approved design for the mural
project where Matisse dispenses with any symmetry and employs a set of
fronds in balanced colours that rise up organically out the ground, as if a
living plant.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times;">The Chapel of the Rosary in
Vence presented the greatest challenge to the cut paper technique. Matisse
called the project the summation of his life’s work. While it largely avoids
biblical references aside from a Madonna and Child, the composite elements
combine to celebrate life and Meditterranean fecundity in the sunlight. Despite
Picasso’s contempt for its religious purpose informed, no doubt, by a
twinge of jealousy, Matisse triumphantly deploys his cut-papers to conceive a
Provencal ‘total artwork.’<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times;">Why is this show so
successful and popular? I think the vitality of these works lies
in their direct authenticity. They return us to childhood and the early
exploration of the world through sight and touch. While we cannot handle the
Cut-Outs, we can imagine the satisfying playfulness of holding the brightly
painted paper while taking a pair of scissors on a meandering journey of description. As
Matisse cuts, so he draws. The Cut-Outs dispense with any pre-conceived design
and become assertively material, almost sculptural. Matisse creates fantasies out of painted papers without hiding the journey required to
make them. What’s fundamentally entrancing about these Cut-Outs is that they </span><span lang="EN-US">manage to be
miraculously both an object and an image.</span></div>
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Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-37585904331848303942014-05-06T05:50:00.001-07:002014-05-06T05:58:34.460-07:00Red Tape: Stanley Casselman and Hyo Myoung Kim at Gazelli Art House<div class="separator" style="clear: both; text-align: center;">
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Taking up the challenge of the art critic, Jerry Saltz, who called for artists to make affordable artworks in the manner of pieces by Flavin, Hirst and
Fontana, the painter
Stanley Casselman has made a series of faux Gerhard Richter paintings, which reproduce
the character of the ‘Abstract Painting’ series. <span style="mso-spacerun: yes;"> </span>‘Red Tape’ exhibits some of these examples
alongside new media prints by Hyo Myoung Kim in a show investigating old and
new processes for making art.<o:p></o:p></div>
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Casselman’s paintings certainly borrow Richter’s method of
partially erasing the painted image with the sweeping horizontal strokes of a
squeegee across the sticky paint. Layers of colour are revealed through holes
appearing out of the dense pigment. The uncanny similarity is achieved in a
faithful re-enactment of Richter’s dialogues between control and chance,
construction and destruction. By copying the formal qualities of Richter’s
paintings, Casselman consciously resurrects familiar debates concerning
originality. Through such mimesis, he discards the conceptual foundations of
Richter’s paintings. <o:p></o:p></div>
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However, Richter’s paintings largely derive their interest in
deconstructing the creative act and leaving a painting hovering between a
beginning and a conclusion. Casselman’s work is bereft of enduring interest
beyond the skill with which he apes Richter. He can successfully fool the eye
like a practised forger, but fails to develop Richter’s more engaging debate
about the act of making a painting and its signification. Two of Casselman’s earlier
paintings shown here build up an ‘all-over’ effect of smudged points of colour
that bleed and blend together to form rich, veils of paint marks. These works
from 2011 have an intrinsic logic and coherence missing from the new ‘Inhaling
Richter’ series.<o:p></o:p></div>
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Hyo Myoung Kim is also exhibiting a series of digital prints
illuminated in light boxes in this show and these feel distanced from
Casselman’s quixotic interest in copying. These LED light boxes nicely carry
that ‘Richtian’ inconclusiveness between action and completion albeit without
intention. Thematically, ‘Red Tape’ aims to set up a dialogue between the
techniques of painting and new media but this feels rather unsatisfying in the
contrast between two very different bodies of work.<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-81209868441952822732014-04-10T10:28:00.000-07:002014-05-06T05:51:00.457-07:00Pamela Golden: ‘Good Morning, Mr Williams!’ at Marlborough Contemporary, London<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvmxBqiVHwyaTkEIqZ0pn3ISyMQJpsTSowyCbJn9PC-IjAANBuodbTBFL6X5KdwrdmeWk4gIrBBqbo4ZjlIZm5gLHo8j6aTwKo1anZuXwPEqDb8ScV_VycdRq_FIxv7Kdpo45PdBOntuo/s1600/MC_PGolden_017-600x852.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvmxBqiVHwyaTkEIqZ0pn3ISyMQJpsTSowyCbJn9PC-IjAANBuodbTBFL6X5KdwrdmeWk4gIrBBqbo4ZjlIZm5gLHo8j6aTwKo1anZuXwPEqDb8ScV_VycdRq_FIxv7Kdpo45PdBOntuo/s1600/MC_PGolden_017-600x852.jpg" height="320" width="225" /></a></div>
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Pamela Golden’s miniature paintings operate like keyholes,
offering voyeuristic access to an imaginary world. She coaxes the viewer into
looking intently at tiny, narrative details. The charming effect is accentuated
by the use of much larger frames leading the eye gently into a constructed
microcosm. In her new show, Golden continues to exhibit these entrancing works,
which resemble small, prints from an old-fashioned ‘contact’ sheet. This method
is appropriate because these paintings originate out of found photographs commemorating
a choir visiting a North Wales seaside resort c. 1912. In ‘Good Morning, Mr
Williams’ schoolboys pose in the mouth of a tent, waking up for the new day. Tiny
details such as the red poles poking up out of the canvas animate this jaunty Edwardian
scene.<o:p></o:p></div>
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Recently adopting an entirely new method, Golden also
exhibits five larger paintings using the same photographic source material. They
are made with the difficult Sumi watercolour process, requiring the application
of a textured pigment much like gold leaf. ‘A Flash Of…’ illustrates faint
figures walking through wild flowers in a meadow, in delicate almost forgotten
shades of green and yellow. Reaching back across history, Golden, superimposes
the old photographs onto her own observation of the same landscape. This
achieves a poignant layering of time and place, scrambling photographic and
topographical certainties.<o:p></o:p></div>
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Led back across a century to a summer spent by the sea,
these paintings address nostalgia for childhood and an elegiac interest in
anonymous characters long passed out of memory. The only regret is that the
lighting within the gallery rather washes out these remarkable images, but the more
enduring effect is the impressive encounter between the estranging impact of
time and the universal experience of youth. Accompanying the exhibition is a
soundtrack featuring the singer, Roshi Nasehi, and music ranging from Led
Zeppelin to Persian nursery rhymes, which reasserts the hybrid roots of the entire
project.<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-18006506733547781342014-01-09T07:27:00.002-08:002014-04-10T10:23:23.805-07:00Amir Chasson discusses the value of bad reviews, being stubborn and selling artworks for £2.99.<div align="center" class="MsoNormal" style="text-align: center;">
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Amir Chasson treats the art critic of the Evening Standard’s
lacerating comment about his paintings at the Saatchi Gallery as a triumph.
‘When I knew I was going to be in that Saatchi exhibition, I assumed Brian Sewell
would review it and I was worried I wouldn’t be mentioned. He said that my work
looked like a Sunday painter’s, an amateur from Ponder’s End. That was great. I
didn’t get enough bad reviews. Sewell giving me a bad review is a great
accolade. A lot of artists don’t get reviews good or bad, none at all.
Indifference is what’s painful. No reaction is what hurts. A bad review is as
good as a good review.’ Chasson’s response to such a potentially demoralising comment
in print is surprising and almost incredible but he is defiant, translating
adversity into advantage, displaying some of Andy Warhol’s inverted logic.</div>
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What riled Sewell are Chasson’s imaginary portraits
resembling caricatures or cartoons. Exhibited in a show called ‘New Order:
British Art Today’, Chasson aligns these exaggerated faces beside diagrams of
indeterminate graphs, maps and bar charts. Eyes are lopsided and noses curve
out of perspective. They begin to resemble those Victorian heads illustrating
the science of phrenology that attempted to reveal intelligence or degeneracy in
the shape of a skull. These faces are discomforting in their collapsing details.
The simulated diagrams allude to rationality but are paradoxical fictions
awkwardly meeting in paint. Chasson seems drawn to that friction between our
faith in concrete information and the subjectivity of both making and looking
at a painting.<o:p></o:p></div>
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Chasson greets me at his studio in a building run by Acme,
offering warm and affordable space to artists, so different from the romantic
myth of ramshackle attics. The studio is
surprisingly tidy even though he shares it with another artist. Large canvases
from past exhibitions are rolled up inside tubes and several unfinished
paintings are hung along the walls. Wearing a pair of modish glasses he has the
appearance of an educated, urban professional. He is on a roll now, on the cusp
of wider recognition and new opportunities, positioned where every ‘emerging’
artist wants to be, showing work in exhibitions, being reviewed and finding
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Chasson remembers the process of entering the notorious
Saatchi Collection as rather impersonal and never discussed the sale with his influential
patron. The ICA, then hosting ‘New Contemporaries’, simply called him and said
‘off the record’ that ‘Charles’ was interested in buying the paintings and
would he mind? Being bought and exhibited by Britain’s leading collector of
contemporary art, Charles Saatchi, might represent a defining moment in an
artist’s career. Damien Hirst and Tracy Emin are proof of that. Amir Chasson demurs
but concedes that it’s helpful in getting noticed and reviewed. ‘I don’t know
how valuable it is. My initial response was, oh great, I’m going to make some
money from that show. I didn’t even know he would show the pictures. I swear I
didn’t even look at the Saatchi website. You don’t do that as an artist, you
just don’t. You have to keep thinking about the next painting. You can’t keep
thinking about what you did before. Your reference points are your friends and
colleagues, people you studied with, those you look up to.’ He seems grounded
enough not to get carried away by this lucky break, but confesses ambivalence
about the process. ‘Sometimes I get this feeling it’s not prestigious anymore
to be in the Saatchi, but of course I would be happy to sell more paintings to
him.’ <o:p></o:p></div>
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This begs the question how comfortable he is with success
and what really drives him. He offers that ‘it’s very hard being an artist in
London,’ which seems a truism and I press him to elaborate. Does he mean
financially, professionally?<span style="mso-spacerun: yes;"> </span>‘Yes, of
course, all of that. Financially, you can deal with it by freelancing, sharing
a studio, by working from home. The greatest difficulty is the intellectual, psychological
challenge of who am I in this crazy, insane, saturated, money-driven world. All
the other things, health, money, wellbeing comes later, if at all. Because when
you make artwork, all that goes out of the window, none of that matters. <span style="mso-spacerun: yes;"> </span>When you are in the ‘zone’, finally in the
studio and have ideas and are executing them, then it’s a high, a sort of
happiness, it’s where you need to be like being in the womb.’<o:p></o:p></div>
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He talks with animated conviction while his hands appear still
and controlled. <o:p></o:p></div>
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After many years working as a graphic designer and teacher in Tel Aviv, he seems to have found his direction and a professional integrity
by his mid-40s . Compelled to take an MA in design by the college that employed him, he
researched Hebrew typography by distributing questionnaires in the street.
Surely, it had a practical application for communications? ‘I hated every
minute of it and decided it was pointless but somehow they liked it. It was the
equivalent of why English readers might prefer the fonts, Times New Roman or
Helvetica.’ <o:p></o:p></div>
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Chasson is a curious iconoclast, teasing established
orthodoxies from masculinity to the art world itself. He recounts persistent alterations
of any commercial brief or syllabus. <span style="mso-spacerun: yes;"> </span>‘I
have always had a subversive streak like Marcel Duchamp, one of my heroes at school
like many artists nowadays. I was always attracted to how he makes fun of
science and makes science ridicule itself.’ In early, animated films, made in
Israel, which he now calls ‘a bit silly’, he took risks by satirising military
heroes or putting Arab lettering over posters celebrating the anniversary of
Israeli independence. Even more provocative was the use of Palestinian
propaganda. ‘Guy, my partner and a journalist, used to travel to the West Bank and
bring back little postcards that showed ‘shaheeds’ or heroes, which will
probably be shocking for some Israelis. They did some horrible things obviously
like exploding themselves on buses. But that’s an example of the source
material I was using.’ Machismo remains an enduring interest. During his
residency in Rome, he made a very large painting merging images of a heavy marble
head in the Capitoline museum with muscular actors posing as gladiators outside
the Colosseum and young Romans sweating inside Goth clothing on the street. <o:p></o:p></div>
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But how did his finally find his groove and ideas that could
engage him? He credits his testing training at Goldsmith’s College, which
helped him find a subject and a method, despite his initial fears that the
course was too pretentious and reliant on theory. On this point he is emphatic.
‘It was amazing. Studying there put everything in context. I know it sounds
ridiculous. But there’s no way you can become an artist without going through an
education. Painting at Goldsmiths, the year I was there, was a no-go zone. To
use a politically incorrect term, it was ‘retarded’.’ So there was no respect
for your roots in drawing or what he wanted to do? ‘I loved being there with
all my heart but the approach was to tear down all you knew and build you up by
starting again. When I started I was 39 but most were in their twenties. I
needed to be more stubborn. Then some drawings got accepted by the Jerwood
Prize and Bloomberg New Contemporaries in 2009, which was the biggest ‘fuck
you’.<span style="mso-spacerun: yes;"> </span>I had made a massive drawing called
‘Piss Pants’, a figure with a big stain on a pair of jeans. I was thinking
about when people actually piss themselves, when they’re drunk or scared. The
tutors gave me an ‘unsatisfactory’ grade. That was good, it pushed me and I
started making videos. I resisted but they pushed me really hard and it
worked.’<o:p></o:p></div>
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How Chasson arrived at making the Saatchi series illustrates
the role of chance that characterises any artistic career. Having tried to
isolate single words like ‘sameness’ or ‘prolix’ he kept running into the
challenge of making a painting that held the viewer’s interest. ‘I thought that
people are really indifferent to those words, nobody cares or gets it. Then I
realised one of the most attractive things for people that makes them stop is a
portrait. The human face is like the colour red, it gets your attention. I
thought that’s a great tool for waving the cheese in front of the mouse. I had
never painted a portrait before. Then I heard the name ‘Ipswich’ on the radio
and not being from this country it sounded ridiculous and I copied a Picasso
pencil portrait, as I wasn’t confident enough to work from life. It’s a big
responsibility to work with a live model. I put the word Ipswich around it and
I knew immediately that it was working. ‘<o:p></o:p></div>
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Later, he would use the same strategy of sampling found
images, attributing the portraits to ‘composites like police software faces. I
go through magazines or online images. One of the Saatchi paintings has the
hair of a pop star, the shirt of a rugby player and one has the face of an
Ingres woman. There’s no real balance. God forbid it’s balanced. The dissonance
is what I’m after.’<span style="mso-spacerun: yes;"> </span>To heighten the
alienating effect of these portraits he often introduces the hint of a skin
condition. More recently, in a large installation he painted a fictional group
of oil and gas executives, suggested by corporate prospectuses of large
multinationals.<span style="mso-spacerun: yes;"> </span>‘Corporate people
sometimes look crazy – it’s more intense because it’s not normal for them to be
in front of the camera, they are usually behind the scenes. They are putting
themselves out there.’<o:p></o:p></div>
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This unconventional streak still persists in the artist’s
attitude to the art market, which he describes as having become an industry. He
shows me a limited edition he made for an exhibition in Norwich made from a cereal
packet which unfurls, like a crack in a door, to reveal a middle aged man turning
around to admire the back and buttocks of an anonymous, naked man. I glance at
the price and see ‘£299’ which seems reasonable. I squint again at the small
print and see that each piece actually sold for £2.99 despite the gallery’s
misgivings that art was almost being given away for free. Ever the maverick, Chasson
insisted that this witty collaging of found material should sell at the cost
price of the original cereal on a supermarket shelf.<o:p></o:p></div>
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He makes several references to critical theorists like
Derrida and Baudrillard as sources of inspiration but acknowledges that he
doesn’t take them too seriously, merely using them as starting points for ideas
that he incorporates into artworks.<span style="mso-spacerun: yes;"> </span>Does
the viewer also need the same kind of education in theory to understand much of
contemporary art? ‘No, not necessarily, if the work needs theory from outset
then there’s a problem. But if it succeeds then an artwork can sit on a pile of
theory without there being a problem. Peter Doig makes good eye candy, it’s
great but if you discover there are ideas behind it, what’s wrong with that? The
Desmoisselles d’Avignon by Picasso is so brilliant because his process was so
random. Most art arrives out of random processes. This is what artists are
supposed to do. Picasso creates a picture like a poster, addressing life, death
and sex and he needs ambiguity otherwise it becomes like propaganda. Popular
culture doesn’t have ambiguity. That’s why I failed as a commercial artist.
You’re supposed to feed people a message.’<o:p></o:p></div>
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Possibly breaking the conventions on good journalism, I ask
if I could buy a painting. I point enthusiastically to his latest project, an unfinished
double panel painting on which the word ‘Gene’ is spelled out in a confectionary
colours and bubbles. Gene Clark from the Byrds is placed inexplicably opposite a
dinner party hosted by the German revolutionary, Rosa Luxembourg. Chasson
starts to shift in his seat and look uneasy for the first time. He doesn’t want
to disappoint me. ‘Right now, I need it for some new exhibition proposals. I
will keep you in mind.’ I’ve introduced the subject of value into Chasson’s sanctuary,
the place where he finds his ‘zone’. Gradually the tension dispels as he shows
me other examples of his work in the studio. If paintings don’t sell, he will
simply paint over it. Again, it seems rather defiant and practical at the same
time.<o:p></o:p></div>
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Before I leave, he offers me shortbread from an unopened
packet on the table. ‘I bought it especially for you,’ he says with a smile as
I hold the cellophane wrap and feel the sticks inside. I hesitate as I explain that
I’ve given up eating wheat but relent to avoid appearing faddish or churlish.
Tentatively, I snap off a piece to nibble. He smiles solicitously, eager that I
should enjoy myself. I feel naughty breaking the discipline of my diet but fully
appreciate the sweet, buttery biscuit. Amir Chasson seems to make breaking
rules rewarding and even necessary.<o:p></o:p></div>
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'New Order: British Art Today' runs until January 16, 2014 at the Saatchi Gallery, London.<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-65343085477594306472013-11-15T10:12:00.001-08:002013-11-15T10:12:59.188-08:00An Interview with the American artist and photographer, Philip-Lorca diCorcia.<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoubruRk0hy_TByQUuA9bpf2CnkC-VkH8-Jgigewcll-86PfSC6jPWcOEMrpkm97qyBV2pcSIzLOJQfZkCUEWp39wKWI2sCur5gx_lIZ0fTtp3KRsp-f3tu6_b-9or8Dm8wq3SMh0NzHw/s1600/ea37bdb4-0f81-11e3-8e58-00144feabdc0.img.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoubruRk0hy_TByQUuA9bpf2CnkC-VkH8-Jgigewcll-86PfSC6jPWcOEMrpkm97qyBV2pcSIzLOJQfZkCUEWp39wKWI2sCur5gx_lIZ0fTtp3KRsp-f3tu6_b-9or8Dm8wq3SMh0NzHw/s320/ea37bdb4-0f81-11e3-8e58-00144feabdc0.img.jpeg" width="320" /></a></div>
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Iolanda, 2011 ©Philip-Lorca diCorcia</div>
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Working in the space between documentary and staged
photography, Philip-Lorca diCorcia recently exhibited a new series in London, ‘East of Eden’, at
David Zwirner in London. The title alludes to John Steinbeck’s epic novel published in 1952 and biblical parables found in the
Book of Genesis such as Cain and Abel. While explaining how the project
originated and evolved, Philip-Lorca comments on the Bush Presidency, the economic crisis and the state of art photography today.</div>
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<o:p></o:p></div>
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JW: How did ‘East of Eden’ emerge and develop as your latest
project?<o:p></o:p></div>
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PL dC: It started as a reaction to the economic bubble that
burst and people’s conception of the world and the possibilities that had once existed.<o:p></o:p></div>
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JW: The gallery’s press release refers to impact of the Bush
presidency.<o:p></o:p></div>
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‘East of Eden’ refers to the end of the Bush presidency and the
wars that were futile and misconceived, the economic situation and the stock
market being at an all time high, everyone leveraging themselves to death and
mortgages being given away. All of that. There was a sense of delusion in the
whole thing and knowledge came with the collapse of everything. The apple in
Adam and Eve represented knowledge. They call it the Fall and the expulsion. The
president had lied to you and all these people had lied. I felt that there was
a certain analogy that serves as a jumping off point and obliquely refers to the
shocking change that followed. <o:p></o:p></div>
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JW: This underlying political sense of the time we’re living
in is not necessarily explicit in scenes of an ordinary house such as ‘Mount
Ararat, Pennsylvania’.<o:p></o:p></div>
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PL dC: I was attracted to the scene because it happened to
have that name but there you have some windmills and it’s in an area of Pennsylvania
where they do fracking, which is very contentious. I ended up with the opposite
of fracking. If you take out the windmills, this picture wouldn’t be there. It’s
like the invasion of technology, ‘The War of the Worlds’. It must look
extremely American to a British audience – the American flag and the lack of
people. I’ve been involved in a bunch of Edward Hopper projects before<span style="color: red;">. </span>There are hardly any of my pictures before that
don’t have people in them. This architecture epitomises middle class of America,
which everyone talks about, but I’m not sure who they actually are. <o:p></o:p></div>
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JW: Was this a new turn or interest?<o:p></o:p></div>
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PL dC: No, there’s an implicit event in the photograph. One
of the things that I always like about Edward Hopper is almost about what you
don’t see. Something may happen before or after. I was trying to create the
same effect in some of the other pictures like Stockton, California’ with the
scorched fence. One is on the East coast and one is on the West Coast. At the
time I didn’t know it, but it was the first town to go bankrupt, but I didn’t
know that at the time. There was one thing that really bothered me and I
couldn’t deal with it so I put in this huge piece of concrete. It’s not very
much.<o:p></o:p></div>
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JW: So you do allow yourself some licence to manipulate the
image with digital processes?<o:p></o:p></div>
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PL dC: Some of these photographs are made with view cameras
so at first you see an upside down image within a grid. You can move things up
and down. I have never taken a picture just holding a camera. I never just take
a picture holding a camera. I always put a camera on a tripod. I combine it
with using a Polaroid for preparation so I know where everything is. Sometimes
I can’t know how to resolve it. I’m stuck against the wall. I don’t have a
hundred million lenses like a Zoom. In the past a view camera was used to
correct perspective. I use a level on top of the camera so it’s level front to
back, right to left. These lines are all parallel to the picture plane.<o:p></o:p></div>
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JW: So there’s an aesthetic judgement involved when you’re composing,
processing and editing the picture?<o:p></o:p></div>
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PL dC: I’ve always been a person who uses the environment to
reflect the psychological and narrative content. I remember photographing my
series, ‘Hustlers’. I’d give the sitters a Polaroid once in a while and I might
see them later on the street and someone would ask ‘is this guy alright?’ and
he’d reply that I’d taken their picture earlier and pull out the polaroid and
he’d cut his head out. The rest of the picture was irrelevant.<o:p></o:p></div>
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JW: When you were making this new series were you conscious
of thematic links?<o:p></o:p></div>
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PL dC: It was a five-year project and I did look for
specific things. I looked for fires, not necessarily as a reflection of some
apocalypse, but yes.<o:p></o:p></div>
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JW: There seems to be an underlying tension or anxiety in
some of the photos. Some of which you appear to stage and some of which seem incidental
like the fallen gravestone in ‘After The Fall’.<o:p></o:p></div>
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PL dC:<span style="mso-spacerun: yes;"> </span>You can’t read
any of the names on the tombstones. Some of the gravestones are blurred so you
can’t see anyone’s name. It was taken after a hurricane, which knocked down the
tree. I didn’t go looking for this, though I had my camera. My father is buried
there and I hadn’t been back since his funeral in 1980. I don’t really
understand this one to tell the truth. There’s something about the logs…the
light was clearly dramatized by the time of day and the season.<o:p></o:p></div>
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JW: There are two works connected by sight and blindness,
‘Andrea’ and ‘Lynn and Shirley’<o:p></o:p></div>
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PL dC:<span style="mso-spacerun: yes;"> </span>It started out
when I was told that blind people can’t dream. They don’t have any narrative
because they don’t have an image bank. Andrea doesn’t have the possibility of
seeing colour or light because she was born without an optic nerve. I don’t
know what Lynn and Shirley meant to me, Adam and Eve, white and black. They
weren’t born blind. I connect these things very loosely. He was shot in the
head and she has macular degeneration. <o:p></o:p></div>
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JW: Did you have to win their trust? Is that how you work?<o:p></o:p></div>
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I visited Andrea. My sister teaches special education and
her colleague has two blind kids with the same condition. I thought of Andrea
as the anti-Eve. Today everyone would accept that Eve would be a fashion model
like the pregnant model in ‘Cain and Abel’.<o:p></o:p></div>
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JW: Does Cain and Abel bear any relationship to surrogacy?
It seems to possess the richest possibility for narrative in the exhibition.<o:p></o:p></div>
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PL dC: I threw everything at this image. This was the last
one I made and I really went for it. The guys on the bed don’t know her and I
don’t normally photograph naked women. I do a few things that I don’t normally
do like take the belly button out. Eve didn’t have one because she was born
from a rib. It’s Cain and Abel but actually a gay couple. I meant it to be
ambiguous. You don’t know if they’re fighting or hugging but I didn’t succeed
because everyone thinks they are embracing. They were quite shy of the camera.
It was quite a difficult shoot. The space wasn’t very big enough and a bit too
much with the ‘mod cons’, but it had dramatic like elements like the floor being
so reflective and the pregnant model wasn’t shy. ‘The Hamptons’ is named after
the fashionable area of Long Island outside New York and has a humorous quality
with two dogs watching television inside a living room This is the most popular
picture. There’s nothing depressing about it. It was taken in the Hamptons and
represents to me the character of the place. It’s actually taken in the home of
the person who publishes my books, Pascal Dangin, who made the prints in the
show.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSVTcCuST-ievRZk_HHFEXBzSui3O7pdqGgPOlndoeCEDPrqvZf1hXNPBL4XIFCWraGEqZAe3JdBUbKqbqJ5Xd_AOnf64k6IdV7XLA_QcP5h43YuViN7sXCxOZw_SGkxhWMj0-56wxQAs/s1600/PL_EastofEden_CainAbel-600x485.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSVTcCuST-ievRZk_HHFEXBzSui3O7pdqGgPOlndoeCEDPrqvZf1hXNPBL4XIFCWraGEqZAe3JdBUbKqbqJ5Xd_AOnf64k6IdV7XLA_QcP5h43YuViN7sXCxOZw_SGkxhWMj0-56wxQAs/s320/PL_EastofEden_CainAbel-600x485.jpg" width="320" /></a></div>
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Cain and Abel, ©Philip-Lorca diCorcia</div>
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JW: Sometimes you’ll invite fiends and family to model in
the photos. Can you explain how that happened in ‘Iolanda’?<o:p></o:p></div>
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PL dC: The model is my mother-in-law. I was given a
commission to do anything I wanted for the 75<sup>th</sup> anniversary of Coach,
the handbag company. ‘Iolanda’ was taken in a hotel where the rooms cost $600
to $900 dollars a night. So I did other pictures in the room with other models.
To cover my ass, I put a handbag in shot and I forgot to digitally remove it. I
was too busy trying to add a tornado on the television screen. The picture is
made a success by her reflected face being distorted by the passing ferry.
These things are manipulated. You would never have seen her face in glass without
digital alteration though I still don’t use a digital camera. When I first
started working in fashion photography I made an effort to hide the lights and
someone said <span style="mso-spacerun: yes;"> </span>‘you can take them out
later’! I don’t like the way that digital images look. The Hustlers series in
New York are made by scanning and manipulating my old negatives on a computer
and then printing from the resulting 8 by 10 negative to produce a C-type
print.<o:p></o:p></div>
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JW: I’m struck how ‘Abraham’ shows a younger person being
put on the defensive. Is this connected to recent wars? It’s quite threatening
with the dart flying at the teenager’s face and he seems genuinely startled.<o:p></o:p></div>
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PL dC: He was. He’s going to try to stick his hands up. That’s
my son and that’s my hand. People remark that we have the same hands. I really
was throwing a dart at him. I put gaffer tape on the tip so it wouldn’t
puncture him! <o:p></o:p></div>
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JW So these photographs emerge out of a whole variety of
ideas and experiences? You don’t seem to have a particular strategy that you
stick to.<o:p></o:p></div>
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PL dC: I thought of ‘Epiphany’, the pole dancer, as Lilith
or the snake slithering down the tree. I went specifically out to LA and I had
a connection to find this woman who I had seen before. She’s suspending herself
from the mirrored ceiling, which is very difficult to do. Lilith, Adam’s first
wife in Jewish folklore, is sometimes described as a snake. Unfortunately for this
series, ‘East of Eden’, most people think the image is connected to an earlier
series I made of pole dancers but those earlier photographs have no context. <o:p></o:p></div>
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<br /></div>
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JW: ‘Sylmar, California’ uses a particular Californian light
to create a Reaganesque image of a cowboy on a horse. It has that mythic
quality of settling the west taken against a tragic, burnt landscape.<o:p></o:p></div>
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<br /></div>
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PL dC: The landscape is very barren after a fire but the trees
are not black and are still green. There’s a lot of beauty in tragedy. That’s
the thing about California, it’s constantly on fire. In ‘Lacy’, the model asked
me what I wanted her to wear so I looked at what she had and realised that the
place was charred like that, I chose a dress with flowers. I guess she has a nostalgic
look and she also happens to be a pole dancer. <o:p></o:p></div>
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<br /></div>
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JW: How do you now view the Hustler series made in Los
Angeles over 20 years ago and recently exhibited at David Zwirner in New York?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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PL dC: It’s one of my first and favourites series. It took
place during that AIDs period. I happened to know a lot of people who died
including my brother. I was fed up with ‘hip’ New York. I was never actually
that ‘hip’ although I was playing in a band. Twenty years later there has been
a homogenisation of culture. People are very cynically using youth brands or street
styles and in a year turn them into something you see in every city of the
world. Take Supreme the brand, for example, which used to be a skateboard
company.<o:p></o:p></div>
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JW You’ve just had a big exhibition at the Schirn Kunsthalle
in Frankfurt. What was your experience of mounting a large retrospective?<o:p></o:p></div>
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<br /></div>
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PL dC: Back off from the word ‘retrospective’. It did not
include significant projects that I’ve done. Because of the nature of museums
and money now they more or less have to borrow everything. They are not going
to produce the work for the show. So what they can put in the show is
determined by what they can borrow. If I were to call something a
‘retrospective’, I would say it has to be inclusive and selecting the images
that they want rather than what they can get. I would call that exhibition in Frankfurt
a ‘survey’. It’s moving onto the De Pont in the Netherlands and then to the
Hepworth Gallery in Yorkshire.<o:p></o:p></div>
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JW: So are there some challenges with putting on a museum
show?<o:p></o:p></div>
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<br /></div>
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PL dC: It’s not that I produce so much work but in terms of
square footage there are things, for instance, the ‘Storybook Life’ shown at
the Whitechapel Gallery in 2003 as one work. It’ s the whole thing, not a
single image, which takes up a lot of installation space. In the case of the De
Pont in the Netherlands they decided to do a thousand images running 351 feet
in one long row. It was first shown as a single line at David Werner, in New
York, they exhibited the series laid out in a spiral. It was clearly laid out
and people really did move in the order they were shown. That was the most
successful iteration. <o:p></o:p></div>
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JW: D you think Photography is being determined by fashion? <o:p></o:p></div>
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<br /></div>
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PL dC:<span style="mso-spacerun: yes;"> </span>I don’t know. Photography
has lost some of its lustre in the art world. People want unique objects. I
don’t think it’s a coincidence that when photography started to be less
prevalent, it became exceptionally abstract or extremely conceptual. The work
people want on their walls…. I’ll just say it, it’s decorating. There are all
sorts of art markets. There is the one where people actually live with art and
then there’s the one where it goes straight to the warehouse. If it goes
straight to the warehouse, they are speculating. And the auction market for photography,
unless you’re Andreas Gursky, has not been favourable.<o:p></o:p></div>
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<br /></div>
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JW: But you remain committed to photography.<o:p></o:p></div>
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<br /></div>
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PL dC:<span style="mso-spacerun: yes;"> </span>I’m not going
to change. It gets me out of the house. I could never go to a studio and dream
up something because it would be irrelevant to me. <o:p></o:p></div>
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<br /></div>
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JW: What have you learnt by exhibiting this project?<o:p></o:p></div>
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<br /></div>
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PL dC:<span style="mso-spacerun: yes;"> </span>There are two
interesting questions people have asked me about the exhibition. Now that the
crisis is supposedly over, do you think the work has changed its significance
or meaning? The answer is simple – I don’t think the crisis is over. The other question
is ‘as there are no titles on the wall do you think it’ s unfair that people
have to figure out so much, even the connection of these images to the novel ‘East
of Eden’ which can be completely lost. I guess my answer to that is that it’s
not lost if you live with it. If you experience everything by taking a twenty-minute
tour of an art gallery or leafing through a magazine then the point is going to
be lost on you. My ambition has been to get beyond that. This comes partly from
working for magazines and realising that people don’t even look at the damned
images unless they’re naked.<o:p></o:p></div>
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<br /></div>
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JW: So the images have to be self-sufficient?<o:p></o:p></div>
<div class="MsoNormal">
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These images are not meant to be seen just in conjunction
with each other and are independent of their titles. My project ‘A Storybook Life’
has no information or foreword, just the location and the date at the end of
the book. In a question and answer session at Whitechapel Gallery people seemed
almost angry that I wouldn’t supply them with that kind of anecdotal
information, something to say that’s my brother or this happened. People really
want that from photography. They want the Nan Goldin experience, 'this is my
world' – or a cool lifestyle. ‘I’m Wolfgang Tillman and I don’t live like you
do.’ People are attracted to that because photography has traditionally served
as a document of events in your life.<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-47944002336962073902013-10-24T03:54:00.002-07:002013-10-24T05:00:36.818-07:00Clunie Reid's 'In Pursuit of the Liquid' at MOT International<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCjgHFoGJFO-NeuXLm2kV9UrQnSBxVuMuZltPHH0cEWSqhkaSyjIWPOkrdZeAt4-UJ1Yfr-yyXRwksCIz6POv-x5CCvYA0W6iX6g1sV8IoCu6sk2Ez7pk4lx5cJI4UWElbAY4MSB1HbjM/s1600/Clunie-Reid_Web-Res-11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCjgHFoGJFO-NeuXLm2kV9UrQnSBxVuMuZltPHH0cEWSqhkaSyjIWPOkrdZeAt4-UJ1Yfr-yyXRwksCIz6POv-x5CCvYA0W6iX6g1sV8IoCu6sk2Ez7pk4lx5cJI4UWElbAY4MSB1HbjM/s320/Clunie-Reid_Web-Res-11.jpg" width="320" /></a></div>
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Trawling through the thicket of cyberspace, Clunie Read has
gathered a matrix of images that she loops together in four complimentary films
creating one inter-connected work. These disconnected images are montaged
together to suggest a narrative but explicitly carry a random, discordant
quality. Watching these four films on individual screens placed half a metre above
the floor requires climbing onto four rubber air-beds low down on the floor producing
both physical imbalance and discomfort. Such furniture alludes to the makeshift
world of private, party spaces.<o:p></o:p></div>
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Onscreen, animated sequences, including footage from the
smallest stop-motion film ever made, are mixed together with avatars and icons
taken from surfing and sampling across cyberspace. The flow is erratic and
jumpy as material accelerates and then fades away. Exaggerated false breasts
collide with jumbled gaming icons, dollar signs, hearts, written instructions
and pixelated figures. Clunie unleashes a flood of vulgar sexual and commercial
titillation, resembling an online ‘wild west’, a dystopia of frustrated promise,
desire and freedom. Blending the innocent with the decadent, Reid explores the
collapse of certainties around the invented and the real, between fantasy and
fact. <o:p></o:p></div>
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This project follows on from her prior use of drawn and
collaged material, derived from similar sources. Now she employs film to lend a
jittery effect where the images appear locked together in a sequence that both
mirrors and disrupts our experience of ‘hyper-reality’. ‘In Pursuit of the
Liquid’ has a formal slickness that nicely instils a twitchy anxiety in the
viewer. Our hopes and fears within virtual reality are directly addressed. In
an age where we find it increasingly difficult to separate experience from the
imagination, chaos arises out of technical progress. Cyberspace becomes a place
of experimentation and transgression detached from responsibility. We are
seduced here into a dysfunctional value system of instantaneous gratification. ‘In
Pursuit of the Liquid’ exposes this rather enticing but sordid proxy world to
scrutiny, however the films’ raw insistence and repetition tend to diminish the
satirical and critical effect.<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-10992267185348277662013-08-21T04:17:00.001-07:002013-08-21T04:21:22.248-07:00John Armleder's 'Quicksand' at the Dairy Art Centre<!--[if gte mso 9]><xml>
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Hidden down a narrow lane off an old cemetery in Bloomsbury,
two prominent collectors Frank Cohen and Nicolai Frahm have opened a new
public, non-profit exhibition space this summer called the Dairy. Named for its
former role as a milk depot, the cavernous warehouse lends itself well to the
type of large-scale work and installations on show in this opening exhibition
of work by the Swiss artist, John Armleder. He is associated with the
improvisational and performative Fluxus and rejecting institutional or commodified
art. Armleder is instinctively transgressive. Wallpaper and painted walls
compete with hanging paintings made by splashing and pouring paint, resin and
glitter across canvasses. This is not the intuitive expression of Jackson
Pollock or the formal experimentation of British Painter, Frank Bowling, but an
attempt to challenge that urge we have to categorise art in order to seek some
certainty.<o:p></o:p></div>
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Armleder is an active curator of his own exhibitions and
this is evident at the Dairy. He enjoys mixing the work up so that aspects of
interior design muddle the distinctions. Walls are painted with stripes and 12 disco
balls (Global Tiki, 2000) hang from the ceiling in a diagonal progression
across the gallery. Plants sit within makeshift beds made from old tyres that replicate
planting in the yard outside. Boundaries collapse and the gallery becomes a
theatrical set in which viewer becomes performer. <o:p></o:p></div>
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In the ‘fridge’, Armleder has built an installation from
metal shelving stacked with bric-a-brac of lava lamps, old framed photographs
and stuffed animals. The explicit absence of good taste here touches on the
perilous territory of class and caste. But the universal interest lies in the
suggestion of domestic accumulation of stuff that threatens to physically
overwhelm us. Objects also potentially carry memories and aspirations. On a
sound loop, grating Hawaiian music plays its kitsch melodies as if we are stuck
in Honolulu airport. Armleder also piles up old art books and magazines in a messy
heap. Culture and human achievement are reduced to a stack of discarded rubbish.
But it uncannily echoes that desire for distinction between what’s valuable and
what’s junk. Who hasn’t struggled with that dilemma? Ultimately, everything
within this installation begins to resemble a flea market of the redundant,
creepy and worthless. There is the hint of mothballs, the charity shop and the
hoarder.<o:p></o:p></div>
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Such a critique of materials and their associations is most
explicit in a work that curls out across the floor merging metal shavings, wood
logs, bowling balls, art books and sand. Comprising both the raw and the manufactured,
these elements suggest formlessness and precision, functionality and waste. The
pliability of materials and their myriad uses embody the spectrum of human
activity but seem dumped on the floor as a levelling gesture. Perhaps the most puzzling
works are paintings made from simple, repetitive designs like spiders or
flowers, resembling stickers or potato prints. Paradoxically, made by the
artist in a painterly process, at the same time they suggest a universal, graphic
language. <o:p></o:p></div>
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In the entrance sits one of the artist’s ‘Furniture
Sculptures’ a fashionable looking lacquered bar top with stools covered in
various ‘lollipop’ colours. Imitating high-end design, the ‘sculpture’ doubles
up as counter you might find in a fashionable bar, but the piece maintains
Armleder’s frustration of clarity – for most of the time it is an inviolable
sculpture to be gazed at.<o:p></o:p></div>
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Armleder’s work is intentionally provocative and wilful.
Formally diverse and inconsistent, the exhibition conveys the playful
intentions of an artist first emerging from the 1960s. Conceptually, the work
is quite robust as Armleder consistently resists a singular ‘style’ or subject.
He quotes art history while turning
materials and objects upside down. Irresolution is the prevailing theme. You’ll
discover an exhibition packed with subversion, where teasing contradiction
becomes a value in its own right. <o:p></o:p></div>
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<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-83055206087089712592013-08-08T06:03:00.001-07:002013-08-09T03:57:26.610-07:00Jose Dávila's ‘Shadow As Rumour’ at the Max Wigram Gallery, London.<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgISk9n0aCDGyK8XXud9v4rjO0HkIxzClCny4S2M_cgFO_KsPhzJ7M2nJj3Zd2pxvRGTevI7pGU7Z0yCjtCUIlxu-6sUhtX2GPAuIAzshrGlRpItaho-UNM-CeSp9EsSptIJXyLAYLRZk/s1600/JD_NBS_20131.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgISk9n0aCDGyK8XXud9v4rjO0HkIxzClCny4S2M_cgFO_KsPhzJ7M2nJj3Zd2pxvRGTevI7pGU7Z0yCjtCUIlxu-6sUhtX2GPAuIAzshrGlRpItaho-UNM-CeSp9EsSptIJXyLAYLRZk/s320/JD_NBS_20131.jpg" width="320" /></a></div>
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Jose Dávila’s initial training as an architect shapes his practice, informed by the histories of art, design and urban space. At the Max Wigram Gallery,
he takes photographs of Dan Flavin’s lighting strip sculptures and cuts out the
lights themselves leaving empty voids within the photographic print. Sculptural
arrangements in space are thus reduced to the flat page and then excised from
the image. The viewer sees the ambient light and colour emitted from the
original sculptures but their once solid forms are now absent. The space is
filled by underlying white paper within the frame. ‘Topologies of Light’, 2013,
comprises 18 individual images of different works by Flavin, arranged as a
composite piece across the wall. Together, the photographs form a frame around
an empty space. The rich, ambient hues of Flavin’s sculptures remain seductive,
but Dávila disrupts the logic with his interventions. Where the light strips took
physical form, we now look directly at a void more glaring than the original
electrical beams.<o:p></o:p></div>
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‘Shadow As Rumour’ departs from altered representations of
pre-existing artworks. Now Dávila constructs his own sculpture using a Mobius
strip, resembling a figure of 8 placed on its side. We encounter a linear
obstruction running diagonally across the room. Instead of geometric and
mathematical perfection, this object is rickety and meandering. It twists
awkwardly as steel arms slot together forming rough joints. These breaks are articulated
in varying colours of green, yellow and black like a syntax. This infinite loop
hesitates and stalls as if it were a faltering machine. The prospect of smooth
and flowing curves is interrupted and sets up the metaphor of imperfect systems.
‘Shadow As Rumour’ runs as a narrow and even fragile loop hovering between
monumentality and doubt. <o:p></o:p></div>
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This interrogation of histories is now a familiar enquiry
among contemporary artists looking over their shoulder in order to plot a
course into the future. There’s a risk here of repeating a wider engagement
with the past that begins to feel rather introspective though the adaptation of
Flavin’s light works has some audacious flair raising interesting questions
around quotation and comprehension. But it’s Dávila’s invented, rambling
sculpture that is the star of the show.<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-75312362957392140002013-08-05T03:10:00.000-07:002013-08-05T07:41:17.331-07:00'do it' at Manchester Art Gallery<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4aeHZQo-0SdVXpTPuFSTKXiVYpJAsSOIvB0NBvVqiT_FFJMwOqFHVI7Y7rGNhgFML_-kp5lakuwh2G9FuSEFWFNfGUF-_3Q6st6rvuMoDuZUvp_0XUpCxTwVHrb28d3yZwiKgiA8KO_0/s1600/IMG_0845.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4aeHZQo-0SdVXpTPuFSTKXiVYpJAsSOIvB0NBvVqiT_FFJMwOqFHVI7Y7rGNhgFML_-kp5lakuwh2G9FuSEFWFNfGUF-_3Q6st6rvuMoDuZUvp_0XUpCxTwVHrb28d3yZwiKgiA8KO_0/s320/IMG_0845.JPG" width="320" /></a></div>
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In a spirit of engagement with the individual and the world,
artists exhibiting in <a href="http://www.manchestergalleries.org/" target="_blank">‘do it’</a> have conceived open-ended instructions that open
up new possibilities. Ceding control of the finished object or performance,
each artist imagines an action that is limitless in interpretation or time
allowing everyone to make an artwork. Originally conceived by Hans Ulrich
Obrist, Christian Boltanski and Bertrand Lavier in 1993, the exhibition collates all the historic works together, embracing many diverse practices by living and deceased
artists.</div>
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<o:p></o:p></div>
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As an extension of the show beyond the gallery, Theaster Gates has staged a performance
within the city’s shopping centre titled ‘How to catch the Holy Ghost or Get
Arrested in a Shopping Mall’ using the repetition of a phrase randomly selected
from the bible. I saw ‘my soul refresh’ spoken outside big- brand shops until the performer grew hoarse proposing an alternative condition to
consumption.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Some pieces simply provide succinct one-word invocations
such as Lutz Bacher’s ‘LIVE’ or Uri Aran’s ‘Doodle’ while others might involve
a negation or a position of resistance such as Carl Andre’s ‘It is best to do
nothing’ written on a postcard as a cryptic form of advice. The success of the
exhibition’s concept lies in its endless variation and possibilities for
interpretation. Some works are precise
while others dispense with detail to encourage multiplicity. Individual artists
address progressive instincts for reforming the world while others embark on
absurdity, a DADA strategy of subversion and satire. For example, Andreas
Slominski asks for a lemon to be squeezed against a bicycle seat. Tacita Dean
summons the sublime with a direction to find and press a four-leaf clover.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
‘do it’ asks us to consider new opportunities and the
potential of imagination. These works often require courage to attempt the
impossible, the fantastical and the ridiculous. Improvisation becomes a value
for art and living in its own right. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Some instructions lose authority when there’s little at
stake for the artist or the facilitator. Sometimes ideas seem glibly tossed out
on the spur of the moment to meet the project’s criteria. But ‘do it’ admirably
attempts to find a free terrain between inspiration and enactment. It is also potentially
limitless in size and ambition. The audience encounters a flurry of competing
ideas encompassing practical and creative challenges. While it may be overly loose
in some parts, the exhibition also contains rigorously disciplined work. ‘do it’
builds on its conceptual power and leads artists and audiences towards a dynamic
collaboration.<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com4tag:blogger.com,1999:blog-8155434516826127943.post-14688910712031475472013-08-02T10:00:00.000-07:002013-08-21T10:04:24.898-07:00The Vessel by Mike Ricketts at Works|Projects, Spike Island, Bristol<!--[if gte mso 9]><xml>
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<img id="mainImage" src="http://www.worksprojects.co.uk/wp-content/gallery/mike-ricketts/thumbs/thumbs_mg_1874-edit_0.jpg" style="margin: 0px 28.5px;" /></div>
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Imagine a grey, rectangular box pretends to be a ship. Instead
of carrying bananas or crude oil, this vessel holds its prisoners in confinement.
A prison, by definition, resists scrutiny. It is a state institution designed
to house those deemed to be marginal and a threat to public order. <a href="http://www.worksprojects.co.uk/exhibitions/mike-ricketts/" target="_blank">MikeRickett’s ‘The Vessel’</a>, recently shown at <a href="http://www.worksprojects.co.uk/" target="_blank">Works|Projects</a> in Bristol, asks us to
consider how the state takes drastic measures to house prisoners. But such pragmatic functionality is transformed as this giant object slips away under the cover of dark to new locations and activities. <o:p></o:p></div>
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Lured by a view of a floating structure across Portland
Harbour and berthed outside a permanent prison on Portland Bill, HMP The Verne,
Ricketts attempts to photograph this ship that resolutely abdicates any aesthetic
qualities in favour of pure function. Seen from the exterior, it has the
appearance of a warehouse, which is its purpose – the storage of 450 prisoners.
He tries to get close enough to photograph the ship from the cliffs above, but
anticipating restrictions about photographing the structure, Ricketts takes
advantage of a legal helpline to seek guidance. Such concern for legalities
becomes moot when it is towed away in the middle of the night bound for Nigeria
to house oil workers.<o:p></o:p></div>
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The ship was constructed in 1979 as a pontoon ‘flotel’ in
Stockholm and later used as accommodation in the Falklands following the war.
Identified in its life by insidiously nondescript names such as ‘Jascon 27’ and
‘Bibi Resolution’, this vessel embodies the endless, clerical shuffling of
international, corporate assets. Ranging from factory worker accommodation in Germany
to a New York drug rehabilitation centre obscuring river views, the ship is a
commodity untethered to place, function or owner. The only constant is a residential
barge-master with a passion for loudly playing show tunes from ‘Phantom of the
Opera’. <o:p></o:p></div>
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Ricketts unravels this saga of displacement and reassignment,
with an arch doggedness, illustrating the bureaucratic processes of global commodity
exchange. But at the end of his investigations one mystery remains: where is
the painting commissioned to commemorate of its time as a place of detention?
This picture is cited in a letter written by the prison governor congratulating
the artist for producing ‘a remarkable work and so correct in all its points’.<o:p></o:p></div>
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Collating together a film, news clips and the re-discovered painting,
‘The Vessel’ is a project that leads us through a painstaking and funny journey
to pin down something that is wholly elusive. A hollow container has a function
superimposed and then withdrawn. A ship normally subject to weather, tides and
location, temporarily squats by the English coast. Ricketts asks us to consider
its transitional presence and status. All that remains of its service to Her
Majesty’s law and order is a banal painting that attempts to suggest some dignity
in a structure possessing all the elegance of an electricity sub- station.
Titled ‘HM Prison, The Weare 1997-2005’, the rediscovered painting is now on
loan to the exhibition and illustrates the irony of trying to lend gravitas to
something that is a giant, floating shed. Instead of nautical romance, we’re
left looking at a crude rendition of grey geometry sitting awkwardly in Weymouth
harbour, embodying pretence, subterfuge and evasion.<br />
<br />
Mike Rickett’s project deftly
exposes the dry imperatives shaping this ship’s existence. All that remains of
HMP The Weare’s contribution to our national life is an insipid ‘painting’, a limp
description in oil, which exposes the wide gap between decor and its more utilitarian
history. 'The Vessel' takes us on a hunt
for clues, pulling together evidence to suggest ways in which this peculiar
floating structure might be understood. The ship, if we can call it that,
begins to embody the secrecy of government and financial bureaucracies that
take possession of it. Constantly reinvented, ‘The Vessel’ is uncannily
pliable, sailing out of sight from one definition to another. </div>
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<blockquote class="twitter-tweet">
<a href="https://twitter.com/Joshuaswhite">@Joshuaswhite</a> thanks for the great review of <a href="https://twitter.com/search?q=%23MikeRicketts&src=hash">#MikeRicketts</a> The Vessel
<a href="http://t.co/lyffcFnYgr">http://t.co/lyffcFnYgr</a><br />
— WORKS|PROJECTS (@WORKSPROJECTS) <a href="https://twitter.com/WORKSPROJECTS/statuses/366879332313989120">August 12, 2013</a></blockquote>
<br />
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<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-80431769749840012342013-07-14T10:16:00.000-07:002013-07-15T04:21:33.662-07:00‘David Bowie Is’ at the V & A: An interview with Geoffrey Marsh, co-curator.<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk_Tl5hgEcBY8408llMfeRuPj6zWMm5j7xnu6KGIW9IwJENOx_vYVoV97vddlpJjaDXvlPWGPGWM_WFRVA5STzj6UFpfZZj3s7O73dHpu5WU0sZ6axDI7cjPleY8toebUdbZ4_tUrLA78/s1600/bowie_aladin_sane_custom_290x320_06200686.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk_Tl5hgEcBY8408llMfeRuPj6zWMm5j7xnu6KGIW9IwJENOx_vYVoV97vddlpJjaDXvlPWGPGWM_WFRVA5STzj6UFpfZZj3s7O73dHpu5WU0sZ6axDI7cjPleY8toebUdbZ4_tUrLA78/s1600/bowie_aladin_sane_custom_290x320_06200686.jpg" /></a></div>
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<div align="center" class="MsoNormal" style="text-align: center;">
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<div class="MsoNormal">
Given unprecedented access to the David Bowie archive, The Victoria
& Albert Museum of Art and Design in London is staging a large
retrospective of the singer’s career using over 300 objects including costumes,
set designs, instruments, music videos, handwritten lyrics and photographs. The
museum has commissioned an innovative sound system carried by all visitors to the exhibition, playing
songs and commentary triggered by movement towards specific displays. This
creates an ambient auditory experience throughout the exhibition. Joshua White
spoke to the exhibition’s co-curator and Director of the Department of Theatre
and Performance, Geoffrey Marsh.<o:p></o:p></div>
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<br /></div>
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Joshua White: Why are you mounting a David Bowie exhibition
now and how did it originate?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Geoffrey Marsh: Part of our brief at the museum is performance
covering rock and pop as an extension of musicals and variety. Famously, we
staged an exhibition dedicated to Kylie Minogue, one of the most popular ever,
and one for Annie Lennox. Originally, we were considering another performer but
we become stuck on copyright issues. If you miss a slot in a museum you might
have to wait another 3 or 4 years. The Pop world is very small and someone got
in touch and asked if we would consider anyone else and we wrote down a list of
people we would be interested in. After a long silence we received an email
asking us if we wanted to see Bowie’s archive, which has its own curator. Bowie
is very interested in technology and the archive has a database. The exhibition
is a tiny proportion of about 75000 items much of it photographs. I never met
David Bowie or spoke to him and he made it clear that he wouldn’t get involved
but we could borrow anything we wanted. When we started two years ago it was
clear that he wasn’t doing anything musically so the recent album is a
coincidence and not deliberate timing.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
JW: Why didn’t Bowie participate in planning the exhibition?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: That’s an interesting question and when we started it
was a bit odd. But within a few weeks I realised that he’s a workaholic at a
Picasso level of working. He’s a control freak and I think he would admit that.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
JW: That comes through from seeing the exhibition and how he
pushes through his vision.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: If he had been involved, it would have become his
exhibition.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
JW: You would not have had a curatorial role and so it seems
his absence gave you complete freedom to mount the exhibition you wanted to
make.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: Funnily enough dealing with his archivist was like
dealing with another curator. It was a strange process and proceeded quickly in
the two years from start to finish but there are some rough edges – too many
exhibitions are so refined.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
JW: Your exhibition is very eclectic. There appears to be a
deliberate strategy in the design and object selection to mirror the way he
works through sampling and synthesising pre-existing cultural material.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: The concept was described by a member of staff here as a
‘dog’s dinner’ before the exhibition was built. I’ve got an odd career history.
I’m a ‘jack of all trades and a master of none’. I worked at the Imperial War
Museum for ten years and trained as an archaeologist. Previously at the V &
A, I worked on the Diaghilev exhibition at the museum and people ask how could
curate both exhibitions. What interest me are exhibition concepts. Theatre and
performance deals with intangible heritage. How you present that is very challenging.
The majority of exhibitions are about fine art, but it’s very difficult to
present popular culture because it deals with ephemera. Art history is concerned
with linearity while pop culture is diverse.
There’s the same challenge in a saleroom. How do you value a suit? Famously,
Bowie, has been an early adopter of new technologies and he behaved like a
search engine in 70s and 80s. He’d mention the novel ‘1984’ and people would go
off and read it.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
JW: Bowie seems to embody a meeting of the Internet age with
postmodernism.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: Bowie is the ultimate postmodern artist but I didn’t
want to get to hung-up on postmodern theory. However this is the first time
headphones have become the dominant experience of the exhibition in the UK. The
sound design is trying to mimic our lives. To my son that’s old hat. When he
sits on the bed, he’s wearing headphones with the computer turned on doing his
homework simultaneously. That’s the nature of pop culture now. The pop culture
shown in the Bowie exhibition is before the arrival of the Internet.<o:p></o:p></div>
<div class="MsoNormal">
One idea was that it we would project images coming off the
internet in real time, mostly fashion but that approach becomes chaotic and
doesn’t look that good. Try it yourself and see what comes up. I usually check online
results for Bowie everyday.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
JW: The selected objects came from the Bowie archive with
full access and freedom given to choose which original material to work with. What
new objects did you commission for the exhibition?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: We commissioned two works of art for the exhibition. ‘Stan’s
Café’ have made a rice sculpture called ‘A Million Grains of Rice’ for the
entrance. In the last room we show Paul Robertson’s work ‘The Periodic Table of
David Bowie’. Paul is an artist and manages Summerhall, an artist’s space in
Edinburgh. The different categories are sort of lifted from lyrics. He made a similar piece about 20<sup>th</sup>
century art and I thought I’d copy that, but I met him and he said, ‘don’t do
that I’m a big Bowie fan and I’ll make you one for the exhibition’. The concept of these commissions is that at
the beginning Bowie is nothing, just one in a million and at the end Bowie has
become hyper-specific. Whether anyone notices that I’m not sure, but because
we’re a creative museum, we like including commissioned pieces in exhibitions.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
JW: I noticed there’s also a handkerchief on display with
his lipstick on it as if scooped up by a fan as a souvenir.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: The only big discussion we had with his archive in New
York was about the underlying concept and we chose a thematic approach. There
are an enormous number of books about Bowie written by Rock journalists but we didn’t
want to take a similar biographical approach. You would have ended up with a
long, thin exhibition. He’s been working for 50 years since the age of 16. The
V and A is really a museum of process rather than design so what we wanted to
do was deconstruct Bowie. I exaggerate slightly, but what you learn looking at an
artist like Picasso is that artists don’t actually change that much. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Bowie is obsessed by mutation. If there’s a weakness in the
exhibition, it’s that I don’t think we really explain what happened to him
between the ages of 12 and 15 when he started to become a star. Perhaps it’s
impossible. If you look at the photos of him at 16 he’s already a star. In a
Justin Bieber world that’s not odd, but it was in the almost pre-television age
of the early 1960s. It’s a funny thing that no one has asked Bowie that
question.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Once he’d done that, the song writing and touring all fell
into place. Common patterns emerge. Bowie had it all worked out and still knows
exactly what he wants to do. He only works with people who do want he wants. It
would be impossible for him to work with some fashion designers, for example. And
he has a sponge like mind. People say that he reads a book a day and you can
imagine it. This question of how did he mutate and become so successful implies
that if he can do it anyone can do it, like setting your mind on becoming the
editor of a newspaper.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
JW: What’s moving about the exhibition and so inspirational
is Bowie’s attachment to self-invention and possibility.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: It’s sounds corny, but this afternoon I saw a schoolteacher
tell his pupils ‘to go and draw what you want’ and almost had me in tears.
That’s why Bowie is significant. It’s not the music or that he wears funny
clothes. It’s about the idea of being yourself and that’s why he’s so
subversive. We have this Bowie board in our office and we ask ourselves which
cities in the world today could you walk down the street as Ziggy Stardust and
Aladdin Sane. Outside the east and west coasts of America and much of Europe, you
get this increasing hostility to that kind of individuality. His example is
more subversive than saying follow me and he hates people impersonating him.
He’s saying go and find your own thing, whatever that is and be yourself
whatever your gender, like the new video with Tilda Swinton. That’s why he’s
significant for the V & A and why the exhibition is so successful because
it’s pointing to that idea.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The reverse of this is visible in the exhibition comments
book. People say things like ‘ I’m 55 and fat. My life didn’t turn out as I
expected. All I have are two divorces and mortgages. That’s all I’ve achieved
and Bowie has done all this stuff.’ It’s actually quite moving.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
He’s an actor who spent 60s trying to be a musician learning
under Lindsay Kemp. Bowie is probably the only popular entertainer who’s a
properly trained actor. Every rock star wants to be in film, but it’s hard work
and Bowie is very good. Like the video for ‘Boy’s Keep Swinging’ where he plays
three women and it was shot in a day. Look how he caricatures three women and
how he carries his body. When he launched the recent record and video at age of
66 one newspaper asked is this the start of old age pensioner chic? To me
that’s it. What are all these people here in this café going to do with their
time in retirement when they own their own houses and want to live to 90? I don’t
think at 23 he was particularly interested in young people per so now he’s 66 it’s
a mutation.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
JW: He ageless and doesn’t respect conventional cultural boundaries.
And he’s constantly changing. So who is David Bowie really?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: That’s an interesting question. Over the past few weeks
I’ve met some hard-core fans and they all go on that they saw him at various
concerts and I say to them you do realise that David Bowie is a construction
because they are quite happy to accept Aladdin Sane is fictional. Bowie’s legal
name is David Jones and he’s married to another construction Iman, who’s Mrs
Jones. That’s the weird post-postmodern thing about it. They are two sides of
one coin. That is the nature of our modern culture. However across the world
there are huge numbers of people who can’t live that life. The Western
educated, democratic bubble allows individualization. When Bowie started it
didn’t exist. The very idea you could jump class was unknown.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If you don’t have any money and are living in Egypt amongst
70 million people, what Bowie offers is out of your grasp and that’s why the
great fracture in the world is between individualism and mass dogma of one form
or another. Bowie is not popular in middle America for the same reason. It’s
Bruce Springsteen or nothing. I do think Bowie is a product of his age. When
Bowie lived in Berlin in the late 70s was impossible to reach him. Bowie had
confidence to disappear for 10 years.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
JW: Confidence seems to mark his whole career. You come out of
that exhibition admiring his focus, energy and direction.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: Between 1972 and 2004 on average he performed a concert
every 11 days, which is mind-boggling and smoked 60 a day. He had an iron
will.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
JW: What have you learnt since the show has opened? There’s
this assumption that a curator’s job is finished once the show is installed and
opens the door. Does the material continue to offer ideas and insights to you?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: I never trust anything written in a book as there’s so
much inaccuracy. ‘Space Oddity is a good example as it is assumed to have been
written for the BBC’s moon landing coverage in July 1969 but the song was actually
written earlier in January. The song is not about the moon because he’s in his
tin can. I’m pretty sure Bowie found inspiration for the song in a photo of the
Earth published in early 1969. One of problems dealing with popular culture is that
there’s a huge area of knowledge still to be uncovered. The Beatles haven’t
really been considered in terms of their impact on post-war society in general.
<o:p></o:p></div>
<div class="MsoNormal">
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<div class="MsoNormal">
I have been genuinely surprised by the degree of ownership shown
by visitors to the exhibition. In a Damien Hirst exhibition, you don’t find many
people saying ‘he’s the story of my life’. One woman brought her teenage
daughter down to London to see the Bowie exhibition after her divorce in order to
say there is still a future for us. I’ll get into trouble for saying this, but
many curators seem scared of an exhibition that prompts an emotional reaction
from their audiences but it’s considered acceptable to go into rhapsodies about
Michelangelo.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
JW: Why did you include the lipstick-stained paper tissue in
the exhibition?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: I had a big disagreement with my co-curator about displaying
it. A professor of Byzantine history at Oxford said he would send his students
down to see the tissue because it is one of the best things he’d seen to
explain how in the middle ages human beings became saints and how objects
associated with them changed into holy relics. Medieval shrines worked that way.
Bowie has a similar status for many people. The tissue was found in the same pocket of a
suit on display with a tiny cocaine spoon and that’s why the tissue survived,
as if you went through Mrs Thatcher’s handbag. And that’s just how you treat
saints.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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JW: So there’s a cultural value to mundane objects invested
with that kind of power?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: When you listen
to the audience, an astonishing number of people are living ordinary lives and
Bowie represents a means to connect to a world described in glamour magazines
like buying an expensive pair of shoes. I’m modestly paid in the public sector
so when you see how Gucci the sponsor operates as a machine it’s fascinating.
In London we are living in a city awash with money.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
JW I noticed a corporate looking guy in a suit who brought
his young son and thought that Bowie’s power extends to everyone regardless of
income.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: Gucci’s head of corporate design is obsessed with Bowie
and you realise that a company like Gucci will get run over unless they place
creativity at the centre of what they do. It’s a strange world. If I’m honest, the exhibition is visually better than anticipated. The designers did a
fantastic job. I went to Vienna recently to the newly opened Kunstkammer and
every object is amazing to look that. Bowie’s objects operate like the
Kunstkammer of our age and in some quarters that might be regarded as
depressing!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The other interesting question is why doesn’t Bowie live in
London and I think it says something about Britain. Despite what he has achieved,
society here still places people in boxes. Perhaps superficially, the US
doesn’t appear to do the same thing. Great artists like Bowie can’t stop and
get more frantic because they are getting older. It was a very odd experience
curating this show. There were problems about finding the right tone and a
different challenge from curating Picasso or Manet because millions of people
are very passionate about Bowie. Fortunately, most fans love the show. But
there’s a general audience at the museum to consider too. People in their 80s
don’t know who David Bowie is. For some people aged over 70 this is not a good
story but one about decline.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
JW: You mean the war generation?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: Bowie says that I couldn’t be like my father and take
orders.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
JW: What do you think Bowie’s lasting impact on popular
culture will be?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: This is going sound pretentious. In the long run, where
will we be at end of the 21st century? Either Western democratic values will
have won or they won’t. History is written by the victors. It seems to me the
world is presently divided. I’ve been working in northern Iraq in remote
villages, which are almost biblical with thousands of goats. Many inhabitants
have worked in Britain’s health service and ask about the last episode of Mad
Men. It seems in Kurdistan despite it’s growing oil wealth, they all want to
leave and live in America. If they can’t, the flip side is that they hate it.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
JW: It’s both desire and repulsion.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: The world is moving towards these polarities.
Certainties of dogma give are the only things that give some lives meaning. Art
is one of those two sides. In fact it’s the peak of one pole.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
JW: Have you made any fundamental conclusions about what Bowie
has achieved in his career?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: He’s achieved a great deal, but he won’t stop working. Facing
the fact that one’s existence comes to an end intrigues me. Either you come
full circle and find contentment or you ‘rage into the night’ to quote Dylan
Thomas and I suspect that’s what he will experience. There are very few people
in the music business who prompt the question ‘what now?’<o:p></o:p></div>
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<br /></div>
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JW: That explains the title of the exhibition ‘David Bowie
Is’ and his restlessness.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: We wanted to remove chronology completely and that’s why
the captions are written in the present tense. We also didn’t want our catalogue
essays to be authoritative. Bowie could have said it was a load of rubbish. One
of the weird things about the exhibition is hearing people shouting unexpectedly
because have they headphones on. I wanted visitors to be part of the
interpretation. You get this when people pick up the album covers.<o:p></o:p></div>
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<br /></div>
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JW: Perhaps it returns them to the record shops of youth and
their own record collections?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
GM: A lot of people say they want to dance in the exhibition
but they don’t dance, which is a real pity. Visitors even write and say they
want to live here!</div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-30262109794257111732013-06-12T23:35:00.002-07:002013-07-14T10:23:06.581-07:00Michael Landy's 'Saints Alive' at the National Gallery<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtfhIzUrR2ZGzY03REq2OSAjL9qv5wKPSCT4aNyoOdw8WQff_2NKpo7uYN-FfoeyxKXQGd6TPrNZXPg36j2KI_WsCi8aJUBVoobbrrPcpZTLLBHyXphC_elQN6tbaoojYiyGeXaGaQJPI/s1600/Landy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtfhIzUrR2ZGzY03REq2OSAjL9qv5wKPSCT4aNyoOdw8WQff_2NKpo7uYN-FfoeyxKXQGd6TPrNZXPg36j2KI_WsCi8aJUBVoobbrrPcpZTLLBHyXphC_elQN6tbaoojYiyGeXaGaQJPI/s320/Landy.jpg" width="253" /></a></div>
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<span style="font-family: Times, 'Times New Roman', serif;">Landy’s Saints dip, swing, sway, totter and pull in masochistic rites that perpetually re-enact their martyrdom. Made from bits of
mechanical scrap and fibreglass, these creaky, robotic figures are figural quotations
from the National Gallery’s collection of old masters. The original paintings
are surviving images that immortalise the exploits of the saints whose altruism
and superhuman acts of sacrifice and suffering have served as Christian
exemplars of religious faith. Such was the extent of their belief that they would endure agonies to uphold their devotion. It’s hard today to imagine what cause we
would suffer similar ordeals to protect. Perhaps only the outbreak of war might
confront us with similar crises of conscience</span></div>
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<span style="font-family: Times, Times New Roman, serif;">It’s that gap between medieval religious faith and today’s
cultural agnosticism and doubt that interests Landy. Walking through the
gallery at the outset of his residency at the gallery in 2010, he was drawn to
the images of heroic acts and determination that characterise the lives of the
saints. He was also given a copy of the Golden Legend, a 13<sup>th</sup>
century compendium of saints and their lives for inspiration. Landy here
conflates his longstanding interest in mechanical sculpture with spiritual
painting. After three years of drawing and thinking, the resulting project is
an honest and funny rendition of stories that may feel remote within Britain’s
Protestant, sceptical culture but much less so in a Catholic society where saints’
festivals define the calendar or relics grant prestige to a town.<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Designed to be creaky and poised on the edge of dysfunction,
many of the sculptures were broken on my two visits. This can feel frustrating
but it also reasserts the handmade quality of these machines using scrap parts
that are exposed to view. Metaphorically, these artificial bodies suggest the
extraordinary physical strength and willpower of saints but also their
fragility. Their stories convey both superhuman power and the appalling
vulnerability of flesh subject to extreme violence. Landy’s saints are designed
to display their own mechanical wounds. Jesus’ torso will gradually become
permanently marked by St Thomas’ poking figure and so too St Jerome bears the
repeated thrust of the rock against his chest as his struggles to expel the
thoughts of Rome’s dancing girls during his seclusion in the Syrian desert.
What’s shocking in the echoing gallery is the actual sound of the rock thumped
against the body or of St Apollinia pulling out her own teeth.<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">Landy also exhibits collages of random limbs
taken from historic paintings. These fragments allude to the breakdown of the
body that is so intrinsic to martyrdom. He
also draws a cluster of interlocking objects and limbs to produce a quirky ‘Self-chatisement
Device’. What he calls these ‘barmy stories’ provides the foundation for
Western art. Image making arose in an age of illiteracy. Religious belief would be served through visual dramatisation.
Landy has taken this tradition and introduced absurdity. It’s not a direct
assault on religious observance but rather a satirical exploration of the human
need for heroes. What remains is an underlying pathos and astonishment at the trials
borne by the human body and mind in defence of conviction.</span><!--EndFragment-->Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-40466135334010368792013-06-12T23:17:00.002-07:002013-06-12T23:36:12.694-07:00'Alexander Calder After The War' at Pace, London<!--[if gte mso 9]><xml>
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From a distance of sixty years Alexander Calder’s mobiles,
stabiles and standing mobiles embody the best attributes of modernist
sculpture. They possess a self-sufficient ecology of balanced colour, shape and
weight. But their success also carries the risk of fatigue. In singular
isolation, they can feel overexposed and even drained of life while occupying an
iconic status in public collections. Pace’s London show has ambitiously
assembled the post-war sculptures made between 1945 and 1949 facilitated by the
renewed availability of aluminium. Lit and elevated on circular platforms, the
works are given the reverence of a museum display. <o:p></o:p></div>
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. <o:p></o:p></div>
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Our enchantment with the mobile reaches back to childhood
and suspended toys. Calder’s sense of pleasure in aligning organic forms with
physics is indisputably charming. These post-war pieces revive optimism in art
and refute the anxious introspection of Abstract Expressionism or European Art
Brut. ‘Blue Feather, 1948’ stretches out into space along horizontal and
vertical axes. Splashes of black droplets are interlaced on wire like growing
leaves and produce tension with a pierced red disc sitting flatly over the spike
of the supporting tripod. Energy moves the structure until equilibrium is found.
Hand in hand with solid form, light also articulates the sculpture in shadow across
the floor.<o:p></o:p></div>
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Calder’s watercolours exhibited simultaneously here employ a
language of primitive figuration as if drawn on the surface of a cave. Other
pictures present biomorphic spirals and orbs redolent of Miro’s Surrealism. But
these sketchy washes of colour and line resemble private studies and confirm
Calder’s natural affinity with sculptural process rather than suggest a
dextrous application across media in the vein of Picasso.<o:p></o:p></div>
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<br /></div>
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Each Calder sculpture, whether floating in free space
suspended from the ceiling or sitting deftly in miniature on a plinth and
stored in a re-conditioned cigar box, finds an intrinsic co-ordination of
colour, line, materials and flow. What Calder paradoxically achieves is stillness
through activated animation. His kinetic experiments are entrancing and
satisfying, aligning material manipulation with observation like the raked pebbles
of a Zen garden.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihyg4rFYDmt23kjxjUPYDJlDUtrmJyXGiR6JG4mmjwYKB7X4jIyAM9WwVZUIoIcJd_9aemdqB9oBL5zTigc1Cy9bSG1aIK4ENm2qVlosn1una_bZKMo1pelxiJhVtW-0fizavp34QhYGE/s1600/bowie_stripped_bodysuit.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihyg4rFYDmt23kjxjUPYDJlDUtrmJyXGiR6JG4mmjwYKB7X4jIyAM9WwVZUIoIcJd_9aemdqB9oBL5zTigc1Cy9bSG1aIK4ENm2qVlosn1una_bZKMo1pelxiJhVtW-0fizavp34QhYGE/s320/bowie_stripped_bodysuit.jpg" width="262" /></a></div>
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Once contemptuously described in a BBC news report as a
‘bizarre freak’, David Bowie emerges from this exhibition as one of the most
influential individuals in western culture of the past fifty years. Using
material borrowed from his personal collection, the curators have constructed a
show illustrating Bowie’s dynamic self-invention and his restless curiosity
about the world around him. Drawing on a huge range of sources ranging from
Weimar cabaret, Stanley Kubrick, J.G.Ballard, Little Richard and Andy Warhol
among many others, Bowie is the ultimate assimilator of style and ideas. Paul
Robertson’s ‘Periodic Table of David Bowie’ here demonstrates the disparate
lustre of Duchamp and Dietrich in
Bowie’s world. The exhibition demonstrates how he has found an identity free
from expectation or restraint.<o:p></o:p></div>
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What’s radical about the exhibition is it’s assertive
eclecticism. We see a tiny model of Queen Elizabeth’s coronation coach
alongside ration books articulating Bowie’s suburban childhood. A huge
selection of costumes, album covers, handwritten lyrics, videos and ephemera like
a lipstick imprint on a tissue weave together Bowie’s achievement. Hybridity is
his enduring passion collecting, quoting and sampling the cultural world around
him in support of a determined vision. He ransacks and mashes together the
bric-a-brac of human life: history, science fiction, art, film, theatre and
fashion. All these inconclusive traces of the man born as ‘David Jones’ confirm
that he is an elusive performer of fictions.<o:p></o:p></div>
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The Victoria and Albert Museum is pioneering a new exhibition
model here. Objects are piled high and compete for attention. Order is
discouraged and sensory overload prevails. Peepholes illustrate models of a
painter’s studio stacked above a Buddhist prayer hall alluding to Bowie’s early
professional confusion, which he resolved by feeding it back into his work. The
audience must navigate clashing disguises and theatrical props. Sound is appropriately
important to the design and each visitor listens to an ‘audio-guide’ playing songs
and commentary triggered by your movement on the exhibition floor. In a thrilling
simulation of a concert, visitors watch Bowie as Ziggy Stardust and Aladdin
Sane’s appear on giant screens rising 20 metres high in which costumes are
embedded on illuminated shelves.<o:p></o:p></div>
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You leave this exhilarating exhibition genuinely moved and
inspired by Bowie’s determination to achieve cultural, sartorial and sexual autonomy.
This is an artist looking for that tipping point where he slips free of
definitions. ‘David Bowie is’ suggests how ‘we can be heroes, just for one day.’<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-75365535933088382012013-05-13T01:02:00.002-07:002013-06-12T23:39:15.934-07:00West End Sculpture: Marcel Duchamp, Sterling Ruby and Alexander Calder.<!--[if gte mso 9]><xml>
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Marcel Duchamp remains a fascinating and inspirational
figure to contemporary artists for the daring way in which he turns the world
upside down. Nothing was sacred to him and all established systems open to
deconstruction. He plays with language and meaning more deftly than most
thinkers. It’s even possible to regard him as a philosopher working in concrete
form rather than a more conventional artist who happens to manipulate
materials. So it’s a rather inspired idea of Blain/ Southern to curate a show,
‘Tell Me Who You Haunt’ in Hanover Square exhibiting Duchamp alongside artists
engaging with his concept of the ‘readymade’, a pre-existing object translated
into art through the artist’s selection and translation through the act of
exhibiting it as an ‘artwork’. This strategy is now well established and
prevalent today. We take the idea on trust and it remains a founding principle
of conceptual art. But the exhibition is also exploring how reading a
‘readymade’ may change depending on how it is shown and its relationship to
other objects. Therefore a ‘readymade’ is always in flux and never fixed.<o:p></o:p></div>
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Paradoxically, Duchamp’s use of a men’s Urinal to exhibit a
work he called ‘Fountain’ at the New York Armoury show in 1917 directly
challenged the claims made for an artist’s creative vision and technical
mastery. The gesture carried satirical and destabilising assault on traditional
values of art, but arguably the power of the act and its audacity has arguably
transferred more power and authority to the artist and galleries. However, this
exhibition illustrates that today’s ‘readymade’ has become a worn down from
conceptual overexposure. Much of the contemporary work exhibited alongside
historic Duchamp objects like ‘50cc d’Air de Paris’ do not possess the same
potent ambivalence and ironic thrust. Jimmie Durham’s ‘Heaven and Earth shall
Pass Away’ has a theatrical impact as a boulder pins an anonymous jacket to the
floor. While it is made from two found objects it’s not strictly a ‘readymade’
and neither is Jota Castro’s Leche y Ceniza comprising an infant’s playpen with
a mirrored floor. It is an engaging work touching on memory and the troubling
sight of seeing your own face returned to as a psychoanalytic jolt. <o:p></o:p></div>
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Perhaps only Nasan Tur’s ‘Fortuna’, a roulette ball from a
casino placed archly in a vitrine on a pedestal carries that uncanny presence
we expect from a successful ‘readymade’. As you leave, David Batchelor’s balls
of monochromatic electrical cord straddle the gap between being pure ‘readymades’
and sculptures that are re-fashioned from pre-existing objects.<o:p></o:p></div>
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Down the road at Hauser and Wirth, Savile Row, Sterling Ruby
is enjoying a solo show where he is exhibiting a range of theatrical sculptures
employing poured urethane that creates a glossy, gloopy effect over large scale
forms that resemble visceral organs and sinews but also double as mechanistic
objects like ramped up cars, built in a domestic garage. These enormous,
horizontal fleshy things are also inverted vertically so that they resemble
stalagmites found in caves from solidifying minerals. There’s a feel of
‘goth-pop’ here, a range of cultural references heightened by a touch of the monstrous.
An entire room is indeed dedicated to a vampiric theme when Ruby hangs several
soft sculptures form the wall indicating open mouths with two prominent fangs
dripping blood. Acting like absurd stags’ heads lined up as trophies of hunting
prowess, these sagging mouths quoted from contemporary culture possess an
absurd ‘attitude’. Sewing has emasculated Dracula.<o:p></o:p></div>
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Less successful are the large collages of waistbands ripped
from branded underwear and fragments of blankets. Following an American
tradition of quilting, these large pictorial assemblages imitate the scale of
‘important’ painting but feel lifeless and inconsequential. Even worse are the
flattened boxes used to create the urethane sculptures, which are then framed
alongside banal labels taken from beer and pharmaceutical packing. These works
pay homage to the tradition of Picasso’s Cubist assemblages or Kurt Schwitters’
Merz constructions, but again feel limp and lazy.<o:p></o:p></div>
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After seeing Ruby’s erratic and dizzying assault on
contemporary American culture, Alexander Calder’s mobiles, stabiles and
standing mobiles are guaranteed to bring a smile to your face. <o:p></o:p></div>
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Each Calder sculpture, whether floating in free space
suspended from the ceiling or sitting deftly in miniature on a plinth and
stored in a re-conditioned cigar box, finds an intrinsic co-ordination of
colour, line, materials and flow. Their slow, bobbing search for equilibrium is
entrancing and satisfying, lulling you into an art-induced reverie.<o:p></o:p></div>
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<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-63075436469868385962013-05-09T09:45:00.002-07:002014-09-09T04:09:31.599-07:00Francesca DiMattio at the Zabludowicz Collection, LondonI conducted this interview with the talented Francesca DiMattio as she was finishing the installation of her exhibition titled ‘Vertical Arrangements’ at the Zabludowicz Collection in London where she was exhibiting new ceramic sculptures beside her paintings. This was a group show at the gallery including work by Albert Oehlen and Matthew Chambers . A resident of New York and represented by Pippy Houldsworth Gallery in London and Salon 94 in New York, Francesca is a graduate of Cooper Union and Columbia University. Francesca DiMattio has been A resident of New York and
represented by Pippy Houldsworth Gallery in London and Salon 94 in New York,
Francesca is a graduate of The Cooper Union and Columbia University.<br />
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JW: Why have you placed flowers in the ceramic sculpture,
Totem?<o:p></o:p></div>
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FD: It’s really a sculpture inspired by vase structure, form
and histories. To house the flowers makes a lot of sense but without flowers
totally works too. All of these ceramic
pieces in the show have the ability to be candlesticks and candelabra too in different
configurations. ‘Totem’ is really heavy and takes five guys to lift. It’s made
of three pieces, which are lifted onto each other for the exhibition. Clay is
weird. These are hand-built slabs an inch and a half thick. It involved lots of
different techniques being used to produce these effects.<o:p></o:p></div>
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JW: I heard that you had to teach yourself and learn from
scratch?<o:p></o:p></div>
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FD: Yes, I had to learn how to make work in clay. I had a
great teacher. I taught myself to some extent, but Kurt Weiser, my
father-in-law and a ceramicist taught me. He’s really famous in his field in
the craft world. He also taught for years, so I had to go out there to study
with him in Arizona. I would ask him how do you do that? I learned a lifetime’s
ceramics in a month, which was a unique experience. We stayed up until 3 in the
morning and sometimes we accidentally broke things.<o:p></o:p></div>
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JW: Your paintings have a dizzying quality of stacked
elements incorporating architecture and domestic objects. What are the formal
or thematic effects are you trying to achieve? <o:p></o:p></div>
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FD: I am looking for something that is not static so
everything is interrupted or interfered with, which creates sense of movement.
In finishing one object you’re interrupted and it turns into something else. I
don’t want something to stay still. These paintings are really stacked. I think
of them as sculptures within in a space to some extent. <o:p></o:p></div>
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JW: What’s your starting point?<o:p></o:p></div>
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FD: To begin, I produce a schematic idea of a space and
start building something. Initially I have insane amounts of images that I sift
through before starting a work and at that point it’s quite freeing. I’m
looking at things formally and I search for difference. You’re starting with three points pulling in
different directions and then from there I react to it, but it’s not a mapped
out thing initially. It’s Important to get right in there. Each painting learns
from the one before.<o:p></o:p></div>
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JW: I read in a previous interview with Amy
Sillman that you don’t want to make a picture static. How do you create the
right balance and tension within a picture?<o:p></o:p></div>
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FD: I don’t want it to be completely dizzying. Parts happen
simultaneously not fifty things at once. Paint used to describe a face is also
pulled to describe a house. You get stuck in fused moments so that in new
paintings a couple of descriptions are happening at the same time. It’s a
tension between being overwhelming and being able to have a slippage, which is
something uncomfortable. Flowers may wilt but are not dead.<o:p></o:p></div>
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JW: What are the developments in your new work like the
painting ‘Damask’ (2012) on show in the exhibition?<o:p></o:p></div>
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FD: There’s a strong linear quality articulated in the rope
described in ‘Damask’. I was thinking about stitching things together like the undulation
that happens in sewing, weaving, crocheting and crafts. Through the interlocking
drawings of different things, abstractions are made in between so the space is
where the lines intersect.<o:p></o:p></div>
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JW: You appear to have a consistent interest in ‘craft’.
What draws you to that?<o:p></o:p></div>
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FD: As I get older, the more I have the desire to bridge
gaps. I make things and find ways of bring them together. I want to make a candelabra
next. I make a lot of things and I do a lot of sewing. It’s not a big leap.
There’s a direct relationship between ceramics and paintings. I find it
frustrating that there are a thread of adjectives that follow these crafts like
‘small’, ‘girlish’, ‘hippyish’ things. I take the same modes of making but over
scale them with a tougher hand.<o:p></o:p></div>
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JW: Why do you quote art and design history such as making
references to Delft pottery and ‘chinoisserie’?<o:p></o:p></div>
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FD: It’s about the history of the material whether it’s painting
or ceramics. Ceramics are quite hybrid and specific. I’m most interested in different
languages and histories but also the various ways of handling materials.<o:p></o:p></div>
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JW: So it’s hybridity of style and material that interests
you and the breakdown of those boundaries and histories?<o:p></o:p></div>
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FD: I want them to be non-hierarchical in a kind of dissolve
through juxtaposition and proximity of this difference. In some pieces, I used china
paint a historically revered gilding technique but also what grandmas do on
plates. I’m interested in really expensive antiques and a grandma’s taste in
plates, a huge range from tacky to nice. There’s a shift through proximity from
something beautiful to something disgusting.<o:p></o:p></div>
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JW: So one of the ceramic works can tip quickly from the
respectable to the vulgar?<o:p></o:p></div>
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FD: Yes, there’s a tablecloth in the painting ‘Damask’ that
has does a similar thing because it’s looks like both a baroque floral pattern
and a cheap tablecloth at the same time.<o:p></o:p></div>
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JW: So there’s an enquiry in your work about traditional
notions of fine art and class iconography while at the same time there’s a
dialogue around what’s undervalued and disregarded?<o:p></o:p></div>
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FD: Through that instability I’m making it less fixed, so
notions of high class or vulgarity are questioned.<o:p></o:p></div>
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JW: That has that been a challenge for other ceramicists
working in clay. In the craft tradition there’s been a distinction made between
craft and fine art, those who make pots and those who paint. You seem to be
interested in that cultural gap.<o:p></o:p></div>
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FD: I suppose it
depends on the pot. So I can’t defend all of them. In terms of the whole craft
argument, the gap is more about taste than craft. You can make anything if it’s
good out of anything, but I was in part drawn to ceramics for that cloud above
it. I was drawn to it for that ambiguity, that it’s separated out more than any
medium. Working with ceramics demanded this craft approach and that’s
fascinating to me.<o:p></o:p></div>
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JW: You can see that confusion in the way museums distinguish
between ‘fine art’ and ‘craft’.<o:p></o:p></div>
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FD: For ‘Totem’ it’s all porcelain and it doesn’t naturally
want to behave in this way on such a scale. You wouldn’t choose this kind of
clay to make big slabs from. There also all
these fingerprint marks in it and it shows crude handling, behaving more like
stoneware with grit in it. I was thinking about the Expressionist potter, Voulkos,
when I made it and giving it lots of surface decoration and making it out of
porcelain with an almost grotesque pattern and feminine overlay. The figurine
would be the kitsch element, but based on an 18<sup>th</sup> century piece
while also looking as if you could find it in a gift shop. <o:p></o:p></div>
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JW: How does your work sit in this curated show? What do you
learn from participating in this exhibition alongside other artists with a
curator in a public exhibition? Does it put your work in a new light?</div>
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FD: It’s probably too
early to ask. I only put in the flowers yesterday. But there’s an interesting
connection to the other artists in terms of language such as the shifts in
Matthew Chambers’ paintings from piece to piece and how they are installed. Albert Oehlen leaves mushy fingerprints over a
taped-off ‘fade’ in a painting and the space between those gestures and the digital
printing too with the expressionist hand over the top. I become more involved
in the hanging and arrangement of my work, which is probably related to growing
confidence and age.<o:p></o:p></div>
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JW: What you do want to do next? You mentioned making a candelabra
out of clay.<o:p></o:p></div>
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FD: I want to make a large, hanging, low chandelier that
would comprise clay and metal. It would cover a lot of different references in
terms of candlesticks. I want to do my own thing now having digested different
style histories. It would possess crude protruding extruding clay and produce lot
of different handling techniques.<o:p></o:p></div>
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JW: There’s a balance in your work between collapse and
something evolving, asserting form and volume. There’s so much dialogue and
quotation, such as the patterned surfaces.
Your interest seems to lie with pushing the possibilities of technique
and materials.<o:p></o:p></div>
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FM: Some of this is just piling on the glaze in the ceramic
sculptures, as if in the process of learning. It’s harder rendering effects
this way. Technically being out of control is actually hard to achieve. The
quantities are shocking. The sculptures appear haphazard as if a student had
made them but it takes a lot of piling on and I mixed all the crackling glaze
myself. You still have to have know the direction you’re taking.<o:p></o:p></div>
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JW: For all its mashed together and jagged appearance, there’s
a completion in ‘Totem’ that feels whole.<o:p></o:p></div>
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FD: You could intervene and break Totem after firing but ‘brokenness’
is different from my rugged handling of the material. The finished work is not
meant to look ‘archaeological’. It’s really important to me that through all
this fracturing that it comes back together to being whole again. Like the
paintings, I don’t want to create a dizzying, empty space. I want to build a
‘wholeness’ at the end of the process. Formal connections in the work are what
interests me, for example, how the grid in ‘Diptych’ (2008) resembling a ship’s
mast relates to the grid of a chair, the inside of an umbrella or holes within
a ladder, so that everything has a structural similarity. ‘Diptych’ moves from
panel to panel and some of it gets lost. I look at everything as a source. I
started with the fade from dark grey to light in house paint that was really a reductive
landscape, moving from a Richter-like palette knife effect to oil. I rip up
lots of books and have piles of images in my studio. The ‘schlocky’ figures in
that painting are from an art history book. <o:p></o:p></div>
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JW: Were you ever conscious of failing when you were making
‘Totem’?<o:p></o:p></div>
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FD: This piece was meant to fail. My father-in-law said there
was too much happening to complete it, but I said I was fine making it by
myself. I was working in a school environment and not my studio so the works felt
vulnerable. It was weird and I didn’t have full control so some work was
destroyed and I couldn’t accept it. ‘Totem’ was designed to make up for it. I
worked for two weeks on my own when the school was closed over Christmas and it
was really depressing. The process is slow and the clay is fragile before
firing. Instinctively, I had a better sense of weight and space than I had
expected having only painted before.<o:p></o:p></div>
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JW: It’s an example of how you learn by falling back on your
own resources and pushing through. I see you are giving a talk to accompany the
exhibition. Is it important to find a ‘language’ to discuss your work?<o:p></o:p></div>
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FD No, I really don’t think it is necessary but I’m happy to
do it. It can be interesting, but the work stands on its own.<o:p></o:p></div>
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JW: Where is your practice moving now? You’ve developed a particular language in your
paintings and sculptural ceramics. There’s a nice articulation now across media
of shared interests and themes. Can you see what you’ll be doing in future?<o:p></o:p></div>
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FD: I will be working for a show at the Blaffer Museum in Houston
opening next winter, so I want to make paintings and sculpture using new materials
like acqua resin. I will aim to produce greater height in the ceramic
sculptures without the weight and fragility because clay can make them
super-heavy. There’s no way to fire them in New York and they are very
expensive to make. That’s one of the reasons I went out to Arizona to use a
special kiln. I need to work in sections. From working with ceramic glazing,
the surfaces of my paintings are becoming more articulated. There’s a lot more
variety. Having used cake decorating extruder tips for the ceramics, I’m now
using them to make paintings. <o:p></o:p></div>
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<blockquote class="twitter-tweet">
Francesca DiMattio discussing her last exhibition <a href="https://twitter.com/Zabludowicz_Col">@Zabludowicz_Col</a> with <a href="https://twitter.com/Joshuaswhite">@Joshuaswhite</a> | <a href="http://t.co/Ssc46EdIKh">http://t.co/Ssc46EdIKh</a><br />
— Pippy Houldsworth (@PippyHG) <a href="https://twitter.com/PippyHG/statuses/355315431281664001">July 11, 2013</a></blockquote>
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<br />Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-46551340747260332022013-04-29T08:46:00.000-07:002013-05-21T09:31:19.301-07:00Richard Wright's ceiling murals at The Rijksmuseum, Amsterdam<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR4oyablzVyfUjnEecjvP26UEpKaZ4MfljEAzNNApCap3koMh19VPF3NSpO-ar8JF_j5vkWIZ49gznY_FRQASOmqvUq9RKsmzOfE5AXMyUBiUlJ7_bVsybiK51FZOcq-LB0_N6wkJfdVs/s1600/richard-wright-rijksmuseum-commission3-copyright-vincent-mentzel-0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR4oyablzVyfUjnEecjvP26UEpKaZ4MfljEAzNNApCap3koMh19VPF3NSpO-ar8JF_j5vkWIZ49gznY_FRQASOmqvUq9RKsmzOfE5AXMyUBiUlJ7_bVsybiK51FZOcq-LB0_N6wkJfdVs/s320/richard-wright-rijksmuseum-commission3-copyright-vincent-mentzel-0.jpg" width="320" /></a></div>
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After a ten
year renovation held up by delays, the Netherlands’ Rijksmuseum (National
Museum) has unveiled a site specific commission from the British Turner
Prize winner, Richard Wright, comprising two painted ceilings each measuring
nine metres squared in two vestibules leading to the museum’s most prized work,
Rembrandt’s ‘Night Watch’. <o:p></o:p></div>
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Commissioned by the curator Theo Tegelaers as part of a programme
of works titled ‘A Contemporary View of the Rijksmuseum’ enlisting artists to
explore the museum’s collections and role in national life during the
building’s redesign, Wright’s ceilings are the only project that will survive
into the foreseeable future. Having spent six years as young artist living in
Amsterdam and visiting the museum, Wright was largely inspired by the
architectural features of the building particularly the brickwork rather than
the restored murals that line the Hall of Honour leading to the ‘Nightwatch’.
‘We worked by consulting with the architects about potential spaces in the
museum for Richard to use for a permanent work. The two spaces were chosen
because they were not specific exhibition galleries but took their cue from the
building in that they offer an orientation for visitors as a hub between
various displays. Richard works like that by reflecting and thinking about the
site.’ The ceilings depart from Wright’s usual practice of installing temporal
work with a limited lifespan. While Wright accepts that it is impossible to
anticipate priorities for the museum in the future, the ceiling murals were
commissioned as a lasting intervention in the fabric of the re-designed and
restored building.<o:p></o:p></div>
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The project took seven weeks for Wright and four assistants
lying on top of scaffolds to draw and paint over 47,000 individual black stars
of varying sizes that spread across the entire ceilings of each space
expressing the architectural dimension of each room, unusual in the building
for not being vaulted. The paintings were first designed and then transferred
to the plaster by hand with chalk. Despite the large number of individual stars
the work is subtle and restrained so that it is easy for visitors to pass below
without necessarily noticing the technical virtuosity and hours of labour
involved. </div>
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‘The work has a timelessness engendered by the way it unites
painting with graphic and typographical pictorial elements’ says Tegelaers
explaining the nuanced quality of the commission. ‘ It has a kinship with and
is reminiscent of Renaissance murals, motifs from ‘still life’ in classical
painting and the organic design idiom of Jungenstil, but it also embraces
elements from contemporary subcultures like Goth and Punk’.<o:p></o:p></div>
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Richard Wright in the accompanying catalogue suggests that ‘the
base material is time. The painting is made of this and it remembers. To me
this gives the work a very specific material quality.’<o:p></o:p></div>
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<br /></div>
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Other works made for ‘A Contemporary View’ during the
museum’s closure included Simon Starling’s ‘Drop Sculpture’ 2006-2008 when he cast
three copies of the 17<sup>th</sup> century original model of the figure of
Atlas on Amsterdam’s Royal Palace, which he then dropped and re-assembled and
exhibited in an enquiry into authenticity and restoration. Dutch artist Fiona
Tan photographed friends and acquaintances in the style of ‘Golden Age’
portraits belonging to the Rijkmuseum’s collection in a work titled
‘Provenance’ 2008 linking Dutch faces from the past with the present. Germain
Kruip’s ‘Rehearsal’ between 2005 and 2006 slowly illuminated the empty shell of
the museum building with a breath- like pulse of light at night after the
removal of all the architectural accretions added over the years. On the opening weekend, Job Koelewijn choreographed a performance, ‘Carried
On Hands’ with 800 school children in the museum square producing four images of
paintings returned to public view in the restored building. This group will
therefore represent a new generation discovering the museum and its collections
after the long closure.</div>
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<o:p></o:p></div>
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<br /></div>
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The Rijksmuseum has opened new galleries dedicated to
Twentieth Century art and design where objects will be used to weave Dutch
social and cultural history together but which also express the museum’s role as
an international institution welcoming visitors from around the world. The
curating mirrors the philosophy of the galleries displaying material from the
Dutch ‘Golden Age’. Architectural models, airport signs, film, furniture and an
aeroplane are exhibited alongside Modernist paintings from De Stijl and the
CoBrA movements, sculpture and photography as part of the museum’s mission to
explain Dutch historical trends and to enhance the Rijkmuseum’s role as a
unique museum in the world displaying artefacts from history, design and art.<o:p></o:p></div>
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The museum director Wim Pijbes claims that the renovation
works had produced a complete transformation of the museum as a building and collection.
The guiding philosophy of the restored museum is to instil a sense of time and
beauty. The Spanish architects Cruz y Ortiz
produced a winning proposal in the competition by advocating a new entrance to
the museum in a newly created basement hub stretching across the entire site
thereby allowing access under the public passageway running through the heart
of the building that the original architect Pierre Cuypers was compelled to
include to enlist the city’s consent. The old museum accommodated many such
compromises and these were cited by the director for making a compelling case
for stripping out numerous alterations to the original Cuyper’s design but at
the same time modernising and updating the facilities for the future.</div>
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<o:p></o:p></div>
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<br /></div>
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‘The original
building of 1885 was not well received’ says Antonio Ortiz, the renovating
architect ‘because it resembled a Catholic Cathedral in the predominantly
Protestant Netherlands and many of the original decorations were subsequently
covered up. But the original building was conceived as ‘Gesamptkunstwerk’. Original
dimensions were altered in the 20<sup>th</sup> century and building had become
labyrinthine and sad. We have restored the original dimensions while adding
climate control, acoustics, fire precautions and new orientations to give the
institution a renewed life.’<o:p></o:p></div>
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<br /></div>
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One hundred new additions to the collection acquired during
the renovation include the Burgomeister of Delft and his Daughter by Jan Steen,
1655 and the Bend in The Herengracht by
Gerrit Berckheyde, 1672 . In bold move, the museum decided to exclude new
technologies within the galleries so that videos and digital displays are
absent. The only concession to cutting edge materials is the use of vitrines that
reduce light reflection. The museum will also make 125000 digital images
available for public use on its website in a conscious move to open up the
collections and to promote greater access without copyright restrictions.<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-51433009881959141042013-04-15T06:50:00.000-07:002013-04-15T06:50:13.021-07:00Adel Abdessemed at David Zwirner, London
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifVztluZUG949XHZeMxrgeJGKTKHy8zZtoFxEeVmehZ9FdQDGuXboXEwIiDPy6nFJyLoEeaD2QZdyuOvEqeKdEi-fUoITHBcch79yhz0qhN59g-7EOmZbL7kq7Rsq-sEi_AxWjYMSyr_k/s1600/ABDAD0462-2-M-463x600.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifVztluZUG949XHZeMxrgeJGKTKHy8zZtoFxEeVmehZ9FdQDGuXboXEwIiDPy6nFJyLoEeaD2QZdyuOvEqeKdEi-fUoITHBcch79yhz0qhN59g-7EOmZbL7kq7Rsq-sEi_AxWjYMSyr_k/s320/ABDAD0462-2-M-463x600.jpg" width="246" /></a></div>
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A giant, golden urn ‘Le Vase Abominable’ dominates this
exhibition of recent work by Adel Abdessemed and matches the height of the
artist. Strapped to the base are a series of gas tanks and explosives with a
digital clock counting down to zero. It is a confrontational object marrying craft,
luxury and danger. Operating as an absurd self-portrait, the object embodies both
aggressor and victim. An ostensibly ‘Orientalist’ and desirable artefact is
transformed into something to fear. This satirical thrust characterises the
rest of the works on show and they are invested with historical and
contemporary resonance. The exhibition does not illustrate a reassuring ‘hybridity’
across cultures but rather produces jarring encounters expressed in diverse
media such as drawing, assemblage and animated film.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
A series of smaller vases made of clay, salt, rubber, gold
and marijuana sit on empty ammunition boxes like trophies of war rather than commodities
or vessels. This thematic interest in aggressive acquisition and projection of
power permeates the exhibition. And upstairs we meet a rendition of a naked
child running from horror, ‘Cri’, which
appropriates an iconic scene from the Vietnam and translates it into opalescent
blocks of carved ivory. Despite the gallery’s assertion that the ivory is ethically
sourced, it is still a gory representation of human agony using a material associated
with illegal animal slaughter. Naturally this confers an added frisson to the
figure. Subtlety is neglected and instead Abdessemed sets up intentional
provocation.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Charcoal drawings of singular unidentified soldiers achieve
a universal summation of modern warfare. These young men hide beneath their
uniforms and equipment, exempt from responsibility, appearing life-size as if
standing a few metres away in real time and space. <o:p></o:p></div>
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<br /></div>
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As a nod to the host city, the artist has a made a drawing
of the historic British, throne housed in Westminster Abbey. It represents
archetypal power, faceless and unaccountable, casting a long shadow across a
bleak landscape.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Abdessemed demonstrates technical skill and wryly addresses contemporary
anxieties about the instability of the modern world. The exhibition manages to
feed a prevailing paranoia and unease, but what’s missing is any confident ethical
or political position. Instead, he tends to fall back on mocking subversion to
achieve a rather theatrical and ultimately ephemeral effect. <o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com0tag:blogger.com,1999:blog-8155434516826127943.post-80377394217548840532013-04-14T05:12:00.001-07:002013-04-15T06:44:43.530-07:00Robert Rauschenberg’s Jammers at Gagosian, Britannia Street<!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--> <!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>JA</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:EnableOpenTypeKerning/> <w:DontFlipMirrorIndents/> <w:OverrideTableStyleHps/> <w:UseFELayout/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio8dYaVgQvev4Ok5vw6qji6X9OPC675P1XeAJ22LJ_TlwZv2k85xyVclkwrarcPG3voGqRKpEJAiOKElPrygevmvv_glnU2imicG684Oqp1J4VCZT9649KntQtDkH5R0SJuNU2Of6a9Xg/s1600/3a3fb6e65b83de008d133f761e5d9f79.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio8dYaVgQvev4Ok5vw6qji6X9OPC675P1XeAJ22LJ_TlwZv2k85xyVclkwrarcPG3voGqRKpEJAiOKElPrygevmvv_glnU2imicG684Oqp1J4VCZT9649KntQtDkH5R0SJuNU2Of6a9Xg/s320/3a3fb6e65b83de008d133f761e5d9f79.jpg" width="320" /></a></div>
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What a pleasure it was to see an exhibition in King’s Cross that reinvigorates one’s love of art with its potential to engage the senses. Such a show has just finished at Gagosian on Britannia Street with a collection of Rauschenberg’s Jammers available to see as a group of sculptures largely made with textiles arising out of his travels and changes in his life. Taking inspiration from Jammer sailing boats in Florida and fabrics that he saw on a residency in India during the 1970s, the artist shifted direction from his seminal combine paintings.<o:p></o:p></div>
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These soft, draping sails dispense with Rauschenberg’s early humour found in the rather jaundiced and ironic assemblages. The Jammers feel more invested with romance and an unrestrained enthusiasm. As such, they seem more instinctual and less premeditated. The hand seems to determine the outcome rather than a thought process. Stemming out of twin activities of sailing and weaving, the works assume an autonomous quality without wholly dispensing with reference to practical activities. Essentially, these works possess an open inquisitive quality that invites you to simply enjoy their material richness of texture, colour, overlay, crease and rhythmic threading. By turns limp and taut, the Jammers cross the line between image and object. In assembling materials together such as muslin, silk, rattan, tin cans and mud, Rauschenberg begins to construct assemblages of spare rigour and aesthetic power. On a cold, bleak day in central London these Jammers hint at tradewinds and spice, of tropical life determined by movements of the sun and wind and colours derived from earth and plants. <o:p></o:p></div>
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Perhaps the most seductive piece shown in London was a ‘jammer’ made from moulded grass and mud that carried its organic origins in the scent gently emitting from the object propped against the gallery wall like a talisman. It hinted at farmyard dung but Rauschenberg has crafted this unidentified base material into a sculpture redolent of the elements of earth, wind and water that retain their raw presence in the gallery despite the sculptor’s intervention.<o:p></o:p></div>
<!--EndFragment--> <!--EndFragment-->Anonymoushttp://www.blogger.com/profile/07782282408486436920noreply@blogger.com1