Monday, 22 September 2014

Interview with Xavier Mascaró

22/09/14
Xavier Mascaró: Departure
Saatchi Gallery, London
3 September – 5 October 2014

Despite being hailed as one of the world’s leading Latin American contemporary sculptors, Xavier Mascaró is currently enjoying his debut solo exhibition in the UK at the Saatchi Gallery in London. His work, made from rusted iron and oxidised bronze, fragile aluminium and cracked ceramic, fills two of the top-floor galleries and spills out of the front entrance, where his enormous crouching Guardians (2010) greet visitors like the terracotta army.

Fascinated by the iconography of ancient cultures, Mascaró travels a lot, and this feeds into his work in many ways. His own story is one of a path less travelled (in his family, at least) and, crediting art with saving his life as a young teenager, he is taking part in a contemporary art auction, Be Inspired, in aid of the Prince’s Foundation for Children and the Arts.









Thursday, 18 September 2014

Interview with Agathe Sorel

18/09/14
Agathe Sorel: Retrospective
Studio of Contemporary Art, Forest Hill, London
12 October – 12 November 2014 
(viewing by appointment, contact sandra@sandrahiggins.com)
Private Views: 9 October, 6-9pm and 11 October, 4-7pm


Agathe Sorel was born in 1935 in Budapest in pre-revolution Hungary. Moving to Paris, via London, to study under Stanley William [Bill] Hayter, she encountered contemporary art and abstraction for the first time. Her work has been principally interested in the line, and its 3D – or even 4D – properties, which she has explored in print works and sculpture. She now has work represented in 43 major museums worldwide. In advance of an open studio and retrospective exhibition, organised to coincide with the putting together of a catalogue raisonné of her work, Studio International spoke to Sorel about her career.






Monday, 15 September 2014

Review of Maryam Najd: Accuracy & Balance – West at Galerie van de Weghe, Antwerp

15/09/14
Maryam Najd: Accuracy & Balance – West
Galerie van de Weghe, Antwerp
5 September – 4 October 2014

Maryam Najd was born in Iran in 1965 and grew up there. She studied art at the University of Tehran but, after the revolution in 1979, life on many levels had become restricted. It was no longer permitted to see naked bodies and so life drawing was never part of her syllabus – at least, the models were always fully clothed. In 1992, she moved to Antwerp having been accepted to study at the Royal Academy of Fine Arts. Apart from a few years spent in Berlin and New York, she has been there ever since.


“For me, nudity was something that I had never seen before in Iran. I was touched by it from my very first day in Belgium. It has had an impact on me. The first month at the academy, we had to draw and paint all these models and I was shy even to look at them. I was shocked to see how the nude was represented in society.”

Since then, Najd has found herself repeatedly wondering, in this culture where nudity and naked bodies are so prevalent and where the female form is plastered all over magazines, billboards and television, whether this is part of women’s emancipation, or whether it is, on the contrary, a new form of suppression and shackles – a pressure to look and present oneself in a certain way; a pressure to perform myriad roles, as wife, mother, businesswoman, gym bunny, sex bomb; a pressure to both conform to and stand up against being the object of male desire. Maybe freedom is something beyond all of this. Moreover, Najd wonders where the line is drawn between pop stars, models and performers, who wear tight bodices or scanty outfits and flaunt their bodies provocatively (think Madonna, Rihanna and Beyoncé, to name but a few), and porn stars, strip-club workers, or prostitutes. “Someone like Rihanna, she goes almost naked on to the stage, and we call them ‘artists’, not ‘prostitutes’,” Najd says incredulously. “Do you really need to go that far?” Following this line of curious intrigue, she has been working on a series, or project, the first part of which is currently on show at Galerie van de Weghe, called Accuracy & Balance – with this first instalment carrying the subtitle “West”.






Sunday, 14 September 2014

Interview with Jules Wright: The Wapping Project Bankside-Mayfair

14/09/14
Jules Wright / The Wapping Project Bankside-Mayfair
August 2014

Feisty, flame-haired Australian Jules Wright came to the UK as a Commonwealth Scholar in 1975. She studied for a PhD in Psychology, simultaneously began directing at the Theatre Royal in Stratford East, and also became the first female director of the Royal Court Theatre. In 1993, she acquired a derelict power station building in Wapping and launched The Wapping Project, turning the site into a restaurant and arts venue, hosting large-scale exhibitions and celebrity-filled opening night parties. In 2009, she additionally launched The Wapping Project Bankside, next to Tate Modern, a commercial gallery, focused on lens-based media. Earlier this year she ended her lease on both and September sees the launch of her new venue, The Wapping Project Bankside-Mayfair, in Ely House, home to Mallett, on Dover Street.


Anna McNay met with Wright to discuss this venture, her work as a whole, and her views on the photographic medium.










Portfolio: Roxana Halls

14/09/14
Portfolio: Roxana Halls

Growing up, Roxana Halls wanted to be an actor – until she realised she was too shy. Luckily, at 16, she discovered painting. Theatre is still a vital part of her art, however, as her studio is the saloon bar of an old theatre, now bingo hall, in Streatham, and much of her work has theatrical themes. Tingle-Tangle, an exhibition at the National Theatre in 2009, was a celebration of all things cabaret, and recent commissions have been for large-scale canvases telling the stories of Alice in Wonderland and the Wizard of Oz.

All of her work has a feminist take and many pieces show teetering towers of precariously stacked objects, a comment on the precarious balancing act women must perform to uphold their facades in every day life. Her recent exhibition, Appetite, at Hay Hill Gallery, was filled with paintings of women eating, set on a sliding scale, with some scarcely daring to indulge and others displaying a voracious appetite. “This has nothing to do with eating disorders and body image,” Hall assures. “The food is a metaphor for life.”

Halls’ ideas come from all over and Carvery was inspired by Jack Monroe. Representing many of the foods with which Halls grew up, in her working class, east end family – savaloy, tinned spam, mushy peas and angel delight – it argues that people can make it good, regardless of their income.

With glowing reviews by Brian Sewell, a studio to beat all others, and commissions from the rich and famous, Halls has definitely proved this to be true. Her one wish? “To paint Kate Bush. Now that would be perfect!”


Roxana Halls: Appetite
Hay Hill Gallery
25 August - 26 September 2014




To see this portfolio in full, please buy the October issue of DIVA magazine








Wednesday, 10 September 2014

Video Interviews from Folkestone Triennial 2014: Lookout

10/09/14
Folkestone Triennial: Lookout
30 August – 2 November 2014

For the third edition of this bustling summer exhibition, curator Lewis Biggs has invited a selection of internationally renowned and local artists to produce 21 new art works in response to specific sites across town. Indoors and out, they rejuvenate existing locations and create new community spaces. From Baroque-style lighthouse-beach huts to camping bases jutting out from the highest point of the tallest hotel in town; from the soundtrack of a sobbing woman to a plexiglass and neon hop garden. This is a festival where no stone has been left unturned.

Studio International went on a coastal tour and managed to speak to a number of those involved, both artists and organisers.





Alastair Upton is Chief Executive of The Creative Foundation, an independent visionary arts charity, seeking to rejuvenate Folkestone through creative activity. As well as restoring more than 90 buildings in the Creative Quarter and building the Quarterhouse arts venue, they are also the people behind the Triennial and its lasting legacy of permanent art works around town. Upton speaks to us about the changes he has seen in Folkestone, thanks to the Foundation, and about how community projects and art works, such as the creation of Payers Park, leave their mark.

Lewis Biggs is this year’s Curator, invited to join the Triennial after 11 years as Chief Executive and Artistic Director of the Liverpool Biennial. He was also Director of Tate Liverpool from 1990-2000. Biggs speaks to us about the challenges of working with “real life” and how he sees his role as curator.

Fresh from his incredible journey with Nowhereisland, Alex Hartley speaks to us from his lookout atop the Grand Burstin Hotel. With a vigil being held for the duration of the Triennial, we were lucky enough to experience the view on a wonderfully sunny day. 

Jyll Bradley, a native of Folkestone, has returned to the town to create a wonderful homage to the Kentish hop gardens with which she grew up. Her work invites viewers to walk among the strings and green plexiglass and neon poles and to enjoy three very different views across town. Constructed on the site of the old gasworks, the circular form also makes reference to the gasometer that once stood in this place.

Pablo Bronstein, whose Sketches for Regency Living graced the walls of the ICA this summer, has brought to life a sculpture based on the ideas of 18th century architect Nicholas Hawksmoor. A grey beach hut, next to an empty container, with a non-functioning lighthouse extending above – Bronstein explains to us why he hates beach huts and all things about them.

Emma Hart’s work is full of anxiety. Located in an empty domestic space on Tontine Street, it fills the rooms with outlines of glasses, remnants of a party, and video screens which scream out, both in desolation and invitation. Hart feels under pressure but takes the time to talk to us about how this manifests.

rootoftwo’s work also responds to anxiety, but by measuring social media and people’s response to and production of fear on the Internet. Five whithervanes, at locations across town, spin and light up in different colours according to the messages they are picking up. The artists explain to us how the system works and how visitors – and even those across the globe – can interact and have an impact on the whithervanes’ activity.