Saturday, 18 October 2014

Interview with Keita Miyazaki

Interview with Keita Miyazaki
rosenfeld porcini 

30-year-old artist, Keita Miyazaki, was born in Tokyo and, after studying at the University of the Arts, came to London in 2011 for a three year course at the Royal College.

That same year, Japan was hit by a major tsunami causing widespread mayhem and destruction – and 18,000 fatalities.

In his recent work   on show here at the rosenfeld porcini gallery in London  Miyazaki responds directly to this national tragedy, seeking to create art out of waste and rubble as monuments to the lost – and to suggest an optimism for the future.

To watch this interview, please go to: 

Interview with Glenn Ligon

Glenn Ligon: Call and Response
Camden Arts Centre
10 October 2014 – 11 January 2015

Glenn Ligon (b1960) is famed for his thought-provoking works which combine text, silkscreen painting, neon and video and explore themes of identity, racism, sexuality and civil rights.

His first solo exhibition in the UK, now on show at the Camden Arts Centre, presents new works based on the plight of the Harlem Six and using footage of the comedian Richard Pryor.

A new series of enormous black and white silkscreen paintings are based on composer Steve Reich’s taped-speech work, using the recorded voice of Daniel Hamm, one of the Harlem Six, describing how he had to puncture one of his bruises to prove to the police he had been beaten. Layered up so as to obscure the text, creating a rhythm that recalls Reich’s musical piece, the works dominate the large gallery at the Camden Arts Centre.
A new neon piece takes from the same source material and demonstrates Ligon’s technique of creating ‘black’ neon.

Finally, a seven-screen video installation uses footage from the comedian Richard Pryor’s stand up show, Live on the Sunset Strip, from 1982. Removing the sound, Ligon forces viewers to observe Pryor’s lively and exaggerated body language, exploring an alternative means of communication and self-expression.

Ligon spoke to Studio International before the opening of his exhibition.

Tuesday, 14 October 2014

Interview with Jo Stella-Sawicka, Deputy Director of Frieze London

Interview with Jo Stella-Sawicka, Deputy Director of Frieze London

As Frieze London revs up for its 2014 edition, there has been a lot of talk about the recent announcements regarding staffing changes at the top, as well as about the new Artist Award and Live section dedicated to performance art. What with hosting three international fairs annually and a seemingly ever expanding remit, Frieze is undeniably becoming a brand – so much so that this even forms the basis for one tongue-in-cheek performance work this year. Jo Stella-Sawicka, deputy director of Frieze London since 2011, is unashamed, however. ‘Of course Frieze is a brand,’ she exclaims proudly. The former director of London’s Stephen Friedman Gallery and one time art curator for British fashion chain Monsoon found some time on the eve of the fair’s launch to talk about all we have to look forward to, both this coming week and beyond.

Anna McNay: You’re coming up for four years working with Frieze now. What have you seen change during your time with the fair?

Jo Stella-Sawicka: Well, we’ve launched Frieze New York, which was obviously a major expansion for the company, and Frieze Masters as well, at the same time, so we've gone from producing one event a year to three. As a result, our activity is much more global. Also, we’re working with galleries that have to do with ancient art, medieval art and modern art, as well as contemporary art, so we’re working across the entire spectrum of 7000 years of art making.

Friday, 3 October 2014

Review of Céleste Boursier-Mougenot: persistances at Aubette 1928, Strasbourg

Céleste Boursier-Mougenot: persistances
Aubette 1928, Strasbourg, France
6 September – 22 November 2014

The original Aubette was built on Strasbourg’s Place Kléber by architect Jacques-François Blondel  between 1765–72. At the end of the 18th century the changing of the guard used to take place in front of the building at dawn each day. Between 1926 and 1928, Aubette was redecorated by Sophie Taeuber-Arp, Jean Arp and the De Stijl artist Theo van Doesburg – the latter of whom envisaged the complex as a Gesamtkunstwerk – earning it the epithet of  “the Sistine Chapel of abstract art”. Covered over and partly destroyed after just 10 years, the avant-garde decor was only restored – and, at that, only in part on the first floor – in the 1990s and 2000s, following classification as a historic monument in the 80s. This first floor trio of foyer bar, function room and cine-dancing space now form an impressive contemporary art gallery.

Wednesday, 1 October 2014

Interview with Deb Covell

Deb Covell: interview

Deb Covell (b1966) is a painter who seeks to celebrate the material qualities of paint. Rejecting pictorial imagery, she also eschews the traditional canvas support, producing paintings that hang from walls like drapes or lie folded and crumpled on the floor. There is a sculptural element to her works, but, she explains, it is far more about form, materiality and the versatility of paint.

Covell has just completed a very full on month-long residency, open studio and exhibition at Middlesbrough Institute of Modern Art but there is no time for a rest, as she is soon to be exhibiting in a group show in New York City. Luckily she managed to find time to answer Studio International’s questions.

Interview with Michael Landy

Interview with Michael Landy

Michael Landy (born 1963, London) studied at Goldsmiths and is one of the so-called YBA (Young British Artists) generation, who took part in the first great artist-led warehouse exhibition, Freeze, alongside Damien Hirst, in 1988. He really made his name, however, in February 2001, when he systematically catalogued and destroyed all 7,227 of his personal belongings during a two-week long “performance” in a disused department store on Oxford Street, called Break Down. More recently, Acts of Kindness on the London Underground documented, as its titles suggests, kindly interactions between commuters and users of the transport system. Nowadays, Landy is, as he puts it, albeit very tongue in cheek, “all grown up”, having been elected not only as a Royal Academician, but also made Professor of Drawing at the Academy Schools. “Actually,” he laughs, “I’m just trying to find a way I can get thrown out of there, really. That’s what I’m thinking about at the moment.”

In October 2013, Landy moved in to a new studio on Calvin Street, in trendy Shoreditch. Just around the corner from Spitalfields fruit and vegetable market, the building is one of a whole line that used to be used as warehouse storage space. “You could actually walk between all of the buildings,” Landy explains, “but, at some point, someone decided to turn them into homes.” When he and his partner, fellow artist Gillian Wearing, bought the space at number 27, they had it gutted and built on a new top floor in which they now live. Landy describes it as a “live-work space”, although the studio remains very much just that, and is separate from their private quarters.

To read the rest of this interview, please buy issue 11 (September 2014) of Art.Zip or see the online version, pp55-62, here: