Tuesday, 19 July 2016

Interview with Mariko Mori

19/07/16
Interview: Mariko Mori

In an interview with Studio International in 2013, Japanese artist Mariko Mori (b1967) said that the main intention of her work was to share the idea that we are all connected and we are one. In 2010, she had co-founded the not-for-profit Faou Foundation, which sets out to gift monumental art installations to promote environmental awareness around the world by installing site-specific works on each of the six habitable continents. She is currently installing the second of these works, Ring: One With Nature, suspended at the top of the 58-metre-high cascading Véu da Noiva waterfall in Muriqui, Mangaratiba, in Rio de Janeiro State, Brazil. Although a permanent gift to the nation, the work will be unveiled as part of the cultural programme surrounding the Rio 2016 Olympic and Paralympic Games. Signifying oneness, completeness and eternity, Ring certainly embodies Mori’s and the Faou Foundation’s ethos.



In a Skype call from Brazil, Mori spoke to Studio International about the ideas behind Ring: One With Nature and how they have been realised.


Read the interview here



Sunday, 17 July 2016

Interview with Francesca Pasquali

17/07/16
Interview: Francesca Pasquali


Francesca Pasquale: Metamorphoses 
Tornabuoni Art
29 June - 17 September 2016

and 
Francesca Pasquale: Spiderwall 
MOCA London 
3 - 30 July 2016

Influenced by Italian art in general, and arte povera in particular, Bolognese artist Francesca Pasquali (b1980) creates fully immersive – often site-specific – installations, using everyday and industrial materials, reappropriating them and bringing them into the public’s realm of vision, and of the other senses too. Involving the public in the work of art is part of what it is all about for Pasquali, and she enjoys the interplay of movement, sometimes engendered by the person, sometimes by the material itself.



Showing in a commercial London gallery for the first time, Pasquali has created a large-scale, colourful, plastic cloud in Peckham’s MOCA London, and filled Mayfair’s Tornabuoni Art with a cross-section of her works, from her best-known pieces made with drinking straws, to a carpet of broom bristles, on which we sit to talk, during a break from installation.


Watch the interview here



Portfolio: Hannah Quinlan & Rosie Hastings

17/07/16
Portfolio: Hannah Quinlan & Rosie Hastings





See the full portfolio with more images in the August 2016 print issue of DIVA magazine
Alongside the artists' response to the Orlando shootings online here



Wednesday, 13 July 2016

Interview with Marie Yates

12/07/16
Interview: Marie Yates


Some Dimensions of my Lunch: Conceptual Art in Britain (1956-1979). Part 2: Marie Yates 
Richard Saltoun Gallery
24 June - 22 July 2016


Marie Yates (b1940) graduated from Manchester Regional College of Art in 1959. After a period spent producing abstract paintings in St Ives, she returned to study fine art at Hornsey College of Art (1968-71). During this time, she was strongly influenced by the writings of Lucy Lippard and Yoko Ono and the beginnings of conceptual art. She began to produce her Field Workings – photographic and text works, documenting journeys or “procedures” in the countryside – and, in 1979, she made Image/woman/text (after Roland Barthes), exploring social preconceptions about photographic images of women, the way they are made, and their meanings.


In June 1977, Fenella Crichton wrote in Studio International: “Marie Yates is a woman working with landscape. Radical ideas do not fit easily into this framework, because we are deeply riddled with prejudices about both women and landscape, and as a result she has been widely misinterpreted.” This misinterpretation, sadly, seems to persist. Yates’s work is currently being exhibited at Richard Saltoun as part of the gallery’s conceptual art series, but the artist remains wary of labels. For her, art is key to social change and ought to form part of a larger discourse, critically engaging the mind.



Read the interview here





Monday, 11 July 2016

Interview with Jennifer Wen Ma

11/07/16
Interview: Jennifer Wen Ma

A Beautiful Disorder
Cass Sculpture Foundation, West Sussex
3 July – 6 November 2016

Jennifer Wen Ma (b1973, Beijing) works across a variety of media, including installation, video, drawing, performance, public art and fashion design. Chosen from more than 500 applicants, she was one of the seven members of the core creative team for the opening and closing ceremonies of the Beijing Olympics in 2008, as well as the chief designer for visual and special effects. Last year, her opera Paradise Interrupted, with composer Huang Ruo, premiered at the Spoleto Festival USA following a special preview at the Metropolitan Museum of Art.


Many of her works take landscape or nature as their subject matter and her new site-specific commission, Molar, for the group exhibition of 16 Chinese sculptors, A Beautiful Disorder, at the Cass Sculpture Foundation, offers a place of reflection in a disintegrating utopia, where beauty and destruction cohabit, and inspiration can be drawn from the diseased as well as the prosperous.

Wen Ma talks to Studio International about her new work and her wider practice, now split between Beijing and New York.

Watch this interview here






Friday, 1 July 2016

Review of Susie Hamilton: in atoms at Paul Stolper

Susie Hamilton: In Atoms
Paul Stolper
9 June – 9 July 2016

Drips of paint, suggestive brush strokes, thin translucent veils rendering the surface indistinct. Even when clustered together, Susie Hamilton’s paintings evoke a pang of loneliness: they offer snapshots capturing that sense of isolation and existential angst we have all felt during moments of despair. Returning to Paul Stolper Gallery for a 20-year retrospective, the artist offers an overview of her work, showing both its breadth, but also the simultaneous consistency of her preoccupation: lone figures, filled with sadness, exposed in darkness or light; the comedy of human pursuits. As Albert Camus wrote: “At any street corner the feeling of absurdity can strike any man in the face.”



Read the full review here