27/04/13
Liane Lang: Fallen
Art First
10 April - 11 May 2013
Liane Lang’s works combine a mixture of photography and grotesquely lifelike silicon and rubber sculpture. Having recently undertaken a residency at the Memento Sculpture Park in Budapest, where she found herself amidst the supersized discarded sculptures of heroes from the Socialist era, her new works, currently on display at Art First, play with scale, status, and the act of iconoclasm.
To view the vodcast, please go to: http://www.studiointernational.com/index.php/liane-lang-fallen
cor·pus /'kôrpəs/ n. pl. cor·po·ra (-pr-) 1. A large collection of writings of a specific kind or on a specific subject. 2. A collection of writings or recorded remarks used for linguistic analysis. 3. The main part of a bodily structure or organ. //Reviews of art. Art and language. Art and the body.
Saturday, 27 April 2013
Wednesday, 24 April 2013
Gideon Koppel: an essay
24/04/13
Gideon Koppel: BORTH
Chapter Arts Centre
1 - 31 May 2013
Having originally studied mathematics, Gideon Koppel went on
to gain a postgraduate degree from the Slade School of Fine Art, and is today
something of a filmic polymath: a prolific film maker for cinema, television
and art gallery exhibition, an award-winning director of film commercials, a
Professor of Film at Aberystwyth University, and an Associate Fellow at Green Templeton College,
University of Oxford. In 2008, he won The Guardian’s Best First Film
Award for his feature-length work, sleep
furiously, a portrait of Trefeurig, a small rural Welsh village which he moved
to with his parents, age 13. For Diffusion 2013, Koppel will be showing a single-screen
film installation at Chapter, depicting “the
wild west Wales town of Borth.”
To read the rest of this review, go to: http://www.photomonitor.co.uk/2013/04/gideon-koppel-b-o-r-t-h/
Tuesday, 23 April 2013
Review of Rachael House: A Space of Potential at Stratford Circus
23/04/13
Rachael House: A
Space of Potential
Stratford Circus
1 March – 3 May 2013
Stratford Circus, a community-spirited performing arts
centre located in the hub between Theatre Royal Stratford East and Stratford
Picture House, is, in itself, an amazing venue. Its seemingly endless corridors
and open spaces, diverging on various floors from an open central atrium, are
dotted with tables and chairs, themselves occupied by anything from a bunch of
local kids, using the space to hang out and listen to music, to business folks
there for a lunchtime meeting. Currently, however, it is co-inhabited by an
even stranger populace – a small army of cardboard dogs, or, at least, their
heads.
To read the rest of this review, please go to: http://www.divamag.co.uk/category/arts-entertainment/rachael-house-a-space-of-potential.aspx
Monday, 22 April 2013
f&d cartier: an essay
22/04/13
f&d cartier: Wait and See
Oriel Canfas
1 – 31 May 2013
We are the camera.
The title of one of f&d cartier’s previous exhibitions (2004), but
equally an apt epithet for the Swiss artistic duo themselves. Having met at
college at 20 years old, the pair built up individual careers – Françoise as a
painter and sculptor, and Daniel as a black and white photographer – before
entering into a shared dialogue in 1995, and uniting their creative practices
with the collaboration, f&d cartier, in 1998.
As minimalist visual artists, they work with the two
basic prerequisites for photography – light and photosensitive paper – opting
mainly for camera-less techniques, often in combination with found objects.
Their professed aim is to question everyday life,
intimacy, the passing of time, and the position and role of the artist and the
image in today’s society.
To read the rest of this essay, please go to: http://www.photomonitor.co.uk/2013/04/we-are-the-camera-fd-cartier/
Tuesday, 16 April 2013
Review of Henny Acloque: Life After Magic at Ceri Hand Gallery
16/04/13
Henny Acloque: Life
After Magic
Ceri Hand Gallery
12 April – 11 May
2013
Henny Acloque (born 1979) has just returned from a trip to
Mexico. Whilst there, she visited the Island of the Dolls, a creepy destination
hidden deep amongst the canals of
Xochimico, attainable only via a two-hour punt. All around, decomposing,
mud-covered, limbless, ghoulish dolls hang from the branches of the trees, just
as they were installed by the island’s one and only inhabitant, Don Julián
Santana Barrera (died 2001). Despite having a wife and children, Santana
Barrera chose the life of a hermit, living alone on the island. After the
tragic death of a young girl in the canals, some half century ago, he began to fish
the dolls from the water and string them up in an act of exorcism, seeking to
drive away an evil spirit and allow the girl to rest in peace. The place is
haunting and sinister, and clearly left a lasting mark on Acloque.
Acloque’s
work has long been concerned with the desire to capture the past, present, and
future simultaneously. Her interest in portals has lent it a haunted (and
haunting) quality. And this new body of work, forming her third solo show with
Ceri Hand, with whom she has been working for five years, explores this
dimension still further.
A restorer of
Old Master paintings by day, and having been brought up in the countryside, it
is unsurprising to find the basic substance of Acloque’s paintings to be fairly
typical landscape scenes. In fact, the paintings in this exhibition are based
more or less directly on the images from a Victorian book of fairy paintings
she inherited from her father. Using, for the first time, oil on panel, Acloque
then removes the ethereal subjects, replacing them with harlequinesque amorphous
shapes, both implying and obscuring the presence of a subject: faceless and
timeless, these new bodies exist in whichever realm one pleases.
The titles of the works are intriguing also, apparently
bearing no relation to their content. In fact, Acloque explains, they are the
titles of whatever piece of music she was listening to whilst she worked – and
that, she laughs, could be anything from an eclectic playlist ranging from
classical to Fatboy Slim, the rhythms in each case affecting the way in which
the paint hits the board.
Alongside the paint works, the exhibition also showcases a
number of drawings and mixed media pieces forming a series called Quimbaya,
named after the Colombian civilisation, famed for its work with gold. Built up
on top of etched landscape prints, Acloque has turned the skies into harlequin
patterned backdrops for a population of fluorescent and glittery horsemen and
trees. Again, the subjects are rendered eerily indistinct, and there is a
fairytale quality to these magical scenes.
Acloque’s pieces are clearly working through extant ideas as
well as the latest input from her travels. Whether or not these themes have now
been fully exorcised, or whether they shall endure and continue to haunt her
forthcoming output, remains to be seen.
Images:
Bendable Poseable
2013
Oil on board
15.7 x 19.6 in. / 40 x 50 cm
Photograph: Niall McDiarmid
Courtesy of the artist and Ceri Hand Gallery
Tarantella
2013
Oil on board
11.8 x 15.7 in. / 30 x 40 cm
Photograph: Niall McDiarmid
Courtesy of the artist and Ceri Hand Gallery
Quimbaya 2
2013
Mixed media on paper
12.5 x 9.4 in. / 32 x 24 cm
Photograph: Anna Arca
Courtesy of the artist and Ceri Hand Gallery
Photograph: Anna Arca
Courtesy of the artist and Ceri Hand Gallery
Saturday, 6 April 2013
Book Review of Patternotion: Life-changing Art, Art changing lives
06/04/13
Patternotion:
Life-changing Art, Art changing lives
Published by Sampson
Low Ltd, 2013
“Life is a delicate balance. Drift in a perfect bliss of
ignorance and you can find your personal Nirvana or find yourself lost.
Structure our unpredictable lives and we harness our potential, achieve
greatness or send ourselves to the edges of insanity.”
With this thought in mind, Alban Low set out on a unique
project: he sent a proposal to 1000 artists and authors, asking them to analyse
their lives and try to describe the personal systems which they employ to help
them function at work and at play. The response he received was overwhelming
and spanned poems, sculptures, collages, paintings, photographs, prose, and
mini manifestos. 60 of these are now available for consideration by a wider
public, in the resulting book, Patternotion:
Life-changing Art, Art changing lives.
The book is split into two sections: the first containing
the contributors’ systems, and the second containing the results of an
experiment whereby nine of the contributors were asked to interpret and follow
nine of the systems proposed by nine of the other contributors. The results are
curious, and the interpretations very free – so much so that it makes me wonder
how the proposers felt upon seeing their systems employed in such a different
way. Having first been asked to bare their souls, it seems almost like a
psychological rape, yet in these cases there was full consent, since the
initial sharing was willing and voluntary.
Only two of the systems proposed make reference to religion
(Patten Smith’s God’s Script and Gary
Evans’ and Veronika Cerna’s A prayer like
any other…), and one offers up a modern day memento mori (Shona Davies' and
Dave Monaghan’s Wheel of Misfortune)
in the form of a steely water wheel with miniature hospital scenes filling the
gap between each spoke, confronting viewers with “vision[s] of their potential
fate.”
Dreams play a role in Mike Russell’s drawn call to record
them and Melanie Ezra’s written response, and memories and mindfulness are also
brought to the table. Decisions, attempts to change, and, unsurprisingly, New
Year’s Resolutions (Ella Penn’s Two
little words) form a basis for a number of the systems, and Robert Good’s
flowchart (No Way) would perhaps be
closest to my own largely imperfect system, currently in the process of being
replaced by the motto “do, delay, delegate, dump.”
The system which made me smile the most was Catherine Steele’s
Collected Philosophies of Jubilee
Saffron-Beeton, and, for anyone else who remembers the Baz Luhrmann Sunscreen song, it will probably have
the same effect.
Overall, Patternotion
is a charming little book, full of idiosyncratic responses, and soul-baring offerings.
Some entries speak to me, others don’t. But, as Low concludes, “Patternotion is not a dramatic ‘do or
die’ ultimatum of course, it is just a book. Read it though and the ideas
inside could influence the next chapter in your life.” Who knows? Give it a
try!
Patternotion: Life-changing Art, Art changing lives is available on amazon.
Images:
Patternotion: Life-changing Art, Art changing lives
Book cover
© Sampson Low Ltd
Gary Evans and Veronika Cerna
A prayer like any other…
© the artists
Shona Davies and Dave Monaghan
Wheel of Misfortune
© the artists
Robert Good
No Way
© the artist
Harvey Wells
My aim for 2013 is to be more mindful
© the artist
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