Category Archives: France

THE FRIVOLOUS NOW │ Alon Zakaim, London → 24 July 2015

Dylan Lynch, Softball Hammer, 2012, hammer and softball, 40.5 x 14 x 7.5 cm (16 x 5 1/2 x 3 in.)
Dylan Lynch, Softball Hammer, 2012, hammer and softball, 40.5 x 14 x 7.5 cm (16 x 5 1/2 x 3 in.)

GALLERY

ARTISTS
Ahmet Civelek, Nick Farhi, Julio Felix, Joe KayHenry Levy, Charles Lutz, Dylan Lynch, Carly Mark, Michael Andrew Page, Nicole Reber, Chloe Wise

“W’r pop̓īpl. W’r formd bî teḷviźn… A pop̓rsn z lîc a vakm ɖt īts p evrʈñ. H’z md p fṛm ẃt h’z sìn.”
Andi Worhol

“…abzorbñ n rflctñ ɖ ybiqiṭs cnsyṃrimijri so prevḷnt in cntmprri culćr. Hvr, ɖr z a ny n radicl aproć t ɖs subjict…”

Amy Lin WIDEWALLS

London

HENRI MATISSE SCULPTURE: THE BACKS │ Sainsbury Centre for Visual Arts → 1 September 2015

Back I. Nu de dos I c.1909-10, cast 1955-6. Bronze, 1899 x 1168 x 184 mm.
Nu de dos I, c.1909-10, cast 1955-6. Bronze, 1899 x 1168 x 184 mm.

GALLERYARTIST

“Hvr ofn y si ɖm, ɖ sîz n scêl v ɖ Bacs têcs yr breʈ awe”
Hilary Spurling GUARDIAN 12 May 2007 Continue reading HENRI MATISSE SCULPTURE: THE BACKS │ Sainsbury Centre for Visual Arts → 1 September 2015

IMAGES MOVING OUT ONTO SPACE │ Tate St Ives → 27 September 2015

Rivane Neuenschwander prepares ribbons printed with wishes for “I Wish Your Wish,” part of a show of her art at the New Museum, New York, in 2010. Photo: Suzanne DeChillo/The New York Times

GALLERY

ARTISTS
Nicolas DeshayesJohn DivolaDan FlavinBarbara Hepworth, Liliane Lijn, Rivane NeuenschwanderBridget Riley,  Bryan Wynter

“Ẃt hapnz ẃn artwrcs r set in mośn? Ẃn ɖe muv arnd ɖ gaḷri or ât intu ɖ wrld?”

Dan Flavin: Untitled (to Don Judd, colorist), 1–5 1987. Pink, red, yellow, blue and green fluorescent light. Five parts, each: 122 x 122 x 15 cm
Dan Flavin:
Untitled (to Don Judd, colorist), 1–5 1987. Pink, red, yellow, blue and green fluorescent light. Five parts, each: 122 x 122 x 15 cm

Continue reading IMAGES MOVING OUT ONTO SPACE │ Tate St Ives → 27 September 2015

LIMELIGHT: DISTANT FICTIONS – ARTISTS FROM THE DIEP-HAVEN FESTIVAL │ Jerwood Gallery, Hastings → 28 June 2015

GALLERY

ARTISTS
David de Beyter, Sissu Tarka, Anais Tondeur

“R ɖr stl plêsz t b xplord n dscuvrd? Đs xibiśn trnsports ɖ vywr t smẃr ɖe wd nt hv prīvịsli imajind; mć lîc ɖ Ny Wrld dd fr ɖer prīdisesrz 400 yirz ago.”

David de Beyter, Observatory, 2010
David de Beyter, Observatory, 2010

South East

HENRI GAUDIER-BRZESKA: NEW RHYTHMS │ Kettle’s Yard, Cambridge → 21 June 2015

GALLERYARTIST

“Hiz dansrz resld, hiz reslrz danst. Evrʈñ wz muvmnt. N ɖs šo līvz ɖ hed dlîtdli spinñ.” Tim Martin

Martin Gayford SPECTATOR 2 May 2015
Tim Martin TELEGRAPH 16 March 2015

HENRY MOORE FOUNDATION

Henri Gaudier-Brzeska, Red Stone Dancer, 1913-14 and The Firebird, 1912
Henri Gaudier-Brzeska, Red Stone Dancer, 1913-14 and The Firebird, 1912

Continue reading HENRI GAUDIER-BRZESKA: NEW RHYTHMS │ Kettle’s Yard, Cambridge → 21 June 2015

CATHLEEN NAUNDORF: NOAH’S ARK │ Hamiltons, London → 19 June 2015

L'arche de Noé  XLIII, Elie Saab, HC Summer 2014, Grand Palais, Paris, 12th February 2015. Color-print from original polaroid, 35 1/2 x 47 1/4 in. Edition of 10
L’arche de Noé XLIII, Elie Saab, HC Summer 2014, Grand Palais, Paris, 12th February 2015. Color-print from original polaroid, 35 1/2 x 47 1/4 in. Edition of 10

GALLERY WEBSITE • ARTIST’S WEBSITE

Continue reading CATHLEEN NAUNDORF: NOAH’S ARK │ Hamiltons, London → 19 June 2015

INVENTING IMPRESSIONISM │ National Gallery, London → 31 May 2015

Paul Durand-Ruel in his gallery in Paris, c1910. Photograph: Dornac/ AACV

Wɖt hm, sd Mone, w wd’nt hv svîvd.

So ynivrsli popylr r ɖ Imprešnists tde, it’s hād t imajin a tîm ẇn ɖe wr’nt. Bt in ɖ ŕli 1870z ɖe strugld t b axptd. Šund bî ɖ ātistablišmnt, ɖe wr īvn lambastd az lūṇtcs bî wn critc.

Wn man, hvr, recgnîzd ɖer wrʈ fṛm ɖ bginñ. Pwl Dŭrã-Ruel, an ontṛpṛnŕı̣l ātdīlr fṛm Paris, dscuvrd ɖs grūp v yuñ ātists – includñ Mone, Degā, Mane, Renwā, Pīsaro n Sisle – n gambld.

Paul Durand-Ruel’s grand salon at Rue de Rome, with Renoir’s ‘Dance in the City’ on the left (Picture: Archives Durand-Ruel)

Riylîzñ ɖ fašnbl ptenšl v ɖer ḍrîdd imprešnz v ŕbn n sbŕbn lîf, Dŭrã-Ruel dedicetd ɖ rest v hiz lîf t bildñ an ōdı̣ns fr ɖer wrc – crietñ ɖ modn ātmācit in ɖ prôses.

Sč wz hiz prsviṛns, Dŭrã-Ruel nirli bancruptd hmslf twîs, bfr sxesfli glôblîzñ hiz oṗrešn wɖ âtposts in Lundn, Bruslz n Ny Ywc, n istablišñ ɖ wn-man šo az ɖ inṭnašnl nwm fr xbišnz.

Ɖ Imprešnists – a trm frst yzd ḍrogtvli bî critcs – wz t bcm ɖ hâshold nem ɖt standz tde.

Invntñ Imprešnizm fīčrz 85 mastrpìsz fṛm ɖ muvmnt, ol bt wn hvñ pást ʈru Dŭrã-Ruel’z handz, includñ ʈri v Renwā’z fems Dansz n fîv fṛm Mone’z Popḷrz siriz.”

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Continue reading INVENTING IMPRESSIONISM │ National Gallery, London → 31 May 2015

THE EY EXHIBITION: SONIA DELAUNAY │ Tate Modern, London → 9 August 2015

Electric Prisms 1913 Davis Museum at Wellesley College, Wellesley, MA
Electric Prisms 1913 Davis Museum at Wellesley College, Wellesley, MA

Soňa Ḍlwne (1885–1979) wz a ci figr in ɖ Ṗrizı̣n avãgād n bcem ɖ Yṛpiyn dýen v abstract āt.

Ʈrt ɖ frst hāf v ɖ twentiiʈ senčri, š seḷbretd ɖ modn wrld v muvmnt, tecnoḷji n ŕbn lîf, xplorñ ny îdiyz abt culrʈiyri tgɖr wɖ hr huzbnd Robt Ḍlwne.

Ɖs wl b ɖ frst YC retṛspctv t ases ɖ bredʈ v hr vîbṛnt ātistc practis acrs a wîd renj v mīdia. It wl fīčr ɖ grândbrecñ pêntñz, txtîlz n cloɖz š md acrs a sixti-yir c̣rir, az wel az ɖ rzults v hr iṇvtv c̣laḅrešnz wɖ powts, coriogṛfrz n manyfacčrrz, fṛm Diagilev t Liḅti.

Propeller (Air Pavilion), 1937, at Tate Modern. Photograph: Tim Ireland/AP
Propeller (Air Pavilion), 1937, at Tate Modern. Photograph: Tim Ireland/AP

A nocât šo. (Êdrı̣n Srl, Ɖ Gādı̣n)

Ɖs šo mcs a pârfl āğmnt fr Ḍlwne az a tru radicl: ahd v hr tîm, ṣprīmli reḷvnt t ârs. (Ben Lūc, Īvnñ Standd)

Ḍlwne z wn v ɖ crūšl refṛnspýnts in modn āt n dzîn. VÔG”

GAḶRI WEBSAIT

Continue reading THE EY EXHIBITION: SONIA DELAUNAY │ Tate Modern, London → 9 August 2015

ISABELLE CORNARO: PAYSAGE AVEC POUSSIN │ South London Gallery — 5 April 2015 ││ TÉMOINS OCULAIRES │ Spike Island, Bristol → 29 March 2015

“Ɖ Sâʈ Lundn Gaḷri n Spîc Îḷnd, Bristl, priznt a tu-pāt sôlo xibišn bî Frenč ātist Izabel Cornaro. Ɖ SLG hôsts an xistñ lj-scêl insṭlešn ẇl ɖ prezntešn at Spîc Îḷnd fôc̣sz on ny n rīsnt wrc.

At ɖ Sâʈ Lundn Gaḷri, Cornaro priznts ɖ sixʈ in ɖ siriz v insṭlešnz intîtld Paysage avec Poussin et témoins oculaires stātd in 2008. Č v ɖz insṭlešnz z lūsli bêst on a clasicl landscêp pêntñ bî ɖ 17ʈ senčri ātist Nīc̣ôla Pūsĩ (1594–1665), crietd az ʈri-dimnšnl intrpṛtešnz yzñ sets v peḍstlz n standñ wōlz t dsple objcts in mtikḷs arenjmnts. Ɖ objcts r ṣlectd bî Cornaro fr ɖer sṗsific fwm or dec̣rešn. Grūpñ ɖm bî sîz, lînz v pspctv n fr ɖer lît n šado ifcts, š pts intu qesčn ɖer isʈetc n culčṛl valy. Ɖ clirli strucčrd comṗzišn riinfwsz ɖ ilužn v pspctv, alawñ vizitrz t xpirı̣ns ɖ wrc fṛm dfṛnt vypýnts ẇlst olso biyñ ebl t wōc btwn ɖ peḍstlz, incântrñ fragmnts v Cornaro’z cnstructd landscêp.

T acumṗni ɖs wrc in ɖ SLG’z mn spês, Cornaro’z šwt filmz Figures (2011) n Premier rêve d’Oskar Fischinger (2008) wl b šôn in ɖ frst flor gaḷriz.

Izabel Cornaro wrcs wɖ pêntñ, sculpčr, film n insṭlešn, t xplor ɖ inflụns v histri n culčr on âr pspšn v riaḷti. Az a trênd āthistwrı̣n spešlîzñ in 16ʈ senčri Yṛpiyn Maṇrizm, hr vižl lanĝj drwz on a wîd are v refṛnsz, fṛm ɖ Ḅroc t moḍnist abstraẋn. In hr wrc Cornaro yzz fând objcts imbyd wɖ simbolic ptnšl or imošnl valy, ẇč š priznts in dfṛnt tîps v dsple n mīdia t rvil ɖ sutl šifts v mīnñ pṛvoct bî prôsesz v rīpṛduẋn n trnzlešn.

Borod fṛm dmestc, decṛtv or funẋnl contxts, ɖz ­āṭfacts r ofn lnct t Westn culčr ­az a mīnz v pâr, ɖer combinešn n arenjmnt in ɖ ātist’s wrc invîtñ spectetrz t qesčn ɖ rlešnšps btwn sistmz v repṛzente­šn ­n âr undrstandñ v ɖ wrld.

Cornaro’z xibišn Témoins oculaires (mīnñ îwitṇsz) runz cncuṛntli at Spîc Îḷnd, Bristl fṛm 24 Jaňri – 29 Māč 2015…”

GAḶRI WEBSAIT


TÉMOINS OCULAIRES │ Spike Island, Bristol → 29 March 2015

Spike Island, Bristol
Photograph by Stuart Whipps

“…At Spîc Îḷnd, Cornaro priznts a siriz v spešli cmišnd insṭlešnz, in ẇč š cntinyz hr invstigešn intu comṗzišn, vižl pspšn n intrpṛtešn. Ɖz tablo, ẇč cd b dscrîbd az fizicl repṛzentešnz v ɖ act v wočñ, activet sṗsific vypýnts reminisnt v siṇmatc n editñ tecnīcs (fremñ, fôc̣s, clôs-p, wîd angl, tracñ, sīqnsšot ets.). Č tablo criets a slf-cntend spês wɖ vẹriyñ pspctvz, in ẇč ɖ objcts r rtrnd t ɖer destini v fetišz, ẇč z t šîn fṛm a distns, in ɖ wrdz v ɖ Frenč filmcritc Serž Dane.”

Continue reading ISABELLE CORNARO: PAYSAGE AVEC POUSSIN │ South London Gallery — 5 April 2015 ││ TÉMOINS OCULAIRES │ Spike Island, Bristol → 29 March 2015

GUY BOURDIN: IMAGE MAKER │ Somerset House, London — 15 March 2015

Vogue Paris, May 1970
Vogue Paris, May 1970

“Ɖ YC’z ljst evr xibišn v ɖ influenšl n enigmatc fašnftogṛfr Gi Bŭrdĩ, fīčrñ ovr 100 wrcs n prīvı̣sli unsin mtirı̣l fṛm ɖ ftogṛfr’z istet, fṛm 1955 t 1987.  Ɖs mêjr šo čāts Bŭrdĩ’z dstnĝšt 40-yir c̣rir, fṛm Man Re’z proṭže t ftogṛfīreṿlušnri in hiz ôn rît, n xplorz hiz psyt v pfẋn. Ɖ xibitd wrcs xmplifî ɖ craftsmnšp bhnd hiz imijz, fṛm pṛduẋn t publicešn, n ɖer indyrñ qoḷti az a consiqns.

Gi Bŭrdĩ’z editwrı̣l n advtîzñ imijri repriznt a hîpýnt in lêt twentiiʈ senčri fašnftogṛfi. Hiz wrc tc ɖ bêsic funẋn v ɖ fašnfôṭgraf – t sel cloɖñ, byti n axeṣriz – n md it intu smʈñ rič n strenj. Bŭrdĩ dd ɖs wɖt rzwtñ t xotisizm; instd, h istablišt ɖ îdīa ɖt ɖ product z secndri t ɖ imij. Fṛm hiz pṛfešnl dêby fr Paris Vôg in ɖ 1950z, Bŭrdĩ dveḷpt a dstnctv stîl v vižl stwrītelñ, ẇč cntinyz t srv az a sws v inspirešn t cntmprri fašnftogṛfrz fṛm Tim Wōcr t Nic Nait.

Kretd bî Alister O’Nīl wɖ Šeli Vertīm, ɖ xibišn includz ovr 100 culr xibišnprints v Bŭrdĩ’z most significnt wrcs, az wel az ŕli n lêt wrcs in blac n ẇît ɖt srv t čalinj Bŭrdĩ’z repytešn az a culrftogṛfr. Ɖs z complimentd bî a renj v uɖr fôṭgrafic mtirı̣lz: ynīc Pôḷrýd testšots, dubl-pêj spred lêâts, contactšīts n trnspaṛnsiz māct fr comṗzišn ɖt xplor Bŭrdĩ’z craftsmnšp az an imijmêcr n ɖ prôsesz involvd in pṛdysñ stātlñ n pṛvoc̣tv imijri in a prīdijitl êj. It olso hîlîts Bŭrdĩ az a paynir v fašnfilm, šôcêsñ a renj v Sūpr-8 filmz h md at ɖ sem tîm az hiz on-lcešn fôtôšūts.

Ɖ xibišn olso fīčrz a ṣlẋn v pêntñz, wrcñdrōñz, scečz n nôtbcs, nt sīn in ɖ YC bfr, ẇč infwm hiz aproč az a comṗzišnl imijmêcr n mtikḷs draftsmn. A hîlît z ɖ Wōcñlegz siriz – a campen cmišnd bî Šāl Žŭrdã in 1979 xibitd in its intîṛti fr ɖ frst tîm wɖ a yt unsin acumṗniyñ fašnfilm.”

GAḶRI WEBSAIT

Continue reading GUY BOURDIN: IMAGE MAKER │ Somerset House, London — 15 March 2015

THE MODERN LENS: INTERNATIONAL PHOTOGRAPHY AND THE TATE COLLECTION │ Tate St Ives, Cornwall → 10 May 2015

“Pạnirñ ātists fṛm acrs Yṛp, ɖ Americ̣z n Jpan r biyñ šôn at Têt St Îvz fr ɖ frst tîm in Ɖ Modn Lenz.

Ɖs z ɖ ljst dsple v fôṭgrafic wrcs evr t b xibitd at ɖ gaḷri. Lcñ at dveḷpmnts in inṭnašnl ftogṛfi fṛm ɖ 1920z t ɖ 1960z, ɖ xibišn uncuvrz ɖ sens v krioṣti n xperimntešn az ātists hānist ɖ mīdı̣m in ny wez.

Ftogṛfi wz yzd t xplor îdiyz v abstraẋn, dveḷpt in tandm wɖ ɖ imrjns v wîdr moḍnist lanĝjz acrs ɖ glôb. It olso demnstretd ɖ significns v a lôcl pspctv, az ātists cmbînd ɖ brwd inflụnsz v abstraẋn, cnstructvizm n sriylizm wɖ ɖer ôn contxts. Ɖr r imijz v rṛl landsceps, ōganic fwmešnz, man-md objcts n industrı̣l mtirı̣lz, az wel az v ŕbn ācitcčr.

Lūsli arenjd bî lcešn, Ɖ Modn Lenz ôpnz wɖ ftogṛfi n abstraẋn in Latin America: ācitcčr, lît n cnstructd fwmz undrpin wrcs bî ātists sč az Žraldo di Barŭs n Tomaz Fāc̣s in Bṛzil.

In subsiqnt gaḷriz, pêntñz n sculpčrz fṛm Britiš ātists in ɖ 1930z, includñ Pwl Naš, Ben Niclsn, Îvn Hičnz, Bābra Hepẉʈ n Henri Mur, xplor a mmnt in Britiš moḍnizm šêpt bî ɖ opozñ fwsz v pyr abstraẋn n sriylizm. Ɖz wrcs r šôn in rlešn t a fôṭgrafic sīqns md bî ācitect n dzînr Šālot Periã, ātist Fernã Ležé n ācitect Pier Žaneré, hu wr c̣laḅretñ in Paris in ɖ sem pirı̣d; ɖer wrc z ɖ rzult v a siriz v pfwmd wōcs in ẇč ɖe stêjd incântrz wɖ jı̣mtric fwmz in nêčr.

Ɖ imbresñ v ny tecnoḷjiz t rle ɖ fwml qoḷtiz v lît, spês n tôn wr sentṛl lesnz v ɖ Bâhâs in Jrṃni fṛm its ôpnñ in 1919.

Includñ rer fôtogramz, prints n filmfŭtij bî rnând tytrz Lasló Moholi-Noj n Valter Peterhanz alñ wɖ ɖer stydnts, ɖ xibišn cnsidrz hâ ɖ scūl inflụnst mîgṛnt moḍnist ftogṛfrs sč az Iweo Yaṃwaci fṛm Jpan n ɖ Hungẹrı̣n Ydit Cāras.

Ɖ Modn Lenz culminets wɖ ɖ wrc v Hari Caḷhn, wn v America’z most influenšl ftogṛfrz. Invîtd t tīč at Moholi-Noj’z Ny Bâhâs (Šicago Instityt v Dzîn), Caḷhn wrct īqli in blac n ẇît az wel az in culr, n wz ci t ɖ dveḷpmnt v fwml abstraẋn in pôstwor Americn ftogṛfi.”

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ẆT ĐE SE

Crisčn Hâs, Đ TEḶGRAF, 29 Octobr 2014
Liz Jôbi, Đ FNANŠL TÎMZ, 24 Octobr 2014

THE SENSORY WAR 1914-2014 │ Manchester Art Gallery → 22 February 2015

“Ɖs mêjr grūpexibišn mācñ ɖ Sentīṇri v ɖ Frst Wrldwor xplorz hâ ātists hv cmynicetd ɖ impact v militri conflict on ɖ bodi, mînd, invîrnmnt n hymn sensz btwn 1914 n 2014.

Ɖ šo xaminz hâ ātists fṛm 1914 onwdz dpictd ɖ devstetñ impact v ny militri tecnoḷjiz yṭlîzd in a senčri v conflict bginñ wɖ ɖ Frst Wrldwor. It brñz tgɖr wrc fṛm a renj v līdñ ātists includñ Henri Lam, CRW Nevinsn, Pwl Naš, Oto Dix, Nansi Spero, Ričd Mos, Omer Fast n fīčrz wrcs bî ɖ hībacūša, svîvrz v ɖ atomic bom dropt on Hirošima, ẇč wr crietd in ɖ 1970z n r biyñ šôn in ɖ YC fr ɖ frst tîm.

(Ṣmanʈa Pein, Đ INṬNAŠNL BIZNISTÎMZ, 24 Septembr 2014)

Ɖ Frst Wrldwor involvd a pṛfând rīcnfiğrešn v senṣri xpirı̣ns n pspšn ʈru ɖ invnšn v devstetñ militri tecnoḷjiz, ẇč dstrŷd hymn lîvz n oltrd ɖ invîrnmnt bynd recgnišn. Its leġsi hz cntinyd n ivolvd ʈru īvn mr radicl fwmz v dstruẋn ovr ɖ last hundṛd yirz. Ʈrt ɖ senčri, ātists hv strugld t undrstand ɖ tru ifct v modn tecṇlojicl warfér. Ẇl militri n pres ftogṛfi hv brwt a ny c̣paṣti t coldli dokyment sč līʈl dsplez, ātists fând a dfṛnt we v siyñ.

Mančestr Ātgaḷri hz a našnli impwtnt c̣lẋn v āt v ɖ Frst Wrldwor, ẇč wz asmbld bî its frst drctr, Loṛns Hêẉd. Têcñ ɖs rič c̣lẋn az ɖ stātñpŷnt, ɖs šo includz historic n cntmprri āt fṛm ɖ YC, Jrṃni, Frans, Iṭli, ɖ Neɖrḷndz, ɖ Ynîtd Stêts, Caṇda, Jpan, Vietnam, Ny Zīḷnd, Aljiria, Îrḷnd, Iran, Izrel n Paḷstîn.

Continue reading THE SENSORY WAR 1914-2014 │ Manchester Art Gallery → 22 February 2015