Tag Archives: Culture Whisper

DAVID HOCKNEY: THE ARRIVAL OF SPRING │ Annely Juda Fine Art, London → 28 August 2015

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The Arrival of Spring in Woldgate, East Yorkshire in 2011. 3 January 2011. iPad drawing printed on paper, edition of 25, 139.7 x 105.4
The Arrival of Spring in Woldgate, East Yorkshire in 2011. 3 January 2011. iPad drawing printed on paper, edition of 25, 139.7 x 105.4

GALLERY • ARTIST

“Dpictñ ɖ difṛnt stêjz of ɖ Arîvl of Sprñ, fṛm glūmi wintrsīnz t vîbṛntli brît sprñ”

The Arrival of Spring in Woldgate, East Yorkshire in 2011… 29 December (2010). iPad drawing printed on four sheets of paper, mounted on four sheets of Dibond, edition of 10. 236 x 178 cm
13 January (2011). iPad drawing printed on paper, edition of 25. 139.7 x 105.4
19 February (2011). iPad drawing printed on paper, edition of 25. 139.7 x 105.4
5 March (2011). iPad drawing printed on paper, edition of 25. 139.7 x 105.4
16 March (2011). iPad drawing printed on paper, edition of 25. 139.7 x 105.4
21 March (2011). iPad drawing printed on paper, edition of 25. 139.7 x 105.4
25 March (2011). iPad drawing printed on four sheets of paper, mounted on four sheets of Dibond, edition of 10. 236 x 178 cm
30 March (2011). iPad drawing printed on paper, edition of 25. 139.7 x 105.4
12 April (2011). iPad drawing printed on paper, edition of 25. 139.7 x 105.4
19 April (2011). iPad drawing printed on paper, edition of 25. 139.7 x 105.4
24 April (2011). iPad drawing printed on paper, edition of 25. 139.7 x 105.4
27 April (2011). iPad drawing printed on paper, edition of 25. 139.7 x 105.4
4 May (2011). iPad drawing printed on paper, edition of 25. 139.7 x 105.4
14 May (2011). iPad drawing printed on paper, edition of 25. 139.7 x 105.4
16 May (2011). iPad drawing printed on four sheets of paper, mounted on four sheets of Dibond, edition of 10. 236 x 178 cm
18 May (2011). iPad drawing printed on paper, edition of 25. 139.7 x 105.4
30 May (2011). iPad drawing printed on paper, edition of 25. 139.7 x 105.4
2 June (2011). iPad drawing printed on paper, edition of 25. 139.7 x 105.4

ARTLYST 8 JULY 2015
Jim Greenhalf BRADFORD TELEGRAPH & ARGUS 19 February 2015
Ben Luke LONDON EVENING STANDARD 8 May 2014
Natasha Kurchanova STUDIO INTERNATIONAL 22 September 2014
Martin Gayford BLOUIN ART INFO 20 May 2014
Mark Hudson TELEGRAPH 8 May 2014
David Hockney GUARDIAN 18 April 2014
CULTURE WHISPER 2014
Adrian Hamilton INDEPENDENT 17 January 2012

London

CARSTEN HÖLLER: DECISION │ Hayward, London → 6 September 2015

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Isometric Slides

GALLERY • ARTIST

“Đ oʈntc Wili Wonca v cntmprri art”

Jesc Bunyard HUNGER TV 28 June 2015
Martin Gayford SPECTATOR 20 June 2015
Zoe Pilger INDEPENDENT 14 June 2015
Laura Cumming OBSERVER 14 June 2015
Rory Stott ARCH DAILY 10 June 2015
DEZEEN 9 June 2015
Rupert Hawksley TELEGRAPH 9 June 2015
Nick Compton WALLPAPER 9 June 2015
Adrian Searle GUARDIAN 8 June 2015
Alice Vincent TELEGRAPH 1 April 2015
Emily Gosling IT’S NICE THAT 31 March 2015
Freire Barnes TIME OUT
BBC RADIO 4
CULTURE WHISPER

Isometric Slides. Photo: David Levene
Isometric Slides. Photo: David Levene
Decision Corridors. Photo: Linda Nylind
Decision Corridors, 2015. Photograph by Delvendahl Martin Architects
Flying Mushrooms. Photo: Linda Nylind/Observer
Photo: Linda Nylind
“Searle almost does himself a mischief during an encounter with a giant dice. Photograph: Christian Sinibaldi for the Guardian”
“Searle contemplates the red and white capsules that rain, one every three seconds, from the ceiling. Photograph: Christian Sinibaldi for the Guardian”
“Adrian Searle tries in vain to get some sleep in Carsten Höller’s exhibition at the Hayward Gallery. Photograph: Christian Sinibaldi for the Guardian”
Two Flying Machines. Photo: Ela Bialkowska

London

MICHAËL BORREMANS: BLACK MOULD │ David Zwirner, London → 14 August 2015

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Pogo, 2015. Oil on wood. Framed: 20 1/8 x 17 x 1 5/8 inches (51 x 43 x 4.2 cm). Unframed: 12 3/4 x 9 3/4 inches (32.3 x 24.7 cm)
Pogo, 2015. Oil on wood. Framed: 20 1/8 x 17 x 1 5/8 inches (51 x 43 x 4.2 cm). Unframed: 12 3/4 x 9 3/4 inches (32.3 x 24.7 cm)

GALLERY • ARTIST

“Boremonz’z miniml, afctv pêntñz afrm ɖ mīdịm’z rziłnt abiḷti t pṛvîd a spês fr intṛspctv, nonvrbl mīnñ”

Emily D’Silva UPCOMING 20 June 2015
Rosa Bertoli WALLPAPER 16 June 2015
CULTURE WHISPER

Fiery Limbs, 2015. Oil on cardboard. Framed: 16 3/8 x 18 3/4 x 1 5/8 inches (41.6 x 47.5 x 4.2 cm). Unframed: 9 1/8 x 11 1/2 inches (23 x 29.2 cm)
Fiery Limbs, 2015. Oil on cardboard. Framed: 16 3/8 x 18 3/4 x 1 5/8 inches (41.6 x 47.5 x 4.2 cm). Unframed: 9 1/8 x 11 1/2 inches (23 x 29.2 cm)

Continue reading MICHAËL BORREMANS: BLACK MOULD │ David Zwirner, London → 14 August 2015 →

SIMON MARTIN: UR FEELING │ Camden Arts Centre, London → 21 June 2015

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Photo: Valerie Bennett
Photo: Valerie Bennett

GALLERY WEBSITE

MOT INTERNATIONAL

WHAT THEY SAY

Hunger TV, 17 May 2015
Ben Luke, London Evening Standard, 30 April 2015
Art Daily
Camden50
Culture Whisper
Time Out
Wall Street International

ETC.

Continue reading SIMON MARTIN: UR FEELING │ Camden Arts Centre, London → 21 June 2015 →

JO BAER: TOWARDS THE LAND OF THE GIANTS │ Camden Arts Centre, London → 21 June 2015

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Royal Families (Curves, Points and Little Ones) - Courtesy the artist and Galerie Barbara Thumm
Royal Families (Curves, Points and Little Ones) – Courtesy the artist and Galerie Barbara Thumm

GALLERY WEBSITE

ARTIST’S WEBSITE

WHAT THEY SAY

Ben Luke, London Evening Standard, 23 April 2015
Laura Purseglove, Artlyst, 15 April 2015
Sarah Kent, Arts Desk, 12 April 2015
Culture Whisper
Martin Coomer, Time Out

ETC.

Continue reading JO BAER: TOWARDS THE LAND OF THE GIANTS │ Camden Arts Centre, London → 21 June 2015 →

LEON GOLUB: BITE YOUR TONGUE │ Serpentine Gallery, London → 17 May 2015

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“Ɖs srveexbišn v ɖ Americn fiğṛtv pêntr, hiz frst in Lundn sns 2000, hîlîts ci aspcts v ɖ ātist’s ŕvra fṛm ɖ 1950z untl hiz deʈ in 2004.

Ʈrt hiz c̣rir Goḷb wz gîdd bî hiz blif ɖt āt šd hv reḷvns. Hiz wrcs r pṛfândli sîc̣lojcl n imotv – ofn pêntd on a hyj scêl – n rtrn agn n agn t ʈīmz v oprešn, vaylns n ɖ msys v pâr. Hiz pêntñz fṛm ɖ 1950z dpict ynivrsl imijz v man n refṛns ɖ clasicl figr fând in antiqti, ẇl hiz hîli ṗlitcl siriz v ɖ 1970z n ’80z drwz on ɖ Vietnam Wor, Americn foṛn poḷsi n ɖ rîz v paṛmilitri soljrz in plêsz sč az Sâʈ Africa n Latin America. Hiz wrc fṛm ɖ 1990z incwṗrets slôgnz, txt, gṛfīti n simblz intu distopı̣n sìnz v ŕbn xistns.

Goḷb xperimentd wɖ scêl, n ɖ wrcs asmbld fr ɖs xbišn renj in sîz fṛm ɖ smlr wrcs on pêpr t monymntl, unstrčt canvsz ɖt xtnd fṛm flor t sīlñ at ɖ Srpntîn Gaḷri.

Born in Šcago in 1922, Goḷb bgan pêntñ in ɖ fiğṛtv stîl in ɖ ŕli 1950z. Lebld az a Šcago Imijist, h wz a membr v ɖ pôst-wor ātists’ grūp nôn az Monstr Rostr. Svṛl membrz v ɖ grūp, includñ Goḷb, srvd in Wrldwor II, subsqntli obtenñ fîn āts dgriz az a rzult v ɖ Americn GI Bil. Jrñ a tîm ẇn abstraẋn wz hêld az ɖ fyčr v cntmprri pêntñ, ɖ grūp crietd wrcs rūtd in ɖ xtrnl wrld, wɖ ɖ hymn figr n cntmprri ivnts infwmñ ɖer stîl n content.

Ɖ film šôn on ɖs pêj wz pṛdyst bî Lion Goḷb in 1995 az a contribyšn t ɖ d it projct. Kretd bî Hanz Ŭlrih Obrist, d it bgan in Paris in 1993 az a convsešn btwn Obrist n ɖ ātists Cristiã Boltansci n Bertrã Lavie. Obrist wz cnsrnd wɖ hâ xbišnfwmats cd b rendrd mr flexbl n ôpn-endd. Ɖ rzult z an on-gwñ xbišn ɖt cnsists v instruẋnz set ât bî ātists fr enwn t folo.

Lion Goḷb

Lion Goḷb wz born in Šcago, Iḷný, in 1922 n dîd in Ny Ywc Siti in 2004. In 1940 h wun a scoḷršp t studi Āthistri at ɖ Ynivrsti v Šcago. Hiz mastr’z prôgram wz cut šwt in 1942 ẇn h inlistd in ɖ āmi n srvd az a cātogṛfr in Yṛp. On hiz rtrn in 1946, undr ɖ GI Bil, Goḷb bgan a Fîn Āt Dgri at ɖ Scūl v ɖ Ātinstityt v Šcago, ẇr h rsivd a BFA n MFA. Jrñ ɖs tîm h met felo stydnt n ātist Nansi Spero, hūm h marid in 1951. Bʈ ātists wr membrz v ɖ pôst-wor ātist’s grʈp ɖ Monstr Rostr. Goḷb, Spero n ɖer čildṛn muvd t Paris in 1959 n steid untl 1964 ẇn ɖe muvd t Ny Ywc Siti. Ɖs sem yir ɖe bcem actv membrz in ɖ Ātists n Raitrz Prôtestgrūp agnst ɖ Vietnam Wor. In ɖ 1980z ɖe wr membrz v ɖ muvmnt Ātists Cwl Agnst Americn Intvnšn in Latin America n rmend anti-wor activists ʈrt ɖer lîvz.”

Agent Orange, 1993
White Squad IV (El Salvador) 1983 (Picture: Collection of Ulrich and Harriet Meyer)
Mercenaries IV, 1980 at the Serpentine gallery, courtesy Ulrich and Harriet Meyer Collection. All images: c/o the Nancy Spero and Leon Golub Foundation for the Arts
Merceneries II (section I), 1975
Vietnam 1, 1972
‘Gigantomachy IV’, 1967
Tête de Cheval II, 1963
Image copyright: READS 2015
Image copyright: READS 2015
Image copyright: READS 2015
Image copyright: READS 2015
Image copyright: READS 2015
Image copyright: READS 2015
Image copyright: READS 2015

GAḶRI WEBSAIT

Continue reading LEON GOLUB: BITE YOUR TONGUE │ Serpentine Gallery, London → 17 May 2015 →

THEASTER GATES: FREEDOM OF ASSEMBLY │ White Cube, London → 5 July 2015

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Photo: Sara Pooley via Architectural Record

“Ẇît Kb z plizd t priznt an xibišn v ny wrc bî Ʈiastr Gêts. Gêts’ practis z wîd-renjñ n polisīms, atmtñ t brij ɖ gap btwn āt n lîf n caṭlîz sošl n ic̣nomic čenj ʈru drct ātistc êjnsi. Fr ɖs xibišn, intîtld Frīdm v Asmbli, Gêts xplorz ɖ ʈīm v asmbli in its wîdist sens, inmešñ îdiyz v an ōtoṇms ātobjct wɖ nošnz v indivijl frīdm n ɖ impârmnt v plês. In ptklr, Gêts rfŕz t ɖ Frst Amndmnt v ɖ Ynîtd Stêts Constityšn, ẇč pṛtcts frīdm v spīč, ɖ rît t pīsbli asmbl, n ɖ fri exsîz v rlijn.

Frīdm v Asmbli includz svṛl ny siriz v sculpčrz, a lj-scêl prezntešn v tarpêntñz n a bodi v wrc ɖt fwgrândz, fr ɖ frst tîm, Gêts’ loñ-trm involvmnt wɖ clêpṛduẋn. Nošns v asembli bcm evidnt in wrcs ɖt drw on prsnl memri, poḷtcs, n ɖ histri n reẓnns v mtirı̣l objcts wɖn âr culčr.

Ɖz ʈīmz r snc̣petd in wrcs ɖt trnsfwm mtirı̣lz culd fṛm dsyzd bildñz in ɖ ātist’s ôn nêbrhd in ɖ Sâʈ Sîd v Šcago. A siriz v wŭdn vitrīnz cmbîn verı̣s eḷmnts obtend fṛm a clozd-dân hādwérstor – a cwnrstôn v ɖ cmyṇti ɖt sīst trêdñ in ɖ fês v conglomṛt comṗtišn – alñsd lamps, pots, glas n sculpčṛl objcts. Ɖz culrfl vižl asmblijz atmt t trnzmyt ɖ prezns v a plês n sait nâ dsbandd, ẇl xudñ a sens v los n rduẋn. In Grând Rūlz (2015), Gêts invocs ɖ naṛtv v āt ʈru hiz inteṛgešn v pêntñ, n, in ptklr, ɖ histri v moḍnist abstraẋn. Ɖz wrcs trnsfwm strips v a wŭdn jimflor intu delic̣t, miniml comṗzišnz. Lîc hiz ŕlı̣r Sivl Rîts Taṗstriz ẇč rīprpst old fîrhôz intu pastl-hyd fabricwrcs, ɖz sculpčrz riignît ɖ significns n powtri v fând mtirı̣lz ʈru a prôses v rı̣smbli n rīcomṗzišn.

Prsnl n ṗlitcl ʈīmz r xplord in a ny siriz v lj-scêl tarpêntñz, ẇr rubr n tar z aplîd t wŭdpanlz crietñ moṇcrom, txčṛl comṗzišnz. In ɖz wrcs, Gêts mcs hiz dsižnz bêst on ɖ pṛsījr v rūfñ, nt pêntñ, a prôses ɖ ātist dscrîbz az: borowñ gd rūfñstratjiz, ʈru fwml ingejmnt wɖ it, t arîv at pêntñ or at lst t gt t ɖ esns v rūfñ. Wɖ ɖer ʈic impasto n šîni rflctv srfis, ɖ tar criets a srfis ɖt vizbli rflcts ɖ muvmnt v ɖ hand acrs ɖ canvs, lncñ ɖz wrcs t Jaṗnīz c̣ligṛfi, az wel az t a histri v jesčṛl abstraẋn. In uɖr wrcs, sẋnz v flat rūfñ r dspled lîc šêpt tu-dmnšnl canvsz, cuvrd wɖ delic̣t wŭdn feɖr-lîc tîlz. Cnsivd az an indx v rūfs – rɖr ɖn az indivijl pêntñz – ɖz wrcs sjst a c̣lctv prezns n rlet stroñli t Gêts, huz faɖr tard rūfs fr a trêd.

Gêts frɖrz ɖz îdiyz in a c̣lẋn v clêwrcs ɖt includ a grūp v sml figrz, stacs v sramic brics, n pots ɖt cmbîn cle wɖ tar n uɖr mtirı̣lz fṛm ɖ rūfñ cann. In ɖz ṗetc sculpčrz, Gêts’ histri wɖ cle z marid t hiz histri wɖ lebr t criet an inspîrd ny bodi v wrc.

Alñsd hiz prezntešn at Ẇît Kb Brmnzi, Ʈiastr Gêts wl xibit a ny bodi v wrc in ɖ Arsenāle at ɖ 56ʈ Venis Bienāle fṛm 9 Me – 22 Nvmbr 2015.”

Photo:George Darrell
Photo: George Darrell
Photo: George Darrell
Tiki teak, 2014. Wood and roofing paper. Photo: George Darrell
Photo: George Darrell
Ground rules (scrimmage), 2015. Wood flooring. Photo: Ben Westoby
Ground rules (free throw possibility, 2014. Wood flooring. Photo: Ben Westoby
Glazed vessel, 2015. Glazed photo. Photo: George Darrell
Tarred vessel, 2015. Photo: George Darrell
Covered vessel, 2015. Glazed clay and roofing underlay. Photo: George Darrell
Covered vessel, 2015. Glazed clay and asphalt roofing membrane. Photo: George Darrell
Covered vessel, 2015. Glazed clay, tar and asphalt roofing membrane. Photo: George Darrell
Atlas, 2015. Metal. Photo: Ben Westoby
Shrug, 2015. Wood, glazed clay, fabric and metal. Photo: Ben Westoby
Black knockoff, 2015. Glazed clay and metal. Photo: George Darrell
White sky, overcast, 2014. Wood, rubber and tar. Photo: Ben Westoby
Harpischord, lower register, 2014. Wood, rubber, tar and metal. Photo: Ben Westoby
Diagonal bitumen, 2014. Wood, rubber and tar. Photo: Ben Westoby
Traditional roofing practices, 2014. Wood, rubber, tar and metal. Photo: Ben Westoby
Clearing, 2014. Wood, rubber and tar. Photo: Ben Westoby
An established occupation, 2014. Wood, rubber and tar. Photo: Ben Westoby
Hierarchy, 2014. Wood, rubber, tar, metal lamp and clay plate. Photo: George Darrell
Gees removed, 2014. Wood, roofing substrate and tar. Photo: Ben Westoby
Triagonal, 2015. Wood and asphalt roofing membrane. Photo: Ben Westoby
Triagonal, 2015. Wood and asphalt roofing membrane. Photo: Ben Westoby

GAḶRI WEBSAIT

Continue reading THEASTER GATES: FREEDOM OF ASSEMBLY │ White Cube, London → 5 July 2015 →

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

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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”

Yellow Nude 1908 Musée des Beaux-Arts de Nantes, Nantes
Bag from beach set, 1922-3
Coat for Gloria Swanson, 1923-24. Photograph: Private Collection
Simultaneous Dresses (The three women), 1925. Museo Thyssen-Bornemisza, Madrid
Day coat, 1925
Court shoes, 1925. Photograph: Les Arts Décoratifs, Musée de la Mode et du Textile, Paris
Rhythm Colour no. 1076, 1939
Syncopated rhythm, so-called The Black Snake 1967 Musée des Beaux-Arts, Nantes, France

GAḶRI WEBSAIT

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

PASCALE MARTHINE TAYOU: BOOMERANG │ Serpentine Sackler Gallery, London → 17 May 2015

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(Posted 8 April 2015. The text is in an older version of Ñspel.)

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“Srpntîn Gaḷriz priznts ɖ frst sôlo šo in Lundn bî Caṃrun-born, Beljm-bêst ātist Pascal Martīn Tîu. Ɖ xibišn includz ny wrc md sṗsificli fr ɖ Srpntîn n intṛdysz ōdı̣nsz t a renj v wrcs ɖt demnstret ɖ ātist’s ynīc abiḷti t cmbîn išuz v indivijl n našnl îdntti n glôbl cnsumšn.

Ɖ Srpntîn Saclr Gaḷri z popyletd bî a dvrs mix v sculpčṛl fwmz ɖt demnstret Tîu’z ynīc vižl lanĝj, bêst on ācitîps, md n fând objcts n tṛdišnl craft. Mistirı̣s hymn fwmz n fntastcl bīsts – sč az ɖ 100 mītr snêc v Africonda – incwṗret mtirı̣lz sč az cloʈ, wŭd, plastc, glas, ōganic matr n consymrwêst, cmbînd wɖ an ātiznl scil.

Tîu, hu bgan studiyñ lw bfr dsîdñ instd t bcm an ātist, bgan xibitñ in ɖ ŕli 1990z – a tîm v ṗlitcl n sošl uphivl acrs West Africa. Wɖ wrcs ofn pṛdyst in situ, Tîu z rnând fr cmbînñ fând n dscādd objcts n mtirı̣lz – ofn swst lôcli – wɖ a scild n plêfl sens v craftsmnšp.

Tîu hz xibitd inṭnašnli, includñ sôlo xibišnz at ɖ Fâlr Myziym at UCLA (2014); Cnsthâs Brêgenz (2014); MACRO, Rôm (2012); MUDAM Luxmbrg (2011); Mac Liõ (2011); Malmö Consthal (2010).

Insd-ât z a rzws fr tīčrz dzînd t acumṗni ɖ Pascal Martīn Tîu xibišn. Dânlod ɖ Insd-Ât Rzws.

BŪṂRAÑ z pṛdyst bî ɖ Srpntîn Gaḷriz in c̣laḅrešn wɖ BÔZAR, Sentr fr Fîn Āts, Bruslz.

Ɖs xibišn at ɖ Srpntîn Saclr Gaḷri z pāt v ɖ Srpntîn’z Sprñprôgram, ẇč includz a mêjr srve bî Americn ātist Lion Gôlūb ɖt runz cncuṛntli at ɖ Srpntîn Gaḷri.”

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Africonda – series, 2014. Wash cloth, mask, dry hay, wood. Photo: Lorenzo Fiaschi

GAḶRI WEBSAIT

Continue reading PASCALE MARTHINE TAYOU: BOOMERANG │ Serpentine Sackler Gallery, London → 17 May 2015 →

GOYA: THE WITCHES AND OLD WOMEN ALBUM │ Courtauld Gallery, London → 25 May 2015

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Wicked Woman, c1819- 23. Photograph: PR
Wicked Woman (detail), c1819- 23. Photograph: PR
“The sleep of reason produces monsters” (c.1797-98)
“Madness” (c.1803-12)
“They descend quarrelling” (c.1816-20). Photo: Alex Jamison
“Nightmare” (c.1816-20)
“Showing off – Remember your age” (c.1816-20)
“Nightmare” (c.1819-23)
‘Dream of a Good Witch’, c. 1819-23 © Staatlich Museen
“Dream of Flogging” (c.1819-23)
“He can no longer at the age of 98” (c.1819-23)
“Mirth” (c.1819-23)
“Singing and dancing” (c.1819-23)
Wicked woman, c. 1819- 23. Musee de Louvre, Paris

“Ɖs mêjr xibišn rīynîts ol ɖ svîvñ drōñz fṛm ɖ Wičz n Old Wimin Albm fr ɖ frst tîm, ofrñ a fasinetñ n inlîtnñ vy v a vri prîvt n prsnl Goia.

Drwn in ɖ last decêd v hiz lîf, ɖ albm wz nvr ment t b sīn bynd a sml srcl v frendz. Goia gev fri rein t hiz crı̣tiṿti, invntñ xtrōdnri imijz ɖt renj fṛm ɖ hymṛs t ɖ sinistr n ɖ mcābra.

In ɖs xibišn vizitrz r invîtd t dscuvr ɖ prîvt wrld v Goia’z bândls imajinešn, xprest ʈru vižnz n nîtmerz, sūṗstišnz, n ɖ probḷmz v old êj. Abv ol, ɖ drōñz rvil Goia’z peṇtretñ obẓvešn v hymn nêčr: âr firz, wīcṇsz n dzîrz.”

'Regozijo' ('Mirth'), c. 1819-23 (detail)
‘Regozijo’ (‘Mirth’), c. 1819-23 (detail)

GAḶRI WEBSAIT

Continue reading GOYA: THE WITCHES AND OLD WOMEN ALBUM │ Courtauld Gallery, London → 25 May 2015 →

GLENN LIGON: CALL AND RESPONSE │ Camden Arts Centre, London → 11 January 2015

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Installation view. Photo: Valerie Bennett
Installation view. Photo: Valerie Bennett
Installation view. Photo: Valerie Bennett
Come Out, courtesy of Camden Arts Centre
‘Come Out #2’, 2014. Photo: Todd-White Art Photography
Installation view. Photo: Valerie Bennett
Installation view. Photo: Valerie Bennett
Installation view. Photo: Valerie Bennett
Untitled (Bruise/Blues), 2014; painted neon; size variable. Courtesy of the Artist and Camden Art Centre, London. Photo: Valerie Bennett.
‘Neon Double America’, 2012. Photo: Tom Powel Imaging Inc.
‘Around 1970 or 1971’, 2007. Photo: Tom Powel Imaging Inc
‘Warm Broad Glow II’, 2011

“Ovr ɖ ōtumnl munʈs, Camdn Ātșentr priznts Glen Lîgon: Cwl n Rspons, ɖ frst xibišn in a YC public gaḷri fr ɖ seḷbretd Americn ātist.

Wn v America’z most dstnĝšt cntmprri ātists, Lîgon (b.1960) hz bn dīpli ingejd wɖ ɖ riten wrd ʈrt hiz c̣rir. Drōñ atnšn t ɖ probḷmz v lanĝj n repṛzentešn, h adresz presñ n čaḷnjñ topics v rês, lanĝj n seẋuaḷti. Hiz wrcs rīcnsidr n rīpriznt Americn histri, ispešli naṛtvz v slevri n sivl rîts, wɖn a cntmprri contxt. Bst nôn fr hiz stenṣld txtbêst pêntñz, h wīvz tgɖr wîdrenjñ inflụnsz fṛm litṛčr, vižl āts n popylr culčr. Ovr ɖ past 10 yirz, Lîgon hz olso bn dedicetd t inteṛgetñ ɖz ʈīmz ʈru hiz pṛlific n astyt raitñ n inṭvyz.

Fr hiz xibišn at Camdn Ātșentr, Lîgon priznts a ny siriz v lj pêntñz bêst on ɖ 1966 seminl têpt-spīč wrc, Cm Ât, bî Miniṃlist cmpozr Stīv Rîš. Cm Ât z drwn fṛm ɖ testiṃni v six blac yɖz arstd fr cmitñ a mrdr jrñ ɖ Hāḷm Rêsrayt v 1964. Nôn az ɖ Hāḷm Six, ɖ cês galṿnîzd sivlrîts activists fr a jeṇrešn, brññ t atnšn ṗlīsbrūtaḷti agnst blac sitiznz. Ecowñ Rîš’z ovrlapñ reṗtišn v wrdz n frezz, Lîgon’z silcscrīn pêntñz ovrle ɖ wrdz t criet slôli šiftñ n riɖmic ifects.

Lîgon z crietñ a ny nionwrc, ẇč drwz on ɖ wrdz v Daňl Ham, wn v ɖ Hāḷm Six, dscrîbñ ɖ ṗlīsbītñz. Nionletrz, sspndd fr vizitrz t wōc amñst, blnc on n of in a sîcl rflctñ Rîš’z wrc. Lîgon’z nionwrcs cntiny hiz intrest in pšñ txt n spīč t ɖ pýnt v abstraẋn. Az wɖ hiz pêntñz, ɖe incurij ɖ vywr t oṣlet btwn rīdñ n lcñ.

A ny multīscrīn vidio wrc yzz fŭtij v cmīdịn Ričd Prayr’z 1982 stand-p pfwmns, Lîv on Sunset Strip. Lîgon hz riōġnîzd n rīfilmd ɖ rcwdd mtirı̣l t emf̣sîz Prayr’z imfatc bodīlanĝj, muvmnt n xprešnz, rmuvñ ātikletd wrdz t fôc̣s on bodīlanĝj n ɖ pfwṃtv dlivri v spīč.”

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Continue reading GLENN LIGON: CALL AND RESPONSE │ Camden Arts Centre, London → 11 January 2015 →

ROMAN OSTIA: ANCIENT RUINS, MODERN ART – ETTORE DE CONCILIIS AND UMBERTO MASTROIANNI │ Estorick Collection of Modern Italian Art → 21 December 2014

Ancient Rome, Italy, , ,
Doves, end of the 1st century BC to start of the 1st century AD. Courtesy Estorick Collection of Modern Italian Art
Fishes, end of 1st to beginning of 2nd century AD. Courtesy Estorick Collection of Modern Italian Art
Silvanus, 2nd – 3rd century AD. Courtesy Estorick Collection of Modern Italian Art
Young Knight, Fiumicino (Isola Sacra): Necropolis of Porto, tomb 19, painted plaster, 2nd century AD
Umberto Mastroianni, Savage Fury, 1975. Courtesy Estorick Collection of Modern Italian Art
Umberto Mastroianni, Savage Fury, 1975. Courtesy Estorick Collection of Modern Italian Art
Ettore De Conciliis, Temple of Hercules, Evening, 2012. Courtesy Estorick Collection of Modern Italian Art
Umberto Mastroianni, Yellow, Black and White, 1965. Tempera on scratched card, 72 x 72cm. Courtesy of Il Cigno GG Edizioni.

“Ɖs stimyletñ xibišn, spanñ tu milenia, juxṭpozz antiqitiz fṛm ɖ impwtnt arcı̣lojicl sait v Ostia Antīca, nir Rôm, wɖ ɖ wrc v tu modn Itałn ātists: Umberto Mastrýaņi (1910-1998) n Ețore de Cončiliis (b. 1941).

Fândd in ɖ 7ɖ senčri BC, ɖ ênčnt hābrsiti v Ostia wz an isenšl lnc t ɖ capitl v ɖ Rômn Empîr. At ɖ mâʈ v ɖ Rivr Tîbr, sâʈwest v Rôm, ɖ siti wz a cmršl hub n culčṛl meltñpot, iqipt wɖ a ʈiytr, baɖz, bêc̣riz, wérhâzz, barz n šops. Ɖ xibišn includz ênčnt stačri pwtreyñ godz, emṗrrz n ivoc̣tv sìnz v čarı̣trêsz at ɖ Rômn Src̣s, ẇl a ṣlẋn v intric̣t mzêics n tu wōlpêntñz fṛm nirbî Īẓla Sacra – Ostia’z seṃtri – r amñ ɖ fînist xamplz fṛm ɖ sait.

Az a bacdrop t ɖz wrcs, ɖr r a nmbr v speṣ̌li cmišnd pêntñz bî Ețore de Cončiliis dpictñ ɖ atṃsferic ple v lît acrs Ostia’z ruinz, n svṛl wrcs bî Mastrýani, wn v ɖ most impwtnt figrz in twentiiʈ-senčri Itałn sculpčr. Iniṣ̌li wrcñ in a fiğṛtv stîl similr t Mrīno Mrīni, Mastrýani bgan t implý abstract fwmz jrñ ɖ ŕli 1940z, n z bst nôn tde fr hiz monymntl wrcs cmeṃretñ ɖ Rzistns. Hiz dîṇmizm z far rmuvd fṛm ɖ srīn caṛctr v ɖ antīc pìsz. Yt hiz sculpčrz – rzmblñ grt girz n mcanicl cmponnts ɖt nâ stand mošnls – olso rcwl ācı̣lojcl fragmnts: bronz n ayn relics v an industrı̣l iyra ɖt r infyzd wɖ an elijayc qoḷti v ɖer ôn.

Ʈru ɖ juxṭṗzišn v cntrastñ wrcs fṛm tu wîdli dvrs culčrz, w cn rflct nt onli on ɖ gulf seṗretñ âr ôn îdiyz v byti fṛm ɖoz v âr ansestrz, bt olso hâ ełn ɖ culčṛl āṭfacts v tde me wn de sīm t âr ôn dsndnts.”

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Continue reading ROMAN OSTIA: ANCIENT RUINS, MODERN ART – ETTORE DE CONCILIIS AND UMBERTO MASTROIANNI │ Estorick Collection of Modern Italian Art → 21 December 2014 →