GALLERY • ARTIST
“In ɖ ledpentñz, jịmtric abstraẋnz md wɖ acrilic pênt on ledśītñ, rold or rápt arnd a wŭdn panl or frem, Frg aproćz culr intyitvli, imployñ miniml n elimntl comṗziśnl dvîsz t rdys pêntñ t its pyr esns”
“Fiś n fiśñcru resl amñst ɖ elimnts fr ɖer rspctv lîvz, ẃlst śrilñ sìgulz plunj intu ɖ sì t clct ɖ spýlz v xes fiśñ”
Philip Hoare GUARDIAN 18 November 2013
Gail Tolley LIST 18 November 2013
Kee Chang ANTHEM 1 March 2013
A O Scott NEW YORK TIMES 28 February 2013
TATE
WHITNEY
“Đ sculpćrz, c̣lāźz n drw̃z prizntd in ɖs xibiśn rīć intu ɖ past n mix tṛdiśnl fôclor wɖ simblz v cntmprri culćr.”
ARTISTS INCLUDE
Nikolay Bakharev • Enrico David • Peter Doig • David Hockney • Gary Hume • Jaan Toomik • Andy Warhol
HUNGER TV 12 April 2015
GUARDIAN 5 March 2015
Continue reading GYÖRGY KEPES │ Tate Liverpool → 31 May 2015
“Luv z Inuf drwz tgɖr îconic n rerli sīn wrcs bî tu jaynts v ɖ 19ʈ n 20ʈ senčriz. Ɖs uncnvenšnl combinešn v ātists’ wrc z kretd bî Trnr Prîz-winñ ātist Jeṛmi Delr, hu sáits Moris n Wōhol az hiz tu grtst ātistc inflụnsz.
Delr drwz mni ṣprîzñ cnẋnz btwn ɖz tu ātists, hu left an indeḷbl māc on ɖer jeṇrešnz n āğbli ɖoz ɖt folod. Moris n Wōhol bʈ istablišt printmêcñ biznisz n dstribytd ɖer wrc ʈru ny fwmz v maspṛduẋn. Bʈ wr načṛl c̣laḅretrz hu wrct wɖ ɖ prominnt ātists v ɖer tîm t dveḷp wrcñmeʈdz ɖt dd mč t rīdifîn ɖ ātist’s rlešnšp t ɖ stydio n factri. Moris ačivd ɖs ʈru hiz mastrñ v crafțecnīcs n hiz rjẋn v industrı̣l prôsesz, n Wōhol ʈru ɖ actiṿtiz v ɖ Factri, ẇč ofn paṛdid ɖ industrı̣l culčr v ɖ mid-lêt 20ʈ senčri.
Wrcs swst fṛm public n prîvt c̣lẋnz acrs ɖ YC n ɖ YSA includ a paṇl fṛm ɖ epic n rerli sīn Hóuli Grêl taṗstrīsiriz cmplitd bî Wiłm Moris in 1896. Alñsd wl b šôn a ṣlẋn v Wōhol’z îconic silcscrīnz n ācîvl mtirı̣l fṛm ɖ trežrtrov ɖt z ɖ Wōhol Myziym in Pitsbrg, includñ a sînd fôṭgraf v Šrli Templ pôstd t a ʈrtīnyirold Andi fṛm ɖ actṛs in 1941.
Abt ɖ Kretr
Jeṛmi Delr studid Āthistri at ɖ Cwtold Instityt n at Susx Ynivrṣti. Aftr mītñ Andi Wōhol in 1986, h spent tu wīcs at ɖ Factri in Ny Ywc. H bgan mcñ ātwrcs in ɖ ŕli 1990z, ofn šowñ ɖm âtsd v cnvnšnl gaḷriz. In 1993, ẇl hiz pẹrnts wr on hoḷde, h sīcṛtli yzd ɖ famlīhom fr an xibišn tîtld Ôpn Bedrūm.
For yirz lêtr h pṛdyst ɖ myzicl pfwmns Asidbras wɖ ɖ Wiłmz-Fẹri Band, n bgan mcñ āt in c̣laḅrešn wɖ uɖr ppl.
Delr stêjd Ɖ Batl v Ōgrīv in 2001, cmišnd bî Ātenjl n Čanl 4, drctd bî Mîc Figis, a riinactmnt ẇč brwt tgɖr arnd 1000 vetṛn mainrz n membrz v historicl ssaytiz t rīstej ɖ 1984 claš btwn mainrz n ṗlīs at Ōgrīv, Ywcšr.
In 2004, Delr wun ɖ Trnr Prîz fr Memrībucit (2003), a dokmntri abt Txs.
H hz sns md a nmbr v dokmntriz on subjcts renjñ fṛm xotc reslr Êdrı̣n Strīt t dîhād inṭnašnl fanz v ɖ band Dpeš Môd.
In 2009 Delr undrtc a rôdtrip acrs ɖ YS fṛm Ny Ywc t Los Anjlīz alñ wɖ an Iraci sitizn n a YS worvetṛn, towñ a car dstrýd in a boṃtac in Bagdad. Ɖ projct, It Z Ẇt It Z, wz prizntd at ɖ Ny Myziym, Ny Ywc; ɖ car z nâ pāt v ɖ Impirı̣l Wormyziym’z C̣lẋn. In ɖ sem yir, h stêjd Pṛsešn in Mančestr, involvñ ptisipnts, cmišnd flôts, corı̣graft myzic n pfwmnsz, crietñ an od n seḷbreṭri spectcl.”
Continue reading LOVE IS ENOUGH: WILLIAM MORRIS AND ANDY WARHOL │ Modern Art Oxford → 8 March 2015
“Ɖ siriz v 83 ečñz Ɖ Dzastrz v Wor (1999) bî Jêc n Dīnos Čapmn adapts n sbvrts Goia’z siriz v ɖ sem tîtl, bt olso coments on ɖ cruwltiz n fêtl consiqnsz v lêtr worz. Ɖs xibišn šoz hâ ɖ ātists mnipyletd ɖ imijri n impact bî printñ a secnd vršn in ẇît ñc on blac pêpr, n a ʈrd vršn on pêjz fṛm a čîld’z culrñbc, wɖ čilñ n smtmz comic ifct. Ɖs z ptklrli strîcñ ẇn vyd agnst a ṣlẋn v prints fṛm Goia’z orijinl siriz, rvilñ ɖ fl consiqnsz v ɖ Čapmn Bruɖrz’ invnšn n inṭvnšn.
Fêtl Consiqnsz z dzînd t cómpliment ɖ cncuṛnt Sîḷnt Pātnrz xibišn, ẇč olso includz ɖ Čapmn Bruɖrz’ wrc. It z pāt v a sīqns v xibišnz on ɖ ʈīm v wor mācñ ɖ sentīnri v ɖ Frst Wrldwor, n in ɖs cês olso mācñ ɖ 200ʈ anivrsri v ɖ Spaniš Pninsylr Wor, ẇč wz ɖ subjct v Goia’z siriz.”
“Sigmar Polca wz wn v ɖ most inseṣ̌bli xperimntl ātists v ɖ twentịʈ senčri.
Ɖs retṛspctv z ɖ frst t brñ tgɖr ɖ unyžli brwd renj v mīdia h wrct wɖ jrñ hiz fîv-deced c̣rir – nt onli pêntñ, drōñ, ftogṛfi, film n sculpčr, bt olso nôtbcs, slîdpṛjẋnz n fôtocopiz. H wrct in of-ɖ-wōl mtirı̣lz renjñ fṛm mītiordust t gold, bublráp, snêljūs, ptetoz, st n īvn yrenı̣m, ol ɖ ẇl rzistñ īzi caṭġrîzešn.
Polca’s rlentḷsli invntv wrcs renj in sîz fṛm ɖ intiṃsi v a nôtbc t monymntl pêntñz. H tc a wîldli dfṛnt aproč t āt-mcñ, fṛm hiz rsponsz t cnsymrssayti in ɖ 1960z t hiz intrest in travl, drugz n comynl livñ in ɖ 1970z n hiz incrisñli xperimntl practis aftr 1980.
Bnʈ Polca’z irevṛnt wit, pṛmiskys intelijns, n čansóṗrešnz le a dīp sceptisizm v ol oʈoṛti. It wd b impsbl t undrstand ɖs atityd, n ɖ crı̣tivti ɖt gru ât v it, wɖt cnsidrñ Polca’z bîogṛfi n its setñ. In 1945, nir ɖ end v Wrldwor II, hiz famli fled Sîlīža (in preznt-de Pôḷnd) fr ẇt wd sn b Sôvı̣t-okpîd Īst Jrṃni, n ɖen iscept agn, ɖs tîm t West Jrṃni, in 1953.
Polca gru p at a tîm ẇn mni Jrmnz dflctd blem fr ɖ atroṣtiz v ɖ Natsi pirı̣d wɖ ɖ alibî, I dd’nt si enʈñ. In verı̣s wrcs in ɖ xibišn, Polca opozz mni Jrmnz v hiz jeṇrešn’z tendnsi t ignor ɖ Natsi past, az f picñ of ɖ scab t riôpn ɖ wūnd.”
Continue reading ALIBIS: SIGMAR POLKE 1963–2010 │ Tate Modern, London → 8 February 2015
MRĪNA AT MIDNÎT:
De 1, De 2, De 3, De 4, De 5, De 6, De 7, De 8, De 9, De 10, De 11, De 12, De 13, De 14, De 15, De 16, De 17, De 18, De 19, De 20, De 21, De 22, De 23, De 24, De 25, De 26, De 27, De 28, De 29, De 30, De 31, De 32, De 33, De 34, De 35, De 36, De 37, De 38, De 39, De 40, De 41, De 42, De 43, De 44, De 45, De 46, De 47, De 48, De 49, De 50, De 51, De 52, De 53, De 54, De 55, De 56, De 57, De 58, De 59, De 60, De 61, De 62, De 63, De 64
“In a ynīc wrc crietd fr ɖ Srpntîn, ɖ inṭnašnli aclemd ātist Mrīna Abraṃvič wl pfwm in ɖ Gaḷri fr ɖ jrešn v hr xibišn: 10am t 6pm, 6 dez a wīc. Crietñ ɖ simplist v invîrnmnts in ɖ Gaḷri spêsz, Abraṃvič’z onli mtirı̣lz wl b hrslf, ɖ ōdı̣ns n a ṣlẋn v props ɖt š me or me nt yz. On arîvl, vizitrz wl bʈ litṛli n meṭforicli līv ɖer bagij bhnd in ōdr t entr ɖ xibišn: bagz, jacits, ilectronic iqipmnt, wočz n camṛz me nt acumṗni ɖm.
Ɖ public wl bcm ɖ pfwmñ bodi, ptisipetñ in ɖ dlivri v an unpresdentd mmnt in ɖ histri v pfwmnsāt.
Mrīna Abraṃvič z a pạnir v pfwmns az an ātfwm, yzñ hr ôn bodi az subjct n objct, š hz pšt ɖ fizicl n mentl limits v hr biyñ. Ɖs z ɖ frst mêjr pfwmns bî Abraṃvič sns hr monymntl pìs Ɖ Ātist z Preznt, at ɖ Myziym v Modn Āt, Ny Ywc, in 2010, in ẇč vizitrz wr invîtd t sit in sîḷns oṗzit ɖ ātist n gêz intu hr îz fr an unspesifîd amânt v tîm. Abraṃvič pfwmd ɖs wrc evri de fr ʈri munʈs.
Ɖ perd-dân nêčr v ɖs xibišn corispondz t Abraṃvič’z intrest in ɖ historicli wel-istablišt rlešnšp btwn āt n nuʈñṇs; vižl ātists includñ Roḅt Bari, Jon Cêj, Mẹri Eḷn Caṛl, Roḅt Ŕwin, Ìv Clîn, Gŭstav Metsgr n Yôco Ôno (t nem onli a vri fy) hv ol xplord ɖ nošn v mtirı̣l absns wɖn ɖer practis. Ɖ îdīa v emtiṇs – v miniṃlizm, rduẋn n simpliṣti – plez an intrinsic rôl in Abraṃvič’z ôn wrc, n hz incrisñli led t mr n mr v ls n ls, a loñstandñ em ɖt š rcwdd in hr Ātist’s Lîf manifsto v 2009. It z ɖs jrni twdz iṃtiriaḷti ɖt hz led hr t ɖs ynīc mmnt in hr wrc, ẇr š wl cmit t an unscriptd n impṛvîzd pfwmns in ɖ gaḷrīspês.
In ɖ ŕli 1970z, az a yuñ ātist in Belgred, Abraṃvič bgan xplorñ ɖ rlešnšp btwn ātist n ōdı̣ns. Sns 1978 š hz cnductd a siriz v wrcšops wɖ ātstydnts, yzñ a siriz v simpl xsîzz t incris fizicl n mentl awerṇs. Ovr ɖ cws v hr c̣rir, Abraṃvič hz cntinyd t dveḷp ɖz wrcšops, xpandñ ɖer scôp t rīč a jenṛl public, ʈru ɖ Mrīna Abraṃvič Instityt.
Ɖ xibišn bî Ed Atcinz têcs plês cncuṛntli at ɖ Srpntîn Saclr Gaḷri, brññ tgɖr tu xtrōdnri ātists fṛm dfṛnt jeṇrešnz hu fôc̣s on pfwmns, ɖ bodi n lanĝj.”
Continue reading MARINA ABRAMOVIĆ: 512 HOURS │ Serpentine Gallery, London → 25 August 2014