Tag Archives: Observer

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

CHRISTOPHER WILLIAMS: THE PRODUCTION LINE OF HAPPINESS │ Whitechapel Gallery, London → 21 June 2015

Kodak Three Point Reflection Guide

“A fngr pýzd on a camra – its ôpn bac rvilñ ɖ filmrol n mec̣nizm – sets ɖ sìn fr ɖs xibišn v fôtgrafs abt ftogṛfi. Smẇr btwn a filmdrctr, a picčreditr n an āthistwrı̣n, Americn ātist Crisṭfr Wiłmz (b.1956) invstigets ftogṛfi az ɖ dfînñ mīdı̣m v moḍnizm.

Wiłmz’ xqizit prints rvil ɖ unxpctd byti n culčṛl reznns v cmršl, industrı̣l n instruẋnl ftogṛfi. Ofn wrcñ wɖ setdzînrz, modlz n tecnišnz, Wiłmz’ tecnicli prisîs picčrz rcwl Cold Wor ira imijri n 1960z advtîzñ, az wel az invocñ histriz v āt, ftogṛfi n siṇma. Hiz fôtgrafs r eḷmnts at ple in a ljr sistm includñ ācitecčr, xibišndzîn, bcs, pôstrz, vidioz, vitrīnz n sînij ɖt invstigets ɖ stêjsets v ɖ ātwrld n ɖ publisti strucčrz on ẇč ɖe rlî.

Fṛm hiz rnând 1989 studiz v btanicl spesimnz, Angola t Vietnam, t ɖ hîpŗiyl, culr-sačretd studiz v cičnwér md in 2014, ɖs frst srve v Wiłmz’ wrc in ɖ YC imrsz s in vižli inʈrwlñ n ṗlitcli reznnt lînz v inqîri.”

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Continue reading CHRISTOPHER WILLIAMS: THE PRODUCTION LINE OF HAPPINESS │ Whitechapel Gallery, London → 21 June 2015

LOS CARPINTEROS │ Parasol Unit, London → 24 May 2015

'Tomates' (detail), 2013. Real tomatoes and watercolour splash, porcelain, dimensions variable. Photo: Jason Wyche. Courtesy of Sean Kelly Gallery, New York and Ivorypress, Madrid. © Los Carpinteros
‘Tomates’ (detail), 2013. Real tomatoes and watercolour splash, porcelain, dimensions variable. Photo: Jason Wyche. Courtesy of Sean Kelly Gallery, New York and Ivorypress, Madrid. © Los Carpinteros

(Posted 7 May 2015. The text is in an older version of Ñspel.)

“Paṛsol ynit fândešn fr cntmprri āt z dlîtd t priznt an xibišn v wrcs bî Kbn āt c̣lctv, Los Carpinteros (Marco Castiyo n Dagoberto Rodrīgez). Ɖs xibišn, ɖ dyo’z frst mêjr šo in a public Lundn instityšn, includz xtnsv insṭlešnz, sculpčrz, wōtrculr drōñz n a filmscrīnñ, ẇč em t xplor n inteṛget ɖ funẋnalti v ācitecčr, dzîn n ɖ evrde objct.

Ɖ deftli craftd – n ofn hymṛs – insṭlešnz n sculpčrz md bî Los Carpinteros me apir ẇimzicl at frst, yt evri pìs hz an eḷmnt v ṗlitcl comntri, mostli rletd t ɖer prsnl xpirı̣ns n contxt. Ɖs dcoṭmi pṛvîdz a vast rzws wɖ ẇč ɖe cn b bʈ plêfl n critcl. Ofn dscrîbd az inṭrogtv āt, ɖer wrc xaminz ɖ rlešnšp btwn āt n ssayti, fwm n funẋn, practcalti n frivḷsṇs.

Fr ɖ Los Carpinteros xibišn at Paṛsol ynit, ɖ grândflor gaḷriz r dedicetd t lj-scêl insṭlešnz n sculpčrz, sč az Tomates, 2013. Ɖs xtnsv wōlinsṭlešn cnsists v mr ɖn 200 riyl tmātoz splatrd agnst ɖ gaḷrīwōl, on ẇč bytifli craftd pwṣlen tmātoz r instwld, ivocñ wɖ a pýňnt senṣtivti ɖ inṭple v a ṗlitcl uprîzñ. Olso xibitd z 17m, an insṭlešn cmprîzd v a 17-mītr-loñ cloɖñrêl on ẇč hañ mr ɖn tu hundṛd blac sūts puñčrd ʈrt bî a gêpñ star. Altoparlante Solimar (Solimar Lâdspīcr), 2008, z an inwms ebnīwŭd strucčr emyletñ Hvana’z Solimar apātmntbildñ, dzînd bî Manuel Copado in 1944 n wel-nôn fr its moḍnist dzîn, impozñ hît n its lj-scêl sîṇsýdl balc̣niz. Ɖ Los Carpinteros strucčr z a lj acūstc box, in ẇč č apātmnt hz bcm a lâdspīcr t rīpṛdys ɖ výsz v ɖ famliz livñ insd it. Ɖ târñ LEGO® brics cnstruẋn, Robotica, 2013, z bêst on ɖ Stêt Sạntific Sentr fr Ṛbotcs n Tecnicl Sîḅnetcs in St. Pītrzbrg, refṛnsñ fwmr Sôvı̣t cmemṛtv monymnts.

Los Carpinteros’ wōtrculr drōñz, svṛl xamplz v ẇč r includd in ɖ xibišn, ofn funẋn lîc ācitcčṛl blūprints fr cnstruẋnz ɖt r bilt t scêl n adaptd fr č ptklr xibišnspês. Ɖz wōtrculr drōñz ofr a welʈ v psbltiz n inspirešn fr ptenšl fabricešn v wrcs, olɖo sm onli rmen az fanṭsi, yt ɖe r an intrinsic pāt v ɖer practis, actñ az a cmynic̣tv tūl or on-gwñ dscušn btwn ɖ ātists.

In ɖ upr-flor gaḷriz z a siriz v wōtrculr drōñz alñ wɖ sm sml-scêl prôtotîp modlz, ẇč r bêst on priznstrucčrz n fabricetd yzñ Cwtn stīl. Sm v ɖ modlz hv mtirı̣lîzd intu lj-scêl rīdñrūmz fr uɖr cmišnd projcts. Scrīnñ ʈrt ɖ xibišn wl b ɖ film Conga Irreversible, 2012, a pfwmns orijinli cnsivd n pṛdyst bî Los Carpinteros ātc̣lctv on ɖ ocežn v ɖ 2012 Hvana Bîeňl.

Ɖs xibišn, kretd bî Zība Āḍlan, Fândr/Drctr v Paṛsol ynit, z acumṗnid bî a rletd prôgram v edycešnl ivnts at ɖ fândešn.

Ātist Bîogṛfi

Kbn ātc̣lctv, Los Carpinteros (Ɖ Cāpntrz), cnsist v Māco Antonio Castiyo Valdez (b. 1971) n Dagoberto Rodrīgez Sančez (b. 1969). Ɖe stātd t wrc az a grūp ẇl studiyñ at ɖ Instituto Superior de Arte in Hvana in ɖ ŕli 1990z. Ɖer ŕvra okpîz an intrīgñ n ambiğs eria btwn conspčlizm, activizm n fwmlizm. Ɖer ʈri-dmnšnl wrcs r cómplimentd bî wōtrculrz n vidioz. Ɖ ātists liv n wrc btwn Mdrid, Spên, n Hvana, Kba.

Wrcs bî Los Carpinteros r in svṛl public n prîvt c̣lẋnz […]”

 

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Continue reading LOS CARPINTEROS │ Parasol Unit, London → 24 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”

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

RAVILIOUS │ Dulwich Picture Gallery, London → 31 August 2015

…a jý fṛm stāt t finiš (Ɖ Teḷgraf)

…ɖ Sŭrā v Susx” Lwra Cumñ (Ɖ Obzrvr)

Fṛm ɖ stāt w si an ātist fîndñ jý in ɖ unxpctd (Nansi Duṛnt, Ɖ Tîmz)

Ɖ frst mêjr xibišn t srve wōtrculrz bî seḷbretd Britiš ātist Eric Rviłs (1903–42). Wel nôn fr hiz îconic wrc fr Wejwŭd, Rviłs z wîdli cnsidrd wn v ɖ ci figrz in mid-20ʈ senčri Britiš dzîn, bt h wz olso wn v ɖ fînist wōtrcuḷrists v ɖ senčri.

Hiz astonišñli pṛlific c̣rir spand pīs n wor. Wɖ ɖ âtbrec v Wrldwor II, Rviłs wz asînd t ɖ Royl Nêvi az wn v ɖ frst Ofišl Worātists, fîndñ ny wez t capčr n prizrv ɖ flītñ recwd v pasñ tîm.

Ovr 80 wōtrculrz wl b on dsple – includñ fems wrcs lîc Trênlandscep n Westbri Hws, az wel az rerli sīn wrcs fṛm prîvt c̣lẋnz pṛvîdñ an inspîrñ lc at hiz wrc btwn ɖ mid-1920z n hiz deʈ in 1942. Sd t b inspîrd bî ɖ filmz v Alfrid Hičcoc, Rviłs’z imijz rerli cnten figrz n yt hiz šadôi intirı̣rz n strenj pspctvz ofn criet a sens v hymn prezns.

Olɖo h dîd at ɖ êj v onli 39, Rviłs wz ljli rsponsbl fr ɖ rvîvl v Ñgliš wōtrculrpêntñ. H stātd ât undr ɖ tyṭlij v Pwl Naš at ɖ Royl Colij v Āt n, olɖo h wz hyjli vrṣtîl, it wz pêntñ ɖt Rviłs sw az hiz tru vcešn; it wz ɖs wrc ɖt h xibitd, n h cerd dīpli abt its rspšn bî felo ātists lîc Mur n Jon Pîpr.

Ɖ xibišn z kretd bî Jêmz Rusl, a līdñ spešlist on Eric Rviłs, huz bcs on ɖ ātist includ ɖ popylr siriz Rviłs in Picčrs (2009-12).”

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Continue reading RAVILIOUS │ Dulwich Picture Gallery, London → 31 August 2015

ADVENTURES OF THE BLACK SQUARE: ABSTRACT ART AND SOCIETY 1915–2015 │ Whitechapel Gallery, London — 6 April 2015

El Lissitzky Beat the Whites with the Red Wedge! 1919–1920. Van Abbemuseum, Eindhoven
El Lissitzky Beat the Whites with the Red Wedge! 1919–1920. Van Abbemuseum, Eindhoven

“Ɖs epic šo têcs Cazimir Małevič’z radicl pêntñ v a blac sqr – frst šôn in Ruša 100 yirz ago – az ɖ embḷm v a ny āt n a ny ssayti. Ɖ xibišn fīčrz ovr 100 ātists hu tc p its leġsi, fṛm Buenos Îres t Tehran, Lundn t Brlin, Ny Ywc t Tel Aviv. Ɖer pêntñz, fôṭgrafs n sculpčrz simḅlîz Moḍnizm’z ytôpı̣n aspirešnz n brêcdânz.

Prizntd croṇlojcli ɖ šo foloz for ʈīmz:

Ytôpia z xprest ʈru Małevič’z blac sqr, ɖ pṛjenitr v ny isʈetc n ṗlitcl hrîznz, sizd bî ātists fṛm Vladimir Tatlin t Eliu Oičisīca.

Ācitectonics priznts flôtñ jioṃtriz ɖt pṛpoz ny sošl spêsz az imajind bî Łubov Popovā or Pīt Mondrian n Liym Gilic.

Cmynicešn spredz ɖ mesij t ɖ masz in manifstos n avãgād grafics.

Ɖ Evrīde imbedz rūtīnz n objcts in ɖ isʈetcs v prôgres az obzrvd in a txtîl bî Sôfi Tâbr-Āp or ɖ abstract mtifs pêntd on Ṗrūvı̣n loriz capčrd bî Armando Andrade Tudela. Midl Īstn ātists sč az Nazgol Ansarinia lnc Moḍnizm wɖ Aṛbic n Pršn decṛtv āts; ẇl Westn ātists sč az Luis Balts, Pītr Hali or Jeni Holtsr critīc ic̣nomic n ṗlitcl abstraẋn. Advnčrz v ɖ Blac Sqr xplorz hâ abstract āt hz travld wrldwîd, prmietñ âr lîf n tîmz.”

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Continue reading ADVENTURES OF THE BLACK SQUARE: ABSTRACT ART AND SOCIETY 1915–2015 │ Whitechapel Gallery, London — 6 April 2015

SCULPTURE VICTORIOUS │ Tate Britain, London → 25 May 2015

Sir Francis Chantrey: Queen Victoria, 1838 – 1841. Royal Collection Trust
Sir Francis Chantrey: Queen Victoria, 1838 – 1841. Royal Collection Trust

“Pârfl, bytifl n invntv, ɖ Victorı̣n ira wz a goldn êj fr sculpčr. Têt Britn’z xibišn Sculpčr Victorı̣s seḷbrets sm v ɖ most astonišñ n laviš wrcs pṛdyst in ɖs grândbrêcñ pirı̣d.

Xplorñ ɖ orijinl tecnīcs n mtirı̣lz dveḷpt jrñ ɖs tîm, ɖ xibišn brñz t lît ɖ injňwti n crı̣tiṿti v ɖ Victorı̣n êj. In a pirı̣d v unpaṛleld iṇvešn acrs inḍstriz, Victorı̣n sculpčr profitd fṛm grândbrêcñ ny mtirı̣lz n meʈdz ɖt crietd a ʈrilñ n cutñ-ej invîrnmnt fr Victorı̣n sculptrz.

Alfred Gilbert’s marble bust of Queen Victoria, 1887-89. Photograph: John Hammond/© Army and Navy Club London
Alfred Gilbert’s marble bust of Queen Victoria, 1887-89. Photograph: John Hammond/© Army and Navy Club London

Ɖ xibišn includz mni xtrōdnri objcts, fṛm magnifisnt mābl, lîmwŭd n ṣramic sculpčr šôn at ɖ Grt Xibišnz, t xqizit jlri n silvrwrc, n ōnet cāvñ v byti n wundr sč az Monti’z Veild Vestl. Wrcs fṛm ɖ xibišn tuč on ol aspcts v Victorı̣n lîf, xplorñ dmestc poḷtcs, ɖ rīč v ɖ empîr, n ɖ impact v ɖ sạntific n industrı̣l êj.

Rvird wrcs sč az Fredric Lêtn’z An Aʈlīt Reslñ wɖ a Pîʈn n Hîṛm Pârz’z Ɖ Grīc Slev r t b injýd alñsd lsr-nôn ātists sč az Mẹri Wots n Wiłm Renldz-Stīvnz. Az wel az ofrñ an oṗtyṇti t xplor sm v ɖ Victorı̣n ira’z most čerišt n grândbrêcñ wrcs, Sculpčr Victorı̣s pṛvîdz an in-depʈ xpḷrešn v ɖ ātistc n historicl dveḷpmnts v wn v Britn’z most pṛlific iṛz n z a fīst fr ɖ îz.”

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Continue reading SCULPTURE VICTORIOUS │ Tate Britain, London → 25 May 2015

CONSCIENCE AND CONFLICT: British artists and the Spanish Civil War │ Laing Art Gallery, Newcastle upon Tyne → 7 June 2015

Pablo Picasso, Weeping Woman,1937
Pablo Picasso, Weeping Woman,1937

“Fīčrñ wrcs bî ātists includñ Picaso, Henri Mur, Edẉd Bura, Windm Luis n Jon Āmstroñ, amñst uɖrz, ɖs xibišn wl rvil hâ a jeṇrešn v Britiš ātists wr drwn intu ɖ Spaniš Sivl Wor. Ẇl mni went t fît in ɖ wor ɖmslvz, uɖrz crietd pôstrz campenñ fr êd fr refyjīz, or crietd wrcs ɖt md firs ṗlitcl stêtmnts.

Ɖ Spaniš Sivl Wor (1936–9) wz wn v ɖ most significnt conflicts v ɖ twentiiʈ senčri. Ẇl Britiš litrri riaẋnz t ɖ conflict hv bn mč xamind, ɖs xibišn, in pātnršp wɖ Paḷnt Hâs Gaḷri, z ɖ frst t xplor ɖ rspons v Britiš vižl ātists.

Ɖ Spaniš Sivl Wor wz fwt btwn ɖ Spaniš Rpublic n a rebl Našnlist fws, led bî Jenṛl Franco. It ynîtd ɖ abstract n riylist ātists v ɖ tîm t criet a dvrs ātistc rspons t ɖ fît agnst fasizm.

Wn v ɖ most fems wrcs on šo z Picaso’z Wīpñ Wmn (1937.) Ɖs z on dsple alñsd mtirı̣l dītêlñ ɖ impact in Britn v ɖ ātist’s îconic pêntñ, Guernica, ẇč travld t ɖ YC in 1938.

Ɖ xibišn includz lounwrcs fṛm bʈ public n prîvt c̣lẋnz in a renj v mīdia, includñ pêntñ, printmêcñ n sculpčr.”

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Continue reading CONSCIENCE AND CONFLICT: British artists and the Spanish Civil War │ Laing Art Gallery, Newcastle upon Tyne → 7 June 2015

CORNELIA PARKER │ The Whitworth, Manchester → 31 May 2015

Cold Dark Matter (An Exploded View), 1991. Photo: David Levene

“Ɖ Ẇitẉʈ riôpnd on 14 Febrri 2015 wɖ a mêjr sôlo xibišn fṛm wn v Britn’z most aclemd cntemprri ātists, Cwnīlia Pācr – n hr wrc invîts y t witṇs ɖ trnsfmešn v ōdnri objcts intu smʈñ cmpelñ n xtrōdnri.

It z an xtnsv xibišn, wn ɖt fīčrz a wîd renj v wrc md jrñ Pācr’z c̣rir, fṛm hr sigṇčr pìs Cold Dāc Matr: An Xplodd Vy (1991) alñsd tu impwtnt ny cmišnz n mni uɖr ny wrcs.

Ahd v hr ny Ẇitẉʈ xibišn, Cwnīlia Pācr wrct clôsli wɖ sayntists at ɖ Ynivrṣti v Mančestr, most nôṭbli Costia Novozelov, hu, wɖ Andre Gem, wz awōdd ɖ Nôbel Prîz fr ɖ dscuvri v  grafīn – ɖ wrld’z ʈinist n strongist mtirı̣l. Wrcñ wɖ gaḷrīstaf, Novozelov tc mîcṛscopc samplz v grafît fṛm drōñz in ɖ Ẇitẉʈ’s c̣lẋn bî Wiłm Blêc, Trnr, Cunsṭbl n Picaso, az wel az a penṣl-ritn letr bî Sr Ŕnist Ruɖ̇fd (hu split ɖ atm in Mančestr). H ɖen md grafīn fṛm ɖz samplz, wn v ẇč Pācr hz md intu a wrc v āt t māc ɖ ôpnñ v ɖ gaḷri n xibišn. A Blêc-grafīn sensr, activetd bî ɖ breʈ v a fizisist, set of a fîrwrc dsple ẇč rtrnd aynmītı̣rît intu ɖ Mančestr scî. Ɖs mītioršâr wz a spectaklr ôpnñ t ɖ ny Ẇitẉʈ.”

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Continue reading CORNELIA PARKER │ The Whitworth, Manchester → 31 May 2015

CAI GUO-QIANG: UNMANNED NATURE │ The Whitworth, Manchester → 21 June 2015

“Ɖ ātist Tsî Ĝo-Čiañ wz born in Čîna n nâ livz in Ny Ywc. H z bst nôn fr hiz rmāc̣bl projcts yzñ gunpâdr, includñ ɖ fîrwrc dsplez fr ɖ ôpnñ n clozñ seṛṃniz v ɖ 2008 Bêžñ Olimpcs. Hiz insṭlešn, Unmand Nêčr (2008), ẇč includz a 45 mītr-loñ, for mītr-hî gunpâdr drōñ, z ɖ frst ātwrc t b šôn in ɖ Ẇitẉʈ’s ny landscêp gaḷri. It z olso ɖ frst tîm ɖt ɖ insṭlešn – frst cmišnd bî ɖ Hirošima Siti Myziym v Cntemprri Āt – hz bn šôn âtsd Jpan.

It z olso ɖ frst šowñ v ɖ insṭlešn enẇr in ɖ wrld âtsd ɖ Jaṗnīz siti v Hirošima – ɖ wrc wz orijinli cmišnd bî ɖ Hirošima Siti Myziym v Cntemprri Āt, n wz šôn in an xibišn ɖt māct Tsî Ĝo-Čiañ’z dezignešn az ɖ rsipı̣nt v ɖ Sevnʈ Hirošima Ātprîz. Ɖ prîz z awōdd evri ʈri yirz t an ātist hu hz md ɖ grtst contribyšn t pīs in ɖ fīld v āt.

Installation view

Ɖ prôses v mcñ gunpâdr drōñz z xtrōdnri. Aftr leyñ ât lj šīts v pêpr on ɖ flor, Tsî Ĝo-Čiañ arenjz gunpâdr, fyzs n cādbwd stenṣlz t criet fwmz on ɖ pêpr’z srfis. Ɖ sponṭneyti v ɖ rzultñ xpložn, flemz n fymz z cntrold ʈru ɖ ys v wŭdn bwdz, rocs n verı̣s uɖr mtirı̣lz, ẇč inflụns ɖ impact v ɖ xpložnz ɖt criet ɖ fîṇl wrc. Ɖ landscêp fwmz v Unmand Nêčr refṛns 14ʈ senčri Čînīz ñcnwoš pêntñz, ẇl ɖ scêl v ɖ insrclñ insṭlešn paṛlelz Mone’z trliliz.

Tsî Ĝo-Čiañ’z wrc, wɖ its rīdñz v gunpâdr nt onli az a wepn bt olso az a mīdı̣m v spiričl crı̣tiṿti n trnsf̣mešn, z vri tîmli az w cmeṃret ɖ sentīnri v ɖ Frst Wrldwor. Hiz Unmand Nêčr insṭlešn wl cnct t an xibišn at âr sisṭrōġnîzešn in ɖ siti, Mančestr Ātgaḷri. Ɖ Senṣri Wor 1914-2014 wl xplor hâ ātists hv intrpṛtd n cmynicetd ɖ impact v wor on ɖ hymn sensz, ɖ bodi, mînd n ɖ wîdr invîrnmnt ovr ɖ last senčri.”

Photograph: Michael Pollard
Photograph: Michael Pollard

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Installation view

ĀTIST’S WEBSAIT

Continue reading CAI GUO-QIANG: UNMANNED NATURE │ The Whitworth, Manchester → 21 June 2015

MARLENE DUMAS: THE IMAGE AS BURDEN │ Tate Modern, London → 10 May 2015

Mālen Dūmā z wn v ɖ most prominnt pêntrz wrcñ tde. Hr intns, sîc̣lojicli čājd wrcs xplor ʈīmz v seẋuaḷti, luv, deʈ n šem, ofn refṛnsñ arthistri, popylr culčr n cuṛnt aferz.

Secndhand imijz, š hz sd, cn jeṇret frsthand imošnz. Dūmā nvr pênts drctli fṛm lîf, yt lîf in ol its cmplx̣ti z rît ɖr on ɖ canvs. Hr subjcts r drwn fṛm bʈ public n prsnl refṛnsz n includ hr dwtr n hrslf, az wel az recgnîẓbl fêsz sč az Êmi Wînhâs, Neymi Cambl, Prinses Dîana, īvn Osama bin Lādn. Ɖ rzults r ofn intiṃt n at tîmz contṛvršl, ẇr poḷtcs bcm irotc n pwtrits bcm ṗlitcl. Š plez wɖ ɖ imajinešn v hr vywrz, ɖer prīcnspšnz n firz.

Born in 1953 in Cêptân, Sâʈ Africa, Dūmā muvd t ɖ Neɖrḷndz in 1976, ẇr š cem t prominns in ɖ mid-1980z. Ɖs lj-scêl srve z ɖ most significnt xibišn v hr wrc evr t b held in Yṛp, čātñ hr c̣rir fṛm ŕli wrcs, ʈru seminl pêntñz t ny wrcs on pêpr.

Ɖ tîtl v ɖ xibišn z têcn fṛm Ɖ Imij az Brdn 1993, a sml pêntñ dpictñ wn figr cariyñ anɖr. Az wɖ mni v Dūmā’z wrcs, hr čýs v tîtl dīpli afcts âr intrpṛtešn v ɖ wrc. It hints at ɖ sens v rsponṣbiḷti fêst bî ɖ artist in čuzñ t criet an imij ɖt cn trnzlet îdiyz abt pêntñ n ɖ pzišn v ɖ artist. Fr Dūmā it z impwtnt t gv mr atnšn t ẇt ɖ pêntñ dz t ɖ imij, nt onli t ẇt ɖ imij dz t ɖ pêntñ.

In an êj dominetd bî ɖ dijitl imij n masmīdia, Dūmā čerišz ɖ fizicaḷti v ɖ hymn tuč, wɖ wrc ɖt z a tesṭmnt t ɖ mīnñ n pôtnsi v pêntñ.”

GAḶRI WEBSAIT

Rejects, 1994-ongoing. Photograph: Nils Jorgensen/REX
Rejects, 1994-ongoing. Photograph: Nils Jorgensen/REX


ĀTIST’S WEBSAIT

Continue reading MARLENE DUMAS: THE IMAGE AS BURDEN │ Tate Modern, London → 10 May 2015

TRANSMITTING ANDY WARHOL │ Tate Liverpool → 8 February 2015

“Dscuvr ɖ man hu trnsfwmd ɖ modn ātwrld. Trnzmitñ Andi Wōhol brñz tgɖr mr ɖn 100 ātwrcs fṛm wn v ɖ most influenšl, contṛvršl n ntwrı̣s ātists v ɖ twentiiʈ senčri. Ɖ xibišn pṛvîdz a ny insît intu ɖ bredʈ v Wōhol’z ātistc prôsesz, hiz filoṣfiz, az wel az ɖ sošl, ṗlitcl n isʈetc implicešnz v hiz grândbrêcñ practis.

It wz Wōhol’z deṃcratc ḅlif ɖt āt šd b fr evrwn. Trnzmitñ Andi Wōhol xplorz hâ ɖ ātist imbrest ɖ masmīdı̣mz v hiz tîm – publišñ, film, myzic n brwdcast – t trnzmit hiz îdiyz n imijri t az mni ppl az psbl. In dwñ so, Wōhol radicli rīdifînd axes t culčr n āt, čaḷnjñ tṛdišnl nošnz v hî n lo culčr, prîvt n mas xpirı̣ns.

In hiz dzîr t mc āt public, Wōhol’z practis spand ɖ wrldz v āt, mīdia, myzic, fašn n ṣlebṛti. Xibišnhîlîts includ ɖ Marilin Diptic 1962, Dansdaygram 1962 n D-it-Yrslf 1962 pêntñz.  Ɖz r šôn alñsd Wōhol’z teḷvižncmršlz, faṣ̌niḷstrešnz fr Vôg n Hāpr’z Bzar, conṣtpôstrz, hiz TV šo n a dazlñ dsple v hiz trêlblezñ ṣlebṛti maġzīn Inṭvy. Ɖ xibišn olso includz ɖ mč luvd wrcs Ʈri Brilo Sôp̓ad Boxz 1964/68 n Cambl’z Sūp 1 1968.

Ɖ xibišn includz a spectaklr prezntešn v ɖ travlñ multīmīdia spectcl Ɖ Xplodñ Plastc Ineviṭbl (EPI), Wōhol’z femd tôtl āt invîrnmnt. Yzd az a frêmwrc fr a siriz v pfwmnsz bî ɖ Velvit Undrgrând n Nico, EPI brñz ɖ atṃsfir v 1960z Ny Ywc t ɖ Livpul Wōtrfrunt.

Trnzmitñ Andi Wōhol z xibitd alñsd Grêčn Bendr n Ɖ Srvñ Lîbrri  t fwm Têt Livpul’z ōtm/wintr sīzn – Mcñ Ʈñz Public. Acrs ɖ gaḷri y r invîtd t xplor hâ ātists fṛm dfṛnt jeṇrešnz hv rspondd t n xperimentd wɖ ɖ pvesv inflụns v mas n brwdcast mīdia.

Includz wrcs fṛm ɖ ĀTISTRŪMz c̣lẋn.”

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Continue reading TRANSMITTING ANDY WARHOL │ Tate Liverpool → 8 February 2015