“Lcñ at hâ artists hv trnsformd significnt ivnts intu pêntñz n artwrcs ɖt incurij s t rflct on âr ôn plês in histri”
Gavin Hamilton: Agrippina Landing at Brindisium with the Ashes of Germanicus, 1765-72. Oil on canvas, 1825 x 2560 mm
John Minton: The Death of Nelson, 1952. Oil on canvas, Royal College of Art
Allen Jones: The Battle of Hastings, 1961-2. Oil on canvas, 1829 x 1829 mm
Richard Eurich: The Landing at Dieppe, 19 August 1942, 1942-3. Oil on wood, 1219 x 1753 mm
Richard Hamilton: The Citizen, 1981-3. Oil on canvas. Tate
Jeremy Deller: Jacket from The Battle of Orgreave Archive (An Injury to one is an Injury to All), 2001. Wall painting, paint on fibreboard, vinyl text, map, books, jacket, shield, printed papers, 2 videos and audio video, projection, colour and sound, 62 mins
Dexter Dalwood: The Poll Tax Riots (detail), 2005
Guardian: “Allen Jones’ The Battle of Hastings, 1961-2, juxtaposed with Philip James de Loutherbourg’s The Battle of the Nile, 1800. Photograph: Guy Bell/REX Shutterstock”
“A ci figr in ɖ rvîvl v lîningrevñ in ɖ 1920z, Stanli Anḍsn RA (1884–1966) z bst nôn fr hiz siriz v prints mmwrı̣lîzñ Ñgḷnd’z vanišñ rrl crafts.
Ɖs xbišn, ẇč côinsîdz wɖ ɖ publicešn v a caṭlog reẓne, cnsidrz Anḍsn’z ingrevñz alñsd ŕlı̣r, lesr-nôn wrcs in a print-mcñ c̣rir spanñ nirli hāf a senčri: drîpýnts v continntl mācitsìnz, ečñz v dân n âts in 1920z Lundn, n oltrṇtv sitīvyz v cnstruẋn n deṃlišn saits.
Sceptcl v prôgres, Anḍsn comentd on n cântrd ɖ spiričl emptiṇs, imošnl dtačmnt n ilītizm h rgādd t b ɖ hwlmācs v mdrṇti.
An Abîdñ Standd côinsîdz wɖ ɖ publicešn v Stanli Anḍsn. Prints: A Caṭlog Reẓne bî ɖ xbišnkretrz Robt Mêric n Hari Hýzr, publišt bî ɖ Royl Acaḍmi v Āts, aveḷbl fṛm ɖ RA šop n onlîn.”
“Fândd in 1994, ɖ Zablŭdovič C̣lẋn hz rapidli groun t bcm wn v ɖ wrld’z līdñ indipndnt cntmprri ātc̣lẋnz. It nâ cntenz ovr 3000 wrcs bî ovr 500 ātists, n cntinyz t gro n ivolv. Ɖs ny xbišn gvz an insît intu ɖ dveḷpmnt v a histri stl in ɖ prôses v biyñ ritn.
Significnt n rerli sīn wrcs bî ovr 30 līdñ ātists wl b dspled ʈrt ɖ gaḷriz. Ɖ rūts v ɖ C̣lẋn in 1990z Lundn wl b ɖ fôc̣s v wn sẋn, fīčrñ ɖ ātists hu trnsfwmd ɖ landscep v cntmprri āt in ɖ siti n ɖ YC, sč az Dêmı̣n Hrst, Rêčl Ẇîtrīd n Mātin Crīd. Pạnirñ inṭnašnl ātists hu hv inflụnst ɖ fwmz n prôsesz v cntmprri āt wl olso fīčr, sč az Sigmar Polca, Īza Genscn n Crisṭfr Wŭl.
Hîlîtñ ɖ Zablŭdovič C̣lẋn’z on-gwñ cmitmnt t ṣpwtñ ātists ŕli in ɖer c̣rirz, imrsv mixt-mīdia insṭlešnz bî Americn ātist Ṣmara Goldn, n a c̣laḅrešn btwn YC ātists Lwra Bucli, Hrūn Mirza n Dev Mclīn wl b riimajind. Ɖr wl olso b dṛmatc inṭvnšns ɖt trnsfwm ɖ čaṗlācitecčr, sč az Jim Lambi’z brîtli culrd florwrc Zobop (Fḷresnt), 2006.
Ɖ xbišn wl b acumṗnid bî an ivntsprôgram, ẇč includz a simpozı̣m in Me in pātnršp wɖ Ynivrsti Colij Lundn Āt Myziym. Bʈ instityšnz hv ātc̣lẋnz ɖt spotlît imrjñ ātpractis; têcñ ɖs šerd intṛst az a stātñpýnt, līdñ ac̣demics, kretrz, c̣lctrz n ātists wl xamin išuz arnd c̣lctñ ny n xperimntl āt.”
Alexandre da Cunha, Velour Series, 2005-06. Installation view, Revolution des Altäglichen, Museum Morsbroich, Leverkusen. Courtesy the artist and Thomas Dane Gallery, London
Sarah Lucas, Spamaggedon, 2014, installation view, Zabludowicz Collection: 20 Years, 2015 at Zabludowicz Collection, London. Photo: Tim Bowditch
Julia Wachtel, Untitled (Body Builder), 1989. Courtesy the artist, Zabludowicz Collection, and Vilma Gold, London
Elizabeth Price, USER GROUP DISCO (video still), 2009 HD video installation, 15 min. Courtesy the artist and MOT International, London & Brussels
Sigmar Polke, Untitled, 2003. Gouache on paper. Courtesy Zabludowicz Collection, and Galleri Bo Bjerggaard, Copenhagen
Sigmar Polke, Untitled, 2003. Gouache on paper. Courtesy Zabludowicz Collection, and Galleri Bo Bjerggaard, Copenhagen
Samara Golden: Bad Brains
Jim Lambie: Zobop. Photo: Tim Bowditch
‘Coconut Lamps,’ GuytonWalker, Coconuts, electric wiring, lightbulbs, 2005
“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.”
Standardpose [Standard Pose]
Bergische Bauernscheune
Clockwise from Manufacturer Name (Outer Ring)
Erratum by Christopher Williams. Photograph: Courtesy of David Zwirner, New York/ London and Galerie Gisela Capitain, Cologne
Fig. 2: Loading the film, 2012. Photograph: courtesy Galerie Gisela Capitain, Cologne; and David Zwirner, New York/London
Untitled (Study in Gray)
Mustafa Kinte (Gambia), Camera: Makina 67 506347 … Dirk Schaper Studio, Berlin, July 20, 2007 2008 Private Collection, London Image courtesy Galerie Gisela Capitain, Cologne and David Zwirner, New York/London
“David Zvirnr z plizd t priznt ɖ gaḷri’z frst xibišn wɖ Caṛl Bov. On vy at âr Lundn lcešn, it fīčrz rīsnt wrcs bî ɖ Ny Ywc-bêst ātist, nôn fr hr simpl yt intric̣t asmblijz v fând n md objcts.
Ɖ Plastc Ynit grūps tgɖr lj-scêl sculpčrz md fṛm načṛl n industrı̣l mtirı̣lz, includñ slicli manyfacčrd stênls-stīl glifs, intric̣t metlcrtnz, Î-bīm strucčrz, stīl n concrit peḍstlz, šelz, n pīcocfeɖrz. In lîn wɖ Bov’z brwdr practis, ɖe r plêst in cerfl rlešn bʈ t wn anɖr n t ɖ gaḷrīspês, wɖ for wrcs asînd t č rūm.
On ɖ grândflor, Secnd Cātīžn Sculpčr—an xpansv stīl net—dvîdz ɖ fruntspês intu tu īql fīldz, ɖus crietñ a si-ʈru seṗrešn btwn ɖ uɖr sculpčrz. Wn v ɖz, a stīl Î-bīm coḷm ṣpwtñ a hymn-sîzd pìs v petrifîd wŭd, adz a sens v inditrminbl temṗraḷti t ɖ insṭlešn, n az sč riinfwsz Bov’z undrstandñ v sculpčr az dyrešnl. Hr concrīt peḍstl wɖ bras kbz blrz ɖ definišnz v sculpčr n bês, n apirz a slfconšs rspons t moḍnist dsplemeʈdz. Its tîtl, I, quartz pyx, who fling muck beds, z wn v ɖ fy sentnsz evr cnstructd t includ ol letrz v ɖ alfbet jst wns (wɖ ɖ lîsns v substitytñ I fr J, n U fr V).
For crušt glifs in ɖ ajesnt rūm r prizntd on a lo peḍstl ɖt cuvrz most v ɖ flor. In a dpāčr fṛm prīvı̣s wrc, n in contrast t ɖer rândd, ẇît cântrpāts, ɖ glifs r brîtli culrd n ireğlrli šêpt, apirñ flexbl dspt ɖer stīl mtiriaḷti. Distnst fṛm ɖ vywr bî ɖ peḍstl, ɖe apir lîc fwml xsîzz in ātistc stîl, bt ɖer vižl prezns z contṛdictd bî ɖ tîtl v ɖ arenjmnt—Slftwc—ɖt čaḷnjz ɖ abiḷti t aproč wrcs wɖt prīcnsivd nošnz or an inr výs. Bov pozits hr glifs in daylog wɖ public sculpčr or so-cwld plopāt, ẇr indivijl wrcs’ naṛtvz ofn c̣lud wɖ ɖer setñz or rmen obskr, ɖus mcñ ɖm apir ât v plês n īvn iṇproprı̣t. Az a glif tipicli rfrz t a simbl wɖn a gvn contxt, fr xampl a letr wɖn ɖ alfbet, Bov’z sculpčrz apir lîc sxñt fragmnts v a brwdr siḷbl ɖt olso têcs intu cnsiḍrešn ɖ activti v crietñ ɖ wrcs.
A ẇît, tybylr glif z pāt v an arenjmnt on a wîd peḍstl in ɖ upsterz gaḷri—ɖ sîz v ɖ crtn ḅlo it—ẇč olso cmprîzz a šel n feɖr sculpčr on its ôn peḍstl, an Î-bīm wɖ driftwŭd, n a silvr crtn. Tenz v ʈâzndz v sml bīdz criet a sutl patn v trîanglz acrs ɖ čênz v ɖ latr, bt ɖ intnsli handcraftd wrc z olmst invizbl fṛm sm vywñ pspctvz, agn drōñ atnšn t šiftñ mīnñz n ābtrri intrpṛtešnz.
Ɖ for sculpčrz in ɖ nebrñ rūm r arenjd drctli on ɖ flor, ineblñ vywrz t wōc amñst ɖm n lc wɖ ɖ bodi, az Bov pts it, rɖr ɖn hvñ t pṛjct wnslf intu a spês, az dīmācetd bî hr peḍstlz. Lîc Secnd Cātīžn Sculpčr, a lj stīl strucčr cwld Ôpn Scrīn dvîdz spês ẇl mntenñ ôpn vyz v bʈ sîdz, ɖs tîm wɖt ɖ gridd net. Its jı̣mtric pṛpwšnz contrast wɖ Srclz, a redwŭd brl ʈru ẇč Bov hz insrtd tu stīl pîps, mirrñ ɖ imprint v ɖ fizicl ṣpwt yzd t craft hr concrīt wrcs. Anɖr sculpčr z an arenjmnt v stīl Î-bīmz ɖt fwmd pāt v Caṭpilr fṛm 2013, ɖ ātist’s insṭlešn on ɖ ɖen unfiništ pāt v ɖ Hî Lîn pāc in Ny Ywc. Tîtld Câ Wočt Bî Āgs, its šêp cn vêgli b sīn az fiğṛtv, aludñ t ɖ yuñ wmn metmwfozd intu a câ bî Zūs in an atmt t hîd a luṿfer fṛm Hira. Stl sceptcl, ɖ latr haird ɖ hundṛd-îd Āgs t woč ɖ animl, bt h wz cild on Zūs’z rqst. Hira subṣqntli tc hiz îz n sôd ɖm ontu ɖ teil v hr fevrit brd, ɖ pīcoc.
In ɖ ʈrd-flor gaḷri, Bov priznts for canvsz arenjd tgɖr n cuvrd intîrli in pīcoc feɖrz, crietñ a cntinys, olmst diziyñ comṗzišn. Ɖ feɖrz’ ynīc cncuṛns v ōṇmnt n funẋn z incântrd in sm v Bov’z uɖr sculpčrz on vy in ɖ xibišn, rcwlñ ɖ blrd bândriz btwn ɖ pḍstl n its objct n ɖ dyl funẋn v ɖ Î-bīmz az ṣpwt n sculpčr.
Born in 1971 in Jnīva t Americn pẹrnts, Caṛl Bov wz rezd in Bācli, Califwňa n studid at Ny Ywc Ynivrsti.
In 2014, Bov dêbyd a ny bodi v wrc alñsd xibišndizînz n sculpčrz bî Itałn ācitect Cālo Scāpa. Caṛl Bov/Cālo Scāpa z kretd bî ɖ Henri Mur Instityt in Līdz, Ñgḷnd n pṛdyst in c̣laḅrešn wɖ Museion, Bolzano, Iṭli n Museum Dhondt-Dhaenens, Deurle, Beljm. Côinsîdñ wɖ ɖ Zvirnr prezntešn in Lundn, ɖ šo z on vy at ɖ Henri Mur Instityt fṛm Êpṛl 2 ʈru Jlî 12, 2015. It wz frst hôsted bî Museion (Nvmbr 2014 – Māč 2015) n wl travl t Museum Dhondt-Dhaenens (Octobr 2015 – Jaňri 2016).
Bov’s wrc hz bn ɖ subjct v sôlo xibišnz at prominnt instityšnz ɖt includ Ɖ Myziym v Modn Āt, Ny Ywc; Hî Lîn at ɖ Rêlyādz, Ny Ywc; Ɖ Comn Guild, Glazgo (ol 2013); Palais de Tokyo, Paris (2010); Hwticulčṛl Ssayti v Ny Ywc (2009); Blantn Myziym v Āt, Ostin, Texs (2006); Kunsthalle Zŭrih; Instityt v Cntmprri Āt, Bostn (bʈ 2004); n Kunstverein Hambrg (2003). Mêjr grūpexibišnz includ Dokmenta 13, Kassel, Jrṃni (2012); 54ʈ Venis Bienāle (2011); n ɖ Ẇitni Bîeňl, Ẇitni Myziym v Americn Āt, Ny Ywc (2008).
Wrc bî ɖ ātist z reprizntd in prmnnt c̣lẋnz wrldwîd, includñ ɖ Fonds Régional d’Art Contemporain (FRAC) Nord-Pas de Calais, Duncrc, Frans; Ɖ Myziym v Modn Āt, Ny Ywc; Prinstn Ynivrsti Ātmyziym, Ny Jrzi; Wodswrʈ Aʈneum Myziym v Āt, Hātfd, Cnetic̣t; n ɖ Yêl Ynivrsti Ātgaḷri, Ny Hêvn, Cnetic̣t. Š livz n wrcs in Brŭclin, Ny Ywc.”
Noodle, 2015, stainless steel and urethane paint
Circles, 2015. Photograph: EPW Studio
Coral Sculpture (2008), in the foreground, and Heraclitus (2014). Photograph: Private Collection, courtesy of Marc Jancou Contemporary, New York/Henry Moore Institute
Open Screen, 2014, steel, 3 Panels
I, quartz pyx, who fling muck beds., 2015
Mussel Shell (detail), 2014 Peacock feather, seashell, found steel object, concrete, and brass
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.
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.”
Model for Final Thought, 2015. Mixed media, 139.7 x 63.5 x 61 cm
Installation view, Model Series, 2015
Installation view, Model Series, 2015
Installation view, Still Life with Desk, 2013-2015
Installation view, Still Life with Desk, 2013-2015
Installation view, Calendar Series, 2013-2015
Installation view, Calendar Series, 2013-2015
Installation view, Stone Series, 2013-2015
Installation view, Stone Series, 2013-2015
Installation view, Stone Series, 2013-2015
“Victoria Miro z dlîtd t anâns an xibišn bî Sẹra Zi, ẇč spanz ol ʈri spêsz. Ɖs z ɖ ātist’s ʈrd sôlo šo wɖ ɖ gaḷri n hr frst prezntešn in Yṛp sns reprizntñ ɖ Ynîtd Stêts at ɖ 2013 Venis Bienāle.
In ɖ Ẇōfrôd gaḷriz ɖ xibišn cmprîzz ʈri insṭlešnz – wn on č flor – ɖt ɖ ātist hz cnsivd az a siriz v dfṛnt xperimnts ɖt xplor ɖ cnstruẋn n mežrmnt v spês, mas, tîm, n volym ʈru ɖ ys v mtirı̣lz. Č wn trnz ɖ vywr’z sens v scêl, graṿti, n inf̣mešn on its hed. Comn objcts lîc rocs, nyzpêprz, n frničr mytet fṛm smʈñ nôn, t smʈñ foṛn, frajîl, nyli cmpozd, n intîrli trnsfwmd.
Fr ɖ Mêfer gaḷri, Zi hz crietd a fīld v sml sculpčrs ispešli fr ɖ spês, č srvñ az its ôn temprri sait, mācñ a prisîsli cmpozd mmnt. Ɖ sculpčrz, cnsivd az modlz v čanṣcuṛnsz, hîlît ɖ tnšn btwn ɖ ef̣t t map, dsct n undrstand inf̣mešn, n ɖ ineviṭbl mežr v fytiḷti in ɖt ef̣t.
A ny siriz v silcscrīn prints olso māc a sngl mmnt in tîm – 1 Jaňri 2014 – n r bêst on nyzpêprz gaɖrd fṛm arnd ɖ wrld on ɖt dêt, wɖ ol imijz rplest bî dpiẋnz v ɖ midnîtscî. Svṛl wrcs fṛm ɖ siriz r instwld at bʈ ɖ Mêfer n Ẇōfrôd gaḷriz in a sīqns ɖt foloz ɖ ṛtešn v ɖ ŕʈ az wn yir trnd intu ɖ nxt.
Sẹra Zi wz ātist in rezidns at Ɖ Fabric Wrcšop n Myziym in Fiḷdelfia in 2013–14. Ɖ insṭlešnz prizntd in ɖ Ẇōfrôd gaḷriz, md in c̣laḅrešn wɖ Ɖ Fabric Wrcšop n Myziym, hv bn rīcnsivd n rīcnfigrd ispešli fr ɖ Lundn xibišn.
Sẹra Zi wz born in Bostn in 1969 n livz n wrcs in Ny Ywc. Š rsivd a BA fṛm Yêl Ynivrṣti in 1991 n an MFA fṛm ɖ Scūl v Vižl Āts in 1997. A McĀʈr Felo Awōdwinr, š z nôn fr hr lj-scêl insṭlešnz ɖt peṇtret wōlz, sspend fṛm sīlñz, buro intu ɖ grând, n streč acrs myziymz. Zi studid pêntñ n ācitecčr, n inṭsctd ɖz disiplinz t arîv at sculpčr, ẇr hr fwml intrest in lît, er n muvmnt z cupld wɖ an intyitv undrstandñ v comṗzišn, culr n txčr.
Zi’z bodi v wrc adresz qesčnz abt ɖ fṛjiḷti v hymn bhevyr, ɖ dzîr t modl complx sistmz, n ɖ imprṃnns v valy n memri. T xplor ɖz îdiyz, š yṭlîzz miriad evrīde objcts in hr insṭlešnz. Prizntd az trêsz v hymn bhevyr, ɖz îtmz, rlist fṛm ɖer comnplês dyti, aqîr a srtn vîtaḷti n ambišn. Asmblijz v ɖz objcts bcm sistmz, cêṗbl v rnywl, aspirešn n dce, or rpozitriz v memri n valy. Hr wrc ascrîbz a ny undrstandñ v prṗs ẇl qesčnñ ɖ prôses v imbywñ eni mtirı̣l – hand-md or industrı̣li pṛdyst – wɖ wrʈ.
Baygraficl dītêlz
Zi reprizntd ɖ Ynîtd Stêts v America at ɖ 55ʈ Venis Bienāle in 2013. Š hz xibitd inṭnašnli, wɖ sôlo prezntešnz at MUDAM, Luxmbrg (2012); Eža Ssayti, Ny Ywc (2011–12); Musée d’Art Moderne et d’Art Contemporain, Nīs, Frans (2011); Bwltc Sentr fr Cntemprri Āt, Nycasl, YC (2009); Maison Hermès Fwṛm, Tôcio (2008); Malmö Konsthall, Swīdn, (2006); Ẇitni Myziym v Americn Āt, Ny Ywc, (2003); Wōcr Ātsentr, Miniaṗlis (2002); Fondation Cartier in Paris (1999); Myziym v Cntemprri Āt, Šicago (1999); n ICA Lundn (1998). Rīsnt prṃnnt insṭlešnz includ Stiļîf wɖ Landscêp (Modl fr a Habitat), Ɖ Hî Lîn, Ny Ywc n Ɖ Disṭnsz Ẇr Magnits Pl, Ynivrṣti v Califwňa, San Fṛnsisco (bʈ 2011).”
![Standardpose [Standard Pose]](https://i0.wp.com/ashortspell.com/wp-content/uploads/2015/05/chicken_web.jpg?w=233&h=131&ssl=1)
