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”
Bird’s Nest headdress with Swarovski gemstones, Widows of Culloden, A/W 2006–07. Philip Treacy and Shaun Leane for Alexander McQueen. Model: Snejana Onopka, Image: Courtesy Swarovski Archive
“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
“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 eniwn 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
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.”
The Sheepfold, Moonlight, 1856-60 by Jean-François Millet. Photograph: Alamy
Edouard Manet’s Boy with a Sword, 1861. Photograph: Alamy
Manet’s sketch for his 1882 work A Bar at the Folies-Bergère
Édouard Manet, Music in the Tuileries Gardens (1862) Photo: The National Gallery
Édouard Manet: The Battle of the U.S.S. “Kearsarge” and the C.S.S. “Alabama”, 1864
Claude Monet, The Thames below Westminster, about 1871. Oil on canvas. Picture: The National Gallery, London
The Artist’s Garden (detail), Monet, 1873 (Picture: Board of Trustees, National Gallery of Art, Washington DC)
The Ballet Class, Hilaire-Germain-Edgar Degas. Oil on canvas, about 1880. (Picture: Philadelphia Museum of Art)
Two Sisters (on the Terrace)’, 1881, by Pierre-Auguste Renoir
The daughters of Paul Durand-Ruel, Marie-Thérèse and Jeanne, Pierre-Auguste Renoir. Oil on canvas, 1882. (Picture: Chrysler Museum of Art, Norfolk, Virginia)
Pierre-Auguste Renoir, Dance in the Country, 1883, Oil on canvas (Picture: RMN-Grand Palais (musée d’Orsay) / Hervé Lewandowski)
Pierre-Auguste Renoir: Paul Durand-Ruel in 1910 (Archives Durand-Ruel)
Mary Cassatt: The Child’s Bath, 1893. Art Institute of Chicago
(Posted 7 May 2015. The text is in an older version of Ñspel.)
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“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.
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Ɖs xibišn, kretd bî Zība Āḍlan, Fândr/Drctr v Paṛsol ynit, z acumṗnid bî a rletd prôgram v edycešnl ivnts at ɖ fândešn.
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Ātist Bîogṛfi
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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 […]”
