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”
Z-Pinch Plasma Lab, Weizmann Institute, Rehovot, 2011
Detail from Har Homa, east Jerusalem, 2009
Off Al-Shuhada Street 1, Al-Khalil/Hebron, 2009
The Faez Family, Rehovot, 2009
“Marı̣n Gdmn z plizd t priznt an xibišn v ny wrc bî Tomās Strūt, hiz frst šo in Lundn sns ɖ 2011 retṛspctv at ɖ Ẇîtčapl Gaḷri.
Ɖs xibišn wl priznt wrcs md in ɖ contxt v tu dfṛnt rīsnt projcts, ẇč r gtñ inṭwovn hir fr ɖ frst tîm: Fôtgrafs h md in Izrel n Paḷstîn az pāt v Ɖs Plês, n v plêsz v sạntific n tecṇlojcl rsrč in Califwňa.
Strūt travld t Izrel n Paḷstîn six tîmz btwn 2009 n 2014 n wrct in Īst Jrūsḷm, Teḷviv, ɖ Gôln Hîts, Ṛmala, Al–Cālil/Hebron, Nazṛʈ n ɖ Negev. Hiz vizits wr infwmd bî lisnñ t ɖ stwriz v hiz gîdz n uɖr ppl h met alñ ɖ we, mî xpḷrešnz wr abt obzrvñ ɖ hymn drama n ẇt sīmd t tuč m most. In esns, it wz abt ɖ rīdñ v ɖ signifîrz n ɖ pictwrı̣l psbltiz v ɖ plês. N, in iskwñ ɖ c̣losl fr ɖ prsnl, Strūt set hmslf ɖ čalinj v hâ t cndns an epc naṛtv intu a stil imij.
Strūt wz awer, fṛm ɖ vri bginñ, v ɖ inhiṛnt conflicts n obstclz in apročñ sč a ṗlitcli lêdn rījn az a subjct, n h comentd, az an ātist hu hz olwz bn ṗlitcli conšs n intṛstd in ɖ ōgnîzešn v ssayti, I wz nt šr ẇt it ment t wrc in a conflictzôn, or f y cn d justis t it at ol…moṛl n eʈicl qesčnz r impsbl t avýd; y hv t acnolij sošl n ṗlitcl injustisz in ɖs eria…So, rɖr ɖn asym a slf-ōdend rôl az moṛl ābitr, Strūt atmts t repriznt ẇt h refŕz t aza pātcl v ɖ conflict v ɖ rījn.
Silwan, Īst Jrūsḷm z embḷmatc v Strūt’s wrc in Izrel n Paḷstîn. Ẇl it z xiktd wɖ hiz mtikḷs î, h rmend ôpn t ɖ seṛndipti v ɖ mmnt, ačivñ a wrc h dscrîbz az a pwtrit, rɖr ɖn a landscep, y cn onli lc at a landscep az a ptnšl lcešn fr hymn xpirı̣ns… a landscep dz’nt nīd m, y or enbdi. It bcmz intṛstñ f it cn b ɖ grândplan fr hymn xpirı̣ns, pṛjẋn or dzîr.
Fr Strūt, ɖ act v jrniyñ n siyñ ẇn scâtñ fr lcešnz z crūšl. H cmbînz a prsnl anaḷsis v an instñtv sens n naṛtv v a plês wɖ a fwml toṗlojcl vy, t criet a comṗzišn ɖt ilūsidets smʈñ revletri.
In ɖ end, I strîv t mc picčrz ɖt r arstñ, ɖt y hv t cīp lcñ at. Hômi Bābā sd smʈñ ɖt reznetd wɖ m. H wz twcñ abt wrcs v āt ɖt y cnt fgt bt d’nt rmmbr in dītel. Ɖ drîv t nt fgt imrjz ẇn ɖ ātwrc tučz yr cor, ẇn it hz a sentṛl naṛtv ɖt z undrstd jenṛli ʈru its spesfisti. Y cnt fgt it bcz y cnt manij t cmplitli ‘un-puzl’ it. Y cnt rmmbr its dītelz bcz ɖ inet comṗzišn v ol its eḷmnts dz nt fŭli dscloz ɖ intîṛti v its naṛtv, n ɖus cīps y puzld.
Sm v ɖ Izrel n Paḷstîn imijz rcwl Strūt’s ŕli intṛst in strītftogṛfi, studiyñ ɖ ŕbn landscep n ācitecčr v Yṛp, Nwʈ America n Eža, caṛctrîzd bî dīp, distnt pspctvz, loñ vyz n nolij v plês. Hvr, ɖ sînz n remnnts v conflict n dvižn r stil evidnt hir n iniscepbl wɖn ɖ Izreli n Paḷstiňn landscep, māct bî bḷcedd rôdz, metl n concrīt barı̣rz n impasbl landsceps.
Silwan, East Jerusalem, 2009
Olso includd wɖn ɖ xibišn r tu famlīpwtrits, a trôp Strūt hz wrct wɖ sns ŕli on in hiz practis. Tîtld fṛm ɖ dpictd famliz’ nemz n lcešnz in Izrel, Ɖ Abu Bilaia Bruɖrz v ɖ Azazma Trîb, Negev, 2011 n Ɖ Faez Famli, Rehovot, 2009, dpict tu culčṛli dvrjnt famlīynits. Ɖ 7 Beduin bruɖrz n ɖer gest, êt men v vẹriyñ êjz, sitñ cros-legid or nīlñ on tṛdišnli patnd rugz wɖn a modist metl-fremd strucčr cuvrd bî a siriz v mytd moṇcrom tāpwlinz, ɖt z cntrastd wɖ ɖ brîtli culrd txtîlz upn ẇč ɖ men sit.
In contrast, Ɖ Faez Famli, Rehovot dpicts ɖ cros-jeṇrešnl membrz v a yuñ famli, pzišnd on ɖ fruntpwč v ɖer modn hom. Fr Strūt, ɖs imij holdz mni intṛstñ eḷmnts, …ɖ plant on ɖ left coṛspondz wɖ ɖ crv v ɖ bodi v ɖ secnd eldist dwtr; ɖ muɖr n hr yuñ dwtr r imbresñ, n ɖ tu eldist dwtrz bracit ɖ famli in a trîanğlr sičuešn. I fând it vri intṛstñ t si ɖ mdaḷti v ɖ dwtrz, in rlešn t ɖer peṛnts bt olso wɖ ɖer slîtli Wesṭnîzd cloɖñ, n ɖt wɖn wn famli, culčr grajli trnzišnz, f nt ɖ famli z in constnt trnzišn.
It z impwtnt t nôt in ɖz Izrel/Paḷstîn fôtgrafs, ɖt Strūt hz brôcn awe fṛm hiz prîr we v mcñ wrc wɖn a set dfînd siriz. Ẇraz prīvı̣sli, h wd têc wn trôp, pwtričr or landscep fr xampl, n mc imijz at vẹriyñ glôbl lcešnz, wɖn ɖs sṗsific bodi v wrc, Strūt hz fôc̣st on wn prisîs ʈīm, jı̣graficl n ṗlitcl riaḷti ɖt incumṗsz ol ɖ trôps fṛm ɖ siriz, az ɖo Izrel n Paḷstîn fr ɖ ātist wr a jı̣graficl cntenr fr ɖ scôp v ɖ hymn cndišn.
Ɖr r olso six ny wrcs prizntd in ɖ xibišn ɖt on inišl vywñ r fwmli in oṗzišn t ɖ landscep n pwtrit wrcs: Strūt’s most rīsnt fôtgrafs v sạntific rsrč, a cntinys studi v intanglmnt in a wn-sîdd blif in prôgres. Ɖ incrisñ dgri v fasinešn fr ɖ tūlz w cnstruct t invstiget intu sạntific n mtirı̣l prôgres dstracts s fṛm ɖ īql nīd fr prôgres on sošl n ṗlitcl levlz. In cnẋn wɖ ɖ Izrel/Paḷstîn fôtgrafs, ɖz imijz infws bʈ ɖer rīdñz az tu vršnz v a sīmñli indisoḷbl conflict. Ɖs pāt v ɖ xibišn includz wrc fṛm ɖ Vîzmn Instityt, Rehovot 2011, Ɖ Jetpṛpulšn Lboṛtri, Pasdīna n ɖ Āmstroñ Flîtrisrč Sentr, Edẉdz, bʈ 2014.
Har Homa, east Jerusalem, 2009
Tomās Strūt (born 1954 in Geldern) livz n wrcs in Brlin n Ny Ywc. Comprihnsv xibišnz v Strūt’s wrcs hv bn prizntd at instityšnz includñ ɖ Kunsthalle Bern (1987), ɖ Instityt v Cntmprri Āt, Bostn (1994), ɖ Carré d’Art – Musée d’Art Contemporain de Nîmes (1998), ɖ Našnl Myziym v Modn Āt, Tôcio n Ciôto (2000), ɖ Daḷs Myziym v Āt (2002), Ɖ Metṛpolitn Myziym v Āt, Ny Ywc (2003), n ɖ Museo del Prado, Mdrid (2007). A mêjr retṛspctv turd fṛm ɖ Kunsthaus Zürich (2010) t ɖ Kunstsammlung Nordrhein-Westfalen K20, Düsldwf, Ẇîtčapl Gaḷri, Lundn (2011), n ɖ Museu Serralves, Pwtu (2011–2012).
Ɖ Metṛpolitn Myziym , Ny Ywc, jst held an xibišn v ɖer lj holdñz v Tomās Strūt’s wrcs btwn Septmbr 2014 n Febrri ɖs yir.
Ɖ mjoṛti v ɖ wrcs in ɖs xibišn r rpṛdyst in a moṇgraf tîtld Tomās Strūt, rīsntli publišt bî MAC Bcs. It includz an ese bî Ulrih Lūc n wl b aveḷbl fr seil at ɖ gaḷri.”
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).”
Shinro Ohtake, ‘Scrapbook #66’, 2010-2012. Mixed media artist book, 72 x 96 x 129 cm, 27.2 kg, 830 pages. Courtesy of the artist and Take Ninagawa, Tokyo
Retina (New Tong of Tangier I), 1992-93. Fly, plastic fly, oil, oil varnish, oil stick, wood glue, persimmon tannin, plastic resin, felt-tip pen, spray paint, putty, photograph, printed matter, cardboard, thin paper, paper, plastic sheet, cotton cloth, cotton thread, hemp cloth, wire, iron, plastic pipe, brass rivet, brass grommet, Japanese paper book, nail, leather, bulb socket, electric wire, wooden box, iron board, balsa, can, wood, wooden block, wooden shelf. 216 x 212 x 82 cm. Courtesy of the artist and Take Ninagawa, Tokyo.
Shinro Ohtake, ‘Retina (New Tong of Tangier I)’ (detail), 1992 – 93. 216 x 212 x 82 cm. Courtesy of the artist and Take Ninagawa, Tokyo
Shinro Ohtake, ‘Japanese Comics’, 2000. Courtesy of the artist and Take Ninagawa, Tokyo
Shinro Ohtake, ‘Radio Head Surfer’, 1994-95. Courtesy of the artist and Take Ninagawa, Tokyo
Shinro Ohtake, ‘Time Memory 9, 2011. Courtesy of the artist and Take Ninagawa, Tokyo
Shinro Ohtake, ‘Layers of Time Memory 2, 2013. Courtesy of the artist and Take Ninagawa, Tokyo
Shinro Ohtake, ‘Frost #5’, 1989. Courtesy of the artist and Take Ninagawa, Tokyo
‘Scrapbook #66’, by Shinro Ohtake, 2010-2012. Courtesy of the artist and Take Ninagawa, Tokyo
Shinro Ohtake, Time Memory 28, 2014, Oil, acrylic, spray paint, tar, ink, pencil, glue, masking tape, cellophane tape, wrapping tape, aluminium foil tape, printed matter, cheesecloth, billboard paper, Japanese paper, rice paper, wrapping paper, wrapping foil, brown paper, cardboard on wooden board, 220.5 x 300.5 x 10.5 cm, Courtesy of the artist and Take Ninagawa, Tokyo
Shinro Ohtake, ‘Time Memory 28’ (detail), 2014. 220.5 x 300.5 x 10.5 cm. Courtesy of the artist and Take Ninagawa, Tokyo
“Wɖ an xtnsv, dvrs n iṇṿtv bodi v wrcs xiktd ovr ɖ past ʈrti yirz, Šinro Otace hz clirli pzišnd hmslf az wn v ɖ most impwtnt crietv fwsz in cntmprri Jaṗnīz āt. Otace’z ŕvra includz drōñ, pêstd wrcs, pêntñ, sculpčr n ftogṛfi, az wel az xperimntl myzic n vidioz, bt ɖ actiṿti v cutñ n pêstñ z clirli hiz most pârfl fwm v xprešn. Mč v hiz wrc utilîzz fând imijz n scraps dscādd fṛm ŕbn culčr n ɖ masmīdia, ofn wɖ refṛns t ɖ undrgrând myzic̦ulčr. In 1977, Otace bgan hiz ongowñ siriz v Scrapbcs, fr ẇč h z rnând n hz t dêt cmplitd mr ɖn sixti. Dy t ɖ ilabṛt prôses v mcñ ɖ Scrapbcs, č wn bcmz bʈ a pêntd n sculpčṛl entti. An xtnsv prezntešn v hiz Scrapbcs wz šôn jrñ ɖ 2013 Venis Bienāle.
Ɖ xibišn at Paṛsol ynit pṛvîdz impwtnt xpožr v Otace’z ŕli, rīsnt n ny wrcs. It fôc̣sz ptklrli on hiz Retina n Tîm̦emri siyriz, bt olso includz wrcs fṛm ɖ Frost n Sél siriz. Svṛl v Otace’z filmz, anɖr intgṛl pāt v hiz practis, wl olso b scrīnd jrñ ɖ xibišn.
Kretd bî Zība Āḍlan, Fândr/Drctr v Paṛsol ynit fândešn fr cntmprri āt, ɖs xibišn z Šinro Otace’z frst mêjr šo in a public Lundn instityšn. It z acumṗnid bî a fl-culr publicešn, includñ esez bî Māco Livñstn n Žŭlien Bizmŭʈ, n a rletd prôgram v edycešnl ivnts, famli wrcšops, a powtri wrcšop n an ātisțwc at ɖ Jpan Fândešn, Lundn.
Born in 1955 in Tôcio, Šinro Otace z wn v Jpan’z līdñ n most iṇṿtv cntmprri ātists. Hiz practis xtndz fṛm ɖ criešn v vižl-āts projcts n ātistbcs t sând n ācitcčṛl projcts. Šinro Otace wz rīsntli awōdd wn v Jpan’z most prestijs āṭwōdz: Ɖ Êjnsi fr Culčṛl Aferz Ministr’z Awōd fr ɖ Fîn Āts 2013–2014.”
