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August 25, 2016
It’s no secret that the Latin American art scene has exploded over the past couple of years. Auction houses, galleries, and even museums have tagged along this trend and have finally begun giving these artists the recognition they deserve. However, for those not deeply invested in the ebb and flow of the art world, the current 2016 summer Olympic games in Rio de Janeiro are a perfect time to familiarize oneself with some of the top contemporary artists of Brazil, a country rich in cultural and visual history. Here are a few of my favorites.
Beatriz Milhazes (b. 1960) finds her inspiration in nature and its many, ever-changing forms. Her work is characterized by a vibrant palette, floral motifs, and organic patterns that resemble mandalas. Her recurring arabesques also hold a foundation in Brazilian culture—carnival decorations, Baroque colonial architecture, and popular music. The process of creation is rather laborious and structured —she paints her motifs first on a sheet of clear plastic, which she then applies to canvas to dry. The result is a rhythmic flattened surface, with shadows of color and forms where the color was not completely transferred. Her work has been used worldwide in outdoor spaces, for interior decoration, in stained glass, and for dance productions.
Rodrigo Mogiz (b. 1978) creates dream-like compositions where figures outlined in colorful strings float in an empty, white space. He appropriates images from magazines to explore themes of sexuality, gender, and expression, and to highlight the base superficiality of social media outlets and how audiences merely absorb aesthetics. These fantastical works fall somewhere between painting and embroidery (also using application beads, lace, and pins), poetically fusing the two mediums while simultaneously manifesting each of their unique characteristics. Mogiz has been exhibiting since 2000 and is based in Belo Horizonte, Brazil.
Vik Muniz (b. 1961), an international sensation, is best known for producing imagery within the nexus of mixed media. Using a diverse range of everyday materials (from trash to diamonds to sugar to dirt) paired with elements from popular culture, Muniz excels in a layered appropriation of canonical artworks. His practice involves arranging his materials into a dense collage and then photographing it. He has recreated works by Leonardo, Dürer, Courbet, Rodin, Picasso, Matisse, Kandinsky, Malevich, Hiroshige, Warhol, Weegee —to name a few. What appears as a familiar image from afar, turns into a wondrous exploration of a myriad of minute details up-close.
Ernesto Neto (b. 1964) is a highly influential figure in the contemporary Brazilian art scene. His work falls within the categories of sculpture and installation, but is not limited to their parameters. Sensuous environments made of organically abstract forms are his trademark. His materials include soft, stretchy fabrics in different colors that he fills with items like coffee beans, spices, or Styrofoam. Interested in sensuality, corporality, and reflection, Neto strives to present conditions where the human body becomes aware of itself in relation to the space around it. Visitors enter his playful worlds and physically react to the immersive habitats. They may feel, smell, look, and share their experiences with those around them.
OSGEMEOS (b. 1974), Portuguese for “the twins,” is the name of the street art duo created by brothers Gustavo and Otavio Pandolfo. Working together since they were children, the two share a magically impenetrable bond that has helped them shape a unique visual language that has transcended from the streets and into galleries, auction houses, and even museums. Their work is easily recognizable by its whimsical yellow figures with tubular torsos, gangly limbs, small spaced-out almond eyes, and thin-lipped mouths. These playful characters are inspired by graffiti, hip-hop, and break-dancing culture, and often incorporate social or political referents relevant to each particular geographic location. The brothers have projects all over the world—so keep your eyes peeled, you never know when you’ll round the corner and find yourself face to face with OSGEMEOS.
Alice Quaresma (b. 1985) is a native of Rio de Janeiro and currently lives in New York City. Her practice involves photography and mixed media and explores issues of identity, displacement, and memory. Referring to her works as “photo-objects,” Quaresma superimposes drawings and geometric shapes over flat photo paper to push the boundaries of the photographic medium by incorporating elements of texture and volume. Her faded, dreamlike compositions evoke the subtleties and inexplicable phenomena of the emotional and psychological connection we feel to the places we experience.
“I find inspiration every time I feel physically disconnected from the place where I am.”
—Alice Quaresma, March 2016 interview with Artspace.
Adriana Varejão (b. 1964) primarily focuses her practice on ceramics tiles, either appropriating their history and function to reveal a darker, underlying meaning, or using their formal qualities to produce new visual effects. Throughout her career she has explored themes such as colonialism, racism, subjugation, and cultural formation through violence. Her work has often oscillated between the grotesque and the delicately beautiful. Varejão was chosen to decorate the Olympic Aquatics Center in the 2016 Rio games. Her 2004-08 work, Celacanto Provoca Maremoto (“the Coelacanth Causes a Seaquake”), made of blue-and-white tiles, was restructured, blown-up, and printed on canvas to adorn the exterior of the stadium. The work’s obvious aquatic aesthetics seem to be a perfect fit for the center’s function. However, references to Portugal’s colonization of Brazil through azulejo-inspired tiles and Baroque imagery subtly keep the country’s dark history afloat.
August 21, 2016
The usually booming New York City art scene is rather slow in August, leaving one to wonder where all of the commotion over contemporary art goes: on vacation to the Hamptons of course! There is a great deal of special exhibitions and openings happening all over the Hamptons this month. Should you find yourself escaping to the Hamptons during these final days of summer, be sure to check out one or all of these events.
- Montauk/ Watermill
On August 7th, “Unfinished Business” opened at the Parrish Art Museum. This exhibit, which will run until October 16th, features the paintings by Ross Bleckner, Eric Fischl, and David Salle, three artists who formed an artistic enclave in Los Angeles in the 1970s and ’80s. The exhibit features 23 canvases and 17 paperworks by these artists and celebrates their innovation and profound influence on the Los Angeles art scene.
Parrish Art Museum, 279 Montauk Hwy, Water Mill, NY 11976
At the Watermill Center, you can catch the light installation “Constellations in Red, Yellow, and Blue” until August 28th. The light sculptures on display by Mexican artist G.T Pellizzi, are inspired by “the mythological, calendrical, and astronomical symbols found on many textiles in The Watermill Collection.”As the title of the exhibit states, the sculptures are lit in the primary colors- red, yellow, and blue. Pelliziz’s work has previously been on display at MoMa PS1, Centre Pompidou, The Whitney, and various other contemporary art spaces.
Watermill Center, 39 Water Mill Towd Rd, Water Mill, NY 11976
2. Bridgehampton is quite busy with art happenings this month. You can catch The Curiosities of Harry Squires” at the Bridgehampton Museum through October. This exhibit features the collection owned and curated by Bridgehampton figure Harry Squires, which includes various oddities such as shipwreck memorabilia and Native American artifacts.
In addition to the permanent collection at the Dan Flavin Institute, the exhibit “Icons” is on view through April. The title “Icons” is a reference to the traditional religious association with the term, however, the works on display are decidedly non-representational, consisting of painted boxes adorned with light features that are dedicated to Flavin’s loved ones.
The Dan Flavin Art Institute is located on Corwith Avenue off Main Street in Bridgehampton, New York 11932
- East Hampton
If you are craving even more minimalism, head to Guild Hall Museum for “Aspects of Minimalism,” which is on view through October. The exhibition features more work by Dan Flavin, as well as Agnes Martin, Gerhard Richter and other minimalist artists. Also on view at Guild Hall are Carol Ross’s Metal Sculptures in the Furman sculpture garden.
Guild Hall, 158 Main Street, East Hampton, NY 11937
The next time you escape to your sanctuary in the Hamptons (or get yourself invited to someone else’s vacation home), pencil in some time in between outdoor brunch and tanning by the pool to check out some fantastic art.
August 16, 2016
“Danny Lyon: Message to the Future,” the photographer’s most comprehensive retrospective is currently on view at The Whitney Museum of American Art. The show boasts an impressive 175 photographs and films as well as rarely exhibited archives and personal documents. It is divided thematically exhibiting Lyon’s most well known bodies of work, and roughly chronologically traces the start of his career in 1962 all the way to Lyon’s work in the present day. The exhibition is divided into seven sections: Civil Rights, The Bikeriders, The Destruction of Lower Manhattan, Prisons, New Mexico and the West, Films and Montages, and Ongoing Activism. From the titles alone Lyon’s broad range of interest in social issues and concern for the marginalized and disenfranchised is made apparent. His work represents a nonconventional and intimate approach where Lyon immerses himself in his subject’s world, gaining an insider perspective that moves beyond mere observation and into a wholehearted and genuine interest.
“You put a camera in my hand, I want to get close to people. Not just physically close, emotionally close, all of it.” –Danny Lyon, The Whitney Museum of American Art
Lyon began his career in 1962 when he began working with the Student Non-Violent Coordinating Committee (SNCC) as their first official photographer, documenting the civil rights movement in the South. He captured sit-ins, demonstrations, marches, funerals, and the general turbulent and violent atmosphere of the period. His photographs were used in brochures, posters, and fundraising campaigns, many of which portrayed the brutal force of the police academy, questioning their position and responsibilities to civilians. One 1962 SNCC poster of a [white] officer, arms crossed, reads “Is He Protecting You?” It is highly unsettling to see just how many of these images seem so familiar and resonate in American culture today.
Turning the corner we are met with cool, hard faced bikers in leather jackets with matching “Chicago Outlaws” insignia. This selection is based off of Lyon’s time spent riding with the Chicago Outlaws Motorcycle Club in the late 1960s. Romanticized shots of the Outlaws on the road, such as Crossing the Ohio River, Louisville (1966) and Route 12, Wisconsin (1963) indulge us in the liberating freedom such groups enjoyed, while in several close up portraits we have a rarely seen, tamer version of the bikers—surrounded by their families, girlfriends, and wives. The rebellious nature of the bikers, matched with their unapologetic pursuit of freedom attracted the photographer to the group. After spending more time with them and gaining their confidence, Lyon began recording the group speaking candidly and conducted informal yet highly personal interviews. The photographic documentation and edited transcripts would become his famous book, “The Bikers,” published in 1967.
In his extensive body of work, Prisons, encompassing photographs, interviews, recordings, and film, Lyon chronicled life behind bars. With the help of Dr. George Beto, then director of prisons within the Texas Department of Corrections, Lyon gained access over a fourteen-month period to move freely inside prison complexes and to follow prisoners around on their daily activities. We see personal belongings like photographs and calendars, games of checkers, labor time on the fields, shakedowns, security pat-downs, and officers on guard. These images are as serious and somber as they are filled with humanity and understanding of these men and their situations. The resulting photographs, film footage, and other archival documents would become the book “Conversations with the Dead” published in 1971.
“[I wanted to] make a picture of imprisonment as distressing as I knew it to be in reality.” –Danny Lyon, The Whitney Museum of American Art
Documentation, and truthful documentation, is the end goal throughout Lyon’s photographic practice. His images are transparent, direct, and charged with meaning and message. Each one serves a to bring injustice to the surface with the hope to promote social change. With this approach he has challenged the conventional “sanitized” vision of American life as presented in media, offering up an alternative that portrays the various social histories of America.
From the 1970s and onward he shifted focus as a self-proclaimed “advocacy journalist.” His activist drive took him to various Latin American countries where he captured laborers and street children, undocumented workers crossing the US-Mexico border, and the violent revolution in Haiti. More recently, between 2005-09, he traveled to China to documented communities living in polluted regions.
Regardless of subject matter, geographic location, or time period, all of Lyon’s images are linked through a common spirit: the photographer’s compassionate character and relentless ambition to be a truth teller. The result is his inherent ability to humanize his subjects while returning the dignity and character that social prejudices and ignorance have stolen from them. These are human beings worthy of a second chance and worthy of a second glance.
A single look at these photographs and we are filled with more understanding and compassion than when we entered, a comprehension that seems as relevant today as it did decades ago. If that’s not the point of art, then I don’t know what is.
Danny Lyon: Message to the Future is on display June 17-September 25, 2016 at The Whitney Museum of American Art.
August 14, 2016
Moscow’s contemporary art scene is evolving and growing every year. Still quite young, yet admirably accomplished and diverse, it presents itself in many possible manifestations: from fairly traditional mediums such as painting, to interactive multimedia art. Moscow galleries do not only seek to discover, nurture, and promote local artists, but also to introduce the public to the works of internationally established artists from all over the world. Such important objectives are amplified by diversified art education programs hosted at the galleries. These facilitate the profound international exchange of ideas. We have highlighted the top 10 venues, from large museums to smaller galleries, that you have to check out in Russia’s capital.
In a nutshell: Two years ago, contemporary art center Garage, founded in 2008 by Dasha Zhukova, finally acquired museum status. Today, it may arguably be proclaimed the most influential contemporary art venue in the country. It has basically marked a turning point in the local perception of contemporary art. Providing the opportunity for creating new works and ideas, Garage reflects and defines contemporary art thinking in Russia and ties it to the international scene. It was the first to introduce the local public to such important names as James Turrell, Yayoi Kusama, and Louise Bourgeois, to name a few. In 2014, Garage became one of the venues hosting the longest lasting ongoing global art project, “Do it Moscow”, first conceived by curator Hans Ulrich Obrist in 1993. The museum has recently moved to its permanent location in a former soviet restaurant, «Vremena Goda» (Seasons of the year”), executing an innovative and transformative preservation project.
Where: 9/32 Krymsky Val. Open daily 11 am-10 pm.
In a nutshell: Previously known as the Moscow House of Photography, now MAMM is one of the most vibrant art venues in the Russian capital. Ever since 1996, it has been directed by its founder Olga Sviblova, who has over 500 exhibits of contemporary art and photography under her belt, along with curating the most important collections of Russian photography. MAMM is primarily famous for hosting two influential festivals: Photobiennale on even years, and Fashion and Style in Photography on the odd ones. The museum occupies a seven-story white cube where traditional works of art co-exists with innovative multimedia and video installations. One of MAMM’s objectives is to be open to fresh ideas and forms of visual expression in the fields of contemporary photography and new media art.
Where: Ostozhenka st., 16. Open 12 pm-9pm Tuesday-Sunday. Closed Monday.
In a nutshell: MMOMA is the first contemporary art museum in modern Russia and one of the most vital participants in the country’s contemporary culture. The museum’s collection mainly narrates the history of Russian twentieth-century avant-gardes through the works of Malevich, Chagall, Goncharova, Tatlin and Kandinsky, just to name a few, with a rich addition of works by European and American artists. MMOMA’s exhibition program, however, is focused on studying and displaying the visual culture of the twenty-first century, from debut shows of contemporary artists to international festivals and retrospectives.
Where: the museum is housed within 4 different venues: Petrovka street 25; Ermolaevka Lane, 17; Tverskoy boulevard, 9; Gogolevsky boulevard, 10. All of the above are open 12 pm-8 pm, Monday-Sunday, and 1pm-9pm on Thursday. The museum is closed every third Monday of the month.
In a nutshell:
Mars was established in 1988 in Soviet Moscow as the oldest and first non-governmental center for contemporary art. It was known for actively promoting Russian art of the late twentieth century, and for its participation in Tokyo ArtExpo in 1992. Today the venue, which resembles a labyrinth rather than a traditional white cube, focuses on interactive digital art projects. It invites its viewers to experience an interactive multimedia space with all their senses. Here you will encounter works by local media artists such as TUNDRA, ::vtol::, kbln, Pixelord, noobusdeer, and many others.
Where: Pushkarev street, 10. Open 12pm-10pm daily. Closed Monday.
In a nutshell: Laboratoria is the first and, so far, the only interdisciplinary space in Russia where artists and scientists investigate intersections within their practices under the guidance of gallerist and curator Daria Parkhomenkno. Here, artists interested in present-day scientific disputes aim to discover new ideas about their surroundings and to translate them into art. These almost magical experiments are an unavoidable interaction between art and science in today’s world.
Where: 3 Obukha per. Open Thursday-Sunday 2pm-8pm.
In a nutshell: Glaz is one of the biggest local galleries specializing in photography. Along with the majority of the leading Moscow galleries, Glaz is located at the Winzavod art center. The location makes it easy for visitors to cruise around in their art pilgrimage. The gallery’s collection consists of contemporary conceptual works as well as soviet classics, and counts over 4000 pieces. Along with the works of established artists, Glaz displays young and promising names, helping them to find their audience and collectors.
Where: Winzavod Center for Contemporary Art, 4th Syromyatnicheskiy Lane, 1, Bld. 6. Open Tuesday-Sunday 12pm-8pm.
In a nutshell: The founder of the gallery, Irina Iragui, started her career in Paris as an independent art project manager on various sites, later opening her own venue in the Marais quarter. The Moscow branch of the gallery opened in 2008 and is now known for promoting French artists, mostly born in the ’70s, within the Russian audience, as well as for helping the local artistic community to integrate itself into the international contemporary art world.
Where: Moscow, Malaya Polyanka st., 7/5. Open Tuesday-Saturday 2pm-7pm.
In a nutshell: Triangle is the youngest gallery on our list, yet it is already acutely representative of the local art dynamics. Before opening a space in Moscow in February 2015, gallerist Nadezhda Stepanova worked in the gallery business in Turin for over seven years, and she still lives between Moscow and Italy. The gallery is managed with the help of Elvira Tarnogradksaya, an art consultant, and Alisa Bogdanayte, a curator at Vladivostok contemporary art center ZARYA. Their diverse program includes displays of both Russian and foreign contemporary artists, such as artistic community VGLAZ (do not confuse with the above GLAZ gallery) and video artists such as Sasha Pirogova and Dmitry Bulyigin.
Where: Winzavod Center for Contemporary Art, 4th Syromyatnicheskiy Lane, 1, Bld. 6. Open Tuesday-Sunday 1pm-7:30 pm, or by appointment.
In a nutshell: One of the biggest local galleries. Its sleek space designed by architects Anton Nadtochia and Vera Butko is located in the city’s museum district. It is one of the leading contemporary galleries representing art today, from painting and photography to sculpture and new media installations. Ruarts has built a reputation for supporting both beginning and already established Russian artists. It has also brought to Russia’s capital names such as Ervin Olaf, Nabuko Watabiki, and Herve Ic, among others. Most of the shows at Ruarts are curatorial collaborations between local and foreign curators.
Where: 1 Zachatievskiy st., 10. Open 12pm-8 pm Tuesday-Saturday.
In a nutshell:
Earlier this year, the gallery has opened its new space in the city center, after moving from its first location in the art district near metro Baumanskaya. During the last few years, gallerist Wildrik Batjes (France), together with curators Jabagh Kaghado and Zak Kaghado (USA), has discovered and supported a number of talented Moscow-based artists with an alternative artistic vision. The majority of them have made their way into fine arts from a graffiti movement. Therefore, the gallery owns a large collection of post-graffiti art, photography, paintings and installations. In addition to promoting young Russian artists, MSK Eastside also curates shows of internationally renowned artists, and works closely with auction houses like Phillips NYC, Christie’s Paris and ArtCurial Paris.
Where: Leontyevskiy per., 5. Open Tuesday-Saturday 11am-7pm.
August 12, 2016
Japanese artist Mariko Mori’s Ring: One with Nature (2016) is a three meter wide ring overlooking a 58-meter waterfall in the middle of the Brazilian rainforest, in Véu da Noiva, Mangaratiba. The permanent installation is arranged to allow the shift of colors with the movement of the sun, changing from vibrant blue to a bright gold as it is backlighted by the sunrise. Striking in its minimalism, Mori’s sculpture is multifaceted both in its conception and effect. The artist has since stated that the idea originated as an inspiring, ethereal dream of a ring over a waterfall, which she sought to actualize in physical space. Rooted in a spiritual beginning, the installation took on an even broader range of meaning through its inherently environmental message and relation to the 2016 Rio Olympics.
Faou Foundation, Mori’s nonprofit in New York which promotes global environmental awareness, produced the sculpture and gave it as a gift to Brazil’s environmental institute, Instituto Estadual do Ambiente (INEA). The installation further actualizes its environmental message through formal symbolism. The singular ring set above the Véu da Noiva waterfalls functions as a conceptual extension of the five Olympic rings, highlighting the message of unification between countries to nature’s realm. This is a crucial message for the planet in its current state of the ecological crisis. Through her highly symbolic gesture, Mori successfully utilizes the Olympics as a platform of global synchrony with nature.
Symbolism behind the ring’s physical form also functions as a reminder of the cyclic relationship between humanity and nature, tracing back to prehistoric times. The artist’s choice of the circle also correlates to organic, archetypal forms found within natural landscapes, further strengthening the timelessness of the piece through its minimalistic expression. The sixth Olympic ring was unveiled on August 2 with a ritual-like ceremony including music and performance by participants dressed in all white. The white color further amplified the artist’s statement of universal oneness and reinforced thematic connections to ancestry and tradition.
Mariko Mori’s recent sculpture recalls her previous work in terms of its synthesis of ancient traditions and belief systems with modern technology. The result is a truly present object that is not only relevant to modern times but also introduces a sense of deeper archetypal connection in its audience. This element is also present in Transcircle 1.1 (2004), where Mori composes a modernized version of the ancient Stonehenge with a constantly shifting scenery of lights. The structure integrates elements of both prehistoric Japanese and Celtic traditions, introducing a personalized synthesis of cross-cultural mythology that is also present in Ring: One with Nature. Mori uses live data taken from a neutrino physics laboratory in Japan to monitor the play of lights in Transcircle 1.1, achieving a startling, distinguished presence that echoes throughout her body of work.
Through integrating technological advances with an artistically spiritual vision, Mori achieves a rich spectacle in Ring: One with Nature and makes a profound statement about humanity’s potential for unity. Her sculpture is a reminder that mankind is capable of creating structures that are environmentally friendly, culturally unifying and profitable all at once. In context of Mori’s previous works, the sixth Olympic ring becomes a part of the artist’s overarching vision that places vital importance on human presence and agency in our global landscape. Her message is both simple and profound. It deeply resonates at this time, calling for unity between nations as well as between mankind and the earth.
August 10, 2016
Here is our list of top 5 exhibitions to see in London this August and how to spend culturally your time indoors if it rains (and we’re talking London here):
Ragnar Kjartansson at The Barbican
This is the first UK survey of the Icelandic artist Ragnar Kjartansson, internationally known for his multi-channel film installation “The Visitors” (2012), also present in the exhibition. The artist channels a “bad boy” image, while drinking beer, playing guitar and signing in Icelandic in the first piece in the Barbican show. Such notions as comedy, irony, and tragedy are all merged together in Kjartansson’s work. Both controversial and deeply amusing, Ragnar’s works sympathize every visitor.
On view at The Barbican through September 4. £12
Jake Wood-Evans at Unit London
Unit London, the young but well-established contemporary art gallery in Soho, presents its largest project to date, the first solo show of the UK-based artist Jake Wood-Evans titled Subjection& Discipline. Inspired by Old Masters’ paintings, the artist showcases a unique approach to canvas with figurative but rather unconventional technique. Get ready to be awed and mesmerized by Jake Wood-Evans’s unique style.
On view at Unit London August 19- September 11. FREE
Unseen at The Ben Uri Gallery
Unseen London, Paris, New York, 1930s-60s: Photographs by Wolfgang Suschitzky, Dorothy Bohm and Neil Libbert is a group exhibition bringing together such masters of photography as Wolfgang Suschitzky, Dorothy Bohm and Neil Libbert. The exhibition tends to present artistic responses to three great cities throughout three disturbing decades. The photographers try to present not only the greatness of the cities in a political and social arena, but also capture the beauty of them. If you’re into black-and-white photography this exhibition is not to be missed.
On view at The Ben Uri Gallery through August 27. FREE
Terence Donovan: Speed of Light at The Photographers’ Gallery
This is the first major retrospective of a well-known English photographer, Terence Donovan (1936-1996). Donovan was a pioneer in the new fashion, and later advertising and portrait photography in the post-war period. He was famous for capturing actors and well-known people in the scene. A mix of vintage prints is on view, together with previously unpublished works, artist’s cameras, sketches and diaries.
On view at The Photographers’ Gallery through September 25. FREE before 12pm; £3
Under The Same Sun: Art From Latin America Today at SLG Galleries & Fire Station
The exhibition, curated by Pablo León de la Barra, Guggenheim UBS MAP Curator, highlights the new acquisitions by the Guggenheim Museum of 15 contemporary Latin American artists. The show features 40 works with mediums including painting, installation, video, sculpture and photography. The exhibition strives to showcase the artists’ responses to contemporary realities influenced by colonial and modern histories, economic and social instabilities and regional economic developments.
On view at The South London Gallery through September 4. FREE
August 7, 2016
Bernardí Roig (Palma de Mallorca, 1965) is one of the most important exponents of the current Spanish art scene. I discovered his work in 2013, while visiting the Spanish National Sculpture Museum. Roig’s disturbing white men were placed among Renaissance and Baroque saints and virgins, surprising visitors with their unexpected presence. It was not the first time that the artist had shown his works among those in museums dedicated to other artistic periods. He has even exhibited them inside iconic religious buildings, such as the Cathedral of Burgos.
This enigmatic intrusion into one of my favourite museums was unforgettable. Therefore, I was very excited to encounter Roig’s works again this summer. In this case the location was Sala Alcalá 31, a very singular exhibition room in the heart of Madrid. This wide, vaulted space built in the 1930s, allows artists and curators to create very interesting and often bold displays. Its unconventional architectural structure, which resembles that of a church, has hosted memorable exhibitions. For instance, Brian Eno presented his 77 Million Paintings there in 2014.
In the case of Roig’s recent solo show, Mind Your Head [Cuidado con la cabeza], light was a crucial element. It created the perfect setting for the sculptures, installations, photographs, objects, videos, and drawings on show. All of them were made during the last two decades, and touched upon many aspects of Roig’s artistic vision.
The mysterious atmosphere of the rooms was striking. It was mainly due to the harsh lighting coming from the fluorescent tubes of some of the artworks. In addition, the building’s theatrical character and the overwhelming presence of white also contributed to create the impression of walking into a sinister alternative reality. Or a place taken from someone’s troubled imagination.
The first artwork that I encountered was ‘Fauno in love’. It introduced one of the main themes of the exhibition: the limits between human and animal. The idea of the metamorphosis is one of Roig’s recurrent themes, and he has explored it in many of his works. An example can be found in ‘Diana and Actaeon’, a twisted rendition of the classical myth featured in Ovid’s Metamorphoses.
One of my favorite pieces was an installation inspired by Thomas Bernhard’s short story Der Italiener. A life-sized sculpture of a dead ox hanging from the ceiling was its main component. In Roig’s interpretation of this subject, which Rembrandt depicted centuries ago, the animal’s insides are transformed into artificial light. Nearby, a tv monitor showing a clip from an 1971 experimental film based on Bernhard’s work completed the display.
Besides the spectacular installations, which definitely make an impression, I was particularly drawn to the series ‘POETS‘. In these drawings, Roig portrays different figures from the Spanish artistic sphere. They all appear dressed in the same austere white robe, with the word “poet” written on it. Their faces, barely recognisable, are distorted by the artist’s strokes. Last year, Galería Max Estrella exhibited the photographs that preceded this series within the framework of the PHotoEspaña festival.
As curator Fernando Castro Flórez pointed out, the exhibition Mind Your Head acted as a warning: be careful when entering your own mind, as what you see may be difficult to recount. After such an intense and unique experience, I cannot wait to submerge myself again into the fascinating visions that constitute Roig’s obsessions.
A virtual tour of Bernardí Roig’s exhibition Mind Your Head is available here. You have been warned!
August 3, 2016
“I am full of a sense of promise, like I often have, the feeling of always being at the beginning.” — Diane Arbus, July 1957
With more than 100 never-before-seen photographs, the Met Breuer’s Diane Arbus: In the Beginning explores the early work of a photographer considered by many to be one of the most influential and provocative artists of the 20th century. The exhibit focuses on the first seven years of the artist’s prolific career, from 1956 to 1962, the period in which she developed the idiosyncratic style for which she is now known. The majority of the photographs included in the exhibition are part of the museum’s vast Diane Arbus Archive, acquired in 2007 by gift and promised gift from the artist’s daughters, Doon Arbus and Amy Arbus. The works are intentionally presented neither in sequential nor thematic order, allowing the viewer to wander through the maze-like exhibit any way they choose. That is to say, with no beginning and no end.
Born to an affluent New York family in 1923, Diane Arbus was fascinated by photography even before she received her first professional camera in 1941 at the age of 18, a present from her husband, actor and photographer Allan Arbus. She photographed intermittently for the next 15 years while working with him as a stylist in their fashion photography company, which gained such notable clients as Vogue, Harper’s Bazaar, and Glamour. In 1956, however, she quit the commercial photography business, and began taking classes at the New School under photographer Lisette Model, the artist’s mentor and lifelong friend. That same year, Arbus numbered a roll of 35mm film #1, as if to claim to herself that this moment would be her definitive beginning.
In addition to Arbus’s photographs, also on view are works by her two biggest influencers, Lisette Model and portraitist August Sander, as well as some of Arbus’s contemporaries. The exhibit also presents photographs from the artist’s only portfolio, A box of ten photographs. Among these images are some of Arbus’s most iconic works, such as Identical Twins, Roselle, New Jersey, 1967; Jewish Giant, taken at Home with His Parents in the Bronx, New York, 1970; and A Young Man in Curlers at Home on West 20th Street, N.Y.C. 1966. Like so many artists, Arbus only achieved real fame after her death in 1971 at the age of 48 when she took her own life. She did exhibit in major venues during her lifetime, but even then, her work was often polarizing. Young Man in Curlers was notably spat on during a group exhibition at MoMA in 1967. A print of this work sold at auction in 2004 for $198,400.
In her work Arbus explores the fine line between fact and fiction, the candid and the posed, revealing something fundamental to human nature. We behave differently when we are being observed—we tend to perform for one another. In fact, many of Arbus’s subjects were performers, from “female impersonators” to circus acts and cartoon characters who straddle that oh-so familiar line between real and imaginary.
While reading the gallery copy of the exhibition catalogue, I happened to sit down next to Patricia Bosworth, journalist and author of a 1984 biography on Arbus. Mrs. Bosworth was having a lively conversation with her husband about the show. They lamented over a lack of “honesty” in the show, as well as the absence of her biography and Arthur Lubow’s recent biography in the museum’s pop-up bookstore, which only sells books published by Phaidon. As for the lack of “honesty,” I believe Mrs. Bosworth was referring to the fact that the museum glossed over some of the most interesting and controversial aspects of the artist’s life, from her open marriage and active libido to her lifelong struggle with clinical depression, details which both Lubow and Bosworth include in their biographies. It is no coincidence that Arbus quit commercial photography during the rise of counterculture in the 1950s and 60s–she documented this culture as much as she was a part of it.
Arbus once said “Something is ironic in the world and it has to do with the fact that what you intend never comes out like you intend it.” A photograph only represents a split second in time, but in these small moments Arbus was able to capture the humanity in her subjects in a way that many others cannot. You stand in front of them and they return your gaze, asking you to consider the reality of their lives. Whatever conclusions you may draw about these subjects or the intentions of the photographer, it does not take away from one simple truth. At least you know they exist.
Diane Arbus: In the Beginning is on view at the Met Breuer through November 27, 2016.