In: Things to know
April 11, 2017
Beginning in the 1940s, a group of painters who we now collectively refer to as The New York School (or Abstract Expressionism artists) broke away from conventional technique and subject matter to better express subjective emotional reality in their art practice. As the name suggest, these paintings were abstract and simultaneously expressed the maker’s inner state of mind and the universal truths of the human condition. Historically speaking, these artists were working in the wake of the Great Depression, experiencing the crisis and aftermath of World War II, and painting in the era of bebop jazz and the Beat poets.
Artists in New York during the mid-20th century were also exposed to the work of many Europeans who sought refuge in the United States during World War II, such as Salvador Dalí, and Max Ernst. The techniques used by these Surrealist artists, like automatic drawing and free improvisation, were an important component of the techniques adopted by Abstract Expressionists. The most widely known artists from this period, Jackson Pollock and Mark Rothko, embody the two elements that Abstract Expressionist painters chose to explore: gesture and fields of color.
Jackson Pollock used a radical technique consisting in dripping and splashing paint onto a canvas with sticks and the ends of brushes. His paintings are created through dynamic gestures, and the resulting images are highly expressive and dramatic. These pieces are considered the first entirely non-objective works in the history of art. The enormous scale of the images, the lack of subject matter, and the technique he used was shocking and innovative for its time.
This type of action painting is based predominantly on spontaneity, which gives the work a level of immediacy. Many other artists besides Pollock used action and gesture to convey vigorous energy. Instead of letting paint drip onto the canvas, artist Lee Krasner (who also happened to be Pollock’s wife) used traditional brushes but applied paint in a frenzied tangle of lines that seem to explode on the two-dimensional surface. While other gestural painters filled their canvases, Joan Mitchell often chose to leave passages of her works blank, letting her flurries of color have room to breath. Willem de Kooning, who along with Pollock came to embody the popular image of the macho -the hard-drinking archetype of Abstract Expressionism- never truly abandoned real subject matter; his famous Woman series is highly abstracted and violently gestural, but still rooted in reality.
In the other side of the spectrum, Mark Rothko’s work explores the emotionalism that can be conveyed through large-scale blocks of color. He was deeply interested in the type of meditative or contemplative response that the juxtaposition of color can elicit from the viewer. Rothko’s paintings usually consist in a couple of flat, large swaths of luminous color. Again, the vast scale of the works is crucial for their effectiveness.
The washes or layers of color are supposed to be seen at close proximity so that the viewer would be enveloped in the image. Being surrounded by those fields of color can be a sublime, quasi-religious experience that can only be achieved by pure abstraction.
As Mark Rothko once said, “We assert man’s absolute emotions. We don’t need props or legends. We create images whose realities are self evident. Free ourselves from memory, association, nostalgia, legend, myth. Instead of making cathedrals out of Christ, man or life, we make it out of ourselves, out of our own feelings.”
Other color field artists achieved a similar effect using different methods. Instead of working with conventional brushes, Helen Frankenthaler chose to create fields of color by pouring thinned paint directly onto the canvas, letting it pool in organic shapes.
Barnett Newman interrupted his large swaths of color with ‘zips’, or vertical bands that bisect his canvases, and Clyfford Still used thick impasto paint to juxtapose bright, jagged flashes of color. All of them created images that allow the eye to wander, offering the viewer the opportunity to stop and experience the myriad of feelings that these colors can arouse.
This group of artists shaped a watershed moment in American art. The breakthroughs made by Abstract Expressionist painters effectively shifted the focus of the art world from war-torn Europe to New York City.
March 19, 2017
It is no secret that music is often a selling point for art exhibitions. From the Museum of Modern Art’s 2015 blockbuster Björk retrospective to the recently closed ‘Stuart Davis: In Full Swing’ show at the Whitney Museum of American Art, which focused on the artist’s Jazz-like techniques; music and art just go together. It’s no wonder then that so many great musicians are also talented artists.
The late, great, thin white duke was known for for being a jack of all trades; musician, actor, publisher, avid art collector, and, of course, artist. Besides his impressive collection of Modern British art, which was unveiled during the massive three-part ‘Bowie/Collector’ auction recently held by Sotheby’s, Bowie was himself a gifted painter. Studying art and design since his days Bromley Technical High School, the South London native’s work reveals heavy influences from German Expressionism, from his use of primitivistic and esoteric symbols to his haunting self-portraits.
Another subject of a MoMA retrospective, Yoko Ono’s impact on art and music, regardless of your opinions on her, are undeniable (but seriously, she didn’t break up The Beatles). From her influence on her late husband, John Lennon, and the importance of their experimental albums’ for New Wave music, to her ongoing peace activism and solo music career, Yoko has deservedly left a mark on contemporary culture. Collaborating with Fluxus artists from the 1960s, the conceptual multimedia artist has done everything from text-driven instructions -such as her famous Painting to Be Stepped On (1960/61), which invites the audience to step on a piece of canvas on the floor-, to provocative performance art, acting as a pioneer for the medium. Check out an excerpt from Yoko’s iconic Cut Piece (1965) below.
Drawing inspiration from Japanese anime, manga, and comic artists, Claire Boucher, better known by her stage name Grimes, creates strikingly graphic paintings and drawings. Although the 28-year-old synth-pop singer is known for her experimental music -which channels influences from Marilyn Manson and Panda Bear to Yayoi Kusama and The Legend of Zelda-, she also creates all of her album art. In 2012, during the promotion her album Visions, a collection of Grimes’ drawings were featured in an exhibition at the Audio Visual Arts Gallery in Manhattan, where they were auctioned in support of “Sisters In Spirit,” an organization which raises awareness of violence against Aboriginal women.
December 15, 2016
Art installations are not a new concept in the art world. In the early 20th century, Marcel Duchamp set the roots for future artists to create site-specific pieces that made viewers redefine what they know. For instance, in the 1942 exhibition First Papers of Surrealism he hung several hundreds of feet of twine throughout the exhibition space, creating a weblike veil between that separated the viewer from the artworks hung on the walls.
Some critics claimed it symbolised the difficulties of trying to understand surrealist art, but Duchamp stated that there was no such intention, and that the focus of the piece was on its functionality. Duchamp, who was fascinated by how we look at art, challenged and changed the roll of the audience by creating obstacles within the space; he activated the viewer within the piece, which inspired other artists to explore how visitors could be part of an art installation.
Art lovers will always go to museums and galleries to see their favorite artists and pieces. However, many people still think that going to see art is usually a boring experience. Artists like Miguel Chevalier, Yayoi Kusama, Lucas Samaras, and many more are changing this with their installations. Today, immersive installations have become a huge attraction for people all over the world. For instance, more than two million people went to spend forty-five seconds in Yayoi Kusama’s “Infinity Mirror Room – Filled with the Brilliance of Life” during the two years it toured in Central and South America.
So what makes them so sought after? The answer to that is simple. As humans, we have an inherent desire to escape from the confines of our reality. Every form of art, be it literary or visual, could be an example of our escapism. If you’ve ever seen the infamous Disney movie, Mary Poppins, you would remember the scene in which Mary Poppins, Bert, Jane, and Michael all jump into the sidewalk chalk paintings. Immersive art embodies that fantastic ideal. It creates a physical alternative reality which allows the participant to transcend known perceptions of reality and experience a completely new and unknown environment. Gallery, museum, and art fair visitors are no longer viewers; they are activated within the piece and through interactaction, they become immersed.
Being surrounded by an installation is one thing, but what separates this genre from any other type of arti is what the artist does to activate the individual and make them completely engaged. In Lucas Samaras’s “Room No. 2” (1966), one walks into a space that is covered in mirrors. The room has concrete, finite limitations, but it is completely transformed into endless reflections, forcing the viewer to redefine their perceptions of space. Artist Yayoi Kusama, like Sumaras, uses mirrors to create her surreal installation “All the Eternal Love I Have for Pumpkins.” She inserts her well known, psychedelic pumpkins into the space and they, along with the participant, expand into an endless vision.
“Dear World…Yours, Cambridge” (2015), by Miguel Chevalier, is another example of an installation that challenges the perception of space. It took place in the historic King’s College Chapel in Cambridge, and was commissioned to commemorate some of Cambridge’s renowned alumni. Chevalier filled the chapel with projected images linked to specific alumni. For instance, he used images of vast galaxies and black holes to honor Stephen Hawkins. People walked into what they knew to be a chapel and were transported into a space that was an awe-inspiring visual experience. The manipulation of the known chapel created an aesthetic environment which reconstructed a different reality.
In 2012, Random International –a collaborative experimental studio based in London- created an immersive environment entitled “Rain Room”, where water is continually falling, like rain, but pauses over an individual as they walk through the space. It completely challenges the human experience of being caught in the rain, and that is what makes the installation immersive.
In 2015, Japanese art collective teamLab created an installation that was also based on people’s movement through the exhibition. In the piece, entitled “Floating Flower Garden”, 2,300 flowers hang from the ceiling and whimsically recess as individuals walked through. This surreal environment entices the participants’ senses and uses their bodies as the interface by having the environment react to them. Such unrealistic physically experiences make visitors respond in new ways before an artwork and, in a way, their reaction becomes the actual piece of art.
It may be fair to say that the popularity of these immersive installations stems from the idea that, though we don’t know what to completely expect, we know that we will be experiencing something completely different from any other aspect of our life. Our perceptions are challenged in ways that create emotions of wonder and awe; we are thrown into an abstract reality like Mary Poppins jumping into a chalk painting.
November 16, 2016
In 2010, the Museum of Modern Art hosted a major exhibition of performance art, which included live performances taking place daily in the rooms of the museum. I am talking about The Artist is Present, a retrospective of the work of the self-proclaimed “grandmother of performance art”, Marina Abramović, which attracted thousands of visitors (700.000 according to The New Yorker).
The presence of performance in leading institutions such as the MoMA has definitely contributed to its acceptance into the mainstream during the last few decades. However, some people still question why performing in front of an audience can be considered art, and not drama/theatre. Abramović herself gave her opinion on this matter in an interview while promoting her MoMA show, stating that “To be a performance artist, you have to hate theatre. Theatre is fake: there is a black box, you pay for a ticket, and you sit in the dark and see somebody playing somebody else’s life. The knife is not real, the blood is not real, and the emotions are not real. Performance is just the opposite: the knife is real, the blood is real, and the emotions are real. It’s a very different concept. It’s about true reality.”
I am sure many actors –and perhaps some artists as well- would have many counterarguments to Abramović’s words, but her assertiveness shows that the performance vs. acting debate is still alive. The lines separating performance art and drama are certainly blurry, and that is not necessarily a bad thing, especially in a world where everything seems to be more and more interconnected. So instead of focusing on trying to define what performance is against other disciplines, I think it is much more interesting to examine here why its irruption in the world of visual arts has been so important for the development of contemporary culture.
The beginnings of performance art can be dated back at least to the early twentieth century, and particularly to the Dada movement. Dadaists defied conventional definitions of art by mixing poetry, music and visual arts in unconventional performances that took place in alternative spaces such as the famous Cabaret Voltaire in Zürich.
Between the 1940s and the early 1960s, a series of artistic actions (often derived from “action painting”), interactive installations, and performative events organised by artists such as Yves Klein and groups like Gutai, anticipated some of the characteristics of what was to be labelled “Performance Art” from the 1960s onward.
The Japanese group Gutai was one of the first to take exhibitions and artistic actions outside the traditional spaces of the museum and the gallery. They organised many outdoor events, like the 1956 Outdoor Gutai Art Exhibition (Ashiya, Japan), where visitors were invited to take part in the artworks. The idea of opening up art to the participation of the public was also at the heart of Allan Kaprow’s happenings, in which art became a collective experience.
This new role of the public -who is no longer contemplative and passive as in traditional art exhibitions- that comes with performance art, disrupts the conventional relationship between the viewers and the artworks, and generates new dynamics between the viewers and the artists. Because, as the title of Abramović’s exhibition points out, one of the most important characteristics of performance is that the artist is present. In performance art, the body of the artist is the medium, and it becomes an incredibly powerful tool to express different narratives and ideas.
In opposition to an inert painting or sculpture, the presence of the very alive body of the artist means that art stops being a safe experience for the viewer, given the unpredictability of the situation. With performance, art invaded the “real world”, the here and now. Some artists have put the public in particularly difficult positions by putting themselves in danger in front of an audience. Abramović, Joseph Beuys, and Chris Burden are some of the most prominent examples. The latter is known for his 1971 piece Shoot, in which he was shot in the arm by a friend in front of a small audience.
In the 1970s, performance was already a quite established artistic practice, with Fluxus –an international, heterogeneous conglomeration of artists, designers, composers, dancers and other professionals that shaped a highly experimental artistic community- as one of its most important representatives.
Why was performance such a success at the time? One of the main reasons was the rise, particularly in the United States, of a series of social and political movements that demanded civil and social rights, equality, and justice. In such a politicised environment, many artists used performance as a means to address the concerns behind different social groups and communities. For instance, some of the most well-known performances from this period are linked to the rise of feminism and the Feminist art movement. This is the case of Carolee Schneemann’s Interior Scroll (1975), which culminated with the artist extracting a paper scroll from her vagina while reading from it.
These are just a few of the many artists and actions that contributed to the early developments of performance as an art form. It would be impossible to cite them all here, but the changes they introduced during the second half of the twentieth century -the organisation of artistic actions outside traditional spaces, the increasingly active role of the publics, and, most importantly, the use of the artist’s body as a medium- are essential in order to understand our current artistic context.
November 14, 2016
Abstract Expressionism was a movement dominated by male artists, talked about by male critics, with a discourse that emphasized ‘male’ attributes like scale, power, and dramatic gesture. This stereotype has been mythologized over the past half-century, but we cannot discount the many female Abstract Expressionist who were also part of this movement. These women were not taken as seriously as their male counterparts, even though they were creating, selling, and being written about at the same time as the men in the movement. This lack of recognition was due to the sexist nature of the art world in the 1940s and 1950s. Most of these women were written off as female painters rather than artists in their own right. Most of their work wasn’t even acknowledged until after their deaths. Only since feminist art history, recent scholarship, and a groundbreaking show at the Denver Art Museum in Colorado this year, have these women resurfaced in our art historical consciousness. Their work is as expressive, powerful, and emotional as their male contemporaries. The following four women are just a few of the many talented artists created Abstract Expressionist artwork during this time period.
Born and raised in Manhattan, Helen Frankenthaler studied at Bennington College in Vermont where she grew familiar with Old Master painting and techniques of Cubism. Afterward, she returned to New York to study with Hans Hofmann, and began painting with an entirely new technique. She would dilute her oil paints so that they would soak into the canvas rather than collecting on the surface; she called this her “soak-stain” method. She would then pour her thinned paint onto a canvas stretched out on the ground. Though she is often categorized as a color field Abstract Expressionist, her work bridges the gap between color field and gesture painting.
Born in Brooklyn, New York, Lee Krasner studied at Cooper Union and the National Academy of Design. She also studied with Hans Hofmann who once declared that one of her paintings was “so good you would not believe it was done by a woman.” Her work is quite rhythmical, with strong gestural brushstrokes, and thick texture. Her work is strongly influenced by the Parisian Avant-Garde and Surrealism, but ultimately she creates very abstract images grounded in reality. Her achievements were almost entirely eclipsed by her husband Jackson Pollock, until after both of their deaths. In a 1972 interview, Krasner said, “I think even today it’s difficult for people to see me, or to speak to me, or observe my work, and not connect it with Pollock.”
Alma Thomas began her professional painting career a lot later than one might imagine. Born in the Georgia, Thomas studied fine art at Howard University and was an art teacher for 35 years in Washington D.C. before she dedicated herself solely to painting. Thomas’s style expanded on Abstract Expressionism by creating patterns of color, shape, and line. Not only did she have to seek recognition during a movement that was dominated by white men, but she had to overcome the stigma of being of an older generation, being a person of color, and being female. Her images are simultaneously loosely painted and meticulously formulated swatches of color that sprawl over the canvas. The most recent retrospective of her work is closing at the Studio Museum in Harlem on October 30th.
Elaine De Kooning
Similar to Lee Krasner, Elaine De Kooning was outshone by her painter husband Willem De Kooning for most of her professional life. As a fine arts student at the Leonardo Da Vinci Art School in New York, she took drawing classes from De Kooning, who would quickly bring her into his social circle of Abstract Expressionist painters. Elaine De Kooning’s own work was heavily influenced by Cubism and abstract art. Her images are composed through rapid brushstrokes, wild color, and dynamic intensity of emotion. She also worked as an art critic and editorial associate for ArtNews for a period of time. She was also influenced by the American southwest, during her time as a professor at the University of New Mexico. Her most high profile work as commissioned in 1962, she was asked to paint a portrait of President John F. Kennedy for a presidential library.
October 14, 2016
This not-at-all-comprehensive list includes some of the most exciting representatives of the contemporary Spanish art scene. Despite belonging to a generation of highly qualified Spaniards that do not have many chances of succeeding in their home country, these young creators have already caught the eye of critics, curators and the public. Scroll down to discover their work.
The work of Mercedes Pimiento (Sevilla, 1990) revolves around architectural structures and materials, particularly those that go to waste. She puts the emphasis on the ruins of the capitalist “monuments” of the 21st century by creating her own anti-monuments, small in scale and often made of fragile materials such as soap. In a country full of unnecessary and abandoned megalithic buildings -the result of decades of property speculation- Pimiento’s work make us think about the precariousness of our current sociopolitical system.
Miguel Laino (Huelva, 1980) studied fashion at Central St Martins in London and worked with renowned designers such as Alexander McQueen and Vivienne Westwood. However, after seeing a Georg Baselitz retrospective in 2008, he decided to commit himself to being a painter. He usually reinterprets images from online and print media that he finds compelling, in a process that involves the subconscious more than the conceptual. His piece “Didier” was chosen by Chantal Joffe as the winner of the recent Painted Faces Showdown in Saatchi Art and exhibited at The Griffin Gallery, London.
Guillermo Mora (Alcalá de Henares, 1980) is currently a resident at ISCP, New York. He often uses paint as his artistic medium, but in original and unconventional ways. Some of his most characteristic works consist on layering great amounts of acrylic and vinyl paint that he later folds and piles up to form sculptural blocks. His recent work looks at the forgotten histories of painting and specifically at ideas about acts of concealment, overlapping and disappearance. The motto “add, subtract, multiply and divide” guides his artistic process.
Almudena Lobera (Madrid, 1984) works in a variety of mediums and formats, including sculpture, performance and installation. Drawing is also essential to her work, which aims to show alternative models for the configuration of the visible, delving deeply into the notion that the image is not always visible or accessible in nature. The work pictured above, “The Proof”, was part of her exhibition A latent revelation, hosted by Galería Max Estrella (Madrid) earlier this year. She is currently based in Ghent, Belgium.
Through his collages, installations, and other ‘rarities’ –as he calls them— Julio Falagan (Valladolid, 1979) seeks to dignify the banal and the obsolete. His works lead us to think about social constructions and their fissures by putting dogmas into question. I find particularly interesting how he recycles old paintings found in street markets. He modifies them in different ways, often by cutting them into pieces to compose new works with their fragments, other times by leaving his own mark on them to add new layers of meaning.
Cristina Garrido (Madrid, 1986) investigates the value that is assigned to objects, and particularly to those objects classified as art. Through common and repetitive gestures, such as picking up, collecting, and archiving, she studies the circulation of artistic objects in the art market and examines curatorial practices. In her 2015 award-winning installation “#JWIITMTESDSA? (Just what is it that makes today´s exhibitions so different, so appealing?)”, for instance, she proposed a critical reflection on the success of contemporary art exhibitions.
Mythology, symbolism and art history are usually present in the work of Marina Vargas (Granada, 1980). She mainly uses traditional media such as painting, sculpture, and especially drawing, but she has managed to create a very distinct and personal language that has an enormous power over the viewer. In the past few years she has explored the idea of destroying and questioning the classical canon. An image that keeps appearing in her projects is that of the inverted pieta.
Watching the animations created by Blanca Gracia (Madrid, 1989) is almost an immersive experience. They lead the viewer into and exotic world populated with noble contemporary savages that provide an evasion from our current reality. These animations originate from Gracia’s incredibly imaginative drawings and paintings, where she merges wild anthropology theories, explorers from pseudo-fictitious worlds and lunatic expeditions, all with a flavour of our contemporary world.
Gonzalo Borondo (Valladolid, 1989), known simply as Borondo, is a street artist based in London whose large-size and very expressive murals cover the walls of buildings all over the world. However, some of his most characteristic work is made on glass, which he covers with white paint that is scraped and scratched from the inside of neglected windows to reveal haunting images. The human figure, and particularly the naked body, is at the centre of his artistic vision, which take its influence from the great Spanish master, Francisco de Goya.
Saelia Aparicio (Ávila, 1982) studied sculpture at the Royal College of Art in London. Her recent work establishes analogies between corporeal and social mechanisms, delving into different ideas of the organic to create artificial microcosms that tell us something about our own reality. To achieve this, she uses a multiplicity of materials and processes, always with a poetic approach in mind. In one of her most recent projects, Epidermal Speleology, she explores the concept of ‘abjection’.
I met Touria El Glaoui during the opening of 1:54 art fair this October. Already familiar with Touria’s tremendous success in not only establishing the fair four years ago, but also expanding to New York only two years after the inauguration, I was intrigued to meet her.
Elegant in her long silky dress with a stylish, and warm for English weather, cardigan, Touria made you feel 1:54 was not simply an art fair, but a home. The amiable, pleasant atmosphere of the Somerset House, which you don’t typically find in a large-scale art fair, made me feel like a guest to a home party, rather than a stranger in a museum. There was no sense of pretensiosness.
While we were sipping hot morning coffee and treating ourselves with a warm butter croissant, Touria shared how she built the brand, or better say the platform for contemporary African artists, and what it took to get 1:54 to the level of today.
You earned your MBA in Strategic Management and have an impressive background working both in banking and IT industries. What made you decide to turn to the art one?
I grew up in Morocco in the house of an artist – my father, Hassan El Galoui – and he was the person who gave me my artistic education. For this reason, art – particularly African art – has always been a part of my life. Much later on – in fact, during my career in the IT industry – I was travelling extensively around Africa and the Middle East, and this is when I fully realised how absent African and African diaspora artists were from the international markets in Europe and the US. Having the seen the incredible work being made on the continent, I decided it was time to the bridge the gap and create a platform.
How did you personal background (your farther is a famous artist) influence you throughout your career?
Many of my earliest memories are of my father’s studio with its incredible smell of oil paint. I would spend hours watching him transform his canvases, and the life of an artist became my daily norm. Because of this, my approach to running 1:54 has always been centred on the artist and on maintaining the integrity of the work. I have also organised and co-curated a number of my father’s exhibitions, and have also been working on the catalogue raisonné of his life’s work, and these experiences have certainly shown me much about the realities of being an artist working on the continent verses in Europe and America.
How did the idea for 1:54 come about? What challenges did you face/still facing?
When I established 1:54 back in 2013, the biggest challenge was finding both the interest and the support. This underpinned much of my decision to launch in London. In 2011 I could already see evidence of a growing interest in African and African diaspora art – for example with the Tate launching its two-year African art programme. I will never forget the incredible backing that I received in that first year, yet every year we continue to face the financial challenge of making the fair happen. We are incredible grateful this year to our main sponsor, Floreat, as well as to Christie’s education and the Arts Council England who have both sponsored this year’s FORUM.
Are you planning on expanding the fair to other locations? What’s the importance of having the fair now in both London and NY?
As I said, London was the most obvious ‘home’ for 1:54 for a few reasons, its internationality being one. Once London was up and running, we began to toy with the idea of New York, and began to see that our galleries and collectors were keen to make the move. We first launched as a pop-up edition, in May 2014, but returned again this year to enjoy our second edition. The two fairs are actually quite different due both to the buildings they are housed in as well as the different audiences they attract, and so the importance of having both editions is to widen the diversity and outreach of the fair. It’s very exciting for us when collectors are able to visit both.
Who’s your favourite artist?
This is always such a difficult question! I can never choose and it would be unfair for me to do so. All the artists and galleries that we welcome to each new edition brings something unique to 1:54 and my greatest hope is always that our visitors will explore and appreciate this diversity, and appreciate each artist in their own right.
6. Tell us what is new in this year’s edition of 1:54 art fair.
I am particularly excited about our incredible line up of Special Projects joining us this year. We have 10 in total, and each one is incredibly unique and will add a whole new element to the fair. Zac Ové’s installation, for example, will extend the fair into the Edmond J. Safra Fountain Court for the first time ever; Ifeanyi Oganwu’s lounge design – created in collaboration with Phoebe Boswell – and Barthélémy Toguo’s Mobile Cafeteria will introduce vibrant, interactive spaces; and we will also be extending out over the airwaves with a live three-day broadcast by a new music-radio platform, Worldwide FM. Of course the Malick Sidibé exhibition – created in collaboration with Somerset House and MAGNIN-A – is also incredible exciting. We are thrilled to have the opportunity to showcase such an influential African photographer, and to be able to extend the exhibition past the four days of the fair, throughout Somerset House’s winter season.
Who are the artists to watch at 1:54 this year in London?
I want to draw attention to the fact that this year we are delighted to be welcoming 16 Africa-based galleries, of which 6 are from North Africa. Many of these are joining us in London for the first time, including Village Unhu from Harare, Zimbabwe; Mashrabia Gallery of Contemporary Art from Cairo, Egypt; and L’Atelier 21 from Casablanca, Morocco.
What are your future plans for the fair and beyond?
1:54 is constantly evolving, this year we welcome an incredible 40 exhibitors with over 130 artists exhibiting with us this year. Despite this, we want our ethos to stay the same: to create a platform for African and African diaspora artists in the international art market while putting the artist first. In terms of expanding further afield, we first want to ensure that our London and New York editions are as good as they can be.
October 5, 2016
Autumn. The season of cooler weather, multicolored leaves, long strolls in the Heath and marrons glacés, the time when we all start reminiscing about our summer fun and get ready for winter. However, the fall season is not only warmer clothes and hot chocolate, but also the time for major art happenings around the world.
Autumn, and especially October, is the time to follow new fashion trends at fashion weeks in the major cities, and to enjoy weeks of art. The Old World’s art capital – London – started long ago to prepare for the first week of October, aka the busiest and most stressful time in the art world.
The annual arrival of Frieze – the art fair opening in Regent’s Park October 6-8th – and it’s daughter Frieze Masters trigger parallel art happenings, such as the most important contemporary art evening auctions, art festivals, art shows and a myriad of talks and events throughout the capital, in order to benefit from the arrival of the art world’s mighty and try to get a piece of that juicy cake.
Find below a list of TOP artsy things to do this October in London and, believe me, you will want to be one to visit them:
Arguably the most well-known art fair today, though not the most visited one (according to the annual report by ArtVista) Frieze opens for the 13th time this October at Regent’s Park.
Note-by: if you feel unsure about spending 60 pounds on combined ticket to both Frieze&Frieze Masters, make sure to stroll in Regent’s Park – Frieze Sculpture Park is free for all and this year features canonical artists such as Jean Dubuffet, Ed Herring, and Lynn Chadwick just to name a few. The Sculpture Park will be on view for you to visit until January 8th, 2017.
The fair of contemporary African Art, 1:54 will return for the forth time to Somerset House this October. Representing over 50 African countries, 1:54 breaks the traditional approaches to art fairs and delivers a must-see program. The largest edition yet, the fair takes over the whole Somerset House this October and showcases 40 galleries.
Note-by: stop by the open-air installation by Zak Ove at the Somerset House’s courtyard, as well as by the unmissable exhibition of the exceptional Malick Sidibé (Malian photographer) – the exhibition will be on view for you to see up until January 15th, 2017.
Presumably you heard of the name Pollock. Or you heard that one of his paintings titled No 5 (1948) is one of the most expensive paintings in history and was sold for $165.4 million at an auction. Or maybe you didn’t. But the fact is that this exhibition is the first major retrospective of the Abstract Expressionist art movement in the UK in 70 years. Think abstraction, color fields and visual travel. You ought to see it.
Note-by: The most interesting part is the inclusion of not only famous names like Pollock and Rothko in the exhibition, but also of other artists who contributed to the movement.
This must-see exhibition presents just how talented Picasso was. The show will display portraits created during every stage of the artist’s career and will showcase famous masterpieces, as well never seen before works from private collections.
Note-by: the granddaughter of the artist, Diana Widmaier-Picasso, will be in conversation with the director of the National Portrait Gallery, Dr Nicholas Cullinan, on the 6th of October at 7pm, giving her views on Picasso’s portraiture.
Another must-visit show in London focuses on Caravaggio. It is important to note, though, that the primary accent will be given to the influence that the artist had on his contemporaries by showcasing the works of lesser-known artists of the time. So-called Caravaggism will be explored throughout the exhibition and bring together works by Caravaggio and his European followers.
Note-by: The National Gallery created a series of events and talks to introduce visitors to the Caravagesque style and to Caravaggio himself throughout the month of October. If you are a fan of Baroque art, or just a curious soul, make sure to check some of them out.
September 19, 2016
In the decades after the death of George Balanchine (1904-1983), the most prominent and influential choreographer in America during the 20th-century, many in the ballet world did not think that any new choreographers would live up to his creative legacy. Nevertheless, in the new millennia many young choreographers have created new, ground-breaking ballets. The five listed below are a few examples of choreographers who seamlessly integrate the classical language of ballet with modernist aesthetics, while creating fresh and exciting performances for audiences to enjoy. Also, these choreographers often take inspiration from the visual art world, making ballet a much more dynamic art form.
Justin Peck, a soloist with the New York City Ballet, has become one of the most sought after choreographers in the ballet world. After being appointed resident choreographer of the New York City Ballet back in 2014, he has produced work for the Pacific Northwest Ballet, the Paris Opera Ballet, and the Miami City Ballet. He has also been featured in the Guggenheim Museum’s Works & Process program. His ballets are positively explosive. The dancers move faster than one might expect, and his work is very musically driven, meaning that almost every musical phrase of the score has a movement accompanying it. He is quite a collaborative choreographer who reaches outside the bubble of the dance world for inspiration. His most recent ballet, In the Countenance of Kings, is set to music composed by Sufjan Stevens, and the set for his piece Heatscape was designed by street artist Shepard Fairey, with the promotional material shot at Miami’s Wynwood Walls. He was the subject of the documentary Ballet 422, which revolves around the creation of his third ballet for the New York City Ballet, from its inception to the opening night.
Annabelle Lopez Ochoa
Half-Colombian and half-Belgian, Annabelle Lopez Ochoa trained at the Royal Ballet Academy in Antwerp, Belgium, and performed with a wide variety of European ballet and modern dance companies before working as a choreographer. She has been praised as “the rising star of the Dutch dance scene” by the Dutch press. Her pieces integrate the energy of modern dance in the classical vocabulary of ballet. They can be quite languid, with moments that move between stillness and quick, animated movement. Some of her most recent work has been very athletic, challenging dancers with complicated lifts and floor-work, like in her piece Before After. She has also created works for the musical theatre, for opera productions, and for fashion events. In the United States, her ballet Mammatus premiered at the Joffrey Ballet in 2015, and she is presenting a piece at the New York City Ballet this fall.
As the former artistic director of the Bolshoi Ballet and current resident choreographer at the American Ballet Theatre, Alexei Ratmansky‘s name has become synonymous for innovation. He has staged his own versions of classic 19th-century story ballets like Sleeping Beauty, The Nutcracker, Don Quixote, The Firebird, and Swan Lake, updating them to make them even more appealing to a contemporary audience. Simultaneously, he is creating entirely new ballets like his Shostakovich Trilogy for the American Ballet Theatre, and has taken inspiration from Wassily Kandinsky’s paintings for the set and costumes of his most recent piece for the New York City Ballet, Pictures at an Exhibition. Ratmansky’s new ballets are usually set to complex pieces of music, which match the intensity and dramatic movement that is so characteristic of his work.
British choreographer David Dawson trained at the Royal Ballet School and danced professionally with the Birmingham Royal Ballet and the Dutch National Ballet. His piece A Million Kisses to My Skin, set to Bach’s Concerto No. 1 in D Minor, is an exuberant ballet with swooping asymmetrical, expansive movements. The Nature of Daylight is a powerfully captivating work about seeking and missing true love, which he conveys through a rapturous pas de deux and a dramatic score by Max Richter. Though the two ballets have very different moods, they are equally athletic, with complicated lift sequences that transition into extensive synchronized passages.
No discussion of contemporary ballet would be complete without mentioning Christopher Wheeldon. The artistic director of the New York City Ballet appointed Wheeldon as the company’s inaugural choreographer in residence in 2001. Wheeldon had trained at the Royal Ballet School in London and performed with the Royal Ballet before moving to New York to be a soloist. Once there, with former principal dancer Wendy Whelan as his muse, he created the ballets Polyphonia, Within the Golden Hour, and After the Rain. Working once again with the Royal Ballet, he produced two full-length ballets –Alice’s Adventures in Wonderland and The Winter’s Tale- and the one-act piece Strapless, based on the story behind John Singer Sargent’s painting Madam X. He has been credited with bringing ballet into the mainstream with his Tony Award-winning choreography of the Broadway musical An American in Paris.