Vanessa Lam is an emerging contemporary abstract artist based in Canada. Working with mixed media painting, Vanessa explores the relationship between unconscious, form, and space. The artist loosely uses paint to create spontaneous brushstrokes, maintaining a balance between chance and control. Expressive nature of Vanessa’s work establishes a contrast between the placement of paint and collage elements found in her work.
Recently, Vanessa won the 8th Annual BOMBAY SAPPHIRE Artisan Series award and decided to collaborate with ARTSY, the global art platform, and Bombay Sapphire to create a new public exhibition in New York City.
I spoke with Vanessa about her journey up until now, ‘There Is Another Sky’ exhibition and her future artistic aspirations.
Hi, Vanessa! Before we dive into a discussion about your new show in New York, tell me about when was the first time you realized you want to be an artist.
I always liked drawing when I was young. Pencil and paper were all that I needed to start expressing my ideas. I had taken some classes during university, but it wasn’t until over a decade later that I reconnected to art again after taking a mixed media course at Emily Carr University Art & Design. Taking this course was the turning point for me to continue exploring art. I was curious to uncover my potential. After a few more classes at Emily Carr, I decided to give myself a five-year window to pursue a fine-art practice and see where it takes me. It’s been about five years now.
What was your journey up until now?
I worked as a healthcare professional for over a decade and continue to juggle my day job with making art. I took over a small spare room in my home and painted mostly at night after work. One of my instructors became my mentor. Although I began finding other artists to connect with to build my community slowly, I still didn’t know many people in the local art world and became my teacher for the most part. For the first few years, I read a lot of books, tried to make as much work as I could and submitted work to any exhibition opportunity that presented itself. During this time, I was working very hard, but soon I found that I took on too many projects and I burnt myself out.
It was at this time that I happened to move into my current studio space. It’s a shared, open studio space in an industrial area and it turned out that it was the change that I needed. I not only had more space to grow and experiment but I had the chance to physically connect with artists from a variety of other disciplines on a regular basis. I took a break from exhibitions to enjoy my new studio space. During this time, I created work without any deadlines and pushed exploring both collage and painting.
Then, I began looking into residencies and was offered a month-long residency in Berlin last year. It was my first residency and my first time in Berlin. The combination of being in a new city and having a dedicated month to develop new ideas was extraordinary. It gave me exposure to international artists and different perspectives which helped raise my confidence in the work that I was doing. The ideas generated from this residency led to some of the new work that is in the upcoming show in New York.
I noticed color takes the main stage in your work. What inspires you?
This new body of work is a culmination of my experiences and observations translated into color and form. I take notice of textures, shapes, and colors around me, particularly ordinary objects, like a piece of rusted metal that I have walked by on the roadside. Whether I’m in the city, traveling or in the mountains, I pull from all these experiences and feelings. My process is very intuitive in how I apply paint as well as color choice.
I wouldn’t say that color is my primary focus, but it’s more the feeling I get from seeing a specific intensity or combination of colors together within the context of where I first observe it. It could be one of many jumping off points that leads to trying a new color palette. Color doesn’t often come naturally to me, so I think that is why I look for ways to experiment in this area. Overall, I’m trying to find new ways of doing things, and it’s those unexpected outcomes of those experiments that keep me motivated.
‘THERE IS ANOTHER SKY’ EXHIBITION
Tell me about your upcoming collaboration with Artsy and Bombay Sapphire.
This year I began regularly connecting with Artsy to discuss ideas for the exhibition and venue. I had only seen photos of the site, so it was a challenge to create work for a space that I had never set foot in before. I chose to create a lot of the new work on canvas given the logistics of shipping. These pieces have a lot of loose forms through the staining and pooling of paint but also contrast against more drawing and solid, hard-edged shapes. Throughout my meetings with Artsy, I was encouraged to use the opportunity to stretch myself artistically.
Some of the pieces are the largest I have ever made, one of which is an 11.5’ foot long painting. Working on this large of a scale forced me to change my process. It was a very physical process, and I immersed myself into the canvas so I can reach all the areas to paint. Also, I wanted to somehow shift painting into the three-dimensional space. The concept came from some cut-outs of paintings on canvas that I made during my residency in Berlin. I had also been experimenting with paint skins but found that it would be hard to maneuver on a large scale without some support.
This installation incorporates draped canvas which plays on the idea of dried paint skins. Layering together these shapes brings in my interest in collage and shape-making. I created another four large paintings on canvas which will be layered together over wooden frame support to create a sculptural form. I have learned so much in creating and coordinating the work for this show.
‘There Is Another Sky’ will create an immersive experience for audiences. What’s the key idea of the show?
The title of the show is from the first line of a poem by Emily Dickinson. She refers to the existence of new sky that belongs to another mysterious place which behaves and feels differently from the world that we physically see and know. The invitation to enter the garden implies a message to her brother to read her poetry and enter the world she has created.
My work makes reference to space much like the expanse of the sky, and use of ambiguous forms in space is suggestive of another “realm”. There is also an invitation to experience “entering into” the art and as well as move amongst the works in the exhibition ranging from sculpture to collage and painting. The sculptural piece was a key component in the space where I’m releasing the layers of a “painting” from the usual confines of two-dimensional rectangular structure.
ARTIST AS ENTREPRENEUR
Do you think nowadays artists need to become entrepreneurs to build and manage their brand?
I do believe it is vital for artists to be entrepreneurs. The definition of what an artist can be is so varied which offers more freedom but also can make it hard to know what direction to take. My understanding of a personal brand is that it is an extension of who you are, and generally, it’s the what and how you want to present to others. For me, I’m still figuring things out and is an ongoing process. But what I do know is that people are interested in knowing the story behind your work, who you are as a person, and the influences in your life. How I share my story is through social media, mostly Instagram.
I’m trying to find ways to connect with others, and hopefully, it will resonate with them. I recently did an Instagram takeover with Create Magazine which made me think carefully about what kind of impression I wanted to leave with people. I wanted it to feel polished, like the work I create, be reflective of my style and be authentic. The projects that I choose to take on also contribute to who I am and where I would like to go with my art practice. Everything I do has some element of risk as I don’t always know what the response will be.
I still need to try and take these risks so I can grow as an artist.
What’s next for you after ‘There Is Another Sky’?
I have some possible commissions coming up, but mostly I want to expand on some of the ideas that I created from this show as well as continue to experiment with collage and different painting techniques.
LEARN MORE ABOUT VANESSA LAM’S WORK ON HER WEBSITE
168 BOWERY, NEW YORK, NY
Louise O’Kelly found Block Universe London, the performance art festival, four years ago.
Coming from the art background, Louise discovered her interest towards performance art while working in a gallery that represented the estates of many performance artists from the 60’s and 70’s. She then continued to study Contemporary Art Theory at Goldsmiths and focused her research on performance and memory studies.
We talked about how Louise came up with the idea for Block Universe, how she accepted the challenges, backed the venture and became a successful female entrepreneur in the art industry.
ABOUT BLOCK UNIVERSE
Hi, Louise! It’s so nice to meet you. Tell me about how you came up with an idea for Block Universe.
Hi, Daria! Block Universe was born out of a desire to support artists who work with performance and to create a platform to promote this medium. As someone who loved going to see this type of work, I was conscious that it was primarily being programmed in galleries and museums as either a form of entertainment at the opening of an exhibition, or as part of the public programme in response to the main show. Rarely, if ever, it was being given space in its own right. I felt it was important that this new generation of artists working with the performance was acknowledged and that space was created where performance was the focus, even if that was just for one week in the year.
How did you back your idea?
We still work with very tight budgets, but the first year was on a complete shoestring. We put in a successful bid to Arts Council England and called in as many favors as we could to make it all happen. I and two friends – Nicky van Breugel and Xica Aires – put in many late nights to pull it together. I knew that many artists received little or no pay for their performances and that they were often under-resourced, so my goal was to ensure that the artists were fairly paid and received appropriate support. To supplement what we had already raised, we launched a Kickstarter campaign to secure fees and costs towards the productions.
Why performance art?
To me, artists working with performance are making some of the most exciting work in the contemporary art field today. I see a new generation of artists creating work that is genuinely interdisciplinary and approaches live experience from a different perspective than previous generations of performance artists.
Having that element of live bodies moving, speaking, feeling, and sharing the same space as you create an intangible quality and an immediacy that I find compelling.
How do you find new artists?
I spend a lot of time researching, seeing shows and getting to know an artist’s practice as well as following recommendations. The internet is, of course, an incredibly useful tool, but doesn’t compare with seeing something live. There is no submission process, the selection of artist is lead instead by mine and my colleague’s research.
Why did you decide to have a pop-up structure, rather than a specific location?
I feel it’s important to look at the different contexts in which performance is presented and experienced, and how this alters audience expectations or adds another layer to the conception of the work. That shift between a white cube to a black box, a historical museum or space, which is none of those things, becomes a useful tool to think about where performance sits within traditional gallery models in the visual arts world, or how it operates within traditional theatre confines.
What was the theme for this year’s fourth edition?
The theme this year is looking at ways of being together in the world, whether that is on a communal or societal level, or in our intimate, personal relationships. It felt necessary to think about how we can exist together in an era of very divisive and discriminatory politics in the UK, including the looming specter of Brexit. On a one-to-one basis, these power structures play out in our relationships also, so many of the works in the festival this year also look at the politics of love and sex. For example, on the 31st May at Senate House, we have Australian artist Giselle Stanborough looking at the techno-capitalization of our love lives in a 4-hour durational lecture-performance that is kind of like a tongue-in-cheek, ramped up version of a TED talk.
What have you learned since the first edition of Block Universe?
So, so much. We all just threw ourselves into it, and I can see how passion and determination make so much in the world possible if you believe in what you’re doing.
ABOUT BEING AN ENTREPRENEUR IN THE ARTS
What do you think are new trends in the arts startup/entrepreneurial hub?
I think there is a lot of potential to look at ways of engaging with time-based work using new media, such as video and digital works. Suitable examples of re-thinking how we experience these or how one collects these type of works are organizations such as Opening Times or Daata Editions. There is indeed plenty of potential for disrupting current models of buying and selling artworks online, although so much of the art world is based on relationships that it may require generational shifts for that to evolve in the long-term.
Do you think it’s harder to find financing for a startup in the art world, rather than in any other industry?
I do think it’s a real challenge. Philanthropy for the arts does not exist in the same way in the UK as it does in the US. Government funding to the arts is continually cut, even though it provides a very significant return on investment to the economy. As a performance festival, we can offer a ‘return on investment’ regarding experience, but not necessarily a monetary one in the same way an investor would hope for from a tech startup.
Is there a high potential then for disruption by new entrepreneurial ideas in the art market?
Having contributed something new to London’s cultural landscape, it made me realize that there is still plenty of space to introduce new ideas and ways of operating within London and the art world more widely. I feel that it’s a space that welcomes innovation, and there is plenty of scopes to shift or disrupt existing models within the arts, on either commercial or non-profit levels, though of course, these things take time and shifts are often subtle.
Tell me about your personal experiences as a female entrepreneur in the arts. What have been your challenges, findings, revelations?
It’s nice to be referred to as an entrepreneur, as that entrepreneurial mindset feels relevant to what it takes to launch a new organization and idea into the world as I have done with Block Universe. I’m acutely aware of the imbalance of power structures and how this negatively impacts upon women, but I can’t say that I can identify any particular challenges or revelations that relate to my being female in my experience of setting up Block Universe. I feel that every challenge I have encountered throughout the process has been a positive process to learn from, and relates more to the fact of me realizing my vision in the world than it does to my experience of being a woman.
What’re your plans for both Block Universe and beyond?
Next year is our 5th year, so we’re already looking ahead to this special anniversary! We’re planning more events throughout the year in the run-up to our next edition. And beyond that… you’ll just have to watch this space!
Learn more about BLOCK UNIVERSE on its official website
I am Brunno Silva, curator of the series Unimagined Surroundings that just had its debut at Trace with the exhibition “Dispossession” by English artist Heidi Locher. The series explores the boundaries between art and architecture through different takes on architecture by four artists. Monthly Trace will exhibit one artist between April and July, where visitors will have the chance to discover each artistic practice at a time. As a group show, Unimagined Surroundings will be exhibited in Italy later this year.
Hi Heidi, can you tell me about the process behind Dispossession? What was your inspiration for creating the show?
I think you and I were chatting about the relationship of architecture and fine art, and I was saying that in the hands of great architects “Architecture is the highest form of art and that it should encompass within its sculptural light-filled spaces all the delights of life as well as offering within beautifully crafted shadowy recesses sanctuary and retreat”.
This lead me to describe a little hut that sat quietly in the landscape where I live in Puglia, Southern Italy. The hut kept drawing me in, as it seemed to embody all the basic elements of Architecture, basic but beautiful and instigating. Seemingly offering sanctuary and shelter, holding within its walls the whispers of peoples hidden memories and lives. The title is a personal connection with a poem by the Canadian poet Anne Michaels where she describes poetry and the human condition, which I felt had a direct connection to this hut somehow. Michaels wrote, “Poetry is insurrection, resurrection, insubordination against every sort, against every form of oppression, dispossession, and indifference”.
The show is composed of different media: newspaper, photography, video, and sculpture. What were your interests whilst making decisions for each medium?
I felt that I wanted somehow to convey the feeling and essence of the hut, so the show was a totally immersive experience, but also to allow for various imaginations to flow and wander through the work, as mine had done time and time again. Sometimes experiencing it as purely architectural, sometimes wondering what it would be like to take refuge or step across a threshold that was not your choice. I also wanted to set up a tension between the large-frame doors and the large-scale images.
The doors are especially empowering; I am happy we got them all the way from Italy to Berlin, they make such an impact. It was incredible to observe your decision making in choosing which image to use. Could you guide me through your creative process?
There are a lot of ideas that are there initially, as if my brain will explode if I don’t get them out, turn them over, then hold on or let go. The newspapers, for example, were a way of conveying an idea about disposable culture we live in, and the Photo Roman piece felt precisely the right way to describe the feeling of the hut in the tough and windy climate.
I remember also discussing how the newspaper gives visitors the chance to take possession of the artworks and the hut itself, a shared use between the hut and the exhibition.
Creating this exhibition and all its elements was phenomenal, people during the opening brought different views to the newspapers and the doors too. I enjoy very much to listen and see a growing interest in the hut and my work.
Dispossession is your first show in Berlin, how was the experience in showing for the first time in the city?
Berlin felt exactly like the right place to show this work given its background of borders and zones. The doors sculptures look exactly how I wanted, and it will be interesting see them in new venues later this year. Also, it was an opportunity to be part of Berlin Gallery Weekend, a time of exploration and exchange, thank you Brunno and thank you Berlin.
Thank you! What are the plans for the future? Can you tell us a little about your upcoming projects?
Exciting times I hope. As you know, Dispossession is part of a broader dialogue which encompasses three other artists, David Ebner, Randi Renate and Henrique Neves. I am very excited to see all works together after July in one group show. After Berlin, I am traveling to Italy, where I am going to expand Dispossession series with some additional pieces.
Architecturally we are making a beautiful space to house the Zagara Foundation, in Puglia. The project is the collision of ruin and innovation, where simple ordered modern elements are inserted into a vast scale historic ruin in order to create a gentle harmony. The Foundation will be an international artist residency, hopefully, I will be able to share more details soon.
Learn more about Heidi Locher’s work at Studio Locher
December 20, 2017
If you’re an artist with innovational techniques (think technology or quantum physics) and still don’t have a gallery representation, listen up! MTArt, the first artist agency, could be the ideal place for you to become a greater artist and get recognized.
Founded two years ago, MTArt is the first artist agency (working similarly to more common music or film agencies). Marine Tanguy, the founder, came from a cultural background and always strived to work with artists and help them get known. The result? MTArt Agency!
We met a few months ago at Marine’s artsy flat in London and spoke about MTArt and her latest endeavor, art festival Unfold, that took place in October 2017.
Hi, Marine! So nice to finally meet you! I’ve been following your business, MTArt, for a while now. How did you get an initial idea?
Hi, Daria! I never thought it would become a business really. We created MTArt back in 2015. I always loved contemporary art and especially artists and I always thought how I could find a better supporting system for them. I was a young gallery manager in London when I was 21. So I knew I wanted to work in the industry, but I was not as close to artists as I wanted to be. Something expectable from a traditional art business model. Then, I got a chance to move to LA.
I love Los Angeles! It’s so different from London though…
It was a mind-blowing experience. I looked a lot at music and film agencies, so I thought why can’t something similar work for artists? It got me moving. After raising the capital, we’ve established an artist agency. Our primary focus is not only on works of art, it’s a more grounded approach towards art. It’s about building a visibility, making art more accessible. We want to establish a name of an artist with a significant content. MTArt is an agency that is all about a continuous collaboration with artists on a long-term basis.
How do you find your artists?
We get a lot of submissions via social media, texts, emails… What makes us choose is the degree of innovative techniques and valuable content. Now ‘innovation’ is such a buzz word! What I mean by it, is that every MTArt artist questions the status quo; content is the key.
But when do you say ‘yes, this artist is the one’? What is the selection process?
So, first, we meet the artists and we start testing them. In the agency, we want hard-working and committed people. I know that those who will do very well in the future, can handle stress easily. That is why we look for team players. Artists usually work alone, but during stressful moments they start working as a team.
After we select the artists, we support them for three years. It works like a typical music or film agency in Hollywood. We talk to our artists and try to understand what they want to do in the future, what their aspirations and interests are. Then, all we need to do is complement the artistic vision with exposure. Basically, what we do is accelerating and financing our artists. There’s constantly trust between us. I even have a spare bedroom upstairs so they can always stay for a night or two! ‘laughing’
Sounds very inspirational! And what about your latest endeavor – Unfold Festival? Is it connected to MTArt?
The vision is similar. There were four of us, four co-founders. We all came from different art businesses. The idea was to help people to engage with art in a different way. So, we decided to take art to the streets and new exhibition spaces. Unfold emerged as a street festival during the Frieze Week.
Why did you choose to host the festival during Frieze? Not too crowded?
The timing helped a lot since everyone comes to London in October to see art, but we wanted to do it differently. We did not like putting works under a tent, as it happens in other art fairs. It lessens the experience. We decided to take a historical street in London (Church Street) and enhance it with art. No more walls and psychological barriers that come with gallery spaces. It was all about people being surrounded by art, together with a series of talks and artist studios curated in the main exhibition space.
The wine was blue as well!
Oh yes, my French friends did not approve! ‘laughing’ Very artistic and alternative to a traditional art fair. The crowd was very mixed as well. We had collectors of course, but also people who have never been to an art event before. The partnerships we had (e.g. with Aston Martin) have never taken place with artists. So, we tried to approach new people and get them interested in art.
Unfold was fun. There was wine and art… what not to like?
The festival showed that the content of art was meaningful, but also entertaining. We want people to engage, it’s our main priority.
Will you continue Unfold on an annual basis?
We had another festival, called MELT, last year. It was all about integrating art into urban landscapes. I’ve always attempted such projects to get a conversation going. It’s a way to try new things. Now we commission urban exhibitions, so I want to scale it up. Eventually I would like to have a lot of collaborations coming out of Unfold.
I cannot wait to see these new collaborations! So, what do you think is yet to be done?
What’s lacking is an art and tech festival. A lot of artists are experimenting with these mediums already. We want to create evolution in art and celebrate revolutionary artists, so we hope to do the art and technology festival next year and recognize the artists who are pioneering this new medium.
I can see one of your goals is to attract new people to the arts. Why do you think it can be hard to get new people interested in art?
The art world is considered to be a part of the luxury industry. So, by definition it needs to be exclusive and inaccessible, but that works only for a small percentage of the population. If you think of music and film industries, they focus on entertainment, not luxury. That’s the biggest conflict in the art world. You can’t be luxury and for everyone. I think, we should educate more people about art and get interested in new practices.
Thank you so much for your time, Marine! I hope to see our new projects in London soon.
Thank you, Daria!
March 30, 2017
In 2011 Ryan Stanier launched the Other Art Fair. Eliminating the middleman (galleries), Ryan created a space for artists to come and show their talent. Tremendously popular from the very beginning, the fair attracts more than 40,000 visitors and exhibits over 100 artists. The last London edition opening featured 130 contemporary artists, art investment tours and the much-anticipated Virtual Reality project, Underworld, by the Guardian. I met with Ryan in the hip part of Coven Garden last week to discuss how it all started and what we can expect in the future.
How did you come up with the idea for the Other Art Fair?
I don’t really have an art background. I got interested in art by being constantly surrounded by friends who are artists. And then I saw my friends struggle to produce an exhibition: it could be an amazing show, but nowhere accessible. That was the problem; it is so expensive to rent a space that artists have a little way out. They have little exposure; dealers and publicists don’t usually visit this kind of shows.
I thought, what if I create a show of the kind, but in Central London? It came out naturally, out of love for my friends. And that’s the thing: unless it comes out of your interest and passion, it has low chance to succeed. The material part was completely irrelevant at that stage. I looked for a space for a while, browsing around London, calling agents, and after hundreds of calls, I found one. I set up an informal gallery in Coven Garden in 2009. It was good timing, as after the financial crisis a lot of spaces were empty. We stayed at that place for a while putting up shows, selling art…
I realized after a while that I don’t want to be a gallerist. It wasn’t something I was interested in. My background in events gave me an idea to create a fair for artists, without galleries being involved. And so, the fair for the artists who don’t have an exclusive contract with a gallery was launched.
Did you think about the competition, big shots like Frieze?
Yes, but it’s a completely different market. We created a space where new collectors can come and buy art. We all go to big art fairs, but we don’t buy anything. There’s an experience, for sure. With that in mind, we decided to create something more accessible, more fun, and equally aspirational. We always knew how we are different with a unique position in the market. It’s all about the artists. People like Gordon Ramsey visit, we’ve been working with UBS for a while to create artworks for their offices… We’re also looking to launch an art prize. We promote our artists and a lot of them make contacts through the Other Art Fair. It’s the same cost to rent a stand for everyone, so it comes down to the artists to make the most out of the fair.
How does the selection process work?
The upcoming fair had 1100 applications and we only have 100 slots. There’s a panel that selects artists, simply saying ‘yes’ or ‘no’. We’re interested in different types of mediums, so there are no specific selection criteria.
Who is your target customer?
It varies. We try to create a unique experience like nowhere else. We have a guest artist each fair, usually a known figure in the arts. For example, last year we had Tracy Emin create exclusive work for us in editions of 500, 50 pounds each. So, someone who has never bought art before could afford to buy an Emin. More than 50% of our audience has never bought art before, so we’re focusing on this ‘new collector’ type. The Other Art Fair is also interesting, it’s not intimidating. It’s never the same. What breaks all the barriers, I think, is that anyone can talk to artists and not a gallery sales person.
Tell me about your recent partnership with SaatchiArt.
It started last July. SaatchiArt is the biggest platform for artists, so we created the partnership where all the Other Art Fair artists are now available on SaatchiArt all year round. It came from my initial idea of how to help artists sell their work and create opportunities throughout the year.
Your first international edition was in Sydney last year. Why go to Australia first, and not, say, New York?
The city like London has around 30 art fairs a year, New York – twice more. In Sydney, there are only two art fairs every other year and such an enthusiasm for the arts from the public. It was a natural decision.
This year you’re expanding to New York, but not during the Frieze Week. Why?
In London, we run fairs both during the Frieze Week in October and one in the spring. The thing is, we haven’t noticed a large difference in visitor numbers and sales between the two. So, in NY we decided to develop a clear message about who we are and see who is interested in joining. We’re also expanding to Europe next year with 11 art fairs throughout the year.
Do you personally prefer museums or art galleries?
Museums. There’s no pressure and, you know, there are more impressive shows.
Do you have an advice for someone trying it out in the art world?
Don’t get overwhelmed by tradition. Don’t buy into it. Everyone will have to adapt to innovation.
P.S. Keep an eye on the place, in a few years it could be in your town.
March 11, 2017
“I see life as a passageway,
with no fixed beginning or destination”
– Do Ho Suh
Humanity is often focused upon the destination of life rather than the journeys travelled. These journeys are the ones that result in a life worth living, instead of a life in which the centre of attention revolves around the end result. To be obsessed with the end result of an endeavour, as opposed to living in the present, is the very premise that the artist Do Ho Suh (b.1962, Seoul, Korea) challenges in his new exhibition, ‘Passage/s’.
Currently on display at the Victoria Miro Gallery, London, Suh’s body of work questions the boundaries of identity as well as the global connection between individuals and groups. After growing up in South Korea, the artist has moved and lived in many different countries, immersing himself in the culture of each one of them. In his work he aims to create a global connection between his identity, his previous destination, and his current journey. He establishes that his own understanding of ‘home’ is both a physical structure and a lived emotional experience. In this sense, the physical structure of a ‘home’ can only be described as the building or property in which one has lived, whereas the home as an emotional experience is documented in the adventures and memories of life. I
Beginning upstairs on the First Floor, the visitor is immediately transported into the many ‘homes’ of the artist. Each independent aspect of a home, whether it is a simple light bulb or a complicated fuse box, has been carefully replicated by Suh’s meticulous hand. Polyester, which is both a fluid and a translucent medium, is the main choice of material for Do Ho Suh. He uses to replicate everyday objects, and its translucency amplifies the importance of concentrating upon the ‘passageways’ of life: you must be able to travel through each destination in order to continue growing and developing.
This concept is heightened in ‘Passage’s: The Pram Project’, a video installation recorded from the perspective of three different cameras. Taped from the comfort of his daughters pram, the video removes the viewer from the controlled environment of the gallery, and places them into the charming streets of Islington and Seoul. Surrounded by the child’s adoring laughter and babbling, we are reminded of the innocence of humanity and the importance of ‘home’ as an emotional connection, something which provides stability and safety.
Continuing on the Lower Floor, Do Ho Suh displays large threaded drawings replicating doorways and stairwells. Each entrance has been accurately copied from the multiple buildings in which Suh has lived, exaggerating how the outside exterior of a ‘home’ does not necessarily reflect the individual immersed within it. For example, not everyone who lives in a London home is British – the immersion of cultures is the most important aspect to create a global identity.
The exhibition arguably concludes with the most impressive component of Do Ho Suh’s work. His series ‘Hubs’ occupies the entirety of the Upper Gallery, where nine reproductions of the apartments in which Suh has called ‘home’ are on display. The transient polyester spaces are connected by threaded doorways and moving doors, enticing the viewer to walk through and experience each room. Although interactive, ‘Hubs’ removes the practical function of a home: door hinges and handles remain motionless while electrical outputs and pipes are frozen without power. By referring back to Suh’s original premise of the home as a physical entity, as well as an emotional experience, we are placed in this complex structure as both ‘private’ and ‘public’ viewers. In one way the elongated home visualises the ‘private’ life of an individual, while the ‘public’ global identity seeps into the design through the fragile material.
I encourage you not just to see the exhibition first-hand, but to interact and engage with the artwork. The unfortunate irony of this brilliant collection of work is the influence of present day technology, and our infatuation and dependence upon our mobile phones. The majority of people visiting exhibitions today try to capture every moment and work of art into a single photograph. This degrades the original intentions of Do Ho Suh and his exploration of life as a journey, as a photograph destroys the steps travelled in order to take it. Life is about the experiences seized by your eyes, not the artificial screen of a phone or lens of a camera; rather than living through your phone, live through reality.
Do Ho Suh‘s ‘Passage/s’ is on display at the Victoria Miro Gallery, London until 18th March, 2017.
March 5, 2017
It’s the first week of March in New York City, which for art lovers only means on thing: Armory Week! In its third edition, the Art on Paper 2017 fair exhibits paper-based art that frequently pushed the boundaries of what a work on paper could be. The medium-driven focus of the fair sets itself apart from the other larger-scale Armory Week fairs. The 84 galleries hosted at Art on Paper are from all over the United States, with several international additions from Barcelona, Buenos Aires, Kyoto, London, Shanghai, and Copenhagen.
Upon entering the space, visitors are greeted by two site-specific installation pieces. Tahiti Pehrson’s “The Fates” is composed of three colossal, 17-foot towers of hand cut paper, and Timothy Paul Myers, in collaboration with Andrew Barnes, crafted a domestic installation made entirely of felt. These are the first of many works of art that incorporate and utilize paper, but are not necessarily what you would think of when you hear the term ‘art on paper.’
There was a wide scope of artists included familiar modernists like Picasso & Matisse in the Master Fine Arts Gallery, to the all-star lineup of Sol LeWitt, Ed Ruscha, John Baldessari and Alex Katz at Richard Levy Gallery, and a few unheard of standouts. My favorites included Martin Kline’s rhythmic dry brush oil series “Palm Beach” (cover image) at Heather Gaudio Fine Art, whose bright blue compositions imitate patterns that occur in nature. Also in Heather Gaudio Fine Art were a few equally mesmerizing works by Jaq Belcher, whose sculptural, hand-cut leaves in “Lions Gate” cling to a single piece of paper. More of a traditionalist, Ekaterina Smirnova “Blue Path” at Villa del Arte Galleries appears to be an updated, watercolor version of French Impressionism. And Donald Martiny, whose works appear at Spender Gallery, resemble thick, impasto paint strokes but are actually made of pigmented polymer, and are so three-dimensional that he blurs the line between sculpture and painting.
George Billis Gallery’s display of Steven Kinder’s geometric abstractions and the hodgepodge of artists grouped together in Tamarind Institute were the more underwhelming booths. The most bizarre were the black and white photographs by Morton Bartlett that showed kitschy images of dolls posed in occasionally provocative positions. His display in Marion Harris’s booth was visually eye-catching… When you stepped close enough to realize the subject matter.
Amid the abundance of things to see, and the frenzy of visitors and art professionals, there were a few booths that stand out in my memory. Gallery Poulsen was one with the overtly political works of art, including one entitled “What the Fucking Fuck Just Happened” by William Powhida, as well as Artemesia’s installation created from torn pages of used books, and the technicolor portraits at Sasha Wolf Projects.
Art on Paper is open at Pier 36 (299 South Street) on the Lower East Side of Manhattan on March 2-5
January 19, 2017
Knock knock! Art news here! London Art Fair 2017 opened to the public and 129 galleries showed some of the most exciting, fresh and sexy art collections! The social confusion of 2015-2016 seems to have created the environment for the most beautiful clarity in art. Art screams at you this year. It wants to be on your wall, not in a museum.
Many young entrepreneurs are now looking to invest in an alternative asset class. They want to use their new fortunes to invest in something that gives them a visual satisfaction. They are aware of the fact that they might discover a new Richter. Galleries are exploiting this feeling with marketing, doing a great job parenting the relationships between young artists and young collectors. Talent is being exploited beautifully and respectfully and not just experimented with.
This year’s London Art Fair enabled collecting at all levels, from museum quality Modern British art to the very new in contemporary art. 17 different countries including China, France, Germany, South Korea and the USA marked the most international edition of the fair to date.
The Fair also welcomed The Lightbox Woking as their 2017 Museum partner, celebrating their 10th anniversary with a curated exhibition of highlights from The Ingram Collection entitled ‘Ten Years: A Century of Art’, situated at the front of the fair.
As new features and highlights for 2017, The London Art Fair offers Modern British art with Waterhouse & Dodd’s debut in the pavilion; new galleries such as Christopher Kingzett Fine Art, Katharine House Gallery, Beaux Arts London and Peter Harrington Gallery. Many contemporary art galleries are making their international debut at the fair, including Pi Artworks (Istanbul/London), Atelier Aki (Seoul) and Victor Lope Arte Contemporaneo (Barcelona). The Art Projects ‘Dialogues’ curated by Miguel Amado, presented a series of five collaborations between galleries encouraging new forms of representation and fostering relationships on a global scale. ‘Stranger Collaborations’ showcases artistic collaborations formed via the internet and is curated by Pryor Behrman in the Art Projects Screening Room. The Fair also highlighted ‘Photo50: Gravitas’ a group of exhibitions of lens-based works curated by Christian Monarchi, founding editor of Photomonitor and contemporary Korean artist Jaye Moon’s LEGO street art sculptures, installed by Hanoi Gallery in locations throughout the Fair.
London retains the status of a global arts hub even post-Brexit and as Sarah Monk, Director of the London Fair, commented: ‘the exhibitors are used to riding out the ups and downs of the economy.’ Indeed, the overall feeling that I got from last year was that art is thriving in today’s context.
Our top pick galleries this year were: Flowers, Waterhouse & Dodd, Tag Fine Art with the Hanbury Collection, Sardac Gallery, GBS Fine Art, Pontone Gallery and of course Hanmi, which was also one of our favorites of last year. Make sure to stop by Skipwiths as well to see amazing Kwang Young Chun, a star on the rise.
There is a radical return to beauty: nature, simplicity, clean shapes and colors and I must emphasize again, a return to sexy! Art this year is refreshing, cool, exciting and it could just turn into a love affair. In a time when experts fail to give the right predictions and answers, when society is at a turning point, art seems to be the way out for life and society. This little black book of the global feeling gathers all the cultural influences, interconnections and togetherness against all odds.
Art is real and real has just got surreally good!
October 29, 2016
The “Kollektsia!” exhibition at the Pompidou Center in Paris was born out of a donation of more than 250 artworks from the Vladimir Potanin Foundation, collectors, artists and their families. While not being too exhaustive, this ensemble of works by major Russian artists adequately offers a panorama of some forty years of contemporary art in the USSR and then in Russia, covering the most important movements. It includes works by confrontational artists created outside official structures, from the Moscow conceptual school to Sots Art, from non-conformism to perestroika (a political reform within the Communist Party of the Soviet Union during the 1980s, widely associated with Soviet leader Mikhail Gorbachev and his glasnost [openess] policy reform).
The first section of the show is dedicated to non-conformist art since the late 1950s when artists revived the aesthetic practices of the avant-garde and sought innovations of their own formal approach. My favourite pieces are the “Milk Box” sculpture (1970) by Igor Shelkovski, a hanging object called “Space-Movement-Infinity” — the first kinetic work in postwar Russian art and some intriguing photographic works by Francisco Infante-Arana. The non-conformist artworks are not following a homogeneous movement with shared objectives. However, as a whole they represent the budding diversified creativity confronting the strictly controlled official structures in art in the USSR.
My favourite section of the exhibition is of the more playful Sots Art, invented by Komar and Melamid to subvert, in a Pop-art way, the codes of the mass propaganda that saturated Soviet life. In contrast to the Pop artists — confronted by a superabundance of consumer goods — Sots artists, such as Alexander Kosolapov, Boris Orlov and Leonid Sokov, sought to demythologize official cliché and the ideological environment of the Soviet society through absurdity and paradox. For instance, the eye- and phone-camera-catching “Malevich-Marlboro Triptych” (1985) by Alexander Kosolapov demonstrates how the artist drew on broad iconographic sources from both Soviet and Western clichés while using an advertising image. On the other hand, Leonid Sokov’s hanging sculpture “Glasses for Every Soviet Person” (1976) delivers ironic humour through simple graphics and raw wooden texture.
Alongside Sots Art, the 1970s brought about Moscow Romantic Conceptualism which accord greater importance to text and language, with artists working at the intersection of poetry, performance and visual art, such as Dmitri Prigov and Andrei Monstyrsky. The latter advocated a conceptual art that reflected the ascendancy of literature in Russian culture. A section of the exhibition pays homage to Dmitri Prigov who was known for writing verse on cans. The conceptualists also embraced the power of text through performance, such as “I Breathe and I Hear” (1983) by Andrei Monstyrsky, who is a part of the Collective Actions group; the group taht has carried out a lot of planned performances.
The onset of perestroika brought an exploding sense of freedom and accelerating artistic processes from the mid-1980s onwards. Following the sudden liberalization, artists were then able to take part in exhibitions and find a place on the international art arena. This period in Russian history not only witnesses the diversifying artistic approaches, but also paved the way for legitimizing of formerly marginalized art. In 1988, a first auction organised by Sotheby’s in Moscow gave a tangible value to unofficial art, and the boundary between official and unofficial abruptly disappeared. In this sense, the impressive “Last Supper” (1989) by Andrei Filippov, with hammers and sickles on a red table, is one of those works marking the end of “unofficial art” while it preceded the dissolution of the Soviet Union. Perhaps some of Yuri Leridrman’s works in 2009 displayed at the exhibition could reflect this lively flourishing of creative energies in post-Soviet era; the artist juxtaposed painted plants onto collage of newspapers, thereby transforming textual material into images.
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.