In: exhibition

vanessa_lam

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.

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Vanessa Lam, Come Away, 2017
Courtesy of Artsy

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

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Vanessa Lam, Suspended Disbelief, 2018 Courtesy of Artsy

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.

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Vanessa Lam in the Studio
Courtesy of Vanessa Lam

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

 

‘THERE IS ANOTHER SKY’

168 BOWERY, NEW YORK, NY

JULY 7-18TH

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.

Heidi Locher, Dispossession. Trace Projects. Courtesy of Viola Cafuli


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.

 

Heidi Locher, Dispossession. Trace Projects. Courtesy of Viola Cafuli

 

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

As part of “Dispossession,” Sedition released the video artwork as a limited edition available by clicking HERE

In Say Hello to English, his second exhibition at the Tyburn Gallery London, multimedia artist Moffat Takadiwa presents a compelling new series of three-dimensional wall hangings, or object sculptures, that aesthetically engage with problematics surrounding postcolonial constructions of Zimbabwean national and cultural identity.

Born in Haroi in 1983, and practicing in the capital city of Harare since graduating (B.A. Hons) from Harare’s Polytechnic University in 2008, Takadiwa has consistently devoted his work to critical explorations of how material, environmental, and social factors impact the reality of contemporary Zimbabwean daily life. In a previous exhibition entitled Across Borders (on display at the What If The World gallery in Cape Town last year), Takadiwa examined the nature of Zimbabwean-Chinese economic and trade relations, and their deleterious effects on the natural Zimbabwean environment. For that show, Takadiwa created a collection of intricate, highly textural wall sculptures using post-consumer waste materials, such as bottle caps and disused computer and laptop parts.

View of the exhibition ‘Say Hello to english’. Image courtesy of Tyburn Gallery.

In Say Hello to English, his current exhibition at the Tyburn Gallery, Takadiwa shifts his (and our) gaze to a critical reassessment of post- and neo-colonial aspects of the English language, a legacy of Zimbabwe’s colonial past as the former British Crown colony of Rhodesia. For Takadiwa, the English language is problematic because of its tendency to create class divisions (i.e., English-speaking elites) in Zimbabwean society, and its power to both shape and undermine contemporary constructions of Zimbabwean cultural identity. For Takadiwa, language and culture are inextricably intertwined –especially in the context of post-independence Zimbabwe–, and this standpoint is reflected throughout his oeuvre.

Moffat takadiwa, ‘Bantu Terminology’, 2017, computer keys, 230 x 112 x 6 cm. Image courtesy of Tyburn Gallery.

For the sculptural objects on view in Say Hello to English, Takadiwa makes use of a radically different medium to portray his ideas, namely: lettered, Roman-alphabet keys taken from post-consumer laptop and computer keyboards. These computer keys appear to have been woven together like traditional Zimbabwean textiles, but are here recast into a more contemporary, high-tech idiom. In an amusing and daring act of subversion, Takadiwa deconstructs and subverts the English language itself in these objects, by arranging the keys seemingly randomly (in effect scrambling them) so they are not legible in any way. Moreover, the artist has turned most of the lettered keys upside down, so that all viewers can see are their bottom ends, with the lettered crown rendered invisible. This aesthetic strategy powerfully conveys the struggles contemporary Zimbabweans experience with the English language, and how important it is, at least to some extent, to say “goodbye” to English in order to preserve the Bantu languages, as well as other aspects of pre-colonial Zimbabwean culture.

Moffat Takadiwa, ‘The Falling of Rhode/sia’, 2017, computer keys, 250 x 230 x 45 cm. Image courtesy of Tyburn Gallery.

Although all of the works included in the exhibition Say Hello to English deal with problematics surrounding intertextuality, language and culture, one work in particular provides a paradigmatic example of Takadiwa’s philosophy, namely “The Falling of Rhode/sia.” According to the press release issued by the Tyburn Gallery, this work takes its inspiration from the “Rhodes Must Fall” social movement that was formed to contest Western-oriented education in Africa. “The Falling of Rhode/sia” also makes direct reference to the arch-imperialist Cecil B. Rhodes, whose statue at Cape Town University was recently removed from the campus as a result of student protests. In “The Falling of Rhodes/ia,” Takadiwa essentially reimagines Rhodes as a new, post-colonial creature, whose persona is both fierce (signified by the long red tongue and bared claws) and friendly (suggested by the creature’s loose and amorphous shape). For this viewer, Takadiwa’s “fallen,” reincarnated Rhodes is a likeable, positive figure who successfully reconciles Zimbabwe’s colonial past and post-colonial present.

Say Hello to English is on view at the Tyburn Gallery, London until May 6, 2017.

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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.

At a first glance, Tim Noble and Sue Webster’s current exhibition at Blain|Southern (London) evokes a surprising feeling of nostalgia. The large twisted bronze sculptures remind me of summer evenings spent with my family on holiday in Croatia. My favourite pastime was to wander through markets filled with hand-made goods crafted by the locals. I always found watching the artists sitting at their stalls and contorting thin strands of wire into a menagerie of animals and human figures rather extraordinary and strangely soothing. However, the feeling of nostalgia fades as fast as it emerges, as does the dense blue Adriatic Sea and its warm glow reflecting the summer sun. It is the end of February, it’s freezing cold outside, and I am surrounded by the sterile whiteness of Blain|Southern. The title Sticks with Dicks and Slits could hardly get more literal: the exhibition consists of pairs of gigantic stick figures endowed with humorous genitalia, engaging in actions such as lactating and urinating. This new series of work might seem raw and crude –because, quite frankly, it is—, but it can also be seen as toys with a more playful and whimsical side, its naivety lending a certain charm and innocence to these clumsy figures.

Installation view, Courtesy the artists and Blain|Southern, Photo: Peter Mallet.

The duo met while studying together at Nottingham Trent University and became friends due to their shared love of music. They have been creating together, as a couple, since then, and have challenged the notion of self-portrait and portraiture throughout their series of well-known light and shadow sculptures. Just as their previous works, these double portraits explore the nature of relationships and identity, but they seem to open up a new chapter which allows us to see a different side of the artists.

In comparison to their self-portraits built from trash and waste, these stick figures are surprisingly light-hearted. Earlier works, such as Wild Mood Swings (2009-2010), Masters of the Universe (2000), and Dirty White Trash (1998) scrutinize certain aspects of human relations, from anger and rejection to pleasure and desire. Dicks and Slits focuses on the cheerful, comical side of Noble and Webster. A lovely Pair (Standing) portrays stick-Noble chasing stick-Webster with an erection, while another figure seems to be urinating on the viewer. While sex and bodily fluids are returning elements in the duo’s work, in this case they are paired with the charm of immaturity. The large stick-figures are celebrating our inner child, and act as a reminder of the joy of not taking ourselves too seriously. Childishness is still often considered an undesirable personality trait, and to portray vulnerability and flaws is rare in a world where the artist is still so often seen as an impeccable genius. Noble and Webster, once again, go against the notion of immaculateness to explore natural human attributes so often condemned.

‘A Lovely Pair (Standing)’, 2017, Courtesy the artists and Blain|Southern, Photo: Peter Mallet.

It is refreshing to see the duo stepping away from their usual light/shadow technique to experiment with new materials and methods. The bronze sculptures seem weightless and spontaneous, and it’s interesting to learn that they use the old and difficult method of lost wax casting to create them. Sprezzatura, to conceal the difficulty of production, was considered as an art form in the Renaissance and it was essential to possess it in order to be acknowledged as a great artist. Noble and Webster have been considered the power couple of the art world, but they divorced in 2013, they said, for the sake of their work. As I see it, these sculptures could be the results of an emotionally exhausting period. It might not be wrong to assume that there’s a parallel between the choice of using the troublesome wax casting technique and the hardships experienced in personal life, which are both being concealed by the overall carefree appearance of the figures. This exhibition marks a new period in their relationship, just as in their professional life. Stick with Dicks and Slits portrays two people co-existing in a harmonious and joyful manner, which is a kind of revelation after the intensity and violence that characterizes most of their earlier works.

Installation view, Courtesy the artists and Blain|Southern, Photo: Peter Mallet.

I can’t tell whether this exhibition has left a deeper impression on me than the market artists sculpting their wire pieces or not. It is fun, yet I find it a bit superficial. The figures seem to get lost in the sterile whitewash of Blain|Southern gallery. The antiseptic environment doesn’t do justice to the works’ potential, as the figures seem awkwardly out of place. On the one hand, the repetition of the same motifs, although it serves as a link between this new body of works and Noble and Webster’s oeuvre, it also makes things predictable. On the other hand, this exhibition might be just the start of a progress through which we will be able to see the pair’s work developing into something very different.

Tim Noble and Sue Webster’s Sticks with Dicks and Slits is on view at Blain|Southern, London until 25 March 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

Do Ho Suh. Left: Staircase, Ground Floor, 348 West 22nd Street, New York, NY 10011, USA, 2016. Right: Main Entrance, 348 West 22nd Street, New York, NY 10011, USA, 2016. Installation view, Passage/s, 2017, Victoria Miro Gallery II, London. Courtesy the artist, STPI – Creative Workshop & Gallery, Singapore, and Victoria Miro, London. Photograph: Thierry Bal. © Do Ho Suh.

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.

Do Ho Suh, Passage/s: The Pram Project, 2014-2016. Installation view, Do Ho Suh: Passage/s, Victoria Miro Gallery I, London. Courtesy the artist, Lehmann Maupin, New York and Hong Kong, and Victoria Miro. Photograph: Thierry Bal. © Do Ho Suh.

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.

Do Ho Suh. Left: Staircase, Ground Floor, 348 West 22nd Street, New York, NY 10011, USA, 2016. Right: Main Entrance, 348 West 22nd Street, New York, NY 10011, USA, 2016. Installation view, Passage/s, 2017, Victoria Miro Gallery II, London. Courtesy the artist, STPI – Creative Workshop & Gallery, Singapore, and Victoria Miro, London. Photograph: Thierry Bal. © Do Ho Suh.

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.

Do Ho Suh: Hub, 260-10 Sungbook-dong, Sungbook-ku, Seoul, Korea, 2016; polyester fabric on stainless steel pipes; 296.1 x 294.7 x 131.2 cm; 116 5/8 x 116 1/8 x 51 5/8 in; © Do Ho Suh; Courtesy of the artist, Lehmann Maupin, New York and Hong Kong, and Victoria Miro, London.

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.

Martin Kline, Palm Beach #5, at Art on Paper

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.

Jaq Belcher, Lions Gate, hand-cut paper, 8,300 cuts, copyright Heather Gaudio Fine Art

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.

Ekaterina Smirnova, Blue Path, watercolor. Courtesy of Villa del Arte Galleries

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.

Donald Martiny, Study for Cofan, at Art on Paper

Donald Martiny, Study for Cofan, polymer and pigment on paper

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

“Cámara de las Maravillas”, the first solo show in Europe by American artist and father of Pop Surrealism Mark Ryden (1963, Medford, Oregon), has brought thousands of people to the Centro de Arte Contemporáneo (CAC) in Málaga, Spain, since it opened last December. It is no wonder that it has attracted so much attention, as it puts together 55 works covering 20 years of creation by the artist, including iconic pieces such Incarnation (2009) –the inspiration behind Lady Gaga’s 2010 meat dress-, most of which are kept in private collections.

The 2012 painting The Parlor – Allegory of Magic, Quintessence, and Divine Mystery opens the show, anticipating many of the elements that the visitor is going to encounter throughout the exhibition: a strange assortment of semi-human characters, a theatrical space populated by a myriad of symbols, odd creatures that are often both ridiculous and disturbing, a whole lot of irony and an exquisite technique that dissolves the brushstrokes into a continuous and delicate surface. His meticulous and detailed work brings to mind that of old Venetian masters like Vittore Carpaccio and Giovanni Bellini. While grounded in contemporary pop culture, Ryden’s works are reminiscent of many previous artistic periods and styles, from French Neoclassicism to the Pre-Raphaelites and, of course, also Surrealism.

The earliest work in the exhibition is the painting Saint Barbie (1994), while the most recent, the sculpture Wood Meat Dress (2016), was created especially for the Málaga show. From the young girl worshiping a goddess-like Barbie doll to the eerie, sad-eyed sculpted lady, we are able to observe the evolution of the physiognomy of Ryden’s peculiar female characters through the years.

All the different series that the artist has exhibited in the past –The Meat Show (1998), Bunnies & Bees (2001), Blood (2003), The Tree Show (2007), The Snow Yak Show (2009), The Gay 90’s (2010), The Gay 90’s West (2014), and Dodecahedron (2015)— are represented here, plus the original artwork for the cover of Michael Jacksons’ album Dangerous and three beautiful porcelain figures made in the last five years. However, the works are neither grouped in series nor displayed in chronological order, and this makes the artist’s ultimate concerns and interests, such as Science and the destruction of Nature, even more evident throughout the exhibition.

The big exhibition space of the CAC has been articulated in a way that allows the visitor to see many of the pieces at the same time, encouraging many dialogues and correspondences not also between the works, but also between their magnificent frames. These have never been a secondary element for the artist, who designs many of them himself so they perfectly match and complete each of the paintings.

Adjectives like kitsch, naïve, creepy or sentimental are often used to define Ryden’s aesthetic, but these labels don’t do any justice to the complexity of his work. The best way to approach this cabinet of curiosities is with the eyes of a child, leaving preconceived ideas at home and letting your imagination run free.

“Cámara de las Maravillas” is a real treat, well worth a trip to Málaga. Those who already love the work of Mark Ryden will be delighted to see together such a careful selection of old as well as new pieces, while those unfamiliar with the artist have here a wonderful opportunity to dive into his enigmatic universe, which is very much alive and still evolving.


Mark Ryden’s  “Cámara de las Maravillas”, curated by Fernando Francés, is on view at CAC Málaga until March 5, 2017.

 

“Picasso & Rivera: Conversations Across Time,” on display at the Los Angeles County Museum of Art, delves into the friendship between Pablo Picasso and Diego Rivera. It explores how the lives of these two 20th-century artists briefly intersected, and the ways they drew inspiration from the ancient visual culture of their respective countries.

The exhibition, which is arranged in a very linear manner, compares Picasso’s and Rivera’s artistic trajectories. This allows the visitor to see how both artists progressed through their early academic training, experimented with different stylistic modes, and shared an interest in antiquity. The works reveal that there was a dialogue between these two artists that spanned cultural and geographic boundaries.

Diego Rivera,’Flower Day (Día de Flores)’, 1925. Oil on canvas, 58 × 47 1/2 in. (147.32 × 120.65 cm). LACMA. © 2007 Banco de México Diego Rivera & Frida Kahlo Museums Trust. Reproduction of Diego Rivera governed by Instituto Nacional de Bellas Artes y Literatura.

The display presents a give-and-take between the two artists: Picasso’s Cubism heavily influencing Rivera’s work when they were both in Paris in 1914, and Rivera’s colorful, hefty figures subtly impacting Picasso’s classical style. The paintings included in the exhibition allow for a great deal of one-to-one comparisons between the two artists. But at times, the artworks are dwarfed by the scale of the galleries, giving the viewer a sense that they may have been better viewed in a smaller gallery space.

The largest and most striking room is at the center of the exhibition. Rivera and Picasso’s images are juxtaposed with ancient sculptures that reveal how their styles absorbed the influence of ancient forms. This was the first time I had ever seen ancient Mesoamerican sculpture displayed in tandem with ancient Classical sculpture. During the interwar years, Rivera reexamined the tradition of Aztec sculpture in his native Mexico which informed the mature style that he is most recognized for. The exhibition includes loans from the Anthropological Museum in Mexico City that are paired with Rivera’s gorgeous Flower Day (1925).

LACMA gallery display of Picasso and Greco-Roman sculpture. Photo: Emma Holter.

Picasso was in still in Paris between World War I & II, and his more traditional classicizing figures demonstrate his renewed interest in Greco-Roman antiquity and Iberian art. In the exhibition, classical sculpture -mostly loans from the Getty Museum- is juxtaposed with Picasso’s ‘return to order’ paintings such as Etudes (1920) and Three Women at the Spring (1921).

The final rooms explore how Picasso and Rivera’s artistic practices diverged after World War I. Mexico’s Ministry of Education commissioned Rivera to create murals that would unify the nation through revolutionary imagery. Through his study of Pre-Columbian sculpture (and his collection of over 6,000 ceramic and stone figurines) and Aztec creation myths, he imbued his images of a new, modern Mexico with aesthetics of the past. On the other hand, during the 1930s Picasso was revisiting Greek and Roman mythology -especially Ovid’s Metamorphoses and the myth of the Minotaur- and reworking classical tropes of depicting these narratives.

Pablo Picasso, ‘Three Women at the Spring’, 1921. Oil on canvas, 6′ 8 1/4″ x 68 1/2″ (203.9 x 174 cm), MoMA. © 2017 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

Beyond comparing the two artists’ work, the exhibition aims to stress how Picasso and Rivera were inspired by ancient sources throughout their careers, and how their friendship or artistic rivalry fueled those investigations.

“Picasso & Rivera: Conversations Across Time” is on view at LACMA through May 7th, 2017, and will travel to the Museo del Palacio de Bellas Artes in Mexico City in June 2017.

Okay, there’s a lot of red… some nice white strokes, a hint of yellow, and… now they’ve all blended into orange and pink dripping endlessly down the canvas. And then there’s the black lines and swirls. Are they supposed to be scratches? What’s written in that corner? It’s all so big, I can’t quite make out the top…

I’m not sure I know what I’m looking at but, I can feel it. And that’s what makes the works of American artist Cy Twombly (1928-2011) so significant. His energy can be as subtle as the breath of a mark on a cream-colored canvas, or as animated as the manic blood red loops of Bacchus (2005). No matter the intensity of his energy, one element remains coherent —the unpredictability of where his emotions will take him.

The Centre Pompidou presents an in-depth retrospective of the artist’s long career, beginning in the 1950s and right up until his death in 2011. The show revolves around three major cycles —Nine Discourses on Commodus (1963), Fifty Days at Iliam (1978), and Coronation of Sesostris (2000). The exhibition, organized chronologically, includes some 140 paintings, sculptures, drawings, and photographs featuring well-known works such as Blooming (2001-08), as well as others never previously exhibited in France.

Vue de la série Nine Discourses on Commodus, 1963 Guggenheim Bilbao Museo, Bilbao © Cy Twombly Foundation

The journey begins with a step into the bare landscape of cream washes, imperfect whites, and clumsy scribbles. The first gallery encompasses Twombly’s early works from the 1950s. During this period he was still in his hometown of Lexington, Virginia and he also began his travels to Europe and North Africa accompanied by his friend Robert Rauschenberg. Often characterized as graffiti (a label which Twombly rejected), his erratic, aggressive lines fill the entire surface, almost as if someone was trying to claw their way out from behind the canvas.

Moving further into this strange new world we discover Twombly’s life-long muse —the Mediterranean. The artist was fascinated by it since his first visits to Rome in the ’50s, and this fascination intensified during the periods that he lived in Italy. The iconography, metaphors, and myths of ancient civilizations left a strong mark on his works. From Egyptians to Greeks, Romans, and Persians, Twombly acts as an archaeologist, layering references from the classical past while drawing connections to contemporary figures and painting practices such as abstraction and minimalism.

‘Coronation of Sesostris, Part VI’, 2000. Acrylique, bâton de peinture, crayon à la cire, mine de plomb sur toile Pinault Collection © Cy Twombly Foundation, courtesy Pinault Collection.

The subject matter of Twombly’s oeuvre suggests a vast literary knowledge and a deep understanding of the human psyche. He reinvigorates the ancient myths and histories of Achilles, Eros, Venus, Apollo, Mars, and Commodus with an instinctual understanding of not only their narratives but also their spirits, their dramas and traumas. We can feel the rage of Commodus, the cruel Roman tyrant, as he unleashes terror and chaos in Nine Discourses on Commodus (1963). With each successive canvas the battle between white (innocence and victims) and red (power and oppression) grows more aggressive. Textured paint is thrown back and forth until at last a fresh reddish-orange glistens with victory.

Perhaps the most intriguing and complex element of Twombly’s artistic approach is his use of language. He creates visual poetry by merging the principles of abstract expressionism and the lyricism of words. Coming off as difficult and rather unclear, his script is largely incomprehensible. A mishmash of singular words or illegible phrases float throughout his compositions neglecting any true syntax or logic. The words are activated and energized by the dynamic forms, expressive lines, and bold colors that accompany them. The ten-part series Coronation of Sesostris (2000) perfectly demonstrates how Twombly blends language and image so that each complements and fulfills the other. Referencing Egyptian sun god Ra,  Egyptian king Sesostris I, ancient Greek poets Sappho and Alcman, and contemporary poet Patricia Waters, the series shows the artist’s unrelenting dedication to narrative and ancient civilizations.

Twombly is a modern poet. His work can most easily be understood as an emotional and intellectual reaction to an understanding of the past, expressed through the language of color, form, and writing. It possesses an archaic energy that surpasses traditional and one-dimensional representations of history and instead strives to express a universal essence. His work is as sensual and sensitive as it is intellectual and independent. Cy Twombly, a true maverick, interpreting humanity across time and space.

“Cy Twombly” is on view at the Centre Pompidou until April 24, 2017.