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
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.
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.
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.
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.
The work of Richard Serra has become synonymous with a fluidity of form and meaning.
Serra, born in 1938 in California, first encountered steel while accompanying his father, a pipe-fitter, to a San Francisco shipyard. Serra said of his experiences at the shipyard: “all the raw material that I needed is contained in the reserve of this memory which has become a reoccurring dream”. And, indeed, metal has recurred throughout the artist’s later works.
Now Serra’s works feature in the collections of world-renowned institutions such as MoMA, Tate Modern and the Guggenheim Bilbao, among others, but this hasn’t always been the case. In the early days of his career, Serra took to working in steel mills on the United States’ West Coast to support himself, becoming increasingly familiar with the raw material that would, from the 1970s onwards, form the basis of his monolithic sculptures.
Although Serra has produced a prolific number of works on paper throughout his formidable career, it is his sculpture which has captured the imagination of both the artistic establishment and the general public alike. His undulating masses of steel, contorted in ways that make them appear almost weightless, seem to defy gravity. The sheet metal that characterises Serra’s work mimics rippling natural forms. To create them, the artist takes many tons of this solid material and transforms them into towering vertical planes.
In his work NJ-2 the viewer becomes immersed in the meandering curves coated with a rusty patina, the amber tones reminiscent of the Golden Gate Bridge of his native San Francisco. The viewer is invited to walk not only around the piece but through it, as if lost or wandering among winding rocky outcrops and crevasses, with snatches of white-hot desert sun penetrating from high above.
Serra’s forms bend and twist, often striking a stark contrast to their environs. These monumental monoliths seem almost malleable and are open to a variety of interpretations. His sculpture is concerned with ineffability and expresses the unsayable through visual means. The works simultaneously point to recognisable forms whilst also bewildering the viewer. It is no surprise, then, that Serra counts Roland Barthes and Gilles Deleuze among his notable influences. The artist’s sculpture transcends pre-existing linguistic systems, stepping outside of the constraints of human language. Serra could be described as reticent: his minimal sculpture gives little away, leaving it to the viewer themselves to derive meaning. His work could be interpreted as the visual counterpart to that of the great philosophers and poets of the twentieth century, who struggled to represent meaning as they negotiated the world.
A key facet of Serra’s sculpture is its relationship to and dependence upon place. This site-specificity quality characterises his art and ascribes meaning to it. In fact, the work’s purpose relies so heavily on its environment that Serra himself said that to remove it from its intended site would be “to destroy it”. This is evident in the case of his infamous commissions for the Federal Plaza in New York City and the California Institute of Technology. Following a controversy, the former was removed while the latter was never installed, and so the works were “lost” or at the very least not realised in their intended capacity. Though the locations of Serra’s pieces vary enormously, ranging from east to west, city to desert, public space to private gallery, the gently undulating yet imposing metal facades, tarnished with a rusty patina formed naturally over several years, remain recognisably Serra nonetheless.
In contrast to Serra’s usual site-specific works, installed in public squares or national parks, three recent works were nestled in a gallery by London’s King’s Cross station. The large-scale steel sculptures, each on display in their own room of the Gagosian gallery, were disconnected from the natural environment and instead presented in a vacuum. Here, prevented from interacting with external influences, their ambiguity and uncertain meaning was intensified. This mode of display bridged the gap between Serra’s site-specific sculptures, created for and bound to their environment, and his two-dimensional canvases displayed on the distraction-free spaces of contemporary art galleries.
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.
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.
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.
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.
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.
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!
I met Touria El Glaoui during the opening of 1:54 art fair this October. Already familiar with Touria’s tremendous success in not only establishing the fair four years ago, but also expanding to New York only two years after the inauguration, I was intrigued to meet her.
Elegant in her long silky dress with a stylish, and warm for English weather, cardigan, Touria made you feel 1:54 was not simply an art fair, but a home. The amiable, pleasant atmosphere of the Somerset House, which you don’t typically find in a large-scale art fair, made me feel like a guest to a home party, rather than a stranger in a museum. There was no sense of pretensiosness.
While we were sipping hot morning coffee and treating ourselves with a warm butter croissant, Touria shared how she built the brand, or better say the platform for contemporary African artists, and what it took to get 1:54 to the level of today.
You earned your MBA in Strategic Management and have an impressive background working both in banking and IT industries. What made you decide to turn to the art one?
I grew up in Morocco in the house of an artist – my father, Hassan El Galoui – and he was the person who gave me my artistic education. For this reason, art – particularly African art – has always been a part of my life. Much later on – in fact, during my career in the IT industry – I was travelling extensively around Africa and the Middle East, and this is when I fully realised how absent African and African diaspora artists were from the international markets in Europe and the US. Having the seen the incredible work being made on the continent, I decided it was time to the bridge the gap and create a platform.
How did you personal background (your farther is a famous artist) influence you throughout your career?
Many of my earliest memories are of my father’s studio with its incredible smell of oil paint. I would spend hours watching him transform his canvases, and the life of an artist became my daily norm. Because of this, my approach to running 1:54 has always been centred on the artist and on maintaining the integrity of the work. I have also organised and co-curated a number of my father’s exhibitions, and have also been working on the catalogue raisonné of his life’s work, and these experiences have certainly shown me much about the realities of being an artist working on the continent verses in Europe and America.
How did the idea for 1:54 come about? What challenges did you face/still facing?
When I established 1:54 back in 2013, the biggest challenge was finding both the interest and the support. This underpinned much of my decision to launch in London. In 2011 I could already see evidence of a growing interest in African and African diaspora art – for example with the Tate launching its two-year African art programme. I will never forget the incredible backing that I received in that first year, yet every year we continue to face the financial challenge of making the fair happen. We are incredible grateful this year to our main sponsor, Floreat, as well as to Christie’s education and the Arts Council England who have both sponsored this year’s FORUM.
Are you planning on expanding the fair to other locations? What’s the importance of having the fair now in both London and NY?
As I said, London was the most obvious ‘home’ for 1:54 for a few reasons, its internationality being one. Once London was up and running, we began to toy with the idea of New York, and began to see that our galleries and collectors were keen to make the move. We first launched as a pop-up edition, in May 2014, but returned again this year to enjoy our second edition. The two fairs are actually quite different due both to the buildings they are housed in as well as the different audiences they attract, and so the importance of having both editions is to widen the diversity and outreach of the fair. It’s very exciting for us when collectors are able to visit both.
Who’s your favourite artist?
This is always such a difficult question! I can never choose and it would be unfair for me to do so. All the artists and galleries that we welcome to each new edition brings something unique to 1:54 and my greatest hope is always that our visitors will explore and appreciate this diversity, and appreciate each artist in their own right.
6. Tell us what is new in this year’s edition of 1:54 art fair.
I am particularly excited about our incredible line up of Special Projects joining us this year. We have 10 in total, and each one is incredibly unique and will add a whole new element to the fair. Zac Ové’s installation, for example, will extend the fair into the Edmond J. Safra Fountain Court for the first time ever; Ifeanyi Oganwu’s lounge design – created in collaboration with Phoebe Boswell – and Barthélémy Toguo’s Mobile Cafeteria will introduce vibrant, interactive spaces; and we will also be extending out over the airwaves with a live three-day broadcast by a new music-radio platform, Worldwide FM. Of course the Malick Sidibé exhibition – created in collaboration with Somerset House and MAGNIN-A – is also incredible exciting. We are thrilled to have the opportunity to showcase such an influential African photographer, and to be able to extend the exhibition past the four days of the fair, throughout Somerset House’s winter season.
Who are the artists to watch at 1:54 this year in London?
I want to draw attention to the fact that this year we are delighted to be welcoming 16 Africa-based galleries, of which 6 are from North Africa. Many of these are joining us in London for the first time, including Village Unhu from Harare, Zimbabwe; Mashrabia Gallery of Contemporary Art from Cairo, Egypt; and L’Atelier 21 from Casablanca, Morocco.
What are your future plans for the fair and beyond?
1:54 is constantly evolving, this year we welcome an incredible 40 exhibitors with over 130 artists exhibiting with us this year. Despite this, we want our ethos to stay the same: to create a platform for African and African diaspora artists in the international art market while putting the artist first. In terms of expanding further afield, we first want to ensure that our London and New York editions are as good as they can be.
October 5, 2016
Autumn. The season of cooler weather, multicolored leaves, long strolls in the Heath and marrons glacés, the time when we all start reminiscing about our summer fun and get ready for winter. However, the fall season is not only warmer clothes and hot chocolate, but also the time for major art happenings around the world.
Autumn, and especially October, is the time to follow new fashion trends at fashion weeks in the major cities, and to enjoy weeks of art. The Old World’s art capital – London – started long ago to prepare for the first week of October, aka the busiest and most stressful time in the art world.
The annual arrival of Frieze – the art fair opening in Regent’s Park October 6-8th – and it’s daughter Frieze Masters trigger parallel art happenings, such as the most important contemporary art evening auctions, art festivals, art shows and a myriad of talks and events throughout the capital, in order to benefit from the arrival of the art world’s mighty and try to get a piece of that juicy cake.
Find below a list of TOP artsy things to do this October in London and, believe me, you will want to be one to visit them:
Arguably the most well-known art fair today, though not the most visited one (according to the annual report by ArtVista) Frieze opens for the 13th time this October at Regent’s Park.
Note-by: if you feel unsure about spending 60 pounds on combined ticket to both Frieze&Frieze Masters, make sure to stroll in Regent’s Park – Frieze Sculpture Park is free for all and this year features canonical artists such as Jean Dubuffet, Ed Herring, and Lynn Chadwick just to name a few. The Sculpture Park will be on view for you to visit until January 8th, 2017.
The fair of contemporary African Art, 1:54 will return for the forth time to Somerset House this October. Representing over 50 African countries, 1:54 breaks the traditional approaches to art fairs and delivers a must-see program. The largest edition yet, the fair takes over the whole Somerset House this October and showcases 40 galleries.
Note-by: stop by the open-air installation by Zak Ove at the Somerset House’s courtyard, as well as by the unmissable exhibition of the exceptional Malick Sidibé (Malian photographer) – the exhibition will be on view for you to see up until January 15th, 2017.
Presumably you heard of the name Pollock. Or you heard that one of his paintings titled No 5 (1948) is one of the most expensive paintings in history and was sold for $165.4 million at an auction. Or maybe you didn’t. But the fact is that this exhibition is the first major retrospective of the Abstract Expressionist art movement in the UK in 70 years. Think abstraction, color fields and visual travel. You ought to see it.
Note-by: The most interesting part is the inclusion of not only famous names like Pollock and Rothko in the exhibition, but also of other artists who contributed to the movement.
This must-see exhibition presents just how talented Picasso was. The show will display portraits created during every stage of the artist’s career and will showcase famous masterpieces, as well never seen before works from private collections.
Note-by: the granddaughter of the artist, Diana Widmaier-Picasso, will be in conversation with the director of the National Portrait Gallery, Dr Nicholas Cullinan, on the 6th of October at 7pm, giving her views on Picasso’s portraiture.
Another must-visit show in London focuses on Caravaggio. It is important to note, though, that the primary accent will be given to the influence that the artist had on his contemporaries by showcasing the works of lesser-known artists of the time. So-called Caravaggism will be explored throughout the exhibition and bring together works by Caravaggio and his European followers.
Note-by: The National Gallery created a series of events and talks to introduce visitors to the Caravagesque style and to Caravaggio himself throughout the month of October. If you are a fan of Baroque art, or just a curious soul, make sure to check some of them out.
September 14, 2016
START Art Fair opens its third edition on September 15th in London. Located in the unique Saatchi Gallery, this new (compared to others) art fair is a star on the rise. Apart from featuring and showcasing emerging artists and galleries from all over the world, the fair also stands out for its curatorial projects. This year’s START Projects present works by Iraq-born and Qatari-based artist Mahmoud Obaidi.
The director of START is Niru Ratnam (check out his twitter). A believer in cultural globalization, Ratnam, who previously worked as Head of Development at Art14, brings the multicultural drive and global focus to the fair. We talked about START, London’s art scene and what Brexit could potentially mean for the art world.
What was the initial idea behind START and what is new in its third edition opening next week?
The idea behind START is very simple – an art fair set in a museum-quality location that focuses on emerging artists and new art scenes. There are lots of great art fairs around Europe so we wanted to do something that was a bit different – where you could go to and come away with a series of new discoveries. Ideally we want each visitor to go away with interests in artists and gallerists who they haven’t come across before. In terms of the setting, I wanted to move away from the trade show type venues that most art fairs go for and do something in the type of place that you’d normally visit for an exhibition – hence the Saatchi Gallery is our base.
Apart from its boutique-like setting at Saatchi Gallery, how does START differ from other art fairs happening in London?
We try to have quite a tight focus—on emerging artists and new art scenes. So the emphasis is very much on discovering artists and galleries who are new to you. Lots of these galleries are new to London audiences, so hopefully that gives the fair a little bit of a unique flavour.
START is relatively small scale compared to other art fairs. Would you think of expansion?
I think fair organizers are realizing that viewers, no matter how expert, can only meaningfully look at a certain amount of art and artists at a fair. At a certain point, no matter how good a fair is, it becomes a blur, which means that the good stuff you seen gets forgotten. Also in terms of collectors, it just gets too confusing if there is too much to see.
How do you select artists for START Projects?
Again the emphasis is very much on looking at new art scenes in a bit more depth, so the opportunity to showcase Mahmoud Obaidi’s work in advance of his major museum show in Qatar, introducing him to London audiences at START makes perfect sense. He is exactly the type of artist that START is all about –somebody with a strong reputation in the region where he works but one who deserves recognition on a wider stage — and his participation as both artist and a curator in START Projects emphasizes the important role that established artists play in nurturing emerging talent in new art scenes where there is a relative scarcity of public institutions.
We tend to take each edition one at a time – we’re not a big art fair or organisation that will suddenly roll out three similar fairs around the world. So the main plan is simply to deliver a really great edition again!
What are your views on cultural globalisation being even more pronounced now due to political changes both in the UK and the world?
Do you think London will still remain the heart of the art industry or will it shift in view of Brexit?