In: National Gallery
At London’s National Gallery, known globally for its collection of masterworks by Late Medieval, Renaissance and Modern painters such as Botticelli, Titian, Vincent van Gogh, and J.M.W. Turner, visitors now have an opportunity to view a major new work by contemporary British artist, Chris Ofili.
In his latest offering – a large-scale, three-paneled wall hanging entitled “The Caged Bird’s Song” (currently on display in an exhibition entitled “Weaving Magic”) – Ofili narratively engages with classical themes of love, tragedy, and paradise, whilst simultaneously exploring how these may be recast into contemporary idioms of black, diasporic identity. The scene itself – a watercolour depiction of two lovers luxuriating in an Arcadian, tropical landscape reminiscent of Ofili’s adopted home, the island of Trinidad – also features a treed, serpent-like man (based on the media-sensationalised character of Italian footballer, Mario Balotelli), who, in the upper centre of the main panel, mischievously disturbs the tranquility of the scene by pouring a green, effervescent, and noxious-looking liquid into a cocktail glass held by the central, female figure.
This female figure is depicted, along with her musical lover, in the tapestry’s lower centre panel, and both are flanked by an additional pair of characters on two far side panels – a female on the left and a male on the right – whose representations directly reflect the title of Ofili’s wall hanging: on the right, we see the male figure carrying a caged songbird (a common sight in Trinidad, according to curator Minna Moore Ede), and on the left, a female figure whose hand dangles a sprig of seeds meant for feeding to the caged bird in order to sweeten its song.
Ofili, who discusses the making of his tapestry in a 15-minute, companion video also shown at the exhibition, says that the title of his wall hanging refers to the late poet Maya Angelou’s 1969 autobiography, I Know Why the Caged Bird Sings, and that the image of the caged bird provides the “secret” to interpreting his tapestry, namely in its symbolism of the vulnerability and precariousness of humanity in the world. It is also significant that the central figures portrayed in the tapestry are black, and that their physical postures reflect a joyful state of innocence consistent with the tapestry’s paradisaical setting.
“The Caged Bird’s Song” provides viewers with a mural-sized translation of Ofili’s watercolour paintings, from small, preparatory sketches – some of which are also on view at the exhibition – into a large, jewel-toned wall hanging. For the Dovecot Tapestry Studio weavers charged with interpreting and executing Ofili’s design, their challenge was to both reproduce the formal subject matter, and incorporate the fluidity of line, colour runs, blooms, and puddling of watercolour pigments characterising Ofili’s original sketches. All of these watercolour effects are successfully captured throughout the tapestry, especially in the left-hand panel, where threatening blooms of storm clouds hover over the horizon.
Water is a dominant motif in Ofili’s tapestry; representing purity, life, and death, it recurs in his depictions of a waterfall, a sea in the background, an approaching thunderstorm, and a small, serene pool by which the lovers recline. The Dovecot weavers’ interpretation of Ofili’s watercolour effects further underscores the significance of this motif for the narrative, namely that of a paradise on the verge of being lost, flooded, or drowned.
For visitors to the Sunley Room, viewing Ofili’s tapestry is an immersive experience that the artist himself orchestrates with the aid of sophisticated lighting, and ceiling-height images of Indian temple dancers painted onto the surrounding walls of the gallery space. These dancers, depicted in greys and subtle browns, line the walls of the Sunley Room, and are arranged in rows by gender: female dancers appear on the left, while male dancers appear on the right, echoing the female/male couples depicted in the tapestry itself.
These gigantic images provide a neutral background for Ofili’s wall hanging, and they physically encircle the viewer, whose eyes are thus provided with sight lines for traversing the gallery, traveling back and forth from individual temple dancers to the scene depicted in the tapestry. On the far wall of the gallery, “The Caged Bird’s Song” gleams like a vividly-painted altarpiece, and viewers can reflect upon its symbolism and aesthetics from within a quiet, contemplative space that Ofili, in a creative departure from the traditional white cube gallery format, has specifically designed for this purpose.
“The Caged Bird’s Song” represents a three-year collaboration between the artist and the Dovecot Tapestry Studio of Edinburgh, Scotland. The tapestry was commissioned by The Clothworkers’ Company London to celebrate contemporary art in textile, and is on loan to the National Gallery until 28 August 2017. The exhibition is free of charge, and includes a catalogue providing additional information on the inspirations for, and production process of, Ofili’s new work.
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.