Video Art and the Digital Humanification

Follow this link to a piece I wrote for the Saatchi Gallery art blog!

 

Here are a few extra images and videos to quench your visual thirst

One of the scenes in Going Forth By Day, 2002.

Tristan’s Ascension, 2005.

 

Camille Henrot, Grosse Fatigue, 2013. Film still.

Camille Henrot, Grosse Fatigue, 2013. Film still.

 

 

Interview with Camille Henrot at the 55th Venice Biennale.

 

Go See Stephen Willats and Maria Nepomuceno at Victoria Miro!

Last night was the opening of two exhibitions at Victoria Miro. Victoria Miro is one of my favourite galleries as the space – a vertical and horizontal maze – never ceases to amaze me. This spatial challenge makes for spectacular works and exhibitions (Sarah Sze’s exhibition in 2007 is an all time favourite). Plus they do drinks in the garden and the silvered balloons on the pond are enough to keep anyone occupied for a wonderfully long time.

Stephen Willats has created an installation made up of individual drawings from the 1960s and 2010s as well as large-scale site-specific wall drawings that together are designed to be experienced as a single work. I’m not too sure how far this is possible but the colours and various shapes and arrows create a map connecting each element. The works have a Bauhaus and De Stijl quality and portray Willats’ u- or even dystopic vision of the simulacra that make up our world.

(I have noticed more and more arrows in exhibitions recently; Stephen Willats, Richard Hamilton, Paul Klee.. maybe I just yearn to see direction wherever I go).

Sorry no pictures yet for this one, got distracted by the pretty colours.. and the bar.

Maria Nepomuceno’s contemporary works fall in line with my conclusion to the post below; creating something new out of the familiar, or rather ordinary in this case. She uses traditional methods of rope weaving and straw braiding, which paired with beads of various sizes and colours amounts to monumental installations.

Maria Nepomuceno, The Pearl, the Bamboo and the Straw 2014

Maria Nepomuceno, The Pearl, the Bamboo and the Straw 2014

These organic shapes are however meticulously futuristic-looking manufactured objects and remind me of a disturbing dream.. and the teletubbies.

Maria Nepomuceno, Grande Boca 2013

Maria Nepomuceno, Grande Boca 2013


 

Stephen Willats REPRESENTING THE POSSIBLE 13 March – 17 April 2014
Maria Nepomuceno TRANS 13 March – 17 April 2014

Paloma Varga Weisz at Sadie Coles Gallery

Here there's a man and a woman looking at a vagina

Here there’s a man and a woman looking at a vagina

Beautiful, unpolished carved wood. The scent and organic shapes are what draw me in. Dotted in cabinets and placed on shelves, these sculptures seem a touch out-of-place against the white walls of the gallery. Inspecting the works, peering into the cabinets, I feel as though I’ve just stepped into some perverted encyclopedic palace, so in tune with last summer’s Adriatic bustle.

Sculpture by Odires Mlaszho for the Brazillian Pavillion at the 55th Venice Biennale 2013.

Book sculpture by Odires Mlaszho for the Brazilian Pavilion at the 55th Venice Biennale 2013.

The surreal weaving of elements – identifiable yet quickly unsettling – are what make these works so remarkable and Paloma’s perception so acute.

Metonymical limbs are made to represent a whole. Figures and objects are arranged without obvious order or chronology. A penis juts out at the feet of a mountaineer, ridiculing his proud stance. Six carved out ears are placed above a pig, making a *pig’s ear* of the display. A baby born out of a mother’s head in Birth and a sombre renaissance Couple staring at a vagina set between them, question motherhood, femininity and the way in which both are so open these days. The private is displayed and laid bare for all to see.

The fragmentation of bodies and narratives rings a chord, recalls our own busy lives. Disconnected with the past, and even with the present, it is as though our selves are broken up and our sexuality, senses, culture and history are disparately thrown around the room, splintering our identity.

Yet perhaps orderly mess is the best way to view – or even portray – our lives. With an early training in wood carving, Paloma has managed to deconstruct a few of the things that make us who we are (and I don’t just mean physiologically) and like a collage, has reassembled these elements to create an absurd mélange.

This is what I love most about contemporary art. Finding new ways of representation, displaced and uncanny to the eye. The ways in which some artists use the familiar to create the unusual, is what amazes me, but this unaccustomed way of thinking about things, like a great mashup, is what makes me come back for more.

*=make a mess*

 

Paloma Varga Weisz exhibited new sculptures and watercolours from the 1990s at Sadie Coles Gallery (South Audley st) from 22 January – 8 March 2014.

Happy International Women’s Day

These are but just a few

Of an inspirited crew

Sarah Sze for the American pavillion at the Venice Biennale 2013.

Image source: http://behindthecurtainfeminism.wordpress.com/2013/12/22/ana-mendietas-traces-a-feminist-icon-by-ruth-eloise-lewis/

Kara Walker mural Source: http://365artists.wordpress.com/2011/04/22/kara-walker/

Chen Lingyang Twelve Flower Months 1999-2000.  Source: flickr.com

Ursula-Arnold-Leipzig

Sarah Sze for the American pavillion at the Venice Biennale 2013.
Ana Mendieta Untitled (Glass on Body Imprints) 1972
Source: http://behindthecurtainfeminism.wordpress.com
Kara Walker mural
Source: http://365artists.wordpress.com/2011/04/22/kara-walker/
Chen Lingyang Twelve Flower Months 1999-2000
Source: flickr.com
Ursula Arnold Leipzig, Brandvorwerkstraße 1956
Source: http://www.photoscala.de

Just a lil shout out to other inspiring projects:

http://www.thewproject.co.uk/
http://illuminatedlettersproject.wordpress.com/

Tate in Ruins

Construction site of Phyllida Barlow's upcoming work for the Tate Britain Commission 2014.

Construction site of Phyllida Barlow’s upcoming work for the Tate Britain Commission 2014.

This title couldn’t be further from the truth, yet ruins are ever so present at Tate Britain.
After passing the magnificent – recently refurbished – entrance and rotunda, I came across the closed off Duveen Galleries, a building site, contradicting the initial polished reception. I overheard an attendant who, trying to amaze children, explained that the D Galleries will be host to Phyllida Barlow’s largest work in London to date, a work that will be made in response to the Tate’s collection. I couldn’t help but feeling a little enthralled myself.
Yet construction does not signify to ruin. Indeed, construction exploits ruin to make something new, rid of yesterday’s decay.
Ruin Lust, a recently opened exhibition curated by Brian Dillon, Emma Chambers and Amy Concannon, presents artists’ fascinations with ruin, or rather their lust (in the German sense) thereafter. Particularly interesting, is the way in which artists present ruin using ruin as medium. Such as Tacita Dean who created Kodak with some of the last monochrome standard 16mm film that the company produced. Or even John Stezaker who collages old postcards with cut-up photographs, creating an uncanny coherence with refuse.
Sneaky snaky photo doesn't do the artist justice.

Sneaky snaky photo doesn’t do the artist justice.

Last but definitely not least, Richard Deacon’s organic, sensual and curious shapes had me studying the works intently, trying to figure out how he could possibly contort the materials – wood, steel, marble, leather and ceramic – into the forms he desired. I am very aware that man has accomplished remarkable things, yet the unnatural shapes, produced by torturing the wood as it seemed, is what struck me, what stirred something in me.
And so, Tate 1 – Ruin 0.

 
 

Phyllida Barlow 31 March – 19 October
Ruin Lust 4 March – 18 May
Richard Deacon 5 February – 27 April