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Category: ART

New York_ Francesca DiMattio_ ‘Boucherouite’stitching histories & traditions with porcelain and stoneware & color

Francesca diMattio, “Boucherouite”, Venus II, 2018 (detail), glaze on porcelain and stoneware, resin, enamel, acrylic paint, steel, courtesy salon 94, New York  & artist

 

Upon my return from Europe, from Maremma/Toscana mid-March,  I left a beautiful and lovely springtime landscape.  New York has not smiled to spring; one of those rainy and cold days, I walked one of those mornings into a very special garden at 243 Bowery (salon 94), Francesca DiMattio’s ‘Boucherouite”.

DiMattio returns to the aesthetics of craft for inspiration, metamorphosing traditional techniques and imagery into mad-cap mise en scenes. Boucherouite, the exhibition title, refers to the rag rugs traditionally made from torn and reused clothing by Berber women in North Africa.  In a nod to their improvisational and idiosyncratic style, DiMattio shreds and weaves together images from many centuries and cultures, turning them into a new hybrid form. (Boucherouite exhibition, salon 94, NY, gallery press release)

The Boucherouite rug  is a magical colorful work of art, made by the  Berbers in Morocco, Boucherouite or Boucherwit, from Moroccan Arabic ‘bu Sherwin’ ( a piece torn from pre-used vintage clothing scrap )

 

What is the contract of a copy?  How does a reproduction shift meaning?  Monet’s waterlilies are at once associated with a Kleenex box and to MoMA. I love how a reproduction can reroute the value system, pointing out an image’s inherent instability.  That’s in part why I was drawn to porcelain.  Its development can be mapped through the copying from one culture to another- a history of hybrids: a Dutch version of an Asian scene, the white glazed clay cup faking porcelain, etc. I am most attracted to such dueling combinations. (Francesca DiMattio, February 2018)

Francesca DiMattio, “Boucherouite”, 2018 at Salon 94, Bowery, New York,  exhibition view

Francesca DiMattio, “Boucherouite”,2018 at Salon 94, Bowery, New York, exhibition view

 

Francesca DiMattio, “Boucherouite” ‘Venus II’, 2018, glaze on porcelain and stoneware, resin, enamel, acrylic paint and steel,96x60x38 inches, 2438×152.4×96.5 cm), courtesy of salon 94, NY  & artist

 

Francesca DiMattio, “Boucherouite”,’Venus I’, 2018, glaze on porcelain and stoneware, resin, enamel, acrylic paint and steel, 105 x 44 x 33 inches (266.7 x 111.8 x 83.9 cm), courtesy of salon 94, NY  & artist

As in her painting, in her ceramic work, DiMattio follows the principles of stitching together pieces of fragments of histories and traditions to create multivalent forms and images that connect diverse sculptural and decorative languages around ideas of value, function, gender, and class.  References to decorative wares such as Anatolian Iznik, Chinese Ming Dynasty porcelain, and Dutch Delftware abound alongside allusions to the output of the German factories Meissen and Augarten, the French Du Paquier and Sèvres, and the English Derby, Minton, and Wedgwood. (Claudia Schmuckli “Digital Becoming”, published in DiMattio book, Blaffer Art Museum, University of Houston)

Francesca DiMattio,”Boucherouite” ‘Venus I’, (detail )  2018, glaze on porcelain and stoneware, resin, enamel, acrylic paint and steel, 105 x 44 x 33 inches (266.7 x 111.8 x 83.9 cm), courtesy of salon 94 & artist

Roberta Smith writes at the New York Times (April 2015) on  DiMattio ‘s  ‘Domestic Sculpture’ at Salon 94 “Combining porcelain and stoneware, these bravura bricolages owe something to the ceramics of Nicole Cherubini and Arlene Shechet, while merging the improvisation energy of Peter Voulkos with the neo-Expressionist swagger of Julian Schnabel’s broken-crockery paintings. But they mainly reflect Ms. DiMattio’s voracious reconsiderations of the history of ceramics, seemingly deforming, shattering and piecing (or jamming) together appropriated vessels in contrasting styles, glazes and decorative patterns.”

Cindi Strauss finds a challenging similarity of Ms. DiMattio’s work in “Pattern Recognition”* with Katsuyo Aoki‘s

..perhaps one of the most intriguing comparisons to DiMattio’s ceramic sculpture comes in the work of Katsuyo Aoki (see figure below), a Japanese ceramist who has emerged in the past few years as an exponent of a ‘neo-ornamentalist’ style in Japan. Like DiMattio, Aoki favors the baroque and rococo styles of eighteenth-century Western European porcelain, examples of which she has seen only in books. Through her absorption, dilution, and translation of the ‘pieces’ form and ornament, she questions historical porcelain as a symbol of wealth and power. Aoki’s concern is with how these symbols of beauty from the West have filtrated and affected Japanese culture. ….DiMattio’s concern differs, lying in porcelain’s association with the feminine and the easy dismissal of the medium by society. (*Francesca DiMattio, published book by Blaffert Art Museum, University of Houston)

Katsuyo Aoki, view of the solo exhibition, May 2005, INAX gallery2, Tokyo, 2006

Francesca DiMattio working on her studio finalizing her sculptures for “Boucherouite. photo@Mathew Novak, published at New York Times (permission by Salon 94)

 

While walking  around the exhibition large space of Salon 94, at Bowery,  I could not stop thinking the similarity of the intensity of the work with Niki de Saint Phalle ‘s  just a few days before I was at the Tarot Garden by Niki de Saint Phalle in Maremma, a fourteen-acre sculpture park build atop Etruscan ruins, close by the picturesque village of Capalbio,  which happens to be close to my summer home. (see here “Beautiful Monsters” at New Yorker, April 18, 2016, by Ariel Levy)

Niki de Saint Phalle among her Nanas at the Galerie Alexandre Iolas, Paris, Autumn 1965. Photo: © André Morain, Copyright © 2007-2018 Niki Charitable Art Foundation

Niki de Saint Phalle in her studio at Soisy, surrounded by Le Mangeur d’Enfants, La Mariée sous l’Arbre, and Le Cheval et la Mariée. Photo: © Monique Jacot Copyright © 2007-2018 Niki Charitable Art Foundation

To Saint Phalle, the Tarot Garden was to be an Eden of art and magic. To the local gentry, the garden was an act of vandalism. But there was little they could do besides carp about the “madwoman and her monsters,” because Saint Phalle was under the protection of Italian nobility. (Ariel Levy, “Beautiful Monsters” at New Yorker, April 18, 2016)

Francesca DiMattio, “Boucherouite”,2018 at Salon 94, Bowery, exhibition view, courtesy of salon 94 & artist

On Q & A at Interview Magazine, by Emily McDermott, “Francesca DiMattio’s Unstable Stability, November 5, 2015, Ms. DiMattio says,

….I don’t think I took a sculpture class the whole time I was at Cooper. The sculptures really developed out of the paintings, out of the thinking I had already developed. I definitely had to figure out how to make stuff, and I still do. When I was at school nobody could teach me ceramics. I was lucky enough to have that in my family. 

DiMattios’ answer to Anne Thompson’s question “..is there any modernist critique or engagement in your use of ceramics”  … FD: I choose to work with ceramics for feminist reasons rather than as a modernist critique. I was interested in ceramics for its connection to craft because I think a lot about the structures of craft in general. The up and down of sewing, the stark juxtapositions of colors and patterns in guilts, and how knitting and crocheting can turn the disparate material into something altogether new. (*Francesca DiMattio, published book by Blaffert Art Museum, University of Houston)

lovely Francesca DiMattio with Ana-Nefeli, photo©VenetiaKapernekas

Munich “IL TRITTICO”, Giacomo Puccini at Bayerische Staatsoper_ a brilliant performance

IL TRITTICO: Il tabarro / Suor Angelica / Gianni Schicchi

Three operas in one act each: Composer: Giacomo Puccini ; Libretti by Giuseppe Adami and Giovacchino Forzano  (In Italian with German and English surtitles)

 IL TRITTICO (Suor Angelica): Ermonela Jaho (Suor Angelica), Ensemble und Chor der Bayerischen Staatsoper photo©Wilfried Hösl

 

musical direction: Kirill Petrenko  production: Lotte de Beer
Conceptual advice: Peter te Nuyl 
stage: Bernhard Hammer 
Costumes: Jorine van Beek 
light: Alex Brok 
dramaturgy: Malte Krasting 
choirs: Sören Eckhoff 

Last December, few days before Christmas, I had a lovely invitation for “Il Triticco, one of the most underrated opera by Giacomo Puccini, for the Bayerische Staatsoper_Munich,   one of the most triumphant opera houses of our contemporary time.

Three radically different sets being demanded for this 3-act opera and a balanced ‘marriage’ of Ms Lotte de Beer ( production /stage design), the music direction by Kirill Petrenko and the performers, principally Ermonela Jaho on the role of Suor Angelica emanated  to an astonishingly outstanding performance.

Simply stunning, simply gorgeous….And then something very rare happens: De Beer takes the stage, and instead of the usual boos the applause gets even louder. The spinning spaceship has done it to the audience. “(Sueddeutsche Zeitung”)

These three self-contained operas whose stories have nothing to do with each other  act as strange neighbors; First,  ‘Il Tabarro’ (The Cloak), a melodramatic slice of life and marital sleaze, a chill drama on the Seine; then follows the delicate tragedy of Suor Angelica, a religious tale set in a convent, (location:near Siena), featuring an entirely female cast; and the third act comes a devilish comedy of Gianni Schicchi (location; Florence) in which a family of hypocrites are duped out  of their inheritance by a perfect villain.

 Giacomo Puccini has summarized under the art historical term “triptych” – Il tabarro, Suor Angelica and Gianni Schicchi  three one-act operas,  scenes of reality. Puccini ventures to narrate the world as a whole in a grand opera as in a great novel.  Puccini sets three historical highlights, bundled by a music that understands the human impulses of relentless coldness to glowing passion.

Ms. de Beer doesn’t think operas should abandon the audiences they already have in favor of new audiences, but “I think they should get a second brand, like a younger version run by young artists who get a chance to try and communicate with their contemporaries.(NY Times, 2014, Breaking the Rules of Opera for a New Generation)

Il trittico (Sour Angelica): Michaela Schuster (Die Fürstin), Ermonela Jaho (Suor Angelica) photo ©Wilfried Hösl

Around 1904, Puccini first began planning a set of one-act operas, largely because of the success of  Cavalleria Rusticana.  Originally, he planned to write each opera to reflect one of the parts of Dante’s Divine Comedy However, he eventually based only Gianni Schicchi on Dante’s epic poem; the link in the final work is that each opera deals with the concealment of a death. 

Il trittico (Sour Angelica): Ermonela Jaho (Suor Angelica) photo©Wilfried Hösl

“Il Trittico is not only a showcase of some of Puccini’s best writing, but it can also be a showcase for a director who is unable to resist the temptation to try to link them at least thematically, since there is little common convergence of tone, period or character between the three short works. Lotte de Beer connects the three pieces in only the most abstract of ways for the new production in Munich. Each of the one-act operas remains in the period of its original setting, and plays out closely to the libretto, but each take place within the wide opening of what looks like a large tunnel. The concept behind this is something to do with time, connecting the past with the future, but it’s not something that makes a great impression or present the works in any new or revelatory way.” (Opera Journal, Puccini, Il Trittico, Munich 2017) 

Il trittico (Sour Angelica): Ermonela Jaho (Suor Angelica) photo©Wilfried Hösl

After the extensive music dramas of Richard Wagner and Giuseppe Verdi, the music world occupied itself with the question of what can follow those form-perfect opera dramas with leitmotif technique and a duration of many hours of performance; an increase no longer seemed possible. In Italy, therefore, people around the year 1880 recollected the short form of one-act play, which was not completely unknown. As early as the 16th century, it was customary to insert smaller and stand-alone “mini-comedies” as intermedia between the acts of tragedies, in order to make the evening evenings more varied. Over time, the comic intermezzi between soprano and bass buffo developed out of these, while in France they created variety through ballet inserts between the tragedy files. (Amelie Langermantel, Il Trittico-Die Kunst Des Einakters, 12.20.2017)

 IL TRITTICO (Il tabarro): Eva-Maria Westbroek (Giorgetta), Wolfgang Koch (Michele), Yonghoon Lee (Luigi); photo©Wilfried Hösl

 IL TRITTICO (Il tabarro): Eva-Maria Westbroek (Giorgetta), Wolfgang Koch (Michele), Yonghoon Lee (Luigi); photo©Wilfried Hösl

The idea of the one-acter Puccini did not seem to have let go since then. At the turn of the century, he focused more intensively on the idea of three co-ordinated short operas dedicated to various episodes of the Divine Comedy Dante, each depicting the areas of Inferno, Purgatorio and Paradiso (Hell, Purification Mountain and Paradise). Both the unsatisfactory libretto search for three matching stories, and in crucial instance Puccini’s publisher Giulio Ricordi spoke against the implementation of this fabric idea. However, Puccini thus laid the foundation for his Trittico, which should unite as well as the Divine Comedy in three initially independent parts under a theme. Over the years, the composer tried repeatedly  to implement the idea of the three separate acts and thought, for example, in 1907 to set to music by Maxim Gorki. Again publisher Ricordi expressed his concerns that those topics would not be suitable for an opera and would never sell to the public.

 IL TRITTICO (Suor Angelica): Ermonela Jaho (Suor Angelica), Ensemble und Chor der Bayerischen Staatsoper photo©Wilfried Hösl

 

Many thanks to Christoph Koch (Head of Press & Editorial Content /STAATSOPER) for his invitation and  support  and patience to finalize this post.

 

 

‘Lightscape’ porcelain quietness creations of Ruth Gurvich

‘Lightscapes ‘: light and delicate as paper, precise as an origami object, and pure  and clean as freshly fallen snow.

all photos, courtesy of Porzellan Manufaktur Nymphenburg

When the days are heavy and stormy, as last days in New York, my luxury refuge memories is my passion for porcelain.  About a year ago, a very misty morning, while living in Munich, having an invitation to visit the Porzellan Manufacturer Nymphenburg, I drove to Nymphenburg Palace, where springtime I visited often the gardens, to experience the creations of Ruth Grulich.

Porcelain has been made for 1,000 years, traded for 1,000 years. And it has been in Europe for 800 of these.  You can trace a few shards earlier.  These broken fragments of Chinese for gleam provocatively alongside the heavy earthenware pitchers they were found with an no one can work out how they got to this Kentish cemetery, the Urbino hillside. There are scattering of porcelain across medieval Europe in inventories of Jean, doc de Berry, a couple of popes, the will of Piero de’Medici with his ulna copper di porcellana, a cup of porcelain. (Edmund de Waal, The White Road, a pilgrimage of sorts,

….Marco Polo reaches ‘a city called Tinju’.

Here, they make bowls of porcelain, large and small, of incompatible beauty. They are made nowhere else except in this city, and from here they are exported all over the world. In the city itself, they are so plentiful and cheap that for a Venetian groat you might buy their bowls of such beauty that nothing lovelier could be imagined.  These dishes are made of a crumbly earth or clay which is dug as though from a mine and stacked in huge mounds and then left for thirty or forty years exposed to wind, rain, and sun. By this time the earth is so refined that dishes made of it are of an azure tint with a very brilliant scene. You must understand that when a man makes a mound of this earth he does so for his children; the time of maturing is so long that he cannot hope to draw any profit from it himself or to put it to use, but the son who succeeds him will repay the fruit. (Edmund de Waal

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Ruth Gurevich’s models have not created additively; she does a model with paper, she constructs, usually starting with a single sheet of paper.  She cuts, folds, and designs according to a precisely calculated plan.  Like a true architect, Gurvich leaves nothing to chance.  And this is true when it comes to choosing the paper as well; she uses silky soft, absorbent paper made from cotton fibers, like the packing paper used for rolls of film. To fix the models in place, she uses off-the-shelf paper glue.  This creates tensions, kinks, and seams that give the vessel support and structure. (Nymphenburg Manu Factum)

Ruth Gurvich to the question ‘how do you transform paper into porcelain’,  She says: …‘for the production, we had to take a completely fresh approach.  The idea was always to translate the paper character of the models as accurately as possible, even including to the feels of it, but I also wanted to expose the construction process and structure. The cuts and splices, the kinks and curves, even the measurements I had written in pencil on the model, which provides the idea for the decorative painting.’

Ruth Gurvich originally studied architecture before she turned to painting, and this is reflected in her creations. The major theme of her life’s work is the examination of spatiality and dimension, and the passion to captivate space in delicate porcelain vases.

all photos, courtesy of Porzellan Manufaktur Nymphenburg

‘Porcelain had interested me for a long time, so the idea was to translate the feel and character of the paper models, as accurately as possible, to porcelain,’ the Paris-based Argentine, who is known for her three-dimensional work with paper. A beautiful video, (Ruth Gurvich: An artist with scissors and paper): camera by Frank Becker.

Ruth Gurvich was born in Cordoba, Argentina in 1961. Initially, she studied architecture in her homeland, but in 1979 she switched to art, continuing her studies at the École Nationale Supérieure des Beaux-Arts in Paris from 1987 to 1991. In her designs, Ruth Gurvich aims to show the shapes and structures of everyday things the way they are. Her ‘lightscape teapot 2011’, manufactured by Nymphenburg Porzellan, is part of the Product and Decorative Arts department at Cooper Hewitt, New York.  Ruth Gurvich lives and works in Paris.

 

 

 

 

New Haven: Tom Burr revives Jean Genet’s ‘May Day Speech’ at Yale/ the Pirelli bldg

Tom BurrThe Railings (May, 1970), 2017 detail, photo@courtesy of the artist and Bortolami, NY

 

“What is still called American dynamism is an endless trembling.”

 Jean Genet’s prophetic declaration, written for a speech he delivered on  May 1, 1970 at Yale University, before an audience of approximately 25,000 (published in Hyperallergic, Tim Keane, Jan 21,2017

Reflecting last days of our ‘contemporary political landscape’, I recall that rainy  Sunday morning, November 5th,  invited by  Stefania Bortolami  for a  journey to New Heaven as of the last day of a ambitious project by artist Tom Burr, part of the expanding out of the box /Bortolami gallery projects “Artist/City”.  Over the past six months, Tom Burr has occupied and activated the first of the Marcel Breuer-designed Armstrong Rubber Company, later and more colloquially known as the “Pirelli Building” for the Pirelli Tire Company.After extensive demolition and remediation to the lobby’s original interiors, local codes required new railings. Burr produced and engraved new stainless steel railings with the complete text of Jean Genet’s “May Day Speech” delivered at Yale on the occasion of the 1970 May Day Rally (shortly after the construction of the building) in support of the Black Panthers, and their recently imprisoned founder, Bobby Seale. Burr named this site-responsive sculptural work The Railings (May 1970). (gallery press)

Tom Burr / New Haven, Phase 1, 2017, installation view, Bortolami, New Haven, photo@courtesy of the artist and Bortolami, New York

In order to open the Pirelli Building to the public, the City of New Haven required the artist and the gallery to cordon off the rough edges of its naked interior with safety railings; this became the most and central piece for Burr as he inscribed with Genet’s speech, in full.  Genet’s words may ring  true today: ‘We whites are living perhaps in a liberal democracy, but the black lives, like it or not, under a paternalistic, authoritarian, imperialistic regime.’

Tom Burr / New Haven, Phase 1, 2017, installation view, Bortolami, New Haven,photo@courtesy of the artist and Bortolami, NY

Genet was legendary for his queer subversion of power and his fetish for domination; his face appears twice in the Pirelli Building’s open-plan ground, printed on aluminum plates. Photographs of young and old Genet (Bae Genet / Grey Genet, all works 2017) rest on either side of a urinal divider, separated – or perhaps conjoined by – decades of sexual deviance.

Tom Burr / New Haven, Phase 1, 2017, installation view, Bortolami, New Haven,photo@courtesy of the artist and Bortolami, NY

 

“Located in the artist’s hometown, the Breuer- designed building constitutes a cipher for the various social and political concerns central to Burr’s work, not to mention the artist’s own autobiography. As he explains, “I was born there a handful of years before the Pirelli Building was built, so it was always in my mind while I was growing up.” Armstrong Rubber commissioned the building in 1968 for its factory and executive offices and it became an iconic emblem as the entrance to the city o Interstate 95, particularly at a time when the city was gaining attention for its urban renewal and restructuring. The building was envisioned and constructed as a symbol of utopian urban strategy but, like many examples of  Brutalism became a representation of the failure of Modernism’s idealistic aspirations.” (Bortolami gallery,NY, press text)

today’s Pirelli /IKEA bldg.(photo@VK),Nov.5, 2017

This Brutalist masterpiece has served as the site of an evolving exhibition that commenced with the first phase, Pre-Existing Conditions, and it concluded with the final phase,  “Always Already Happening”, an ongoing durational performance consisting of simultaneous readings throughout the space …..

Tom Burr during the last day of the Artist/City project, (November 5,2017) orchestrated  a four-hour performance at the ground floor;  a group of “actors” /Yale are students were reading texts by or responding to the legacy of Anni Albers, Jean Genet, and the Black Panthers; the actors  were positioned near “zones of intensity” and each person was  reading  a specific  text during the 4 hour duration.

Yale art students on 4 hour performance,Nov.5, 2017  photos@VK

 

Yale Art students hired by Tom Burr reciting text (4-hour performance/Nov 5, 2017)photo @VKThe interior space had no heating and the constant rain and greyness of the day o had created a heavy atmosphere within  the dry and gloomy colors inside; while  the actors /students were reading, I found it somehow refreshing to take snippets of the text mirroring the experience of reading The Railing (May 1970)

Tom BurrThe Railings (May, 1970), 2017 Blackened steel, polished steel etched with Jean Genet’s 1970 “May Day Speech”, tempered glass, 23 panels, total length 42 in x 104 ft / 106.5 x 3170 cm, photo@courtesy of the artist and Bortolami, New York

 

Located in the artist’s hometown, the Breuer- designed building constitutes a cipher for the various social and political concerns central to Burr’s work, not to mention the artist’s own autobiography. As he explains, “I was born there a handful of years before the Pirelli Building was built, so it was always in my mind while I was growing up.” Armstrong Rubber commissioned the building in 1968 for its factory and executive o ces and it became an iconic emblem as the entrance to the city o Interstate 95, particularly at a time when the city was gaining attention for its urban renewal and restructuring. The building was envisioned and constructed as a symbol of utopian urban strategy but, like many examples of Brutalism, became a representation of the failure of Modernism’s idealistic aspirations. (gallery press text)

Tom Burr Women Who Work, 2017 powder coated steel guard rails, IKEA desk chairs, direct-to-substrate print on aluminum, book (Women’s Work: Textile Art from the Bauhaus by Sigrid Wortmann Weltge), photo@courtesy of the artist and Bortolami, NY

 

Burr’s sculptural composition entitled Women Who Work consists of a group of IKEA chairs facing away from a printed aluminum panel featuring a textile design by Joseph Albers. Burr positioned a book called “Women’s Work: Textile Art from the Bauhaus” is open on one of the empty chairs, suggesting maybe an absent audience.

Tom Burr ‘Brutalist Bathroom’, 2017 Powder coated steel guard rails, bathroom doors from Marcel Breuer’s Armstrong Rubber Co building, direct-to-substrate print on aluminum, photo@courtesy of the artist and Bortolami, New York

 

Next to two bathroom doors, one labeled “Gentlemen” and the other without any label, Burr positioned a portrait of J. Edgar Hoover brandishing a gun.  At that time Hoover presiding  FBI Director in 1970 he ordered his agents to disrupt and discredit radical groups, like the Black Panthers who were on trial in New Haven at the time.

Best known as the home of Yale, one of the most elite universities in the US,  New Haven is a surprisingly blue-collar port town. Tom Burr was born in New Haven in 1963, under the mayoralty of Dick Lee, a prodigious builder and an enthusiast of modernism. In 1968, Lee convinced the Armstrong Rubber Company to hire Marcel Breuer to design their corporate headquarters: an imposing seven-story concrete tower atop a long base, like a head on a recumbent body. Armstrong was bought by Pirelli, a tire manufacturer, who later sold the building to IKEA; after demolishing its base, though, the Swedish megastore decided to set up shop next door, leaving the stripped Breuer behemoth abandoned for over 15 years. (text from gallery press)

Tom Burr Body/ Building (blue), 2017 Used blue work shirts, metal clothing rack, wooden pedestal, photo@courtesy of the artist and Bortolami, New York

 

“Genet’s highly stylized, sexually explicit works in memoir, fiction and playwriting transformed each of those genres, scandalizing readers and audiences and turning him into one of the most exasperating and profound moralists of the twentieth century. Late in his career, facing a decade-long writer’s block, his writing was reborn, first by engaging with the visual art and later, through writing about aspiring revolutionary groups who were fighting power from the margins. Little wonder, then, that by the late 1960s he was drawn to the trembling that was shaking the United States.” (Tim Keane, Hyperallergic, January 21, 2017)

Jean Genet, “May Day Speech” (1970) (© City Lights Books)

The speech, read in its English translation by a founding Black Panther member, Elbert “Big Man” Howard, consists of a rousing appeal on behalf of Bobby Seale, who was then on trial in New Haven for murder (the charges were eventually dropped). Genet’s oratorical strategy, a full-scale assault on the toxic apathy of white liberals, remains prophetic.

Genet blames the prevalence of racism on his Yale audience. “It is very clear that white radicals owe it to themselves,” he declares, “to behave in ways that would tend to erase their privileges.” Closing on a provocative note, he further goads the audience by comparing universities to “comfortable aquariums […] where people raise goldfish capable of nothing more than blowing bubbles.” Reread in light of the response to controversial police killings of African Americans in Charlotte, Ferguson, and elsewhere, Genet’s words bluntly spell out the diplomatically stated ideas coursing through the Black Lives Matter movement. (Harriet Staff, ‘A Look at Jean Genet’s 1970 May Day Speech,published at Poetry Foundation, January 23, 2017)

Angela Davis and Jean Genet  (Berkeley,70s,published at Blogcitylights, on Mumia Abu-Jamal’s article)

‘……The Frenchman’s name was Jean Genet, but I had no idea what that meant. David gave me a slender book, entitled The Blacks, with the name Jean Genet listed as its playwright. I turned to the back cover to learn more. It described the play, The Blacks, as an example of what was called ‘The Theatre of the Absurd’ (Mumia Abu-Jamal, Blogcitylights, September 9, 2016)

I want to thank  Tom Burr and Stefania Bortolami, an amazing visionary gallerist, who gave me  the chance to travel thru time, challenge and question myself where we are now as viewers, as spectators, as life critics, as young in heart revolutionary students, as mothers, being concerned of our times and the political fearful environment.  My early student days in Berkeley was after Genet and Angela Davis ‘s teaching days while their speeches were ‘rocking’ the strong temples of the University.  Indeed, their echo was still there; it also spread thru the Pirelli building that morning thru Burr’s selection of performance texts by the students and his fabulous rail installation/art piece.

 “The essence of theatre is the need to create not merely signs,” Genet writes, “but complete and compact images masking a reality that may consist in absence of being.”

Tom Burr with young visitors, Maya Fuchs Bortolami and Nefeli Brandhorst, Nov 5th, 2017, photo@VK

 

So much of my specificity as an author, as an artist, has to do with being a queer subject. …I became interested in throwing these things into the foreground, not letting them exist in an anonymous vessel. I’m interested in this project being a culmination of these facets, these problems/masquerades/privileges/disappointments, of both this particular building and my own body. All of these conditions that operate both metaphorically and actually, manifest in the presence of the building and in the hopes and dreams and expectations and all the disappointments and abandonments as well. … (Tom Burr, as told to Julian Elias Bronner, Artforum,500 Words, Feb 3, 2017.online)

rendering made “The Railings” 23 panels, total length: 42 in x 104ft (106.5 x 3170cm), 2017  @courtesy Bortolami gallery, New York
“I don’t have a preservationist approach to my project,” says the artist. “I like the building, so I don’t want to see it taken down. But I’m not here to save it. I’m interested in the fact that it’s amputated.” (Tom Burr to Mark Byrnes at CityLab, Oct.5, 2017

 

 

New York: Karin Waisman’s new piece “Stem 3” silence speaks

“Space is not merely given, it too  is produced; by analogy, we can evoke the space created by a musical chord, its wave-like expansion producing a tapestry of sound.”
                                                         (Olivier Berggruen on Karen Waisman’s work)

 

A short ride with the subway from Manhattan to Queens last week,  before the temperatures dropped dramatically in New York City on my way to visit my dear friend’s studio, Karin Waisman to see her new piece,  “Stem 3#”  a jewelry piece.  While reading a great book, Pascal Mercier ‘ s ‘Night Train to Lisboa” I was traveling through time since I met Karin and arrived early a sunny afternoon at Karin’s lovely small studio; our conversation unfolded slowly with green tea revealing the essential nature of her work.

Karin Waisman  studied architecture as an undergraduate in her native Buenos Aires and later earned an MFA in sculpture from Cornell.  She lives in New York with her family and goes uninterrupted to her studio every day. She is an accomplished artist with many exhibitions and site- specific installations to her credit.   Despite being trained as an architect, she prefers to work on her art full time.  A great writer, my dear friend, Olivier Berggruen, notes on  Karin’s work:

El Dorado, 2008-2014. Installation view;photo ©Karin Waisman

Karin Waisman creates haunting, ethereal works in which ornamentation acts as a founding principle.  Formal elements alternate between refined vegetal motifs and a proliferation of geometric patterns. These unfold effortlessly across a flat surface that is primarily dynamic rather than static. The expansion of geometric forms occurs in a spontaneous, organic fashion that undermines the Pythagorean ideal on which they seem to be based.

        Karin Waisman  Stem #3, 2017    Carved in wax and cast in  gold 1”D x 7/8”W x1-1/8”H; photo ©Karin Waisman

 

Karin Waisman, El Dorado, installation view, 2008-14. Wall 2, dimension variable;photo ©Karin Waisman

 

….the interlacing of lines is the foundation of the structure of the arabesque and its geometric complexity (much cultivated in late Antiquity) reveals repeated patterns, thus allowing the beholder to imagine the design extending beyond its actual limits. It also introduces the idea of infinite connection of correspondence. In one-way or another, everything is deduced and linked together.  The arabesque was not just exclusive to Islamic art. Rococo ornament, for example, introduced a fluid and whimsical style that has applied to a variety of media, from boiseries and mirrors to porcelain and silver. 

Karin Waisman’ work refers to 17th Century needlepoint, the craft involving lace making by embracing potentially infinite growth forms, ornamentation generated through a painstaking process.  (Olivier Berggruen essay  ‘Efflorescence & Evanescence’ at the book/ cataloge ‘Karin Waisman – The Garden of Eden’, New York, 2004)

( boiserie: finely-sculptured wood paneling or wainscoating, particularly  in 18th-century French architecture, source; Collins dictionary)

Karin Waisman, Evanescence I, 1998-1999. Pencil on velum, 68″h x 96″w;photo ©Karin Waisman

 

Karin Waisman, Tondo II, 2006. Cast Resin, 84″ diameter; photo ©Karin Waisman  

Karin Waisman -Puzzled, 1998-1999. Cast Aluminum 432″h X 24″w x 2″d. Permanent Collection Plattsburgh Sculpture Park. Myers Fine Arts Building;photo ©Karin Waisman

Karin Waisman -Puzzled, 1998-1999 (detail) Cast Aluminum 432″h X 24″w x 2″d. Permanent Collection Plattsburgh Sculpture Park. Myers Fine Arts Building;photo ©Karin Waisman

    Karin Waisman  Stem #3, 2017    Carved in wax and cast in  gold 1”D x 7/8”W x1-1/8”H;
photo ©Karin Waisman

Stem #3 is part of a new series of pieces that are to be worn on the hand. This new tactile element of the work explores how one perceives weight, temperature and different surfaces on our own body. My previous pieces for public places, explored the relationship of our body moving in front of the work or in an enclosed space, perceiving it as a field of vision. In these sculptures the relationship is changed; we hold, move and transport the piece with our own body. (Karin Waisman, 2017) 

In her work, ‘Evanescence I‘, Olivier Berggruen continues, ‘… The vegetal-inspired motifs that appear in this inner sanctum evoke growth and movement without falling into representation. In other words, the motif that pervades this work is inspired by vegetal forms but nowhere is there a fully formed, self-contained plant to be seen. The principle of vegetal, organic growth is used as a formal and metaphorical device to structure the work. Plants have the infinite potential for growth. Vegetal forms here are an evocation of life, of that very form that appears in movement.’ 

Karin Waisman, Evanescence I, 1998-1999. Pencil on velum, 68″h x 96″w, detail;photo ©Karin Waisman

see Karin Waisman   and more about her work  see here 

  Karin Waisman,  Stem #3, 2017  Carved in wax and cast in recycled silver  1”D x 7/8”W x1-1/8”H;photo ©Karin Waisman

Karin loves to be surrounded by nature; her second studio is two hours away from the city in Eastern Long Island where she escapes to work, a sanctuary, a place to work on her large pieces and preparation sketches on site-specific site-specific work that often incorporates architectural elements.  One of them is at Chihuahua Desert at the foothill of the 18th century silver mining town Real Catorce, the ‘Blue Oasis’, finalized in 2013.

Blue Oasis is a partially buried concrete structure, fifteen feet square and twelve feet high on the inside. We enter by descending a narrow and dark stair, a transitional space that leads to a large tiled cubic room. All the walls, floor, and ceiling are covered with a square encaustic tile that is patterned with concentric circles in blues and greens. A stainless steel tube penetrates some of these circles to the outside, allowing for natural light and ventilation as well as serving as a small oculus that allows the viewer to see the desert landscape beyond. Working within this extreme site, Blue Oasis exists for the viewer to establish a temporary dialog with Nature through the lens of the vibrant blue light that pulsates within. It transforms the landscape from within. On the outside it blends with the desert landscape, half- buried in the land. (Karin Waisman, April 2013)

‘Blue Oasis’, San Luis Potosi, Mexico, 2011. Permanent collection Sculpture Park San Luis Potosi.  Exterior view, reinforce concrete;photo ©Karin Waisman

‘Blue Oasis’, San Luis Potosi, Mexico, 2011. Permanent collection Sculpture Park San Luis Potosi. (Detail tiled main space with wall and ceiling perforations);photo ©Karin Waisman

‘Blue Oasis’, San Luis Potosi, Mexico, 2011. Permanent collection Sculpture Park San Luis Potosi. (Detail wall perforation looking to the desert from inside main space;photo ©Karin Waisman

This optic effect reinforces the idea of movement and transformation. The sound of our own bodies reflects on the tiled walls, floor and ceiling creating a continuous echo. Outside is the desert, harsh and sublime, tamed by this new oasis, a shelter, a second skin. The possibility of perceiving the walls as a limit that separates the inside space from the outside world and as an element that grants that space its symbolic quality is only possible because I, myself, inhabit my body within the limits of my own skin. (Karin Waisman, April 2013) 

 

 

New York: Carey Young “Palais de Justice” and Franz Kafka ‘Before the Law’ 1915 parable at Paula Cooper gallery

SEPTEMBER 7 – OCTOBER 14, 2017 at Paula Cooper gallery, 21st street, Chelsea
published:(VK)  October 8th, 2017, Berlin

Installation view, Carey Young, Palais de Justice,2017,single-channel HD video (from 4K); 16:9, color, quadrophonic sound;17 mins 58 sec,Photo: Steven Probert  © Carey Young. Courtesy Paula Cooper Gallery, New York

 

Carey Young presents a  challenging,  quitely stunning 18 minute video, and  poetic exhibition at Paula Cooper’s space on 21st street.  The piece, a new video  ‘Palais de Justice’ develops Young’s interest in law, gender and performance, and considers the complex relations between lenses, surveillance and ideas of framing or being framed.

Carey Young (London-based British -American visual artist,b.1970, Lusaka, Zambia) takes her inspiration in part  from “Before the Law” by Franz Kafka (1915) parable Focusing on “gateways” to the law, both architectural and human, Young’s work here—a quietly stunning 18-minute video shot in the Brussels court building in which the protagonist is continuously denied access to ‘the law,’ the series depicts these doorways as metaphors for the legal system itself.

Before the law sits a gatekeeper. To this gatekeeper comes a man from the country who asks to gain entry into the law. But the gatekeeper says that he cannot grant him entry at the moment.  The man thinks about it and then asks if he will be allowed to come in later on.  “It is possible,” says the gatekeeper, “but not now.” At the moment the gater to the law stands open, as always, and the gatekeeper walks to the side, so the man bends over in order to see through the gater into the inside. When the gatekeeper notices that, he laughs and says: “If it tempts you so much, try it in spite of my prohibition. But take note: I am  powerful.  And I am only the most lowly gatekeeper. But from room to room stand gatekeepers, each  more powerful than the other. I can’t endure even one glimpse of the third.” (exerpt “Before the Law” (1915) by Franz Kafka, transl.by Ian Johnston)

 

Installation view, Carey Young, Palais de Justice, 2017,single-channel HD video (from 4K); 16:9, color, quadrophonic sound;
17 mins 58 secs,Paula Cooper Gallery, New York  © Carey Young. Courtesy Paula Cooper Gallery, New York

 

Palais de Justice was filmed surreptitiously at the Palais de Justice in Brussels, a vast 19th century courthouse designed in an ornate late Neo-Baroque style. Contradicting the familiar patriarchal culture of law, Young’s concealed camera depicts female judges and lawyers at court. Sitting at trial, directing proceedings or delivering judgments, female judges are spied through a series of circular windows in courtroom doors.(gallery’s press release).

Installation view, Carey Young, Palais de Justice, 2017,single-channel HD video (from 4K); 16:9, color, quadrophonic sound;
17 mins 58 secs, Paula Cooper Gallery  © Carey Young. Courtesy Paula Cooper Gallery, New York

 

“…..Examined through the lens of contemporary politics, both within the United States and abroad, the film acts as a critical counterpoint to regressive trends towards autocratic government and limited civil rights, particularly those belonging to women….”

Installation view, Carey Young, Palais de Justice, Paula Cooper Gallery, New York (9/7 – 10/14/17) © Carey Young. Courtesy Paula Cooper Gallery, New York

 

The exhibition includes a series of photographs, images  of courthouse doorways….Carey Young in continuous analysis based on Before the Law, after Franz Kafka’s 1915 parable, which the protagonist is continuously denied access to ‘the law,’ depicts these doorways as metaphors for the legal system itself.

As Carey Young  told Elephant in an interview earlier this year, the law “beckoned as an institution that had been little explored by artists, and one which had such a relevant philosophical literature in terms of art—Derrida, Agamben, Deleuze, Foucault, Butler etc. … In so many ways, mainly to do with its lack of visuality and lack of understanding of creativity, law is an “other” to art, and yet when one takes an artistic subject—ideas of site, space or landscape, for example—law offers me a way to reframe it in a playful and unfamiliar way, in which I can also conflate it with ideas of control, rhetoric, power and neoliberalism.”(Jeffrey Kastner, on Vice, sept 28th, 2017) 
“…. Courtrooms are glimpsed in various ways – a red glow emanating from one entices us with its surprising warmth and seductiveness; a red velvet curtain in another calls to mind law’s reliance on aspects of theatre; in a third, a courtroom visible through a frosted glass window glows like an abstract painting, as if law’s abstractions may connect with artistic thinking in ways which have not yet been fully considered…..”

Installation view, Carey Young, Palais de Justice, 2017  single-channel HD video (from 4K); 16:9, color, quadrophonic sound;
17 mins 58 secs,Paula Cooper Gallery, New York  © Carey Young. Courtesy Paula Cooper Gallery, New York

 

Few days after the opening of the exhibition, September 8th, Anthony Allen,  director of Paula Cooper gallery organized a challenging and intellectual  panel discussion with Carey Young, Colby Chamberlain and Joan Kee , where many questions were raised on law, patriarchal society and barriers…

Carey Young (b. 1970) is a British-American artist based in London, England. Her work has been exhibited in prominent national and international exhibitions and has been the subject of numerous one-person exhibitions including at the Dallas Museum of Art, curated by Gavin Delahunty (2017); the Migros Museum of Contemporary Art, curated by Raphael Gygax (2013); Eastside Projects, Birmingham, England (2010), which traveled to Cornerhouse, Manchester and MiMA, Middlesborough; Le Quartier, Quimper, France (2013); The Power Plant, Toronto (2009); and the Contemporary Art Museum St. Louis (2009). Young’s work has also been presented at the Taipei Biennial (2010), Tate Britain (2009), Moscow Biennale (2007), Modern Art Oxford (2007), Performa 05 and the Venice Biennale (2003).
Colby Chamberlain is Lecturer in Discipline in Modern Art and Theory at Columbia University and is a founding editor of Triple Canopy. His scholarship and criticism focuses on intersections of art and other fields of professional practice, in particular the law.
Joan Kee is Associate Professor in the History of Art at the University of Michigan. A contributing editor for Artforum, she received a J.D. from Harvard Law School and has recently completed a book on the relationship between contemporary art and law in post-sixties America. In 2016, she guest edited a section of the Brooklyn Rail on art and the law whose contributors included Carey Young.

 

Thilo Westermann ‘Notes on Willem de Rooij’s ‘flower bouquets’ Or: How to deal with the ‘exotic’

published: August 27, 2017, Berlin

Installationsansicht: How To Live Together, Kunsthalle Wien 2017, Foto: Jorit Aust: Willem de Rooij, Bouquet V, 2010, Courtesy der Künstler und Sammlung Haubrok, Berlin

 

Departing from  Documenta 14 and Venice Biennale I came to a majestic ‘flower bouquet’ by Willem de Rooij at Kunsthalle Wien.  The bouquet seemed exotic not only because of the choice of flowers used but rather by the fact that it has been staged right within an exhibition space.  I was thinking about the term ‘exotic’, which originating from Greek ‘exotikos’, meaning   ‘from the outside’, ‘foreign’ or ‘unusual’ as this was the exact feeling which this amazing “bouquet” left with me.  I have seen flamboyant flower bouquets in hotel lobbies or luxury homes; nevertheless placed within a museum space, the arrangement seemed as if something from the outside (not art) world has entered the sacred exhibition halls.  What a beautiful flower bouquet might contribute to the Kunsthalle’s current socio-political exhibition  ‘How to live together’, I was wondering.

Installation view of Willem de Rooij: Entitled Museum für Moderne Kunst, Frankfurt, October 15, 2016-January 8, 2017

 

De Rooij began developing the ‘bouquets series’ in 2002 together with Jeroen de Rijke and continued alone after the latter’s untimely death in 2006.  The 16 different bouquets existing to date may vary in size and flower breeds, but they have one thing in common: they come with a certificate, a description and an exact list of the botanical names of the flowers to be used. In general, the bouquets are not arranged by the artist himself, but by different florists, who are chosen by the artist and listed on the final object’s name tag as ‘interpreters’. In this regard the arrangements can be claimed conceptual art pieces: ‘Setting aside the personal touch in the execution of the bouquets indicates a discursive, conceptual stance: the work’s essence lies in the development of an idea, not in its execution.’ (Jan van Adrichem: Willem de Rooij. The Bouquets (2002-2010). In: Marente Bloemheuvel and Toos van Kooten (ed.): Windflower. Perceptions of Nature. Rotterdam 2011, pp. 177-190, here p. 184.)

But yet, some earlier pieces are supplemented with texts written by the artist(s). For example, Bouquet II (2003) comes with the text ‘Azra Akin, Agbani Darego, Ayaan Hirsi Ali, Amina Lawal’, which has been published in the Austrian art magazine Springerin (Vol. IX, No 1/2003, pp. 42-45) telling the story of the title’s four women. Not interconnected with each other, the women had to face Islamic fundamentalism, nationalistic populism or racist threats, which in the case of Amina Lawal ended up on a north Nigerian court’s sentence of death by stoning, because she became pregnant without being married. Of course, reading about the women’s tragic histories influences the perception of the bouquet next to the text. So I found myself attributing the different flowers of Bouquet II to the text’s female characters.

Willem de Rooij -Jeroen de Rijke -‘Bouquet II’ 2003, courtesy of Stedelijk Museum, Amsterdam

While this early flower piece may still refer to the four women, later arrangements lack this kind of direct link. For example, the descriptions of Bouquet IV (2005) focus on mere formal issues: ‘The overall impression of the arrangement is dense and compact; all flowers have the same height and thus form quite an even, dome-like shape. The hierarchy between the flowers is designated by their colors and shapes, not by means of their placement within the arrangement. In other words: the different flowers are evenly distributed over the whole, never coming to a concentration of any sort in any area. An exception are the euphorbia and the lisanthia. Although they are also distributed in an even rhythm over the total ensemble, parts of these flowers extend somewhat higher than the other sorts, thus forming protrusions above the entire surface of the piece. […] The essence of Bouquet IV lies within its color palette, which extends to many different varieties and mild shades of pink, peach, orange yellow, light green… and even soft blue… but never arrives at an extreme.  Avoided are whites or light yellows on one side of the spectrum, and reds, purples, or deep blues on the other.  There are no green leaves whatsoever.’ (Willem de Rooij cited in Daniel Birnbaum: Floral Imperative  (Artforum, September 2016)  pp. 289-297, here pp. 292-293.) The two spectra mentioned in this description relate to some flowers’ colors, which would appear super bright or pitch dark in a black and white photograph. Flowers of these colors have to be avoided as – different to all other bouquets – Bouquet IV always becomes exhibited together with a black and white picture of itself.  This two-part installation gains something like a closed circuit quality and can be called the self-referential turn within the flower series: the flower arrangement refers to its photographic image and vice versa. From now on, there are no more clear references at all.

Bouquet IV, 2005, Flower arrangement in white ceramic vase, dimensions variable, courtesy of Friedrich Petzel gallery, New York (exhibited on Jan 19-Feb 18,2006)

Jeroen de Rijke and Willem de Rooij Installation view, Friedrich Petzel Gallery, New York, 2006

Bouquet V (2010), which is currently part of the show at Kunsthalle Wien, comes without any further notes and therefore it stays open to all kind of interpretations. It has been developed in the year of Willem de Rooij’s landmark exhibition ‘Intolerance’.  To the

Willem de Rooij, ‘Intolerance’, 2010, Neue Nationalgalerie, Berlin. Painting, Melchior d’Hondecoeter, Pelican and other waterfowl in a park, c. second-half seventeenth century, 132 x 161.5cm. Collection Staatliche Museen zu Berlin. © Staatliche Museen zu Berlin. Photograph: Jens Ziehe

end of this show at Neue Nationalgalerie in Berlin the artist had juxtaposed 18th and 19th century feathered objects from pre-Christian Hawaii and bird paintings by Dutch master Melchior d’Hondecoeter (1636–1695).   Starting from two pieces in the collections of the Staatliche Museen zu Berlin, De Rooij concentrated on the rare pieces, which had been brought to Berlin in former times to satisfy the hunger for exotic objects.  Instead of merely appropriating these objects, he initiated fundamental research to put the artifacts in their own right.  Studying the exhibition’s three-part publication not only the hidden power structures implicated in the religious Hawaiian objects and the hierarchical symbolism of the birds depicted become obvious, but also early global trade and intercultural conflicts are discovered as the backdrop of the objects’ and paintings’ provenience.  Therefore, the exhibition’s title can be related to the (post-)colonial aspects of so many First world collections, their institutional practices and the aspects of global market systems, which handle even religious items and animals as mere products without any deeper understanding nor commitment.

What does all this tell us about the flower bouquets?  Well, in reference to this  2010 exhibition De Rooij claimed in an interview, that the ‘very notion of ‘representing’, of ‘imaging’, is what my [his] work is most deeply concerned with’ (artists-at- work-willem-de Rooij).  We may interpret for example the variety of 95 different flower species making up ‘Bouquet V’ that ‘the work deliberately avoids any hierarchy’ and therefore speaks ‘to the diversity and tension between the politics of collectivism and individualism’ (David Trigg on Willem de Rooij, Arnolfini, Bristol). But what do the bouquets really have to do with representing and imaging?  I think that we might   travel  further back in time to the very core of Netherlandish still life painting, which flourished in De Rooij’s native country in the 16th and 17th centuries; as these early masterpieces may contain religious and allegorical symbols as well as dead animals and foodstuff, De Rooij’s pieces concentrate exclusively on the mere beauty of the flowers.  Looking at his ‘bouquets’ we ‘find ourselves face-to-face with beauty in its purest form’ as art critic Daniel Birnbaum wrote in his essay ‘Floral Imperative’ (Artforum, September 2016).  Even death – the vanitas tradition’s main subject – is excluded in Willem de Rooij’s exhibitions as his bouquets’ flowers are replaced as soon as they start wilting.  Therefore, the bouquets’ beauty remains ideal.  Presumably, the flowers stay faultless like their artificial equivalents, which finally become included in Bouquet VII (2010). Indeed, after all the research on De Rooij’s bouquets and despite of knowing about the flowers being replaced, it still feels strange to see one and the same flower bouquet blossoming all year long and touring the different stages of the art world without any symptom of fatigue. It seems like the idea of a certain arrangement has become manifest in an eternal form.

Isn’t this exactly what we expect from ‘pure beauty’ – no aging, no wrinkles, just freshness and perfect shape?  Yet, this has nothing to do with our everyday life.  It is something different than what we are used to.  It is this other – ideal – mode of existence facing us with its opposite by reminding us of our own bodies’ mortality.  This kind of ‘otherness’ revisits the  ‘exotic’ and the core of Willem de

This kind of ‘otherness’ brings us back to the term ‘exotic’ and the core of Willem de Rooijs bouquets.  In the exact moment where we start thinking about the flower arrangements,  we start taking sides by trying to define (more or less consciously) our own position in reference to those bouquets.  Not far from that we can’t call something or someone exotic, foreign or unusual without having a more or less clear understanding of what is non-exotic, local or familiar; we can’t distinguish ourselves from the ‘other’ without having any idea of who/what we are.  Apparently, specifying this very dichotomy and reasoning about its relevance today is the crucial point, where tolerance turns into intolerance and vice versa.  It’s the exact starting point for any responsible socio-political life.  Hence, I am overjoyed to see these pretty flowers within the exhibition ‘How to live together’.

                                                                                                                                               Thilo Westermann                          Berlin, August 2017
Thilo Westermann, is an artist,  art historian and lover of nature and flowers
The exhibition ‘How to live together’ at Kunsthalle Wien closes on Oct. 15th, 2017. Willem de Rooij’s retrospective show ‘Whiteout’ opens at Kunstwerke Berlin on Sept. 13th, 2017 (through Dec. 17th, 2017).

 

Aegina c.500 BC_The Temple of Aphaea II, by Francesco Nevola (sketch 09)

 
photo @Francesco Nevola
Francesco Nevola, a dear friend, writer and scholar of Piranesi, is contributing to the VK blog a series of sketches, this is the sketch 02. “The Temple of Aphaea II, Aegina c.500

Situated on the peak of the Saronic island of Aegina commanding a majestic view north across the sea to the Acropolis of Athens, the present 5th century BC remains of the Doric Temple of Aphaea were erected on a site previously occupied by earlier sacred sanctuaries dating back to the 14th century BC. Bronze age material remains suggest a Minoan connection for the shrine’s cult associated with fertility and the seasonal cycles.

The 2nd century chronicler Pausanias recalls that Britomaris – known in Aegina as Aphaea – was the daughter of Zeus and the Cretan Karme, whose grandfather Kharmanor purified Apollo after killing the Python that guarded the omphalos or centre of the earth – a place strongly associated with the sanctuary at Delfi. As a huntress, Britomaris was especially cherished by Artemis, so when she fled king Minos who lusted after her and cast her-self into the sea, Artemis made her a goddess. While her myth is of Cretan origin, the Aeginaetans claimed Britomaris revealed her- self to them, consequently the Goddess Aphaea was worshipped exclusively at this sanctuary in Aegina.

By the early 19th century the Temple of Aphaea had been singled out for its exceptional qualities of beauty and design by neoclassical and romantic artists on the Grand Tour. In 1811 – the same year the poet Byron was in Athens – the young Charles Robert Cockerell, a former pupil of the architect John Soane, and three decades later architect of the Ashmolean Museum, Oxford – collaborated with Baron

Otto Magnus von Stackelberg to remove the fallen, fragmentary pediment sculptures, and at the suggestion of the architect Baron Carl Haller von Hallerstein they were shipped abroad and sold to Crown Prince Ludwig I of Bavaria. The magnificent sculptures that originally ornamented the east and west pediments of the Temple of Aphaea were restored at Rome by the Danish neoclassical sculptor Bertel Thorvaldesn, considered the heir to the great Antonio Canova, and are now the masterpiece of the Munich Glyptothek. It was at Rome in 1817, returning from his seven year Grand Tour, that Cockerll met Ingres who took the young architect’s portrait.

The late archaic, early classical sculptures of the temple pediments, which are most unusual for being carved in the round with striking dynamism, celebrate the achievements of two of Aegina’s greatest heroes. The first Trojan war is represented in the east pediment: here Telamon – the second king of Aegina and father of the Homeric hero Ajax – fights alongside Heracles against the Trojan king Laomedon; in the west pediment, the Second Trojan war against king Priam is represented: here the Goddess Athena is positioned centrally, and Ajax features in the carved battle scene as prominently as he does in the Illiad.

Text © Francesco Nevola

Francesco Nevola, a fabulous scholar of Piranesi.

see here older post on life and work of Francesco Nevola https://venetiakapernekasblog.com/2015/06/11/italyteverina-mountains-cortona-deanna-maganias-and-franciso-nevola-house-and-studio/

The Engadin: at Galerie Tschudi; Callum Innes “On Ground” & Julian Charrière “First Light”

During the last cold days of December my brief day visit at Lower Engadin.  I adore Zuoz  with the historic village centre and the proud patrician buildings, such as the Chesa Planta, which are particularly well preserved. Here one finds a perfect environment for contemporary art and as Liam Feeman recently wrote  at ” Art, at High Altitudes”  Despite the tiny population of 16,700 inhabitants and the brevity of the region’s high season, which lasts from December through March, there are at least 30 international art galleries between St. Moritz and the municipality of Sent, providing an enlightening alternative for après-ski.(Freeman, NY Times Style Magazine, Dec 1, 2016). Geographically the charming Zuoz belongs to the upper Engadine but everybody who is familiar with the area knows that this village is far away from upper Engadine with his buzzing St. Moritz in the centre.

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I find my  art tranquility  at Galerie Tschudi; a mighty sixteen metre-high tower, dating back to the year 1305, was uncovered within the fabric of Chesa Madalena. The house, located in the centre of Zuoz, was used as a farmhouse until 1999- sensitively renovated by Ruch & Partners Architects– these fascinating historical rooms in the former farmhouse,  house the Galerie Tschudi  fabulous art exhibitions.

These days there is this fabulous dual exhibition , Callum Innes ” On Ground” and of the younger artist Julian Charrière “First Light”.

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 Callum Innes (installation view)
Untitled, No 19, 20, 21, 2016 Lamp black, Oil on linen  162 x 160 cm                                                                photo@Ralph Feiner  @courtesy Galerie Tschudi

‘In one wall painting yellow shivers through the violet surface, and in the other flecks of orangeade visible through the black surface.  This work brings to mind the blackened ceilings prevalent in the Engadin, where carbon deposits remain as reminders of the stoves that once functional beneath them. Between this surface of absorbent charcoal-black  and the work of Callum Innes, an interesting chemistry takes place. ‘

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                Callum Innes (Installation view)   Untitled, 2016
Pastel on Two Rivers papers79 x 58 cm 99 x 77 cm (framed)                                                                               photo@Ralph Feiner  @courtesyGalerie Tschudi

‘Colour is the most important element in the work of the Scottish artist Callum Innes (Edinburgh 1962) …In the Tschudi gallery the colours applied with oil paint on canvas , pastel on paper, but also directly on the wall -appear and disappear. Sometimes they contrast vividly with the white ground; at other times they have in fact a very light, almost transparent hue with a considerable range of nuance. The paintings, pastel drawings and wall paintings require an active observer who takes control.’ (text by Dan Pieters, courtesy @gallery press)

In his research-based practice, Julian Charrière uses sculptural objects and images—both moving and still—to explore the connections between human activity, ecology, the environment, and time. Working in such far-flung locales as Kazakhstan and the Southern Cone, the Berlin-based artist performs site-specific actions inspired by the social and natural sciences, using biological and earthen substances as materials. “I use some scientific methods, but I would describe it more as an archeologist or geologist,” he has said. “I go into the field and get inspired by what I see, then I bring things back to the studio and do work.” A former student of Olafur Eliasson, Charrière focuses on investigations of the natural world, revealing the profound force exerted by humans and the environment on one another and highlighting how ecological systems can exhibit traces of human energy.

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Julian Charrière “Tropisme”, 2015
frozen plant, refrigerated showcase 208 x 66 x 66 cm    photo@Ralph Feiner  @courtesy Galerie Tschudi

“Tropisme” is  a beautiful, melancholic and yet fascinating  art piece; the artist has deposited plants captured in a sheath of ice -as if time could be stopped…  “ the plants might be preserved and archived for future use. In this frozen landscape, the vitality of matter is protected from the forces of entropy and decay. But the organisms also point backwards in time. The plants (orchids, cactuses, etc.) are testimony to a geological period that saw the extinction of dinosaurs. The artist thus freezes them like remains from a time whose memory forever escapes us, except maybe in some uncertain zone of our reptilian brain.” (Tschudi gallery)

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Julian Charrière “Lost at Sea “- Pikini-Fragment, 2016
High pollished stainless steel, coral sand, mutated bikinian coconut, glass 175 x 32 x 32 cm             photo@Ralph Feiner @courtesy Galerie Tschudi

“Lost at Sea”  Pikini Fragment: This series suggests ‘a post-apocalyptic botanical survey; an “unnatural history”. Standing vertically on a bed of coral sand, inside a glass housing  that caps a mirror-sided plinth, each coconut might be interpreted as a castaway that has been washed up on another identificatory shore. The sand implies a kind of terminal beach, while mirrors have long been symbolic of water — and vanity…The fact that these coconuts stand erect, like totemic phalluses, is a bitter irony: genetically disrupted by nuclear radiation, these coconuts from the Marshall Islands are utterly sterile from a reproductive standpoint. That the Marshallese creation myth involves a paradigmatic mother giving birth to a coconut, which then supplies her people with sustenance, tools and clothing, sets the profound degree of this and other genetic disruptions into relief.’ (Nadim Samman, “Unnatural History”, galerie Tschudi ) 

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Julian Charrière Pacific Fiction – Study for Monument, 2016  Coconut Sarcophagi
128 cm high in a steel frame of 227 x 203 cm overall size: 330 x 440 cm
Unique (Model for Monument for Marshall Island)  photo@Ralph Feiner  @courtesy Galerie Tschudi

Pacific Fiction – Study for Monument – is a sculpture which incorporates a pile of coconuts encased in lead. (The piece symbolises the traumatic embrace of the region of Bikini island in Pacific by the atomic bomb (between 1946 and 1958, at a remote Pacific Atoll, 23 of the most powerful explosions in history occurred. During this period, bombs delivering a combined fission yield of 42.2 megatons were detonated)..

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Julian Charrière,Polygon XVIII, 2014,
black and white double exposure medium format film on baryta paper, steel frame, lead, glass, thermonuclear strata, negative, 150 x 180 cm, Unique  @courtesy Galerie Tschudi

“Polygon” is a series of photographs shot at the Semipalatinsk nuclear test site in Kazakhstan. The photographs are made on analogue medium format film, and submitted to radiation before their development. Thus they both depict the site of nuclear radiation and bear the actual trace of radioactivity’s effects. Charrière’s journey to the Polygon was inspired by J.G. Ballard’s short story “The Terminal Beach”. The work oscillates between art, science and fiction and brings us to one of the most remote and inaccessible of places — to the beginning of the nuclear age. It is a mystic place, showing the dystopic aesthetics of a future archaeology.

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Julian Charrière “The Blue Fossil Entropic Stories” (3), 2013
Fine Art Print on Hahnemühle Photo Paper 100 x 150 cm 3 +1AP @courtesy Galerie Tschudi

“The Blue Fossil Entropic Stories” is the photographic trace of an expedition the artist undertook in 2013, travelling to Iceland to climb an iceberg in the Arctic Ocean and melt the frozen water beneath his feet with a gas torch during 8 hours. Like an absurd, quixotic hero, Julian Charrière confronts the elements in a seemingly hopeless battle – human time against geological time. And yet, a battle of which global warming is only the starting point. What remains of this perilous endeavour are three photographs of arresting beauty, a kind of contemporary version of Caspar David Friedrich’s Wanderer Overlooking the Sea of Fog (1817–18), and a questioning of our relation to nature as inherited from the Romantics via ecological thought.

There are two fantastic video works projected  in the  gallery.  On the lower level  is the ” Iroojrilik“; In this work, Charrierè captures the decay of the Bikini Attol’s atomic-industrial architecture. On the upper level floor , the “Somewhere” shot in Kazakhstan, where Joseph Stalin conducted the first atomic tests, “Somewhere” is an excursion into human-environmental interrelations and the topographic modifications in which they result. Julian Charrière pursues an archaeology and geology of deserted human landscapes, exploring their past and future

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Julian Charrière “Eninman III” – Terminal Beach, 2016   Archival pigment print on Hahnemühle Photo Rag, mounted on aluminium Dibond, red Palmira veneered frame, Mirogard anti-reflective glass, 122.8 x 152.8 cm (with frame), Edition of 3 (+1AP) @courtesy Galerie Tschudi

Terminal BeachA survey of mid-20th century atomic-industrial architecture, these black and white works reference the objective style of the Dusseldorf school. With their rusting iron and crumbling concrete, some of these structures recall the Egyptian pyramids: imposing leftovers of a questionable ideal.

all images courtesy of Tschudi gallery

Julian Charrière is participating this weekend (28-29 January 2017) in Zuoz, at Engadin Art Talks.  The topic of this year’s event is: “Snow and Desert”.The aim of the E.A.T./Engadin Art Talks is to facilitate unique interaction and exchange between artists, architects, curators and art enthusiasts in an intimate and informal setting and, in this way, perpetuate the history of the Engadin as a place of intensive creative activity and discourse.

 

Munich Haus der Kunst: Capsule 05: João Maria Gusmão &Pedro Paiva; Capsule 06: Sara MacKillop

Haus der Kunst 2 years ago inaugurated a new program of focused one gallery exhibitions that explore recent developments amongst a generation emerging international artists. The goal of the Capsule Exhibition series is to engage audiences in the production of new work by artists at critical points of artistic breakthrough in their careers.

I have been one of the biggest fans of those great exhibitions ….  sadly to see Capsule 05 and Capsule 06  departing today.  The curators  Anna Schneider  (Capsule 05) and Julienne Lorz (Capsule 06)  in spite of their respective diverse different media of their  artists have done amazingly a powerful presentation;   you may leave the dark realm of Capsule 05 but yet poetic ambience that the duo João Maria Gusmão and Pedro Paiva have created, you enter into the light of  the “Window Display” by  Sara Mackillop at Capsule 06.

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João Maria Gusmão & Pedro Paiva
Installationsansicht / Installation view Haus der Kunst, 2016
Photo: Maximilian Geuter

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Sara MacKillop
Installationsansicht / Installation view Haus der Kunst, 2016
Photo: Maximilian Geuter

The focus of their presentation in Haus der Kunst, “Peacock/Pfau”, is their latest cinematic work complex, which was developed in Japan. The 16mm films are silent and shown in a loop. The only sound in the room is that of the projectors, which further emphasizes the materiality of the film. The first film, “Mating Dance”, introduces the theme: the construction of a self-image. Using his striking plumage, which he can fan out into a semi- circle, the peacock tries to woo the peahen.

Three other films, unified by the element of water, run on a second projector. They combine key aspects of the artists’ practice: the construction of a theory for their own work and the examination of this through visually-poetic experiments. The film “Ventriloquism” from 2009, for example, explores the origins of ventriloquism as a religious practice, in which it was used to communicate with spirits and the dead. The film contains a water clock, whose time interval equals the length of the film. (curator, Anna Schneider) 

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Mating season, 2016
© João Maria Gusmão & Pedro Paiva
Courtesy of the artists and Galeria Fortes Vilaça,
São Paulo; Galeria Graça Brandão, Lisboa; Sies + Höke,
Düsseldorf; ZERO …, Milano

Gusmão & Paiva’s artistic approach draws on diverse literary sources, including René Daumal (“The Defining Memory”); pataphysics, the study of what lies beyond the realm of metaphysics; and abyssology, the doctrine of the abyss. The core belief of all these philosophies is the constant mutability of all that exists. It turns away from classical reasoning, combines putative analysis with humor and focuses on the imperceptible. The world of things thus reveals itself as a wealth of wonders. Man retains his susceptibility to the supernatural and divine manifestations. (curator, Anna Schneider) 

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João Maria Gusmão & Pedro Paiva
The horse of the prophet (detail), 2011. Produced by Frac Île-de-France/Le Plateau, Paris in collaboration with Lamu Palm Oil Factory, Kenya. Courtesy of the artists and Galeria Fortes Vilaça, São Paulo; Galeria Graça Brandão, Lisbon; Sies + Höke, Düsseldorf; ZERO …, Milan. © João Maria Gusmão & Pedro Paiva

In “Wave” from 2011, a black rock is slowly swallowed by an ocean wave – an archetype for cyclical creation. The film uses the stylistic device of extremely drawn-out slow-motion recording, thus lending the movements a special importance. The artists shot the film using a high-speed camera capable of capturing as many as 500 frames per second; they then run the footage in slow-motion, displaying fewer than the usual 24 frames per second. (curator, Anna Schneider) 

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Wave, 2011
© João Maria Gusmão & Pedro Paiva
Courtesy of the artists and Galeria Fortes Vilaça,
São Paulo; Galeria Graça Brandão, Lisboa; Sies + Höke,
Düsseldorf; ZERO …, Milano

Sara MacKillop (born 1973 in Bromley, UK) created the works on view especially for the Capsule exhibition. Her works belong to the tradition of conceptual art and minimalism. The new work “Window Display”are minimalistic, airy and individual assemblages. Similar in design to earlier works, such as “Pens” (2006), in which the artist combined the same type of pens to form a kind of post, these assemblages are rooted in the everyday. They initially appear to consist of ordinary office materials, such as envelopes. However, the selected motifs – pens, cartridges and paper – are gradually disappearing from general use as they become outdated. (curator, Julienne Lorz)

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Sara MacKillop
Installationsansicht / Installation view Haus der Kunst, 2016
Photo: Maximilian Geuter

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Sara MacKillop
Installationsansicht /Installation view Haus der Kunst, 2016
Photo: Maximilian Geuter

Sarah MacKillop organizes the objects into three islands that are linked through repeated motifs and objects. There is an informal quality: The wrapping paper is unrolled and can potentially be re- rolled, and the book covers hang from the space’s architecture or from other objects – many of the objects also overlap physically. The arrangements do not have a final form, but with their flexible, short-term, or temporary quality link to a window display.

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Sara MacKillop
Installationsansicht / Installation view Haus der Kunst, 2016
Photo: Maximilian Geuter
Sara MacKillop (b. 1973 in Bromley, UK) lives and works in London. She studied painting at the Royal College of Art, London. She has exhibited extensively: group shows include “Books and Prints”, Serralves Museum, Porto; “Concrete Poetry”, Hayward Gallery, London; “Kultur und Freizeit”, Westfälischer Kunstverein, Münster; solo shows include Kunsthalle Charlottenburg, Copenhagen; Spike Island, Bristol; White Columns, New York; Whitechapel Project Space, London.
The Portuguese artist duo João Maria Gusmão (born 1979) and Pedro Paiva (born 1977) has developed a magical and mysterious oeuvre over the past 15 years, which includes films, photographs, sculptures, and camera-obscura-installations.
 Anna Schneider since 2012  is assistant curator at Haus der Kunst in Munich. In 2009 she received her M.A. in Exhibition and Museum Studies as a Fulbright Fellow from the San Francisco Art Institute. In 2007, she received a degree in Cultural Work from the University of Applied Sciences in Potsdam. Her research interests are in interdisciplinary relationships of contemporary art and in cultural phenomena with regards to historical, economic and political contexts.
Julienne Lorz -curator at the Haus der kunst in Munich. Having started out as a dancer and choreographer in the early 90s, Julienne completed her MA Curating Contemporary Art at the Royal College of Art, London in 2004. Since 2010 she is a curator at the Haus der Kunst, where she co-curated a number of exhibitions including thematic shows such as ‘Golden Times'(2010), ‘Sculptural Acts'(2011), as well as “Image-Counter-Image'(2012), Her latest exhibitions ‘Louise Burgeois. Structures Existence: The Cells’ opened in Haus der Kunst in february 2015.
Okwui Enwezor  – director of Kaus der Kunst-extends his contract as director of Haus der Kunst” ; I am looking forward to continuing with my colleagues in Haus der Kunst the successful programmatic orientation of the institution”, annotates Okwui Enwezor the decision…

 

The Kunstrevein München (k.m) presents ( 13 September 2016 until 8 January 2017) “Unfinished Mandarin” — a rotating exhibition of drawings by Gonçalo Pena in the Schaufenster am Hofgarten, co-organized with João Maria Gusmão and Pedro Paiva.
The Gusmão and Paiva will display a sporadically changing procession of presentations of Pena’s pictures every two weeks over the course of the fall. Along with many others, these drawings will also be published in a book of the same name, a follow up to their 2014 book Monkey Trip (published by Mousse), ) — accompanied by written contributions from Gusmão, Paiva, Post Brothers, and Kunstverein Director Chris Fitzpatrick. While the publications present a linear, almost cinematic, sequence of Pena’s drawings, the Schaufenster exhibition conversely displays the images in a procession of variable layouts and groupings that allows for more complex and multiple associations to be made from their juxtaposition.

 

 

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