Do NOT MissPosted by Artfeelers Jul 04, 2015 14:18 Thomas Hirschhorn - In-Between - on until 13 September In Between is a proper installation in the sense that you are enter into and are enveloped by it. You do somehow feel part of it.
Prince at making shit things looks good, listen to him taking about ear buds here: http://www.tate.org.uk/context-comment/video/tateshots-venice-biennale-2011-thomas-hirschhorn-swiss-pavilion
Here's a tiny clip I took of the current exhib at SLG:
First encounter with Ane Hjort Guttu, in 1st floor galleries at SLG Here is an excerpt from her film 'Time Passes' Go to SLG to watch the full thing as this won't make sense in itself:
Emerging ArtistsPosted by Artfeelers Jun 27, 2015 14:15 Been boppin' around the UAL degree shows over last couple of weeks; London College of Communications, Chelsea, Central Saint Ms, Wimbledon and Camberwell will be today.
So far two pieces have really stayed in my head and they're a good contrast to each other:
Caroline Gray, http://chelseabafa2015.com/Caroline-Gray "the paper measuring 1.5m wide by 8m long. I am focussed on and
interested in process and labour, and so this work has graphite powder
rubbed into one side, with the other covered in horizontal lines of
graphite until the whole surface was covered."
Harry Conway's 'Stolen Souls', http://harryconway.tumblr.com/
Just turning a corner and seeing something exquisite can change your Frieze experience. The two extremely satisfying hand carved scultpures entitled 'Kadeem and Kyrone', 2014 by Tomoaki Suzuki in the Corvi-Mora booth stand proudly despite being so low to the ground. The effect is much more powerful than if they were on a plinth. Instead they share our space. The two dashingly dressed men, from the tie to the tassles on the shoes and perfectly placed pin in the lapel, are intriguing.
Suzuki studied in Tokyo's Zokei University then Goldsmith's, then City & Guild's Art school. He's had a solo show in the Art Institute of Chicago. "Mr. Suzuki, who lives in London, finds his subjects in his Hackney
neighborhood. He asks them to pose for extensive sessions, and
photographs them for further reference. Each lime-wood sculpture takes
about two months to carve, after which it is painted." - New York Times Review of Suzuki at Marc Jancou Contemporary in 2012.
Kadeem and Kyrone, 2014 Lime wood, acrylic paint, 55 x 11.5 x 14.5cm and 55.6 x 10.5 x 17cm
Paul Graham's photographs are stunning to stare at and appear to animate themselves the longer you look. The very large photograph on show at Frieze are an experience to look at, as cheesy as that sounds. It's true. Can't find an image of the work which is probably a good thing. More on Paul Graham here: http://www.paulgrahamarchive.com/
It was packed to the gills this weekend with exhibitors and visitors, and KALEID Editions was placed right at the front and Monica Alcazar-Duarte upright and ready for visitors to see.
The section entitled 'The Unbinding' in the cafe space halfway up the stairs providing a break from the community fair style table, sellers and for the most part quite traditional art books overload. Curated by Jotta in partnership with UNBOUND - the unbinding displayed commissioned artists take on the book as an art object in the most explicit sense.
I couldn't resist buying a ridiculously-reasonably priced screenprinted book from Container; a collective of four, two of whom were there at the fair and explained the process of creating prints and publications inspired by Le Harve - the concrete city designed by architect Auguste Perret.
I only wish I could find some more information online about Container...
Came across Jasmine Parker in Make Sense, the Kingston Illustration MA at Hoxton Gallery, Kingsland Road. Follow the link to see her beautifully simple and perceptive illustrations of first hand accounts of social anxiety.
United Visual Artists are an extraordinary group of 9 people with various skills, all thoroughly contemporary and of their time, who have joined at different stages in UVA's biography (eloquently depicted here:http://uva.co.uk/about/bibliography) to make complex, hypnotic, interactive installations.
Watching a video on youtube with two members of the crew (https://www.youtube.com/watch?v=R5LBHcXZkrY) the following quote relating to their motivation and talking about the point of the finished piece - explains a lot about their work for me:"It's all about what it makes people feel and how it make people behave - that's a really big part of it for us"
The William Morris Gallery on Forest Road in Walthamstow won Museum of the Year 2013, awarded by the Art Fund. This news combined with the showcase of Jeremy Deller's Magic England from Venice Biennale led me there at the weekend. It is beautiful. The permanent collection is just enough to go through and get a sense of Morris's life and mission. The space is not well set up for a temporary exhibition, considering it is a house, which is fair enough. But what's good about this is the interspersal of Deller's work in the foyers making them seem easy, less stern somehow and the exhibition doesn't overwhelm the collection - which it could do with bigger screens and the murals used in Venice (which they haven't exhibited). The atmosphere in the museum is uplifting. It is manageable for little ones and oldies and you feel the conscientiousness of the staff. The gardens are worth a wander around. Magic England is only on until this weekend 30th March 2014. http://www.wmgallery.org.uk/whats-on
Recommended ExhibitionsPosted by Artfeelers Mar 23, 2014 22:46 Watch Matthew Noel-Tod's A Season in Hell in 3-D (originally commissioned by LUX) at Banner Repeater on the platform of Hackney Downs Station until 6th April. It's quite dramatic when the sound of the fire in the video joins forces with the screech on the tracks when the trains pull in. Such a fantastic location for a gallery.
This Is Not Public/Part 2. What do we mean by public engagement?
4 - 6 October 2013
Charlotte Knox-Williams, Jonathan Trayner, Christine Sullivan and Rob Flint, Neil Ferguson, Kim Wan, John Greene, Edward Dorrian, Joe Duggan, Andrew Cooper
This Is Not Public/Part 1. was an open call made by Five Years inviting anyone to make a proposal that would initiate a preliminary ‘public’ discussion in the gallery critically addressing the Arts Council of England’s funding question: ‘What do we mean by public engagement? ’ Whether we choose to examine the Arts Council’s own funding guidelines, question the idea of a so-called ‘not-for-profit project’/ ‘artist-run space’/ ‘independent curatorial project’ such as Five Years itself or reflect on the Art Licks Weekend’s own special case for ‘opening’ such projects and spaces ‘to the public’ is of course up to us. All proposals were accepted.
For This Is Not Public/ Part 2. each participant has developed their proposal in two ways. 1. as part of a ‘draft’ publication*
** Programme (Free at Five Years 3-6 October 2013) see website for full details
Friday 4th October 11am - 1pm Jonathan Trayner: ‘This photo you found reminds me of the French Revolution?’ Examining the image of protest.
------------ Saturday 5th October 11am - 1pm Joe Duggan: A non academic talk about funding
------------ Sunday 6th October 1.30 - 3.30pm Neil Ferguson, with Sheila Buckley, Sassa Nikolakouli, Wendy Scott and Karen Turner The LOVE of THINGS: Placing things. Offering public engagement?
Videos/ LinksPosted by Artfeelers Aug 04, 2013 21:02 I saw this video at the Camberwell BA show in June and I was blown away. This kid is severely talented. He needs to shown and known. I love all his work that he showcases on his site and tumblr. Looking forward to more of your work Jack, please keep it coming. Purrrrleeeeeaaaaaassssseee watch this everyone:
Videos/ LinksPosted by Artfeelers Jun 11, 2013 22:55 And so I did actually get to see Ana's exhibition and loved the question of why were Asylums set up or as wikipedia puts it 'The story of the rise of the lunatic asylum and its gradual transformation into, and eventual replacement by, the modern psychiatric hospital, is also the story of the rise of organized, institutional psychiatry.'
From a chocolate cake in the shape of an asylum to a video game styled rendered print on material, Millan's quirky look at a massively influential aspect of our society is grounded by her work with people who still use the contemporary versions of institutions for people deemed to have psychiatric issues...how to put it without pissing someone off...
Anyway - the workshops Millan continues to do are being documented and she screened a film of her work with patients or service users or whatever the term is last Saturday. I hope to get to see her work develop.
Having loved Manchot's 'Celebration' exhibited at Whitechapel Gallery in 2010, there was a lot of hope for this presentation of 'LEAP after the Great Ecstacy' and it delivers. Beautifully presented in the gallery space. Highly recommended.
On from 20 April - 1st June The gallery is open Thursday - Saturday 12 - 6pm
Davide D'Elia's 'Booze around Light Bulbs' presented by Heimatmuseum: today 03 March 2013 is the last day
197-199 Stoke Newington High St, N16, Across from the Jolly Butchers
In D'Elia's album of subtle but strong dichotomies, everyday objects, which are connected to each other through association, are placed in opposition to each other depending on whether he perceives them as either 'warm' or 'cold'.
The lipstick and pritstick, the letter and iphone, the eggtimer and digital clock; are summoned by the artist to portray his subjection that nature, movement, the past etc. are warm, and particularly so when placed side by side with the cold; the artificial, the static, the futuristic.
D'Elia invites us to look on the world as a series of potentially warm or cold moments. These moments are contained within objects and they are released through perception.
Martin Parr is quoted to have said "With photography, I like to create fiction out of reality. I try and do this by taking society's natural prejudice and giving this a twist."
The truth is I haven't seen huge amounts of Parr's work but his name is synonymous with British photography from the last quarter century and it would be hard, despite not knowing his work extensively, to mistake his style. Since his 'Last Resort' photos of New Brighton beach near Liverpool published in 1986, Parr has been renowned for his garish and mesmorising documentation of the Brits. Parr's photos seem to operate on a pitch of their own; the composition, the colours and above all the theatricality. I'm not so sure that he is creating fiction out of reality. It seems more like he is casting a theatrical view point over an aperture of reality. He then freeze frames this view point and invites us to delight in it too. And we do.
Also undeniable is the sense of humour in his photos. It's not a snooty laugh though. Parr casts a strong but fond light on the human creature, doing its silly human things.
A selection of six of his latest works, chosen by Rocket Gallery Director Jonathan Stephenson and Parr, are presented as large scale pristine prints on perspex, loosely grouped under the title of 'time off'. You can see them for yourself at the modest Rocket Gallery space in the Tea Building, Bethnal Green Rd - until 9 Feb 2013. Highly recommended.