Latest Tweets

Artist Gonzalo Lebrija is currently part of a group exhibition at @museomaz in Mexico https://t.co/c1fpm3lRxQ https://t.co/GigMtMzMCG
3 days ago

Eat the Rich, by Damien Hirst in @Design_Week https://t.co/2qLAZU4zTw
4 days ago

#Hirst NEW series Eat the Rich depicts pharmaceutical packaging, replacing names by expressions of violence or forc… https://t.co/UnrCbLuivS
1 weeks ago

NEW print series by Damien Hirst: Eat the Rich, now available here: https://t.co/UPeYaXMLkZ https://t.co/sc2Rh5PKk0
2 weeks ago

Rachel Howard at Galería Pelaires until 13 September 2017 https://t.co/cwiT5D1Hgq https://t.co/upwjaXKtSc
3 weeks ago

NEW Good and Bad 100% silk pyjamas by Ashley Bickerton now available https://t.co/voloY9wtLW https://t.co/cMAyTXzJHK
3 weeks ago

Mat Collishaw: Thresholds will open at London’s @SomersetHouse on 18 May to coincide with @PhotoLondonFairhttps://t.co/LFHAn1BZIL
last month

Gonzalo Lebrija at MAZ Museo de Arte de Zapopan

June 20, 2017 by Mary

Eduardo Abaroa, Miguel Andrade Valdez. Julieta Aranda. Iván Argote, Diego Berruecos, Stefan Benchoam / Byron Mármol, Marcelo Cidade, Abraham Cruzvillegas, Jose Dávila, Helen Escobedo / Paolo Gori, Radamés “Juni” Figueroa / Melvin Laz, Mathias Goeritz, Alejandro de la Guerra, Cynthia Gutiérrez, Pablo Helguera, Juan Fernando Herrán, Ximena Labra, Runo Lagomarsino,  Gonzalo Lebrija, Anuar Maauad, José Carlos Martinat, Pedro Meyer, Mario Navarro, Amalia Pica, Claudia Rodríguez, Ruta de la Amistad, Guillermo Santamarina / Colectivo Sector Reforma, Luis Miguel Suro, Tercerunquinto, Emanuel Tovar y Adrián Villar Rojas

The result of an examination of public sculpture and urban monuments, the exhibition Monumentos, anti-monumentos y nueva escultura pública surveys contemporary artistic practices in Mexico and Latin America that question the idea of public sculptures, monuments, and memorials, inviting viewers to rethink the issues connected with both the real and the symbolic occupation of public space.

The exhibition is divided into three sections. First, there is a photographic archive of Mexican monuments assembled by Helen Escobedo and Paolo Gori in the 1980s, which includes images of public sculptures all over Mexico. The collection contains motifs that have come to be a part of Mexico’s national identity busts of heroes, allegorical representations of the nation, reinterpretations of pre-Hispanic history–but also includes sculptures of wider imaginative scope, such as a monument to the snail, and others to aspects of everyday life.

The second section presents historical material related to the international project organised by Mathias Goeritz for the 1968 Olympic Games: The Route of Friendship, a series of monumental abstract sculptures installed in the vicinity of the various sporting venues, which involved the participation of twenty-two artists of different nationalities. These works are still preserved in Mexico City.

The exhibition continues with the work of contemporary artists who have dealt with these same themes. The roles played by political figures in dictatorships and authoritarian regimes, the commemoration of tragedies, and collective histories are documented through photography, videos, installations, and monumental sculptures that question the very nature of the format.

The project invites reflection on various pressing issues. What constitutes public space and who is authorised to use it? Is the erection of monuments an effective strategy for building an identity? Is public art a mechanism for the construction of ideologies? What possibilities are offered by contemporary art in our cities to engage us responsibly with public space, as agents and not just as spectators?

  • MAZ Museo de Arte de Zapopan
    Andador 20 de Noviembre 166, Zapopan, Mexico


From 31 March until 30th July, 2017

Rachel Howard at Galería Pelaires

June 8, 2017 by Mary

Galería Pelaires is delighted to present Gregor Hildebrandt, Rachel Howard and Idris Khan on the occasion of Art Palma Summer. Conceptualised by Ashwin Thadani and Fedreric Pinya, the group exhibition highlights a contemporary fascination with matter, particularly with lines, and a mutual effect arising from it: an aesthetic dialogue through and with contemporary art. The works of Hildebrandt, Howard and Khan are all abstract and minimal in their own way, challenging the notion of contemporary painting by differing material and techniques. They are capable of reflecting the moods that persisted while being created and of sensually conveying them to the viewer.

What we encounter in and with the works of Hildebrandt, Howard and Khan are differing surfaces creating a mutual effect: they invite us to immerse into their depth, thereby aiming to dissolve the distance between viewer, artist and image. Although referring to his or her individual sources of art historical, philosophical or musical inspirations (to name but a few: Hildebrandt is currently inspired by the Brazilian singer-songwriter Toco; Howard is drawn to Utagawa Kuniyoashi, a Japanese printmaker of the late 18th century; and Khan - quite literally - reacts to the German philosopher Friedrich Nietzsche and his book “The Birth of Tragedy”), their strongest commonality is the peculiar capability to visually depict and mentally evoke an intense mobile boundlessness that spreads over the four corners of the image. In this over- powering moment of experiencing human emotions, embodied in-between lines of paint, vinyl and words, the viewer is confronted with the experience of the sublime. 

Rachel Howard’s approach to creating a contemporary painting is based on oil paint and canvas. We see differently sized colour fields that are sharply intersected by lines and sometimes patterns. At a closer look, Howard’s surfaces possess a three-dimensional – if not architectural – quality, achieved through an intensive experimentation with oil paint and other matter that encourages it to spreads over the canvas. Her signature feature is the use of gravity as an invisible paintbrush, creating lines that seem to contain a large spectrum of formal behaviour: they may end in delicate grids, form abstract patterns and shapes that occasionally allude to landscapes. Even in her more figurative works, the lines are still present, often traversing or even carrying the contours of the painted figure.

Rachel Howard: Undone, 2017
Oil on linen, 91.44 x 76.2 cm 

Howard once described her artistic practice close to that of an alchemist, constantly trying to apprehend the transmutability of matters. Her painted surfaces are, in fact, often literally disrupted, resembling the remains of a physical experiment. It is the artist’s longstanding preoccupation with the behaviour of oil paint when mixing it with diverse substances, as well as her on-going interest in the progression of lines that leaves such alchemistic traces on her canvases. The resulting line patterns not only convey Howard’s behavioural studies on matter and form. Moreover, they also invite the viewer to immerse into the painting to experience a certain calmness of the mind –supported by a stable scaffolding of lines. 

2nd June – 13th September 2007

PELAIRES CENTRE CULTURAL CONTEMPORANI

C. Can Verí, 3
07001 Palma de Mallorca

Mat Collishaw: Thresholds

May 16, 2017 by Mary

Mat Collishaw is restaging one of the world's first major exhibitions of photography for his forthcoming exhibition, Thresholds. The artist has created a virtual reality artwork that will reference the world-changing innovations of early photography and provide a window into parts of our cultural heritage that can no longer be accessed.

Mat-Collishaw-Thresholds-at-the-Somerset-House-London

To recreate the 1839 exhibition, the artist has collaborated with a host of experts including VR specialists, architectural historians and world experts on photography to produce an experience that delivers multiple levels of reality. Through both a VR engine and an actual room with tangible objects, the physical experience will be seamlessly synchronised with what is seen in the VR headsets. The result is that visitors will be able to walk freely and untethered around the exhibit, with the ability to actually touch displays and even feel other sensations such as heat from a fireplace.

Collishaw said of the exhibition, ‘I have been looking to work with virtual reality for a number of years and it has now become a feasible medium for me to use in an artwork. VR’s ability to enable visitors to revisit the birth of photography – a medium that has come to saturate our lives – is uncanny and compelling. It’s also quite appropriate as VR is the total 360-degree immersion of a subject within an image, and is itself one of the many innovations spawned by the invention of photography.’

THRESHOLDS opens at Photo London on 18 May and will be on view at Somerset House until 11 June 2017.

Photos: Other Criteria at Art Market San Francisco 2017

May 2, 2017 by Mary

other-criteria-at-art-market-san-francisco-2017
other-criteria-at-art-market-san-francisco-2017
other-criteria-at-art-market-san-francisco-2017
other-criteria-at-art-market-san-francisco-2017

Fiona Banner: Runway (AW 17)

April 27, 2017 by Mary

In the work of British artist Fiona Banner (Merseyside, 1966), opposites play a significant role. This concerns the relationship between words and images, man and machines, but also between the physical world and the virtual one. Her work comprises sculpture, drawings, video installations, performances, posters and books. This exhibition is Fiona Banner's first major presentation in the Netherlands, and comprises sculpture, video, photography, and bookworks.

fiona-banner-runway-aw-17

Nose Art, 2015
Graphite, Harrier Jump Jet nose cones

In the vast industrial space of De Pont’s main gallery, Banner creates a theatrical mise-en-scène where towering helicopter rotor blades and re-purposed military plane parts become the unknowing cast. Her deft handling of these objects reveals their anthropomorphic potential: Gazelle helicopter rotor blades are reminiscent of totem poles; a pair of Harrier nose cones suggest breasts, and elsewhere faces emerge from the juxtaposition of Jaguar drop tanks with abstract graphite drawings of full stops in different typefaces. Banner has long been fascinated by military aircraft, finding them at once beautiful and horrifying; almost ‘prehistoric, from a time before words’. 

This relationship to language and conflict underpins much of her work. For Banner, the ever rotating criss-cross of blades as they mark out time and space is like a language trying to happen or a text trying to be formulated, ‘It’s like they are trying to spell out something that can’t be said.’ The exhibition’s title Runway (AW17), refers to a runway as a space of performance, evoking the architecture of fashion shows, as well as a space associated with aircraft. By deploying the double meaning she draws parallels between the haiku theatre of a catwalk show and the theatre of the exhibition space. From an adjoining space, the noise of a drone melded with a tribal drumbeat can be heard. 

fiona-banner-runway-aw-17

Tête à Tête, 2014
High definition digital film, monitor, steel easel designed by the artist, 210 x 40 x 60 cm

The video installation Phantom (SS16) reveals only the shadow of the Drone Phantom camera as it aims its lens at a magazine. The pages flutter about and the publication is chased as the helicopter’s propellers stir up wind on its approach. This drone’s mission is doomed to failure; the magazine remains unreadable. Protruding from both sides of the projection screen is a long raised platform, evoking the drama of fashion shows. In this case, the catwalk is host to a graphite drawing where pinstripe patterning morphs into runway markings, a possible stage for the cast of characters seen in the main space. The prey being hunted down by the hawk-like Phantom is Banner’s recent publication Heart of Darkness, an illustrated reprint of Joseph Conrad’s 1899 novella. Conrad’s tale is a story of trade and corruption, and of our own conflicts and desires. From a boat moored on the banks of the River Thames in London, the protagonist Marlow narrates his story in which he travels to the heart of the Congo in search of renegade ivory trader Kurtz, who has mesmerised and enslaved his workers. 

Banner’s reprint takes the form of a glossy fashion magazine. Its text is paired with images of the City of London that Banner commissioned from Magnum conflict photographer Paolo Pellegrin, having asked him to photograph this global financial centre as a conflict zone. The book also contains Banner’s drawings depicting close-ups of pinstripe, a play on the livery and camouflage of the Square Mile. The same motif surfaces again on two nose cones from Harrier fighter jets. The title of this work, which is part of De Pont’s collection, Nose Art (2015), alludes to the aviators’ old custom of painting popular icons or pin-ups on their fighter planes.

Banners work is characterised, as she once said, by a ‘dysfunctional relationship with the image.’ That began early on when she came to a dead-end while painting images from Hollywood films such as Top Gun while at Goldsmiths College in London. She attempted to circumvent the problem by describing in words the images and movie narratives. These texts often took the form of ‘wordscapes’: films that she verbally transcribed, often making vast cinemascope drawings. On being nominated for the Turner Prize in 2002, her controversial contribution to the show consisted of a description of the porn film Arsewoman in Wonderland. In De Pont’s collection, the sculpture Work 1, a life-sized scaffold tower made entirely of glass, embodies a fragile recollection of installing such oversized wall pieces.
Banner’s relationship between the virtual and the physical is ever-present. She has often described words as her medium. She combined existing typefaces that she had used a lot in her work to create new typeface called Font, which anyone can download for free (www.fionabanner.com). Gruesome images from war movies and porn films appeal to the same primitive instincts. War arises when communication and words fail. Runway (aw17) exudes an atmosphere of imminent invasion, similar to the climate now gripping European politics, but there is also something playful about it. Connotations of words and artworks change. They are not carved in stone. ‘The work is un-static’, says Banner, ‘and that’s what really interests me about being an artist.’ 

29 April – 27 August 2017
De Pont Museum
Wilhelminapark 1, 5041 EA Tilburg, Netherlands

At Art Market San Francisco 2017, booth 103

April 19, 2017 by Mary

Other Criteria is pleased to announce its participation at Art Market San Francisco from April 27th to the 30th. For our inaugural year, we will present a selection of iconic Damien Hirst spot prints alongside new ceramic works by Eduardo Sarabia and works based on dust jackets of Penguin books by Harland Miller.

Art Market San Francisco – the Bay Area's leading modern and contemporary art fair – returns to Fort Mason's Festival Pavilion from April 27th to 30th, 2017. Art Market San Francisco welcomed a record-breaking 28,000 visitors in 2016. The fair's seventh edition will build on this incredible momentum, welcoming important collectors and curators with unique and unexpected installations, presentations of the best in modern and contemporary art by eighty top galleries.

Art Market San Francisco will feature important returning exhibitors and will present a dedicated program of large-scale installations, driving the art experience out into the fair's public spaces. The fair's seventh edition will also feature an exciting cocktail program created and presented by Grand Lake Kitchen, SF Chronicle's "Best Brunch in Town," along with local beers.

other-criteria-at-art-market-san-francisco-2017-booth-103

Fort Mason Center - Festival Pavilion
2 Marina Boulevard, San Francisco, CA 94123

VIP preview: April 27, 6pm–10pm
Fair: April 28, 12pm–8pm; April 29, 11am–7pm; April 30, 12pm–6pm

Mat Collishaw: The Centrifugal Soul

April 11, 2017 by Mary

‘We put too much of ourselves into our product facades, spinning too much mass to our outer edges where we hope it is both publicly visible and instantly lovable. One problem with this strategy is that it leaves too much blank space in the middle, so there’s not much of ourselves left for lovers or friends to discover in the long term. This could be called the centrifugal-soul effect.’ - Geoffrey Miller

Mat-Collishaw-The-Centrifugal-Soul-at-Blain-Southern

Mat Collishaw, The Centrifugal Soul (detail), 2016
Courtesy the artist and Blain|Southern, Photo: Rémi Chauvin 

In The Centrifugal SoulMat Collishaw’s exhibition at Blain|Southern, the artist presents new sculpture, installation and paintings. Drawing on various forms of illusion, the exhibition explores ideas of superficial truth and the erosive effect of our primal urges for visual supremacy.

Mat-Collishaw-The-Centrifugal-Soul-at-Blain-Southern

Mat Collishaw, GASCONADES (KillingIt), 2017, Courtesy the artist and BlainSouthern, Photo Prudence Cuming

Collishaw worked with evolutionary psychologist Geoffrey Miller - whose theory is that the origins of art stem from natural instincts of courtship and reproduction - to produce the title work and centrepiece of the exhibition. The Centrifugal Soul is a sculpture in the form of a zoetrope, a pre-film animation device that produces the illusion of motion through rapid rotation and stroboscopic light.

Mat-Collishaw-The-Centrifugal-Soul-at-Blain-Southern

Mat Collishaw, The Centrifugal Soul, 2016, Courtesy the artist and BlainSouthern, Photo Peter Mallet

The zoetrope animates scenes of bowerbirds and birds of paradise as they perform elaborate mating rituals. The work offers a captivating demonstration of how aesthetic diversity has evolved through sexual selection and also reflects the artist’s ongoing examination of our insatiable appetite for visual stimulation. Collishaw’s sculpture embodies Miller's idea that evolution has created an inescapable drive to be noticed above the visual competition, feeding our need for self-promotion.

Elsewhere in the exhibition, a new body of work continues the examination of visual power play. Twelve trompe l'oeil paintings of British garden birds tethered to perches reference the seventeenth-century fashion for commissioning portraits of prestige pets, made popular through Carel Fabritius’ painting The Goldfinch (1654). The colourful graffiti-tagged walls against which the birds struggle to stand outprovide a contemporary example of aesthetic boasting as a form of sexual signalling.

Mat-Collishaw-The-Centrifugal-Soul-at-Blain-Southern

Mat Collishaw, Installation view, 2017, Courtesy the artist and BlainSouthern, Photo Peter Mallet

Albion is a new installation that takes as its subject the Major Oak in Sherwood Forest, Nottingham, which has an almost mythical status. This centuries-old tree has at its core a hollow rotten trunk, and since the Victorian era its vast limbs have been supported by an elaborate system of scaffolding. Collishaw's monumental, slowly rotating image of the oak is a ghost-like apparition generated by laser scanning. The image represents a living object that is trapped in perpetuity to present the illusion of life. As with the tethered birds in Collishaw’s paintings, it presents a tension between the beautiful and the abject.

Throughout his work, Collishaw has examined the way in which we consume imagery and how our biology has conditioned us to respond. The exhibition reflects the consistent themes addressed in the artist’s practice and the diversity of his chosen mediums. Moreover, it questions how much choice we have in accepting what seems to be a natural preoccupation with self-image.

The Centrifugal Soul will be accompanied by a detailed catalogue which features texts by art critic Waldemar Januszczak, evolutionary psychologist Geoffrey Miller and an artist interview with writer James Parry.

The exhibition precedes Collishaw’s new virtual reality installation Thresholds. Launching at Photo London, Somerset House on 18 May, it will recreate one of the earliest exhibitions of photography.

Please note that this exhibition contains strobe lighting.

7 April — 27 May 2017

Blain|Southern
4 Hanover Square, London W1S 1BP

Previous posts