Until 22nd September 2013
b-05, Montabaur, Germany
Artists include: Anna and Bernhard Blume, Thorsten Brinkmann, Candice Breitz, Andrew Gilbert, Anna K.E., Ragnar Kjartansson, Erik van Lieshout, Jonathan Meese, BjÀ¸rn Melhus,Anahita Razmi,Ann-Sofi Sidén, Sebastian Stumpf, Timm Ulrichs, Tim Noble and Sue Webster, Ai Weiwei, Mark Wallinger, Clemens Wilhelm
As the title suggests, the exhibition revolves around the issue of the ego, that is the bodily ego of the artists involved. It includes works from 17 international artists from different generations. Their common feature is the visual reference to their creator.
Tim Noble & Sue Webster, Nasty Pieces of Work, 2008-2009, Two wooden stepladders, discarded wood, broken tools, light projector, 2 parts: / 171 x 166 x 86 cm / Installation dimensions: variable
Since the 60s, many different forms of expression and techniques have been and still are developed that broach the issue of the body or the persona of the artist. The exhibition emphasizes the engagement with the topic is more prevalent than ever and also of great significance for the artist. From this perspective the show explores different paths of the development and the incentive to include one‘s own body in the work of art. Whereas many artists engage in political, historical or sociocultural topics, others are concerned with seemingly personal matters. This raises the question to which degree it is possible to display the body and at the same time exclude the social environmental context. Gestures that at first seem merely egocentric may comment on society, life or the condition humaine. A richly illustrated catalogue published by Kerber accompanies the exhibition.
The exhibition - curated by Johannes Sperling - investigates the different approaches and motivations for the presentation of the self between portrait and performance. Since Timm Ulrichs’ first attempt to exhibit himself in 1965, artists have been exploring new ways of including their own body or their physicality within their work of art. The radicalism of the practice as the first of its kind was emphasized by its prohibition as displayed in a secretly taken photograph of Timm Ulrichs’ restaged exhibition in a museum‘s storage facility. This piece and other works by Timm Ulrichs will be shown as well as works from other artists who are following the tradition of self portrait while transforming, expanding and updating it. The exhibition 1.pers.sing combines renowned international artists such as Candice Breitz, Jonathan Meese, Ai Weiwei, Ragnar Kjartansson and the artist couple Tim Noble and Sue Webster as well as artists from the following generation i.e. Clemens Wilhelm and Sebastian Stumpf.
2 August - 27 September 2013
Edinburgh Art Festival
In this solo exhibition Fiona Banner focuses on performance, premiering new film works and experimental publications, which deploy a pseudo-formality that is at once playful and provocative. She shows three films - Mirror, based on a performance with actress Samantha Morton (a kind of verbal striptease), Jane's which parodies the hubris of sculpture making and Chinook in which a Chinook helicopter performs an absurd yet beautiful aerial ballet. Banner also presents two new hand-modelled neon works and sculptural publications.
Fiona Banner, film still from Chinook, 2013
Publishing, in its broadest sense, is at the heart of Fiona Banner's practice. In 1997 she started the imprint 'The Vanity Press', and has since published many books with related objects and performances. These works range from a catalogue of newspaper clippings of All the World's Fighter Planes, to submitting her personal ISBN number to the British Library, effectively publishing herself as a book. Her publications often question the notion of authorship and copyright. For Banner, the act of publishing is itself a performative one.
The XVI edition of the Pino Pascali Prize, awarded to the English artist Mat Collishaw, will open in Polignano a Mare (Bari) on Friday, July 5 2013, at 19:00 at the Museum of Contemporary Art.
The committee, made up of Rosalba BranÀ , director of the Pino Pascali Museum Foundation, and of two young critics, Lorenzo Madaro, a journalist and an independent curator, and Antonello Tolve, a theorist and an art critic, justifies the choice as follows:
"Mat Collishaw's visual imagery is multifaceted: his look investigates art history and observes reality, representing it with an emphasis often characterized by dramatic and allegorical undertones. The core of his research is an interest in quotation, which results in a journey across the territories of the visual culture of our time, thus dealing with universal and imperishable themes, such as beauty, violence and death"
A refined intellectual, Collishaw focuses his poetics on the infinite possibilities of image perception, using various mediums, such as photography, sculpture, video, and ambient installations. A member of the Young British Artists, Mat Collishaw leads the viewer into a multi-perceptual visual and sensory dimension, in which life and death, transience and vanitas - intended as the artist's reflection on the ephemeral condition of existence - coexist.
About twenty works will be exhibited at the Pino Pascali Museum Foundation, featuring Mat Collishaw's most significant production, from1998 to 2012, including photographs, videos, 3D works and a huge ambient installation, purposely created for the occasion, that will change the perception of the space in the central hall by making it sacred and mystical.
The majestic and virtual screening of the Isle of the Dead by BÀ¶cklin tends to establish a mysterious and romantic relationship with the Hermit Island, visible beyond the windows of the Museum.
In the artist's double vision and interpretation, the two islands, the first virtual, the other real, become the symbol of a timeless and boundless landing. In Collishaw's video installation, light passes from dusk to dawn, and, never as in this case, nature and artifice compare and interact with each other.
And again time and light are the protagonists of the provocative video installation 'The end of Innocence' dedicated to the famous portrait of Pope Innocent X by Velasquez, later reinterpreted by Francis Bacon. A complex operation of meta-language that tends to highlight the strength of a power veiled by anguish.
On display, other photographic works dedicated to vanitas, and three-dimensional works, such as "The idolator", dedicated to JB. Chardin.
The exhibition will run from Tuesday to Sunday, closed on Mondays. Please visit Puglia's events website for more information.
You too can own a piece of the award winner. Click here to view the full selection of Mat Collishaw's work available through Other Criteria.
In October of this year the largest retrospective survey of Damien Hirst’s work ever to be assembled will be shown at Qatar Museums Authority, Doha. Spanning over 25 years of Hirst’s iconic career, ‘Relics’ is the artist’s first solo show in the Middle East and will be on display until January 2014 at ALRIWAQ DOHA exhibition space.
‘The Immortal’ (1997 – 2005)
Photographed by Prudence Cuming Associates
© Damien Hirst and Science Ltd. All rights reserved, DACS 2013
The comprehensive exhibition will include both famously iconic, and previously unseen artworks. Explaining, ‘art’s about life and it can’t really be about anything else … there isn’t anything else,’ Hirst’s work investigates and challenges contemporary belief systems, and dissects the tensions and uncertainties at the heart of human experience. ‘Relics’ will include pieces from a cross-section of Hirst’s most important series including the Spot Paintings and the Natural History series of animals preserved in formaldehyde. Also on display will be one of the most iconic and widely recognised artworks to have emerged in the past decade; the diamond encrusted skull, ‘For the Love of God’ (2007). The exhibition follows in the footsteps of Hirst’s major retrospective at Tate Modern in 2012, which became the most visited solo exhibition in the gallery’s history.
Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS 2013
Curated by the internationally renowned writer, critic and curator, Francesco Bonami, ‘Relics’ is part of a series of cultural initiatives organised by QMA in order to foster discussions and cultural exchange between the UK and Qatar. It forms part of Qatar UK 2013 Year of Culture which celebrates and showcases the deep-rooted bilateral relations between Qatar and the UK.
Polly Borland is currently exhibiting her Other Criteria print Bunny Nose at Flowers Gallery as part of the group exhibition 'Under My Skin - Nudes in Contemporary Photography'. The show is open until July 27th at Flowers Gallery, New York.
Phillip Allen: oxblood
Kerlin Gallery, Dublin
Until 20th July
In many of the paintings made by Phillip Allen over the last decade, a vivid and ebullient graphic clarity contends with more convulsive painterly features. His paintings have often presented brightly coloured, interconnecting volumes or repeating, distending patterns within more mutedly toned, wide-open zones. Bordering these spaces at the upper and lower limits of the canvas, Allen’s trick has been to lay down richly abundant lines of curling impasto paint: glorious blooms and bursts of multifarious colour that thickly combine to frame and deepen the visual drama at the centre of the picture. But what we see is never quite clear, never entirely ‘contained’. The graphic elements often offer hinting suggestions of buildings or other tall structures – they sometimes resemble wonky or wildly implausible monuments – but the precarious, piled-up shapes also at times allude to letters or numbers, as if a kind of coded communication were being proposed. Invariably, Allen shows us something being assembled – there is recurrent piecing-together of basic elements – but the results depart thrillingly from rational organisation, towards a more dream-like, open-ended and associative way of imagining a world.
Lately, his paintings have expanded in scale, and they have begun to present still more hazy and ambiguous arrangements. As ever, there is a concentration on accumulations of fundamental forms – often, now, the geometric shapes that provide the historical basis of painterly composition – but the surfaces are now a storm of agitated scribbles and incessant drips. Each ‘composition’ in these powerful works is in a state of decomposition. If as one title (from 2012) suggests, ‘Delusions provide solutions’ Allen’s recent works also showing him taking on the painterly challenge of scrupulous ‘dissolution’.
Tracey Emin was filmed for BBC Radio 4, Woman’s Hour discussing How to be a Powerful Woman. She and other female guests discuss their struggles with becoming successful women and how to have a good work-life balance.
Emin’s art is one of disclosure, using her life events as inspiration for works ranging from painting, drawing, video, installation and sculpture. Revealing her hopes, humiliations, failures and successes in candid and, at times, excoriating work that is frequently both tragic and humorous.
To watch Tracey discuss and share her philosophy click here.