Monique Muse Dodd
Victoria Manganielloâ€™s El Trifinio (2015). Photo by Adam Reich; courtesy of Sara Kay Gallery.
Embracing otherness, embracing self
Betty Woodman at David Kordansky Gallery. Vases in all forms. Forever a favourite.
'The Boat is Leaking. The Captain Lied' at the Venice Biennale, 2017, presented by Fondazione Prada was an exhibition that saw the collaboration between artist Thomas Demand, director Alexander Kluge and set designer Anna Viebrock. A narrative and mystical environment.
George Egerton-Warburton, English, 2017, exhibition view, ChÃ¢teau Shatto, Los Angeles
Solo exhibition at Stuart Shave / Modern Art, London
Camille Henrot at Palais De Tokyo, From 18/10/2017 to 07/01/2018
Exhibition: Daughters of Necessity: Serena Korda & Wakefield's Ceramics
Pink Hook Iron Eyes, solo exhibition by Kathleen Ryan at Arsenal Contemporary, NYC
Sound and Smoke â€“ a Revue in Pictures
Group exhibition, featuring artists including Carl Andre, Marcel Broodthaers, Daniel Buren, Felix Gonzalez-Torres, Pierre Huyghe, Jeff Koons, Philippe Parreno, Rosemarie Trockel, Andy Warhol, etc
Ugo Rondinone, Part of the Infinite Exhibition, 2015
Maja Bajevic, Women at Work â€” Under Construction, 1999, five-day performance on the scaffolding of the National Gallery of Bosnia and Herzegovina / video (11â€™48â€) / photographs. Exhibition view: Under Construction, SCCA, Sarajevo, Bosnia and Herzegovina (Curator Dunja Blazevic), 1999.
Installation view at â€œOcean of images: New Photography 2015â€³, Museum of Modern Art, New York, 2015-16
Site specific installation at PS1 Contemporary Art Center, New York
Floyer lays open the structural character of things, as well as reflecting on the linguistic basis of signification. She often takes objects and situations to an extreme logical conclusion. These mental deliberations can sometimes achieve a haunting poetry.
"For the week of Art Basel 2015, DO WE DREAM UNDER THE SAME SKY by Rirkrit Tiravanija, architects Nikolaus Hirsch/Michel MÃ¼ller, and chef Antto Melasniemi will be installed on the Messeplatz in Basel. This new work can be seen as a disembodied extension of â€œthe land,â€ a self-sustaining artistic community initiated by Rirkrit Tiravanija and Kamin Lertchaiprasert near Chiang Mai in Thailand that engages with the idea of an artistic utopia, presenting an ecological and sustainable model for future artistic practice." - e-flux
Ashery and her father, Daniel Ashery, cooked a Jewish Middle-Eastern meal for audiences/eaters. The performance took place at Salon 37, Home, London, 2005 as part of the Cooking Culture series. Curated by Laura Godfrey Isaacs
â€œUnder this mask, another maskâ€. So wrote Claude Cahun, the alter ego of Lucie Schwob, Surrealist writer and photographer.
Retrospective of Charles Matton at All Visual Arts "In his influential study of the poetic implications of our interactions with buildings and spaces, The Poetics of Space (1958), the French philosopher Gaston Bachelard observed that it is â€œreasonable to say we â€˜read a houseâ€™ or â€˜read a roomâ€™, since both rooms and houses are psychological diagrams that guide writers and poets in their analysis of intimacy.â€ Bachelardâ€™s interest is in the powerful correspondence between the spaces we live in and our psyches, the ability of rooms and buildings not only to reflect our personalities and imaginations, but to affect them, and the ability of spaces to harbour our most intimate and deeply personal memories: â€œOf course, thanks to the house, a great many of our memories are housed, and if the house is a bit elaborate, if it has a cellar and a garret, nooks and corridors, our memories have refuges that are all the more clearly delineated. All our lives we come back to them in our daydreams.â€ - Aesthetica Magazine
"She is brutally honest in a way few artists have dared to be about the complexities and contradictions of desire and about the ways the Internet has created new opportunities and appetites. â€¦ It is hard to think of another artist so nakedly present in his or her own work, and it can seem staggering that Stark is so willing to disclose intimate details. â€¦ [T]he overridingly optimistic claim of these works is that from todayâ€™s conditions of defeat and disconnection might spring a form of connectedness that is nothing like the Facebook version of networked friendship, because it is beyond the reach of commercialization." gimick-1 She is brutally honest in a way few artists have dared to be about the complexities and contradictions of desire and about the ways the Internet has created new opportunities and appetites. â€¦ It is hard to think of another artist so nakedly present in his or her own work, and it can seem staggering that Stark is so willing to disclose intimate details. â€¦ [T]he overridingly optimistic claim of these works is that from todayâ€™s conditions of defeat and disconnection might spring a form of connectedness that is nothing like the Facebook version of networked friendship, because it is beyond the reach of commercialization. â€”Mark Godfrey, Artforum, January 2013
"The enigmatic photographs by the German artist Thomas Demand appear, at first glance, to be more documentary than art. In fact, drawn closer by the sense of the uncanny, the scenes reveal themselves to be composed of incredibly detailed paper and card models, painstakingly made by the artist. Favouring bureaucratic and banal spaces that are often connected to dark events â€“ subjects include the ransacked offices of the East German secret police, Saddam Husseinâ€™s kitchen and, above, the control room of the nuclear power plant at Fukushima â€“ the images question the nature of experience and memory, and, in Demandâ€™s own words, â€œour need to make sense of the chaotic environment we are inâ€ - Will Wiles for Port Magazine
Mona Hatoum's Homebound 2000 "Mona Hatoumâ€™s works explore themes of home and displacement through the perspective of the Palestinian exile, using common domestic objects that often, on closer inspection, reveal menacing qualities."
Sarah Pucill You Be Mother IV 1990 100 x 113 cm Photographic print from negative
"Ecstatic Resistance is a project, practice, partial philosophy and set of strategies. It develops the positionality of the impossible alongside a call to re-articulate the imaginary. Ecstatic Resistance is about the limits of representation and legibility â€” the limits of the intelligible, and strategies that undermine hegemonic oppositions. It wants to talk about pleasure in the domain of resistance â€” sexualizing modern structures in order to centralize instability and plasticity in life, living, and the self. It is about waiting, and the temporality of change. Ecstatic Resistance wants to think about all that is unthinkable and unspeakable in the Eurocentric, phallocentric world order." Ecstatic Resistance, text by Emily Roysdon
Solo exhibition at Et al. Gallery, San Francisco
Fellowship exhibition by Katie Schwab, Glasgow Sculpture Studios
Pink Tons by Roni Horn, 2009 Cast Glass
LOVE LIFE ACT III, exhibition with Emma Hart, final in a series of three at De La Warr Pavilion, Bexhill.
Jamilia Woods, HEAVN
Simon Roberts' photographs capture a very appropriate, contemporary English society. In this particular piece of work he uses scanned images of newspapers and then exposes certain parts and highlights all the other cameras documenting the same moment.
Artist, Sue Lawes intervenes into the willow pattern, the iconic wedgwood plate. She uses them as readymades here but also intervenes into the pattern, playing with its origin and its continuous influence.
'What Language Do you Speak, Stranger?' weaves together video and archival materials to produce a work of art that speaks of cultural exchange.
Brilliant Korean artist, Myoung Ho Lee, works with photography and trees. The placement of trees (nature) within its context.
Designed for the Bahrain Pavilion, world expo 2015, Milan.
Lygia Pape is an artist part of the Neo-Concrete movement in Brazil. She takes inspiration from the everyday and the materiality of different spaces. An exhibition of her work is currently on at Hauser and Wirth, London.
Represented, re-represented and then re-represented again.
Riding For The Feeling
Song by Bill Callahan and Video by Archie Radkins, based on artwork from Max Galyon.
Exhibition from June/July 2016 in Josee Bienvenu gallery NY. The work recognises art and artefacts lost during the Nazi regime, "challenging not only the notion of remembrance but also the materiality of history."
'Don't Touch My Hair'
How Long Can You Smile For?
Smiling because you have to, but not because you want to. The unreliability and control of communication, physical and oral.
Upon Arrival: Lesson Disruption by Ariel Jackson
Multimedia artist Ariel Jackson recovers lost and forgotten relics of black culture and activates their powers in visual realms of her own making.
Spanish fashion brand based around the idea of dressing oneself and the space in which one does it. Life drawings on a shirt!
Louise Bourgeois exhibition at Hauser and Wirth, Somerset. The exhibition is titled 'Turning Inwards' and opens 1st of October until the 1st of January.
Bill Viola exhibition at the Yorkshire Sculpture Park last easter. Mesmerising videos in dark spaces, including the ethereal chapel.
'Grosse Fatigue' by Artist Camille Henrot
Explores the evolution of the world through objects, obscure and natural, ordinary and materialistic. My favourite piece part of the 'Electronic Superhighway' exhibition at the Whitechapel Gallery, London.
Particularly captivating work, especially 'RADICAL FEMINIST THERAPY: Working in the Context of Violence.' Look at her website to explore more. Loved the piece as part of the 'Shifters' exhibition in Art in General. It looks at ideas of communication and how it affects society, how it can be used as a tool.
After playing around with ideas and thinking about the use of the space and the purpose of the area. It became clear I was focusing on the idea that although this was the 'cultural quarter' of English city, Brighton, the area is an amalgamation of cultures as well as purposes. I find it interesting to think about how cultures mix and how traditions swap and become part of another countries 'culture,' like the passing on of stories and tales. How does something so obviously a part of 'asian culture' then become so large a part of 'English culture' and vice versa. I think it's also necessary to think about other thoughts and opinions on other cultures at the time the Royal Pavilion was built and now and how it has changed. Do we think about the fact that the history of 'our' culture contains influences of others and vice versa. Also how important is that we do think about it? Or do we think it is inherent and a very obvious question? Or do different generations have different opinions about 'our' culture and how much of it is actually uninfluenced by others. How is the notion of culture changing? The inspirations on the Royal Pavilion are obviously 'foreign' even to our generation. I wanted to think about how easy and how much more common it is to be able to see, visit and purchase imported or foreign objects, sights. They are portrayed through television and media, it is also common for our generation to travel a lot more and visit 'cultural' sites. I wanted to take a stereotypically British object, (which was appropriate to the pavilion gardens) so I chose an English rose. I did this to question what we see as British and whether it always crosses our mind. For example all the things that are so accessible to us, like food and plants and the fact that so many of them are imported. I wanted to do something to the rose to change it and make it a new object with a new identity and new origin. I did this to realise my fascination with cultures combining and how this is inherent and almost crucial.
Statue of Queen Victoria in Victoria Gardens
This statue looks at the Royal Pavilion from Victoria Gardens. It is rumoured that Victoria has been designed to look approvingly over the Royal Pavilion. This may suggest and reiterate the fact that is is extravagance and that fact it does not conform with British traditions.
A Memory of the Royal Pavilion
"...this historic house mixes Regency grandeur with the visual style of India and China."
Image from 'Oriental Scenery'
The Jummah Musjed, Delhi
Image from a book called 'Oriental Scenery' by Thomas and William Daniell. The two artists travelled asia together and produced this book in 1797. The book is also said to have influenced Nash.
Repton was a gardener who supposedly influenced Nash. This picture is of 'Reptons business card.'
Peking, Classical, Carnatic
I began to think about the mixture of cultures within this 'Culture Quarter' of Brighton. I played around the idea of sound, looking at early 19th century music from England, India and China, at the time of the creation of the Royal Pavilion. I wanted to explore the idea that other cultures influence ours and vice versa and by doing this some historical and culture areas of cities and countries are made up of not just one 'culture.'
From John Nash's views of the Royal Pavilion, 1826. Incorporating another culture, but has become a historic part of British culture?
It was John Nash's idea to design the Royal Pavilion based on Indian architectural forms, but it was Prince George who loved chinoiserie art and decor, although it is not clear whether Prince George ever visited China...
From John Nash's views, 1826. "George chose architect John Nash who proposed an Indian style in response to the design of the new stable block. Nash was also inspired by landscape gardener Humphrey Repton (who had published designs for a new palace based on Indian architectural forms) and based many of his ideas on a publication called Oriental Scenery by Thomas and William Daniell (1795-1808)."
Before John Nash began working on Prince George's home, it was described as a 'modest villa' and created by architect Henry Holland, who finished it in 1808.
Watch and Trace
I drew this in the pavilion gardens. I walked around for 30 minutes, walking along the different paths that lead in and out of the gardens. Everytime I walked past someone I drew a line as a mark and trace of a person that passed me. I was exploring the place as a thoroughfare. Even though on a map the area is marked as the 'Cultural quarter' it is interesting to see it as a daily route for some and for others a significant momument of British history.
Gold Rose and Sign
Black Bean Pods
Physalis Alkekengi (Chinese Lantern)
A New View
I360 in the distance.
The Royal Pavilion began being built in 1787 and was extended by architect John Nash in 1815. It is built in the style of Indo-Saracenic, prominent in india throughout the 19th century.
Regency Gardening (Euphorbia)
John Nash designed the Royal Pavilion to be surrounded by a specific landscape, that of the style of Regency gardening. In 1980 when the idea arose that the gardens were to be re-created as the original, Regency gardening was still being explored.
Beginning of 'Off-site' project in the Pavilion Gardens, Brighton.
Korean artist Kimsoojah
Fascinated with the material and metaphorical qualities of natural objects with ideas regarding infinity and repetition.
Woman and a Dog
Christina Malman, 1935
Goudalâ€™s practice is an investigation into photographs and films as dialectical images. About truth and fiction, real and imagined perspections. The artist questions the potential of the image. She also questions the viewer. Reconstructs it and analyses its layers and possibilities of extension, through landscapesâ€™ installations.
The Forgotten Pyramids of Meroe
In the Eastern Sudan desert, near the Nile River, we can find 200 ancient pyramids that used to be tombs for kings and queens of Napata and Meroe, 900 years ago. These Nubian pyramids are smaller than Egyptian ones and have been built 2700 years ago, approximatively : we can find decorative elements of Roman, Greek and Egyptian cultures.
Pieces of Vietnam
Photographer and video maker from Roma Oliver Astrologo has recently been in Vietnam and came back with a short movie of three minutes. The Vietnamese amazing pieces of life and landscapes come one after another in fast way, between fast and slow motion, with the rhythm of an effective soundtrack.
Japanese Kochi Architectâ€™s Studio refurbished a little block of flats menaced of destruction in the Tokyo suburbia. Architects made an house of it by using the void to create new individual and collective spaces. Each new dividing wall is painted in a different color to give a geometric aspect and volume to the structure.
Moses Sumney - Seeds
Esme Charteris | ©2021