27 October 2014 § Leave a comment
Richard Serra is not a particularly prolific artist – quite understandable given the scale of his individual works. His works are usually large, site-specific sculptures for architectural, urban and landscape settings. As for seeing them in London, other than an occasional smaller work at the Tate its hard to recall when I last saw a work in the city – indeed his last show here was again at Gagosian way back in 2008.
In one room two vertical expanses of steel are jammed corner to corner across the room and sit diagonally one upon the other, as its title London Cross suggests. Walking under the balanced sheet one is apprehensive about the vast weight balanced above your head.
In another gallery is Dead Weight – two massive blocks of steel that rest one on top of the other. They are not exactly the same size, texture or shape, the upper is larger, more rusted – it seems to impose itself upon the lower, plainer block . Peering through the uneven crack between them you can see the uneven shapes; they sit together, as Serra says, ‘like ancient rocks’.
The largest space is occupied by Ramble and its rows of upright blocks. In a variety of different sizes they sit at 90 degrees to the predominate direction of passage through the space physically blocking your progress. They invite you to weave your way through them experiencing their size and mass as you wander through the gaps and pathways.
The most impressive was, one presumes, the most complex to construct. Backdoor Pipeline is a curving tunnel, a doughnut-shaped segment of monumental steel in two parts. About fifty feet long one is urged to enter the dark tunnel that it forms, with the exit only revealed as you walk through its interior.
Cleverly Serra asks us to variously walk under, through, around and inside – each piece experienced in a different way. Despite their unyielding weight, massive size and imposing presence his handling of these vast steel blocks is clever and delicate. Even in his seventies Serra clearly has lost none of his touch.
16 October 2014 § Leave a comment
For their last exhibition of the current season, and neatly timed to coincide with the seasonal burst of gallery activity that marks the Frieze Art Fair, High House have adventurously selected an emerging young talent. Originally from Oxfordshire, Stephen Goodman is a graduate of Bath, now returning to his home county for this, his first solo show.
Goodman’s abstract paintings are the outcome of an open-ended process, where varied materials such as bitumen oil paint, acrylics and spray paint are combined in a sort of alchemical speculation. Using time, gravity, instability and chance Goodman applies varied materials liberally before allowing them to coagulate – an eventual arrangement being realised through the drying process where chance is allowed to play a large part in the outcome.
The end results are fascinating works that swirl and flow in an apparent 3D effect. Largely featuring combinations of black, white and blue the patterns created hold a significant affiliation with the geological and seismic occurrences of our planet. Goodman infact draws his own parallels to aerial photography of an imagined world that is ficticious and yet somehow familiar, and where he has begun to create his own particular mythology.
He has a particular affinity for Iceland, the place where these internal forces meet the external world in the most spectacular fashion. Here too myths and legends have been created in parallel as a means of human attempts at explanation. Similarly Goodman aims to connect and mediate between these two worlds manipulating his materials in his own attempts to control these conflicting forces.
His canvases hold a captivating beauty that alternately conceal and expose the extreme violence of the processes that they reflect – an eternal duality of destruction and re-creation also reflected in the world around us.
The results are attractive yet enigmatic – we need to be wary of their fragile beauty. Our desire to succumb to their charms is mitigated by our impending realisation of what these marks represent; it is a beauty found at the margins of violence and desire.
Of course time is the ultimate force and its unstoppable power is evident in Goodman’s artwork, as he continually engages with, and manipulates it as an aid for creation. We are unable to control time, but these paintings embrace this lack of control and embrace progression, a natural component of time, and the joy of the unknown.
Shown alongside, and unexpectedly perhaps, complementing Goodman’s work are a small series of beautifully executed works from one of Britain’s Modern masters, David Blackburn. Inspired by the landscape he is now accepted, in his 75th year, as one of the world’s leading exponents in the medium.
For more information please visit www.highhousegallery.com
15 October 2014 § Leave a comment
It is easy to think of Daniel Buren simplistically as the ‘stripe man’. Whilst it is useful for some to remember, and others to denigrate Buren by reference to his trademark wide stripes, there is of course much more to his art than that. As France’s leading conceptual artist he has punctuated the past 50 years with unforgettable interventions, controversial critical texts, thought-provoking public art projects and engaging collaborations.
In the sixties Buren developed a radical form of conceptual art, a ‘degree zero of painting’, creating works which drew attention to the relationship between art and context. Abandoning traditional painting he adopted a wide vertical stripe, used as a ‘visual tool’ to prompt a reading of the work’s surroundings as well as just the work itself. The stripes were variously made with paint, fabric, paper and tape often appearing outside the formal gallery space, made in situ, and responding to a particular location whilst appropriating and colouring the space .
For his latest exhibition at the Baltic Centre the work is best considered in two parts. In the level 3 galleries it is easy to see the development from his earlier, simpler work. The strong colours remain but here are not only stripes but geometric arrangements whilst their structure has also become more sculptural and architectural.
Fibre optic works from the Electric Light series unfurl down the walls, glowing sensuously. There are a selection of reliefs, paintings and sculptures which bend, zig zag or form 3D reliefs cleverly playing with depth, surface, colour and architectural space.
Arguably better still is the second part of the exhibition – a large-scale commission for the Level 4 gallery where Buren has coated the expansive skylight windows in geometric ‘gel’ panels of seven different colours.
The whole space has effectively been appropriated as an architectural canvas for the projected light. I giant kaleidoscope if you like. To heighten the effect a series of angled mirrors have been propped around the floor casting light throughout the space.
During our visit the sun popped back and forth from behind scudding clouds and alternately added even more colour to an already vivid display. One can imagine changing effects and sensations throughout the day.
Further coloured panels were also commissioned for the front of the building with a varying effect either from outdoors as you approach the space or indoors – in particular riding the glass sided lift past the arrangement.
For further information visit www.balticmill.com
4 October 2014 § Leave a comment
The oasis within the Cotswolds contemporary art desert that is High House Gallery has come up with yet another excellent exhibition. Their latest is a solo show from emerging Spanish photographic artist Antonio Marguet, selected to complement the new Photo Oxford fair that runs over the same period.
Whilst Marguet has a background in fine art his works bring together a remarkable range of interdisciplinary skills. He carefully constructs highly theatrical re-presentations of nature and forms by using an eclectic selection of artificial props.
At least part of the pleasure in examining his colourful work lies in the attempt to work out precisely what materials have actually been used. Uncontaminated Bites (2013) for example features a cute pink plastic hamburger-like object with a mustardy-yellow filling that sits adjacent to a balanced and embossed red form. They both stand before a primal and earthy brown mass that looks like (but surely is not) solidified mud. All sit on a mosaic of bathroom tiles.
Other works feature egg-like organic forms in red or blue made from very inorganic-looking materials, assorted frames and block of unidentifiable plastic or foam. Much is made to fit the artist’s imagination, but if sundry objects gleaned from shops and market stalls fit the bill then all the better – not even a worn kitchen dish brush is safe from inclusion in one of Marguet’s unique constructions.
Bizarre and witty captions offer an insight into the thought process behind these striking candy-coloured arrangements: Pending Marshmallow in a Seascape, Postmodern Nude and remote Crocodile Tears are examples..
The delightful range of colours and textures presented within the images immediately invites a tactile response which is firmly denied. These sculptural installations are captured as images before being destroyed. The photograph ultimately therefore becoming the only remaining record of the object. We are left to examine and consider – our imaginations can run wild.
Working at the boundary between sculpture, installation and photography Marguet is fascinated by the use of props and surrogates. Images become objects, the real is concealed and the photograph becomes a mythological or fetishistic object.
Marguet notes ‘Where the image as an object is used to replace or resemble a real thing is what interests me. In particular, I am fascinasted by the implications on how the image become a fetish. Pointing to certain phantasmagoria questions the image as instrument and as a methods of concealment, by which the ‘real’ is hidden and transformed into illusory appearance.’
The particular series exhibited is entitled Toenail Constellations referencing the notion of self-absorption and projection into a deep space of immensity and fantasy. The ‘toenail’ working as a metaphoric surface which is connected to the local, familiar and intimate. Familiarity and strangeness combine.
Marguet’s work has received widespread recognition including selection for the highly respected Catlin Guide and as a Saatchi ‘New Sensation’. On this evidence more well-deserved acclaim and recognition is sure to follow.
A selection of top quality work is being shown alongside and include John Stezaker, Minhong Pyo, Gilbert & George, Julie Cockburn, Tacita Dean, Virgilio Ferrera, Martin Parr and Giacomo Brunelli.
Exhibition runs until 5 October 2014
31 July 2014 § Leave a comment
29 July 2014 § Leave a comment
Despite Kasimir Malevich being widely feted during his lifetime as a leader in non-figurative art exhibitions of work since his death in 1935 have been few and far between. With the location of many works not only behind the iron curtain but considered subversive – the seminal ‘Black Square’ was actually hidden from view until the 1980’s – the opportunity for bringing together a significant body of Malevich’s work has been limited.
This show is quite simply breathtaking. A 2003 Guggenheim-sponsored tour was impressive but this Tate show dwarfs anything previously attempted. An unprecedented international collaboration has brought over 150 major works plus another 150 works on paper, publications and film. It was with great anticipation therefore that we previewed the Tate show, entitled simply Malevich and were not disappointed.
Malevich is of course most famous for one of the defining works of the 20th century – Black Square. This slightly uneven shape painted with a white frame, was created in 1915 roughly contemporaneously with Marcel Duchamp’s groundbreaking readymades. Equally revolutionary it boldly and clearly signalled the end of painting as it was then known.
Bringing an end to centuries of representation this was a giant artistic full stop. He had momentously declared that art was now free of history and was ready for “the beginning of a new culture”. Malevich’s new beginning was Suprematism – a bold visual language of abstract geometric shapes and stark colours and its first exhibition was The Last Exhibition of Futurist Painting 0.10 (Zero-ten).
The Tate has recreated this momentous event with by reuniting nine of the remaining twelve known works and rehanging them according to the only black and white photograph of the original exhibition. This small photograph shows, in black and white, two walls densely hung with Black Square positioned in the top corner – taking the traditional place of a typical homes religious icon.
Despite the many missing works the impact upon arriving in this room is huge. Suddenly one is aware of what a massive impact must have been felt one hundred years ago upon arriving at the same viewpoint; an earth-shattering assault on the senses that can never have been previously experienced. The effect is almost as strong today – the black and white works are bold and striking, the others surprisingly colourful.
The remainder of the show necessarily takes a back seat but is still impressive. Starting from his early paintings of Russian landscapes, agricultural workers and religious scenes, the exhibition follows the influence of the French Impressionists, particularly Matisse, and his journey towards abstract painting and his suprematist masterpieces.
In 1913, together with musician Mikhail Matyushin and poet Aleksei Kruchenykh, Malevich produced a manifesto calling for the dissolution of language and the end to rational thought before producing with them the futurist opera Victory Over the Sun. The collaboration helped bring forward ideas to wrest painting away from its duty to render a world of myths, stories and representations.
The exhibition moves in to the Suprematist era with a stunning series of rooms that chronicle the Malevich’s most inventive period. Despite shortages and poor living conditions we see exciting geometric abstracts on the white backgrounds of ‘infinite space’ and a variety of monochromes or bold shapes. Call up to the war however soon slowed down output before the gradually increasing disapproval of the new Soviet leaders of avant-garde art forced him in to abandon painting for teaching and drawing.
Possibly chastened by the Stalinist state in to conforming he later returns to painting combining his early style with the strange introduction of aspects of realism and Renaissance portraiture. It is notable however that many of his last works are not signed but instead feature a tiny black square – the same Black Square that hung over his death bed and led his funeral cortege. Malevich certainly realised that this was his key achievement – an iconic work that symbolised both the end and a new beginning.
Malevich is at Tate Modern, SE1 (020 7887 8888, tate.org.uk) until 26 October 2014