Hauser & Wirth Somerset opens with Phyllida Barlow Gig

31 July 2014 § Leave a comment

Hauser & Wirth are one of the powerhouses of worldwide contemporary art with galleries in Zurich, London, New York, Los Angeles and Bruton. Yes, you read that right, Bruton – a sleepy village home to some three thousand souls, a handful of pubs and a couple of takeaways.
Hauser & Wirth Somerset
So why Somerset? The first thoughts are that the site is perhaps ideal for the outdoor display of large scale sculptures or that it could be considered a refreshing alternative to the widely prevalent ‘white cube’ city galleries. But whilst these thoughts are both in some way correct it is soon apparent that there is much more to the story.
Hauser & Wirth Somerset
Whilst Bruton may well turn out to be a great commercial success the deciding elements were much more personal. Back in 2005 Iwan and Manuela Wirth decided to live temporarily in England, at least in part so that their children were schooled for a while experiencing a different culture and language.
Hauser & Wirth Somerset
Before long their attachment became much deeper. They developed a love of the Somerset countryside, moved in to their own medieval house before discovering the almost derelict Durslade Farm. They quickly purchased the 18th century property and set about its restoration.
Hauser & Wirth Somerset
The work that has been done is astonishing – a labour of love that has drawn on their considerable contact list. The run-down buildings have been sympathetically restored with old stone, brick and traditional materials, whilst new extensions are hidden behind the old facades.
Hauser & Wirth Somerset
The very best architects and designers were given virtual free rein and have given new life to the historic buildings, creating no less than five gallery spaces plus offices, educational spaces, bar, bookshop and restaurant. Outside a muddy pasture is now a stunning garden, created by Piet Oudolf no less – the internationally-renowned designer behind New York’s High Line and the Queen Elizabeth Park at the London Olympic site.
Hauser & Wirth Somerset
I have yet to move on to the contents of the space and again it is hard to rein in the superlatives. The galleries will of course house some of the world’s finest contemporary art. Since the first gallery opened its doors in 1992 at the old Löwenbräu brewery building in Zurich Hauser & Wirth have steadily built up a remarkable stable of artists, now represening giants like Allan Kaprow, Paul McCarthy, Ron Mueck, Eva Hesse and Louise Bourgeois, amongst many others.
Hauser & Wirth Somerset
The first to occupy the main gallery spaces is Phyllida Barlow, who recently wowed the art world with her striking installation ‘Dock’ at Tate Britain (see our review here), and is similarly impressive with this show. Entitled ‘Gig’ it commands the four varied spaces it occupies, her ramshackle aesthetic of accumulated fabric scraps and building materials nicely commenting on the cycle of dereliction and renovation work just completed at the site.
Hauser & Wirth Somerset
As would be anticipated the bar and restaurant doesn’t just serve top quality food (courtesy of At The Chapel, Bruton) but is also an ‘installation’ by artists Bjorn & Oddur Roth with sundry fine artworks lining the dining room walls.
 With a big educational and artist residency programme plus a distinct community bias this is an establishment of huge ambition and matching quality. Bound to become an important fixture in the regions cultural and artistic landscape it’s future programme and progress is one to watch.

Malevich at Tate Modern

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.

Kasimir Malevich Tate Modern

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.

Kasimir Malevich Tate Modern

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.

Kasimir Malevich Tate Modern

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).

Kasimir Malevich Tate Modern

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.

Kasimir Malevich Tate Modern

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.

Kasimir Malevich Tate Modern

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.

Kasimir Malevich Tate Modern

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.

Kasimir Malevich Tate Modern

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.

Kasimir Malevich Tate Modern

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.

Kasimir Malevich Tate Modern

Malevich is at Tate Modern, SE1 (020 7887 8888, tate.org.uk) until 26 October 2014

koen van den broek: chicane at marlborough contemporary

4 December 2012 § Leave a comment

Just in case you hadn’t noticed the long-established Marlborough Gallery (AKA Marlborough Fine Art) has just opened a Contemporary gallery space in Albemarle Street, Mayfair. The Gallery is of course one of the biggest names in the art world – I quote from their website:

” Marlborough Fine Art was founded in 1946 by Frank Lloyd and Harry Fischer who emigrated to England from Vienna, where Lloyd’s family had been antique dealers for three generations and Fischer had dealt in antiquarian books. They first met in 1940, as soldiers in the British army. In 1948 they were joined by a third partner, David Somerset, now the Duke of Beaufort, and chairman of Marlborough Fine Art (London) Ltd.

After the wartime years of recession, London became the principal market for modern art and Marlborough’s role in this changing art world was established. It set standards for exhibitions that were worthy of a modern museum. These were reviewed like museum shows, and the gallery became a focus for collectors, museum directors and connoisseurs as well as history of art students. In 1952 Marlborough was already selling masterpieces of late 19th century including bronzes by Edgar Degas and paintings by Mary Cassatt, Paul Signac, Claude Monet, Camille Pissarro, Alfred Sisley, Auguste Renoir amongst others and drawings by Constantine Guys and Vincent van Gogh.”

Koen van den BroekImpressive stuff, so one should have high hopes of the new Contemporary branch especially with its director, Andrew Renton, former director of curating at Goldsmiths. The first, rather dry, exhibition from Angela Ferreira linked the Cullinan diamond mine and the Chislehurst caves and commented upon social space and cultural histories.

Koen van den BroekThe latest show is from Koen van der Broek who reduces landscape in to bare minimums, rendering them as almost unrecognisable. He revisits a chicane in a short stretch of LA street from which he has produced just five large canvases using a repeated palette of buff, cream, blue and black. Reminiscent of the American abstract expressionists to which he consciously refers they fill the large upstairs gallery space.Koen van den Broek

They are undeniably impressive, and interesting to view alongside his earlier work, but van den Broek has been around for some while and is not exactly cutting-edge. Staying dull and safe so far Marlborough Contemporary has not – for me – quite (yet) hit the wow factor that it perhaps had with the modernist artists back in the 1940’s!

Koen van den Broek until 5 January 2013 at Marlborough Contemporary

yayoi kusama at tate modern; now & future japan; hyper japan

24 February 2012 § 1 Comment

I’m turning Japanese, I think I’m turning Japanese,  I really think so….. It seems that there are all sorts of Japanesey things happening here in London pretty much at the same time – the Yayoi Kusama exhibition at Tate Modern being the highlight of course.

yoko ono - mend piece

Opening soon Now & Future JAPAN supports orphaned children from the Tsunami and features a work by Yoko Ono repeated from 1966 – Mend Piece – where visitors are invited to join in by repairing broken china. A fund-raising auction takes place alongside – see website for details. Please try to support it.

Meanwhile, starting today at Earls Court, Hyper Japan is UK’s biggest celebration of Japanese ‘culture, cuisine and cool.’ I will try and drop in if only to say konishi wa to Satoshi Miki – director of those unforgettable classics Instant Swamp and Turtles are Surprisingly Fast Swimmers (see it!) and to check out the World Cosplay Summit (Cosplay being anime/manga/video dressing up – don’t ya just love it!).

Talking about someone who loves dressing up Yayoi Kusama‘s big solo exhibition at Tate Modern kicked off a couple of weeks ago. I do like Kusama, but I was not overly excited about the prospect of some 14 rooms chock full of her trademark spots. However this was a prospect that I has seriously misjudged and Yayoi, bowing deeply, I apologise. Like many, I am sure, I have been far too ready to assign her to the ‘it’s just lots of spots’ category (even the Tate get carried away in the foyer – image above!) but here was a timely reminder of all the wonderful, innovative and varied work that she has made over a long – and still continuing – highly influential career.

A prodigy and already exhibiting in her teens Kusama moved quickly from oils to every variety of works on paper and the first rooms of the exhibition show stunning imagination and variety. Quickly even Japan was too small for her. She soon decided, whilst only still in her mid twenties that ‘For art like mine… questioning what we are and what it means to live and die… [Japan] was too small… My art needed a more unlimited freedom and a wider world.’  

So off she went to the USA first having made contact with Georgia O’Keefe – one of the most influential painters of that time: this was no shrinking violet but a hugely determined artist. She quickly switched now from the compulsive and repetitive Infinity Nets to sculpture-making, her Accumulation Sculptures covering everyday objects with repeating forms. Her huge influence on the avant-garde of pop art being clear if I simply tell you that a boat sculpture was exhibited as the ‘One Thousand Boats Show’ in a room pasted on all sides with repeating silkscreen images (of the same boat from above) a full three years before Warhol created his ‘Cow’ wallpaper and that her stuffed objects predated those of Claes Oldenburg.

Her work continued to evolve rapidly. She featured herself in her own collages, photographs and films, putting the artist at the centre of the work – a tactic we are now (overly?) familiar with a la Emin, Abramovic, Gormley etc – but back then highly original. She threw herself in to happenings, performances and installation ‘environments’. As if she had not yet done enough she returned to Japan where she briefly set herself up as an art dealer before, deeply troubled, she checked herself in to an asylum where she remains to this day. As you may have guessed even this did not stop her with production of collages, sculpture, painting and installation still continuing apace.

If anyone has forgotten, or did not realise, just how influential and original Kusama really was then this excellent and comprehensive exhibition is a real must-see. A highly surreal, visual treat right through until the final two room-sized installations; one an infra-red/day-glo world of multi-coloured spots that float before your eyes, the other a mirrored space containing infinitely reflected tiny multi-coloured lights. Dazzling in every way – and the kids will love it too!

Yayoi Kusama at Tate Modern until 5 June 2012

Now & Future JAPAN at 39 Dover Street, London W1S 4NN from 3 – 9 March 2012

Hyper Japan at Earls Court 24 – 26 February 2012

tracey emin, love is what you want, at the hayward

29 June 2011 § 1 Comment

I was not a big fan of Emin – or even a small fan for that matter. To me she seems to represent the art worlds version of Big Brother. Here is Emin determined to reveal every personal trait, good, bad and ugly to the public who are determined to lap it all up – the more lascivious or embarrassing the better. Life laid bare as entertainment. Reality TV as art.

Nevertheless I was determined to go to this exhibition with an open mind. She has an army of fans in the art and media and they surely must see something compelling in her work. However the omens were not good. I arrived at the usual ‘opening day’ – the day immediately following the private view – but the exhibition, strangely, was ‘closed for a private event’. I eventually got in the following day.

In the catalogue Emin explains that her art is all about words and as we enter we get an awful lot of them, the first galleries occupied by her blankets and neons. The appliqued blankets are very impressive. Large, colourful and eye-catching they are more powerful as a group than individually with words and phrases used cleverly to illustrate a ‘patchwork of memories’ or concerns in the wider world.

Extending across the room is ‘Knowing the Enemy’ –  a partially collapsed pier inspired by a letter written by her father. It is clever and interesting – the broken planking isolating a lonely cabin at the pier’s end. Evocative of longing and loss.

From this point the exhibition sadly goes rapidly downhill. The neons look pretty but putting trite statements like ‘love is all you want’ in neon does not unfortunately make particularly interesting art. A lame film of Emin on horseback wandering around Margate sand is one of several films to avoid. There is a ‘scrap book’ of a room entitled ‘Family and Friends’ with lots of trivial bits and pieces scattered over the wall and reverentially placed in cabinets – I started to try to read and make sense of these sundry fragments but lost the will to live.

In ‘Drawings’ there are various scrawled versions of Tracey masturbating and little else whilst searching desperately for more ‘Room’ topics the Hayward scrape the barrel with ‘Trauma’, ‘Menphis’, ‘Early Work’ (almost non-existent), ‘Sculpture’ (ditto) and ‘Terraces’ (a couple of teddies under benches).

A couple of works were sadly missing – ‘Everyone I ever Slept With’ was destroyed in the Momart fire and ‘Bed’ which Saatchi has kept aside for a 2012 show in Chelsea. Both would have added much to what was ultimately an exhibition rather devoid of strong individual pieces

It is undoubtedly true that many of the works would be lost individually but brought together in to a – sort of – coherent whole they have much more impact. Emin’s art, and life, makes much more sense and the gallery has done a good job of curation. I quite enjoyed the exhibition as an overview of a cultural icon but as for the art I ended up siding with Jake and Dinos Chapman who recently laid in to Emin during an Independent  interview (18 June 2011) ‘I cant stand it. It’s art therapy – it doesn’t belong outside her head.’ ‘Tracey draws very badly .. and everybody claps their flippers together.’  The Chapmans incidentally are preparing for an exhibition at White Cube (opening 15 July 2011) where they have worked apart for several months, the results secret to the gallery and each other – now that I will find interesting.

Tracey Emin Love is all you Need. The Hayward Gallery until 19 August 2011

Jake or Dinos Chapman at White Cube Hoxton Square and Masons Yard. 15 July to 17 September 2011

Where Am I?

You are currently browsing the Uncategorized category at a kick up the arts.

Follow

Get every new post delivered to your Inbox.

Join 8,900 other followers

%d bloggers like this: