18 July 2014 § Leave a comment
Adrian Ghenie is one of the chief figures of The Romanian ‘Cluj School’ – comprising artists like Victor Man, Mircea Cantor and Ciprian Muresan – a painter who’s star has been rising exponentially since his relatively recent arrival on the art scene. His latest exhibition, Golems at Pace London, provides ample evidence of why he is so highly regarded.
The golem is an animated anthropomorphic creature from Jewish folklore, created entirely from inanimate material; a doer of terrible deeds. Ghenie’s reference here is the creation of a radical idea in society – in this case Darwin’s – let loose to change the socio-cultural environment. Darwin’s personal story holds a special fascination for Ghenie; the skin condition and vomiting that afflicted him, his luxuriant beard and Victorian attire all afford a rich source of textural possibilities that reveal themselves in this series of portraits.
The exhibition consists of a collection of new figurative works of Charles Darwin shown alongside the ‘Darwin Room’, an installation that consists of an assemblage of meticulously sourced 19th century furniture, wooden floor boards and wall panels. Taking the room’s composition from Rembrandt’s Philosopher in Meditation Ghenie has created a three-dimensional environment that perhaps at first glance resembles a two-dimensional painting. Led in by an assistant with torch one reaches a dark and gloomy and life-sized room that evokes an intriguing physiological atmosphere of anxiety and comfort. The only light is that of the ‘light of reason’ which shines brightly through a small, solitary window – the room therefore a prototypical site for visionary thought within European history.
The installation itself devoid of figures. These are supplied by the impressive artworks in the adjacent room. Portraits of 20th century figures whose actions indelibly changed the course of history are a recurring theme in Ghenie’s work and to him the publication of The Origin of Species represents such an inflection point – his ideas stolen by despots and dictators and misappropriated.
Ghenie presents himself in Self portrait as Charles Darwin, 2014 and he himself becomes the arbiter of scientific change, the cliché of the tortured intellectual, and the anamorphic threat of the Golem; the idea let loose to reek havoc. All of these elements are present in Ghenie’s Bacon-esque brush strokes. He highlights an era that questioned man’s significance, the existence of God, and the question of Creationism —through a use of paint that suggests the anamorphic nature of identity through the evolution of scientific understanding.
These works however are not just introverted intellectual exercise or conceptual navel-gazing, they are visually stunning and beautifully executed. The merging of impressive technique with rigorous artistic thought process provides the viewer with a rich and stimulating experience that will enhance Ghenie’s reputation not only critically but in the auction houses of the future.
Adrian Ghenie – Golems is at Pace London until 25 July 2014
14 September 2011 § 1 Comment
Well, what do I know? Rather unimpressed with Adrian Ghenie at Haunch of Venison the other day (see post) I went to see what the erstwhile owners of Haunch had to offer at Blain Southern. It turns out Marius Bercea is another Rumanian and also from the ‘Cluj School’ – a group of artists I was, up to that point, blissfully unaware of.
I should not have been. Apparently this particular school is sizzling hot in the contemporary art world (why did nobody tell me?) and both shows were completely sold out – so the galleries say – before they even opened. With the works selling for about £5 to £10k and up to about £50k this is no mean feat.
I felt the Ghenie exhibition was a little confused but to be fair I have discovered that the curator (see video at HoV site) actually sought to give an overview of some recent themes. His recent exhibitions have actually individually been much more cohesive and set around more specific ideas such as evolution/Darwin/eugenics and so forth.
Over at Blain Southern his fellow countryman Marius Bercea has only just joined the gallery roster. The similarity with Ghenie is immediately evident in respect of the way that he applies both rough and energetic as well as tight and controlled brush strokes across a canvas replete with complex imagery. Colours are often vivid. He also looks to make socio-political statements with for example derelict buildings and signs of poverty.
The works are probably more reflective than Ghenie’s with dreamlike and surrealist elements. One can gaze deeply in to the canvas where there is a feeling of drifting in and out of complex dreams. Disparate objects co-exist in a strange world which could be memories from past, a view of the present or a vision of the future – perhaps all three, perhaps none of them!
This is a very enjoyable and cohesive small show that gives perspective to the Cluj school. Try and see both together and find out what the fuss is all about.
Blain Southern until 1 October 2011
10 September 2011 § 3 Comments
The privilege of holding the first show at Haunch of Venison‘s restored and revamped space goes to Adrian Ghenie, a Romanian artist. A modest group of new paintings is supplemented by less successful collage works that are pasted directly on to the gallery walls.
Ghenie takes found images of historical icons and overlaps them with an array of cultural references on moody paint splashed canvases. Often dark and brooding he reflects on good and evil introducing figures like Ceaucescu and Mengele before almost obliterating them behind smears and streaks of multicoloured paint.
He says ‘I am interested in the presence of evil, or more precisely how the possibility for evil is found in every endeavour, even in those scientific projects which set out to benefit mankind.’ In one large-scale work for example Charles Darwin is connected to the Nazis by their search for Aryan perfection. In another deformed dogs scrabble around in the shadow of a nuclear test (we are told) or perhaps it is a post-apocalypic vision.
The works are undeniably eye-catching and the technique impressive but I found the purported links tenuous or opportunistic. The execution did not really reflect what we were told of the thought-process or perhaps they did not engage. The collages I will ignore as a decorative afterthought in order to fill the airy gallery space. Personally I would prefer more clarity in execution and perhaps in the future we could see something rather more special? Not sure really. Opinions welcome.
Haunch of Venison until 8 October 2011
8 September 2011 § 1 Comment
Hauser & Wirth. Phyllida Barlow – RIG. Urban structures reacting to the gallery space. Until 22 October 2011.
Stephen Friedman. Paul McDevitt – Running on Woollen Legs. Disney meets De Stijl – fascinating! Until 1 October 2011.
Blain Southern. Marius Bercea – Remains Of Tomorrow. Beautiful but complex landscapes of a fractured society. Until 1 October 2011.
Sumarria Lunn. Modern Frustrations. In particular check out Tim Phillips’ excellent Hyperion – a corporate logo for a new age. 8 to 30 September 2011, just around the corner from….
Haunch of Venison. Adrian Ghenie. Complex figurative paintings back in HoV’s restored original space. 8 September to 8 October 2011.
Alison Jacques. Dan Fischer. Immaculate pencil drawings that ask searching questions about modern icons. 9 September to 8 October 2011.
Gazelli Art House. Air I Breathe. Latest exhibition from an ambitious and innovative pop-up gallery. 9 September to 7 October 2011.
Josh Lilley. Christof Mascher – Urban Ornamental. Painting, ceramics and sculpture recounting mythological narratives. 9 September to 8 October 2011.
All in all it is a mouth-watering selection, I have seen most (will try to review in future blogs) and cannot wait for the rest. Go on, get downtown and create your own gallery tour….