10 October 2017 § Leave a comment
October is the very best time of year to see art in the capital. The city is abuzz with the latest blockbuster shows – 2017 brings Jasper Johns as well as Dali/Duchamp to the Royal Academy, Jean-Michel Basquiat at the Barbican and Rachel Whiteread is showing at the Tate. The commercial galleries have pulled out their biggest names – there are Jean Dubuffet at Pace, Jake & Dinos Chapman at Blain Southern and Anselm Kiefer & Robert Longo at Thaddeus Ropac. Meanwhile all the big names auction houses stage their autumn contemporary sales.
Frieze of course also comes to London, not only with the contemporary focused Frieze Art Fair, but the thriving Frieze Masters event just up the Regents Park footpath. The great and the good of the art world come together with a smattering of celebrity names to see the latest that the art world has to offer.
Our annual visit to Frieze is always highly anticipated. Not only to admire some great art but to also to discern new trends, see what the big names have on offer admire the most spectacular works – after all this is the biggest fair in the greatest city in the contemporary art world.
Yet still, and perhaps because of the anticipation, there is again a tinge of anti-climax. Are we expecting too much or could Frieze do better? Their gallery selection process doesn’t help – preferencing worldwide galleries means we seem to get mediocre work from perhaps Peru or Burkino Fasso at the expense of many excellent local galleries (is this not a London art fair after all?).
Gone are the bigger artists names and the spectacular and expensive works that graced earlier shows and we now seem to get more mid level and affordable (?) pieces – even from the big name galleries. One is left with the niggling impression that much of the best work is hidden away and that most of the deals are done back at their base.
The curated ‘Sex Work’ exhibition spread through the show failed to stir us and was rather tame. Still, this is the very best contemporary art fair in Britain, there is plenty of good art to be found and new names to be discovered. There is always something to surprise, people to meet and in the end, where else could you for example pick up a free Passport to Antartica?
Amongst our selection of what we noticed at this years fair were: Olafur Eliasson whose colour-shifting balls drew a large crowd whilst Eddie Peake was eye-catching as usual. We loved Ryan Mosley’s newest works, rather more colourful than usual and Mathew Ronay’s curious pastel-coloured and tactile sculptures. On the other hand Jeff Koon’s Glitterball Jesus and Hauser & Wirth’s Bronze Age pseudo museum display failed to inspire.
So, will we go back next year? Of course we will – and we’re looking forward to it already!
akickupthearts were guests of Frieze London
For more information visit www.frieze.com
31 October 2015 § Leave a comment
I am relaxing in a deep duvet as vividly coloured and seductive images glide gently by. Ill-defined body parts morph in to rich natural landscapes. In a kaleidoscopic reimagining of reality glistening spider webs and dew-laced foliage merge with eyeballs and elbows.
If all this sounds like drifting in to some morphine induced dream, I should explain that I am not tucked up in a warm bed, but rather slouched on the expansive floor of Hauser & Wirth’s Savile Row gallery as I take in one of the latest immersive video works of artist Pipilotti Rist.
Rist has been taking a year-long residency at Hauser & Wirth’s Durslade Farm where she created the body of work now exhibiting at their London and Somerset spaces. In London Rist has created a fully immersive, sensory environment.
Projected against two walls, ‘Worry Will Vanish Horizon’ is a journey inside the human body where corporeal images periodically overlap with close-up fragments from nature.
Boundaries are blurred between the self and nature as she explores the relationship between internal and external; how individuals are linked to the tissues and blood vessels of other organisms, and in so doing, she suggests relationships with the universe at large.
Rist has also collaborated with artist and musician, Anders Guggisberg, on a laid-back accompanying soundtrack. The combined sensory environment is a warm and cosy place, and a joyous celebration of audio, texture and colour where worry does indeed almost immediately vanish and time drifts easily by.
Meanwhile around the immaculately restored Somerset farm buildings, a bunting of underpants and knickers flaps in the country breeze. Illuminated from within as dusk falls, they become a celebratory washing line.
In the galleries, sheepskin replaces duvets for another immersive video, this time accompanied by a banjo soundtrack. Once again Rist celebrates the interaction of the human body and environment in ‘Mercy Garden’. We follow a local farmer as he gently interacts with nature before also taking us out to sea, where we float, swim and observe.
In the next space the installation Sleeping Pollen features mirrored spheres that slowly revolve over the gallery. Images of nature fall on to the darkened walls, dimly lit from the green and red acetate covered doors and windows.
If only everyone shared this joyous celebration of humanity and nature. It is a sheer pleasure to join Rist’s delightful world – even if it is just for far too short a stay.
For more information visit www.hauserwirth.com
31 July 2014 § Leave a comment
7 April 2014 § Leave a comment
The latest commission for the imposing Duveen Gallery at Tate Britain is by sculptor Phyllida Barlow. Anyone who visited her impressive exhibition RIG, for Hauser & Wirth‘s Piccadilly gallery, would have been greatly impressed at how she was able to so totally take over such a selection of varied spaces. Using inexpensive, everyday materials such as cardboard, fabric, timber, polystyrene and plaster she created bold and colourful three-dimensional collages that utterly transformed the whole building – from the grand main gallery to the tiny former bank safe in the basement (AKUTA review here).
At the time this was her finest achievement. Not only is this better but quite amazingly she manages once again to completely command the space despite its vast dimensions. Seven distinct works somehow take over this pompous neo-classical space in one glorious, over the top, bricolage of industrial debris inspired of course by London’s docklands.
Stretching to the roof, tumbling across the floor, hanging from the ceiling and even encapsulating part of the structure Barlow’s dock has made the Duveen its own.
Ambitious and exuberant it is hard not to laugh out loud and the audacious transformation. Upon entering huge wooden boxes hang from a lofty timber construction. Partially broken open they reveal broken pink polystyrene foam which tumbles out whilst on the reverse painted cardboard makes a wonderfully modernistic collage.
Farther on a pile of broken pallets climbs up towards the rotunda whilst more broken and painted timbers, strewn with coloured canvas and assorted debris climbs up the wall. Opposite a grand romanesque pillar – as if an ugly embarrassment to be hidden away – is encased with cardboard and sealed with brightly coloured tape.
Finally, what can only be described as the cardboard core of a giant toilet roll is suspended from another gantry as a the display’s ultimate sculptural statement.
This is an ambitious work that truly works. Joyful and transformative it is a delightful contrast to self-regarding works of the world of old-fashioned and male dominated sculptural pomposity. Don’t miss.
Phyllida Barlow dock at Tate Britain, Millbank, London until 19 October 2014. Free.
3 February 2014 § Leave a comment
Paul McCarthy is a heavyweight of the contemporary art world. represented by Hauser & Wirth his work can be found in the most important collections and most major public galleries worldwide. It is therefore somewhat of a surprise – and rather a coup for the gallery – to come across an exhibition of his work at [space] studios in Bethnal Green.
The most familiar pieces by McCarthy are probably the debauched, graphic and tragi-comic sculptures and installations (example ‘Bushed’ above) but he is also well known for working in a broad spectrum of media, and emphasis upon performance as a tool for breaching established boundaries between genres.
While McCarthy’s earliest work explored and disrupted the formal properties of minimalist art, in the early 70s, he began to document himself executing swift, psychologically taut performances.
In contrast to the spectacular ambition of his later installations and public sculptures, the Black and White Tapes (as these performances came to be known) feature the artist alone or lightly accompanied in his studio. Making use of whatever materials are in the room – emulsion paint, rags, a phone book, cotton wool and crucially, his own body, McCarthy undertakes single, repetitive or punitive acts for the camera.
[space] has dedicated its largest gallery space to a thirteen period video monitors, equally spaced across the darkened room, all playing consecutively. Immersive a cacophonous it is a fitting environment for a McCarthy ‘experience’.
In these grainy black and white video images we encounter the artist in action: drawing an emulsion line along the studio floor using only his face, tugging urgently at his testicles, whipping and swinging at the studio walls with a paint soaked rag and spitting directly into the lense of the fixed frame camera.
Adopting ritualistic repetition, making use of fluids and props and using his body to act out dysfunctional movements and traumatic narratives, the Black and White Tapes is essential to understand McCarthy’s later work and represent a vital document in the evolution of the artist’s practice.
Tip: Perhaps combine a visit here with a visit to galleries like Maureen Paley, Transition and Wilkinson Galleries in the local area. The Museum of Childhood is interesting and a few minutes walk down the road.
Until 16 March 2014
[space] 129—131 Mare Street, LONDON E8 3RH
tel020 8525 4330
18 October 2012 § Leave a comment
Another uninspiring Frieze his year. I suppose that once the art world has – like every year – built it up to be the London event of the year there is only one result: some degree of disappointment. Despite this Frieze of course remains the best UK contemporary art fair and a must visit to try at catch a whiff of the zeitgeist of the contemporary art market. Here are a few of the things that caught our eye this year. No particular reason. No particular order. No analyses of who sold what. And most definitely no ‘who was seen where’ nonsense.
A melting Paul McCarthy White Snow Head at Hauser & Wirth.
A Gavin Turk neon door.
Julian Opie‘s rather neat sculptures – and a mosaic.
One of a few large and impressive Wolfgang Tillmans images.
Something made of some substance made by somebody South American (I think?)
And outside, in the rain a pretty Yayoi Kusama from Victoria Miro.