17 May 2014 § Leave a comment
Anyone who visited Newspeak: British Art Now at the Saatchi in 2010 cannot fail to remember John Wynne’s monumental work, Installation for 300 Speakers, Pianola & Vacuum Cleaner 2009 (see video here on Vimeo). The undisputed star of the show it consisted of a giant gently writing vacuum cleaner hose pumping air to (from?) a pianola which in turn, seemingly randomly, activated never-repeating sounds played via a giant pile of loudspeakers. These enigmatic sounds filled the gallery and echoed around the Saatchi. It was at once monumental, minimal and immersive using sound and sculptural assemblage to explore and define architectural space and to investigate the borders between sound and music.
I was immediately therefore drawn to Gazelli Art House latest show – an exhibition of three new site-specific works by John Wynne. You enter immediately into the heart of the first work, Installation for high & Low Frequencies 2014. The whole room reverberates with both a high pitched ringing and a deep vibration. Is it a sound or rather a feeling? The effect is visceral and disturbing enough for some gallery visitors to immediately turn back and head out of the gallery looking somewhat unsettled.
Strangely this repulsive effect probably indicates success – questioning our relationship with the sounds and the internal space. Wynne certainly presents the viewer with a subtly unsettling merge between the external business of our daily urban lives and the apparent refuge of interior space.
In another work upstairs a 6 minute sonic loop played in a totally blackened space. Again it provoked an unease as the ability to use ones vision during the experience meant a total immersion in the sound that span around you.
Also showing are the works of Yoojin Jung whose works similarly are within the galleries curatorial theme of 2014 – that the only thing constant in life is change. Calm and reflective they provide a worthy counterpoint to John Wynne’s rather more provocative works.
18 December 2013 § Leave a comment
Following on from the Griffin Art Prize 2013 Exhibition – which is now on the road around the South of England for a few months (see post) – the Griffin Gallery are transferring Saatchi’s Showdown from the virtual online world in to reality.
The winner of the prize has been announced as Miguel Laino for his simple but expressive small oil painting shown here, winning over a very high quality – and truly international – final ten. The remaining finalists were: Chris Stevens, Casper Verborg (illustrated middle left), Stephane Villafane, Kristina Alisauskaite (middle right), Sergey Dyomin, Fiona Maclean, Minas Halaj, Maurice Sapiro, Daniel Gonzalez Coves (bottom).
Painted Faces is one phase of a continuing Saatchi Online competition that provides artists from anywhere in the world a showcase for their work. Chantal Joffe was the judge for this event. Previous judges have been equally big names of the contemporary art world and Barnaby Furnas, Ged Quinn, Wangechi Mutu and Dexter Dalwood have for example run their eyes over entries.
For the first time the works of the 10 Showdown finalists are being shown at the Griffin Gallery, from 5- 20 December with the winner and runner-up receiving art materials to the value of £1000 and £500 respectively – not bad I’d say.
The competition is being run in partnership with Winsor & Newton and is on at the West London Griffin Gallery until 20th December 2013. This is an excellent small show which is a short stroll from Westfield shopping centre – why not take a break from the Christmas shopping and drop in for an artistic break – or a more arty gift? All works are on sale and modestly priced.
For more details about the competition please go to www.saatchionline.com/showdown
- The Griffin Art Prize 2013 winners – Luke George & Elizabeth Rose (akickupthearts.wordpress.com)
- Saatchi Online, The World’s Leading Online Art Gallery, Appoints Veteran Business Executive Sean Moriarty As CEO (virtual-strategy.com)
1 November 2013 § Leave a comment
I first noticed Iain Andrews on the short-lived TV art ‘reality’ show School of Saatchi in 2009. Having picked him out as a potential winner he was of course immediately axed after the first show. My other pick, Saad Qureshi, lasted a little longer before being booted out, but was quickly picked up by the Mayfair based Gazelli Art House where he is doing very well indeed. Incidentally not much seems to have happened to the eventual winner Eugenie Scrase – forcefully steam-rollered in by Emin. She has a website but, it seems, no gallery.
Man & Eve , a Kennington gallery who pick up a lot of early career graduates, signed up Andrews a couple of years back. This is his first solo show for them. Andrews’ early works originate through dialogue with particular paintings from the canon of art history which he transcribes so that his canvases contain reference to them, whilst disturbing and animating the source. His technique runs from broad and gestural to fine and delicate, clearly unafraid of using bold colours that sweep across his canvases.
Il Teatro dei Leviatano is both a development of and departure from Andrews’ earlier paintings. At the centre of this new body of work is an intricate miniature theatre – another vehicle through which he considers different historical art movements.
Peter Fuller wrote about how, in the past, an artist could “transform the physically perceived by the manifestation of allegoric devices like haloes and ‘human’ wings, whereas now this can only be realised through the transfiguration of formal means like drawing, colour and touch”. In Andrews’ work, the act of making becomes inseparable from the message that is being conveyed through the marks, one of the importance of transformation and redemption.
Andrews’ states that his work illustrates the “struggle to capture the relationship between the spiritual and the sensual, apparent opposites that are expressed in my work through the conflict of high narrative themes and sensuous painterly marks.”
Iain Andrews – Il Teatro dei Leviatano, Man & Eve
Exhibition runs 2nd November — 14th December 2013
Private View Friday 1st November 6 — 9pm
Exhibition open Tuesday — Saturday, 11am — 6pm
2 August 2011 § Leave a comment
Even by modern standards Ryan Mosley’s rise in the art world has been a pretty fast one. Graduating from the RCA in summer 2007 he was already featured in the Independent later in the year as a ‘Hot Star of 2008’. Alison Jacques wisely picked him up soon afterwards plus the Saatchi collection scooped up a bunch of works and he was part of their British Art Now exhibition last year.
Mosleys paintings are dark, strange and brooding. They initially seem to indicate some sort of narrative with an otherworldy cast of costumed characters, strange landscapes, disembodied heads and odd symbols. This is a narrative that morphs as look deeper, and, as Mosley admits, also changes as he paints ‘you set out to paint something and it doesn’t quite turn out how you want it. That’s not to advocate lazy painting, but when it doesn’t turn out as you imagined, but takes on its own sensibilities that can be really interesting. Born of a fuck up, X can turn to Y, and Y can turn to Z.’
There are frequent references to the masters – here ‘A Bar in France’ is clearly a hommage to Manet – but for Mosley they are more incidental than referential. His process of painting allows the subject to drift and mutate and you are just as likely to spot references to history or popular culture as art history. It makes for interesting viewing – this is a world where anything is possible, the canvas a stage for a world of timeless characters and motifs.
At the gallery he is already on his fourth solo show – if you include a project room outing – which is again a sell-out. With most works selling north of £20,000 (still good value I would say) Mosley is an artist that we need to keep an eye on.
Exhibition runs at Alison Jacques Gallery until13 August at 16 Berners Street, London W1T 3LN
- Artist of the week 148: Ryan Mosley (guardian.co.uk)
19 July 2011 § 1 Comment
Is this Saatchi sculptural review really the Shape of Things to Come? One of the first things you notice is that it may well be a better picture of ‘How Things are Now’ or perhaps ‘Have Been Recently’ with only a handful of works less than about four years old. There also seem to be fewer new names than there are well known or long-established ones.
Amongst the latter is John Baldessari his Beethoven’s Trumpet probably, neatly adding sound to the visual puzzle. Roger Hiorns was a Turner nominee, here using trademark copper sulphate crystal growths growing over church maquettes to experiment with natural sculptural forms. The German Anselm Reyle examines influences of modernism and here has appropriated a kitsch African sculpture and blown it up with a shiny purple finish. Deep in the basement Richard Wilson’s 20:50 – a pool of sump oil which reflects and expands on the architectural space – still beats the lot.
The big spaces of the gallery work best for the larger works and in the first gallery the monolithic blocks of Kris Martin’s Summit work well. Each has a tiny paper cross at the summit – death, hope or achievement? Moving on ‘New Sculpture’ still seems to have plenty of the figurative. Rebecca Warren‘s rough representations of the female form take aim at sculptural cliches and fill another gallery nicely. David Altmejd large-scale figures seem to dissolve and change form as you walk around them. Non-traditional elements are woven in to the figures such as endless staircases and strange geometric forms whilst materials include, foam, wood, epoxy, resin and paint. Folkert de Jongh’s tableaux feature macabre figures and hint at the ghosts of colonialism and imperialism. Thomas Houseago is a recent auction favourite – filling another gallery his impressive works absorb a variety of styles with rough, flat painted planes building up 3D forms and sshowing a definite debt to cubism.
Elsewhere Bjorn Dahlem‘s room-sized Milky Way is an impressive neon which surely owes a big debt to Dan Flavin whilst David Batchelor appropriates found boxes for his strangely alluring installations of vivid coloured panels. Matthew Bannon, Matthew Monahan, Joanna Malinkowsa and other assemble various multiple objects with varying degrees of success.
Sculpture has certainly come a long way in the last hundred years – from wood, metal and stone there is a now a vast post-modern array of materials and influences to confuse us. So do we get any sort of hint here as to what is the Shape of Things to Come? This show certainly does not show us – but hints at the reality – that we simply dont know.
The Shape of Things To Come: New Sculpture at the Saatchi Gallery 10-6 daily until 17 October 2011
- The Shape of Things to Come, Saatchi Gallery / John Chamberlain, Gagosian Gallery, review (telegraph.co.uk)
- Roger Hiorns: using a calf’s brain in my sculpture (telegraph.co.uk)
- The Shape of Things to Come – in pictures (independent.co.uk)
- New Saatchi exhibition: Shape of Things to Come (telegraph.co.uk)
14 December 2010 § Leave a comment
Ida Ekblad is a young Norwegian artist who, despite being based in Oslo seems to manage to pop up all over the shop. Last year she had no less than nine solo exhibitions covering seven countries, and was involved in a similar number of group shows that also included multi-media collaborations. This year has been almost as frenetic and one somehow doubts that her obvious enthusiasm will wane next year either.
Her first solo show in Paris in 2009 received a strong review from David Lewis in Frieze magazine who raved ‘it is not every day that one comes across so expansive a talent’ whilst Saatchi likes her enough to have purchased five works, including ‘Drink a Glass…’ (illustrated) which are to appear in the forthcoming ‘Paint’ exhibition (dates tba).
Ekblad’s earlier work combined free and spontaneous painterly gestures with graffiti culture – she is clearly quite at home among popular and street culture. However, without breaking stride she has effortlessly moved through more traditional styles of painting and sculpture.
Her most recent London solo show was at Herald Street this summer, where, as usual she moved freely between expressionistic abstract paintings, multimedia installation and sculpture – moving off the wall, into the room and back again. There is a liberating playfulness in Ekblad’s work in which her artworks perhaps represent a synthesising connection between society and art, past and present and the street and the white cube gallery.
Her work is developing rapidly and her reputation should no doubt grow accordingly. Look out for her next exhibition.
- spotted at frieze – artists to watch (akickupthearts.wordpress.com)
3 December 2010 § 2 Comments
Following on from a similar look at the Saatchi Gallery’s Newspeak Part 1, here is an overview of the critics verdicts on the artists featured in Part 2 – both positive and otherwise. Sadly analysis fairly limited in scope due to relative absence of critical reviews of the show. The favourites are at the top of the list, the clunkers at the bottom, with about twenty artists ignored entirely.
Dick Evans has produced a dark brooding wave of black silicon carbide, reminiscent of Hokusai’s Great Wave off Kanagawa. Toss in a crushed can and some fag ends and it has an undeniably ‘dark brooding aura’ loved by Metro and the Mirror. The Telegraph use it as their leading image.
Anna Barriball aims to provoke mystery in the familiar. She succeeds. A wardrobe is covered in black tape – it becomes a memory or void. A door is covered with tracing paper, repeatedly rubbed ‘broods with an ominous glamour.‘ (Independent).
Anthea Hamilton’s assemblages extract the cubist elements from imaginary works to reveal them in their 3D strangeness. They work quite well and the Independent loved them, the Telegraph illustrated them.
Idris Khan’ s photographs overlay multiple images such as Becher’s iconic water towers to create impressionistic prints ‘amazing in their depth’ (Mirror). Delicate images have been created from soulless objects.
Anne Hardy photographs fictional scenes carefully built from scratch. Littered with ephemera they create an elaborate narrative of events, place and time. Mysterious and captivating, I agree with the Mirror’s approval.
Toby Ziegler ‘remakes a Seurat landscape … for the computer age’ (Telegraph). His geometric landscapes, devoid of humanity feature star-shaped leaves fall from pixelated trees. Every Saatchi visitor stopped, stared and photographed. Genuinely eye-catching.
Tessa Farmer in Swarm has created a glass case full of insects, which on closer inspection are ‘elaborately constructed fairies battling garden insects’ which the Mirror wonders are just bits of craft that has not yet reached the guft shop. Rather cruel – especially as it was chosen as the articles leading image. One up to Tessa I would say!
Jonathan Wateridge’s oversized canvases of plane wrecks, Sandinistas and astronauts play on the accuracy of traditional paintings whilst adding contemporary elements, somewhat as Ged Quinn, but were criticised by the Mirror for ‘not going far enough.’ Their physical presence and easy interpretation will nevertheless make them popular with the public and no doubt we will see his work sell strongly at auction.
Alexander Hoda creates assemblages of junk which are covered in black latex to – well – to something. Unfortunately Hoda does not really seem to know himself – the artists comments in the Saatchi guide are a mish-mash of different ideas including (but not only) ‘exploring relationships, desires, and urges, to perceive them in different contexts rather than something that’s conditioned to be guilt-laden or perverted.’ Pardon? They left the Independent, and me, rather cold. Metro concurred as did the Mirror – at length!
Carla Busuttil gets the ‘wooden spoon’ for ‘total lack of talent’ from Brian Sewell at the Standard. It is hard to argue. The deliberate lack of draughtsmanship or painterly efforts do not seem to have any real aim or purpose other than to provoke.
There we go – all rather underwhelming. Let us now look eagerly forward to the British Art Show , currently at Nottingham until 9 January 2011 and from thence moving onward to Plymouth, Glasgow and London. Held every five years it hopes to be an overview of the development of British Art. Early reviews seem to be good – personally I am itching to see Christian Marclay’s The Clock, where some three thousand film clips featuring the time are collaged in a compelling 24 hour film.