all images © the gallery and the artist(s)
I like your new site, the name is cool too and I really love our picture this time round. Very honoured.
Can you believe I then found out we missed ‘The Burning Man’ party in Brooklyn that same night…
Wonderful, fabulous, grande! Thank you
nice one patrick people can say what they like olafur eliasson rocks and yes art fairs (just like porridge) are all about first come first serve!
Sehr geehrte Kollegin, – so darf man wohl sagen, ich bin eben Schriftsteller – herzlichen Glueckwunsch weil Sie in Rom waren. – und Ihre Mutti half dabei – die meine ist 87 und auch noch aktiv. Sie schreiben gut (Bild Sonntag). Vale (widersehen auf Lateinisch)
http://www.intelligentbooksbyjohn.com. J Th Pragensis
I love the Calder’s circus, it’s so poétic
Great idéa for an party
Congratulation for this blog between art and life
Great stuff. I LOVE the pictures-hannn
Funny I noticed the same thing when I went to Munich for the holidays, but then again there is still the German ‘Schadenfreude’ and Envy. (Loved Fromm and shall read it again in Italian when I’m in Rome this year for a month). x
Your article about Herzog and his films is super, Lizzy! I love the sophisticated way you write! This is Elisabeth at her best! Amazing! (Martin from Switzerland)
I saw the film the other day at the Gate in Notting Hill – top cinema!
Mouth watering, stomach grumbling at the very idea of eating there. Looking forward to hearing more from your lunchtime, international culinary tours.
I wasn’t hungry until I read this. Now all I want is pig’s cheek.
Shame! Perhaps American food is best eaten in America, imagine the whole meal again but eaten against a back ground of yellow taxis and bad tempered waitresses. Then it may have tasted better.
Another sparkling review from Johnny Benedetto. He should have a column to himself on your Home Page surely ?
Fab, what a great looking weekend…….nourishment as good as art??
Fabulous – is there space in your suitcase for one more……..
Completely and wholeheartedly agree!
My one and only lunchtime visit consisted of of 3 glasses of Rose (well, it was my day off) 2 slices of the aforementioned sourdough, a baked onion and a tomato (quite literally), and set me back almost £50 squidlets. I left feeling perplexed, hungry and smelling of onion. Not my best look on a sunny Friday afternoon.
Are you sure you had not walked onto the set for a remake of Faulty Towers? This restaurant seems to be ideal for anorexics as most options are “off” and the price of the wine would make a raging alcoholic think twice about ordering another thimbleful. There are far better, albeit a similar price, eateries close by. I don’t get the turntable in the corner who walks around with a vinyl disc in their handbag?.
I adore the models expeclliy Ella blake
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From the invitation:
Initially conceived in collaboration with luxury goods house Fendi for Design Miami/Basel 2012, Craftica is a visual and tactile investigation into the diversity and origins of leather through a collection of handmade stools, lights, vessels and tools.
As Simone Farresin and Andrea Trimarchi, the Italian-born duo behind Formafantasma, have said, “the design is driven by the symbolic connotations of leather, a material that, more than any other, represents the complex relationship between humans and nature. Leather has the ability to evoke almost ancestral memories of when nature was hunted to produce food, tools and protection for the body. Searching underneath and above the sea, from the vegetal to the animal world, the installation offers a holistic view on leather as a material.”
In creating the series, Formafantasma merged their own willful primitivism with Fendi’s time-honoured craftsmanship and rich material resources. Alongside traditional leathers, the works have been made from vegetal dried fish skins (sourced from a food factory in Iceland), oxidized metal, glass, wood and other natural materials such as bones, shells and cow bladders. The resulting effect is a tactile, pre-industrial and glamorous range that Silvia Fendi has described as “experimentation at its best.”
A selection from Formafantasma’s earlier works, including Botanica, Moulding Tradition and Colony will also be on view. All pieces will be available to purchase exclusively through the gallery.
a third one
and a fourth
The exhibition brings together works that relate to mythologies within a frame of expanded practices. From Ancient and Modern references, the artists reshape new figures of fascination and wonder as storytellers – jigsaw knights, the Venus of W, The Mermaid-monkey or the mysterious B.O.B… They lean towards performativity within composite media displays – film, sculpture, tapestry, photographs – challenging the cinema apparatus as well as experimenting with media synthesis and collages of disparate fragments of vision.
Narrativity seems to be generalized as normative to define the ordinary human experience and used as a weapon of mass distraction. In the context of the “narrative” where marketing agencies and political strategists worship the power of the individual story, the artists formulate their narratives through a kaleidoscopic approach of idiosyncrasy to figure ways to reconsider fantasy. They often work with four hands therefore challenging the potential of originality and their projects expand beyond the exhibition space with trailers, costumes, accessories, drawings or texts as tactics to dismantle linearity.
Julie Béna works with objects, video, drawing and photography and predominantly produces in-situ installations. Her work considers the relationship between display and textuality – how a simple layout of elements with a title can unravel complex narrative streams. The artist relates this duality with the universe of theatre. As on a stage set, she develops ambiances and visual universes with symbolic objects interacting as an assemblage of Meta-stories.
Invernomuto’s projects evolve within various researches on local stories and myths in popular and underground culture. Their work explores the frontiers between fiction and fantasy, a sort of impenetrable zone, “thick like glue”, with video works, sculptures often involving performances with music. In the B.O.B. project, taken from the mainstream series “The Dukes of Hazzard” as well as other references, they created a fiction involving three characters, one imaginay (B.O.B.), one fictional (Uncle Jesse) and one real (Glen Danzig). We will only see the trailers with a voice-over by a storyteller, playing with the ordinary expectation of a cinematic plot.
Pauline Curnier Jardin presents a subversive approach to the representation of the feminine revelation in Grotta Profunda, inspired by the life of Saint Bernadette Soubirou. Bernadette sees and hears the Invisible which encourages her to look for the Truth about the origins of Humanity inside a cave, instead of taking its apparition as a response. There, mythological figures appear from a revised occidental cosmogony in front of the “wide open eye” of Bernadette. Pauline defines herself as a teller of tales. She mostly works with live arts, film, drawing and music through assemblage and collage processes.
Hippolyte Hentgen plays with drawing, blending miscellaneous references from comic books to modern art and experiencing different types of materials. They work with four hands on each drawing in order to make it impossible to decipher the style of one or the other. As they consider the practice of drawing today to be dependent on the reproduction of pre-existing styles, they withdraw from the idea of idiosyncrasy to instead explore a performative approach to the practice as a duo, who also work with sculptures, tapestries and stage creations.
From the press release:
Bartha Contemporary Ltd. & Joost van den Bergh Ltd. are delighted to announce a joint exhibition of Tantric drawings and objects juxtaposed with recent works by contemporary artists Jill Baroff, Rudolf de Crignis, Stefana McClre, Mike Meiré, Winston Roeth, Kate Shepherd, Phil Sims, Hadi Tabatabai and Beat Zoderer. The exhibition will be held at Bartha Contemporary’s space at 25 Margaret Street, off Regent Street. Please join us tomorrow (Thursday February 7th) for the private view from 6.30 to 8.30 PM. The exhibition continues until March 23rd.
The Indian term tantra is generally linked with mystery and mysticism as well as with sex, magic and hocus-pocus in the West.
Indeed, tantrism is connected with all these and even more. Buddhism, Hinduism,
Taoism, Jainism, Vajrayana, Bönpo, Ayurveda and Shamanism are some of the
philosophies, religions and sciences that were somehow influenced by tantrism.
Tantras expand doctrines on the creation and destruction of the universe, the worship of certain deities, spiritual exercises, secret rituals, magical powers and meditation.
Three words in Indian tantrism are related, also phonologically: tantra (the philosophy), mantra (the knowledge through sound) and yantra (the means to leading a tantric existence).
Many of the diagrams, mandalas and symbols, represented in Indian tantrism are of Jain origin and deal mainly with cosmographic themes. Jains have always made clear diagrams and maps of the world (Jambudvipa) and the cosmos (Lokapurusa). Jains described in the smallest of detail the macro as well as the micro-cosmos, using notions equivalent to light-years and atoms, long before western scientists discovered them.
For this exhibition we have chosen to juxtapose selected tantric objects and drawings with works by contemporary artists, which both directly or indirectly relate and reflect on some of the notions of tantric art.
Abstract in appearance the circular tide drawings by the New York artist Jill Baroff are depictions of tidal movements at specific geographic locations. Similar to the
astrological studies these drawings render and explore natural phenomena of cosmic origins.
The late Swiss painter Rudolf de Crignis who together with his partner Michael Paoletta collected tantric drawings for many years is a perfect example how the study of yantra has attracted and bridged artistic practices over many centuries.
Hence it comes as no surprise that reviews and essays concerning the work of American painters James Howell, Phil Sims, Winston Roeth and Kate Shepherd refer to apparent aesthetic similarities between their paintings and early tantric art.
Literal references equally play an important role; Mike Meiré has been referencing
Indian philosophical writing for the titles of his work, which is routed in tantrism.
Equally much of Beat Zoderer’s early work shown here is heavily influenced by his experience traveling in India at the beginning of his career.
This exhibition is the result of a shared passion for both Indian Tantric and Western Contemporary Art.
From the press release:
Haunch of Venison presents an exhibition by internationally renowned landscape photographer Thomas Joshua Cooper.
For over thirty years Thomas Joshua Cooper has made landscape photographs in some of the most remote and isolated locations around the world. This exhibition brings together over twenty photographs, many not seen in public before, that showcase rare works from the beginning of his career.
Thomas Joshua Cooper has been a figurehead for British fine art photography since the 1970s as both a practicing artist and within the field of art education. In 1973 Cooper was invited to teach at Nottingham Trent Polytechnic, and was instrumental in it becoming an important centre for landscape photography. Cooper worked in the Midlands for the next six years, making works in the quarries and forests and on the moors of Derbyshire and Shropshire, where he made some of the early works that are the focus of this display.
The works in Messages are selected to also tell the story of who has influenced and inspired his work. Cooper suggests that the artist is always, in some way, in dialogue with both peers and precursors when making their work, something that he characterises as an ‘ongoing conversation’. The works in the exhibition make this explicit by including the subtitle, ‘Message to…’ and include artists such as Richard Serra, Robert Frank and Timothy O’Sullivan and also the great Japanese haiku poets Basho and Issa.
The photographs in the exhibition range from the past thirty years and are made in diverse geographical locations including the UK, California, Derbyshire, Tokyo and Provence.
Richard Saltoun and Karsten Schubert present the exhibition Taking Matters Into Our Own Hands. Rose English, Rose Finn-Kelcey, Alexis Hunter and Carolee Schneemann. Taking as its title and starting point a statement by the pioneering British feminist artist Jo Spence, the exhibition focuses on major performance art made by women artists in the UK during the 1970s.
The exhibition looks at some of the key performances made by these artists at a time when performance was considered a new art form and one which could be claimed as a territory for feminist art. Some of the works will not have been seen since their first staging. The exhibition will include photographs, film, and performance material.
Until very recently little attention had been paid to contemporary female artists practicing during this turbulent social and political period of history. Rose English, Rose Finn-Kelcey, Alexis Hunter, and Carolee Schneemann, all working in London at the time, focused on the body, specifically the female form and its performative ability.
Schneemann and Finn-Kelcey were included in Out of Actions: Between Performance and the Object 1949-1979, Museum of Contemporary Art, Los Angeles (1998). English, Hunter and Schneemann were recently included in the exhibition WACK! Art and the Feminist Revolution, Museum of Contemporary Art, Los Angeles (2007).
Quadrille; English’s 1975 performance staged in the dressage arena during a horse show in Southampton, England. It involved six women dressed as horses (in tunics, horse hoof high-heels, and with horse tails), acting out the ritual of a dressage.
Domestic Warfare; Hunter’s 1978 staging of a seemingly picturesque evening of marital bliss, which rapidly turns sour and violent, composed originally as a set of one hundred and sixty slides. Performed in private, the work was staged by paid actors under the direction of the artist.
One for Sorrow, Two for Joy; Finn-Kelcey’s performance with two magpies, staged over two days and nights, was viewed by the audience through the gallery window from the street. The performance was a direct response to Beuys’ habitation with a coyote, I Love America, America Loves Me. Finn-Kelcey meticulously studied the language of the magpies and imitated them during the performance.
Ices Strip; During a train ride from London to Edinburgh, hurtling at 133kph, Schneemann strips off naked and roller skates though the trains carriages whilst reciting from Wittgenstein’s Tractatus Logico-Philosophicus.
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