Tag Archives: Analia Saban

Something Old, Something New, Five Exhibitions and Some Shoes

16 Dec

The thing I discovered when doing my gallery crawls is you need to be selective.  Deviate from your list and you’ll never leave the first street so I decided on this route and, with quite a tight time frame, I knew I had to stick to it.

Josh Lilley are currently showing a group exhibition with Analia Saban, Belen Rodriguez Gonzalez, Christof Mascher, Gabriel Hartley, Marita Fraser, Nicholas Hatfull, Nick Goss, Robert Pratt and Ruairiadh O’Connell.  There will be no surprises when I tell you this is another beautiful show – particularly notable is Robert Pratt’s Display Unit which grabs you as soon as you walk through the door.  The seemingly precariously placed pieces of clay on the display unit are Pratt’s body parts, positioned at the correct height, in proportion to his own body.

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Robert Pratt, Display Unit (Pieces of a Man), 2012. Image via www.joshlilleygallery.com

The show gets even better as you go downstairs with works erupting from the ceiling that provide immediate visual impact.  It’s particularly lovely to see a selection of Goss works on paper after his recent solo show which included his more monumental paintings.  Although many of the works in the exhibition have obvious connections through materiality, process, colour, form, expressiveness and so on, Lilley has not attempted to impose a specific theme here which is quite refreshing.  Instead, the gallery has aimed to bring together certain artists – many of whom studied together or have maintained friendships over the years.  Through this, new and unexpected dialogues are initiated and connections made.

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Downstairs at Josh Lilley with Ruairiadh O’Connell’s work in the foreground.  Image via www.joshlilleygallery.com

Next up was Blain Southern.  Sadly, I missed their opening show so this was my first visit to their new Hanover Square gallery – it’s a beautiful, glass-fronted, space, with a very traditional white box aesthetic.  Their current exhibition is Francesco Clemente’s Mandala for Crusoe.

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Clemente at Blain Southern.  Own photograph.

For Clemente’s first show in seven years, they are exhibiting fourteen large-scale paintings, using raw linen, paint, verdigris, silver pigment, mica, oil sticks and lithographic ink, which gather myriad cultural references and merge timeless motifs from Buddhism and Hinduism.   In Eastern spiritual traditions, the mandala is identified as a conduit to a deeper level of consciousness.  Yet, Clemente uses the mandala in unexpected ways uniting it with the banality of everyday life.

One of the strongest works for me was The Dove of War where the dove, a symbol of peace, filled with silhouettes of planes and bombs, flies through a tinged pink sky.  Clemente divides his time between New York and India, feeling a nomadic affinity with the completive visual tradition of both the East and the West and this is clearly brought out in his works.  Not all of the images, however, have the same strength; the choice of imagery isn’t the most exciting and it is sometimes quite crudely applied.

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Francesco Clemente, The dove of war, 2012. Own photograph.

In contrast, I popped into Gimpel Fils to see Richard Smith’s kite paintings.  Smith has long been interested in paintings which work in three dimensions, having created kite works since the early 1970s.  The kite paintings are so successful partly due to their contrasts – the hard poles and the soft canvas, the string and the rope – and meticulous finish.  Known for emphasising the importance of shape, support, colour and surface, these works focus on the physical constitution of painting.  The tenser and more exaggerated they are, the more I find myself enjoying them.

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Kite paintings at gimpel fils. Own photograph.

I strolled round the corner, past the currently closed Gagosian Davies Street and headed to Timothy Taylor, resisting the temptation to walk further down Mount Street to see what Christian Louboutin had in store.

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Louboutin’s Christmas shoe tree.  Image via http://theexhibitionlist.wordpress.com/

Their latest exhibition presents new work by Lucy Williams who has redefined the concept of collage through her mixed media bas-reliefs of unpopulated mid-century Modernist architecture.   It’s difficult to decide if these works are sculptures or collages or even how they are made.  They look so simple but I have no doubt they are ridiculously complex to execute due to the high level of detail and finish.  Williams starts by creating a technical drawing that can take several drafts to get right.  She then picks her materials and starts to build her layers, one on top of each other.  It’s the geometry of the buildings that interests her most and, from a distance, it is the modular structure of her pieces and the predominant patterns that stand out.

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Lucy Williams, the tiled cathedral, 2012. Own photograph.

Although hints of activity can be seen behind closed curtains, the works are always unpopulated.  People could return at any moment but, instead, we are allowed to explore these miniature and obsessively realised worlds in an oasis of calm.  The works are presented on architectural supports, providing the perfect context and framework for these beautiful pieces.

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Pavilion at Timothy Taylor Gallery. Own photograph.

My final stop of the day was the Royal Academy for Constable, Gainsborough, Turner and the Making of Landscape.  This show particularly appeals to me as walking through its doors was like re-entering my Masters – some Sandby watercolours brought back very vivid memories indeed.  The exhibition looks at the formation of landscape painting through John Constable, Thomas Gainsborough and JMW Turner, highlighting the discourses surrounding the Beautiful, the Sublime (mainly Burke this time round) and the Picturesque (championed by William Gilpin) and looking at the changing styles of landscape.  The works by the three key figures are contextualised with paintings by their 18th century counterparts and prints made after 17th century Masters, showing the roots of the tradition which comes from the Carracci brothers, Nicolas Poussin, Salvator Rosa and Lorraine Gaspard Dughet.  They used landscape to inform the drama in their subjects and this was important in shaping what we see in this exhibition.

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Paul Sandby, Wenlock Abbey, Shropshire, The South Transept and Converted Prior’s Lodge Seen from the North Transept, 1779.  Image via www.racollection.org.uk

And, of course, there’s Richard Wilson, often regarded as the father of British landscape, who introduced an aesthetic scaffolding that encouraged a particular view with framing devices to send the viewer’s eye to the subject and referenced the landscape as a useful and enterprising place.

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After Richard Wilson, Engraved by Joseph Wood, The Lake of Nemi, 1764. Image via www.racollection.org.uk

Looking at the shift from the idealised view of the landscape, to a celebration of the particular, imbued with ideas of morals and emotions, the works here show the discovery of the landscape of the British Isles and a move away from the Grand Tour imagery that was so popular.  Specificity of landscape was very important to these artists all of whom took meticulous sketch notes.

The exhibition has been put together in a wonderfully engaging way – the first room looks at the work of Richard Long, Norman Ackroyd, Michael Kenny and John Maine showing the lasting legacy of the three artists on which the show focuses.  This offers a fascinating framework through which to see the exhibition and I hope will quash any silly comments that landscape is boring.  After this bold start, the exhibition continues more as one would expect, charting the progression of landscape and introducing its key themes.

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Richard Long, Heaven and Earth, 2001. Image via http://azurebumble.wordpress.com

Perhaps, most importantly, the exhibition looks at the significance of printmaking in popularising and disseminating the genre.  It does rely heavily on prints but this is certainly a positive thing as it’s rare to see so many excellent works on paper together.  For this reason though, it can sometimes seem quite gloomy – but there’s no choice as these works require low light levels and the walls have been painted to show off the paper (drawings and prints) rather than the canvases.

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Thomas Gainsborough, Romantic Landscape, 1783.  Image via www.telegraph.co.uk

I am deliberately not writing anymore as otherwise I fear I will be at risk of regurgitating my MA.  But, the joy of this exhibition is that it informs so well and specifically that I would urge you to go and learn about the period for yourself.  The RA has not produced a catalogue for this which is a great shame.  Instead, they’ve produced a lovely small exhibition guide that takes the format of their normal student guides.

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John Constable, The Leaping Horse, 1825. Image via www.royalacademy.org.uk

The show is displayed in the Fine Rooms and the Weston Rooms which we’re not so used to but it certainly makes a change.  The big names will no doubt pull in the punters (it’s worth visiting just to see the popular oils that appear later in the show) but this exhibition is so much more than a 19th century blockbuster and many of the works are a rare delight.  It follows the evolution of the tradition of British landscape through 120 works all of which have been sourced from the RA’s own impressive collections.  This is the first Burlington House show to do this in 50 years and illustrates the veritable treasure trove they house.  I’d love to get down there to see the rest.

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Something New is at Josh Lilley Gallery until 10th January 2013, www.joshlilleygallery.com.   Francesco Clemente: Mandala for Crusoe is at Blain Southern until 26th January 2013, www.blainsouthern.com.  Richard Smith: Kite Paintings is at gimpel fils until 12th January 2013, www.gimpelfils.com.  Lucy Williams: Pavilion is at Timothy Taylor Gallery until 11th January 2013, www.timothytaylorgallery.comConstable, Gainsborough, Turner and the Making of Landscape is at the Royal Academy until 17th February 2013, www.royalacademy.org.uk.

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Octoberfest – Tuesday of Frieze Week

12 Oct

After visiting the Royal Academy Degas show (which will be the subject of a later post), we went for a brilliant lunch at Cecconi’s to sustain us for the busy day ahead.  With openings and art parties all across London, I wanted to see as much as possible and, although, I didn’t make it to everywhere on my to-see list, I did pretty well.

We began at Selfridges’ Museum of Everything.  Launched by art collector, James Brett, in 2009, this is the 4th incarnation of this Outsider Art charity installation.  This weird exhibition has taken over all the store windows (which are completely product-free for the first time ever) and a space on the lower ground floor, normally the Ultralounge, and now unrecognisable.

The Museum of Everything #4 at Selfridges. Own photograph.

Although I love the idea, and I’m pleased that Selfridges are embracing charity exhibition opportunities and exposing unknown artists, the art isn’t great.  In parts, it’s downright creepy and I wish they’d used this opportunity to unearth some real talent.  With over 400 works on display, nothing really struck me in a positive way.  I love the concept of the Museum of Everything and believe it has great potential which I hope they will better fulfil in their next exhibition.

The Museum of Everything #4 at Selfridges. Own photograph.

On to 20 Projects at 64 Margaret Street, who are showing a series of new sculptures by Alex Hoda based on small pieces of nicotine gum – chewed, used and spat out by the artist.  Installation hadn’t really finished when we arrived at 6pm and they were still stencilling the title onto the wall, strangely oblivious of the fact that they had guests.  Hoda’s works reminded me of Alina Szapoznikow’s chewing gum photographs that we exhibited in The Courtauld’s East Wing Collection VIII which concentrated on temporality and the act of leaving some form of mark, making something that is intrinsically rubbish into a work of art.  Obviously both artists are approaching their work from different angles, but the choice of subject is interesting.  Hoda uses a special machine to scan and then enlarge the bits of gum to ensure 100% accuracy when making the pieces in bronze. For him, the sculptures also represent the human form responding to Jean Fautrier’s Hostage series of the 1940s. The sculptures are beautiful but somehow the chewing gum detracts from this for me.

Alex Hoda’s Hostage at 20 Projects. Own photograph.

Moving on, we headed to the Josh Lilley Gallery who are showing Incredulous Zealots – works by four artists from Los Angeles.  Regular readers will know this is one of my favourite spaces in London (and the secret is out after an article in last weekend’s newspapers) – this is another brilliant show which presents the next generation of LA art and shows that the talent there is certainly not diminishing.  The works of two artists immediately grabbed my attention.  One of the girls in my group was so entranced by Annie Lapin’s work that we almost had to drag her away to a different part of the gallery.  Lapin is now exploring the abstract image, using colour and shapes that recall primitive art forms.  Her palette is luminous, using browns, creams, Courbet green, small doses of deep reds and sky blues.  Lapin’s paintings harness monumental experiences, drawing the viewer closer into her work, looking at the depth of layers, like a coloured fog over a hidden scene.

Annie Lapin. Image via www.joshlilleygallery.com

Analia Saban, one of the other LA artists, burns, cuts and destroys her paintings, almost to the point of annihilation before pulling them back to a supreme delicacy.  This destruction of an art form shows Saban’s desire to stand alone and take complete control of her practice, resulting in a re-assessment of the history of painting through a minimal, but beautiful, object.

Incredulous Zealots at Josh Lilley Gallery with Analia Saban work in the distance. Own photograph.

The gallery has been transformed to a more traditional, white contemporary exhibition space, allowing the individual works room to breathe and to be examined in a contemplative space.  Incredulous Zealots seeks to draw on the passion of Los Angeles painters who demand that painting be taken to a new level, persisting with, torturing, and ultimately loving, their chosen art forms.

I was also lucky enough to be able to take a peek at a new Nick Goss work, unusually (for him) painted on board.  Although his act of mark-making continues in the same mould, the painting is in a wholly new style, evoking a completely different feel to his usual works.  Brilliant!

Our feet were already starting to feel sore and, with more galleries still to go, it was taxi time. Have you ever tried to get a taxi in London, in art week, at about 7pm?  It’s impossible.  Finally, we saw one and hailed it, only to have it nabbed, from under our noses, by a ‘taxi thief’.  After my fairly loud comments of shock and belligerence, the driver decided to take pity on us four girls and, much to his surprise, the ‘taxi thief’ found himself moving over, sharing his cab and also letting us use the internet on his iphone (Blackberries still being dead, of course).  So, chivalry is not dead after all.  I have no doubt he was amused by the giggling and gossiping but he made our lives a lot easier and, we are grateful for his generosity.  Thank you, ‘taxi thief’.

Having been dropped at Dering Street, where we briefly, coincidentally coincided with ‘the boys’, we went to Blain Southern to see Rachel Howard’s Folie à Deux. The title is the clinical definition for a shared psychosis, where two or more people enter into a delusional belief induced by an intimate relationship.  Howard’s works play on the minds of people who have wandered far from reality and reason.  Technically, the works are very good – making use of media, including household gloss paint, oil, acrylic and varnish, Howard doesn’t overplay it.  Her paintings are strong and striking but seem to be more subtle variations on her normal work, exploring the intricacies of the human condition.

Rachel Howard’s Folie à Deux at Blain Southern. Own photograph.

The clock was ticking and it was time to head over to the new White Cube at Bermondsey.  Now, as any Blackberry user will know, and as I mentioned before, we’re not having much luck at the moment – unadulterated hell in fact – which meant I was without the internet or my trusty google maps app.

Following advice of ‘the boys’, we headed to Southwark station – not the closest tube as it turns out.  So much for me being geographically challenged.  A short cab ride (no helpful man this time though) took us to the end of a very long queue down Bermondsey Street.  No!  This couldn’t be right.  Sadly, it was.  As our stilettoed feet began to throb, we queued and moaned.  Security guards came down the line telling us to give up, I tried to phone friends who may already have been inside but to no avail.  We waited!

The queue. Own photograph.

And, our waiting paid off.  It felt like we deserved a prize where we finally made it into the forecourt where a thronging mass of people lunged towards the crowd prevention barriers that surrounded the gallery.  I’m not joking.  White Cube has taken hype to a whole new level, as they do so expertly.

Jay Jopling ‘walking’ around the new gallery. Image via www.metro.co.uk

At one point a security guard, atop an office chair, somewhat ironically yelled out, ‘This is not Titanic. There will be a way in. Stop shoving’.  But, of course, people didn’t.  Being small and in sharp shoes had its advantages though and, before too long, we were waiting our turn at the front of the mob.  When at last we got in, I felt slightly underwhelmed.  At 58,000 square feet, this White Cube is the largest commercial gallery in Europe and the space is obviously gorgeous – beautifully lit white boxes much like their other two spaces but on a mammoth scale – though after so much hassle and fuss I had expected more of an opening spectacle.  There seemed to be more private spaces than open gallery rooms so it is hard to gauge the enormity of the gallery.  With 2,000 people supposedly inside, and who knows how many in the courtyard, this was the place to be.  But, aside from serving mini hot dogs (possibly to appease those stuck outside), it wasn’t that different from any other White Cube PV.

Outside the new White Cube. Own photograph.

While many galleries are struggling in the current financial climate, White Cube has defiantly shown that these problems do not affect them or the upper echelons of the art world.  The new gallery is extensive and goes on and on with doors everywhere.  So endless, in fact, that we, along with many others, mistakenly wandered straight into the loos – the entrance looks like just another gallery. Ooops!  The Bermondsey space is stunning with wonderful floors of polished concrete, or something very akin to it.  It is, of course, a triumph.

White Cube on Bermondsey Street. Own photograph.

I’m not going to talk much about their opening exhibition which gets lost among everyone clammering to explore the space, although a smattering of their famous names are included – Gary Hume, Gabriel Orozco, Damien Hirst, Andreas Gursky and so on.  It’s a great show, with a monochrome chic feel running through.  It’s very impressive – the third hub in their never-ending expansion programme.  Where will White Cube turn up next?!

Andreas Gursky, Dusselstrand, 1996, is reflected in Damien Hirst’s Neverland, 2002. Image via www.metro.co.uk

Hobbling out of White Cube and changing, at last, into ballerinas, we stumbled on The Hide where we were able to rest our weary limbs and sink into their comfy sofas with big glasses of wine and dinner.  What a day!

The Museum of Everything #4 is at Selfridges until 25th October 2011, www.musevery.com or www.selfridges.comAlex Hoda: Hostage is at 20 Projects until 23rd October 2011, www.20projects.co.ukIncredulous Zealots: 4 Painterly Interrogations from LA is at the Josh Lilley Gallery until 19th November 2011, www.joshlilleygallery.comRachel Howard: Folie à Deux is at Blain Southern until 22nd December 2011, www.blainsouthern.comStructure & Absence is at White Cube Bermondsey until 26th November 2011, www.whitecube.com.

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