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Archive for the ‘Exhibitions’ Category

Mark Feeney, Wishing Magnum Photos a happy 70th birthday, Boston Globe, 21 July 2017

NEW YORK — The Psalmist allows threescore and 10 as the years for a human life. So when a person turns 70, that’s an occasion. Institutions seem to prefer three-quarter intervals. Seventy just starts the countdown to 75. Yet it makes sense that Magnum Photos, a very distinguished institution indeed, would find its 70th birthday observed. The greatness of Magnum, the most celebrated name in the history of photojournalism, has always been inseparable from that of Magnum’s photographers. The human element, both behind the camera and in front of it, has been the essence of Magnum.

The photographers who’ve made up the collective include a pair of the most famous of the last century, Henri Cartier-Bresson and Robert Capa (two of Magnum’s five founders), and several of the finest of that century and this one: W. Eugene Smith, Elliott Erwitt, Eve Arnold, Burt Glinn, the list goes on. All have work in “Magnum Manifesto,” which runs at the International Center of Photography through Sept. 3.

The ICP has always had a special relationship with Magnum. Its founder, Cornell Capa, was Robert’s brother and himself a Magnum photographer. So there’s a family-reunion feel to “Magnum Manifesto,” and the reunion is big. Seventy-six photographers have work here, with more than 250 images hanging on the walls and more than 300 projected as slides.

[…]

There was also a sense of social responsibility. Magnum photographers would be as interested in theme and issue as event and personality. That’s not to say the latter were shortchanged. The show includes, for example, Mark Power’s photographs of the fall of the Berlin Wall or a 1978 Martine Franck portrait of the French thinker Michel Foucault that’s a knockout.

Link to photos of Foucault for sale on the Magnum site

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Amelia Melbourne-Hayward, Temporary environments | Architecture Now, 22 August 2016

Illusory Space, oil on canvas, 2012. Image: Jillian Whitmore

Young New Zealand artist Jillian Whitmore explores the intersection between art and architecture with her translucent watercolours. Whitmore will be exhibiting a solo exhibition titled Juncture at the Fine Arts Whanganui Gallery, opening Friday 26 August 2016.

Here, she speaks with Amelia Melbourne-Hayward about her upcoming exhibition, spatial theory and the ideas of temporality within her beautiful works.

[…]
My first encounter with spatial theory was with French anthropologist Marc Auge’s work. He discusses the super-modernity of our urban societies and the ‘non-places’ we inhabit everyday but take little notice of.

I later became influenced by Michel Foucault’s ‘Heterotopia’, architect Lebbeus Woods’ ‘New Spaces’ and urban sociologist Ray Oldenberg’s ‘Third Spaces’. These all had intriguing definitions and ideas of space within the urban environment, and they encouraged me to think deeper about the space we inhabit, how we interact with it and what it might one day become. My art practice fell deeper into a world of spatial theory and I discovered a passion for architecture and futurism.

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Multimedia artist feels free as he gets back to basics
By Lin Qi, China Daily/Asia News Network Thursday, September 1, 2016

Art graduates are now increasingly opting to create installations, videos and other mixed-media pieces. But You Jin is different. The artist, who majored in multimedia art, is focusing on painting — a subject that he has been fascinated with since his teens.

[…]
You, who has exhibited at home and abroad, is now set to present a solo show titled “The View of Heterotopos,” on Friday at the Alternative Space Loop gallery in Seoul, South Korea. The gallery has been promoting avant-garde and experimental art since it was set up in 1999.

The Seoul exhibition, which will run through Oct. 2 and be followed by another show in Hong Kong, celebrates You’s development as a painter over the past three years.

[…]
The exhibition’s title is derived from French philosopher Michel Foucault’s idea of “heterotopias,” through which he says that people require imagination to comprehend a physical space. According to Foucault, different spaces and time zones coexist to form a new world.

At the exhibition, Foucault’s concept has been brought to life through You’s brushwork.

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visibility_is_a_trap_grasso

Observer blog

– Edouard Malingue Gallery (Hong Kong) will showcase a neon text installation by French artist Laurent Grasso (*1972). Over seven meters wide, Visibility is a Trap, 2012, is a direct reference to Michel Foucault’s theory of Panopticism as elaborated in the theorist’s seminal text ‘Discipline and Punish’ (1975).

Picture from the archello site

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The Art of Thought

 

Sam Kaprielov, Foucault 2016

Sam Kaprielov, Foucault 2016

Press release PDF

April 13th – May 6th 2016

Exhibition at The Cob Gallery
205 Royal College Street
London NW1 0SG

All artworks are available for purchase.

The Cob Gallery is delighted to present celebrated Russian artist Sam Kaprielov’s new exhibition ‘The Art of Thought’ on 14th April.

The show is a series of 40 oil on canvas portraits depicting renowned thinkers. They range from history’s founding Philosophers to modern day Royalty and Rock Stars.

Kaprielov suggests that the mind is the most potent tool known to mankind. Its used by the philosopher to ponder metaphysics and by the artist to create images that lead to thought and inspiration. With ‘The Art Of Thought’ he has brought these two fields of human endeavour together as friendly bedfellows.

His extraordinarily agile and, yet, very precise brushwork has conjured up on canvas a collection of some of the most influential thinkers of centuries past so that we may retain a modicum of cognition, lest we forget the contribution that these fellows have made to the development of humanity throughout history, leading us to where we are now.

Amongst the portraits of more traditional philosophers such as Plato and Socrates, Kaprielov has included a few of what he describes as ‘red herrings’, such as Ian ‘Lemmy’ Kilmister, Prince Philip and Roberto Cavalli, to name a few.

The works are straightforward painterly interpretations of likenesses found on Google, and not an attempt to visually represent philosophical concepts of the thinkers. The mono coloured canvases represent those personalities in the history of philosophy whom we know nothing about.

In most of the paintings the ice-cold precision of the philosopher’s outlook is nicely balanced out with the warmth of palette. During his formative years, Kaprielov spent countless hours in Leningrad’s Hermitage Museum contemplating somewhat yellowish old master works and came to firmly believe that a truly good oil painting should be yellow.

Catalogue

Artist biography

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rousselRAYMOND ROUSSEL

Galerie Buchholz
17 East 82nd Street, Manhattan
Through Aug. 29 2015
via Review: The Writer Raymond Roussel and His Legacy, at Galerie Buchholz – The New York Times.

The German dealer Daniel Buchholz, long a fixture on the contemporary art scene in Cologne and Berlin, has opened a gallery in Manhattan and, for his debut show, given us something wonderful that we haven’t had before: a retrospective of the French writer Raymond Roussel (1877-1933).

Born into the Parisian beau monde, as a child Roussel had Marcel Proust for a neighbor; as an adult, he befriended Jean Cocteau when the two were patients in drug rehab. Rich, gay, habitually solitary, Roussel developed a literary mode in poetry, fiction and drama based on linguistic ingenuity and the use of super-realism to lift off into fantasy. Although his work was met with public scorn at the time — Roussel was crushed and died by suicide — it has been hugely influential to artists and writers since. Marcel Duchamp and Michel Foucault claimed him as a liberating hero. Max Ernst and Joseph Cornell revered him. The poet John Ashbery has written brilliantly about him.

This show — organized by Mr. Buchholz, the art historian Christopher Müller and the Roussel scholar François Piron — is an archival exercise in literary and art-world ephemera. It pieces together Roussel’s elusive private life from rare surviving images (photographs of his adored mother; a unisex childhood portrait of the writer) and personal effects (treasured editions of Jules Verne novels; a cookie that he saved from a landmark literary lunch and enshrined like a relic). It traces the path of his writing career through often self-financed publications and calamitous stage presentations. And it concludes with a section demonstrating his continuing influence, on Mr. Ashbery’s poetry and collages, and on artists like Zoe Beloff, Lucy McKenzie and Henrik Olesen.

The selection is scrupulously annotated, and every scrap of information is worth reading. (Although a contemporary art specialist, Mr. Buchholz comes from a background in antiquarian book selling.) If this show were at the Museum of Modern Art, you’d pay to see it and still feel rewarded. At Galerie Buchholz, it’s a free introductory welcome to a new space, which should feel strongly encouraged to enliven New York with comparable offerings in seasons ahead.

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To Be King

To Be King - Christine Dixie

To Be King – Christine Dixie

To Be King

To Be King by Christine Dixie is an animated video installation informed by the first chapter in Michel Foucault’s book ‘The Order of Things’ (1966), entitled Las Meninas.

Opening Reception: 26th February 2015 from 6pm, Preview from 4pm with the artist

Exhibition: 26th February – 7th March 2015 (Sulger-Buel Lovell Cape Town)

Talk by James Sey: 28th February 11am (limited space available, please book, free of charge, RSVP to info@sulger-buel-lovell.com)

 

To be King is informed by the essay ‘Las Meninas’ which Michel Foucault published in 1966 as the first chapter to his book The Order of Things. Foucault in his description of the painting by Velàsquez suggests (amongst other things) that it is through language, the taxonomy of the day, that things are ordered. This order, particular yet tenuous, is dependent on who is in control of the gaze, who is ‘king’.

To be King situates itself as a destabilizing narrative in which the king is ‘dethroned’. Positioning characters and spaces from the periphery in the place from which the dominant gaze originates points to the possibility of a different order of things and highlights the fragility of the established and dominant order.

The sculptural component, the Black Infanta embodies everything the Spanish King, Philip IV is not. Her pose imitates that of the seventeenth century portrait paintings of royal children. She is placed on an enlarged headrest, an object associated with sleeping, dreaming and the unconscious and holds instead of a sceptre, orb or sword, a stick made of Port Jackson willow.

The Black Infanta’s placement in front of the ‘painting’ places her in the role reserved for the king for whom Las Meninas was originally made and who also stands outside the frame of the painting. Completing the circuit of gazes is the museum guard who role is witness to the viewer looking at the ‘painting’. In addition she functions as an ironic indicator of status, an embodiment of the value placed by the cultural centre on a ‘masterpiece’.

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