On with the New, starting with the old. And, as it's cold, moving on to a fire and then to Venezuela, where the temperature reaches 30C most days in January. And then back to the old, with a list of favourites from 2013...
Honoré Daumier (1808-1879): Visions of Paris @ Royal Academy
Honoré Daumier (1808-1879): Visions of Paris @ Royal Academy
The Laundress on the Quai d'Anjou, c. 1860–61
This 130 work survey of Daumier has to be seen. Though best known for his satirical cartoons - which are indeed punchy - equal weight is given to Daumier's parallel expressions of empathy for the lot of the poor in his financially less successful outpouring of sketches and paintings (such as the laundress with bundle and her child with clothes beater, above). They're all made from memory out of his experiences walking the streets of Paris - hence, perhaps, the intensity of their focus - and build on a brilliantly nervy, Giacometti-like drawing technique, not only to reflect on the burdens of social inequality and also to analyse the pleasures and foibles of the art world.
Aaron Young: Limited Exposure @ Massimo De Carlo gallery, 55 South Audley St - Mayfair
To 1 Feb: www.massimodecarlo.com
To 11 Jan: www.maddoxarts.com
This 130 work survey of Daumier has to be seen. Though best known for his satirical cartoons - which are indeed punchy - equal weight is given to Daumier's parallel expressions of empathy for the lot of the poor in his financially less successful outpouring of sketches and paintings (such as the laundress with bundle and her child with clothes beater, above). They're all made from memory out of his experiences walking the streets of Paris - hence, perhaps, the intensity of their focus - and build on a brilliantly nervy, Giacometti-like drawing technique, not only to reflect on the burdens of social inequality and also to analyse the pleasures and foibles of the art world.
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Aaron Young: Limited Exposure @ Massimo De Carlo gallery, 55 South Audley St - Mayfair
To 1 Feb: www.massimodecarlo.com
Installation view with two 'Blowtorch Paintings' |
Aaron Young is best known for ‘painting’ via motorbike
tracks, but here’s a different triple whammy: psychologically charged images
are printed onto sheets of aluminium folded as if for a giants' coke session;
car bumpers (or ‘Spoilers’ in Young's American English) are tinted and buffed to
Juddesque perfection; and seven canvases are burnt and watered so that Yves
Klein’s fire meets Warhol’s piss painting to yield delicate effects. Their
variety, said Young, is down to the control of a nozzle with seven settings.
These are studio works, but given a dark local presence by being named for our
2011 riot locations and mounted in a room which Young comprehensively prepared
with his blow torch.
Not So Original @ Maddox Arts, 52 Brook's Mews - Mayfair
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To 11 Jan: www.maddoxarts.com
Carlos Cruz-Diez: Sitges 1-4, 2012 |
At 90, Carlos Cruz-Diez continues not only to make work, but to find new
ways of pursuing his investigations into the effect of viewer placement on the
perception of colour. There is no pink in Sitges 1-4 above, as is obvious when the viewer gets
close, yet hard to believe when a few feet away. He’s one of four Venezuelans in
an excellent seven-artist look at how print-related techniques feed iteratively
into wider practices: Jesus Soto is the other classic, with Emelia Sunyer’s
lithographic style of pressing paint onto canvas and Cipriano Martinez’s print-paint
dialogue showcasing a younger generation’s explorations.
Ricardo Alcaide: From Destruction to Abstraction @ New Art Projects, 17 Riding House St - Fitzrovia
To 31 Jan: www.newartprojects.com
Fred Mann has rejigged and rebranded so that – though he himself will have a hard time not being Fred – his gallery is now New Art Projects. The first show under that name sees Venezuelan Ricardo Alcaide take on South America’s maldistribution of wealth through would-be-minimalist stylings which turn out to relate to the makeshift shelters of Caracas’ homeless. Those are the coloured shapes painted over the city’s plushest homes, as featured in the local edition of Wallpaper magazine. Downstairs, atmospheric black and white photographs of street detritus – a milk crate, a stack of wood, a polystyrene packing insert – stand in for whole modernist buildings, a mirror imaging of the logic upstairs and chiming neatly with the gallery’s 50’s staircase.
Simon Dybbroe Møller: Swallow Swallow Spit @ Laura Bartlett, 4 Herald St - Bethnal Green
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Ricardo Alcaide: From Destruction to Abstraction @ New Art Projects, 17 Riding House St - Fitzrovia
To 31 Jan: www.newartprojects.com
Fred Mann has rejigged and rebranded so that – though he himself will have a hard time not being Fred – his gallery is now New Art Projects. The first show under that name sees Venezuelan Ricardo Alcaide take on South America’s maldistribution of wealth through would-be-minimalist stylings which turn out to relate to the makeshift shelters of Caracas’ homeless. Those are the coloured shapes painted over the city’s plushest homes, as featured in the local edition of Wallpaper magazine. Downstairs, atmospheric black and white photographs of street detritus – a milk crate, a stack of wood, a polystyrene packing insert – stand in for whole modernist buildings, a mirror imaging of the logic upstairs and chiming neatly with the gallery’s 50’s staircase.
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To 26 Jan: www.laurabartlettgallery.com
Negative Plate (Shrimp Linguine), 2013 - porcelain plate, polyurethane resin, polyurethane varnish, silicone |
Much
as I like to walk into a favourite artist’s new show
and feel at home, it may be even better when their practice gives you no
idea
what will come next: here, apparently real left-overs from meals –
actually constructions – are ranged around the walls as if Daniel
Spoerri has
turned to painterly abstraction; in the centre, four expressionistically
unnatural people, made of concrete and lolling on blankets, turn out to
be slathered
mannequins complete with real racquets, skis or paddles depending on
sporting
preference. Why? Simon Dybbroe Møller’s own parodic
text points to the passivity of our engagement with what used to be active, from
food as social media spectacle to sport as immobiliser of viewers – which oughtn’t to
extend to not visiting his show in person.
I'll Be Your Mirror @ Herald St, 2 Herald St - Bethnal Green
To 19 Jan (closed 21.12 - 8.1): www.heraldst.com
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I'll Be Your Mirror @ Herald St, 2 Herald St - Bethnal Green
To 19 Jan (closed 21.12 - 8.1): www.heraldst.com
Bernard Piffaretti: Untitled, 2013 |
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Leo Fitzmaurice: Post Match 1999 - Onwards @ Gallery S O, 92 Brick Lane - Whitechapel
To 26 Jan: www.galleryso.com
Leo Fitzmaurice's punnily titled collection of the tops of 300-odd fag packets, picked off the street by the artist and flattened into approximations of football shirts, proves a surprisingly rich cod-anthropological museum display of variably battered graphic design. The scatter of apposite names (Chelsea, Sky, Lucky Strike, Goal and Derby are all cigarette brands) also carries a subversive edge, as the implied sponsorship of shirts by tobacco companies would be illegal. Moreover, the 22 different designs on each table top would lead to a radically confusing line-ups of 11 vs. 11...
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Glass Cat 2 @ Wimbledon Space, Wimbledon College of Arts, Merton Hall Road
10 Jan - 14 Feb: www.arts.ac.uk/wimbledon/wimbledon-experience/wimbledon-space
A cat watches a wine glass rotate as it’s spooked by light
in Helen Maurer’s Prowler, a work which
felt endangered at the private view - though why shouldn’t found objects return to
circulation? - Danielle Arnaud’s Kensington redoubt. Yet this show, on tour with two extra artists and a text by Peter Suchin,
picks up on the alchemy rather than the cat or the glass, notably in William
Waterhouse’s beautiful bubble-making machine and Sarah Woodfine’s table of
drawn sculptures of the ingredients – bat, chrysalis, root, frog – of a witch’s
brew intended to incite the sensation of flight when ingested. The cause,
according to Woodfine, would have been the palpitational effects of contrasts,
a sense of which we do pick up in the stimulating mixture here.
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Peter Lanyon: The Mural Studies @ Gimpel Fils, 30 Davies St –
Mayfair
Both levels are given over to large and impressive preparatory
works for the murals Peter Lanyon (1918-64) made during 1959-63 for Liverpool
and Birmingham Universities and a New Jersey collector. His way of abstracting from a landscape to convey its sense of place and how it feels to move through or over it – as in the glider in which he
crashed fatally - translates fully to this format. Perhaps one can go further and quote
Heidegger: does Lanyon get at how ‘place
places man in such a way that it reveals the external bonds of his existence
and at the same time the depths of his freedom and reality’?
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A New Objectivity: The Düsseldorf School of Photography @
Sǀ2, 31 St George St - Mayfair
To 17 Jan: www.sothebys.com/en/auctions/2013/new-objectivity-dusseldorf-school-photography
Andreas Gursky: Cocoon 1,2007 |
Sotheby’s new space Sǀ2 is for private sales, but can also be described as a pretty big show space. Up now is a 26 work survey of the Düsseldorf school of photography: the Bechers, Gursky, Struth, Ruff, Hütte and Höfer are all present and focused with their varying strategies of rigour. I’d single out (‘quadruple out’?) Hütte’s dank forestscapes, Struth’s ability to find his characteristic perspectives even in constricted Venetian calles, Ruff’s complicated all-male black and white classicisations of pornography, and the obvious star: Gursky’s Cocoon 1, over 10 square meters of exacting hedonism.
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Universal Fragments: Conversations with Trevor Shearer @
Large Glass, 392 Caledonian Rd – Caledonian Rd & Barnsbury
To 24 Jan 2014: www.largeglass.co.ukInstallation view: Jean-Luc Moulène ‘Model for Diving’ (2007), TREVOR SHEARER ‘Mental Exercises’ (2002) Plaster casts, and ‘Yellow Painting’ (2011). |
Images courtesy the relevant artists + galleries + Todd White (Aaron Young) + Alex Delfanne (Shearer)
TOP TWENTY OR SO 2013
It seemed to be a good year for double shows. Looking in no particular order at the geographically-constrained selection of what I actually saw (London unless stated) my favourites were:
Paulina Olowska: Pavilionesque, Kunsthalle, Basel |
Paulina Olowska at Kunsthalle, Basel and Stedelijk, Amsterdam
Roy Lichtenstein: Foundation Vedova, Venice and Tate Modern
Sanja Iveković at Calvert 22 and the South London Gallery
Jean-Luc Moulène at Modern Art Oxford and Thomas Dane Gallery
Gerard Byrne at Whitechapel and Lisson Galleries
Andy Holden at Stanley Picker Gallery and Zabludowicz Collection
There were single showings, too. I particularly liked:
Danh Vo: Go Mo Ni Ma Da, Musée d'Art Moderne de la Ville de Paris |
Danh Vo at Musée d'Art Moderne de la Ville de Paris
Richard Serra at the Courtauld
Mark Manders in the Dutch Pavilion, Venice
Frederico Barocci at the National Gallery
Thomas Grünfeld at the Museum Morsbroic, Leverkusen
Rudolf Stingel at the Palazzo Grassi, Venice
Sarah Lucas at the Whitechapel
Agostino Bonalumi at Robilant & Voena
Li Songsong at Pace
Honoré Daumier at the Royal Academy
Martin Kippenberger at the Hamburger Kunsthalle, Berlin
Shaun Gladwell: Cycles of Radical Will at the de la Warr Pavilion, Bexhill |
Shaun Gladwell at the de la Warr Pavilion, Bexhill Shunga at the British Museum
Shana Moulton in performance at the Royal Collage of Art
Paul Klee and Mira Schendel at Tate Modern
Ciprian Muresan at Plan B, Berlin
Christopher Williams at David Zwirner
Shunga at the British Museum
Shunga: from the unknown 17th century sequence in which a nun discovers a priest in a bag |
I didn't think about it in compiling, but have only just noticed that Bedford's finest, Andy Holden, turns out to be the sole British artist on the list and only 5/20ish are women... I could have corrected some of that by including shows I curated (Maria Marshall: Voluntarie Service; and It's About Time) or wrote catalogues for (Young Gods, Alzbeta Jaresova, Alison Gill, Phil Illingworth, Daniel Lergon).
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