January 28 – March 13 2010
Rating: 2 out of 5
http://www.rivingtonplace.org/
Of all the topics that should produce some fantastic art, both beautiful and challenging, laden with meaning and with passion, the subject of diversity sadly fails to resonate. The scene is set for some amazing work – London (one of the most diverse cities in the world), the east end (particularly known for its diversity and creative flair), the Rivington Place (a venue which is at the heart of creative London) and those brightly coloured works gracing the windows shouting for the passerby to come inside. Unfortunately, this exhibition is bitterly disappointing.
Completely overwhelmed by merely adequate and satisfactory work, the show completely lacks any originality, voice, or aesthetic flair. There is some clever stuff – music that stutters both in an auditory way and visually through scribbles on sheet music. There are also some attempts at some meaning, which are either too subtle or too blunt to really make any sort of impact.
Indeed the saving grace of this exhibition is the fascinating video art on the second floor. Selected by Karen Alexander, some of the videos in the Dreams Deferred series include some fascinating video that examine the perceptions, stereotypes, and misconceptions perpetuated by mass media and the film industry. It’s scary and sad to see the racism, whether overt or subtle, in the portrayals of black people in films. Sadly, the rest of the show is not nearly as insightful or engaging.
Saturday, 13 March 2010
Calvert 22 - Photo I, Photo You
January 28 – March 28 2010
Rating: 4 out of 5
http://www.calvert22.org/e/exhibition-programme/photo-i-photo-you
One of the new kids on the block, with less than a year of exhibitions under its belt, Calvert 22 presents its fourth exhibition. Focused solely on contemporary art from Russia and Eastern Europe, the foundation aims to promote art from this region but also showcase its diversity. For the past twenty years, contemporary art from this region of the world has been undergoing a renaissance that its unique history and juxtaposition of people, religion and politics has created.
On the ground floor of the wonderful bright and open space, Igor Eskinja’s dust composition is the first work that makes an impact with its lovely detail and temporary beauty. But it is the excellent photographs incorporating overlapping images that are nostalgic and thoughtful. Aesthetically beautiful, they are also charged with meaning that is demanding to be deciphered. Ján Mančuška’s photo negatives are also quite interesting. Beautifully displayed, they are quite a fascinating examination of our bodies and self-perception.
The lower floor has some interesting video art. Anna Jermolaeva’s oddly captivating video of traditional Russian nevaliashka tilting dolls rolling around would be silly except for the symbolism of mere humans caught in the storm of politics and history. Olga Chernysheva’s work is a voyeur’s paradise with multiple street windows offering a glimpse into both people’s lives and the act of watching others while going unnoticed. Lastly, Stefania Babeva’s interesting paper sculptures and photographs are beautifully intricate.
Overall a good show showcasing some exciting new talent. But you can’t help but feel that in all the lovely nuances, subtlety, subtext and symbolism, some punches are being pulled and some self-editing is constricting artistic expression.
Rating: 4 out of 5
http://www.calvert22.org/e/exhibition-programme/photo-i-photo-you
One of the new kids on the block, with less than a year of exhibitions under its belt, Calvert 22 presents its fourth exhibition. Focused solely on contemporary art from Russia and Eastern Europe, the foundation aims to promote art from this region but also showcase its diversity. For the past twenty years, contemporary art from this region of the world has been undergoing a renaissance that its unique history and juxtaposition of people, religion and politics has created.
On the ground floor of the wonderful bright and open space, Igor Eskinja’s dust composition is the first work that makes an impact with its lovely detail and temporary beauty. But it is the excellent photographs incorporating overlapping images that are nostalgic and thoughtful. Aesthetically beautiful, they are also charged with meaning that is demanding to be deciphered. Ján Mančuška’s photo negatives are also quite interesting. Beautifully displayed, they are quite a fascinating examination of our bodies and self-perception.
The lower floor has some interesting video art. Anna Jermolaeva’s oddly captivating video of traditional Russian nevaliashka tilting dolls rolling around would be silly except for the symbolism of mere humans caught in the storm of politics and history. Olga Chernysheva’s work is a voyeur’s paradise with multiple street windows offering a glimpse into both people’s lives and the act of watching others while going unnoticed. Lastly, Stefania Babeva’s interesting paper sculptures and photographs are beautifully intricate.
Overall a good show showcasing some exciting new talent. But you can’t help but feel that in all the lovely nuances, subtlety, subtext and symbolism, some punches are being pulled and some self-editing is constricting artistic expression.
British Museum – Kingdom of Ife - Sculptures From West Africa
March 4 – June 6 2010
Rating: 5 out of 5
http://www.britishmuseum.org/whats_on/all_current_exhibitions/kingdom_of_ife.aspx
Continuing the British Museum’s series of ancient kingdoms, this time it’s Africa’s turn to shine, and shine it does. The showcase is graceful sculptures by the people of the Ife – an ancient city-state in modern day Nigeria. The fascinating works of art use a variety of materials – copper, brass, terracotta and stone. The skill of the artisans is clear with unbelievable detail and wonderful lifelike precision. But it’s something else about these works that draws the viewer in. As anthropologist William Bascom rightly said, “the appeal of their beauty is immediate and universal.”
Of the various pieces on show, it is the regal grace and serene beauty of the metal heads that are most striking. It’s easy to see how such work inspired many of the great European artists, when they looked further for inspiration. The likes of Modigliani, Picasso and Matisse were only a few of the artists that were inspired by the stylized human figure found in African art.
The most frustrating thing about the exhibition is the relatively few works actually on display. Confusingly, the exhibition makes no mention of the related and arguably more impressive metal works in the African gallery of the Museum’s permanent collection. Part of this exhibition should also be the work, particularly the spectacular Benin plaques, in room 25 of the museum. While the focus of the temporary exhibition is the people of Ife and the Benin plaques were done by the Yoruba people, both tribes are from a similar area of present day Nigeria seems. Once you are charmed by the unique beauty and grace of the ancient artisans of this part of the world, you will be drawn to seek out more.
In combination with the museum’s permanent African gallery, this is an overall excellent show that explores the fantastically skilled creativity of a region that deserves more attention.
Rating: 5 out of 5
http://www.britishmuseum.org/whats_on/all_current_exhibitions/kingdom_of_ife.aspx
Continuing the British Museum’s series of ancient kingdoms, this time it’s Africa’s turn to shine, and shine it does. The showcase is graceful sculptures by the people of the Ife – an ancient city-state in modern day Nigeria. The fascinating works of art use a variety of materials – copper, brass, terracotta and stone. The skill of the artisans is clear with unbelievable detail and wonderful lifelike precision. But it’s something else about these works that draws the viewer in. As anthropologist William Bascom rightly said, “the appeal of their beauty is immediate and universal.”
Of the various pieces on show, it is the regal grace and serene beauty of the metal heads that are most striking. It’s easy to see how such work inspired many of the great European artists, when they looked further for inspiration. The likes of Modigliani, Picasso and Matisse were only a few of the artists that were inspired by the stylized human figure found in African art.
The most frustrating thing about the exhibition is the relatively few works actually on display. Confusingly, the exhibition makes no mention of the related and arguably more impressive metal works in the African gallery of the Museum’s permanent collection. Part of this exhibition should also be the work, particularly the spectacular Benin plaques, in room 25 of the museum. While the focus of the temporary exhibition is the people of Ife and the Benin plaques were done by the Yoruba people, both tribes are from a similar area of present day Nigeria seems. Once you are charmed by the unique beauty and grace of the ancient artisans of this part of the world, you will be drawn to seek out more.
In combination with the museum’s permanent African gallery, this is an overall excellent show that explores the fantastically skilled creativity of a region that deserves more attention.
Tuesday, 23 February 2010
Tate Modern – Van Doesburg & the International Avant-Garde: Constructing a New World
Tate Modern – Van Doesburg & the International Avant-Garde: Constructing a New World (February 4 – May 16 2010)
4 out of 5
February at the Tate Modern seems to be all about reassessing new directions in thinking and art – an elegant choice for the spring season. This exhibition includes a number of works by various artists that participated in the Avant-Garde movement of the early 1900s, with a particular focus on the work of Theo van Doesburg. A veritable smorgasborg of geometric abstraction, the show is overwhelmed with angles, sharp lines and a refusal to paint anything that looks too natural.
The exhibition starts of slowly, gently introducing the viewer to the work and life of van Doesburg. An artist wearing many hats as a painter, designer, writer and editor, van Doesburg’s rejection of the past and hope for the future becomes increasingly evident through what is on display. But despite the quality of his work, it is easy to get too complacent about van Doesburg’s talent as an artist and a visionary of his time. Room 6 is where the exhibition really makes an impact with the viewer, presenting insightful quotes by the artist alongside his paintings. From Dadaism to nothingness and the art of the proletariat, van Doesburg’s words set the background for his inspiration. His own words place a much needed context around his work unlike any dry explanation can and offer a fascinating insight into his mind.
Room 9 is one of the highlights of the exhibition. A nice change from the ascetic white walls of the other rooms, this space combines van Doesburg’s paintings with his work as an architect and designer. Sadly, the last rooms do not build up from that point, but are merely consistent with the quality of work shown beforehand. Overall, an excellent show for a great artist whose words will echo in your ear long after memories of his paintings have disappeared.
4 out of 5
February at the Tate Modern seems to be all about reassessing new directions in thinking and art – an elegant choice for the spring season. This exhibition includes a number of works by various artists that participated in the Avant-Garde movement of the early 1900s, with a particular focus on the work of Theo van Doesburg. A veritable smorgasborg of geometric abstraction, the show is overwhelmed with angles, sharp lines and a refusal to paint anything that looks too natural.
The exhibition starts of slowly, gently introducing the viewer to the work and life of van Doesburg. An artist wearing many hats as a painter, designer, writer and editor, van Doesburg’s rejection of the past and hope for the future becomes increasingly evident through what is on display. But despite the quality of his work, it is easy to get too complacent about van Doesburg’s talent as an artist and a visionary of his time. Room 6 is where the exhibition really makes an impact with the viewer, presenting insightful quotes by the artist alongside his paintings. From Dadaism to nothingness and the art of the proletariat, van Doesburg’s words set the background for his inspiration. His own words place a much needed context around his work unlike any dry explanation can and offer a fascinating insight into his mind.
Room 9 is one of the highlights of the exhibition. A nice change from the ascetic white walls of the other rooms, this space combines van Doesburg’s paintings with his work as an architect and designer. Sadly, the last rooms do not build up from that point, but are merely consistent with the quality of work shown beforehand. Overall, an excellent show for a great artist whose words will echo in your ear long after memories of his paintings have disappeared.
Whitechapel Gallery – Where Three Dreams Cross: 150 Years of Photography from India, Pakistan, and Bangladesh
Whitechapel Gallery – Where Three Dreams Cross: 150 Years of Photography from India, Pakistan, and Bangladesh (January 21 – April 21 2010)
5 out of 5
If it seems that London’s cultural landscape is currently infatuated with all things from the Asian subcontinent, that’s because it is. From the Indian Winter season on Channel 4, to the Saatchi Gallery’s exhibition as well as the British Museum, V&A and Serpentine Gallery, 2010 is the year of the subcontinent. And London is better for it. Unlike some of the other venues’ exhibitions which can lack authenticity, the photography exhibition currently on at the Whitechapel Gallery rings true. Partly due to the intimacy of photography as a medium and perhaps because of the inclusion of professional, amateur, and personal works, this exhibition is brilliant.
Over 400 photographs present a full experience for the viewer – black and white alongside colour, political figures alongside anonymous family members and people on the street. Spread over two floors, the exhibition focuses on five themes that encompass the past and present of the Asian subcontinent. With so many good quality photographs on display, it’s difficult to choose a favourite, or even recommend a specific room as the exhibition is consistently good throughout the three separate galleries. On the ground floor, the brilliantly coloured portraits of Nandini Valli Muthiah and the dream-like work of Prabuddha Dasgupta stand out as exceptionally stunning. On the upper level, Anay Mann, Asim Hafeez, Munem Wasif, Tapu Javeri, Raghubir Singh, Arif Ali, and Dayanita Singh’s work make a striking impact.
Most interestingly, the rigidity and formality of the 1940s and 1950s photographs given way to a new freedom of expression. The older works often focus on political figures, while the new ones include a much wider range of people. In the contemporary arena of photography, all the citizens are their own subjects – and that is what makes this exhibition feel so relevant, authentic, and intimate. Not to be missed.
If it seems that London’s cultural landscape is currently infatuated with all things from the Asian subcontinent, that’s because it is. From the Indian Winter season on Channel 4, to the Saatchi Gallery’s exhibition as well as the British Museum, V&A and Serpentine Gallery, 2010 is the year of the subcontinent. And London is better for it. Unlike some of the other venues’ exhibitions which can lack authenticity, the photography exhibition currently on at the Whitechapel Gallery rings true. Partly due to the intimacy of photography as a medium and perhaps because of the inclusion of professional, amateur, and personal works, this exhibition is brilliant.
Over 400 photographs present a full experience for the viewer – black and white alongside colour, political figures alongside anonymous family members and people on the street. Spread over two floors, the exhibition focuses on five themes that encompass the past and present of the Asian subcontinent. With so many good quality photographs on display, it’s difficult to choose a favourite, or even recommend a specific room as the exhibition is consistently good throughout the three separate galleries. On the ground floor, the brilliantly coloured portraits of Nandini Valli Muthiah and the dream-like work of Prabuddha Dasgupta stand out as exceptionally stunning. On the upper level, Anay Mann, Asim Hafeez, Munem Wasif, Tapu Javeri, Raghubir Singh, Arif Ali, and Dayanita Singh’s work make a striking impact.
Most interestingly, the rigidity and formality of the 1940s and 1950s photographs given way to a new freedom of expression. The older works often focus on political figures, while the new ones include a much wider range of people. In the contemporary arena of photography, all the citizens are their own subjects – and that is what makes this exhibition feel so relevant, authentic, and intimate. Not to be missed.
The Photographers’ Gallery – Dieutsche Börse Photography Prize 2010
The Photographers’ Gallery – Dieutsche Börse Photography Prize 2010 (February 12 – April 18 2010)
4 out of 5
In its 15th year, the Deutsche Börse Photography Prize is intended to recognize a living photographer of any nationality who has made the strongest contribution to photography in Europe during the preceeding year. The The four final nominees are on display at the Photographers’ Gallery, which tends to host excellent shows. This year is no exception.
Having settled nicely into its new location off Oxford Street, the Photographers’ Gallery presents the work of the four nominees over two separate floors giving Sophie Ristelhueber the unfair advantage or disadvantage of introducing the viewer to this year’s nominees with her ground floor space. Ristelhueber’s large scale photos are good, but they lack cohesion and are ultimately superseded by the competition.
On the second floor, the other three nominees battle for the prize, with the mood starting from humorous to nostalgic and lastly to sombre. Anna Fox’s work, humorous and provocative, starts the second floor tour. Visually interesting, her work includes portraits as well as photos of household objects accompanied by humorous poetry. Zoe Leonard’s work provides an entirely different atmosphere. Focusing on the overlooked items in modern life – shoes, abandoned stores, old posters, her photographs are excellent. Smaller in scale than they could be, they are completely devoid of human life. The last nominee, Donovan Wylie tugs at the heartstrings with his photographs of the Maze Prison in Northern Ireland. The emotional heavyweight photographs show torn and bent metal fences in a landscape of desperate desolation. Wylie’s work is especially interesting in that it transforms symbols of pain and conflict into aesthetically beautiful and architectural photographs.
Overall, an excellent exhibition by four talented photographers. The judges have their work cut out for them.
In its 15th year, the Deutsche Börse Photography Prize is intended to recognize a living photographer of any nationality who has made the strongest contribution to photography in Europe during the preceeding year. The The four final nominees are on display at the Photographers’ Gallery, which tends to host excellent shows. This year is no exception.
Having settled nicely into its new location off Oxford Street, the Photographers’ Gallery presents the work of the four nominees over two separate floors giving Sophie Ristelhueber the unfair advantage or disadvantage of introducing the viewer to this year’s nominees with her ground floor space. Ristelhueber’s large scale photos are good, but they lack cohesion and are ultimately superseded by the competition.
On the second floor, the other three nominees battle for the prize, with the mood starting from humorous to nostalgic and lastly to sombre. Anna Fox’s work, humorous and provocative, starts the second floor tour. Visually interesting, her work includes portraits as well as photos of household objects accompanied by humorous poetry. Zoe Leonard’s work provides an entirely different atmosphere. Focusing on the overlooked items in modern life – shoes, abandoned stores, old posters, her photographs are excellent. Smaller in scale than they could be, they are completely devoid of human life. The last nominee, Donovan Wylie tugs at the heartstrings with his photographs of the Maze Prison in Northern Ireland. The emotional heavyweight photographs show torn and bent metal fences in a landscape of desperate desolation. Wylie’s work is especially interesting in that it transforms symbols of pain and conflict into aesthetically beautiful and architectural photographs.
Overall, an excellent exhibition by four talented photographers. The judges have their work cut out for them.
Tate Modern – Arshile Gorky, A Retrospective
Tate Modern – Arshile Gorky, A Retrospective (February 10 – May 3 2010)
4 out of 5
The Tate Modern launches its spring season with an excellent show presenting a lifetime of work by one of the more underrated American painters, Arshile Gorky. Despite the confusing promotional materials that advertise Gorky’s portraits, the exhibition is a cornucopia of geometric design. Incorporating influences of several artistic movements, the majority of work is abstract with a focus on patterns and angles.
Gorky’s transformation from a pupil of others to a master with his own voice is clear. The initial rooms have hints of Cezanne, Picasso, Klee, and Picabia as the colours alternate between depth and translucency. Room 3 is the black and white palate cleanser before colour assault of room 4, where the exhibition really takes off as the scale of the work increases. This is where Gorky really hit his stride as an artist with his own vision of pale lemon yellows, bright oranges, and full reds.
Only one room (7) reflects Gorky’s skill as a portraitist. Of Armenian origin, Gorky and his family moved to America when he was still a child, but this immigrant experience and the hardship that his family suffered early on never left him. The profundity of that sadness and uncertainty for the future comes across in Gorky’s portraits. Despite his skill as a portraitist, Gorky’s true talent lies in his abstract work. Rooms 10 and 11 are the exhibition’s highlight with every painting a visual spectacle full of frenzied energy.
The last room focuses on the sad end of Gorky’s life and the health difficulties he suffered leading up to his suicide. Understandably, the work in this room is sombre. The colours are dense and dark and the compositions take on a sinister mood reminiscent of a beautiful but desperate wasteland.
Overall, a fantastic show of an excellent artist.
The Tate Modern launches its spring season with an excellent show presenting a lifetime of work by one of the more underrated American painters, Arshile Gorky. Despite the confusing promotional materials that advertise Gorky’s portraits, the exhibition is a cornucopia of geometric design. Incorporating influences of several artistic movements, the majority of work is abstract with a focus on patterns and angles.
Gorky’s transformation from a pupil of others to a master with his own voice is clear. The initial rooms have hints of Cezanne, Picasso, Klee, and Picabia as the colours alternate between depth and translucency. Room 3 is the black and white palate cleanser before colour assault of room 4, where the exhibition really takes off as the scale of the work increases. This is where Gorky really hit his stride as an artist with his own vision of pale lemon yellows, bright oranges, and full reds.
Only one room (7) reflects Gorky’s skill as a portraitist. Of Armenian origin, Gorky and his family moved to America when he was still a child, but this immigrant experience and the hardship that his family suffered early on never left him. The profundity of that sadness and uncertainty for the future comes across in Gorky’s portraits. Despite his skill as a portraitist, Gorky’s true talent lies in his abstract work. Rooms 10 and 11 are the exhibition’s highlight with every painting a visual spectacle full of frenzied energy.
The last room focuses on the sad end of Gorky’s life and the health difficulties he suffered leading up to his suicide. Understandably, the work in this room is sombre. The colours are dense and dark and the compositions take on a sinister mood reminiscent of a beautiful but desperate wasteland.
Overall, a fantastic show of an excellent artist.
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