Friday, 27 May 2011

Wang Guangle 'Coffin Paint' @ Beijing Commune, China

Wang Guangle 'Coffin Paint' oil on wood, 2011
I thought this piece might interest people. The first solo show of Wang Guangle at Beijing Commune, China. This will be the second exhibition of Wang Guangle at Beijing Commune and shows his strong monolithic forms of abstraction. 'The piece shown in this exhibition took a month-long for Wang Guangle himself to work it out.  Compared to his first solo show at Beijing Commune in 2009, this representation carries his practice further.

Wang Guangle began to attract wide attention with his series painting 'Terrazzo', and 'Coffin Paint', his later series of painting about time, deepens the impression of his art on his audience. The restrained, fundamental practice of a non-narrative practice of art in the 'Terrazzo' series has developed into a calm meditation on life, something destined to fade away finally. This is not a gradual progression of his art from one phase to another, but rather, something abstracted and distilled from the experience of “living through”. 

Wang Guangle 'Coffin Paint' (detail) oil on wood, 2011
In the 'Coffin Paint' series, the accidental dots protruding from the surface are hints of the slow progression of the artist’s work of “experiencing”, through which Wang Guangle appreciates the meaning of “time” over and over with continuous, mechanical repetition of a same movement on one surface. And the status and aesthetics of such a process is perceived by the viewers on the finished “Coffin Paint”. The form of time, culture and history is understood and revealed in the process of Wang Guangle’s partial covering of each layers of paint on his paintings. The work he shows this time in the solo show at Beijing Commune carries his uniformed process of form to a further extend. In the repetitive, uniformed process the artist conducts for form, the new aesthetics in his art practice seems to become more certain and absolute. 

Wang Guangle was born in 1976 in Fujian province, China. He graduated from the Department of Oil Painting, of Central Academy of Fine Arts (CAFA) in 2000, and now works and lives in Beijing. From the Terrazzo series to the Coffin Paint series, Wang Guangle becomes more assured in his drills of form and pushes his study even further. His works has been shown extensively in museums and gallery both in China and abroad. Besides painting, Wang Guangle’s creation also includes installation and other forms of art. He is one of the most potential young artists nowadays in China.' 

Thursday, 19 May 2011

Support Japanese Artists


Please support this auction if you can:  The auction aims to raise money which will go to Japanese artists to help them rebuild after the recent earthquakes. Galerie Appel in Frankfurt has many artists that work in an abstract manner, many of whom have donated artworks for the auction.
More info: www.galerie-appel.de/
Should any artists wish to take part in the auction, the details of the auction are as follows:
5 Sept. 2011 mount the exhibition for viewing before the auction, at the Museum of angewandte Kunst, Frankfurt am Main
6 – 10 Sept. exhibition auction pre-view
11 Sept. auction of the artworks
12 Sept. dismantling the exhibition

Artists keen to participate can post their artworks, listing the details (name, size in cm, technique, year) in July.

More information can be obtained from: vandermade@gmx.de and angelika.gilberg@gmx.de
Show the love.

Wednesday, 18 May 2011

Abstract Gardening at Otto Zoo

Marjolijn De Wit, has recently completed two prestigious European residencies: the Rijksakademie in Amsterdam and the Lia in Leipzig. This is her first solo exhibition at Otto Zoo



Nt, 2009, silkscreen print 100 x 70


The exhibition focuses on a central theme of De Wit’s work: the intervention of man over Nature that has now become a global influence on our perception, to the point where the boundary between natural and artificial has almost disappeared. She is in
terested in Nature as constructed by humans, romanticised parks and wilderness preserves and the commercialisation of eco-shops and resorts.

N.t.2010gouache_on_print14_x_14_cmNt 2010 gouache on print 14 x 14  
The installation Abstract Gardening brings together a series of works that are inspired by the art of gardening and its tools and techniques. Large oil paintings on display, small gouache, silk screens, collages and ceramic sculptures often used in conjunction with other materials like plastic and dried seaweed. De Wit is attracted to anything that is "in between"; the transition phase of these processes become undefined landscapes in her works. Her work lacks a moralistic attitude towards the environmental consequences of the continuing abuse of humans on nature; however we can sense the underlying assumption that no longer exists an idea of pure and unspoiled nature, with all the consequences that this entails. 
De Wit creates large paintings, gouache, silk screens, collages and three-dimensional works, where she is primarily focused on deformed aspects of Nature, stretching the limits of grotesque, where the abstract element makes her images most vital and ironic.


The taming of the wilderness and the romanticisation of landscape is linked with its democratisation.








Tuesday, 17 May 2011

Ai Weiwei at Lisson Gallery/Somerset House, London

'Coloured Vases' (2009/2010) Han Dynasty pots with industrial paints
A diverse and poigniant exhibition of recent works by Ai Weiwei are on show at the Lisson Gallery in London. These works in a variety of media and explore using abstraction through the artworks material nature and questioning while redefining its cultural significance shouldn't be missed. The exhibition continues until 16th July 2011.

From the Lisson Gallery: 'Greg Hilty of Lisson Gallery says:  “We are thrilled at the opportunity to bring to a UK public a selection of key works that demonstrate the range and sensibility of Ai Weiwei. Beautifully crafted, conceptually acute, poetically resonant, these works provide a concise overview of his concerns as an artist.”

In many ways deeply political, Ai Weiwei’s work explores the tension in ideology, what he describes “as being between a more interesting state of mind and a more dreadful state of mind. The artist should be for the interesting against the dreadful.” Using a variety of formal languages with both traditional and innovative methods of production, Ai links the past with the present and explores the geopolitical, economic and cultural realities affecting the world with humour and compassion. 

Described as “the best artist to have appeared since the Cultural Revolution in China” his work can be seen as a succession of gestures critiquing both commodity fetishism and the society in which he lives.'  

Lisson Gallery
52-54 Bell St.
London, NW1 5DA
England
Tel: +44(0)20.7724.2739

His 'Circle of Animals/Zodiac Heads' can be seen on show at Somerset House. Read a Guardian newspaper review here.

Thursday, 12 May 2011

Davis Cherubini at Newman Popiashvili

Cobalt is the first New York exhibition of this collaborative duo. Davis and Cherubini use different methods of collaboration. For Cobalt, they worked together, from conception to completion, traveling between Boston and New York. Though each brought specific skills and ideas to their process, decisions were mutually made, with neither artist responsible for a specific use of a single material. 


The inception of Cobalt began in 2010 in Boston when the artists began rolling out large slabs of raw clay. The shapes – the direct and immediate result of collaborative decisions and actions - led to a new body of slabs that materially incorporated color. Working in RISD’s ceramic studio, Davis, Cherubini milled dried pigments into the body of the clay, color now the substance of form. These then become the framework of the exhibition – incorporating other materials, form and sculptural practices. Newman Popiashvili Gallery
20 Hounds, 2011
Clay, glaze, plywood,
fir 2x4, pc-11
83.5 x 18 x 8 inches

Tuesday, 10 May 2011

'A Sort of Night to the Mind, A KIND OF NIGHT FOR OUR THOUGHTS'

This is an interesting mixed show of contemporary painters in London at the Arch 402 Gallery, some abstract, some semi-abstract, figurative and cross-disciplinary. This is showing until 10 June, 2011 (gallery hours: Wed-Fri 11-6, Sat-Sun 11-3 PM).
Roger Kelly, 'Separator' 2011
Phillip Allen,  Edwin Aitken,  Andrew Bick,  Simon Burton,  Varda Caivano,  Leigh Clarke,  Nigel Cooke,  Moyra Derby,  Pamela Golden,  Mark Hampson,  Beth Harland,  Mark Harris,  Vincent Hawkins,  Claude Heath,  Paul Housley,  Roger Kelly,  Bob Matthews,  Andrea Medjesi-Jones,  Jost Münster,  Martina Schmid,  Joel Tomlin,  Phoebe Unwin,  Julian Wakelin

'A Sort of Night to the Mind, A KIND OF NIGHT FOR OUR THOUGHTS', an exhibition of twenty-three UK based artists engaged with painting. Curated by Moyra Derby and Bob Matthews, the exhibition will also host a series of talks and educational events led by some of the featured artists.
 
Two alternative translations of
Honoré de Balzac’s description of illusion from the 1832 short story ‘The Purse’ provide the title for this exhibition. First shown at The Herbert Read Gallery  at the University for the Creative Arts in Canterbury, ‘A Sort of Night to the Mind, A KIND OF NIGHT FOR OUR THOUGHTS’ demonstrates the recurring relevance of illusion and in counterpoint, materiality. Illusion and materiality can be argued as so inevitable in the context of painting as to hardly warrant remark, but at the same time they muster such historically resonant responses and strength of feeling that they can feel like a prompt to take sides. However it is an interest in the productive play between these two qualities of a marked surface that has brought this group of works together, an acknowledgment of the imaginative potential of oppositions; “In the half light the physical tricks used by art to make things seem real disappear completely.... At that hour illusion reigns supreme; perhaps it comes with the night? Is not illusion a kind of night for our thoughts, a night which we furnish with dreams.'

Andrew Bick, oil on canvas, 2010


Monday, 9 May 2011

The influence of 'Constructivism' in abstraction, Henry Moore Institute, Leeds, Yorkshire

'Construction and its Shadow' this is a one day seminar programme at The Henry Moore Institute in Leeds, exploring the influence of Constructivism on modern and contemporary British abstraction this is taking place on Wednesday 11th May 2011. Details are as follows:

'This one day seminar is based on contemporary exchanges and arguments with artists from British Constructivism and Systems groups.

These exchanges, from positions frequently outside the constructive or systems based paradigm, seek to bring those models back in to contemporary debate. 

The work selected for the current collections display at Leeds Art Gallery, Construction and its Shadow, proposes argument as a form of communication between generations. Based on the belief that a largely overlooked area of British Abstraction has much to offer contemporary practice and theory, this seminar presents an opportunity to extend the debates of modernism. 

Elements of the day's discussion will form part of a subsequent publication intended to re-evaluate British Construction and Systems art and its ongoing impact. This event and exhibition, organised by the artist Andrew Bick, are the outcomes of his Henry Moore Institute Fellowship.

Papers include:
Sam Gathercole (Croydon College)
What passes and what remains: issues emerging from 1950s Construction

Linda Khatir (Bath School of Art)
Corsham Court - a hive of constructionist activity?

Jeffrey Steele (artist)
Construction and its Other

Gareth Jones (artist)
Grid-Plan Harlequin

Brandon Taylor (University of Southampton)
Constructivism's Tone

Cullinan Richards (Kingston University)
Shandyism and Its Effects [Extracts from a script 1969-2008]
further extracted 2010 - the title as support

This event is free of charge but places are limited.  To book a place please email research@henry-moore.org.'

 Below image:                     'Untitled' drawing, George Meyrick, 1984