31 May 2018 2018, Antoni Hervàs, Batia Suter, field trip, Leonor Antunes, London, Nicholas Mangan, oxford, research, Sean Lynch, Tate Modern
(Above and below) These column capitals are the main reasons we visited Oxford. They were carved for the Oxford Museum of Natural History in 1859-60 by Irish brothers James and John O'Shea, along with their nephew Edward Whelan. Commissioned by John Ruskin, all the works were carved freestyle, without previous sketches, using only plant specimens from the botanical garden, and their sheer imagination, as references.
They are the protagonists of Sean Lynch's 2013 piece "A Blow by Blow Account of Stonecarving in Oxford", which we have been discussing with Sean for a while and finally saw in 2015 in Bordeaux. We continued learning more about this piece and its making during our joint adventure in Banff's "Geologic Time" residency programme last Fall.
Polycarbonate and brass screens and rope sculptures. Each screen corresponds to the exact measurements of one of the glass panels in the Upper Lawn Pavilion in Wiltshire, built between 1959 and 1962 by the British architects Alison and Peter Smithson (1928-1993 and 1923-2003).
(Above) Tacita Dean's "Landscape" exhibition premiered "Antigone", a new 1-hour long film and cloud paintings at The Royal Academy. Part 2 and 3 in the National Portrait Gallery (a retrospective of portrait films works) and at the National Gallery a two-room exhibition curated by the artist presents a selection of historical and contemporary still lives. (Above and below) Batia Suter's work at The Photographers' Gallery. One of the nominees for the Deutsche Börse Photography Foundation Prize 2018. (Above) The 2018 awardee was Luke Willis Thompson with his striking film "Autoportrait" (also nominated for this year's Turner Prize). Nicolas Lamas (above and immediately below) and Petra Feriancová (two following) two-person show "Becoming animal" at Tenderpixel.
(Above and below) August Sander's "Men without masks" at Hauser & Wirth included an extensive selection of rare large-scale photographs made between 1910 and 1931. The photographs were printed in a unique oversize format for inclusion in an exhibition at the Mannheimer Kunstverein in 1973.
(Above and below) 1960s vinyl sculptures by South Korean Seung-taek Lee at White Cube (Mayfair). Works have been recreated for the exhibition using urethane vinyl to achieve greater durability whilst retaining a similar visual quality.
(Above and 2 below) Last day to see Magali Reus solo show at South London Gallery. (Above and two below) Osías Yanov's "Orphan Dance" at Gasworks. (Above and below) Antoni Hervàs studio at Gasworks
, his 3-month residency is supported by Acción Cultural Española (AC/E).
(Above and 2 below) Joan Jonas exhibition at Tate Modern. (Above) View of Trafalgar Square with Michael Rakowitz's "The Invisible Enemy Should Not Exist" featuring on the Fourth Plinth commission.
On the way to see Tacita Dean's-curated exhibition "STILL LIFE" at the National Gallery, a much-obliged stop in the room with Vermeer and Dutch still life. Jacob van Walscapelle (1644-1727) and Jan van Huysum (1682–1749) masters in flower painting.
Not photographed but also visited: Chisenhale Gallery, Matt's Gallery, Spruth Magers, Blain Southern, Pilar Corrias, Frith Street Gallery (both locations), Hollybush Gardens, Josh Liley Gallery, Kate McGarry, Mother's Tankstation, Modern Art (unexpectedly closed when it should have been open!, and so was Project Native Informant – which had a broken lift so had to go up 3 flights of stairs).
09 May 2018 2018, Ana Jotta, Berlin, Cologne, field trip, Gallery Weekend, haegue yang, Lawrence Weiner, Mariana Castillo Deball, Teresa Solar, Wakelet
(Above) Detail from the K, inaugural show dedicated to exploring the work of East German designer and exhibition-maker Klaus Wittkugel. K, A Year with P. Krishnamurthy on Ebersstrasse 3 (Schöneberg) is a workshop for exhibition-making led by designer, curator, writer and educator Prem Krishnamurthy, co-director of the multidisciplinary design Wkshps, which extends his previous exhibition space and ‘mom-and-pop’ P! based in New York between 2012-2017. The project is organised in collaboration with KW Institute for Contemporary Art. All photos: Latitudes. (Above and below) Claudia Comte's ‘When Dinosaurs Ruled the Earth’ at König Galerie's St Agnes, Berlin. (Above) ‘ARTHUR JAFA: A SERIES OF UTTERLY IMPROBABLE, YET EXTRAORDINARY RENDITIONS’ at the Julia Stoschek Collection. (Above) Loris Gréaud at Max Hetzler.
(Above and below) Lawrence Weiner and Manfred Pernice in the old/new venue of Konrad Fischer Galerie, Berlin.
(Above and below) Nevin Aladağ's ‘Mustrop’ exhibition at Wentrup, Berlin.
(Above and two below) Ibrahim Mahama at DAAD Galerie, Berlin.
(Above and below) One of the most interesting sections of the expansive ‘Hello World. Revising a Collection’ exhibition, was ‘Colomental. The Violence of Intimate Histories’ curated by Sven Beckstette and Azu Nwagbogu. The curators commissioned four artists (Joël Andrianomearisoa, Peggy Buth, Astrid S. Klein and Dierk Schmidt) to produce work critically reflecting on the lack of contemporary art holdings of the National Galerie on the connections between African countries and Germany. Above Peggy Buth's work tracking the display and inventories in colonial museum revealing their historical narratives and representations. Below works by Joël Andrianomearisoa.Very happy to finally be able to see this object in the flesh: "Nuage articulé" one of the most beautiful Surrealist objects firstly executed in 1937 with dry natural sponges by the German-Austrian-Mexican artist Wolfgang Paalen.
(Above and below) Olivier Laric's ‘Year of the Dog’ at Tanya Leighton, included the European debut of his latest animation video ‘Betweenness’ (all 2018), alongside ‘Hundemensch’ a group of pigmented cast resin anthropomorphic sculptures. (Above and below) Becky Beasley's ‘Depressive Alcoholic Mother’ show at Galeria Plan B. (Above and below) AA Bronson + General Idea, 1968–2018, ‘Catch me if you can!’ exhibition at Esther Schipper. (Above and following two) Mariana Castillo Deball's ‘das Haut-Ich’ at Galerie Barbara Wien, taking the tonalpohualli calendar and the deity Xipe Totec as a starting point. (Above and below) ‘Defying Gravity’ exhibition by Swiss artists Taiyo Onorato and Nico Krebs occupying the two floors of the Maschinenhaus (Power House) at KINDL - Centre for Contemporary Art, gathering photographs, 16mm films, sculptures and new installations from the past decade
4h train to Cologne. The 2017 edition of "KölnSkulptur #9" titled ‘La fin de Babylone’ added new works by Andrea Büttner, Claudia Comte, Jan Kiefer, Eduardo Navarro, Solange Pessoa, Lin May Saeed, Teresa Solar and Pedro Wirz to the existing collection; and was curated by Chus Martínez. Above and following seven photos. (Above and below) ‘Pumping Station’ (2017) by Teresa Solar.
(Above) ‘The Nordic Cactuses’ (2017) by Claudia Comte.
(Above) Michael Sailstorfer (helicopter) and Mark di Suvero.
(Above) ‘Untitled’ (2017) by Solange Pessoa.
(Above and below) ‘Schale’ (2017) by Andrea Büttner. (Above) ‘Pagliaccio non son’ (2011) by Jimmie Durham.
(Above) ‘Garten’ (1997–1999) by Peter Fischli and David Weiss.
(Above) Pathway into the park. (Above and below) View of ‘Games of Decentralized Life’ exhibition by Simon Denny at Galerie Buchholz, Cologne, around Bitcoin and other cryptocurrencies. (Above and below) View of the exhibition ‘The Superman’ by Alex da Corte on view the at Kölnischer Kunstverein. (Above) Beautiful 1950s architecture of the Kölnischer Kunstverein.
(Above and following) View of Haegue Yang's mid-career retrospective ‘ETA 1994–2018’ at Museum Ludwig in Cologne. In this room ‘Series of Vulnerable Arrangements’ are displayed alongside ‘Seven Basel Lights’ and ‘Medicine Men’.
(Above) ‘Mountains of Encounter’ and ‘Sol Lewitt Upside Down — K123456. Expanded 1078 Times. Doubled and Mirrored’.(Above) Installation ‘5, Rue Saint-Benoît’. (Above) View of the first solo exhibition ‘ DAS – IST — DAS?’ in Germany by Ana Jotta at Temporary Gallery, Cologne. Curated by Regina Barunke and Miguel Wandschneider.
- Report from Berlin Gallery Weekend and Cologne, (28 April–4 May 2018) archived on Wakelet.
- In conversation with Haegue Yang, Fundació Tàpies, Barcelona, 3 May 2017. 18 April 2017.
- Participants in the symposium "You're such a curator!" at de Appel Arts Centre, Amsterdam, (23–24 November 2016) and Amsterdam Art Weekend 12 December 2016
- Mariana Cánepa Luna reviews Ana Jotta’s “Abans que me n’oblidi (Before I forget)” exhibition in art-agenda 11 November 2016.
- Haegue Yang "Der Öffentlichkeit" commission and 'Ends of the Earth – Land Art to 1974' at Haus der Kunst, Munich 11 November 2012;
- Report from Urdaibai: commission series 'Sense and Sustainability', Urdaibai Arte 2012 22 July 2012;
- Report from the symposium 'How Institutions Think' organised by the LUMA Foundation and CCS Bard College, Arles, 24–27 February 2016;
- Report from Amsterdam Art Weekend 27–30 November 2014;
- Photo report and Storify of the symposium "When Does an Exhibition Begin and End?", National Library of Singapore, 14 May 2014;
- Report from Frieze week: Frieze Art Fair, Frieze Masters and the whole other rest, 12–18 October 2014;
- Report from Madrid: Exhibitions during Apertura 2014 Gallery Weekend (11–13 September 2014);
- 'Incidents of Travel' Hong Kong, 7 January–10 February 2013.