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Gallery

Cerith Wyn Evans – White Cube

White Cube made a positive step towards returning to post lockdown normality by responsibly re-opening both London gallery spaces in mid June with reduced opening hours and pre-booked timed visiting slots to enable social distancing and avoid queues. The Bermondsey space is host to Cerith Wyn Evans’ ‘No realm of thought… No field of vision’ featuring light and glass installations, sculpture and painting. Two neon works produced in Krypton gas greet you in the corridor – one shaped like a cube and the other a bow-tie – immediately suggestive of Evans’ interest in mechanics, shape, form and perspective that are the backbone of this exhibition. As you peel away from the corridor, a gallery to the right houses multiple hanging mobiles constructed from cracked vehicle window screens that revolve subtly, refracting light as it hits them. A gallery to the left displays two tress rotating on turntables so slowly it is barely perceptible with spotlights creating kinetic shadows on the walls, accompanied by four new paintings of simple black brushstrokes across each canvas. Striking as these installations are, your attention is stolen by the next space housing a mesmerising neon sculpture suspended from the ceiling, inspired by drawings of the first helicopter designed in 1907 as well as the artists own inaugural neon commission. The prodigious gallery at the end of the corridor continues to impress with an oversized neon screen of Japanese kanji characters; a translation of a passage from ‘Sodom and Gomorrah’ written in 1921-22 by Marcel Proust, describing the movement of water through an 18th century fountain. This is flanked by numerous other neon and sound works, including ‘Composition of Flutes’ and ‘Pli S=E=L=O=N Pli’ which suspend from the ceiling or emit out of sync piano compositions or pulsating tones; the perfect soundtrack to these beautifully tangled works.

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Museum

Troy: The British Museum

Troy: myth and reality is not just the title of The British Museums’ current blockbuster, but also a perfect summary of the exhibition. The show focusses on the epic tale of Helen (the most beautiful woman in the world) who was abducted by Prince Paris of Troy after the goddess Aphrodite promised her to him which sparked a ten year war – and has fascinated archaeologists, writers, artists, film-makers and the public for centuries. It is visually impressive; blue silk screens with white text replace traditional vinyl on walls or panel information, key English and Greek phrases suspend from the ceiling, and archaeological finds, sculpture, paintings, original manuscripts, photography and a poster of the 2004 film starring Brad Pitt all vye for attention. The show explores the archaeological evidence from a hill site excavated in the 19th century and from the 1870’s excavations by German archaeologist Heinrich Schliemann, which geographically pinpoint Troy in what is now north-west Turkey and believed to be a real rather than mythical place. Depictions on classical pottery dating back to 400 BC, descriptions in Homer and Ovid’s poetry, a stunning marble sculpture of the wounded Achilles by Filippo Albacini in 1825, and re-tellings of the story in medieval paintings all show the heroes in battle, sorrow and downtime, making them multidimensional and real. There is a focus on the Greek hero Odysseus and his adventures trying to get home at the end of the war, made famous in Homer’s epic poem The Odyssey. It also examines the frequently overlooked women, from Helen (who sparked the war), to Hecuba (Queen of Troy), Aphrodite (goddess of love whose meddling led to the war), Penelope (wife of Odysseus), the Sirens (nymphs who tried to lure sailors to shipwreck through their singing) and many others, who like their male counterparts have captivated audiences. The show closes with modern takes on Troy, with a photograph by Eleanor Antin inspired by Rubens’ Judgement of Paris, and a light installation based on Achilles’ shield by Spencer Finch.

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Gallery

Antony Gormley: Royal Academy of Arts

The traditional Georgian architecture of Burlington House isn’t an immediately obvious setting for Antony Gormley’s large-scale robust metal sculptures and installations, but it certainly works. The dark wood flooring, panelling and high ceilings act as the perfect backdrop to the works on display throughout the main galleries. It is an exhibition that builds momentum, has pace and conversely moments of calm. The first space you enter contains fourteen horizontal and vertical cubic sculptures – “slabworks” – very typical of Gormley and his abstract exploration of the human form and its relationship with the space around it, but dare I say it… nothing spectacular. As you turn the next corner a lower-ceilinged room is filled with arguably the worlds biggest doodle, a sculpture which dominates the space and is almost bursting its way through the floors, ceilings and connecting doorways. It is quite an experience walking around the 8 kilometres of coiled aluminium tube, taking it all in. Another oversized gallery space houses “Matrix III” created from steel mesh ordinarily used to reinforce concrete, but this time formed into a three dimensional structure which suspends from the ceiling. Despite its weight, it somehow looks light as it floats above visitors who are able to walk below and around it. The adjoining gallery spaces contain sketches and preliminary drawings of these two monumental works alongside other works on paper, and having just viewed them I welcomed understanding the process and mechanics behind them. A room filled with metal human forms either standing, floating horizontally from various walls or hanging upside down from the ceiling, oversized metal fruits suspended from a vaulted ceiling in another space, a monolithic sculpture fills another, and finally a reflective space where the gallery floor is filled with seawater make up the rest of the show. The exhibition is as ambitious as you would hope for from Gormley, and certainly put a spring in my autumnal step!

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Gallery

Trio of female artists: White Cube Bermondsey

A trio of female artists have taken over White Cube Bermondsey for the current exhibitions; Palestinian born and London based Mona Hatoum is shown alongside American artist and activist Harmony Hammond, and Hungarian creative Dora Maurer whose work has spanned five decades. All three women work with different materials and use different mediums in their practice, but complement each other in that all of the works are more complex than they initially seem. Hatoum’s sculptures have a sense of fragility and the impression that they might collapse at any moment, echoing the current political sentiments of many countries. Despite several being constructed from robust materials including steel, concrete, bricks and iron filings – they dangle precariously from the ceiling or are positioned to look like pieces could clash into each other and shatter. Others have more obvious weaknesses including the charred remains of a kitchen, barley held together with chicken wire as the brittle ash could fracture at any moment, or are made from her own hair and nails. Hammond’s works mostly comprise large scale warm-white canvases. These have all been recently produced, but there is also a nod to her earlier feminist works evident in the display of ‘Bag IV’ created in 1971 and made from rags donated by female friends whilst living in New York and taking the form of a handbag which Hammond describes as three-dimensional brush strokes. This sculptural element continues in her newer canvases, which far from being flat surfaces include frayed edges, grommets, pin holes, and evidence of straps all thickly covered in paint. Maura’s paintings in contrast are bold and structured, and play with symmetry and graphics. Far from being simple however, this collection of rectangular and square canvases set at angles are cleverly transformed into seemingly three-dimensional floating forms through the simple use of colour.
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Gallery

Elmgreen & Dragset: Whitechapel Gallery

I was an Elmgreen & Dragset neophyte until last autumn, then on a work trip to Paris I stumbled across the artistic duo’s 1,000 Starfish installation at Place Vendome. Once back in London I learnt that Whitechapel Gallery was hosting an exhibition dedicated to the Scandinavian pairs’ work, entitled ‘This is How We Bite our Tongue’… and with only a week left until it closes on 13 January, I was given the new year impetus I needed to go and view it! The entire ground floor gallery houses a new commission The Ghost of Whitechapel pool, which depicts a fictional empty swimming pool and using this now abandoned civic space the piece questions local government decisions to cut funding and close these shared spaces. The edges of the pool also play host to numerous other sculptures; a classical inspired male torso toppled over and lying on its side, bronze casts of a Mercedes car seat and cooling boxes, an aluminium meteor on a trampoline, and two urinals connected by interlinked twisted drainpipes. Moving upstairs a series of exhibition wall labels painted directly onto white canvas or carved in white marble pay tribute to artists who have inspired them, and are accompanied by an installation encouraging the public to sit at a desk, have a glass of whiskey and read through the artists’ diary. In the final room of the exhibition, each work features a somewhat anonymous figure, ranging from sculptures of a little boy staring at a rifle, to a pregnant house-maid and a little boy cowering in a fireplace, all finished in matte white with minimal features, to a judicial wig hung on the wall minus a wearer, the outlines of two portraits which were once hung on the wall, and two white pillows cast in bronze with the impressions of the heads previous sleeping there still imprinted into them.

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Gallery

Modern Couples. Art, Intimacy and the Avant-garde: Barbican

After a chilly but beautiful autumnal stroll on Saturday afternoon, I sought warmth at The Barbican and turns out I wasn’t the only one… as the queue for their current exhibition ‘Modern Couples: Art, Intimacy and the Avant-garde’ suggested! Spanning both floors of the gallery, it examines almost fifty artistic couples from Camille Claudel and Auguste Rodin who were in a relationship from 1882 until 1892 through to Unica Zürn and Hans Bellmer whose relationship lasted from 1953 until 1970, and various heterosexual, homosexual, artistic threesomes and friendships in between. It explores “artists” in the broadest sense, including painters, sculptors, photographers, textile makers, musicians, writers, publishers, furniture designers and architects – and more interestingly the impact they had on each other and society by taking a stance on various civil rights issues. Each section comprises a short summary of the couple alongside a portrait of each artist individually or together as a couple, with Virginia Woolf making two appearances – on the lower level with Vita Sackville-West and on the upper level with Leonard Wolfe. The show includes big name artists such as Salvador DalÍ (and Federico GarcÍa Lorca), Pablo Picasso (and Dora Maar), Frida Kahlo (and Diego Rivera) and Wassily Kandinsky (and Gabriele Münter) but also introduced me to artists I was previously unfamiliar with or highlighted relationships where one partner has certainly hogged the limelight – often unfairly – over the other. The exhibition is certainly tinged with sadness and a sprinkling of madness; numerous tales of forbidden love, age-gaps, and mental health issues as well as Oskar Kokoschka who created a life-size doll of the composer Alma Mahler after jealousy brought an end to their relationship, Marcel Duchamp who sculpted miniature casts of Maria Martins genitals after their illicit affair came to an end, and Lavinia Schulz and Walter Holdt whose relationship came to a horrific close when the dancer and costume designer shot Holdt and then herself.

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Gallery Uncategorized

Dream Works: Kate MacGarry

On a humid London afternoon, the cold concrete space at Kate MacGarry offered some welcome refreshment… albeit with a sweating watermelon and various other surreal sculptures, installations and paintings which litter the gallery! The current ‘Dream Works’ exhibition is dedicated to four artists; two from the UK, one American and one Dutch who all explore ideas around surrealism, shape and form, and irrationality through a variety of mediums. The first of three concrete sculptures of oversized cucurbtia (google informs me this is a root vegetable akin to a squash!) is displayed on the floor as you enter, and a series of acrylic paintings by Luke Rudolf unified by their use of similar repetitive shapes in different colour palettes line the wall. As the corridor opens out into the gallery proper, a floor to ceiling wallpaper of a sweating watermelon and installation entitled ‘Bolobo Lamp’ both by British artist Jonathan Trayte dominate the space. These are joined by two prints of original watercolours by Dutch painter Madelon Vriesendorp and an oil on canvas work by American artist Jordan Kasey. Vriesdendorp’s piece ‘Flagrant Delit’ comes from an animation film made for French television and tells the story of the Statue of Liberty’s visit as a tourist to New York city, and her second work similarly offers an unusual take on city-scapes entitled ‘The City of the Captive Globe Revisited’. Jordan Kasey’s painting echoes the greys of the concrete sculptures and detail in both Rudolf and Vriesdendorp pieces, and zooms in on a small section of a staircase, making something mundane appear far more surreal. There is something overtly fun, arguably silly, and quietly challenging about all these works and I left the gallery smiling to myself as I re-emerged into the clammy city-scape of my own.

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Gallery Museum

Musée national Picasso: Paris

Having attempted to visit the Musée national Picasso-Paris on a couple of occasions but defeated by queues, it was third time lucky for me on a drizzly Saturday afternoon pottering around Le Marais! The museum is in the old Hotel Sale building dating back to the 17th century and listed by The Historic Monuments department. It opened as a museum in 1985 following extensive restoration, creating stunning modern gallery spaces whilst being sympathetic to the original architectural features and surviving furnishings. The collection comprises over 5,000 paintings, sculptures, ceramics, prints, engravings, illustrated books as well as an archive of newspaper articles and personal documents associated with the Spanish artist. The vast majority of the collection was acquired through two large donations from Picasso’s heirs, and is currently host to an additional body of work on loan from the Pompidou Centre as part of their 40th anniversary celebrations – offering a full spectrum of Picasso’s myriad styles and techniques. The lead exhibition focusses on the year 1932 during which Picasso dated every painting or sculpture he created, highlighting the strong biographical element in his work. This was also an interesting year with regards the artists’ personal life as many of the portraits painted depict variations of just two women; Dora Marr and Marie-Thérèse Walter, the former a photographer and surrealist artist who was Picasso’s mistress leading to the demise of his marriage to Russian ballerina Olga Khokhlova, and the latter a seventeen year old additional love interest of the forty-five year old artist! The variable and often contrasting portrayals of these two woman is a good analogy for the multifarious nature of Picasso as an artist, embracing innumerable different styles throughout his career. Ultimately that was what I took away from my visit to this museum – that Picasso was far more than the surrealist painter I was familiar with, but a far more complex and talented creator unafraid to provoke.

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Gallery

Evans, Janssens and Ortega: White Cube, Bermondsey

Three exhibitions for the price of one! In fact three exhibitions for the price of none if you head over to White Cube Bermondsey who offer free admission and are currently host to three different artists across their north, south and 9x9x9 gallery spaces. The first space you enter off the main corridor contains Cerith Wyn Evans’ huge neon installation ‘Neon Forms (After Noh IV) which is suspended from the ceiling and almost reaches the floor, combining single lines of light amidst chaotic overlapping assemblages. The north gallery space compliments the first show, as Ann Veronica Janssens’ sculptural works similarly play with light and perception; including halogen lamps, venetian blinds covered in gold leaf, reflective and mirrored surfaces and a spillage of glitter across the floor. The final (and largest) south gallery space is dedicated to Damian Ortega which again includes large-scale sculptures and installations alongside two-dimensional pieces. Orange infographics are pinned to the white walls, and although the imagery relates to a camera manual, the workings of a gun, or the planets within the solar system, closer inspection reveals that the labels are philosophical and comment on the impact technology has had on people’s faith and belief. Within these two-dimensional works are a series of industrial and mechanical sculptures such as the coliseum created from concrete blocks in concentric circles, and the clever ‘Deconstructing time’ sculptures which comprise the inner workings of a watch enlarged to an enormous scale and separated across the floor or stacked in free standing towers. The weather may be turning grey and miserable as autumn sets in, but the change in season also initiates the opening of several inspiring exhibitions to keep you indoors and happily distracted from the weather outside – and White Cube’s current offering certainly falls into that category!

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