Viewing articles tagged with 'Painting'

Interview with Henry Hudson

20:24:38 - 20:24:39 pm

The British-American artist Henry Hudson is known for his ‘Jungles': a colourful collection of plasticine works that have been exhibited around the world. And while he has an upcoming exhibition in India showcasing exactly that, he’s also venturing outside of his comfort zone. Recently, he has been exploring other mediums; ceramics, oil and iPad paintings, some of which will be on display at another exhibition in Vienna this fall. I joined Hudson at his East London studio to discuss what he’s been up to during lockdown and the pandemic-inspired works that are currently in progress. Interview by Shelby Wilder

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PHI Foundation for Contemporary Art, 451 & 465 Saint-Jean Street Montréal (Quebec) H2Y 2R5, Canada

RELATIONS: Diaspora and Painting

Bee-keeper

In addressing the diaspora, it is a mistake to think national and cultural identity can be rendered in any fixed format marked by an artist’s displacement from one place to another, as if the experience of a second generation immigrant who only knows of their native culture could be compared to someone who is forcefully removed from their place of origin. Review by Elaine Y.J Zheng

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Josh Lilley, 40 - 46 Riding House Street, London W1W 7EX

Tom Anholt: Notes on Everything

Tom Anholt, installation view

Anholt is as much a raconteur as a painter. There are not many contemporary artists, or writers for that matter, who can set a scene better. Figures plucked from his reverie traipse across the canvas in technicolour pyjamas like lost sleepwalkers in scenery that resembles a psychedelic underworld. Review by Ted Targett

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Camden Art Centre, Arkwright Rd, London NW3 6DG

The Botanical Mind Online

O, you happy roots, branch and mediatrix (screen 1)

‘The Botanical Mind: Art, Mysticism and The Cosmic Tree’ was originally intended to be an in-house group exhibition at Camden Art Centre. Instead, the spread of COVID-19 and the closure of public gallery spaces saw the show move to the digital realm and become ‘The Botanical Mind Online’. The exhibition is hosted at botanicalmind.online, which serves as both the main space to read about the themes and topics of the show, and the central repository for a number of digital offerings, from videos, sound recordings, and podcasts to texts. Review by Aidan Kelly Murphy

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The National Gallery, Trafalgar Square, Charing Cross, London WC2N 5DN

Backlit: On Visiting The National Gallery, London from Home

Room 11 at The National Gallery, London

Since the lockdown announcement on the 23rd March, galleries and museums across the UK have been emphasising the scope and availability of their digital collections, encouraging the public to engage with high-resolution reproductions of their artefacts online. Considering the work of art in the age of digital reproduction may not be a new phenomenon. And yet, the enthusiasm with which many institutions have been vocalising the accessibility of their archives on the Internet raises the volume on several important questions regarding the significance, if any, of the artwork as a physical, encounterable object, and the responsibility of museums to ensure that their collections are available online. Review by Rowland Bagnall

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Bortolami, 39 Walker St, New York, NY 10013, United States

Rebecca Morris

Rebecca Morris, 2020, installation view, Bortolami, New York. Images courtesy the artist and Bortolami, New York. Photography by Kristian Laudrup

Every few years or so, the death knell of painting is sounded. Critics, artists and gallerists proclaim that the time of painting, is over. But for Rebecca Morris, the Los-Angeles based artist known for her ambitious abstractions, painting continues to surprise. “Abstraction never left, motherfuckers,” Morris proclaimed in her manifesto, written in 2006: “Don’t pretend you don’t work hard… Be out for blood….” Review by Claire Phillips

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De La Warr Pavilion, Marina, Bexhill On Sea, East Sussex TN40 1DP

Zadie Xa: Child of Magohalmi and the Echoes of Creation

Installation shot : Zadie Xa, Child of Magohalmi and the Echos of Creation, 2020, co-commissioned by Art Night, London; YARAT Contemporary Art Space, Baku; Tramway, Glasgow, and De La Warr Pavilion, Bexhill-on-Sea.

By exploring aspects of a mythologised Korean entity - represented by the shamanic Magohalmi grandmother figure - Zadie Xa’s practice poses timely questions of the position of the diasporic artist identity and theories of hybridity during a period of debates on national allegiance and community identification. The coastal natural light and gleaming streamline modern architecture of the De la Warr Pavilion show this sumptuous installation of Zadie Xa’s costumes and paintings to their best. Review by Piers Masterson

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Keelin Montzingo: The Isolated Cut Out

Keelin Montzingo, Don't You Live on Broadway, 183 x 153cm, acrylic on canvas, 2020

Today as the boundaries between the personal and public are so murky, sousveillance is both a form of protection and an act of surrendering personal identity to corporate data banks. The act itself caught between an effort to control and shape one’s image and a helpless compulsion to either hand over aspects of private life or deliver an expected idea of self to an imagined audience. Keelin Montzingo’s paintings reflect on this grey area, neither criticising nor celebrating but rather trying to decode the way we have turned the camera on ourselves and use digital space to reclaim ownership of the female form and redefine the gaze. Referencing 20th Century male painters, Montzingo uses the image of the cutout female nude, weaving compositions of layered bodies which appear in nondescript digital spaces. Figures float over pixelated backgrounds, washes of colour and digital glitch in a non-physical realm of disruption and static. Text by Gabriella Sonabend

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Billytown, Helena van Doeverenplantsoen 3, 2512 ZB The Hague, Netherlands

Ide André: Just a Satisfying Spiral

Just a Satisfying Spiral by Ide Andre at Billytown, The Hague

There is something very compelling about Ide André’s ‘Just a Satisfying Spiral’ that impresses itself on the viewer right upon entry. The airy exhibition hall not only bolsters the lively and idiosyncratic nature of the works by giving them ample space to breathe, but it also suites the dynamism that pervades the show’s constituents. Viewers quickly notice that they are in a transitional zone. Review by John Gayer

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Austrian Cultural Forum, 28 Rutland Gate, Knightsbridge, London SW7 1PQ

HYPERSURFACE

Installation view, HYPERSURFACE, Austrian Cultural Forum

‘HYPERSURFACE’ at the Austrian Cultural Forum, curated by Caterina Avataneo and Nicole Tatschl, explores the possibilities of making and seeing within relations of complex surfaces and artistic practice. Featuring mostly Austrian artists and a range of mediums including painting, sculpture, text and animation, the show treats surface not as an end but as an active means to accessing various layers of substance and interpretation. Review by Sonja Teszler

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Rathfarnham Castle, 153 Rathfarnham Rd, Rathfarnham, Dublin 14, D14 F439, Ireland

Sven Sandberg: They went and saw a palace hanging from a silken thread

Sven Sandberg: They went and saw a palace hanging from a silken thread, installation photograph

Rathfarnham Castle was, and remains, the original hosting space for Sven Sandberg’s solo show ‘They went and saw a palace hanging from a silken thread’. Currently, it can only be viewed online as the space, along with Ireland’s other cultural institutions, remain indefinitely closed. Presented by Berlin Opticians, a primarily online gallery that operates a nomadic lifestyle in the physical world, often occupying historical buildings, images of Sandberg’s works can be viewed alongside in-situ documentation. Review by Aidan Kelly Murphy

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Nottingham Contemporary, Weekday Cross, Nottingham NG1 2GB

Denzil Forrester: Itchin & Scratchin

Denzil Forrester: Itchin & Scratchin, 2020. Installation view of Nottingham Contemporary.

Spanning the whole of Denzil Forrester’s career from ‘The Cave’ (1978) painted before the artist went to the Royal College of Art, up to works made in 2019 during a first trip to Jamaica, the movement and dynamism of Afro-Caribbean Dub-Reggae scenes with depictions of club nights, sound systems, house parties and Carnival remain the major subject of the work. Review by Piers Masterson

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Simon Lee Gallery, 12 Berkeley Street, London W1J 8DT

Donna Huanca: Wet Slit

Donna Huanca: Wet Slit, Simon Lee Gallery London, installation view

Donna Huanca’s ‘Wet Slit’ at Simon Lee Gallery provides a bodily experience of her work. Like the ice sculpture encasing Klein blue hair, only present for the show’s inaugural weekend as it shed water to nothing, we are encased by the exhibition in its evolving sounds and smells, moving beyond the visual. The sound of water dripping and splashing, a glass occasionally smashing, plays on loop. Review by Tess Charnley

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Charleston House, Firle, Lewes East Sussex BN8 6LL

Shani Rhys James: tea on the sofa, blood on the carpet

Shani Rhys James: tea on the sofa, blood on the carpet, Charleston, 1 February - 19 April 2020

Welsh artist Shani Rhys James’ portraits are brutally honest and emotionally charged. Many of the paintings in the exhibition draw on Rhys James’ childhood memories or explore her uneasy relationship with her mother. In ‘Blue Top’ (2013), the woman is depicted in early middle age, looming large above her small daughter, while in ‘Glass of Water’ (2017), she lies hunched against her pillows after suffering a stroke late in life. In both large paintings, the woman’s dark eyes stare out from the canvas – pupils which, on closer inspection, resolve from black into impasto swirls of purple, blue and green. Review by Anna Souter

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