On 9 May, 200% will launch an art book featuring Marina Abramovic, Halina Reijn, Es Devlin and Sylvain Le Guen. Twenty large images of one of Holland’s leading actresses, Halina Reijn, will be displayed in the 200% Pop-Up Gallery during May. Limited Art Edition The upcoming issue of 200% will be published as a Limited Art Edition, hard-covered book of 1,000 copies. The cover of copy numbers 1-500 feature the Performance Artist, Marina Abramovic. Copy numbers 501-1,000 feature Halina Reijn. Both women were photographed by Rahi Rezvani. Halina Reijn Exhibition In conjunction with the Book’s launch, 200% will open a Pop-Up Gallery. A series of images from the Halina Reijn photo shoot, which features in the Book, will be exhibited at the Gallery, on the Rozengracht, in Amsterdam. The series, named ‘Reijngold – The Raw Emotions of Halina Reijn’, consists of 20 arresting images. The actress portrays a range of emotions, with her face and her body, that vary from ‘Shamed’ to ‘Lustful’ to ‘Psychotic’. Opening hours The Gallery is open between 9 – 31 May, 2014, from 12.00-18.00, Wednesday to Saturday. Address: Rozengracht 166, Amsterdam. More about the content of the 200% book in upcoming posts.
Graham Gouldman doesn’t answer the door when I’m standing in front of his house in North-West London. I call his manager, saying that he is not there, and he tells me he will call Graham. Within ten minutes, the bass guitarist of 10cc arrives, profusely apologising. He tells me he was still working in the studio on some songs and had lost track of time.
At the age of 67, Gouldman is still addicted to song writing and curious to find out if he can write another classic pop song to add to his impressive list of classics that he has already written for others. He penned ‘No Milk Today’ for Herman and Hermits, ‘Look Through Any Window’ and ‘Bus Stop’ for the Hollies, and ‘For your Love’ and ‘Heart Full Of Soul’ for the Yardsbirds. Also, in collaboration with Eric Stewart, he wrote 10cc’s biggest hits, including, ‘I’m not in Love’, ‘Wall Street Shuffle’, ‘Art for Art’s Sake’, ‘The Things We Do For Love’ and ‘Dreadlock Holiday’. It’s a back catalogue that would make many musicians decide to live off their royalties and spend the rest of their life on a Caribbean island, which Gouldman sings about in their eponymous hit song.
Gouldman’s career can be divided into four different song writing periods. In the 1960s, he wrote for The Yardbirds and The Hollies. This was followed by the 10cc era that, primarily, consisted of two diverse writing teams; Kevin Godley and Lol Creme wrote more experimental songs containing witty and clever lyrics, whereas Gouldman and Eric Stewart wrote the band’s more commercial songs. In the 1980s, Gouldman formed Wax with Andrew Gold. Since then, he has released two solo albums. He still performs with 10cc, as the only original member, as he still loves to play.
When I sit with the Mancunian in his living room, he makes an energetic impression and talks infectiously about song writing. We discussed his style of song writing, a songwriter’s ‘flow’, and whether a songwriter’s character is reflected in his songs.
200%: Paul McCartney writes meaningful lyrics about life’s positive aspects that, according to some, is more difficult than writing prose about dramatic events. Is it your intent to write lyrics that are uplifting that focus on the positive aspect of life?
Graham Gouldman: You write about what’s happening to you at the time. Over the last years, a lot of positive things happened to me that is reflected, for instance, on my album ‘Love and Work’. It was only when I finished the album that I thought about it [a lot of positive things happened to me]; two songs specifically reflect this. One is about my wife, Ariella, which is quite humorous, with a basis in fact, and the other is ‘Memory Lane’ – a song that resulted from a trip I took with Ariella to Manchester to show her where I grew up. When we returned to London, as we had such a lovely day, which was so uplifting, I wrote that song as an expression of the day’s experience.
The baby on the cover of that album, which was designed by the late Storm Thorgenson, represents new life, but the rocking horse is an old rocker – that’s me. It represents me and my new life as in where I’m at now.
200%: So, the songs and artwork are a reflection of what’s occurring in your life?
GG: Yes, although it might not happen immediately. I wrote a song about my dad with Andrew Gold called ‘Ready To Go Home’ as to how his passing away affected me, but it was written four years after he died. Not everything is written immediately; sometimes, something traumatic like that needs to mature before it can be expressed. A lot of the time, though, you don’t have to experience certain things to imagine them and then write about them. If it’s convincing then you have done your job.
200%: Do you think if a songwriter tends to write more about positive or negative aspects of life that it is, also, a reflection of his character and his outlook on life?
GG: I think so. You can look at a body of work and you learn something about the songwriter’s personality. Take McCartney, he has been writing songs for decades; eventually, like anything, your character will show through. Lyrically, he tends to write about positive things, like in ‘Penny Lane’. Although, he also wrote one of the saddest songs of all time, ‘Yesterday’, and a song like ‘Helter Skelter’ is no laughing matter.
200%: Do you think that the humour in your work has changed over the years?
GG: I still love the same type of humour as I always did. Now, it’s probably more subtle. I like wordplay. On the ‘Love and Work’ album there are no funny songs but there are some funny lines, like in ‘Ariella’: “I thought she ordered Korma but she went for something warmer”. On our first date, I went with Ariella to a curry place. She didn’t actually order a Korma, but it’s ok to say. In the song I sang, “I’m going for the Jalfrezi” and I think it’s nice to use words that are a bit unusual. It fitted nicely with the whole Indian food idea.
200%: In the title of your album, ‘Love and Work’, the love is clearly there with songs about your loved ones, such as your wife and your late-friend Andrew Gold. For the work element, are there songs that are about 10cc – a substantial part of your working life?
GG: I don’t think there is any actual reference to it in the lyrics. There is, perhaps, greater reference to my 1960s period in terms of the song writing in the way that I used to write, pre-10cc. I wanted all the songs to be very direct so that you understand the melodies immediately. A lot of the material just started with me and the guitar as I wanted them to sound good with just a voice and a guitar. Whereas, with 10cc, it was almost the opposite; we had our own studio and we could have any instrument we wanted. With the writing, Eric would always play keyboards and I played guitar – there was a much fuller sound.
If it’s just yourself and a guitar, the music is more stripped down, and the melodies have to be clean, right from the start. For that album I wanted to write songs that you would get right away. When you hear the Canadian singer-songwriter, Ron Sexsmith, as soon as he starts singing, the conveyance is immediate, you got it right away and I’ve always liked that. I try to do that as well. I don’t want to say “listen to it three or four times and then you’ll get it”, I want you to get it as it’s happening.
I also love performing, which is very stimulating for song writing. The riff to ‘Ariella’ was born at a sound check. I played it there for the first time and we kept playing it. It was driving me mad and eventually it found a home.
200%: I wanted to ask you something about the flow of song writing. In the beginning of the 1970s, the 10cc hit songs flowed one after the other, but gradually came to a halt in the 1980s. When you were struggling to write, did you consider using an unworked idea from the 1970s hits period?
GG: No, that doesn’t work. For some reason, things reach their sell by date. An idea, a concept or a style of song goes in and out of fashion. Sometimes, things can come back, like the Daft Punk album ‘Random Access Memories’. That record could have been made in the 1970s. I like the style of it, the songs – I think it is very good.
I don’t know of anyone in pop music who has been able to consistently, however good they are, write hit songs after hit song. Even the greatest songwriters go out of fashion and, then, they might come back.
Also, at a certain point in pop music, we became used to a type of music, and we have had enough of that. A good example is the Punk Period when everything that was made before was blown away. Change is good. I never said that Punk-music is good, though, but the change is good. Now, the big thing is electronic, dance music, but lyrics don’t mean very much, they seem very generic. I’ve always believed that you should do what you do best and keep doing it. If you love your work, keep doing it and good things will happen. I always loved the writing, making a demo or making the record, I love playing on records and producing – I’ve got no complaints really [laughs].
Written by Thierry Somers. Artwork by Deborah Azzopardi, ‘I’m Not in Love’, 2013, Courtesy The Cynthia Corbett Gallery and Graham Gouldman.
One of the striking images in the show refers to the impasse between Palestine and Israel as the conflict drags on. It is very simple, yet conveys a powerful message of hope. From both countries’ flags, he has created the silhouette of a gun; the ‘trigger’, though, has been transformed into the head of a dove – a subtle, but smart adaptation. By showing the image at a 45 degree angle, the ‘gun’ becomes a peace dove spreading his wings, flying freely over the Israeli West Bank barrier.
Bar is renowned for his ‘double-take’ imagery. He plays with what he calls the ‘negative space’ and ‘positive space’, in which a second image can be discovered within the first image. Another example of his clever use of negative space is ‘Which Came First?’ In the swirl of a question mark we see the head and neck of a chicken appearing. The dot is changed into the shape of an egg. Working with negative and positive space means that Bar will look at things from more than one perspective.
“I try to consider the other side’s view, I see things that other’s don’t see, or won’t see,” he explains. “I feel as though I am the kid saying “but the king is naked” in the tale ‘The Emperor’s New Clothes’. Often I feel like that”. With his balanced perspective, it qualifies Bar to make piercing commentary on countries in conflict, and to expose their current and social situations.
The show is filled with propaganda symbols, peace signs, guns, rifles, bombs, skulls, military helmets, and barbed wire, to which Bar gives his own twist. It gives the show a certain poignancy. Whilst we shouldn’t have illusions that Bar’s work will resolve the conflicts between warring nations, his work does, though, breathe a sense of urgency, immediacy and call for action into these ever continuing situations. Through his work, he makes it possible for people to more easily relate to the conflicts, rather than trying to understand the diplomatic and political attempts to resolve such conflicts behind close doors.
200% met with Bar in the peaceful environment of Highgate Wood, his ‘office’, where he works every day from 9am until 3pm, to discuss his new show.
200%: For this show you approached people via Facebook, in countries currently engaged in conflict, to post materials, of up to 1cm in size, to your home in London. Were you overwhelmed by the response?
Noma Bar: Yes, I was. I have received, flags, maps, photos, children’s books, magazines, carpets, newspapers and even currency from North-Korea, which is actually illegal to send outside of the country. From this material, on one page, I created a meeting of two countries whom are in conflict such as Israel and Palestine, Greece and Turkey, India and Pakistan, US and Cuba. With my dog-shaped cutting machine, from the material sent to me, I cut it into shapes such as peace signs, guns, bombs etc. I’m forcing warring countries to live peacefully alongside each other.
200%: Your work is journalistically informed, and you address political subjects in your work. Does that stem from your childhood in Israel?
NB: Absolutely. As a child, I saw everything in one of the most controversial places in the world, Israel. I’ve seen corruption from both sides, Israel and Palestine. I was in the army for three years. I’ve been in all this crap, been part of systems to which I didn’t belong, but I had to be there. From 18 to 21 years of age, I was in the Israeli Navy, fighting with an M16 on my shoulders and sleep with a M16 under my pillow. If I’d chosen not to do it, I would have been incarcerated for three years. I have experienced the ‘men’s culture’ and seen what happens to men when they are together, how deadly and corrupt it can be, and I escaped from that. I’m almost forty years old. I see people in their twenties going out onto the streets and I totally relate and understand about their protest against corruption, against politicians’ cover-ups.
NB: I want to tell a story as well as I can, in its more simplistic form. Although I haven’t completely analysed it, I think that the minimalism in my work may be a reaction to the saturated, visual world in which we live. There is so much, data / information; its everywhere, such as blogs, television, promos, and computer games, that it becomes almost surrealistic.
I have the ability and talent to strip everything back to a minimum, whether it’s a complex book by Murakami or a Hollywood film such as Pulp Fiction. I’m like an Roentgen machine, as I’m able to see the skeleton of the story immediately. I don’t like ‘overdoing’ especially when there is no idea behind it.
Also, I live a modest life in London, which is reflected in my work, that, I consider to be quite modest, also. Previously, I lived a modest life in Israel; living a life like that affects your thinking and behaviour. You realize that you don’t need a lot to survive. You need two or three things and you need to know what you like.
NB: Perhaps. I try to peel things back such that they become exposed, which is also reflected in my work. I’m not cheating in the use of 3D or renderings as I use my computer in an effortless way, meaning that, if I’m doing 3D, it’s a real 3D. In my work I’m trying to achieve some honesty with regard to the shapes, the messages behind the piece, and to provide something about which to ponder.
Noma Bar, Cut the Conflict, Rook and Raven Gallery, London. Until 21 December 2013.
Text: TS. Images: Noma Bar. From top to bottom: US-Iran, Israel-Palestine, Israel-Palestine, North Korea-South Korea, Greece-Turkey
Underneath the curvy, swirling white roof of Zaha Hadid’s futuristic new building, the Serpentine Sackler Gallery, the voices of a future generation were heard as the Serpentine Gallery hosted their eighth Marathon session. This year’s theme was 89plus, and for two days, emerging practitioners born in, or after, 1989 were brought together with influential thinkers of other generations.
The founders of the 89plus project, Hans Ulrich Obrist (Co-director of Exhibitions and Programmes and Director of International Projects at the Serpentine gallery) and Simon Castets (Director of the Swiss Institute/Contemporary Art, New York) selected the year 1989 for particular reasons. In that year, the Berlin wall collapsed, marking a new era of the post-Cold War period and the introduction of the World Wide Web, which saw the beginning of the universal availability of the Internet. The idea behind the Marathon, though, was not to organize an ‘Idols for Artists’. The organisers were not seeking to forecast artistic trends or predict future creations; rather, they wanted to bring together individuals from a generation whose voice is only starting to be heard.
During the summer of this year, at the Manchester International Festival, Obrist curated the ‘do it 20 13’ exhibition which included an Homage Room, as he explains. “We conceived a room that featured living artists’ reactions to instructions originally created by artists that are no longer with us. For example, Tracey Emin did an homage to Louise Bourgeois, Wade Guyton to Richard Hamilton, Tino Sehgal to Felix Gonzalez Torres and Olafur Eliasson to Francesca Varela”.
In Obrist’s view curating is as much about the future as it is about the past. He quotes the German art historian, Erwin Panofsky, who once said: “If you want to build the future you very often build the future out of fragments from the past”.
“I am also interested in the idea of how to curate the future, in a very different way than ‘do it’, more in a generational way,” he continues. “What fascinates me is that this truly the moment where a completely new generation emerges, i.e. those born in the late 1980s and early 1990s. They are the first generation to grow up with the Internet. About three years ago, whilst Simon Castets and I were both in Yokohama, we had a discussion about the fact that we were not familiar with many artists, designers, or composers of the generation who are now 23, 24 years old, or even younger. In the intervening period, as it continued to arouse our interest we started to systematically map out the arrival of this new generation”.
I asked Castets if they made a list of criteria for which 89plus voices would be included in the Marathon. “89plus is fuelled by an ongoing open call for submissions to 89plus.com, where we maintain a private database of work by innovators from all fields. When selecting participants for the Marathon, there was no specific ‘criteria’ per se. Instead, we were interested in bringing together some of the most exciting 89plus innovators and creative practitioners from all different fields – art, music, design, technology, literature, science, mathematics – with international experts who are major influences for this generation”.
I attended the second half of the Saturday afternoon Program. This included readings by a new generation of poets of their work, an interview with a teenage ‘tech’ entrepreneur and presentations on the Internet and digital technology – turning the Marathon into a mini ‘Wired’ magazine conference.
Some of the poems’ content was confrontational, including some profane language, but provocative. The public’s favourites – including mine – were Crispin Best (who once wrote a poem called “Dick”, that goes: “My dick is so big, it looks like a close-up of a dick”) and Rachael Allen. Best’s delivery was vivid as he read out his witty poems. Allen stood out with her heartfelt poems, her incredible diction, as she delivered the densely written paragraphs, and a dazzling cadence of sentences.
The poetry block was followed by an onstage interview between Castets and Nick D’Aloisio, a 17 year old ‘tech’ entrepreneur, who first came to the fore with his iPhone app ‘Facemood’. The app predicts the mood of a user, on the basis of their Facebook status update. Previously, no one had looked at Facebook in a context of sentiment and mood, so it was an unique app. It gained D’Aloisio recognition from Apple and they featured the app as a stock favourite on their curated list. Castets asked at what age he developed the app, suggesting twelve. D’Aloisio answered: “no, that was when I was bit older, about fifteen”.
The interview was short and sweet – just like D’Aloisio’s most renowned app, ‘Summly’, which he also developed when he was fifteen. The vision behind the app was “to simplify the way we receive information”. D’Aloisio explained: “Most young people consume content merely via their phone, but the ‘real estate’ makes it difficult to traverse through text containing huge amounts of information. People prefer to consume their news in concise, short, and easy digestible chunks. The application I developed took long form content and, algorithmically, condensed it into a short paragraph”. This time, D’Aloisio received the attention from Yahoo, who acquired Summly in 2013.
D’Aloisio is interested in the immediacy of information and, when asked about the future plans for Summly, he revealed he would like to bring a visual element to the content. “Consider a news article, or a piece of text: most articles are one dimensional, merely textual; others are two-dimensional, as they contain some images; some may be 3D, but not many. I’m thinking why can’t they be end dimensional? Why can’t you have 10/ 15 different ways of telling a story in a different context? I like this idea of seeing each one of those dimensions at a summary, in effect as it’s a short consumable piece that lends itself to a phone”.
Castets wanted to know D’Aloisio’s thoughts about the fact that screens are becoming smaller and smaller and whether it will affect the way in which we consume information? “The next step is a wearable computer, similar to a watch on your wrist or Google glasses. As the screen information will be adjacent to your eyes, it means that the content we can see has to become more and more concise due to the format of the screen’s ‘real estate’ and an [individual’s] attention span”.
Another talk that grabbed my attention was that of Leng Lee’s presentation on Codecademy, an online interactive platform offering free coding classes. Lee started with an rapid-fire question: “What will the world look like if we have a generation who can all code?” Lee commented that “the current coders are mostly men, ‘nerds’, who write programs that mostly appeal to them. Lots of apps and technologies are still supply driven. That can change if more people learn how to program”.
By 2050, Lee predicted, that the future coders will be kids and more women who can develop technology that is custom made to their needs. “That diversity of talent will change what tech we have and ultimately the world in which we live,” Lee attested. “Imagine disabled people who can code and create technologies that are more suitable for their requirements. Most technology is created by people living in the Western Society, focussing on their needs which does not, necessarily, meet peoples’ needs in the Third World. Imagine people living in the Third World who can code themselves, catering to their own needs.” Another insightful presentation that offered a glimpse into future.
As I was unable to attend the entire Programmes’ sessions, I ask Castets if he sees any common denominators in this new generation, and whether collectively they have a specific outlook on life? “89plus is conceived as a long-term project that will span 20-30 years, and as such, it is still very much in its infancy. It is too soon to make statements about this generation’s outlook on life, although we are beginning to see patterns emerge, which is very exciting. One of those patterns is the influence of poetry, whose importance has been transformed by the digital revolution. Following the success of the poetry participations in the Marathon, we are planning the inaugural 89plus exhibition, that will focus on poetry”.
The only remark I could make about the Presentations I attended was that I found them quite traditional, as most were given in the form of a PowerPoint show. I expected this 89plus generation to showcase innovative and dynamic ideas, delivering their stories in a more visually engaging and entertaining manner for the audience’s experience.
Of course, the stories are about the content and some of the topics that the 89plus Marathon wanted to explore, including “how new technologies can lead to a global dialogue that will engender difference rather than homogeneity” and “how the Internet has enabled new forms of political protest and activism”.
Thus, despite my remark above, I would rate the 89plus Marathon an A+.
Written by Thierry Somers, Image: Serpentine Sackler Gallery © 2013 Luke Hayes
A visual spectacle could be found at the inaugural exhibitition of the Serpentine Sackler Gallery with ‘Today We Reboot The Planet’ by Adrián Villar Rojas. Orginally, the building was a gunpowder store built in 1805, with two central vaulted spaces, the Powder Rooms. Bricks overlaid on the gallery’s stone floor were not cemented in place, which caused a scraping sound to be heard as you walked around the space. In one of the rooms, the Argentinian artist transformed the detritus of life, capturing them in earthy material, such as clay, concrete, wood and steel. Fantastical and, simultaneously, disconcerting as though you were visiting the earth two hundred years later to see the archealogical remnants of a world that was destroyed.
Suitably impressed by the level of work that was presented at the second edition of Frieze Masters, a fair that showcased work made before the year 2000, ranging from the ancient era and old masters to the late 20th century.
As a consequence of the successful, inaugural, edition in 2012, the fair this year was slightly larger as the number of participating galleries increased to more than 150. Dealers who showcased both at Frieze London and Frieze Masters, last year, presented work of the same artist from their stable at both fairs. This year, though, the dealers who showcased at both fairs, didn’t present work of the same artist at both fairs anymore, making their stable of artists work more complementary over the two fairs. Also, more and more dealers displayed only the work of a single artist on their stand at Frieze Masters, such as Alison Jacques who dedicated their stand to Lygia Clark, Victoria Miro to Alice Neel, Timothy Taylor to Sean Scully, and Bruce Silverstein to Aaron Siskind. It was a delight to experience these mini-museum shows at the fair.
Pilar Ordovas, owner of Ordovas Gallery, who mainly programs historical exhibitions, considers Frieze Masters a very interesting fair due to the variety and the scale. “The fair was slightly larger than last year – let’s hope it does not become larger – with many new strong additions in the 20th Century side strengthening further that section,” she comments. “One of the most interesting aspects was the number of British artists wandering around, as soon as it opened, looking at the works. To me, it highlights one of the most interesting aspects: the diversity in work at the fair that attracts them”.
There is talk that, in two years, Frieze Masters is already becoming a serious competitor to Tefaf in Maastricht, although, Ordovas thinks for Old Master, Ceramics, and Sculpture dealers this might not be the case. There is also talk that Frieze Masters, may become a serious competitor for their own contemporary fair, Frieze London. It might be the reason as to why the organizers of both fairs have made a re-design for their contemporary fair. They worked with the architects, Carmody Groarke, on improving conditions for showing and viewing art by introducing larger public areas, wider aisles and new layouts of the galleries. For this to be feasible, the number of galleries has been reduced. Another adjustments is the wooden floor painted grey and the light is not as direct and harsh, as in previous years, as they spanned a white cloth across to the ceiling which filters the light. Walking around the fair has a more relaxed atmosphere: it feels like you’re walking in one space, the galleries don’t feel like separate islands, and, as it is more spacious, you can view and appreciate the art better.
It remains to be seen, though, whether visitors will notice these improvements. One dealer told me that last year visitors who attended the contemporary fair also came to view the Masters. This year, they came directly to visit Masters but didn’t bother to visit the contemporary fair.
The issue is that during Frieze week, there are so many other art events organised in Town. Besides three fairs, there are a lot of great shows in museums and galleries, openings and receptions and auctions occuring. “You are going to cherry pick the best specially if you have a limited time so it is unlikely one would do three fairs”, Ordovas comments. “Many collectors with whom I spoke only attended Frieze Masters. I personally think there are too many fairs and it is not possible to keep the quality and freshness, especially when the same clients visit many of them, unlike in the past when one was tapping into local markets and dealers who could repeat the material but still make it look fresh”.
It is inevitable that those who visit both fairs will make comparisons between them. Those who walk around the fairs may have the impression that some of the art displayed at Frieze London is weird, loud, superficial and immature when compared to the art displayed at Frieze Masters, which is profound, in-depth, and has an appreciation for skill and beauty.
This is not a value judgement. Indeed, it is that the Frieze organisers, who have expanded their portfolio of fairs over the last two years, have created two fairs in London that complement each other and which cater for the taste of whomever comes into town.
Text: Thierry Somers
Alice Neel, Purvis, 1958, Oil on canvas, 96.5 x 66.4 cm, Victoria Miro; Aaron Siskind, Bruce Silverstein Gallery; Lygia Clark, Alison Jacques Gallery; Alice Neel, Sheila, 1938, Oil on canvas, 81.3 x 45.7 cm
Elmgreen & Dragset, But I’m on the Guest List, Too!, 2013, Victoria Miro
There were some artists in the Frieze Sculpture park that used mirrors as material for their sculptures, such as Jeppe Hein and Marilá Dardot. The artist duo Michael Elmgreen & Ingvar Dragset, used the material to comment on the amount of vanity and superficiality in the art world and their work is definitely the funniest in the Sculpture Park.
The words from their title is likely to be heard regurgitated at many entrances to PR personnel who hold the clipboard to determine whom may gain access to the ‘must be-seen’ events in Town. The door, slightly ajar, as the person, not on the guest-list, shoves a foot to prevent its closure, whilst trying to convince the PR person to allow them access by saying, “I’m with the artist”.
When I first saw this, it felt like I was standing face-to-face with an image from the Pink Floyd record sleeve, ‘Division Bell’, created by Storm Thorgenson, founder of Hypgnosis, who sadly passed away this year. The image was of two faces in profile, made out of steel, creating an impression of seeing only one face as viewed full-frontal.
Plensa’s wooden sculpture was beautifully positioned in the park with the trees in the background, but there was something odd about the perspective: when you walked around the sculpture it turned out that the face was only one meter wide, appearing to have been squashed in to a given space, making this work as surreal and intriguing as Thorgenson’s work.
The artist continues her series of self portraits wearing masks of her photographic idols. Previously, she has portrayed herself as the photographers Diane Arbus and August Sander. At Frieze, she welcomes Henry Fox Talbot as a new member of her ‘spiritual’ family. Talbot invented the calotype process, a precursor to photographic processes. Standing in front of Wearing’s work it looks as Mr. Talbot made his invention in the Eighteenth century as there is something very presidential about the portrait making him a contemporary of George Washington, but the British photography pioneer actually lived in the nineteenth century.
Sasnal also sought inspiration from an inventor, Guglielmo Marconi, who is known for his pioneering work on long distance radio transmission. Notice how the Polish artist makes subtle reference to the Italian’s work by depicting the inside of his ear as an antenna of transmission.
Sasnal’s compatriot, Marcin Maciejowski, has an eye for a tableau that has occurred many times during the Frieze week: the reception area of an opening to a show. The artist has made a tender portrait of a beautiful girl who is prepared to serve drinks, but her mind, though, seems to be not in the here and now.
Quite mesmerizing as, when you looked into the mirror, it felt as though you were standing in a fog.
The artist Josephine Meckseper uses the vitrine as her medium in which she wants to critique political implications of the iconography of consumer culture. With a collage of objects placed into a vitrine, she addresses issues around capitalism, social class, nationalism and representations of women. A conversation with the gallerist unearths that the latter issue is addressed, by the featuring of a photograph of the Austrian born actress, Hedy Lamarr (born Hedwig Eva Maria Kiesler), who gained notoriety with her full frontal nude appearance and close-ups of her face in the throes of orgasm in the film ‘Ecstacy’ (1933). Her wealthy husband, Friedrich Mantl, purchased as many copies of the film as he could as he objected to what he felt was exploitation of his wife.
These days the debate about exploitation of women is very actual fuelled by women themselves, from, for example, Miley Cyrus and Emily Ratajkowski. These women, though, regard ‘exploitation’ differently. Cyrus has commented to the Wall Street Journal on her controversial appearance in the MTV Video Music Awards where she twerked against Robin Thicke’s crotch that “the critics are overthinking it”.
The Polish model, Emily Ratajkowski, who, uninhibitedly dances topless in the unrated version of Thicke’s video, ‘Blurred Lines’, doesn’t consider the video as being sexist. The director of the video, Diane Martel, who is a woman, considers the video as “pro-woman rather than mysoginstic”. In an interview with Esquire, Ratajkowski, understands that “the video may be perceived as sexist and appreciates the people who pay attention to that occurring”. She explains the intention behind the video: “We’re directed to have a sort of confidence, a sarcastic attitude about the whole situation. That eye contact and that attitude really puts us in a power situation” and added: “I think it’s actually celebrating women and their bodies”. The perennial discussion about exploitation of women not only occurs in Hedy Lamarr’s century but, also, in this century and, most likely, will continue in the next century.
Presented for the first time in Switzerland last year, and now for the first time at Frieze.
Undoubtedly the booth at Frieze were the most LOL was occurring.
This work was part of Van Lankveld’s new show at the Bethnal Green based gallery. Van Lankveld paints on relatively small canvases vascilating between figuration and abstraction, and, in which, hallucinatory figures can be detected, such as ghosts, ‘Scream’ masks, monsters or playful cartoon figures. Van Lankveld usually employs a subdued, monochromatic colour palette, but in this new body of work the colours are bold and have more contrast.
The Dutch artist creates her works by pouring diluted paint on to a canvas and she draws into the wet surface. It appears with this new body of work, that she has drawn less into the paint as the works are less figurative than her previous work, leaving more space for the artist’s interest in intuitive painting and coincidence can come into play. The paint still flows on the canvas, but the brush strokes are more sweeping and dramatic. It will be interesting to see, as a next step, if the artist will investigates producing her work on a larger canvas.
Text: Thierry Somers
Forthcoming article: Frieze Masters
Like a flower blossoming, there is a magical discovery when you unfurl the fans of Sylvain Le Guen. Gifted with an unbridled imagination, the Frenchman has created exquisite fans that include a fan based on a corset and the spreading wings of a peacock. For the French perfumier, Francis Kurkdjian, he created a fan in which the ‘leaf’ was made up of five layers of perfume tester strips that were impregnated with Kurkdjian’s perfumes.
Le Guen’s fans are a combination of ingenious creativity and extraordinary craftsmanship. They are produced with an incredible precision, which is required, as they are inspired by the craft of origami, the Japanese art of paper folding. It is his ambition to make the folding fan not only a complete fashion ‘accessoire’, but an ‘objet d’art’.
From inception to conclusion, Le Guen carries out all the stages of making the fan. He creates his own prototypes and models from rough to finely polished materials including serpentine bone, mother of pearl, aluminum, horn, tortoiseshell, ivory, ebony, pear wood and rosewood.
The inspiration for Le Guen to create fans comes from a diverse range of subjects, such as Marlene Dietrich, a Venetian mask or Matryoshka Russian dolls. To date, a fan based on a magazine has not been created. When we suggested to Le Guen to create a fan using the content of our four published issues, he readily accepted our invitation.
In three stages we’re going to show the creative process of how Le Guen creates the 200% fan. This first post will show the first steps of Le Guen cutting and assembling the fan leaf elements. In our next post, we’ll show the actual making of the fan sticks and the mounting of the elements onto the sticks. In the final post, we’ll present the final result wherein we will discuss the ins and outs of creating the 200% fan.
Text Thierry Somers, Pictures: Nathalie Baetens