The Gherkin
30 St Mary Axe
London EC3A 8EP
Friday, 27 June 2014
Sculpture in The City: Joao Onofre's Box sized DIE featuring Unfathomable Ruination
The Gherkin
30 St Mary Axe
London EC3A 8EP
Monday, 23 June 2014
WDWGN! (On the dynamic of being without): interview w/ Adam Chodzko
Adam Chodzko's body of work explores the "ongoing interest in the space between us, remoteness and intimacy, public and private space, through the interweaving of documentary and fiction". On his recent exhibition, at Marlborough Contemporary, he introduced the concept of the image moderator – Laarni – who checked the content for extreme material. This conversation reassess "how we construct an identity for ourselves through" the excess of images in society, which photos are determined by a moderator, and images conceived without a present.
On the space in between us
On the role of the image moderator
On the dynamics of being without
On time interaction and work themes
Interview conducted in English by myself, on June 3rd 2014, to accompany Adam Chodzko's exhibition Too at VASA Project.
On the space in between us
On the role of the image moderator
On the dynamics of being without
On time interaction and work themes
Interview conducted in English by myself, on June 3rd 2014, to accompany Adam Chodzko's exhibition Too at VASA Project.
Saturday, 21 June 2014
Thursday, 19 June 2014
A day at the... tracks
Urs Fisher
Sadie Coles HQ
69 South Audley Street
London W1K 2QZ
Ice Fishing: McArthur Binion, Bill Bollinger, Charles Harlan, Virginia Overton, Michael E. Smith (curated by Darren Flook)
Max Wigram Gallery
106 New Bond Street
London W1S 1DN
Elisa Sighicelli
MOTINTERNATIONAL London
72 New Bond St. 1st Fl.
London W1S 1RR
Adriana Varejão:
Carnivorous
Victoria Miro Mayfair
14 St George Street
London W1S 1FE
Richard Jackson
New Paintings
Hauser & Wirth
23 Savile Row
London W1S 2ET
Phyllida Barlow
Fifty Years of Drawings
Hauser & Wirth
23 Saville Row
London W1S 2ET
Eva Nielsen
The Road
Selma Feriani Gallery
23 Maddox Street, Mayfair
London W1S 2QN
Mario Dellavedova
Still Lifes Off
Sprovieri
23 Heddon Street
London W1B 4BQ
Jim Lambie
Answer Machine
Sadie Coles HQ
62 Kingly Street
London W1B 5QN
Obliteration Device: Jakup Auce | Aline Bouvy | David Burrows | John Cussans | Benedict Drew | Ryan Jordan | Simon O'Sullivan | Roberto Peyre | Hannah Sawtell | Tai Shani
IMT Gallery
Unit 2/210 Cambridge Heath Road
London E2 9NQ UK
Sadie Coles HQ
69 South Audley Street
London W1K 2QZ
Max Wigram Gallery
106 New Bond Street
London W1S 1DN
 |
| Michael E. Smith, Sleep (exhaust pipe, taxidermied chicken), 2013 |
MOTINTERNATIONAL London
72 New Bond St. 1st Fl.
London W1S 1RR
Adriana Varejão:
Carnivorous
Victoria Miro Mayfair
14 St George Street
London W1S 1FE
New Paintings
Hauser & Wirth
23 Savile Row
London W1S 2ET
Fifty Years of Drawings
Hauser & Wirth
23 Saville Row
London W1S 2ET
The Road
Selma Feriani Gallery
23 Maddox Street, Mayfair
London W1S 2QN
Mario Dellavedova
Still Lifes Off
Sprovieri
23 Heddon Street
London W1B 4BQ
Answer Machine
Sadie Coles HQ
62 Kingly Street
London W1B 5QN
IMT Gallery
Unit 2/210 Cambridge Heath Road
London E2 9NQ UK
Tuesday, 17 June 2014
Marina Abramović: 512 Hours
Marina Abramović
512 Hours
Serpentine Gallery
I went to see Mariana at the Serpentina... and, I went to see Mariana at the Serpentina. 512 Hours by Marina Abramović, at the Serpentina, is a live tableau where the artist uses people instead of oil. A life size canvas in where the artist brings to life and wanders about bare life. A triptych about being! On the left panel we sit; on the central one we stand; while on the panel on the right we walk. (Other possible combinations might occur throughout time). The dynamics provoked by people being reminds me of a painters impression on the ink on the canvas, with it's particular texture, size, movement, pressure and different colours combining and relating with each other on a harmonious way.
No time devices, like watches, are allowed in the tableau. One has to become lost to time. So, definitively, this is not a surrealist painting. Take our own rhythm and slow down do the barest of it all. Just be being there: standing, walking, sitting, laying down, or counting seeds.
The audience participates in a performance about audience participation in the conception of the art work. However, the audience performative participation is, in contrary to previous performances delivered by the Serbian-born artist, more controlled by the artist and her "dwarfs". Although it requires a participation it is more like an authoritative state rather than a democratic one leading our decision on towards the outcome of the dynamics driving the conditions for the opening of possibilities.
Being it what it is, the need to be present as audience so the performance about audience participation occurs is a requirement. A necessity for the artist but not for the audience in itself. One is what one is without the need to have to go to mass concentration places to be what one is. Generalisations are good. But they are just that, generalisations. The particulars are what makes the being be, not the whole. As a part of a whole body - being audience - we, as individuals stop being a singularity, with our own voice, and have to follow the democratisation idea in where the majority has a ruling voice. However, in 512 Hours the ruling voice of the minority is the deciding voice just like in an democratic state... and, I should had gone directly to the closest sorority in town and have a truly audience participation and actively engage in a more penetrative way. I should had gone to a sorority and, instead, went to see Mariana at the Serpentina...
PS. The artist, as the author, is present all throughout the performative performance about audience participation.
512 Hours
Serpentine Gallery
No time devices, like watches, are allowed in the tableau. One has to become lost to time. So, definitively, this is not a surrealist painting. Take our own rhythm and slow down do the barest of it all. Just be being there: standing, walking, sitting, laying down, or counting seeds.
The audience participates in a performance about audience participation in the conception of the art work. However, the audience performative participation is, in contrary to previous performances delivered by the Serbian-born artist, more controlled by the artist and her "dwarfs". Although it requires a participation it is more like an authoritative state rather than a democratic one leading our decision on towards the outcome of the dynamics driving the conditions for the opening of possibilities.
Being it what it is, the need to be present as audience so the performance about audience participation occurs is a requirement. A necessity for the artist but not for the audience in itself. One is what one is without the need to have to go to mass concentration places to be what one is. Generalisations are good. But they are just that, generalisations. The particulars are what makes the being be, not the whole. As a part of a whole body - being audience - we, as individuals stop being a singularity, with our own voice, and have to follow the democratisation idea in where the majority has a ruling voice. However, in 512 Hours the ruling voice of the minority is the deciding voice just like in an democratic state... and, I should had gone directly to the closest sorority in town and have a truly audience participation and actively engage in a more penetrative way. I should had gone to a sorority and, instead, went to see Mariana at the Serpentina...
Saturday, 14 June 2014
A night at the cinema
A 3D cinema just for me... what could I ask more! Some popcorns, though!? An actress, instead?! or, a film in the sacristy about those sacred vessels under the mount protected by Venus?!
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