Archive: November, 2008

Alexander Pozzalon Gallery

November 21st, 2008 · admin · Writing about Art/ Artists No comments - Tags: ,

Today I don’t really have much to say, firstly because it’s Friday, secondly because I wanted to comment on a show that I thought was absolutely rubbish. I walked into the Alexander Pozzalon Gallery just off Tottenham Court Road, a haunt of mine which usually surprises me. However I found only average sized paintings with these average muted landscapes, then to my horror plastered on top were the conceptual crap. She had painted smiley faces and cartoon characters that bobbed up and down festooning this imaginary countryside. I can only describe them as if Turner was having an off day, smoked some drugs with jimmy Hendricks and bumped into Hello Kitty. Which coincidently I think was one of the names of the paintings. These lurid colours clashed terribly as they were unconsciously placed together without any prior thought. The brush marks were basic and blocky, but that could just be a reference to the helter-skelter Mario like world she lives in.

She had written that the work was about her experience of not knowing where she was living Asia or Europe, blah, blah, boring.There was no engagement with surface of the paintings, no real thought past the coincidence that she could attach a brush to her hand and place it on a canvas. I find myself becoming more and more negative. I just found the artwork wholly uneventful, which is a disappointment. I expect more from a private gallery in central London with the resources to find some amazing artwork that is going on in their backyard.

Richard Serra, The Gagosian Gallery, Kings Cross, OCTOBER 4 – DECEMBER 20, 2008

November 20th, 2008 · admin · Writing about Art/ Artists No comments - Tags: ,

Next stop was the Gagosian Gallery in Kings Cross. The home of many a pumped up celebrity artist. I was enormously happy when I walked into the Richard Serra. They say in the blurb that ‘He has produced unparalleled large-scale, site-specific sculptures for architectural, urban and landscape settings.’ I concur with that statement; at first you are just overwhelmed by pure nature of the beast. These mausoleums to the purity of minimalism stand soaring, reminiscent of the sides of a ship. The curvature of these vast sheets of 2 inch thick steel seem unreal, and the passage that you take through a veritable labyrinthine path is actually both daunting and exciting at the same time. The signs that tell you not to touch the sculptures only makes me want to touch them even more. Their surface is smooth but the multitude of reds that make up the fa?ßade make it seem rough and coarse. The sides are cut at very definite angles which but up to each other with precision.

I hadn’t really thought about Serra’s interest in surface until I was in one of his more open curved sculptures, and in the side room with the long straight piece, which I read more as a painting, due to
its shape and size. I started to read the welding on the sides as if it were the corners of the stretcher.To my surprise as I enter the little annexed room where he has hung some smaller sculptures as if they were paintings, and then painted the surface. The application is immaculate, he paints in matt black with precise brush marks that cover the surface. They only seem to amplify the sides, the natural organic shades in comparison to the over analysed painted plane. A thoroughly enjoyable show, I highly recommend it.

Elmgreen and Dragset at the Victoria Miro Gallery, Too Late, 14th October-15th November.

November 19th, 2008 · admin · Writing about Art/ Artists One comment - Tags: ,

After leaving the White cube I believed once again that art could be my salvation. So I gallantly proceeded to go to the Elmgreen and Dragset show at the Victoria Miro Gallery now called ‘The Mirror’! The show’s premise is to space¬†the gap between reality and installation, the concept relies on you knowing that the gallery became a club for a night. I could only see it as a mix of installation and an excuse for a party as far as I could make out.As you walk in you approach a desk, the walls are black, the desk is black, as you look into the expanse of the gallery it seems dark and vacant. I proceeded, and nearly walked into an arrangement of neatly sectioned bottles. There are light of varying colours, a dance floor and a very large disco ball surrounded by a sofa. On the walls there are hidden pictures of naked men, I think that they were pole dancing. I stood in the middle of the room thinking, what is this trying to do? I tend to have a response to most situations, this left me with nothing. The problem that I found was that you needed to have the party atmosphere surrounding you to be a part of the concept. Then again would it not be strange to be sober in this situation, do you not have to be drinking, dancing and doing other things to be involved in the whole experience? Another aspect that was commented when talking about the show to friends was that it was ‘missing the smell, the floor was too tidy’. I agreed wholeheartedly. The only aspect of the show that had a synergy between art and that club atmosphere, was in the toilets were the tubes for the sink were tied together, a newspaper was placed on the floor and two sets of legs occupied one cubicle. These were amusing but were shallow in meaning when compared to Kabakov or Red Grooms.

On exploring upstairs you find yourself blocked by the VIP room door, which could be another little swipe at the concepts of clubs but I feel that it was more likely to make the whole space smaller, and also to highlight the arrangement of photographs on the wall, which seemed like they would be at home on somebody’s wall. Their naughty holiday snap qualities didn’t engage me and it didn’t fit within the whole context of the show very well.

As an aside, aren’t you supposed to forget 90% of a good night anyway? That allows you the fun of trying to piece the bits of memory back together in the morning.

Josiah McElheny Island Universe, 14 Oct-15 Nov in Hoxton Square’s White Cube

November 18th, 2008 · admin · Writing about Art/ Artists No comments - Tags: ,

I was just in Hoxton Square, while spending some time in London, and decided to go to the White Cube Gallery. I walked into the space, which I always find disappointingly small.
However this time the place was filled with beautiful chrome contemporary chandeliers, the space became enlivened. The show was called Island Universe, an installation consisting of five sculptures. You stood in the midst of these blasts of metal and lights. I can only describe them as spiky balls. However on investigation I found that I wasn’t far off. They are representations of both the big bang and a play on the chandeliers in New York’s Metropolitan Opera by the varying lengths of the rods are based on measurements of time, the clusters of glass discs and spheres accurately represent the clustering of galaxies in the universe, and the light bulbs mimic the brightest objects that exist, quasars. I was so excited that I had to read up about the original lights, created in 1965 were actually a gift from the Austrian government.

The use of the gallery I thought was really exciting, the light hovered in your space you inspected them as you would a globe, whilst you try to point the places that you would love to visit. These combined with the video upstairs created an extremely good combination. All the art was self-satisfactory as pieces, but you also got the bonus of an educational film that wasn’t setting itself out for the lowest common denominator. It was creative and exciting, it had no real plot but it didn’t matter I was enjoying the sparkly lights as they float from the ceiling. It kept me in the dark for at least half an hour. The video really gave another dimension to the whole experience. It demonstrated real sense of cohesion to the gallery.

The Arrival Matthew Draper and Brian Griffiths at the Royal Academy Schools Gallery, 5th September – 12th October.

November 3rd, 2008 · admin · Writing about Art/ Artists No comments - Tags: ,

As you arrive at the space you are immersed in an example of the utopian planning that 1960′s scifi movie directors dreamt we would be living in. This complex is a myriad clean lines made from steel, cement and glass. Surrounded by these beautifully sleek buildings the old pump house, where that gallery is situated stands out like a soar thumb but still retains its own character. As you pass through the contemporary glass doorway you are immediately confronted by a large brick wall. However after an inspection you start to realise that this wall is a prop, that the wall doesn’t quite fit you expectations. It curls and rumples as it hits the smooth cement floor. You start to observe that the edges don’t have any depth and that there are holes riveted around the edge, which are attached with ropes to the ceiling. As I walk to inspect this theatrical backdrop you start to notice the brushmarks, and the contrived tromp l’oiel qualities. You almost miss the clown drowning in the sand vase that is placed next to this overpowering wall.

Matthew Drapers paintings are just as surreal, He is obviously interested in allied carpet rug brochures. The carpets that he paints have a chunky cartoon like quality. They occupy angles and spaces that they shouldn’t. However you perceive them in domestic scenes. But maybe you take that as given. His clunky rugs levitate in the space awkwardly fundamentally I don’t like them but I can’t specifically tell you why they entice such a reaction. I can only interpret them as objects that are too easy to create a dialogue with, I gave up too quickly.

Related Posts with Thumbnails