Monday, August 22, 2016

"Icons" at Chung King Projects (2006), Chinatown, Los Angeles, California


video

For this week's post, I decided to look back 10 years ago to a group show on Chung King Road, in Chinatown, Los Angeles. This video gives you the sense of what the Chinatown art scene was like prior to 2008. Chung King Project is now Francois Ghebaly Gallery in downtown Los Angeles. Francois is briefly interviewed, and speaks about the group show opening in September 2006. Enjoy this walk down memory lane.

For its season opening, Chung King Project presents “Icons”, an exhibition of paintings by six European artists, all showing in the United States for the first time: Guy Allott, Edward Kay, Victor Man, Gavin Nolan, Rigo Schmidt, Gavin Tremlett. Chung King Project is a collaborative project between Mihai Nicodim (Kontainer Gallery, Los Angeles), Nicholas Baker and Zoë Foster (fa projects, London) and Friedrich Loock (Wohnmaschine, Berlin). Chung King Project, Los Angeles, opening, September 8, 2006. By VTV correspondents Parichard Holm, Slim K and Gerold Wunstel.

United by their employment of the small-scale, referencing the language of icon painting, each of the artists presents a new take on the traditional genres of painting. Guy Allott inserts elaborate spaceships into idyllic pastoral landscapes. In a nod to Surrealism, the spaceships take on a character of their own, becoming portraits. At first sight, Edward Kay’s portraits recall Renaissance portraits and British hunting paintings of the C18th, yet his work is loaded with references to the modern day. Gavin Nolan’s paintings depict ambiguous nightmarish personalities, with features distorted and accentuated. Victor Man transports the viewer into a new socio-satirical context through his delicate landscapes. Drawn from the language of traditional portraiture as seen in natural history museums, the figures in Rigo Schmidt’s work confront us, challenging the viewer. Finally, Gavin Tremlett presents elongated figures of young men, in bacchanalian poses, in a style that distorts the ideals of early mannerism.

Guy Allott, a MA graduate of Royal College of Art in London, lives and works in London. Recent exhibitions include “Flock”, Luna International in Berlin, “The Lost Collection of an Invisible Man”, Laing City Art Gallery, Newcastle, and “Jagsalon”, Kreuzberg Kunstraum/Bethanien, Berlin.

Edward Kay lives and works in London and recently received his MA from the Royal Academy Schools in 2005. Recent exhibitions include “Premiums “, the Royal Academy, London, “Art School”, Bloomberg Space, London, and “Pastoral”, Dicksmith Gallery, London.

Victor Man lives and works in Cluj-Napoca, Romania. Recent solo shows include Timothy Taylor, London, Annet Gellink, Amsterdam and plan b, Cluj-Napoca, Romania. His work was included in “Expanded Painting”, Prague Biennal 2.

Gavin Nolan graduated from the Royal Academy of Art, London. Recent exhibitions include “Tokyo Wondersite”, Japan, “NLK”, Wooster Project, New York, and “The Sun Also Rises”, Rockwell Gallery, London.

Rigo Schmidt lives and works in Leipzig. Past exhibitions includes solo shows at Wohnmaschine, Berlin and Laden fur Nichts, Leipzig and group exhibitions at Galeria Leme, Sao Paulo, Kunsthalle der Hypo-Kulturstiftung, Munich and Zweidimensionale, Leipzig.

Gavin Tremlett graduated from Royal Academy Schools. Recent exhibitions include “figurative painting”, Wohnmaschine, Berlin and “Faux Realism”, Rockwell, London.

Wednesday, August 10, 2016

Made in LA 2016 Biennial "a, the, though, only" at the Hammer Museum, Los Angeles, California

In the 1960's, after living in Berkeley, California, Richard Diebenkorn moved away from figurative painting to abstraction. Diebenkorn began painting his Ocean Park series. In his Ocean Park series, Diebenkorn did not see these works as landscape paintings despite the name referring to a part of Santa Monica, near the beach. Thus the relationship between the geographic name and the canvas became itself an abstraction.

After looking at the 2016 Made in LA biennial "a, the, though, only," currently at the Hammer Museum on view through August 28, 2016, Los Angeles as a place becomes an abstraction of concepts and practices that were complimentary and contradictory. What is Los Angeles? How does Los Angeles relate to it's artistic production? How do artists relate to Los Angeles as a place? These are questions that the curators Aram Moshayedi and Hamza Walker explore in the 2016 iteration of the Made in L.A. Biennial. Moshayedi and Walker chose 26 artists whose work explore facets of LA where art and place meet. The curators paint a picture of Los Angeles as a place where art is created, not art that is necessarily about Los Angeles.

The curators take the concept of multimedia to another level. This years biennial incorporates music, sound, internet, music composition, installation, video, film, poetry, as well as painting, and sculpture. The curious addition is the title itself. The title "a, the, though, only" is a poem by Aram Saroyan and considered a work of and in itself. By using language as a way of both defining the parameters and approaches to the work. Saroyan's poem is a perfect analogy to the curatorial approach of this year's biennial. Los Angeles is a site where congruent, contradictory and parallel practices converge to present the viewer with some compelling and extraordinary works.

Here are some highlights of the exhibition

Silke Otto Knapp's painting greets the visitor with beauty and calm. Based on a Georgia O'Keefe large scale landscape painting from the 1960's, Otto Knapp creates a large scale landscape of islands, within a bay. The viewer is looking over the bay. It is dreamscape that immediately grabs hold of the viewer in beauty. Sublime in it's approach to the landscape. Otto Knapp's painting is a masterpiece that greets every visitor coming into the lobby.

Kenneth Tam's video work is one of the best in the exhibition. Tam's video involves social experiments with men, who are complete strangers, engaging in bonding exercises and activities. The video is quite compelling. The viewer is a witness, and in the end really has empathy and feeling for the performers in this work.

Laida Lertxundi is also a video artist. Lertxundi's videos explores the Los Angeles landscape in both the non-narrative and structural approach to portraying the landscape, while incorporating the body and subjectivity to a dialogue and exploration of Los Angeles as both subject and image.

Daniel R. Small's installation combines Hollywood, history according to Hollywood, and incorporation of entertainment in the interpretation of historical eras, and archeology of the future that maybe a part of a Hollywood creation. In 1923, Cecile B. Demille made the 10 Commandments, a movie set in ancient Egypt, in Guadalupe, California, which is about an hour north of Santa Barbara. At the end of the shoot, the studio demolished the set leaving all of the ruins in place. Demille is said to have stated that he hopes that no thinks that this is a lost Egyptian civilization in the middle of Southern California. Small then went to site of the movie set and did some archeology. The results of the archeology are on display in the gallery of the biennial. Also set in the gallery are paintings, which were rejected by both the Luxor Casino in Las Vegas, Navada and the Natural History Museum also in Las Vegas, that also portray fictional Ancient Egyptian scenes. Small plays on the boundary between fiction and history, both as constructed by Hollywood, and thus Los Angeles as creator and blurrer of history. Brilliant.     

Rafa Esparza explores the history of Los Angeles through material and installation. In the upstairs patio area, Esparza covers the floor with adobe bricks, a deep connection with the early Spanish and Mexican settlers who founded Los Angeles. Esparza then places objects, including a television set, a chair with a cacti growing through the seat, that were once buried in Elysian Park and places on top of the adobe title. Like history uncovered, Esparza contemplates the pain and struggles of those Latinos who once resided in Chavez Ravine, now the home of Dodger Stadium. This was one of the best works in the show. 

Lauren Davis Fisher sculptural installation in the lobby acts a dichotomy to Silke Otto Knapp's painting in the stairwell. Fisher's work changes every day as the artist moves each piece and thus engaging in a topographical stage, which is in relationship to theatre. Fisher's installation is never settled and thus forces the visitor to see the show more than once. 

Kelly Akashi's outdoor installation is meditation of the body, the feminine, and absence. Upon the corner of the quad, on the upper floor, Akashi's sculpture hangs above with the middle piece is based on a rotten onion. However, figure is vaginal in shape and floats above the courtyard. The hands also levitate above like holding the middle piece in place. There is no body on either side, so the absence and lack of body supports that of the vaginal figure. 

Gala Porras Kim's work for the biennial explores the notion of the uncategorical. In a collaboration between Porras Kim and The Fowler Museum, Porras Kim takes museum objects where the museum cannot categorize the piece; no indication of provenance, date, or site of origin. Porras Kim examines and reorients each piece to create a new context for each object. The artist thus uses the museum as a medium for a new arrangement for the viewer to explore. 

Kenzi Shiokava is a sculptor whose family was originally from Japan, raised in Brazil, and has resided in Los Angeles since 1964. Shiokava's work is totemic in form and nature. He fuses both his ethnic Japanese with the Brazilian culture he was raised under. The figures are mysterious when viewing the installation in the biennial. Each figure is both animal and plant. They embody something both primal and at the same time the work definitely fits into the dialogue that was similar to that of Bruce Conner, George Herms, Wallace Berman as well as Betye Saar; assemblage art that addresses similar issues of both the social condition of man and culture. This is one of best.  

Other artists that deserve a good look at are Guthrie Lonegan, Arthur Jafa, Hugette Caland, Ruby Sterling, Martine Syms, Wada Leo Smith, and Shahryar Nashat.

The artist of Made in LA 2016 Biennial have no particular commonality. Each installation and presentation is an exhibition in and of itself. The curators have done this purposefully to show a decentralization of Los Angeles. The title "a, the, though, only" is an abstraction, and thus Los Angeles is in itself an abstraction. The practices of each artist are a part of Los Angeles,and yet separated by the land and enormity of its geography.

Hammer Museum
10899 Wilshire Boulevard
Los Angeles, CA 90024
(310) 443-7000

On view until August 28, 2016



Otto Silke Knapp


Lauren Fisher Davis







Kelly Akashi




Dena Yago



Shahryar Nashat

Hugette Caland





Arthur Jafa





Kenzi Shiokava







Gala Porras Kim





Wada Leo Smith


Daniel R. Small







Ruby Sterling


Rebecca Morris






Rafa Esparza




Kenneth Tam



Laida Lertxundi



Tuesday, July 19, 2016

Jon Kessler: The World is Cuckoo (Clock) 2016



For Manifesta 11 in Zürich (Switzerland), the artist Jon Kessler created a complex kinetic sculpture titled The World is Cuckoo (Clock). The artwork appears to be driven by the tiny tourbillon mechanism from inside a watch that was specially designed by Officine Panerai’s master watchmaker Adriano Toninelli. The miniature movement of the tourbillon is transferred through cylindrical zoetropes up to a neon sign that reads ‘the world is cuckoo clock’. Actually the sculpture is powered by other means – making the hoax a metaphor for ‘cuckoo’ manipulations of power. During Manifesta 11, the work is on display at the Les Ambassadeurs shop in Bahnhofstrasse in Zürich.

Jon Kessler: The World is Cuckoo (Clock) 2016, Manifesta 11, Zürich. Les Ambassadeurs, Zürich (Switzerland), July 8, 2016.

Video by VernissageTV

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Monday, July 11, 2016

Annelie McKenzie "Man in Canoe and Grizzly" and Susan Silas "the self portrait sessions" at CB1 Gallery, Los Angeles, California

Art can be a reflection of many things. Art can reflect the past, it can reflect ourselves in a moment of intimacy, or it can contemplate life and death. Two solo shows, Annelie McKenzie "Man in Canoe and Grizzly" and Susan Silas "the self portrait sessions,"at CB1 Gallery in Los Angeles, California, present the viewer a mirror into both the artist's own exploration of life, fleeting beauty and the inevitable end, and art as reflective conduit where one contemplates an identity or a longing for place.

In "Man in Canoe and Grizzly," McKenzie paints images of old master paintings and well known Canadian works of art. The paint is applied thickly and visceral. However, the image is recognizable to the viewer who sees the various subject matter that McKenzie paints. The strategy is conceptual in that McKenzie's paintings are exercises in both remembering and contemplating the art that one loves. Old master works are a way of presenting a dialogue between the present and past. McKenizie wants to use her work to enhance the viewer experience and to share an experience in memory and longing.

In Susan Silas's "the self portrait sessions," in the age of selfies and social networks, the self portrait as a reflective vehicle of deep contemplation has become rare despite its now prevalent status. When one enters the installation, Silas presents the viewer with sculptures of her face; an almost death mask like objects. Just prior to the 20th century, a death mask was taken at the time of a person's death as a memento of both the life and death of the subject. Silas places the death mask in the context of the 21st century. Silas also shows photographs of her looking at herself in the mirror both close up and afar. Silas is exhibiting herself as both subject and object. There is a contemplation of mortality and the finality of the flesh; the aging body and the realization of inevitable end.

Both the art of Annelie Mckenzie and Susan Silas are meditations of memory and mortality. The works are dialogues between the artist and a subject, whether it be the old master paintings of the past or the flesh and the inevitable demise of our flesh. Two exhibitions are engaged in dialogues where the artists invites the viewer to participate. Although both exhibitions are different in their approach, medium, and subject matter. Both artists are similar in their intentions and their approaches to the subject-matter. McKenzie and Silas's shows are excellent. Both exhibitions are on view until July 17th.

CB1 Gallery
1923 S. Santa Fe Ave.
Los Angeles, CA 90021
1-213-806-7889 
CB1gallery.com





Annelie McKenzie "Man in Canoe and Grizzly"










Susan Silas "the self portrait sessions"