Archive for the 'painting' Category

18
May
19

Exhibition: ‘The young Picasso – Blue and Rose Periods’ at Fondation Beyeler, Riehen, Switzerland

Exhibition dates: 3rd February – 26th May 2019

Curator: Dr Raphaël Bouvier

 

 

Pablo Picasso (Spanish, 1881-1973) 'Yo Picasso' 1901

 

Pablo Picasso (Spanish, 1881-1973)
Yo Picasso (I Picasso)
1901
Oil on canvas
73.5 x 60 cm Private collection
© Succession Picasso / 2018, ProLitteris, Zurich

 

 

Room 1

The young artist gazes defiantly over his shoulder at the viewer. His white shirt, painted with bold brushstrokes, glows against the dark background; in his right hand he holds a palette with traces of paint which, together with the lively orange and yellow in his cravat and face, create marked contrasts. The aspiring artist produced this self-portrait for his first exhibition at Ambroise Vollard’s gallery in Paris. Picasso painted himself here in a style reminiscent of Henri de Toulouse-Lautrec or Vincent van Gogh. The palette alone identifies the subject as an artist. The expressively applied colours, their brushstrokes clearly visible, carry significance: here the painter is not portrayed working, but through his work itself. The painting is a bold statement by the artist newly arrived in Paris – something that Picasso underscores with the inscription ‘Yo’ (Engl.: I) besides his signature in the upper left corner of the canvas. From this point on, he would sign his works simply ‘Picasso’ – his mother’s surname.

 

 

And now for something completely different…

My favourite periods of Picasso, probably because her tries to depict the feelings of the people he is portraying.

I love the paintings disrupted humanism, the monumental, twisted, isolated figures placed against a colourful, pictorially flattened, sometimes contextless ground. The spirit these paintings call forth – the intense gaze in the 1901 self-portrait; the sad introspection, depression of the Melancholy Women (1901); the existential themes of death, suffering and love in La Vie (Life) (1903) – show a 21 year old artist mature beyond his years, wizened in wisdom and understanding through the death of his sister and his friend Casagemas: “poverty, dejection, creative anguish, and grief for those lost.”

“In the most emotional, emotionally expressive pictures of this phase, the artist looks into the depths of human misery and relies on expressive topics such as life, love, sexuality and death.” The circus and acrobat paintings continue the theme of melancholy, disenchanted figures of the commedia dell’arte intertwined in the transformation of bodies in space (Henri Lefebvre).

Call me an old romantic, but the attitude and the touch of the emaciated blind man’s hand as he reaches for his flagon of wine totally does it for me in a way that the more brutish, primitivist paintings of his later raw style never can.

Marcus

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Many thankx to the Fondation Beyeler for allowing me to publish the images in the posting. Please click on the images for a larger version of the art.

 

 

“I was a painter and became Picasso.”

 

“The Blue Period was not a question of light and colour. It was an inner necessity to paint like that.

.
Pablo Picasso

 

 

At the age of just twenty, the aspiring genius Picasso (1881-1973) was already engaged in a restless search for new themes and forms of expression, which he immediately brought to perfection. One artistic revolution followed another, in a rapid succession of changing styles and visual worlds. The exhibition at the Fondation Beyeler places the focus on the Blue and Rose periods (1901-1906), and thus on a central phase in Picasso’s work. It also sheds fresh light on the emergence, from 1907 onward, of Cubism, as an epochal new movement that was nevertheless rooted in the art of the preceding period.

In these poignant and magical works, realised in Spain and France, Picasso – the artist of the century – creates images that have a universal evocative power. Matters of existential significance, such as life, love, sexuality, fate, and death, find their embodiment in the delicate beauty of young women and men, but also in depictions of children and old people who carry within them happiness and joy, accompanied by sadness.

Text from the Fondation Beyeler website [Online] Cited 19/04/2019

 

Unknown photographer. 'Pablo Picasso, Pere Mañach and Antonio Torres Fuster, Boulevard de Clichy 130, Paris' 1901

 

Unknown photographer
Pablo Picasso, Pere Mañach and Antonio Torres Fuster, Boulevard de Clichy 130, Paris
1901
Photo: © NMR-Grand Palace (Picasso-Paris National Museum) / Daniel Arnaudet

 

Pablo Picasso (Spanish, 1881-1973) 'Buveuse d'absinthe' (The Absinthe Drinker) 1901

 

Pablo Picasso (Spanish, 1881-1973)
Buveuse d’absinthe (The Absinthe Drinker)
1901
Oil on canvas
73 x 54 cm
The State Hermitage Museum, St. Petersburg

 

 

Room 2

In his early years, Picasso reused his canvases multiple times, mostly due to a lack of money. He often overpainted his own pictures or – as in Femme dans la loge and Buveuse d’absinthe – used both the front and back sides. Femme dans la loge was done at the time of Picasso’s first exhibition at Ambroise Vollard’s gallery. While the figure of the ageing dancer or courtesan, along with the setting, showcase a colouristic firework, the woman’s face is carefully modelled, revealing individualised features. The work Buveuse d’absinthe, today known as the front side, was created only shortly thereafter, and marks the transition from Picasso’s early pictures to those of the Blue Period. Here, flat, opaquely applied colours extend over large areas, with individual fields of colour clearly delineated from one another by dark contours. The absinthe drinker sits away from the small table, alone, her gaze blank, self-absorbed. The scene emanates an atmosphere of melancholy and other-worldliness that would later come to typify the works of the Blue Period.

“… the images created by the young artist are sharply dramatic. For example, in this painting, the most striking detail is a giant right hand of a woman, who is absorbed in her thoughts and tries to embrace and protect herself with this hand.”

 

Pablo Picasso (Spanish, 1881-1973) 'Arlequin assis' (Harlequin sitting) 1901

 

Pablo Picasso (Spanish, 1881-1973)
Arlequin assis (Harlequin sitting)
1901
Oil on canvas
83.2 x 61.3 cm
New York, Metropolitan Museum of Art, Purchase Mr. and Mrs. John L. Loeb, Gift 1960
© Succession Picasso / 2018, ProLitteris, Zurich
Photo: © The Metropolitan Museum of Art / Art Resource / Scala, Florence

 

 

Room 2

Arlequin assis is one of the earliest Harlequin depictions in Picasso’s oeuvre. In an unnaturally twisted pose, the Harlequin sits at a table and turns his head in the opposite direction to the rest of his body. The table jutting diagonally into the picture space offers him a support on which to rest his elbow. As in Picasso’s female portraits of 1901, here, too, the hands attract the viewer’s attention due to their large size and elongated shape. Surprisingly, the Harlequin with his melancholy posture in fact bears the facial features of Pierrot. Although Picasso was perfectly familiar with the differences between Harlequin and Pierrot, he often mixed up their distinguishing features. At that time, the two commedia dell’arte figures were part of popular culture, be it in magazine illustrations, the circus or in the opera.

 

 

Introduction of the exhibition

Pablo Picasso’s pioneering works of the Blue and Rose Periods, which characterise his oeuvre from 1901 to 1906, ushered in the art of the twentieth-century and at the same time constitute one of its outstanding achievements. In fact, Picasso’s pictures from these years include some of the subtlest examples of modern painting and are now among the most valuable and sought-after art treasures of all.

Extensive presentations of these works are accordingly rare. The exhibition “The Young Picasso: Blue and Rose Periods” at the Fondation Beyeler thus represents a milestone in the history of the museum. The show traces the unparalleled artistic development that began with the works of the early months of 1901, when Picasso was not yet twenty, and continued until 1907. In the course of these six years, the young Pablo Ruiz Picasso developed his own personal style and became “Picasso,” as he began to sign his works in 1901. The compelling images of the Blue and Rose Periods, characterised by a unique emotional power and depth, show the artist from an exceptionally sensitive side and thus offer a nuanced picture of his work and personality.

The exhibition begins with works from the early months of 1901, created initially in Madrid and then above all during Picasso’s second stay in Paris. These exuberantly colourful paintings, which clearly exhibit the influence of Vincent van Gogh and Henri de Toulouse-Lautrec, reveal Picasso’s personal view of Paris and the elegant world of the Belle Époque. From the late summer of 1901 onward, following the tragic suicide of his artist-friend Carles Casagemas, who had accompanied him during his first visit to Paris, in 1900, Picasso began work on a series of pictures in which the colour blue became the dominant expressive element, announcing the start of the so-called Blue Period. He created these works, pervaded by an atmosphere of melancholy and spirituality, in the following years, up to 1904, as he moved back and forth between Paris and Barcelona. They owe at least part of their inspiration to Symbolism and the singular Mannerist style of El Greco and show Picasso engaging with existential questions of life, love, sexuality, fate, and death, movingly embodied by fragile, introverted figures of all ages. The pictures of the Blue Period are mainly concerned with marginalised victims of society, in situations of extreme vulnerability – beggars, people with disabilities, prostitutes, and prisoners, living in poverty and misery, whose despair is mitigated, however, by an aura of dignity and grace. This also reflects Picasso’s own precarious circumstances before his breakthrough as an artist.

His final relocation to Paris, in 1904, when he set up his studio at the Bateau-Lavoir, marked the beginning of a new phase in his life and work. It is at this point that Picasso met Fernande Olivier, his first longer-term companion and muse. The pictures gradually break free from the limited palette dominated by blue, which gives way to warmer rose and ochre tones, although the underlying mood of melancholy still persists. Picasso’s works are increasingly populated by jugglers, performers, and acrobats, in group or family configurations, personifying the anti-bourgeois, bohemian life of the circus and the art world. In 1906 the artist achieved his first major commercial success, when the dealer Ambroise Vollard bought nearly the entire stock of new pictures in his studio. This enabled Picasso, with Olivier, to leave Paris and spend several weeks in the Catalonian mountain village of Gósol. Under the impression of the rugged landscape and the villagers’ simple way of life, Picasso painted mainly pictures of human figures in idyllic, primordial settings, combining classical and archaic elements.

In the fall of 1906, after his return to Paris, he spent some time absorbing the impressions from his recent encounters with ancient Iberian sculpture and the visual world of Paul Gauguin, and began, in his quest for a new artistic authenticity, to formulate a Primitivist pictorial language. This found expression in an innovative reduction and simplification of the human figure. In sharp contrast to the fine-limbed creatures of the circus world, Picasso’s figures from this phase are bulky and heavy, with impressive female nudes whose bodies take on almost geometric form. This new conception of the figure took a further, radical turn in 1907, in the works that would lead – also under the growing influence of African and Oceanic art – to Picasso’s revolutionary painting Les Demoiselles d’Avignon, proclaiming the advent of Cubism.

The development of the Blue and Rose Periods makes it clear that the young Picasso managed, within just six years, to achieve a preternaturally early aesthetic perfection, incorporating artistic mannerisms and archaisms into the articulation of new principles for the depiction of the human body through deformation and deconstruction. In a process that only appears contradictory, Picasso’s striving for new aesthetic possibilities advanced through several forms of refinement, and in a gradual emancipation from classical ideals of beauty, to the realisation of a groundbreaking form of artistic authenticity and autonomy. Cubism, in this light, no longer appears as a radical hiatus in Picasso’s oeuvre, but rather as the logical extension of the artistic ideas of the Blue and Rose Periods.

The exhibition at the Fondation Beyeler, which has been organised in collaboration with the Musées d’Orsay et de l’Orangerie and the Musée national Picasso-Paris, differs from the first presentation in Paris in one important respect: its prospective extension of the view of Picasso’s Blue and Rose Periods by the inclusion of the artist’s first proto-Cubist pictures from 1907, created in the context of Les Demoiselles d’Avignon. One of the preliminary studies for the latter work, titled Femme (époque des “Demoiselles d’Avignon”), forms the spectacular starting point of the Fondation Beyeler’s extensive Picasso collection, and at the same time marks the finale of this exhibition. Whereas the presentation in Paris supplemented the finished works with numerous preliminary studies and copious archive material, the exhibition at the Fondation Beyeler places the focus firmly on Picasso’s painting and sculpture in the period concerned. With some seventy-five masterpieces from renowned museums and outstanding private collections across the globe, the show presents the quintessence of Picasso’s oeuvre from 1901 to 1907, illuminating a chief phase of transition in the multifaceted work of the young artist. Many central works from this period now count among the major attractions in the collections of leading international museums. Yet, several key works are still in private hands – a number of which are on public display in Riehen for the first time in many decades.

Text from the Fondation Beyeler [Online] Cited 19/04/2019

 

Pablo Picasso (Spanish, 1881-1973) 'Arlequin et sa compagne' (Harlequin and his companion) 1901

 

Pablo Picasso (Spanish, 1881-1973)
Arlequin et sa compagne (Harlequin and his companion)
1901
Oil on canvas
73 x 60 cm
Moscow, Pushkin State Museum of Fine Arts
© Succession Picasso / 2018, ProLitteris, Zurich

 

Pablo Picasso (Spanish, 1881-1973) 'Casagemas dans cercueil' (Casagemas in His Coffin) 1901

 

Pablo Picasso (Spanish, 1881-1973)
Casagemas dans cercueil (Casagemas in His Coffin)
1901
Oil on cardboard
72.5 x 57.8 cm
Private collection

 

 

Room 3

This impressive work was one of a series of paintings with which Picasso dealt with the tragic loss of his artist-friend Carles Casagemas, who committed suicide on 17 February 1901. In the vertical-format picture only part of the lifeless figure is depicted. The body, diagonally fixed into the composition, is cropped by the coffin and the picture edge. Rendered in profile, the face with its yellow-green colouration and prominent facial contours stands out against the blue-white shroud. The image represents a variation of the painting La Mort de Casagemas (below) from the same period, which is also on view in the present exhibition. In it, the subject’s head has been moved close to the viewer and a huge candle emits multicoloured light. By contrast, most of the other works in the Casagemas cycle are rendered in a range of mainly blue tones. Picasso retrospectively remarked: ‘The thought that Casagemas was dead led to me painting in blue’.

 

Pablo Picasso (Spanish, 1881-1973) 'La Mort de Casagemas' 1901

 

Pablo Picasso (Spanish, 1881-1973)
La Mort de Casagemas (The Death of Casagemas)
1901
Oil on wood
27 x 35 cm
Musée national Picasso-Paris
© Succession Picasso / 2018, ProLitteris, Zurich
Photo: © RMN-Grand Palais (Musée national Picasso-Paris) / Mathieu Rabeau

 

Pablo Picasso (Spanish, 1881-1973) 'Le Mort (la mise au tombeau)' (Death (The Burial)) 1901

 

Pablo Picasso (Spanish, 1881-1973)
Le Mort (la mise au tombeau) (Death (The Burial))
1901
Oil on canvas
© Succession Picasso / 2018, ProLitteris, Zurich

 

Pablo Picasso (Spanish, 1881-1973) 'Courtesan with necklace of gems' 1901

 

Pablo Picasso (Spanish, 1881-1973)
Courtesan with necklace of gems (Courtesan avec collier de pierres précieuses)
1901
Oil on canvas
© Succession Picasso / 2018, ProLitteris, Zurich

 

Pablo Picasso (Spanish, 1881-1973) 'Femme en bleu' 1901

 

Pablo Picasso (Spanish, 1881-1973)
Femme en bleu (Woman in blue)
1901
Oil on canvas
133 x 100 cm
Madrid, Museo Nacional Centro de Arte Reine Sofía
© Succession Picasso / 2018, ProLitteris, Zurich

 

Pablo Picasso (Spanish, 1881-1973) 'Autoportrait' 1901

 

Pablo Picasso (Spanish, 1881-1973)
Autoportrait (Self-portrait)
1901
Oil on canvas
81 x 60 cm
Musée national Picasso-Paris
© Succession Picasso / 2018, ProLitteris, Zurich
Photo: © RMN-Grand Palais (Musée national Picasso-Paris) / Mathieu Rabeau

 

 

Room 3

Picasso painted this self-portrait at the end of his second stay in Paris. Compared with the work Yo Picasso, exhibited at the Galerie Vollard in the summer of 1901, a clear shift has taken place the following winter. The artist portrays himself bearded and pale-faced, with hollow cheeks, aged and wrapped in a heavy overcoat, making his body appear like a dense mass. The imposing, self-assured pose of the first portrait has given way to a posture conveying uncertainty. Yet here, too, Picasso’s intense gaze casts its spell on the viewer. The self-portrait is one of Picasso’s first works that emphasise the rich variety of his range of blue tones. As a means to express melancholy, blue pervades the entire composition, which is divided into blue-green and midnight blue fields of colour. Picasso kept the painting throughout his life.

 

Pablo Picasso (Spanish, 1881-1973) 'Femme assise au fichu' 1901

 

Pablo Picasso (Spanish, 1881-1973)
Femme assise au fichu (Melancholy Woman)
1901
Oil on canvas
100 x 69.2 cm
The Detroit Institute of Arts, Bequest of Robert H. Tannahill
© Succession Picasso / 2018, ProLitteris, Zurich
Photo: © Bridgeman Images

 

 

Room 3

Femme assise au fichu presents a seated woman in profile, introspectively withdrawn, her arms folded and legs crossed. Her brightly illuminated face lends her an appearance both profound and monumental. She is situated in a bare room, probably a cell in the Saint-Lazare women’s prison in Paris, which Picasso visited several times in the autumn and winter of 1901-02 to make drawings for his portraits of women. The prison also housed numerous prostitutes, many of whom suffered from sexually transmitted diseases. In paintings such as this one, Picasso found a universal means of representing the social themes of poverty, misery and isolation.

 

Pablo Picasso (Spanish, 1881-1973) 'La Buveuse assoupie' (The Drinker dozing) 1902

 

Pablo Picasso (Spanish, 1881-1973)
La Buveuse assoupie (The Drinker dozing)
1902
Oil on canvas
Kunstmuseum Bern, Stiftung Othmar Huber, Berne
© Succession Picasso/ 2018, ProLitteris, Zurich

 

View of the installation of the painting 'La Vie' (1903) for the exhibition 'The young Picasso - Blue and Rose Periods' at Fondation Beyeler

 

View of the installation of the painting La Vie (1903) for the exhibition The young Picasso – Blue and Rose Periods at Fondation Beyeler, Riehen, Switzerland

 

Pablo Picasso (Spanish, 1881-1973) 'La Vie' 1903

 

Pablo Picasso (Spanish, 1881-1973)
La Vie (Life)
1903
Oil on canvas
197 x 127.3 cm
The Cleveland Museum of Art, Donation Hanna Fund
© Succession Picasso / ProLitteris, Zurich 2018
Photo: © The Cleveland Museum of Art

 

 

Room 3

In La Vie, the allegorical masterpiece of the Blue Period, Picasso brings together existential themes such as death, suffering and love in a complexity suffused with melancholy. When the then twenty-one-year-old artist began with the preparatory drawings for this monumental painting in Barcelona in May 1903, he had already been painting primarily blue pictures for over two years. Although Picasso had originally planned the work as a self-portrait, his deceased friend Carles Casagemas appears here once again (and for the final time). Accompanied by a naked woman who nestles against his body, he stands in the left half of the picture, wearing only a white loincloth. He points his index finger at a clad woman, who carries an infant swaddled in a cloth. Appearing in the background as pictures within a picture are further figures, cowering. They lend the work an additional symbolic and enigmatic dimension.

In Picasso’s most celebrated painting from the Blue Period, however, he returns to the plight of the artist. La Vie (Life) (1903) brings us into an artist’s studio. While earlier versions of the painting, locked beneath the final work and revealed by X-rays, show Picasso as the central figure, in the end he depicted Casagemas as his subject. He is naked except for a loincloth as a nude woman clutches him, and the two look over at a mother and child. Behind them sit two canvases covered with crouching bodies.

Every element of the scene conveys vulnerability. The artist brings different facets of his troubles into a single canvas: poverty, dejection, creative anguish, and grief for those lost, like Casagemas. Interestingly, those X-rays have also revealed that the painting was executed on top of an earlier work called Last Moments, inspired by his sister’s death.

Perhaps, in bringing these various instances of heartbreak together, Picasso was also in the final stages of processing his grief. Indeed, soon after the artist finished La Vie, he moved to Paris and emerged from his Blue Period – into a palette of soft, joyful pinks. “Colours, like features, follow the changes of the emotions,” Picasso later explained.

Extract from Alexxa Gotthardt. “The Emotional Turmoil behind Picasso’s Blue Period,” on the Artsy website Dec 13, 2017 [Online] Cited 19/04/2019

 

Pablo Picasso (Spanish, 1881-1973) 'Le Repas de l'aveugle' (The Blind Man's Meal) 1903

 

Pablo Picasso (Spanish, 1881-1973)
Le Repas de l’aveugle (The Blind Man’s Meal)
1903
Oil on canvas
95.3 x 94.6 cm
New York, The Metropolitan Museum of Art, Purchase Mr. and Mrs. Ira Haupt, Gift 1950
© Succession Picasso / 2018, ProLitteris, Zurich
Photo: © 2017, The Metropolitan Museum of Art / Art Resource / Scala, Florence

 

 

Room 3

Painted in Barcelona in 1903, the picture Le Repas de l’aveugle depicts an emaciated blind man sitting before a frugal meal. The man’s whole suffering is conveyed by the exaggeration of his body with his bony shoulders, hollow-cheeked face and thin fingers. He is one of those miserable and solitary figures that appear like modern martyrs in Picasso’s pictures. The depicted provisions – the bread and wine – could be interpreted as Christian symbols. The starkly reduced range of colours and the dramatic effect of the scene created by the light lend the image a mystical quality. Here we feel the influence of El Greco’s paintings and Spanish religious art of the sixteenth and seventeenth centuries.

 

 

This exhibition, the most ambitious ever staged by the Fondation Beyeler, is devoted to the paintings and sculptures of the young Pablo Picasso from the so-called Blue and Rose periods, between 1901 and 1906. For the first time in Europe, the masterpieces of these crucial years, most of them a milestone on Picasso’s path to preeminence as the twentieth century’s most famous artist, are presented together, in a concentration and quality that are unparalleled. Picasso’s pictures from this phase of creative ferment are some of the finest and most emotionally compelling examples of modern painting, and are counted among the most valuable and sought-after works in the entire history of art. It is unlikely that they will be seen again in such a selection in a single place.

At the age of just twenty, the rising genius Picasso (1881-1973) embarked on a quest for new themes and forms of expression, which he immediately refined to a pitch of perfection. One artistic revolution followed another, in a rapid succession of changing styles and visual worlds. The focus of the exhibition is on the Blue and Rose periods, and thus on the six years in the life of the young Picasso that can be considered central to his entire oeuvre, paving the way for the epochal emergence of Cubism, which developed from Picasso’s previous work, in 1907. Here, the exhibition converges with the Fondation Beyeler’s permanent collection, whose earliest picture by Picasso is a study, dating from this pivotal year, for the Demoiselles d’Avignon.

In the chronologically structured exhibition, Picasso’s early painting career is explored through examples of his treatment of human subjects. Journeying back and forth between Paris and Barcelona, he addressed the human figure in a series of different approaches. In the phase dominated by the colour blue, from 1901, he observed the material deprivation and the psychological suffering of people on the margins of society, before turning – in 1905, when he had settled in Paris – to the themes of the Rose period, conferring the dignity of art on the hopes and yearnings of circus performers: jugglers, acrobats and harlequins. In his search for a new artistic authenticity, Picasso stayed for several weeks in mid-1906 in the village of Gósol, in the Spanish Pyrenees, and created a profusion of paintings and sculptures uniting classical and archaic ideals of the body. Finally, the increasing deformation and fragmentation of the figure, apparent in the “primitivist” pictures, especially of the female nude, which were painted subsequently in Paris, heralds the emergence of the new pictorial language of Cubism.

Press release from Fondation Beyeler Cited 19/04/2019

 

Pablo Picasso (Spanish, 1881-1973) 'Femme en chemise (Madeleine)' 1904-1905

 

Pablo Picasso (Spanish, 1881-1973)
Femme en chemise (Madeleine) (Young Woman in a Chemise (Madeleine))
1904-1905
Oil on canvas
72.7 x 60 cm
London, Tate, Bequeathed by C. Frank Stoop 1933
© Succession Picasso / 2018, ProLitteris, Zurich
Photo: © Tate, London 2018

 

 

Room 4

A young woman, depicted in profile, stands isolated in an empty, dark-blue space. Her slender body is draped in a white blouse. Her left breast, its curve emphasised, is simultaneously concealed and revealed by the flimsily thin cloth. The woman’s pale skin and distinct facial features, as well as the delicately defined contours of her body, set her apart from the background. The colour scheme, suffused with light and depth, hints at Picasso’s gradual turn to warm pink and brown tones. The identity of the model long remained unclear because Picasso had overpainted the figure of a boy here with the slender silhouette of his first muse and lover, Madeleine. The artist first met Madeleine in 1904, after moving into his studio at the Bateau-Lavoir in Paris. She posed repeatedly for Picasso’s paintings in the transitional phase from the Blue to the Rose Period, until the spring of 1905.

 

Pablo Picasso (Spanish, 1881-1973) 'Fillette nue au panier de fleurs' (Le panier fleuri) (Girl with a Basket of Flowers) 1905

 

Pablo Picasso (Spanish, 1881-1973)
Fillette nue au panier de fleurs (Le panier fleuri) (Girl with a Basket of Flowers)
1905
Oil on canvas
155 x 66 cm
Private collection, New York

 

 

The painting Fillette au panier de fleurs is surprising in many respects. First of all, because of the extended vertical format, which also makes the girl appear elongated. The adolescent stands quite naked before us, with her body turned to the side and a serious expression on her face. A slight counter-movement is suggested in the transition from her feet to her torso. The girl’s face is turned towards the viewer and carefully modelled in the manner of a portrait. The body, by contrast, appears somewhat withdrawn, almost unreal. The radiant red flowers in the woven basket create a strong accent against the pale skin, black hair and light blue background. The art dealer Clovis Sagot purchased the picture from Picasso for the modest sum of seventy-five francs. It was one of the first works that the American writer and art collector Gertrude Stein acquired together with her brother Leo, as early as 1905. The Stein siblings subsequently built up a significant Picasso collection

 

Pablo Picasso (Spanish, 1881-1973) 'Le Marchand de gui' (The Mistletoe Seller) 1902-03

 

Pablo Picasso (Spanish, 1881-1973)
Le Marchand de gui (The Mistletoe Seller)
1902-03
Oil on Canvas
55 x 38cm
© Succession Picasso / 2018 ProLitteris, Zurich 2018

 

 

Room 5

With an empathetic eye, Picasso concentrates here on the representation of two poverty-stricken people who together go about their hard, daily work – the selling of mistletoe. The wrinkled yet gentle face of the bearded old man contrasts with the smooth, fresh, yet serious visage of the boy, for whom the companion is at once antithesis and role model. While the two figures do not look at one another, their physical closeness and the old man’s affectionate gesture nevertheless suggest the greatest tenderness. With the subtle play of colours, Picasso succeeds in generating a mystical atmosphere. In his dignified appearance, the mistletoe vendor with the child comes here to symbolise a life of poverty endured without resignation and at the same time the hope of happiness.

 

Pablo Picasso (Spanish, 1881-1973) 'Tête d'un arlequin' (Head of a harlequin) 1905

 

Pablo Picasso (Spanish, 1881-1973)
Tête d’un arlequin (Head of a harlequin)
1905
Oil on canvas
40.7 x 31.8 cm
The Detroit Institute of Arts, Bequest of Robert H. Tannahill
© Succession Picasso / 2018, ProLitteris, Zurich
Photo: © Bridgeman Images

 

Pablo Picasso (Spanish, 1881-1973) 'Femme de l'Île de Majorque' (Woman from Mallorca) 1905

 

Pablo Picasso (Spanish, 1881-1973)
Femme de l’Île de Majorque (Woman from Mallorca)
1905
Gouache and watercolour on cardboard
67 x 51 cm
Moscow, Pushkin State Museum of Fine Arts
© Succession Picasso / 2018, ProLitteris, Zurich

 

Pablo Picasso (Spanish, 1881-1973) 'Femme à l'éventail' (Woman with a fan) 1905

 

Pablo Picasso (Spanish, 1881-1973)
Femme à l’éventail (Woman with a fan)
1905
Oil on canvas
100.3 x 81 cm
Washington, National Gallery of Art, Gift of the W. Averell Harriman Foundation in memory of Marie N. Hariman
© Succession Picasso / 2018, ProLitteris, Zurich

 

Pablo Picasso (Spanish, 1881-1973) 'Famille de saltimbanques avec un singe' (Family of acrobats with a monkey) 1905

 

Pablo Picasso (Spanish, 1881-1973)
Famille de saltimbanques avec un singe (Family of acrobats with a monkey)
1905
Oil on canvas
© Succession Picasso/2018, ProLitteris, Zurich
Photo: © Göteborg Konstmuseum

 

 

Une vie pas tout à fait en rose: A life not quite in pink

Regarding the pink period, Apollinaire preferred to call it the “period of acrobats”, which would be more accurate as the works are not only pink. In 1905, without actually adopting this color, Picasso moved away from cold nocturnal tonalities for a semblance of serenity, as if the colors corresponded indeed to a state of mind. The tones are earthy, pastels. The unit is more likely to come from the circus theme and in particular from the Circus Medrano, not far from the Bateau-Lavoir, which Picasso frequents as many painters and poets of his time. It’s less about the circus, like Seurat’s, than about his backstage, like a family of acrobats with a monkey. The characters of the commedia dell’arte are intertwined, the figure of the buffoon and the figure of the madman who will be the subject of a sculpture. This one, exposed to the Foundation, was the portrait of the poet Max Jacob, to whom Picasso then added the cap which completed the analogy between the madman and the artist. Picasso liked to be assimilated to this strange, wandering, unattached, somewhat marginalised person who, like the artist, can afford a critical look at the world. There is still a lot of blue and melancholy. The same misery permeates the scene of the couple watching an empty plate, the clumsy and lonely pink acrobat or the sickly Harlequin. No acrobatic scenes under the applause of the public. Here we find the same disenchantment. Apollinaire always speaks of “pulmonary” rose. The blue / pink partition therefore remains relative.

Extract from Geneviève Nevejan. “Picasso jeune et mélancolique,” on the Choisir website 31 January 2019 [Online] Cited 19/04/2019

 

Pablo Picasso (Spanish, 1881-1973) 'Acrobate et jeune arlequin' 1905

 

Pablo Picasso (Spanish, 1881-1973)
Acrobate et jeune arlequin (Acrobat and Young Harlequin)
1905
Gouache on cardboard
105 x 76 cm
Private collection
© Succession Picasso / 2018, ProLitteris, Zurich

 

 

Room 5

Acrobate et jeune arlequin is among Picasso’s most impressive pictures from the world of the circus. Two performers of delicate appearance sit in front of a tattered looking blue backdrop. On the left is an androgynous boy in Harlequin costume with a chalk-white face, gazing to the right, towards the young man in acrobat’s clothing. The latter is depicted with arms clasped and eyes closed. At the transition point between the worlds of blue and pink, both the space and the figures seem to be in a state of transformation. Can the diamond pattern of the Harlequin’s costume and the geometric shape of the acrobat’s arms be seen as anticipating a ‘Cubification’ of the body? As the first-ever museum purchase of a work by Picasso, Acrobate et jeune arlequin was acquired for the municipal museum in Elberfeld near Wuppertal in 1911; today it is privately owned.

 

Pablo Picasso (Spanish, 1881-1973) 'Arlequin assis sur fond rouge' 1905

 

Pablo Picasso (Spanish, 1881-1973)
Arlequin assis sur fond rouge (Seated Harlequin on Red Background)
1905
Watercolour and ink on cardboard
57.5 x 41.2 cm
Staatliche Museen zu Berlin, Nationalgalerie, Museum Berggruen
© Succession Picasso / 2018 ProLitteris, Zurich 2018
Photo: bpk / Nationalgalerie, SMB, Museum Berggruen / Jens Ziehe

 

 

Room 6

Picasso never presents his Harlequins as tricksters or buffoons entertaining the audience with wild leaps, but rather as passive, melancholy figures. In Arlequin assis au fond rouge the Harlequin sits, motionless, his mouth closed. His naked, slightly splayed legs dangle from a wall. He appears bare, exposed, even though he wears a thin, washed-out costume and a hat. Despite his conspicuously frontal pose, his gaze is not directed exactly at the viewer. Picasso aims at capturing the essence of the figure, his great solitude, which is further accentuated by the vibrant, pulsating red background. The Harlequin figure may also embody the creative, sensitive artist, who must stand his ground in modern society

 

Installation view of the exhibition 'The young Picasso - Blue and Rose Periods' at Fondation Beyeler, Riehen, Switzerland

 

Installation view of the exhibition The young Picasso – Blue and Rose Periods at Fondation Beyeler, Riehen, Switzerland showing at left, La toilette (1906) and at right, Les Deux Frères (The Two Brothers) (1906)

 

 

Room 7

In Deux Frères a boy carries his younger brother on his back; the two appear to merge together. The elder boy’s facial features are finely modelled, whereas those of the younger one are somewhat blurred and reduced to a few shapes. Both figures are naked, and place and time are uncertain. Only the edge of the floor and dark shadows indicate the room in which they are located. The artist makes it seem here that the figures are made of the same material as the space surrounding them. The painting was produced in Gósol, a Catalan mountain village in the eastern Pyrenees, where Picasso retreated for several weeks in the early summer of 1906. Far from urban life, he began developing a new pictorial language characterised by simplicity and earthiness. Here, Picasso drew inspiration notably from the naked body, initially from the male and then the female one.

 

Pablo Picasso (Spanish, 1881-1973) 'La toilette' 1906

 

Pablo Picasso (Spanish, 1881-1973)
La toilette
1906
Oil on canvas
59 1/2 x 39 inches (151.13 x 99.06 cm)
Collection Albright-Knox Art Gallery, Buffalo, New York
Fellows for Life Fund, 1926
© Succession Picasso / 2018 ProLitteris, Zurich 2018

 

 

Room 7

In the summer of 1904 Picasso met Fernande Olivier, who would become his most important model and was also his companion until 1912. She shared with him a desperately poor life at the run-down Bateau-Lavoir studio building, in Montmartre, Paris. In 1906 she accompanied him to the Pyrenean village of Gósol in Spain. Olivier posed for Picasso, and to an extent her figure became a field for artistic experimentation. In La Toilette, Picasso’s search for a new archaic formal language still manifests itself in predominantly classical figures. In a bare interior, a naked young woman stands to the left, turned towards the viewer, arranging her hair in a mirror held by a black-haired woman dressed in blue and seen in profile. It is possible that the depictions of both women are portraits of Olivier, highlighting different, contrasting facets of the same person.

 

Pablo Picasso (Spanish, 1881-1973) 'Autoportrait' (Self-portrait) 1906

 

Pablo Picasso (Spanish, 1881-1973)
Autoportrait (Self-portrait)
1906
Oil on canvas
65 x 54 cm Musée national Picasso-Paris
© Succession Picasso / 2018, ProLitteris, Zurich
Photo: © RMN-Grand Palais (Musée national Picasso-Paris) / Mathieu Rabeau

 

 

Room 8

In his early years Picasso frequently portrayed himself. Although not identified by obvious attributes, this image is also a self-portrait of the artist in which he illustrates his most recent achievements as a painter. The stocky man’s solid torso, his greyish skin tone and mask-like face exemplify the Primitivist pictorial language that Picasso developed in 1906. The artist was seeking new means of expression, painting almost exclusively nudes and in the process moving noticeably away from his earlier work. He was no longer interested in depicting feelings, wanting rather to experiment with new forms and render his subjects with new pictorial means. Picasso’s facial features in this painting appear formulaic, stereotypical – and he has moved quite some distance from the aesthetic of the Blue and Rose Periods.

 

Pablo Picasso (Spanish, 1881-1973) 'Femme nue assise, les jambes croisées' (Seated Female Nude with Crossed Legs) 1906

 

Pablo Picasso (Spanish, 1881-1973)
Femme nue assise, les jambes croisées (Seated Female Nude with Crossed Legs)
1906
Oil on canvas

 

 

Room 8

Picasso’s discovery of centuries-old Iberian sculpture flowed, in the autumn of 1906, into numerous female nudes in which a new, raw style emerged. Among them is this imposing representation of a seated woman in which the artist limited himself to brown and grey tones. The schematically rendered robust body composed of geometric volumes and the ossified, mask-like face with its empty eyes are typical of Picasso’s Primitivism in this period. Thus, the artist introduced here, within a classical picture theme, a new image of the body, aimed at reduction. This was to prove seminal for his artistic development in subsequent years culminating in the painting Les Demoiselles d’Avignon.

 

Pablo Picasso (Spanish, 1881-1973) 'Nu sur fond rouge (Jeune femme nue à la chevelure)' 1906

 

Pablo Picasso (Spanish, 1881-1973)
Nu sur fond rouge (Jeune femme nue à la chevelure) (Nude on red background (Young nude woman with hair)
1906
Oil on canvas
81 x 54 cm
Paris, Musée de l’Orangerie, Collection Jean Walter and Paul Guillaume
© Succession Picasso / 2018, ProLitteris, Zurich
Photo: © RMN-Grand Palais (Musée de l’Orangerie) / Hervé Lewandowski

 

Pablo Picasso (Spanish, 1881-1973) 'Femme' (Epoque des "Demoiselles d’Avignon") 1907

 

Pablo Picasso (Spanish, 1881-1973)
Femme (Epoque des “Demoiselles d’Avignon”) (Woman (‘Demoiselles d’Avignon’ Period))
1907
Oil on canvas
119 x 93.5 cm
Fondation Beyeler, Riehen / Basel
© Succession Picasso / 2018 ProLitteris, Zurich Photo: Robert Bayer, Basel

 

 

Room 9

Femme, from 1907, also originated in the context of Picasso’s seminal picture Les Demoiselles d’Avignon and is the earliest work in the extensive Picasso collection assembled by Ernst and Hildy Beyeler. The sketch-like painting shows a naked female figure with raised arms, depicted in a pose that remains ambivalent. Wearing the cap of a sailor or ship’s captain (perhaps her hair is also set in a chignon), she is presented next to a yellow curtain drawn to the side and in front of a blue and green background. The face, whose features recall those of African masks, clearly reveals the great influence that non-European sculpture had on Picasso in this phase of his career. Whereas the figure’s face, arms and breasts are fully painted and bordered with clear contours, the lower body is sketched with just a few lines. In Femme Picasso seems to be deliberately playing with an aesthetic of incompletion – yet in light of its expressive power and manner of composition, the work is unquestionably finished.

 

Anonymous photographer. 'Pablo Picasso on Place Ravignan, Montmartre, Paris' 1904

 

Anonymous photographer
Pablo Picasso on Place Ravignan, Montmartre, Paris
1904
Silver gelatin print on paper
12 x 8.9 cm
Musée national Picasso-Paris

 

 

Fondation Beyeler
Beyeler Museum AG
Baselstrasse 77, CH-4125
Riehen, Switzerland

Opening hours:
10 am – 6 pm daily, Wednesdays until 8 pm

Fondation Beyeler website

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05
May
19

Exhibition: ‘Erwin Olaf’ at the Gemeentemuseum den Haag and Fotomuseum Den Haag / the Hague Museum of Photography

Exhibition dates: 16th February – 16th June 2019

Curators: Wim van Sinderen with the assistance of Hanneke Mantel (both of Gemeentemuseum Den Haag and The Hague Museum of Photography)

 

 

Erwin Olaf (Netherlands, b. 1959) 'Joy' 1985

 

Erwin Olaf (Netherlands, b. 1959)
Squares, Joy
1985
Gelatin silver print

 

 

As a storyteller, Erwin Olaf is a contemporary photographer whose work addresses most current concerns of the world – discrimination, gender, sexuality, taboo, climate change, reality, equality, power, racism, freedom of expression and democracy – through staged studio and outdoor photographs of incredible technical and visual skill.

The key to his work is the twist that he gives his cinematic, perfect worlds – the hidden crack in the facade, the unhinging of the link between reality and representation. These not so perfect worlds are often inspired by stories of the past, whether those stories may be present in the works of Vermeer, the still lives of the Dutch painters of the 16th and 17th century, Caravaggio, the Olympic Games of 1936, Norman Rockwell paintings, film noir, or clothes of the 1950s and 1960s.

The stillness and silence of the photographs subjects let the viewer examine the details of the mise en scène… the perfectly placed Coke bottle and apple, the shredded American flag in Palm Springs, The Kite (2018); the bandaged knee, the dripping ice cream in Rain, The Ice Cream Parlour (2004); and also admire the beautiful textures and lighting of the finished “product”, for Olaf’s aesthetic riffs on subverting theatrical performances and magazine fashion shoots.

Olaf let’s the viewer’s eye move without restraint across the terrain of the photographs, letting them soak up the atmosphere of his hyperreal tableau vivant. Both seductive and disturbing, his photographs challenge us to interrogate our own story – who are we, what do we really believe in, and what can we do to change prejudice and bigotry in a hostile world.

Dr Marcus Bunyan for Art Blart

.
Many thankx to the Gemeentemuseum den Haag for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“What I want to show most of all is a perfect world with a crack in it. I want to make the picture seductive enough to draw people into the narrative, and then deal the blow.”

.
Erwin Olaf

 

“In 1982, I saw an exhibition of Robert Mapplethorpe in Amsterdam that blew me off the socks. I just had a Hasselblad, I was inspired by his craftsmanship and the beautiful prints, and I thought: this is what I want too. In the series ‘Squares’ (1983-93) you clearly see his influence. I started asking people that I knew from the nightlife if they wanted to pose for me in my studio, which I had decorated in a squat of a friend. For example, the boy with the champagne bottle worked in the wardrobe of my favourite disco.”

.
Erwin Olaf (excerpt from the book ‘Erwin Olaf – I am’)

 

“My earliest work reflects my life in that time. I was a moth – I really loved the nightlife. In the late seventies, the early eighties was a hedonistic period: Disco and the beginning of the punk, the sexual revolution. I loved watching people play with gender, the theatrical of the nightlife, all the roles they could take.”

.
Erwin Olaf

 

“The camera offered me a possibility to enter a world that was not mine. I was able to hide behind the camera, but also be part of what I saw. As a photographer, you can look at people. You’re observing. I wanted to focus my gaze on groups that were outside the ‘normal’ society. One of my first photography assignments for school had as a theme ‘what’s normal?’. I still ask myself that.”

.
Erwin Olaf (excerpt from the book ‘Erwin Olaf – I am’)

 

 

Gemeentemuseum Den Haag and The Hague Museum of Photography are to honour one of the Netherlands’ most famous photographers, Erwin Olaf (b. 1959), with a double exhibition. Olaf, whose recent portraits of the royal family drew widespread admiration, will turn sixty this year – a good moment to stage a major retrospective. The Hague Museum of Photography will focus on Olaf’s love of his craft and his transition from analogue photojournalist to digital image-maker and storyteller. Olaf will himself bring together some twenty photographs by famous photographers of the past who have been a vital source of inspiration to him. Gemeente Museum Den Haag will show non-commissioned work by Olaf from 2000 to his most recent series, including the work he produced in Shanghai and his most recent series Palm Springs, on display for the first time. Olaf will be showing his photography in the form of installations, in combination with film, sound and sculpture.

 

Erwin Olaf – Palm Springs: behind the scenes

 

Erwin Olaf (Netherlands, b. 1959) 'First Aids Benefit Club Flora Palace Amsterdam, I' 1983

 

Erwin Olaf (Netherlands, b. 1959)
First Aids Benefit Club Flora Palace Amsterdam, I
1983
Gelatin silver print

 

Erwin Olaf (Netherlands, b. 1959) 'First Aids Benefit Club Flora Palace Amsterdam, II' 1983

 

Erwin Olaf (Netherlands, b. 1959)
First Aids Benefit Club Flora Palace Amsterdam, II
1983
Gelatin silver print

 

Erwin Olaf (Netherlands, b. 1959) 'Squares, Pearls' 1986

 

Erwin Olaf (Netherlands, b. 1959)
Squares, Pearls
1986
Gelatin silver print

 

Erwin Olaf (Netherlands, b. 1959) 'Chessmen, XVII' 1988

 

Erwin Olaf (Netherlands, b. 1959)
Chessmen, XVII
1988
© Erwin Olaf
Courtesy Hamiltons Gallery, London / Edwynn Houk Gallery, New York

 

 

“Chessmen was inspired by a chance meeting with my former photography teacher at the School for Journalism. A few years after I graduated there, I met him on the street. When I showed him my work in my studio, he said, “Say, would you like to publish a book?” He had recently taken over a publishing house for a pittance. The only problem was that I didn’t have enough work for a book. “Oh,” he said, “you only need sixty-four pages. And if you leave a page white next to each photo, you will need thirty-two photos. “At home I thought about it while listening to the radio – a chess program was just going on. At one point the presenter said: “This is an attacking game with thirty-two pieces. A war game. “I knew immediately: I’m going to make chess pieces. Those few words on the radio were all I needed; I had a clear picture in mind. Earlier I had been thinking about how I could do something with the theme of power. Power is something weird. Why do people abuse their power? Or why do you want it? Why do some people allow others to exercise power over them? From those questions came the idea of ​​a power game and the people who play it. ”

Erwin Olaf (excerpt from the book Erwin Olaf – I Am)

 

Erwin Olaf (Netherlands, b. 1959) 'Chessmen, XXIV' 1988

 

Erwin Olaf (Netherlands, b. 1959)
Chessmen, XXIV
1988
© Erwin Olaf
Courtesy Hamiltons Gallery, London / Edwynn Houk Gallery, New York

 

Erwin Olaf (Netherlands, b. 1959) 'Blacks, Esmeralda' 1990

 

Erwin Olaf (Netherlands, b. 1959)
Blacks, Esmeralda
1990
© Erwin Olaf
Courtesy Hamiltons Gallery, London / Edwynn Houk Gallery, New York

 

 

“The Blacks series is largely inspired by Janet Jackson’s album Rhythm Nation 1814. In one song, she sings: “In complete darkness we are all the same / It is only our knowledge and wisdom that separates us / Don’t let your eyes deceive you.” A few years earlier I had been hitchhiking to Paris and southern France, together with a friend with an Indonesian background. I was admitted without problems in all kinds of clubs, but they refused him at the door. At that time I became much more aware of the fact that the amount of pigment in your skin can have serious consequences. So when I heard Janet Jackson sing, I thought: this is my theme. I can create a group of people where everyone is equal.”

Erwin Olaf (excerpt from the book Erwin Olaf – I Am)

 

 

Journalistic training

Erwin Olaf was studying journalism in Utrecht in the 1980s when, having noticed that he was unhappy, one of his lecturers pressed a camera into his hands. ‘I loved the thing right from the word go,’ says Olaf, ‘the weight, the cool metal in my hand. It felt so natural. And when I took my first photographs, I knew I had found my calling.’ Olaf began taking journalistic photographs of theatre performances, worked for progressive magazines and volunteered for COC Nederland (which represents LGBTI interests). In his early work Olaf often depicted the human body quite graphically, breaching the restrictions on sexuality, the body and gender. He describes himself at that time as an angry adolescent, though his taboo-breaking work was highly significant in terms of visual freedom in the Netherlands.

 

Early work at The Hague Museum of Photography

The exhibition at The Hague Museum of Photography will start with his early work. Chessmen (1987-88) was one of Olaf’s first non-commissioned series, which came about when he was given the opportunity to produce a photobook. He had to fill 32 pages and he wanted to focus on the theme of power. He had heard an item on the radio about chess, a game of war consisting of 32 pieces. Olaf portrayed the game in a series of provocative images, featuring visible genitals, small half-naked people with kinky attributes, and extremely fat women in bondage outfits. The series did not go unnoticed. He received criticism for it, but also the Young European Photographers Prize.

 

Skill

Another early series shows the engagement that has remained important throughout Olaf’s career. Blacks (1990) is based on a song by Janet Jackson with the line, ‘In complete darkness we are all the same. It is only our knowledge and wisdom that separates us’. The series reflects Olaf’s battle for equality, and also his technical skill. In these baroque portraits, literally everything is black as coal, yet Olaf managed to give the images a rich tonality, both with his camera and in the developing process. A self-taught photographer, he has shown himself to be a master, not only of old-fashioned darkroom processes, but also of new techniques that have emerged in rapid succession since the digital revolution. He did pioneering work with Photoshop in the famous series Royal Blood (2000). Thanks to this new technique, he is even better able to experiment to his heart’s delight in his staged photography.

 

Sources of inspiration

Besides his own work, at The Hague Museum of Photography Erwin Olaf will be bringing together some twenty photographs by photographers who are his most important sources of inspiration, ranging from a vintage still life with roses by the late nineteenth-century photographer Bernard Eilers to self-portraits by Robert Mapplethorpe and Rineke Dijkstra. The work of these photographers inspired him, made him look in a different way at his own artistic practice, or pushed his photography in a new direction. By showing these pictures alongside his early work, which is imbued with his love of his craft, Olaf will give visitors to the Museum of Photography an idea of what has shaped him as a photographer.

 

Gemeentemuseum Den Haag

The exhibition at the Gemeentemuseum will begin, even before the entrance to the galleries, with the life-sized installation Keyhole (2012). The exterior has two long walls with panelling above which framed photographs hang, as in a classic interior. But visitors can watch two films through the keyhole in the doors on either side of the installation. It will be immediately apparent that the Gemeentemuseum is highlighting a new development in the work of Erwin Olaf. Here, he is going one step further, presenting his photography in exciting combinations of film, sound and sculpture.

 

Social engagement

Erwin Olaf’s work has always been highly personal and socially engaged. The clearest influence on the development of his work has been the events surrounding 9/11. Since then, the bombastic, baroque staging of his previous work has made way for more vulnerability and serenity. This has produced images that are very popular with the public: highly stylised film scenes staged perfectly down to the smallest detail, often bathed in light as if they were paintings, with an uncomfortable underlying message. As in the series Rain (2004), which appears to capture the moment between action and reaction after a shocking event. The series Grief (2007), shot in a 1960s setting, is about the first moment of response, the first tear.

Recent events are also reflected in Olaf’s work. He made the Tamed & Anger self-portraits (2015) in response to the Charlie Hebdo attack. In other works he addresses issues like the position of the individual in a globalising world, the exclusion and stereotyping of certain groups of people, and taboos associated with gender and nudity. The exhibition at the Gemeentemuseum will thus afford a glimpse inside Olaf’s turbulent and sometimes dark mind. A visit to the exhibition will be like wandering through his head.

 

Palm Springs: final part of a triptych

Erwin Olaf’s most recent series, Palm Springs (2018), will premiere at the exhibition in the Gemeentemuseum. It is part of a triptych about cities undergoing change, the other two parts being Berlin (2012) and Shanghai (2017). The Berlin series was produced in a period when dark clouds were gathering above Europe. It highlights Olaf’s concerns about freedom of expression and democracy, and the transfer of power from an older to a new generation. Shanghai is a hypermodern metropolis in China with a population of 24 million. The series made in this city explores what happens to the individual in an environment like this. In Palm Springs, Olaf again focuses on topical issues. One of the key themes is climate change, though at the same time the images also recall the America of the 1960s. In a beautiful series of portraits, landscapes – this was the first time Olaf had photographed landscapes – still lifes and filmic scenes he refers to issues like teenage pregnancy, discrimination, religious abuses and polarisation. The series tells the story of people withdrawing into gated communities as reality invades their paradise.

 

Photographs of royal family

A very special addition to the double exhibition will be Erwin Olaf’s photographs of the Dutch royal family. As part of the exhibition at the Gemeentemuseum he will bring together many of the photographs that the Government Information Service commissioned him to take of the royal family. He also took the picture that the family used as a Christmas greeting last December. ‘I’m proud of the royal family,’ says Olaf, ‘because they are a binding factor in a democracy that is sometimes very divided. I’m happy to be able to contribute to that.’

 

Successful artist

The double exhibition will show how Erwin Olaf has developed from angry provocateur to one of the Netherland’s most famous and popular photographers. His work now features in the collections and exhibitions of museums the world over, including China, Russia, The United States of America and Brazil. In 2008 The Hague Museum of Photography showed his Rain, Hope, Grief and Fall series. In 2011 he won the prestigious Johannes Vermeer Prize, and in 2018 the Rijksmuseum purchased almost 500 photographs and videos by Erwin Olaf.

 

Biggest retrospective to date

Together, the exhibitions at the Gemeentemuseum and the Museum of Photography will constitute the biggest retrospective of Olaf’s work ever staged, spanning the period from the early 1980s to his most recent work. In the words of Erwin Olaf: celebrating 40 years of visual freedom.

The double exhibition has been curated by Wim van Sinderen with the assistance of Hanneke Mantel (both of Gemeentemuseum Den Haag and The Hague Museum of Photography), and has come about in close collaboration with Erwin Olaf and his studio.

Press release from the Gemeentemuseum Den Haag [Online] Cited 04/05/2019

 

Erwin Olaf (Netherlands, b. 1959) 'Royal Blood, Di, †1997' 2000

 

Erwin Olaf (Netherlands, b. 1959)
Royal Blood, Di, †1997
2000
© Erwin Olaf
Courtesy Hamiltons Gallery, London / Edwynn Houk Gallery, New York

 

 

“I made the Royal Blood series to celebrate Photoshop as the new craft. I wanted to make something that was clearly fiction and would be impossible without Photoshop. A theme that was in the air at the time was that violence was suddenly identified with glamor. I never understood why criminals, even murderers, have fans. People worship them! And every cinema is chock full of people watching violence every week. I wanted to expose the attraction of blood, violence and celebrity – that live fast, that young ideal. Now I could no longer do this type of work. The emotion behind it has disappeared – I have already told that story. But it remains an important part of my legacy.”

Erwin Olaf (excerpt from the book Erwin Olaf – I am)

 

Erwin Olaf (Netherlands, b. 1959) 'Rain, The Ice Cream Parlour' 2004

 

Erwin Olaf (Netherlands, b. 1959)
Rain, The Ice Cream Parlour
2004
© Erwin Olaf
Courtesy Hamiltons Gallery, London / Edwynn Houk Gallery, New York

 

Erwin Olaf (Netherlands, b. 1959) 'Hope, The Hallway' 2005

 

Erwin Olaf (Netherlands, b. 1959)
Hope, The Hallway
2005
© Erwin Olaf
Courtesy Hamiltons Gallery, London / Edwynn Houk Gallery, New York

 

Erwin Olaf (Netherlands, b. 1959) 'Berlin, Freimaurer Loge Dahlem, 22nd of April, 2012' 2012

 

Erwin Olaf (Netherlands, b. 1959)
Berlin, Freimaurer Loge Dahlem, 22nd of April, 2012 [Masonic Lodge Dahlem]
2012
© Erwin Olaf
Courtesy Hamiltons Gallery, London / Edwynn Houk Gallery, New York

 

Erwin Olaf (Netherlands, b. 1959) 'Keyhole #6' 2012

 

Erwin Olaf (Netherlands, b. 1959)
Keyhole #6
2012
© Erwin Olaf
Courtesy Hamiltons Gallery, London / Edwynn Houk Gallery, New York

 

Erwin Olaf (Netherlands, b. 1959) 'Shanghai, Huai Hai 116, Portrait #2' 2017

 

Erwin Olaf (Netherlands, b. 1959)
Shanghai, Huai Hai 116, Portrait #2
2017
© Erwin Olaf
Courtesy Hamiltons Gallery, London / Edwynn Houk Gallery, New York

 

Erwin Olaf (Netherlands, b. 1959) 'Palm Springs, The Kite' 2018

 

Erwin Olaf (Netherlands, b. 1959)
Palm Springs, The Kite
2018
Courtesy Hamiltons Gallery, London / Edwynn Houk Gallery, New York
© Erwin Olaf

 

Erwin Olaf (Netherlands, b. 1959) 'Palm Springs, The Family Visit - Portrait I' 2018

 

Erwin Olaf (Netherlands, b. 1959)
Palm Springs, The Family Visit – Portrait I
2018
© Erwin Olaf
Courtesy Hamiltons Gallery, London / Edwynn Houk Gallery, New York

 

 

Gemeentemuseum Den Haag
Stadhouderslaan 41, 2517 HV Den Haag

Opening hours:
Tuesday – Sunday 10.00 – 17:00

Gemeentemuseum Den Haag website

Fotomuseum Den Haag
Stadhouderslaan 43
2517 HV Den Haag

Opening hours:
Tuesday – Sunday 11.00 – 17.00
The museum is closed on Mondays

Fotomuseum Den Haag website

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20
Apr
19

Exhibition: ‘Hilma af Klint: Paintings for the Future’ at the Solomon R. Guggenheim Museum, New York

Exhibition dates: 12th October 2018 – 23rd April 2019

Curators: Curated by Tracey Bashkoff, Director of Collections and Senior Curator, with the assistance of David Horowitz, Curatorial Assistant, and organised with the cooperation of the Hilma af Klint Foundation, Stockholm.

 

The exhibition Hilma af Klint: Paintings for the Future has attracted more than 600,000 visitors since its opening, making it the most-visited show in the history of the Solomon R. Guggenheim Museum. The survey of Hilma af Klint’s work is the first major solo exhibition in the United States devoted to the Swedish artist.

“For me, the 2018-19 art season will always belong to the Swedish painter Hilma af Klint (1862-1944). I say this simply as a measure of the psychic and historical shift caused by the Guggenheim Museum’s extraordinary full-dress retrospective of her nearly 40-year career.” ~ Roberta Smith, The New York Times

 

 

Installation viInstallation view of the exhibition 'Hilma af Klint: Paintings for the Future', Solomon R. Guggenheim Museum, New York, October 12, 2018 - April 23, 2019

 

Installation view of the exhibition Hilma af Klint: Paintings for the Future, Solomon R. Guggenheim Museum, New York, October 12, 2018 – April 23, 2019
Photo: David Heald

 

 

What can one say…

Magical, mystical, enchanted; chakra, mandala, golden ratio; music, spirit, energy.

Af Klint imagined displaying these works in a spiral temple, but the building never came to fruition. Now they are displayed in the spiral of the Solomon R. Guggenheim Museum, New York. I think she would have been very pleased.

She stipulated that her paintings not be shown for 20 years following her death, convinced the world was not ready for them. She was probably correct in that assumption. But now, now we are ravished by her creativity and prescience.

If she only knew how much she is now loved and adored. An enigmatic star that burns so very bright in the cosmos.

For Joyce Evans

Marcus

.
Many thankx to the Solomon R. Guggenheim Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

 

 

Hilma af Klint (Swedish, 1862-1944) 'Group X, No. 1, Altarpiece' (Grupp X, nr 1, Altarbild) 1915 (detail)

 

Hilma af Klint (Swedish, 1862-1944)
Group X, No. 1, Altarpiece (Grupp X, nr 1, Altarbild) (detail)
1915
From Altarpieces (Altarbilder)
Oil and metal leaf on canvas
237.5 x 179.5 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'Group X, No. 1, Altarpiece' (Grupp X, nr 1, Altarbild) 1915

 

Hilma af Klint (Swedish, 1862-1944)
Group X, No. 1, Altarpiece (Grupp X, nr 1, Altarbild)
1915
From Altarpieces (Altarbilder)
Oil and metal leaf on canvas
237.5 x 179.5 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Installation view of the exhibition 'Hilma af Klint: Paintings for the Future', Solomon R. Guggenheim Museum, New York, October 12, 2018 - April 23, 2019

Installation view of the exhibition 'Hilma af Klint: Paintings for the Future', Solomon R. Guggenheim Museum, New York, October 12, 2018 - April 23, 2019

Installation view of the exhibition 'Hilma af Klint: Paintings for the Future', Solomon R. Guggenheim Museum, New York, October 12, 2018 - April 23, 2019

Installation view of the exhibition 'Hilma af Klint: Paintings for the Future', Solomon R. Guggenheim Museum, New York, October 12, 2018 - April 23, 2019

 

Installation views of the exhibition Hilma af Klint: Paintings for the Future, Solomon R. Guggenheim Museum, New York, October 12, 2018 – April 23, 2019
Photos: David Heald

 

Hilma af Klint (Swedish, 1862-1944) 'The Ten Largest, No. 7., Adulthood, Group IV' [The age of men] 1907

 

Hilma af Klint (Swedish, 1862-1944)
The Ten Largest, No. 7., Adulthood, Group IV [The age of men]
1907
Tempera on paper mounted on canvas
315 x 235 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström/Moderna Museet

 

 

From October 12, 2018, to April 23, 2019, the Solomon R. Guggenheim Museum presents the first major solo exhibition in the United States of the Swedish artist Hilma af Klint (1862-1944). When af Klint began creating radically abstract paintings in 1906, they were like little that had been seen before: bold, colourful, and untethered from recognisable references to the physical world. It was several years before Vasily Kandinsky, Kazimir Malevich, Piet Mondrian, and others would take similar strides to free their own artwork of representational content. Yet af Klint rarely exhibited her remarkably forward-looking paintings and, convinced the world was not ready for them, stipulated that they not be shown for 20 years following her death. Ultimately, her work was not exhibited until 1986, and it is only over the past three decades that her paintings and works on paper have received serious attention.

Hilma af Klint: Paintings for the Future offers an opportunity to experience af Klint’s artistic achievements in the Guggenheim’s rotunda more than a century after she began her daring work. Curated by Tracey Bashkoff, Director of Collections and Senior Curator, with the assistance of David Horowitz, Curatorial Assistant, and organised with the cooperation of the Hilma af Klint Foundation, Stockholm, the exhibition features more than 170 of af Klint’s artworks and focus on the artist’s breakthrough years, 1906-20. It is during this period that she began to produce nonobjective and stunningly imaginative paintings, creating a singular body of work that invites a reevaluation of modernism and its development.

Hilma af Klint was born in Stockholm in 1862 and went on to study painting at the city’s Royal Academy of Fine Arts, graduating with honours in 1887. She soon established herself as a respected painter in Stockholm, exhibiting deftly rendered figurative paintings and serving briefly as secretary of the Society for Swedish Women Artists. During these years, she also became deeply engaged with spiritualism, Rosicrucianism, and Theosophy. These forms of spirituality, which were also of keen interest to other artists, including Kandinsky, František Kupka, Malevich, and Mondrian, were widely popular across Europe and the United States, as people sought to reconcile long-held religious beliefs with scientific advances and a new awareness of the global plurality of religions.

Af Klint developed her new approach to art making together with her spiritual practice, outside of Stockholm’s male-dominated art world. She had begun to regularly hold séances with four other women by 1896. During a meeting in 1906, one of the spirits that the group often channeled asked af Klint to create a cycle of paintings. Af Klint immediately accepted. She worked on the project between 1906 and 1915, completing 193 paintings and works on paper collectively called The Paintings for the Temple. These works, which included her first forays into non-objectivity, were a radical break from the more staid paintings she produced as part of her public practice. Stylistically, they are strikingly diverse, utilising biomorphic and geometric forms, expansive and intimate scales, and maximalist and reductivist approaches to composition and colour. She imagined installing them in a spiral temple, but the building never came to fruition. Af Klint described the final group of The Paintings for the Temple, called the Altarpieces, as “the summary of the series so far.” Recent research suggests this group of paintings was exhibited in 1928 at the World Conference of Spiritual Science and Its Practical Applications in London – the only known public display of The Paintings for the Temple during the artist’s lifetime. After she completed The Paintings for the Temple, af Klint continued to test the limits of her new abstract vocabulary. In these years, she experimented with form, theme, and seriality, creating some of her most incisive works.

 

Exhibition catalogue

Hilma af Klint: Paintings for the Future is accompanied by an illustrated catalogue representing her groundbreaking painting series while expanding recent scholarship to present the fullest picture yet of her life and art. Edited by Tracey Bashkoff, the volume includes contributions by Tessel M. Bauduin, Daniel Birnbaum, Briony Fer, Vivien Greene, Ylva Hillström, David Max Horowitz, Andrea Kollnitz, Helen Molesworth, and Julia Voss. Essays explore the social, intellectual, and artistic context of af Klint’s 1906 break with figuration and her subsequent development, placing her in the context of Swedish modernism and folk art traditions, contemporary scientific discoveries, and spiritualist and occult movements. A roundtable discussion among contemporary artists, scholars, and curators considers af Klint’s sources and relevance to art in the 21st century. The volume also delves into her unrealised plans for a spiral-shaped temple in which to display her art – a wish that finds a fortuitous answer in the Guggenheim Museum’s rotunda, the site of the exhibition.

Press release from the Solomon R. Guggenheim Museum Cited 11/03/2019

 

Hilma af Klint (Swedish, 1862-1944) 'Untitled' 1920

 

Hilma af Klint (Swedish, 1862-1944)
Untitled
1920
From On the Viewing of Flowers and Trees (Vid betraktande av blommor och träd)
Watercolor on paper
17.9 x 25 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'No. 1' (Nr 1) 1917 (detail)

 

Hilma af Klint (Swedish, 1862-1944)
No. 1 (Nr 1) (detail)
1917
From The Atom Series (Serie Atom)
Watercolor on paper
27 x 25 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'No. 1' (Nr 1) 1917

 

Hilma af Klint (Swedish, 1862-1944)
No. 1 (Nr 1)
1917
From The Atom Series (Serie Atom)
Watercolor on paper
27 x 25 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'Group IX/SUW, The Swan, No. 17' (Grupp IX/SUW, Svanen, nr 17) 1915

 

Hilma af Klint (Swedish, 1862-1944)
Group IX/SUW, The Swan, No. 17 (Grupp IX/SUW, Svanen, nr 17)
1915
From The SUW/UW Series (Serie SUW/UW)
Oil on canvas
150.5 x 151 cm
©  The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'Group IX/SUW, The Swan, No. 17' (Grupp IX/SUW, Svanen, nr 17) 1915 (detail)

 

Hilma af Klint (Swedish, 1862-1944)
Group IX/SUW, The Swan, No. 17 (Grupp IX/SUW, Svanen, nr 17) (detail)
1915
From The SUW/UW Series (Serie SUW/UW)
Oil on canvas
150.5 x 151 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'No. 2a, The Current Standpoint of the Mahatmas' (Nr 2a, Mahatmernas nuvarande ståndpunkt)1920

 

Hilma af Klint (Swedish, 1862-1944)
No. 2a, The Current Standpoint of the Mahatmas (Nr 2a, Mahatmernas nuvarande ståndpunkt)
1920
From Series II (Serie II)
Oil on canvas, 36.5 x 27 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'Group I, Primordial Chaos, No. 16' (Grupp 1, Urkaos, nr 16) 1906-1907

 

Hilma af Klint (Swedish, 1862-1944)
Group I, Primordial Chaos, No. 16 (Grupp 1, Urkaos, nr 16)
1906-1907
From The WU/Rose Series (Serie WU/Rosen)
Oil on canvas
53 x 37 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'Group V, The Seven-Pointed Star, No. 1n' (Grupp V, Sjustjärnan, nr 1) 1908

 

Hilma af Klint (Swedish, 1862-1944)
Group V, The Seven-Pointed Star, No. 1n (Grupp V, Sjustjärnan, nr 1)
1908
From The WUS/Seven-Pointed Star Series (Serie WUS/Sjustjärnan)
Tempera, gouache and graphite on paper mounted on canvas
62.5 x 76 cm
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'Tree of Knowledge, No. 5' (Kunskapens träd, nr 5) 1915 (detail)

 

Hilma af Klint (Swedish, 1862-1944)
Tree of Knowledge, No. 5 (Kunskapens träd, nr 5) (detail)
1915
From The W Series (Serie W)
Watercolor, gouache, graphite and metallic paint on paper
18 1/16 x 11 5/8 inches (45.8 x 29.5 cm)
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'Tree of Knowledge, No. 5' (Kunskapens träd, nr 5) 1915

 

Hilma af Klint (Swedish, 1862-1944)
Tree of Knowledge, No. 5 (Kunskapens träd, nr 5)
1915
From The W Series (Serie W)
Watercolor, gouache, graphite and metallic paint on paper
18 1/16 x 11 5/8 inches (45.8 x 29.5 cm)
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

Hilma af Klint (Swedish, 1862-1944) 'Tree of Knowledge, No. 5' (Kunskapens träd, nr 5) 1915 (detail)

 

Hilma af Klint (Swedish, 1862-1944)
Tree of Knowledge, No. 5 (Kunskapens träd, nr 5) (detail)
1915
From The W Series (Serie W)
Watercolor, gouache, graphite and metallic paint on paper
18 1/16 x 11 5/8 inches (45.8 x 29.5 cm)
© The Hilma af Klint Foundation, Stockholm
Photo: Albin Dahlström, the Moderna Museet, Stockholm

 

 

Solomon R. Guggenheim Museum
1071 5th Avenue (at 89th Street)
New York

Opening hours:
Open daily 10 am – 5.30 pm
Tuesdays and Saturdays until 8 pm

Solomon R. Guggenheim Museum website

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20
Jan
19

Exhibition: ‘Matthias Bruggmann. An Act of Unspeakable Violence’ at the Musée de l’Elysée, Lausanne

Exhibition dates: 17th October 2018 – 27th January 2019

Curator: Lydia Dorner, Curator Assistant, Musée de l’Elysée

 

 

Matthias Bruggmann. 'Marmarita, Reef Homes, September 11 2013'

 

Matthias Bruggmann
Marmarita, Reef Homes, September 11 2013
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

 

“The swimming pool at Al-Khair Hotel, above Marmarita. A number of the young men are from the Christian militia that protects Marmarita and helps besiege both the Krak des Chevaliers and al Husn, the Sunni village built around it. The Krak fell to the Syrian army in March 2014. Reuters, quoting Lebanese medical sources, reported that over forty of the opposition fighters fleeing the area were wounded in an ambush on the way out, with eight dead.”

 

 

These magnificent, thought provoking photographs by Swiss photographer Matthias Bruggmann take a critical look at the representation of the atrocities of war. The photographs won the Prix Elysée in 2017, awarded by the Musée de l’Elysée.

The photographs picture everyday life in what Bangladeshi photographer Shahidul Alam has so aptly referred to as the “majority world” – that is, they attend to issues of critical importance in Asia, the Middle East, Africa, Latin America and Oceania… not Europe or America. They shine a light on the conflict that is taking place in Syria and the surrounding geographical area by offering an outsiders perspective, much as Robert Frank offered an outsiders perspective on American society as he travelled through the USA, the resultant photographs leading to the production of his famous book The Americans.

But here the stakes are much higher. Here, life hangs in the balance. The little girl with the blond hair balances on her father’s shoulders; a man in silhouette peers through his night scope while the stars of the cosmos hang in the night sky behind; a man fires his machine pistol by holding it above his head, his comrades sheltering behind rocks; while a young man sits on his haunches, hunched over, blindfolded, bruised and in handcuffs. Awaiting some unknown fate.

One image among these formal, classical photographs (a body of work which crosses over from photojournalism to contemporary artistic photography) is particularly disturbing. On the road, Iraq, September 24 2016 (below) shows a group of men much like the groups of men that can be seen in Baroque painting. One man addresses the viewer holding a mobile phone, his face a skeleton, mask; another four men hold mobile phones in various attitudes, recording the scene or looking into them; the man at left, with a gun thrusting down his leg, walks into the scene, while the one behind walks out of scene, left; in the distance at right, a machine gun is mounted on a tripod, with man walking out of scene, right; while at centre right a group of four men, one with a Union Jack flag on the crutch of his trousers (?!), gaze down at a recumbent figure, a figure that you don’t initially see when looking at the photograph, for every man is standing but for the blood soaked figure of death.

The photograph highlights the barrenness of the landscape and the symbolical values embedded in the scene (masculinity, war, guns, flags, mobile phones, bodies, attitudes, death), clues in a charade which the spectator solves volens nolens – unwilling (or) willing: like it or not. The truth is yelled at you, if you know how to interpret the symbols.

It’s the mundanity evidenced in most of these mise en scène that gets you in the guts, that stirs up my anger and feelings of sadness and regret. I am so over ugly, male energy, from whichever side, from wherever – used in the name of religion, nationalism, power and control – to rule the life of others. These photographs are like a sad lament, a prayer offered up to the human race to ask deliverance from distress, suffering, and pain. Indifference to the pain and suffering of others should not be an option, for “in difference”, “we look with respect to another culture or another people.” (Mr Massarwe)

Dr Marcus Bunyan

.
Many thankx to the Musée de l’Elysée for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Matthias Bruggmann. 'Reef Idlib, February 20, 2013'

 

Matthias Bruggmann
Reef Idlib, February 20, 2013
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

“Two men mourn their brother who died decapitated by a regime shell. The fear of bombings was such that families stopped organising large funerals.”

 

Matthias Bruggmann. 'On the road Iraq September 24 2016'

 

Matthias Bruggmann
On the road, Iraq, September 24 2016
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

Matthias Bruggmann. 'Reef Idlib, 3 May 2014'

 

Matthias Bruggmann
Reef Idlib, 3 May 2014
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

 

“Using toilet cleaner and a dental probe, middlemen clean ancient coins. Coins and other antiquities are exported throughout the region, mostly to Turkey, but also Lebanon and, in some cases, Jordan, from where silver shekels then make their way to the Jerusalem souvenir industry. The trickiest part is faking provenance so that the antiquities can enter the highly lucrative Western market – dealers in neighbouring countries would take a fifty percent cut on the sale for the procurement. The asking price for a Byzantine mosaic measuring around two square meters was between 1,500 and 2,000 dollars and smuggling it out to a neighbouring country cost around 4,000 dollars at that point. Many of the deals were carried out over WhatsApp, and Syrians were often double-crossed by unscrupulous foreign dealers. One of the men in this photograph later complained that a North American dealer had cost him a small fortune when he refused to pay up his share.”

 

Matthias Bruggmann. 'Reef Idlib, 3 May 2014' (detail)

 

Matthias Bruggmann
Reef Idlib, 3 May 2014 (detail)
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

Matthias Bruggmann Talmenes. 'Reef Idlib 1 mai 2014'

 

Matthias Bruggmann
Talmenes Reef Idlib 1 mai 2014
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

 

“The remains of a barrel of chlorine (Cl₂) that was dropped on a house from a helicopter. This is one of the hundred or so documented attacks using chemical agents that happened before and after the 2013 Ghouta bombings in Damascus that the United States estimates killed 1,429. The Syrian government was the only warring faction to have access to airpower, therefore it is unthinkable that anyone else dropped this barrel. A man who refused to give his name, presenting himself as the owner of the house and the father of two of the children killed in the bombing, explained that he was an employee of a government-run granary. When he went back to work, he said, men came and offered him to interview him on an official TV channel to say that Jabhat al-Nusra had dropped the bomb. He added that the men offered to give him money to rebuild his house in exchange. This attack, which killed 3 and wounded over 130, was extensively documented, both by Human Rights Watch and by Christoph Reuter in Germany’s Der Spiegel. As of mid-2018, the Syrian Archive also held over a dozen videos of the attack and its aftermath.”

 

Matthias Bruggmann. 'Kafr Souseh, Damascus, 5 May 2012'

 

Matthias Bruggmann
Kafr Souseh, Damascus, 5 May 2012
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

Matthias Bruggmann. 'Desert, 20 September 2016'

 

Matthias Bruggmann
Desert, 20 September 2016
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

Matthias Bruggmann. 'Desert, 20 September 2016' (detail)

 

Matthias Bruggmann
Desert, 20 September 2016 (detail)
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

Matthias Bruggmann. 'Shinshirah, Reef Idlib, 19 May 2014'

 

Matthias Bruggmann
Shinshirah, Reef Idlib, 19 May 2014
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

Matthias Bruggmann. 'Shinshirah, Reef Idlib, 19 May 2014' (detail)

 

Matthias Bruggmann
Shinshirah, Reef Idlib, 19 May 2014 (detail)
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

 

Matthias Bruggmann is the winner of the second edition of the Prix Elysée, with the support of Parmigiani Fleurier, for his project on Syria. Hoping to “bring, to Western viewers, a visceral comprehension of the intangible violence that underlies conflict”, he takes the gamble of hiding nothing in his explicit and brutal pictures. Taken in the field, they force the viewer to slow down and take stock of the war – geographically distant, admittedly, but made omnipresent by the media.

If the tens of thousands of pictures of torture taken by Syrian photographers do not attract the attention of a Western audience, what can a foreigner who doesn’t even speak Arabic hope to accomplish? The photographs of Matthias Bruggmann take a critical look at the representation of the atrocities of war. They give Westerners a more nuanced picture of the reality of an armed conflict and blur the boundaries between photojournalism and contemporary artistic photography.

Launched in 2012, his project plunges us into the complexity of the conflict. His images, which cover a geographic zone larger than Syria, question our moral assumptions and bring about a better understanding of the violence underlying this conflict.

Matthias Bruggmann explains: “Formally, my previous work put viewers in a position where they were asked to decide the nature of the work itself. A scientifically questionable analogy of this mechanism would be the observer effect in quantum physics, where the act of observing changes the nature of what is being observed. My Syrian work builds on this framework. From a documentation perspective, it is, thus far and to the best of my knowledge, unique as the work, inside Syria, of a single Western photographer, in large part thanks to the assistance and hard work of some of the best independent experts on the conflict. Because of the nature of this conflict, I believe it is necessary to expand the geographical scope of the work. At its core is an attempt at generating a sense of moral ambiguity. The design of this is to make viewers uneasy by challenging their own moral assumptions and, thus, attempt to bring, to Western viewers, a visceral comprehension of the intangible violence that underlies conflict. One of the means is by perverting the codes normally used in documentary photography to enhance identification with the subject.”

 

Biography

Matthias Bruggmann is a Swiss photographer who was born in Aixen-Provence in 1978. For the past 15 years, his work has focused on the different war zones throughout the world. After graduating from the Vevey School of Photography in 2003, he became interested very early on in the complexity of his profession in times of war. At the beginning of the 2000s, he accompanied the photojournalist Antonin Kratochvil, who covered the invasion of Iraq. This first experience provided him with the opportunity to explore the complex link between photojournalism and reality – what is actually grasped or described. Since that time, his personal projects have taken him to Egypt, Haiti, Libya and Somalia.

Matthias Bruggmann’s work was featured in the exhibition reGeneration: 50 photographers of tomorrow, organised by the Musée de l’Elysée in 2005, and he was part of the curatorial team for We Are All Photographers Now! presented at the museum in 2007. He is also one of the cofounders of the contemporary art space, Standard/Deluxe, in Lausanne. His photographs have been published in countless newspapers and magazines, including Le Monde, The Sunday Times, Time Magazine and National Geographic.

His work is included in a number of private collections, as well as the public collections of the Frac Midi-Pyrénées and the Musée de l’Elysée. His project on Syria received the Prix Elysée in 2017, awarded by the Musée de l’Elysée with the support of Parmigiani Fleurier. He is represented by the Contact Press Images agency and by the Galerie Polaris in Paris.

Press release from the Musée de l’Elysée website

 

Matthias Bruggmann. 'Shirqat, Iraq, 22 September 2016'

 

Matthias Bruggmann
Shirqat, Iraq, 22 September 2016
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

Matthias Bruggmann. 'Shirqat, Iraq, 22 September 2016' (detail)

 

Matthias Bruggmann
Shirqat, Iraq, 22 September 2016 (detail)
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

Matthias Bruggmann. 'Ghazi Ayaash, Deir ez-Zor, May 25, 2015'

 

Matthias Bruggmann
Ghazi Ayaash, Deir ez-Zor, May 25, 2015
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

Matthias Bruggmann. 'Rabiah, Reef Hama, April 23, 2012'

 

Matthias Bruggmann
Rabiah, Reef Hama, April 23, 2012
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

Matthias Bruggmann. 'Hadar, Reef Quneitra, August 7, 2015'

 

Matthias Bruggmann
Hadar, Reef Quneitra, August 7, 2015
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

At the northern frontline between the Druze fighters and Jabhat al-Nusra, the older fighters teach the younger ones how to fight. Some of the fighters were in the security services, and either retired, or went absent without leave to defend their village.

 

Matthias Bruggmann. 'Bab Hud, Homs, May 26, 2012'

 

Matthias Bruggmann
Bab Hud, Homs, May 26, 2012
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

 

Syria, 2012. In the old town of Homs, a group of fighters and activists meet to stage an allegorical piece written by one of them, who was, in his life, before the revolution, a known writer. In this piece, a lion (or assad, in Arabic …) has lost his voice, and mistreats the other animals to try to find it. The street next door is one of the most dangerous in the city, because it is the corner of government shooters.

 

Matthias Bruggmann. 'Bab Hud, Homs, May 26, 2012' (detail)

 

Matthias Bruggmann
Bab Hud, Homs, May 26, 2012 (detail)
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

Matthias Bruggmann. 'Industrial City, Deir ez-Zor, May 5, 2015'

 

Matthias Bruggmann
Industrial City, Deir ez-Zor, May 5, 2015
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

Matthias Bruggmann. 'Shirqat, Iraq, September 22, 2016'

 

Matthias Bruggmann
Shirqat, Iraq, September 22, 2016
© Matthias Bruggmann / Contact Press Images
Courtesy Musée de l’Elysée, Lausanne and Galerie Polaris, Paris

 

 

The Musée de l’Elysée
18, avenue de l’Elysée
CH - 1014 Lausanne
Phone: + 41 21 316 99 11

Opening hours:
Tuesday – Sunday, 11am – 6pm
Closed Monday, except for bank holidays

The Musée de l’Elysée website

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09
Nov
18

Exhibition: ‘Black Mist Burnt Country’ at the National Museum of Australia, Canberra

Exhibition dates: 24th August – 18th November 2018

Curator: JD Mittmann

Aboriginal and Torres Strait Islander viewers are advised that the following post may contain images and voices of people who have died.

 

 

Rosemary Laing. 'One Dozen Considerations - Emu Totem I' 2013

 

Rosemary Laing (b. 1959)
One Dozen Considerations – Emu Totem I
2013
C type photograph
49 x 76 cm
© Rosemary Laing

 

 

The empty yet altered landscape takes on different moods with Rosemary Laing’s, One Dozen Considerations Totem 1 – Emu (2013) monument marking the site of an weapon’s test with a British flag flying behind it. Both look like conqueror’s claims to territory, powerful images of the attempts to colonise Indigenous space, to write a colonial history through markers of significance, to write out the Indigenous voice but at the same time to appropriate Indigenous ideas and language. (Larissa Behrendt on the Artlink website)

 

 

Field of thunder ~ big devil spirit ~ colonial fireworks

a/atom

late 15th century: from Old French atome, via Latin from Greek atomos ‘indivisible’, based on a- ‘not’ + temnein ‘to cut’.

 

a/secret

something that is not properly understood; a mystery

 

a/secretion

from French sécrétion or Latin secretio(n- ) ‘separation’, from secret- ‘moved apart’, from the verb secernere

 

a/desecration

late 17th century: from de- (expressing reversal) + a shortened form of consecrate

 

a/segregation

the enforced separation of different racial groups in a country, community, or establishment

 

Lest we forget what was bequeathed the land, Traditional Owners and servicemen by the British and Australian governments. Death, disease, displacement from Country and radioactivity so they can never return. Literally sickening. Shame, shame and more shame.

Marcus

.
Many thankx to the National Museum of Australia for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

 

There was also a lot of tearing down of Aboriginal sites according to what I’ve heard and just sort of this blinkered vision, and I think it’s a horrible education to learn that’s the way Aboriginal in those areas were perceived… and then you look at the ramifications of the health of both the people and the land and how that has been totally compromised…

Whether it came to treatment of Aboriginal people or whether it came to treatment of the environment. Hopefully [the exhibition will] engender something that people will fight, fight for their rights and fight for their land.

.
Waanyi artist Judy Watson

 

 

Jessie Boylan. 'Yami Lester at Walatinna Station, South Australia' 2006

 

Jessie Boylan (b. 1986)
Yami Lester at Walatinna Station, South Australia
2006
Digital inkjet print
85 x 85 cm
© Jessie Boylan

 

 

Yami Lester, Walatinna Station, South Australia, 2006 – In 1953, Yami, a Yankunytjatjara man, was ten years old, living at Wallatinna Station when Totem One went off, it was part of a series of atmospheric atomic bombs that the British and Australian governments were testing during the 50’s and 60’s at Emu Field and Maralinga in South Australia and the Monte Bello Islands off the West Australian coast. He was blinded not long after the fallout. (Jessie Boylan)

 

 

Yami Lester (Boylan)
Yunkunytjatjara man Yami Lester talks about the mysterious poisonous ‘black mist’ that badly affected Aboriginal area after the Totem 1 atomic test in 1952

 

 

At Maralinga, the tests caused adverse effects on both the local people and military personnel, but in many cases it was difficult to determine the extent to which people had been affected. But for Yankunytjatjara Elder Tjamu Yami Lester it was devastating. He was blinded at 10 years old as a result of the ‘black mist’ that descended onto his country.

He died last year at the age of 75.

Much of his life was spent fighting for people affected by nuclear testing, subsequently becoming the public face of a tireless campaign. He led the push for the 1984 Royal Commission into British Nuclear Tests in Australia, which resulted in a clean-up of the testing ground and compensation for the Anangu people. While reparations can never repair the damage inflicted upon Yami Lester, his people and country, his remarkable legacy lives on.

Extract from Nakari Thorpe. ‘Art beneath the ‘black mist’ of Maralinga’, on the NITV website 27 September 2018

 

Blak Douglas. 'Tjarutja Tragedy' 2016

 

Blak Douglas (b. 1970)
Tjarutja Tragedy
2016
Tragedy
Synthetic polymer on canvas
100 x 200 cm
© Blak Douglas

 

 

The burnt, barren trees in Blak Douglas’s Tjarutja Tragedy are bent, leaning to one side with their branches split in two representing the letter Y.

“That’s because I’m asking why did this happened to us people?”

The Dunghutti artist’s work captures a land destroyed by atomic testing in Australia and speaks to the deep displacement of its Traditional Owners.

“I wanted to create a piece that really encapsulated the return of blackfellas to their country when your country has been blasted. It’s metaphoric for a lot of blackfellas… [And] effectively it’s a metaphor for the continent en masse, and how much of us can’t return to our tribal homelands including myself.”

“Whole peoples were dispossessed from their country and this was done complicity on behalf of the British government and the Australian people really had no say in it.” …

Blak Douglas says his own work was inspired by Mr Lester’s spirited crusade [see above].

“I remember seeing images of him and I googled Maralinga on YouTube a long time ago and I saw Uncle Yami as he was blinded as result of the atomic tests,” he said.

“I’ve dedicated this painting to that mob and I’m proud of that and I’m sure that Uncle Yami, or that mob there when I meet them in due time, will be embracing of it.”

He says Maralinga was one of the “worst atrocities any blackfella has suffered.”

“To blow bombs like that on country and to name them gammin white names or code names that’s just the epitome of colonial fireworks,” he says.

Extract from Nakari Thorpe. ‘Art beneath the ‘black mist’ of Maralinga’, on the NITV website 27 September 2018

 

 

Blak Douglas
Sydney-based artist Blak Douglas talks about his painting ‘Tjarutja Tragedy’ which is part of the exhibition Black Mist Burnt Country

 

Paul Ogier. 'One Tree (former emu field atom test site)' 2010

 

Paul Ogier (b. 1974, New Zealand)
One Tree (former emu field atom test site)
2010
Carbon pigment on rag paper
94 x 117 cm
© Paul Ogier

 

 

An award-winning national touring exhibition of artworks by over 30 Indigenous and non-Indigenous artists, commemorating the British atomic tests in Australia in the 1950s, opens today at the National Museum of Australia in Canberra.

Black Mist Burnt Country features artworks from the past seven decades, selected from public and private collections, including works by Sidney Nolan, Arthur Boyd, Pam Debenham, Toni Robertson, Rosemary Laing, Jonathan Kumintjarra Brown, Judy Watson, Hilda Moodoo and Yvonne Edwards.

Developed by the Burrinja Dandenong Ranges Cultural Centre, Black Mist Burnt Country revisits the history of the British atomic test program at Maralinga, Emu Field and Montebello Islands and examines the impact on people and land, as well as its on-going legacies.

It presents works across the mediums of painting, printmaking, sculpture, photography, new media and music, while exploring the varied perspectives and creative approaches of artists from post-Second World War modernists to contemporary artists.

A variety of interactive elements enable visitors to gain insights into the social, political and environmental dimensions, while placing the Australian atomic tests in the context of the nuclear arms race and its present-day realities.

Margo Neale, Head of the National Museum’s Indigenous Knowledge Centre and Advisor to the Director, said, ‘This potent exhibition by a cast of great artists broaches a number of thresholds in the telling of Australian history through art, and the role of museums in bringing these relatively little-known stories to life. These visual stories penetrate the heart while revealing little-known truths of human consequence about a tragic event in our shared history.’

Burrinja exhibition curator JD Mittmann said, ‘It is surprising how few people are aware that atomic bombs were exploded in Australia, and how little they know about the dislocation of Aboriginal people, the exposure of Australian servicemen and the contamination of the land. This exhibition offers some remarkable insights into a chapter of our history that has long-lasting consequences, while it poses some important questions in relation to contemporary nuclear issues’.

The project has been produced by Burrinja Dandenong Ranges Cultural Centre, Upwey, Victoria and has been on tour nationally since September 2016, when it marked the 60th anniversary of the first British test at Maralinga. The project has been assisted by the Australian Government’s Visions of Australia program and developed through the Exhibition Development Fund of National Exhibition Touring Support (NETS) Victoria. The project has also received financial assistance from the Gordon Darling Foundation.

Black Mist Burnt Country received the 2017 Museums Australia Victoria Archival Survival Award (Small Museums) and a Highly Commended at the Museums Australia National Conference (Touring and Temporary Exhibitions).

Press release from the National Museum of Australia

 

Karen Standke. 'Road to Maralinga II' 2007

 

Karen Standke (b. 1973, Germany)
Road to Maralinga II
2007
Oil on canvas
112 x 85 cm
© Karen Standke

 

Kate Shaw. 'Charcoal, UK: Maralinga' 2012

 

Kate Shaw (b. 1969)
Charcoal, UK: Maralinga
2012
Acrylic and resin on board
120 x 240 cm
© Kate Shaw

 

Adam Norton. 'Prohibited Area' 2010

 

Adam Norton (1964, England)
Prohibited Area
2010
Acrylic paint on board, wooden poles and bolts
240 x 122x 7 cm
© Adam Norton

 

 

Adam Norton
Sydney-based artist Adam Norton talks about his work Prohibited Area, which is part of a series of reproduced signs he encountered in “nuclear badlands”.

 

'Maralinga Prohibited Area sign on Emu/Nawa Road' 1974

 

Maralinga Prohibited Area sign on Emu/Nawa Road
1974
National Archives of Australia NAA: A6457, P042

 

 

British nuclear tests at Maralinga

Historical context

On 3 October 1952, the United Kingdom tested its first nuclear weapon, named “Hurricane”, at the Monte Bello Islands off the coast of Western Australia. A year later the first nuclear test on the Australian mainland was Totem 1 (9.1 kilotonnes of TNT (38 TJ)) at Emu Field in the Great Victoria Desert, South Australia, on 15 October 1953. Totem 2 (7.1 kilotonnes of TNT (30 TJ)) followed two weeks later on 27 October. The Supply Minister, Howard Beale, stated in 1955 that “England has the know how; we have the open spaces, much technical skill and a great willingness to help the Motherland. Between us we should help to build the defences of the free world, and make historic advances in harnessing the forces of nature.”

The British government formally requested a permanent test facility on 30 October 1953. Due to concerns about nuclear fallout from the previous tests at Emu Field and the site’s inadequate infrastructure and water supply, the recently surveyed Maralinga site was selected for this purpose. The new site was announced in May 1955. It was developed as a joint, co-funded facility between the British and Australian governments.

Prior to selection, the Maralinga site was inhabited by the Pitjantjatjara and Yankunytjatjara Aboriginal people, for whom it had a great spiritual significance. Many were relocated to a new settlement at Yalata, and attempts were made to curtail access to the Maralinga site. These were often unsuccessful. (My emphasis) …

A Department of Veterans’ Affairs study concluded that “Overall, the doses received by Australian participants were small. … Only 2% of participants received more than the current Australian annual dose limit for occupationally exposed persons (20 mSv).” However, such findings are contested. Australian servicemen were ordered to: repeatedly fly through the mushroom clouds from atomic explosions, without protection; and to march into ground zero immediately after bomb detonation. Airborne drifts of radioactive material resulted in “radioactive rain” being dropped on Brisbane and Queensland country areas. A 1999 study for the British Nuclear Test Veterans Association found that 30 per cent of involved veterans had died, mostly in their fifties, from cancers.

Successive Australian governments failed to compensate servicemen who contracted cancers following exposure to radiation at Maralinga. However, after a British decision in 1988 to compensate its own servicemen, the Australian Government negotiated compensation for several Australian servicemen suffering from two specific conditions, leukaemia (except lymphatic leukaemia) and the rare blood disorder multiple myeloma.

One author suggests that the resettlement and denial of aboriginal access to their homelands “contributed significantly to the social disintegration which characterises the community to this day. Petrol sniffing, juvenile crime, alcoholism and chronic friction between residents and the South Australian police have become facts of life.” In 1994, the Australian Government reached a compensation settlement with Maralinga Tjarutja, which resulted in the payment of $13.5 million in settlement of all claims in relation to the nuclear testing. (My emphasis)

 

Media coverage

According to Liz Tynan from James Cook University, the Maralinga tests were a striking example of what can happen when the popular media are unable to report on activities that the government may be trying to hide. Maralinga was an example of extreme secrecy, but by the late 1970s there was a marked change in how the Australian media covered the British nuclear tests. Some resourceful investigative journalists emerged, whistle-blowers such as Avon Hudson [see photograph below] spoke out and political scrutiny became more intense. The investigative journalist Brian Toohey ran a series of stories in the Australian Financial Review in October 1978, based in part on a leaked Cabinet submission.

In June 1993, New Scientist journalist Ian Anderson wrote an article entitled “Britain’s dirty deeds at Maralinga” and several related articles. They are a detailed analysis of the legacy of Vixen B and the Australian government’s prolonged negotiations with the United Kingdom on cleaning up Maralinga and sharing the cost of “safe-sealing” waste plutonium. Previously, much of this highly toxic nuclear waste had simply been lightly bulldozed into the soil rather than buried in deep, secure, purpose-built, concrete bunkers. In 1993, Anderson won two Michael Daley Awards for his Maralinga articles.

Maralinga: Australia’s Nuclear Waste Cover-up is a book by Alan Parkinson about the clean-up following the British nuclear tests at Maralinga, published in 2007. Parkinson, a nuclear engineer, explains that the clean-up of Maralinga in the late 1990s was compromised by cost-cutting and simply involved dumping hazardous radioactive debris in shallow holes in the ground. Parkinson states that “What was done at Maralinga was a cheap and nasty solution that wouldn’t be adopted on white-fellas land.”

Text from the Wikipedia website

 

 

Australian Atomic Confessions

Sacrificial Lambs on the High Alter of Science

Australian servicemen and nomadic Aboriginals reveal the devastating effects of atomic weapons testing carried out in Australia by the British during the 1950s. For the first time, members of the Royal Australian Army, Air Force and Navy describe former top secret aspects of those tests. With the use of rare archival film and photographs, as well as eye witness accounts, Australian Atomic Confessions chronicles the hidden history and exposes previously hidden Government cover-ups. The consequences of nuclear testing imposed on the Australian people and land are not just skeletons of the past. Sydneys’ new nuclear reactor continues to pose a threat to the environment and civilians, and the problem of removing and disposing of the old nuclear reactor remains an unanswered question. Prominent Aboriginal Elders also warn that an imminent catastrophe may occur in Central Australia as a result of two uranium mines. Australian Atomic Confessions is a chilling expose of nuclear testing and its damaging legacy, one that continues to this day.

 

Jessie Boylan. 'Portrait of a whistleblower: Avon Hudson was a leading aircraftman for the RAAF during the nuclear tests in Maralinga' 2011-2015

 

Jessie Boylan (b. 1986)
Portrait of a whistleblower: Avon Hudson was a leading aircraftman for the RAAF during the nuclear tests in Maralinga
2011-2015
Image: Burrinja Cultural Centre

 

 

This series chronicles Avon Hudson’s life, from early years growing up in regional South Australia, to service in the Royal Australian Air Force as a Leading Aircraftman, through the experience of British atomic bomb tests, to his “whistle blower” act of revealing Maralinga’s deadly legacy.

What Avon knew, and was prepared to tell publically about Maralinga, contributed to the establishment of the Royal Commission into British Nuclear Tests in Australia (1984-85). His motivation was to put a halt to government plans to return Maralinga to its traditional owners, pending a full clean-up of land still contaminated by radioactive debris.

The story of nuclear testing is unknown to most Australians. Between 1952 and 1963, after a decision made by Prime Minister Menzies alone, nine atomic bombs were exploded and hundreds of ‘minor’ experiments were conducted at the British-run testing ranges at Emu and Maralinga in South Australia. Three bombs were also exploded at Monte Bello Islands in Western Australia.

The impacts of these experiments continue to play out in the ill health and changed lives of both Aboriginal and non-Aboriginal communities, who were exposed to or involved in the tests, over multiple generations. The tests have also left a deep-future legacy of environmental contamination.

It is a portrait of someone with a photographic memory, capable of grasping and articulating every detail of the atomic age as he experienced it.

It depicts a committed citizen and serviceman, husband and father, always an advocate and an activist, who in civilian life became a Wakefield councillor for over 20 years. It shows a practical man – mechanic, wood-turner and furniture maker; and portrays a nature-enthusiast and an educator on environmental and social issues.

It is also a portrait of someone who has invariably lived by his convictions – as that’s what whistleblowers do. Since the 1970s, Avon has campaigned for recognition of nuclear veterans and civilian personnel. As his co-authored book “Beyond Belief” records, “His life has been deeply affected by a sense of injustice and by the callousness of successive Australian and British governments ignoring the plight of those caught up in ‘the grand game’.”

This series is a recognition and celebration of the significant role Avon has played South Australia’s unfolding atomic history. His life as an activist seems to belong to the present, as the future of nuclear science and technology is considered anew.

Text from the Jessie Boylan website (with permission)

 

Boylan is a photomedia artist who explores issues relating to human impacts on the land and communities in relation to environmental and social devastation – nuclear testing, mining and war. Through her work Boylan’s has expressed ideas of history and place in relation to contemporary Australian identity, community and activism. She recently completed her MFA on the topic of photography, the campsite and the anti-nuclear movement in Australia.

Jessie Boylan is a key member of the Atomic Photographers Guild, an international group who aim to render visible all aspects of the nuclear age. She won first place in Images of Justice at Adelaide University 2015 and has been a finalist for the Josephine Ulrick and Win Schubert Photography Award in 2007, 2009 & 2012, the Spirit of Youth Award in 2009, the Head On Alternative Portrait Awards, ACP, Sydney in 2009 & 2010. (Text from the Black Mist Burnt Country website)

 

Craig McDonald. 'Maralinga Test Dummy' 2010

 

 

Hugh Ramage. 'Taranaki' 2014

 

Hugh Ramage (b. New Zealand 1958, emigrated to Sydney in 1978)
Taranaki
2014
Oil on canvas
42 x 37 cm
© Hugh Ramage

 

Taranaki test site-and cleanup-area

 

Taranaki test site-and cleanup-area
(image source: Google Earth)

 

 

Jonathan Kumintjarra Brown
Pitjantjatjara artist Jonathan Kumintjarra Brown talks about his country and the effects the atomic tests had on it

 

Jonathan Brown was removed from his parents at Ooldea and grew up with foster parents in Melbourne and Sydney. At a later stage of his life he located his parents at Yalata and learnt about the atomic tests, the removal of his people from their traditional lands and the destruction of country. Jonathan first came to recognition as artist when he worked with Lin Onus for the 1990 exhibition Balance at the Queensland Art Gallery. His later paintings were heavily influenced by the experiences of the Pitjantjatjara / Anangu which became the focus of his work. (Text from the Black Mist Burnt Country website)

 

Jonathan Kumintjarra Brown. 'Maralinga before the Atomic Test' 1994

 

Jonathan Kumintjarra Brown (1960-1997)
Maralinga before the Atomic Test
1994
Ochres, sand and kapok on linen
227 x 205 cm
Yarra Ranges McLeod Gift Collection

 

 

Much of the exhibition centres on the story of artist Jonathan Kumintjara Brown who was removed from his family at Ooldea Mission, located on the transcontinental railway near Watson about 250 kilometres west of Ceduna.

Three of his works feature in the exhibition, and grainy textures bring his pieces to life. One in particular, Black Rain, powerfully illustrates the destruction of country through a black sky punctured by white thick stripes of rain and cloud.

“He did it with such a great sense of power and visual impact,” says Burrinja Executive Director Ross Farnell.

“He would depict the landscape and then basically throw a whole heap of ochre, sand and glue over the top of it and then just obliterate most of the painting and then go that’s Maralinga after the test, ‘that’s what happened to my country’,” Mr Farnell told NITV News.

Extract from Nakari Thorpe. ‘Art beneath the ‘black mist’ of Maralinga’, on the NITV website 27 September 2018

 

Jonathan’s story

One of the central stories of Black Mist Burnt Country is the story of artist Jonathan Kumintjarra Brown. Jonathan was removed from his parents at Ooldea mission station at very early age and grew up with in a foster family in Melbourne and Sydney. At a later stage of his life he located his parents at Yalata and went back to be reunited with them.

The return to his people was traumatic. Neither could he speak Pitjantjatjara, nor did he know he had a brother. He learned about the removal of his people from their country and the destruction of country through atomic testing.

Fabian Peel, who worked as a nurse in the community at the time and is now director of Tullawon Health Clinic in Yalata, took Jonathan around the country. He remembers: “It was very painful. Jonathan cried all the way.”

Jonathan went on to make several paintings depicting the impacts of the nuclear testing program on Anangu and the land, some of which will be included in the exhibition.

Text from the Black Mist Burnt Country website

 

Jonathan Kumintjarra Brown. 'Maralinga' 1992

 

Jonathan Kumintjarra Brown (1960-1997)
Maralinga
1992
Acrylic, sand and lizard skeleton on linen
Ebes Collection
© the artist estate
Photograph: Jonathan Kumintjarra Brown

 

Jonathan Kumintjarra Brown. 'Maralinga' (detail) 1992

 

Jonathan Kumintjarra Brown (1960-1997)
Maralinga (detail)
1992
Acrylic, sand and lizard skeleton on linen
Ebes Collection
© the artist estate

 

Jonathan Kumintjarra Brown. 'Maralinga Atomic Test Dust Storm and Old Sites Significance' 1996

 

Jonathan Kumintjarra Brown (1960-1997)
Maralinga Atomic Test Dust Storm and Old Sites Significance
1996
Synthetic polymer paint, natural ochres and sand on canvas
122 x 92 cm
© the artist estate

 

Jonathan Kumintjarra Brown. 'Frogmen' 1996

 

Jonathan Kumintjarra Brown (1960-1997)
Frogmen
1996
Synthetic polymer paint, natural ochre and sand on canvas
122 x 92 cm
© the artist estate

 

Kate Downhill. 'Operation Hurricane' 2013

 

Kate Downhill (b. 1955 England, emigrated to Australia 2009)
Operation Hurricane
2013
Acrylic on dress fabric laid on canvas
101 x 76 cm
© Kate Downhill

 

 

Kate studied graphic design at Newcastle-upon-Tyne College of Art and worked in London during the 1970s as an illustrator and layout artist in various publishing houses. In the 1980s she studied painting at Exeter College of Art, graduating with a BA in Fine Art and Literature and concentrated on her purely abstract paintings in the tradition of the St. Ives School of painters with whom she trained. In the mid 1990s her working style changed dramatically and abstraction became a background element in new works where a variety of figurative styles and painting techniques were used within the same image. Since then she has worked to combine both painterly and graphic imagery to narrative effect. A life-long interest in textiles, quilting and the language of stitching is also evident in her work.

Since emigrating to Australia Kate has been concentrating on a series of paintings whose theme is the fragmentary and personal nature of memory and the process of memorialisation, as with the paintings she presents in this exhibition. Here she is using the naive imagery of rural community quilting to bring together varied scraps of information and family anecdotes about the British Australian nuclear tests. Kate’s father was a seismologist for the Atomic Weapons Research Institute and he was closely involved in the development and testing of the H Bomb during the 1950s. Her work here is a deeply personal response to historical events. (Text from the Black Mist Burnt Country website)

 

 

Kate Downhill
Kate Downhill talks about her father’s involvement in the British atomic test program as a seismologist and explains her painting’s reference to quilting.

 

Tjariya Stanley. 'Puyu - Black Mist' 2015

 

Tjariya Stanley
Puyu – Black Mist
2015
Acrylic on canvas
© Margo Birnberg and the artist

 

Hilda Moodoo and Jeffrey Quema. 'Destruction II' 2002

 

Hilda Moodoo (b. 1952) and Jeffrey Quema (1947-2009)
Destruction II
2002
Synthetic polymer paint on canvas
101 x 122 cm
Santos Fund for Aboriginal Art 2002, Art Gallery of South Australia, Adelaide
Courtesy of the artists

 

 

Hilda Moodoo painting began at Oak Valley in December 2001 when Victorian Yorta Yorta artist Lance Atkinson spent two months in the community teaching the technical skills for painting on canvas. Hilda Moodoo and Kunmanara Queama’s collaborative paintings Destruction I and II were included in the resulting Desert Oaks exhibition at the Adelaide Festival Centre in March 2002 and are now in the collection of the Art Gallery of South Australia. The Desert Oaks project was a deliberate expression of identity and an opportunity to pass on knowledge through painting. (Text from the Black Mist Burnt Country website)

Queama, a Pitjantjatjara man, was born at Ooldea, on the eastern edge of the Nullabor Plain. With the dispersal of residents after the closure of the United Aborigines Mission (UAM) at Ooldea in 1952, he was sent to the Lutheran mission school at Koonibba, near Ceduna. He worked for many years on land conservation and management boards, and lobbied tirelessly for the return of the Maralinga-Tjarutja lands to the traditional owners. In 1984 the lands were been returned, and he and his wife Hilda Moodoo among others founded Oak Valley community, 150 kilometres northwest of Maralinga. (Text from the Black Mist Burnt Country website)

 

Arthur Boyd. 'Jonah on the Shoalhaven Outside the City' 1976

 

Arthur Boyd (1920-1999)
Jonah on the Shoalhaven Outside the City
1976
Oil on canvas
Bundanon Trust Collection
© Bundanon Trust

 

 

In Arthur Boyd’s Jonah on the Shoalhaven – Outside the City (1976), the iconic cloud sits on the horizon, almost like a puff of dust rising off the white sand. Boyd had been conscripted into the army and became a pacifist. For him, the threat of nuclear destruction sits in the backdrop, no less menacing than Nolan’s apocalyptic response two decades earlier. (Larissa Behrendt on the Artlink website)

 

Sidney Nolan. 'Central Desert Atomic Test' 1952-57

 

Sidney Nolan (1917-1992)
Central Desert Atomic Test
1952-57
Oil on canvas

 

 

Nolan’s landscape sits harsh and red under a blue sky and the mushroom cloud of the bomb. Nolan was living in London at the time but news of the tests started appearing in the media. The cloud and dust were added to one of Nolan’s desert paintings as an act of protest over the events taken place back in Australia and the addition turns a rugged landscape into an image that seethes with anger at the act of destruction. In Nolan’s landscape, the bomb looms large. (Larissa Behrendt on the Artlink website)

 

Toni Robertson. 'The Royal Nuclear Show - 6' 1981

 

Toni Robertson (b. 1953)
The Royal Nuclear Show – 6
1981
Screen print on paper (set of 6 screenprints)
Prints, screenprints, printed in colour inks, each from four hand-cut and three photo-stencils
Flinders University Art Museum Collection
Image courtesy of National Gallery of Australia, Canberra

 

 

Toni Robertson studied fine arts at the University of Sydney in the 1970s and was a founding member of the influential Earthworks Poster Collective (1971-80) at the University’s Tin Sheds. Robertson’s work has appeared in many group exhibitions in the 1970s and 1980s, and along with Chips Mackinolty and others she is recognised as a leading figure in Australian political printmaking. Her work is held in many public collections, including the National Gallery of Australia, the Art Gallery of New South Wales, the National Gallery of Victoria, the Australian War Memorial, Artbank and the Museum of Contemporary Art, Sydney as well as tertiary, state library and union collections. (Text from the Black Mist Burnt Country website)

 

Toni Robertson and Chips Mackinolty. 'Daddy, what did YOU do in the Nuclear War?' 1977

 

Toni Robertson and Chips Mackinolty
Toni Robertson
Sydney, New South Wales, Australia | born 1953
Chips Mackinolty
Morwell, Victoria, Australia | born 1954
Earthworks Poster Collective
commenced 1971 – 1980 | poster design studio (organisation)
Tin Sheds Art Workshop
commenced 1969 | print workshop (organisation)
Daddy, what did YOU do in the Nuclear War?
1977
Prints, posters, screenprint, printed in colour inks, from multiple stencils
Printed image 73.4 h x 48.2 w cm
Sheet 76.2 h x 50.7 w cm
National Gallery of Australia, Given in memory of Mitch Johnson 1988
© Toni Robertson

 

 

The political poster movement in Australia was at its height in the 1970s, supporting anti-war, anti-uranium, pro-land rights and pro-feminist causes. Members of the Earthworks Poster Collective, opposed to the egotism of individual artistic fame, worked from the Tin Sheds (University of Sydney Art Workshop). In Daddy what did you do in the nuclear war? Toni Robertson and Chips Mackinolty appropriated a British recruiting poster from the First World War, adapting the children’s bodies to reflect the genetic consequences of radiation.

Christine Dixon

 

Victorian-born artist Chips Mackinolty was involved in the campaigns against the war in Vietnam by producing protest posters. He was a key figure in the radical poster movement and was introduced to screen printing in Goulburn Street, Sydney. During the 1970s posters became an art form artists using the cheap posters as a political tool. The Earthworks Poster Collective, established in 1971, was the most active and well-known of these groups. Earthworks operated from the Sydney University Art Workshop, commonly known as the Tin Sheds, finally demolished in 2007. Mackinolty used sharp, flat colours and increasingly professional techniques to produce posters such as “For the man who said life wasn’t meant to be easy – make life impossible.” The poster is a multi-imaged send-up of former Australian Prime Minister Malcolm Fraser. It was posted up at night around Sydney, helping to politicise a generation. His work is held in major national and international institutions. (Text from the Black Mist Burnt Country website)

 

Pam Debenham. 'No nukes in the Pacific' 1984

 

Pam Debenham
Launceston, Tasmania, Australia | born 1955
Tin Sheds Posters
Sydney, New South Wales, Australia | commenced 1984 (organisation)
Tin Sheds Art Workshop
commenced 1969 | print workshop (organisation)
No nukes in the Pacific
1984
Prints, posters, screenprint, printed in colour inks, from multiple stencils
Printed image 88.0 h x 62.0 w cm
Sheet 91.0 h x 65.0 w cm
National Gallery of Australia, purchased 1990

Pam Debenham. 'No Nukes No Tests' 1984

 

Pam Debenham
Launceston, Tasmania, Australia | born 1955
Tin Sheds Posters
Sydney, New South Wales, Australia | commenced 1984 (organisation)
Tin Sheds Art Workshop
commenced 1969 | print workshop (organisation)
No Nukes No Tests
1984
Screenprint on paper
© Pam Debenham
Image courtesy of the National Gallery of Australia, Canberra

 

Adam Norton. 'Prohibited Area' 2010

 

Adam Norton (b. 1964, England)
Prohibited Area
2010
Acrylic paint on board, wooden poles and bolts,
240 x 122x 7 cm
© Adam Norton

 

 

National Museum of Australia
Lawson Crescent
Acton Peninsula, Canberra

Opening hours:
Daily 9am-5pm

Black Mist Burnt Country website

National Museum of Australia website

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26
Oct
18

Exhibition: ‘L’envol’ (‘Flight’) at La maison rouge, Paris

Exhibition dates: 16th June – 28th October 2018

 

Georges Méliès (1861-1938) 'Le voyage dans la lune. Le clair de terre - (10e tableau)' 1902

 

Georges Méliès (1861-1938)
Le voyage dans la lune. Le clair de terre – (10e tableau)
A Trip to the Moon
1902
Courtesy Collection La Cinémathèque française

 

 

Another fantastic, esoteric exhibition that will resonant with a lot of human beings. The curators of L’envol (Flight) “have imagined an exhibition that examines mankind’s dream of flying – though without any reference to those who have actually made this dream come true.”

Man has long wanted to fly even though even though men are not birds. But we can, each in our own way, imagine what it is like to fly; we can dream about flying; we can meditate on flying; we can partake in shamanic rituals where our spirit becomes a bird (Carlos Castaneda); we can fly during orgasmic sex as we are taken out of our own body (la petite mort); we can loose ourselves ecstatically during a dance party when we commune with the cosmic beyond; or we can make films such as Alan Parker’s outstanding film Birdy where the protagonist “imagines himself flying like a bird around his room, throughout the house and outside in the neighbourhood.”

Many and varied are the ways human beings examine the melancholy and fantastical desire to fly.

In my own contemporary work, I investigate the moral and ethical reasons why a human being would want to fly the very latest piece of technology, a fighter plane, only to kill, bomb and maim. The reason to fly such war machines, to be as one with the latest technology, the speed, the thrill of flying – to fight for freedom, democracy, to bomb, to kill; and the moral and ethical choices that human beings make, to undertake one action over another.

Again, the melancholy and the fantastical, perhaps flight as a means of escape from the realities of the everyday, much as a child I often imagined being a bird and flying away, never to come back. So this exhibition has special resonance with me. What an incredible collection of ideas, feelings, dreams and fantastical creations these magnificent inventors have released into the universe, in order to defy a literal and promote a metaphysical gravity (love).

Marcus

.
Many thankx to La maison rouge for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Love is metaphysical gravity

.
Buckminster Fuller

 

 

Henry Darger (American, 1892-1973) 'Young Rebonna Dorthereans Blengins - Catherine Isles, Female, One Whip-Lash-Tail' 1920-30

 

Henry Darger (American, 1892-1973)
Young Rebonna Dorthereans Blengins – Catherine Isles, Female, One Whip-Lash-Tail
1920-30
Pencil and watercolour on paper
© Kiyoko Lerner, Adagp, 2018
Courtesy Musée d’art moderne de la Ville de Paris

 

Henry Darger (American, 1892-1973) 'Human headed Blengins of Calverine Island Catherine Isles' 1920-30

 

Henry Darger (American, 1892-1973)
Human headed Blengins of Calverine Island Catherine Isles
1920-30
Pencil and watercolour on paper

 

 

Henry Joseph Darger Jr. (c. April 12, 1892-April 13, 1973) was a reclusive American writer and artist who worked as a hospital custodian in Chicago, Illinois. He has become famous for his posthumously discovered 15,145-page, single-spaced fantasy manuscript called The Story of the Vivian Girls, in What Is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the Child Slave Rebellion, along with several hundred drawings and watercolor paintings illustrating the story.

The visual subject matter of his work ranges from idyllic scenes in Edwardian interiors and tranquil flowered landscapes populated by children and fantastic creatures, to scenes of horrific terror and carnage depicting young children being tortured and massacred. Much of his artwork is mixed media with collage elements. Darger’s artwork has become one of the most celebrated examples of outsider art. …

In the Realms of the Unreal is a 15,145-page work bound in fifteen immense, densely typed volumes (with three of them consisting of several hundred illustrations, scroll-like watercolor paintings on paper derived from magazines and colouring books) created over six decades. Darger illustrated his stories using a technique of traced images cut from magazines and catalogues, arranged in large panoramic landscapes and painted in watercolours, some as large as 30 feet wide and painted on both sides. He wrote himself into the narrative as the children’s protector.

The largest part of the book, The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm Caused by the Child Slave Rebellion, follows the adventures of the daughters of Robert Vivian, seven princesses of the Christian nation of Abbieannia who assist a daring rebellion against the child slavery imposed by John Manley and the Glandelinians. Children take up arms in their own defense and are often slain in battle or viciously tortured by the Glandelinian overlords. The elaborate mythology includes the setting of a large planet, around which Earth orbits as a moon (where most people are Christian and mostly Catholic), and a species called the “Blengigomeneans” (or Blengins for short), gigantic winged beings with curved horns who occasionally take human or part-human form, even disguising themselves as children. They are usually benevolent, but some Blengins are extremely suspicious of all humans, due to Glandelinian atrocities.

Text from the Wikipedia website

 

Charles August Albert Dellschau. 'Untitled' 1921

 

Charles August Albert Dellschau (American, 1830-1923)
Untitled
1921
Book
Courtesy Collection abcd / Bruno Decharme

 

 

Charles August Albert Dellschau (4 June 1830 Brandenburg, Prussia-20 April 1923 Houston, Texas) was one of America’s earliest known visionary artists, who created drawings, collages and watercolours of airplanes and airships and bound them in 12 known large scrapbooks that were discovered decades after his death. …

After his death, Dellschau’s home remained in the hands of his descendants. His notebooks of paintings and drawings, as well as his diaries were left virtually untouched for half a century until the late 1960s. Following a fire, the house was cleared and at least 12 of the notebooks were placed on the sidewalk to be discarded. Fred Washington, a local antiques and used furniture dealer, spotted the books, and for $100 bought them from the trash collector. The books sat undisturbed in Washington’s store under a pile of discarded carpet for over a year. In 1968, Mary Jane Victor, an art student at the University of St. Thomas in Houston stumbled upon the notebooks, and persuaded Washington to lend some of them to the university for a display on the story of flight. She also brought them to the attention of art patron and collector Dominique de Menil. Mrs. de Menil purchased four of the notebooks for $1,500. Of the remaining books, seven were purchased Peter (Pete) G. Navarro, a Houston commercial artist and UFO researcher. After studying them, Navarro sold four of the notebooks to the Witte Museum in San Antonio, and the San Antonio Museum of Art. One notebook ultimately ended in the private abcd (art brut connaissance & diffusion) collection in Paris belonging to Bruno Decharme, a French filmmaker and art collector. The rest of the notebooks ended up in private hands. Some were dismantled and single pages were sold. In 2016, a double sided page dated 1919, sold for $22,500 at Christie’s.

Dellschau’s earliest known work is a diary dated 1899, and the last is an 80-page book dated 1921-1922, giving his career as an artist a 21-year span. His work was in large part a record of the activities of the “Sonora Aero Club,” of which he was a purported member. Dellschau’s writings describe the club as a secret group of flight enthusiasts who met in Sonora, California in the mid-19th century. According to Dellschau, one of the club members discovered a formula for an anti-gravity fuel called “NB Gas.” The club mission was to design and build the first navigable aircraft using the NB Gas for lift and propulsion. Dellschau called these flying machines Aeros. Dellschau never claimed to be a pilot or a designer of any of the airships; he identifies himself only as a draftsman for the Sonora Aero Club. His collages incorporate newspaper clippings (called “press blooms”) of then-current news articles about aeronautical advances and disasters.

Despite exhaustive research, including searches of census records, voting rosters, and death records, nothing has been found to substantiate the existence of this group except for a few gravestones in the Columbia Cemetery where several of the surnames are found. It is speculated that, like the voluminous “Realms of the Unreal” notebooks by outsider artist Henry Darger (1882-1973), the Sonora Aero Club is a fiction by Dellschau.

Text from the Wikipedia website

 

 

L’envol is the final exhibition at La maison rouge, which will close its doors for the last time on October 28, 2018. Antoine de Galbert has invited Barbara Safarova, Aline Vidal and Bruno Decharme as co-curators. Together, these specialists in art brut and contemporary art have imagined an exhibition that examines mankind’s dream of flying – though without any reference to those who have actually made this dream come true. As always at La maison rouge, the curators have considered the subject matter independently of “categories” to bring together works of art brut, modern, contemporary, ethnographic and folk art. A walk through the various themes reveals a succession of some 200 works, including installations, films, documents, paintings, drawings and sculptures.

In the beginning there was Dedalus, that inspired inventor who dreamed of escaping into the skies, taking his son Icarus with him. Harnessed to wings made from feathers and wax, they rose into the heavens, intoxicated with their flight, borne aloft into the atmosphere. We all know what happened next. Icarus ventured too near the sun, his wings melted and he hurtled into the sea to die. From legend to reality, the sky has always been a dangerous playground for mankind. This is no small undertaking by the 130 artists in Lenvol, as they endeavour to challenge the laws of gravity, break free of Earth’s magnetic field, launch themselves into the unknown or experience the gaseous envelope of the atmosphere between two periods of turbulence. Some are hedonists, others are activists, intent on saving mankind as the world heads for destruction, whether by building flying shelters or constructing utopias. The sky offers ample territory for experiment, shared between the extravagant artists who are convinced of their ability to overcome gravity and the gods that live there, and the conceptualists designing utopias – more poet than scientist.

 

Defying gravity

The dream of flying may be as old as mankind – and the sky may have lost some of its mystery thanks to progress in aviation – but men are not birds, all the same. Clothing oneself in feathers is not enough. We are earthly creatures, and the body alone will always struggle to leave the ground. We can never achieve this freedom nor expand the scope of our action without the will to surpass ourselves.

Devoid of wings, dancers soar upwards, defying the laws of gravity with no fear of falling or exhaustion (Loie Fuller, Nijinsky, Cuningham, etc.) Rodchenko, a photographer for the Russian propaganda machine, uses daring, low-angle shots to make his athletes appear to take off in flight, idealising the body to further the needs of the revolution whose heroes were held aloft.

Lucien Pelen seeks anti-matter as he attempts to merge his body with the atmosphere. Arms outstretched, he launches himself into the air and, for a split second, achieves the ecstasy of flight before coming brutally back down to earth. Such is this fragile balance at the boundaries of possibility.

When Gustav Messmer attached springs to his shoes so he could bounce rather than walk, or fitted a bicycle with enormous bat-like wings, did he realise how precarious these inventions were? To hell with scepticism! Surely it takes some degree of madness to invent your own freedom?

Or engage in excesses like Rebecca Horn who, in search of new ways to experience the space around her, shrouds her ailing body in feather fans then seeks the limits of its extension, stretching these articulated wings as far as they will go before the mechanism gives way.

 

To infinity and beyond

The weight of the world gives artists cause to wander in the shadow of earthly paradises. Fréderic Pardo, a psychedelic star, uses tempera, an ancient technique, to produce spaced-out paintings while high on LSD. He floats alongside magic carpets (Urs Lüthi), ridden by souls from an Arabian Nights dream. We discover a limitless space filled with superheroes, Batman and witches straddling broomsticks; a world teeming with chimera and fairies.

The sky seethes with mystery. Shamans, accustomed to travelling between worlds, converse with spirits and collect information while improbable creatures, part angel, part human, bump and bowl along (Henry Darger’s Blengins side by side with Moebius’s Arzach, Friedrich Schröder-Sonnenstern’s hybrids and Kiki Smith’s bird-women).

 

Engineering the impossible

Tatlin’s sculpture, more fine art than flying machine, seeks to rediscover an age-old, mythical experience. Letatlin is a melding of art, technique and utopia; an attempt at a personal dream. The year is 1929 and the Great Depression has spared no-one. Heads are hot with the desire to escape, minds filled with fantasies of infinity. “We must learn to fly through the air just as we learned to swim in the water or ride a bicycle,” Tatlin declared.

Some forty years later, Belgian artist Panamarenko appears to have taken him at his word. Obsessed with the freedom of flight, he makes sophisticated yet poetic constructions, bristling with bellows and motors. However crazy or technically unfeasible they may be, the artist never tires of convincing us they will lift him off the ground.

These are beautiful machines, created by the engineers of the impossible and of no purpose whatsoever – except for the dreams they inspire. Snuggling into Fabio Mauri’s Luna inspires a feeling of weightlessness with the senses immersed in a light, fluffy environment. Stationed on the deck of his Spacecraft, inspired as much by the Mercury project as Henry David Thoreau’s cabin in the woods, Stéphane Thidet combines musical arrangements with conversations between astronauts in an electroacoustic performance.

They shut themselves away in their own worlds, all the better to escape to another place, experience the extraordinary and relive childhood fantasies, but with adult toys. Roman Signer, for example, plays with explosives and sets off conflagrations that are both fascinating and illusory. After all, what is the point of smashing everyday objects to smithereens? Of starting up a helicopter in an inflatable pool when it will probably destroy everything around? What is the point of risking danger, other than to try and become one with the inventor of the world and reproduce the forces of nature.

 

Indoor aviators

Some of these dream merchants are inspired by an intercelestial mission. They are the off-the-wall artists, incomprehensible to the rational world, imbued with a different logic and convinced that flight can be achieved with contraptions made from bits and bobs. Theirs is a world free from explosions or falls, bolstered by belief and the quest for the absolute. Hans-Jörg Georgi, for one, is driven by the need to save humanity from inevitable destruction. His studio is crammed with the aeroplanes he painstakingly builds, day after day, from cardboard boxes stuck together with glue.

Karl Hans Janke is another master of the art of spaceship building, having produced an astonishing 4,500 drawings describing hundreds of technical innovations. Charles Dellschau is further testament to this obsessive dream of flying. He was a member of the Sonora Aero Club, a secret group of mid-nineteenth-century flight enthusiasts whose self-appointed mission was to build the world’s first navigable aircraft.

These are crazy escapades, guided only by the imagination and ultimately less dangerous, and just as exhilarating, as those undertaken by reality’s utopians. Adolf Wölfli chose to rise above it all, deliriously determined to embrace Creation, Space and Eternity. His associations of opposite perspectives produce apparently real and contradictory visions that are dizzying to behold.

Aviation’s spectacular progress has in no way diminished the dreams of these magnificent inventors. Two irreconcilable worlds continue to share the skies. And why shouldn’t artists seek inspiration from other suns? Despite his fall, Icarus is a hero for all eternity.

Excerpt from the exhibition catalogue, introduction by Aline Vidal.

 

 

Fabio Mauri
Luna
1968
Installation

 

Anonymous photographer. 'Untitled' c. 1940

 

Anonymous photographer
Untitled
c. 1940
Black and white photograph
Courtesy Collection abcd / Bruno Decharme

 

Alexandre Rodchenko (1891-1956) 'A leap' 1934

 

Alexandre Rodchenko (1891-1956)
A leap
1934
Black and white photograph
Courtesy Collection Multimedia Art Museum, Moscow / Moscow House of Photography Museum

 

 

Photographs made from above or below or at odd angles are all around us today – in magazine and television ads, for example – but for Rodchenko and his contemporaries they were a fresh discovery. To Rodchenko they represented freedom and modernity because they invited people to see and think about familiar things in new ways. (Text from the MoMA website)

Photography was important to Rodchenko in the 1920s in his attempt to find new media more appropriate to his goal of serving the revolution. He first viewed it as a source of preexisting imagery, using it in montages of pictures and text, but later he began to take pictures himself and evolved an aesthetic of unconventional angles, abruptly cropped compositions, and stark contrasts of light and shadow. His work in both photomontage and photography ultimately made an important contribution to European photography in the 1920s. (Text from The Art Story website)

 

Eikoh Hosoe (Japan, b. 1933) 'Kamaitachi 17' 1965

 

Eikoh Hosoe (Japan, b. 1933)
Kamaitachi 17
1965
Black and white photograph
© Eikoh Hosoe. Courtesy galerie Jean-Kenta Gauthier, Paris

 

 

Eikoh Hosoe’s groundbreaking Kamaitachi was originally released in 1969 as a limited-edition photobook of 1,000 copies. A collaboration with Tatsumi Hijikata, the founder of ankoku butoh dance, it documents their visit to a farming village in northern Japan and an improvisational performance made with local villagers, inspired by the legend of kamaitachi, a weasel-like demon who haunts rice fields and slashes people with a sickle. Hosoe photographed Hijikata’s spontaneous interactions with the landscape and the people they encountered. A seductive combination of performance and photography, the two artists enact an personal and symbolic investigation of Japanese society during a time of massive upheaval. (Text from the Aperture website)

 

Emery Blagdon (1907-1986) 'Untitled' Nd

 

Emery Blagdon (1907-1986)
Untitled
Nd
Courtesy Collection abcd / Bruno Decharme

 

 

From the late 1950s until his death in 1986, Emery Blagdon created a constantly changing installation of paintings and sculptures in a small building on his Nebraska farm. He believed in the power of “earth energies” and in his own ability to channel such forces in a space that, through constant adjusting and aesthetic power, could alleviate pain and illness.

Blagdon used found materials like hay baling wire, magnets, and remnant paints from farm sales, but he also sought out special ingredients like salts and other “earth elements” through a nearby pharmacy. He called the individual pieces his “pretties,” but collectively they comprised The Healing Machine. Blagdon worked on his Healing Machine for more than three decades, tending, tinkering with, and reorganising its components every day and, in his own words, “according to the phases of the moon.” He believed it was a functional machine in which energies were drawn upward from the building’s earthen floor into the space, where they could bounce around and remain dynamic.

Text from the Wikipedia website

 

Lucien Pelen. 'Chair n°2' (detail) 2005

 

Lucien Pelen
Chair n°2 (detail)
2005
Black and white photograph
Lucien Pelen / Courtesy Galerie Aline Vidal

 

Jacques-Henri Lartigue (1894-1986) 'L'envol de Bichonnade' 1905

 

Jacques-Henri Lartigue (1894-1986)
L’envol de Bichonnade (The flight of Bichonnade or Bichonnade leaping)
Paris 1905
Gelatin silver print

 

Yves Klein. 'Leap into the Void' 1960

 

Yves Klein (1928-1962)
Leap into the Void
1960
Black and white argentic print
© Succession Yves Klein c/o Adagp, Paris
© Photo Collaboration Harry Shunk and Janos Kender
© J. Paul Getty Trust. The Getty Research Institute, Los Angeles

 

 

As in his carefully choreographed paintings in which he used nude female models dipped in blue paint as paintbrushes, Klein’s photomontage paradoxically creates the impression of freedom and abandon through a highly contrived process. In October 1960, Klein hired the photographers Harry Shunk and Jean Kender to make a series of pictures re-creating a jump from a second-floor window that the artist claimed to have executed earlier in the year. This second leap was made from a rooftop in the Paris suburb of Fontenay-aux-Roses. On the street below, a group of the artist’s friends from held a tarpaulin to catch him as he fell. Two negatives – one showing Klein leaping, the other the surrounding scene (without the tarp) – were then printed together to create a seamless “documentary” photograph. To complete the illusion that he was capable of flight, Klein distributed a fake broadsheet at Parisian newsstands commemorating the event. It was in this mass-produced form that the artist’s seminal gesture was communicated to the public and also notably to the Vienna Actionists.

Text from The Metropolitan Museum of Art website

 

Philippe Thomassin. 'Flight Time 5h34'' 1989-1991

 

Philippe Thomassin
Flight Time 5h34′
1989-1991
Courtesy collection Antoine de Galbert
Photo: Célia Pernot
© Philippe Thomassin

 

Rebecca Horn (German, b. 1944) 'The little Mermaid' 1990

 

Rebecca Horn (German, b. 1944)
The little Mermaid
1990
Courtesy collection Antoine de Galbert
Photo: Célia Pernot
© Rebecca Horn

 

 

Rebecca Horn (born 24 March 1944, Michelstadt, Hesse) is a German visual artist, who is best known for her installation art, film directing, and her body modifications such as Einhorn (Unicorn), a body-suit with a very large horn projecting vertically from the headpiece. She directed the films Der Eintänzer (1978), La ferdinanda: Sonate für eine Medici-Villa (1982) and Buster’s Bedroom (1990). Horn presently lives and works in Paris and Berlin.

 

Panamarenko (Belgian, b. 1940) 'Japanese Flying Pak 3' 2001

 

Panamarenko (Belgian, b. 1940)
Japanese Flying Pak 3
2001
Courtesy Galerie Jamar, Anvers
Photo: Wim Van Eesbeek
© Panamarenko

 

 

Panamarenko (pseudonym of Henri Van Herwegen, born in Antwerp, 5 February 1940) is a prominent assemblagist in Belgian sculpture. Famous for his work with aeroplanes as theme; none of which are able nor constructed to actually leave the ground.

Panamarenko studied at the academy of Antwerp. Before 1968, his art was inspired by pop-art, but early on he became interested in aeroplanes and human powered flight. This interest is also reflected in his name, which supposedly is an acronym for “Pan American Airlines and Company”.

Starting in 1970, he developed his first models of imaginary vehicles, aeroplanes, balloons or helicopters, in original and surprising appearances. Many of his sculptures are modern variants of the myth of Icarus. The question of whether his creations can actually fly is part of their mystery and appeal. (Text from the Wikipedia website)

 

Ilya and Emilia Kabakov. 'How Can One Change Oneself' 2010

 

Ilya and Emilia Kabakov
How Can One Change Oneself
2010
Installation
Courtesy of the artist et Galleria Continua, San Gimignano/Beijing/Les Moulins/ Habana
© Ilya et Emilia Kabakov

 

 

The Kabakovs are amongst the most celebrated artists of their generation, widely known for their large-scale installations and use of fictional personas. Critiquing the conventions of art history and drawing upon the visual culture of the former Soviet Union – from dreary communal apartments to propaganda art and its highly optimistic depictions of Soviet life – their work addresses universal ideas of utopia and fantasy; hope and fear. …

The Kabakovs are best known for their ‘total’ installations, a type of immersive artwork that they pioneered. A ‘total installation’ completely immerses the viewer in a dramatic environment. They transform the gallery spaces they are displayed in, creating a new reality for the viewer to enter and experience. They often explore dark themes like power and control, oppression and destruction. Over their career, the Kabakovs have created almost two hundred total installations.

“Ilya’s world and work are based and built on fantasy and on the history of art. I, on the other hand, very early in life, somehow learned to combine both reality and fantasy and to live in both. My fantasy world is always close to and coexists with reality. Our life is very much based on this combination: I am trying to make reality seem like the realisation of fantasy, or, maybe, a continuation of fantasy, where there is no place for real, everyday situations and problems. Our life consists of our work, dreams and discussions.”

Emilia Kabakov, 2017

Text from the Tate website

 

Moebius. 'Arzach' 1977

 

Moebius
Arzach
1977
Heavy Metal Magazine, April 1977, Vol. I, No. 1

 

 

The first of Moebius’ Arzach comic series. Arzach made his debut in the first issue of Heavy Metal Magazine April – Vol. 1 No. 1. Arzach is seen flying atop his trusty pterodactyl in a strange world. Spotting a beautiful naked woman through a rounded window, Arzach is determined to win her heart, but what awaits him is utterly unexpected.

 

Sethembile Msezane (South Africa, b. 1991) 'Chapungu - The Day Rhodes Fell' 2015

 

Sethembile Msezane (South Africa, b. 1991)
Chapungu – The Day Rhodes Fell [University of Cape Town, South Africa]
2015
Coloured photograph
Courtesy private collection
© Sethembile Msezane

 

 

Sethembile Msezane was born in 1991 in KwaZulu Natal, South Africa. She lives and works in Cape Town, South Africa. Using interdisciplinary practice encompassing performance, photography, film, sculpture and drawing, Msezane creates commanding works heavy with spiritual and political symbolism. The artist explores issues around spirituality, commemoration and African knowledge systems. She processes her dreams as a medium through a lens of the plurality of existence across space and time, asking questions about the remembrance of ancestry. Part of her work has examined the processes of myth-making which are used to construct history, calling attention to the absence of the black female body in both the narratives and physical spaces of historical commemoration. (Text from the Tyburn Gallery website)

 

“The Rhodes Must Fall protests had been going on for a month, kickstarted by an activist smearing his statue with excrement. During a lecture, students were asked whether they were for or against. Most said “for”, that it was a painful reminder of our colonial past, but one student – with a piece of paper that said “#procolonialism” on her chest – called protesters neanderthals, and said, “If you’re against the statue you’re against enlightenment and education, and you shouldn’t be at university.”

I knew it was only a matter of time before the statue fell, but at 11am on 9 April my supervisor said: “It’s coming down today.” I’d prepared my costume for the occasion and rushed to get ready. A friend helped me transport my plinth and wings. I arrived just before 2pm and was up on the plinth by quarter past. It was a little nerve-racking to be so high up because I was wearing high heels.

I looked at people’s phones and sunglasses, trying to see the reflection of the statue coming down. I saw the shadow move and thought, “This is the moment.” That’s when I lifted my wings.

I was up there for four hours. I would hold up my wings for about two minutes, take a 10-minute break and then put them up again. My legs hurt, but I didn’t realise how sore my arms were until I came down – they were shaking. My feet were blue, I was sunburnt; I had heat stroke and blurry vision from looking directly into the sun. I went home, had a shower and went straight to sleep. I felt like we were beginning to question this idealistic “rainbow nation”.”

I first saw the picture the next day on Facebook. When someone told me it was all over the global news, I was surprised.”

Sethembile Msezane. “Sethembile Msezane performs at the fall of the Cecil Rhodes statue, 9 April 2015,” on The Guardian website, Sat 16 May 2015

 

Agnès Geoffray (French, b. 1973) 'Suspendue' 2016

 

Agnès Geoffray (French, b. 1973)
Suspendue
2016
Black and white photograph
Courtesy of the artist
© Agnès Geoffray

 

 

Largely inspired by The Defaming Portrait and by the hung man’s figure, the series Les Suspendus uses assemblage and montage to rephrase a new reality, which combines two images in a series of several diptychs. Agnès Geoffray interrogates the fictional power of imagery through her own staging and through assembled images. She accomplishes this by presenting multiple associations to the idea of suspension as a frozen moment between falling and ascension, collapsing and rising. Geoffray creates a gap and confusion between preexisting images and her own, which makes the resulting image appear as if it is part of an archive. Geoffray multiplies the references, axes of meaning of the text and genres of her work through still life, archive and stage settings to create a space, which plays with the unlimited possibilities of interpretation. The images convey the relic of the gestures and the violence connected to them, like a memory or a future memory of disorders and disasters.

 

Urs Lüthi (Swiss, born 1947) 'Selfportrait (flying carpet)' 1976

 

Urs Lüthi (Swiss, born 1947)
Selfportrait (flying carpet)
1976
Black and white photograph
Courtesy private collection
© Urs Lüthi, Pro Litteris

 

Urs Lüthi (born 1947, Kriens) is a Swiss conceptual artist who attended the School of Applied Arts in Zurich. Noted for using his body and alter ego as the subject of his artworks, he has worked in photography, sculpture, performance, silk-screen, video and painting.

 

Fabio Mauri (Italian, 1926-2009) 'Macchina per fissare acquerelli [Machine for fixing watercolours]' 2007

 

Fabio Mauri (Italian, 1926-2009)
Macchina per fissare acquerelli [Machine for fixing watercolours]
2007
Courtesy succession de Fabio Mauri et Hauser & Wirth, Zürich
Photo: Sandro Mele
© Fabio Mauri, Adagp, 2018

 

 

Several important themes can be found in Mauri’s work, all shaped into his works of art: the Screen, the Prototypes, the Projections, the Photography as Painting, the substantial Identity of Expressive Structures, the lasting relationship between Thought and World and between Thought as World. Mauri’s work, as complex as an history essay, becomes his autobiography, compact and uniform in its development and multifaceted in the attention to the contemporary world: an analysis where the fate of the individual and history co-exist.

 

François Burland (Swiss, b. 1958) 'Fusée Soviet Union' 2013

 

François Burland (Swiss, b. 1958)
Fusée Soviet Union
2013
Photo: Romain Mader et Nadja Kilchhofer
© François Borland, Atomik Magic Circus

 

 

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Oct
18

Exhibition: ‘Black Light: Secret traditions in art since the 1950s’ at Centre de Cultura Contemporania de Barcelona

La llum negra. Tradicions secretes en l’art des dels anys cinquanta

Exhibition dates: 16th May – 21st October 2018

Curator: Enrique Juncosa

Artists: Carlos Amorales / Kenneth Anger / Antony Balch / Jordan Belson / Wallace Berman / Forrest Bess / Joseph Beuys / William S. Burroughs / Marjorie Cameron / Francesco Clemente / Bruce Conner / Aleister Crowley / René Daumal / Gino de Dominicis / Louise Despont / Nicolás Echevarría / Robert Frank / João Maria Gusmão + Pedro Paiva / Brion Gysin / Jonathan Hammer / Frieda Harris / Derek Jarman / Jess / Alejandro Jodorowsky / Joan Jonas / Carl Gustav Jung / Matías Krahn / Wolfgang Laib / LeonKa / Goshka Macuga / Agnes Martin / Chris Martin / Henri Michaux / Grant Morrison / Tania Mouraud / Barnett Newman / Joan Ponç / Genesis P-Orridge / Sun Ra / Harry Smith / Rudolf Steiner / Philip Taaffe / Antoni Tàpies / Fred Tomaselli / Suzanne Treister / Vaccaro – Brookner / Ulla von Brandenburg / Terry Winters / Zush

 

 

 

Leon Ka – La llum negra – Mural

The mural at the entrance of the exhibition Black Light created by the artist Leon Ka, represents some of the symbols of ocultism, magic, and the mysticism of spirituality.

 

 

I love these eclectic exhibitions on unusual topics. Having studied a little Georges Gurdjieff, Carl Jung, Robert Johnson, Joseph Campbell and Carlos Castaneda to name just a few, I immersed myself in their spiritual, psychedelic and counterculture world. I had scarification done on my arm in 1992 which was one of the most spiritual rights of passage I have ever experienced in my life (see photograph below).

To be different, to explore that difference in art, is to violate the taboo of control – of adherence to the norm – that emotion which controls how we think, feel, act and create. As Georges Bataille observes,

“”The taboo is there in order to be violated.” This proposition is not the wager it looks like at first but an accurate statement of an inevitable connection between conflicting emotions. When a negative emotion has the upper hand we must obey the taboo. When a positive emotion is in the ascendant we violate it. Such a violation will not deny or suppress the contrary emotion, but justify it and arouse it.”1

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An “understanding of the text [writing, art, music, etc.] as ‘social space’,” say Barthes, “activates a broad intertextuality and a productive plurality of meanings and signifying/interpretive gestures that escape the reduction of knowledge to fixed, monological re-presentations, or presences.” What he is saying here is that there is no singular unity… for unity is variable and relative. Further, according to Kurt Thumlert (citing Lentricchia, 1998), “a transgressive textuality can also become a mode of agential resistance capable of fragmenting and releasing the subject, and thereby producing a zone of invisibility where knowledge/power is no longer able ‘find its target’.”2

In other words, transgression of the taboo allows the artist (in this case) to release himself from the logic of control and where power cannot get its hooks into him. In order to do this during the production of art, the artist must understand that representations are presentations which entail,

“the use of the codes and conventions of the available cultural forms of presentation. Such forms restrict and shape what can be said by and/or about any aspect of reality in a given place in a given society at a given time, but if that seems like a limitation on saying, it is also what makes saying possible at all. Cultural forms set the wider terms of limitation and possibility for the (re)presentation of particularities and we have to understand how the latter are caught in the former in order to understand why such-and-such gets (re)presented in the way it does. Without understanding the way images function in terms of, say, narrative, genre or spectacle, we don’t really understand why they turn out the way they do.”3

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The exhibition Black Light investigates how artists subvert these codes and conventions of representation and violate their taboo through emotions (whether positive or negative) present in the creative process. This transgressive spirit allows far seeing artists to become the seers of their day, playing with the dis/order of time, space and cultural (re)presentation. As a form of alchemy, all art partakes of this investigation into the past, present and future of life, our discontinuous existence as creatures who live and die, and the world that surrounds us, both physically and spiritually.

Marcus

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Many thankx to the Centre de Cultura Contemporania de Barcelona for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

  1. Bataille, Georges. Death and Sensuality: A Study of Eroticism and the Taboo. New York: Walker and Company, 1962, pp. 64-65.
  2. Thumlert, Kurt. Intervisuality, Visual Culture, and Education. [Online] Cited 10/08/2006 No longer available.
  3. Dyer, Richard. The Matter of Images: Essays on Representations. London: Routledge, 1993, pp. 2-3.

 

 

Marcus Bunyan. 'Marcus (after scarification)' 1992

 

Marcus Bunyan (b. 1958)
Marcus (after scarification)
1992
Gelatin silver print
© Marcus Bunyan

 

 

 

Black Light. Discover the occult side of contemporary art

The occult, spirituality, psychedelia and esotericism come to the CCCB with the exhibition Black Light. An unusual look at the art of the past 50 years that has been strongly influenced by secret traditions.

 

 

Joan Jonas
Reanimation (extract)

 

 

Henri Michaux (24 May 1899-19 October 1984)

 

 

Henri Michaux (French, 24 May 1899-19 October 1984) was a highly idiosyncratic Belgian-born poet, writer, and painter who wrote in French. He later took French citizenship. Michaux is best known for his esoteric books written in a highly accessible style. His body of work includes poetry, travelogues, and art criticism. Michaux travelled widely, tried his hand at several careers, and experimented with psychedelic drugs, especially LSD and mescaline, which resulted in two of his most intriguing works, Miserable Miracle and The Major Ordeals of the Mind and the Countless Minor Ones.

 

 

Kenneth Anger
Lucifer Rising (Original track by Acqua Lazúli)
1972-80

 

 

For more information about this film please see the Lucifer Rising Wikipedia entry

Kenneth Anger (born Kenneth Wilbur Anglemyer; February 3, 1927) is an American underground experimental filmmaker, actor and author. Working exclusively in short films, he has produced almost forty works since 1937, nine of which have been grouped together as the “Magick Lantern Cycle”. His films variously merge surrealism with homoeroticism and the occult, and have been described as containing “elements of erotica, documentary, psychodrama, and spectacle”. Anger himself has been described as “one of America’s first openly gay filmmakers, and certainly the first whose work addressed homosexuality in an undisguised, self-implicating manner”, and his “role in rendering gay culture visible within American cinema, commercial or otherwise, is impossible to overestimate”, with several being released prior to the legalisation of homosexuality in the United States. He has also focused upon occult themes in many of his films, being fascinated by the English gnostic mage and poet Aleister Crowley, and is an adherent of Thelema, the religion Crowley founded. (Text from the Wikipedia website)

 

Barnett Newman (1905-1970) 'Untitled' 1946

 

Barnett Newman (1905-1970)
Untitled
1946
Oil on canvas
76.5 x 61.1 cm
© IVAM, Institut Valencià d’Art Modern, Generalitat Valenciana

 

Antoni Tàpies. 'Book covers' 1987

 

Antoni Tàpies
Book covers
1987
Paintings on old book covers
60 x 78.5 cm
Private collection, Barcelona
© Heirs of Antoni Tàpies / Vegap, Madrid

 

Leon Ka. 'Creatio: Lux, Crux' 2015

 

Leon Ka
Creatio: Lux, Crux
2015
Door of the cultural association Magia Roja, Barcelona

 

 

Black light is about the influence that various secret traditions have had on contemporary art from the nineteen-fifties to the present day. It presents some 350 works by such artists as Antoni Tàpies, Agnes Martin, Henri Michaux, Joseph Beuys, Ulla von Brandenburg, William S. Burroughs, Joan Jonas, Jordan Belson, Goshka Macuga, Kenneth Anger, Rudolf Steiner, Alejandro Jodorowsky, Francesco Clemente and Zush.

Black light brings together, in more or less chronological order, paintings, drawings, audiovisuals, sculptures, photographs, installations, books, music, engravings and documents by artists largely from North America, where secret traditions have historically enjoyed greater acceptance. There are works by creators who are considered fundamental to the history of art, such as Antoni Tàpies, Barnett Newman and Agnes Martin, alongside less-known figures of the counterculture of the sixties and seventies. The show also presents young artists to reflect the renewed interest in these traditions.

The work of all of them goes to show the relevance and continuity of these habitually overlooked trends, in many cases regarding art as a possible means to a higher cognitive level, as an instrument of connection with a more profound reality, or as a form of knowledge in itself. These ideas are contrary, for example, to a purely formalistic understanding of abstraction. Specifically, the exhibition also explores the influence of esoteric ideas on areas of popular culture, such as comics, jazz, cinema and alternative rock.

 

Henri Michaux. 'Untitled' 1983

 

Henri Michaux
Untitled
1983
Oil on linen paper
24 x 33 cm
© Courtesy Galerie Lelong & Co. Photography: Fabrice Gibert

 

Marjorie Cameron. 'West Angel' Nd

 

Marjorie Cameron (American, 1922-1995)
West Angel
Nd
Graphite, ink and gold paint on paper
60.3 x 93.3 cm
© Courtesy Nicole Klagsbrun and Cameron Parsons Foundation

 

 

Marjorie Cameron Parsons Kimmel (April 23, 1922-June 24, 1995), who professionally used the mononym Cameron, was an American artist, poet, actress, and occultist. A follower of Thelema, the new religious movement established by the English occultist Aleister Crowley, she was married to rocket pioneer and fellow Thelemite Jack Parsons.

Read her entry on the Wikipedia website

 

Aleister Crowley. 'Snow-Peak beyond Foothills, Libra I8 September-October' 1934

 

Aleister Crowley
Snow-Peak beyond Foothills, Libra I8 September-October
1934
Pen and wash on paper
45 x 50 cm
© Ordo Templi Orientis

 

Unknown photographer. 'Aleister Crowley as Magus, Liber ABA' 1912

 

Unknown photographer
Aleister Crowley as Magus, Liber ABA
1912
Originally published in The Equinox volume 1, issue 10 (1913)

 

Wolfgang Laib. 'Passageway' 2013

 

Wolfgang Laib (Germany, b. 1950)
Passageway
2013
Brass ships, rice, wood and steel
6 3/4 x 99 x 12 inches
© Wolfgang Laib

 

 

Wolfgang Laib (born 25 March 1950 in Metzingen) is a German artist, predominantly known as a sculptor. He lives and works in a small village in southern Germany, maintaining studios in New York and South India.

His work has been exhibited worldwide in many of the most important galleries and museums. He represented Germany in the 1982 Venice Biennale and was included with his works in the Documenta 7 in 1982 and then in the Documenta 8 in 1987. In 2015 he received the Praemium Imperiale for sculpture in Tokyo, Japan.

He became worldknown for his “Milkstones”, a pure geometry of white marble made complete with milk, as well as his vibrant installations of pollen. In 2013 The Museum of Modern Art in New York City presented his largest pollen piece – 7 m x 8 m – in the central atrium of the museum.

Text from the Wikipedia website

 

Brion Gysin. 'Dreamachine' 1960-1976

 

Brion Gysin (British, 1916-1986)
Dreamachine
1960-1976
Cylinder. Painted and cut hard paper, Altuglas, electric bulb and motor
120.5 cm x 29.5 cm
© Galerie de France. Paris, Centre Pompidou – Musée national d’art moderne – Centre de création industrielle

 

 

Brion Gysin (19 January 1916-13 July 1986) was a painter, writer, sound poet, and performance artist born in Taplow, Buckinghamshire.

He is best known for his discovery of the cut-up technique, used by his friend, the novelist William S. Burroughs. With the engineer Ian Sommerville he invented the Dreamachine, a flicker device designed as an art object to be viewed with the eyes closed. It was in painting and drawing, however, that Gysin devoted his greatest efforts, creating calligraphic works inspired by the cursive Japanese “grass” script and Arabic script. Burroughs later stated that “Brion Gysin was the only man I ever respected.” …

The Dreamachine (or Dream Machine) is a stroboscopic flicker device that produces visual stimuli. Artist Brion Gysin and William S. Burroughs’ “systems adviser” Ian Sommerville created the Dreamachine after reading William Grey Walter’ book, The Living Brain.

In its original form, a Dreamachine is made from a cylinder with slits cut in the sides. The cylinder is placed on a record turntable and rotated at 78 or 45 revolutions per minute. A light bulb is suspended in the centre of the cylinder and the rotation speed allows the light to come out from the holes at a constant frequency of between 8 and 13 pulses per second. This frequency range corresponds to alpha waves, electrical oscillations normally present in the human brain while relaxing. In 1996, the Los Angeles Times deemed the Dreamachine “the most interesting object” in Burroughs’ major visual retrospective Ports of Entry at LACMA. The Dreamachine is the subject of the National Film Board of Canada 2008 feature documentary film FLicKeR by Nik Sheehan.

A Dreamachine is “viewed” with the eyes closed: the pulsating light stimulates the optic nerve and thus alters the brain’s electrical oscillations. Users experience increasingly bright, complex patterns of colour behind their closed eyelids (a similar effect may be experienced when travelling as a passenger in a car or bus; close your eyes as the vehicle passes through flickering shadows cast by roadside trees, or under a close-set line of streetlights or tunnel striplights). The patterns become shapes and symbols, swirling around, until the user feels surrounded by colours. It is claimed that by using a Dreamachine one may enter a hypnagogic state. This experience may sometimes be quite intense, but to escape from it, one needs only to open one’s eyes. The Dreamachine may be dangerous for persons with photosensitive epilepsy or other nervous disorders. It is thought that one out of 10,000 adults will experience a seizure while viewing the device; about twice as many children will have a similar ill effect.

Text from the Wikipedia website

 

 

An approach without prejudice to art and esoteric beliefs

Esoteric traditions can be traced back to the very origins of civilisation, having served at different times to structure philosophical, linguistic, scientific or spiritual ideas. Despite their importance for the development of twentieth-century art, they tend to be ignored or disparaged these days due to the dominance of rationalistic thinking and the difficulty of talking about these subjects in clear, direct language.

In recent years, however, many artists have taken a renewed interest in subjects such as alchemy, secret societies, theosophy and anthroposophy, the esoteric strands in major religions, oriental philosophies, magic, psychedelia and drug-use, universal symbols and myths, the Fourth Way formulated by the Armenian mystic Georges Gurdjieff, etc., generating an interest in these fields that had not existed since the counterculture of the sixties and seventies.

According to the writer Enrique Juncosa, curator of this exhibition, this interest “may be due to the fact that we are, once again, living in a restless and unsatisfied world, worried about new colonial wars, fundamentalist terrorism, serious ecological crisis and nationalist populism, just as in the sixties and seventies people feared an imminent and devastating nuclear catastrophe. Furthermore, much of today’s mainstream art is actually rather boring due to its complete lack of mystery and negation of any kind of poetisation or interpretation of our experience of it.”

For the essayist Gary Lachman, author of the text “Occultism in Art. A Brief Introduction for the Uninitiated” in the exhibition catalogue, “in recent years, the art world seems to have become aware of the importance of occultism […]. Admitting the influence of Hermeticism on the Renaissance, or of theosophy on early abstract art, to mention just two examples, helps to re-situate occult forces as an undeniable part of human experience and rescue them from the marginal position to which they had been exiled for a few centuries.”

 

Terry Winters. 'Bubble Diagram' 2005

 

Terry Winters (American, b. 1949)
Bubble Diagram
2005
Oil on linen
215.9 x 279.4 cm
© Mattew Marks Gallery

 

 

Terry Winters (born 1949, Brooklyn, NY) is an American painter, draughtsman, and printmaker whose nuanced approach to the process of painting has addressed evolving concepts of spatiality and expanded the concerns of abstract art. His attention to the process of painting and investigations into systems and spatial fields explores both non-narrative abstraction and the physicality of modernism. In Winters’ work, abstract processes give way to forms with real word agency that recall mathematical concepts and cybernetics, as well as natural and scientific worlds.

 

Fred Tomaselli. 'Untitled [Datura Leaves]' 1999

 

Fred Tomaselli (American, b. 1956)
Untitled [Datura Leaves]
1999
Leaves, pills, acrylic and resin on wood panel
182.88 x 137.16 cm
© Collection Glenn and Amanda Fuhrman NY, Courtesy the FLAG Art Foundation

 

 

Fred Tomaselli (born in Santa Monica, California, in 1956) is an American artist. He is best known for his highly detailed paintings on wood panels, combining an array of unorthodox materials suspended in a thick layer of clear, epoxy resin.

Tomaselli’s paintings include medicinal herbs, prescription pills and hallucinogenic plants alongside images cut from books and magazines: flowers, birds, butterflies, arms, legs and noses, which are combined into dazzling patterns that spread over the surface of the painting like a beautiful virus or growth. He uses an explosion of colour and combines it with a basis in art history. His style usually involves collage, painting, and/or glazing. He seals the collages in resin after gluing them down and going over them with different varnishes.

“I want people to get lost in the work. I want to seduce people into it and I want people to escape inside the world of the work. In that way the work is pre-Modernist. I throw all of my obsessions and loves into the work, and I try not to be too embarrassed about any of it. I love nature, I love gardening, I love watching birds, and all of that gets into the work. I just try to be true to who I am and make the work I want to see. I don’t have a radical agenda.”

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Tomaselli sees his paintings and their compendium of data as windows into a surreal, hallucinatory universe. “It is my ultimate aim”, he says, “to seduce and transport the viewer in to space of these pictures while simultaneously revealing the mechanics of that seduction.” Tomaselli has also incorporated allegorical figures into his work – in Untitled (Expulsion) (2000), for example, he borrows the Adam and Eve figures from Masaccio’s Expulsion from the Garden of Eden (1426-27), and in Field Guides (2003) he creates his own version of the grim reaper. His figures are described anatomically so that their organs and veins are exposed in the manner of a scientific drawing. He writes that his “inquiry into utopia/dystopia – framed by artifice but motivated by the desire for the real – has turned out to be the primary subject of my work”.

Text from the Wikipedia website

 

Philip Taaffe. 'Rose Triangle' 2008

 

Philip Taaffe (American, b. 1955)
Rose Triangle
2008
Mixed media on canvas
178 x 178 cm
© Collection Raymond Foye, New York

 

 

About the exhibition

In the fifties, US filmmakers Harry Smith and Jordan Belson made animated films that were precursors of the psychedelia and counterculture of the following two decades. Also at this time, painters associated with abstract expressionism in the US (such as Barnett Newman, Ad Reinhardt and Agnes Martin) and European Informalists, such as the Catalans associated with Dau al Set (including Antoni Tàpies and Joan Ponç), became interested in the writings of Swiss psychologist Carl Gustav Jung, oriental philosophies, the great myths and primitive shamanic rites. The cult US filmmaker Kenneth Anger made films that are still considered radical, influenced by the ideas of the well-known English occultist Aleister Crowley, who was also influential in the world of rock. And Forrest Bess, a self-taught, isolated artist, an unusual figure in the American art of the last century, painted symbolic, visionary images of the universal collective subconscious.

In the sixties and seventies, the emergence of counterculture and the hippy movement was accompanied by an upsurge in interest in esoteric matters and alternative spirituality. US writer William S. Burroughs and French artist and writer Brion Gysin, both interested in occultism and mysticism, developed the cut-up method to write texts using collage, actions which, like the origin of art itself, they considered magic. The American musician Sun Ra, one of the jazz world’s most idiosyncratic figures (he claims he was born on Saturn), set up the secret society Thmei Research in Chicago, and was interested in the writings of Armenian philosopher and master mystic Georges Gurdjieff, and the Ukrainian Madame Blavatsky, creator of the esoteric current known as theosophy. Sun Ra’s compositions, with a big band that performed in strange colourful clothing, were highly radical, embracing improvisation and chaos. In Europe, the German artist Joseph Beuys was inspired by the writings and activities of Austrian philosopher Rudolf Steiner, the founder of anthroposophy, as a model to explain his ideas. Beuys called for a return to spirituality and defended art as a vehicle for healing and social change. The French artist Tania Mouraud, interested in introspection and philosophy, with a strong analytical vein, creates installations that are spaces for meditation, and the Catalan artist Zush, in Ibiza, discovers psychedelia and draws fantastic beings connected by vibrant energies.

The eighties and nineties saw the consolidation of a large number of artists who saw artistic practice as something that can facilitate a higher cognitive level. Several American abstract painters, like Terry Winters, Philip Taaffe and Fred Tomaselli, became interested in spiritual themes. Winters, for example, who took scientific images as his inspiration, based a large series of paintings on knot theory, a mathematical concept that might be seen as an emblem of the hermetic. Taaffe, meanwhile, used ornamental forms from different cultures, combining them in complex configurations of an ecstatic nature, and Tomaselli produced compositions using all kinds of drugs in a reference to psychedelia. In Europe, the German sculptor Wolfgang Laib, interested in Zen Buddhism and Taoism, creates sculptures and installations with symbolic images, like stairs and boats, suggesting ascension, travel and inner transformation, while the Italian Gino de Dominicis, who claimed to believe in extra-terrestrials and was obsessed by Sumerian culture and mythology, creates invisible sculptures. The paintings by Italian Francesco Clemente, a representative of the Transavanguardia movement, feature images of an apparently hermetic nature, creating a singular narrative of spiritual symbolism. The Chilean-French artist Alejandro Jodorowsky explores esoteric ideas in his extraordinary films of great visual imagination and also creates highly celebrated comics. In the nineties, several alternative rock bands such as Psychic TV (led by the English musician, poet and artist Genesis P-Orridge) were also interested in occultism and magic.

 

The origin of the title “Black Light”

The title “Black light” refers to a concept of Sufism, the esoteric branch of Islam that teaches a path of connection with divinity leading via inner vision and mystic experience. Sufism, which regards reality as light in differing degrees of intensity, speaks of a whole system of inner visions of colours that mark the spiritual progress of initiates until they become “men and women of light”. The intention is to achieve a state of supra-consciousness that is announced symbolically by this black light.

Press release from the Centre de Cultura Contemporania de Barcelona website

 

Chris Martin. 'If You Don't See It Ask For It' 2016

 

Chris Martin
If You Don’t See It Ask For It
2016
Acrylic and glitter on canvas
195.6 x 152.4 x 4.4 cm
© Courtesy of David Kordansky Gallery, Los Angeles, CA Photography: Brian Forrest

 

Genesis P-Orridge. 'Burns Forever Thee Light' 1986

 

Genesis P-Orridge (British, b. 1950)
Burns Forever Thee Light
1986
Hair, Indian corn, wax, saliva, semen, blood, acrylic paint, flourescent tape, pages from Man Myth & Magic, Polaroids, c-prints, paint pen
20 x 25 inches
© Courtesy of the artist and INVISIBLE-EXPORTS

 

 

Genesis Breyer P-Orridge (born Neil Andrew Megson; 22 February 1950) is an English singer-songwriter, musician, poet, performance artist, and occultist. After rising to notability as the founder of the COUM Transmissions artistic collective and then fronting the industrial band Throbbing Gristle, P-Orridge was a founding member of Thee Temple ov Psychick Youth occult group, and fronted the experimental band Psychic TV. P-Orridge identifies as third gender.[a]

Born in Manchester, P-Orridge developed an early interest in art, occultism, and the avant-garde while at Solihull School. After dropping out of studies at the University of Hull, he moved into a counter-cultural commune in London and adopted Genesis P-Orridge as a nom-de-guerre. On returning to Hull, P-Orridge founded COUM Transmissions with Cosey Fanni Tutti, and in 1973 he relocated to London. COUM’s confrontational performance work, dealing with such subjects as sex work, pornography, serial killers, and occultism, represented a concerted attempt to challenge societal norms and attracted the attention of the national press. COUM’s 1976 Prostitution show at London’s Institute of Contemporary Arts was particularly vilified by tabloids, gaining them the moniker of the “wreckers of civilization.” P-Orridge’s band, Throbbing Gristle, grew out of COUM, and were active from 1975 to 1981 as pioneers in the industrial music genre. In 1981, P-Orridge co-founded Psychic TV, an experimental band that from 1988 onward came under the increasing influence of acid house.

In 1981, P-Orridge co-founded Thee Temple ov Psychick Youth, an informal occult order influenced by chaos magic and experimental music. P-Orridge was often seen as the group’s leader, but rejected that position, and left the group in 1991. Amid the Satanic ritual abuse hysteria, a 1992 Channel 4 documentary accused P-Orridge of sexually abusing children, resulting in a police investigation. P-Orridge was subsequently cleared and Channel 4 retracted their allegation. P-Orridge left the United Kingdom as a result of the incident and settled in New York City. There, P-Orridge married Jacqueline Mary Breyer, later known as Lady Jaye, in 1995, and together they embarked on the Pandrogeny Project, an attempt to unite as a “pandrogyne”, or single entity, through the use of surgical body modification to physically resemble one another. P-Orridge continued with this project of body modification after Lady Jaye’s 2007 death. Although involved in reunions of both Throbbing Gristle and Psychic TV in the 2000s, P-Orridge retired from music to focus on other artistic mediums in 2009. P-Orridge is credited on over 200 releases.

A controversial figure with an anti-establishment stance, P-Orridge has been heavily criticised by the British press and politicians. P-Orridge has been cited as an icon within the avant-garde art scene, accrued a cult following, and been given the moniker of the “Godperson of Industrial Music”.

Text from the Wikipedia website

 

Harry Smith. 'Untitled, October 19, 1951' 1951

 

Harry Smith
Untitled, October 19, 1951
1951
Ink, watercolour, and tempera on paper
86.36 x 69.85 cm
Collection Raymond Foye, New York

 

Agnes Martin. 'Untitled, No. 7' 1997

 

Agnes Martin (1912-2004)
Untitled, No. 7
1997
Acrylic and graphite on canvas
152.4 x 152.4 cm
Collection “la Caixa”. Art Contemporani
© Vegap

 

 

Agnes Bernice Martin (March 22, 1912-December 16, 2004), born in Canada, was an American abstract painter. Her work has been defined as an “essay in discretion on inward-ness and silence”. Although she is often considered or referred to as a minimalist, Martin considered herself an abstract expressionist. She was awarded a National Medal of Arts from the National Endowment for the Arts in 1998. …

Martin praised Mark Rothko for having “reached zero so that nothing could stand in the way of truth”. Following his example Martin also pared down to the most reductive elements to encourage a perception of perfection and to emphasise transcendent reality. Her signature style was defined by an emphasis upon line, grids, and fields of extremely subtle colour. Particularly in her breakthrough years of the early 1960s, she created 6 × 6 foot square canvases that were covered in dense, minute and softly delineated graphite grids. In the 1966 exhibition Systemic Painting at the Solomon R. Guggenheim Museum, Martin’s grids were therefore celebrated as examples of Minimalist art and were hung among works by artists including Sol LeWitt, Robert Ryman, and Donald Judd. While minimalist in form, however, these paintings were quite different in spirit from those of her other minimalist counterparts, retaining small flaws and unmistakable traces of the artist’s hand; she shied away from intellectualism, favouring the personal and spiritual. Her paintings, statements, and influential writings often reflected an interest in Eastern philosophy, especially Taoist. Because of her work’s added spiritual dimension, which became more and more dominant after 1967, she preferred to be classified as an abstract expressionist.

Martin worked only in black, white, and brown before moving to New Mexico. The last painting before she abandoned her career, and left New York in 1967, Trumpet, marked a departure in that the single rectangle evolved into an overall grid of rectangles. In this painting the rectangles were drawn in pencil over uneven washes of gray translucent paint. In 1973, she returned to art making, and produced a portfolio of 30 serigraphs, On a Clear Day. During her time in Taos, she introduced light pastel washes to her grids, colours that shimmered in the changing light. Later, Martin reduced the scale of her signature 72 × 72 square paintings to 60 × 60 inches and shifted her work to use bands of ethereal colour. Another departure was a modification, if not a refinement, of the grid structure, which Martin has used since the late 1950s. In Untitled No. 4 (1994), for example, one viewed the gentle striations of pencil line and primary colour washes of diluted acrylic paint blended with gesso. The lines, which encompassed this painting, were not measured by a ruler, but rather intuitively marked by the artist. In the 1990s, symmetry would often give way to varying widths of horizontal bands.

Text from the Wikipedia website

 

Matías Krahn Uribe. 'Panamor' 2016

 

Matías Krahn Uribe (b. Santiago de Chile, 1972)
Panamor
2016
Canvas and cotton
225 x 225 cm
© Matías Krahn Uribe

 

 

Matías Krahn (b. Santiago de Chile, 1972) Catalan painter born in Chile who lives and works in Barcelona.

His colourful works are a reflection of the world that surrounds him, of a concrete circumstance and environment, but also of the most intimate and subjective. Interested in the balance between the exterior and the interior, it orders the space and the figures it contains. His work, influenced by surrealism, is the mirror of the psyche and the unconscious that expresses itself in infinite forms and tonalities.

 

Francesco Clemente. 'Tarot cards: the High Priestess' 2009-2011

 

Francesco Clemente (Italy, b. 1952)
Tarot cards: the High Priestess
2009-2011
Water colour, gouache, ink, colour pencil
48.2 x 25.4 cm
© Courtesy of the artist

 

 

Francesco Clemente (born 23 March 1952) is an Italian contemporary artist. He has lived at various times in Italy, in India, and in New York City. Some of his work is influenced by the traditional art and culture of India. He has worked in various artistic media including drawing, fresco, graphics, mosaic, oils and sculpture. He was among the principal figures in the Italian Transavanguardia movement of the 1980s, which was characterised by a rejection of Formalism and conceptual art and a return to figurative art and Symbolism.

 

 

Black Light – Secret traditions in art since the 1950s: occultism, magic, esotericism and mysticism

This exhibition analyses the influence that different secret traditions have had on art since the 1950s and today. These are traditions that can be traced back to the very origins of civilisation and that have served at various times to structure philosophical, linguistic, scientific and spiritual ideas.

Despite the importance that these ideas had for the development of 20th century art – being fundamental in the work of key figures of modernity such as Piet Mondrian, Vasili Kandinski, Arnold Schönberg, William Butler Yeats and Fernando Pessoa – it is a tradition that has often been ignored in our time because of the dominant influence of rationalist orthodox thoughts, which are often ignored in our times.

Today, however, many contemporary artists re-explore these themes and are interested in issues as diverse as alchemy, secret societies, theosophy and anthroposophy; the esoteric currents of the great religions; oriental philosophies and magic; psychedelia and the ingestion of drugs; universal symbols and myths; the so-called fourth way of the Armenian mystic Georges Gurdjieff, etc., and, in so doing, generate a renewed interest in these issues that did not exist since the years of counterculture in the 1970s. Authors such as Mircea Eliade, historian of religions and novelist; Carl Gustav Jung, psychologist; Henry Corbin, specialist in Sufism, the esoteric current of Islam; Gershom Scholem, specialist in Kabbalah, the esoteric current of Judaism; and Rudolf Steiner, the founding philosopher of anthroposophy, have now found numerous new readers.

The exhibition will present, more or less chronologically, paintings, drawings, films, sculptures, photographs, installations, books, music and documents by artists as varied as Harry Smith, Jordan Belson, Barnett Newman, Agnes Martin, Ad Reinhardt, Antoni Tàpies, Joan Ponç, Henri Michaux, René Daumal, Forrest Bess, Kenneth Anger, Alejandro Jodor. The work of all of them demonstrates the relevance and continuity of these usually ignored traditions, and in many cases understands art as a possible way to reach a higher cognitive level or as a form of knowledge in itself.

The exhibition will be accompanied by a catalogue with texts by specialists such as Cristina Ricupero, Gary Lachman, Erik Davies and Enrique Juncosa. The proposal will also investigate and reveal occult traditions and their current context in the cultural production of our country.

Text from the Centre de Cultura Contemporania de Barcelona website

 

Irrationality from rationality

Vincenç Villatoro, director of the CCCB, has justified the presence of this exhibition in a centre that defends rational culture, alluding to the fact that much of the artistic production can not be understood without its connection to non-rationalistic traditions: mystical, esoteric, hermetic … and points out that although in the second half of the twentieth century the hegemonic thought was the scientist, there was a sensitive part of society that came to other traditions, especially to give meaning to its life. Villatoro warns the visitor that the exhibition La llum negra is not an encyclopedia on hidden traditions, but neither is it intended to be a defence, nor a refutation. But the exhibition points out that for many creators, art is a way to access a deeper reality, which is difficult to access in other ways. Thus, secret tradition and art are complemented.

Gustau Nerín

 

Forrest Bess. 'Homage to Ryder' 1951

 

Forrest Bess (1911-1977)
Homage to Ryder
1951
Oil on canvas
20.8 × 30.5 cm
© Collection Museum of Contemporary Art Chicago Gift of Mary and Earle Ludgin Collection

 

 

Forrest Bess (October 5, 1911-November 10, 1977) was an American painter and eccentric visionary. He was discovered and promoted by the art dealer Betty Parsons. Throughout his career, Bess admired the work of Albert Pinkham Ryder and Arthur Dove, but the best of his paintings stand alone as truly original works of art. …

He worked as a commercial fisherman, but painted in his spare time. He experienced visions or dreams, which he set down in his paintings. It was during this time he began to exhibit his works, earning one-person shows at museums in San Antonio and Houston. During his most creative period, 1949 through 1967, Betty Parsons arranged six solo exhibitions at her New York City gallery.

Bess was never comfortable for very long around other people, although he hosted frequent visitors to his home and studio at Chinquapin: artists, reporters, and some patrons made the trip to the spit of land on which Bess’s shack stood. He did forge lasting relationships with a few friends and neighbors, and maintained years-long friendships and correspondence with Meyer Schapiro and with Betty Parsons. But ultimately Bess preferred solitude, and his prolific activities as an artist, highlighted by limited notoriety and success, alternated with longs spells of loneliness, depression, and an ever-increasing obsession with his own anatomical manifesto.

In the 1950s, he also began a lifelong correspondence with art professor and author Meyer Schapiro and sexologist John Money. In these and other letters (which were donated to the Smithsonian Archives of American Art), Bess makes it clear that his paintings were only part of a grander theory, based on alchemy, the philosophy of Carl Jung, and the rituals of Australian aborigines, which proposed that becoming a hermaphrodite was the key to immortality. He was never able to win any converts to his theories or validation from the many doctors and psychologists with whom he corresponded. In his own home town of Bay City, he was considered something of a small-town eccentric.

Text from the Wikipedia website

 

Rudolf Steiner. 'Untitled (Blackboard drawing from a lecture held by Rudolf Steiner on 20. 03. 1920)'

 

Rudolf Steiner (1861-1925)
Untitled (Blackboard drawing from a lecture held by Rudolf Steiner on 20. 03. 1920)
1920
Chalk on paper
87 x 124 cm
Rudolf Steiner Archiv, Dornach

 

 

Rudolf Joseph Lorenz Steiner (27 (or 25) February 1861-30 March 1925) was an Austrian philosopher, social reformer, architect and esotericist. Steiner gained initial recognition at the end of the nineteenth century as a literary critic and published philosophical works including The Philosophy of Freedom. At the beginning of the twentieth century he founded an esoteric spiritual movement, anthroposophy, with roots in German idealist philosophy and theosophy; other influences include Goethean science and Rosicrucianism.

In the first, more philosophically oriented phase of this movement, Steiner attempted to find a synthesis between science and spirituality. His philosophical work of these years, which he termed “spiritual science”, sought to apply the clarity of thinking characteristic of Western philosophy to spiritual questions, differentiating this approach from what he considered to be vaguer approaches to mysticism. In a second phase, beginning around 1907, he began working collaboratively in a variety of artistic media, including drama, the movement arts (developing a new artistic form, eurythmy) and architecture, culminating in the building of the Goetheanum, a cultural centre to house all the arts. In the third phase of his work, beginning after World War I, Steiner worked to establish various practical endeavours, including Waldorf education, biodynamic agriculture, and anthroposophical medicine.

Steiner advocated a form of ethical individualism, to which he later brought a more explicitly spiritual approach. He based his epistemology on Johann Wolfgang Goethe’s world view, in which “Thinking… is no more and no less an organ of perception than the eye or ear. Just as the eye perceives colours and the ear sounds, so thinking perceives ideas.” A consistent thread that runs from his earliest philosophical phase through his later spiritual orientation is the goal of demonstrating that there are no essential limits to human knowledge.

Text from the Wikipedia website

 

The blackboard drawings are the instructions of a new design language that the artist wants to develop. Steiner believes in the development of a supersensible consciousness, a big change for the future of humanity. He gives many lectures in which he details his research on the concept of transmission and its influence on the social. Whether true or not, artists such as Piet Mondrian, Wassily Kandinsky and others are interested in the complex graphics of Steiner and his research. Mondrian will even write: “Art is a way of development of mankind.” (Text from the Culture Box website translated from French)

 

Adaptive image from the exhibition 'Black light'

Adaptive image from the exhibition 'Black light'

 

Adaptive images from the exhibition Black Light: Secret traditions in art since the 1950s at the Centre de Cultura Contemporania de Barcelona

 

 

Centre de Cultura Contemporania de Barcelona
Montalegre, 5 – 08001 Barcelona
Phone: 93 306 41 00

Opening hours:
Tuesday to Sunday 11.00 – 20.00

Centre de Cultura Contemporania de Barcelona website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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