Posts Tagged ‘Joseph Beuys

19
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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25
Aug
13

Exhibition: ‘Lorna Simpson’ at Jeu de Paume, Paris

Exhibition dates: 28th May – 1st September 2013

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Fascinating practice!

Identity, memory, gender, representation, the body, the subject, felt, text, images, video, gesture, reenactment, concept and performance, all woven together seamlessly like a good wig made of human hair…

Marcus

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Many thankx to Jeu de Paume for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Lorna Simpson. 'Five Day Forecast [Prévisions à cinq jours]' 1988

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Lorna Simpson
Five Day Forecast [Prévisions à cinq jours]
1988
5 gelatin silver prints in a frame, 15 plates engraved plastic
24 ½ x 97 in (62.2 x 246.4 cm) overall
Lillian and Billy Mauer Collection
© Lorna Simpson

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Lorna Simpson. 'Stereo Styles [Styles stéréo]' 1988

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Lorna Simpson
Stereo Styles [Styles stéréo]
1988
10 dye-diffusion black-and-white Polaroid prints, 10 engraved plastic plaques
57 ¾ x 125 ¼ x 1 3/8 in (146.7 x 318.1 x 3.5 cm) overall
Collection of Melva Bucksbaum and Raymond Learsy
© Lorna Simpson

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Lorna Simpson. 'Wigs II' 1994-2006

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Lorna Simpson
Wigs II
1994-2006
Serigraph on 71 felt panels (images and text)
98 x 265 in (248.9 x 673.1 cm) overall
Courtesy the artist; Salon 94, New York; and Galerie Nathalie Obadia, Paris/Brussels
© Lorna Simpson

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Lorna Simpson surprised her audiences in 1994 when she began to print her photographs on felt, inspired by its materiality after seeing an exhibition of the sculpture of Joseph Beuys in Paris “where the piano and walls were covered for a beautiful installation.” Simpson questioned whether the medium might be appropriate in a far different way for her work given the perspective afforded her by the passage of time. With the felt pieces, Simpson turned away from photography’s traditional paper support, magnified the already larger-than-life-size of the images within her large photo-text pieces to extremely large-scale multi-part works, and, most critically, absented the figure, in particular, the black woman in a white shift facing away from the camera for which she had received critical acclaim.

Ever-present, nevertheless, were her thematic concerns. The first felts offered surrogates for the body in  a taxonomy of her own photographs of Wigs, with voicings “in and around gender,” and expanded upon the investigation of the role of coiffure in the construction of identity in Simpson’s photo-texts (such as Stereo Styles, Gallery 1). In the mid-1990s, such felts were succeeded by a series of photographs of interior and exterior scenes that were accompanied by long text passages printed on separate small felts. In these works the figure was replaced, as Okwui Enwezor wrote, “by the rumor of the body.”

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Lorna Simpson. 'Please remind me of who I am' (detail) 2009

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Lorna Simpson
Please remind me of who I am (detail)
2009
50 found photo booth portraits, 50 ink drawings on paper, 100 bronze elements
Overall installation dimensions variable
Collection of Isabelle and Charles Berkovic
© Lorna Simpson

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For each multi-part photo-booth piece, Simpson sets in bronze frames these small inexpensive shots as well as her drawings of selected details of the photographs. Self-styled and performed, these photographs were used for a variety of purposes by their now anonymous sitters, ranging from sober, formal ID photos to glamorous, often theatrically playful mementos. Encompassing photo booth shots of different sizes from the 1920s to the 1970s (a few in color), Simpson’s constellations of many images for each work offer a collective portrait of self-portraiture (Gather, 2009) and continue her ongoing explorations of identity and memory, explicitly phrased in the title of one of them: Please remind me of who I am (2009).

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Lorna Simpson. 'Waterbearer [Porteuse d'eau]' 1986

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Lorna Simpson
Waterbearer [Porteuse d’eau]
1986
Gelatin silver print, vinyl letters
59 x 80 x 2 ½ in (149.9 x 203.2 x 5.7 cm) overall
Courtesy the artist; Salon 94, New York; and Galerie Nathalie Obadia, Paris / Brussels
© Lorna Simpson

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Waterbearer shows a woman from the back, pouring water from an elegant silvery metallic pitcher in one hand and from an inexpensive plastic jug in the other, echoing art historical renderings of women at wells or in the domestic settings of Dutch still-life paintings. As if balancing the scales of justice, this figure also symbolically offers disjunctions of means and class. In the accompanying text, Simpson explicitly addresses memory and the agency of speakers: “She saw him disappear by the river, they asked her to tell what happened, only to discount her memory.”

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For her first European retrospective, the Jeu de Paume presents thirty years of Lorna Simpson’s work. For this Afro-American artist, born in Brooklyn, New York, in 1960, the synthesis between image and text is profound and intimate. If one were to consider Lorna Simpson as a writer, the textual element of her works could have an autonomous life as prose poems, very short stories or fragments of scripts. And yet, her texts are inseparable from her images; there is a dynamic between the two that is both fragile and energising, which links them unfailingly. Lorna Simpson became known in the 1980s and 90s for her photographs and films that shook up the conventions of gender, identity, culture and memory.

Throughout her work, the artist tackles the complicated representation of the black body, using different media, while her texts add a significance that always remains open to the spectator’s imagination. In her recent work, Lorna Simpson has integrated archive images, which she reinvents by positioning herself in them as subject. As the artist underlines: “The theme I turn to most often is memory. But beyond this subject, the underlying thread is my relationship to text and ideas about representation.” (Lorna Simpson)

This retrospective reveals the continuity in her conceptual and performative research. In her works linking photography and text, as well as in her video installations, she integrates – while continually shaking them up – the genres of fixed and moving images, using them to ask questions about identity, history, reality and fiction. She introduces complexity through her use of photography and film, in her exploitation of found objects, in the processes she develops to take on the challenges she sets herself and to spectators.

The exhibition gathers her large format photo-texts of the mid 1980s, which brought her to the attention of the critics (Gestures / Reenactments, Waterbearer, Stereo Styles), her work in screenprints on felt panels since the 1990s (Wigs, The Car, The Staircase, Day Time, Day Time (gold), Chandelier), a group of drawings (Gold Headed, 2013), and also her “Photo Booths,” ensembles of found photos and drawings (Gather, Please remind me of who I am…). The exhibition is also an opportunity to discover her video installations: multivalent narratives that question the way in which experience is created and perceived more or less falsely (Cloudscape, 2004, Momentum, 2010), among them, Playing Chess, a new video installation made especially for the occasion.

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About the exhibition

by Joan Simon

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In her critically acclaimed body of work spanning more than thirty years, Lorna Simpson questions identity and memory, gender and history, fact and fiction, playing eye and ear in tandem if not in synchrony to prompt consideration of how meaning is constructed. That she has often described herself as an observer and a listener informs an understanding of both her approach and her subjects. In her earliest black-and-white documentary street photographs (1978-80), Simpson isolated gestures that bespoke an intimacy between those framed in her viewfinder, recording what was less a decisive moment than one of coming into relation. Some of these photographs seem to capture crossed glances, pauses in an ongoing conversation. Others are glimpses of occasions, transitional events identifiable by a white confirmation or wedding dress, which convey a sense of palpable silence in exchanges between people just out of earshot.

When Simpson began to stage her own photographs in 1985 and to write accompanying texts, she came in closer. She allowed us to see a carefully framed black body, abstracted in gesture and in white clothing, yet also permitted us to read seemingly overheard comments that redirected and recomplicated the view. While her images captured gestures, her narratives imbued these images frozen in a never-changing present with memory, a past. The title of her first photo-text work, made in 1985, and of the exhibition of that year in which it was first exhibited was Gestures / Reenactments, and one can argue that all Simpson’s work is built on the juxtaposition of gestures and reenactments, creating meaning in the resonant gap between the two. It is a gap that invites the viewer / reader to enter, all the while requiring an active reckoning with some inalienable truths: seeing is not necessarily believing, and what we might see is altered not only by our individual experiences and assumptions but also, critically, by what we might hear.

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The exhibition

Whether for still or moving picture productions, Lorna Simpson (b. 1960) uses her camera as catalyst to question identity and gender, genres and history, race and class, fact and fiction, memory and meanings. Assumptions of photographic “truth” are challenged and qualified – indeed redirected – by the images she creates that are inseparable from the texts she writes to accompany them, by the soundings she chooses  for videos, or by her pairings of vintage photographs with newly made renderings. The Jeu de Paume presents lorna Simpson’s first large-scale exhibition in europe beginning with her earliest photo-text pieces of the 1980s through her newest video installation, Chess, 2013, which makes its debut in Paris.

Works in the exhibition show the artist drawing on traditional photo techniques such as gelatin silver prints in an intimate synthesis with speakerly texts (Gallery 1). They also show Simpson’s creation of new combines, among them serigraphs on felt with writings and images invoking film noir (Gallery 2), a video installation of three projections based on historic photographs and her own prior still photos (Gallery 3), constellations of recuperated photo-booth photos with her drawings isolating details from them as well as vintage photographs together with those re-staged by the artist (Gallery 4), and a video focusing on performance as well as time itself and its reversal (Gallery 5).

The exhibition’s parcours reveals turning points in Simpson’s oeuvre as well as thematic continuities. The earliest pieces in the show are Simpson’s performative proto-cinematic photo-texts, beginning with the 1985 Gestures/ Reeactments, a title literally evocative of the work’s visual/verbal aspect while also paradigmatically descriptive of what would be her conceptual practice for the next three decades. Simpson herself makes a rare appearance in her work in two related pieces in the show: the 2009 epic still photo work 1957-2009 (Gallery 4), for which the artist re-enacted scenes from vintage photos, and Chess, 2013, (Gallery 3), which features re-enactments of some of the same photos.

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Gallery 1 introduces the artist’s signature, indeed iconic early images of the 1980s – a black figure in white clothing, face turned away from the camera or cropped out of the frame – accompanied by precisely crafted, allusive texts that recomplicate what is seen by what is heard in these voicings. The intention to deny a view of a face, as Simpson says, “was related to the idea that the one thing that people gravitate to in photography is the face and reading the expression and what that says about the person pictured, an emotional state, who they are, what they look like, deciphering and measuring. Who is being pictured, what is actually the subject? Photographing from the back was a way to get viewers’ attention as well as to consciously withdraw what they might expect to see.”

The performative photo-text works in Gallery 1 are Gestures/Reenactments, 1985 (created as part of her thesis project for her MFA at the University of California, San Diego), Waterbearer and Twenty Questions (A Sampler) (the first works that Simpson made when she moved to New York in 1986), as well as Five Day Forecast, 1988, and Stereo Styles, 1988. Beginning with Waterbearer, all of these except Gestures/Reenactments (which features a black male) show a black female in a white shift played by artist Alva Rogers, who was often mistaken for Simpson herself.

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Gallery 2 marks important changes the artist made during the ’90s, most notably Simpson’s surprising shift to printing her photographs on felt and absenting the human figure. At first she used surrogates for the body, seen in the many and various wigs she photographed and which she accompanied with texts that continued to address ideas of identity and gender (Wigs, 1994-2006). She used photographs taken during her travels for the next series of felt works, which were interior and exterior scenes (The Car, 1995, The Rock, 1995, The Staircase, 1998) that in both imagery and texts invoked film noir. These works led almost inevitably to the start of Simpson’s film and video work in 1997. (Her earliest photo-texts will be recognized by the viewer as proto-cinematic with their multiple frames and conversational voices.)

This gallery also reveals how Simpson continues to use her felt medium and returns to her own archive of images   as well as found objects. Three related works, though no longer using text, nevertheless “comment” on each other:  a video of a performance (Momentum, 2010) inspired by an early 1970s performance at Lincoln Center generated felt works based on vintage photographs of this famous New York theater – Chandelier, 2011, Daytime, 2011, and Daytime (gold), 2011- as well as the Gold Headed (2013) drawings, based on the dancers costumed head to foot in gold. Drawings are perhaps the least known medium in Simpson’s practice, and while they reveal the fluid gestures of her hand, visitors will recognize in these gold heads turned from the viewer an echo of the position of the figures  in Gallery 1.

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Gallery 3 is devoted to Simpson’s newest video, Chess, 2013, which is based on historic photos as well as her own earlier photographic piece, 1957-2009 (Gallery 4), in which she restaged found vintage photographs. Chess and 1957-2009 mark the rare instances in which Simpson has herself appeared in her work.

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Gallery 4 presents reenactments that use quotidian photographic genres to explore constructions of identity   and that offer a collective portrait of photographic portraiture over time. All of the works in this gallery are based on found photographs Simpson purchased on eBay and each depicts anonymous subjects performing for the camera. 1957-2009 is based on photographs in a vintage album; Gather and Please remind me of who I am are constellations of bronze-framed found photo-booth images (from the 1920s to the 1970s) accompanied by Simpson’s similarly framed drawings of details from the photographs.

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Gallery 5 offers Simpson’s video installation Cloudscape, 2004, which focuses on performance itself and the soundings of a body, that of artist Terry Adkins whistling a hymn. Embodying memory (and the distortions of it) as she did in her earliest photo-works but playing also with the particularities of video, Simpson loops the video to play forward and backward. In this process a new melody is created even as the stationary figure appears same but different.

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Lorna Simpson. 'Chess [Échecs]' 2013

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Lorna Simpson
Chess [Échecs]
2013
HD video installation with three projections, black & white, sound
10:25 minutes (loop)
Score and performance by Jason Moran
Courtesy the artist; Salon 94, New York; and Galerie Nathalie Obadia, Paris/Brussels
© Lorna Simpson

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Lorna Simpson. 'Chess [Échecs]' 2013

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Lorna Simpson
Chess [Échecs]
2013
HD video installation with three projections, black & white, sound
10:25 minutes (loop)
Score and performance by Jason Moran
Courtesy the artist; Salon 94, New York; and Galerie Nathalie Obadia, Paris/Brussels
© Lorna Simpson

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“Gestures” and “reenactments” could both be described as the underlying methods of Simpson’s practice for the decades to follow. Whether working with photographs she herself staged, found photographs, or archival film footage, her images captured gestures (as in her earliest documentary photographs of 1978-1980) while her series of multiple images, accompanied by texts, proposed simultaneous (if not synchronous) reenactments. This method also applied to works in which she replicated found images, whether turning images from her films into drawings, or using herself to re-play roles depicted by anonymous figures she had discovered in vintage photographs, either for staged still photographs (as in 1957-2009, 2009), or for moving pictures (as in the video Chess, 2013).

Chess, 2013, Simpson’s video installation made expressly for this exhibition, draws on images from 1957- 2009, her still photograph ensemble of 2009 (on view in Gallery 4). For both, in a departure from her earlier videos and prior staged photographs, Simpson herself performs. In 1957-2009, by reenacting scenes from found vintage prints with which they are shown, Simpson is “mirroring both the male and  the female character, in dress, pose, expression, and setting. When I would mention the idea of working with mirrors [for the Chess video] people would often mention the famous portraits of Picasso and  Picabia taken at a photo studio in New York by an anonymous photographer who placed the subject   at a table in front of two mirrored panels at seventy-degree angles. The result is a five-way portrait that includes views that are not symmetrical and that offer slightly different angles: a surrealist trope of trick photography.”

Though the artist first rejected the idea of working with the mirror device used in these historic portraits, which she had seen many times, she decided to take it on fully and reconstruct it in her studio for this new video project after  art historian and sociologist Sarah Thornton sent her “a beautiful image of an unknown man of African descent in a white straw hat, which had been in an exhibition at MoMA [catalogue page 61]. It was a five-way portrait probably taken by the same photographer who had taken the portraits of Picasso and Picabia. I could no longer resist or dis- miss this idea. I felt that it was demanding my attention.”

Shot in Simpson’s studio over the weekend of December 8, 2012, Chess is comprised of three video projections. For two of them Simpson again plays both female and male chess-players, and with the help of makeup and hair assistants, she now allows her characters to age. The third projection shows pianist Jason Moran performing his improvised score for this project, which was inspired by discussions between artist and composer about “mirroring in music,” especially “in the work of musician Cecil Taylor, who employs mirroring in his compositions.”

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Lorna Simpson. 'The Car' 1995

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Lorna Simpson
The Car
1995
Serigraph on 12 felt panels with felt text panel
102 x 104 in (259.1 x 264.2 cm)
Courtesy the artist; Salon 94, New York; and Galerie Nathalie Obadia, Paris/Brussels
© Lorna Simpson

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Lorna Simpson. 'The Car' (detail) 1995

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Lorna Simpson
The Car (detail)
1995
Serigraph on 12 felt panels with felt text panel
102 x 104 in (259.1 x 264.2 cm)
Courtesy the artist; Salon 94, New York; and Galerie Nathalie Obadia, Paris/Brussels
© Lorna Simpson

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Lorna Simpson. '1957-2009' (detail) 2009

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Lorna Simpson
1957-2009 (detail)
2009
299 gelatin silver prints, framed
5 x 5 in. (12.7 x 12.7 cm) each (image size)
Rennie Collection, Vancouver
© Lorna Simpson

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While collecting photo booth images on eBay, Simpson found the first of the vintage photographs – a woman in a tight sweater-dress leaning on a car – that would generate 19572009 (2009). The artist subsequently bought the entire album and in 2009 restaged these photographs of an anonymous black woman and sometimes a man performing for their camera between June and August 1957 in Los Angeles, which they may have done in the hope of gaining movie work in Hollywood or as an independent project of self-invention. For 1957-2009, Simpson reenacted both female and male roles, and the 299 images are comprised of both the 1957 originals and Simpson’s 2009 remakes. Simpson again reenacted a selection of these vignettes for her video installation Chess, 2013.

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Lorna Simpson. 'Cloudscape [Paysage nuageux]' 2004

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Lorna Simpson
Cloudscape [Paysage nuageux]
2004
Video projection, black & white, sound
3:00 minutes (loop)
Centre national des arts plastiques, purchase in 2005
Photo courtesy the artist; Salon 94, New York; and Galerie Nathalie Obadia, Paris/Brussels
© Lorna Simpson/Centre national des arts plastiques

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Lorna Simpson’s video installation Cloudscape (2004) isolates one man, Simpson’s friend, the artist and musician Terry Adkins, in a dark room, spotlighted as he whistles a hymn and is enveloped in fog. Focusing on the ephemerality of performance, the artist employs a technique afforded by her medium to play with time as well. Simpson runs the video forward and then also backward in a continuous loop, creating new visual and oral/aural permutations of gesture and reenactment. In the reversal of the time sequence, the image remains somewhat familiar while the tune turns into something else, a different melody.

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Lorna Simpson. 'Momentum' 2010

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Lorna Simpson
Momentum
2010
HD video, color, sound
6:56 minutes
Courtesy the artist; Salon 94, New York; and Galerie Nathalie Obadia, Paris/Brussels
© Lorna Simpson

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As Simpson explored new mediums, such as film and video starting in 1997 or found photographs in  the late 1990s, she continued to work in parallel with her felt serigraphs. In this gallery are three related sets of works that, unlike her earlier photo-text pieces, are all based on a personal memory: performing as a youngster, age 12, in gold costume, wig, and body paint in a ballet recital at New York’s Lincoln Center. Simpson re-staged such a performance for her video Momentum (2010).

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Jeu de Paume
1, Place de la Concorde
75008 Paris
métro Concorde
T: 01 47 03 12 50

Opening hours:
Tuesday: 12.00 – 21.00
Wednesday – Friday: 12.00 – 19.00
Saturday and Sunday: 10.00 – 19.00
Closed Monday

Jeu de Paume website

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16
Jul
13

Review: ‘Anne Ferran: Box of Birds’ at Stills Gallery, Sydney

Exhibition dates: 26th June – 27th July 2013

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tar·ant·ism [tar-uhn-tiz-uhm]
noun
a mania characterized by an uncontrollable impulse to dance, especially as prevalent in southern Italy from the 15th to the 17th century, popularly attributed to the bite of the tarantula.

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I have never been a great fan of Anne Ferran’s exhumations. Her digging into the ground of history and restoring, reviving (after neglect or a period of forgetting) traces of life and bringing them into light (through photography) – bringing them back to light – has resulted in images that are paradoxically pretty, lifeless. For example, photographs of patches of grass in Lost to Worlds (2008) are given great import as contemporary evidence of the site of a female convict prison, near the small village of Ross, Tasmania as Ferran, “continues to play with the invisibility of this specific history, using large-scale photographs to show what little remains today, and to collectively reflect on the difficulty of grasping a ruined and fragmented past.”

And… so… what else?

These photographs really mean very little, another example of an artist picking at the scab of history to what end, what purpose, other than to dig up deleted histories that are past their use by date. Move on, move on, nothing to see here!

And there is literally nothing to see, except patches of grass that are given import by the contextualisation of the artist, the “look at this, I think it is important because I have seen it, because I have researched it, because I am an artist, because I am aware” – when the interrogation actually means very little. It is like the prevalence of contemporary photographs of empty, abandoned spaces – abandoned petrol stations, hospitals, insane asylums – that are supposed to impart great poetry and narrative to the spaces. Ruin porn as Dan Rule termed it recently.

Thankfully, these latest photographs are of a different taxonomic order – they are vital, alive, full of swirling tarantism that beautifully expresses the trapped energy that Ferran saw in a 1940s photographic archive of 38 unidentified women who were patients of a Sydney psychiatric hospital. In their formalist abstraction the artist has perfectly captured the unquiet spirit of the women and – here is the crux of the matter for me – these photographs allow me to go further into the subject, they take me to a different place and don’t just leave me on the surface of the image/history. They speak to me, they n/trance in multiple ways like little of Ferran’s work has done before for I feel this work, this hidden narrative, in the artist’s performative shaping of reality. Suddenly these women, trapped in a space (of the photograph, of the archive) and place (of the hospital), can spread their wings and anonymously shake their feathers (their spirit) with declamatory enthusiasm. As an artist friend of mine Julie Clarke observed, “I was captured by the amount of folds in the fabric Ferran has used. Her emphasis on ‘felt’ as felt emotion and the feeling associated with those almost absent bodies is intriguing.” And how that felt emotion relates to the work of Joseph Beuys and his use of felt as insulation, warmth and a kind of comfort, here represented in institutional form (I am reminded by the markings on the felt of the arrows of prison garments).

As the text for the exhibition states, “This new series marks a significant shift in approach, as Ferran harnesses photography and performance in an endeavour to manifest the archive’s continuing power in the present. Ferran’s performers conceal their identities behind lengths and swathes of painted felt, in some cases creating strange and outlandish figures in a disorder of material, bodies and space.”

It is a welcome shift in approach. Ferran’s mental, material dis/order produces significantly more memorable images than what has “passed” before, imaging as they do a conflation of past, present and future rather than relying on the death of the historical archive evidenced in the deathly photograph.

Dr Marcus Bunyan for the Art Blart blog

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

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Anne Ferran. 'Agitated thrush' 2013

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Anne Ferran
Agitated thrush
2013
from Box of Birds series
Pigment print
72 x 48 cm
Editions of 5 + 2AP

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Anne Ferran. 'Clamorous shrike' 2013

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Anne Ferran
Clamorous shrike
2013
from Box of Birds series
Pigment print
72 x 48 cm
Editions of 5 + 2AP

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Anne Ferran. 'Conspicuous kite' 2013

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Anne Ferran
Conspicuous kite
2013
from Box of Birds series
Pigment print
72 x 48 cm
Editions of 5 + 2AP

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Anne Ferran. 'Night whistler' 2013

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Anne Ferran
Night whistler
2013
from Box of Birds series
Pigment print
72 x 48 cm
Editions of 5 + 2AP

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Anne Ferran. 'Pale-headed flycatcher' 2013

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Anne Ferran
Pale-headed flycatcher
2013
from Box of Birds series
Pigment print
72 x 48 cm
Editions of 5 + 2AP

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Anne Ferran. 'Slender-throated warbler' 2013

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Anne Ferran
Slender-throated warbler
2013
from Box of Birds series
Pigment print
72 x 48 cm
Editions of 5 + 2AP

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Anne Ferran. 'Stonebird' 2013

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Anne Ferran
Stonebird
2013
from Box of Birds series
Pigment print
72 x 48 cm
Editions of 5 + 2AP

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Anne Ferran. 'Tricoloured sylph' 2013

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Anne Ferran
Tricoloured sylph
2013
from Box of Birds series
Pigment print
72 x 48 cm
Editions of 5 + 2AP

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Anne Ferran. 'Feathered Emissary' 2013

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Anne Ferran
Feathered Emissary
2013
from Box of Birds series
Pigment print
60 x 80 cm
Editions of 5 + 2AP

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“Over the past 20 years Anne Ferran has worked with the residues of Australia and New Zealand’s colonial histories, probing them for gaps and silences. She has been especially drawn to the lives of anonymous women and children, seeking to shed light on their presence, and absence, in museum collections, photographic archives and historic sites. It is characteristic of Ferran’s images that the subject is not what is seen but rather what haunts it, something only partially visible. Intellectually and emotionally engaging, her photographs have explored episodes of incarceration in prisons, asylums, hospitals and nurseries, giving voice to the spectres of the lost and unseen.

Box of Birds returns to the subject matter of her previous works INSULA and 1-38: 1940s photographs of 38 unidentified women who were patients of a Sydney psychiatric hospital. In a significant shift of approach, rather than exhuming traces of the past, Ferran harnesses photography and performance in an endeavour to manifest its continuing power in the present.

Ferran’s process alternated between the considered and the uncontrollable. Female performers were instructed to hold pieces of felt up to her camera, the 38 lengths of dyed and painted fabric recalling the crumpled clothes worn by the women in the original photographic archive. Other images were wholly improvised, the performers creating strange and outlandish figures out of a disorder of material, bodies and space.

In a deliberate departure from the 1940s archive, Ferran’s performers conceal their identities behind lengths and swathes of fabric, raising ethical questions about photography’s role in recognition, representation and expression.

All the work in Box of Birds aims to elicit the energy Ferran saw trapped in those 1940s photographs, their unquiet spirit.”

Press release from the Stills Gallery website

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Anne Ferran. 'Chorus No.1' 2013

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Anne Ferran
Chorus No.1
2013
from Box of Birds series
38 Pigment prints
60 x 42 cm each
Editions of 5 + 2AP

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Anne Ferran. 'Chorus No.2' 2013

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Anne Ferran
Chorus No.2
2013
from Box of Birds series
38 Pigment prints
60 x 42 cm each
Editions of 5 + 2AP

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Anne Ferran. 'Chorus No.3' 2013

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Anne Ferran
Chorus No.3
2013
from Box of Birds series
38 Pigment prints
60 x 42 cm each
Editions of 5 + 2AP

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Anne Ferran. 'Chorus No.4' 2013

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Anne Ferran
Chorus No.4
2013
from Box of Birds series
38 Pigment prints
60 x 42 cm each
Editions of 5 + 2AP

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Anne Ferran. 'Chorus No.5' 2013

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Anne Ferran
Chorus No.5
2013
from Box of Birds series
38 Pigment prints
60 x 42 cm each
Editions of 5 + 2AP

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Stills Gallery
36 Gosbell Street
Paddington NSW 2021
Australia
T: 61 2 9331 7775

Opening hours:
Tuesday – Saturday 11.00 am – 6.00 pm

Stills Gallery website

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19
Jul
12

Review: ‘Berlinde De Bruyckere: We are all Flesh’ at the Australian Centre for Contemporary Art (ACCA), Melbourne

Exhibition dates: 2nd June – 29th July 2012

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Apologies, just a short review as I have been sick all weekend. It’s hard to think straight with a thumping headache…

  • An interesting exhibition with several strong elements
  • Wonderful use of the ACCA space. Nice to see the building allowed to speak along with the work; in other words a minimal install that shows off the work and the building to advantage. ACCA could do more of this.
  • The main work We Are All Flesh (2012, below) reminded me of a version of the game The Hanged Man (you know, the one where you have to guess the letters of a word and if you don’t get the letter, the scaffold and the hanged man are drawn). The larger of the two hanging pieces featured two horse skins of different colours intertwined like a ying yang paux de deux. Psychologically the energy was very heavy. The use of straps to suspend the horses was inspired. Memories of Rembrandt’s The Anatomy Lesson of Dr. Nicolaes Tulp and The Godfather rose to the surface…
  • I found it difficult to get past the fact that the sculptures were built on an armature with epoxy = the construction of these objects, this simulacra, had to be put to the back of my mind but was still there
  • Inside me III (2012, below) was a strong work reminding me of an exposed spinal column being supported by thin rope and fragile trestles. Excellent
  • The series of work Romeu “my deer” (2012, below) was the least strong in the exhibition. Resembling antler horns or the blood vessels of the aorta bound together with futon like wadding, the repetition of form simply emphasised the weakness of the conceptual idea
  • My favourite piece was 019 (2007, below). Elegant in its simplicity this beautiful display case from a museum was dismantled and shipped over to Australia in parts and then reassembled here. The figurative pieces of wood, made of wax, seemed like bodies drained of blood displayed as specimens. The blankets underneath added an element of comfort. The whole piece was restrained and beautifully balanced. Joseph Beuys would have been very proud!
  • The “visceral gothic” contained in the exhibition was very evident. I liked the artist’s trembling and shuddering. Her narratives aroused a frisson, a moment of intense danger and excitement, the sudden terror of the risen animal

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Many thankx to the Australian Centre for Contemporary Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Berlinde De Bruyckere
We Are All Flesh
2012
Treated horse skin, epoxy, iron armature
280 x 160 x 100 cm
Courtesy the artist, Hauser & Wirth and Galleria Continua

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Berlinde De Bruyckere
We Are All Flesh (detail)
2012
Treated horse skin, epoxy, iron armature
280 x 160 x 100 cm
Courtesy the artist, Hauser & Wirth and Galleria Continua.

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“Berlinde De Bruyckere uses wax, wood, wool, horse skin and hair to make haunting sculptures of humans, animals and trees in metamorphosis.

Based in her home town of Ghent, Berlinde De Bruyckere’s studio is an old neo-Gothic Catholic school house. From here she creates her incredible sculptures – torsos morph into branches, trees are captured and displayed inside old museum cabinets and cast horses are crucified upside down in works that have been described as brutal, challenging, inspiring and both frightening and comforting.

Heavily influenced by the old masters, De Bruyckere’s early years at boarding school were spent hiding in the library, pouring over books on the history of catholic art. She went on to study at the Saint-Lucas Visual Arts School in Ghent, and was known in the early stages of her career for using old woolen blankets in her works, sometimes simply stacked on tables of beds, a response to news footage she had seen of blanket-swathed refugees in Rwanda.

Her breakthrough work In Flanders Fields, five life-size splay-legged horses captured in the throes of death, was commissioned by the In Flanders Fields Museum, in the town of Ypres, the site of the legendary World War 1 battle. She was then invited to participate in the 2003 Venice Biennale, and the subsequent work, an equine form curled up on a table titled Black Horse, firmly established her on the international scene. She has since had solo exhibitions at Hauser & Wirth in Zurich and New York and in prestigious museums across Europe.

“Berlinde De Bruyckere creates works that recall the visceral gothic of Flemish trecento art, updated to a new consideration of the human condition,” says Juliana Engberg, ACCA Artistic Director.

“Her work taps into our human need to experience transformation and transcendence, to experience great depths of feeling transferred from the animal to human. Through experiencing Berlinde’s amazing sculptural works we come closer to the human condition and the tragedy and drama of mortality, out of which something miraculous occurs in metamorphosis.”

We are all Flesh will include the rarely seen and iconic work 019 and two new commissions created specially for this exhibition.”

Text from the ACCA website

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Berlinde De Bruyckere
019
2007
Wax, epoxy, metal, glass, wood, blankets
293.5 x 517 x 77.5 cm
Private Collection, Paris

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Berlinde De Bruyckere
019 (detail)
2007
Wax, epoxy, metal, glass, wood, blankets
293.5 x 517 x 77.5 cm
Private Collection, Paris

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What is the Meaning of Trecento (1300 – 1400)

The term “trecento” (Italian for ‘three hundred’) is short for “milletrecento” (‘thirteen hundred’), meaning the fourteenth century. A highly creative period, it witnessed the emergence of Pre-Renaissance Painting, as well as sculpture and architecture during the period 1300-1400. In fact, since the trecento coincides with the Pre-Renaissance movement, the term is often used as a synonym for Proto-Renaissance art – that is, the bridge between Medieval Gothic art and the Early Renaissance. The following century (1400-1500) is known as the quattrocento, and the one after that (1500-1600) is known as the cinquecento.

The main types of art practised during the trecento period showed relatively little change from Romanesque times. They included: fresco painting, tempera panel painting, book-painting or illuminated manuscripts, metalwork, relief sculpture, goldsmithery and mosaics.

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Berlinde De Bruyckere
Inside me III
2012
Wax, wool, cotton, wood, epoxy, iron armature
135 x 235 x 115 cm
Courtesy the artist, Hauser & Wirth and Galleria Continua

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Berlinde De Bruyckere
Romeu “my deer”
2012
Pencil, watercolour, collage
37.5 x 28 cm
Courtesy the artist, Hauser & Wirth and Galleria Continua

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Berlinde De Bruyckere
Romeu “my deer” (detail)
2012
Pencil, watercolour, collage
37.5 x 28 cm
Courtesy the artist, Hauser & Wirth and Galleria Continua

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Australian Centre for Contemporary Art (ACCA)
111 Sturt Street
Southbank
Victoria 3006
Australia

Opening hours:
Tuesday to Friday 10am – 5pm
Weekends & Public Holidays 11am – 6pm
Monday by appointment
Open all public holidays except Christmas Day and Good Friday

Australian Centre for Contemporary Art website

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26
Jul
09

Exhibition: ‘Beuys is Here; Sculpture Object Action Revolution’ at De La Warr Pavilion, Bexhill-on-Sea, England

Exhibition dates: 4th July – 27th September, 2009

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For my friend Fred who so likes Joseph Beuy’s work.
All photographs are of work in the exhibition.

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Joseph Beuys. 'Untitled (Sun State)' 1974

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Joseph Beuys
‘Untitled (Sun State)’
1974

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Joseph Beuys. 'I like America and America likes me' installation 1974

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Joseph Beuys
‘I like America and America likes me’ installation
1974

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Joseph Beuys. 'Poster, N070815SE_118_098 - Overcome Party Dictatorship Now' nd

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Joseph Beuys
‘Poster, N070815SE_118_098 – Overcome Party Dictatorship Now’
nd

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“German artist Joseph Beuys (1921–86) is widely recognised as one of the most influential and extraordinary artists of the twentieth century.
Artist, educator, political and social activist, Beuys’s philosophy  proposed the healing power and social function of art, in which everyone can participate and benefit. The works in this exhibition provide an opportunity to experience this expanded concept of art as he understood it. Collectively, the exhibition presents the ‘constellation of ideas’ central to Beuys’s practice, revealing his ideas on zoology, ecology, homeopathy, economics, politics, social activism, teaching and learning. Beuys incorporated into his work various materials such as felt, fat and metal, selected because of their inherent properties such as insulation, conduction and protection which all have associations with Beuys’s ideas.

The exhibition is largely selected from the ARTIST ROOMS collection and brings together well-known sculptures, drawings, vitrines and a remarkable selection of posters recalling live actions and events. Works include ‘Fat Chair’ (1964–85) and, in Gallery 2, a single major work ‘Scala Napoletana’ (1985) is shown for the first time in the UK. In addition nearly twenty notable multiples are included within the exhibition selected from National Galleries of Scotland. The multiple was a form of communication for Beuys – a means by which he could share and distribute his ideas beyond the confines of the artworld.”

Text from the De La Warr Pavilion website

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Joseph Beuys. 'Fettstuhl (Fat Chair)' 1964 - 85

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Joseph Beuys
‘Fettstuhl (Fat Chair)’
1964 – 85

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Joseph Beuys. 'Entwurf für ein Filzenvironment [Model for a Felt Environment]' 1964

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Joseph Beuys
‘Entwurf für ein Filzenvironment (Model for a Felt Environment)’
1964

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The neat rolls of grey felt on painted wood inside this vitrine are intended as a model for an ‘environment’. Felt insulates and absorbs, representing protection but also a sense of constriction, like being suffocated. The same type of felt rolls are seen in the ‘environment’ ‘Plight’ (1958/1985), now in the Pompidou Centre, in which the walls and ceiling are covered with felt to create a stifling atmosphere. Beuys used felt in an infamous ‘action’ performed the same year this model was made. ‘The Chief’ saw the artist being wrapped in a felt blanket, fighting claustrophobia to lie practically still, as if in a coffin, for a nine-hour period.

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Joseph Beuys. 'Fettecke (Prozess) [Fat Corner (Process)]' 1968

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Joseph Beuys
‘Fettecke (Prozess) (Fat Corner (Process))’
1968

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Looking inside the two boxes in this vitrine, we can see that in one, the fat has been neatly shaped into the corner to make a wedge. In the other, the shape of the fat has a disturbing biological look to it, like inner organs which have been unceremoniously dumped in a heap. Beuys used triangles of fat in both his sculptures and ‘actions’. From around 1963, he would use wedges of fat or felt to mark the boundaries of a space when performing an ‘action’.

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Joseph Beuys. 'Langhaus (Vitrine)' 1953 - 1962

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Joseph Beuys
‘Langhaus (Vitrine)’
1953 – 1962

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‘Langhaus’ can be variously translated as ‘nave’ such as one finds in a church, or ‘longhouse’, such as the dwelling house for one or several families found in early north European regions or, still today, in tribal communities in the Amazon region or the South Seas. The block of wood has a small piece of felt attached to the top, suggesting, according to Beuys’s usual iconography, the idea of protection, a connotation strengthened by the length of felt also lying in the vitrine. The walking stick lying alongside the felt is a traditional Beuysian symbol for leadership and protection, much as a shepherd looks after his flock.

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“Beuys is recognised as one of the most influential artists of the late twentieth century. Adopting the roles of political and social activist and educator, his philosophy proposed the healing power and social function of art for all.

From the 1950s onwards, many of his works are made from a distinctive group of materials, in particular felt, fat and copper. These were chosen for their insulating, conductive, protective, transmitting and transforming properties. Animals of all kinds appear in his work, but he was particularly drawn to stags, bees and hares. A childhood interest in the natural sciences remained with him throughout his life, fuelling a desire to explore themes and experiment with the properties of materials.

Beuys produced a vast body of work that includes performance, drawing, print-making, sculpture and installation. His complex, interlocking themes cover science, myth, history, medicine and energy. Beuys’ own image and life story is inextricably linked to his work through his persona of the Shaman, shepherd or stag-leader.

This group of works covers forty years of Beuys’s career. Included are nature-based drawings of the 1950s, images and scores recording 1960s ‘actions’ and later installations, in addition to sculptures and vitrines. The collection brings together drawings with sculpture from the 1960s like the iconic ‘Fat Chair’, and images relating to Actions and installations like ‘Coyote’ and ‘Show Your Wound’. It culminates with the sculpture ‘Scala Napoletana’ which was made only a few months before the artist’s death, and relates to the theme of communication with the beyond.”

Text from the National Galleries of Scotland website

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Joseph Beuys with 'Rose for Direct Democracy' 1973

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Joseph Beuys with ‘Rose for Direct Democracy’
1973

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Joseph Beuys. 'Pregnant Woman with Swan' 1959

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Joseph Beuys
‘Schwangere und Schwan (Pregnant Woman with Swan)’
1959

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The tiny swan in this painting looks as if it is swimming serenely inside the woman, replacing the foetus inside her pregnant body. The drawing combines male and female elements, with the phallic nature of the swan’s neck. Beuys had been fascinated with swans since childhood. A sculpture of a large golden swan sat on top of the tower of Schwanenburg castle (Swan Castle) in his home town of Cleves, and was visible from his bedroom window while he was growing up. With his interest in language, the artist would also have delighted in the similarity between the German words for pregnant woman (Schwangere) and swan (Schwan).

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Joseph Beuys. 'Felt Suit' 1970

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Joseph Beuys
‘Felt Suit’
1970

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Beuys began producing works in multiples in the 1960s, partly as a way to combat the elitism of the art world. This is probably his most famous multiple. It has its origins in the performance ‘Action the Dead Mouse/Isolation Unit’ of 1970, where Beuys wore a felt suit with lengthened arms and legs, like the one seen here. He described the suit as an extension of the sculptures he made with felt, where the material’s insulating properties were integral to the meaning of the work. Beuys intended this concept of warmth to extend beyond the material to encompass what he described as ‘spiritual warmth or the beginning of an evolution’.

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Joseph Beuys. 'Stark beleuchteter Hirschstuhl (Brightly-Lit Stag Chair)' 1957-1971

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Joseph Beuys
‘Stark beleuchteter Hirschstuhl (Brightly-Lit Stag Chair)’
1957-1971

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Although Beuys began this collage in 1957, it was not finished until 1971. The chair is similar to the subject of the artist’s 1972 sculpture ‘Backrest for a fine-limbed person (Hare-type) of the 20th Century A.D’. This is a cast iron impression of a child’s plaster corset, made as a multiple. However, the striding feet of the chair in this collage give it a human aspect, making it seem almost confident and self-possessed. The curved back of the chair is echoed in the lightbulb shape at the top of the image. The stag, in Beuys’s bestiary, guided the soul in its journey to the afterlife.

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Joseph Beuys. 'Passage der Zukunftplanetoiden (Hearts of the Revolutionaries: Passage of the Planets of the Future)' 1955

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Joseph Beuys
‘Passage der Zukunftplanetoiden (Hearts of the Revolutionaries: Passage of the Planets of the Future)’
1955

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The choice of red for this painting would seem like an obvious one, reflecting both the heart and the virtues of honour and courage of the revolutionary in the title of the piece. Red also represents socialism, a belief of Beuys which became central to his later work. However, the colour red is used sparingly and symbolically in the artist’s work, and here it makes a bold statement on life, vitality and the future. The inclusion of the round shape to represent a planet brings an astronomical element into the work.

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Joseph Beuys. 'Scala Napoletana' 1985

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Joseph Beuys
‘Scala Napoletana’
1985

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Much of the work Beuys made in his last few years includes objects or themes which suggest death. This sculpture was originally inspired by a ladder the artist found while recovering from illness on the island of Capri in Autumn 1985, which he hung with two stones. When he visited Amalfi at Christmas in the same year, he purchased a ladder (‘Scala Libera’) from a landlord which he used to make this sculpture. Held in suspension, it appears as if the pair of lead weights are preventing this heavy wooden ladder from soaring into the air. This is one of the last sculptures Beuys made. He died in January 1986.

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Jospeph Beuys. 'Sled' 1969

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Jospeph Beuys
‘Sled’
1969

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The materials used in the making of this work relate to Beuys’s experience of being rescued by nomadic Tartars when his plane was shot down during the Second World War. Fat was rubbed into his body and he was wrapped in felt to keep him warm. The sled looks as if it has been prepared for an expedition or in response to an emergency, with a survival kit strapped to it. The flashlight represents the sense of orientation, the felt is protective, and the fat is for food.

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Joseph Beuys. 'Ohne Titel (Untitled)' 1970

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Joseph Beuys
‘Ohne Titel (Untitled)’
1970

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Wearing his unmistakeable felt trilby hat, with his fishing vest poking through a luxuriant fur-lined jacket, this large image (over two metres square) shows Beuys at his most iconic. The clothes he wears here were part of his artist’s ‘uniform’, chosen for comfort and practicality (the multi-pocketed vest was particularly useful) but also as a way to create his image. Fittingly, he is depicted with one of his most distinctive sculptures. In the foreground is ‘The Pack’ (1969), a group of twenty-four sledges. Each one has its own survival kit including fat for sustenance, felt for warmth and a torch for navigation, making the artist’s signature materials part of this image too.

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Text under images from the National Galleries of Scotland website

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De La Warr Pavilion
Bexhill-on-Sea,
East Sussex, TN40 1DP

Opening hours: 10am to 5pm, seven days a week

De La Warr Pavilion website

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21
Nov
08

Art work: Cy Twombly ‘Cold Stream’ 1966

November 2008

 

Cy Twombly. 'Cold Stream' 1966

 

Cy Twombly
Cold Stream
White wax pencil on canvas
1966

 

 

This painting reminds me of the drawings of Rudolf Steiner (see the exhibition ‘Joseph Beuys & Rudolf Steiner: Imagination, Inspiration, Intuition’ at The National Gallery of Victoria, Melbourne earlier this year) but here the performance of marking is pushed beyond the bounds of the spiritual by the ferocious attack of the artist – repeating the form but transgressing the boundaries of that form, disintegrating the ritual into the physical release of energy through the hand.

One can almost see the maelstrom of the splitting of the atom in Twombly’s repeating performance threatening to destroy himself and the world around him.

Marcus Bunyan

 

 

Rudolf Steiner. Blackboard Drawings, 1919-1924. Amazon new book

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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