Lemaitre haven’t even released an album yet, but the two 20-year-olds, Ketil Jansen and Ulrik Denizou, are already causing a stir in the electronic universe. Taking inspiration from an assimilation of influences ranging from Daft Punk, Röyksopp, Justice, Ratatat, Phoenix and Noisia, Lemaitre have reached number one in the iTunes Electronica chart in the USA and Canada, and number nine in the UK. They EP Relativity 3 was released at the start of March and Aesthetica speaks to the Norwegian duo about their work and future projects.
The Aesthetica Art Prize is a celebration of excellence in art from across the world and offers artists the opportunity to showcase their work to wider audiences and further their involvement in the international art world. Previous finalists include Julia Vogl, who was shortlisted for New Sensations – Saatchi Gallery and Channel 4′s Prize – and has exhibited at Zabludowicz Collection; Marcus Jansen, a leading modern expressionist who joined a legacy of artists by featuring in Absolut Vodka’s artistic campaigns, and Bernat Millet, also shortlisted for National Portrait Gallery’s Taylor Wessing Photographic Portrait Prize. The 100 long-listed artists are published in the Aesthetica Art Prize Annual and the short-listed artists are currently exhibited at York St Mary’s until 28 April. Aesthetica speaks to the winner of the student prize, Poppy Whatmore about her approach to sculpture and her involvement in the art prize.
The works showcased in this exhibition are arranged chronologically according to specific stages of Man Ray’s artistic career, commencing in New York and concluding in Paris. Some of the artist’s most celebrated images including his portrait of Marcel Duchamp dressed as his alter ego Rrose Sélavy and the now iconic Le Violon d’ingres are among the first we encounter. Despite having been reproduced ad nauseam Le Violon d’ingres still retains a unique aura, commanding our attention and piquing our curiosity. The image reveals the artist as a a man before his time, exploiting the conceptual possibilities of image manipulation in a pre-photoshop era.
The Space presents five short films, made in collaboration with the Victoria and Albert Museum, which each explores the genius of David Bowie on occasion of the first full-scale retrospective of his career, David Bowie is, at the V&A in London. Featuring insight from the curators of the exhibition, Victoria Broackes and Geoffrey Marsh, music journalist Paul Morley as well as film-maker Alan Yentob, the films examine the many facets of David Bowie, as well as the fascination with his creative output across the past five decades.
Wilkinson Gallery announces it’s third solo exhibition by Jimmy De Sana (1950 – 1980). The exhibition will open on 5 April and will include colour photographs, produced during the late 70s and 80s. The enhanced colour and staged compositions of De Sana’s photographs highlight his photography as art, photographs that are made rather than taken. In the darkroom he enhanced colours and used solarisation to create his own particular photographic language. He played with the idea of the body as sculpture and the sometimes extreme sexual imagery was informed by the punk scene of downtown New York. The figures in the photographs were his friends. He also used his own body in some of the images, all of which were staged in his home and studio.
For the first time in the UK, the Michael Hoppen Gallery exhibits a comprehensive vintage selection of Brett Weston’s Nudes and Dunes. As the son of legendary photographer Edward Weston, Brett was bound to end up on a similar path and he applied himself to the practice from an early age. He moved to Mexico with his father where he was introduced to Diego Rivera, Jose Clemente Orozco and Tina Modotti. Due to his father’s radical sense of composition and his exposure to modern art, Weston developed a clear sense of form and an interest in abstraction.
With four days off and weather that doesn’t compliment outdoor activities or picnics, art exhibitions are an obvious solution for Bank Holiday boredom. However, wherever you are in the world, the weekend is always a great time to leisurely explore local art exhibitions. From Amsterdam to New York we uncover the best in contemporary art in both Public and Private galleries across a variety of practices. Whether it be fandom at David Bowie Is… or destruction in Sara Cwynar’s Everything In the Studio (Destroyed) these shows provoke a range of responses.
The finalists of the Syngenta Photography Award, a new international competition aiming to stimulate dialogue around key global challenges, were announced today. The three finalists for the Professional Commission are: Jan Brykczynski (Poland), Pablo Lopez Luz (Mexico) and Mimi Mollica (Italy). The three finalists in the Open Competition are: André François (Brazil), Holly Lynton (USA), Vitaliy Popkov (Ukraine).
There still is a certain mystery to the artistic character of the celebrated New York artist Todd James. When researching about him on the internet, there really isn’t much about his upbringing other than a sentence on the “About” section of his website that reads: “Todd James (a.k.a. REAS) is an internationally recognized artist who began his career as a child in the New York City subway system.” This mystery around the artist’s experiences of life and how he came to be such a recognised artist surely makes him a self-taught “underground artist” – even though it is well known that he designed the Beastie Boys’ Brooklyn Elephant Dust logo, as well logos for Eminem and Kid Rock. Even though his work is shown in some of the most globally renowned museums such as the Tate Liverpool and the Institute of Contemporary Art in Philadelphia there is still a lot to discover about the artist himself. The exhibition, entitled Todd James: World Domination, represents his works as “underground pieces” in a world thousands of miles away from our cradle of Western civilisation.
Up to the Light is a celebration of the outstanding work of filmmaker and photographer Johan Van der Keuken. Running 30 March until 9 June at EYE (Amsterdam), the exhibition focuses in particular on the extraordinary way in which Van der Keuken brought together contrasting images in his films and observed a world in constant transition. The artist was a constant traveler, recording what he saw both at home and abroad, and he punctuated his observations in Africa, Asia or Latin America with similar or indeed diametrically opposed situations. He was also one of the first filmmakers to attempt a cinematic translation of time into space.
The announcement of a new biennial inevitably prompts the question: Why? The art world is saturated with these large-scale recurring exhibitions, of which there are around 250 in operation in places as diverse as Dakar and Folkestone. A mass outbreak of biennials during the 1990s led to serious questioning of their significance as an exhibition form that has yet to subside. Too big; too uncomfortably Western; too many of the same artists and display methods: the biennial has long been labeled a stale proposition.
Art Paris Art Fair arrives this weekend at the Grand Palais, hosting 20 countries and 143 galleries the fair presents modern and contemporary art. Taking time to focus on the art scene in the East, galleries from Central and Eastern Europe, the Middle East and Asia will be represented and for the first time Russia has been invited as a guest of honour. The event opens for the preview 27 March and runs 28 March – 1 April for the public.