This special presentation by Victoria Miro at Schloss Sihlberg in Switzerland considers the use of abstraction and repetition amongst the work of three artists: Conrad Shawcross, Yayoi Kusama and Idris Khan. Each of these artists works in series, exploring concepts through the repeated and rigorous demonstration of formal strategies.Yayoi Kusama’s ongoing series of Infinity Net paintings and her important large-scale accumulation sculpture Prisoner’s Door demonstrate gestural abstraction that provides a formal counterpoint to the geometric abstraction of Conrad Shawcross’ Perimeter Studies sequence and Plosion sculpture, which take theories of cosmic expansion and contraction as their starting point.
The notion of an entire wing of the Guggenheim Bilbao being dedicated to Film & Video phased me at first. Though increasing numbers of modern art installations seem to feature moving imagery, never had I encountered a space dedicated solely to the form. Don’t get me wrong: I consider myself a card-carrying cinephile. However, I am aware that, as the notion of ”art” becomes more porous, its boundaries, if it is to maintain its integrity, require policing, a point restated forcefully by Grayson Perry in his Reith Lectures. Surely this is a problem as much for cinematic as for fine art: where does film stop being cinema and start being “Film & Video”?
Laurent Grasso is an artist who divides his creative life between Paris and New York, so it is fitting that in September his work will take centre stage both at Paris’s Galerie Perrotin and at Sean Kelly in New York for solo shows. He will return to Paris in March 2015 for a third show at Galerie Valentin.
Artistic duo Dalziel + Scullion explore the natural world in their innovative and immersive practice. A joint commission from Dovecot Studios and an Lanntair, the pair to produce Tumadh: Immersion, which will transform the North and South Galleries at Infirmary Street into an experiential space with sound and tactile qualities. The exhibition is part of the Edinburgh Art Festival, running 31 July – 31 August. Dalziel + Scullion speak to Aesthetica about the ideas behind their art and the way they approach their audience.
With a title which references the infamous Black Dahlia murder in 1940s Hollywood, Last Seen Entering The Biltmore is a group exhibition which considers the idea of artifice and theatricality and particularly draws attention to the idea of the theatrical “backstage” as a threshold where transformation takes place. It also addresses the wider subject of the mediation of experience, whether by the theatre curtain or the computer screen.
A secret garden in the heart of a city becomes a space for rediscovering and celebrating the joy and freedom of childhood play, in a new commission which brings together the talents of award-winning artists Morag Myerscough and Luke Morgan. The artists say they want to create a place which enables people’s imaginations to run away, and the Orangery gardens, a tranquil green space surrounding a listed building, which is rarely open to the public, proves the ideal setting for them to explore both the idea of play and visitors’ fond memories of playing.
When a nine-year-old girl’s strong character began to shape a work in progress by artist and filmmaker Sharon Lockhart, it was the unlikely beginning of an ongoing creative collaboration – whose latest results can be seen in a new commission for the Liverpool Biennial.
Bob and Roberta Smith’s Art Party is due to open on 21 August. The feature film, produced with director Tim Newton and Stuart Cameron of Crescent Arts, and distributed by Cornerhouse Artist Film, will be accompanied by a UK-wide Art Party hosted by key venues who are screening the film and hosting their own parties afterwards. There will be major art events at venues including Cornerhouse, Manchester, ICA, London, Chapterhouse, Cardiff and Stephen Joseph Theatre, Scarborough – joined by cinemas, art galleries and art schools across the UK from Derry to Exeter, Newcastle to Margate, Liverpool to Leeds. Bob and Roberta Smith speaks to Aesthetica about the important role of art in education.
In conjunction with the opening of the Liverpool Biennial this weekend, Liverpool Contemporary Arts Fair launches at World Museum today. Running until 6 July, the event is Britain’s newest international art fair, showcasing work by emerging and established artists from over 50 leading national and international galleries. Part of the the cultural programme for the UK’s International Festival for Business, the inaugural edition of the fair opens with a VIP launch and preview opening night on 3 July.
Henri Matisse: The Cut-Outs currently on display on the second floor of the Tate Modern brings together an extensive array of Matisse’s cut-outs from a long list of private and public collections. The exhibition dedicates 14 rooms to Matisse who was, in his earlier years stretching from the end of the 1900s to the brink of mid-1910s, the most courageous painter out of all the Fauvists. Matisse’s earlier paintings and sculptures transmitted passion and a buzzing sense of innovation but his cut-outs were really what transformed him into the artist most art-lovers admire today.
For the London Design Festival 2014, Jeremy Maxwell Wintrebert has joined forces with Champagne Perrier-Jouët to create a unique glass piece called Human Nature to be installed at the Victoria & Albert. Born in Paris but raised on the west coast of Africa, Wintrebert draws on his experience of the world to produce delicate and beautiful glass works. Creating his works at a small factory in Waldsassen, Bavaria, the artist speaks to Aesthetica about his hopes to establish a permanent studio in France and his plans for the V&A.
The collective exhibition Memory Lane explicitly prompts memories as a result of reconstructed history through the means of art. Right at the entrance, it’s the series of photographs, Tito in War (1992-1995), by Milomir Kovačević, that commemorates Tito’s portrait in after-war public spaces. Covered with blood, protected by broken glass, hanging on a half-demolished wall, these 33 photographs of photographs enact the symbolism of the leader’s portrait presence and legitimises the space.