Having been selected from thousands of entrants to be part of the 100 longlist for the Aesthetica Art Prize 2013, Jurgen Winkler is a contemporary artist who experiments with form and sculpture to visualise human behaviour. Alienation and intimacy, power and impotence are recurring themes in his work. With the Aesthetica Art Prize 2014 now accepting entries (until 31 August) we speak to Winkler about taking part in international art competition and what inspires him.
In addition to Aesthetica’s very own Art Prize Exhibition at York St Mary’s, York, there’s a number of wonderful art shows on display this weekend. If you’re near York, you can catch some of the most exciting emerging talents and trends in contemporary art today and if you’re elsewhere, you can be bewildered by Tobias Rehberger’s overwhelming installations in Frankfurt. At London’s Thomas Dane Gallery, Abraham Cruzvillegas destroys entire movements, while in Sheffield Wu Chi-Tsung creates entire cities from mere shadows. Wherever you are, make sure you see something this weekend.
Visiting the New Museum’s lobby exhibition For Forgetting, a multimedia installation by artist Laure Prouvost, should not be done on an evening when the lobby also hosts a live band. Aside from the challenge in hearing the exhibition’s video installation, her film, Making Money Religiously, was well worth the concentration and effort.
Kourtney Roy’s striking fashion photography is currently on the cover of Aesthetica. Roy began her career with the intention of becoming a painter. However, after taking a photography course she quickly found a passion for the instantaneous nature of this art form, enjoying being able to immediately capture a scene as it was unfolding. The photographer was born in Ontario, Canada and now lives in France, and her images draw on a large selection of artists such as Jeff Wall, Guy Bourdin, Stephen Shore and Francis Bacon. This year the Aesthetica Short Film Festival launches a Fashion Film strand and Roy has also produced a number of these glamorous short films. She speaks to us about her narrative construction and the benefits of fashion film.
This year at the Art Paris Art Fair there was a dizzyingly fascinating gathering of art galleries from around the world. China was the guest of honour, after Russia last year. In front of the Grand Palais entrance to the art fair lay a rusting metal fist larger than a man: its tantalisingly paradoxical political image suggested both oppressive power and the severing of that power from the arm that propels it.
The UK’s leading artist-led fair returns to Ambika P3 this April for its sixth edition. The Other Art Fair runs 24 – 27 April and will feature work by 100 of the best, unrepresented artists coupled with a dynamic program of talks, workshops and events. With a growing number of art fairs in London, The Other Art Fair stands as a unique but inclusive experience which appeals to both art experts and novices. The event allows visitors to interact directly with the artists, learning about their practice and the thoughts behind the works.
“I was born at the same time as video” – a viewer reads a memo in a dark labyrinth of the first retrospective of American video artist Bill Viola. Recently opened at the Grand Palais until 21 July, it shows off twenty works and is the first video art exhibition at the National Galleries. The retrospective revolves around three open philosophical questions: Who am I? Where am I? Where am I going? The experience of going to the exhibition visit is conceived as a journey, however, the artworks, as precious artifacts, are not called to give the answers, but to pose the questions.
The Aesthetica Art Prize exhibition is now open to the public, showcasing innovative works that push the boundaries of media and engage with key issues relevant today. From the extinction of bees to playing with form, and questioning what makes a painting or drawing, are just some of the topics explored by this year’s artists. Last year’s inaugural Art Prize show set the bar high for the international art it represented; Joon Park was longlisted with his work Ceramics Field Array that draws upon the history of the Korean bowl. We speak to Joon about the meaning behind this art form.
The highly acclaimed American artist Ursula von Rydingsvard arrives at Yorkshire Sculpture Park, Wakefield, for her first large-scale survey in Europe. Running until 4 January 2015, the exhibition, which is the artist’s most extensive to date, features more than 40 works of drawing and sculpture made over the last two decades. Presented in YSP’s purpose-built Underground Gallery and the open air, the show represents the full scope of von Rydingsvard’s diverse practice.
One of the main programmes for the 60th International Short Film Festival Oberhausen (1 to 6 May 2014), entitled Memories Can’t Wait – Film without Film, will bring together works that take place in a cinema but play with the normal viewing situation. Many of these works move away from the traditional moving image projection. So what happens in the cinema when the key element of the movie-going experience – the film itself – is taken away, when the screen is blank, when memories are evoked or “impossible films” presented? In one of the most extensive programme of “filmless films” so far, Oberhausen will present over 30 historical and new pieces that explore this question. Film without Film is curated by Mika Taanila, one of the most renowned contemporary Finnish artists and filmmakers. We speak to Taanila about his latest project.
Since the 10th Unilever Turbine Hall commission at Tate Modern back in 2009, this is Miroslaw Balka’s first solo show with new works in London and his fourth at White Cube gallery. Titled DIE TRAUMDEUTUNG 25,31m AMSL after Sigmund Freud’s book The Interpretation of Dreams (1899), the Mason’s Yard exhibition runs with another parallel exhibition of the Polish artist at the Freud Museum in Northwest London, DIE TRAUMDEUTUNG 75,32m AMSL. The accompanying numerals in both titles refer to the altitude (height above sea level) of each venue respectively.
In the booklet of his new album, Mutations, Vijay Iyer states: “our intent, as players and observers, is to place ourselves fully in the moment with sound.” This desire was perfectly executed at the European Premiere of the record at Haus der Kunst, Munich, on 29 March. With his hands firmly attached to the piano, his head thrown back and his eyes shut, Iyer was lost in the midst of his creation; and so was the audience. The pianist-composer’s album is both captivating and mind-blowing, combing so many detailed fragments it is sometimes hard to comprehend how they slot together so perfectly.