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PICTURING POWER #1: Wherein one surreptitiously performs reconnaissance to collect views and freeze points of view to be reflective of one’s own kind
Yee I-Lann, 2013 Giclée print on Hahemüle photo rag ultra smooth fine are, 310 GSM 100% cotton rag paper 25 X 71 INCHES (63 X 180 CM)
It is the experience of paddling on still and quiet nights, the sky clear and the moon yet to rise that moved me to create this work. The mirror like surface of the water reflects the stars and I am given the sensation of moving myself through them. As the moon rises the small ripples from my paddle and canoe cutting through the water send the reflected light dancing across its surface. It is in these moments that I feel myself in intimate conversation with my environment. Not simply a creature living in this world but a part of its very nature; the earth, air, water and light living around me, within me and through me. In this project I attempt to make visible the silent language of this conversation.
Red Bustle, Yohji Yamamoto, 1986
Hope and Fear
Powerful meditations on identity, race, gender and class. Using various multimedia forms, sculptural installations, and contrasting variations the artist Bayeté Ross Smith creates really challenges the observer on so any levels. The sound installations are fascinating and make me really miss the days of boomboxes and the many owned over the years.
Glenn Ligon (b. 1960, Bronx, NY)
Give us a Poem (Palindrome #2), 2007
Gift of the Artist
The Sound of Silence, a major installation work by acclaimed New York based artist, architect and filmmaker Alfredo Jaar. Jaar’s works often address issues around how Africa is represented in the media. This particular work takes, as its point of departure, South African photographer Kevin Carter’s Pulitzer Prize winning photograph of a starving child being stalked by a vulture in Sudan (2006).
This show does not argue for a better art world; it argues for giving up on art entirely
At the very least, no one seems to have read an art history textbook. There is a century of precedents for artistic intercessions into mass culture that undermine the fetishised “newness” paraded here. The most obvious and important is dada: with his Monte Carlo Bond of 1924, Marcel Duchamp turned himself into not just a brand but a corporation. Think of the commercial mashups of modernist collage, or the deceptions of Paris’s situationists in the 60s; think of the redeployed images of 80s appropriation, or even Jeff Koons’s all-surface sculpture. DIS’s mid-market, mass-sophisticate pose reboots 90s collective Art Club 2000, who staged mock fashion shoots with clothes from The Gap. Even the glib inclusion of an outdoor gym (yes, the biennial offers training sessions) rehashes the Documenta of 1992, which featured a boxing ring.
Historical indifference is a venial sin. The mortal sin is DIS’s noxious metaphysics. For them, art is hopelessly tainted by commerce and the past is for suckers. Continue reading
Mar Cuervo: Destroyer (2016)
“As a ritual, I´ve started collecting what I called “edible objects” that called my attention because of their softness and fragility. They were screaming to be destroyed. I used my anger to rise against our society´s fear of the power of anger and against its obsession with perfection. Anger is usually silenced and avoided as an ostracised and negative feeling, but it is probably the strongest feeling we have and the one that make us change things.
Destroying this gentle objects is a ceremony where I funnel my inner outrage and dissatisfaction against the elements that create them in the first place.”