'EYES ON THE CROWD' @b-uncut: ISSUE 1: Figurative February

// February 26th, 2010 // View Comments // Eyes on the Crowd

At the end of each month we will select a small number of artists to feature in our new publication, Eyes on the Crowd. These artists will also receive an invitation to sell their work in our curated gallery. This months theme is the figure and after much deliberation and debate here is the selection…

Click on the artists below to see more of their work:

Yael Zaken
Dmitriy Kedrin
Stephen Sheffield
John Sauve
Kurt La Quaglia

Make your own Kingdom with Antti Laitinen

// February 25th, 2010 // View Comments // b-inspired

The work of Finnish artist Antti Laitinen kindles some humour. In 2008 under the title ‘Voyage’ he rowed his own desert island down the Thames (watch the video).

Building a paradise somewhere it does not belong is a repeating theme in Laitinen’s works. “The will to build oneself an own independent micro-nation inhabited by a single citizen – I would consider themes such as these to be the starting point for my works, not climate change”, he says.

“Not that it’s wrong to interpret my works from that point of view. There is no one right way to read an artwork.”

His work ‘It’s my Island’ was featured at the Earth: Art for a changing world at the RAA. There I watched his 3 month struggle to construct his own island in the cold Baltic Sea. Complementing these partly slapstick films were idealised photographs of his new territory. Utopian visions poking at our natural urge for our own palm paradise.

Written in the Wind: Drawing from Nathan Coley

// February 24th, 2010 // View Comments // b-hind the scenes

Greg Thomas, an artist at b-uncut, shares his inspiration for some of his recent work.

Nathan Coley’s sculpture ‘There Will Be No Miracles Here’ (2006), references an invisible authoritative voice. The words tower above the viewer as if to intimidate and there is a contradiction between the content and placement of the sculpture. This is what I have tried to explore with my own piece ‘Brace’. The allusion to flight and dissipation directly contradicts the content and it’s meaning.

See  and read more from Greg Thomas at his b-uncut page or his blog.

Billy Childish at the ICA: On His Own Terms

// February 22nd, 2010 // View Comments // b-scene

Man on a Snowy Street, 2009

Walking into the ICA on the evening of the 16^th of February I was abruptly confronted by a dense crowd.  Though I guess I shouldn’t have been surprised, as the very simple statement in the press release that got me there undoubtedly intrigued others as well. The exhibition was the “the first time a public institution has brought together a major solo exhibition to encompass Billy Childish’s extraordinary career.” 40 years as a not unknown artist with an international cult following and no show in a public institution means one of three things; he sucks, he’s pissed people off, or he chooses to avoid public institutions.  As an anti-institutional extremist, I would venture that the reason lies in the later two possibilities.  I would also say that these reasons are certainly a recipe for interest, if not controversy, being “the first time” and all.  And honestly, who is going to miss the opening of potential controversy?

While I would not say that Childish’s artwork sucks, I doubt the herd gathered purely to view the simple, impressionistic, incredibly accessible visual renderings displayed in the lower gallery.  However, though Childish’s technique, aesthetic, and talent level can be easily scrutinized, rejection by the contemporary art world is largely the artist’s point.  Firmly establishing himself as an outsider through his rebellious music and autobiographical poetry, Childish clearly places his visual work in the same position – outside of the structured, judgemental bureaucratic art world.  But on Tuesday, he (and I) were very much surrounded by it.

As I pushed my way through the crowded lower gallery, I rambled on and on to my companion about the significant role Billy Childish occupies as an anti-hero whose opposition to the status quo rests in his intense spiritual belief in creative integrity.  But, after my friend commented that it was the largest crowd he’s ever seen at an ICA opening and I realized all my insights about Childish were provided by some kind of institution, I couldn’t help but wonder… is Childish’s “outsider” image any different than Damien Hirst’s “bad boy” image?  Though occupying opposite ends of the spectrum, both mess with the institutional and commercial structural integrity of the art world by producing and distributing their work on their own terms.  While Hirst may take advantage of the system, Childish tries to achieve a purity of art by avoiding it, consequently causing his unconventional character to generate his popularity and success at the ICA, enticing the question; can you ever truly escape the system?

Billy Childish: Unknowable but Certain @ the ICA, The Mall, London, SW1Y 5 AH, from 17 February til 18 April

Vik Muniz: Humour, Art and Creativity

// February 19th, 2010 // View Comments // b-inspired

Vik Muniz makes art from pretty much anything, be it shredded paper, wire, clouds or diamonds. Here he describes the thinking behind his work and takes us on a tour of his incredible images.

Inspiration thanks to Jeanette Luchese in the Blog Pool Group at b-uncut.net

Behind the Scenes at White Cube

// February 18th, 2010 // View Comments // b-hind the scenes

White Cube Hoxton Square
Candice Breitz, ‘Factum’
12 February – 20 March 2010
48 Hoxton Square, N1 6PB

Last week the White Cube galleries opened with the work of two artists: Film artist Candice Breitz at Hoxton Square and Franz Ackermann at Mason’s Yard.  Unlike the continuity of the Damien Hirst shows immediately preceding these exhibitions, the work of Breitz and Ackermann contrast greatly in their presentation. The entirety of Hoxton Square’s gallery interior is painted black, with dark grey carpeting; creating an ambience to replicate a movie theatre. Mason’s Yard, meanwhile, overwhelms the viewer with the bright colours for which Ackermann is known.

White Cube’s Exhibition Coordinator Susannah Hyman spoke to me about her role, the shows and the difficulties when dealing with some artists. Susannah describes her role as “acting as the eyes and ears to the artist who may never have seen the gallery space before”. She continues, “the artist will often only have certain personal considerations relating to the presentation of their work.” Franz Ackermann, for instance, “decamps from his studio in Berlin to London for a week or so” and hopes to achieve a site-specific environment for each exhibition. Some artists do not consider the time constraints of the gallery; for example, art critics may want to view the show before the opening in order to write an article. Though she does not deal with sales, in response to my question regarding the targeted client for the work she believes that the gallery “will want to get works into a couple of good museum collections, as well as private foundations.” Susannah was impressed with the number of attendees at both openings, and was particularly surprised with the amount of time and attention the viewers gave to each of Breitz’s films. She says that “there is something about the nature of these works and the characterization that is truly absorbing. You literally have to tear yourself away.” Quite true, as I was there for an hour longer than expected!

Both exhibitions are certainly worth a visit. Breitz’s films ask you to consider your identity and the circumstances, events and choices that make you an individual. Furthermore, the viewers are asked to focus on the small details that make an individual unique. Ackermann’s show invites the viewer, with a range of blue colors reminiscent of  Google’s website, to question the internet and our increasingly globalized society. The work offers an indirectly thought-provoking and aesthetically rousing exhibition.

Go see for yourself!

White Cube Mason’s Yard
Franz Ackermann, ‘Wait’
10 February – 1 April 2010
25-26 Mason’s Yard, SW1Y 6BU

Beyond Death: A Story of Hope

// February 17th, 2010 // View Comments // b-hind the scenes

Something stood out during our valentines competition last week. Nadine Genest contributed a story about her husband and artist Dominique Pinel who recently died. Read what she wrote to me below,

“About the history of the picture I took, I can add that my husband has died on November 18th 2009 and that I took this picture on 20th January 2010, 2 months after his death. I don’t know why I took my camera on that day, when I made my daily walk to the Grace Chapel (la Chapelle de Grâce) in Honfleur. It is when I put my pictures in my computer that I have discovered this very special photo (there is no trucage and I didn’t make anything on it) and that I remembered that during the previous night, my husband had told me that he would send me a sign (I had forgot it because I thought I was crazy…).”

A compelling message that certainly rocked the depths of my soul. If you’re listening, these mystical occurrences can happen when we really need them. Is it worth a debate to whether or not it is ‘real’.  The truth behind such a sign is surely the power of love, the poetry of delivery and the force and beauty of faith.

I personally found this story relevant because my uncle passed away recently. The morning after he died, his 3 year old granddaughter came to her mum and said, “mummy I slept very well last night, a nice man tucked me in.” And during that evening my cousin said his daughter was making all sorts of happy noises he had never heard her make before. As he told me all about this I saw the comfort and joy he felt from connecting it with his father. The hope and salvation it imparted.

Raised in a culture so far removed from mysticism, his faith instantaneously wavered as he said “well anyway, it could just be in my head”. Well it can’t, because it’s in my head and his wife’s too and everyone else’s who he told. Truths do not necessarily have to be confirmed in the laboratory. It is enough just to believe in them.

If you feel to, please contribute your own experiences or beliefs by leaving comments on this post.

Boom Boom Boom, Shake the Room

// February 16th, 2010 // View Comments // b-scene

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I walked right past the Faile and Bast exhibition thinking it was a trendy retro arcade. They have boom-bastically-re-booted in a new collaborative project named ‘The Faile and Bast Deluxx Fluxx Arcade’.

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There’s a weighty neon surge from the front window. It gives a fly style to the amusement inside. Crossing the threshold is like entering a personal Faile and Bast dimension. Their 80′s inspired work has exploded over every surface including their custom video games. You are immersed in arcade nostalgia and bespoke tokens are on sale from a classic, note-swallowing dispenser.
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As you walk through the corridor of Space Invader sounds you reach a staircase where a quasar glow expands from below. Take the staircase and teleport into the 2nd graphic drenching dimension. Now it’s hyper dunking waiting to greet you. Without the first floor warm up I think my brain would have hemorrhaged fluorescence down here! A UV brilliance envelops you. The haunts of 80′s populist culture have been injected with dayglow. There are two vivid fußball tables continuing the visitor interaction, wall to wall posters, spray-painted floor tiles and an 80′s rave mannequin in the corner. It is off the hook.

Their über cool collaboration has created something magically saturating.

If you can make it to Greek Street by the 27th March, Lazarides also have a ten year retrospective of FAILE’s work just round the corner at their Rathbone Place gallery. This will give you a better idea of how they made it to this point and is also full of layers, fun and mania. Faile and Bast have brought a rare treat to London and I hope they continue this explosive approach to exhibiting. Possibly over the canals of Amsterdam or fluttering through Time Square.

Love's Labyrinth: The Winners

// February 15th, 2010 // View Comments // Eyes on the Crowd

Here’s our pick of  the work submitted for our valentine’s competition. Thanks to all that took part. I’m glad to see so many people getting involved. Enjoy and until next time…..

b-Loud: Turgay Denizel: Painting Glass

// February 11th, 2010 // View Comments // b-loud

Turkish painter Turgay Denizel works on canvas and glass. His work ripples with fantasy and texture. Turgay has reached a point where his work is blossoming. He is committed to his art and has his direction. For now at least!

b-uncut: What was your very first artwork? TD: One hundred little squares in different colours. I was impressed by a Paul Klee painting.

b-uncut: Describe the piece you love the most—why? TD: ‘Case of Forest’, seems to be the most coherent among eight abstract oils I painted in a year. It reminds me of a familiar hide away. I like to create surrealistic dreamscapes and have been exploring my psyche to relate scenery to images from eras which never existed and portray non-civilised life forms. With this approach I hope to reveal Terraneaus and her unidentified sentience.

b-uncut: What are your methods? Your inspirations?

TD: I paint glass using a unique method that breaks through the limitations of classic teaching. Some lessons from the ancients are not practical any more so I had to develop a new technique which allows the process to be more creative and increases its potential. I prepare the body of the color as I would oil paints and imagine the glass as the canvas.

Using this process the different depths of glass and color become translucent light catchers and after firing, the work becomes a hologram with variable assets of light. I spend a lot of time to prepare the basic composition and the textures created through the preparation become my visual inspirations. A chaotic laying of color provokes me to re-arrange and plant some meaning within the cacophony. I let it direct me, and trace its leads. Hence my tendency towards automatism. Spatulas and knives are my tools while preparing the paintings structure; mostly for glass. The next phase is shading, contouring with brushes. I’m now gaining the flexibility for both glass and canvas.

b-uncut: What did it take to make it to where you are now?

TD: Without any guidance or art education. I wasn’t certain what to do with my unrelenting imagination. Meanwhile demands for glass art appeared and this became a way out from the conventions in my daily life. Painting, staining and decorating windows served me as a talisman for a long period of time and led to my discovery of a unique fusion. My unconscious process through art led me and I adapted my technique in reaction to mistakes made along the way.

b-uncut: Who has helped you along the way?

TD: Watching and admiring the endless art treasures and their creators.

b-uncut: Do you consider your personal and professional life one and the same—do you define your art or does it define you?

TD: My abstract thoughts have moved to a deep part of my consciousness. At first it didn’t seem possible to realise any of them since they could not be useful objects. Now I see how this created a limiting and tiring separation between my personal and professional life. Hypothesising abstraction as the most necessary object of my daily life unified me with my art. It now allows me to define my art and hopefully this will continue.

b-uncut: If you were to design the ultimate dinner party, what 5 artists (dead or alive) would you include for stimulating conversation?

TD: Leonora Carrington, Leonor Fini, Georgia O’Keeffe, Camille Claudel, Frida Kahlo. Queens of dreams…!

b-Quick!

b-uncut: Your favorite swear word? TD: When I get mad at somebody I call him a tyrant. Teeny weeny teensy weensy tyrant.

b-uncut: Most attractive/least attractive quality in a significant other? TD: Most attractive is benignity, least is the ‘poor baby syndrome’.

b-uncut: Your biggest (albeit endearing) flaw? TD: I’m so indecisive but have now mastered it to evaluate both sides.

b-uncut: Your parents advice you should have followed, but didn’t? TD: Oh I can be a wooden horse and following any advice is the most difficult thing for me.

b-uncut: The superhero power you wish you had? TD: Teleporting myself to anywhere on the world and the universe.

b-uncut: The celebrity you’d like to meet? TD: I wish he was alive, well maybe we’ll meet in my dreams ; Carlos Castaneda.

b-uncut: Your least favorite question to be asked in any interview? TD: I guess this one.

b-Honest!

b-uncut: Where do you see yourself in…..

One month? Ready for fructuous moonbaths in spring.

One year? Lucid dreaming.

One decade? A prolific art life.