The b-uncut blog

b-uncut: The online art platform enabling artists

// March 11th, 2010 // Comments // b-scene

Claudie Bastide

Carolyn Jordan

So put it in your diary and get to the show. You’ll see some great work as well as catch up with Claudie, Carolyn and some of the b-uncut team in the flesh. Not only that, who says you can’t be in the next Go Figurative exhibition! Get connected.

‘We Love 77′ Launch Party: Sardine & Tobleroni

// March 2nd, 2010 // Comments // b-scene

Sardine & Tobleroni present 77 paintings of 77 different bands that epitomise PUNK in their Conceptual Art Brut style. Launch night was a charming reunion. Lot’s of fun; I’ve now got the chance to win Sardine’s 77 leather jacket with a £2 raffle ticket. Or was it £3, beers were only £1.50.

The casual affair had its ceremonies. Paintings were at a special price of £1977 till 10.30pm, no less than Don Letts on the decks, custom punk cocktails and an appropriately ragged speech by the artists. Nothing vicious happened like their last exhibition in Manchester where a fight broke out. It could be the mellowing effect of having two female curators or nostalgia has tipped the edge over la revolution.

The paintings are like record sleeves resonating a past activist romance. The cultural phenomena that spawned this work is a distant memory but from the crowded turnout there are still those carrying the punk torch.

There is a definite revolution in the presentation of their work. The ‘Launch Party’ far removed from the pretentious private view syndrome (PPVS) of East London. As the night moved into the latter half, spirits were high and the music playing to their kin, the paintings,  gave rise to an enjoyable atmosphere. PPVS couldn’t have suited the work and their solution created a noteworthy vision that is a refreshing undertaking for any gallery.

Photographs by Eduardo Barreiro.

Billy Childish at the ICA: On His Own Terms

// February 22nd, 2010 // 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

Boom Boom Boom, Shake the Room

// February 16th, 2010 // 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, bespoke tokens are on sale from a classic, note-swallowing dispenser.

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 below. Without the first floor warm up I think my brain would have hemorrhaged fluorescence when I hit the basement!

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.

Chris Ofili: Shock, And Then Not.

// February 10th, 2010 // Comments // b-scene

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Upon entering Tate Britain for the Chris Ofili retrospective, viewers are warned of the “offensive” imagery on view. Anyone familiar with the artist is accustomed to seeing the glitzy, brilliant, and intense paintings he is best known for: Ofili’s use of elephant dung, artfully placed on parts of his paintings and used constantly to prop the works up from the ground, as well as his constant inclusion of imagery from pornography magazines, are what made this British artist notorious. To the artist, however, the materials and intense colours used in the early paintings are not simply used for decoration but resonate with Ofili’s personal history, Nigerian voo doo, the lyrics of rap artists and the sociological concerns of black people today. Ofili’s new work continues to speak to the same themes but the paintings have lost their glittering flamboyance.

Ofili’s paintings are sparsely propped against the four white walls of brightly lit rooms and Tate’s space suddenly feels like a commercial gallery. His early paintings smother the viewer immediately;  they are immensely confrontational and challenging both from a distance and even more so on close inspection. But the true treasure of the exhibition is found after the early works; a dark walnut-panelled chamber has been built exclusively by David Adjaye to house Ofili’s “Upper Room” series that has just been purchased by the museum. The room acts as a site of contemplation, a religious chapel. Its title refers to the room where the Last Supper was held. Here viewers quietly absorb thirteen paintings of monkeys. The paintings are individualized by colour and the colours extend off the borders of the canvas and radiate against the dark walls underneath their individual lights.

Finally, as the viewer emerges from this enclosed space, they are left with Ofili’s newest works. Clearly, something has changed. The paint is a deeper range of colours, the works are unadorned, and references to sex, religion and pornography are inconspicuous. After the heightened sensations of the previous galleries, these unremarkable paintings are quite honestly a let down. Perhaps seen in their own light, without the heightened expectations triggered by his previous work one’s reaction to the paintings would be more positive. The majority of art critic reaction has been less then charitable; for example Charlotte Higgins posted on the Guardian “the moment I walked into the final room of the show my heart, I have to confess, sank”.  In a way I suppose one has to decide if his work was more then glitter and elephant dung. Is the artist relevant without the shock.

VIDEO INTERVIEW: Sardine & Tobleroni

// February 9th, 2010 // Comments // b-scene

VIDEO INTERVIEW: Sardine & Tobleroni, WE LOVE 77 from Lawrence Whiteley on Vimeo.

Exhibition is at the Merchants Hall from the 2oth Feb – 20th Mar. Punk film screenings and a chance to win Sardine’s vintage leather jacket are mixed into the proceedings. See WW Gallery for more details.

Kinetica

// February 5th, 2010 // Comments // b-scene, b-wired

Kinetica is an awesome showcase of Kinetic art with over 150 artists exhibited. I was astounded by the diversity at this show. There were flashing lights, colour-changing-gyrating ribbons, drawing machines, butterflies that followed my movements, pictures drawn by GPS and a Heineken keg robot! This is the top show for the weekend – but be quick – it ends Sunday! It offers wonderment by the bucket load for all ages.

It was excellent talking to the different artists who have greatly contrasting backgrounds from physics to painting. Many of them work collaboratively to achieve ambitious visions; successful through the different skill sets each bring. Roseline de Thélin was one of our favourites. She had produced some dazzling figurative sculptures composed of light. See picture below

Curator Dianne Harris has put together a show that doesn’t stand still. If we eventually pry the footage from yesterday (tech probs) be sure to see more accurately the wonders of kinetic art! I think this show is very exciting because you probably won’t see anything like its quality or scale till Kinetica 2011.

Have a look at the images below for a static viewpoint that cannot compare to the life and dynamic of this electro-charged experience!

Exhibition is near Baker Street Tube, only until Sunday 7th Feb

‘What If”

// February 4th, 2010 // Comments // b-scene

WATCH VIDEO

Be prepared to be stunned! In an american accent, “Oh my God, I mean WOW! At the rather brilliant, just finished Earth exhibition I saw this phenomenal video. Lemn Sissay delivers his potent poem considering our evolution or lack of it.

Michael Landy: Art Euthanasia

// February 3rd, 2010 // Comments // b-scene

It does exactly what it says on the bin.

These must be the skips they’re using in Dubai on those colossal hotels. A 600 cubic meter, black steel-framed, transparent paneled ‘bin’ is presently rather empty. Well unless you are fond of work by Damien Hirst, Tracy Emin, Fiona Banner, Gillian Wearing or Gary Hume. As you enter the space in the South London Gallery the art tomb dominates. At the other end of the art aquarium there’s a platform accessed by that classic, fire exit staircase. Lemmings would no doubt queue up at this sacrificial podium. And Landy adds to his scrapping ceremony only entitling himself, high priest of art destruction. He has had to appoint an altar boy to perform the drop when he’s not around though.

When I first entered and saw the bin so unfilled, I was underwhelmed. I had a sudden urge to turn around and walk out. After all, why am I standing in front of an oversized, empty bin. Well I’m here now, I might as well find the Hirst. So I encircled the mass grave eyeing the bundled art.
On seeing the glass encrusted skull that Hirst deemed rubbish, I recalled something I heard earlier in the week. ‘Someone would pay good money for that.’ So as I thought about a night time burglary, I also thought how eloquent, “money is a fickle son of a bitch.”
Philip Hensher said “Landy’s important…because just at this moment we’re slightly disenchanted with money itself, we’re slightly disenchanted with money’s power to act as an aesthetic judgment in itself.”

There are things in this world that go beyond a ‘logical’ price. Bankers bonuses are one example and Art another. Seeing the Hirst in there was thought provoking. I’m glad he did it. In fact I now hope a pilgrimage begins for many arty cash cows out there. To emphasise money hasn’t got such a tight grip on art or artists alike. Come on; protest to the value of numbers and paper! Bring an offering to the gods, you never know it may save you yet.

***Applications to dispose of an artwork are open to everyone so why not take part

b-uncut will be following the ArtBin exhibition throughout so stay in touch with our blog. They’ll be an exclusive interview with Michael Landy and some slideshows documenting the growing submissions.

Exhibition runs until 14 March 2010 @ The South London Gallery.

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Latin American Art Market

// January 28th, 2010 // Comments // b-scene

Before the recession hit on that fateful day last September, the art market was absolutely booming. Almost in a scary the bubble-is-about-to-burst kind of way. Contemporary art had reached such gargantuan price points that art world insiders began to speculate about the next big market—emerging markets and under-rated arts. Among the top contenders that (obviously) included India and China was a surprise: Latin American Art. 30 years ago, this market simply  did not exist. In fact, this past year marked the 30^th anniversary of selling Latin American Art (Latam) at Sotheby’s. The past decade has seen a major rejuvenation of the market—in 2006 Frida Khalo’s “Roots” broke records when Sotheby’s sold it for $5 million. Just two years later Ruffino Tamayo broke this record with “Trovador” when the hammer fell at $6.4 million at Christies in NY, doubling pre-sale estimates of $2-3 million. It’s no Basquiat comparison, but it’s certainly a start.

As of now the big players in this market are Sotheby’s and Christies on the auction front. There are some dealers in the field but they are mostly unknown. The best museum would be Museo de Arte Latino Americano de Buenos Aires (MALBA) but again this is relative–because the art world is centered around New York and London MALBA cannot compare with museums like MOMA or Tate Modern. Who are the buyers? Mainly Latin Americans, meaning they are forced to travel to another hemisphere to purchase local art. A strange process, but up until now it has been the only solution.  As the market grows, more and more European and American buyers are dipping into this genre, creating more demand. What is really needed is a better platform to sell emerging talents.

Phillips de Pury, generally considered the runner up to the auction duopoly but very specialized in what they do has conceived of a rather innovative approach to Latam. Their most recent auction (Oct. 2009) did not bring in huge revenues( $1.8 million) but it was clever: dedicated to Latin American ‘creators’ mixing artists, sculptors, photographers and designers. According to artprice, an online art market information source, “One of the best surprises at the sale was created by Adriana Varejao when her “Monocromo Branco” tripled its estimate with a hammer price of $90,000. In effect, this type of sale provides an excellent opportunity for collectors to acquire works by the new generation of Latin American artists at prices ranging from $500 to $100,000.” The message here: invest in emerging talents.

At b-uncut, our international artist community includes over 1,300 emerging artists–a number of whom are from Latin American, and we are excited to see their progression in this potential market giant. Magdalena Ladron de Guevara is a native Chilean and photographer, who is currently living and working in Buenos Aires. Her works recall the sentiment of fellow Chilean and surrealist poet Pablo Neruda. Her photograph “Pear” mixes the real with the impossible, resulting in a surreal visual that immediately conjures images from Neruda’s “Ode to an Artichoke” which leaves the reader with fantasies of an artichoke marching into battle.

Another stand out artist in the community is Tite Calvo, a young artist from Santiago, Chile who claims his art reflects “the man and their little hysterias and pathetic solutions to survive and be happy.” This talented Latin American artist has one of the most unique styles I’ve seen in contemporary art, but his theme is a familiar one: the real within the imaginary. Calvo superimposes paint on magazine pictures to achieve his final outcome, and the resulting imagery is dream- like yet familiar. “Micki Mouse” (left) is particularly intriguing.

For Latin American art collectors, passion is now just a click away. Online platforms have released the market from the strangle hold of auction houses and dealers and brought it into their living rooms. Buying art online is a relatively new phenomenon and adds a new and powerful dimension to the market, one that will enable it to bounce back from a downturn faster.