31/05/2013

Mike Kelley – Eternity Is A Long Time

It’s a sure thing: from a certain point of Mike Kelley‘s (1945-2012) career it hasn’t been any more possible to explain social or aesthetic American phenomena without referring to his view. 
Few figures like the one of Kelley have been able to embody and reflect that multitude of signs and visions, which are the sediment of the American culture made of remains, interstitial spaces, vernacular aptitudes and secret traces apparently impossible to map.
 Who overlooks his work, even only superficially, knows the cult allure surrounding his figure and his ability to surf on different languages that connect different artists crosswise, from masters as Paul Thek and David Askevold to the companions of the road as John Miller, Tony Oursler and Paul McCarty, to the indie rock music of Sonic Youth and the noise of Morton Subotnick or the Destroy All Monsters. Here’s why Mike Kelley keeps on being the most influential role model for young artists, who learn the assemblage practice more from his Memory Ware than from the Schwitters’ Merzbau.


Eternity Is A Long Time is a great exhibition thought specifically for Hangar Bicocca and curated by Emi Fontana and Andrea Lissoni, which celebrates, after one year since his passing, the absolute centrality of the artist on the contemporary art scene. There are macro-themes that go through his whole production as the continuous evocation of adolescence, the contrast between education and coercion, the intrusion from fiction to reality, the relationship between artistic and popular culture, the blue and black sense of humor mixed to the vaudeville and that gloomy tone that seems to brush each work.



The exceptionality of this show is not only due to the symbolic value of the ten selected works, but to the idea of conceiving the space as a body. A place has never been more appropriate for paying tribute to a such complex personality as the one of Mike Kelley: the huge spaces of Hangar host, in a darkness full of expectancy and evocations, ten carefully chosen works, decisive to sketch out his poetic. And it’s not rare to bump into “grottoes” “caves” “shrines” that, unconsciously or not, allude to openings, body cavities, sphincters, which confer to this particular solo show the complexity and physicality of a living body, where sex, eschatology, but also reflection and memory coexist. Pulsating “organs” that release a force – that’s sometimes dark, some other times vital and subversive – which tells us about a presence much more than an absence.

The exhibition will run until 8th September, 2013

Riccardo Conti, Editor’s thanks to Monica Lombardi – All Mike Kelley works © Estate of Mike Kelley. Courtesy Fondazione HangarBicocca. Installation views photographed by Agostino Osio 
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29/05/2013

Arne Svenson’s “The Neighbors”

In Rear Window, Jimmy Stewart’s character L.B. Jefferies starts spying on his neighbors after breaking his leg and ending up confined to a wheelchair in his cramped Greenwich Village apartment. Jefferies can’t help it, he’s an adventurous travel photographer, but his curiosity gets him into all sorts of trouble: he sees a man’s wife disappear, a dog get its neck broken, jeopardizes his girlfriend’s (Grace Kelly’s!) safety on multiple occasions. One neighbor nearly kills him.

New York photographer Arne Svenson shares a certain affinity with Jefferies, only his obsessions are real. “The Neighbors”, his new exhibit at Julie Saul Gallery on West 22nd Street, is made up of photos Svenson took of people living in the Zinc Building, the glitzy glass tower that sits across from his apartment in Tribeca. The people in the photos had no idea and stand to make no money off of the photos, which are fetching up to $7,500 a pop. Some are disturbed, others are furious. Most are curious to see if their bodies made it into the exhibit.

Like Jefferies, Svenson stumbled into voyeurism by accident: A birdwatching friend died and left him with a CT-501 500-mm Nikon telephoto lens. Svenson didn’t have much interest in birds, nor did he like the idea of leaving his apartment — most of his other photo work happens in his home studio. But, as he told The New Yorker’s Raffi Khatchadourian, he wanted to learn how to use the camera, and so turned his attention to the window. Obsession ensued. He stopped going out, preferring to wait for his subjects to come home and open their curtains. “New Yorkers are masters of being both the observer and the observed,” Svenson recently told Slate. “We live so densely packed together that contact is inevitable — even our homes are stacked facing each other. I have found this symbiotic relationship between the looker and the observed only here — we understand that privacy is fluid and that glass truly is transparent.”

Of course, not everyone agrees, particularly the tenants at Zinc Building. The legalities are murky, and Svenson’s gallery photos are anything but offensive — no faces, no nudes, little hint of identity — but many are disturbed by the process Svenson used. After all, he likely has thousands of photos of people will never see, of people doing things they thought were being done in private.

For Svenson, the rush of watching people who don’t know they’re being watched seems to be the point. A problem? Probably. Indicative of the direction our society is heading? Sure. Voyeuristic art isn’t anything new. Talking about Jefferies, Svenson told Khatchadourian, “He sits and he waits. I feel a certain camaraderie with that.”

Lane Koivu 
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28/05/2013

Donald Judd Home And Studio Restoration

It is a well-known truth that the environment that surrounds us, necessarily defines both who we are as well as what we do. And it is even more true that our environment influences our perception of things and objects, a well known fact to the late American artist Donald Judd. In fact, when he bought a five-storey building in New York, Judd started to place his work in a more permanent manner, which would later lead him to refuse temporary exhibitions and the art system that gave major relevance to the environments designed by the curator, and less to the artwork itself.


For this very reason, the opening of Donald Judd’s New York studio and home, following a three-year restoration process, comes as a significant event in the contemporary art world, not least because it houses a collection of over 500 artworks created by the artist. The restoration was lead by New York-based Architecture Research Office, whose goal was to maintain and preserve the open-plan layout designed by Judd (who has, at the end of his career, also designed a series of wood and metal furniture, embracing industrial production).

The team meticulously catalogued the situation of every sculpture, painting and object in the house, including pieces by Judd himself (among which must be noted not only his artworks but the interior design as well) as well as works gifted by artist-friends such as Claes Oldenburg, Carl Andre and Dan Flavin, together with older artworks by Marcel Duchamp, Ad Reinhardt and more. Following the restoration, each object was returned to its exact position.

The building is currently the home of Judd Foundation, who will offer its visitors a unique insight into Judd’s life and work, experience the home and studio as originally installed by the artist, with the goal of promoting not only his material legacy, but also his ideas and beliefs of how art should be experienced, seen and, ultimately, understood.


Rujana Rebernjak 
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27/05/2013

Krakow Photomonth Festival 2013

It’s all about fashion. And just fashion is the leading theme and keyword of the 11th edition of the Krakow Photomonth Festival, started in May 16th, which investigates the different definitions, forms and roles of style, in the broadest sense, analysing fashion as a cultural phenomenon. What we wear, how and why, is part of our being; clothes become more and more instruments of conformism, or ways to distinguish ourselves from the mass. But, at the same time, they are essential factors that could help understanding contemporary culture, since our style reflects also our attitude as a member of communities.


The theme is undoubtedly up-to-date and the wide agenda of exhibitions and events scheduled during Krakow Photomonth offers food for thought. The Limits Of Fashion is one of the ten shows scheduled in the festival’s Main programme. Arranged at the Bunkier Sztuki Gallery of Contemporary Art, it presents portraits of people dressed with colourful eastern ‘vintage’ sweat suits and patterned sweaters, camouflages, Stasi agents’ uniforms, ceremonial African masks and 70s queer culture street outfits, mixing private and public, personal and social viewpoints. Among the other events included in the Main programme we mention the solo show dedicated to the Swiss artist Walter Pfeiffer (b. 1946, Zurich), who depicted unknown people on the street, but also close friends and lovers, beautiful naked boys in provocative and sexy poses, influencing numerous fashion photographers of the 1990’s; the unseen pictures of Corinne Day (1962 – 2010, London), one of the pioneers of the trend of photographing imperfect beauty, who opens here her private archive; a dive into the world of the Polish journalism photography by Tadeusz Rolke (b. 1929, Warsaw); and the ‘crypsis’ experience by the young Ukrainian artists Tania Shcheglova and Roman Noven, who work under the name of Synchrodogs, and create bucolic images with saturated colours through the use of analogue cameras.




Besides the Main programme, Krakow Photomonth counts an Experimental Section that has taken the form of a 200-pages printed magazine conceived by fashion professionals, entitled May Magazine, which features articles, illustrations, photo editorials and visual essays, and the ShowOFF Section where 10 young emerging Polish artists – Kaja Dobrowolska, Yurko Dyachyshyn, Anna Kieblesz, Aleksandra Loska, Piotr Macha, Sergey Melnitchenko, Ondřej Přibyl, Dominik Ritszel, Alexandra Soldatova and Milena Soporowska – collaborate with experienced curators to exhibit their works to the festival’s visitors.



Krakow Photomonth Festival 2013 will run until June 16. If you end up in Krakow don’t miss it.

Piotr Niepsuj – Images Hanania, SHOWStudio, Peter Lindbergh, Magdalena Buczek, Aleksandra Loska, Kaja Dobrowolska, Walter Pfeiffer, Synchrodogs 
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20/05/2013

Staging The Images In The Mid-1970s

The idea of constructing reality through the use of fictional images is something that contemporary people know very well, as well as the idea of integrating different media to move art into life. Laurie Simmons (b. 1949, Long Island, NY) and James Casebere (b.1953, Michigan, NY), with different approaches, started using miniaturized locations to create photo-based works related to personal and collective memory during the seventies. Both of them did it capturing an abundance of details and recreating grey areas exploiting artistic synergies and conceptualism. Simmons collected dolls and playhouses to produce assemblages of interiors, which represent the domestic everyday life of the 50-60s, depicting a culture previous to the artist one – who identified herself as a hippie – made of perfect women, housewives, angels of the hearths who cook apple pies and behave as faithful wives. From the half 70s, Laurie Simmons started taking pictures of black and white – and soon after coloured – scenarios that portrayed little ladies in play-kitchens: toys fall into disuse with the advent of feminism, seen as instruments of indoctrination.


Series of toy models of men/cowboys follow the works of woman figures, increasing the corp of images with different narrative levels. They are images showing reassuring locations, which hide sinister and unsettling atmospheres that mirror faded illusions of a period still stocked in the collective subconscious, theatrical as well as gently satirical. Even Casebere, during the 70s, started creating bizarre and distressing images coming from the childhood, rebuilt through the use of dioramas made of everyday life objects.

The treated issues are related to the deleterious effects caused by the TV on the new generations and, above all, the increasing relation between reality and illusion. Youth, dream and memory recur and mingle to people’s life, into the tridimensional structures where light assumes a fundamental role and, as for Simmons, the theatricality becomes the key factor. The spaces of social life are the places of main interest for Casebere and, as for many other contemporary artists who work on manipulation of reality like the great Belgian Hans Op De Beek or the German Thomas Demand, these places are decontextualized and characterized by evanescent, unnatural and spooky atmospheres. This analysis regarding the fact that representations in art more often take over reality, creating distortions, seems to have its roots in a distant past, but still keeps on interest artists of different times.



Monica Lombardi 
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13/05/2013

Gilberto Zorio | Lia Rumma

The three floors of the amazing 2000 sqm white cube building of Lia Rumma’s gallery in Milano hosts the solo show by the master Gilberto Zorio (b. 1944, Andorno Micca, Biella, Italy). The renowned member of “Arte Povera” (Poor art) – the Italian movement of the mid 60s that involves ‘poor’ techniques, supports and materials such as rags, iron, plastic and natural elements to create artistic systems –, shows, in this unique venue, some of his most recurring themes. The exhibition starts at the ground floor of the gallery which presents Torre Stella (Star Tower): the five-pointed star, one of the artist’s most frequently represented archetype, which is depicted here through an imposing installation made of blocks of gasbeton that plays with the alternation of light and darkness.


Within the room the sculpture interacts with another impressive star-shaped structure created through the use of tubes, whose legs are immersed in two vessels containing odd yellow and blue liquids. Suddenly the light switches off and the silence turns into a noise that recalls the sound of an angle grinder or a compressor in a construction site or a foundry. From the dark of the ground floor we get to the first floor where, beside a gasbeton construction spreading to the terrace, we find again a star made of tubes that seem spears, and cables anchored to cement bricks enlighted through industrial light bulbs. The second floor closes the show with two hanging installations made of wire ropes welded to the walls thanks to a complex system of snap-hooks.


The artist’s poetry, moving from a conceptual and trial art, focuses on chemical reactions and alchemic research, always taking care of the symbolic value of the matter, its transformations and the exchange of energy in its different forms. Minerals and metals, tubes and stills, containers made of borosilicate glass (commonly known as Pirex) and crucibles are all essential components of Zorio’s universe since his early beginning. These symbols of unknown and immeasurable, with their hidden and magic meaning are accompanied, also this time, with luminescence, shocks, white-hot sparks that radiate the environment, trespassing the rooms and invading the external spaces, modifying the viewers’ perception. As it always happens with Zorio’s work, the show is a philosophical and sensory experience that examines the mental and material boundary lines: an opportunity, which must not be missed.

Monica Lombardi – Photos Monica Lombardi and Antonio Maniscalco – Courtesy Galleria Lia Rumma, Milano/Napoli 
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09/05/2013

Remembering Gallery Weekend Berlin

During Gallery Weekend Berlin, 51 galleries opened up their doors to 66 new exhibitions within just a couple of days. Here’s a run through a few of our favourites ones, that we remember with warmth.

Alicja Kwade at Johann König
The brutalist former church building of ST. AGNES will re-open this autumn as an arts and culture center with the gallery Johann König as a natural landmark. But already as of Gallery Weekend Berlin, besides the solo show with Monica Bonvincini in their main space, Johann König is showing the Berlin-based artist Alicja Kwade’s light and sound installation Nach Osten (2011), translated “To the East”. Kwade transforms the monumental, archaic church hall via an extensive, electrical version of Focault’s pendulum, using a light bulb instead of a weight to visualize that the earth spins. Among other of the artist’s obsessions, Kwade is fascinated by scientific problems and visual experiments, killing two birds with one stone in her vast and hypnotizing installation. Although, in Kwade’s own words; “the earth doesn’t care, it just turns”. A must see, every weekend until May 26th.

Jerszy Seymour at Galerie Crone
Entering Jerszy Seymour’s installation on the first floor of Galerie Crone feels like taking the elevator to the 7½th floor in the movie Being John Malkovich. His solo show The Universe Wants To Play is a hallucinogenic travel into the brain of the artist and orginally industrial designer Seymour. In the main installation Brain Cave Spaceship, a glittering sandy beach stretches through the gallery, where stones and rocks, bones and animal skulls, painted bricks and branches have been scattered around. Even a live frog is hiding between the plants growing in his Memory Tanks. Seymour has drawn on geometric shapes, like pieces of a puzzle in his brain laboratory, and created a playground where the audience is invited to romp about, with or without shoes, in an anarchic homage to the mind. Do it.

Michel François at carlier | gebauer
For his solo exhibition Pieces of Evidence at carlier | gebauer, the Belgian artist Michel François started off with the photos he took in the basement of Palace of Justice in Brussels, of wrapped, numbered and labeled objects in an evidence room. Interested in the trivial, in the harmless meaning these objects and evidences of crime gets when outside of the court, François’ work can be read as a similar trace of what happens inside and outside the studio. In the gallery, an ice block melts in front of your eyes, a cube of sand has been pushed along the floor, a giant structure of burnt wood is still smelling of ash; all of his works are leaving traces perceptible by touch or smell, in a beautiful and forceful exhibiton.

Markus Bacher and Thomas Kiesewetter at CFA
On the second floor of CFA, Contemporary Fine Arts, Thomas Kiesewetter’s series of free-standing and wall sculptures in bright monochromatic colours resemble a playground of sculptural snapshots. Meanwhile on ground floor, Markus Bacher’s solo exhibition After Eight unfolds as an abstract landscape of mountains, lakes and dark forests. Bacher’s new works are made of superimposed juxtapositions and broad horizontal brush strokes in shades ranging from earthy chestnut and brick via strokes of bright yellow to intense sky-blue or cloudy white. Bringing his heimat of the Alps into his works, the young Austrian artist, based between Vienna and Cologne, is definitely someone to look out for.

Eva Kotátková at Meyer Riegger
Meyer Riegger’s irresistible They Are Coming by the young Czech shooting star Eva Kotátková revolves around configuration of the human body and our perception of it. Through drawing, photography, collage, objects, installation and even live performance, fragmented body parts occur and disappear, and movements and formulations of the body are marked or suggested by lines as a demarcation between figure and space. In a large installation, objects set up on a chessboard-like area, as props for an action that is yet to come. In a related video piece, made with the classic “black theatre” technique where the performers cover their body with black cloth, so that only parts of their bodies are visible, Kotátková shows precisely those shapes, interacting with the human beings. It is a refreshingly physical yet extremely visual show, on that perhaps basic but oh so important theme of what actually makes us human.

Helena Nilsson Strängberg – Images courtesy of Galerie Crone (Marcus Schneider), Meyer Riegger, carlier| gebauer (Nat Urazmetova), CFA Berlin, Alicja Kwade & Johann König (Roman März) 
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02/05/2013

Countdown to Fotografia Europea 2013

The 8th edition of Fotografia Europea, the yearly international event devoted to photography, is about to start; the countdown has reached its end and Reggio Emilia is ready to welcome Italian and foreign visitors for the long opening weekend from 3rd to 6th of May 2013. 
As each year, the festival hosts numerous qualified workshops and encounters with artists and professionals in the field, who will be asked to talk about the main theme: To Change. Photography and Responsibility, divided in four sub-issues: surprise, faith, estrangement, vision.

Among the people invited to exchange their point of views we count the writers Tiziano Scarpa and Dževad Karahasan, the biologist Yael Lubin and the artist Tomàs Saraceno. 
With a multidirectional approach, Fotografia Europea presents a wide range of photo exhibitions scattered around the beautiful, historical, and sometimes unknown, locations offered by the city. 
Palazzo Magnani proposes the show entitled Murder is my business with pictures by Weegee – pen name of Arthur Fellig – one of the most famous photo reporters of the ‘40s in New York; At Chiostri di San Pietro you’ll be spoilt for choice: from Anders Petersen’s reportage of the earthquake that hit the area in 2012 (exhibition curated by Studio Blanco in collaboration with Slamjam) to David Stewart’s Stuff that focuses on the eccentricity of people, and to Andrea Galvani’s Higgs Ocean, curated by Marinella Paderni, which reflects on the natural energy transfer with the artist’s typical poetic approach.


The list is too long and could go on and on, but we cannot avoid closing this overview talking about the first Italian solo show by Peter Sutherland (b. 1976, Ann Arbor, Michigan), entitled Too Young To Care, coming from the collaboration between WONDER ROOM and Studio Blanco, which will be hosted by Spallanzani’s Collection (Musei Civici, Via Spallanzani 1, in the city centre). The American photographer will present a series of unreleased images and archive works that retrace a both intimate and evocative artistic path.

“I have been taking pictures since about 2002.” Sutherland told us. “Around this time my father passed away and photography was a place to focus my energy to, and avoid thinking about that part of me that was lost. I wanted to photograph everything I knew as a child. I did this over the following few years, and it became the backbone for everything else I would do. I have never wanted to control situations or carry a heavy camera, I just want to enjoy what I’m doing and get some poetic images along the journey. I want to go out and explore. I have always been interested in youth cultures because they give kids a chance to express themselves. I grew up skating and snowboarding, and learned so much at a young age from taking part – I was born at a good time, when I started skateboarding, no one had done a “kick flip” yet… -, but things are different today, everything is global and it’s all about the Internet and digital sharing of information.

He explained us how he liked the change: “It inspired me to evolve creatively, making films, installations and then back to photography. I take cellphone photos, do all the social media stuff and appreciate the way it is changing and speeding up trends and the way images behave/exist in the world in general. As for responsibility, we are reconsidering what that is. Once I was listening to John Baldessari being interviewed in an old episode of Art21. He was saying that he doesn’t think images should be owned. He thinks that would be like owning words and wouldn’t make sense. I think I agree with him: if you are uploading images, you are sharing them and you loose control over what happens to them.

I am very interested in things that happen because of photos, not who owns them. In 2006 I took a photo of a deer drinking out of a storm drain in the city. This photo became the cover of a Korean magazine, four years later a beautiful girl wrote to me on Facebook and told me she really liked this picture, she was living in Nepal. In 2010 I visited Nepal, 3 years later we were married in Kathmandu. Keep shooting photos, you never know!”

The exhibition will run until June 16, 2013.

Monica Lombardi – Images Peter Sutherland 
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16/04/2013

Nikolas Gambaroff: Quality Interiors at Giò Marconi

During the weekend of the MiArt fair, the action didn’t only take place in Milan’s city fairground. Many of the city’s galleries also took the opportunity to open the doors to their newest exhibitions, and one of the most interesting ones turned out to be Nikolas Gambaroff’s Quality Interiors at Giò Marconi. The German-born, New York-based artist is presented with his first solo show in the gallery, including new works of polyester window film or silicon among a set of mannequins and one of his perhaps better-known newspaper paintings.


For Quality Interiors, with its title perhaps giving an ironic nod to the madness of last week’s Salone del Mobile, Gambaroff filled the three ground floor rooms of the gallery with lusciously pink works made of Polyethylene Terephthalate Window Film. Usually abbreviated PET, the film is normally used in synthetic fibers, food and liquid containers, or even film and solar cell technology. The specific type used by the artist is usually applied to the windows of commercial buildings to convert the sunlight into infrared radiation and reduce the energy flow. Treated in different ways and torn apart to reveal the back of the structure, Gambaroff’s works look fragile yet alluring, mirroring the visitors walking by. On wooden tables, the flat, wrinkly silicon works in nude pastel pink hues give more of a matt, tactile impression, as a reminiscence of human flesh.


The largest room includes a set of half-dressed mannequins, a collaboration between Gambaroff and Nina Yashar, the interior design priestess and founder of Milan’s Nilufar Gallery. Beautiful fabrics in tribal patterns are wrapped in unorthodox matters around the mannequins, mirrored in the shiny surface of the pink window film work. The mannequins become a constant audience in relation to the work, gazing in different directions in a play with different ways of seeing and being seen.

Bearing Gambaroff’s more well-known newspaper-based work in mind, Quality Interiors shines a new light on his artistic production. Still, the works revolve around the same themes as before, in a dissection, deconstruction and re-evaluation of what painting is today. Given the impressions in Giò Marconi, it’s a very human thing.


The exhibition is on view until May 18th 2013.

Helena Nilsson Strängberg – Image courtesy of the artist, Gió Marconi 
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08/04/2013

Hilma af Klint – A Pioneer of Abstraction

Hilma af Klint – A Pioneer of Abstraction

In the beginning of the 20th century, years before the dawn of abstract art in Russia and Europe, the Swedish artist Hilma af Klint (1862-1944) made paintings that turned away from visible reality. Already in 1906, years before her colleagues Kandinsky, Mondrian and Malevitj, she developed an abstract imagery that manages to feel relevant today. At the Moderna Museet in Stockholm, she is now being honoured with the retrospective Hilma af Klint – A Pioneer of Abstraction (curated by Iris Müller-Westermann), up to now the largest presentation of the artist’s work, featuring a total of 230 paintings and works on paper.

Hilma af Klint was influenced by contemporary spiritual movements like spiritism, theosophy and later anthroposophy. Through her paintings she wanted to visualize what the eye couldn’t see and communicate the various dimensions of human existence. Hilma af Klint attended séances already in the late 1870’s, and in 1896, after years of traditional art studies in Stockholm, she abandoned her portraits and landscapes in naturist styles to form the group “De Fem” (The Five) together with four other women. They made contacts with “high masters” from another dimension and practiced automatic writing – writing without consciously guiding the movement on the pen on paper. Decades before the Surrealists, she developed a form of automatic drawing, and many of those simple, yet impressive drawings on brown paper are on view for the first time at the Moderna Museet.

In the large series Paintings for the Temple the are references to organic forms taken from nature, as well as esoteric Christianity and Rudolf Steiner’s Rosicrucianism, her works growing more geometrical as the years go by. No wonder that this year’s curator of la Biennale di Venezia, Massimiliano Gioni, has chosen five of af Klint’s paintings to be represented in the main pavilion of the Biennale – entitled The Encyclopedic Palace – along with many other artists referring to the science of our nature.

In her will, Hilma af Klint wrote that her abstract works weren’t to be shown in public until at least 20 years after her death. She was convinced that their full meaning wouldn’t be understood until then, that her paintings carried messages to humanity for the future. With this retrospective, we think we’re finally there. 2013 is Hilma af Klint’s year.

Hilma af Klint – A Pioneer of Abstraction is on view at Moderna Museet Stockholm until May 26th 2013. The exhibition will then tour to Hamburger Bahnhof – Museum für Gegenwart, Berlin (June 15th – October 6th 2013) and Museo Picasso Málaga, Málaga (October 21st 2013 – February 9th 2014).

Helena Nilsson Strängberg

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