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art objects

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Hybrids is an installation of objects that explores the production methods of multiples. This new series reinterprets and reinvents natural exoskeletons using the textile medium and its production methods, exploiting old craft processes, new technologies and non-traditional materials. The outcome is a collection of one-off pieces, monotypes and artist tests for open editions, which combine hand dyed silks, leather parchment, stainless steel fabric, laser cutting, reflective inks and ephemeral materials such as ice.

Hybrids was presented as part of the exhibition D'Disegno: respuesta cubana! (2013) at Factoría Habana, Cuba.

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Hybrids: Material Transitions - Pinaki Studios

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Hybrids is an installation of objects that explores the production methods of multiples. This new series reinterprets and reinvents natural exoskeletons using the textile medium and its production methods, exploiting old craft processes, new technologies and non-traditional materials. The outcome is a collection of one-off pieces, monotypes and artist tests for open editions, which combine hand [...]

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textiles used in costume

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BBC Musketeers costume textiles - Pinaki Studios

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Pleated leather, printed textiles and pleated ruffs for costumes designed by Phoebe de Gaye. The Musketeers (2014), BBC One

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textiles

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Inspired by diagrammatic design and the skins of imaginary animals, Foglizzo Folds is a collection of pleated leather developed by Pinaki Studios exclusively for Foglizzo Leather.

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Foglizzo Folds leather collection - Pinaki Studios

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Inspired by diagrammatic design and the skins of imaginary animals, Foglizzo Folds is a collection of pleated leather developed by Pinaki Studios exclusively for Foglizzo Leather.

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article about piece

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website

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​Pioneering and award winning typographic design, illustration and art direction by Craig Ward.

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Guardian article

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The British artist Banksy has been criticised by officials in California for the "frivolous abuse" of an elephant which he had painted to look like pink wallpaper.

The elephant, Tai, was the main attraction at Banksy's first US exhibition, which opened last week in Los Angeles, drawing celebrities including Brad Pitt and Angelina Jolie.

Tai was painted to blend in with a set-up of a living room, and was supposed to symbolise how the problem of world poverty is ignored.

Los Angeles's Animal Services Department (ASD) had given a permit for the 38-year-old female elephant to appear at the exhibition, titled "Barely Legal".

However, officials later said that they regretted granting the permit, and yesterday ordered Tai's owners, Have Trunk Will Travel, to remove the floral spray-paint.

Ed Boks, the head of the ASD, said the order was made after consulting with two animal rights activists and the city attorney's office.

"The paint they had been using, although non-toxic, according to government regulations was unsafe, and even illegal to use the way they had been using it," Mr Boks said.

Mr Boks ordered that the elephant be completely scrubbed down to bare skin and that a child-safe face paint be used instead. He said his agency had tried to have the permits revoked entirely on Friday, but to do so may have taken five days, by which time the exhibition would be over.

Speaking in general about the use of the elephant, Mr Boks said: "I think it sends a very wrong message that abusing animals is not only OK, it's an art form. We find it no longer acceptable to dye baby chicks at Easter, but it's OK to dye an elephant. Permits will not be issued for such frivolous abuse of animals in the future."

Tai appeared unpainted in the living room yesterday, the final day of the show. "Well, it's better than being painted," said Bill Dyer from In Defence of Animals, an animal rights group that objected to the exhibit. Mr Dyer, who visited the exhibition on Friday afternoon, said that while Tai had not appeared to be distressed, her use was unnecessary and gimmicky.

The elephant's handlers have defended using Tai in the show, arguing that she has been well looked after. They said that she was regularly fed and given water, taken on bathroom breaks and driven from the warehouse each night back to her home on a ranch.

"Tai has done many, many movies. She's used to makeup," said Kari Johnson, co-owner of Have Trunk, Will Travel.

On opening night, cards were handed out which read: "There's an elephant in the room. There's a problem we never talk about." The statement went on to say there were billions of people living below the poverty line.

Banksy, a Bristol-born street graffiti artist who keeps his real name secret, regularly courts controversy. Most recently, to promote his show, he left an inflatable dummy depicting a Guantánamo Bay detainee in Disneyland.

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Banksy's painted elephant is illegal, say officials

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The British artist Banksy has been criticised by officials in California for the "frivolous abuse" of an elephant which he had painted to look like pink wallpaper. The elephant, Tai, was the main attraction at Banksy's first US exhibition, which opened last week in Los Angeles, drawing celebrities including Brad Pitt and Angelina Jolie.

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Interviews with artists

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Tate Talks brings you long-form discussions about art with the world's leading artists and speakers.

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Lots of different artists for you to explore

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Our mission is to increase the public's enjoyment and understanding of British art from the 16th century to the present day and of international modern and contemporary art. Tate YouTube brings you videos about art and artists from around the world. Subscribe for interviews with artists, exhibition previews, celebrity art fans, live performance art and more.

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Dramma per musica by Wolfgang Amadeus Mozort
Musical Director Leonardo García Alarcón; Stage Director / Choreographer Sidi Larbi Cherkaoui; Set Designer Chiharu Shiota
Grand Théâtre de Genève, Geneva, Switzerland

>> Château Mouton Rothschild 2021 label reveal

The original artwork "Universe of Mouton" was created to illustrate the label for Château Mouton Rothschild 2021.
In the drawing, the fragile silhouette of a human figure faces gorgeous, generous nature. It is not the centre of attention but seems small compared to the environment. It is as though the figure is holding onto the balance between nature and humans. Its grip cannot be too tight or the thread will break, nor too loose or else the cloud will blow away and the connection will be broken.

>> New Solo Catalogue
Chiharu Shiota - Who am I Tomorrow?
Kunstraum Dornbirn has published the catalogue on the occasion of the exhibition „Who am I Tomorrow?" , including the preface by Thomas Häusle, an interview with the artist and an insightful text about the exhibition by Sina Wagner as well as extensive images of the installation.

Available at Kunstraum Dornbirn

Published by Publishing House for Modern Art, Vienna
Languages: German / English

>> New Solo Publication
CHIHARU SHIOTA - THE WALL BEHIND THE WINDOWS
The KÖNIG GALERIE has published the booklet „The Wall Behind the Windows" in conjunction with the solo exhibition of the same name. After two decades of working with windows as a material, Shiota is combining thread with windows for the very first time within this exhibition. While the booklet unfolds the concepts of Shiota's artwork and especially the origin and further development of the recurring material of old windows from construction work in Berlin in the late 90s, it also contains two folded posters and three exclusive postcards.

Available at the König Galerie

Published by König Galerie
Languages: English

>> NEW SOLO CATALOGUE

The Soul Trembles - Shiota Chiharu

The extensive catalogue The Soul Trembles has been published by Long Museum (West Bund), on the occasion of the solo exhibition of the same name at the museum in 2021. The catalogue features photographs of the exhibition along with a collection of images of works from the past 25 years. In addition, an insightful text by Kataoka Mami (Deputy and Chief Director and Chief Curator of Mori Art Museum, Tokyo) regarding the artists work and interviews with Shen Qilan, and Andrea Jahn are featured within the publication. While the extensive solo exhibition "The Soul Trembles" has bee traveling throughout Asia-Pacific since 2019, it is currently being presented at the Shenzhen Museum, in Shenzhen, China, in 2023.

The Catalogue is only available at the Long Museum, Shanghai Shop.

Published by Long Museum (West Bund)
Languages: Chinese / English

until 23.06.2024
Everyone, a Universe, solo show, Fundació Antoni Tàpies, Barcelona, Spain

until 30.09.2024
Wo sind wir jetzt?, solo show, KULTUR IM FLUSS - European Capital of Culture Bad Ischl - Salzkammergut 2024, Bad Ischl, Austria

until 01.09. / 06.10.2024
Beyond Consciousness, solo show, Musée du Pavillon de Vendôme; Musée des Tapisseries and Chapelle de la Visitation, Aix-en-Provence, France

until 20.03.2025
Perhaps Sunny Days, group show, Podo Museum, Jeju island, South Korea

open end
Duo Exhibition: Song Dong x Shiota Chiharu, two person show, Yuelai Art Museum, Chongqing, China

The Ship of Memories, Fukuoka Art Museum, Fukuoka, Japan

Passage, WinX Tower, Frankfurt/Main, Germany, commissioned by WinX GmbH & Co Immobilien KG, Bad Homburg

In the beginning was..., PLANTA, Balaguer (Lleida), Spain

Memory of Water, Collection at Towada Art Center, Aomori, Japan [open end]

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Dramma per musica by Wolfgang Amadeus Mozort Musical Director Leonardo García Alarcón; Stage Director / Choreographer Sidi Larbi Cherkaoui; Set Designer Chiharu Shiota Grand Théâtre de Genève, Geneva, Switzerland The original artwork "Universe of Mouton" was created to illustrate the label for Château Mouton Rothschild 2021.In the drawing, the fragile silhouette of a human figure faces gorgeous, generous nature.

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Mori Tokyo Art museum

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Where Are We Going?

The motif of the boat features frequently in Shiota Chiharu's works, conjuring up visions of uncertain lives and futures akin to tiny boats bobbing in vast oceans. These 65 boats suspended from an 11-meter-high ceiling will greet visitors as they enter the museum, inviting them to embark on the journey of the exhibition.

In the Hand

An evanescent, fragile-looking object is protected in the palms of a child's hands. Through her thread installations covering entire galleries, Shiota renders visible the invisible presences concealed within spaces, but this abstract motif, captured neatly between the palms, seems to represent the inherent life of her body, or spirit. It also calls to mind the "trembling soul," the exhibition's subtitle.

Shiota Chiharu
In the Hand
2017
Bronze, brass, key, wire, lacquer
38 x 31 x 42 cm
Courtesy: Kenji Taki Gallery, Nagoya/Tokyo
Photo: Ito Tetsuo

Shiota Chiharu
In the Hand
2017
Bronze, brass, key, wire, lacquer
38 x 31 x 42 cm
Courtesy: Kenji Taki Gallery, Nagoya/Tokyo
Photo: Ito Tetsuo

Uncertain Journey

The first installation encountered upon entering the galleries, Uncertain Journey consists of the bare frames of boats arranged in a space covered in bright red threads. In her work for the Japanese Pavilion at the 2015 Venice Biennale, Shiota hung a mass of keys from the top of an
old traditional Venetian boat, but in Uncertain Journey, the boats are more abstract, and the space filled with red thread seems to suggest the many encounters awaiting at the end of this uncer tain journey.

In Silence

In Silence was born out of a memory of the next-door house burning down in the middle of the night when Shiota was a child. A burned piano and audience seating are covered, with the entire space, in black thread. While symbolizing silence, the soundless piano plays visual music.

Reflection of Space and Time

Like skin covering the body, dresses symbolize the boundary between one's personal interior and exterior. Suspending such a dress in a space filled with black thread imparts a sensation of presence in absence. By hanging dresses on either side of a mirror dividing a space enclosed by a steel frame, Reflection of Space and Time blends in the mind of the viewer the illusory dress in the mirror, and the actual dress in the space opposite.

Inside - Outside

Around 2004, fifteen years after the fall of the Berlin Wall, Shiota Chiharu who moved to Germany in 1996 and is currently based in Berlin started making works using windows. At the time, Berlin was undergoing extensive redevelopment that included demolition of many buildings, and Shiota went around gathering up discarded windows. Windows exist as a boundary between the inside and outside of private spaces, but also call to mind the wall that separated East and West Germany. The work Inside - Outside to be presented in this exhibition was first made in 2008, and there are several versions, this one using around 230 window frames.

Accumulation - Searching for the Destination

This installation Accumulation - Searching for the Destination is made up of around 430 oscillating suitcases. Shiota was inspired to create the installation by the discovery of old newspapers in a suitcase she found in Berlin. All things have their own, innate memories, and in this case, the suitcases seem to suggest the memories, movement and migration of strangers; or the refugee's journey in search of a fixed abode; that is, the very journeys of people's lives.

Where to Go, What to Exist

Personal photos, newspaper cuttings, rubble from buildings and other ephemera all gathered from somewhere - objects that suggest a lost past - are packed into old suitcases. Carrying someone's memories in the form of keepsakes and souvenirs into a future where nothing is guaranteed, the cases seem to embody the thoughts of people living in an uncertain world, who yet seek the certainty of existence.

Out of My Body * Newly-commissioned work

Body parts began to appear in Shiota's works following the 2017 return of her cancer and battle with the disease. Behind this was the experience of feeling that as she found herself on the treatment conveyor belt - having parts of her body removed, and undergoing chemotherapy - her soul was being left behind. For Shiota, who has always sensed the presence of life's workings in absence, using her body as a work of art may involve imagining that absence.

Shiota Chiharu
Out of My Body (detail)
at Atelier Chiharu Shiota, Berlin, 2019
Photo: Sunhi Mang
* referential image

Shiota Chiharu
Out of My Body (detail)
at Atelier Chiharu Shiota, Berlin, 2019
Photo: Sunhi Mang
* referential image

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六本木ヒルズ・塩田千春展：魂がふるえる

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The motif of the boat features frequently in Shiota Chiharu's works, conjuring up visions of uncertain lives and futures akin to tiny boats bobbing in vast oceans. These 65 boats suspended from an 11-meter-high ceiling will greet visitors as they enter the museum, inviting them to embark on the journey of the exhibition.

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Bridget Riley was born in South London in 1931. She studied at Goldsmiths College from 1949 to 1952, and at the Royal College of Art from 1952 to 1955, before going on to teach and work in an advertising agency until 1963. Her first solo exhibition was held at Gallery...

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Official website of artists Christo and Jeanne-Claude. Features photographs and texts about all major projects, early works, and works in progress. Includes biographical and bibliographical information as well as past, current, and upcoming exhibitions.

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Just after dawn at Havre- Caumartin metro station, Paris's first commuters are stepping on and off half-empty trains. Then, at the end of the platform, a figure in black appears, head bowed and feet tapping with nerves.

Princess Hijab is Paris's most elusive street artist. Striking at night with dripping black paint she slaps black Muslim veils on the half-naked airbrushed women - and men - of the metro's fashion adverts. She calls it "hijabisation". Her guerrilla niqab art has been exhibited from New York to Vienna, sparking debates about feminism and fundamentalism - yet her identity remains a mystery.

In secular republican France, there can hardly be a more potent visual gag than scrawling graffitied veils on fashion ads. Six years after a law banned headscarves and all conspicuous religious symbols from state schools, Nicolas Sarkozy's government has banned the niqab from public spaces amid a fierce row over women's rights, islamophobia and civil liberties. The "burqa ban", approved last month, means that from next year it will be illegal for a woman to wear full-face Muslim veils in public, not just in government offices or on public transport, but in the streets, supermarkets and private businesses. The government says it is a way of protecting women's rights and stopping them being forced by men to cover their faces.

Already this has prompted extreme reactions. One female teacher in favour of the ban was last week given a month's suspended jail sentence for trying to rip a veil from the face of a 26-year-old Emirati tourist in a shop, then slapping, scratching and biting her. On the other side of the argument, two French women calling themselves "niqabitch" reproduced the classic visual mixed metaphor of walking around central Paris in niqabs, black hotpants, bare legs and high heels, posting a film of it online in order to highlight the "absurdity" of the ban.

But Princess Hijab got there first, and her simple, almost childlike acts of sabotage with a black marker pen still manage to be the most unsettling, with the widest audience abroad. Yet who is she? A French Muslim woman in hijab raging at the system? That would be a rare thing on Paris's male-dominated graffiti scene. Is she a religious fundamentalist making a point about female flesh? But she likes to leaves a witty smattering of buttock cheeks and midriff on display. If she's a leftwing feminist making a point about the exploitation of women, it's odd that she always flees the scene of her crimes. Is she even Muslim? Her fans like to imagine a young rebel outsider from Paris's suburban ghettos travelling to the capital to make her mark. But like Paris's greatest street artist, Blek le Rat - who inspired Britain's Bansky - she could turn out to be a fiftysomething white man who voted for Sarkozy.

The Princess winds through the corridors of Havre-Caumartin sizing up the advertising posters lining the walls. She has agreed to meet as she scours stations for targets for her next "niqab intervention". In Spandex tights, shorts and a hoodie, with a long black wig totally obscuring her face, one thing is clear; the twentysomething doesn't wear the niqab that has become her own signature. She won't say if she's a Muslim. In fact, it's more than likely that Princess Hijab isn't even a woman. There's a low note in her laughter, a slight broadness to her shoulders. But the androgynous figure in black won't confirm a gender. "The real identity behind Princess Hijab is of no importance," says the husky voice behind the wig. "The imagined self has taken the foreground, and anyway it's an artistic choice."

"I started doing this when I was 17," she says (I'll stick to "she" as the character is female, even if the person behind it is perhaps not).

"I'd been working on veils, making Spandex outfits that enveloped bodies, more classic art than fashion. And I'd been drawing veiled women on skate-boards and other graphic pieces, when I felt I wanted to confront the outside world. I'd read Naomi Klein's No Logo and it inspired me to risk intervening in public places, targeting advertising."

The Princess's first graffiti veil was in 2006, the "niqabisation" of the album poster of France's most famous female rapper, Diam's, who by strange coincidence has now converted to Islam herself. "It's intriguing because she's now wearing the veil," the Princess muses. Intially she graffitied men, women and children and then would stand around to gauge the public's response; now she does hit-and-runs. "I don't care about people's reactions. I can see this makes people feel awkward and ill at ease, I can understand that, you're on your way home after a tough day and suddenly you're confronted with this."

With the Paris metro protective of its advertising spaces, her work now usually stays up for only 45 minutes to an hour before being ripped down by officials. She has become highly selective, doing only four or five graffiti "interventions" in Paris a year. But each is carefully photographed and has its own afterlife circulating online. The "niqabised" range from Dolce & Gabbana men's underwear to risque adverts for Virgin bookshops.

Why does she do it? "I use veiled women as a challenge," she says, quick to add that she believes no one way of dressing is either good or bad. She's not defending the rights of any group and no one needs her as a spokesperson. "That's paternalistic. If veiled women want to make a point, they'd do it themselves. If feminists want to do something they're capable of doing it on their own." She later explains by email: "The veil has many hidden meanings, it can be as profane as it is sacred, consumerist and sanctimonious. From Arabic Gothicism to the condition of man. The interpretations are numerous and of course it carries great symbolism on race, sexuality and real and imagined geography."

Princess Hijab is deliberately cool and detached, but the one issue that really shakes her - and perhaps reveals a little of her true identity - is the place of minorities in France. Beyond the arguments about whether Muslim women should cover their heads, Sarkozy's new ministry of "immigration and national identity" and his national debate on what it means to be French has stigmatised the already discriminated and ghettoised young people of third- and fourth-generation immigrant descent. France has the largest Muslim population in Europe, but the prevailing anti-immigrant discourse, and what many view as a pointless burqa ban, has increased the feelings of marginalisation felt by young Muslims and minorities.

Princess Hijab sees herself as part of a new "graffiti of minorities" reclaiming the streets. "If it was only about the burqa ban, my work wouldn't have a resonance for very long. But I think the burqa ban has given a global visibility to the issue of integration in France," she says. "We definitely can't keep closing off and putting groups in boxes, always reducing them to the same old questions about religion or urban violence. Education levels are better and we can't have the old Manichean discourse any more."

She adds: "Liberty, equality, fraternity, that's a republican principle, but in reality the issue of minorities in French society hasn't really evolved in half a century. The outsiders in France are still the poor, the Arabs, black and of course, the Roma."

The Princess won't say what her own roots are. She simply says she sees her work as a kind of "cartography of crime" a mapping out of the underbelly of the city where "I bring inside everything that's been excreted out."

And yet her graffiti is particularly French in its anti-consumerism and ad-busting stance. For her, painting a veil on adverts works visually because the two are "dogmas that can be questioned". She feels young women wearing the hijab who were once stigmatised by French institutions are now being targeted for their purchasing power, the "perfect customers" in France's increasingly consumerist society.

Her next spree will focus on her favourite target brand, H&M. After all, its ad campaigns are plastered all over the Paris metro. She argues that the brand "democratised" fashion at low prices, women in hijab often shop there, and inking out H&M models is the perfect act of confrontation: "It's visually very striking because [the brand's] images are ideologically very present in the urban landscape."

So these blacked-out niqabs seem to represent everything but religion. "Am I religious?" she asks, hesitating. "The spiritual interests me, but that's personal, I don't think it bears on my work. Religion interests me, Muslims interest me and the impact they can have, artistically, aesthetically, in the codes that are all around us, particularly in fashion," she muses.

And with that, the graffiti performance artist scuttles off, kit-bag over her shoulder, to change out of her bizarre disguise and into her own everyday fashion and wander off above ground into the daylight.
Topics

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Cornered - Princess Hijab, Paris's elusive graffiti artist

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Just after dawn at Havre- Caumartin metro station, Paris's first commuters are stepping on and off half-empty trains. Then, at the end of the platform, a figure in black appears, head bowed and feet tapping with nerves. Princess Hijab is Paris's most elusive street artist.

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In the House of My Father is a close-up photographic image of Donald Rodney's hand, in which sits a minute sculpture of a house. The sculpture exists as an independent work, My Mother. My Father. My Sister. My Brother 1996-7 (The Estate of Donald G. Rodney, London). It was constructed from pieces of Rodney's own skin removed during one of the many operations he underwent to combat sickle cell anaemia, an inherited disease that affects people of African, Caribbean, Eastern Mediterranean, Middle Eastern and Asian ancestry. Both works address Rodney's sense of family and identity, as a British-born artist whose parents had emigrated from Jamaica, as well as themes relating to mortality and his own illness. Sickle cell anaemia is a debilitating disease which causes high mortality rates in children and short life expectancy in adults. The artist and curator Eddie Chambers (born 1960) has observed that 'the house, a delicate, simple dwelling seemed to symbolise the fragility and the near-futility of Rodney having to live within a structure hopelessly unable to sustain itself or withstand even the smallest turbulence.' (Chambers, p.53.) Another commentator has said that this 'prototype for a vernacular two-storey house...easily sits in the palm of the artist's hand...It is a touching, ambiguous work that returns us both to the scholastic hierarchies of medieval scale, where small is infinite, and the more modern sense of small as confinement. Sitting in the artist's hand it seems as though he could crush it in an act of definitive relegation.' (Michael Norris 'Para-Cities and Paradigms' in Art Monthly, No. 224, March 2001, p.13.)

In the House of My Father was made for the 1997 exhibition ' 9 Nights in Eldorado' at South London Gallery which Rodney dedicated to his father who had died in 1995. At the time of his father's death Rodney was also in hospital and unable to be at his father's bedside. He spoke about the personal anguish this caused him. Nine Nights, also known as Dead Yard, is the funerary vigil of the same length traditionally practiced in in the Caribbean when someone dies. In the House of My Father was made during another of Rodney's visits to hospital. The image was taken by the photographer Andra Nelki while Rodney was in Kings College Hospital, London. At the time, Rodney was making work and preparing for the South London Gallery exhibition from his bed, turning his shared room into an impromptu studio.

Rodney's use of photography can be related to his hospital experiences, to the extensive medical data accumulated over his long illness including photographs, x-ray scans and DNA sequencing. In an essay on Rodney's work, Dr Alison Bybee has commented that 'we scientists are like paparazzi, using ever more sophisticated telephoto lenses to gather more and more intimate images.' (Body Visual, pp. 31.) This aspect of documentation led Rodney to the idea of assembling a comprehensive record of his body on an internet site, culminating in his proposal for his posthumous project Autoicon which was realised in 2000.

Rodney's work addresses ideas of identity, family, home and Britishness - particularly with respect to a British, Afro-Caribbean diaspora. While studying at Trent Polytechnic, Nottingham, in the early 1980s, Rodney met and became a close associate of Keith Piper (born 1960) and Eddie Chambers. The work of Piper and Chambers was a revelation to Rodney in that it dealt directly with the experience of being Black. Together they formed the Black Art Group. From this point onwards Rodney's work became politically engaged, dealing overtly with the themes of Black identity and the position of ethnic minorities in Britain. He became part of a generation of British-born Black artists, filmmakers and performers who began to challenge accepted notions of what it meant to be British and contributed to an emergent Black British consciousness. Rodney worked in a variety of media. Initially he made paintings but later created photographs, mixed media installations and works incorporating electronic media. Much of Rodney's imagery stems from the fact that he had suffered from sickle cell anaemia from infancy. Rodney developed a highly personal vocabulary, for instance incorporating discarded x-rays as raw materials, though intending these references to medicine and the body to refer metaphorically to social sicknesses, including racism, police brutality or apartheid, as much as to his personal circumstances. In this way his autobiographical approach enabled him to explore wider questions of identity.

The work exists in an edition of three. The two other examples are in the collections of the Arts Council of England and the National Museum and Galleries of Wales.

Further Reading
Eddie Chambers, 'My Catechism: The Art of Donald Rodney,' in Third Text no.44, Autumn 1998, pp.43-54
9 Nights in Eldorado, exhibition catalogue, South London Art Gallery, London 1997, reproduced in colour (unpaginated)
Body Visual: Helen Chadwick, Letizia Galli, Donald Rodney, exhibition catalogue, Barbican Centre, London 1996, pp.29-32
A website project containing further information can be found at: www.iniva.org/autoicon/

Tanya Barson
February 2002
Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.

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'In the House of My Father', Donald Rodney, 1996-7 | Tate

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'In the House of My Father', Donald Rodney, 1996-7

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Since the mid-1990s, Ernesto Neto has produced an influential body of work that explores constructions of social space and the natural world by inviting physical interaction and sensory experience. Drawing from Biomorphism and minimalist sculpture, along with Neo-concretism and other Brazilian vanguard movements of the 1960s & 70s, the artist both references and incorporates organic shapes and materials - spices, sand and shells among them-that engage all five senses, producing a new type of sensory perception that renegotiates boundaries between artwork and viewer, the organic and manmade, the natural, spiritual and social worlds.

Born in 1964 in Rio de Janeiro, the artist continues to live and work in Brazil. He studied at the city's MAM Museum of Modern Art at Rio de Janeiro in 1984 through 1986, and also attendedEscola de Artes Visuais do Parque Lage in 1987.

Ernesto Neto's work has been the subject of major museum exhibitions worldwide, including: at Museum of Contemporary Art Chicago, Chicago (2020), SunForceOceanLife atThe Museum of Fine Arts, Houston (2021), Mentre la vita ci respira at GAMeC, Bergamo, Italy (2021), Water Falls from the Breast to the Sky Ernesto Neto: Rui Ni / Voices of the Earth at KUNSTEN Museum of Modern Art Aalborg, Denmark (2016), Ernesto Neto: Boa at Museum of Contemporary Art Kiasma, Helsinki, Finland (2016), Ernesto Neto: Sopro (Blow) at Pinacoteca, São Paulo (traveled to Malba, Museum of Latin American Art, Buenos Aires, Argentina; Palacio de La Moneda Cultural Center, Santiago, Chile) (2019), Ernesto Neto: Mother Body Emotional Densities, For Alive Temple Time Baby Son at MCA San Diego (2015), Ernesto Neto: Haux Haux at Arp Museum Bahnof Rolandseck, Germany (2014), Ernesto Neto: Gratitude at Aspen Art Museum, Aspen, CO (2014), Ernesto Neto: The body that carries me at Guggenheim, Bilbao, Spain (2014), Ernesto Neto: Madness is Part of Life at Espace Louis Vuitton, Tokyo (2012), Ernesto Neto: Cuddle on the Tightrope at Nasher Sculpture Center (2012), Ernesto Neto at Faena Arts Center in Buenos Aires, which traveled to Estação Leopoldina in Rio de Janeiro (2011-2012), Hayward Gallery, Southbank Centre in London (2010) Museum of Modern Art in New York (2010), Ernesto Neto: Intimacy at Astrup Fearnley Museum of Modern Art in Oslo (2010), Dengo at Sao Paulo Museum of Modern Art (2010), Ernesto Neto - Mentre niente accade/ while nothing happens at Museo d'Arte Contemporanea Roma in Italy (2008), Ernesto Neto at Museum of Contemporary Art, Sydney, Australia (2002), Directions-Ernesto Neto, Hirshhorn Museum and Sculpture Garden in Washington, D.C. (2002), among others.

His work has also been featured in numerous group exhibitions and biennials, most recently the 14th Biennale de Lyon, curated by Emma Lavigne (2017) and Manifesta 7 (2015). In 2001 he represented Brazil at the 49th Venice Biennale, and in 2017 Neto was prominently featured in Vive Arte Viva at the 57th Venice Biennale curated by Christine Macel. Neto has been included in major group shows at Guggenheim Bilbao, Albright Knox Art Gallery, Centre Pompidou-Metz, and a permanent installation at the Museum of Contemporary Art, Chicago. In summer 2018, a large installation GaiaMotherTree was successfully shown at the Zurich train station, in collaboration with Fondation Beyeler, with a month-long corresponding public and education program that took place inside the work.

Neto's work is extremely well represented in international museum collections, including those of the Museum of Modern Art in New York, Museum of Fine Arts, Houston, Tate Gallery in London, Solomon R. Guggenheim Museum in New York, Carnegie Museum of Art in Pittsburgh, Museum Boijmans van Beuningen in Rotterdam, Centre Pompidou in Paris, Hara Museum in Tokyo, Contemporary Art Center of Inhotim in Brazil, Hirshhorn Museum and Sculpture Garden in Washington, D.C., Milwaukee Art Museum, Museum of Contemporary Art, Los Angeles, among many others.

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Ernesto Neto Exhibitions: Concerning Nature, Tanya Bonakdar Gallery, New York, September 6 - October 13, 2023; Ernesto Neto: Between Earth and Sky, Tanya Bonakdar Gallery, New York, May 14 - June 16, 2022; Songs in the Dark, Tanya Bonakdar Gallery, New York, January 11 - February 20, 2020; ERNESTO NETO:...

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Inscribed 'M. Louis' on back of canvas, possibly not by the artist
Magna acrylic on canvas, 102 1/2 x 141 1/2 (260 x 359.5)
Presented by Mr and Mrs Henry J. Heinz II through the Friends of the Tate Gallery 1968
Prov: Mr and Mrs H. J. Heinz II, New York and London (purchased from the artist's estate through the André Emmerich Gallery, New York, for presentation to the Tate)
Exh: Morris Louis: Paintings never before exhibited: 1957-60, André Emmerich Gallery, New York, March-April 1966 (works not numbered, repr. in colour on catalogue cover); Morris Louis, Washington Gallery of Modern Art, Washington, DC, March-April 1967 (15, repr. in colour), as painted 1960-1; Morris Louis: Veils and Unfurleds, Seattle Art Museum, July-August 1967 (7, repr. in colour)
Repr: The Friends of the Tate Gallery: Annual Report 1st May 1968-30th April 1969 (London 1969), p.22; Ronald Alley, Recent American Art (London 1969), pl.14 in colour; Terry Measham, The Moderns 1945-1975 (Oxford 1976), pl. 53 in colour

One of Morris Louis' so-called 'veil' produced by staining the with layers of very liquid acrylic paint. It is usually dated 1960 but has also been exhibited with the date 1960-1; the exact dates of these pictures, which mostly remained unexhibited and unstretched for some years, until after the artist's death, are hard to determine.

Writing of this work and of the 'unfurled' picture 'Alpha-Phi' acquired about the same time [ ], André Emmerich explained (20 May 1969): 'The titling of both pictures is based on the system developed posthumously under which veils are titled with Hebrew letters, unfurleds with Greek letters. The pictures are titled arbitrarily, in the order of their being stretched.

'Morris Louis was not especially interested in titling his pictures generally. He accepted the idea of titles but he was not interested himself in titling pictures until this became necessary, i.e. until pictures were sent out of the studio. When titling pictures, he generally wrote the title on the back of the canvas at the very last moment.'

The artist's widow, Mrs Marcella Louis Brenner, added (letter of 2 March 1970) that she chose to use numbers and alphabet letters in all posthumous identification of the paintings in order to avoid imposed literary or idea overtones or titles with meaningful associations. 'Vav' is the sixth letter of the Hebrew alphabet.

Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.456, reproduced p.456

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Artwork page for 'VAV', Morris Louis, 1960 In 1953 Louis visited Helen Frankenthaler's studio and was impressed by her experiments with staining the canvas rather than painting on it. He developed this technique in works such as VAV. One of his so-called 'veil' paintings, it was made by pouring very liquid paint down its surface.

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At Fierman, the photo-based paintings in Dietmar Busse's solo exhibition "Today I wanted to die again" evoked the dolorous colors and darksome moods of Romantic-era imagery by artists such as William Blake or Eugène Delacroix. Busse portrays the rural, melancholy environs of his West German upbringing as settings rife with murderous, sinister events. Of the five large pieces in the show (all works 2020) presented in this tiny space, two depicted gory battles between wild, cartoonish combatants, while the other three featured portraits of more mythical-looking entities.

Busse creates his work by combining photographic-development techniques with hand-drawn imagery. He exposes gelatin silver paper to light-without negatives-and then paints with developer, which turns his surface black. Over time the untouched sections of paper respond to the light and become a faded umber. Once he has fixed the image and washed and dried the paper (he must repeat this process if he applies bleach to whiten certain areas, as he did in these pieces), he then paints and draws with photographic dyes and inks. The overall effect is a glassy, pristine luminosity-as if each picture were a vividly remembered nightmare.

Accidents in Paradise #10 details an epic melee in a meadow ringed with trees and full of characters both supernatural and earthly. In this painting are panicked cows, goblins hovering over mass carnage, a two-headed equine creature, and a pair of bloodied toothy swine fucking maniacally. The humans are equally crazed: A guy in cowboy garb shoots a naked man while stabbing him with a dagger; a lunatic gouges out his foe's heart; and a crouching, bleeding woman holds up a cross, desperate for salvation. Elsewhere, another fellow with a livid-red hard-on mirrors a nearby horse that's similarly (and grotesquely) tumescent. Almost every face is pitch-black and shrieking, with bared teeth and terror-stricken eyes. In the background, a dainty gingerbread-like house sits on the crest of a hill. Its roof tiles are red and pink, the garden has neat rows of flowers, and clothes are drying on a washing line. But this illustration of bucolic domesticity is only a mirage: Built into the gabled roof are several sets of human eyes, and the cottage's front window is actually a baying mouth, draped with white curtains that resemble blunted fangs. A pair of black, Krampus-y arms with sharp red fingernails seem to disappear into a chimney. We cannot see the goings-on indoors-but we can easily imagine that the things unfolding there are far worse than the horrors taking place outside.

One of the aforementioned deities appears in For my father (you crazy motherfucker!), and Geronimo, and Jesus. This mournful demigod is covered by a dark-gray veil as it poses before an empty sepia sky. Its head is crowned with a radiant halo, and its face is decorated with floral motifs. Within the body are a devilish horned head and multiple claws, limbs, and eyes. The being calls to mind the biblical story of Legion, i.e., the demonic horde that resides inside one host. Its pointed wings rise heavenward, resembling a pair of arms that were nailed to a cross. The creature cries rivers and rivers of blood.

Another painting that references a father figure, though not included in the show, appeared on the gallery's website and the exhibition checklist: My father in a cage, 2020, depicts a man firing a large, black rifle into his own stomach. The gun's handle is delicately adorned with lacy white orbs, almost like snowflakes. In this piece, as the title describes, the man is imprisoned and screaming while weeping long, dark tears. We aren't certain about who this person is or what he represents, but the impression he made upon Busse is, without question, monstrously indelible, as the artist's impression of him is upon us. These anguished souls, torn between the sacred and the damned, seem to have arrived at their terrible final acts. The work's absence from this presentation is gloomily appropriate.

- Darren Jones

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At Fierman, the photo-based paintings in Dietmar Busse's solo exhibition "Today I wanted to die again" evoked the dolorous colors and darksome moods of Romantic-era imagery by artists such as William Blake or Eugène Delacroix. Busse portrays the rural, melancholy environs of his West German upbringing as settings rife with murderous, sinister events.