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메리 앤 스타니스제프스키, 이것은 미술이 아니다 (2022)

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메리 앤 스타니스제프스키, 이것은 미술이 아니다 (2022)

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메리 앤 스타니스제프스키 지음 | 박이소 번역

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이것은 미술이 아니다 | 메리 앤 스타니스제프스키 - 교보문고

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이것은 미술이 아니다 | 1997년, 2006년, 2013년에 출간된 바 있는 『이것은 미술이 아니다』의 디자인을 새롭게 하여 펴낸 개정판(4판). ’미술과 미술이 아닌 것, 그리고 그 외의 사물들이 어떻게 의미와 가치를 갖게 되는가에 ……

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서비스 점검 - 교보문고

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테리 스미스, 컨템포러리 아트란 무엇인가 (2013)

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테리 스미스, 컨템포러리 아트란 무엇인가 (2013)

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진 로버트슨 & 크레이그 맥다니엘, 현대미술 테마노트 (2011)

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진 로버트슨 & 크레이그 맥다니엘, 현대미술 테마노트 (2011)

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이문정, 진행형의 세계:한국 동시대 미술을 그리다 (2024)

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이문정, 진행형의 세계:한국 동시대 미술을 그리다 (2024)

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불화에 투사된 정체성의 회화
유진상 계원예대 교수
Artist Focus

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Cobija, artwork by Studio Lenca - Studio Lenca

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Cobija is a Studio Lenca artwork that has now been acquired by the PAMM, Parez Art Museum Miami. Studio Lenca works can also be found at the Parrish Art Museum New York.

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매일 읽고 보관하는 가디언지(The Guardian)에서 오려낸 조각들은 캔버스의 저층위를 구성하는 물리적인 토대이자 서로 겹쳐지고 페인팅에 도포되어 출처가 모호한 채 봉인된 사건과 광고이기도 하다. 어떤 면에서 그것은 그의 작품에서 가장 빛나고 흥미로운 측면이기도 하고, 우리 삶이 가지고 있는 모순과 찬연함, 회상과 기억의 괴리와 맞닿아있다.

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토니 스웨인 Exhibitions: Tony Swain, Dilemma To Rely On, 25 April - 25 May 2024

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이미지를 만들고 드러내는 물리성에 주목하며 작가와 회화 사이의 물리적 거리와 심리적 거리, 작품과 관객과의 관계에서 발생하는 거리를 종합적으로 탐구한다. 작업하는 시간이 물리적으로 축적된 회화의 표면에 실을 사용하여 촉각적인 효과를 더함으로써, 표면의 한계를 넘어 이미지와 공간을 드러내고자 한다.

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최수정 Exhibitions: 유연한 경계들, 배윤환, 노은주, 강철규, 이의성, 이채은, 최수정, 12 January - 12 February 2022

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2021.7.7 - 7.13 (휴관일 없음)
코디 최

PKM 갤러리는 디지털 아트의 세계적인 선구자 코디 최의 개인전 ≪1999 코디 최 + NFT≫를 개최한다. 이번 전시는 작가가 1999-2000년에 작업하고 최근 NFT화 한 데이터베이스 페인팅 (Database Painting)의 원본 디지털 파일 및 디지털 파일의 원본성에 대한 논의가 공론화되기 한참 전인 당시에 전시를 위해 그물망 캔버스에 대형 프린트로 제작했던 실물 작품들을 다시 공개한다.

바야흐로 가상과 실재가 인간의 생활 속에서 자연스레 공존하는 이중 세계관의 시대. 의식주마저 가상 세계의 데이터와 정보에 의존하는 우리는 이제 스마트폰 없는 하루를 상상할 수 없다. 또한, 세계 시가 총액 순위 상위권에서 가상 산업 기반의 기업을 다수 찾아볼 수 있는데, 이는 가상 경제권이 기존 산업 가치를 뛰어넘었으며 실물경제와 함께 공생하는 이중경제권의 시대가 도래했다는 것을 의미한다. 즉, 새로운 시대가 열린 것이다. 이러한 흐름 속에서 NFT (Non Fungible Tokens) 아트가 등장했다. 데이터들의 결합으로 이뤄진 디지털 창작물(이미지, 음원, 영상 등)에 무단 복제 및 위변조를 막고 원본성을 입증하는 장치 NFT 덕분에 가상 세계의 작품도 '아우라'를 획득, 디지털 아트의 진본성과 그 가치를 인정받게 된 셈이다. 다만, 디지털의 창작 개념을 내세우거나 미학적 토대를 견고히 하는 NFT 작품을 아직 찾아볼 수 없는 게 현 상황이다.

코디 최는 1990년대 후반부터 시대를 앞선 통찰력으로 디지털 공간 내에서 데이터베이스의 축적과 확장, 중첩에 의해 새롭게 창조되고 융합되는 세계에 대한 질문을 던지기 시작했다. 데이터베이스를 기초로 하는 회화에 있어서 창조란 작가의 순수한 상상력을 기반으로 하는 것이 아닌, 작가의 선택 이전에 존재한 컴퓨터 데이터베이스 쪽으로 기반이 옮겨져서 만들어지는 새로운 회화 구축을 뜻한다. 디지털적 창조 구성 요소들은 본래의 것도 아니며 개인의 상상력과도 관계가 없이 순수하게 데이터베이스로부터 공급된다. 이렇듯, 작가는 디지털 기술의 본질이 데이터 처리를 통한 새로운 가치 생성에 있음을 인식하여 데이터의 축적과 확장을 통해 이미지 파일을 완성했는데, 블록체인 기법이 나오기 훨씬 이전의 시점에서 작가가 실천한 이 제작 방식은 바로 블록체인 기술과도 일치한다. 따라서 본 전시에서 소개되는 코디 최의 초기 데이터베이스 페인팅 시리즈 1999-2000는 '디지털 문화 창조'라는 시대를 앞선 개념의 행위적 실천의 결과물로서 관람객에게 NFT 아트에 대한 고찰을 제시한다.

코디 최는 고려대학교에서 사회학을, 미국 아트센터디자인대학 Art Center College of Design 에서 디자인과 순수미술을 전공하였으며, 1990년대 중반 뉴욕 다이치 프로젝트 개인전 The Thinker, December, Deitch Projects , 1996, 프랑스 마르세유 현대미술관 개관 기념 그룹전 L'ART AU CORPS: le corps expos é de Man Ray à nos jours, MAC , 1996 등으로 일찍이 국제적 작가로서 명성을 다졌다. 그는 2015년부터 2017년까지 저명한 미술사학자 존 C. 웰치맨 John C. Welchman, 1958- 의 기획으로 쿤스트할레 뒤셀도르프 Kunsthalle D+sseldorf , 마르세유 현대미술관 MAC, 독일 켐니츠 미술관 Kunstsammlungen- chemnitz 에서 순회 회고전을 개최했으며, 2017년에는 베니스 비엔날레 한국관 대표작가로 선정되었다. 작가는 1994년부터 2004년까지 뉴욕대학 New York University 의 객원교수를 역임한 바 있으며, 그가 집필한 현대문화 전문 비평서 『20세기 문화 지형도』 2006, 『동시대 문화 지형도』 2010 등은 국내 미술문화계에 반향을 일으켰다. 피터 핼리 Peter Halley , 마이크 켈리 Mike kelly , 로버트 로젠블럼 Robert Rosenblum , 존 C. 웰치맨 등 서구 유명 미술인들의 개인 컬렉션에 코디 최의 초기 데이터 베이스 페인팅들이 소장되어 있다.

PKM 갤러리
서울 종로구 삼청로7길 40
02 734 9467

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ARTTAG 아트태그 | 디지털아트콘텐츠 on Instagram: "#TAG

#ARTIST 한상아
@hansanga_
©Source Artist

한상아 작가는 동양화의 전통적 재료인 광목천과 먹을 이용하여, 독특한 표현 방식으로 감정과 본능을 시각화하는 작업을 하는 아티스트입니다. 작가는 서양화 특유의 인위적인 향과 질감에 거부감을 느끼고 이후 동양화의 자연재료에 매혹되어 동양화의 길을 걷게 되었는데요. 특히 대학 시절 다양한 수업을 통해 먹의 깊이와 아름다움을 발견하며, 먹을 주된 재료로 선택하여 그만의 독창적인 작업을 지속해 왔습니다.

작가는 일상에서 접하는 다양한 경험과 감정에서 영감을 받아, 이를 조형적 언어로 풀어내는 과정을 중요시합니다. 평범한 날들 속에서 자연스럽게 느끼는 본능과 감성이 작업의 원동력이 되며, 이러한 요소들을 광목천에 시각화하고 입체적으로 변형시켜 나갑니다.

작가의 작업은 인간의 불완전함과 불안함을 인식하는 것에서 출발합니다. 작품을 통해 여성적 혁신과 모성, 창조 사이의 연결고리를 탐구하며, 이를 통한 사회적 메시지와 개인적 감정의 균형을 이루려는 노력을 볼 수 있습니다.

#contemporaryart #finearts #drawing #painting #craft #abstractart #illustration #popart #mediaart #artbrand #globalartist #artmagazine #artissue"

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330 likes, 0 comments - arttag_official on June 27, 2024: "#TAG

#ARTIST 한상아
@hansanga_
©Source Artist

한상아 작가는 동양화의 전통적 재료인 광목천과 먹을 이용하여, 독특한 표현 방식으로 감정과 본능을 시각화하는 작업을 하는 아티스트입니다. 작가는 서양화 특유의 인위적인 향과 질감에 거부감을 느끼고 이후 동양화의 자연재료에 매혹되어 동양화의 길을 걷게 되었는데요. 특히 대학 시절 다양한 수업을 통해 먹의 깊이와 아름다움을 발견하며, 먹을 주된 재료로 선택하여 그만의 독창적인 작업을 지속해 왔습니다.

작가는 일상에서 접하는 다양한 경험과 감정에서 영감을 받아, 이를 조형적 언어로 풀어내는 과정을 중요시합니다. 평범한 날들 속에서 자연스럽게 느끼는 본능과 감성이 작업의 원동력이 되며, 이러한 요소들을 광목천에 시각화하고 입체적으로 변형시켜 나갑니다.

작가의 작업은 인간의 불완전함과 불안함을 인식하는 것에서 출발합니다. 작품을 통해 여성적 혁신과 모성, 창조 사이의 연결고리를 탐구하며, 이를 통한 사회적 메시지와 개인적 감정의 균형을 이루려는 노력을 볼 수 있습니다.

#contemporaryart #finearts #drawing #painting #craft #abstractart #illustration #popart #mediaart #artbrand #globalartist #artmagazine #artissue". 

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Zadie XA, Korean Canadian Visual ArtistBased in London

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Through performance, video, painting and textiles, artist Zadie Xa explores the overlapping and conflation of cultures that inform self-identities and notions of self. Her layered textile works are sites for exploring contemporary identity construction and performance through cultural sampling, informed by her experience within the Asian diaspora.

Throughout her practice, Xa uses water and marine ecologies as metaphors for exploring the unknown, whilst also alluding to abstract notions of homeland. Recent solo exhibitions include Child of Magohalmi and the Echoes of Creation, a co-commission with Art Night, London, YARAT Contemporary Art Space, Baku, Tramway, Glasgow (2019) and De La Warr Pavilion, Bexhill (2020). She has also staged performances at international galleries and festivals including Art Night London 2019, 58th Venice Biennale, Palais de Tokyo, Hayward Gallery, Serpentine Gallery, Block Universe and the Korean Cultural Centre UK.

Through performance, video, painting and textiles, artist Zadie Xa explores the overlapping and conflation of cultures that inform self-identities and notions of self. Her layered textile works are sites for exploring contemporary identity construction and performance through cultural sampling, informed by her experience within the Asian diaspora.

Throughout her practice, Xa uses water and marine ecologies as metaphors for exploring the unknown, whilst also alluding to abstract notions of homeland. Recent solo exhibitions include Child of Magohalmi and the Echoes of Creation, a co-commission with Art Night, London, YARAT Contemporary Art Space, Baku, Tramway, Glasgow (2019) and De La Warr Pavilion, Bexhill (2020). She has also staged performances at international galleries and festivals including Art Night London 2019, 58th Venice Biennale, Palais de Tokyo, Hayward Gallery, Serpentine Gallery, Block Universe and the Korean Cultural Centre UK.

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Artist - Maker - Jeweler

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50% of the proceeds from these will be donated indefinitely to a rotation of mutual aid funds. (the other 25% will cover material & labor costs, 25% for my own living costs). Check back here for receipts!

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Ada Chen, an artist and jeweler who is exploring the Chinese American/Asian American identity through her work.

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In 2007, the American art critic Jerry Saltz attempted to put Chris Ofili's practice into words:

'A good Ofili brings to mind Funkadelic album covers, William Blake, Zimbabwe rock painting, Sigmar Polke, Brazilian bead work, Op Art, carnival posters, Celestial Seasonings packages, Haitian voodoo figures, Australian aborigine 'dot paintings', and Post-Impressionistic Pointilism.'

The first black artist in history to be awarded the Turner Prize, Ofili was among the second wave of Young British Artists who broke onto the British art scene in the 1990s. Temporarily pigeonholed as the artist who once shocked the art world by using elephant dung in a painting titled The Holy Virgin Mary (1996), Ofili's practice has always merged the sacred with the profane, but is not merely 'sensational'. Dung is certainly not the defining feature of his practice. Rather he draws from a myriad of sources in both African, European and Trinidadian traditions, contemporary popular culture and art history.
The Weeping Magdalene
In 1998, Ofili painted No Woman, No Cry in tribute to Stephen Lawrence - the young black boy who was murdered by a group of white boys in 1993 while waiting for a bus in South East London. After the initial investigation, none of the culprits were arrested.

Taking its title from the 1974 Bob Marley song, the work highlighted the campaigning of Stephen's mother, Doreen Lawrence who fought to expose the Metropolitan Police's institutional racism. In Ofili's painting, she is portrayed as the weeping protagonist depicted in profile. Within each of Doreen's tears, there is a collaged image of her son. A barely visible inscription reads 'R.I.P. Stephen Lawrence 1974-1993'.

Drawing on Christian traditions of the weeping Virgin Mary in The Lamentation of Christ, or the weeping Mary Magdalene, Ofili commemorated Doreen by painting her on a dignified pedestal, one that powerfully alluded to her pain and grief, but also the injustice of Stephen's death.

In this compositionally similar sixteenth-century painting, the weeping Magdalen holds a jar of ointment once used to anoint Christ.
Zimbabwe cave paintings and Pointillism
In 1992, Ofili travelled to Zimbabwe on a British Council scholarship. While there, he visited the ancient Motapo Hills in the southwestern region of the country. The famous cave paintings found in this region are characterised by the application of thousands of tiny dots.

Speaking to Adrian Searle, he said: 'I imagined them painting this great wall of optical, shimmering dots to the rhythm of chants and drumbeats, all of which got condensed into each dot.'

Ofili's travels in Zimbabwe also led him to experiment with using elephant dung as an artistic material - one example is his 1993 Painting with Shit on It.

For Ofili, the material was a way to bring African landscape into painting, but also referred to the belief in some African societies that elephant dung is sacred.

According to the artist, the inclusion of elephant dung was about introducing a new physical and metaphorical dimension to his work: 'a feeling that they've come from the earth rather than simply being hung on a wall'.

The practice of using small dots at once connects to aboriginal methods of painting, but also early twentieth-century Post-Impressionist genre of Pointillism. Artists like Georges Seurat and Paul Signac devised this new technique whereby colours were separated into small dots.
Jazz, hip-hop and blaxploitation films
Ofili's practice has always investigated subjects pertaining to race, identity and the experience of being an artist of colour. He explores these themes by merging together 'low' forms of popular culture with European art historical conventions.

Popular black culture features prominently within his work - the traditions of blaxploitation films from the 1970s, the Civil Rights era, as well as the musical genres of jazz and hip-hop. In fact, Ofili once compared his collage-based work to the 'cut and paste' method of sampling found in hip-hop.

In 2000, he said: 'I always think of the work as coming out of hip-hop culture... look at things with no hierarchy... to bring something up out of the rubble that's pleasing to look at.'

Works such as this one allude to Ofili's interest in black comic strip stars. Luke Cage was a black superhero who first appeared in a comic in 1972 (and has recently featured in his own Marvel TV Netflix series). Parodying this genre and inventing his own black superhero, 'Captain Shit', Ofili created a tongue-in-cheek response to the popular portrayals of black masculinity found in both comic strips and blaxploitation films.
Post-modern painting
Ofili's work draws on the paintings and careers of many postwar and Postmodern artists, from Hans Hofmann to Jean-Michel Basquiat. His gestural yet abstracted style refers at once to Neo-Expressionism, post-modern assemblages and even Pop Art.

Artists like Georg Baselitz and Philip Guston are often credited for influencing Ofili, especially in the early years of his career. Bold experimentation with colour is what most clearly connects their practices.

To return to Jerry Saltz's assessment of Chris Ofili, what is clear is that the artist's practice is so multifaceted, so complex and so nuanced, that it is virtually impossible to define or categorise him.
Lydia Figes, Content Creator at Art UK

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Between art and popular culture: the myriad influences of Chris Ofili | Art UK

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In 2007, the American art critic Jerry Saltz attempted to put Chris Ofili's practice into words: 'A good Ofili brings to mind Funkadelic album covers, William Blake, Zimbabwe rock painting, Sigmar Polke, Brazilian bead work, Op Art, carnival posters, Celestial Seasonings packages, Haitian voodoo figures, Australian aborigine 'dot paintings', and Post-Impressionistic Pointilism.'

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Jimmie Durham was born in 1940 in the US.

In 1963 Durham's strong interest in the civil rights movement led him into performance, theatre and literature. Encouraged by the African American playwright and Pulitzer Prize winner Vivian Ayers, Durham held his first performance at the Arena Theatre in Houston in 1963. He also started to publish poetry in progressive magazines and alternative newspapers. After these first forays into the arts Durham enrolled at the University of Texas in Austin, where he exhibited his work in 1965. Hemoved to Geneva in 1969 and enrolled at the École nationale supérieure des beaux-arts, where he focused on performance and abstract sculpture.

In 1973 Durham moved back to the US and became a full-time organiser for the American Indian Movement and, a year later, a member of its Central Council. In 1974 Durham was appointed Executive Director of the newly established International Indian Treaty Council and moved to New York. From 1975 to 1980 he was co-editor of the Council's monthly newspaper, the Treaty Council News. He also served as the representative of Treaty Council at the United Nations.

In 1980 Durham left the American Indian Movement and the International Indian Treaty Council and returned to his artistic practice. In the early 1980s he was Director of the Foundation for the Community of Artists in New York and editor of its monthly publication, Art and Artists Newspaper (formerly Artworkers News).In 1983 he published a book of poems, Columbus Day, with West End Press. In an article in Art in America in 1993 the art critic Lucy Lippard wrote of Durham's work, '[T]hrough punning titles and contemporary details like discarded car parts, hardware, plastic toys, a police barrier or quotations from [post-colonial philosopher] Frantz Fanon, the sculptures break through the Western time frame that is supposed to confine them.' 1

In 1987 Durham moved to Cuernavaca, Mexico, where he lived with his partner, artist Maria Thereza Alves. Over the next few years he showed his work frequently in both solo exhibitions (including a travelling show at Exit Art, New York in 1989) and group exhibitions, such as documenta IX in Kassel in 1992 and the Whitney Biennial in New York in 1993. Durham's concerns about the rights of American Indians and colonialism remained an important aspect of his thinking and were reflected in his published writings, for example, in Artforum, Third Text, New Observations and Art Journal. In 1993 a compendium of his essays, A Certain Lack of Coherence, was published by Kala Press. A second volume of Durham's writings, Jimmie Durham: Waiting to be Interrupted. Selected Writings 1993-2012, was published by the Museum of Contemporary Art, Antwerp and Mousse Publishing in 2014.

Durham's practice incorporated a range of media and processes such as sculptural assemblage, painting, drawing, collage, printmaking, photography, video, performance and poetry. His art and writing in the 1980s and early 1990s sought to undermine mainstream imagery and narratives about Native Americans through ironic subversion. In essays such as 'The Ground Has Been Covered', published in Artforum in 1988, Durham argued that the oppression and misrepresentation of Native Americans was a fundamental reality of the US national project that needed to be challenged and undermined. Durham continued to use in his artworks whatever materials were near to hand and accessible, including stone, wood and animal bones and hides, alongside car parts, plastic and metal pipe, glass and other detritus of the modern world.

In 1994 Durham returned to Europe and remained there for the rest of his life, living and working in several different cities including Dublin, Rome and Berlin. In Europe his work often focused on the deconstruction of national identities and an analysis of the narratives, architecture and monuments relating to them. In a 2017 interview Durham described his approach to national identity in the following way:

I did leave home deliberately and have been accused of not being part of any Indian community, and that's certainly a correct accusation. I'm not, don't want to be. But I think when I came to Europe this time, in '94, I stopped being any special kind of human being ... I could never be any nationality, not of the Cherokee nation or any other nation ... These days, it sounds stupid to say I'm a citizen of the world. I don't think I am a citizen, I think I'm a homeless person in the world, and I like to be that way.2

Durham's work has been shown widely in Europe, as well as in numerous international exhibitions and biennials, such as the Gwangju Biennial in 2004, the Venice Biennale in 2001, 2003, 2005 and 2011, and documenta in Kassel in 1992 and 2012. In 2005 Durham co-curated, with Richard William Hill, The American West at Compton Verney in Warwickshire, an exhibition that challenged the myths arising from the European expansion across North America. There have been several large, monographic exhibitions of Durham's work, including From the West Pacific to the East Atlantic at the Musée d'art contemporaine, Marseille and GEM in The Hague in 2003, and Pierres rejetés at the Musée d'Art Moderne de la Ville de Paris in 2009. In 2012 MuHKA in Antwerp exhibited a career retrospective, A Matter of Life and Death and Singing. Further important solo exhibitions were staged at Portikus, Frankfurt (2010), at Neuer Berliner Kunstverein, Berlin and at the Serpentine Gallery, London (both 2015). Durham received the Goslarer Kaiserring, a major international prize for contemporary art, in 2016, and was awarded the 2017 Robert Rauschenberg Award. In 2017 Durham also had his first solo show in the United States for over two decades: the survey exhibition Jimmie Durham: At the Center of the World, which was organised by the Hammer Museum, Los Angeles and travelled to museums across North America.

Durham died in Berlin on 17 November 2021, aged 81.

Monika Bayer-Wermuth and Hannah Johnston
September 2018
Revised November 2021

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Artist page for Jimmie Durham (1940 - 2021)

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Talking Point

Explore what diaspora means through the work and thoughts of writers and artists with lived experience

What do we really mean when we use the words diaspora or diasporic? In this article, we will explore the origins of the term diaspora, its changing meanings over the course of time, the thinkers and writers who have contributed to thought around it and the artists who can help us begin to understand the many and varied aspects of it.

ORIGINS, SCATTERING

The origin of the term diaspora goes back to an Ancient Greek word, διασπείρω, meaning 'to scatter'. It is most widely used today to describe people who have migrated from one part of the world to another, or those who are descended from people who have.

Some of the most prominent and earliest usages of the word refer to historic groups such as the exile of Jewish people from the Kingdom of Judah (an Israelite Kingdom of the Southern Levant), the Athenians' ruin of Aegina and the expulsion of its people, those forced to migrate as a result of the Irish famine, Armenians fleeing genocide after World War I and the enslaved African people who were forcibly transported to the Americas and elsewhere as part of the transatlantic slave trade.

In recent years, the term has expanded exponentially and as Armenian-American scholar and pioneer of diaspora studies, Khachig Tölölyan wrote in 1991, 'the term that once described Jewish, Greek, and Armenian dispersion now shares meanings with a larger semantic domain that includes words like immigrant, expatriate, refugee, guestworker, exile community, overseas community, ethnic community.' Over time, the term and what it signifies for different groups and individuals has evolved meaning that now more than ever, diaspora is a complicated thing to break down or sum up. The diasporic experience of ancient times has been intercut with modern, complex positionalities around race, nation, religion, sex, gender, sexuality, politics, class, tradition and culture. What do we really mean when we use the words diaspora or diasporic?

This essay will take a series of artworks, mostly from the Tate collection, as starting points to explore the multifaceted nature of the diasporic experience. There are many threads which make up the rich tapestry of the diaspora and when using the term indiscriminately, we run the risk of obscuring some of the important aspects the term entails. Of course, the fact that it is such a complex thing means that attempts to pin down the meaning of the word to a singular definition would be reductive and as such, this article is not intended to be exhaustive, but rather to function as an introduction to the multi-layered and ever evolving nature of diaspora.

As discussed briefly in the first paragraph, some of the earliest recorded diasporic groups came as a result of exile, forced migration or those seeking refuge having been subjected to displacement. Lubaina Himid's work, Drowned Orchard: Secret Boatyard 2014 comprises sixteen paintings on long wooden planks, lined up vertically at increasing angles against the gallery wall. The artwork was partially inspired by her personal experience as a Black woman travelling in South Korea, where she was repeatedly asked by various members of the public, 'where are you  really  from?' when she gave her nationality as British. Himid has described her encounter with one person: 'I answered with a reply I've not had to use since the early 1980s in Britain - Zanzibar. This was all the woman needed, she seemed to want to know that I came from a place that Black people should come from.' (Lubaina Himid, email correspondence with Tate curator Laura Castagnini, 25 April 2018.) Water is central to the imagery painted onto the planks, with ships and boats displayed next to a painting of a jug of flowing water. The jug is something which Himid has used throughout her work in memorial to the Zong massacre of 1781 in which 133 enslaved African people were thrown overboard to drown. Maritime flags also feature with coded messages such as 'You should stop, I have something important to communicate' and 'Man overboard'. Bringing these images, symbols and codes together draws connections between the violence of the transatlantic slavery whilst also potentially referencing dangerous border crossings made out of desperation today.

Of course, the repercussions of forced relocation echo through the generations for diaspora communities and have relevance in a way that doesn't necessarily conform to a linear concept of time. The writer Saidiya Hartman has written about what she refers to as 'the afterlife of slavery' in order to describe 'the skewed life chances, limited access to health and education, premature death, incarceration, and impoverishment' which continue to disproportionately affect life for Black people. Through her texts such as Lose Your Mother: A Journey Along the Atlantic Slave Route, 2007, and  Wayward Lives, Beautiful Experiments: Intimate Histories of Social Upheaval, 2019, Hartman bridges the gaps and fills them in where archives of trans-Atlantic slavery are desperately lacking in the voices of enslaved women.

From Tarzan to Rambo: English Born 'Native' Considers her Relationship to the Constructed/Self Image and her Roots in Reconstruction is a photo-based work with acrylic, ball-point pen, crayon and felt-tip pen in which the artist, Sonia Boyce examines the effect of the historical dispersion of Black, African peoples across the globe through slavery and colonisation. The artist herself is the 'English born Native' mentioned in the title. The concept for the work developed out of a desire to put into dialogue, her own self-image as a Black person, and more specifically, as a Black woman, with the stereotypical image perpetuated by Old Hollywood and other predominantly white controlled media of Black people as brutes or clowns. The works also demonstrates how a sense of diaspora consciousness can be constituted both negatively and positively.

CONNECTIONS AND RECOLLECTIONS

The horrendous nature of many of these early examples of involuntary movement mean that diasporic consciousness holds for many communities, the pain of displacement or dispersal. However, through these shared experiences, diasporic communities often find solace in community. That may be within communities of the same faith or from the same country of origin, but also happens in groups from different diasporic communities, coming together and bonding through a shared diasporic sensibility. Collective memory, song, stories, faith and rituals are just some of the many ways that this sensibility is expressed, and solace is sought.

Nak Bejjen, meaning cow horn, is a photograph from Khadija Saye's series  Dwelling: in this space we breathe 2017. The series explores Saye's interest in and understanding of spirituality and the way in which trauma is embodied in the Black experience. The works were created in 2017 with the assistance of artist Almudena Romero, and depict Saye as the subject of a series of portraits in which she enacts invented rituals using sacred objects from her parents' country of origin, Gambia, whilst clothed in outfits belonging to her mother. Having been raised in a dual faith household with a Muslim father and Christian mother, Saye was conscious of the role which faith can play in determining identity. Saye discussed how significant religion often is for members of diasporas attempting to maintain connections to homes left behind. The work calls into question the rituals or objects that we turn to for solace in life's most challenging moments. The process of producing wet plate collodion tintypes is easily affected by elements outside the artist's control; in order to create the work, Saye surrendered herself to a higher power. In a disposable age, Saye's use of this photographic technique reminds us to dwell in the moment and foster our inner connections.

Ibrahim El-Salahi studied painting in Khartoum, Sudan, in the late 1940s before completing his studies in London. When he returned to Sudan in 1957 it was a newly independent country in the middle of a civil war. In the painting, Reborn Sounds of Childhood Dreams I, ghostly figures emerge and interweave. While the heads of the figures recall African masks, the artist has also suggested that the 'elongated, black-eyed, glittering facial shapes might represent the veils our mothers and grandmothers used to wear in public, or the faces of the drummers and tambourine players I had seen circling wildly during funeral ceremonies and chants in praise of  Allah ' (Ibrahim El-Salahi, 'The Artist in His Own Words', in Hassan 2013, p.84).

In this work El-Salahi, who frequently draws upon childhood memories and visions experienced during meditation, captures moments when memory and dreams, past and present collide. In his words, he seeks to 'register and describe what I perceive through the senses while remaining tightly bound to an elusive, indecipherable, metaphysical essence' (El-Salahi, 'The Artist in His Own Words', in Hassan 2013, p.89).

SYNCOPATED TEMPORALITY

In the last few works, we have seen examples of artists for whom time is not necessarily something linear. It is interesting to think about the idea of diaspora not just as a term to be neatly defined but as a phenomenon which can bring about a certain kind of diasporic consciousness through which members of diaspora communities can make sense of the world in which they find themselves.

Theorist and writer, Paul Gilroy has said that tradition in the context of diaspora, 'can be seen to be a process rather than an end and is used neither to identify a lost past nor to name a culture of compensation that would restore access to it. Here, too, it does not stand in opposition to modernity nor should it conjure up wholesome, pastoral images of Africa that can be contrasted with the corrosive, aphasic power of the post-slave history of the Americas and the extended Caribbean. Tradition can now become a way of conceptualizing the fragile communicative relationships across time and space that are the basis not of diaspora identities but of diaspora identifications. Reformulated thus, it points not to a common content for diaspora cultures but to evasive qualities that make inter-cultural, trans-national diaspora conversations between them possible.' (Gilroy 1993a:276)

In this way, it is arguable that we find the real meaning of diaspora in the acts of relation and networks of connected histories and this realm in which time moves in echos backwards and forwards.

Gilroy is one of the world's foremost theorists of race and racism and is a scholar and historian of the music of the Black Atlantic diaspora. He has described a particular 'diaspora temporality' which does not conform to western, modernist ideas of linear trajectories of progression and instead reveals a 'syncopated temporality-a different rhythm of living and being' (Gilroy 1993a:281). Gilroy cites Ralph Ellison: 'Invisibility, let me explain, gives one a slightly different sense of time, you're never quite on the beat. Sometimes you're ahead and sometimes behind. Instead of the swift and imperceptible flowing of time, you are aware of its nodes, those points where time stands still or from which it leaps ahead. And you slip into the breaks and look around'. (Gilroy 1993a:281)

One of the works Gilroy has extensively discussed which provides an example of 'diaspora temporality' is Handsworth Songs, 1986 by Black Audio Film Collective (John Akomfrah; Reece Auguiste; Edward George; Lina Gopaul; Avril Johnson; David Lawson and Trevor Mathison).

Handsworth Songs is a 59 minute long, richly layered documentary film representing the hopes and aspirations of Black British people in light of the civil unrest of the 1980s. The mention of Handsworth in the title, is a reference to an area of Birmingham where uprisings took place in September 1985. The film deploys a montage technique with a shifting narrative that attempts to poeticise certain moments. It functions as a kind of experimental visual essay with a complex mix of archive material, footage shot by the Black Audio Film Collective and sound designed by the Collective which draws upon dub, voice loops and electronics. It was first commissioned by Channel 4 but, in the relevance of its presentation of life for diasporic communities in the hostile political environment of the UK has endured and it was shown at Tate Modern in 2011 in the wake of the fatal shooting of Mark Duggan by police officers and again, at Lisson Gallery in 2020 after the death of George Floyd at the hands of US police officers.

John Akomfrah was one of the founders of the Black Audio Film Collective and in 1998, together with Lina Gopaul and David Lawson, his long-term producing partners, he co-founded Smoking Dogs Films. In 2012, they made the work The Unfinished Conversation, 2012, which looks at the multi-layered and ever-evolving subject of identity through an exploration of the memories and archives of the acclaimed cultural theorist and sociologist Stuart Hall. In his book, Familiar Stranger, Hall wrote:

The term diasporic both responds to, and goes beyond, the reductive boundaries of what has come to be known as 'identity politics'. Identities are in this process indeed reconstructed, transformed, problematized, pluralized, mobilized, set in antagonistic positions towards one another. The diasporic challenges the idea of whole, integral, traditionally unchanging cultural identities. No identities survive the diasporic process intact and unchanged, or maintain their connections with the past undisturbed.

Akomfrah has spoken widely about the great influence Stuart Hall had on him over the course of his career and the film was the result of more than three years of research and production with Akomfrah working closely with Hall. The film is narrated in a non-linear format and unfolds over three screens, bringing up a variety of disparate footage simultaneously. This process examines the nature of the visual as triggered across an individual's memory. Extracted images from news footage of the 1960s, alongside Hall's personal home videos and photographs, are presented to merge the past, present and future. Akomfrah weaves issues of cultural identity within the film using a poetic soundscape, overlaying archive footage of Hall with a soundtrack made up of jazz and gospel music and readings from a wide range of authors, including William Blake, Charles Dickens, Virginia Woolf, and Mervyn Peake.

In The Unfinished Conversation, Hall discusses his discovery of personal and ethnic identity. Born in Kingston, Jamaica into a middle-class family where he was the 'darkest' member, he quickly found that this had an immense effect on his upbringing in Jamaica. He arrived in Britain as a young man in 1951, graduated from Oxford University and went on to become one of the founding figures of British Cultural Studies and a strong voice on the journal New Left Review, alongside other intellectuals such as E.P. Thompson and Raymond Williams. Akomfrah's film, which focuses on Hall's formative years of the 1950s and 1960s, also encompasses wider international political changes, for example the Soviet invasion of Hungary, the Vietnam war, or uprisings in Britain. Akomfrah has explained that the use of different footage and multiple screens also portrays how identity is formed as part of a collision of history, culture, and politics. In The Unfinished Conversation identity is presented as a conjunction of the outside and the inside, where individual subjectivities are formed in both real and fictive spaces.

CONTRAPUNTAL AWARENESS

Many different theorists and writers have explored this concept of identity (diasporic or otherwise) as multi-layered and ever evolving. In 1990, Palestinian-American academic, political activist, and literary critic, Edward Said used the term 'contrapuntal' to reflect on a positive aspect of displacement from one's place of birth or ancestral origin: 'Seeing "the entire world as a foreign land" makes possible originality of vision. Most people are principally aware of one culture, one setting, one home; exiles are aware of at least two, and this plurality of vision gives rise to an awareness of simultaneous dimensions, an awareness that - to borrow a phrase from music - is contrapuntal.... For an exile, habits of life, expression or activity in the new environment inevitably occur against the memory of these things in another environment. Both the new and the old environments are vivid, actual, occurring together contrapuntally.'

In 1903, sociologist, historian and Pan-Africanist civil rights activist, W. E. B. Du Bois published The Souls of Black Folk in which he introduced what he described as 'double consciousness' to describe the experience of experienced of 'always looking at one's self through the eyes' of a racist, white society' and 'measuring oneself by the means of a nation that looked back in contempt'.

Working across painting, sculpture, film, photography and textile, Rene Matić's practice employs an often autobiographical take on the infinity possibility and scope of Blackness through their own personal experiences as a queer, Black womxn. Their work often explores the skinhead movement and its origins as a multicultural meeting of West Indian and white working-class culture. In this photograph, the artist is having the phrase, 'Born British, Die British' tattooed onto their back. This is a phrase which is often used to signify the fact that someone is announcing their investment in the idea of a right wing, white version of Britishness. The tattoo artist, Lal Hardy, has been tattooing punks and skinheads in Britain since 1979, the year that Thatcher became Prime Minister. Here, a 23 year old mixed-race, non-binary femme has their body indelibly marked by a white, middle-aged man with a powerful and controversial statement in an act of reclamation and subversion, reconciling the duality of their British identity with their identity as a member of the Black diaspora.

This diasporic reconciliation of cultures often involves more than two countries or languages. In Zineb Sedira's 2002 video work, Mother Tongue, the artist, her mother and her daughter try to exchange childhood memories in their native languages: French, Arabic and English. Sedira was born in Paris to Algerian parents, and moved to London to study art, where her daughter was born. The work reflects on storytelling as a way to preserve cultural identity across generations. It underscores the difficulty of maintaining a shared heritage across national and linguistic divides and the complexity of diasporic identity.

REMAINING, THRIVING

This large, almost two by four metre painting with collage elements depicts an imagined front room in which a relaxed domestic scene unfolds. The family photos, sideboard record player, doily arm rest cover and photo-collaged images on the walls reminiscent of the bold wallpaper often found in Afro-Caribbean households all hint at a living room belonging to a family which is part of the Black British Diaspora. The gathering includes people of a similar age to the grandchildren and great grandchildren of the Windrush generation (the migrants who arrived in Britain on the SS Windrush after 1948 from the Caribbean). The painting was the first in a series of new works commissioned by Art on the Underground for Brixton Station in south London. The artist spent time speaking to members of the local community, as well as archivists at the Black Cultural Archives and the Lambeth Archives. The collaged elements of the painting include archival images of local landmarks, as well as celebrated figures such as Jamaican born poet Linton Kwesi Johnson and community leader Olive Morris. The painting's hopeful title refers to the diasporic communities who, despite political and economic hardships, such as the news reports of the Windrush scandal unfolding on the living room television, have remained vital to Brixton's social fabric.

The construction of diasporic identity, indeed all identities, as the breadth of artists discussed here have shown, provides the opportunity for each person to build a 'self' which takes into account every thread of their human fibre; every nuance of their lived experiences, memories, aspirations and inherited histories work in tandem to form an individual. There is enormous power in that open-ended sense of agency over the self.

Research supported by Hyundai Tate Research Centre: Transnational in partnership with Hyundai Motor.

About AÏCHA MEHREZ

Aïcha Mehrez is a curator, writer and doctoral researcher with Tate and the University of Leicester. Her curatorial practice reflects upon ways in which curatorial methodologies centred in care can make museums and galleries spaces of collective healing and discussion where a spirit of kinship is fostered. Her PhD focusses on legacies of slavery and empire in the art museum. Most recently, she curated Sixty Years: The Unfinished Conversation at Tate Britain which looked at diasporic identity in Britain through the Tate collection.

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Understanding Diaspora Through Art | Tate

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Talking Point Explore what diaspora means through the work and thoughts of writers and artists with lived experience What do we really mean when we use the words diaspora or diasporic?

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The Art Newspaper - International art news and events

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Doron Langberg is one of a new generation of figurative painters making a big impact on the international art scene. Based in Brooklyn, Langberg makes paintings that reflect directly and emotionally on the world around him. He is best known for his tender paintings of queer eroticism: often tightly cropped views of friends in the act of having sex. But he hopes to capture what he describes as "a queer subjectivity" that permeates all his work, not just the intimate scenes of his life with his husband, but those picturing him with his siblings in his Israeli homeland. Those landscapes also reflect on the tragic recent death of his sister and "mourning and grief and loss in relationship to this idea of home", he says. But whether they depict figures, interiors or landscapes, his works make clear references to the history of painting, unapologetically quoting great works by Pierre Bonnard and Edvard Munch, among others.
The Art Newspaper: This is your first solo show in London. How conscious are you that it needs to be a manifesto for your work, or that it has to have a certain quality to it that defines what you do?
Doron Langberg: This is my third solo show. And I feel like, for the first time, this process really felt like the pieces are fully communicating with one another. And it feels like a body of work that is not just a collection of what I've done in the last year, but really a more coherent thought. So that was an exciting process to go through in the last year.
The paintings in the show are broad-ranging. They include landscapes, an image of your husband in the bath and very close-up sexual scenes. What do those distinctive characters bring to your work?
Throughout my practice, the sexual content has been a constant, maybe in the core of my practice, and something that, subject matter-wise, relates most to queerness. I think that as my practice grew, I really was thinking about how queer subjectivity can talk about different subject matter, how it could address family, address spaces like home, ideas about mortality, ideas about relationships, love. So, trying to bring very different subject matter together through maybe paint handling or colour, and have a sense of empathy through the touch of the work, that connects it all.

Friends 2 (2021) is one of Langberg's works which is so closely focused, with such as vivid palette, that it becomes abstracted © Doron Langberg; courtesy of the artist and Victoria Miro

They are really tender portraits: you looking at your husband in your bath in Bather (2021); the two of you in In My Lap (2021), a very gentle, lightly painted image.
The last painting of the show, which is the two of us together, is very lightly painted, like you said, and for years, I wanted to make a painting that feels so lightly touched. It came together in maybe two or three painting sessions. So for me, it was this revelation, almost like a gift, in the end of this painting process. The empathic relationship in the work really comes from my close relationship to the subject matter: so, obviously, with my husband or painting my home or my siblings, and I think it's this digging inwards that allows people to access these feelings that they also have. That's perhaps how it operates from a viewer perspective, or what I would project it does.
Do you equivocate that painterly touch to the touch of a body? Are you trying to caress the canvas in the way that you caress a body?
Absolutely. I think that the imprint of my body and having marks that are really fast, really broad, and marks that are smaller, or lightly touched, a variety of textures and gestures in the work, speak to my body and the process of making, like you're saying. And I think that brings the viewer so much closer to the process, having that so evident on the surface.
You're engaging with the history of painting and genre-the nude, the landscape, etc. You've said that it's not necessarily the imagery in your work that makes it radical or in some way political or social, but the context in which the work is shown or the political environment in which it is shown.
The politics of the work is really something that I've been thinking about for a long time, because I think that my initial impulse, loving people like Lucian Freud growing up, or Avigdor Arikha, is that personal connection, that the painting as an object serves as almost a conduit between the viewer and myself. When I approached to do that, even when I was a student and undergrad, these images were of queer relationships, queer sexual relationships. So the politics was almost presented as something that I had to grapple with in the aftermath of this very straightforward, painterly impulse of sharing something that's very intimate to me. It took me a long time to understand in terms of the queer politics, how it engages within the work, how it operates. What does it mean to make paintings that represent queer relationships, how a painting of my siblings could be part of a queer narrative or a conversation about queerness? So it's been really interesting to follow my desires and follow my impulses and see how the politics develops within the work.
You zoom in and out of focus within the body of the work. So there are finely painted elements, closely realised depictions of faces and parts of bodies and landscape. But then there are distinct moments in the canvas where it feels like abstraction. How do you achieve that push-and-pull, and is it a struggle?
I don't really see the work as having abstract components per se, it's more abstracted, so they're all part of a coherent idea of an image or a space, it's just that some parts are more realised than others. I think it just allows the viewers to move through the piece more freely and allows me to emphasise different elements that I feel are important for the emotional resonance of the work. And what I love about painting is there is such an excitement of letting something dissolve and then refinding it and have it be this fluid process that's communicated through paint.

Bather (2021) a painting of his husband, references the series of paintings by Pierre Bonnard of his wife, Marthe © Doron Langberg; Courtesy of the artist and Victoria Miro

Your painting Bather is a clear reference to Bonnard's great series of nudes in the bath. Why did you look at Bonnard?
This show [in London] in general states my references maybe more clearly: the Bonnard, of course; the big landscapes of my siblings to me resonate with Munch landscapes; the cypresses bring up Van Gogh. So I really wanted my personal art history to be on the surface in this show. And Bonnard I've been obsessed with since I was an undergrad. To me, the colour, the intimacy, the sense of the closeness of his figures to him as a person comes through so strongly in the work and that's something that I really desire in my own work.
Is there also something of a challenge in taking on a work like that? They're so strange, those nudes in the bath; the richness but also the variety of colours in those paintings is really remarkable. So tell us about grappling with that.
This is not the first time that I've quoted Bonnard directly, or tried to take his palette. I think what's masterful about him is that he really uses every colour in every painting and trying to balance this rainbow palette is really almost impossible-or was impossible for me. In [ Bather], the reference is less to the colour palette, it's more in the subject matter of the composition and it's almost directly relating to the Marthe bath paintings [Marthe was Bonnard's wife, who spent much of her time in the bath for hydrotherapy]. So in this one I wanted to combine my colour sensibility with something that is so clearly his.
You are addressing queerness in the work while also referencing an art-historical past that is dominated by heterosexual white men. Is there a direct idea of queering that history in addressing it?
To me, what's important is understanding the ways in which heterosexuality is tied to those works because I think that so much of it is taken for granted. If you think of so many artists-Degas, Picasso, Delacroix, Courbet or Ingres-the nature of their desire really dictates a lot of the choices that they make. And realising that as an artist, I'm thinking about how my desire leads me in different ways and insisting on a certain specificity, especially with the more explicit paintings in the show. I'm also thinking about them as having the power to represent and stand for the many things that straight desire has stood for over time. More than queering a certain canon, it's more understanding how desire in general operates within these paintings that we almost don't see.
Why are you a painter? Why do you feel that paint is the best vehicle for telling us about your world?
I started painting when I was six years old. So I feel like it was never an intellectual choice between this or that medium. But when I experienced painting-again, thinking about someone like Lucian Freud, or Arikha, [my] very early childhood experience of seeing them-it was such an impactful, powerful experience, I immediately knew that that's what I wanted to do. Painting has such an ability to communicate emotionally and empathically in a way that just resonated with me since I can remember. And I still have that relationship to painting: standing in front of a Velázquez is standing in front of a person, that's not standing in front of a painting. For an object to be able to do that and communicate the full complexity of what it means to be a person is just infinitely compelling to me.
There are arguments that, at the moment, there's an energy about painting that seems really powerful. Is that your perception, as a painter?
I feel like painting for me has always had that. When I graduated from grad school, which was maybe ten years ago, the dominant mode of working was more related to process-based abstraction. And that has definitely shifted a lot, obviously towards figuration. A lot of us were working figuratively, working in our own little pockets and isolation. I feel like now there have been so many connections drawn between my work and the works of my peers. And that, to me, is extremely exciting. But, as a painter, my relationship to painting has always been like that. So it's hard for me to see it from the outside, maybe.

Biography

Born: 1985 Yokneam Moshava, Israel

Lives: New York

Education: 2012 MFA, Yale University, New Haven, Connecticut 2010 BFA, University of Pennsylvania, Philadelphia, Key shows: 2021 Schwules Museum, Berlin; RISD Museum, Providence, Rhode Island; 2020 Public Art Fund, New York; LSU Museum of Art, Baton Rouge; 2019 BRIC, Brooklyn; 2018 George Segal Gallery, Montclair State University, New Jersey; 2017 Leslie Lohman Museum, New York; 2016 Green Gallery at Yale University; 2012 Museum of New Art, Detroit

Represented by: Victoria Miro, London

* Doron Langberg: Give Me Love, Victoria Miro, London, until 6 November; Any distance between us, RISD Museum, Providence, Rhode Island, until 13 March 2022; A Place for Me: Figurative Painting Now, Institute of Contemporary Art, Boston, 30 March- 5 September 2022

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'It's more than just queering the canon': artist Doron Langberg on his latest works

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As he opens his first solo show in London, the Israeli-born painter discusses his intimate, often explicit images of queer love, and his engagement with art history

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Artist Grayson Perry: “I Describe Myself as ‘Gender Rigid’”

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The Turner Prize winning artist hosted a talk at the Sarabande Foundation last night that shed light on his thoughts on gender what he values in a creative life

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'Fen Ma Liuming', Ma Liuming, 1993 | Tate

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'Fen Ma Liuming', Ma Liuming, 1993 on display at Tate Modern.

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Lynette Yiadom-Boakye is a British artist and writer acclaimed for her enigmatic portraits of fictitious people. This exhibition brings together around 70 works from 2003 to the present day in the most extensive survey of the artist's career to date.

The figures in Yiadom-Boakye's paintings are not real people - she creates them from found images and her own imagination. Both familiar and mysterious, they invite viewers to project their own interpretations, and raise important questions of identity and representation.

Often painted in spontaneous and instinctive bursts, her figures seem to exist outside of a specific time or place. Her paintings are coupled with poetic titles, such as Tie the Temptress to the Trojan 2016 and To Improvise a Mountain 2018. Writing is central to Yiadom-Boakye's artistic practice, as she has explained: 'I write about the things I can't paint and paint the things I can't write about.'

Yiadom-Boakye was awarded the prestigious Carnegie Prize in 2018 and was the 2012 recipient of the Pinchuk Foundation Future Generation Prize. She was shortlisted for the Turner Prize in 2013.
Exhibition organised by Tate Britain in collaboration with Moderna Museet, Stockholm, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, and Mudam Luxembourg - Musée d'Art Moderne Grand-Duc Jean. Lynette Yiadom-Boakye: Fly In League With The Night is supported by Denise Coates Foundation, with additional support from the Lynette Yiadom-Boakye Exhibition Supporters Circle, Tate Americas Foundation, Tate International Council and Tate Patrons

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Lynette Yiadom-Boakye is a British artist and writer acclaimed for her enigmatic portraits of fictitious people. This exhibition brings together around 70 works from 2003 to the present day in the most extensive survey of the artist's career to date. The figures in Yiadom-Boakye's paintings are not real people - she creates them from found images and her own imagination.

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Boyhood - International Trailer (Universal Pictures) HD

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Louise Bourgeois: Subversive Stitching – Roman Road Journal

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Louise Bourgeois, Arched Figure, 1999 (via Librarius)

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The quilts that made America quake: how Faith Ringgold fought the power with fabric

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The artist’s work has told stories ranging from memories of the Harlem renaissance to disputes with racist neighbours – and at 88, she’s still got plenty to say

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LORNA ROBERTSON

LOVE AND LONELINESS OF A YOUNG MOTHER, 2023

oil on canvas

280 x 200 cm
110 1/4 x 78 3/4 in

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November 2, 2023 - January 6, 2024

Michael Kohn Gallery is delighted to present a solo exhibition by London-based, Chinese artist Li Hei Di. In their debut exhibition with the gallery, Li's aqueous paintings embrace an intimate, counterpoint dance between desire and repression. Translucent, human appendages lurk just below the surface, coming into focus only after processing the atmospheric brushwork and lush colors of the natural phenomena floating above.

Growing up in a conservative family, Li's expression of their gender and sexuality remains a compelling thematic device in their works. The images Li paints are never fully figurative nor abstract; neither completely opaque nor entirely transparent. Instead, they embody a porous fluidity where marks on the canvas are made and then sacrificed into a new layer. Limbs and other figurative elements twist and construct themselves in loose, biomorphic forms, becoming unlikely, yet bold signifiers of the artist's erotic imagination. "The figures in my paintings are like ghosts, translucent beings, not solid humans," Li states in a recent interview.

Li draws inspiration from Tsui Hark's classic wuxia film Green Snake (1993), based on the ancient Chinese legend of a romance between a man and a spirit serpent. Identifying with the titular antagonist of the story, Li finds kinship in the film's reading of the Green Snake as a misunderstood outsider operating beyond the traditional heteronormative framework. The supple green and red textures of the film's frames, as seen in Unquenchable Laughter, Inescapable Desert, permeate Li's color palette and compositions, lending a raw and tender energy.

Li's works sit in conversation with the gender defying oeuvres of Virginia Woolf and Paul B. Preciado, as much as they do with the scale of the Abstract Expressionists or Miriam Cahn's vision of sexuality. To submerge into Li's ethereal, fantastical paintings is to encounter the radical dream of a world freed from rigid social, cultural, and sexual norms. As Li explains, "They are possibilities, not conclusions; they are forever in transition, but not in a hurry to become someone."

About the Artist
Born 1997, China
Lives and works in London, UK
Download full CV
Li Hei Di (b. 1997) was born in Shenyang, China and is currently based in London, UK. They received their MA in Painting from the Royal College of Art, and their BA(Hons) from Chelsea College of Arts, and the Maryland Institute College of Art. Li Hei Di's paintings capture desire, seduction, and flirtation in relation to sex, not solely the physical act but the ephemeral mating dance that occurs in its anticipation. Their work has been included in group exhibitions throughout the United States, United Kingdom, and China. Recent solo and group exhibitions include Tits at Dawn, LINSEED Projects, Shanghai, China (2022); Uncanny Valley, Gagosian, Hong Kong (2023); Oscillating Womb, Michael Kohn Gallery, Los Angeles, CA (2023) and 700 Nights of Winter, Pippy Houldsworth Gallery, London, UK (2024).

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November 2, 2023 - January 6, 2024 Michael Kohn Gallery is delighted to present a solo exhibition by London-based, Chinese artist Li Hei Di. In their debut exhibition with the gallery, Li's aqueous paintings embrace an intimate, counterpoint dance between desire and repression.

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Shifted from a derogatory slur, to a badge of honour, artists who identify their practices as ‘queer’ today call forth utopian and dystopian alternatives to the ordinary, adopt outlaw stances, embrace criminality and opacity, and forge unprecedented kinships, relationships, loves, and communities.

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David J. Getsy is Goldabelle McComb Finn Distinguished Professor of Art History at the School of the Art Institute of Chicago. His books include Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender, Scott Burton: Collected Writings on Art and Performance, and Rodin: Sex and the Making of Modern Sculpture.

Emily Roysdon is a New York and Stockholm-based artist and writer. Recent solo projects include new commissions from Secession, Vienna; Performance Room, Tate Modern, London; If I Can't Dance, Amsterdam; and The Kitchen, New York. Roysdon's work has been exhibited at the Museum of Modern Art, New York; the 2010 Whitney Biennial, New York; Greater New York at MoMA PS1; The Generational, New Museum, New York; Manifesta 8, Murcia, Spain; Museo Tamayo, Mexico City; Power Plant, Toronto; and Museo Nacional Centro de Arte Reina Sofia, Madrid.

In 2012 Roysdon was a finalist for the Future Generation Art Prize, exhibiting in Kiev and the Venice Biennale. Her work is in the public collection of the Museum of Modern Art, New York and Moderna Museet, Stockholm, among others. She completed the Whitney Museum Independent Study Program in 2001 and an Interdisciplinary MFA at UCLA in 2006, and is a Professor of Art at Konstfack in Stockholm, Sweden.

Prem Sahib was born in London in 1982. He lives and works in London.

Forthcoming and recent solo exhibitions include: Prem Sahib in collaboration with Celia Hempton, Southard Reid, London, UK (2016); Side On, ICA, London, END UP, Southard Reid, I am here but you've gone, curated by Milovan Farronato and Stella Bottai, (2015); performance and presentation of work made in Stromboli as part of Forget Amnesia curated by Milovan Farronato and Haroon Mirza, Fiorucci Trust, Italy, Tongues, Jhaveri Contemporary, Mumbai (2014). Night Flies, Southard Reid, London, Back Chat, Lorcan O'Neill Gallery, Rome (2013) and Home From Home, Arts & Jobs, London, He Looked Me Up, Marian Cramer Projects, Amsterdam, and FEEL UP in collaboration with Eddie Peake, Southard Reid, London (2012).

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Documents of Contemporary Art: Queer - Whitechapel Gallery

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David J. Getsy is Goldabelle McComb Finn Distinguished Professor of Art History at the School of the Art Institute of Chicago. His books include Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender, Scott Burton: Collected Writings on Art and Performance, and Rodin: Sex and the Making of Modern Sculpture.

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The New Canon: 7 Queer Painters Who Are Tapping into the History Books

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The New Canon: 7 Queer Painters Who Are Tapping into the History Books

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The New Canon: 7 Queer Painters Who Are Tapping into the History Books

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The queer painters taking the stage of contemporary art grew up in a very different world than their predecessors. A generation removed from the AIDS crisis, these artists came of age with relative freedom and security. Now, they are embracing the canon, looking far back into the history of figurati…

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Ever since Jaden Smith wore that Louis Vuitton skirt, I've read more articles about fashion's so-called "gender-fluid movement" than I can count. I've read listicles that proclaim gender-bending style as fashion's future, interviews in which designers proudly describe their binary-busting bona fides, op-eds pointing to gender fluidity as an antidote to toxic masculinity, as well as plenty of reviews playfully hailing the disruptive potential of men wearing this and women wearing that. Having read enough of these pieces, it would seem we are living in an unprecedented period of gender upheaval, a time when traditional expectations of what constitutes men's and women's dress are being blended, blurred, even reimagined altogether. Of course, this isn't entirely the case.
Read more: Laverne Cox Is British Vogue's First Trans Cover Star
What we now call gender-bending fashion has existed as long as there have been gender norms to bend - which is to say long, long before Jaden's 2016 moment. Yet, even if not necessarily new, something about today's fixation with fluidity feels different - at once more substantial and politically engaged. More than ever, the gender-bending we've grown accustomed to seeing on the runway is accompanied by a growing awareness of and sensitivity to the experiences of trans and gender non-conforming (trans&gnc) individuals - people for whom the bending of gender is not merely a style, but an identity.

In fact, I identify as such a person; more specifically, as non-binary and transfeminine, terms I've chosen to describe myself as someone who generally presents more femme, though prefers not to locate their selfhood in terms of the traditional male/female divide. Because fashion has always been one of the most useful tools for carving a space for myself to experiment with my identity, I've been thrilled to see more brands thinking critically, publicly, and creatively about their relationship to gender. But, as with any instance in which queerness is rendered to serve commercial purposes, I've wondered: What's at stake? And what might be gained for my community through mainstream fashion's involvement in the larger cultural "gender-fluid movement"?

To answer this question, I spoke to some of the most influential queer and trans&gnc folks in fashion, including Pierre Davis of No Sesso, Eden Loweth of Art School, Charles Jeffrey of Loverboy, model and activist Munroe Bergdorf, actor Ezra Miller, and model and actress Ava Grey. Through these conversations, the first thing that became clear was the need to distinguish gender-fluid fashion from what is often called gender-neutral, androgynous, or unisex fashion. Where the latter aims to disrupt established norms through dull, often billowing garments meant to transcend suits and skirts, the former strives toward the same goal by disentangling the normative association between skirts and women, suits and men.

As for the extent to which gender-fluid versus gender-neutral fashion benefits the trans&gnc community, there's really no competition. Gender-neutral fashion, even if well-intentioned, almost immediately wilts as a means of furthering a progressive gender politics. To collapse gender expression into a wash of baggy black jumpers inevitably overlooks trans people who wear skirts and suits to affirm their identities. As Ezra Miller tells me: "Gender itself is not our enemy and it will never really be over because it's a vital aspect of existence... but if you want it, we can see a world in which we are liberated from the bonds of it and nourished by the joys and beauty of it." The point, then, is not to act as if gender doesn't exist, but rather to reorient ourselves toward embracing the myriad and beautiful ways in which it does.

According to model and trans activist, Ava Grey, one way the gender-fluid movement in fashion could help our culture engage this necessary reorientation is through emboldening more trans&gnc representation. "When queer-identifying youth see queer representation on the runway and in media, we become symbols of hope for them," says Grey. "We show them lives that have been able to move past the constant bullying and negative statistics."

Echoing the appeal to the benefits of increased representation is Charles Jeffrey, designer of the fearlessly avant-garde label, Charles Jeffrey Loverboy. Jeffrey, who doesn't identify as trans himself, nevertheless brings to his work one of the most ruthless attitudes toward binary definitions of gender in current design. "I think the positives of a bigger global conversation about gender outweigh any negatives," he told me via email, adding: "From what I've seen in culture, in and outside of fashion, there's indisputably more diversity, inclusivity and also information about trans and gender-non-confirming people. It's real - real people, being able to give themselves their own platform to communicate their journeys."

But as Munroe Bergdorf points out, trans-inclusive casting is just the beginning. "What we need to be doing is making sure that fashion is as inclusive behind the scenes as it is in front of the camera or on the runway." According to Bergdorf (who recently founded GODDESS, an online platform geared toward community building among women, trans and non-binary folks, and people who are intersex) ensuring that the recent mainstream interest in gender fluidity outlives its trendy status requires an appreciation that "trans people are more than just trans and can be part of a team, can be part of a project without their transness being the focal point, or even an issue for other people".

Even while creating opportunities for greater representation, large companies' involvement in today's gender-fluid movement risks overshadowing the work of more authentic, more community-oriented labels. Art School's Eden Loweth goes so far as to contend that there are two gender-fluid movements: one constituted by the bandwagon-hopping large and small houses, and another composed of labels like their own, or Davis's No Sesso, brands that emerged from the trans&gnc community and involve them from the studio, to the runway, to the store.

For Loweth, gender-fluid fashion is anything but a trend. It's their work. It's also their life. It is about honoring and supporting their community, not, as they tell me, "monetizing something that is almost day-to-day hate for people like me on the streets. When I moved to London, trans women were a major force in my life that really protected me as quite a naïve young person living in a really big city," they add. "Having those women involved in the actual process of us doing fittings is so informative, because they all have their own requirements. Their bodies are changing almost daily if they're on hormone treatment, and that's the basis of where we started working out what we wanted to do."
Read more: "She Was Our Seer, Our Oracle, Our Liberator": Writer Kuchenga Pays Tribute To Toni Morrison
The effect of this authentic approach is clearest in the clothes, according to Munroe Bergdorf, who's walked for Art School and has joined the designers in advocating for a non-binary option on official British documentation. "It's more about the wearer and making sure that the clothing fits the body, not the body fits the clothes," she says of the label. "Usually a dress would be made on a body to fit a mannequin essentially. And that's why a lot of models look the same," Bergdorf explains. "But they've taken into consideration the differences of trans bodies."

It is this level of concern - not only for how the clothes look, but also for what they mean to a wearer - that often seems lost on brands from Zara to Thom Browne, companies whose forays into questions of gender expression and identity pierce no deeper than a collection of wearable picnic blankets, or runway shows that present gender fluidity as the stuff of the avant-garde rather than the everyday. "Are these brands donating to these communities that inspire their runways?" No Sesso's Pierre Davis asks, underscoring the opportunistic relationship between labels that benefit from the illusion of progressive politics without more robustly supporting the communities that influence their designs. "A lot of these big brands say that they're designing gender-friendly clothing, but the margin that's able to buy these pieces is just rich people," she continues.

And that's assuming these brands intend to sell their more gender fluid pieces at all. Of course, the runway has always been a place for experimentation, yet there's certainly something disingenuous when brands show collections that refute the binary before selling their clothes within the same divisive categories of men's and womenswear that they've used for years. "For brands that want to almost use gender as a way of being provocative or exciting and contemporary, they're not actually talking about the issues that matter," says Bergdorf. "They're taking the top line, which is trend, and not speaking about the realities, which is not fabulous all the time. It's not fashion all the time. It's survival."
Read more: Christy Turlington Burns On How To Become A (Quiet, But Devastatingly Effective) Activist
Bergdorf is right. According to Stonewall, more than four in five trans youth have endured verbal abuse; three in five have endured threatening behavior; and nearly 40 per cent have experienced physical assault. In many ways, to be trans in the world today is to live in danger and, understandably, in fear - a truth that strikes a sour note when told against the backdrop of a fashion industry that encourages pushing gendered boundaries without more robustly speaking out regarding the pervasive dangers associated with doing so. Indeed, one of the more concerning aspects of the fashion industry's involvement in the gender-fluid movement is its propensity for conflating expression and identity, erasing trans&gnc people who don't, or can't, express their authentic selves safely.

Mainstream fashion's involvement in today's gender-fluid movement has no doubt helped expand countless people's perception of how men and women can dress. It has even exposed the public to a fuller picture of the whole constellation of genders with which one might identify. But if it is to earn a fraction of the political potency it has already seemed to claim for itself, the industry must not only continue to employ and celebrate its trans&gnc members, but also make a more substantial investment in the lives - and not simply the looks - of the broader trans&gnc community. "This is not just fashion," says Pierre Davis. "This is a lifestyle and it needs to be taken seriously."
More from British Vogue:

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There's More At Stake With Fashion's Gender-Fluid Movement Than You Realise

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"The industry must make a more substantial investment in the lives - and not simply the looks - of the broader trans&gnc community," says Wren Sanders

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Long-Term Installation

Elizabeth A. Sackler Center for Feminist Art, 4th Floor

The Dinner Party, an important icon of 1970s feminist art and a milestone in twentieth-century art, is presented as the centerpiece around which the Elizabeth A. Sackler Center for Feminist Art is organized. The Dinner Party comprises a massive ceremonial banquet, arranged on a triangular table with a total of thirty-nine place settings, each commemorating an important woman from history. The settings consist of embroidered runners, gold chalices and utensils, and china-painted porcelain plates with raised central motifs that are based on vulvar and butterfly forms and rendered in styles appropriate to the individual women being honored. The names of another 999 women are inscribed in gold on the white tile floor below the triangular table. This permanent installation is enhanced by rotating Herstory Gallery exhibitions relating to the 1,038 women honored at the table.

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The Brooklyn Museum is an art museum located in the New York City borough of Brooklyn. At 560,000 square feet, the museum is New York City's second largest in physical size and holds an art collection with roughly 1.5 million works.

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Her defining breakthrough came in 1972 when she, Judy Chicago, and 21 of their students from the Feminist Art Program at the California Institute of the Arts created the installation Womanhouse.

Contained in an abandoned mansion, Womanhouse used icons of domestic work to explore the processes and history of gender construction, linking women's cultural heritage with progressive feminist expression.

In subsequent years, Schapiro developed this link into a visual language that sought to recover and elevate the work of women artisans of the past, employing decorative conventions found in quilting, embroidery, and appliqué. To describe her artworks, as well as the activities they reference, she used the term "femmage," a word she invented to suggest a continuity between high art collage and works created by anonymous women.

Since the 1990s, Schapiro's works incorporated figurative elements; the femininity alluded to in her abstract works became personified and emerged from within "femmaged" patterns as exuberant, dancing women.

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Her defining breakthrough came in 1972 when she, Judy Chicago, and 21 of their students from the Feminist Art Program at the California Institute of the Arts created the installation Womanhouse. Contained in an abandoned mansion, Womanhouse used icons of domestic work to explore the processes and history of gender construction, linking women's cultural heritage with progressive feminist expression.

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Caroline Walker, b.1982 is a Scottish artist based in London

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Works by Moyna Flannigan: Ariel, 2022 , Tear: Egyptian Blue, 2019 , Reel Time Women, 2021 , Quake (Rose Painting), 2020 , Past/Present, 2021 , Past/Present (Magenta Painting), 2021 , Marking Time (Grisaille) , 2022 , Shutter/Shatter, 2022 , Wangels (collage), 2021 , Quadrille , 2019 , Tear 45, 2018...

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Kara Walker: My Complement, My Enemy, My Oppressor, My Love

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My Complement, My Enemy, My Oppressor, My Love, the first full-scale American museum survey of the work of artist Kara Walker, features works ranging from her signature black cut-paper silhouettes to film animations to more than 100 works on paper.

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Migrants in Culture -  a migrant-led design agency

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Migrants in Culture -  a migrant-led design agency

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From 2018-2020, we ran public meetings, published National Findings and Testimonials on the impact of the Hostile Environment Policy on the Culture Sector, advocated for A Culture Sector Recovery for Migrants , campaigned against , aka the Brexit Festival, and developed learning spaces to connect the skills and strategies of migrant culture workers and migrant organisers, including Migrants Make Culture Activation Day .

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Evergreen Tower, Yeondoo Jung's photography

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Apparently, life style gets rather repetitive in Evergreen Tower. Modern Seoul city attracts all sorts of people from the whole country for many reasons.

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I, DANIEL BLAKE  - OFFICIAL UK TRAILER [HD]

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The Kiki Smith (b 1954) exhibition "Hearing You with My Eyes" at the Musée Cantonal des Beaux Arts (MCBA) focuses on the senses, in particular, sight, hearing and touch. The materials on display show Smith's full range of work, from a roomful of massive tapestries to papier-mâché sculptures, videos, works on paper, bronze sculptures and photographs. Two floors of the museum display almost 100 pieces. In describing the show in an MCBA video, Smith says: "it is about synesthesia, where you have an interconnection between different senses, and how our perception of things is much broader than we think they are and much more holistic and inclusive."

Kiki Smith, Congregation, 2014. Cotton Jacquard tapestry, Publisher: Magnolia Editions, Oakland/CA © Kiki Smith, courtesy Pace Gallery, Photo: Tom Barratt.

This interconnection between the senses can be seen in many of the pieces, notably, in the twelve tapestries spanning the walls in one gallery, dating from 2012 to 2015. Woven with shimmering threads and shades from the natural world, these were inspired by a visit Smith made to the Chateau d'Angers when she was 30 years old to see the Apocalypse Tapestry, which made a huge impact. Smith's tapestries were made at the Magnolia Editions in California using the jacquard weaving process. Smith initially drew the pieces in a 1:1 scale in layered collages. They were then digitally photographed and worked by hand and eventually woven into the tapestry.

The themes of the tapestries draw from the four elements; fire, water, earth and air, as well as the artist's time spent in the countryside, close to nature. Wolves, stars, the moon, women, birds, and plants populate the woven surfaces, intertwined together, exemplifying the concept of synesthesia. In "Congregation", crisscrossed lines flow out of the eyes of the bat, squirrel, deer and woman, linking the creatures together in the web of life.

Smith has been a prolific artist for over forty years. Born in Germany, Kiki Smith and family moved to New Jersey a year later in 1955. She grew up in the suburbs, riding her bicycle and enjoying the freedom to explore her surroundings. She attended Hartford Art School in Connecticut and then moved to New York City in 1976, joining an art collective called Collaborative Projects or "Colab". Prompted by her father's and sister's deaths in the 1980's, Smith began an ambitious investigation of mortality and the physicality of the human body. She also trained as an Emergency Medical Technician, deepening her knowledge of anatomy. For many years, the human body, its functions, fluids, and depictions, has been central to her work as well as a deep interest in nature and our relationship to it.

Kiki Smith, Exhibition view, "Brown Water" 1999, MCBA, October 2020. Photo credit: Kristen Knupp

The 247-piece tear-shaped "Brown Water" (1999) provides balance to the majesty of the tapestries. They pull us back to earth, and the corporal world. Smith has, throughout her artistic career, depicted the bodily fluids and secretions which flow out of us all, regardless of who we are. By using glass, which for Smith "is a metaphor of water and the sky", she turns a brown-coloured liquid akin to human waste into something beautiful. Mixed in with the brown tears are clear ones, illustrating the variety of the human experience by way of these glass drops.

Embodying this sensibility, as well as Smith's focus on the human body, is the sculpture "Untitled", 1992. Almost life-size, the figure is nearly featureless, enabling us to relate to it as a human being, regardless of gender. This blankness also draws our attention to the open cut in the chest cavity where colourful ribbons spill out onto the floor, symbolising the internal organs. Turning the inside out, and revealing parts of the body that are normally hidden, are themes that run through Smith's work. As such, she exposes people for what they are at the most basic level, an envelope containing parts that allow us to function.

Kiki Smith, Untitled, 1992. Graphite sur méthylcellulose et papier népalais teint à la main, 160 × 47 × 138 cm. D.Daskalopoulos Collection, Photo credit: Kristen Knupp

Continuing with the theme of the human experience, "My Blue Lake", 1995, is a photograph taken with a 360-degree camera that belonged to the British Museum in London. This photograph provides a total view of Smith's face and upper torso, as if the skin were cut off and flattened out or unfolded. Leaving no part or crevice unexplored, there is nothing hidden in this depiction. In a sense, it removes recognisable details of the person, as body parts are shifted into new locations, and the image becomes less human. Furthermore, the colouring and title of the photograph remind one that 60% of the human body is made of water, transforming the image into a topographical map, with the red hair anchoring it to the earth. It is a grounding image, reminding us of humanity with all of its imperfections.

Kiki Smith, "My Blue Lake", 1995. Photogravure et lithographie en 3 couleurs sur papier Arches En Tout Cas, 110,5 × 139,1 cm. Impression et edition: Universal Limited Art Editions, Bay Shore, New York. Courtesy Universal Limited Art Editions. Photo: Courtesy Universal Limited Art Editions, Bay Shore, New York

Another captivating room contains the sculpture, "Rapture", 2001, along with "Rogue Stars", 2012. The glistening figure in "Rapture" was based on the body of Smith's friend Genevieve Cadieux. The female figure is depicted stepping out of the body of a wolf lying supine on the floor, its gut cut open. Mythology and fairytales influenced Smith starting in the late 1990's. Stories such as Little Red Riding Hood, who was eaten by a wolf posing as her grandmother and saved by a hunter cutting open the wolf's body, are appropriated and re-written by Smith. In this version, a powerful and triumphant woman stands on the body of the wolf. She emerges from the carcass, unscathed by her interaction with the beast.

Exhibition view, Rapture, 2001, with Rogue Stars, 2012. Photo credit: Kristen Knupp

It also evokes the image of Botticelli's "Birth of Venus". However, whereas Venus is shown in a modest pose, covering her body with her hands and cloth, the figure in "Rapture" is fully nude, and in an open, strong stance. As Smith remarked: "Certainly part of what you do in art or in the space of art is demystify the world, which doesn't make the world any less inexplicable or magical or less meaningful, but just that you have access to it and have more experience of it." In fact, Smith made a sculpture titled "Daughter" of a girl with a wolf head and red cape, combining Little Red Riding Hood with the wolf, as well as drawings such as "Lying with the Wolf" in which a woman embraces the animal. "Rapture" can then also be interpreted as representing the symbiotic, interdependent relationship between humans and animals.

Kiki Smith, Rapture, 2001, bronze, 67-1/4″ x 62″ x 26-1/4″ (170.8 cm x 157.5 cm x 66.7 cm), Cast 1 of 3, © Kiki Smith, courtesy Pace Gallery, Photo: Richard-Max Tremblay.

"Moon on Crutches", 2002, represents aspects of feminist themes often found in Kiki Smith's work. As Smith has affirmed, feminism is "a human rights issue that people in the last century and this century are trying to address." The Moon, for Smith, represents femininity, and she has created many pieces showing the actual Moon on wooden structures, similar to those in this piece. In addition, "Woman on Pyre", 2001, depicted a female figure kneeling on stacks of wood, referencing those women burned at the stake for being "witches". In this piece, aluminum female figures are placed on pyre-like bronze constructions. The bodies are stiff and heavy-looking, resting precariously on seemingly unstable structures. They are nevertheless robust, able to withstand whatever is inflicted on them by outside forces.

Exhibition view, Moon on Crutches, 2002. Photo credit: Kristen Knupp

This exhibition brings Kiki Smith back to Switzerland, where her first solo show in Europe was held in Geneva, in 1990, at the Centre d'Art Contemporain. Following that show, she joined Pace Gallery in 1994. An exhibition of her work, titled "Light", is currently being shown at Pace Gallery in Geneva. The show has pieces ranging from aluminium, bronze, and wooden sculptures, to cyanotype prints and tapestries. The Pace Gallery display complements the MCBA show by extending the range of Smith's pieces one can see in the French-speaking part of Switzerland.

In the exhibition view below, one sees the light bouncing off and reflected from the surfaces of "Spiral Nebula", a work with a celestial theme. In the background, her cyanotypes capture rays of light on water. Made by etching marks onto plexiglas and layering them over light-sensitive paper, the result is dreamy, starry images. These pieces reflect the artist's interest in nature and our connection with it. Smith stated: "We are part of the natural world and our identity is completely attached to our relationship to our habitat and animals." Her work encourages us to contemplate where our place, as humans, is in the world. " Light " at Pace Gallery illustrates the multifaceted approach to creating that Smith has pursued throughout her career.

Kiki Smith, Installation view, Pace Gallery. "Spiral Nebula" with "Light of the World" cyanotypes in the background. Photo credit: Kristen Knupp

Both of these exhibitions allow us to understand the range and depth of Smith's creativity. While some pieces, such as the works on paper, have a homemade quality to them, others are precisely executed in material such as bronze or woven jacquard, drawing from historic traditions. All of them add to the complex mixture that makes up Smith's extensive body of work. From her focus on the human figure and feminist themes, to her more recent interest in the natural world and our place in it, these themes are fully explored in both shows. When asked about her upcoming projects in the MCBA video, Smith's ambitions are humble. She says she wants to make sculptures of ferns, and other plants. This is clearly a reachable goal, and underlines how important the natural world is to Smith at this moment in time. As she says: "Nature is everything, culture comes and goes."

Too view a video of Kiki Smith talking about her work and career from the Louisiana Channel click the link below. (Permission given by the Louisiana Museum of Modern Art).
https://www.youtube.com/watch?v=RLeanMwWSs8

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The Kiki Smith (b 1954) exhibition "Hearing You with My Eyes" at the Musée Cantonal des Beaux Arts (MCBA) focuses on the senses, in particular, sight, hearing and touch. The materials on display show Smith's full range of work, from a roomful of massive tapestries to papier-mâché sculptures, videos, works on paper, bronze sculptures and photographs.

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For more information
please contact:

James Cohan
New York

Kukje Gallery
Seoul

Southern & Partners London

Or, contact us.

CURRENTLY ON VIEW

October 21, 2023-April 28, 2024
BILL VIOLA. Sculptor of Time
Musée de La Boverie, Liège, Belgium

GROUP EXHIBITIONS
NORTH AMERICA

August 19-November 5, 2023
The Quintet of the Silent (2000), Art about Art: Contemporary Photographers Look at Old Master Paintings
Art on Hulfish-Princeton University Art Museum, New Jersey

EUROPE/UK

September 25, 2022-tbd 2027
Man of Sorrows (2001), Boijmans x KMSKA
Selections from Museum Boijmans Van Beuningen, Rotterdam on view at the reopened
KMSKA (Royal Museum of Fine Arts Antwerp), Belgium

ONGOING

The Night Journey (2007-2018), zkm_gameplay. the next level, ZKM | Center for Art and Media, Karlsruhe, Germany

The Raft (May 2004), Permanent Collection, National Museum of Contemporary Art Athens (EMΣT), Greece

Ocean Without a Shore (2007), Pennsylvania Academy of the Fine Arts (PAFA), Philadelphia, Pennsylvania

Ocean Without a Shore (2007), PLANTA - Sorigué, Balaguer (Lleida), Spain

The Silent Sea (2002), The State Hermitage Museum, Saint Petersburg, Russia

Tristan's Ascension (The Sound of a Mountain Under a Waterfall) (2005),
Man Searching for Immortality/Woman Searching for Eternity (2013), Stavanger Art Museum, Stavanger, Norway

Martyrs (Earth, Air, Fire, Water) (2014), and Mary (2016), Commissions for St Paul's Cathedral, London, UK

PAST EXHIBITIONS

NOW IN PREORDER
In 2004, the opera scene was taken by storm by the
ground-breaking production of Richard Wagner's opera
Tristan und Isolde in Los Angeles. This book offers a
behind-the-scenes look at how the visionary American
artist Bill Viola created four hours of video as a visual
complement to this profound psychological drama.
It also tells the story of its commissioning by the then
Paris Opera director Gerard Mortier, who pushed the
boundaries of what opera could be by inviting a trinity
of California-based creatives to re-imagine a
Tristan und Isolde for our times.

For more detailed information, view the book sheet.

Distributed for Mercatorfonds and available for preorder
through Yale University Press, Amazon,
Barnes & Noble and other book sellers.

The Night Journey (2007-2018), is a collaboration
between Bill Viola and USC Game Innovation Lab,
including award winning game designers Tracy
Fullerton,Todd Furmanski and Kurosh ValaNejad

The Night Journey is one of the first experimental art
games ever made. It uses both game and video
techniques to tell the universal story of an individuals
journey toward enlightenment.

2014 monograph by John G. Hanhardt, ed. Kira Perov

The Gerald Fox film, "Bill Viola: The Road to St Paul's"
Available on DVD through Arthaus Musik GmbH

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Welcome to the official BILL VIOLA website

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For more information please contact: James Cohan New York Kukje Gallery Seoul Southern & Partners London Or, contact us. CURRENTLY ON VIEW October 21, 2023-April 28, 2024 BILL VIOLA.

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애셔의 작업으로 가장 잘 알려진 것은 1979년 6월 9일부터 8월 5일까지, 시카고 미술관(Chicago Art Institute)에서 열렸던 제73회 미국 미술전의 설치 작업이다. 이 작업을 설명하기 위해서는 우선, 18세기 말, 프랑스의 조각가 장-앙투안 우동(Jean-Antoine Houdon, 1741~1828)이 만든 유명한 조각, 조지 워싱턴의 입상을 우선 소개해야 한다.

조지 워싱턴은 영국의 식민지였던 미국이 독립을 하는 데 지대한 공을 세운 장군이자, 미국의 초대 대통령으로 선출된 인물이다. 사실 워싱턴은 미국 역사에서만 중요한 게 아니라, 세계에서 최초로 국민의 손에 의해 선출된 지도자였다는 점에서 현대사에서 중요한 인물이다. 그가 대통령으로서 실패했다면, 아마도 사람들은 역시 왕이 절대 권력을 쥐고 있어야 나라가 제대로 돌아간다고 믿었을 지도 모른다. 그러나 초대 대통령으로서 워싱턴은 합리적이고도 책임감있게 임무를 수행했고, 두 번의 임기를 마친 다음에는 종신 집권을 원하는 많은 이들의 요구를 뿌리치고 스스로 자리에서 물러나서, 민주주의의 기틀을 세운 인물이다.

1784년, 미국 버지니아 의회에서는 조지 워싱턴의 대리석상을 만들기로 결정했다. 미국에서는 당연히 당대 최고의 조각가에게 임무를 맡기고자 했을 것. 그게 바로 프랑스의 장-앙투안 우동이었다. 당시 프랑스에서 미국으로 여행은 쉽지 않은 일이었다. 우동은 생명보험까지 들어주는 조건으로 미국에 초청되어, 워싱턴의 자택에 2주간 머물며 워싱턴을 면밀히 스케치하고 본을 떠서 마침내 대리석 조각을 만들었다. 완성작은 많은 미국인들의 사랑을 받아서, 우동의 대리석 원작을 청동으로 주조한 복제본이 미국 곳곳에 세워졌다. 그 중 한 점이 시카고 미술관의 건물 전면에 서있었다. 미국의 3대 박물관 중 하나로 손꼽히는 시카고 미술관의 웅장한 건물을 등지고 높은 대좌 위에 올라선 조지 워싱턴상(像)은 미술관을 드나드는 이들에게 미국의 독립과 민주주의의 상징으로 각인되었을 것이다.

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살수도 없고, 팔수도 없는 작품: 마이클 애셔

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마이클 애셔(Michael Asher 1943~2012)는 대표적인 개념미술가로 손꼽히지만, 솔직히 그는 "날로 먹는 미술가"다. 실제로 그가 새롭게 만들어 낸 작품은 별로 없고, 주로 전시의 현장에 있는 것들을 활용해서 환경을 바꾸고 그 변화를 통해 미술의 의미를 깨

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사진가 구본창이 ‘쓰다 만’ 비누조각 수백 개를 모은 이유 | 중앙일보

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‘사라져 가거나 희미해지는 것들은 언제나 내 시선을 붙들었다.’

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홍경한 | 미술평론가·월간 경향아티클 편집장

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[홍경한의 한국 현대미술 명장면](29) 문성식의 ‘늙은 아들과 더 늙은 엄마’

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작가 문성식의 연필 드로잉에는 존재하면서 부재한 것들과 낯설게 보지 않으면 노출되지 않는 것들, 세월 위에 터를 잡고 있던 기억의 잔상들이 부유한다. 그곳엔 삶이라는 각기 다…

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Damien Hirst, 1999-2005, Hymm, bronze, gold and silver sculpture

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An Oak Tree is a conceptual work of art created by Michael Craig-Martin in 1973

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프리즈가 주목한 작가 우한나가 그린 여성과 신체 - ANTIEGG 아트

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변화하고 움직이는 신체 그리고 노화의 자연스러움을 말하다 | 미술을 사랑하는 사람들이 한가득 모이는 축제의 현장. 그 한가운데 우한나 작가의 작품이 자리했습니다. 프리즈가 선정한 아티스트 어워드에 선정되며 또 한 번 주목받은 작가이죠.

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February 6 - May 3

On Kawara-Silence was an unprecedented survey of the artist's work atthe Guggenheim Museum in New York. The exhibition was curated by the Guggenheim's Senior Curator Jeffrey Weiss with Anne Wheeler.

Silence featured every type of work Kawara made over five decades, including painting, drawings, books, and recordings that examine chronological time as a measure of human existence. The artist is best known for the Today series, a body of work begun on January 4, 1966 in which he painted the numerical date of each day on that day, a practice he continued until his death. 150 of these "date" paintings were presented at the Guggenheim, starting with the very first work in the series. Also included in the exhibition were postcards from the I Got Up series, which Kawara would send to different individuals to declare the time at which he had arisen that day, telegrams from the I Am Still Alive series, maps that compose the I Went series, and lists of the names of people the artist met on a given day from the I Met series. In conjunction with the exhibition, the Guggenheim organized readings from One Million Years (Past and Future), Kawara's epic work consisting of 24 volumes listing dates one million years into the future and one million years into the past.

Silence was described in The New York Times as "an enthralling experience" and as "a moving and generous exhibition" in The Guardian . Kawara's date paintings reminded The Nation 's critic "of Donald Judd's praise, in his essay "Specific Objects," ... of an art that would embody an order that 'is not rationalistic and underlying but is simply order, like that of continuity ...'"

On Kawara-Silence was accompanied by a Guggenheim Museum publication edited by Jeffrey Weiss and Anne Wheeler. The volume is published with four differently colored covers reflecting those Kawara used in his date paintings.

November 17, 2018-March 10, 2019

A reading of On Kawara's epic One Million Years took place at Museum MACAN in Jakarta. On Kawara: One Million Years (Reading) was last performed during the first three months of the 57th Venice Biennale in 2017. Documenting the passage of chronological time, One Million Years is a monumental twenty-volume collection comprising One Million Years [Past], noting each year over an entire millenium from 998,031 BC, and One Million Years [Future], noting each year over an entire millenium through 1001997 AD. Together, these volumes make up 2,000,000 years. The first live recording of readings from One Million Years was made at David Zwirner in 2009.

"Mr. Kawara . . . assiduously avoided the art world spotlight, dedicating his creative life to measuring the passage of time," Roberta Smith wrote in a New York Times review of the artist's retrospective at the Solomon R. Guggenheim Museum in New York in 2015. "His tallying took the form of paintings of numerical dates made on the one they depicted; telegrams announcing that he was still alive; postcards recording the time he arose that morning (the I Got Up series), as well as sundry maps, calendars and lists-starting with ones detailing the people he encountered in a given day and culminating in three-ring notebooks enumerating hundreds of thousands of years, past and future."

Images: Installation view, On Kawara: One Million Years (Reading), Museum MACAN, Jakarta, 2018

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On Kawara - Artworks & Biography | David Zwirner

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February 6 - May 3 On Kawara-Silence was an unprecedented survey of the artist's work atthe Guggenheim Museum in New York. The exhibition was curated by the Guggenheim's Senior Curator Jeffrey Weiss with Anne Wheeler. Silence featured every type of work Kawara made over five decades, including painting, drawings, books, and recordings that examine chronological time as a measure of human existence.

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Michael Armitage's paintings weave multiple narratives that are drawn from historical and current news media, popular culture, and his own ongoing recollections of Kenya, his country of birth.

Living and working between London and Nairobi, Armitage paints with oil on Lubugo, a traditional bark cloth from Uganda, which is beaten over a period of days creating a natural material which when stretched taut has occasional holes and coarse indents. As noted by the artist, the use of Lubugo is at once an attempt to locate and destabilise the subject of his paintings.

Applying the paint in layers, Armitage scrapes, revises and repaints his compositions. The visual iconography of East Africa lies at the heart of his practice: its urban and rural landscape, colonial and modern vernacular architecture, advertising hoardings, lush vegetation and varied animal life. Undermining this rich colour palette and dream-like imagery, however, is a quiet exposition of Kenya's sometimes harsh reality: its politics, social inequalities, violence and extreme disparities in wealth. In turn, Armitage reflects on the more absurd aspects of the everyday, commenting on both society and the surrounding natural environment - evoked with a lyrical and phantasmagorical vision.

Armitage claims that 'Painting is a way of thinking through something, trying to understand an experience or an event a little better and trying to communicate something of the problem to others'. In the painting ' Hornbill' (21st - 24th September 2013) (2014), Armitage depicts one of the four terrorists who carried out the Westgate Shopping Mall attack, in which 67 people were killed including a group of children who were filming a cookery programme in the mall at the time. Armitage makes reference to this loss, by implanting the symbol of the Hornbill bird repeatedly across a tiled wall to the foreground of this armed figure; as according to West African myth Hornbills bury their dead in the beak of their bill.

In the painting Necklacing (2016), a naked man with a tyre around his neck is framed by two sutures or lines in the Lubugo surface, that run vertically either side of his body. A penetrating, haunting image, the idea for the painting surfaced from an event the artist witnessed as a child, in which a naked man with a tyre around his neck was being chased through the streets of Nairobi by a large mob. Necklacing is the name given to this type of unlawful mob justice enacted by gangs across Africa.

Inspired by the 2017 Kenyan General Elections, Armitage centred a series of eight paintings and ink drawings around his own experience at an opposition rally situated in Uhuru Park with a local press team. Amongst the crowds, the artist bears witness to politics at play as he recalls a number of carnivalesque revellers dressed up in outfits with wigs, masks and slings at the ready to rouse further attention. Those same characters were reported in the news running through teargas throwing stones at the police force that replied with live rounds, as further political rallies turned to protest and eventual violence.

As Catherine Lampert describes: 'His approach is synthetic but various in terms of composition; sometimes shapes flow, occasionally images are cut and pasted, he experiments with florid colour and sinuous line, and eventually the elements click into place....This instability exists in part because the stories that inform Armitage's paintings have been filtered by inherently unreliable voices.' Using a flattened perspective Armitage's figuration evolves into passages of pure abstraction, and then back again seamlessly within one painting creating works that are both romantic and synchronous, offering up various narrative threads, only to then unravel them like a resonant myth or legend.

Michael Armitage was born in 1984 in Nairobi, Kenya and lives and works between London and Nairobi. He received his BA in Fine Art from the Slade School of Fine Art, London (2007) and has a Postgraduate Diploma from the Royal Academy Schools, London (2010). In 2022, the Royal Academy of Arts, London, elected him a Royal Academician in the category of painting.

Armitage is the founder of the Nairobi Contemporary Art Institute, a non-profit platform established in 2021 and directed by Ayako Bertolli.

Solo exhibitions include: Kunsthaus Bregenz, Austria (2023); White Cube Bermondsey, London (2022); Kunsthalle Basel (2022); Calcografía Nacional, Real Academia de Bellas Artes de San Fernando, Madrid (2022); Ny Carlsberg Glyptotek, Copenhagen (2021); Royal Academy, London (2021); Haus der Kunst, Munich (2020); The Norval Foundation, Cape Town (2020); Projects 110, Studio Museum in collaboration and at MoMA, New York, Museum of Contemporary Art Sydney (2019); Fondazione Sandretto Re Rebaudengo, Turin (2019); South London Gallery (2017); Turner Contemporary, Margate, UK (2017); White Cube, Hong Kong (2017); Berkeley Art Museum and Pacific Film Archive, San Francisco (2016); White Cube, London (2015); and Royal Academy Schools Studios, London (2010).

Selected group exhibitions include: White Cube New York (2023); The Museum of Fine Arts, Houston (2023); Tate Modern, London (2023); Astrup Fearnley Museum of Modern Art, Oslo (2023); Zeitz MOCAA, Cape Town (2022); Galerie Rudolfinum, Prague (2022); Tate Britain (2022); Royal Academy Summer Exhibition, London (2022); The Drawing Center, New York (2022); British Art Show 9, UK (2021-2022); Palais de Tokyo, Paris (2021); Royal Academy Summer Exhibition, London (2021); Pallant House Gallery, Chichester, UK (2021); Diversity United, Flughafen Tempelhof, Berlin (2021); Drawing Biennial, Drawing Room, London (2021); The Warehouse, Dallas (2020); Whitechapel Gallery, London (2020); 58th Venice Biennale (2019); Nasher Museum of Art, Durham, North Carolina (2018); Prospect.4, New Orleans (2017); Scottish National Gallery of Modern Art, Edinburgh (2017); HOME, Manchester, UK (2016); Yuan Art Museum, Beijing (2015); 13th Biennale de Lyon, France (2015); Palazzo Capris, Turin, Italy (2015); South London Gallery (2014); and Drawing Room, London (2013).

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Michael Armitage's paintings weave narratives that are drawn from news media, internet gossip, and his own recollections of Kenya, his country of birth.

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1:1 스케일의 회화

Painting on a 1:1 scale, distinctive to the artist’s practice, Helene Appel conjures images that straddle the threshold between realism, sculpture and abstraction. She uses paints and painting techniques that allow her to closely emulate the specificities of each individual subject she paints: the materials she uses, such as oil, watercolour or encaustic, start to resemble the object itself, giving the painted object a physical and three-dimensional presence.

Appel depicts objects from everyday life. In her work we see the inherent aesthetic qualities of trees, seashores, fishing nets, loose folds of fabric; whilst being sure to never avoid the less pleasant details from domestic life, we may also encounter discarded vegetable peelings ready to be thrown onto the compost pile and kitchen sinks full to the brim of murky washing up water and detritus.

Through the process of painting, the artist activates the objects she portrays, empowering them with a sense of autonomy or agency. In this sense, Appel’s paintings can be understood more like portraiture where the objects depicted belong to their own non-anthropocentric world.

Helene Appel (b. 1976, Karlsruhe, Germany) lives and works in Berlin, Germany.

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쉬포르 쉬르파스 - 월간미술

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쉬포르 쉬르파스 Support-Surface(프) 1970년대에 프랑스에서 결성된 전위적 미술단체, …

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국립현대미술관 홈페이지

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Anicka Yi in "Bodies of Knowledge" - Season 11 | Art21

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The weather project • Artwork • Studio Olafur Eliasson

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Official website of Olafur Eliasson and his studio: The weather project • Artwork • Studio Olafur Eliasson

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45th Parallel, 2022Video (color, sound, 15 min.) and two painted backdropsFocusing on the Haskell Free Library and Opera House – a unique municipal site that straddles the jurisdictions of Canada and the United States – the work continually recasts the border as at once powerful yet facile, absurd yet lethal. Originally built in 1904, the Haskell building was designed as a symbol of unity between Canada and the US and is one of the only cross-border theatres in the world. Anyone can enter unchecked and, though a thick black line runs through the entire building, once inside the border all but disappears.Filmed on location to activate the legal and symbolic potential of the site, 45th Parallel unfolds as a monologue in five acts, performed by acclaimed filmmaker Mahdi Fleifel. The story centres on Hernández vs. Mesa, a judicial case covering the fatal shooting in 2010 of an unarmed fifteen-year-old Mexican national by a US Border Patrol agent. At the supreme court Mesa’s bullet, which crossed the US/Mexico border, began to implicate missiles fired in Yemen, Syria, Afghanistan, Pakistan, Iraq, Somalia and Libya. If this murder could be tried in the US, so too could 91,340 drone strikes.Each act of the monologue is demarcated by a scenographic change in the hand-painted backdrop on the Opera House stage. Starting with the original backdrop of a picturesque Venice canal, two newly commissioned scenes also form part of the installation at Spike Island. One references a 1920 painting by Richard Carline of an aerial view of Damascus and its surrounding landscape, and the other the concrete culvert of the 2010 El Paso-Juárez cross-border shooting. Highlighting how borders are not just lines but, rather, richly layered spaces, the changing backdrops draw attention to the film’s underlying questions about shifting perspectives and vantage points. Together the film and installation render the Haskell Free Library and Opera House as a political and geographical grey zone, reminding us how free movement, free knowledge and free space are constantly under threat.

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"In this time of uncertainty, we need more tolerance, compassion and trust for each other, since we all are one."Entitled ' The Law of the Journey ', Ai's exhibition is his largest to date, comprising of a series of works that trace his time spent in refugee camps - over 40 in total - over the past year. At the exhibition's center is a giant installation taking the form of a black, 230-feet long boat transporting 258 figures with no faces, representing refugees. The location is fraught with meaning, given the Czech Republic's rejection Running until January 7, 2018, the exhibition also includes the installations "Snake Ceiling", a tribute to over 5,000 children who were killed during the 2008 Sichuan earthquake, and "Laundromat", which features clothing collected from a refugee camp. "There's no refugee crisis, but only human crisis... In dealing with refugees we've lost our very basic values," says Ai. "In this time of uncertainty, we need more tolerance, compassion and trust for each other, since we all are one."

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Ai Weiwei's Colossal New Refugee Boat Installation - IGNANT

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"In this time of uncertainty, we need more tolerance, compassion and trust for each other, since we all are one."Entitled ' The Law of the Journey ', Ai's exhibition is his largest to date, comprising of a series of works that trace his time spent in refugee camps - over 40 in total - over the past year.

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In the decades following the Second World War, find out how artists explored a number of radical approaches to painting

In Italy in the late 1950s, Pinot Gallizio produced 'Industrial Paintings' on long rolls of canvas, questioning the idea of the painting as a unique object by using the technique of the production line. Other artists enlivened the process of painting with acts of symbolic violence. French artist Niki de Saint Phalle produced works by shooting at a canvas embedded with paint-filled balloons. Though such works were abstract and even playful, they seemed to reflect the memory and ongoing experience of war.

By the 1970s, artists were focusing on the physical structure of the painting. Sam Gilliam abandoned the wooden stretcher and draped his canvas over a hook, knowing that it would never fall in exactly the same way from one installation to the next. Richard Smith created a grid of aluminium poles that he used as the support for a green canvas sewn with various diagonal tapes. At first glance, the white canvas of Michael Buthe 's painting appears to have ripped to pieces, an impression carefully created by the artist who has painstakingly hung, tied and stitched it to the white-painted frame.
Curated by Mark Godfrey
The Doris & Donald Fisher Gallery

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Expanded Painting - Display at Tate Modern | Tate

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Find out about the radical approaches to painting explored by artists in the decades following the Second World War, in this Tate Modern display 'Expanded Painting'

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FOUNDRY SEOUL on Instagram: "#OnView
”이 장면들은 구전 설화나 잔혹 동화, 또는 환상소설 속에 자주 등장하는 마녀들의 불온한 호전성과 광기 어린 희열을 환기시킨다. 하지만 그림 하나하나에도 검고도 서늘한 빛, 불투명하고 이질적인 정동들이 점착되어 있다. 물귀신처럼 발목을 잡는 응시, 백야나 어둑한 저녁녘을 연상시키는 반사광, 이런 것들이 인물과 상황이라는 수면 아래 암류처럼 흐르면서 캔버스들 사이를 횡단한다. 윤미류의 이번 작업은 이렇게 으스스하고 언캐니한 여성적 주이상스가 휘감고 있다. 마크 피셔는 언캐니한 것으로서 으스스함이 “사람의 흔적이 부분적으로 사라진 풍경에서보다 쉽게 발견된다”고 했다. 때문에 그러한 언캐니함은 어떤 일이 벌어졌는지, 무엇이 사라졌으며 그것이 어떤 존재와 관련 있는지를 되묻게 만든다. 부재하는 사건, 유령 같은 존재, 오직 장면으로만 존재하는 서사가 달빛과 같은 ‘포토제닉’으로 떠오르는 그림들. 이런 사진적인 것은 우리를 이미지의 소비자가 아니라 탐정으로 부른다.“

”These scenes evoke the unnerving belligerence and manic glee of witches often depicted in folklore, grim fairy tales, and fantasy novels. However, each painting is punctuated by dark yet cold light, along with opaque and disparate emotions. There are gazes that hold us in place like water ghosts, light reflections reminiscent of white nights or dusky evenings. They move through the canvas like undercurrents beneath the surface of figures and situations. Yoon’s latest works are imbued with this eerie, uncanny feminine jouissance. Mark Fisher argued that the eerie as the uncanny is found “more readily in landscapes partially emptied of the human.” Therefore, such uncanniness leads us to ask what happened, what is no longer there, and what it has to do with existence. They are paintings in which absent episodes, ghostly beings, and narratives that exist only as scenes appear as the ‘photogenic’ that illuminates like moonlight. This photographic quality invites us to be detectives, not consumers of images.“

1. 𝘾𝙞𝙧𝙘𝙡𝙚 𝙛𝙤𝙧 𝙩𝙝𝙚 𝙉𝙚𝙬 𝙈𝙤𝙤𝙣, 2024
Oil on canvas, 259.1 × 387.8 cm

2. 𝙏𝙝𝙧𝙚𝙚 𝙛𝙤𝙧 𝙊𝙣𝙚 1, 2024
Oil on canvas, 193.9 × 259.1cm

3. 𝙏𝙝𝙧𝙚𝙚 𝙛𝙤𝙧 𝙊𝙣𝙚 2, 2024
Oil on canvas, 193.9 × 259.1cm

FOUNDRY SEOUL:
MIRYU YOON, 𝘿𝙤 𝙒𝙚𝙩𝙡𝙖𝙣𝙙𝙨 𝙎𝙘𝙖𝙧𝙚 𝙔𝙤𝙪?
23 AUG 2024 - 5 OCT 2024

Text by
Jinshil Lee (@thankumom)

Photo by
Kyung Roh (@rohspace)

#FOUNDRYSEOUL #파운드리서울 #윤미류 #miryuyoon #DoWetlandsScareYou?"

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322 likes, 1 comments - foundryseoul on September 1, 2024: "#OnView
”이 장면들은 구전 설화나 잔혹 동화, 또는 환상소설 속에 자주 등장하는 마녀들의 불온한 호전성과 광기 어린 희열을 환기시킨다. 하지만 그림 하나하나에도 검고도 서늘한 빛, 불투명하고 이질적인 정동들이 점착되어 있다. 물귀신처럼 발목을 잡는 응시, 백야나 어둑한 저녁녘을 연상시키는 반사광, 이런 것들이 인물과 상황이라는 수면 아래 암류처럼 흐르면서 캔버스들 사이를 횡단한다. 윤미류의 이번 작업은 이렇게 으스스하고 언캐니한 여성적 주이상스가 휘감고 있다. 마크 피셔는 언캐니한 것으로서 으스스함이 “사람의 흔적이 부분적으로 사라진 풍경에서보다 쉽게 발견된다”고 했다. 때문에 그러한 언캐니함은 어떤 일이 벌어졌는지, 무엇이 사라졌으며 그것이 어떤 존재와 관련 있는지를 되묻게 만든다. 부재하는 사건, 유령 같은 존재, 오직 장면으로만 존재하는 서사가 달빛과 같은 ‘포토제닉’으로 떠오르는 그림들. 이런 사진적인 것은 우리를 이미지의 소비자가 아니라 탐정으로 부른다.“

”These scenes evoke the unnerving belligerence and manic glee of witches often depicted in folklore, grim fairy tales, and fantasy novels. However, each painting is punctuated by dark yet cold light, along with opaque and disparate emotions. There are gazes that hold us in place like water ghosts, light reflections reminiscent of white nights or dusky evenings. They move through the canvas like undercurrents beneath the surface of figures and situations. Yoon’s latest works are imbued with this eerie, uncanny feminine jouissance. Mark Fisher argued that the eerie as the uncanny is found “more readily in landscapes partially emptied of the human.” Therefore, such uncanniness leads us to ask what happened, what is no longer there, and what it has to do with existence. They are paintings in which absent episodes, ghostly beings, and narratives that exist only as scenes appear as the ‘photogenic’ that illuminates like moonlight. This photographic quality invites us to be detectives, not consumers of images.“

1. 𝘾𝙞𝙧𝙘𝙡𝙚 𝙛𝙤𝙧 𝙩𝙝𝙚 𝙉𝙚𝙬 𝙈𝙤𝙤𝙣, 2024
Oil on canvas, 259.1 × 387.8 cm

2. 𝙏𝙝𝙧𝙚𝙚 𝙛𝙤𝙧 𝙊𝙣𝙚 1, 2024
Oil on canvas, 193.9 × 259.1cm

3. 𝙏𝙝𝙧𝙚𝙚 𝙛𝙤𝙧 𝙊𝙣𝙚 2, 2024
Oil on canvas, 193.9 × 259.1cm

FOUNDRY SEOUL:
MIRYU YOON, 𝘿𝙤 𝙒𝙚𝙩𝙡𝙖𝙣𝙙𝙨 𝙎𝙘𝙖𝙧𝙚 𝙔𝙤𝙪?
23 AUG 2024 - 5 OCT 2024

Text by
Jinshil Lee (@thankumom)

Photo by
Kyung Roh (@rohspace)

#FOUNDRYSEOUL #파운드리서울 #윤미류 #miryuyoon #DoWetlandsScareYou?". 

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Krzysztof Wodiczko collaborated with twelve refugees who have been resettled in the United States; their filmed likenesses and spoken narratives are superimposed on the historic 1881 monument to Admiral David Glasgow Farragut, lauded in his day as a Union naval hero during the Civil War.

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크지슈토프 보디츠코: 기구, 기념비, 프로젝션

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크지슈토프 보디츠코: 기구, 기념비, 프로젝션

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국립현대미술관 홈페이지

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Gabriel Kuri, Untitled (el pais (all except red)), 2025

adhesive label on newspaper

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Gabriel Kuri,

Untitled ("a 84"), 2007, turn stubs on vintage magazine page