Awakenings: Art in Society in Asia 1960s–1990s, a major retrospective at Singapore's National Gallery (14 June–15 September 2019), opens emphatically in flames. At the exhibition's entrance, viewers encounter a wall-sized image from 1964 titled Burning Canvases Floating on the River. The photograph captures a performance by Lee Seung-taek, in which...
When the London-born artist Thomas J Price graduated with a Bachelor of Fine Arts from Chelsea College of Arts in 2004, the school's college art prize was by no means his most notable accomplishment as an emerging artist. In 2001, Price presented his much-talked-about work Licked, a daring performance, later profiled on the BBC 4 television...
Without punctuation, She Said Why Me, the title of May Fung's 1989 video presents itself as a statement, rather than a question. It suggests a subject who expects no response, a person prepared to make what she can from being chosen though perplexed by the attention. The video follows a blindfolded woman, then unmasked, through late colonial-era...
This book is published in conjunction with Erik Lindman’s exhibition Blanks held at Almine Rech Gallery Paris, from March 21st to April 20th, 2015.
Blanks, the title of Lindman’s exhibition at Almine Rech in Paris, evokes the kind of double play that is going on here. For the shape delimited in the painting by the buried imprint on that canvas copy of a metal sheet can be considered a blank in several senses of the term. Content-wise it is 'blank', in that it is an expansive passage of a single colour that does not form an easily discernable image, except the purely abstract, geometric one of the rectangle that it approximates rather than delineates, despite its origins in something taken from the world, already made. Indeed, that very act of appropriating a found object to generate a piece of shaped canvas can be considered a 'blanking' out of its meaning: the functional role it had in its original form as a sign. A gesture that Lindman rendered further abstract and distanced by cutting along a fold that had been made in the sign to make it easier to carry, a pragmatic act that, ironically perhaps, serendipitously generated an abstact shape determined by this object’s practical history of use , rather than by its original, intended purpose as a passive support for text.'
– Alexander Bacon
29 x 20.5 cm, 11.4 x 7.6 Inches
English / French
Edition of 1000
Almine Rech Gallery Editions
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