'A Picture of War is Not War', we read in Hito Steyerl's iconic film November (2004), an essayistic Super 8 film tackling the definition of terrorism constructed around the figure of the artist's best friend Andrea Wolf, who was killed as a terrorist in 1998 in Eastern Anatolia after she joined the PKK (Kurdistan Workers' Party). Mixing documentary...
There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
Jean-Baptiste Bernadet's references range across a broad spectrum of art historical precedents, from Monet, Vuillard and Munch in the past to Joe Bradley and Josh Smith in the present. Like his forebears in colour painting, Bernadet uses the ways that colours, and their interaction, both activate the senses and allow the viewer to reflect back on the nature of that sensory activation, something which we realize in conditioned by both us and the artist being products of a certain time and place.
'Colour is a difficult entity to identify, let alone control. While we can agree, for example, on something being blue-the sky, say-and on something else being green-the grass, say-even scientists cannot definitively conclude that this collective agreement signals that we all in fact perceive the exact same shade. This is borne out in the ways that colour is described, which is often via metaphors ans allusions. Those of us with regularly functioning sight know what grass looks like, regardless of scientific specificities, so to refer to green as the colour of grass is something that inherently makes sense, event if it is not empirically testable. For these same reasons it is hard to explain colour to a blind person who does not have these visual analogues at hand since, for the most part, it is a quality given almost entirely to sight, even if it is then also often intensely felt through the body's other faculties.'
–Alex Bacon, Jean-Baptiste Bernadet, Between Spectacle and Subversion
Essay by Alex Bacon, Interview by Anne Pontégnie.
88 pages + 16 page booklet
22.8 x 30.6 cm, 9 x 12 inches
Edition of 1000
Almine Rech Gallery Editions
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