Pierre Huyghe is a producer of spectacular and memorable enigmas, with works that function more like mirages than as objects. Abyssal Plain (2015–ongoing), his contribution to the 2015 Istanbul Biennial, curated by Carolyn Christov-Bakargiev, was installed on the seabed of the Marmara Sea, some 20 metres below the surface of the water and close to...
In the early decades of its existence, New York's Museum of Modern Art (MoMA), founded in 1929, transformed from a philanthropic project modestly housed in a few rooms of the Heckscher Building on the corner of Fifth Avenue and 57th Street, to an alleged operating node in the United States' cultural struggle during the cold war, and one of the...
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...
Postmodernism gave birth to a new language, subverted our understanding of painting, expanded the original concept of 'painting' and extended it into the concept of the installation. Precisely what my work is about. My work is dedicated to breaking the rectangular frame of traditional painting, rectangles which once served as an intermediate, a window for a glimpse of the Flatland on the wall. Now we break away, perceive ourselves within the pictorial space, and explore the relationship between the nature of space and installation painting. We can´t understand these pieces without the space where they are exhibited.
These works study the chemical reaction caused by mixing gold foil and acrylic resin, resulting in works characterized by transparency, ductility and blue-green tone, which gives the result of abstract painting. They can be folded, rolled, wrinkled to adapt to their space or media, whether an exhibition hall, a studio or nature.
In a way, the traditional concept of 'painting' has been broken. Painting is dissolved, it opens itself from the walls and slides towards you, every perspective collapsed with the space and plays with the time. She expands herself in space, which opened a passage towards the painting, luring in the audience, inviting them to take part in the exhibit.
At the same time, the traditional concept of 'aesthetics' has been subverted. Beauty and micro-corrosion held a dialogue in this semi-transparent sea of plastic: painting, once resplendent and magnificent, has now become something else. Under the oxidation process, the gold oxide in the material produces the green and blue parts, unacceptable when making gold foil. Gold is flawless. As a beautiful material, we destruct it to make it ours, symbolic for metamorphosis.
Even so, my exploration has never stopped, because 'art' is not an answer but an idea. This kind of thought is rooted in tangible emotions and objects, and is materialized through dis-painting marks and thoughts. They have experienced a series of disintegration, fracture and restoration, becoming a new non-painting and growing in the contemporary environment, showing herself from life experience and memory.
'In the postmodernism we don't see painting, only the reproduction, or at least, a painting through the reproduction, in that way the painting and the reproduction are identified and they are similar virtually in the popular glance.'
—The end of the art. Donald Kuspit.
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