Ongoing since 2012, the Real DMZ Project interrogates the demilitarised zone (DMZ) between North and South Korea through annual, research-based exhibitions that bring together the works of Korean and international artists. Sunjung Kim, the independent curator behind the project, conceived the idea of exploring the DMZ while curating Japanese artist...
The fifth edition of Sydney Contemporary will take place once again at Carriageworks between 12 and 15 September 2019, with Spring 1883 bringing together a cohort of 27 galleries from across Australia and the region to inhabit rooms at the Establishment Hotel from 11 to 14 September 2019, uniquely presenting contemporary works propped up on...
Mark Bradford walks through Mark Bradford: Los Angeles Mark Bradford: Los Angeles at the Long Museum West Bund in Shanghai (27 July–13 October 2019) is the artist's largest solo exhibition to date in China. In this video for Ocula, Bradford and Diana Nawi, curator of the show, walk through selected works that convey the artist's concerns with...
'The exhibition came together following Louise Bonnet's observation about the latent psychological tension in Gustav Klimt's The Kiss. "Don't look at the faces," she said. "Look at how the woman's toes are curled."'
Gagosian is pleased to present Domestic Horror, an exhibition organised by Bill Powers. On view will be works by Natalie Ball, Louise Bonnet, Ginny Casey, Genieve Figgis, Ewa Juszkiewicz, Tanya Merrill, Cheikh Ndiaye, Rene Ricard, Pauline Shaw, Lucien Smith (with Glenn O'Brien), Vaughn Spann, and Chloe Wise. Featuring several young and emerging artists, this exhibition includes many specially commissioned works.
Addressing the darker fears that arise when we encounter the unknown, Domestic Horror probes the friction between the civilised world and baser human impulses. The word 'domestic' contains a potent double meaning here, alluding to the unintended consequences that can occur–in private life and in a larger national and cultural life–where internalised anxieties meet external pressures.
Ndiaye and Spann confront the perils of political turmoil by disrupting familiar images of cultural stability: the office space of the state newspaper of Senegal, in shambles after an anti-government protest; an American flag, deconstructed and reassembled with a single ominous, looming star. Working with structures of concealment and visibility, Figgis and Juszkiewicz construct surreal, discomforting scenes of physical and societal suppression. Figgis's ghoulish, psychedelic painting of a well-dressed family mocks the ritual of aristocratic portraiture, while Juszkiewicz parodies Louis Léopold Boilly's Portrait of Madame Saint-Ange Chevrier in a Landscape (1807) by suffocating the titular subject with fabric and foliage wrapped tightly around her head.
As a subversive nod to the tradition of depicting dead game in academic still-life painting, Merrill's Cat with Eel and Snail (2019) instead imagines a moment in which the artist's subjects break free from a carefully composed tableau. Merrill reanimates the once lifeless forms of the cat, eel, and snail, allowing them to inflict their inherently violent tendencies upon one another. While Merrill's subject matter and muted colour palette constitute a sombre memento mori, her loose, erratic brushstrokes imbue the scene with a frenetic energy that is very much alive.
Rife with physiological drama, the fleshy, fabric-draped forms of Bonnet's Interior with Pink Blanket (2019) exaggerate the human body's contours to the limits of recognisability. Her eerie composition suggests that in everyday life only the thinnest veneer of propriety masks the grotesque from view.
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