In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...
Diana Campbell Betancourt is a curator working predominantly across South and Southeast Asia. Since 2013 she has been the founding artistic director of the Samdani Art Foundation and chief curator of the Dhaka Art Summit in Dhaka, Bangladesh, a transnational art event that has grown in size and scale ever since its first edition in 2012. Backed by...
China, home to 802 million internet users, is subject to sophisticated online censorship. This shrouded state of affairs, unsurprisingly perhaps, serves to reinforce stereotypes around conformity elsewhere. Any realm, digital or otherwise, subject to such strict scrutiny must necessarily be bland and uncritical, right? I was mulling over such...
Marie Le Lievre's practice is a poetry both personal and universal - a layering of drawing into painting that is delicately and determinedly interwoven. Both disciplines, drawing and painting that is, require touch. Le Lievre's mode of painting involves pouring and paddling - a sensitivity to touch and viscosity - as medium is tipped and bled into oil paint creating lightness like lichen-creep across shimmering darkness.
Here in this new body of work, this signature filigree is often echoed by fine charcoal lines "scribbled" onto the oil paint. Drawing quite literally joins painting. And Le Lievre's hand very obviously inscribes and animates her painted fields. A sense of movement and fluidity pervade both forms of mark-making, so the paintings seem almost to speak with one mind.
In Char Stoked (Notes) for example, a rich Madonna-like blue is heavily rendered with variously angled and rubbed charcoal lines. The whole is then plugged with a resonant magenta. In High (Notes), a similar energy of line and tone is busy like a thought-bubble, and connected tentacle-like to the painterly field below - an area typically duck egg blue beneath sensuous shades of darker blues and blacks.
But in the majestic title work of the show, the colour sense is different and there is plenty of it. Rarely has Le Lievre attempted to bleed and merge so many layers of crimson, yellow, orange and greeny blue. As she herself would have it, "this really was easy hard"! And one wonders whether we'll ever see the likes of it again.
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