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...
Virtuoso mark-maker that he is, be it with spray can, squeegee or brush, Tjalling de Vries is also the King of install. Paintings leant, paintings placed and spaces between are always considered. And, for the first time, the windows of Jonathan Smart Gallery have been specially painted for an exhibition.
The show is called Vision Tunnel, and behind the painterly fluoro yellow brush-marks, as broad and brick-like as the concrete blocks below, seeing is sharpened by the quiet yellow glow. The painted fields stop short of the glazed pane edges, though, and there's a trick. Cue the edges of the paintings in the show - often offset, wrapped by form, and always carefully conceived and executed with precision.
The tall painted panes of glass comprising the gallery's west wall are separated by thin metal mullions. Cue a new format for de Vries within - let's call them stick paintings for lack of a better term - the same height as the artist and just as thin. Crucially, they allow wonderfully playful description of forms around edge, that sometimes flatten right out despite the lack of significant surface area.
The technical facility exhibited by Tjalling de Vries is terrific. His trompe l'oeil crumpled paper look offers lightness and joy. The paintings are animated and playful. Acknowledging the physical context of the gallery, he extends the field of painting with almost sculptural breadth. His touch however is lyrical - the feeling serious but generous all at once.
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