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...
Oscar Tuazon, Vena Contracta (2015) (detail). Courtesy Wallpaper*.
Who would have thought a story about an aqueduct could be so salacious? Riddled with corruption, intrigue and drama, the story of the first aqueduct in Los Angeles - completed in 1913 and led by William Mulholland - is well known, thanks to Roman Polanski's 1974 film Chinatown. Now it has piqued the interest of architect/artist Oscar Tuazon, who is revisiting the 233 mile-long pipe for an exhibition at the Hammer Museum.
Tuazon predominantly works with architectural techniques and materials, creating structures and spaces using building supplies such as steel, glass, and wood and a simple do-it-yourself approach. Tuazon's sculptures, built by hand, are often quasi-functional objects or models of other spaces. The construction process itself can often be seen as a performative part of the work, applying the techniques of Land Art and Minimalism in improvised collaborations with designers, engineers, and builders to produce large-scale installations and public projects.
He has shown his work extensively in the United States and Europe, including solo exhibitions at the Hammer Museum, Los Angeles (2016); Le Consortium, Dijon (2015); deCordova Sculpture Park and Museum, Lincoln, Massachusetts (2014); the Museum Ludwig, Cologne (2014); Museum Boijmans Van Beuningen, Rotterdam (2013); the Schinkel Pavillon, Berlin (2013); Kunsthalle Bern (2010) and Centre International d'Art et du Paysage, Vassivière (2009).
Tuazon's work has been featured in several important international group exhibitions, including in 2017, the Skulptur Projekte in Münster and Documenta 14 Athens. As well as the 5th Beaufort, Triennial of Contemporary Art by the Sea, Oostende, Belgium (2015); the 2012 Whitney Biennial, Whitney Museum of American Art, New York; and ILLUMInations, 54th Venice Biennale (2011).
He has been selected for several public commissions, among them: Un Pont, Nouveaux Commanditaires - Fondation de France, Belfort, France (2016) and People, Public Art Fund, Brooklyn Bridge Park, New York (2013).
In October 2017, FIAC gave him carte blanche to present an in-situ project on the prestigious Place Vendôme, Une colonne d'eau.
Michael Krebber is known for understated objects and an overstated reputation. My goal in visiting his latest exhibition was not only to scrutinize the paintings but also to experience a new arc in what has been a long and stimulating narrative of cultivated persona.
Strange Days: Memories of the Future is overwhelming: complex, at times annoying and confusing, repetitive, uplifting and baffling. Like life, really. Films and videos by 21 artists are spread over three floors of the Store X on London's Strand.
Art is more often a conversation than a monologue. Great and not-so-great artists have always wanted to surround themselves with paintings and objects that can speak to their own creative efforts. The most famous example of this desire perhaps is Henri Matisse, who as a young and struggling painter bought a small canvas by Paul Cézanne, Three...
There is something utterly majestic about block letters — even more so at a staggering height of 12 feet. Such is the case of the letters 'IM' in the painting "Invisible Man (after Ralph Ellison)" (2008) by Tim Rollins & K.O.S.
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