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...
Of all things that serve as inspiration for Gimblett’s painting practice is his search for the spiritual. I rarely understand what someone means when they say that they are a “spiritual person” but it is always been clear to me what Max means when he says this.
It is not Max’s ongoing spiritual and philosophical dialogue that offers the truth of his spirituality. Nor is it his inquiry into the nature of existence that his paintings and works on paper seem at first to be possible answers for. It is his total commitment to his art practice that proves everything he believes in is right and true in a single moment of freedom that he is allowed to experience per painting.
Take all the art, movies, and texts he has digested; take all of his travels throughout Europe, India, China, Japan, and the United States; take CG Jung, Joseph Campbell, Sri Nisargadatta Maharaj, Tessu the No Sword Warrior, Willem De Kooning, Hakuin, Clint Eastwood, Jack Dempsey, Sengai Gibbon, and countless other teachers he has been mentored by; Gimblett loads up a Chinese brush with all of this content and approaches a canvas.
As soon as that brush hits the picture plane all of the content is in abeyance. There is nothing but Gimblett’s relationship with the infinite.
One brief moment of truth.
When the gesture is complete and the brush leaves the painting, two assistants grab its sides and rest it flat on the floor, all of the knowledge and experience comes rushing back.
Gimblett successfully suspended his consciousness by way of a brushstroke so he could approach the unknown. I do not know of anyone else who can do this. It is a perfect melting of body, mind, and spirit which I find completely convincing.
Matt Jones, Artist, Brooklyn, New York City
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