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...
Flora Yukhnovich’s recent paintings use the language of the Rococo to examine notions of femininity, exploring its aesthetic expressions throughout art history and finding connections within contemporary popular culture.
Yukhnovich manipulates colour and form to explore the representation of the female form and the male gaze as well as the associations of the superficial, decorative and domestic present in the Rococo. As Yukhnovich states: 'I see a discrepancy between the aesthetic qualities we perceive to be feminine i.e. the beautiful, the submissive, the delicate, and my own experience of what it is to be a woman today'.
The paintings exist in a powerful state of flux as figuration gives way to abstraction and sensation, engaging with the visceral and the sublime through sensual and gestural mark-making. Harnessing the dynamism and eroticism inherent in the Rococo, Yukhnovich seeks to create active images which do not submit to the gaze but have the capacity to affect the viewer–paintings which are indicative of the legacy of the feminine but express the true agency and power of womanhood.
In Prendre son Pied (2017) Yukhnovich appropriates Jean-Honoré Fragonard’s The Swing (c.1767), abstracting and expanding its composition into a Rorschach-like triptych, its symmetry imbuing the whole with an underlying psychological tension. Fragonard’s playful but highly sexualised painting, often seen as representing the height of frivolity within the Rococo, is subverted and transformed into something more critical, the title alluding to a deeper physical experience. Likewise, in Tu vas me Faire Rougir (2017), Yukhnovich takes cues from Fragonard’s painting to create a highly charged vision, at its heart a pulsing tangle of painterly marks fluctuating between fleshy pinks and blushing reds.
Flora Yukhnovich (born 1990, UK) graduated from the City and Guilds of London Art School in 2017. Her first solo exhibition at Parafin, Sweet Spot, opened in February 2019. Recent group exhibitions include María Berrío, Caroline Walker, Flora Yukhnovich at Victoria Miro Gallery, London (2019), Telescope, curated by Nigel Cooke, at Jerwood Gallery, Hastings (2019), and Dialogues: New Paintings from London at GASK–the Gallery of the Central Bohemian Region (2018). Yukhnovich’s work is included in the Government Art Collection, UK, and the David Roberts Art Collection.
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