即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
There is something irrepressibly compelling about the lewd animated videos of Wong Ping. Is it their flat surfaces rendered in popping colours? Or their dark narratives that resonate with the deepest recesses of the human psyche? They have been included in an impressive repertoire of group exhibitions in recent years, including One Hand Clapping at...
Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...
David Griggs’ initial attraction to Manila was that it encompasses a painting culture in both urban and art practices. Perhaps the latter springs from one of the city’s ideas of development which involves “painting over things.” Facades of new establishments, built mostly on concrete, are given a paint finish. At the same time, to mend dilapidated constructions does not mean reconstructing their disintegrated parts but instead involves a decision on giving them a new slather of colour. Overall, Manila is a mural city mapping territories by the surface.
It is in the capital centre that Griggs adopted a more sophisticated, if not new, manner of painting. Drawing from the sensorial glut of Manila, Frat of the Obese uncovers Manila’s palette and unpicks its imagery and events. The seriality in the works informs the excess present in the metropolis, establishing an uncertainty as to whether this exorbitance is the city gorging itself or the city’s waste.
This new series allows neither room to be sparse nor a perspective linear enough to trace how each element harmonizes with another. As with the plywood that alludes to uneven, low-ceilinged spaces in Manila, one rather has to duck through them to realize each painting’s depth.
As much as the works from Frat of the Obese are founded on recurring images from Griggs’ atlas of the place in which he has situated himself to for the last two years, these icons merely form the axis which his language navigates. Painting for him operates more on the syntax of elements – blending incongruous emblems and slogans, making portraits while making a return to basic forms.
Siddhartha Pérez, 2011
We have sent you an email containing a link to reset your password. Simply click the link and enter your new password to complete this process.
Scan the QR Code via WeChat to follow Ocula's official account.