Geometric patterns, anthropomorphic characters, architectural spatial environments, and relics of the ancient world appear throughout Jess Johnson's artworks.Johnson's solo art-ventures began in drawing, but her long-term collaborative relationship with animator Simon Ward brings her drawings to life in videos and virtual reality. The animator has...
Under the artistic direction of Folakunle Oshun, the second edition of the Lagos Biennial (26 October–23 November 2019) includes works by over 40 Lagos-based and international artists, architects, and collectives. Curated by architect Tosin Oshinowo, curator and producer Oyindamola Fakeye, and assistant curator of photography at the Art Institute...
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...
'My works are correlated with one another - they are ideations from previous works, continuously evolving. It's not just about the woman; a lot of it is about being human, sharing a space, and how we interact with each other.' —Pinaree Sanpitak
This September, STPI unveils a new body of work by Thai artist Pinaree Sanpitak in a solo presentation, Fragmented Bodies: The Personal and The Public, arising from Sanpitak's artist residency at STPI which began in May 2018. The works present themselves as a series of playful provocations that bridge a sustained exploration of print and paper techniques such as collagraphy, etching, monoprint and collage with new spatial and formal concerns. The 'breast-stupa' motif, for which Sanpitak is renowned, re-emerges in rich permutations and treatments, allowing reconsiderations of age-old symbols that have held both sacred and earthly significances across histories.
Taking on a range of new discursive forms in the exhibition, the breast-stupa is reoriented to elicit various responses, suggesting the openness of an alms bowl in one iteration and gender ambiguity in another. Resisting linear references to femininity, motherhood and religion, Sanpitak seeks to draw viewers into sensorial and affective relations with her work. The repetition of motifs on view is generative and expansive, locating wider, universal cultural referents that complicate narrow interpretations of deceptively familiar imagery.
Following its major debut at the Encounters section of Art Basel Hong Kong in March this year, the maze-like installation The Walls (2018-19) activates STPI's central gallery space in a new labyrinthine reconfiguration. The work's skin-like paper textures and light suspension imbue it with a porosity and bodily presence that threaten the regularity of the grid format, invoking an anthropomorphic quality and movement directly informed by the bodies of visitors weaving through it. The textured panels of the installation, along with other print and paper works on view, bring visitors into contemplative moments of proximity and connectivity.
Fragmented Bodies: The Personal and The Public suggests a constant negotiation and reconciliation between the self, cultural conditions and the environment, enabling contingency and fluidity to surface in the tracing of territories on both personal and planetary scales. Creating empathetic gestures in response to the vagaries of humanity and lived experiences, Sanpitak's work brings us into deeper engagement with the world we inhabit.
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