I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...
The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
The city of Okayama was flattened by incendiary bombs in 1945. Many people died, more than 12,000 homes were destroyed and Okayama’s centuries-old wooden castle burned to its stone foundations. In 1966, the donjon was rebuilt with modern concrete, which was likely made in Mizushima — a smoke-spewing industrial site near Okayama that produced and refined the materials that helped pave over the physical scars of World War II.
Since then, a less tangible force began wiping out regional communities in Japan: depopulation and economic decline. The solution is equally intangible.
Ryan Gander's diverse practice includes sculpture, photography, print, design, film and installation, resulting in a unique portfolio of work best characterised by a love of storytelling through an ever-changing variety of materials and forms. Born in Chester in the northwest of England in 1976, Gander attended Manchester Metropolitan University where he studied interactive art: an art form that relies on the participation of its viewers. Upon graduating in 1999 with a first-class honours degree, he started work in a carpet shop in Chester until he travelled to Maastricht in the Netherlands to spend a year as a Post-Graduate Fine Art Research Participant at the Jan van Eyck Academie. He went on to take part in the artist residency programme of the Rijksakademie van beeldende kunsten in Amsterdam until 2004.
Drawing from his training as an interactive artist, Gander has frequently delivered his work as a tour of public lectures, such as the ongoing Loose Associations, which uses anecdotes to bring together otherwise disparate subjects. Gander also works with a team of technical specialists to produce more tangible works, his practice characterised by its exploration of wide spectrum of materials and techniques. In 2015, he told Ocula Magazine, 'Exhibitions that I make work off a sort of bouncing effect, moving from one medium to another, one tense to another. Mixing all devices and mechanics to make you unsure of where you are.'
Gander is a wheelchair user whose works sometimes speak to his experiences living with a long-term physical disability. A 2006 installation, Is this guilt in you too? (Cinema Verso), recreates a trip to the cinema that goes horribly wrong by trailing the confused visitor in circles as they search for a way to the screening. To create the disorienting effects, Gander filled a poorly lit gallery space at the old Whitechapel Library with illusions, obstacles and dead ends that trap the visitors. The work sheds light on some of the daily struggles for disabled people navigating our world and formed part of the Art Council's 'Adjustments' series that aimed 'to address transitional thinking on disability, equality and inclusion'. For his entry to the Venice Biennale in 2011, Gander produced The Artwork Nobody Knows, a miniature resin model of himself falling from a wheelchair as 'a self-portrait in the worst possible position'.
Gander teaches at several institutions including Goldsmiths, the Royal Academy of Arts and University of Huddersfield. As well as the Biennale of Sydney (2018) and the Venice Biennale (2011), Gander's work has been exhibited at the Shanghai Biennale (2012), dOCUMENTA (13) (2012) and Carnegie International (2008). Gander has had several solo exhibitions including The National Museum of Art, Osaka (2017); GALLERY HYUNDAI, Seoul, (2017); TARO NASU, Tokyo (2016); Singapore Tyler Print Institute (2015); Palais de Tokyo, Paris (2012); Solomon R Guggenheim Museum, New York (2010); The Stedelijk Museum Bureau, Amsterdam (2003); Museum moderner Kunst Stiftung Ludwig Wien, Vienna (2007) and CCA Wattis Institute for Contemporary Arts, San Francisco (2007). In the 2017 New Year Honours, Gander was appointed Office of the Order of the British Empire (OBE) for his services to contemporary art.
Pierre Huyghe is a multi-disciplinary artist who explores the semiotics of images, and the intersection of fiction and reality through film, sculpture and public interventions. Huyghe graduated from the École nationale supérieure des beaux-arts in 1985 and is renowned for his innovation of the 'post-production' technique in the 1990s, which involves the reproduction of art forms through pre-existing films and images from mass media.
Among Huyghe's most well-known work is L'Ellipse (1998), in which the artist fills the narrative gap of a jump-cut from Wim Wenders' film The American Friend (1977). Huyghe's revision stars Bruno Ganz, who also starred in the original film. In The Third Memory (2000), Huyghe blurs the line between fact and fiction by re-enacting a hold-up scene in a bank in Sidney Lumet's film Dog Day Afternoon (1975). In Huyghe's film, a protagonist playing bank robber John Wojtowicz expresses how Dog Day Afternoon influenced him instead of recounting the actual heist, thus confounding the viewer as to the actuality of the event.
Huyghe also regularly blurs fact and fiction in his public interventions and 'living systems'—environments in which he often incorporates live creatures such as insects, plants, animals and humans. A Forest of Lines (2008)—Huyghe's commission for the 2008 Biennale of Sydney—consisted of 1000 trees embedded in the Concert Hall of the Sydney Opera House. The installation erased the boundaries between the art and its spectators, allowing them to become the performers of the work.
Huyghe regularly collaborates with other artists, namely Philippe Parreno with whom he purchased the rights to a manga character called AnnLee in 1999. AnnLee has appeared in several of his works and those of other artists, including Parreno's 3D film Anywhere Out of the World (2000), which sees AnnLee declare her ambiguous existence as exempt from copyright restrictions, calling attention to the notion of authorship that is regularly explored throughout Huyghe's practice.
Huyghe's work has been presented in numerous solo exhibitions, including Streamside Day at Moderna Museet, Stockholm in 2005; Streamside Day + Streamside Day Follies at Dia Center for the Arts, New York in 2003; and No Ghost Just A Shell at Van Abbemuseum, Eindhoven in 2005, to name a few. In 2001 he received the Special Jury Prize of the 49th Venice Biennale, followed by the Solomon R Guggenheim Foundation's Hugo Boss Prize in 2002. Huyghe lives and works in Paris and New York.
Five large, freestanding LED panels fill the spaces of the Serpentine. Despite their technological nature, they look like temporary plaster walls and give the rooms a stripped appearance. Images scroll onscreen at high speed. In the darkened exhibition space, they have peculiar light and colors, cold and clear tones. Sounds can be heard, but like...
It was a telling coincidence that the opening of the tenth Liverpool Biennial, curated by Kitty Scott (a curator at the Art Gallery of Ontario) and Sally Tallant (Director of the Liverpool Biennial), timed with Donald Trump's state visit to the UK.
Cockatoo Island, a short ferry ride from Sydney’s Circular Quay, is the least likely place one would expect to be simultaneously cast and filmed for a motion picture set predominantly in Berkeley, California. But A-frame signage dotted around the abandoned shipyard informs visitors of their every move potentially being documented.
Ugo Rondinone: I ♥ John Giorno—the first major U.S. exhibition about the American poet, artist, activist and muse John Giorno—has opened simultaneously across 13 locations in New York City. I ♥ John Giorno is a work of art by Giorno's husband, the Swiss artist Ugo Rondinone. The exhibition is a celebration of the life and work of John...
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