An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...
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 |...
For the 2018 edition of Frieze London, Timothy Taylor is proud to present a series of new works by Eddie Martinez, characterised by Martinez’s return to large-scale figuration, following his 2017 exhibition, Cowboy Town at Timothy Taylor, London.
In these new paintings, transient forms are hard to pin down as they float in the picture plane or break down into abstract mark-making. Unfixed gestures intensify Martinez’s idiosyncratic line; moving from tennis ball to dinner plate to a figure’s head, with whiplash intensity. These components jostle for position, sometimes supported by a defining line across the bottom, perhaps suggesting the horizon, the edge of a frame, or maybe the edge of a dinner table; an underscoring of space.
Quotidian still-life detritus such as plants, dinner plates and fruits are juxtaposed with a more personal lexicon, masked heads, sunglasses and skulls, figures which have repeatedly cropped up in Martinez’s practice. These objects seem private and harder to reason with, projecting as part of an intimate belief system rendered in paint.
The paint boldly inhabits the surface in every way imaginable. Marks are made with slapstick application, impasto paint sits on a sunken thin wash, with the sputter of a sprayed line designating an amorphous shape or hastily filling it in. Overlapping planes of colour jut against a decisive silk-screened black line. These riotous gestures are rendered in Martinez’s colour palette, primary colours that appear cheerful, artificial, sometimes sludgy.
This peculiar dynamic explodes traditional ideas of what a still-life can be where traditional opulence is cut with the grime of urban life, giving Martinez’s work freedom from the orthodoxy of post-war American painting. Elements of Abstract and Neo-Expressionism are borrowed by Martinez, examined, employed and made resolutely his, distanced from the source by his characteristic gesture. These allusions are muddled with repetition and graffiti-like tags, marks which are highly personalised but also ubiquitous, giving a sense of comic-book familiarity.
The volatile mixture of materials and their paradoxical application retain the energy of the doodle in the speed of their visual immediacy; a directness which stems from Martinez’s personal challenge to link drawing and painting.
Eddie Martinez (b. 1977, USA) live and works in Brooklyn. He has gained international recognition for his extraordinary use of line and manipulation of colour, which he applies aggressively and in vividly contrasting combinations to his paintings and sculptures. He has been the subject of multiple solo exhibitions including Eddie Martinez: Studio Wall, Drawing Center, New York, NY, USA and Ants at a Picknic, Davis Museum at Wellesley College, Wellesley, MA, USA in 2017 and has been exhibited internationally at Kunstmuseum Bonn, Bonn, Germany; The Saatchi Gallery, London, UK; Garage Centre For Contemporary Culture, Moscow, Russia; Museo de la Cuidad de México, Mexico City, Mexico; and Deste Foundation Centre for Contemporary Art, Athens, Greece.
His forthcoming exhibition White Outs (14 November 2018–17 February 2019) at The Bronx Museum of the Arts, New York, NY, USA defines a significant point in Martinez’s career, where he explores absence by whiting out parts of the composition which would usually be represented by his decisive black line.
Martinez’s work features in private and public collections including Hiscox Collection, London, UK; The Saatchi Collection, London, UK; La Colección Júmex, Mexico City, Mexico; Abu Ghazaleh Collection, Jordan and The Marciano Collection, Los Angeles LA, USA.
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.