In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...
Diana Campbell Betancourt is a curator working predominantly across South and Southeast Asia. Since 2013 she has been the founding artistic director of the Samdani Art Foundation and chief curator of the Dhaka Art Summit in Dhaka, Bangladesh, a transnational art event that has grown in size and scale ever since its first edition in 2012. Backed by...
China, home to 802 million internet users, is subject to sophisticated online censorship. This shrouded state of affairs, unsurprisingly perhaps, serves to reinforce stereotypes around conformity elsewhere. Any realm, digital or otherwise, subject to such strict scrutiny must necessarily be bland and uncritical, right? I was mulling over such...
Timothy Taylor, London and Proyectos Monclova, Mexico City will be presenting a joint booth at Armory, highlighting converging interests, particularly through the joint representation of Gabriel de la Mora and Eduardo Terrazas. In addition to de la Mora and Terrazas, the booth will include works by Volker Hüller and Shezad Dawood (Timothy Taylor) and Martin Soto Climent and Julius Heinemann (Proyectos Monclova).
Each artist subverts traditional notions of painting and sculpture in striking ways. For the more ‘conventional painters’, Heinemann and Hüller, the experience of real, lived time manifests on the canvas, as they use painting materials found in their immediate world (in Hüller’s case, from his studio floor).
Similarly, De la Mora uses found materials and objects (including worn shoe soles, eggshells, matchboxes and old paintings), passing them through a process of pentimento that generates palimpsest works conveying the effects of the passage of time, natural elements and histories of use.
Both Dawood and Terrazas further explore our relationship to time, but conceptually. Their works move beyond our lived experience to pre-history and an imagined future, as well as alternative realities. Both of their methods employ traditional craft practices combined with digital technologies, juxtaposing the analogue and virtual through material exploration.
Terrazas’s beautifully woven works are ongoing investigations of form and color, exploring the infinite variety of possible geometric constructions. He uses the Huichol technique, consisting of wool yarn glued with Campeche wax onto a wooden surface.
In turn, Dawood sources and uses vintage textiles layered with painted imagery from his films. The layering of narratives creates a bridge between the past and the present, linking painting, animation, digital media and historical and speculative stories.
Soto Climent is known for his irreverent reverence of materials, including women’s clothing and domestic furnishings. However, his work is less about valorizing the overlooked and everyday than it is about transforming it. These transformations are marked as much by humour as by an understated sensuality and a gleeful perversity, bearing a decidedly Freudian tenor.
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