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| 'One Square Meter'- situation |
Showing posts with label sculpture. Show all posts
Showing posts with label sculpture. Show all posts
Friday, 3 January 2014
Photo Impression: 798 District, Beijing
Tuesday, 20 March 2012
Fine Arts: Ghada Amer, Valerie Blass, Wangechi Mutu at the MACM
...a refreshing experience...
After the very dissapointing Triennale Québécoise, I didn't have much faith in the Montreal Museum of Contemporary Art. I actually refrained from reviewing that last exhibit because I really wasn't impressed (but maybe there was something that I just didn't get, whatever). So today, I walked into the museum with zero expectations, and sure enough, I was pleasantly surprised!
Like always, there are two entrances, but I always head for the right side first, probably out of force of habit or out of western convention. I was then confronted by the brilliant installation/sculptures of Wangechi Mutu, namely the floor-to-ceiling glittery covering that encased a 'hidden' video room.
What I enjoyed about this first impression is that it sets a mood: the light is dim, the walls aren't completely white, there is faint music coming from the projection... Somehow, I didn't care too much about subject matter because I was more attracted to the visuals and their experiencial quality.
Next up, Ghada Amer. The bright light from the usual white walls feels a little stark and traditional, and from afar, her work looks like the usual ol' abstract paintings that we're all so accustomed to see in contemporary art museums, but she brings out a few surprises that set her apart from the norm.
For one, in each of her 'abstractions', there are detailed female figures under the many strings of colour that trap their bodies and hide them from our first impression. In fact, the viewer has to walk up close to the 'painting' in order to see them properly. I really admire this quality because I feel that it's telling us to 'look closer' and see beyond the lines, which is something that our fast-paced technology-driven society needs to remember again.
It's indeed pretty sexual and feminist and whatever. Once again, it's not the actual subject matter that interested me, but rather, the use of materials and how the viewer can interact with it. Amer works with fibers, and her 'paintings' are all embroidered! So those lines you see are not drawn, but sewn-in with thread. I guess that's the second surprise if anyone thought that it was just a regular ol' painting.
Finally, there were the sculptures of Valérie Blass. At first, I was a bit taken aback of the bland display and the awkward layout of the space... but the work itself was dynamic.
However, it really was the last room (or first if you start from the left side) that grabbed my attention. The sculptures, plainly, freaked the shit outta me...and I kind of didn't want to 'look closer' because they were oddly disturbing. It could be that they were human-scaled, so it felt that they had a lively presence. But after getting used to them, I was able to observe more carefully. She really wants her viewer to 'experience' the sculptures, so this was indeed very successful!
Conclusion
A very well curated show. Whether someone starts from the left or from the right, it doesn't make much a difference because they will both encounter an impressive first experience!
Ghada Amer, Valérie Blass and Wangechi Mutu are exhibited at the Musée d'Art Contemporain de Montréal from February 2nd to April 22nd 2012.
After the very dissapointing Triennale Québécoise, I didn't have much faith in the Montreal Museum of Contemporary Art. I actually refrained from reviewing that last exhibit because I really wasn't impressed (but maybe there was something that I just didn't get, whatever). So today, I walked into the museum with zero expectations, and sure enough, I was pleasantly surprised!
Like always, there are two entrances, but I always head for the right side first, probably out of force of habit or out of western convention. I was then confronted by the brilliant installation/sculptures of Wangechi Mutu, namely the floor-to-ceiling glittery covering that encased a 'hidden' video room.
What I enjoyed about this first impression is that it sets a mood: the light is dim, the walls aren't completely white, there is faint music coming from the projection... Somehow, I didn't care too much about subject matter because I was more attracted to the visuals and their experiencial quality.
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| Wangechi Mutu, Untitled. |
Next up, Ghada Amer. The bright light from the usual white walls feels a little stark and traditional, and from afar, her work looks like the usual ol' abstract paintings that we're all so accustomed to see in contemporary art museums, but she brings out a few surprises that set her apart from the norm.
For one, in each of her 'abstractions', there are detailed female figures under the many strings of colour that trap their bodies and hide them from our first impression. In fact, the viewer has to walk up close to the 'painting' in order to see them properly. I really admire this quality because I feel that it's telling us to 'look closer' and see beyond the lines, which is something that our fast-paced technology-driven society needs to remember again.
It's indeed pretty sexual and feminist and whatever. Once again, it's not the actual subject matter that interested me, but rather, the use of materials and how the viewer can interact with it. Amer works with fibers, and her 'paintings' are all embroidered! So those lines you see are not drawn, but sewn-in with thread. I guess that's the second surprise if anyone thought that it was just a regular ol' painting.
Finally, there were the sculptures of Valérie Blass. At first, I was a bit taken aback of the bland display and the awkward layout of the space... but the work itself was dynamic.
However, it really was the last room (or first if you start from the left side) that grabbed my attention. The sculptures, plainly, freaked the shit outta me...and I kind of didn't want to 'look closer' because they were oddly disturbing. It could be that they were human-scaled, so it felt that they had a lively presence. But after getting used to them, I was able to observe more carefully. She really wants her viewer to 'experience' the sculptures, so this was indeed very successful!
Conclusion
A very well curated show. Whether someone starts from the left or from the right, it doesn't make much a difference because they will both encounter an impressive first experience!
Ghada Amer, Valérie Blass and Wangechi Mutu are exhibited at the Musée d'Art Contemporain de Montréal from February 2nd to April 22nd 2012.
Sunday, 20 November 2011
Fine Arts: Leiko Ikemura at The National Museum of Modern Art, Tokyo
...figures in transient space...
Transfiguration, a retrospective by Japanese artist Leiko Ikemura, was exhibited at The National Museum of Modern Art (Tokyo). I went there on a whim, so I didn't know anything about this artist before.
The experience was normal. There were a few works that really stuck out, but I wasn't awed to the floor. I didn't think any of it was bad; I guess it just wasn't to my liking. Seeing art is a bit like falling in love; it strikes chords in your heart, usually inexplicable, and just draws you in. I didn't have that feeling this time, but I did appreciate her technical skill, along with her cohesive working theme.
Her paintings were of beautiful quality, in terms of materials. It was perhaps the subject matter that I simply didn't care about, but the paint itself was gorgeous. I stood for a long time, looking at Red Trees. I loved how she used jute instead of regular canvas; that raw feeling, soaked in that lush red, almost like pulsating blood, was indeed a sight to marvel at. It also felt strangely meditative, but this was perhaps due to the room it was located in.
That room also housed a series of her sculptures, these creepy busts of indistinct portraits. They stood behind a glass on the left side, and they were mirrored by writing on the opposite olive green wall. The text was all in Japanese, so I couldn't read it, but there was a translation on the furthest wall before leaving the room. It spoke about a tale that was later revealed as a dream. I must admit, with the serene yet creepy sound playing in the background, it was undeniably an interesting feeling. This was perhaps the most thought-provoking room of the exhibit.
I'm not a sculptor, so I can't really comment on them. But I thought it was pretty amazing to be able to paint and sculpt, while keeping their aethetics very similar. Ikemura's graps of these two disciplines really complimented eachother, and it seemed like her oeuvre worked best when they co-existed.
While searching for the images above (because we can never take photos inside the gallery!), I found these awesome drawings/watercolours that I'd like to share. They weren't exibited, but I'm sure if I saw them, I'd be drawn in.
Conclusion
The retrospective wasn't mind-blowing, but there were certainly pieces to marvel over. It was good to learn about a new artist, and see her progression throughout the years.
Tranfiguration by Leiko Ikemura was held at Tokyo's National Museum of Modern Art, from August 23rd to October 23rd, 2011.
Transfiguration, a retrospective by Japanese artist Leiko Ikemura, was exhibited at The National Museum of Modern Art (Tokyo). I went there on a whim, so I didn't know anything about this artist before.
The experience was normal. There were a few works that really stuck out, but I wasn't awed to the floor. I didn't think any of it was bad; I guess it just wasn't to my liking. Seeing art is a bit like falling in love; it strikes chords in your heart, usually inexplicable, and just draws you in. I didn't have that feeling this time, but I did appreciate her technical skill, along with her cohesive working theme.
Her paintings were of beautiful quality, in terms of materials. It was perhaps the subject matter that I simply didn't care about, but the paint itself was gorgeous. I stood for a long time, looking at Red Trees. I loved how she used jute instead of regular canvas; that raw feeling, soaked in that lush red, almost like pulsating blood, was indeed a sight to marvel at. It also felt strangely meditative, but this was perhaps due to the room it was located in.
That room also housed a series of her sculptures, these creepy busts of indistinct portraits. They stood behind a glass on the left side, and they were mirrored by writing on the opposite olive green wall. The text was all in Japanese, so I couldn't read it, but there was a translation on the furthest wall before leaving the room. It spoke about a tale that was later revealed as a dream. I must admit, with the serene yet creepy sound playing in the background, it was undeniably an interesting feeling. This was perhaps the most thought-provoking room of the exhibit.
I'm not a sculptor, so I can't really comment on them. But I thought it was pretty amazing to be able to paint and sculpt, while keeping their aethetics very similar. Ikemura's graps of these two disciplines really complimented eachother, and it seemed like her oeuvre worked best when they co-existed.
While searching for the images above (because we can never take photos inside the gallery!), I found these awesome drawings/watercolours that I'd like to share. They weren't exibited, but I'm sure if I saw them, I'd be drawn in.
Conclusion
The retrospective wasn't mind-blowing, but there were certainly pieces to marvel over. It was good to learn about a new artist, and see her progression throughout the years.
Tranfiguration by Leiko Ikemura was held at Tokyo's National Museum of Modern Art, from August 23rd to October 23rd, 2011.
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