A visit to the Rachael Whiteread at the London Gagosian prompted a visit to the Paris equivalent. Steven Parrino at the Gagosian’s Paris space (just of the Champs Elysees) is a punky show with tugged canvas and modern abstraction making for an interesting cross section of work. Not everything is a winner but nonetheless Parrino’s work, (which is presented alongside European counterparts spanning two generations: John Armleder, Martin Barré, Daniel Buren, Simon Hantaï, Olivier Mosset, Michel Parmentier, and Niele Toroni) literally conveys a deconstruction of formal painting practices, and his piercing, ripping and twisting of the canvas makes for good viewing. The space itself is fabulous and entirely suitable to his work, polished grey and white marble adorn three floors which twist and turn ending with my favourite group of works – a serious of drawings and other mixed-media works on paper. Here you see where the strong shapes and block colours of his paintings come from, and the grouping of these particular works creates a nice little dialogue. Minimalism meets punk, this show is an excellent supplement to perhaps a visit to the Grand Palais or the Palais de Tokyo.
4 rue de Ponthieu
T. 33.1.75.00.05.92 F. 126.96.36.199.87.10
Hours: Tue-Sat 11-7
Open House Exhibitions is a continually expanding venture focusing on providing emerging artists, performers & collaborators with a platform for sharing their work. We provide opportunities for participatory art events with an emphasis on addressing the problems of living in the modern world by approaching them with creative solutions.
Are you an: artist / performer / musician / curator / venue or location ? Then we want to hear from you if you want to be involved in our collective!
Following the success of ‘To Be Confirmed’ at the Curios Duke Gallery last year, Open House Exhibitions is launching a new ‘event based’ exhibition celebrating and sharing different approaches to learning.
Our group of artists have recently finished exchange programs with art schools around the world, from Paris to Japan. Now we wish to bring our global experiences back to London and combine the work we have made into a dynamic and thought-provoking show, which promotes the sharing of ideas and importance of community.
This will be explored through visual arts, performance and collaborative practices which will be supplemented by opportunities for open discussions and platforms to share ideas prompted by the works in the show.
Venue / Dates TBC. Contact email@example.com for more info.
DETACHED, GAGOSIAN GALLERY
During my flying visit back to London I managed to get a chance to visit the Gagosian at Kings Cross before hopping back on the Eurostar.
The gallery space is magnificent, (as is to be expected from a gallery whose flyers are printed on mount-board) and the presentation of Henry Moore’s work last year brought home to me the pure vastness of the space where it encapsulated his usually outdoor sculptures with a splendiferous grandeur. However for me, Whiteread’s work and the Gagosian’s Britannia Street space were not a match made in heaven. The largest room contains her 3 shed castings, whose concrete colour was somewhat lost in the grey expanse of flooring. The catalogue photos (and interestingly the photos the Gagosian chooses to put on its website) are of the sheds situated in outdoor green spaces where I felt the pieces stood with much more poise. The overwhelming grey-ness in the gallery seemed to mask the details in the concrete and rather washed-out the works taking away from their ghost like form which does indeed beautifully suggest a disquieted trace of human existence.
The other works included castings of doors and windows in coloured pale resins. Watery greens and submersive rose hues bring a beautiful quietness to an object whose function has been removed. It is interesting to inspect the surface of each piece whilst constructing their age, material and time period through just the textures captured by the resin cast.
A tranquil exhibition which is well worth a visit, but perhaps could have worked well in a stately home type environment adding some contrast to the minimalistic nature of Whiteread’s work. Sometimes simple beauty works wonderfully on its own, other times the viewer needs to be reminded how beautiful the simplicity is.
GAGOSIAN GALLERY, BRITANNIA STREET, LONDON
APRIL 11 – MAY 25, 2013
‘Light Show’ at the Hayward Gallery, London
An interactive and dynamic exhibition, ‘Light Show’ at the Hayward Gallery is another winner following a truly outstanding run of shows. Anthony Mccall’s piece (fist image) consists of beamed curved light in a pitch back space with a smoke machine, making the light tunnel seem almost solid and when you stand inside, it appears as if you are shrouded in smokey walls and the rest of the audience are ghostly figures with their limbs and faces briefly appearing inside your tunnel.
Carlos Cruz-Diez’s Chromosaturation (second image) is divided into three coloured rooms and when immersed in the space you can only see in that colour, making everyone appear in different shades of green, blue or red. Each room has a slightly different mood as if everyone was subconsciously affected by the colour, the blue room felt cool and silent, whilst the red area was more upbeat and people were chatting and moving around.
Featuring over 20 artists ‘Light Show’ is a visual treat and a reminder of the importance and prevalence of artificial light. At times there are moments of serious reflection, Jenny Holzer’s LED circular text column displays words from official US Documents about the war on terror, and Iván Navarro’s mirrored phone-booth, puts the viewer under semi-involuntary surveillance and uses one-way mirrors that are also used in interrogation rooms. He grew up in Chile during the dictatorship of General Pinochet and Navarro draws much of his work from the regime’s systems of control and repression.
The grand finale is a truly spectacular feat from Olafur Eliasson, a row of fountains sit in a pitch black room, where strobe lights pound and create an illusion of the water flow being stopped in time. Minuscule droplets and edges of the water appear immobilised, and for a second you can see the frozen shapes of exquisite foundations.
Hayward Gallery, Southbank, London
‘Light Show’ ends 6th May (book tickets as this show is extremely popular!)
Eurostar Arrivals. Where is Mr Boodoo???
Ron Mueck, Fondation Cartier pour l’art contemporain, Paris
I first discovered Ron Mueck’s work at Belsay Hall in Northumbria a couple of years ago, and was instantly struck by the immense detail he puts into his hyper-real sculptures of figures and still life. By dint of that, this exhibition, presented by the ‘Fondation Cartier’ is an winner for all whether you have an interest in modern art or not. Just seeing his skilful mastery of the process will delight even the most reluctant of visitors.
A range of works are presented, with perhaps the highlight for me being the old couple under the umbrella. His larger works have more presence and the sheer scale of them means the viewer must navigate around the space to inspect all the little details, from the toenails, to the ear hair and the varicose viens. Although the people he depicts are all of very different stature they all possess a physical Mueck-esque quality with the facial features and postures often resembling his own, perhaps a product of the pain-staking hours he spends with each piece in his North-London studio.
Shown along side the exhibition is an hour long video of Mueck creating the works. Although mostly silent, it is extraordinarily interesting to start understanding the processes of Muek’s creations.
The ‘Fondation Cartier’ is worth a visit even if you don’t go inside due to the architectural design and indoor outdoor feel of the place. Great glass and steel limbs jut out into the landscaped surround, temporarily transporting you from Paris to a surrealist future where city and jungle are one.
Fondation Cartier pour l’art contemporain
261, Boulevard Raspail, 75014 Paris
Open every day, except Monday, from 11 a.m. to 8 p.m. (Tuesday until 10 p.m.)
Entrance fee: 9.50 euros / Reduced rate: 6.50 euros
(Photo: iPhone Screenshots)
As a quick follow up to the post below about how to play original Nintendo games on your iPhone, I thought I would also share a quick link on how to play the games on your laptop.
1. Go to www.coolrom.com
2. Click on the ‘Emulators’ tab and choose the option that you would like (Mac users clock ‘Macintosh’ and here you will find all Mac compatible platforms)
3. Download your chosen platform (and unzip if necessary)
4. Then click ‘Rom Files’ and select the correct platform, i.e. Gameboy Colour / Commodore 64 / Sega Dreamcast etc
5. And the games are listed by popularity, select the one you want, then click download on the next page
6. Now when you launch your download games files the will open up on your emulator (where you can change settings like screen size / tracking speed / sound options etc using the preferences tab)
N.B The ‘save’ feature works differently from the originals, usually you just need to select ‘freeze game state’ from the File menu