Dasha by Urs Fischer

Read More  |  17.10.18  |  Article by Mazzy-Mae Green  |  Art, culture

Until 3rd November, Gagosian is presenting the installation “Dasha” – a larger-than-life-size paraffin and microcrystalline wax sculpture of the Czech-born beauty and friend of the artist Dagmar Kozelkova – known as Dasha, and the piece recalls the quixotic seduction of Fischer’s older works, showing that his representation of the female form still veers in perplexing and fascinating directions.

Urs Fischer's "DASHA" is on show at Gagosian until 3rd November.

Alicja Kwade – Tumbling Down the Rabbit Hole

Read More  |  9.10.18  |  Article by Mazzy-Mae Green  |  Art, culture

Polish artist Alicja Kwade doesn’t believe in what she sees, or what people tell her. Her sculptural works interrogate the physical and philosophical realities of the world, with steel tubes and ball-shaped minerals divulging the compression of time. According to her, her work starts where she stops understanding it.

Alicja Kwade's "Out of Ousia" is on view at the KUNSTHAL
CHARLOTTENBORG in Copenhagen until 17th February 2019.

Artist Rooms: Jenny Holzer

Read More  |  3.10.18  |  Article by Mazzy-Mae Green  |  Art, culture

American artist Jenny Holzer’s work has long been characterised by its political fervour. Her epigrams – as seen racing across neon signs, or printed on condom wrappers – are outspoken and accessible. “TALKING IS USED TO HIDE ONE’S INABILITY TO ACT,” reads one. “PROTECT ME FROM WHAT I WANT,” reads another. These textual pieces are projected onto buildings and printed onto baseball caps, meaning that they are presented in the most publically accessible places. Holzer’s ability to harness language in her work – and use it to evoke strong and potent emotion – has cemented her status as one of the most significant contemporary visual artists, winning the Gold Lion at the Venice Biennale in 1990, and the MOCA’s Distinguished Women in the Arts Award in 2010.

ARTIST ROOMS: Jenny Holzer is on view at the Tate Modern until 31st July 2019.

Louise Bourgeois — Seeing Red

Read More  |  28.06.18  |  Article by Lillian Wilkie  |  Art, culture  |  MM14

“Some of us are so obsessed with the past that we die of it. It is the attitude of the poet who never finds the lost heaven and it is really the situation of artists who work for a reason that nobody can quite grasp. They might want to reconstruct something of the past to exorcise it. It is that the past for certain people has such a hold and such a beauty…” — Louise Bourgeois

To coincide with an exhibition at Hauser & Wirth, Lillian Wilkie explores LOUISE BOURGEOIS' Red Sky series.

Image: Page from Modern Matter issue 14, The Mother Issue.
|  MM14 Click to buy

When I Get Hold of an Idea, It Becomes My Reason to Live

Read More  |  28.06.18  |  Article by Olu Odukoya  |  Art, culture, interview  |  MM14

“I would say that I use the names as a tool, or as a shield. So I don’t take on that persona: it isn’t really about my reinventing myself, like The Great Gatsby or something, so that I become Spartacus Chetwynd. It might be like that for some people who use a pseudonym, or it might look like that from the outside; but to me, from the inside, it’s more like an incantation, or a spell. Or it’s like a weapon, or a coping mechanism.”

Born Alalia Chetwynd, the artist formerly known as Spartacus — and then latterly as Marvin Gaye — has chosen a new name: MONSTER CHETWYND.

Image by Olu Odukoya.
|  MM14 Click to buy

I Want to Do as I like; Invent My Own Interests

Read More  |  28.06.18  |  Article by Bruce Hooton  |  Art, culture, interview  |  MM14

“I am not interested in the kind of expression that you have when you paint a painting with brush strokes. It’s all right, but it’s already done and I want to do something new.”

This interview with DONALD JUDD is extracted from a longer oral history, first conducted for the Archives of American Art at the Smithsonian in 1965, by the late Bruce Hooton.

Image: Donald Judd, untitled, 1963.

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The Camera Itself Has This Beautiful, Realistic Structure

Read More  |  28.06.18  |  Article by Michele Robecchi  |  Art, culture, interview  |  MM13

“The idea then evolved into something else – to make a sequence of images that would simultaneously include both the front and the back. It all happened by chance. And then I started to work out the concept more precisely, and to apply it to other subjects — photographs of aeroplanes, portraits, and the kind of images that normally show up in vintage newspapers.”

Marking his major 2017 show at The Whitechapel Gallery, the German titan-icon of photography THOMAS RUFF talks eBay, photographing space, and the Bechers.

Image: Porträt (P. Lappat), 1987.

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The Werewolf, in My Mind, Is the Most Humanlike Monster

Read More  |  28.06.18  |  Article by Philippa Snow  |  Art, culture, interview  |  MM13

“Then I started thinking, what would be the one object that would contrast with them the most? So I thought about a body part. Actually, I thought about a head, which I thought would be powerful enough, and would contrast with the coldness of the structure.”

The Canadian sculptor DAVID ALTMEJD on his mythical creations.

Image: Spacing Out, 2017.
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