Read More | 7.11.18 | Article by Mazzy-Mae Green | Art, culture
New-York based artist Adam Pendleton is best known for the fluidity of his practice; his work moves between painting, publishing, collage and video. He engages with the visual and semiological impacts of language, and uses it to re-contextualise and re-appropriate history, in order to provide alternative means of displaying it, and open people’s minds to the existence of these possibilities. Once the discussion has been opened, one can consider the different facets of a story, and how to decipher and decide what is seen and understood as the truth.
Read More | 30.10.18 | Article by Mazzy-Mae Green | Art, culture, interview
If the wall stands as an emblem of simplicity, it follows that something must exist at the opposite end of the spectrum. German artist Felix Schramm thinks so; he sees perception as a straight line that is capable of being manipulated, and achieves this end by reinterpreting traditional architectural forms, disrupting white gallery walls with jagged, technicolour structures.
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.
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.
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.
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
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.”
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.”
