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The Empire Strikes Back: Indian Art Today

Tuesday, February 2nd, 2010

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It was with mixed anticipation that the opening of Saatchi’s ‘The Empire Strikes Back: Indian Art Today‘ kicked off. On the one hand, the excitement at the replacement of the extended ‘Abstract America’ show but on the other – contemporary Indian art? Wasn’t Delhi ‘the new art hotspot’ some time ago now? Indeed as the contemporary art world ground to a halt some eighteen months ago the new Indian art market had barely got off the ground.

Saatchi has returned the spotlight to the subcontinent supporting both emerging and established names. With 24 artists, ‘of Indian origin’ involved, the whopping great space has been used cleverly and curatorially the exhibition looks stunning – evenly spaced with enough room for each piece to breathe on its own. Some quite literally – a stack of nine mattresses were inflating up and down on top of a rickety hospital bed – without toppling just about – all in the name of ‘social utilitarianism.’

The pieces were hugely varied in tone and style perhaps at the detriment of the show altogether. Lacking in uniformity or any coherent narrative theme, chaos reigns. It is this paradox of dark and light of optimism and pessimism that stands clear. With works seeped in political commentary from the violent terrors of the past to present day immigration problems, everything is covered. It is this rather simplistic, obvious perhaps, tackling of such a vastly complex continent that requires deep, contemplative thought to be fully appreciated, that the show loses its way a little. Lumped together you’ve got East-West tension, rising consumerism versus manual labour, global-local problems – it’s as though they’ve tried to jostle all these things up together without really getting under the skin of any of them. As an artist who I met at the reception commented, ‘they lack enigma.’

However in terms of wow factor it’s all there – naturally Subodh Gupta’s brilliant stainless steel cooking utensil creations, Jitish Kallat’s sculpture ‘Eruda’ is truly captivating, Tate Triennial star Shezad Dawood’s plinths are stunning and look out for some startling taxidermy pieces by the lesser known Huma Mulji. It’s all on a plate.

The Empire Strikes Back: Indian Art Today is on at the Saatchi Gallery until 7th May. For more details, visit www.saatchi-gallery.co.uk.

Artistic Homage at the Saatchi Gallery

Thursday, January 28th, 2010

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However many times he gets it wrong, which is, it must be said, not that often, Charles Saatchi has undoubtedly offered an almighty platform of an exhibition space that exposes otherwise little-known works to millions each year.

With this in mind it is thanks to him that the mind-blowing piece ‘American Servicemen and Women Who Have Died in Iraq and Afghanistan (But not Including the Wounded, Nor the Iraqis nor the Afghanis)’ by the previously anonymous San Franciscan artist Emily Prince has a place to be see,n and deservedly so.

I cannot urge you enough to see for yourself this extraordinary homage to the human sacrifice that has been made by our fellow man. The scale itself, comprised of some 5213 pencil drawings to be precise, is enough to make anyone stop, stand and stare. Each drawing is an individual portrait with the serviceman/woman’s name, age and date of death written on above or below and have been arranged chronologically. On close inspection, the delicate draughtsmanship and attention to detail is clear. It is this sense of humanity that runs through the piece – a humanity that engages and speaks to our core. Proving that faddish special effect, big concepts and attention grabbing media are unnecessary in the name of art, Prince has taken on a brave and beautiful project that will only be complete on the last day of the war – when there are no more portraits to be drawn.

Image: Emily Prince ‘American Servicemen and women who have died in Iraq and Afghanistan (but not including the wounded nor the Iraqis nor the Afghans),’ 2004 – present, pencil on colour coded vellum. Courtesy of the Saatchi Gallery.

Look out for my write-up of The Empire Strikes Back: Indian Art Today later this week and don’t forget Quintessentially Art’s tour of the exhibition this coming Saturday 29th. To find out more email art@quintessentially.com

Life Through A Lens

Tuesday, January 12th, 2010

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Ellen von Unwerth is an anomaly in the world of fashion. She spent ten years on one side of the lens as a supermodel and then stepped through the looking glass to become one of the world’s paramount fashion photographers. Her images resound with slick, minimalist statements and it’s to her credit that she has no conventional signature shot. Indeed, every picture is different, capturing the subject in ways that are both vividly striking and yet somehow quite ordinary.

In Fraulein, a collection inspired by the decadent glamour of 1920s Berlin nightlife, she celebrates the divine feminine form of our era in a series of shots that play out her own vision in the process. Her muses are one of a kind – breathtakingly beautiful women who are comfortable with themselves and their renowned charms. This coffee table book is full of sexual intrigue, decadent humour, kitsch irony and playful narcissism – but always in good taste and with the same candid self-awareness that marks all of her work. Eva Mendes can be found in tie and hat, wreathed about a sun-drenched grand piano; Claudia Schiffer bites a fluffy white dog in red heels, her smile suggesting that we have stumbled upon something we really shouldn’t have. Monica Bellucci mingles shadow, light and a good bit of cleavage as she revels in self-reflection.

These shots have been taken over a period of 15 years and many are published here for the first time. It’s an instant collector’s item, the Moulin Rouge of glossy photography, and is sure to raise a few smiles, and heart rates, over a hot cup of cocoa.

For further information, visit www.taschen.com

London Art Fair 2010 – who’s who

Monday, January 11th, 2010

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The London Art Fair, established in 1988 and now the official new year art fixture on the circuit, will open this Wednesday. Bringing together some of the biggest names in modern and contemporary British art, the fair has grown increasingly prominent in the last couple of years, attracting serious collectors and first time buyers alike. Once twee and quaint, the exhibitors had grown staid with their quaint aesthetic and buyable, eager to please paintings. The fair now promotes more challenging and exciting work that demand a little more – for reasonable prices and fresh talent be sure to check out Tag Fine Art and Union Gallery.

In conjunction with the main fair, two new aspects, Photo50 and Art Projects, have shaken things up a little. Photo 50, a showcase for contemporary photography by artists selected by a panel of industry heavyweights including Anita Zabludowicz, a major London collector and artist maker or breaker, will comprise of recently produced works that have each caught the eye of the judges, which are bound to entice new buyers and those seeking a vote of confidence on potential acquisitions. If the director of the ICA’s eye isn’t up to it then whose is?

Art Projects is dedicated to promoting emerging artists, recent graduates showing increasing strength and assurance – look out for contributions from Isobel Rock at Bearspace Prints and Summaria Luna. Last year the star player was Veronica Bailey – the photographer whose prices have since shot up and exhibition schedule doubled – get yourself down there and find out this year’s.

Image is ‘Blue Spring’ by Sir Terry Frost (1992), courtesy of Richard Green

For more information please visit www.londonartfair.co.uk

Nature’s Mirror

Thursday, January 7th, 2010

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On the Japanese island of Naoshima lies a spectacular fusion of natural and man-made beauty, a place that art aficionados and shrewd travellers alike do well to keep to themselves. This is a new landmark in the art of living well. Part sculpture park, part traditional gallery and part art hotel, Benesse Art Site Naoshima is the kind of place you rediscover yourself in, with its unique fusion of art and architecture that is at once lucid and profound.

Created by the legendary Japanese designer Tadao Ando, Benesse House is the main hub of the hotel and exhibition spaces , with guest rooms and exclusive suites spanning four distinct structures that were described as ‘a remarkable illusion, as if made from light and air’. The Park and Beach buildings take in an art filled garden and slices of surf whilst the 10 guest rooms in the Museum building were inspired by age-old artistic masterpieces , including works by Sol LeWitt and Thomas Ruff.

Indeed, at Benesse Art Site, art dominates the hotel. You find it in carefully orchestrated gallery spaces, hanging in guest rooms, hidden in the forests. You take a walk on the beach and find a strange looking yellow pumpkin sat on a large slab of granite. A post-apocalyptic Japanese hut juts out from the surrounding hillside. Get the idea? If not, there’s always the spa – promising to treat any lingering fatigue with traditional Japanese therapies – and rare Japanese cuisine on offer at the many on-site restaurants. But it’s the unique blend of architecture, art and island that makes this an uncanny dreamlike experience, nothing like you’ve ever seen before.

For more info see www.naoshima-is.co.jp

Mr Cool At The Hayward

Tuesday, January 5th, 2010

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‘Cool to the core,’ the Hayward Gallery has played host to ‘Ed Ruscha: Fifty years of painting’ to an almighty reception since October. Now with only six days left, there’s precious little time to take a look at Ruscha’s first solo retrospective ever to be held in London, which none other than Stella McCartney described as ‘…sleek…sharp…stylish…simply stunning. He is his work.’ As it’s made up of some 70 paintings we lose out on his noted photographic and paper works, but we are able to wholly appreciate his individual approach to translating contemporary America onto canvas to notable effect.  Strong visuals, cool pastiches and clean execution are the essential components to the mid-westerner’s signatory style.

His ability to extract cultural signs and national motifs and load them with meaning is striking. His pictorial imagination allows him to float above the labels his fellow contemporaries had stuck on – Pop, Dada et al don’t really fit the bill as you’ll see for yourself. Ruscha has carved out a truly singular approach to painting. Fuelled by his obsession with typography and abstraction, he scrambles American lightweight commercialism into more engaging pieces more engaging – petrol stations, logos, letters are depicted in such a way their shapes, angles and colours take on greater significance than within their American landscape. It is this fixation with the physicality of the country’s icons – from the highway, the street, the prairie – that drove Ruscha to turn them on their head and turn heads at the same time.

Standard Station 1966, copyright of Ed Ruscha, courtesy of Private Collection, 2009 Photo: Paul Ruscha

For more information visit  www.southbankcentre.co.uk

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