June 16th, 2017   Art | John Minton: Demon Painter

Portrait of John Minton,
Soho, 1952, John Deakin

Gelatin silver print,
Image courtesy
Michael Hoppen Gallery,
© The Condé Nast
Publications Limited



John Minton:
A Centenary
Pallant House Gallery
Chichester | UK
1 July > 1 October 2017



‘Being fatally drawn to the human race, what I want to do when I photograph it is to make a revelation about it. So my sitters,’ – who included, among many others, the painters Lucien Freud, Francis Bacon, and John Minton – all members of the Soho-based neo-romanticist circle of artists – ‘turn into my victims. But I would like to add that it is only those with a demon, whose faces lend themselves to be victimised at all.’ John Deakin (1912 > 1972), photographer

Sadly, within a few years of his sitting with Deakin, Minton (1917 > 1957), overwhelmed by his demons, would take his own life. In the 1940s and early 50s, he had been regarded as one of the most talented of his generation, particularly for his figurative drawing skills.

Portrait of Kevin Maybury, 1956
Oil on canvas,
© Tate, London 2017 /
Royal College of Art



Children by the Sea, 1945
Oil on canvas,
Tate, London,
© Tate, London 2015 /
Royal College of Art



From 1948 up until his death, Minton taught at London’s Royal College of Art. Charismatic – he attracted a crowd of student followers, who became known as ‘Johnny’s Circus’ – he nevertheless possessed a self destructive character and despite personal advances, such as the new colour palette he developed after travels to Corsica, Jamaica, and Spain, was constantly plagued by self-doubt. While his early work was clearly influenced by European modernist ideas, when the abstract expressionist trend that arrived from New York in the 1950s swept through the London art scene and his fellow neo-romanticists, Freud and Bacon, found ways of moving on that increased the relevance of their work, Minton, feeling threatened and sidelined, his commitment to figurative art seemingly outmoded, fell into deep depression. Composition: The Death of James Dean (1957), was his last ambitious picture, and it’s possible that he identified with the ill-fated Hollywood film star, killed in a car accident, aged twenty-four, in 1955.

Bridge from Cannon
Street Station
, 1946

Oil on canvas,
Pembroke College
Oxford JCR Art Collection,
© Royal College of Art



Neville Wallis, 1952
Brighton and Hove Museum,
Royal Pavilion & Museums,
Brighton & Hove
© Royal College of Art



Significantly, 2017 is not only the centenary of the artist’s birth and the 60th anniversary of Minton’s tragic death, but this year also marks 50 years since the decriminalisation of male homosexuality in England and Wales. Minton was homosexual as was his close associate, the artist Keith Vaughan (1912 > 1977). While Minton tormented himself over his sexuality, Vaughan filled his journals with philosophical musings around the problems facing a gay, figurative painter in the 1950s, whose primary subject was the male nude. Vaughan’s works becoming increasingly abstract: Minton stuck doggedly to producing uncompromising, figurative portraits of young male students and friends.

John Minton: A Centenary, at Pallant House Gallery, will present a substantial number of paintings, many of them drawn from the collection of the Royal College of Art, and also includes book illustrations – among them, those for Elizabeth David’s A Book of Mediterranean Food (1950) – posters and lithographs that demonstrate his status as a leading post-war illustrator. As contextual aids, a display of paintings by William Coldstream, who taught at the RCA alongside Minton, will also be on show, together with an exhibition of the work of Minton’s neo-romantic contemporaries.

All painting images courtesy Pallant House Gallery


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June 9th, 2017   Exhibition | Hella Jongerius: Lost in Colour

Hella Jongerius prepares
for Breathing Colour
at the Jongeriuslab



Breathing Colour
by Hella Jongerius
Design Museum
London | UK
28 June > 24 September 2017



A grey ‘colour catcher’
destined for the Noon
section of the show



Although she claims to feel like an absolute beginner with it, Berlin-based, Dutch designer, Helen Jongerius lives and breathes (and probably eats and sleeps) colour. In March this year, she received the 2017 Sikkens Prize. One of the Netherlands’ oldest independent art prizes, it was established in 1960 – three years before the designer’s birth – and is awarded to individuals or institutions that are considered to have made a special contribution to the field of colour. Previous winners include Gerrit Rietveld (1960), Le Corbusier (1963), Donald Judd (1993) and Bridget Riley (2013). However, her Woven Movie that is a continuation of German textile designer Anni Albers’ pioneering work at the Bauhaus, which focussed on finding new, mass-production weaving techniques, will run the length of her forthcoming show at the Design Museum.

To label Jongerius, who founded the aptly-named Jongeriuslab design studio in 1993, where she has pursued independent, experimental projects with polyurethane, ceramics and textiles, while simultaneously creating products for clients such as Maharam, Danskina, IKEA and KLM, and has earned respect for her skill at fusing industrial and crafts methods, high- with low-tech, and traditional with contemporary, simply as an industrial designer, would be an injustice.

Jongerius has earned
respect for her skill
at fusing industrial and
crafts methods



Everyday life at the studio



Mixing quirky with classic, Jongerius has also designed furniture and household accessories for Vitra. At CasaVitra during Salone del Mobile Milano 2016, visitors were met with giant, twirling spinning tops and colour wheels, representing the past ten years of collaboration between Jongeriuslab and Vitra on the company’s colour and material library. Pitting the power of colour against that of form, the Breathing Colour exhibition will also be an installation – a natural extension of the free-flowing investigative work that is part of the everyday life of the studio – exploring the behaviour of colour and light. Like Plato, Jongerius says, she has become convinced that people can only observe a colour if they can observe the light, the reflection and absorption, and the shadow of it, ‘No wonder then, that people can get lost in colour.’ A series of three-dimensional objects she describes as colour catchers – the faceted surfaces of which are designed to absorb and reflect nearby colours – will be positioned throughout the exhibition space that will be divided into three areas, with simulated daylight conditions for morning, noon and evening.

Semi-translucent
beads mimic the
crisp colours of cold
morning light



The Morning section of the exhibition will explore the differences between lightness and brightness and the hazy feeling of waking up, via a series of illuminated hanging, translucent and semi-translucent beads, whose fragmented reflections mimic the intense and crisp colours created by cold morning light. In the Noon section, projected light will create an illusion of the transition of early morning haze to the intensity of midday, causing the facets of grey catchers displayed on bright surfaces show sharp, bright reflections. Evening will use examples of Eames, Jean Prouve and Verner Panton furniture, to explore the nature and colour of shadows.

Alongside other, existing works from the Jongeriuslab Breathing Colour by Hella Jongerius at the Design Museum will include a circular display of 100 of the designer’s Colour Vases (series 3), from 2010.

All photos Roel van Tour, courtesy the Design Museum


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June 2nd, 2017   Design | Art You Can Sit On?

Wendell Castle (b 1932).
Chair with Sport Coat, 1978
Carved cherry,
Estimate $12,000 > 18,000




Design
Christie’s | Rockefeller Center
New York City | USA
Exhibition > 6 June 2017
Sale 7 June  2017



Marc Newson (b 1963).
A Diode Lamp (large),
Designed 2006

Lacquered steel, carbon
fibre, aluminium,
moulded glass bulb.
Estimate $10,000 > $15,000



The Marc Newson-designed Diode Lamp (above) is produced by the world-renowned Gagosian Gallery and bears a tag inscribed with the designer’s signature and an indication that it is number 3 in an edition of 10. It begs the question: is the art world appropriating design, or is design infiltrating the art world?

The crossover between art and design is nothing new. Late 19th century artists such as Henri de Toulouse-Lautrec regularly produced theatre posters in order to provide an income that would allow them to continue to paint. Harry Bertoia, most famous for his Diamond Chair (1952) design, made over 50 commissioned public sculptures, as well as countless Sonambient sound sculptures that he used to create music with, but which were clearly conceived as art pieces. Marc Newson, one of the most influential designers of his generation, has designed furniture and useful household objects such as a mass-produced kettle and a toaster, as well as yachts, and private and commercial aircraft. He also produces handmade functional furniture, such as his Pod of Drawers (1987), for private clients. Perhaps objects such as the latter could fall under the banner of crafts, but surely not of art.

Ivan da Silva-Bruhns (1881 > 1980).
Carpet from the palace of the Maharaja of Indore, c 1930
Hand-knotted wool pile.
Estimate $300,000 > $500,000



Paul Evans (1931-1987).
A Cityscape console table, c 1974
Burl walnut, chrome-plated
steel, later glass top.
Estimate $12,000 > $18,000



In an evidently unsuccessful attempt to clarify the distinction between design and art, shortly before his death in 1994, Donald Judd, who famously made furniture that looked like art, and art that looked like furniture, wrote: ‘The configuration and the scale of art cannot be transposed into furniture… The intent of art is different from that of the latter, which must be functional. If a chair… is not functional, if it appears to be only art, it is ridiculous.’

Harry Bertoia (1915-1978).
A Willow sculpture, 1968
Stainless steel, retrofitted with
stainless steel stand.
Estimate $80,000 > $100,000



It might easily have, but none of Judd’s work features in Christie’s Design sale of over 100 items that prominently includes Wendell Castle’s Magritte-inspired, Chair with Sport Coat, 1978 (top), which, at a push you could sit on. Somewhat confusingly, in his Wikipedia profile, Castle is described as an American furniture artist.

All images courtesy Christie’s


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May 19th, 2017   Design | A Tribute to Willy Fleckhaus

twen, No 2, 1962, cover.
Art direction Willy Fleckhaus
Photography Christa Peters
© MAKK



Willy Fleckhaus.
Design, Revolt, Rainbow
Museum Villa Stuck
Munich | Germany
1 June > 10 September 2017



Frankfurter Allgemeine Magazin,
No 28, 1980, cover.
Art direction Willy Fleckhaus
Photographer unknown
© Hans Döring


Edition Suhrkamp,
Suhrkamp Verlag
Book series, 1963.
Design Willy Fleckhaus
© Carsten Wolff,
Fine German Design,
Frankfurt am Main

xxx



David Hillman: ‘In terms of design, twen was the most admired magazine of the sixties… [Fleckaus’s] utterly uncompromising attitude allowed his outrageous and defiant vision to be translated on to the page… No art director has had such power before or since.’

Willy Fleckhaus was born in 1925, and died in 1983. Willy Fleckhaus. Design, Revolt, Rainbow, at Museum Villa Stuck includes over 350 examples of work spanning his entire career in design, magazines and book publishing.

All images courtesy Museum Villa Stuck


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May 12th, 2017   Exhibition | Drawing as Evidence

Erik van Lieshout
Untitled, 2014
Charcoal, acrylic
& ink on paper
© Erik van Lieshout.
Courtesy the artist
and Anton Kern
Gallery, New York.
Photo Thomas Müller
and Anton Kern Gallery



Graphic Witness
Drawing Room
London | UK
18 May > 9 July 2017



Andrea Bowers
Fascist Police (Inside
Eastside 1968 no 14,
page 7), 2015
Graphite on paper.
Courtesy the artist and
Kaufmann Repetto,
Milan/New York.
Photo Andrea Rossetti



On 7 January 2015, ten journalists were killed during the attack by three gunmen on the office of the French satirical magazine Charlie Hebdo, in Paris. Afterwards, the cartoons published all over the world in tribute to the dead, carried versions of the same message – that the pencil is mightier than the gun.

Beatriz González
Las Delicias 6, 1998
Charcoal on paper.
Courtesy Galeria
Casas Riegner, Bogotá



The forthcoming exhibition at Drawing Room makes the case that pencil drawings, as a medium of witness, can be as effective as photography. ‘To witness’, Kate Macfarlane, co-director of the gallery and the show’s curator, explains, ‘is to have observed, either as a participant, or remotely.’ Whereas a documentary photograph is often an immediate response to a given situation, the graphic response produced by drawing presents the evidence from a different, more measured perspective. ‘When photography is unavailable or inappropriate, drawing can act as witness, and produce subjective commentary on injustice… drawings can prompt a more wide-ranging debate about miscarriages of justice and conflict, and act as tools to prompt social change.’


Joy Gerrard
Protest Crowd,
Chicago, USA,
Trump Rally (2016), 2017
Japanese ink on linen.
© Joy Gerrard.
Courtesy the artist



Mounira Al Solh,
Are you pretending
to be Jesus?
Oil, acrylic, black
ink and charcoal
on canvas.
Courtesy the artist
& Sfeir-Semler Gallery,
Hamburg / Beirut



Graphic Witness at Drawing Room brings together the work of a broad selection of international artists from the 1930s to today, and features new work made especially for the exhibition.

All images courtesy Drawing Room


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April 28th, 2017   Art | Idle Moments with Lynette Yiadom-Boakye



Vigil For A Horseman, 2017
Oil on linen, three parts



Lynette Yiadom-Boakye:
Under-Song For A Cipher
New Museum
New York City | USA
03 May > 03 September 2017



Ever The Women Watchful, 2017
Oil on linen



Last year Artsy, the art collecting and education website, observed that ‘a critical mass of female painters are embracing figuration [figurative art], diversifying it, and pushing the conversation around it forward.’ British painter Lynette Yiadom-Boakye (b 1977) didn’t appear on the list of 20 international names cited. Nevertheless, the artist, who was shortlisted for the prestigious Turner Prize in 2013, has a solo exhibition opening at the New Museum in New York next week.

Vigil For A Horseman, Willow Strip, Mercy Over Matter, Ever The Women Watchful, the names Yiadom-Boakye gives her paintings read like book titles. Before she even thought about painting – she told Serpentine Galleries’ artistic director Hans Ulrich Obrist in a 2015 interview – she read a lot and her imagination was inspired by what she discovered in books. One of these, Redback, by Howard Jacobson, she said, described a man who was bitten by a spider, dancing in moonlight; the paintings she would go on to produce have a narrative feel and often feature animals and dancers. She liked Chaucer; she liked Shakespeare, but she was also keen on Patricia Highsmith’s psychological thrillers and cited James Baldwin’s writing as a ‘really big’ influence. She sees her own writing as an extension to her painting, and her etchings as a way of developing her drawing, which, if this show is anything to go by, has become a lot more confident over the past couple of years.

Willow Strip, 2017
Oil on linen



This month the black American painter Barkley L Hendricks (1945 > 2017), whose bold portrayal of his urban black subjects’ attitude and style seemed to imbue them with celebrity-like status, died. Cool, empowering, and sometimes confrontational, it has been said that his work paved the way for today’s generation of black artists. Hendricks was represented by the Jack Shainman Gallery, which has had Yiadom-Boakye on its books since her first solo show, Essays and Documents, was held there in 2010, however she speaks a more gentle and dreamlike visual language in comparison to his. Asked by Obrist about race as a feature of her work, she said, cryptically, that it is important, but that ‘the importance is almost its unimportance’.

Much of Yiadom-Boakye’s work might like portraiture, but she says that it isn’t – that it never is – and that her subjects can’t exist outside of her paintings of their idle, private moments. Set against neutral backgrounds, they provoke the imagination and are open to a range of viewer interpretations. Inspired by photography, and by the portraits of artists she admires – Sickert and Sargent, among others – her characters are based on found images from a variety of sources, and on memories.

Mercy Over Matter, 2017
Oil on linen



Of Ghanaian descent, Lynette Yiadom-Boakye, lives and works in London, UK. Her recent solo shows include A Passion To A Principle, at Kunsthalle Basel, Switzerland (2016–17); Capsule 03: Lynette Yiadom-Boakye, at Haus der Kunst, Munich, Germany (2015), and Verses After Dusk at The Serpentine Galleries, London, UK (2015). Her work was included in, among other group shows, British Art Show 8 (2015–17); The Encyclopedic Palace at the 55th Venice Biennale (2013); and the second New Museum Triennial, The Ungovernables (2012).

She is prolific, finishing the majority of her works in a single sitting; almost all of the paintings in Lynette Yiadom-Boakye: Under-Song For A Cipher at the New Museum, were produced in the first few months of this year.

All works by Lynette Yiadom-Boakye, courtesy the artist, Corvi-Mora, London, Jack Shainman Gallery, New York, and the New Museum


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April 21st, 2017   Photography | Juergen Teller: a Kind of Self-portrait

Kanye, Juergen & Kim, No. 51
Chateau d’Ambleville 2015



Juergen Teller.
Enjoy Your Life!
Martin-Gropius-Bau
Berlin | Germany
Until 3 July 2017



Anne & Elisa, No. 1
Man About Town

Magazine cover,
spring/summer 2016



Kanye, Juergen & Kim, No. 70
Chateau d’Ambleville 2015



‘I hate nothing more than sugary photographs with tricks, poses and effects. So allow me to be honest and tell the truth about our age and its people.’ August Sander (1876 > 1964)

Juergen Teller was born in Germany, in the year that the great German portrait and documentary photographer August Sander died. Like Sander, he doesn’t idealise, and makes no effort to romanticise or prettify his subjects. His sincerity is infectious and the honesty of his approach to his work is inspiring. Nevertheless he likes to have fun, too. ‘What Helmut says goes, what Rei says goes, what Vivienne says goes, what Marc says goes… I take the whole thing seriously, but I couldn’t do a job where I didn’t have any fun, and just to make money,’ he told the Independent newspaper.

Photographing the actress Charlotte Rampling for Marc Jacobs’ 2004 advertising campaign, and including himself in some of the intimate shots – one showed Teller curling up in bed with Rampling, him sucking her toes – was the start of a close working relationship that led to their collaboration on a provocative series of images, involving his own nudity, that would become a book and an exhibition. In 2009, Teller was involved with Vivienne Westwood and Pamela Anderson for an ‘Everything ugly and beautiful at the same time’ campaign that also resulted in a book. Westwood, with whom he continued to work, would also appear, draped over a car on a dirt road, in Teller’s monograph, Keys To The House (2012). ‘In the wider sense, everything is a kind of self-portrait. It’s just the way you see things and how certain things rouse your curiosity and get you all excited,’ he has said. Kanye, Juergen & Kim, a later book published in 2015, contains a series he shot with Kanye West and his wife Kim Kardashian at Château d’Ambleville in France, but no château. Instead he chose to make the most of this rare opportunity alone with them away from the public gaze by capturing the couple – and himself – in seemingly private, intimate moments, out in the open countryside.

Love, Bataclan
Memorial

Paris 2016



My mother,
Plates/Teller, No. 174

2016



Having studied photography in Munich, and speaking no English, Teller had moved to London in 1986 and managed to find work shooting record covers. He photographed Sinéad O’Connor in 1990 then went on tour with Nirvana the following year. His image of Kate Moss for a British Vogue cover in 1994 launched his career as a fashion photographer and by 1996 his success earned him a solo exhibition at London’s Photographers’ Gallery, followed by work for Calvin, and later, Céline and Yves Saint Laurent. He had been involved in advertising campaigns for Marc Jacobs since 1998, his work becoming synonymous with the brand, and the subject of another book Marc Jacobs Advertising 1998 – 2009. His photography has featured in an array of influential international publications such including W Magazine and i-D.

Self-portrait
London 2015



Teller is one of a few artists since Robert Mapplethorpe – an exhibition of whose work he was recently invited to curate at Alison Jacques’ gallery in London – who has been able to straddle both the art world and that of commercial fashion photography.​ Woo, a retrospective of work, opened at London’s Institute of Contemporary Arts in 2013 and was the most well attended exhibition in the venue’s history. In 2014, his exhibition MACHO was staged at DESTE Foundation in Athens. His previous exhibitions include Man with Banana (2011), at Dallas Contemporary, Texas, and The Girl With the Broken Nose (2012) at the Palazzo Reale in Milan. His work is included in numerous collections around the world, including the Fondation Cartier pour l’art contemporain, Paris, International Center for Photography, New York, and the Victoria & Albert Museum, London.

There are some tricks, there are some poses, but his photography is never sugary, indeed his more personal work can have a very serious, poignant edge to it. What Teller sees and is interested in is essentially, what you get. His unique vision has led to him becoming regarded by many as one of the world’s great contemporary photographers.

Juergen Teller. Enjoy Your Life! was shown previously at the Bundeskunsthalle in Bonn and the Galerie Rudolfinum in Prague. It’s now a must see at Martin-Gropius-Bau in Berlin.

All images © Juergen Teller, courtesy Bundeskunsthalle


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April 14th, 2017   Art | Between Sculpture & Bodily Adornment

Untitled, 2013,
Subodh Gupta

Yellow gold and
emeralds on gold chain,
pendant necklace



Portable Art:
A Project by Celia Forner
Hauser & Wirth
69th Street
New York City | USA
20 April > 17 June 2017



Untitled, 2016,
Mary Heilmann

3 hollow silver disks.
Chain: lacquered
silver
with matte finish



In 1936 the young surrealist artist, Méret Oppenheim, met Pablo Picasso and Dora Maar at the Café de Flore in Paris and showed them a piece of brass tubing that she had covered in fur and wore as a bracelet. Many years later, in 2008, Oppenheim’s contemporary, the French-American surrealist sculptor, Louise Bourgeois – by now 97 years old – was invited to contribute jewellery designs to the newly launched Portable Art project in New York.

Fool’s Gold (Large), 2016,
Stefan Brüggeman

Cube: pyrite
Ring: pyrite and
18kt yellow gold



Prior to the modernist era, jewellery was an exclusive province of the applied arts, but artists such as Picasso and Georges Braque, who blurred the boundaries between painting and sculpture, helped transform it into a wearable art form.

(Left arm)
Crowd Arm
(Gold on Silver)
, 2016,
John Baldessari

Spike: 22kt yellow
gold plated
Elbow: silver and
22kt yellow gold plated

(Right arm)
Crowd Arm
(Gold on Gold)
, 2016,
John Baldessari

Spike: 22kt yellow
gold plated
Elbow: silver
© John Baldessari.
Courtesy the artist,
Marian Goodman
Gallery and
Hauser & Wirth



In the early part of the 20th century, European artists had also questioned accepted ideals of beauty, and the choice of Rossy de Palma, often referred to as ‘a Picasso portrait come to life’ – her asymmetric features so impressed film director Pedro Almodóvar that he gave her a starring role in Women on the Verge of a Nervous Breakdown (1988) – to model the latest Portable Art project collection is apposite. The commissioned series of photographs by Gorka Postigo showing her using her acting skills to engage with each item of wearable sculpture/jewellery, make an important contribution to the show.

Nekton, 2016,
& Plankton, 2017,
Michele Oka Doner

Courtesy the artist,
Marlborough Gallery
and Hauser & Wirth



Over the decade since Louise Bourgeois contributed her precious spiral-like metal cuffs the Portable Art project has evolved. Organised by Celia Forner and debuting at Hauser & Wirth New York the forthcoming show will include unique and disparate designs from an array of 15 prominent international artists – John Baldessari, Phyllida Barlow, Stefan Brüggemann, Subodh Gupta, Mary Heilmann, Andy Hope 1930, Cristina Iglesias, Matthew Day Jackson, Bharti Kher, Nate Lowman, Paul McCarthy, Caro Niederer, Michele Oka Doner, and Pipilotti Rist. Prices range from $15,000 > $120,000, (approximately £12,000 > £96,000, €14,000 > €113,000).

Photographs by Gorka Postigo, modelled by Rossy de Palma
© The respective artist. Courtesy the artists and Hauser & Wirth


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April 7th, 2017   Exhibition | Tomáš Rafa: New Nationalisms Exposed

Refugees on their way to Western Europe wait to cross the Serbian-Croatian border in close to freezing temperatures
October 2015



Anti-EU march of Hungarian and Polish nationalists and far right extremists, on National Independence Day
Warsaw,
Poland, November 2015



Tomáš Rafa: New Nationalisms
MoMA PS1
New York City | USA
9 April > 10 September 2017



Prejudice, superstition, and resentment inspire the work of Slovakian self-styled ‘art activist’ and documentary filmmaker, Tomas Rafa, who, since 2009, through his ongoing project New Nationalism, has produced a hard-hitting dossier of film and still images representing the resurgence of extreme right-wing, xenophobic, and neo-fascist groups in Central Europe.

Refugees at the biggest refugee camp in Europe since WWII
Idomeni, Greece, 2016



En route to Berlin to celebrate the anniversary of the end of WWII – prior to being banned from entering Poland – Russian extreme nationalist motor bike gang, the Night Wolves, receive a heroes’ welcome in Bratislava
Slovakia, 2015



On his constant travels between Poland, the Czech Republic, Hungary, Slovakia and Greece, documenting political demonstrations, blockades, and protests, Rafa keeps the camera rolling long after journalists with less stamina have left the scene, capturing vivid portraits and tense footage of events often missed in televised news reports.

Refugees stranded at Budapest’s Keleti station, their train connections to Germany having been cancelled as a result of interventions by defiant Hungarian politician Viktor Orbán
September 2015



Far right extremists protest against refugees and Islam
Prague, Czech Republic, July 2015



Born in Zilina, Slovakia in 1979, Rafa studied at the Academy of Fine arts in Banska Bystrica and the Warsaw Academy of Fine Arts. His project New Nationalism in the Heart of Europe won the prestigious Oskár Čepan in 2011.

A selection of his work will be presented in Tomáš Rafa: New Nationalisms at New York’s MoMA PS1 from Sunday.

All images courtesy and © Tomáš Rafa


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March 31st, 2017   Exhibition | A Data Date with Philippe Braquenier

Competitor at the World Memory Championship in London – 02/12/02013
Created in 1991 by Tony Buzan and Raymond Keene, the World Memory Championships is a memory competition in which participants must memorise as much information as possible within a given timeframe



Philippe Braquenier
Palimpsest
The Ravestijn Gallery
Amsterdam
The Netherlands
7 April > 20 May 2017



Belgian conceptual artist Philippe Braquenier’s diverse and thought-provoking photographic projects have included, among others, a series of images of sealed photographic film containers, each enclosing exposures made during the past 10 years that have never been revealed; a run of portraits of kids and teenagers, whose entire life, he observes, seems to be digitally documented; and a set of pictures of buildings and landscapes sectioned off by yellow tape, intended to question our notion of territory.

The title of his forthcoming exhibition Palimpsest – from which the images shown here are selected – is a noun that can be used to describe an ancient manuscript on which the original writing has been effaced or replaced with more recent text. Taking knowledge and legacy as his theme, Braquenier’s photo essay uses architecture, landscape, people, objects and still life to explore the infrastructures of information repositories, libraries and data centres in both natural and built environments, and examines what is required to sustain the archives of human history. The project will be published in book form later this year.

Metas (Swiss Federal Office of Metrology) – Bern, Switzerland – 17/03/02014
FOCS 1, a continuous cold caesium fountain atomic clock located in Switzerland, started operating in 2004 at an uncertainty of one second in 30 million years, thereby becoming one of the most accurate and unique devices in the world for measuring time



Grotte Chauvet – Vallon-Pont-d’Arc, France – 28/08/02015
Sealed off to the public since its discovery in 1994 and granted UNESCO World Heritage status in 2014, the Chauvet-Pont-d’Arc Cave in the Ardèche department of southern France contains the earliest known and best preserved figurative cave paintings in the world, dating from 32,000 > 30,000 BC



Technician – Kista, Sweden – 05/11/02014
Featuring double-thickness bulletproof steel, The Space Station Data Centre is the first modular data hub created by the Swedish broadband provider Banhof. The installation, standing on a base of red lava stones imported from Iceland, functions as a mobile and cheap shelter for servers and uses the low outside temperature to keep them cool



Rue de Vaugirard – Paris, France – 15/11/02014
To familiarise the public with the new unit of measurement established in 1791, a standard metre was installed at sixteen Paris sites in 1796. Only this example, carved in marble to which a brass rule (now missing) was affixed, survives in its original location



Sabey Data Center, Verizon Tower – New York, USA – 14/07/02015
In 2011, Sabey Data Center Properties, the largest privately held developer, owner, and operator of data centres in the United States redeveloped this Manhattan tower creating a 1-million-square-foot facility, and claimed it as the world’s tallest and largest high-rise data centre



Born in 1985, his work having been exhibited internationally at prominent venues such as Foto Museum Antwerpen, The Brussels Royal Museum of Fine Arts, and at Aperture Foundation in New York, Philippe Braquenier ‘Palimpsest’, at The Ravestijn Gallery, is the artist’s first solo exhibition in The Netherlands.

Images courtesy and © Philippe Braquenier


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