Posts Tagged ‘Gedi Sibony’

Blackpaint 569 – Vikings, Toby and Wifredo Lam

September 23, 2016

Oslo –  Astrup Fearnley Museum

Why was Blackpaint in Norway?  For the Oslo Marathon, of course.  Since you ask, it was hot, hilly like Helsinki last year and there are roadworks everywhere.  At one point, the route went over a cinder track through a huge building site and into and round a container park – and then back again for another interesting visit, later in the run.

Anyway, the Astrup Fearnley is a private museum on the quayside. very swish area, big sports cars around; two floors of stuff, downstairs Hirst’s bisected cow and calf under glass – made me think of Skip James’ Little Cow and Calf Blues – an Emin tapestry with words, a Rachel Whiteread, a blue Malcolm Morley poster painting, a great, smeary grey Christopher Wool, a Kitaj and a couple of Helen Martins and a Sibony as a reminder of the Venice Biennale.

Upstairs,  80’s German Expressionists, as below:

 

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Martin Kippenberger – Sick Egg Boy

 

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Sigmar Polke – 3 Apparitions.  These are huge, whole wall size.  There are others by Lupertz, Eichendorff and especially Kiefer – a shelf of huge, grey leaden “books” and one of those lead plaques with little girl’s dress and shoes embedded.

 

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Knut Rose – I Kulturlandskap

 

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Bjorn Carlsen – Suicide.

Locals, I guess, from the names; I just like the colours, really.  The Carlsen strikes me as a cross between Matisse and Kitaj’s cartoon style.   Great modern building, an hour’s visit to see the lot.

Toby Young 

For some reason, a large number of (male) Oslo residents strongly resemble the Tory “free school” activist; not, perhaps, the stereotype which springs to mind when we think of the Norse Sagas…

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Young

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Viking

 

Wifredo Lam, the EY Exhibition, Tate Modern

Yes, I always thought it was Wilfredo – and so it should have been, but it was misspelt when his birth was registered, it appears.

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I found the Lam to be a disappointment.  Very strong Picasso influence, especially Minotaur and Guernica; very colourless – where colour used to any extent, sort of all colours, as if random and pastel-y; almost an anthroposophical look, in loose, slanting strokes.  Overwhelmingly black, white, beige; spiky (like Sutherland), fork tines, wheels, swords, knives, ploughshares, small round heads/faces, physical discombobulation.  Lots of ritual figures, Santoria, Yoruba.  It livened up for me a bit when he stayed with Jorn at Albissola – I liked “The Brush” – totally uncharacteristic, spatters all over it.  A setof smaller framed works, on paper I think, figures in which recall Bruegel and Bosch.

In the first room, a couple of peasant portraits and a self portrait show what a fabulous draughstman he was.  So, influences and resemblances: Picasso overwhelmingly, Sutherland, Picabia maybe, Bruegel, Jorn…

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Yellow Runner

I know, it’s an old one.

Blackpaint

23.9.16

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Blackpaint 516 – Deaf in Venice; Biennale I

October 28, 2015

The Biennale

The 56th Venice Biennale finishes on 22nd November, so readers have plenty of time to drop everything and go.  If that is not convenient, you can view my highlights here over the next three days.  I’m just back from Venice, deafened by the constant click/buzz of photos being taken on phones, tablets and even the odd camera.  At the Biennale venues, saw many tourists just snapping everything, without looking at the pieces; all nationalities guilty, but some more guilty than others.  Two particular examples of photomania stand out:

  • a woman who sat in front of a 3D movie made by a Russian film collective and apparently attempted to photograph every frame (if films still have frames – they probably don’t).  She must have taken more than fifty pictures;
  •  in a square by the Accademia bridge, saw a circle of maybe 30 tourists round one of those central wells with the iron covers, all snapping away furiously; when they moved back, I saw the attraction – a ginger cat had been sitting there.

There are a lot of beautiful paintings in the Accademia,  Giorgione’s mysterious “Tempesta” for example, but the various Giovanni Bellini Virgins with child are the highlight for me.  He clearly used the same young girl as a model in several of the pictures and her slightly pudgy but somehow beautiful face is  obviously that of a real person, rather than some stylised ideal.  The kid’s not bad either, by the standards of the day, and that green panel in the background turned up in several virgins by different painters.  More Bellinis to come.

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Giovanni Bellini

Arsenale

There are three venues for the Biennale; the Arsenale, the Giardini where most national pavilions are situated –  and various individual and national displays scattered around the city.  I’ll do the three best from the Arsenale today, the Pavilions tomorrow and the scattered venues on Friday.

 

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Kay Hassan

South African artist; they are collaged faces, built up into thick, placard-like posters – or poster-like placards.  He calls them “Everyday People”.

 

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Helen Marten

UK artist.  I don’t know how to begin to describe her constructions; they are made up, as you can see, of a multitude of..things and bits of things and are sometimes presented against a painted board background – or in at least one case, through a painted board background.

 

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Gedi Sibony

American artist.  His work is done on sheets of metal from cut-up trailers.  Logos or advertising material (these examples are drink cans) are then roughly painted over, in white, black, yellow paint.  Sounds like a crap idea but I think they look great.

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Gedi Sibony

I’ve left out a whole load of great stuff – George Baselitz has some huge hanging figures (upside down, of course) that are sharper somehow than his previous work, as if done in inks.

 

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Polruan

Blackpaint   28.10.15

Tomorrow, I’ll do the Giardini with the Pavilions.

If you do go to Venice, eat at the Rosso Pomodoro (Red Tomato).  Nice and informal, no pressure to have the expensive dishes, like elsewhere.  Have the spaghetti and prawns, chittara I think it’s called.  Fantastic.