Category Archives: Interviews and Reviews

Revolver Reviews

A summary of the reviews of Revolver, at Ellen de Bruijne Projects.

Eelphant Magazine.

Mister Motley.

Full Circle, weheartart.co.uk.

Every Letter has its own color, Kees Keijer, Het Parool.

Advertisements

As seen in: Bogotá (November)

Des(enho), an exhibition at Casas Riegner, curated by Rodrigo Moura, exploring how contemporary artists use drawing in their practice.

Ceiling piece by Nicholas Paris, floor piece by Carla Zaccagnini.

Gabriel Sierra.

Marcius Galan.

Marilá Dardot.

various printed matter.

__________________________

En Algún Lugar de Esta Otra Ciudad, a group show curated by Juan Sebastián Ramírez, at La Central.

Ever Astudillo.

Jaime Avila (foreground) and Cristiam Fajardo.

Nicolas Cadavid.

Last, but not least, a beautiful work by Nicolas Consuegra.

Art, theft, and curators: an (old) converstaion with Saskia Bos


Crap Shoot. An exhibition curated by five young curatorial students from de Appel, which opened 15 years ago this April.

It was the Dutch art world’s cause célèbre of the year. Perhaps the decade? The ticket booth smashed to pieces. Rudy Fuchs, the then director of the Stedelijk Museum, followed by a hapless private detective. The contents of the office, as well as the exhibition of Paul de Reus, stolen from Bloom Gallery. An exhibition almost universally panned at the time.

The day after the opening, the artists and curators held what was meant to be a panel discussion. In the end it was closer to a public lynching. The crowd jeered and heckled. The panel responded, or at least tried to.

Before the dust had a chance to settle, I was asked to interview Saskia Bos for the Crap Shooter, the newspaper that accompanied the show. It was Bos who indirectly started the whole fuss when she created De Appel’s Curatorial Training Programme two years before.

This was to be her chance to respond to the critics, and she took it.

Download a copy of it here.

As seen in: Bogotá

Some apparently young and up and coming artists at Ensayos Para un Mundo Perfecto, at the Biblioteca Luis Angel Arango, Casa Republicana.

Esteban Peña.

Carlos Castro.

Some embassy art with Dayanita Singh at the Museo de Arte Moderno de Bogotá.

Old school performance (in a pool) by José Alejandro Restrepo, at the Universidad Nacional de Colombia.

Cali: Fallas de Origen, a clever combination of work investigating the narco trade and its impact on the city of Cali, at La Central.

Wilson Diaz’s, Cali Coca Gardens and Fallas de Origen.

Detail with Coca leaves.

Jose Horacio Martinez’s The Bodyguard, and Margarita Garcia’s Cali Cartels.

Detail of Margarita Garcia’s Cali Cartels.

And last, but not least, a local favorite of mine, Victorino García’s Dead Nuns at the Museo de Arte del Banco de la República.

Spitting in the soup

You walk through the exhibition.

You see a series of beautiful photographs.

You read the corresponding, somewhat didactic texts.

You engage with the work.

To your surprise, you enjoy the work.

The beauty of the images.

Then…

Then you see this:

Pity. I was enjoying the work until then.

As the old adage goes: a picture is worth a 1,000 words.

Didacticism is worth 1: yawn.

Some, Not All Of…

The works that I liked at the 29th São Paulo Bienal.

Yael Bartana.



David Claerbout
.

Tatiana Trouvé.

Sue Tompkins.



Claudia Joskowicz
.

Pixação SP.

Kendell Geers.



Douglas Gordon
.

Francis Alys.

Cildo Meireles.

Amongst others.

Context

Photobucket

A few months ago I moved into a new apartment in my old neighborhood. For the most part things hadn’t changed much over the past 2 years. The most obvious change being the new building on 1e Constantijn Huygenstraat, that replaced the one previously occupied by Smart Projects.

Architecturally, I find the building unimpressive. Red brick, glass, yada, yada, yada. Other than those bold strokes, I never paid much attention to it. I’m usually more concerned with navigating safely through the maze of cyclists, cars, and pedestrians on the poorly designed bike path. I suppose this is why it took me so long to notice that there was something hanging off the roof of the building.

At first I thought it was scaffolding, but then I realized it couldn’t be. Ladders? No. Actually, yes.

But why so many? And why is there one hanging off the building?

Wait, what’s that at the top of the ladder? Ah. That’s it. Art. Public art.

Oh dear.

Initially thinking that it was the work of an anonymous sculpture having a bad day, I discovered, thanks to a plaque on the street, that the artist was anything but anonymous. Here is the text, as it appears:

The sculpture How to meet an Angel deals about hope, support, and the gradual process towards recovery. The figure stands on the highest rung of the ladder, with baggage on his back and arms wide open, looking towards the sky. Ready to leave the clinic, embrace the city and possibly meet a guardian angel.

How to Meet an Angel is charitably designed by the renowned Russian-American artists Ilya & Emilia Kabakov, at the request of Mentrum and developed by SKOR (Foundation Art and Public Space), and has been made financially possible by SKOR, Stadsdeel Oud-West and the Amsterdams Fond voor Kunst. The work of art is specially created for this building: a clinic for psychiatric clients and people with serious psychological problems.

There’s just something about that last sentence. I don’t know. Maybe it’s just me.

Photobucket