٠ An Artist from a Family of Lumberjacks ٠

I found this work via Jonathan Steele. The Italian artist Aron Demetz is not only a gifted wood carver, but of course that really stands out. In a conversation with Alessandro Riva, Aron says he fell in love with wood and the figurative art: I have always been fascinated by people, by what they think and what they have under their skin. The attraction towards the human behaviour and feelings made my choice be a natural consequence and it is, still today, highly spontaneous. © Aron Demetz, Maren, 1998 When asked about his sculpture Maren (Good Morning Uncle Willy) he … Continue reading ٠ An Artist from a Family of Lumberjacks ٠

٠ The language of (mutilated) flowers ٠

© Juan Manuel Echavarría, Orquis Lugubris, from the series Corte de Florero/Flower Cut Vase, 1997 «Asked on a radio interview a couple of years back why he drew animals and not people, the great cartoonist Chuck Jones of Bugs Bunny and Road Runner fame replied: “It’s easier to humanize animals than humanize humans.” Recently the Colombian artist Juan Manuel Echavarrı´a gave this a twist. Reacting against the stupendous violence in his country, he humanized flowers by photographing them like botanical specimens, replacing the stems, leaves, flowers, and berries with what look like human bones. He called this series of thirty-two … Continue reading ٠ The language of (mutilated) flowers ٠

٠ Kant’s classes clash ٠

The title references Pierre Bourdieu’s critique of Kant’s famous essay on aesthetics – The Critique of Judgement. Bourdieu’s take on Kant’s distinction between ‘taste’ (available to all animals) and ‘beauty’ (exclusive to the humankind) implies a marxist notion of the separation of classes. For him, Kant’s praise of beauty and of ‘pure taste’ is a praise of the bourgeoisie: ‘Pure’ taste and the aesthetics which provides its theory are founded on a refusal of ‘impure’ taste and of aisthesis (sensation), the simple, primitive form of pleasure reduced to a pleasure of the senses, as in what Kant calls ‘the taste … Continue reading ٠ Kant’s classes clash ٠

┐ Augustin Rebetez, from joy to colera └

“Augustin Rebetez breathes energy in his works. He has developed a very ownable style over a very short period of time, even though this is not easy to put in a box. With a combination of free and staged photography using his immediate surroundings, he constantly surprises with his work. Augustin is not afraid to cross over with sculpture, film, photography and even drawings. He is one of the rare new and raw talents that the world of photography is waiting for. The fact that he studied in Vevey and lives in the region came as a pleasant surprise for … Continue reading ┐ Augustin Rebetez, from joy to colera └

┐ Peter Puklus, Handbook to the Stars └

© Peter Puklus, Handbook to the Stars “There is a reason why Peter Puklus’ first publication is called Handbook to the Stars, a subtle manifesto of his Ars Poetica. With this handbook he attempts to portray his own universe and provide insight into how his photographic works relate to each other: like galaxies in relative proximity to one another that are bound together by their own gravitational force. The images function alongside one another and through one another, have no sequence or chronology, but exist individually even as they form interconnections and follow their own patterns. Hence they do not … Continue reading ┐ Peter Puklus, Handbook to the Stars └

┐ Andrea Galvani, ways to space out └

Conceptually, Andrea’s work is amongst the most interesting I’ve seen recently. His works have their own language, both conceptual and documentary, buh also appealing to the senses, evoking sound and parallel universes. His photographs not only evoke sculpture as they are presented like one, as much as they are performances, with their own body, breathing in their own space and time. © Andrea Galvani, A few invisible sculptures #1 (left) and #5 (right), 2012 “A Few Invisible Sculptures #1, a large scale photograph, captures a performance Galvani staged in one of the oldest clay pits known in Europe. Now abandoned … Continue reading ┐ Andrea Galvani, ways to space out └

┐ Ahmet Ögüt, Mind the System └

“I have no mercy or compassion in me for a society that will crush people, and then penalize them for not being able to stand up under the weight.” -Malcolm X © Ahmet Ögüt, from the project Stones to throw, 2011 © Ahmet Ögüt, from the project Stones to throw, 2011 © Ahmet Ögüt,Strategic Diagram for Non-hierarchical Participatory Radical Democracy, 2011. In: Mind the System, Find the Gap More of Ahmet’s work here Continue reading ┐ Ahmet Ögüt, Mind the System └

┐ Hanne Darboven – Cultural History └

© Hanne Darboven, Kulturgeschichte 1880-1983 (Cultural History 1880-1983), 1980-83. Installation view at Dia:Beacon, Beacon, New York. Lannan Foundation Bill Carke: You first saw Cultural History in 1996 at the Dia Art Foundation’s Chelsea space. Can you recall what your response to the work was back then and how it’s evolved since? Dan Adler: (Laughs) My initial response was of being overwhelmed! The installation took up several large galleries. And, the amount of material to look at! Over 1,600 panels containing thousands of sheets of paper and all these uncanny-looking sculptural objects punctuating the exhibition. I took notes at the time … Continue reading ┐ Hanne Darboven – Cultural History └

┐ If the erect penis is not ‘wholesome’ enough to go into museums it should not be considered ‘wholesome’ enough to go into women └

© Robert Mapplethorpe, portrait of Louise Bourgeois, 1982 “Nearly a decade later, Fillette would figure prominently in a photographic portrait of Bourgeois by Robert Mapplethorpe. The portrait, in which the (then-) seventy-year-old artist smiles mischievously for the camera while carrying the sculpture in the crook of her arm, was commissioned by the Museum of Modern Art as the frontispiece to its catalogue for Bourgeois’s 1982-83 retrospective. What MoMA printed in its catalogue, however, was a tightly cropped detail of the portrait focusing on Bourgeois’s face. Fillette was excised from the image altogether.14 By placing Mapplethorpe ‘s 1982 photograph (and its … Continue reading ┐ If the erect penis is not ‘wholesome’ enough to go into museums it should not be considered ‘wholesome’ enough to go into women └

┐ Donald Goddard and Hannah Wilke – Love made possible └

All reproductions of Hannah Wilke’s work were removed due to copyrights issues. Here’s the link to her virtual home. © Hannah Wilke, My Country tis of thee, 1975 “Lil Picard: I see you are a collector of Art Deco objects. Why? Hannah Wilke: I’ve always collected things. Objects have always been important for me. But the older I get the less I need things, especially since I am concerned with my work now. I haven’t been really colJecttng much lately. My work is my collection; the small sculptures replaced the objects that had been made by society, and my work … Continue reading ┐ Donald Goddard and Hannah Wilke – Love made possible └

┐ Ugo Rondinone – I don’t live here anymore └

© Ugo Rondinone, all Untitled, from the series I don’t live here anymore, 1996 “My discovery of Rondinone dates back to a sexy picture I noticed in Flash Art in the mid-1990s, of what I took to be a seductive model revealing a glimpse of appealing cleavage. I hadn’t actually meant to stop at the image, but biology had taken over, as it does. But wait a second. There was something weird about this girl. Why was she so swarthy? And wasn’t that a moustache on her upper lip? Someone had digitally transferred his head onto a photograph of an … Continue reading ┐ Ugo Rondinone – I don’t live here anymore └

┐ Hannah Villiger (1951-1997) └

© Hannah Villiger, Untitled, 1980 – C-print from Polaroid © Hannah Villiger, Sculptural, 1993 © Hannah Villiger, Untitled, 1980/81 – 12 C-prints of polaroids “When trying to describe physical feelings of any kind, we find ourselves shortchanged by language. I arrived at this conclusion after several, always hopelessly crude attempts to describe fundamental moments in Hannah Villiger’s oeuvre. The public-at-large is quite capable of registering feelings of repulsion or extreme empathy when blood flows in the movies, when some-one is cut or surgery is performed, or when faced with eroticism, vertigo on a lookout tower or sports—all points on a … Continue reading ┐ Hannah Villiger (1951-1997) └

┐ Lock, Stock and Teardrops by Ali Kepenek & Max Snow └

© Ali Kepenek, Jackee Gun Dance, from the project Lock, Stock and Teardrops, 2011 © Maxwell Snow, Untitled, from the project Lock, Stock and Teardrops, 2011 “A constant duality exists in Ali Kepenek and Max Snow’s recent work of photography, installation, sculpture and collage. Under the theme of pain, both artists address their life experiences from physical existence, through installation and sculpture, as well as the internal and emotional realm, as depicted in their portrait photographs and collages. Kepenek’s photographs are the personal recordings of his world experience, depicting distorted scenes of self-destruction, substance abuse and sexual dissipation from the … Continue reading ┐ Lock, Stock and Teardrops by Ali Kepenek & Max Snow └

┐ Iiu Susiraja └

@ Iiu Susiraja, Näytös, from the series Älä nyt suutu, 2008/09 @ Iiu Susiraja, Kannel, from the series Syömään, pöytä on katettu, 2010 “In Susiraja’s esthetics, an image does not remain an image; rather, it requires an entire life. Although Susiraja has focused on photography, her art genre is more comprehensive: to shape a work of art from life. Usually, the salesmen of this genre rely on the American smile, non-sense polished with first-class product phraseology, but Susiraja doesn’t work that way. She scavenges ultimate experiences and the most dismal version of reality, although sometimes the imaginative possibilities for light-hearted … Continue reading ┐ Iiu Susiraja └

┐ Ting Cheng └

@ Ting Cheng, Icy Yoga Lesson, 2012 @ Ting Cheng, Where is my home, 2009 excerpt from an interview by Alexandra Plesner, from Dazed Digital Dazed Digital: Your images give the impression of a dreamer, trying to escape this asylum called life. Why does this concept fascinate you so much? Ting Cheng: As human beings, we learn from playing, we gain experience through trying. While I am not particularly good at planning, I am the queen of playing and trying. Inside the game, we are the controller. We press and release. We continuously select and restart, trying to break through … Continue reading ┐ Ting Cheng └

┐ Cabello / Carceller, II └

© Cabello / Carceller, Off Escena: If I were…, Madrid 2011 Gender Issues1 “How can we explain a term which is in itself so complicated, but which most of society is determined to simplify? How can we explain that the majority prefer to appear not to understand its diversity? And what is it that makes this pretense possible? Why do gender differences still exist as bipolarized and insurmountable categories? Who benefits from the continuation of this binary split? Why is it indispensable to pathologize those who transgress gender boundaries? Why do most of the transgender representations existing in the collective … Continue reading ┐ Cabello / Carceller, II └

┐ Tokihiro Sato └

© Tokihiro Sato, #149, 1992 © Tokihiro Sato, #170 Manji, 1992 © Tokihiro Sato, Yura #339, 2001 “The Photo-Respiration series is Sato’s most well known work. When we approached him with our request for a cover photo, we were delighted to learn that he has been continuing to work on the series up until now, as the above 2008 image Shirakami #1 illustrates. Photo-respiration consists of two sub-streams, Breathing Light and Breathing Shadows. To make these photographs, Sato opens up the lens on his 8 x 10 camera for an extended exposure, sometimes up to three hours, and subsequently physically … Continue reading ┐ Tokihiro Sato └

┐ Wyne Veen └

© Wyne Veen, Modern Art © Wyne Veen, Plant Hair “My central theme is uselessness. I feel that life is ridiculous. The products and arrangements I show are a reflection of investments of time and effort by men. They show the development of our society just like the old 17th century famous Dutch still lives did. But I don’t see this development as something to be proud of, I think it is way over the top. So I criticise it. I often wonder what on earth people are occupied with while there are so many better things to do. I … Continue reading ┐ Wyne Veen └

┐ Heidi Kirkpatrick └

© Heidi Kirkpatrick,Mother, 2001 © Heidi Kirkpatrick,Mahjong tiles, 2011 “Portland based photographerHeidi Kirkpatrick uses photographs to transform found objects into playful pieces of art. Her images reveal a view of the world experienced by women and she prints them on film positives which she mounts within or on found objectssuch as vintage tins, blocks, boxes, copper plates, dominos and children’s toys. These wonderfully unique pieces can be handled, arranged and adorned on a table rather than hanging on a wall, allowing each object to possess its own unique interactive charm. (…) Kirkpatrick has struggled with a fair amount of physical … Continue reading ┐ Heidi Kirkpatrick └

┐ Chen Wei └

© Chen Wei, Broken Aquarium, from the series Everyday, Scenery and Props, 2009 © Chen Wei, Idol behind the curtains, from the series Everyday, Scenery and Props, 2009 “The photography/installation works of 31-year old artist Chen Wei illustrate an intricate imagination fascinated with the eccentric and fanciful pursuits of early science, mathematics, alchemy, philosophers and madmen. Taxidermy, broken mirrors, melted wax, bats, bees, deserted bedrooms, and found objects become the artist’s tableau. With a meticulous attention to details, Chen Wei creates mesmerizing scenes that leave the viewer puzzled by their intricate narrative, fantastic visual impact and odd beauty. In some … Continue reading ┐ Chen Wei └

┐ Elizabeth Ingraham └

© Elizabeth Ingraham, Resilience, from the series Skins “My subject is skin: flexible and emotive, superficial but essential, protective but vulnerable. A boundary. A border. A membrane. An organ. A commodity. A pelt. In this on-going series of work, I am exploring how expectation, desire and convention—our own and others—form casings which shape our deepest selves and which become so familiar they seem like our own skin. My skins are physical, emotional, cultural. Their fabric is a social structure as well as a textile, and their fabrication requires translation and invention as well as construction. My skins are garments—not clothing … Continue reading ┐ Elizabeth Ingraham └