2017 Venice Biennale favourites (2)

Also this year the Japan pavilion at the Venice Biennale was one of my favourite country pavilions. Takahiro Iwasaki was selected to show “Turned Upside Down, It’s a Forest“.
Takahiro Iwasaki (°1975, Japan) sculpts miniature landscapes from unexpected materials. Drawing on Japan’s industrial history, Iwasaki recreates factories, ferris wheels and radio towers that present a snapshot of a bygone era. Far from being glamourous monuments, Iwasaki’s sculptures are melancholy, recalling the trauma of warfare, and more recent natural disasters in Japan and its psychological impact.

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Australia presented Tracy Moffatt  with “My Horizon” showing 2 new photographic series and 2 films. Tracey Moffatt is one of Australia’s best known and internationally exhibited artists and the first indigenous Australian artist to represent her country at the Venice Biennale since 1997.
Her work strikes the right political chords, but does so in a highly stylish manner. Moffatt does not take photographs; she stages them, as if they are scenes from a film. As much as Moffatt’s work is about pain, it is also about glamour.

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Tracey Moffatt – Mother and Baby from the series Passage, 2017

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Tracey Moffatt – series Passage, 2017

In the series Body Remembers we view Moffatt herself as the maid in an isolated location. Moffatt alludes to memories, and discontent and its aftermath but the narrative is all up to the viewer.

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Tracey Moffatt – Touch from the series Body Remembers, 2017

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Tracey Moffatt – Rock Shadow from the series Body Remembers, 2017

And finally I would love to mention paintings by the African-American artist McArthur Binion (°1946 Mississippi). Completed between 2014 and 2016, the DNA series consists of abstract patterns painted on top of color copies of Binion’s birth certificate and pages from the address book he kept from the 1970s to 1992 when he left New York to teach in Chicago. Or how to make captivating paintings with words and biography!
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To read more:
Takahiro Iwasaki – “Turned Upside Down. It’s a Forest”.
Tracey Moffatt – My Horizon, the book.
Interview with McArthur Binion.

 

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2017 Venice Biennale favourites (1)

Visiting the Venice Biennale is always a great way to discover new artists and to rekindle the fascination for old favourites in the most charming setting of Venice island. Please find some of my favourites below of the 57th edition this year.

The work shown by Dirk Braeckman in the Belgian pavilion really hit home. You may accuse me of being highly biased being a Belgian myself but what is not to love about Braeckman’s analogue black and white photography. His experimentation with this medium at the brink of extinction, the flirting with representation and abstraction, the presence of a combination of intimacy and distance in each image… it all adds up to a fascinating body of work that brings stillness in today’s steady flow of images.
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Maria Lai was born in 1919 and passed away in 2013. She lived nearly a century in Sardinia, Italy and has translated her own history and the island’s folklore in her works. She has been one of the first artists involving the local community in her collective performances long before ‘relational’ art became a thing. In Venice several of her textile works were shown, stitches telling stories!

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Maria Lai – Geografia, 1992 (fabric and thread)

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Detail Geografia

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Maria Lai – Storia universale, 1982 (fabric and thread)

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Maria Lai – Lenzuolo, 1991 (collage of fabrics with wood thread) – detail

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Maria Lai – fabric books

Shimabuku (° 1969, Japan) made me laugh with his ironical works. So interesting how he questions human culture and our environment for life in his projects and thought provoking too. A really nice discovery!

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Shimabuku – Oldest and Newest Tools of Human Beings, 2016 (4 prehistoric stone axes, 4 smartphones, vitrine with glas) – detail

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Shimabuku – Oldest and Newest Tools of Human Beings, 2016 (4 prehistoric stone axes, 4 smartphones, vitrine with glas) – detail

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Shimabuku – Sharpening a MacBook Air, 2015 (MacBook Air with handle, vitrine, HD video, stereo sound – 2’05”) – detail

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Shimabuku – The Snow Monkeys of Texas – Do Snow Monkeys Remember Snow Mountains?, 2016 (mixed media installation, text, cactus pot, HD video, stereo sound, 20′) – video still

The video “The Snow Monkeys of Texas – Do Snow Monkeys Remember Snow Mountains?” originated after Shimabuku was told the story about a group of Japanese snow monkeys who were brought from the mountains of Kyoto to a Texas desert in 1972. In the first year their numbers reduced dramatically, but in the second year their population grew. After hearing this story in 1992 he visited them  in Texas in 2016. After spending a few days with them he decided to make a mountain of ice for them.

Where to see works of these artists now the Biennale closed its doors?
Dirk Braeckman’s work will be shown at a double exhibition in Belgium early 2018, to be held simultaneously at BOZAR Centre for Fine Arts in Brussels and M-Museum Leuven. Check out his website here.
Shimabuku is taking part in “The Show Must Go On” till 21 Jan 2018 in Kunst Museum Bern, Switserland and in the Biennale de Lyon till 7 Jan 2018. check out his website here.

More of my favourites coming soon. Please share your personal favourites of the 57th Venice Biennale in the comments!

On the Beach – Pablo Picasso

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Last weekend the 57th Venice Biennale closed its doors. I will soon share my favourites but let’s go to the beach first!
I stumbled upon a highly interesting ‘work in focus’ exhibition at the Peggy Guggenheim museum in Venice. It brings together three masterpieces painted by Pablo Picasso within the span of a few days in February 1937. The 3 canvases are painted at Tremblay-sur-Mauldre, France.
The painting On the Beach which belongs to the Peggy Guggenheim collection is presented for the first time alongside Woman seated on the Beach from the Musée des Beaux Arts of Lyon and Large Bather with a Book from the Musée national Picasso in Paris. Luca Massimo Barbero, who conceived the exhibition, generously put these 3 works in context by presenting sketches of Picasso showing the artists’ process and ideas.

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Picasso – On the Beach, 12 Feb 1937 (oil, conté crayon and chalk on canvas)

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Picasso – Study for ‘On the Beach’, 12 Feb 1937 (pencil, charcoal and blue pastel on laid paper)

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Picasso – Study for ‘On the Beach’, 12 Feb 1937 (pencil on paper)

 

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Picasso – Woman seated on the Beach, 10 Feb 1937 (oil, charcoal and pastel on canvas)

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Picasso – Study for ‘Woman Seated on the Beach’, 10 Feb 1237 (pen and ink on paper)

2 preparatory drawings for On the Beach shed light on the genesis of the painting. One of these, only recently identified in a private collection, is the study that Dora Maar received as a gift from Picasso when they were lovers and conserved until her death. A third study, formerly in the collection of one of the artist’s grand-daughters, Marina Picasso, is for Woman Seated on the Beach. The selection of drawings executed between February and December of 1937 testify to Picasso’s interest in the theme of bathers, to which he returned frequently over the course of his life.

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Picasso – Large Bather with a Book, 18 Feb 1937 (oil, charcoal and pastel on canvas)

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Picasso – Bather, 6 feb 1937 (pencil on paper)

 

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Picasso – Bather by a Cabin Skipping Rope, 6 Feb 1937 (wax crayon on fine grain tick tracing paper)
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Picasso – Two Nudes on the Beach, 1 May 1937 (India ink, pastel and pencil on mahogany panel)

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Picasso – On the Beach, 30 Dec 1937 (pencil on squared paper)

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Picasso – On the Beach, 30 Dec 1937 (pencil on squared paper)

1937 was a crucial year for Picasso’s work and for the historical events against which it is set: the Nazi were consolidating their power in Europe and supporting Franco’s policies in Spain. These circumstances, among others, would eventually lead to the outbreak of the Second World War. The pair of engravings Picasso produced in January 1937 titled The Dream and Lie of Franco are also on display introducing the great themes of Guernica.

On the Beach is a gem of a ‘work in focus’ exhibition on Pablo Picasso, still on view in the Peggy Guggenheim museum Venice till 7 January 2018.