exhibition review

Exhibition Review - Martin Cordiano:'In Side Out' Ab-Anbar, London till 6 April 2024.

Image of Ab-Anbar, London with art exhibition review by Drenched Co.



“Cordiano raises scaffolds

...felt, manifold

and inside..."

- Drenched Co.




Comment: "In 'In Side Out', Cordiano alludes to political discourses that no longer carry utopian ideals.  I see Cordiano's objects and spaces as models and scaffolds that are no longer bound by their contracts as metaphors. If the artist is making models, they have become independent of the world and from the particular theory of the world they are designed to demonstrate. If he is building spaces, then their scaffolds sit independent like buildings are independent of architects. They become new ways of thinking about the world. The particular way they are ruptured together reminds me of the failures, the pragmatism, the diversification, the realism and especially the cynicism of today's politics and its spaces. Intimacy in Coridano's objects and spaces is fractured - it panders to the actuation of new conceptions of the world through its autonomous models and scaffolds, continually manipulated and recontextualised." - Raj



See https://ab-anbar.com/exhibitions/53-in-side-out-martin-cordiano/press_release_text/

See also  https://www.soaked.space/2024/03/exhibition-review-martin-cordianoin.html



Caption: Image above: Installation view  Martin Cordiano 'In Side Out', Ab-Anbar London 2024

Image courtesy of the artist and Ab-Anbar, London. 

We take great care not to harm the image in any way. And these views, they are ours only and not those of the gallery or artist.





#cutsoverart #drenchedco #soakedspace  #Martincordiano #abanbarlondon #abanbar #insideout  #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview 


We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.


 

Exhibition Review - Boedi Widjaja: 'Declaration of' at Helwaser Gallery, New York till November 7, 2019 .

Image of Helwaser Gallery, New York with art exhibition review by Drenched Co.


“THE ONLY POSSIBLE RELATIONSHIP TO TIME  TODAY IS A CRIMINAL ONE."- Drenched Co.


Notes:  "I am with Boedi, doing fugitive work, on fugitive time, with errant fugitive moments on the run in the present. I am with Boedi, returning like the dead,  setting the present against some history that isn't regret, to remind us of yesterday's sense of tomorrow. I am with Boedi, as he folds, as he multiplies, as he pilfers a pause into the now, and future nows, stitching it through with repetition of drawn lines and captured light. I am with Boedi, the outlaw, as he counts the returns of history from death to life instead of life to death, his hands in multiple registers, thieving time into time marking the return of the dispossessed, the refugee and the immigrant. I am with Boedi! " - Raj

The quote above references Fred Moten and Stefano Harney's all capitals quote “THE ONLY POSSIBLE RELATIONSHIP TO THE UNIVERSITY TODAY IS A CRIMINAL ONE.” from their important book, 'The Undercommons'.


See https://www.helwasergallery.com/exhibitions/boedi-widjaja-declaration-of/

See also http://www.woundsthatbind.com/2019/11/exhibition-review-boedi-widjaja.html

Caption: Image above: Installation view at Helwaser Gallery, New York.  Boedi Widjaja: Declaration of
Courtesy of Helwaser Gallery. © Boedi Widjaja. Photography: Phoebe d'Heurle







#cutsoverart #drenchedco #soakedspace  #HelwaserGallery #BoediWidjaja #Declarationof #HelwaserGalleryNewYork #NewYorkart #artNewYork #artinNewYork #artberlin #berlinart #artinberlin #artlondon #londonart #artinlondon #artreview  #exhibitionreview  #fugitiveanthropology #fugitivemoment fugitivetime #fugitivework #howardzinn #sukarno #suharto

We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below and above it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.

Exhibition Review - Uri Aran: 'Tenants Like These' at Sadie Coles HQ, London till 16 March 2019.

Image of Sadie Coles HQ, London with art exhibition review by Drenched Co.




Aran's a psychic economy of wordless languages flexing an impression into a vector in any direction."- Drenched Co.


Notes:  "Uri Aran is tracing an elusive, unstable movement in his thoughts onto a stable and frozen two-dimensional plane. The canvas is the choreographic setting for these movements occasioned by ideas  moving fluidly across the surface of the canvas, like odes to passing sensations, untethered, aloof, barely recognising its/his existence, eschewing legibility and playing for temporality. There are no punctuations, no discernible rhythms, no outlines or distinctions, no attitude or style, all sub text, illusive and intensely private. There is too much freedom in his movements, now here, now gone, now everywhere, building rebuilding hierarchies, hardening and erasing borders, transitioning to new allegiances after another between different cultural contexts, languages and landscapes. Through his paintings, Uri Aran talks to me with the quietest of murmurs about human imperfectability and the allure of the impossible map. A fabulous exhibition of paintings at Sadie Coles! " - Raj


See https://www.sadiecoles.com/artists/3-uri-aran/


See also http://www.woundsthatbind.com/2019/03/exhibition-review-uri-aran-tenants-like.html



Caption: Image above: Installation view, Uri Aran, Tenants Like These, Sadie Coles HQ, London, 31 January - 16 March 2019 
Copyright Uri Aran, courtesy Sadie Coles HQ, London Photography: Robert Glowacki









#cutsoverart #drenchedco #soakedspace  #SadieColesHQ #UriAran #TenantsLikeThese #SadieColeslondon #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview  #exhibitionreview  #invisibleworld #topographic #categories #classification #paintings #expressionistic #language #orientations #maps #cartography #JorgeLuisBorges #OnExactitudeinScience

We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below and above it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.

Exhibition Review - Jean-Marie Appriou, Kasper Bosmans, Anna Glantz, Allison Katz, Caitlin Keogh, Rosa Loy, Lin May Saeed: 'Splendor Solis' at The approach, London till 23rd Sept 2018.

Image of The Approach, London with art exhibition review by Drenched Co.




At Splendor Solis, 7 flasks boil and bubble,
into the ancient gravity of the generations."- Drenched Co.


Notes:  " In this group exhibition, 7 artists are guided by what W.B. Yeats once called 'the oldest of the aristocracies of thought' and 'the soil where all great art is rooted'. Folk art/lore is here an old map that becomes not as much an index but a way of relating to the world, allowing for crossed boundaries, layered perspectives and beautiful transgressions. The artists unfurl their maps, chart their esoteric affinities and  guided by the eponymous manuscript, erupt into alchemical processes of transformation, creation or combination. Myths thread, sensibilities unravel and we are left with unmapped, uneven terrains, hot-wiring a past with a present before breaking through into a rarefied plane. All very intriguing indeed!" - FaSa


See https://theapproach.co.uk/exhibitions/splendor-solis/images/

See also http://www.woundsthatbind.com/2018/09/exhibition-review-jean-marie-appriou.html

Caption: Image above: Installation view  'Splendor Solis' The approach, London  2018.
Courtesy of the artists and The approach, London.

We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below and above it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.



#cutsoverart #drenchedco #soakedspace  #Theapproach #Theapproachgallery #JeanMarieAppriou #KasperBosmans #AnnaGlantz #AllisonKatz #CaitlinKeogh #RosaLoy #LinMaySaeed  #SplendorSolis #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview  #exhibitionreview  #reviewart #alchemy #folklore #folkart #wbyeats


Exhibition Review - Adam Hogarth, Clare Mitten, Gabriela Schutz, Martin Ward: 'The Machine Stops' at Danielle Arnaud, London till 24 March 2018.

Image of Danielle Arnaud, London with art exhibition review by Drenched Co.




At Danielle Arnaud, we tilt into the incoming tide of slow electricity."- Drenched Co.


Notes:  " At Danielle Arnaud, I am awash  with the thaw in the impatience of light. Meanings and uncanny predictions fall into sequence and overlap. Here forests are gorgeous windmills of mechanical silence. There is sound like thunder, the sound of electricity, tripping into a melodious stand still. Walls of electricity turn into rendered communal drawings and flowers bloom in the seams of a slow current. Four artists, like clots in the simultaneous, have tweaked the knobs and aligned with a 100 year old prediction to insist on a quiet contemplation with things that make meaning. Clare Mitten is awesome!" - JayZee


See http://www.daniellearnaud.com/exhibitions/exhibition-the-machine-stops.html

See also http://www.woundsthatbind.com/2018/03/exhibition-review-adam-hogarth-clare.html

Caption: Image above: Installation view  'The Machine Stops' Danielle Arnaud, London  2018.
Courtesy of the artists and Danielle Arnaud, London. Photograph by Oskar Proctor.

We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below and above it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.




#cutsoverart #drenchedco #soakedspace  #DanielleArnaudGallery #DanielleArnaud #AdamHogarth #ClareMitten #GabrielaSchutz #MartinWard  #TheMachineStops #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview  #exhibitionreview  #reviewart #emforster #dystopia #religion #electricity #prediction #windmill #machine #noideashere

Exhibition Review - Jane Bustin, Alice Cattaneo, Leonardo Drew, Felicity Hammond, Keita Miyazaki, Tulio Pinto: 'Combining Materials' at rosenfeld porcini, London till 10th Feb 2017.

Image of rosenfeld porcini, London with art exhibition review by Drenched Co.


..when all i touch it with is form, I create a world as it isn't.."- Drenched Co.


Notes:  " At rosenfeld porcini, we find glimpses of heterotopias, of tiny worlds in which the possibility of a grounded cosmopolitanism might exist, where boundaries overlap and are integrated and socialised, where politics informs and revolutionises. Here we stop relentlessly seeking the sanitised entities that have not conceded any mixed forms and middle positions or give in to intense local loyalties in our political lives. And perhaps for a moment or two, we stop pulling on the whole odd Aristotelian song of bringing together form with matter. In this exhibition we see the power of the gesture, always silent and possibly beyond language, that grounds the geography of these experiments and sustain their operation in social networks beyond the immediately given. We loved loved Keita Miyazaki's bouquets. Fabulous!" - FaSa


See https://rosenfeldporcini.com/exhibitions/38/overview/

See also http://www.woundsthatbind.com/2018/02/exhibition-review-jane-bustin-alice.html

Caption: Image above: Installation view  'Combining Materials' rosenfeld porcini, London  2018.
Courtesy of rosenfeld porcini, London. 




We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below and above it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.


#cutsoverart #drenchedco #soakedspace  #rosenfeldporcini #JaneBustin #AliceCattaneo #LeonardoDrew #FelicityHammond #KeitaMiyazaki #TulioPinto #rosenfeldporcinigallery  #CombiningMaterials #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview  #exhibitionreview  #reviewart #cosmopolitanism #foucoult #hetertopias #latour #gesture

Exhibition Review - Jonathan Trayte: 'SCHUSSBOOMER' at Castor Projects, London till 27th January 2017.


Image of Castor Projects, London with art exhibition review by Drenched Co.




In the kingdom of the saccharine, 
we spot the rising gleam of a carnival,
and the vicissitudes of its charm."- Drenched Co.


Notes:  "Jonathan Trayte's sweet seductions, spoken in glossy paint, natural forms and unnatural ornamentations, along the face of our complex relationship with food, takes a turn in his latest exhibition at Castor Projects. When once all he touched us with was a song of form and a trumpetry of hues, arranging and rearranging the shape of our desires, he now exhorts us with a carnival of every digressive ornamentation and funfair, from the the simple pleasure in a coin's clunk in a slot that turns into a little carnival to the distractions of a rickety landscapes of Planet ZumZee. But how else will you support the weight of the weightless, the slippages in the ideas of beauty that appeals to our fleshy universes? Perhaps he is onto something. Fabulous!" - JayZee


See http://castorprojects.co.uk/schussboomer

See also http://www.woundsthatbind.com/2018/01/exhibition-review-jonathan-trayte.html

Caption: Image above: Installation view  Jonathan Trayte   Castor Projects, London  2017.
Copyright Jonathan Trayte. Courtesy Castor Projects, London. 

We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below and above it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.




#cutsoverart #drenchedco #soakedspace  #CastorLondon #JonathanTrayte #CastorProjects  #SCHUSSBOOMER #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview  #exhibitionreview #artreview #reviewart #foodcoloring #market #alienlandscape #funfair #eyepopping #saccharine #foodpackaging #slotmachines #candycoloured

Exhibition Review - Yoshinori Niwa: 'That Language Sounds Like a Language' at Edel Assanti, London till 21st December 2017.

Image of Edel Assanti, London with art exhibition review by Drenched Co.

Language graduating slowly from language."- Drenched Co.


Notes:  "Niwa's performances are the wrench and strain of a line, tracing edges, testing waters, shaking loose a point of view. His is the stress in a twisted wire of words, baffling tongues, fooling limits, exposing boundaries. He leads us to a cliff edge, and asks us to make out the shapes below, arranged in the shape of our confusion, angled into the light of our betrayal. I wanted the wind to snag my breath, to catch my tongue, to lean out, to stumble into Niwa's world but alas I met but a step and wished for more." - JayZee


See https://edelassanti.com/exhibitions/73/cover/

See also http://www.woundsthatbind.com/2017/12/exhibition-review-yoshinori-niwa-that.html

Caption: Image above: Installation view  Yoshinori Niwa   Edel Assanti, London  2017.
Copyright Yoshinori Niwa. Courtesy Edel Assanti, London. 


We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below and above it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.



#cutsoverart #drenchedco #soakedspace  #EdelAssanti #YoshinoriNiwa #EdelAssantigallery #ThatLanguageSoundsLikeaLanguage #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview  #exhibitionreview #artreview #reviewart #language #bondary #limit #performanceart #artperformance #videoart #artvideo #perimeter #contigent #artjapan #japaneseart #artinjapan



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