Studio Visit: Henrique Oliveira, London
We have followed with earnest the creative exploits of the Brazilian artist Henrique Oliveira since 2009. We finally got to meet him here in London at his studio recently. Here is a short introduction to Henrique and his studios in Leyton Industrial Estate in East London.
Exhibition Review - Yuki Nakayama: 'After the Rain' A.I. Gallery, London till 2nd June 2024.
“ludic shot full of lucid
slip of a thing thrown in the air
from this plane you never see her angle
outflanked with potential"
- Drenched Co.
Comment: "Nakayama's shapes of play pylons in eroding gradients strobed throws of material action planes, angles, arcs and maths in tosses, slides, elbows and faces gamed wildness in grounded play legs swinging at the edge of a swing into nothingness what is dark matter? gravity and visible matter in a dance tiny beach-damp boxes open to an open sky alternative spaces to a full brown daily humdrum thrown pendulums, trespassing fulcrums and red-heavy delinquents maths and protractors and ruled polygons with broken arches song of a good fight in its rifts and roar, its slips and traverses.
Nakayama's fascinating maps and models of a space where a special order reigns absolute, where an affinity between play and order makes it a 'consecrated space' of play 'rituals', makes me think that she is taking a snapshot of some material action of some kind of embodied practice - the shapes and patterns of an experiential order. I loved Sandbox #1 to #4 ( in picture)." - Raj
See https://a-i-gallery.com/exhibitions/56-after-the-rain-1a-tenter-ground-london-e1-7nh/overview/
See also https://www.soaked.space/2024/04/exhibition-review-yuki-nakayama-after.html
Caption: Image above: Installation view Yuki Nakayama, A.I. Gallery London 2024
Image courtesy of the artist and A.I. Gallery, 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 #YukiNakayama #aigallerylondon #aigallery #aftertherain #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview
Exhibition Review - Tuan Vu : 'Elysium' Kristin Hjellegjerde Gallery, Wandsworth, London till 13th April 2024.
-march24%20copy.jpg "Art exhibition review by Drenched Co - Tuan Vu 'Elysium' at Kristin Hjellegjerde Gallery, Wandworth,London")
“lob an abstract into backwash
glaze snarled up in a mesh
a dreamy wreckage of time"
- Drenched Co.
Comment: "In Elysium, Tuan reaches for what seems like a vanished moment in art history when a frankness in declarations for painted surfaces met the mystic realms of colours that bloomed and receded and collided with conflicting proportions and perspectives and wild designs. Any content apart from ideal dreamy happiness ( Elysium-like) seems to be an affront to the purity of these paintings but Tuan has charmingly managed complexity and seduction simultaneously while giving hints of himself without appearing presumptively autobiographical. Beauty in these paintings, apart from being a web of half hidden clues, suggestions and portents is about an emerging dream-like fullness, a memory of an unfolding life that, for me, touched on a certain stillness where one can receive time." - Raj
See https://kristinhjellegjerde.com/exhibitions/405/overview/
See also https://www.soaked.space/2024/03/exhibition-review-tuan-vu-elysium.html
Caption: Image above: Installation view Tuan Vu 'Elysium' Kristin Hjellegjerde Gallery, Wandsworth, London.
Image courtesy of the artist and Kristin Hjellegjerde Gallery, Wandsworth, 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 #tuanvu #KristinHjellegjerdelondon #KristinHjellegjerde #elysium #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 - Martin Cordiano:'In Side Out' Ab-Anbar, London till 6 April 2024.
“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 .
“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.
“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.
“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.
“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.
“..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.
“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.
“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
Exhibition Review - 'Zhongguo 2185' at Sadie Coles, London till 04 November 2017.
“Victor Wang traces flat shadows
in fuzzboxes
in contemporary China
and finds a word in a foreign tongue."- Drenched Co.
Notes: "Imagine that you are a brain in a jar. You won't have too many stories of your own. Most would be someone else's, each sewn tightly into a perfect impression of you. You won't know exhaustion just as you can't imagine soaring free or dying. You have no sense of time, not the time measured through disintegrating bodies, as much as you can't fathom the breaking down of lives and their deep neurologies. You can't know love, the touch of another human and the stories of people and their societies and the anxieties that spring from this reservoir. Technology assaults you and fiddle with your personality. Your temporal lobes hum to the beat and play to the shape of narratives that don't see you, has never seen you. There's always a piece missing. And this is where Zhongguo 2185 hangs. It draws attention to you. Its not just Sinofiction." - FaSa
See http://www.sadiecoles.com/other-exhibitions/zhongguo-2185
See also http://www.woundsthatbind.com/2017/10/exhibition-review-zhongguo-2185-at.html
Caption: Image above: Installation view 'Zhongguo 2185' Sadie Coles, London 2017.
Copyright the artists, courtesy Sadie Coles HQ, London. Curated by Victor Wang 王宗孚 Photography: Robert Glowacki
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 #Zhongguo2185 #SadieColesGallery #SadieColesHQ #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #exhibitionreview #artreview #reviewart #TianzhuoChen #TangDixin #YuJi #Nabuqi #LuPingyuan #XuQu #ZhangRuyi #SunXun #LuYang #ChenZhe #LiuCixin #victorwang #artinchina #artchina #chinaart
Exhibition Review - Jeff Elrod at Simon Lee Gallery, London till 21st October 2017.
“With Sparagmos and Synecdoche, Elrod offers up a wreckage in a mediated glow, found off kilter."- Drenched Co.
Notes: "I loved Blade Runner 2049. Did you? Watch it and then go take a spin at Simon Lee's Jeff Elrod exhibition. You'll sense the buzz, the glow and simulated warmth of 'computer monitors' and you'll feel like you have been shoved sideways into time. You will struggle with the illusory space of his increasingly opaque mediated 'screens'and you might draw the parallels between the movie and his paintings. Elrod uses ideas behind Science Fiction to make new thinking possible and communicable and his is more than a complex Instagram filter. Fabulous! " - FaSa
See https://www.simonleegallery.com/exhibitions/119/
See also http://www.woundsthatbind.com/2017/10/exhibition-review-jeff-elrod-at-simon.html
Caption: Image above: Installation view Jeff Elrod Simon Lee Gallery, London 2017.
Image courtesy of artist and Simon Lee Gallery, London Photo credits: Todd-White Art Photography
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 #JeffElrod #SimonLeeGallery #SimonLeeLondon #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #exhibitionreview #artreview #reviewart #marfa #sparagmos #synecdoche #sciencefiction #dreamspace #technology #briangysin #williamsburroughs #selfhynotising #screen #literal #figurative #fragments #tropes
Exhibition Review - Dusadee Huntrakul:'To Dance Is To Be Everywhere' Chan + Hori Contemporary, Singapore till 8th October 2017.
“A turn of the line, like an asymptote, may approach an indent in time."- Drenched Co.
Notes: "Consider the Neck. A narrow connector whose shape and surface may evoke a season, a landscape or an architectural detail. Think of the Neck, pale, scented, a recipient of a thousand kisses or a long slender snake that may suddenly slither up a wall dragging the whole body. Think of its gestural throwing lines, its dynamic volumes and the way its lies about the backbone. Think of the Neck when looking at Dusadee Huntrakul's art and his interest in meanings transfered through objects, gestures and forms. In this exhibition, the Neck is the creamy beacon that invites contemplation through the ages, an albatross full of metaphors slung around it, clinging on to an unwritten head and a trace of meaningness. Dusadee once made a film titled 'My Armpit's my Beer', but I am convinced he is a neck man. Fabulous " - Raj
See https://www.chanhori.com/2017-current#/to-dance-is-to-be-everywhere/
See also http://www.woundsthatbind.com/2017/09/exhibition-review-dusadee-huntrakulto.html
Caption: Image above: Installation view Dusadee Huntrakul Chan + Hori Contemporary, Singapore 2017.
Image courtesy of artist and Chan + Hori Contemporary, Singapore
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 #DusadeeHuntrakul #ChanHoriContemporary #ChanHoriContemporarygallery #ToDanceIsToBeEverywhere #artinsingapore #artsingapore #singaporeanart #artinthailand #thaiart #artthai #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #neck #exhibitionreview #artreview #reviewart #ceramics #drawings #artifacts #Picasso #JoanMiro #MarkManders #asymptote #coleridge #collectivememory #myth #armpit #throwlines #gesture #form #object
Exhibition Review - Anne Samat:'SULTANATE IN THE EYE MONARCHY AT HEART' Richard Koh Fine Art, Kuala Lumpur till 21st August 2017.
“Samat's weaves transcend the world of cloth."- Drenched Co.
Notes: "Anne Samat weaves magical textiles. A patch of her traditional Malaysian 'songket' is the pulsating centre of a large exoskeleton of rakes and chains, and it is sending out thick feelers of thread, like taut twitching muscles, to reign in, to 'hook' into the gallery's whitewashed skin. Samat's works are alive, migrating, melding and becoming. And this is where lies the secret to their charisma - the vertiginous swoop you experience going from the mundane to the celestial. Her songkets are no longer just fit for kings. They are adorned by gods. " - FaSa
See http://rkfineart.com/exhibition/anne-samat-sultanate-in-the-eye-monarchy-at-heart/
See also http://www.woundsthatbind.com/2017/08/exhibition-review-anne-samatsultanate.html
Caption: Image above: Installation view Anne Samat Richard Koh Fine Art, Kuala Lumpur 2017.
Image courtesy of artist and Richard Koh Fine Art, Kuala Lumpur
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 #AnneSamat #RichardKohFineArt #RichardKohFineArtgallery #SULTANATEINTHEEYEMONARCHYATHEART #artinmalaysia #artmalaysia #malaysianart #artsingapore #singaporeart #artinsingapore #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #songket #weaving #traditionaldress #domesticobjects #Richardkoh #goddess
Exhibition Review - Anne Neukamp:'The Familiar Object' Marlborough Contemporary, New York till 24th June 2017.
“Take off your Anschauung for a second,
i need to unlock you
a fading charm for our craven misgivings."- Drenched Co.
Notes: "Sometimes, I am in my day and an image appears in my mind. Is that the same for you too? It is usually just a shape I have seen. Floating. Untethered. No emotions. No immediate relevance to what I am doing or thinking. I might be cleaning my brushes or stepping into the shower and there it is. A recent one was the odd reflection off a spoon sitting in a bowl of half-eaten cereal my daughter had abandoned rushing to get out of the door to school. There was no bowl, no table, no daughter, just a spoon and the odd way it caught the light. Why that spoon? No idea. Occasionally the image will come nested in other things or half of some things that interfere with it. Odd milieu of colors and light and objects that says nothing and signify little. I sometime wonder if this odd imagery will be the last thing I see. A flash of impending uselessness of things catching my last breath. I wonder if Neukamp hasn't somehow found a way to capture it." - Raj
Caption: Image above: Installation view Anne Neukamp Marlborough Contemporary, New York 2017.
Image courtesy of artist and Marlborough Contemporary, New York
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 #AnneNeukamp #MarlboroughContemporary #MarlboroughContemporarygallery #TheFamiliarObject #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #consumerism #ornamental #decor #geomtric #shapes #lines #typography #advertising #pictograms #cartoons #artgerman #germanart #artingermany #artdusseldorf
Exhibition Review - Ann Cathrin November Høibo at Carl Freedman Gallery, London till 17th June 2017.
“November Høibo's lost stitches in a fistful of thread gathered in around the memories of a spool."- Drenched Co.
Notes: "November Høibo's weaves, slung across backs of chairs, draped across rails and stairs, fresh out of dark dusty closets, fill the room with the rustle of faint sighs. They have outlived their usefulness, memories of warmth and fullness; loose fists of tangles, reminders of a curve, a fit, an impression. Their stubborn excesses drive their weave and weft through gravity laden air, ballast that unravels but prevents them from falling out of our world , only further, deeper like a yearning that both shields you and drives you out of your skin. Loved 'My Friends 5'." - JayZee
See http://carlfreedman.com/exhibitions/2017/2313/
See also http://www.woundsthatbind.com/2017/06/exhibition-review-ann-cathrin-november.html
Caption: Image above: Installation view, Carl Freedman Gallery, London, 2017.
Credits: Copyright the artist, courtesy Carl Freedman Gallery, London Photo: Mariell Lind Hansen.
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 #AnnCathrinNovemberHoibo #CarlFreedmanGallery #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #weave #weft #tapestry #fabric #textiles #clothes #fetish #dancingfingers #ElseMarieJakobsen #HannahRyggen #FridaHansen
Exhibition Review - Group show:'The problem with having a body / is that it always needs to be somewhere', The Approach, London till 14th May 2017.
“What exactly is it that needs shoring?"- Drenched Co.
Notes: "My meanderings begin from and through the work of the only male artist in this group show. I am perched on a tide of bodily waters, sloshing, swirling, frothing, back and forth, in and out in rhythmic displacements of bodies, knocking back, unclogging channels, clearing paths. This beat presses the body into potential, into colonised spaces, into the conflict between life as limited and life as continuity. I am witness to an impending tsunami of release and expression, heading a charge against an eon of assimilating the impact on the body made by a white male universe. Shored by the limits of the skin, a rhythm rises against the epidermal understanding of personhood, against the dynamics of visibility and occlusion and against designed movements of a conquered body set in time and space. The skin, frontier of the new resistance, in a battle of blows against tyranny is chrysalides to colonised ghostly bodies and it is warping space into impossible bodies everywhere. What again is it that needs shoring?!" - FaSa
See https://theapproach.co.uk/exhibitions/the-problem-with-having-a-body-is-that-it-always-needs-to-be-somewhere/images/
See also http://www.woundsthatbind.com/2017/05/exhibition-review-group-showthe-problem.html
Caption: The problem with having a body / is that it always needs to be somewhere, Installation view at The Approach, 2017.
Credits: Image courtesy of the artists and The Approach, London. Photo: FXP photography.
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 #AnaVieira #ZiliaSánchez #BIngridOlson #PaulMaheke #AlexandraBircken #HeidiBucher #KikiKogelnik #JulianaCerqueiraLeite #TheApproach #TheApproachgallery #Theproblemwithhavingabodyisthatitalwaysneedstobesomewhere #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #impossiblebodies #absentbodies #skin #shored #malegaze
Exhibition Review - Mat Chivers:'Harmonic Distortion', PM/AM, London till 16th April 2017.
“Art's new technology is a broken technology."- Drenched Co.
From Svetlana Boym's Off-Modern Manifesto.
Comment: "Mat Chivers' encounters with machines surprises us. He is an accomplished conductor of his own fallibility. Engaging with information is an interminable process and translation is an impossibility. But Mat is persistent and his margin of error is his margin of freedom to create surprising art, to allow us an inroad into information, a way to digest it, inhabit it and make meaning from it. But these 'models' of 'clouds' are more - they are receptacles of dreams and longings and mysteries, ruins of some alternative history out of a universe of alternative outcomes, engaging with history in a way to place it in a new motion, open to the present. Fabulous. I liked the Shibari inspired performance most." - Raj
See http://www.pmam.org/exhibitions/mat-chivers-harmonic-distortion/
See also http://www.woundsthatbind.com/2017/04/exhibition-review-mat-chiversharmonic.html
Caption: Image above: Installation view Mat Chivers© PM/AM, London 2017.
Credits: Image courtesy of the artist and PM/AM, London. Photography: David Brook
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 #MatChivers #PMAM #pmamgallery #HarmonicDistortion #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #SvetlanaBoym #walterbenjamin #marblesculptures #shibari #performanceart #artperformance #dataanalysis #environment #data #cloud #wave
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 - Saad Qureshi:'time | memory | landscape', Gazelli Art House, London till 16th April 2017.
“With Qureshi, a stillness I can't keep,
leans into terrains darkened with allure. See
winds scatter dark blooms
into impatient cosmologies! Ones
you can't see but own."- Drenched Co.
Comment: "'School of Saatchi' artist Saad Qureshi helps the elusive truth of a memory grow out of another." - JayZee
See http://gazelliarthouse.com/exhibition/time-memory-landscape/
See also http://www.woundsthatbind.com/2017/04/exhibition-review-saad-qureshitime.html
Caption: Image above: Installation view Saad Qureshi© Gazelli Art House, London 2017.
Credits: Image courtesy of the artist and Gazelli Art House. Photography: Peter Mallet
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 #SaadQureshi #GazelliArtHouse #timememorylandscape #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #mindascape #congregation #innerlandscapes #ruin #decay #brickpowder #time #memory #landscaape
Exhibition Review - Amelie von Wulffen:'The misjudged Bimpfi', Studio Voltaire, London till 2nd April 2017.
“The past stealing ballast of this light
that still shines through to places unknown,
ruins that a nation carries in its heart,
putting more shadow in the shadows,
shattering a mirror to stare at ghosts."- Drenched Co.
Comment: "There are shadows in Amelie's work, dark clouds that spread through her paintings, overcoming them, rising as though from some scene of an unatoned crime, filled with ghosts and spectres that do not die their own death. As a 'Nachgeborenen', perhaps Amelie is introducing us to the impossibility of mourning, leaving us with bottles of ether and somewhere in a place between consciousness and unconsciousness, filled with immovable obstacles to repentance and salvation. Or perhaps she is telling us about the traumatising loss of innocence and something that may inaugurate the work of mourning. Perhaps Amelie is suggesting this through the example of Mann's hero in Doktor Faustus, by dropping harmony and counterpoint and a legacy that is univocal and given, and assembling her dark montages of memories in the rhythm of various painterly traditions, always equally fluid and disjointed. Either that or Amelie is telling us that art is incurably sick and impotent against the monsters in us, foretelling perhaps a dark coming. I found her installation/sculpture especially interesting and revealing." - FaSa
See http://www.studiovoltaire.org/exhibitions/
See also http://www.woundsthatbind.com/2017/03/exhibition-review-amelie-von-wulffenthe.html
Caption: Image above: Installation view Amelie von Wulffen© Studio Voltaire, London 2017.
Credits: Amelie von Wulffen, The misjudged Bimpfi, Installation view, Studio Voltaire 2017. Courtesy of the artist and Studio Voltaire. Credit Andy Keate.
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 #AmelievonWulffen #StudioVoltaire #ThemisjudgedBimpfi #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #theodoradorno #jacquesderrida #theworkofmourning #theimpossibilityofmourning #collage #thomasMann #doktorfaustus #germanart #artingermany #artgerman #anselmkiefer
Exhibition Review - Florian Roithmayr: 'ir re par sur', Bloomberg SPACE, London till 18th March 2017.
“Florian's reaches down into the religious substance out of which we are moulded."- Drenched Co.
Comment: " I liken Florian's alchemical experiments to photography, as a kind of moulding, organising various forces to a state of equilibrium to a particular moment, when through the intermediary of all materials involved - human, chemical and mechanical, an imprint is taken, creating a world as it isn't. What is interesting here is the way Florian's gestures, his subjecthood, brings agency in the processes of subjectivation to the apparatus of flow and formlessness entering a dialogue with form, structure and systems. " - Raj
See https://www.bloombergspace.com/artists/upcoming/ir-re-par-sur/
See also http://www.woundsthatbind.com/2017/02/exhibition-review-florian-roithmayr-ir.html
Caption: Image above: Installation view Florian Roithmayr© Bloomberg SPACE, London 2017.
Image courtesy of Bloomberg SPACE, London. Photo: David Morgan Photography, 2017
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 #FlorianRoithmayr #BloombergSPACE #irreparsur #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #formlessness #flow #photography #mould #imprint #gesture #Acheiropoieta #GeorgesDidiHuberman #HenryColeman #RupertNorfolk #physicalinformation #Barthes #artingermany #germanart #artgerman
Exhibition Review - Elpida Hadzi-Vasileva: 'An Intimate Gaze', Danielle Arnaud, London till 11th Feb 2017.
“Elpida is reaching in, searching,
takes apart landscapes,
lifts open lush horizons,
upends a purse, a stomach, a body,
watching it flame into momentary blossoms,
a memory of breath and life burning flesh into a broken silence,
a silence of the body used confounded by its use,
washed in odors and secrets of
a river that swallows all things."- Drenched Co.
Comment:
" Elpida's silky gauzes of silence, in their quivering eruptions, peels back my gaze. Brilliant!" - JayZee
See http://daniellearnaud.com/exhibitions/exhibition-elpida-an-intimate-gaze.html
See also http://www.woundsthatbind.com/2017/02/exhibition-review-elpida-hadzi-vasileva.html
Caption: Image above: Installation view Elpida Hadzi-Vasileva© Danielle Arnaud, London 2017.
Image courtesy of Danielle Arnaud, London. Photo: 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 #ElpidaHadziVasileva #DanielleArnaud #DanielleArnaudgallery #AnIntimateGaze #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #makingbeauty #insideout #unity #sitespecific #fragility #decay #skin #scientific #macedonianart #artinmacedonia
Exhibition Review - Christina Mackie, Richard Gasper, Kira Freije, Penny Andrea: 'God's Finger', Kinman gallery, London till 20th Jan 2017.
“Act V - Putinescence"- Drenched Co.
Comment: "Imagine a bunch of artists finding the lost fifth and final act of Arthur Miller's 'The Crucible'. The one that is rumored to hint at the various hues of human forgetfulness and the fury of a returning orange Venus. Imagine that the artists have decided to get in on the act. The end of God's finger, 20th Jan 2017, will return America to its human sacrifices, to the mood and atmosphere of its Salem witch hunts and McCartyism. Gasper fires the plot by bringing piles of dirt into the gallery, breaking into the landscapes that once expressed the qualities of moral grandeur and human destiny (the dirt is from Henry Moore Estates). Mackie's colors, used as a metaphor for knowledge, hint at the trouble many are having discerning facts, buried in layers of dirt. Freije’s sculpture is at once the unfolding comedy that is the youth left with a sinking ship, and an irreverent orange emperor, source of all sickness. Andrea finally provides the chatter and melancholia that accompanies this train wreck. It is, by all accounts, a dark foretelling." - FaSa
See http://kinmangallery.com/london/gods-finger
See also http://www.woundsthatbind.com/2017/01/exhibition-review-christina-mackie.html
Caption: Image above: Installation view 'God's Finger' at Kinman gallery, London.
Image courtesy of Kinman gallery, 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 #ChristinaMackie #RichardGasper #KiraFreije #GodsFinger #PennyAndrea #Kinmangallery #thecrucible #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #arthurmiller #lostplay #putin #donaldtrump #america #inauguration #salemwitchhunt #mccarthyism #orangeemperor
Exhibition Review - Bonnie Camplin, Camden Arts Centre, London till 15th Jan 2017.
“Bonnie's esoterica of vibrating lines
caught in the curvature of receding minds."- Drenched Co.
Comment: "An outline for a story: Artist spends hundreds of hours over many years swimming in the vast and ancient eddies of existence, hoping to discover mystic correspondences from the other side. Nothing happens. The artist builds installations to open people's minds by showing them what she does everyday. She becomes successful perhaps because the Outside is no longer, usurped by modernity's dissolving boundaries. The Inside (the inner life) is the new frontier in art. Artist continues to use oracular devices in the form of diagrams to open her mind. One day, a leak appears in her mind, one that connects her to the 'other' side. The vast unknown has returned her call and in the same shapes and forms she had been transmitting to it for years. The artist frantically scribbles her thoughts down, relieved and breath-taken at the same time. She compiles her work and exhibits it. Each drawing, each diagram a message from the unknown and proof of its existence. Work of enormous importance to her and mankind in general. Unfortunately, no one can relate. People shun it. Art critics write it off. We are simply not ready." - FaSa
See https://www.camdenartscentre.org/whats-on/view/camplin
See also http://www.woundsthatbind.com/2017/01/exhibition-review-bonnie-camplin-camden.html
Caption: Image above: Installation view of Bonnie Camplin at Camden Arts Centre, 2016-17
Image courtesy of Camden Arts Centre, London. Photo: Mark Blower
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 #BonnieCamplin #CamdenArtsCentre #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #diagram #drawing #paranormal #mysticism #psychedelia #necronaut #transcendetal #pyschicspace #semiotictechnology #seance #netherword #psychic
Exhibition Review - Peter Peri:'Uncting' Almine Rech Gallery, Savile Row London till 14th Jan 2017.
“I found insane geometries and dissolving boundaries
in Peri's refractive index of modernity."- Drenched Co.
Comment: "In this deceptively sedate exhibition, Peter Peri creates a radical universe to explore the textures and structures characteristic of the experiences of the schizophrenic and the modernist artist. I marveled mostly at Peri's complex handling of illusionistic, irrational space through his hairy structures and his dense,organic mesh of lines. Layers of reality sit side by side in this show, the 'modern' and the schizophrenic acting as the mobile ready to assume any contours or texture to legitimise and valorise them. But there, in Peri's relatively static sculptures, we find something akin to an imbalance, something to find and ride into resistant universes, thwacking our heads against our animist projections. " - Raj
See http://www.alminerech.com/exhibitions/3739-peter-peri
See also http://www.woundsthatbind.com/2017/01/exhibition-review-peter-periuncting.html
Caption: Image above: Installation view Peter Peri© Almine Rech Gallery, Savile Row London 2017
Image courtesy of the artist and Almine Rech Gallery, Savile Row 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 #PeterPeri #AlmineRechGallery #AlmineRechGallerySavileRow #Uncting #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #PeterLaszloPeri #constructivism #modernity #geometry #modernism #drawing #painting #sculpture #TrompeLOeil #fetishazation #dissolution #martinherbert
Exhibition Review - Antonis Pittas:'Shadows for Construction' narrative projects, London till 7th Jan 2017
“Set the present against some history that isn't regret,
hang it on the awkward motions of protest,
angle it to the invisible forces of upheavel,
leave it unfinished, to become whole again."
- Drenched Co.
Comment: "With a sleight of his hands, Pittas does away with specifics and places the revolutionary urges of the russian avant-gardes of the 20th century next to today's global politics. He has me seeing references to recent post-truth era politics everywhere - e.g. shadow hands redirecting the light of the past in which the present is reinterpreted ; a giant discarded hand of an eternal monument to bygone ambitions set against the words of a Calais refugee; acutely polarised politics adorned in cheap gold kitsch! Pittas' gestures of the political hand both reveals and conceals new and interesting aspects of the geometry of the complex political space that we negotiate both inside and outside the gallery today. How very clever!" - FaSa
See http://narrativeprojects.com/exhibitions/shadows-for-construction/
See also http://www.soaked.space/2016/12/exhibition-review-antonis-pittasshadows.html
See also http://www.woundsthatbind.com/2016/12/exhibition-review-antonis-pittasshadows.html
Caption: Image above: Installation view Antonis Pittas© narrative projects, London 2016
Image courtesy of the artist and narrative 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 #AntonisPittas #narrativeprojects #narrativeprojectsgallery #ShadowsforConstruction #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #artamsterdam #amsterdamart #greekart #artingreece #revolution #protest #russianavartgarde #russianformalism #sovietconstructivism #minimalism #calaisrefugeecrisis #trumpera #postbrexit
Exhibition Review - Hannah Levy and Michael Simpson:'Shall we sit, stand or kneel?' Marlborough Chelsea, New York till 3rd Dec 2016.
“Denied of tiresome fixations,
it bends my body into incongruous places."
- Drenched Co.
Comment: "The emptiness in Simpson's paintings and Levy's chromed metal and silicone (recently escaped from their “design purgatory”) made me think of my local surgery's consultation rooms. And aptly enough both artists disassemble contexts in search of powers in their wonted seats, laying them bare through slick bits of archaeology. Being apparently free from bondage and semantic connections, I felt a strange familiarity with these paintings and sculptures, due perhaps to their new potentials but also (funnily enough) to their inviolable relations to the body. Brilliant!" - JayZee
See http://marlboroughchelsea.com/chelsea/exhibitions/shall-we-sit-stand-or-kneel
See also http://www.woundsthatbind.com/2016/11/exhibition-review-hannah-levy-and.html
Caption: Image above: Installation view Hannah Levy© Michael Simpson© Marlborough Chelsea, New York 2016
Image courtesy of the artist and Marlborough Chelsea, New York. Photo credit: Daniel Peréz
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 #HannahLevy #MichaelSimpson #MarlboroughChelsea #Shallwesitstandorkneel #artnewyork #newyorkart #artinnewyork #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artreview #design #purgatory #GiordanoBruno #lepersquint #ubiquityofbody #formandfunction #flatsurfacepaintings #benchpaintings #denial #ergonomic
Exhibition Review - Levi Van Veluw:'the foundation' Rosenfeld Porcini, London till 26th Nov 2016.
“I biro a profile clean,
mistaking shadows for symmetry,
lost in the scattering
coherence in curiosity."
- Drenched Co.
Comment: "My first intro to Van Veluw was in 2008 through photographs of his face with ballpoint marks. To me these were a piece of theatre concerned more about self-erasure then self-expression. In his later work 'The Origin of the Beginning', I started wondering if Van Veluw's work was not more about finding a place for himself and mankind in general within the grand scheme of nature and the divine. And this became clear in 'The Relativity of Matter' where Van Veluw becomes the accomplished maker of the wunderkammer, fingering perhaps at the idea behind the museums today and their collections. And here again he attempts to erase out his profile from his darkened archive rooms, beautifully challenging ideas of the formation, preservation and interpretation of an impossible collection. Fabulous." - Raj
See http://rosenfeldporcini.com/exhibitions/31/overview/
See also http://www.woundsthatbind.com/2016/11/exhibition-review-levi-van-veluwthe.html
Caption: Image above: Installation view Levi Van Veluw© Rosenfeld Porcini, London 2016
Image courtesy of the artist and 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 #LeviVanVeluw #RosenfeldPorcini #RosenfeldPorcinigallery #thefoundation #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #dutchart #artinnetherlands #wunderkammer #therelativityofmatter #selfpotraiture
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