Territory: The Exhibition in a Box. The Created and Contested Territories Group have used conflict theory to create ‘Territory; the Exhibition in a Box’. The vehicle unites disparate creative practitioners to emphasize a materialist and materialized interpretations of history.
The group, consisting of artists, historians, designers, architects and writers, has adopted a critical stance toward past social arrangements, and by implication, contemporary representations of ‘reform’ as embodied by territorial, conceptual or societal change. The Boxed exhibition (an edition of 10) itself is a vehicle to create dialogue, and its sites and related symposia include:
IMPACT 10 Printmaking Conference, Santander, Spain (Sept 2018)
Addis Ababa University, Addis Ababa, Ethiopia (February 2020)
Haus am Lützowplatz (HAL), Berlin (March 2020)
CLB, Berlin (May 2019)
Lust and Apple, Edinburgh (March 2018)
Royal United Services Institute for Defence and Security Studies (RUSI) Library, London (January 2020)
Sight Marmetei, Former Stasi Prison, Romania. (December 2019)
Former Stasi Records Agency, Leipzig (February 2020)Territory: The Exhibition in a Box
Bill Viola and Michelangelo: Life Death Rebirth at Royal Academy of Arts London
Well, call me an old sceptic – and yes, I have read the (largely positive) reviews and seen the show – but for me this juxtaposition is just a bridge too far. Don’t get me wrong, I adore both Bill Viola and Michelangelo for their respective and Herculean contributions to our shared western artistic heritage. But, as a spectator I feel not a little manipulated for: a) being obliged to go, for fear I would be missing out, and b) wanting to see just how daft curatorial permutations could get. read on…
Picture credit: Bill Viola, ‘Tristan’s Ascension (The Sound of a Mountain Under a Waterfall)’, 2005. Video/sound installation. Performer: John Hay. © Courtesy Bill Viola Studio. © Photo: Kira Perov.
(c) The Brooklyn Rail September 2018
In writing this short piece for The Brooklyn Rail about Luciano Fabro, I seek to posit a fresh and possibly perverse approach to re-viewing the received wisdom and conditions for understanding the artist’s oeuvre. read on…
‘Mastaba’ at the Serpentine, Hyde Park in London Christo and Jean-Claude’s latest mega (lomaniac) foray into the public eye takes its formal inspiration from the eternal houses of ancient Egypt. The idea is traceable in C. and J-C’s drawings from the late -1960’s, and like so many of their major projects, has a gestation, provenance and resilience that are difficult to contest. In writing this brief note, I came to the startling realisation that I have adored Christo and Jean-Claude’s for absolutely years, they were effectively the visual soundtrack to my late teenage years…read the article
Mastaba. Courtesy of Christo and Jeanne-Claude. Photography: Wolfgang Volz © 1969-2018 Christo
Towards Infinity at Simon Lee Gallery London presents us with a delicious slice through the mid-1960s to early ‘80’s. I don’t say delicious with any sense of irony given that this congregation of artists would probably be the basis of a show that I would have loved to have curated. read on…
Giovanni Anselmo – Infinito 1971-73 courtesy Simon Lee Gallery London
Here I take a closer look at Deyan Sudjic’s recent comments on BBC ‘Front Row’ on how craft has been burdened by expectations of utility – this against a(n) alleged hierarchical backdrop of the arts. And why I have come to regret reading R.D. Laing’s ‘Knots’ at the age of 8. Read the article in Wall Street International June 2018.
Image credit: Meret Oppenheim. Object, 1936. Fur-covered cup, saucer, and spoon, cup 4-3/8 inches in diameter; saucer 9-3/8 inches in diameter; spoon 8 inches long,” ( Courtesy: The Museum of Modern Art, NYC).