Body Sign Action 2, 1970
The very exciting Viennese Season: Actionism exhibition has just opened at the Richard Saltoun Gallery and is the first major survey of Viennese Actionism in the UK. The exhibition will present the work of Günter Brus, Otto Mühl, Hermann Nitsch, and Rudolf Schwarzkogler. Virtually over by 1970, the radical movement was short-lived but rich and dense in each artist’s output. Performance works, aktions, were at the heart of their work, extending the use and meaning of painting. Blood, animal carcasses, razor blades, and ropes were all used as implements to create these aktions.
This new season at begins with examining Actionism the sensational movement borne out of expressive action painting in Vienna in the late 1950s. The second, Feminism, will present the work of Valie EXPORT and Friedl Kubelka, two artists using their body and the action of documentary photograph to subvert the traditional notion of the “great male artist”. As Actionists chose to challenge the mythology of traditional art mediums such as painting and sculpture so did these two Feminist artists choose to challenge the hierarchy of the art establishment.
The exhibition will include vintage photographs of performances by all four artists as well as one of the original surviving stretchers used by Nitsch, rare in its survival and that he only ever performed six aktions.
Opening its doors yesterday the exhibition will run until the 4th of
April and is open week days from 10am to 6pm
111 Great Titchfield Street
London W1W 6RY
4 Aktion / 4th Action, 1965
3 Aktion, 1965Günter BRUS Kopfbemalung, Aktion, Wien, 1964
Hood By Air
Iris Van Herpen
J W Anderson
Comme des Garçons
Sang Bleu friends painter Danny Fox and tattooer Liam Sparkes will be having a joint exhibition at Maison 1575 in Paris opening tomorrow evening. The exhibition will run until the 31st of March and tomorrow evening you will be able to buy limited edition screen prints at the private view which starts at 7pm and closes at 10pm.
Liam will be showing new flash sheets and Danny will be showing worked based on lady boys after a recent trip to Thailand.
More information can be found here
Ashkan Honarvar is a contemporary collagist whose recent work has focused on manifestations of evil. From colonialism to murder and post-Civil War public lynchings, his work attempts to question where evil comes from and what it means. How do notions of knowledge play into the execution of cruelty, and what does this seemingly inherent death and decay of our physical bodies do on a universal scale? His work employs a variety of images, from scientific illustrations to medical imagery to amateur photographs of cadavers. By physically manipulating images–cutting, slashing, and splicing them together–Honarvar enacts his own violence, creating new wholes.
The images presented here come from 4 different series of Honarvar’s work. In each of them, Honarvar examines the intersection between “objective” knowledge and power. Conquest 5 (2014) addresses the colonization of Africa and the underlying motives of fiscal power and submission by using images of “native purity.” These National Geographic-style images were, in reality, often highly staged to display prescribed Western visions of “primitiveness.” American Still Life (2013) takes highly controversial lynching photographs to expose the entertainment potential and commercialization of lynching documentation, exploring what the images’ contemporary potency can tell us about continued racism. Identity Lost (2013) addresses the loss of humanity of the figures in medical photographs for the sake of scientific objectivity, and finally, Terra Nullius (2013) exposes the scientific, Darwinian justifications used by Americans and Europeans to seize land from “inferior” natives during the 1800s. The notion of a hierarchy of knowledge types has been continually applied in agriculture; narratives about “land efficiency” have often justified the seizure of tribal lands by Colonial powers to serve commercial agricultural purposes (like rubber, sugarcane, etc.). Similarly, the prizing of Western pharmaceuticals over herbal medicines, is ironic given that we frequently synthesize plant chemicals as medication… The collages’ current [...]
For this year’s ADAA: The Art Show, New York’s Cheim & Read Gallery are holding A Juxtaposition, presenting the works of two iconic 20th century sculptors Louise Bourgeois and Gaston Lachaise, examining their works side-by-side as a means of attempting to extract new meaning.
The exhibition , by positioning the work of the two artists who share a wealth of similarities in each of their personal and professional biographies, attempts to re-contextualize the works, aiming to continue a fluid and open dialogue about works of art that have been presented to same audiences numerous times before. Whether simply a means of finding reason for their continued, repeat presentation, this format of exhibition forces us to examine the works not only from a new light but within the innumerable contexts in which the works would have been created, especially in the case of those artists whose work owes something to their own innate experiences and those which are deeply biographical.
The sculptors, both Paris born and relocated to New York , explore intimately similar subject matters that were almost exclusively shaped by an interest in sexuality and the body. Bourgeois, whose abstract forms are reminiscent of the form of human flesh, Lachaise’s more figurative, but still highly stylized representation of the female form accentuating the voluptuous figure; round breasts and hips with slender, almost sinuous limbs. “Contrary to Don Juan, and to what many feminists may feel, Lachaise did not exploit women but enjoyed them,” says Louise Bourgeois of Lachaise’s work.”To be a sex object is a flattering experience.”
The exhibition begins Wednesday 5th March.