Once a year, in the summer, Hickster Projects holds a platform event in a remote, beautiful part of central Italy, near Siena. The aim is to show innovative and interesting new work in a context that differs both from the city based gallery and the artist-led space. This year’s exhibition, entitled Inherent Vice, features paintings by three artists Nicola Melinelli, Sue Kennington and Nancy Milner (paintings in that order in photo below).
‘Inherent Vice’ is a term used to denote ‘the tendency in physical objects to degrade because of the fundamental instability of the components from which they are made, as opposed to deterioration that is caused by external forces’. The reference then is to the instability of colour as a medium of communication. If we think of colour as a language, precisely what it communicates is difficult to translate. It continually resists our attempts to pin it down, to systematise it, to tame it. These painters choose instead to treat it with respect, not so much using it, either descriptively or symbolically, as creating contexts in which it communicates in its own way.
Melinelli’s disorientating labyrinths, Milner’s visual buzz as colours meet and Kennington’s surprise spaces, show off the medium in three quite different ways.
Nicola Melinelli (b 1988, Perugia, Italy) is an artist based in Bologna, He had work in MAMBO in Bologna this year and is represented by CARDRDE in Bologna, and A+B Contemporary Art in Brescia.
Sue Kennington, (b 1955 London, UK) is curating Hickster Projects and is showing at Yellow in Varese and in London with Saturation Point later this year.
Nancy Milner (b 1986 Barnsley, UK) has just completed the prestigious Abbey award at the British School in Rome and was shortlisted for the John Moores prize 2016
I was delighted to be invited to write a text for this show which runs from 20 to 28 Aug with an opening reception on Saturday 20 August, 18:00 – 22:00.
For further information and visiting by appointment email: email@example.com
Laurence Noga reviews Rehearsal by Jane Bustin
Jane Bustin: Rehearsal at Copperfield Gallery, London
16 March – 20 May 2016
A review by Laurence Noga
“The systems approach is compatible with the evidence that human decisions are largely based on an intuitive feeling of rightness – Rechtsgefuhl – but seeks to validate this subjective feeling by a massive information input, which stands in true correspondence with reality before being refracted through the unconscious.” Jeffrey Steele (Systems, Arts Council 1972-3)
Jane Bustin’s material approaches allow an open system, without a hierarchy. They include: fresco techniques; oil-washed aluminium; acrylic panel painting with ceramic glazes; mirrored copper with latex; polyurethane; wood; copper; silk; paper; gesso; ceramics and ready-made objects
Together, the artist’s relaxed sense of geometry evident in her idiosyncratic solo exhibition, Rehearsal, at the Copperfield Gallery, her sense of rhythm, and her distinctive handling of material through assembly and editing, effect a powerful coercion…
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Channa Horwitz (1932–2013, Los Angeles) was a pioneer of “a distinctly Californian minimalism” in the late 1960s and 70s, although she received scant attention from the art world until the end of her life.
Read the full review here
The exhibition Here and Now, recently on show at OBJECT / A, Manchester, UK, featured just the one artwork, a wonderful painting entitled Present (2016) by Deb Covell, a painted black square, without a support, gesso and acrylic on nothing, suspended from the ceiling by wire.
Read my review of it here at the Saturation Point website.