patternsthatconnect

abstract art and systems thinking

KALEIDOSCOPE

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exhibition-kaleidoscope

Curated by Dominic Beattie, KALEIDOSCOPE opens at FOLD Gallery London today, featuring  Dominic KennedyMali MorrisBridget RileyJulian WildJames Alec HardySelma ParlourMartin Maloney, seven artists who have each developed their own sense of the ‘right’ colour choice, liberating colour to stimulate and energise the viewer in radically different ways.

Though I won’t get there today, I do hope to see it, and write a review before it closes on Saturday 27th August 2016!

Two solo shows at Nottingham Contemporary: Yelena Popova’s After Image and Michael Beutler’s Pump House

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Go to Saturation Point website for my review of two very different exhibitions currently on show at Nottingham Contemporary. Michael Beutler’s Pump House and Yelena Popova’s After Image. Whilst they are completely separate shows they do share some things in common, both artists work in their medium’s “expanded field”, Popova being nearest to painting and Beutler nearest to sculpture. Both create installations rather than single art objects and both work in idioms that have roots in twentieth century abstraction, branching out into their own foliage under highly contemporary skies.

Michael Beutler, Pump House, installation shot, detail, photo by Sam Kirby, image by courtesy of Nottingham Contemporary

Michael Beutler, Pump House, installation shot, detail, photo by Sam Kirby, image by courtesy of Nottingham Contemporary

Beutler’s amazing labyrinth of hand made walls, tools, furniture and models is a repeat-with-differences of the recent show at Spike Island Bristol. The differences reflect the different spaces, though they are similar in many ways, the link being the architects Caruso St John who transformed the Spike Island space only two years before their design of Nottingham Contemporary. Here are a couple of photos, but really you have to be there to experience it. Continuing in the tradition of the total art experience or Gesamtkunstwerk, it is a delight for all the senses.

Michael Beutler, Pump House, detail: wall Elefant Und Schwein 2010 / 2016

Michael Beutler, Pump House, detail: wall Elefant Und Schwein 2010 / 2016

Popova’s installation more or less divides into paintings in one gallery and a video piece, a digital animation, in the other. The paintings are at the same time wonderfully fragile, their images in delicate washes only just there, and robust, the heaviness of the linen and and clarity of its weave taking precedence over image, the arrangements of the paintings then becoming more important than any individual one.

 Yelena Popova, Public Gallery, detail: Untitled 2016, mixed media on linen + wooden pieces, dimensions variable, Photo by Sam Kirby, image by courtesy of Nottingham Contemporary

Yelena Popova, Public Gallery, detail: Untitled 2016, mixed media on linen + wooden pieces, dimensions variable, Photo by Sam Kirby, image by courtesy of Nottingham Contemporary

In the digital animation This Certifies That, a collaboration between Popova and computer programmer Noel Murphy, multiple images of the Euro banknote, are randomly generated in constantly changing sequences, to the accompaniment of a mesmerising soundtrack by Nottingham based sound artist Rebecca Lee. The words “an excess of images leads to a crash” and “a new sequence begins” can be heard intermittently, perhaps marking the ending and beginning of each sequence. The narrative here references a late 19th Century political conspiracy, led by Leon Warneker, who, working with a loose grouping of anarchists, attempted to crash Russia’s economy by flooding the market with forged banknotes. The work surely also brings to mind the financial crisis of 2007-08 precipitated by the credit crunch. The continuation of the guilloché lines from the video piece into the surrounding space as a wallpaper looks like a ‘pure’ abstract drawing. However, as what you see is always more than just what you see, it is also a reminder of the all-encompassing reality of capitalism as a system, whilst the work as a whole suggests the possibility of the system crashing and something new emerging in its place.

Yelena Popova, After Image, detail: Installation shot of gallery 1, my photo

Yelena Popova, After Image, detail: Installation shot of gallery 1, my photo

There’s a very attractive monograph/catalogue available for the Popova show, with texts by Brian Dillon and Claire-Louise Bennett. Highly recommended! I wish there had also been a document for Beutler’s Pump House. However, Nottingham Contemporary have uploaded this marvelous video of his talk prior to the show.

I have written a review of these two shows for Saturation Point, click here to read it and I hope to write discussion pieces for Abcrit at a later date.

Both exhibitions are on show until 25 September 2016

Turps Gallery presents Summer Mix 2016

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Written by Andy Parkinson

July 14, 2016 at 4:43 pm

Posted in Uncategorized

Hickster Projects, Upcoming Exhibition Inherent Vice

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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).

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‘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 (click here) for this show which runs from 21 to 28 August 2016

For further information and visiting by appointment email: info@hicksterprojects.com

Written by Andy Parkinson

July 12, 2016 at 9:44 pm

Jane Bustin – Rehearsal review in Saturation Point

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Laurence Noga reviews Rehearsal by Jane Bustin

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Jane Bustin: Rehearsal at Copperfield Gallery, London

16 March – 20 May 2016

A review by Laurence Noga

http://www.saturationpoint.org.uk/

“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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Written by Andy Parkinson

May 13, 2016 at 3:35 pm

Posted in Uncategorized

Channa Horwitz Review at Saturation Point

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Go to the Saturation Point website for a review by Mark Liebenrood of the Channa Horwitz exhibition on show at Raven Row, London until 1 May.

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.

Channa Horwitz, Canon 6 Variation II, 1982 Ink on Mylar. Courtesy Collection Oehmen, Germany, photo by Timo Ohler

Channa Horwitz, Canon 6 Variation II, 1982 Ink on Mylar. Courtesy Collection Oehmen, Germany, photo by Timo Ohler

 

Read the full review here

Written by Andy Parkinson

April 28, 2016 at 6:27 am

Gesso and acrylic paint on nothing! Deb Covell’s new painting at OBJECT / A

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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.

Deb Covell, Present, 2016, gesso and acrylic, 140 x 140 cm. Image by courtesy of the artist

Deb Covell, Present, 2016, gesso and acrylic, 140 x 140 cm. Image by courtesy of the artist

 

Read my review of it here at the Saturation Point website.

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