Painting on Unknown Languages
![Lentebloesem [Spring Blossom]](http://www.camdenartscentre.org/file-uploads/resize.php?width=180&height=300&file=Lentebloesem_1.jpg)
![De Terugkeer Van De Performance [The Return of the Performance]](http://www.camdenartscentre.org/file-uploads/resize.php?width=180&height=300&file=DeTerugkeer.jpg)
23 September 2010 - 28 November 2010
This exhibition brings together a significant number of paintings and drawings by the Dutch artist René Daniëls, focusing on his work between 1980 and 1987.
Born in 1950 in Eindhoven, where he still lives, Daniëls is an important figure in the history of Dutch art and his unique style continues to influence a younger generation of painters. The idea for this exhibition has arisen from the interest shown in his work by so many other painters following the inclusion of three of his paintings in Archipeinture: Painters Build Architecture, a group exhibition at Camden Arts Centre in 2006.
Daniëls has described his paintings as, ‘a combination of visual poetry on one hand and painting on the other’ (René Daniëls, 1983). They make reference to art, music, literature, performance and architecture as well as forming a critique of the art establishment and Daniëls position within it. Sketchy and open, expressive and fluid, they defy simple interpretation or definition as meaning is often concealed within their surfaces.
In many of the paintings Daniëls uses basic everyday motifs such as hats, chimneys and skateboards. One such shape, which resembles a bow tie, reoccurs in many of his paintings. Using this simple symbol, through scale or painted surface, he encourages the opening up of imagined spaces and places within the work.
René Daniëls: Painting on Unknown Languages is organised by Camden Arts Centre with curatorial advice from Paul Andriesse and is supported by The Mondriaan Foundation.
- i like his free imagination. he can imagine a butterfly from solid walls. his wall can fly and go to sea.
ㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡ
The Unilever Series: Ai Weiwei
Each seed has been individually sculpted and painted by specialists working in small-scale workshops in the Chinese city of Jingdezhen. Far from being industrially produced, they are the effort of hundreds of skilled hands. Poured into the interior of the Turbine Hall’s vast industrial space, the 100 million seeds form a seemingly infinite landscape.
Porcelain is almost synonymous with China and, to make this work, Ai Weiwei has manipulated traditional methods of crafting what has historically been one of China’s most prized exports. Sunflower Seeds invites us to look more closely at the ‘Made in China’ phenomenon and the geo-politics of cultural and economic exchange today.
Update: Friday 22 October 2010
The landscape of sunflower seeds can be looked upon from the Turbine Hall bridge, or viewed at close-range in the east end of the Turbine Hall on Level 1. It is no longer possible to walk on the surface of the work, but visitors can walk close to the edges of the sunflower seed landscape on the west and north sides.
Although porcelain is very robust, we have been advised that the interaction of visitors with the sculpture can cause dust which could be damaging to health following repeated inhalation over a long period of time. In consequence, Tate, in consultation with the artist, has decided not to allow members of the public to walk across the sculpture.
Sunflower Seeds is a total work made up of millions of individual pieces which together from a single unique surface. In order to maintain and preserve the landscape as a whole, Tate asks visitors not to touch or remove the sunflower seeds.
Juliet Bingham, Curator, Tate Modern
"Ai Weiwei's Unilever Series commission, Sunflower Seeds, is a beautiful, poignant and thought-provoking sculpture. The thinking behind the work lies in far more than just the idea of walking on it. The precious nature of the material, the effort of production and the narrative and personal content create a powerful commentary on the human condition. Sunflower Seeds is a vast sculpture that visitors can contemplate at close range on Level 1 or look upon from the Turbine Hall bridge above. Each piece is a part of the whole, a commentary on the relationship between the individual and the masses. The work continues to pose challenging questions: What does it mean to be an individual in today's society? Are we insignificant or powerless unless we act together? What do our increasing desires, materialism and number mean for society, the environment and the future?"
- it's dull and boring exhibition. i think art work should be assessed by itself first, which can contain political and social elements, but it is just additional. if he wanted to make a huge landscape, we'd better go to a sandy beach of seashore. compared to the time and effort involved, the investment produced poor returns.
ㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡ
Gabriel Orozco
Creative, playful and inventive, Gabriel Orozco creates art in the streets, his apartment or wherever he is inspired. Born in Mexico but working across the globe, Orozco is renowned for his endless experimentation with found objects, which he subtly alters.
His sculptures, often made of everyday things that have interested him, reveal new ways of looking at something familiar. A skull with a geometric pattern carefully drawn onto it, a classic Citroën DS car which the artist sliced into thirds, removing the central part to exaggerate its streamlined design, and a scroll filled with numbers cut out of a phone book are just some of his unique sculptures.
Orozco’s photos are also on display, capturing the beauty of fleeting moments: water collecting in a punctured football, tins of cat food arranged on top of watermelons in a supermarket, or condensed breath disappearing from the surface of a piano show Orozco’s eye for simple but surprising and powerful images.
His art also shows his fascination with game-playing, for example a billiard table with no pockets and a pendulum-like hanging ball, or Knights Running Endlessly, an extended chess board filled with an army of horses, both of which are well-known games to which he has added an element of futility. This kind of unexpected twist makes Orozco’s work interesting to both contemporary art lovers and also anyone who wants an unusual and captivating art experience.
- his works are superb eye-catchers with prickly wits. he has an ability to look at things differently. i really enjoyed his works.
ㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡ
Modern British Sculpture
22nd January 2011 - 7th April 2011
-The Royal Academy of Arts presents the first exhibition in 30 years to examine British sculpture of the 20th century. Modern British Sculpture represents a unique view of the development of British sculpture, exploring what we mean by the terms British and sculpture by bringing the two together is a chronological series of strongly themes galleries, each making its own visual argument. Key British works include: Alfred Gilbert 'Queen Victoria', Phillip King 'Genghis Khan', Jacob Epstein 'Adam', Barbara Hepworth 'Single Form', Leon Underwood 'Totem to the Artist', Henry Moore 'Festival Figure', Anthony Caro 'Early One Morning', Richard Long 'Chalk Line', Julian Opie 'W' and, pictured, Damien Hirst 'Let's Eat Outdoors Today' - a picnic table covered with living flies encased within a glass box. Well, it makes a change from all that formaldehyde guff...
-Saturday the 22nd January sees the opening of Modern British Sculpture at the Royal Academy. This exhibition examines British Sculpture in the 20th Century via a series of themed galleries, producing visual arguments as to what constitutes the terms 'British' and 'sculpture'.
British sculpture is considered from within the British establishment and from an outsider's perspective. These sculptures are exhibited alongside works by over 120 artists of varying nationalities including Native American, Indian and African. Significant loans from both the British Museum and from the V&A sit alongside British sculpture from 1910 to 1930, highlighting the crucial role of the Empire informing British sculptural practice. Contemporary international influences are also considered with the inclusion of sculpture by artists such as Carl Andre, Jeff Koons and his British influencee Damien Hirst.
This exhibition also examines the RA as an institution, instrumental in supporting the careers of British sculptors, as well as the role of London and its museums, long attractive to British sculptors. Modern British Sculpture explores this relationship, and the significance of the role of the RA, with a series of sculptures by three of its ex-Presidents including Phillip King, Frederic Leighton and Charles Wheeler.
Modern British Sculpture runs from the 22nd January until the 7th April 2011 and features works by artists including Alfred Gilbert Queen Victoria, Phillip King Genghis Khan, Jacob Epstein Adam, Barbara Hepworth Single Form, Leon Underwood Totem to the Artist, Henry Moore Festival Figure, Anthony Caro Early One Morning, Richard Long Chalk Line, Julian Opie W and Damien Hirst Let's Eat Outdoors Today.
ㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡ
Susan Hiller
Witness 2000
Approximately 400 speakers, 10 audio tracks, each with multiple recordings; wires, lights
Courtesy the artist
X35135
This exhibition brings together a significant number of paintings and drawings by the Dutch artist René Daniëls, focusing on his work between 1980 and 1987.
Born in 1950 in Eindhoven, where he still lives, Daniëls is an important figure in the history of Dutch art and his unique style continues to influence a younger generation of painters. The idea for this exhibition has arisen from the interest shown in his work by so many other painters following the inclusion of three of his paintings in Archipeinture: Painters Build Architecture, a group exhibition at Camden Arts Centre in 2006.
Daniëls has described his paintings as, ‘a combination of visual poetry on one hand and painting on the other’ (René Daniëls, 1983). They make reference to art, music, literature, performance and architecture as well as forming a critique of the art establishment and Daniëls position within it. Sketchy and open, expressive and fluid, they defy simple interpretation or definition as meaning is often concealed within their surfaces.
In many of the paintings Daniëls uses basic everyday motifs such as hats, chimneys and skateboards. One such shape, which resembles a bow tie, reoccurs in many of his paintings. Using this simple symbol, through scale or painted surface, he encourages the opening up of imagined spaces and places within the work.
René Daniëls: Painting on Unknown Languages is organised by Camden Arts Centre with curatorial advice from Paul Andriesse and is supported by The Mondriaan Foundation.
- i like his free imagination. he can imagine a butterfly from solid walls. his wall can fly and go to sea.
ㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡ
The Unilever Series: Ai Weiwei
Tate Modern 12 October 2010 – 2 May 2011
Images from Ai Weiwei at Tate Modern
The Unilever Series: Ai Weiwei
Sunflower Seeds 2010
Photocredit: Tate Photography
© Ai Weiwei
Sunflower Seeds 2010
Photocredit: Tate Photography
© Ai Weiwei
The Unilever Series: Ai Weiwei
Sunflower Seeds 2010
Photocredit: Tate Photography
© Ai Weiwei
Sunflower Seeds 2010
Photocredit: Tate Photography
© Ai Weiwei
About the exhibition
Sunflower Seeds is made up of millions of small works, each apparently identical, but actually unique. However realistic they may seem, these life-sized sunflower seed husks are in fact intricately hand-crafted in porcelain.Each seed has been individually sculpted and painted by specialists working in small-scale workshops in the Chinese city of Jingdezhen. Far from being industrially produced, they are the effort of hundreds of skilled hands. Poured into the interior of the Turbine Hall’s vast industrial space, the 100 million seeds form a seemingly infinite landscape.
Porcelain is almost synonymous with China and, to make this work, Ai Weiwei has manipulated traditional methods of crafting what has historically been one of China’s most prized exports. Sunflower Seeds invites us to look more closely at the ‘Made in China’ phenomenon and the geo-politics of cultural and economic exchange today.
Update: Friday 22 October 2010
The landscape of sunflower seeds can be looked upon from the Turbine Hall bridge, or viewed at close-range in the east end of the Turbine Hall on Level 1. It is no longer possible to walk on the surface of the work, but visitors can walk close to the edges of the sunflower seed landscape on the west and north sides.
Although porcelain is very robust, we have been advised that the interaction of visitors with the sculpture can cause dust which could be damaging to health following repeated inhalation over a long period of time. In consequence, Tate, in consultation with the artist, has decided not to allow members of the public to walk across the sculpture.
Sunflower Seeds is a total work made up of millions of individual pieces which together from a single unique surface. In order to maintain and preserve the landscape as a whole, Tate asks visitors not to touch or remove the sunflower seeds.
Juliet Bingham, Curator, Tate Modern
"Ai Weiwei's Unilever Series commission, Sunflower Seeds, is a beautiful, poignant and thought-provoking sculpture. The thinking behind the work lies in far more than just the idea of walking on it. The precious nature of the material, the effort of production and the narrative and personal content create a powerful commentary on the human condition. Sunflower Seeds is a vast sculpture that visitors can contemplate at close range on Level 1 or look upon from the Turbine Hall bridge above. Each piece is a part of the whole, a commentary on the relationship between the individual and the masses. The work continues to pose challenging questions: What does it mean to be an individual in today's society? Are we insignificant or powerless unless we act together? What do our increasing desires, materialism and number mean for society, the environment and the future?"
- it's dull and boring exhibition. i think art work should be assessed by itself first, which can contain political and social elements, but it is just additional. if he wanted to make a huge landscape, we'd better go to a sandy beach of seashore. compared to the time and effort involved, the investment produced poor returns.
ㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡ
Gabriel Orozco
Tate Modern 19 January – 25 April 2011
About the exhibition
Creative, playful and inventive, Gabriel Orozco creates art in the streets, his apartment or wherever he is inspired. Born in Mexico but working across the globe, Orozco is renowned for his endless experimentation with found objects, which he subtly alters.
His sculptures, often made of everyday things that have interested him, reveal new ways of looking at something familiar. A skull with a geometric pattern carefully drawn onto it, a classic Citroën DS car which the artist sliced into thirds, removing the central part to exaggerate its streamlined design, and a scroll filled with numbers cut out of a phone book are just some of his unique sculptures.
Orozco’s photos are also on display, capturing the beauty of fleeting moments: water collecting in a punctured football, tins of cat food arranged on top of watermelons in a supermarket, or condensed breath disappearing from the surface of a piano show Orozco’s eye for simple but surprising and powerful images.
His art also shows his fascination with game-playing, for example a billiard table with no pockets and a pendulum-like hanging ball, or Knights Running Endlessly, an extended chess board filled with an army of horses, both of which are well-known games to which he has added an element of futility. This kind of unexpected twist makes Orozco’s work interesting to both contemporary art lovers and also anyone who wants an unusual and captivating art experience.
- his works are superb eye-catchers with prickly wits. he has an ability to look at things differently. i really enjoyed his works.
ㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡ
Modern British Sculpture
22nd January 2011 - 7th April 2011
-The Royal Academy of Arts presents the first exhibition in 30 years to examine British sculpture of the 20th century. Modern British Sculpture represents a unique view of the development of British sculpture, exploring what we mean by the terms British and sculpture by bringing the two together is a chronological series of strongly themes galleries, each making its own visual argument. Key British works include: Alfred Gilbert 'Queen Victoria', Phillip King 'Genghis Khan', Jacob Epstein 'Adam', Barbara Hepworth 'Single Form', Leon Underwood 'Totem to the Artist', Henry Moore 'Festival Figure', Anthony Caro 'Early One Morning', Richard Long 'Chalk Line', Julian Opie 'W' and, pictured, Damien Hirst 'Let's Eat Outdoors Today' - a picnic table covered with living flies encased within a glass box. Well, it makes a change from all that formaldehyde guff...
-Saturday the 22nd January sees the opening of Modern British Sculpture at the Royal Academy. This exhibition examines British Sculpture in the 20th Century via a series of themed galleries, producing visual arguments as to what constitutes the terms 'British' and 'sculpture'.
British sculpture is considered from within the British establishment and from an outsider's perspective. These sculptures are exhibited alongside works by over 120 artists of varying nationalities including Native American, Indian and African. Significant loans from both the British Museum and from the V&A sit alongside British sculpture from 1910 to 1930, highlighting the crucial role of the Empire informing British sculptural practice. Contemporary international influences are also considered with the inclusion of sculpture by artists such as Carl Andre, Jeff Koons and his British influencee Damien Hirst.
This exhibition also examines the RA as an institution, instrumental in supporting the careers of British sculptors, as well as the role of London and its museums, long attractive to British sculptors. Modern British Sculpture explores this relationship, and the significance of the role of the RA, with a series of sculptures by three of its ex-Presidents including Phillip King, Frederic Leighton and Charles Wheeler.
Modern British Sculpture runs from the 22nd January until the 7th April 2011 and features works by artists including Alfred Gilbert Queen Victoria, Phillip King Genghis Khan, Jacob Epstein Adam, Barbara Hepworth Single Form, Leon Underwood Totem to the Artist, Henry Moore Festival Figure, Anthony Caro Early One Morning, Richard Long Chalk Line, Julian Opie W and Damien Hirst Let's Eat Outdoors Today.
ㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡㅡ
Susan Hiller
Tate Britain 1 February – 15 May 2011
Witness
Each speaker in the installation Witness 2000 transmits a voice telling a story. A wide variety of languages represent testimonies from all over the world. The witnesses describe the experience of an encounter with UFOs or creatures from other spheres. A range of similarities emerges in the descriptions and in the type of language used to describe the experience. An inexplicable vision that might in previous centuries have been described as a religious experience is articulated here in the language of science fiction. Whether imagined, real or hallucinatory, the testimonies demonstrate an essential need for belief in the possibility of a further dimension, in something beyond the rational.Witness 2000
Approximately 400 speakers, 10 audio tracks, each with multiple recordings; wires, lights
Courtesy the artist
X35135
