Archive for September 2012
“Measure twice cut once” of Charles Hadcock at Art Moorhouse.
David Franchi – 29th September 2012
“uses mathematics for planning how a sculpture will work”
Hadcock’s exhibition “Measure twice cut once” is interesting, at Art Moorhouse. It is an exhibition of Drawings, Maquettes and Sculpture by Charles Hadcock FRBS.
The title itself, “Measure twice cut once” plays with the old English proverb that wants to Plan and prepare in a careful, thorough manner before taking action. Charles Hadcock’s monumental sculpture reflects his interest in geology, engineering and mathematics and is enriched by references to music and poetry.
In his work, the naturalistic side of the world and geology is mingled together openly, or as hidden jewels. Charles Hadcock observes and utilises forms within the natural world which are often the source for solving practical design problems. His direct observation of rock surfaces, for example, has provided sources for the surface of his sculptures, while at second-hand he has appropriated items such as designed or engineered solutions for packaging, and machinery of various types. These, cast in other materials become components for his sculptures.
Charles Hadcock uses mathematics for planning how a sculpture will work. Free hand design and draws are less practical than an elaborated project that analyses solids in three dimensions. Calculating how a sculpture can be segmented into identical shapes, so that casting from a single form may be achieved with economy, needs a mathematical mind.
This process may result difficult t understand but it refers to the proverb of the exhibition’s title “Measure twice cut once”. Charles Hadcock works it with visual vitality, so that the sculpture remains free and dynamic, unrepressed and direct. He works creatively with number, as in Fibonacci numbers and the Golden Section, based on his own body height in many of his sculptures, rediscovering past system of calculation of the body in art, when the Fibonacci was an inescapable fact. The multiple, whether made by Hadcock or appropriated by him from elsewhere, emerges in his work.
Because of his abiding interest in engineering and industrial processes, Hadcock prefers to work with industrial companies rather than fine art foundries, for portions of his sculpture are to be as anonymous as factory made items. The eye and hand of the artist is to be found more in his choice of parts and in locating them within the whole sculptural structure, and in the essentially magical element of intuition.
Charles Hadcock is born in Derby in 1965 and now lives in the North West based in Preston. He studied fine art at the Royal College of Art, London (1987-89), specialising in sculpture and in 2008 was made a fellow of the RBS. In April 2007 he was made a recipient of the Queens Award for Enterprise Promotion.
Charles Hadcock has many works on permanent display in London including, “Torsion II” and “Helisphere” in Canary Wharf, “Cantus” in Shoe Lane, “Installation” in Siddons Lane, “”Couplet” in Chiswick Mall, “Caesura IV” in Deptford Bridge, “Accord” in London Bridge, “Installation” Jermyn Street, and “Echo” in Rossmore Road. Besides, he has other works in permanent display in Brighton, Yorkshire, Lancashire, Manchester, and Bordeaux (France).
From 4th September until 2nd October 2012
Monday to Friday 1pm – 5pm and Sat. And Sun. by appointment
At Art Moorhouse, 120 London Wall, London, EC2Y 5ET
Korean art of Sung Hwan Kim at The Tate Modern Tanks.
David Franchi – 24th September 2012
“is complex and it leaves a bit baffled, but therefore is interesting”
An exhibition of Sung Hwan Kim has been opened at The Tanks, Tate Modern. The Korean artist presents the first specially commissioned installation in The Tanks, Tate Modern’s new galleries permanently dedicated to performance and film.
Sung Hwan Kim is known for his interdisciplinary work, incorporating installation, video, performance, music, light and drawing. In his works he mingles personal history, fantasy, rumour, politics and culture. This Tate Modern commissioned exhibition was conceived to respond to the unique architecture of The Tanks which is an intense space made of thick concrete walls with dark corners.
One of Tate Modern’s former oil tanks has been divided into two highly atmospheric rooms by Sung Hwan Kim, where light and screened images bounce off mirrors, reflective material and walls. Both contain architectural stage-sets that act as platforms for four of the artist’s films.
In the smaller of the two rooms we see “From the Commanding Heights…” (2007), a film which intersperses a story set within the renowned South Korean Hyundai apartment complex in Seoul with that of a rumoured affair between a famous Korean actress and a dictator, illustrated and narrated by Sung Hwan Kim with pen and acetate.
In the second room we see a further three films – “Dog Video” (2006), “Washing Brain and
Corn” (2010), and “Temper Clay” (2012) – each presented within distinct and carefully constructed spaces, in a sort of puzzling network made of platforms, mirrors and videos. The first film, “Dog Video”, appears as some sort of weird competition between masked men, but it is addressed to Kim’s father. While the second film, “Washing Brain and Corn”, is the very strong story of a brain transplant or a metaphor of South Korean political story.
The third one, “Temper Clay”, is focused on Kim’s parent’s situation, but it is interesting also for the soundtrack. Music is a crucial element of the work of Sung Hwan Kim whose long-term collaboration with musician and composer David Michael DiGregorio is also significant. DiGregorio records and performs under the name dogr, and his music and image appear in each video. Music and sound, particularly dogr’s wide ranging vocals, are used to establish a distinctive mood and pace within the films.
The Sung Hwan Kim exhibition at The Tanks, Tate Modern, is complex and it leaves a bit baffled, but therefore is interesting.
Sung Hwan Kim was born in 1975 in Seoul, South Korea, and lives and works in New York. He initially studied architecture at Seoul National University, followed by a BA in Mathematics and Art, Williams College, Williamstown (2000), followed by a MSc in Visual Studies at MIT and a residency at the Rijksakademie in Amsterdam (2004–5). Recent solo exhibitions include “Line Wall”, Kunsthalle Basel (2011); “From the Commanding Heights”, Queens Museum, New York (2011); “Golden Times”, Haus der Kunst, Munich, Germany, (2010) and “Witte de With”, Centre for Contemporary Art, Rotterdam, The Netherlands (2009).
His performances and stories take slightly different versions of variation through improvisation just like fairy tales, myths, magic, lies, history, or sometimes fact are often told through variation such as exaggeration, deletion, intonation, rhythm, texture of voice, and usage of timbre. The artist integrates video and performance playing the multiple roles as director, editor, performer, composer, narrator, and poet.
Sung Hwan Kim’s commission is part of Art in Action, a 15-week festival of film and performance. The exhibition is supported by Sotheby’s.
From 18th July until 28th October 2012.
At Tate Modern, Southbank, London.
“Damien Hirst” attracted over 460,000 visitors at Tate Modern.
David Franchi – 19th September 2012
“It is the most visited solo exhibition ever held at the gallery”
Damien Hirst exhibition has broken the records, at Tate Modern. Damien Hirst exhibition attracted 463,087 visitors, Tate Modern announced. It is the most visited solo exhibition ever held at the gallery.
The most visited exhibition Tate Modern has organized was “Matisse Picasso” (11 May – 18 August 2002, 467,166 visitors). After “Damien Hirst”, the third and fourth most popular were “Edward Hopper” (27 May – 5 September 2004, 429,909 visitors) and “Gauguin: Maker of Myth” (30 September 2010 – 16 January 2011, 420,686 visitors).
Open for over five months from 4th April to 9th September, “Damien Hirst” was seen by almost 3,000 visitors each day. The exhibition is an example of the longer running shows that Tate has introduced in recent years, which offer visitors a chance to see exhibitions across the spring and summer.
The exhibition was also part of the London 2012 Festival, the culmination of the Cultural Olympiad. However, the Tate Modern exhibition was held during the Olympic Games period which have probably increased the number of visitors. On the other hand, this terrible credit crunch moment does not encourage people to buy tickets.
This was the first substantial survey of Hirst’s work ever held in the UK. Sponsored by
the Qatar Museums Authority, it provided a unique journey through two decades of Hirst’s inventive practice. Major works on display included “The Physical Impossibility of Death in the Mind of Someone Living”, in which a shark is suspended in formaldehyde, and “In and Out of Love”, a two-room installation involving live butterflies.
Together with the seventy pieces in the gallery, in the Turbine Hall the famous “For the Love of God” (2007) – a platinum cast of a human skull set with 8,601 diamonds – went on display for two months in a special viewing chamber. It was the first time the sculpture could be seen in the UK since its first exhibition in London, at White Cube (2007).
Chris Dercon, Director, Tate Modern said: “We are delighted that so many people came to see and discuss the Damien Hirst exhibition at Tate Modern. It was wonderful to see such iconic works brought together in one place and to offer our visitors a chance to experience them first-hand.”
From 4th April until 9th September 2012.
At Tate Modern, Southbank, London.
David Franchi – 16th September 2012
“brought together works depicting the gap aspects of London”
“Another London” closes with great success, according to Tate Britain’s numerous visitors. While the eyes of the world were watching sport events in London, the summer of 2012 has been the celebration of the British proud. And it could not be different.
The world had expectation on the UK and London was able to be at the helm of the games situation with not-so-much-hassles, but definitely suffocating any kind of voice that was against.
However, the exhibition “Another London: International Photographers Capture City Life 1930 – 1980” was conceived, together with other events, to present to the world “the best side” of the town.
Well, “the best side” is not the appropriate term. “Another London: International Photographers
Capture City Life 1930 – 1980” brought together works depicting the gap aspects of London, such as the wealthy metropolitan area and the underprivileged people of the inner-city.
“Another London” showed the city as a dynamic metropolis, richly diverse and full of contrast. Emblems of London which would have been known to visitors, such as pearly kings, red buses, punks and bowler hats, were shown alongside iconic works depicting the Royal Family members or the London Stock Exchange, together with images of the urban poor surviving life in the city as pavement artists, beggars and buskers.
Tate Britain showed over 150 classic photographs that illustrated the city and its communities from the 1930s to 1980s. The works in “Another London” were selected from a unique collection of 1400 photographs, The Eric and Louise Franck London Collection. It was brought together over twenty years and has been generously promised as a donation to Tate Britain.
“Another London: International Photographers Capture City Life 1930 – 1980” brought together some of the most celebrated names in international photography, from Henri Cartier-Bresson to Eve Arnold, with less familiar photographers to explore the distinctive ways in which they saw and represented this unique location.
The photographers came from East and West Europe, the Soviet Union, Latin America, Africa and the Caribbean. Therefore, for them London was a foreign city. All of the photographers had different relationships to London: some came to live here, some arrived as refugees, and others passed through as tourists. Whether seen through the lenses of Al Vandenberg from Massachusetts, James Barnor from Ghana, Willy Ronis from Paris, Ivan Shagin from Moscow and Horacio Coppola from Buenos Aires, their experiences of arriving in the city as foreigners informed their perspectives and shaped the photographs they took, resulting in a body of work as diverse as the city itself.
Punk and family class subjects were juxtaposed to the high class society perhaps because photographers were obsessed about it, demonstrating that their interest in a developed democracy – but still a monarchy – is the same of the most ordinary British man in the street.
Almost all the photographs had something in common, which is the London weather. “Another London”, in fact, was not able to avoid the drizzly and grey weather of the capital, and it showed image of rainy bus stop, foggy parks, wan building.
“Another London: International Photographers Capture City Life 1930 – 1980” was curated by Helen Delaney, Assistant Curator, Contemporary British Art, Tate Britain, with Simon Baker, Curator of Photography and International Art, Tate Britain.
From 27th July until 16th September 2012.
At Tate Britain, Pimlico, London.
The Tanks opening festival at Tate Modern.
David Franchi – 6th September 2012
“the Tate Tanks could be a key event in the history of art”
The Tate Tanks are a new captivating idea, according to the numerous public attending the venue. It seems to be the first space permanently dedicated to exhibiting live art, performance, installation and film works, and, additionally, an attempt to preserve the new media.
Inaugurated the last 18th July, the Tate Tanks are at the core of the London 2012 Festival, the culmination of the Cultural Olympiad. The Tate Tanks have been launched with a fifteen-week festival until the 28th October 2012. Over 40 established and emerging artists from across the world will be taking part.
They are a space to propose again classic performances previously been staged at Tate Modern in different spaces. However, they are also showing newly commissioned works. The opening programme is supported by The Tanks Supporters Group.
“They are new spaces for totally new productions of arts. New spaces for learning from experience. There is the problem of the storage of art performances. Tate Tanks are to collect, reconstruct and show performances”, said Chris Dercon, Tate Modern Director.
Located on the south side of Tate Modern Turbine Hall, the Tate Tankswere designed by Herzog &
de Meuron. They are raw industrial spaces.
The Tate Tanks, in fact, were originally massive industrial chambers containing oil that fuelled the power station and have lain unused since it was decommissioned in 1981. They each measure over thirty metres across and seven metres high.
Ideally, the Tate Tanks could be a key event in the history of art. Performance art is born around a hundred years ago with Futurism, Dadaism and Surrealism, and it mingles elements of theatre, dance, literature, painting, sculpture, music and film.
Tate Tanks seems to give an answer to the problem of art conservation for the new media. The ‘new media art preservation’, in fact, is the study and practice of techniques for sustaining artworks created using digital, biological, performative, and other variable media. Artworks created using new media are deteriorating and it is rather difficult to preserve them.
Ephemera medium, the hasty technological obsolescence, contextual or live qualities of the artworks, are all problematic aspects of the art conservation which have stimulated debate and research into new preserving strategies. The Tate Tanks as a first space permanently dedicated to exhibiting give boost to the solution of the problem.
The Tate Tanks are composed by three rooms: the East Tank, the South Tank and the Transformer Galleries.
The East Tank showcases a major new commission by Sung Hwan Kim, one of the key artists of his generation, which is supported by Sotheby’s.
In the South Tank, a series of projects will address the history of performance, film and interdisciplinary work alongside newly commissioned focus projects. Three are the main different sector: “Focus projects”, “Symposia” and “Learning”.
About “Focus projects” highlights include: Anne Teresa de Keersmaeker, one of the most important choreographers of the late 20th century; Tania Bruguera was present for three weeks, running workshops and discussions on her latest project; Aldo Tambellini will re-envision his seminal 1960s electromedia environments. An ambitious series of live events and installations will re-examine groundbreaking figures in UK expanded cinema and film performance, including Brighton-based provocateur Jeff Keen, and Filmaktion Group. In the next event visitors will be invited to create their own performance with Haegue Yang’s new installation of her mobile performative sculptures.
Highlight of “Symposia” include Eddie Peake who created a new commission for Tate Modern that explores sexuality and voyeurism. “Learning” highlight was the young people’s festival Undercurrent a ten days of audio, digital media and performance rooted in London’s sub-cultures. Also families were involved in a ‘live action’ event that was created in response to the filmworks in the Tanks. Up to 5000 participants had streams of 16mm film to manipulate to create a narrative which will then be projected onto the vast circular subterranean walls of the Tanks as a mass-authored piece.
The Transformer Galleries showcase installations of recent major acquisitions of film and performance. Suzanne Lacy’s “Crystal Quilt” (1987), an exploration of the visibility of older women in the media, is presented alongside Lis Rhodes’s work “Light Music” (1975), which investigates the use of film, projection and sound and their relationship to the audience.
The opening of the Tanks is Phase 1 of the Tate Modern Project. The new building will be completed by 2016. The new development, designed by internationally celebrated architects, Herzog & de Meuron, will create a spectacular new Tate Modern building. The new building will increase Tate Modern’s size by 60% adding approximately 21,000 square metres of new space. Anonymous donations has given the opportunity to complete the first phase, having raised over three quarters of the total capital costs of £215 million – £50 million from Government, £7m from the Greater London Authority and the remainder from private sources.
The Tanks programme is curated by Catherine Wood, Curator of Contemporary Art and Performance, Kathy Noble, Curator of Interdisciplinary Projects and Stuart Comer, Curator of Film in collaboration with Learning colleagues including Marko Daniel, Convenor (Adult Programmes) and Mark Miller, Convenor (Young People’s Programmes).
From 18th July until 28th October 2012.
At Tate Modern, Southbank, London.