An entertaining piece-about-a-piece from artist and Stretcher contributor Tucker Nichols, from his current residency in Denmark, is posted here on the Gallery 16 blog.
The New York Times reports that yesterday that, in a surprise move, crews with bulldozers tore down the newly-constructed Shanghai studio of internationally-known artist Ai Weiwei. The government has been escalating persecution of Ai following his statements in support of imprisoned Nobel peace prize winner Liu Xiaobo. Ai, who was once regarded as the public figure who proved the Chinese government’s increasing openness to free speech, was reported as saying he must now regard the studio as a performance piece.
State-run and curated by Fan Di’An, Li Lei, Gao Shiming (for the first time, all Chinese nationals), the 2010 Shanghai Biennale’s theme is “Rehearsal.” Much of the work makes transparent the art of exhibition/performance and the creative process. At the Shanghai Art Museum, there are 52 individual artists and artists’ groups/collectives from about 21 countries, the largest group (19) predictably, from China, 18 from Europe, and 10 from other Asian countries. The remaining are from Australia, Cuba, and the United States (surprisingly only from the East Coast given the West Coast’s proximity and Shanghai’s sister city status with San Francisco). In the short time I was there, the stand-outs for me were sculptures by Mu Boyan, particularly from his Fat series (reminiscent of Lisa Yuskavage, but taken to an entirely different level), the paintings by Liu Xiaodong, along with supplemental materials of how they were created, and the painting installations, a unique way of presenting painted canvases, attempting to capture how media images absorb us, by MadeIn (CEO: Xu Zhen).
The Shanghai Biennale closes January 23, 2011 at the Shanghai Art Museum in People’s Park and includes off-site venues (at 128 West Nanjing Road and 79 & 107 South Suzhou Road) for Place – Time – Play: India-China Contemporary Art Exhibition.
At Madrid’s Cristal Palace located in the Retiro Park, Jessica Stockholder’s “Peer out to See” pleasantly occupies most of the structure in a balanced and engaging way. Riffing on the the location of the Palace next to a small pond, she has constructed a wooden platform (a “pier,” the first of many puns) that extends into the building. This is flanked on one side by a color-coordinated column of plastic household goods (unfortunately not the kind found at Pier One) and on the other by a star-shaped pool of green duckweed and a circle of orange pigment. On material terms, the piece easily shows Stockholder’s long and assured practice: everything contains a confidence of proportion, color, and weight. The piece occupies and alters the space without overwhelming it, and the space of the viewer’s movement within it seems both natural and well-considered. It takes advantage of both the light and lightness of the space to to provide an engaging experiece. As successful as it is, I did have the nagging sensation that the situation of walking the plank more could have had clearer (and possibly deeper) implications than what is found here. But perhaps that doubt is a measure of the work’s success. Maybe Stockholder is gently observing that we are always in danger of falling off the edge of the platform, the beauty of its surroundings is no barrier to the proximity of the dropoff.
As I left the building I came across several children tossing pieces of bread to several large fish, turtles, ducks, and a pair of black swans (indeed it appears that the entire ecosystem of the pond now depends on the kindness of small children). It was a reminder that in contrast to all the light and possibilities of lightness in “Peer Out to See,” the implications of two black swans hard by a crystal palace is something that no stockholder would wish to explore.
At the Caixa Photo Prize exhibition at the Caixa Forum in Madrid Emilio Morenatti’s winning entry is a set of portraits of Pakistani women who have deformed faces as the result of acid attacks. Though the images (and the stories that accompany them) are horrifying, their formal portraiture portrays the women with a dignity that their attackers would wish to deny. While most of the work on view from ten photographers depicts extreme poverty or situations of institutional violence, the photos share a moderate to high-gloss aesthetic - even Walter Astrada’s images of post-election violence in Kenya share the same color balance qualities of National Geographic. Only Mikel Aristregi’s photos of life among the alcoholic vagrants of Mongolia’s capital Ulan Bator occasionally present their subjects in a flatter light.
Staff at the exhibition said that the catalog sales for this annual exhibition are normally slow. But this year, with a stoic, acid-etched face staring out from its cover and many more contained within, the catalog has proved to be a surprise hit. While aestheticized images of violence make for a wider audience and more palatable viewing, I was left wondering what gripping but graphic photos didn’t make the cut because they weren’t photographic enough.
Christopher Knight writes in the LA Times about the legendary Guiseppe Panza di Biumo (1923-2010,) “the Milanese businessman who was the first great international collector of postwar American art.”