The struggle in all artistic pursuits

Franz West
Sisyphos sculptures
Gagosian, Davies Street, London, UK
June 8 – July 27, 2018

In Greek mythology Sisyphus or Sisyphos was the first king of Ephyra, who was punished by Zeus for his deceitfulness and proudness and forced to roll a heavy boulder up a steep hill, only for it to roll down when it nears the top, repeating this action for eternity.

The last art exhibition there was at the Gagosian in Davies Street, London, by Franz West (Vienna, 1947 – Vienna, 2012) referred to the myth told above. The show ended last week, so you’ll have to see these artworks somewhere else they travel to. But, I wanted to share them with you nevertheless, because I think that the sculptures are beautiful and I like the photos we did when we performed at the art space.

Belonging to a generation of artists exposed to the Actionist and Performance Art of the 1960s and 70s, Franz West rejected the idea of a passive relationship between artwork and viewer. He investigated the dichotomy between private and public, action and reaction, both in and outside the gallery, and used everyday materials and imagery to examine art’s relation to social experience.

The Sisyphus myth the artist referred to with this show at the Gagosian gallery is an exploration of the unrelenting frustration of the creative process, the struggle involved in all artistic pursuits that artists and creative people in general are so familiar with.

Franz West unconventional sculpures often require an involvement of the audience, so they are the perfect example of artworks The art berries like to perform with. The ones where the artist encourages the interaction and don’t see our performance as an interference in their work. Having said that, I do believe that everyone should be free to interact with art and enjoy the arts as they please, as long as the artworks are respected. And that is indeed one of the missions of The art berries project.

For the photos displayed here we played with the notions of hide and exposure frequently touched by the artist in his career. Also by lying on the floor, we seem to be resting from the Sisyphean creative struggle. Only for a moment!


La lucha en todas las actividades artísticas

Franz West
Esculturas de Sísifo
Gagosian, Davies Street, Londres, Reino Unido
8 de junio – 27 de julio de 2018

En la mitología griega, Sísifo o Sisyphos fue el primer rey de Ephyra, que fue castigado por Zeus por su comportamiento engañoso y su orgullo, y obligado a rodar una pesada roca por una colina empinada, solo para que ruede cuando se acerca a la cima, repitiendo esta acción por toda la eternidad.

La última exposición de arte que hubo en la galería Gagosian de Londres del artista Franz West (Viena, 1947 – Viena, 2012) se refería al mito mencionado anteriormente. La muestra terminó la semana pasada, por lo que tendrás que ver estas obras de arte en otra galería o museo al que viajen. Pero, quería compartirlas contigo, porque creo que las esculturas son bonitas y me gustan las fotos resultantes de la interacción con las esculturas en este espacio.

Perteneciente a una generación de artistas expuestos al Actionist y Performance Art de los años 60 y 70, Franz West rechazó la idea de una relación pasiva entre obra de arte y espectador. Investigó la dicotomía entre lo privado y lo público, la acción y la reacción, tanto dentro como fuera de la galería, y utilizó materiales e imágenes cotidianas para examinar la relación del arte con la experiencia social.

El mito de Sísifo al que el artista se refirió con esta exposición en la galería Gagosian es una exploración de la frustración del proceso creativo, la lucha permanente que rodea a todas las actividades artísticas con las que los artistas y las personas creativas en general estamos tan familiarizados.

 

Las esculturas no convencionales de Franz West a menudo requieren la participación de la audiencia, por lo que son el ejemplo perfecto de obras de arte con las que nos gusta hacer un ‘performance’ a The art berries. Aquellas en los que el artista fomenta la interacción y no ve nuestro ‘perfomance’ como una interferencia en su trabajo. Habiendo dicho eso, creo que el público debería ser libre de interactuar con el arte y disfrutar del arte como le plazca, siempre y cuando se respeten las obras de arte. Y esa es de echo una de las misiones del proyecto The art berries.

Para las fotos que se muestran aquí, jugamos con las nociones de ocultar y mostrar que con frecuencia tocó el artista en su carrera. También al tumbarnos en el suelo parece que descansamos de la lucha creativa de Sísifo. Sólo por un momento!

Franz West - TheartblueberryFranz West - big sculpure

Art creation as an ongoing process

Past art shows: Giorgio Griffa. A continuos becoming.
Camden Arts Centre, London, UK.
26 January – 8 April 2018

We visited this art exhibition in March this year and got really inspired by the paintings presented by Giorgio Griffa (1936) at the Camden Art Centre. Griffa is an Italian abstract painter who lives and works in Turin and has been closely related to Arte Povera, which stands for ‘poor art’. This is a movement that appeared in Italy in the 1960s and with which artists sought to radically redefine painting by incorporating throwaway or ‘poor’ materials into their work.

Griffa believes in the ‘intelligence of painting’ and allows for every element of the process to influence and form his work, from the type of brush he uses to the nature of the canvas or the dilution of the pain.

Griffa’s approach is performative and time-base, as he assures that painting is “constant and never finished”.

 

His sources of inspiration are quantum energy, time-space mathematics, the golden ratio and the memory of visual experience since time immemorial. The body of work he presented at the Camden Arts Centre spans his career as an artist from the 1960s through to today and it was curated by artist and curator Stephen Nelson.

I found this exhibition visually striking and very much of my taste. The use of bold and primary colours over unstretched raw canvas was reinforced by the white background of the walls. As soon as I went through the door I felt I was entering the artist’s individual universe. The simple shapes and materials he uses on his paintings resonate with me; as if the artist had found a series of universal symbols and shared them with the rest of the world.

Performing as The art berries, we added another layer to these art exhibition and I dare to say that Griffa would approve of this addition to his work, not only for what it brought of improvisation and time-base performance, but also for the “constant and never finished” approach he likes to use on his paintings.

 

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The plasticity of a surreal dream

Past shows: Karla Black, Stuart Shave/Modern Art
17 Nov – 16 Dec 2017

We attended this exhibition in November last year and really liked discovering Karla Black’s new body of work. With this exhibition she attempted to emphasise the importance of mark-making in her practice, which combined with colour and light connects her sculptural practice to painting.

Moreover, she concentrated specifically on one of the many sculptural problems that preoccupies her: how to preserve the precious, formal aesthetic decisions she makes, within the precariousness of the informal materials she favours. Many of the works in the exhibition were conceived and realised within the gallery space. As she’s asserted in the past, her sculpture is absolutely non-representational.

“There is no image, no metaphor,” Karla Black said.

In the first room, there were free standing sculptures made of Vaseline mixed with paint, then sealed between glass screens. In addition, we found hanging sculptures in the same materials and in clay, wool and spray paint across the whole show. In the second room, there were floor artworks of a pink fluff material and thin sculptures made of Johnson’s baby oil bottles, crystal glasses and wax.

Karla Black lives and works in Glasgow. She was born in Alexandria, United Kingdom in 1972, and completed an MA in Fine Art at the Glasgow School of Art, Glasgow, in 2004. In 2011, Black’s work represented Scotland at the 54th Venice Biennale, and was the same year nominated for the Turner Prize. Her work has been the subject of solo exhibitions at multiple galleries in the UK and abroad.

Black’s works for this exhibition were fragile and evocative. The plasticity of the materials she used for this exhibition, as well as the pastel and shinny colours she employed on most of these artworks remain in my mind as part of a surreal dream.

 

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