Changing perceptions

Olafur Eliasson
In real life
11 July 2019 – 5 January 2020
Tate Modern, London, UK

This was a very popular art exhibition at the Tate Modern in London last summer and autumn and, although I couldn’t find the time to write about it while it was on, I believe that Olafur Eliasson is one of the best artists working nowadays, so I wouldn’t like to miss it here.

As we went into the exhibition space, the first room we entered was a model room. In dim light, he presented around 450 models, prototypes and geometric studies behind a glass. All of them are a record of his work with a studio team and with Icelandic artist, mathematician and architect Einar Thorsteinn (1942-2015). Some of these shapes can be recognised on Eliasson’s sculptures and pavilions. I was mesmerised by the different shapes, textures and materials employed by the artist here. Among the materias on display were paper, wood, rubber balls, Lego and wire. I would’ve liked to shrink and immerse myself in this magical landscape! See a small view of the models below.

The following room displayed his earliest works. Here, it can be appreciated the interest of the artist in nature and the weather. My favourite piece in this room was “Moss wall” (1994), a huge abstract work made of Scandinavian reindeer lichen that served to bring an unexpected material from nature into the space of the gallery. The texture and colour of this work captivated me and kept me staring at it for some time; there was so much detail to appreciate from it! It was like going back to nature, but within a sheltered space.

Then, we could see the use the artist does of kaleidoscopes, which he’s been making since the mid-1990s. For Eliasson this is not just a playful toy, but also as a way to reconfigure what you see. He merges inside and outside space and dissolves the boundary between the gallery and the outside world. The art blackberry can be seen in a worship position underneath one of them.

As we continued watching the art exhibition, we came across his glacial works. Visiting Iceland in his childhood made the artist very close to the global warming plight after seeing its glaciers melt in first hand. He documented this with a series of photographs he started taking in 1999 and finished in 2019, twenty years later. The changes in the landscape can be clearly appreciated.

In addition, there were other references to the changing environment like in “Glacial currents” (2018), where pieces of glacial ice were placed on top of washes of colour pigment (see image below) or in a bronze cast from 2019 called “The presence of absence pavilion”, which makes visible the empty space left by a glacial ice chunk after melting away. An Australian friend collaborate with us as a Guest berry in these photos and her hand can be seen through this artwork below.

Finally, another one of Eliasson’s projects around this subject was “Ice Watch”, staged in front of Tate Modern in 2018 and consisting of ice blocks brought from Greenland to offer a direct experience of seeing the ice from the Artic melt. The ice was fished out of a fjord in Greenland after becoming detached from the ice sheet. As a result of global warming more icebergs are produced causing the sea levels to rise.

Olafur Eliasson is a Danish-Icelendic artist, whose body of work includes sculptures, large-scale installations, photography and paintings. He uses all sort of materials ranging from moss, glacial melt-water, light, fog and even air temperature to enhance the viewer’s experience. His main interests revolve around nature, geometry and his ongoing investigations into how we perceive, feel and shape the world around us. Hence, the audiences experience at his art shows are so much at the centre of attention of his art.

Ultimately, he believes that art can have a strong impact on the world outside the museum, and I personally agree with this view. In fact, Eliasson runs a studio in Berlin with technicians, architects, archivists, art historians, designers, filmmakers, cooks, and administrators, and he collaborates with all sort of professionals to work in matters such as sustainable energy or climate change. As an artist he’s got a strong will to change perceptions towards the environment and to achieve a more sustainable planet, and if more people had the same concerns, the world would be a better place to live in.


 

Cambiando percepciones

Olafur Eliasson
En la vida real
11 de julio de 2019 – 5 de enero de 2020
Tate Modern, Londres, Reino Unido.

Esta fue una exposición de arte muy popular en la Tate Modern de Londres el verano y otoño pasados y, aunque no encontré tiempo para escribir sobre ella mientras estaba abierta, creo que Olafur Eliasson es uno de los mejores artistas trabajando hoy día, así que no quiero dejar de cubrirla aquí.

Cuando entramos en la exposición, la primera sala con la que nos topamos fue una sala de maquetas. Con poca luz, se presentaban alrededor de 450 maquetas, prototipos y estudios geométricos detrás de un vidrio. Todas ellas son un registro de su trabajo con un equipo de su estudio y con el artista, matemático y arquitecto islandés Einar Thorsteinn (1942-2015). Algunas de estas formas se pueden reconocer en las esculturas e instalaciones de Eliasson. Me quedé fascinada con las diferentes formas, texturas y materiales empleados por el artista. Entre los materiales había papel, madera, bolas de goma, Lego y alambre. Me hubiera gustado encogerme para sumergirme en este paisaje mágico! Puedes ver una pequeña imagen de las maquetas debajo.

La siguiente sala exhibió sus primeros trabajos. Aquí, se reflejaba el interés del artista en la naturaleza y el clima. Mi pieza favorita en esta sala fue “Moss wall” (1994), una gran obra abstracta hecha de liquen de reno escandinavo que sirvió para llevar un material inesperado de la naturaleza al espacio de la galería. La textura y el color de este trabajo me cautivaron y me mantuvieron mirándolo por algún tiempo; ¡había tantos detalles que apreciar! Era como volver a la naturaleza, pero dentro de un espacio protegido.

Más adelante pudimos ver el uso que el artista hace de los caleidoscopios, que ha estado haciendo desde mediados de la década de 1990. Para Eliasson, este no es solo un juguete lúdico, sino también una forma de reconfigurar lo que ves. Fusiona el espacio interior y exterior y disuelve el límite entre la galería y el mundo exterior. The art blackberry se puede ver en una posición de adoración debajo de uno de ellos a continuación.

A medida que avanzamos por la exposición de arte, nos encontramos con sus obras glaciales. Visitar Islandia en su infancia hizo que el artista se acercara mucho a la difícil situación del calentamiento global después de ver cómo se derritieron sus glaciares de primera mano. Lo documentó con una serie de fotografías que comenzó a tomar en 1999 y terminó en 2019, veinte años después. Los cambios en el paisaje se pueden apreciar claramente.

Además, hubo otras referencias al entorno cambiante como en “Corrientes glaciales” (2018), donde se colocaron trozos de hielo glacial sobre lavados de pigmento de color (ver imagen a continuación) o en un molde de bronce de 2019 llamado “The presencia del pabellón de ausencia ”, que hace visible el espacio vacío dejado por un trozo de hielo glacial después de derretirse. Una amiga australiana visitando Londres colabora con nosotras como Guest berry y puede verse su mano  a través de esta obra abajo.

Finalmente, otro de los proyectos de Eliasson en torno a este tema fue “Ice Watch”, organizado frente a Tate Modern en 2018 y consistente en bloques de hielo traídos de Groenlandia para ofrecer una experiencia directa de ver el deshielo del Artico. El hielo fue sacado de un fiordo en Groenlandia después de separarse de la capa de hielo. Como resultado del calentamiento global, se producen más icebergs que provocan el aumento del nivel del mar.

Olafur Eliasson es un artista danés-islandés, cuyo trabajo incluye esculturas, instalaciones a gran escala, fotografía y pinturas. Utiliza todo tipo de materiales, desde musgo, agua de deshielo glacial, luz, niebla e incluso temperatura del aire para mejorar la experiencia del espectador. Sus principales intereses giran en torno a la naturaleza, la geometría y sus continuas investigaciones sobre cómo percibimos, sentimos y damos forma al mundo que nos rodea. Por lo tanto, la experiencia del público en sus exposiciones de arte está en el centro de atención de su arte.

Finalmente, él cree que el arte puede tener un fuerte impacto en el mundo fuera del museo, y personalmente estoy de acuerdo con esta opinión. De hecho, Eliasson dirige un estudio en Berlín con técnicos, arquitectos, archiveros, historiadores del arte, diseñadores, cineastas, cocineros y administradores, y colabora con todo tipo de profesionales para trabajar en asuntos como la energía sostenible o el cambio climático. Como artista, tiene una gran voluntad de cambiar las percepciones sobre el medio ambiente y lograr un planeta más sostenible, y si más personas tuvieran las mismas preocupaciones, el mundo sería un lugar mejor para vivir.

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A master of serious play

Franz West
20 February – 2 June 2019
Tate Modern, London, UK

Tate Modern is currently hosting an art exhibition of Franz West that The art berries visited recently and I would like to share with you, our pictures and my views on the show.

I have previously covered on this blog an exhibition about Franz West that was at the Gagosian art gallery in Davies street last summer. And as I mentioned previously, West’s unconventional sculptures often look for an involvement from the audience. Hence, his artworks are the best example of art we like to interact with, and artists we admire with regards to his approach to art. Read more about West on “The struggle in all artistic pursuits” post.

As you enter the art exhibition, you come across the “Passstücke” or “Adaptives”, plaster sculptures with embedded found objects that could be picked and interact with, just as he did with his friends as you can see nearby on videos. I took my chance to play with them and enjoyed the go. Take a look at the photos below in which I dress in black and interact with white sculptures in imaginary fitting rooms where you can even close the curtains and gain more privacy. I didn’t feel the need to hide though 😉

Further down the show, we came across his “Legitimate Sculptures”, papier-mâché clumps made with everyday objects like a hat or a broom, and painted in some areas but raw in others. They were evocative of bodies, but more abstract than figurative in my view. He even played with furniture, as we can appreciate with the carpet-covered settees. Art to be sat on and have a space for conversation.

In his final years apparently he created large, brightly coloured sculptures both for galleries and public spaces, some of which can be seen outside the Tate gallery.

I like Franz West’ irreverent and playful approach to art. His sculptures were a turning point in the relationship between art and its audience, and I wish there were more artist like him.


 

Un maestro del juego serio

Franz West
20 de febrero – 2 de junio de 2019.
Tate Modern, Londres, Reino Unido

Tate Modern está mostrando ahora una exposición de arte de Franz West que The art berries visitamos recientemente y me gustaría compartir aquí; nuestras fotos y mis opiniones sobre la muestra.

Ya cubrí en este blog una exposición sobre Franz West que estuvo en la galería de arte de Gagosian en Davies Street el verano pasado. Y como mencioné anteriormente, las esculturas no convencionales de West a menudo buscan una participación de la audiencia. Por lo tanto, sus obras de arte son el mejor ejemplo de arte con el que nos gusta interactuar y de artistas que admiramos con respecto al enfoque de su trabajo. Lee más sobre West en la publicación “La lucha en todas las actividades artísticas“.

Al entrar en la exposición de arte, te encuentras con los “Passstücke” o “Adaptives”, esculturas de yeso con objetos encontrados incrustados con los que puedes interactuar, tal como hizo el artista con sus amigos como puedes ver en videos cercanos. Aproveché la oportunidad para jugar con ellos y disfruté haciéndolo. Echa un vistazo a las fotos a continuación en las que voy vestida de negro e interactúo con esculturas blancas en espacios separados por cortinas, donde incluso puede cerrarlas y obtener más privacidad. Aunque yo no sentí la necesidad de esconderme 😉

Más abajo en la exposición, encontramos sus “Esculturas legítimas”, grupos de papel-maché hechos con objetos cotidianos como un sombrero o una escoba, y pintados en algunas áreas, pero crudos en otras. Eran evocadores de cuerpos, pero más abstractos que figurativos desde mi punto de vista. West jugaba incluso con los muebles, como podemos apreciar con los divanes cubiertos de alfombras. El arte para sentarse y tener un espacio para conversar.

Al parecer, en sus últimos años creó grandes esculturas de colores brillantes tanto para galerías como para espacios públicos, algunas de las cuales se pueden ver fuera de la galería Tate.

Me gusta el enfoque irreverente y juguetón de Franz West en el arte. Sus esculturas fueron un punto de inflexión en la relación entre el arte y su público, y desearía que hubiera más artistas como él.

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Intricate pretty art pieces

Anni Albers
11 October 2018 – 27 January 2019
Tate Modern, London, UK

We were at Tate Modern last week visiting the art exhibition of Anni Albers (1899-1994), an artist who combined the art of hand-weaving with the language of modern art and what I believe is one the best art shows in London at the moment. Do not miss it, because it’s finishing soon.

Featuring over 350 objects from small-scale pieces and studies to large wall-hangings, jewellery and textiles designed for mass production, the show explores the intersection between art and craft, hand-weaving and machine production, ancient and modern art. It opened ahead of the centenary of the Bauhaus in 2019 and recognises Albers contribution to modern art and design.

I believe that the hand-weaving pieces presented at the art show are really diverse in shape, colour and size. It seems to me that she kept experimenting with design, techniques and materials all her life, yet keeping a very personal style.

Each artwork is like a little treasure made with great care and deep thinking. For instance, she turned everyday objects into precious jewellery pieces, and explored the use of many textures and materials for different and interesting results.

I liked the large wall-hangings with abstract patterns as well as the small-scale pieces that show a great attention to detail. In addition, there’s a central big room in the exhibition that displays various wall-hangings similar to blinds of Japanese inspiration that we decided to use for our photos, as they are good to reflect about the contemporary art space and the interaction of the body within that space.

Born in Berlin at the turn of the century, Annelise Else Frieda Fleischmann became a student at the Bauhaus in 1922, where she met her husband Josef Albers and other key modernist figures like Paul Klee.

The Bauhaus was a German art school that was opened from 1919 to 1933 and had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design and typography. Although, the Bauhaus aspired to gender equality, women were still discouraged from learning certain disciplines including painting. Anni Albers began weaving by default, but it was in textiles that she found her means of expression, dedicating herself to the medium for the majority of her career. 

With the rise of Nazism and the closure of the Bauhaus, Albers left Germany in 1933 for the USA where she taught at the experimental Black Mountain College for over 15 years. She made frequent visits to Mexico, Chile and Peru, where she bought an extensive collection of ancient Pre-Columbian textiles.  In both her work and her writing, she presents a vastly expanded geography of modern art, drawing on sources from Africa, Asia and the Americas.

Visiting the show was a very stimulating experience and I feeI that it would be so for those of you who like modern art, crafts and design as much as I do.


Piezas de arte intrincadas y bonitas

Anni Albers
11 de octubre de 2018 – 27 de enero de 2019
Tate Modern, Londres, Reino Unido

Estuvimos en Tate Modern la semana pasada visitando la exposición de arte de Anni Albers (1899-1994), una artista que combinó el arte del tejido a mano con el lenguaje del arte moderno y la que en mi opinión es una de los mejores muestras de arte que hay ahora en Londres. No te lo pierdas, porque termina pronto.

Con más de 350 objetos, desde piezas a pequeña escala y estudios hasta grandes tapices, joyas y textiles diseñados para la producción en masa, la muestra explora la intersección entre arte y artesanía, tejido a mano y producción de maquinaria, arte antiguo y moderno. Se inauguró antes del centenario de la Bauhaus en 2019 y reconoce la contribución de Anni Albers al arte y diseño modernos.

Creo que las piezas de tejido a mano presentadas en la muestra de arte son muy diversas en forma, color y tamaño. Me parece que Albers siguió experimentando con el diseño, las técnicas y los materiales durante toda su vida, pero manteniendo un estilo muy personal.

Cada obra de arte es como un pequeño tesoro hecho con gran cuidado y pensamiento profundo. Por ejemplo, convirtió objetos cotidianos en preciosas piezas de joyería, y exploró el uso de muchas texturas y materiales para obtener resultados diferentes e interesantes.

 

Me gustaron los obras mas grandes con diseños abstractos, así como las piezas a pequeña escala que muestran una gran atención al detalle. Además, hay una gran sala central en la exposición que muestra varias obras similares a estores o cortinas de inspiración japonesa que decidimos usar para algunas de nuestras fotos, ya que nos parecieron buenas para reflexionar sobre el espacio contemporáneo y la interacción del cuerpo dentro de ese espacio.

Nacida en Berlín a principios de siglo, Annelise Else Frieda Fleischmann se convirtió en estudiante de la Bauhaus en 1922, donde conoció a su esposo Josef Albers y otras figuras modernistas clave como Paul Klee.

La Bauhaus fue una escuela de arte alemana que se abrió de 1919 a 1933 y tuvo una profunda influencia en los desarrollos posteriores en arte, arquitectura, diseño gráfico, diseño de interiores, diseño industrial y tipografía. Aunque, la Bauhaus aspiraba a la igualdad de genero, las mujeres fueron desanimadas a aprender ciertas disciplinas, incluida la pintura. Anni Albers comenzó a tejer por defecto, pero fue en los textiles donde encontró su medio de expresión, dedicándose a ello durante la mayor parte de su carrera.

Con el auge del nazismo y el cierre de la Bauhaus, Albers abandonó Alemania en 1933 para ir a los Estados Unidos, donde enseñó en el experimental Black Mountain College durante más de 15 años. Hizo visitas frecuentes a México, Chile y Perú, donde compró una extensa colección de textiles antiguos precolombinos. Tanto en su trabajo como en su escritura, presenta una geografía muy amplia del arte moderno, basándose en fuentes de África, Asia y América.

Visitar la exposición fue una experiencia muy estimulante y creo que lo sería para aquellos de vosotros a los que os guste el arte moderno, la artesanía y el diseño tanto como a mi.

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The stories that resonate with us

Joan Jonas
Tate Modern, London, UK
14 March – 5 August

If you’re interested in performance art, you’re in luck, because there’s now an art exhibition at Tate Modern focused on the work of Joan Jonas, a pioneer of performance, video and installation and one of the most important female artists to emerge in the late 1960s and early 1970s.

Jonas was born in 1936 in New York City and after finishing her degree in Art History, she went to specialise in sculpture. But, immersed in the New York’s downtown art scene of the 1960s she  began experimenting with performance, video and props after studying with influential choreographer Trisha Brown for two years, and working with choreographers Yvonne Rainer and Steve Paxton in the 1960s.

This art exhibition at Tate Modern showcases Joan Jonas’s great contribution to art over the last five decades, uniting some of her most important pieces. The exhibition is curated by Andrea Lissoni in close collaboration with the artist.

The show is ordered by subject, as we can see how Jonas sometimes revisited topics various times throughout her career. She takes inspiration from different cultures and sources, from fairy tales to myths and local folklore, adapting them to relate to contemporary life.  Using props, mirrors and video screens she creates a complex layering of images that serve her to convey her interest in music, female identity, the environment, as well as natural and urban landscapes.

As we came into the show we could see a range of objects from Jonas’ personal collections, such as masks, wooden animals and items collected on her travels, and the following text in a caption: “one object next to another is like making a visual poem”. It was certainly like entering the individual universe of the artist, something I particularly enjoy.

The second room gave us a selections of the different art performances Jonas had done throughout the years in collaboration with other artists listed here: Benjamin Blackwell, David Crossley, Babette Mangolte, Richard Landry, Gwen Thomas, Gianfranco Gorgoni, Peter Moore, Larry Bell, Roberta Neiman, Beatrice Heyligers and Giorgio Colombo. This room gave us a view of two of her earliest performances such as “Mirror Pieces” (1968-71), in which she alters the audience perception of space using mirror as the central motif, and “Organic Honey Visual Telepaphy” (1972), where Jonas scans her own fragmented image onto a video screen.

The next room of the exhibition was “The Juniper Tree” an installation created in 1994 that evolved from performances staged in 1976 and 1978. I was mesmerised by this installation and intrigued by the story in which it was based. It refers to the Brothers Grimm fairy tale about a little boy who was beheaded by his stepmother and eaten by his father, before being reincarnated as a bird with the help of this stepsister. The juniper tree is where the boy’s mother had been buried and where he was buried by his stepmother before a beautiful bird flied out from it. The bird kills his stepmother by dropping a stone on her head and turned back into a boy to live happily ever after with his father and stepsister. Joan Jonas performed with this installation in various places, alone and collaboratively, and the version conserved here is the last one from 1978.

The art raspberry used her own intuition to perform next to “The Juniper Tree”, adding a new interpretation to the artwork. She saw herself as the tree that was present and muted throughout the story, and somehow an ally to the boy.

Jonas’ passion of story-telling was evident also in “Lines in the Sand” (2002), an installation and performance created for Documenta 11, in which Jonas reworks the myth of Helen of Troy to explore contemporary political events. And by the end of exhibition, we could see “Double Lunar Rabbits” (2010) in which she draws inspiration from the story of a rabbit on the moon, both a Japanese myth and Aztec fable.

However, some of my favourite pieces in this show were contained in a room with multiples references to birds. We could see them projected on screens, hanging from the ceiling, painted on canvas. I remembered how I used to dream that I could fly when I was little and I felt tempted to become one of them once again.

Finally, we saw some of her latest pieces in a different room downstair, with not much lighting and a really strong ritualistic feeling. There Jonas touches issues of climate change and animal extinction, subjects that are central to the artist’s current practice.


Las historias que resuenan con nosotros

Joan Jonas
Tate Modern, Londres, Reino Unido
Del 14 de marzo al 5 de agosto

Si te interesa el arte del ‘performance’, estás de suerte, porque ahora hay una exposición de arte en Tate Modern (Londres) centrada en el trabajo de Joan Jonas, pionera del arte del ‘performance’, video e instalación y una de las artistas femeninas más importantes que surgieron a finales de la década de 1960 y principios de la de 1970.

Jonas nació en 1936 en la ciudad de Nueva York y después de terminar sus estudios en Historia del Arte, se especializó en escultura. Pero, inmersa en la escena artística del centro de la ciudad de Nueva York de la década de 1960, comenzó a experimentar con performance, video y accesorios después de estudiar con la influyente coreógrafa Trisha Brown durante dos años y trabajar con los coreógrafos Yvonne Rainer y Steve Paxton en la década de 1960.

Esta exposición en Tate Modern muestra la gran contribución de Joan Jonas al arte en las últimas cinco décadas, uniendo algunas de sus piezas más importantes. La exposición está comisariada por Andrea Lissoni en estrecha colaboración con la artista.

La muestra está ordenada por temas, ya que Jonas vuelve a tocar los mismos temas varias veces a lo largo de su carrera. Se inspira en diferentes culturas y fuentes, pasando por cuentos de hadas, mitos y folclore local, y adaptándolos para relacionarlos con la vida contemporánea. Utilizando accesorios, espejos y pantallas de video crea una compleja colección de imágenes que le sirven para transmitir su interés en la música, la identidad femenina, el medio ambiente, así como en paisajes naturales y urbanos.

Cuando entramos a la exposición pudimos ver una variedad de objetos de la colección personal de Jonas, como máscaras, animales de madera y objetos recogidos en sus viajes junto con el siguiente mensaje escrito en una leyenda: “un objeto al lado del otro es como hacer un poema visual “. Ciertamente fue como entrar en el universo individual del artista, algo que disfruto particularmente.

 

La segunda sala ofrece una selección de las diferentes representaciones artísticas que Jonas hizo a lo largo de los años en colaboración con otros artistas incluidos aquí: Benjamin Blackwell, David Crossley, Babette Mangolte, Richard Landry, Gwen Thomas, Gianfranco Gorgoni, Peter Moore, Larry Bell, Roberta Neiman, Beatrice Heyligers y Giorgio Colombo. Esta sala presenta dos de sus primeras actuaciones como: “Mirror Pieces” (1968-71), en la que altera la percepción del espacio en el público utilizando el espejo como motivo central, y “Organic Honey Visual Telepaphy” (1972) , donde Jonas proyecta su propia imagen fragmentada en una pantalla de video.

La siguiente sala de la exposición es “The Juniper Tree”, una instalación creada en 1994 que evolucionó a partir de las ‘performances’ realizadas en 1976 y 1978. Me cautivó esta instalación y me intrigó la historia en la que se basaba. Se refiere al cuento de hadas de los hermanos Grimm sobre un niño que fue decapitado por su madrastra y comido por su padre, antes de reencarnarse en un pájaro con la ayuda de su hermanastra. El árbol de enebro es donde la madre del niño había sido enterrada y donde el niño fué enterrado por su madrastra antes de que un hermoso pájaro volara desde allí. El pájaro mata a su madrastra arrojándole una piedra en la cabeza y se vuelve a convertir en un niño que vive feliz para siempre con su padre y su hermanastra. Joan Jonas actuó con esta instalación en varios lugares, sóla y en colaboración, y la versión que se presenta aquí es la última de 1978.

‘The art raspberry’ usó su propia intuición con esta obra de “The Juniper Tree” para el ‘performance’ y añadió una nueva interpretación a la obra de arte. Ella es el árbol de enebro que esta presente y en silencio a lo largo de la historia, y es de alguna manera un aliado del niño.

La pasión de Jonas por contar historias también se hizo evidente en “Lines in the Sand” (2002), una instalación y performance creada para Documenta 11, en la que Jonas recrea el mito de Helena de Troya para explorar eventos políticos contemporáneos. Y al final de la exposición, pudimos ver “Double Lunar Rabbits” (2010) en el que se inspira en la historia de un conejo en la luna, un mito japonés y una fábula azteca.

Sin embargo, algunas de mis piezas favoritas en esta muestra de arte están en una sala con múltiples referencias a pájaros. Se pueden ver proyectados en pantallas, colgando del techo, pintados sobre lienzo. Recordé cómo solía soñar que podía volar cuando era niña y me sentí tentada a volver a ser uno de ellos.

Finalmente, vimos algunas de sus últimas piezas en una habitación inferior, sin demasiada iluminación y con un fuerte sentimiento ritual. Allí Jonas toca los problemas del cambio climático y la extinción de los animales, temas que son fundamentales para la práctica actual de la artista.

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1932: A year of renewed creativity

Current art exhibition: Picasso 1932 – Love, Fame, Tragedy
Tate Modern, London, UK.

8 March – 9 September 2018

I’m delighted to cover the first ever solo exhibition of Pablo Picasso at Tate Modern and what is certainly the blockbuster art show of the season here in London. I believe that Picasso was one of the most relevant figures in the arts in the 20th century, and a great artist who kept exploring new artistic avenues all his life.

I liked the curating work done for this EY exhibition at Tate Modern, as I did like the one done at The National Portrait Gallery at the end of 2016 based on “Picasso Portraits“. I found the latter was excellent to showcase the artist’s capacity to redefine the portrait with each woman in his life.

Picasso said once that “The work one does is a way of keeping a diary.” The current art exhibition at Tate Modern is like a diary that takes visitors on a month-by-month journey through 1932; a year that’s been called his ‘year of wonders’ for how relevant it was from a personal and career perspective.

In his personal life, he was 50 years old and his marriage with Olga Picasso (previously Khokhlova) was under strain. The affair he was having with the significantly younger Marie-Thérèse Walter, a young woman of 22, offered him a escape and a source of inspiration for much of his work in this period. Walter is the central presence in this exhibition and who inspired him to reach a new level of sensuality with his paintings.

From a career perspective, this was the year that cemented Picasso as a celebrity within the art world. A group of Paris dealers competed to launch the first ever retrospective of his work, when retrospectives of living artists were still unusual. Matisse’s retrospective at the Galeries Georges Petit in 1931 had been a rare exception and Picasso wanted to have his own too. He even declined offers from the MOMA in New York and the Venice Biennale to have his own retrospective at the Galeries Georges Petit, which happened in June 1932. Picasso took full control of the show to avoid giving too much power to his dealers. But, then he didn’t attend the opening, choosing to go to the cinema instead. That art show cemented his celebrity status and offered the first hint of having a new woman in his life.

He escaped to Boisgeloup with Marie-Thérèse Walter in July and August, and his style became faster and more fluid. She was a great swimmer, so he used this fact to showcase similarities between women and sea creatures with a strong surrealist influence.

This art exhibition presents also some of the drawings he did in charcoal in 1932. Some of them in canvas as they were works in their own right, not preparatory studies. For some paintings, he liked focusing on line and shape rather than in colour. I was lucky to see the fantastic “Picasso Black and White” exhibition held at the Guggenheim in New York in 2012, which explored the fantastic use of black and white he did throughout his career. It’d be good to see a similar art show like that in London sometime soon.

Towards the end of the show, we could see the series of drawings and paintings inspired by classical themes, both secular and religious, such as the Crucifixion, by Matthias Grunewald’s Isenheim Altarpiece and  scenes of reclining nudes and flute players, mostly associated with surrealism. Although he was sceptical of group membership of any kind. The flute players in purple and green reminded me of Chagall’s figures with a whimsical and magic touch.

The year that started with sensuous exuberance progressed into a more darkened mood after Marie-Thérèse fell very ill after swimming in the river Marne. His paintings reflected scenes of rescue and struggle. What’s more, he became increasingly anxious about the political situation there was in Europe at the time with populist nationalism and totalitarian regimes, which would eventually finish with tragedy first in Spain and then all over Europe.

Some of Picasso’s most iconic and loved works like ‘Nude woman in a red armchair’ from the Tate collection, ’Girl before a mirror’ from The Museum of Modern Art in NY or ‘The dream’ are displayed in this show . Also, I enjoyed to see two of the sculptures shown in this show created in Boisgeloup, a big bust of Marie-Thérèse and the ‘Cock’ that was a rare example among all the female figures he made; it shares the sweeping curves with them and includes a profile beneath the tail feathers. The original plaster was cast in bronze in 1952. One of The art berries’ pictures captures the ‘Cock’ and adds another profile to it.

I enjoyed this exhibition because at a time in which critics were questioning his ability to create new work, he once again redefined the tradition of western art with a new style full of sensuality, fluidity and vibrancy. Something only a great artist can do.

Fashion notes:
Raspberry wears a dress from COS stores.
Blueberry wears a shirt from Cynthia Rowley and a vintage jumper.
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