If you happen to be in Buenos Aires, please join us at the National Museum of Fine Arts for the presentation of the book where I participate along with critic Rafael Squirru on the work of the 102 year old artist Ides Kihlen invitación Ides kihlen - 2
BOUND showcases the work of four MA graduates of four London-based art colleges who have just completed a year-long residency at Acme's Warton House studios in Stratford and it is the result of Peer's third year generous partnership with Acme. For all of you who do not know it, Acme is an organisation that provides … Continue reading DOMINIC DISPIRITO’S ATTITUDE PROBLEMS, ALEX URIE’S BANAL TRENDINESS AND JAMES TAILOR’S MONUMENTAL GAY ‘MODERNISM’ ON SHOW AT PEER GALLERY IN HOXTON
The New York-based Argentine/Israeli Mika Rottenberg's video labyrinth at the Goldsmiths CCA is an immersive multimedia and multiperceptual allegory of the effect that the globalised economy has on the human body. On screens strategically placed along the gallery's three floors, the viewer is exposed to a series of loopy, sweaty and claustrophobic videos which transform … Continue reading IN THE NAME OF AWARENESS, ARGENTINE MIKA ROTTENBERG’S VIDEO INSTALLATIONS GREEDILY TAKE THAT COUNTRY’S TRADITION OF SADISTIC POLITICAL ART TO A NEW LEVEL OF… UNAWARENESS
Formerly known as the John Player Award, the BP Portrait Award has, since its creation in 1980, become the most prestigious portrait competition of its kind in the world. This happened while the dynamics of the art world changed beyond recognition transforming its products, since the 90s, into costly commodities and later, after the new … Continue reading WHAT HAS ALWAYS BOTHERED ME ABOUT THE BP PORTRAIT AWARD IS THAT BOTH ARTISTS AND VIEWERS RUN TO PRAISE EACH OTHER FOR HOW INCLUSIVE AND TOLERANT THEY ARE, LEAVING PERVERSION, HESITANCE AND DARKNESS ASIDE
I have the feeling that, in the UK, the art criticism that is published in the media has become a tribal confirmation of a truth that is never made explicit. In a recent discussion with art critic Matthew Colling on his Facebook feed, I was accused by Turps Studio's Dan Coombs of 'poststructuralist' (since a … Continue reading MATTHEW COLLINGS DIMISSES PICABIA AS ‘BORING’, DAN COOMBS DOES THE SAME WITH ME AS ‘POSTRUCTURALIST’ AND I LEFT THE FIRST WORLD WAR TATE BRITAIN SHOW FEELING THAT UK INSTITUTIONS MIRROR THEIR ARTISTS POST VICTORIAN PATRIARCHAL BELIEFS
In 1968, Argentinian artist Graciela Carnevale created an unlikely art exhibition: she invited people into an empty gallery, locked them inside, and left. But Lock-up Action, as the artwork was called, came to a swift end when the trapped gallery-goers flagged down a pedestrian, who broke a glass wall and set them free. To Carnevale, … Continue reading THE #METOO CURATORIAL DILEMMA: FEMINIST ART OR ART MADE BY WOMEN?
As soon as my review on the Turps Studio Programme exhibition at Paul Stolper Gallery went viral, I got an Instagram message from artist Victoria Cantons who is one of its participants saying: 'Hello, you posted on a scathing review of the Turps show. I was wondering which day you visited? I didn't notice you … Continue reading VICTORIA CANTONS, ONE OF THE ARTISTS INCLUDED IN MY ‘SCATHING’ REVIEW OF THE TURPS STUDIO PROGRAMME EXHIBITION SAID TO ME: ‘YOU ARE PUTTING EVERYONE DOWN AND DISGUISE THAT AS CRITICISM’
The Turps Studio Programme 2018 show at Paul Stolper Gallery is, to use one word, bad and it is so bad that it might be useful to approach it from the point of view of a phenomenology of painting to try to learn a little bit more about the conditions in which these paradoxically exhausted … Continue reading AT TURPS STUDIO, THEY FAILED AT TEACHING THEIR STUDENTS HOW TO PAINT BUT INSTEAD THEY GAVE THEM CLEAR DIRECTIVES ON HOW TO PRICE AND QUICKLY PUT THEIR WORK IN THE MARKET
I was pleasantly surprised when I found out that the British Museum dedicated an exhibition to Patrick Leigh Fermor (1915-2011) along with artists Niko Ghika (1906-1994) and John Craxton (1922-2009). Their friendship is an actualisation of the ancient homo-social ideals which transforms the show into an ethnographic account of how Post-War England tried to cling … Continue reading PATRICK LEIGH FERMOR, JOHN CRAXTON AND NIKO GHIKA’S AUTISTIC HOMOSOCIAL EFFORT TO RESTORE GREECE TO ITS FORMAL GLORY IN A BIZARRE ETHNOGRAPHIC EXHIBITION AT THE MUSEUM THAT KEEPS THE ELGIN MARBLES
America's Cool Modernism at the Ashmolean in Oxford showcases the group of artists who between 1915 and 1945 produced a distinctively American art that presented itself as the imagery of 'the new American order' in which machines were already replacing human beings as the protagonists of change. The use of the word 'cool' in … Continue reading IN A COUNTRY THAT HAS USED HOLLYWOOD AS A DIVERSION FROM ITS OWN CHAOS, US ‘PRECISIONIST’ PAINTERS GET NEUROTICALLY REAL AT AMERICA’S COOL MODERNISM: O’KEEFFE TO HOPPER (ASHMOLEAN)
