SIMON ENGLISH’S BOSCHIAN PORTRAYAL OF A MASCULINE GHETTO OF SEXTARDS FOR WHOM CHEMSEX AND DISCONNECTION ARE A WAY OF LIFE

Upon arrival to Simon English's realist installation, the viewer is confronted with two figures assembled with smaller 'painted drawings' on the left corner of the first of the two Hoxton's Peer Gallery exhibition rooms. The one on the left has been drawn with a thick brush in black paint against a tiled structure that overlaps … Continue reading SIMON ENGLISH’S BOSCHIAN PORTRAYAL OF A MASCULINE GHETTO OF SEXTARDS FOR WHOM CHEMSEX AND DISCONNECTION ARE A WAY OF LIFE

‘ALL TOO HUMAN’ AT TATE BRITAIN: PAINTINGS THAT MAKE THE ONLOOKER FEEL EMBEDDED WITHIN IT

'All Too Human' at Tate Modern takes its name from Nietzche's homonymous book (1878) where a new kind of Man who doesn't need to justify his actions through transcendental ideas is championed. This return to the materiality of the human can be, firstly, seen, a few years later, in the work of artist like Giacometti … Continue reading ‘ALL TOO HUMAN’ AT TATE BRITAIN: PAINTINGS THAT MAKE THE ONLOOKER FEEL EMBEDDED WITHIN IT

OXFORD’S ASHMOLEAN PRESENTS SUDANESE ARTIST, IBRAHIM EL SALAHI AS POST COLONIAL MODERNISM BUT WHAT THEY REALLY MEAN IS FINANCIAL GLOBALISATION

Ibrahim El Salahi's exhibition at the Ashmolean in Oxford is a Janus-like two headed beast that challenges those who see his works as an example of 'post colonial modernism' (critic Chika Okeke Agulu, for example). Born in Omdurman, Sudan in 1930 to a family with a long history of Islamic scholarship, El Salahi became fascinated … Continue reading OXFORD’S ASHMOLEAN PRESENTS SUDANESE ARTIST, IBRAHIM EL SALAHI AS POST COLONIAL MODERNISM BUT WHAT THEY REALLY MEAN IS FINANCIAL GLOBALISATION

AREN’T BEYONCÉ AND JAY Z FUNCTIONAL TO THE PERPETUATION OF THE ‘CIVILISED BARBARISM’ THAT MUSÉE DU LOUVRE EMBODIES?

The Carters, that is Beyoncé and her husband Jay Z, havejust released a video titled 'Apeshit' in ironic reference to their skin colour. In that video they appear making discretional use of the colonially charged corridors of the Musée du Louvre in Paris which shows how political their discourse has become to the point of … Continue reading AREN’T BEYONCÉ AND JAY Z FUNCTIONAL TO THE PERPETUATION OF THE ‘CIVILISED BARBARISM’ THAT MUSÉE DU LOUVRE EMBODIES?

LEE BULL AT HAYWARD: A GOOD ARTIST BLOWN OUT OF PROPORTION BY A GREEDY ARTISTIC BUREAUCRACY?

'Crashing' at Hayward Gallery is a survey of the work of Korean artist, Lee Bull. Spanning along three decades, it starts with her early performances where she explored women's oppression and finishes with her modernist utopias. Curated by Stephanie Rosenthal, the artist unwillingly becomes a benchmark against which the structural changes that took place in … Continue reading LEE BULL AT HAYWARD: A GOOD ARTIST BLOWN OUT OF PROPORTION BY A GREEDY ARTISTIC BUREAUCRACY?

HOW NOT TO FALL INTO THE TRAP OF BEING PICASSO?

'The EY Exhibition - Picasso 1932: Love, Fame, Tragedy' presents a show that explores a year in Picasso's life. Considered as his 'Anno Admirabilis', 1932 is the year when he managed to leave cubism behind which, as we know, was not only a breakthrough in his career but also in the way painting, in general, … Continue reading HOW NOT TO FALL INTO THE TRAP OF BEING PICASSO?

THE OUTSTANDING RETROSPECTIVE OF JOAN JONAS AT TATE MODERN TEACHES US THAT GRIEF IS NOT LINEAR BUT HAUNTS US FROM WITHIN, WHENEVER IT PLEASES

Experiencing Joan Jonas' works is not easy, particularly, in times when the museum visitor is expected to behave more as a passer by than as an informed aesthete that would take the time to appreciate what such works have to offer. Joan Jonas' retrospective at Tate Modern, however, demands, at least, two solid hours to get … Continue reading THE OUTSTANDING RETROSPECTIVE OF JOAN JONAS AT TATE MODERN TEACHES US THAT GRIEF IS NOT LINEAR BUT HAUNTS US FROM WITHIN, WHENEVER IT PLEASES

TATE MODERN’S ‘SHAPE OF LIGHT’ IGNORES THE LIQUID VIRTUES OF THE PHOTOGRAPHIC MEDIUM ONLY TO OBSESSIVELY SUBMIT THE VIEWER TO A POINTLESS VISUAL EXPLORATION OF WHETHER PHOTOS CAN EMULATE MODERNIST PAINTINGS OR NOT

In 'On Photography', Susan Sontag understands photography as a nostalgic medium that registers things that are on the process of disappearing. Fragmentary and sentimental, photographs create an ethical sensibility that, as she shows in the United States, pass from Alfred Stieglitz's Camera Work and its attempt to use painterly composition and visual effects to depict … Continue reading TATE MODERN’S ‘SHAPE OF LIGHT’ IGNORES THE LIQUID VIRTUES OF THE PHOTOGRAPHIC MEDIUM ONLY TO OBSESSIVELY SUBMIT THE VIEWER TO A POINTLESS VISUAL EXPLORATION OF WHETHER PHOTOS CAN EMULATE MODERNIST PAINTINGS OR NOT

MODERN ART OXFORD STAGES A SHOW ON DECOLONISATION BUT ITS SPONSORSHIP TACTICS REVEAL ITS EAGERNESS TO REINFORCE EUROPEAN COLONISATION TRADING INTELLECTUAL AUTHORITY FOR MONEY

https://www.youtube.com/watch?v=U_BYf6n5LTY&feature=youtu.be

THE COURTAULD GALLERY USED AS A COMMERCIAL PLATFORM FOR PROMOTING KATRIN BELLINGER’S COLLECTION OF DRAWINGS AS AN ART DEALER

'Artists at Work' is an exhibition that is currently taking place at the Courtauld gallery and comprises a series of drawings from the Katrin Bellinger Collection. Although the show is impeccably hung with all drawings placed at eye level in a magnificently lit and air coned room which has exquisitely been painted in a chic … Continue reading THE COURTAULD GALLERY USED AS A COMMERCIAL PLATFORM FOR PROMOTING KATRIN BELLINGER’S COLLECTION OF DRAWINGS AS AN ART DEALER