Two very nicely concentrated shows opened Thu 13 April at the same postal address; Corvi-Mora and Greengrassi in Kennington. Vincent Fecteau fills the downstairs gallery with plinth-mounted, moulded vehicular/ventricular sculptures in naturally-coloured paper maché paste (atmospherically béton brut) with organic elements secreted within or attached to them which are more affecting than that can possibly sound. Click through his gallery page here, to trace or remind yourself of his trajectory in London at least since 2000 (I didn’t document the show myself, gallery images are linked above though). This is art that addresses the elementary question of why we make objects or things at all. That’s what is going on with and through them; quiet, exacting necessity …
Dominique Gonzalez-Foerster, also gave a performance earlier in the week Continue reading “note_14 Go> Vincent Fecteau & Dominique Gonzalez-Foerster in Ldn -are these V-M? No!”
Edwin Parker by Tacita Dean 2011
My little friend and comrade has enabled me [firmly embedded in London for the summer] to catch up on some exhibitions missed, ones I might not get to otherwise and other big-ticketish shows; Miro at Tate Modern [to Sept 11], Emin at the Hayward [now ended], Twombly and the other guy at Dulwich [to Sept 25], Cage back at the Haywood [to Sept 18], etc.
To have so full a show of Miro in London is a privilege and I was beginning to think I’d miss it, despite looking forward to it for a year, from sheer lack of time. Continue reading “on some late summery art in london town, miro, emin, twombly/ poussin/ dean, and cage”
Suma Cy Twombly 1982
Cy Twombly was on my mind only last week as I worked on a short review of Elias Khoury’s new novel, As Though She Were Sleeping [MacLehose Press]. Khoury’s writing is highly distinctive and there are good literary cultural reasons for that, reasons I sketched in an interview based piece in 2005 for The Independent. Reasons I can’t keep on repeating, so I was trying to think of another way to describe his scratchy seeming but endlessly recircling, reconfiguring, rhythms of ideas, lines and words and a particular image of Twombly’s would not leave my mind. Continue reading “on cy and elias, death and a new novel”
S=U=P=E=R=S=T=R=U=C=T=U=R=E Cerith Wyn Evans 2010
“Everyone’s gone to the movies,
now we’re alone at last…”
I finally made it back to see Cerith’s show at White Cube’s Mason’s Yard which is, I want to emphasise, just off Piccadilly in central London. The show closes on May 22 and I urge you to drop by to catch a stunning and substantial installation of recent works which makes the space live so well that it claims possession of it.
My hopes were high for this show but I had to rush through an opening that was as busy as you might expect to be somewhere else. As a result I didn’t quite trust my impression that CWE had drawn all the currents in his work together into something quite so winningly complete. That is -at its most elemental- influence and intellect, taste and fancy all deliver something complex here that is coherent only as visual art. It’s clarified resonance would justify permanent -or DIA-style- installation in the site.
A peculiarly all over the place month made returning impossible, but the work lingered and I had to see it again especially if I were to scribble something here…
Continue reading “cerith wyn evans’ final week at white cube central london; go, go, go!”
I just want to flag up this exhibition curated around Morton Feldman which I haven’t and won’t see [partly because I’m away doing a Residency myself during June] with its intriguing catalogue which I’ve also not seen yet.
Vertical Thoughts; Morton Feldman and the Visual Arts looks like a full-blooded collection of visual materials linked to Feldman and any focus on Feldman is welcome. I wonder why it isn’t travelling to other museums of modern art; Tate Modern for instance?
Kevin Volans has a piece in the catalogue [and a slightly out of date website here]. I caught his 60th birthday performance a few months ago [Wigmore Hall, Nov 09] which was excellent. Afterwards he described how he’s increasingly reliant as a composer and performer on visual art’s receptivity and commissioning resources.
Music-wise, there’s still a performance to come of Rothko’s Chapel and Words and Music by Samuel Beckett on 30th May by the Crash Ensemble here.
Cage a Swallow/Swallow a Cage was performed twice on November 6th at the Whitney, during their exhibition of Roni Horn AKA Roni Horn. It’s part of the work that AC did during her Residency at RH’s Library of Water in Stykkisholmur, Iceland.
I couldn’t make it, have been requesting a recording of it for some time and now it’s up on their site here (UPDATED 2Mar2018).
The page includes stills and a downloadable mp3 of about 25 mins, which may not be there forever…
Thanks, you Whitneys…
Transcription of the event follows; Continue reading “anne carson; cage a swallow can’t you but you can’t swallow a cage can you: a sonnet sequence for roni horn”