Your Reviews...
Shows you like - or don't

elizabeth peyton

Brown.NY

moving on from pop star and art idol portraits,now its Diaghilev,Beat poet Giorno,celebrity paintings of a different kind but painted in the Peyton house-style,which I am always happy to enjoy.If it aint broke......

this site

right here

love it! more great art to see on the exhibitions coming to the new gallery than you can hope for,and I love showdown and crits.LOL to all on this fabulous site

julian schnabel

robilant and voena gallery,london

Its taken me by surprise to find that Schnabel the painter is as good as Schnabel the film director,because I dont know his work and cant remember his having a show before in London.Pity,because now that I have seen reproductions of many great moments in his long career,I think it would be a good time to have a proper retrospective.

gustav klimt

Neue Galerie,NYC

This is home to the incredible Lauder collection of German art,and nothing in the city is as breathtaking as these beautiful works.It's worth flying from across the world to see!

stefan thater

Hotel Gallery London

A new (to me) artist he uses minimal means - watercolour inks on thin sheets of paper - to make an interesting show that evokes a faded but romantic abstract picture of a London walk.Very nice.

iron man

cinemas

the start of a new franchise,and a promising one,because of a strong cast,intelligent script,a nice balance between action and wit.

New 08

Australian Centre for Contemporary Art

A 5 minute tram ride from Melbourne’s CBD, tucked in amongst industrial estates and universities, lives the Australian Centre for Contemporary Art - a reasonably modest gallery which, unlike most of its ‘peers’ doesn’t cram every space with as much artwork as possible. The featured exhibition at the moment is the New 08 show, in which “Seven Australian artists [created] their new work for NEW08, the Australian Centre for Contemporary Art’s annual commissions exhibition for emerging artists”. Works ranged from innovative takes on still life to commentaries on elements of past cultures. Two pieces jumped out at me - both visually similar, but one much more satisfying than the other. Opposite a performance piece by Gabrielle de Vietri stands what looks like a film booth. You know, a thin corridor with a flickering light at the end that apparently is compulsory for 90% of exhibitions these days. This wasn’t a film piece, but a bulb stuck to a wall in front of 6 or so sheets of clear plastic suspended from the ceiling. Apparently this was Sandra Selig’s “installation in which the viewer will move through a darkened environment enlivened by reflections created by an elusive source of light”. In practice, that didn’t really happen. The light was glaring, and being among the “reflections” just reminded me of GCSE Physics. I didn’t get much from that. Right at the end of the exhibition, in another curtained-off darkened room, was Paul Knight’s photography and sculpture on human intimacy. The images were softly back-lit, and the sculptures were left to manifest themselves in the shadows of those lights. It’s a powerful sensory experience, and really compelling. You forget where you are and how to get out.

Permanent Collection

Australian Centre for the Moving Image

About a week and a half ago, I made a brief visit to the ACMI centre in Melbourne’s Federation Square. I skipped the featured exhibition, Game On, as it had already showed in London, and explored some of it’s permanent show instead - some 200-odd short films, presented in a variety of public and private settings - from intimate pods to screens set up in the reception area of the building. I’d love to say I stayed for all the pieces, but, well, I am of the MTV generation. Regrettably. Two films did however strike me. The first was Never Done: Women, Work and History, which chartered the emancipation of women in the workplace since the First World War. The film suggested women were introduced into subordinate positions, taking on the roles men could no longer be bothered to do. It appealed to the feminist (not feminazi) in me. I also saw Projected Memories - Work in Old Film piqued my retroscopic-nostalgic interests, and pretty much explored what the title suggests - the history of cinema.

Coming of Age + Permanent Collection

Dulwich Picture Gallery

The permanent collection is somewhat reminiscent of the 18th Century rooms in the National Gallery, just a few miles further into town, with many of the same artists - Rembrandt, Gainsborough, Hogarth. The Dulwich Picture Gallery provides a change to really meditate over works by these artists, without feeling rushed along by a school crowd or gaggle of tourists. The paintings were hung lower, allowing for a more intimate viewing, which is quite unusual for these subjects and mediums and, despite being poorly-lit in places, I even found myself admiring a Constable piece - and he bores me. There is a good representation of the period too - some religious imagery, landscapes, a few portraits, and even a bit of mythology. It was pleasantly surprising to see almost an entire wall dedicated to Rubens, including the Botocelli-reminiscent Three Graces. Largely unadvertised, one room holds an exhibition on Guido Reni’s Saint Sebastians, which features six or seven similar pieces from across the world that prompt us to question the value of the original. To the main feature: Coming of Age details the evolution of America’s artistic exploration. This being the first time that I’d seen an exhibition “about American Art”, I felt that, certainly in comparison to the British works I’d just seen, their landscapes were warmer, their still life paintings more ‘industrial’, and their portraits carried an air of comedy and character, which on retrospect is notably absent from their European counterparts during this period. Not to get too biographical, but the fact that the start of this movement coincides with the American Civil War had an effect on the vibrancy and dynamic quality of these works. The path that led to the creation of now iconic pieces by Pollock (Phosphorescence), Reinhardt (Red Abstract), and Hoffman (Exaltment) is explained clearly and simply through the increasing abstract tendencies of their predecessors. For example, Prendergast takes the Impressionist technique and manages to execute it in a way that makes the painting appear less sleepy and more…like a snapshot of bustling life. He is sandwiched between Man Ray and Georgia O’Keefe. The completeness of the exhibition’s “story” is really pleasing, leaving the visitor with an understanding of the momentum built up during this exciting period.

tal r

Camden Arts Centre,London

What a tremendous show by one of the most interesting painters around.I have seen his work at the Saatchi gallery before ,and at Victoria Miro,so I was looking forward to seeing more of his large,colourful,paint-loaded work.Although he has a signature look to his work,they always seem fresh and invigoratin.Much more ambitious ,and much harder to pull off,than the faintly decorative illustrations that Peter Doig is making now,seen in his current Tate retrospective.Tal R is very special and worth the trek to Camden Centre.

wack

PS1 NYC

Feminist art doesn't sound like much fun as an exhibition theme,but this massive survey spanning 1966 to the early 80's,and featuring over 100 artists is a treat.Lots of grity and formidable work,many groundbreaking ideas given greater depth when seen in this fascinating survey.

artexpo New York

art

Shauna Lee Lange Arts Advisory WEDNESDAY, MARCH 5, 2008Jo Owens Murray: Surrealist, Assemblage Sculptress, and all around HOOT! Our artexpo 2008 top pick They say a picture's worth a thousand words. Sometimes meeting an artist is worth a hundred times a thousand. Such is the case with Jo Owens Murray out of Collegeville, Pennsylvania. This little beaded baby (and we mean the picture, silly) is called "Paradise." Murray works in the application of beads and jewels applied to mannequins. She's been featured in the publications: Beginning Sculpture; Best of America; and Art of Imagination. Murray's work is found at the Southern Alleghenies Museum of Art, the National Museum of Women in the Arts, and the Woodmere Art Museum, among others. Art Critic Burt Wasserman recently wrote, "In the manner of Louise Nevelson and Pablo Picasso, who transformed detritus found on the street into art, she also recycles what may seem to be grotesque trash into ecstatic treasure." Fine Arts Curator Dr. Graziella Marchicelli wrote, "In Gateway to Your Soul, a beaded head hangs from a bird stand. The eyes are replaced with mirrors, allowing the viewer to see his or her own eyes. The bodiless woman suggests enchantment and seduction, but there is, at the same time, something menacing about her." Something menacing or something magnificent, either way you slice the pie, Murray stands on her own originality. She is the quintessential girl most likely to become a crazy cat lady and she loves it. She moves with ease, she dresses with her own eye, and she capitvates with her personality and her pearled pebble pieces loves it. She moves with ease, she dresses with her own eye, and she capitvates with her personality and her pearled pebble pieces.

ryan mcginnley

Team gallery,ny

I love these uplifting photos of young people having a fun summer.Great variety,and the perfect follow up to the Nan Goldin world of life at the raw end of youth.

Martin Maloney

Tim Taylor Galleries London

Both galleries are full of extraordinary new paintings made by collaging bits of painted canvas to create these vibrant portraits of pin-ups.This is a new technique to me,and really works well,even on the smaller paper works at the smaller gallery.It's a knockout show by an artist who always makes his complex paintings look childishly simple.

Mirror for the 21st Century

BECA Gallery, New Orleans

An interesting selection of artists looking at 21st century existence, showing at a fresh venue for contemporary art. The photographic works in the show are perhaps the strongest and most exciting (Maslen & Mehra, Sara Andersdotter, Elana Katz & Philip Metz, Odette England and Donna Wan in particular), but there are some interesting, more tactile, works as well (Luba Zygarewicz in particular). The show is curated well, with only a few pieces that don't seem to suit (Shana Robbins and Minka Stoyanova feel a bit 'dated' & not soo much "21st century"). It's definately worth a visit if you're in New Orleans - this new gallery has added even more flavor to the place.

matt connors

Canada gallery,New york

Weird little geometric abstractions from this newcomer,who manages to give take a well-worn path into new directions.Elagant,but a little twisted,he even makes a simple crease in a canvas resonate.Cool show.

Curators

everywhere

I'm also sick of the smuggness of your average curator. When did it become the thing to be a curator, everyone is a curator, everyone is curating.

Thomas Scheibitz

Camden Arts Centre,London

I saw the Sheibitz work in the Triumph of Painting show at the Saatchi and thought his work was strange and interesting - an otherworldly mix of figuration and abstraction.But I'm afraid a lttle Sheibitz goes a long way, and this body of work has few highs.

Vassilis Karakatsanis 'Urban Behaviours'

ekfrasi-yianna grammatopoulou/athens/greece

ekfrasi-yianna grammatopoulou Valaoritou 9a, 10671 Athens, Greece T: +30-210 3607598, F: +30-210 3607546, Email:info@ekfrasi-art.gr, www.ekfrasi-art.gr Vassilis Karakatsanis ‘Urban Behaviours’ 2007/2008 6-24 May 2008 Ekfrasi-Yianna Grammatopoulou is pleased to announce ‘Urban Behaviours’ an exhibition with painting by Vassilis Karakatsanis (Athens 1957) Opening reception: May 6th, 2008 from 19:30 The exhibition opens May 6th, 2008 and will run through May 24th, 2008 In ‘Urban Behaviours’ exhibition, Karakatsanis risks his involvement in a socio-political debate. Vanity, carnalism and mixing of values reflect in the eyes and the bodies of the assembled people who constitute the body of his work whereas the repeated presence of the chair refers to the urban environment. Jaume Mir, President of the Royal Academy of Fine Arts of Mallorca, annotates: «Karakatsanis approaches this reality in an unadorned, straightforward and caustic manner. Vanity, carnalism and mixing of values reflect in the eyes and the bodies of the assembled people who constitute the body of his work whereas the repeated presence of the chair refers to the urban environment. His subject matter is realization, deadlock and hypocrisy, with which, without any trace of intellectualism, he expresses his anguish using very few materials. He does not suggest a solution, yet he demonstrates a mirror in which we can all see our real self or our innermost fantasies, if we so wish. Karakatsanis risks his involvement in a socio-political debate. However, painting and art in general has to create aesthetic parameters both from its own material and from the “thesis” of identification of its content. » Vassilis Karakatsanis was born in Athens 1957. 1976-85 education: Athens & Barcelona Graduate Schools of Fine Arts, Painting, Stage Design and Book Art, with scholarships by the IKY, (Greek State Scholarship Foundation) & the Spanish Government. Centro Europeo of Venice, Maintenance of Architectural Monuments, with scholarship by the European Council, Italy. 1982-08 solo exhibitions in Greece, Italy, Spain, Indonesia, Cyprus, Germany & participation in International Exhibitions & Art Fairs, (Stockholm Art Fair, Art Innsbruck, Art Athina/Athens, Europ’Art/Geneva, Chelsea Art Fair/London, 8th International Triennale, Lalit Kala Academy/New Delhi, BP Oil Europe/Brussels, Sotheby’s/New York, Chamber of Fine Arts of Greece/Moscow & Sofia, Fundación Joan Miro/Barcelona, E & C Department, La Vella/Andorra, 8th BIDA Bienal Internacional del Deporte en las Bellas Artes/Madrid). For more information, please contact the gallery. Visiting hours: Tuesday, Wednesday, Thursday, Friday 11:00 – 14:00 & 18:00 – 21:00 Saturday 11:00 – 14:00, Sunday & Monday closed

Tony Feher, solo exhibition

Pace 57th street

formal compositions constructed from found objects. They are meticulously placed within the space. The materials are themselves transformed. White hangers precariously hang one from another with plastic orangina bottles partly filled with yellow liquid catch light from condensation inside the bottles. Casting delicate shadow drawings on the walls and floor around them, they move ever so slightly at times or seem to float in a moment of silence. There is also a bit of humour to some of the works which provoked a smile. "Victoria" one of the shows crowd favorites, consisted of a found white wire fencing sitting on the tiny ends of the wire like delicate little hooves poised for an unexpected leap or walk. A tiny, red flower like form is stuck on the end of a wire like a small head looking out, or up your not sure. Somehow, you do feel a strange kin ship with the little piece which only came to about my knee. Loved this show.

Armory art fair and satellite fairs

New York

Much nicer atmosphere this yearfor us visitors,but mabe a less happy time for dealers,where the feeding frenzy stripped stands in minutes of anything ,good or horrible.Lots of excellent work to see in all the different fairs to choose from,and as always lots of jaw dropping work in the fairs from newer more edgy dealers (some so awful you cant help but laugh,but some new winners too). About a hundred times better than the Whitney Biennual snorefest,and much more coherent a picture of new art.See you in Miami fair,folks!

double agent

ICA London

The reviewer below noted how "invisible" the Serpentine had become over the last year in the art scene in London- for art that is,it still throws a celebrity fest part each summer.But the ICA just doesnt exist as an art venue for as long as I can recall,except for the one or two shows every couple of years.This is a typical curato/computer generated pseudo intellectual and idioticbit of nonsense that has absolutely no interest to any but a handful of like-minded self-satisfied twats.Please someone,rescue the ICA.It used to be an important place to see new innovative art.

Derek Jarman

Serpentine Gallery London

It is remarkable how the Serpentine has lost its visibility on the UK art scene,to the point where many of my gallery going friends think it has been closed for a year or more,because it keeps doing show after show of little interest to anyone outside the small pretentious set at the core of the "intellectual" bit of the art world eg nothing to look at that smacks of any visual interest. Of course they dont mind at the state-funded Serpentine,because they think interesting the general public is just so very uncool.This show is painfully self satisfied,and a total bore.

Cai Guo-Qiang

Guggenheim NY

This is the "wow" show at the moment,blowing the Whitney Bi out of the water.So very different to the kind of work we are used to seeing in U.S. museums,this is an extraordinary artist taking the building ,and New York by storm.Must see.

gerry fox

176 London

Multi screen magic here,as Fox creates a stunning montage of life in the big city.This new private gallery has been opened by a private collection to display another example of a top collector making our state institutes look asleep at the wheel.This is pretty stunning ,and worth the trek to Kentish Town

Diebenkorn in New Mexico

Grey Art gallery NY

One of the quiet giants of New York School Abstracion,this is the work that bridged the move to his iconic signature work,the Ocean Park series of paintings.So a fascinating and beautiful show, albeit of interest only to Diebencorn groupies like me.

The ADAA Art Show 2008

Armory NYC

The 2008 ADAA Art Show may be in its 20th year but it seems to be more vibrant and energetic than last year, when I first attended. This year, curators Tom Eccles and Trevor Smith selected artists Spencer Finch, Lisi Raskin, and Pietro Roccosalvafor solo shows in three of the Armory's historic rooms just outside the fair, while in the hall outside was a video and multimedia art installation by multiple contemporary artists. Plus, several forums were held for the benefit of collectors about the art market. Art is by, about and for people. The Art Dealers Association of America members are basically the top galleries both for primary and secondary works in this country and in the world. Every work in this show is good, most are excellent, and a few are great. Many of the artists and some of the booths deserve full reviews, not just the brief mentions that my time and space allow. Determined to see all the booths, upon entering I made a quick left into the Mitchell Innes and Nash booth where I begin the task of deciding what work to mention when everything deserves one. Seeing Arshile Gorky’s oil from 1944, From a High Place, I have my first pick. Thanks to a bit of online research, I know what Lucy Mitchell-Innes looks like, so I introduced myself and she is as lovely and welcoming as her photos indicate. The booth to the left belongs to the Luhring Augustine. I spot Roland Augustine, one of the gallery’s partners and the current president of the ADAA leading visitors down an aisle towards another gallery’s booth. The Luhring Augustine booth is dedicated to Steve Wolfe’s sculptures, which resemble editions of classic books. The charming Kristen and Sophie help me select the one of the Postman Always Rings Twice to especially mention, a good one for me as I am also a fan of mysteries, Hitchcock, and of course words in art! Moving through the aisles, there are works by Andy Warhol in the many galleries that display Modern Art. Hamptons, where I live. I usually mention at least the best, which is easy as I am dropping names like Pollack, Krasner, Chase, Ray Johnson and Max Ernst. The last two prominently featured at Richard L. Feigen & Co. The dynamic Max Ernst painting drew me right into the booth (you can see it in the blog article at the www.ungravenimage.com web site). I appreciate the opportunity granted by the always friendly and knowledgeable Dr. Frances F. L. Beatty to show it here. Also at this booth were three small charming watercolor works by Henri Rousseau that are enchanting. Tibor de Nagy had another selection featuring Hamptonites, Fairfield Porter, and Jane Freilicher. The James Goodman Gallery had an untitled De Kooning. The booth for the Barbara Krakow gallery featured a Vulgar, a 2007 work by Mel Bochner. At the Richard Grey Gallery booth, I renew my acquaintance with Paul Grey, ever the gentleman, again standing and offering a smiling handshake (to that point the only one so far to stand or offer a handshake). I first met at last year's show along with Andrew Fabricant who is the chair of the Art Show committee, and sitting with the was Roland Augustine, who I met for the first time as he welcomed me into this booth, too. At that time the gallery was showing work by sculpture Juame Plensa, another artist whose work I appreciate since he sculpts using letters for strokes. This year, the gallery features yet another artist with ties to the Hamptons, Jennifer Bartlett. The Charles Cowles Gallery itself always has ties to the Hamptons, no matter what good artist is featured. Charles himself mans the desk, always welcoming and friendly as is his staff. Two small works by William T. Wiley were among the notables here. In the next aisle is Sikkema Jenkins. This is a very special gallery to me, as the first work of art I ever showed in a big NYC gallery was in December 2007 at the Postcards From the Edge show hosted by this gallery. In addition, gallery staff staff is friendly and helpful (I coined the term “gallerytoro” especially include their excellent receptionist Scott my first galleristas review), plus the artists are first rate and even some of by favorites such as Kara Walker. At the Sikkema Jenkins booth, smiling and saying hello were Meg Malloy who is always good to see again and to meet Michael Skimma, for the first time. Their booth was dedicated to the work of gallery artist Amy Sillman‘s *oil on untitled canvas paintings, which conjure up depth and form. At Greenberg Van Doren, Michael Martin graciously answers my questions about a particularly interesting untitled gouache by Richard Diebenkorn. As I leave that booth I see up at the front of the aisle the now very familiar figure of a man, amicably chatting with people and leading them towards yet another gallery booth. I consider walking up to say hello, but my attention is drawn away by just a glimpse of the Cheim & Reed booth out of the corner of my eye. The whole booth is painted black, a perfect background for stunning sculptures on pedestals by Lynda Benglis. I am helped, as usual, by someone friendly from the gallery, this time meeting Daniel Lechner. Standing before the Cheim & Reed booth I am sure that absolutely no other booth can possibly equal this presentation… Until I discover the D’Amelio Terras booth, with a grouping of several artists’ works that wonderfully resonate with one another in a “suspended art” theme. An ingenious sculpture/mobile by Cornelia Parker merits a special mention. But, now I am sure that no other gallery’s presentation could possible equal this one or Cheim and Reed’s. I arrived at the show after a long day of travel and other activities in the city, so by the time I enter the final and fourth aisle, I am wishing for a bit of a break. I am tired until I see a Rothko at L & M. It is not one of his huge works, but it towers spiritually, and momentarily lost in it, I revive. At ACA Galleries, I chat with Jeffrey Bergen, director/owner and again, one of the delightful people I have met this year in the galleries. We chat as I enjoy the paintings from many of the gallery’s artists and try to select one finally settling on Irene Hardwicke Olivieri’s who had a solo show that I enjoyed just before I began to give mentions, a tad over a year ago. Nearing the end of the aisle booth Roland Augustine is meeting and greeting and showing more people around. I linger at the O’Hara booth enjoying the Calder mobiles until for a moment Roland is free. I begin to reintroduce myself to him, but he knows who I am. The last time we physically met was in the elevator at the 1018 building, where Luhring Augustine has a new gallery branch. Anyway, Roland offers a big smile along with a solid handshake. We chat for a moment about the George Condo show that I am looking forward to next week. I move along top the PaceWildenstein booth. On approach the booth did not seem special, displaying only one work by Richard Tuttle, with Cay Rose stationed at a desk before it. Cay explained the booth was designed by the artist, Richard Tuttle himself. It was specially carpeted and a low wall had been erected, which she leads me behind. Suddenly we are in a peaceful quiet viewing room that seems far from the activity of the show. Yet, another incredibly designed and presented booth. Across from that, what normally would be the first booth one might enter I had saved for last. Ameringer & Yohe gallery had a tribute to the ADAA’s past president Andre Emmerich, who died last year, This presentation included photos of the gallerist and works by three of the blue-chip artists Emmerich had championed: Anthony Caro, David Hockney and Morris Louis. As I reach the exit, I turn around for one last impression of the Art Show, and see near the front aisle, Roland Augustine smiling, chatting and leading yet more guests to another gallery’s booth to see and possibly collect the work of some of the finest Modern and Contemporary artists. He well represents the ADAA and the show: generous, enthusiastic, friendly and always quality.

whitney biennual

Whitney Museum NY

I thought I would offer my prediction that this will be a very good show this time,because it's a exciting list of artists,with some of the best of the lesser known new artists getting their chance at the big time.Will let you know what I think after the opening this week,but spoke to one of the curators,who seemed thrilled with lots of good new work being installed.

agathe snow

Jonathon Viner,London E8

This latest hot American star to be had made a pretty amazing installation of a bizarre group of sculptures made on the spot, I imagine, from lots of bin liners ,bits of tat and cloth and discarded rubbish,and turned them into bizarre figurative creations and one of the most compelling shows of this last few months.

MILENA DRAGICEVIC -OF ANTS

Galerie Martin Janda

I recently made a visit to Vienna and saw some interestings shows, Milena Dragicevic at Galerie Martin Janda is one of them. The large totem like paintings are extraordinary with a very intense colour approach. The Supplicant series show faces that are beautifully layered with strange interventions. Her references range from the abstraction to Inuit language to Brancusi etc.. Galerie Martin Janda has always had a very interesting programme .

Dirk Bell

Gavin Brown,NY

I tried to get a handle on what Bell is trying to say with this disparate group of sculptural works,but gave up trying to figure out what he was trying to do - it read as a group show rather than a singular voice with any clarity of vision.

The aerials of sublime transscapes

Lokaal 01 Breda

Op zoek naar het sublieme Door Rebecca Nelemans Na de aanslag op de Twin Towers op 11 september 2001 lijkt de wereld steeds meer uiteen te vallen in twee polen: de moslims en de niet-moslims, de terroristen en de tereurbestrijders, het Westen en de Arabische wereld, het intellect en het populisme, de daders en de slachtoffers…. Ook de beeldende kunst krapte zich achter de oren na dit historische scharnierpunt. Een aantal kunstenaars preekte niet langer ‘eenvoudigweg’ schilderijtjes te maken na deze gebeurtenis. Men kon immers niet doen alsof er niets aan de hand was. Vanuit hun politieke of maatschappelijke betrokkenheid maakten ze kunst die doortrokken was van de wrede actualiteit. Anderen keerden zich juist met de rug naar de buitenwereld - zoals de priester in het verleden ook het volk de rug toekeerde om zich te concentreren op het heilige - en stelden tegenover de waan van alledag de stilte en de contemplatie. De afgelopen jaren leek er zo in de kunstwereld ook een tweedeling te ontstaan. ‘Aerials of Sublime Transscapes’ (Antennes van sublieme langschappen), de tentoonstelling die de Antwerpse curator Sofie van Loo (1970) inrichtte bij Lokaal 01 bewijst het tegendeel. Van Loo verklaart het dialectiek dood. Ze probeert geen brug te slaan tussen de schijnbare tegenstellingen, ze wenst gewoon niet langer te denken in tegenstellingen of polen. En dat herkent ze ook in het werk van de kunstenaars die ze uitnodigde voor deze tentoonstelling.“Ik weet eigenlijk totaal niet waarmee ik bezig ben, selecteer puur intuïtief. Pas in een later stadium blijkt er een thema, het komt uit de werken naar voren. En dan valt alles op zijn plaats”, aldus de curator. Ze is op zoek naar het sublieme van de eenentwintigste eeuw: “Deze eeuw produceert schoonheid zonder de platheid van Pop Art. Schoonheid die langzaamaan voorbijgaat aan de Romantiek.” Het meest expliciet gebeurt dat in de boslandschappen van Nogah Engler. Op het eerste gezicht roepen deze besneeuwde bosgezichten de schilderijen van de Vlaamse primitief Joachim Patenier in herinnering, maar dan zonder de heiligen. Of de altaarstukken die de Duitse Romantische Casper David Friedrich schilderde. Maar de bossen van Engler zijn niet enkel gericht op het spirituele schone. De kleine details laten zich lezen als sporen van een verschrikkelijke geschiedenis van Englers joodse voorouders in deze Poolse bossen. Schoonheid is (zoals in het leven zelf) nooit eenduidig in deze tentoonstelling. Ook de werken met de jaloersmakende titel ‘Vuile elfen’ van de Vlaamse danseres en beeldend kunstenaar Pé Vermeersch getuigen daarvan. De figuren op deze schilderijtjes op dunne laagjes berkenhout, blijven het midden houden tussen voorstelling en abstractie, tussen verleidelijk mooi, soms zelfs erotisch, en monsterlijk smerig. Ze getuigen van de wondere wereld die ook Lewis Caroll beschreef voor zijn Alice, waarin niets eenduidig of vanzelfsprekend was. En zo gedraagt de tentoonstelling zich ook. De poëtische animatie van Amal Kenawy (Caïro 1974) getuigt van martelkamers in een militair hospitaal. De hermetische zwarte doeken van Maryam Najd (Teheran 1965) openen zich in subtiele kleuren, de animatie van Alda Snopek (België 1971) speelt een optisch spel met onze waarneming en Ori Gersht (Israël 1967) geeft het zeventiende eeuwse bloemstilleven weer inhoud, terwijl boven de tentoonstelling het geluid van een bomalarm wordt afgewisseld met de sirenes bij een herdenking van de Holocaust. In deze tentoonstelling bestaan het attractieve en het cognitieve naast elkaar. Er is nergens alleen verleiding, er is ook pijn en verdriet. Zoals in het nieuwste werk van Berlinde De Bruyckere ‘In Doubt’, wat misschien wel het meest geabstraheerde beeld van haar is tot nu toe. Een mensfiguur is teruggebracht tot een homp vlees. In was uitgevoerd en met binddraad - waarmee men de kalkoen dichtnaait voor hij de oven in gaat - opgehangen aan de spijlen van een kooi of vitrinekast. Het is een gruwelijk beeld van menselijk lijden en onvermogen. Maar van zo’n fragiele schoonheid in behandeling van materiaal en zo subtiel van kleur dat het haast pijn doet. Het meest politiek, tenminste op het eerste gezicht, is misschien de serie foto’s van de Israëlisch-Franse kunstenaar en psychoanalist Bracha L. Ettinger waarmee de tentoonstelling opent. Het toont een Palestijnse gevangene en een Israëlische soldaat. Juist met deze foto’s gemaakt op een van de meest politiek gespannen plaatsen ter wereld, veroorzaakt Ettinger een clash in het bewustzijn en de vooroordelen van de kijker. Deze foto’s getuigen namelijk niet van een gewelddadige verhouding tussen de twee heren. Als je langer kijkt, realiseer je je dat de soldaat zich vooroverbuigt om de gevangene te bevrijden. Uit dat gebaar spreekt zoveel gevoeligheid, zoveel zorg, dat het je haast vertrouwen geeft voor de toekomst. De tentoonstelling bij Lokaal 01 is te zien tot en met 22 maart. do-zo van 13 tot 17 uur. Meer info: www.lokaal01.nl

Chris Martin

Mitchell-Innes & Nash NY

One of my favorite galleries,that usually have the most interesting new artists that do not sit in the uber-hip shortlists of trendy curator types.Martin succeeds in that most difficult arena of breathing fresh life into pure abstraction ,without going decorative or cutesy.Worth a check.

OF ANTS

Galerie Martin Janda

This show is a must see. Milena Dragicevic's paintings are haunting yet keep you looking again again. Her use of colour is unlike any painter today. Finally a painter who is not afraid of colour. Her 'Supplicants' series is exquisite and odd, macarbe yet beautiful. The paintings are filled with references yet remain mysterious. I love the way her paintings of odd modernist sculptures parrallel what is going on with the images using heads. She offers one portal into the work after another. She blows alot of current painters out of the water. This a very intelligent painter.