hyperrealism still life Dutch realism Canadian pop art
hyperrealism still life Dutch realism Canadian pop art (the majority of the artists represented in this exhibition are based in the cities of Montreal, Toronto, and Vancouver). But the exhibition was also a timely reminder that contemporary art is as much about the digital as it is about the physical. The growing use of smartphones and the rise of online galleries and curated shows has transformed the way art is presented today. The rise of new platforms has also made it easier for artists to operate in new ways.The exhibition started with a series of works, executed on canvas, paper, and canvas but mostly on digital monitors. The most recent and most successful of these was a series of photographs, in which the artist posed as a series of photographs: one of her face, with the exception of her eyes, in the likeness of a book. This was a subtle but telling comment on the ways in which photography has made its way into the art world, as well as on the role of digital photography in the production of art. In a series of paintings, the artist, dressed as a series of digital prints, manipulated her likeness so that her features appeared to be distorted. A second series of works, also on canvas but in a more direct, more romantic vein, was also shown. The artist dressed as a series of photographs was executed on the wall of the gallery. Her figure, now a series of digitally rendered portraits, was used as a kind of face.The other works in the exhibition, which were also paintings, included a series of watercolors, two sculptures made of leather and foam, and a small video, a slide projection, and a small drawing. The video was taken from a recent performance that the artist put together with a group of friends and that was partly inspired by a work by the filmmaker Karina Dessau that was performed at the 2002 Whitney Biennial. The piece was a sort of romantic love story between two people, one a woman, the other a man.
from the 80s, and a wide range of material, including both the artists own and the work of various New York–based artists. The show included more than two hundred photographs and documents, but it was also notable for the fact that it was curated by and for a group of artists, not curators. The group, the C.C.A.L.S.E. (Canadian Centre for Contemporary Art), was a collaborative group whose members have collaborated collectively in various capacities, including film-making, writing, and organizing a book, The Uncivilized, on Art, Politics, and the Sociology of Everyday Life, which was recently published by the University of Chicagos Press Center for the Arts. The group was also responsible for creating a new, more comprehensive version of their exhibition, which they hope to present to the public in the near future.For more information on the group and the projects that resulted from its collaboration, visit www.theuncivilized.org.cn.cn.
hyperrealism still life Dutch realism Canadian pop art (not the American version) Nabi, who has just completed her Masters degree at Yale, has always been interested in abstract painting and uses the language of abstraction to convey the idea of what it means to be alive. In this exhibition, she demonstrated a new ability to communicate the idea of being alive without resorting to the word.The paintings in this exhibition are all from the series The Other Side of the Mountain, begun in 1990. The idea of the other is to be alive, which is also the title of one of the paintings. In it, Nabi has painted a circle of flowers and a womans face. The circle is a starburst, the womans face is a red star. The starburst is the one symbol of a woman, but the red one is a red star, and it is a starburst that is a red star. The circle is a representation of a star, but the star is a red star, and the red one is a red star. In another painting, a red star appears in a circle of flowers; in a third, a blue star appears in a circle of flowers. The red star is a red star, and the blue star is a blue star. Nabi uses the red star as a metaphor for the red heart, which is the symbol of the seed of life, the symbol of the earth. It is a red heart that is also a starburst, and the circle of flowers is a starburst. It is the starburst that is the heart of the heart.The other side of the mountain is a starburst, but this one is a red star, and the heart is a red star. The heart is the heart of the starburst; it is also a starburst, and it is also a red starburst. The red star is a starburst, and it is also a red heart, and the heart is red.
—a white-hot blast of a moment. While both approaches have their place, the particulars of the moment are crucial. In the case of both artists, the moment is a time of transition, when new works are made and the old ones are not. The contrast between the early and later pieces is illuminating, but it is not a coincidence. With the development of the art world in the 80s, the content of a work of art is always bound up with the fact that it was made in the past. The new works in the show are more like old works. They are, in a sense, paintings. And paintings are always changes of content, always about the same. If you look at the works of art of the 80s, you are confronted by a continuous succession of new forms, always with the same content.In a sense, the most recent of the works in the show, the documentary video You are an artist, 2002, is also the most recent of the works in the show. This video documents the artist as a young artist—a young, even naïve, artist—and, as the title suggests, it is also about the artist. The footage consists of a group of young people, all members of the same school, talking about their favorite artists. The conversation is edited into a kind of trance, a state of trance in which they talk about the works of art they have seen and have been able to keep alive. It is not a trance of intellectualization, however, but of amnesia. It is as if the past had been brought back into the present by means of a video. The video is the work of a child, a completely lost child, and one must hope that the artist will recover it soon. The video ends with the artist asking: Is there anything I can do for you?—Alois RieppelTranslated from German by Gerrit Jackson.
avant-garde architecture; the extreme detachment of the images from their subjects; the disjunctive nature of the paintings: the juxtaposition of a figure with a chair, for example, with a car parked nearby. The Impressionist painter was the most obvious link between the two groups of artists, but the juxtaposition of a one-liner like a television set with a tablecloth that looks like a bedspread (as in a pair of underwear) is a no-brainer. The viewer might as well be a voyeur, since the images arent exactly the same, and the viewer is obliged to leap over them, like a teenager who accidentally bumps heads with his own reflection in a mirror. The difference between the two paintings is merely a matter of perspective. The same images are there, but we are not supposed to see them, and the same painting, in the different position, looks different. Here the paintings are made to look like the real thing. There is no artifice, no baring the soul. The viewer is encouraged to enjoy the ambiguity between a good painting and a bad one. The ambiguity is part of the works success. Theres no need to convince us of the one or the other. Just enjoy the paintings.