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Top 6 October

Favourites from October.

Another month has passed. Time to select my monthly favourites. See below.

People in the wind

Sculpture, bronze, 1950

Kenneth Armitage (1916–2002, British)

Permanent collection @Tate St Ives, St Ives, Cornwall

Human body, again. A movement in metal. A crowd of people in a thin slab. Simple abstract shapes, flattened bodies, pinheads, and yet very effective control of lines makes the idea of wind very realistic. I found myself shivering and looking for my shawl-blanket to wrap in.

This sculpture was exhibited in 1952 Venice Biennale as a part of the British section.

Sea of Words

Original illustration, print, part of ‘A Child of Books

Oliver Jeffers and Sam Winston (UK)

A Child of Books (9 Aug – 27 Oct 2019) @British Library, London

Only recently I have discovered works by Sam Winston, and I am full of admiration for his style, for the dynamics he brings to words, and images that those words make. And I am delighted to see how his technique works in combination with a narrative. Inventive, lyrical and playful.


Sculpture, clay, 2017

Antony Gormley (b. 1950, British)

Antony Gormley (21 Sep - 3 Dec 2019) @Royal Academy of Arts, London

How many different ways to make a human! What are the minimum means to create it? One stick? One box? Start with approximation and remove remaining details. What are the minimum means to represent an emotion through body? Well, Antony Gormley is far more advanced in the search of questions like this. His human pile of clay is full of misery and loneliness.

However, I wished I had seen Home, 1984 and the UK equivalent of American Field, 1991

Still Life With Green Lemon

Painting, 1947, see image 12 in the link

Lucian Freud (1922-2011, born in Germany, lived in the UK)

Lucian Freud: Self-portraits (27 Oct 2019 – 25 Jan 2020)@Royal Academy of Arts, London

The exhibition is full of shockingly honest and striking Freud’s self-portraits. Looking for truth in representation, on some canvases the painting became three-dimensional structure rather than mirrorlike painter’s reflection on canvas. However, his early attempts to combine himself into a peculiar composition have won my attention. Peaking from around the corner, he almost asks who observes who.

Why don’t you grow where we come from?

Vowen viscose, cashmere wool, mohair, bio cotton; photographs, acrylic and inject prints on laser-cut polyvinyl chloride, 2012

Otobong Nkanga (b.1974, Nigerian artist, lives and work in Belgium)

Otobong Nkanga: From Where I Stand (until 5 Jan 2020)@St Ives, St Ives, Cornwall

Otobong Nkanga was on my list of the artists to follow made after this year’s Venice Biennale. High hopes and great expectations to see almost scientifically planed work, diagrams tracing the relationship between people and land.

Apart from the colour pallet, the artist is using, I find very interesting the way she leaves a trace of what has been used. Whether it is a top/bottom of the woven pattern, or a top left corner on a painting or print, there is a display of the colours used for the artwork.

By the way, how is it possible that for exhibition at Tate, there is catalogue prepared?

Environment. Earth elements. Colours. Vowen fabrics. Diagrams.


Video, 2009

Inci Eviner (b. 1956, Turkish)

Inspired by the east: how the Islamic world influenced western art (10 Oct 2019 - 26 Jan 2020) @British Museum, London

Challenging the masculine understanding of the harem as a place of sexual intrigure, Inci Eviner makes women active participants, they are protesting, praying, trying to escape. Detailed video requires time to examine the what the pairs are about, making it more and more scary once you allow your eye to wonder.

If you are around, run to this exhibition.

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