Top 6 September
I can’t say that October has come as a surprise. However, once I looked at my to-do list, I realised that I haven’t given a proper thought to my monthly favourites. Too many things happened. Too long reading list. Ok, not too long – I am too slow. Being in a complaining mode, I have to say that this month I only visited sixteen exhibitions, including Graphic Design Fair. Therefore, please see my September favourites below.
Installation, bronze and wood, 2019
Jasmine Thomas-Girvan (b. 1961, Jamaican)
Chris Ofili and Jasmine Thomas-Girvan: Affinities (20 Jul – 27 Oct 2019) @David Zwirner Gallery, London
If you check my blog, you wouldn’t be surprised to see the name of Jasmine Thomas-Girvan on the list. Neat details, thoroughly planned setup and fairy tales coming from all of it. Better work with the lightning to produce sharp shadows would make greater impact, and would allow to imagine everything in otherworldly place.
Performance notes, 1970
Vito Acconci (1940-2017, American)
Vito Acconci (27 Aug – 14 Sep) @Pace, London
One of the first performances Vito Acconci did was biting himself as much as he could reach, applying printer’s ink to the bites, and stamping those bites on various surfaces. Making a mark, making a print. Repetition and unique stamping. Wonderfully crazy idea about trademarks or crazily wonderful idea about the freedom of someone’s behaviour.
Chromogenic print collage, numbered #16 (from the edition of 20), on paperboard; board: 276.9 by 147.3cm, 1982
David Hockney (b.1937, UK)
Made in Britain (10 September) @Sotheby’s, London
One of the only things I regret in my life is not seeing David Hockney’s retrospective exhibition at Tate Britain. Now I keep checking the upcoming exhibitions but Hockney’s name is nowhere on the list in London. Accidentally passing Sotheby’s gallery at the right time, I got to see several works of this colours-loving artist.
I assume, this collage of photographs was his early attempts to play with the perspective. The perspective is something I can never get right, but this looks more like a true view of what I see. What about exaggeration?
Installation, glass and stainless steel, 2019
Mona Hatoum (b. 1952, Palestinian, lives in London)
Remains to be Seen (12 Sep– 3 Nov 2019) @White Cube Bermondsey, London
Isolation, migration, instability.
Concrete, steel, human hair.
Grid, sphere, cage.
World maps is divided into parts, unsteadily fixed to crossed metal holder, which is attached to the ceiling. Uncertainty, separation and heaviness.
Un monde Sous Pressure (The World under Pressure)
Stainless steel gas cylinders and pressure cooker, 2012-14
Batoul S’Himi (b.1974, Moroccan)
Being Human (permanent) @Wellcome collection, London
Domestic object speaks about climate. The reality of these days.
Butterflies and household gloss on canvas, 2019 (first image in the Guardian article)
Damien Hirst (b.1957, UK)
Mandalas (21 Jul - 4 Sep) @White Cube Mason’s Yard, London
Maybe meditative, really complex, complex and textural. But butterflies… Poor butterflies. Could you image someone gluing butterfly wings on thick layer of paints for the beauty? Feels like a torture. I wonder whether Hirst has a process filmed. Would it be line crossed then? Incredibly terrible work. I couldn’t leave the gallery without seeing all of the mandalas… Too many.