Step inside a pastel coloured miniature house and examine all the delicate ceramic pieces inside it. In this moment I reverted to a childlike wonderment within the ceramic world created by Argentinian born artist Kinska.
In a small fenced garden nearby a girl’s top half has appeared out of a hole while her legs are disappearing into another one. Suspended above the installation are one hundred ceramic tear drops with faces painted on them.
The artist recently had a ceramic hip replacement and it’s why her work is so strongly tied into this material. The installation incorporates elements of childhood, pain, loss and recovery. There’s something more raw about the emotions we experience as a child then the ones we often seek to conceal as an adult, and that’s why it feels easier to identify with these powerful feelings in an installation that reminds us of play time as a child.
Now Gallery on Greenwich Peninsula has impressed me with many of their previous exhibitions including a multi-coloured maze and a glittering supper. By selecting artists that easily move between art and design it’s able to commission impressive installations and this exhibition is an example of another immersive and accessible exhibition.
If you’ve ever been to an auction house to see an exhibition of works before a sale, you know the drill. Paintings on the wall, sculpture in the middle of the room, all impeccably lit and accompanied by labels with the estimated auction price. It’s a tried and tested formula from organisations with a track record for selling high value art.
Well Phillips on Berkeley Square in Mayfair have ripped up that rule book with an exhibition that’s more immersive than the exhibitions you could expect to find at major museums.
Smiley faces on the floor, colour everywhere and strange creatures perched atop the walls and the entrance. This walk in acid trip is the brainchild of artist and set designer Gary Card who has been given carte blanche by Phillips to design this exhibition for their auction.
That’s right, there are artworks hidden with this explosively fun maze, but you’ll have to hunt them out as they seamlessly blend in with the décor. The spinning flower by Yayoi Kusama and a photograph of Cindy Sherman dressed as a clown fit in as if they were designed for the exhibition, rather than being consigned pieces for sale.
The highlight is a video triptych inspired by Hieronmyus Bosch’s Garden of Earthly Delights – with each screen presenting Eden, Paradise and Hell. All three are filled with quirky imagery such as Hell containing bodies writhing in pain and an obese man being force fed other bodies — with the whole scene being watched over by a giant skeletal judge passing decrees. Each film is filled with surreal scenes and they can all be watched inside a darkened shed.
While walking through the exhibition it felt like I was more likely to come across a ball pit than a work of art, and it’s refreshing to see auction houses trying something daring. Long may it continue.
To celebrate Photo London’s fifth edition and with the generous support of the Royal Photographic Society and Sea Containers London, this year’s Pavilion Commissions programme takes the theme of Women in Photography. It celebrates the work of three very different women photographers – Susan Meiselas, Mary McCartney and Rachel Louise Brown.
Susan Meiselas presents her most recent work, A Room of Their Own which explores the lives of Black Country women who are survivors of domestic abuse.
Mary McCartney presents unseen work from her seminal series Off Pointe – A Photographic Study of the Royal Ballet After Hours, which captures ballet dancers in unguarded, behind-the-scenes moments as they prepare for performances at The Royal Opera House.
Sea Containers London presents Simulations by Rachel Louise Brown, a body of work created over a four year residency at the Palm Beach Photographic Centre, Florida.
Somerset House will be playing host to over 100 galleries during Photo London 2019.
While there are fantastic photographers aplenty at the fair, I recommend visiting these two photography exhibitions that will be on in London at the same time.
My first thought on seeing this photograph by Paul Thompson is it resembled a lampshade. However, it’s proximity to the water made me think it could be an art installation – neither proved to be correct. For those who spend some time on the seas they will recognise these objects as navigational markers and Thompson has gone round snapping them for his exhibition at Wren London – a young photography gallery in East London.
As well as acting as a gateway to a world most of us won’t know about, there’s something timeless about these sentries looking out towards open water. Only activated by passing ships these objects have a timely resonance with Brits as they mark out the edges of the island at a time when Britain is becoming more politically isolated from its neighbours across the water.
To simply categorise Jane Ward’s artworks at Bearspace gallery in Deptford as photography is to do them a disservice. The works start off as digital photographs that Ward then breaks apart into tiny elements and then digitally collages back together to create fantastical cities and landscapes, with a touch of editing by hand as well.
The result is cities and mountains that invert and fold in on themselves. In these Inception-esque worlds it feels like the rules of physics break down and we could walk up walls if we wanted to.
Masterpiece London will bring together some of the finest artists, whether their craft is fine art, jewellery, furniture or design.
While up in Oxford, an exhibition will be questioning the very role of the artist, what it means to be an artist and what future awaits artists. Ai-Da, the world’s first humanoid Artificial Intelligence (AI) artist, will be unveiling her artworks in an exhibition at St. John’s College.
Can AI can be an artist?
It raises the question of whether an AI can be an artist. Nobody asks whether a camera is an artist, as it’s the photographer who is the visionary and the camera merely a tool. Is Ai-Da any different, and should the coders behind it be the ones classified as the artist?
Is Ai-Da’s ‘inspiration’ any different from the processes on our smart phone that sharpens up our images or is it similar to how our brains work – and what’s the difference between all three?
Does giving Ai-Da a human face and arms make it/her more identifiable as an artist than a rack of servers would be? Can a person ever feel an emotional attachment to a work when it’s known that a human didn’t create it, but something humanoid did? Will our homes eventually be adorned with work created by machines?
These are all important philosophical questions that this exhibition won’t answer, but it can act as the trigger for us all to give further thought to the role of AI in the creation of art. If Hollywood is to be believed, we may be looking at our future masters.
Masterpiece London | 27 June – 03 July 2019 | The Royal Hospital Chelsea becomes the meeting point of creatives and collectors during Masterpiece London.
Drawing Room is currently playing host to a fantastic exhibition of over 200 works on paper by leading international artists of different generations, including household names like Grayson Perry and Antony Gormley.
All the works will be auctioned off to support the work of Drawing Room, the only public non-profit gallery in UK and Europe dedicated to contemporary drawing. Prospective buyers may register here and get bidding.
I wanted to focus on two artists whose works caught my eye and where we have the chance to explore their wider practice through works they have on display in London right now.
Jyll Bradley’s ‘coin’ evokes her memories of gardens getting ready for Spring and the washed out tones are a slice of sunshine in themselves. A large collection of her coins may be found over in the City of London as part of Sculpture in the City where translucent discs with geometric patterns are activated by the sunshine that breaks through and complements the geometry of the glass buildings surrounding her work.
As a trained dancer Florence Peake is a performance artist primarily and she recently staged a public mourning process. Inspired by this performance she has created an exhibition of expressive paint and sculpture at Bosse & Baum gallery in Peckham. The gallery has been painted black and mourning feels very apt given the current political and environmental crises we’re going through. Her figurative work on paper has the same dark energy as her wider practice.
What makes drawing so special a medium? What impact does it have on the viewer? And how does this impact differ in an office setting? These were some of the important questions that were tackled by a panel discussion on 26 February held at Drawing Room — a space dedicated to promoting contemporary drawing.
The esteemed panel was Mary Doyle (Drawing Room Co-Director), Jon Sharples (Chair of the Simmons & Simmons Art Network), Rana Begum (artist) and Mary Findlay (International Art Curator, Deutsche Bank). The panel was chaired by our very own Laura Uccello (Business Development Manager at Momentous Fine Art).
They discussed how wonderful it is for office workers to see art in their workplace and how staff form relationships with art in meeting rooms. When men and women spend hours of their lives making corporate decisions while gazing at the same pieces, it becomes part of their work lives.
Deutsche Bank Corporate Collection
At Deutsche Bank’s headquarters in Frankfurt each floor is dedicated to one artist’s works, with the artist’s names next to each floor label in the lifts. It’s details like these that let visitors know that a company is serious about collecting art and promoting artists.
Drawing is accessible — many of us have been on calls and seen our hands drift to a pad of paper as we doodle away while listening to others speak. It’s this activity that makes drawing so relatable to all of us. Drawing is something we understand and that resonates with us.
When an artist is commissioned to draw on a wall at an office, it can act as signal of intent. This is a work that’s here to stay it screams — it implies that we as a company are committed to this office and to our staff, we’re not going anywhere.
Simmons & Simmons Corporate Collections
Drawing can make a political statement too. The partners’ dining room at Simmons & Simmons is full of pictures of the partners who are largely white and male. So what better place to have hung Chris Ofili’s portraits of beautiful black women.
The panel debated many topics but what they could all agree on is that drawing is important, drawing is versatile, drawing is valuable.
#ArtMoment introduces Tabish Khan – Leading Art Critic
He visits and writes about hundreds of exhibitions a year covering everything from the major blockbusters to the emerging art scene. Tabish has been Visual Arts Editor for Londonist since 2013 and he is also a regular contributor for FAD with a weekly top exhibitions to see in London and a column called ‘What’s wrong with art’.
Through his collaboration with Momentous Fine Art, Tabish will be a regular contributor giving our readers a behind-the-scenes look at the London art scene by covering the latest gallery openings, exhibitions and art fairs.
“I am excited to be working with Momentous and look forward to sharing news about fantastic art and exhibitions with you all. Writing in this newsletter gives me a great opportunity to share my passion for art with fellow art professionals.” Tabish Khan
Keep an eye out for Tabish’s first #ArtMoment article on 13 March 2019.
Further to our exclusive news regarding our Corporate Curator’s Preview with Drawing Room, Momentous Fine Art is inviting our clients to our joint event with the Drawing Room for a viewing of drawings and works by leading and emerging artists from around the world.
Thursday 21st March 2019 7-9pm
At Drawing Room, 1-27 Rodney Place, Elephant & Castle, London SE17 1PP
About the Drawing Biennial 2019
The Drawing Biennial 2019 is a dynamic exhibition comprising over 200 drawings and includes work by leading and emerging artists from around the globe. The event culminates in an online auction in the exhibition’s two final weeks, individual works are available from £300. Proceeds from the auction support Drawing Room’s exhibitions, education programme and unique library.
Contributors to the Biennial include Alice Channer, Richard Deacon, Ryan Gander, Antony Gormley, Mona Hatoum, Idris Khan, Michael Landy, Cornelia Parker, George Shaw, Raqib Shaw, Alison Wilding and Rose Wylie and many others.
Drawing Room is a world-renowned non-profit institution that presents exhibitions of drawings from around the globe and is the only public, nonprofit gallery in Europe dedicated to the presentation of international contemporary drawing.
Would you like to attend?
Simply provide your information below to request your invitation. Numbers are limited.
The Drawing Room has released details of a joint event they are hosting with Momentous Fine Art.
The event is a Curators’ Preview and Panel Discussion and is part of their sought after Drawing Biennial 2019, an exhibition of over 200 drawings and includes work by leading and emerging artists from around the globe.
An Exclusive Event for Curators of Corporate Collections
The event will be Tuesday 26th February 2019, with places restricted to the world’s leading curators of corporate collections.
As part of a special preview for corporate curators there will be a panel discussion on collecting works on paper and building a corporate collection. The panel will include Mary Doyle (Drawing Room Co-Director), Jon Sharples (Chair of the Simmons & Simmons Art Network), Rana Begum (artist) and Mary Findlay (International Art Curator, Deutsche Bank), and will be chaired by Laura Uccello (Business Development Manager at Momentous Fine Art).
Contributors to the Biennial include Rana Begum, Ryan Gander, Antony Gormley, Mona Hatoum, Idris Khan, Michael Landy, Cornelia Parker, George Shaw, Raqib Shaw, Alison Wilding, Rose Wylie and many others. Drawing Room is a world-renowned non-profit institution that presents exhibitions of drawings from around the globe. It nurtures talent through supporting the production of new work, and showcases the diversity of drawing.
About Drawing Room and Momentous Fine Art
Momentous is collaborating with Drawing Room on a number of upcoming projects, including a second event for art collectors to be hosted on 21 March 2019. The corporate collection event, focuses on an area of Momentous Fine Art’s core proposition for services specifically developed to support Curators of Corporate Collections.