Hello frends! I am an artist. My roots take place in St.Petersburg, which has great architecture, culture and history that influenced me once and forever. Today, in the times of technical progress, mass production and new artificial materials I search for inspiration in the foundation of the Arts - old Russian Orthodox icons, Renaissance and folk cultures. I seek out look for new shapes and images within my themes using different materials, but my favorite is glass for its plasticit... [more]
An Italian/Polish Fiat, wheels to the wall, is anchored over your head. In the next room, two slabs of marble dominate the space—250 kg from Italy, one ton from China—floating above the floor. They support each other by means of a simple pulley. Further into the exhibition, helium-filled jacks hold up and balance a 4,900 lb. plate of Romanian steel. These three works are given top billing in Simon Starling: Metamorphology, the artist’s first major American museum survey.
Published in http://www.artindiamag.com/quarter_04_03_14/index.html
Acts of drawing are sometimes summed up as dirtying the paper delicately,1 but Ayesha Sultana’s drawings in Outside the field of view, her first solo at Experimenter, Kolkata, mounted from the 9th of May to the 26th of June, are anything but delicate. Sultana ‘dirties’ the paper vigorously and obsessively, while reining in her mark-marking within perfectly geometric shapes. Nine graphite drawings of various si... [more]
from The Ann Arbor Review of Books
South African Artist Wim Botha has prepared an incredible work of carved books for the Venice Biennale.
“Unless there’s terrible news Africa doesn’t get much notice in this part of the world.” Thus begins a piece by Pulitzer Prize-winning author Holland Cotter, for The New York Times. The piece, titled “A Million Pieces of Home”, subconsciously reveals a patronizing ideology which more often than not pervades the We... [more]
Installation view of “Depression” at Francois Ghebaly Gallery. All images by the author for Hyperallergic.
LOS ANGELES — It was 4:20pm when I walked into Depression and encountered Andrea Ursuta’s piece “Stoner” (2013). A batting-cage ball-throwing machine creaked on, spun once, and died before it could eject anything from its quarantined-off belly. It is located inside a larger batting cage. There is no entrance. There is no bat to play with. Stones are... [more]
At the heart of the works in No Can Handle is the ethos of endurance. Entering the exhibition is not unlike entering an interpretation of a physical training facility. Equipment-like inventions dangle from the ceiling and perch amidst the gallery space; there is even a painted panel squatting in the crease of a gym mat on the floor. Many of the works, like Bow 4 (2014) have a suggestive tenacity. Bow 4 is a delicately curved wooden pole bending like a “C” around an entire wall, held in plac... [more]
The National Gallery’s summer exhibition Making Colour guides the audience through the spectrum of materials used throughout history to create artists’ pigment—from blues, through reds and oranges, to purples. Each room focuses on a specific colour and the multiple materials used to make it over time, from early earth pigments, through lakes (dyes made into pigment) to the new artificial coal tar derived pigments created around the time of the Impressionists. The function of t... [more]
Toronto, Aug. 2014: “The daydream transports the dreamer outside the immediate world to a world that bears the mark of infinity.” –Gaston Bachelard
The tipping point between the limitless and the limited is well traversed. A common steadiness has been found in speaking of the two types of spaces at once, though they are indeed opposed to one another with regards to the dream: the two exist synonymously for the dreamer. But in using the metaphor of immense space to describe int... [more]
For eons of time mass consciousness has been under the illusion that politics is the control center for world affairs, that presidents define the destinies of both countries and people and we the public are subject to its wavering discourse. We have been led to believe that media sets the trend for cultural standards of how we should feel and think and that the answer to true happiness lies in upholding the values embodied by the majority and the most popular in our circle of influence.
This new page is under construction for a while as I add very old works scanned from slides. I'm also choosing a few for sale and print here at this site, and am minded for catalogues and a new book page deadlines. I'm Trying to get the photography done without too much slowing down.
Two peices are going to show early next year in the Bienale Di Palermo in Palermo, Sicily and Florence Italy. I think artists who've been admitted all get an award and there's a competition for a prize. ... [more]
New York, Aug. 2014: Sahra Motalebi’s multimedia performance operetta, Intangible Heritages, Belief's Demise, staged at New York’s Sculpture Center in February, told the stories of neglected archetypical characters. Among the characters that Motalebi conjured from an ancient Eastern literary heritage were a prostitute, a warrior-prisoner, and an elderly recluse. She lyrically presented their interlaced narratives while they moved through a projected shadow play praised by curator Ka... [more]
“Our sky was destroyed during World War II,” creaks a white-bearded eighty-six-year-old Otto Piene from in front of the lens of a video created on the occasion of his Berlin multi-sited exhibition More Sky. He explains his lasting impression with the light phenomena that would permeate his art practice for upwards of six decades, his desire to establish a new launching point for his practice, for the role of art to act as rebuilder.
In conjunction, the Neue Nationalgalerie and the De... [more]