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Submarine Wharf

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20130717182135-mushroom_hunter

XXXL

by Andrea Alessi
First, a note on scale: In archival photos of Egyptian ruins and monuments, there’s generally a little dude and/or camel in there functioning as a yardstick. Like these little dudes and/or camels, my partner appears in a lot of my photos of art for scale. Recently he came in handy at Katharina Grosse’s show at De Pont, and again in the Louvre’s hall of large-format paintings (David’s The Coronation of Napoleon, for example, measures twenty by thirty-two feet). But never has a painting so dwarfed my agreeable model as in Rotterdam’s Submarine Wharf. It’s no... [more]
Posted by Andrea Alessi on 7/17/13
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Elmgreen & Dragset, The One and The Many

by Nicola Bozzi
When I think of Scandinavian contemporary art duo Elmgreen & Dragset the words in my head are: “Party's over.” Their environments are almost always vacant – making exception for the odd hyperrealist sculpture -- yet used up to a point of exhaustion. You get the feeling things have happened, a certain point has been reached, and then everything has deflated. Or maybe no point has ever been reached, and you're witnessing the only state of things ever: a lazy abandonment. At the last Venice Biennale I had wandered through a collector's apartment, only to find his body floating in the swimming pool, probably w... [more]
Posted by Nicola Bozzi on 6/20/11
2009

Atelier Van Lieshout: Infernopolis

by Andrea Alessi
“Infernopolis” is an apt name for an exhibition of work from Atelier Van Lieshout (AVL), the Rotterdam-based studio and team of Dutch artist Joep Van Lieshout. It inaugurates a five-year partnership between Museum Boijmans Van Beuningen and Rotterdam’s repurposed Submarine Wharf, presenting a sort of dystopian city populated by man-as-machine sculptures, blending the organic and grotesque with the sleek and mechanical. It is equal parts The Matrix and Soylent Green with subverted Buckminster Fuller idealism. Its multiple sections can be viewed as large-scale models for AVL’s gruesome, a... [more]
Posted by Andrea Alessi on 7/26/10