Vilma Gold

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Jennifer West at Vilma Gold

by Laura Bushell
There’s a long tradition of cameraless filmmaking that takes in the likes of Man Ray, Norman McLaren, and Stan Brakhage, so LA-based video artist Jennifer West is in good company. Whether her male counterparts applied substances to the celluloid surface via headbanging remains fairly doubtful, but this performative approach manipulating celluloid film is partly what sets West apart. The headbanging in question formed part of the making of her two Heavy Metal Sharks Calming films, inspired by an article by an Australian shark breeder who discovered that playing heavy metal music to Great Whites... [more]
Posted by Laura Bushell on 11/20/11

Sophie von Hellermann at Vilma Gold

by Char Jansen
‘Feather-light’ and ‘weighty’ are the apparently contradictory terms in which Sophie Von Hellermann’s work is described; the dichotomous aspect of her painting is what has kept critics returning to Von Hellermann over a period of years. This new show at Vilma Gold, her fourth solo exhibition at the East London gallery, is no less divisive. Confounding viewers once again, Von Hellermann’s seemingly desultory series of acrylics on canvas - “I want the results to look as fleeting as the images that come into my head” the artist once told the Guardian newspaper in reference to her work – belie the s... [more]
Posted by Char Jansen on 10/22/11

The Ground Around – Vilma Gold

by Alex Field
Art’s depiction of the earth has come a long way from the glorifying landscapes of Turner and Constable.  Landscape painting as a genre continues, and may well always retain its niche over the conservative mantelpiece, but the ways in which artists choose to represent the awesome power of the earth over its inhabitants, and indeed humanity’s attempts to master its surroundings, have branched out far beyond the picturesque watercolour.  Vilma Gold’s The Ground Around brings together the work of fourteen artists who have sought to depict landscape as beautiful, emotive and, at times, ... [more]
Posted by Alex Field on 6/20/10


        A scene from William Friedkin’s The Exorcist (1973) is isolated and collapsed into questionable cinematic depictions of the formless period of America’s Reconstruction, in particular the forgotten Tennessee Johnson (1942). Shot in the desert involving subjects manically and inscrutably performing a fort da ritual of the Iraq archeological dig scene from the opening of The Exorcist. Bodies dig, wait, and bang on green boards as if trying to summon both the exorcist and the repressed narratives of the films they are seemingly destroying. A section of Les Baxter’s Quiet Village that is heard in... [more]
Posted by David Yu on 11/22/09

Muted Revival

by David Yu
        Even the title of the Thomas Helbig’s show, Viper in Bosom, conjures thoughts of dramatic ostentation. Cleopatra with poison filling her veins in the final hours of life, spread out on a chaise lounge, whilst being surrounded gloriously by her many cultural treasures. Helbig, as such, creates a present day upper crust form of ostentation through the reworking of typical decorative items associated with high society. Though these original objects may not have had their roots located in high society, the upgraded treatment of the surfaces lends itself to contemporary trends and possesses... [more]
Posted by David Yu on 5/3/09