artnovum – das neue kunstmagazin +41 61 283 20 10

Portfolio Post with Video

Video

Though the long period of a Southern whaling voyage , the peculiar perils of it, and the community of interest prevailing among a company, all of...

Read more

What We Do Optional Subtitle

Latest In My Blog

Artifacts with a story

Comments (0) ARTNOVUM WORLD

Recycling ist das Mantra der Stunde. Sustainability, der d-englische Begriff für Umweltverträglichkeit, Zukunftsfähigkeit, Weiterbestand und ja, Nachhaltigkeit; er darf in keinem Geschäftsbericht fehlen. Die Kreislaufwirtschaft hat die Abfallentsorgung abgelöst. Die Investoren sind auf den neuen Zug aufgesprungen. Und die Kunst? Artnovum hat sich umgesehen und ist fündig geworden. Litter-Art schafft und schuf grossartige Kunstwerke. Ganz aktuell und hier auch schon vorgestellt: Der US-amerikanische Litter-Art Künstler Thomas Deininger mit seinen Bienen, Vögeln und Fischen aus den Materialien, die den Lebewesen, die sie in seinen einzigartigen Kunstwerken darstellen, ihre Lebensräume zerstören, sie umbringen. Die Künstlerin Li Chiang alias Kathrin Stalder, die mit “The White House of Taiwan” diesen Monat in Bregenz in der Galerie 9und20 die Geschichte eines Hauses mit den Mitteln der Kunst erzählt, das in 60jähriger Arbeit aus nichts als Abfall gebaut wurde.

TRACES_SPUREN | Kathrin Stalder
Erweiterte Eröffnung: Freitag, 8. Oktober 2021, ab 17.00 Uhr
Ausstellungsdauer: bis 6. November 2021
Öffnungszeiten: Donnerstag & Freitag, 16.00 bis 20.00 Uhr, Samstag, 11.00 bis 15.00 Uhr
Die Litter-Art Künstlerin Li Chiang Kathrin Stalder und ihr Werk.
Fundstücke von Flussufern, Stränden, Städten und Landschaften in aller Welt.

Litter-Art an der Art Basel.

El Anatsui. Mnuchin Gallery. Ein Vorhang aus lauter Kronenkorken, eine Decke aus lauter Deckeli.

John Chamberlain, Mnuchin Gallery
Tadashi Kawamata, Art Unlimited
25 Jahre Museum Tinguely. Teil des Fasnachtsbrunnens auf dem MT-Jubiläumskahn vor dem Museum im Rhein.
Litter-Art at VOLTA: Thomas Deininger, Batman in Robin (2021)
AP 21, Tr-ee

Knitting Litter-Art, ein Gemeinschaftsprojekt, initiiert von Kathrin Stalder. Ein 700 Meter langer Schal für die Wettsteinbrücke über den Rhein vom Kunstmuseum bis zum Waisenhaus, gestrickt aus Wollfäden, Wollresten, Wollknäueln, Plastikbändern, Fundstücken. Kathrin Stalder, Basel Farbartig verstriggt, 2012.

Read more

AktionPinguin spots Litter Birds at VOLTA

Comments (0) ARTNOVUM WORLD

Auf den ersten Blick scheinen sie echt zu sein. Wunderschöne Vögel in farbenprächtigem Federkleid. Der eine hat eben einen Wurm gefangen, hält ihn im Schnabel. Seine Mahlzeit. Der zweite Blick macht stutzig. Irritiert. Verstört. Das sind keine Vögel. Das ist Abfall. Plastikmüll. Der Stoff, der unseren Planeten zur gigantischen Schutthalde zu verkommen droht. Der unsere Ufer verschandelt, unsere Flüsse zu tödlichen Litteringströmen werden, im Meer gigantische Plastikkontinente entstehen lässt.

Thomas Deininger
Bluejay – If I Only Had a Heart, 2021, Copyright © 2021 Ethan Cohen Fine Arts LLC.

Der Künstler Thomas Deininger, der diese Skulpturen geschaffen hat, lebt in Rhode Island. Er ist für seine verblüffenden Assemblagen von Tieren und Insekten bekannt. Mit seinem Werk kritisiert Deininger die verheerenden Auswirkungen des Plastikmülls, der globalen Klimakrise und des Rückgangs der Insektenpopulationen. Er verwendet das auslösende Material, Littering-Abfall, um Skulpturen mit optischen Täuschungen von Lebewesen zu schaffen, die durch nicht entsorgten Müll und achtlosen Konsum ausgelöscht werden. Die Aktionpinguin verleiht ihm den Ehrenpinguin. Und auch seinem Galeristen Ethan Cohen.

Ethan Cohen Gallery at VOLTA Basel 2021
September 20 – September 26, 2021

Round up in english:

At first sight they seem to be real. Beautiful birds in colourful plumage. One of them has just caught a worm and is holding it in its beak. His meal. The second glance makes you wonder. Irritated. Disturbed. These are not birds. It’s rubbish. Plastic waste. The stuff that threatens to turn our planet into a gigantic pile of rubble. It disfigures our shores, turns our rivers into deadly littering streams, creates gigantic plastic continents in the sea.

Thomas Deininger is a Rhode Island-based artist who is known for his mind-bending assemblage-based sculptures of animals and insects. Critiquing the devastating effects of plastic waste, the global climate crisis, and decreasing insect populations, Deininger uses the instigating material, plastic, to create optical illusion fueled sculptures of the creatures being wiped out by the routines of contemporary consumer society.

Thomas DeiningerBluejay – If I Only Had a Heart, 2021

Batman in Robin, 2021
Found Plastic and Hot Glue

Hummingbird – Disney Dysfunction, 2021
Found Plastic and Hot Glue

Ethan Cohen Gallery at VOLTA Basel 2021
September 20 – September 26, 2021

Read more

Cornelia Parker at Wilde

Comments (0) ARTNOVUM WORLD

Wilde presents Cornelia Parker’s solo exhibition Being and Un-being. This is the artist’s first show in Basel and the fifth with the gallery. In May 2022, Tate Britain will mount a retrospective of works by Cornelia Parker. Being and Un-being brings her new series Ghost Notes featuring neon works made specifically for this show into dialogue with the artist’s iconic series of photogravures, combining two facets central to Parker’s practice: materiality and the antithetical.

Cornelia Parker made many of the photogravures from the series One Day This Glass Will Break (2015), Thirty Pieces of Silver (Exposed) (2016), and Through a Glass Darkly (2020) by placing glassware, medicine bottles, flowers and glass negatives in glassine bags directing on plates then exposing them to UV light. The process captures their shadows which is then etched onto a plate, inked and finally released onto paper.

Similarly, neon, a luminous gas gathered in a tubular glass, here functions as receivers and transmitters of light. The neon works in the exhibition make up twelve antonyms. The positive meaning (in most cases in blue) fights for dominance, hovering assertively over its subjugated dark relation. The shadow meanings that hang as an anxious undertow are in mirrored writing and painted black on the front surface of the neon. White light emanates from the underside, outlining the recumbent word with a haloed glow.The series’s title, Ghost Notes, relates to notes played at lower volumes to be almost hidden behind the beat. Like a subconsious voice, they are often felt more than heard.

Parker’s choice of blue echos the hyperlinks of online dictionaries and Wikipedia pages that she has spent many hours surfing. Its combination with black cite a previous a body of work, namely her embroideries. In her seminal work Magna Carta (An Embroidery) (2015), Parker had the entire Magna Carta Wikipedia article stitched by over 200 people, including Julian Assange and Edward Snowden. In another tapestry series, Parker superimposes antonymous words with their dictionary definitions. Here she also utilizes the mirroring technique, so that one definition could more easily be read from behind while its antithesis is sewn from the back side, and though legible, is frayed.

Cornelia Parker’s interest in polarities, the inverse, and the opposite is found in numerous works and ultimately lie in her commitment to seeing things in a new way, pushing the boundaries of a material to explore its peripheral, its shadows, what’s underneath and what lies behind. At times it means completly altering its form, by blowing it up (both exploding and magnifying), burning, melting, steamrolling, to name just a few of her methods.

Together, the photogravures and the neons unify concepts Parker has been interested in throughout her career. Some pieces, like Poison / Antidote, directly reference previous works of the same title. In her Verso (2016) series, where she photographed the backs of cards that had buttons sewn on the front, the essayist Colm Tòibín writes: “All I am left with are the traces, the clues. This must be what shadow is like, or aftermath. Some lines or shapes that must have made sense at one time, or may still make sense, but seem random now. If only I could follow what their intention was, or whisper to whoever made them! That desire is the closet I have come to feeling, and it is not close at all.”2 Works such as Cold Dark Matter: An Exploded View (1991) and War Room (2015) or Mass (Colder Darker Matter) (1997) and Anti-Mass (2005) function as inverses of one another, always bringing the viewer to experience the duality of ideas, and often the irony of that flip-side.

Cornelia Parker: Being and Un-being
Special Opening Hours during Art Basel (20 – 25 September)
Monday – Saturday 11:00 – 18:00
Wilde | Basel Angensteinerstrasse 37

Read more