Wednesday, 29 February 2012
Saturday, 25 February 2012
Wednesday, 22 February 2012
Wednesday, 15 February 2012
Sunday, 12 February 2012
Wednesday, 8 February 2012
Heather gave us a workshop and discussion on exhibiting photography. Interestingly to know that some alumni organised a public exhibition at Tate. She printed her body on a apron and wore it beneath her coat. She opened her coat to show the apron for more than 10 minutes in the turban hall. Then she went upstairs and tried to show her work and performance at the show of Nude/Action/Body before security arrived.
Sunday, 5 February 2012
Saturday, 4 February 2012
I come to more and more like paintings these days. The lack of detail, the blurry image, click open a space where I could engage with the painting for a long time. Of course, because of the media’s specificity, it create a sense of preciousness and scarcity which catalyses the engagement process...
Wilhelm Sasanal’s exhibition is interesting offering me a lot of thinking. I like the absence in his paintings, simplicity in composition, appropriation of media, every day subjects depicted.
Friday, 3 February 2012
Jungfrau (Vergin), by Thomas Helbig, 2005
I only came to know this word today - Gesamtkunstwerk - total work of art when I visited Saatchi. I quite like Thomas Helbig’s work. He said his paintings are about reduction to an unrecognizable state from which something new can then evolve. His sculpture is contorted hybrids made out of everyday junk, which as been reassembled to create a primitive and futuristic sensibility. And Markus Selg’s work. Many of his works are infused with reoccurring themes from world art history and emerges traditional craft and technology to re-spirituals the role of the artist within a contemporary context. he recall the imagery and symbolism of earlier visual traditions. The first work of the show upon entrance is named “ Mild and quiet as he smiles” a quote from Wagnar’s Tristan und Isolde...
Thursday, 2 February 2012
Gerhard Richter’s panorama is epic mapping out his whole artistic career. He is a great thinker as well. I strongly feel the big void from his works and his statement. His style is diversified. His subject, representation, and concept are enlightening...
...the beautiful culture of old master painting was irretrievable...Annunciation after Titan
...since abstractions help us think about ‘inexplicable reality’, ‘art is the highest form of hope.’...Yellow Green
...when making them he ‘experienced feelings to do with contemplation, remembering, silence and death...25 candle
...suggested that his landscapes were ‘untruthful’ because they glorify nature, when nature is ‘always against us’ and ‘knows no meaning, no pity, no sympthy’...Landscape and Portraits
Wednesday, 1 February 2012
I went to 2011 Taylor Wessing Portrait Prize Show at National Portrait Gallery. Maybe I was in a good mood, I found this years work interesting and liked quite a few. I like the slow cooking process of portraiture making, the slow and subtle interaction between the sitter and the image maker, making the image ambiguous as always. I like the little performance of the sitter/photographer, some conceptual involvement. Some composition is working quite well, audacious but really worked not only from aesthetic point of view. Of course, I love the painterly light in portraiture, maybe signifying the painting tradition effects and creating a complex experience in both form and content. However, sometimes, well, most of the times I am bit hasty in image making process. Maybe I worry occupying to much of sitters time making him/her uncomfortable. I should overcome this. Anyway, a simple and short but inspiring show...