I visited Michael Craig-Martin’s new show at the Serpentine. I found it surprisingly interesting. I’ve never been a fan of his work, but perhaps the effort put into these works on devices, as well as the use of tape, pulled me in. I never found his style very appealing. The colours are too sickly for me, but the line and drawing is very precise, idealistic and blueprint-esque. His focus on objects obviously continues from his work in the 60s, YBAs, really just throughout his career. This show sees the focus on digital appliances and devices. The iPhone and Macbook are particularly nice to be in front of. They act as Apple adverts. Anyone can see the similarities with Craig-Martin’s style and the Apple marketing ethos. All that differs is the colour, and the lack of a cheesy Jonathan Ive quotes:
So I’ve decided to add the quotes:
“Simplicity is not the absence of clutter, that’s a consequence of simplicity. Simplicity is somehow essentially describing the purpose and place of an object and product. The absence of clutter is just a clutter-free product. That’s not simple.”
“There is beauty when something works and it works intuitively.”
“Good is the Enemy of Great.”
“True simplicity is, well, you just keep on going and going until you get to the point where you go, ‘Yeah, well, of course.’ Where there’s no rational alternative.”
Thank you Jonathan for your eternal Wisdom… and Michael for your continued lack of originality for 50 years… though in honesty, I enjoy the stylish and simplistic line drawings.. just not much else.
Jon Rafman’s first solo show at the Zabludowicz was a montage of internet culture in a space that forced the audience to interact. There was an enormous sense of claustrophobia, whilst watching many of the films. it certainly captured the strangling element of life on the internet, as well as the barrage of imagery and its interchanging narrative.
Many of the works were very engaging in this respect, however, as someone incredibly interested in the Oculus Rift, (and in general just VR), experiencing Rafman’s virtual reality piece was really eye opening.
FINALLY I tried the hardware, and was in no way disappointed. Experiencing the animation secured my hopes for the medium. It really is entirely engaging, and gives the user the cinematography role. I can imagine that these early day films, games, animations and artworks will give an impression of its potential. Its the devices’ shift into search engines, interactive websites, social media, online shopping etc. that I’m particularly interested in. For a first time VR experience, Rafman’s piece is brilliant.
I’ve come across this artists work before, however I didn’t know much about him. Similar to Paik, Mirza’s work plays with fleeting technology. His installations are these messy readymade experiments, involving televisions, turntables, neon lights and wires. His consistent ability to find new meaning amongst these amalgamations is particularly impressive.
The main element to his work is sound, so this post isn’t going to give his work much credit, but he’s certainly worth acknowledging, especially after looking so closely into Paik.
Under the title Counting In Eight, Moving By Color, KW Institute for Contemporary Art presents the first comprehensive solo exhibition of Californian artist Channa Horwitz (1932–2013), funded by the Kulturstiftung des Bundes (German Federal Cultural Foundation).
Featuring important works from all phases of the artist’s career, the survey provides an introduction to her oeuvre and insight into key series such as the Language Series, Sonakinatography, Rhythms, and Structures. In addition, a selection of construction drawings and documentary material is made public for the first time, through close cooperation with the trustees of the artist’s estate in Los Angeles.
In the late 1960s, Channa Horwitz developed an artistic language that attained freedom through deliberate confinement to a few simple rules. Since then, each one of her works has been based on the numbers one through eight, additionally often with a specific color code assigned to each number. Orienting herself to the format of standard American graph paper, the artist could depict time with the aid of graphic units, and movement in time as the corresponding color schemata. In this way, she designed structures that translate spatialtemporal relations into drawings, paintings, and multimedia sculptures.
The exhibition at KW retraces the development that led Channa Horwitz from figurative painting to conceptual abstraction. On the one hand, the increasing abstraction of figural motifs led her to the basic forms of the circle, the square and rectangle, from which the Language Series (1964–2011) emerged, among others. On the other hand, she developed a system of depicting movement – both of bodies and of objects in space, and of the voice and sound over time – as notations. These early experiments with moving objects led to the series Sonakinatography (1968–2012), which she continued until her death in 2013, when it comprised of twenty-three different compositions in manifold variations. “Sonakinatography” was her new term, combining the Greek words for “sound”, “movement”, and “writing/recording”. Each drawing in the series could as well be presented as a performance or a concert, or transformed into a spatial installation. For this exhibition, a variation of each completed composition from this work complex – the artist’s most well known to date – are brought together for the first time, and their presentation space forms the core of the exhibition. Since the mid-1970s, Horwitz started to explore new patterns, shapes, and movements which led to series such as Rhythms and Structures, and incorporated up to four parallel levels within one drawing.
When Channa Horwitz died in 2013 at the age of eighty, her international career had just recently begun. From the mid-sixties until the 2000’s, the artist lived and worked in seclusion and her work was rarely exhibited. Following a number of shows, including the solo exhibitions Variations In Counting (2009, BKV Brandenburgischer Kunstverein e. V., Potsdam, DE) and Sequences and Systems (2010, Solway Jones Gallery and Kunsthalle L.A., Los Angeles, US) as well as the group exhibitions The Human Stain (2009, CGAC Centre Galego de Arte Contemporánea, Santiago de Compostela, ES), Dopplereffekt – Bilder In Kunst Und Wissenschaft (2010, Kunsthalle zu Kiel, DE), Systems and Structures (2012, Galeria Casas Riegner, Bogotá), and Anton Voyls Fortgang. Henri Chopinm Guy De Cointet, Channa Horwitz (2013, Kunsthalle Düsseldorf, DE), the presentation of her works within the framework of Made In L.A. (2012, Hammer Museum, Los Angeles, US) one year before her death was enthusiastically received by the press and the public alike. Participations in group exhibitions such as Ghosts In The Machine (2012, New Museum, New York, US), Moments.Eine Geschichte Der Performance In 10 Akten (2013, ZKM, Karlsruhe, DE), and Lonely At The Top: Moments On Moments (2013, M HKA Museum van Hedendaagse Kunst Antwerpen, Antwerp, BE) followed. She did not live to enjoy the international tribute paid to her work during Massimiliano Gioni’s Encyclopedia Palace, at the 55th Biennale di Venezia (2013, Venice, IT).