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1st survey show of Keith Haring in Lyon Museum of Contemporary Art. 22/2-30/6/2008
I've always found Keith Haring interesting for the things that he's accomplished, or not accomplished. Well, drawing everywhere is not as easy as it seems; but commenting on the society at large by drawing everywhere seems too easy. I am not exactly sure what his actions brought about changes to the art world or the happy marriage of business and art, but I am sure this is an appropriate exhibition to have in Lyon. There are quite a few beautiful graffiti in Croix-Rousse, and motifs/icons on corners of streets, etc. This exhibition shall stimulate artistic activities towards a socially radical practice, the American way.

9h30 vendredi le 14 mars 2008 || rm103 Boris Dornbusch and Daniel Webby || I always say the contrary to what you say I always say the same as you


Collaboration
Starting point - Casten Holler video of twins saying "I always say the contrary to what you say" or "I always say the same as you" to each other.|| the visual starting point: the basketball court at the back of the mt st studio (Boris) || National sport of Croatia, and the loop/basketball has the same colours as the Croatian national colour. (interesting additional information) --> does it change the way we view/experience this work?

what's the relationship between Boris' and Daniel's work:
does it matter which is whose? || inside/outside || viewing out/ breaking in || the basketball as the detergent (??) || picture/painting: can be viewed as still image(s) and may have more room for narratives to come in || failure || what's the dialogue? || difference between artist-run spaces and dealer galleries? what's the subject? || medium of video? time, expression of time? || artists - critics - collectors, etc. || experience v.s. documentation

Do I understand any of the written text? How do the experiences differ between the 2 (or 1?) work? || the failed [dead] suicide bomber basketball in the end room looks as if was set up to tell a sad story, does the message on the phone says "mission accomplished" or "that's it, nothing more".. is the phone necessary if it was only tied to the ball for the recoding purpose? I don't think the phone took part in the process - the phone was not attached when the ball broke in the window; i even suspect if it was the very ball that did the breaking.. not convinced but a good story told. yea? like my first reaction to the collision of the twin towers: nah, it can't be true. pop a song in your head n have it repeat a 1000 times, you'd gradually grow to like it. tell the same story 100 times, no matter how unbelievable it is, people accept it being 'true'.. and vise-versa. || how we generate/pass on information in relation to the critical mass is h*ll-yeah a mass. || The video work gives a quite romantic feel, a lot softer than the real objects and it seems more open-ended.. i personally enjoy the repetitive action of shooting the ball into the loop, and since we don't see the people doing it, the basketball stand becomes a symbolised object.. like a goal... or... don't know, somehow your attention is fixed in the double frames against the grey background. camera angle looking down but projection level forced [me] looking up... seems educative. therefore we had a 2-hour session on it but nah, i said nothing.

Expo : Sigmar Polke - Music from an unknown source

St Paul St Gallery : Sigmar Polke (1941-)
40 gouaches with a format of 70 x 100 cm, all dating from the year 1996, are the core of Sigmar Polke's exhibition bearing the name 'Music from an Unknown Source'. These pictures give insight into an artistic oeuvre which has a singular position in the contemporary art scene of today and belongs among the most significant of the German postwar era.

To be quite frank, I found this exhibition a bit boring. If I had to only look at each one individually, I would have found it more interesting. For me it seemed like a study of colour and form and the material (yea, like what I've been doing lol); a lot of painting or non-painting techniques, such as dripping, flowing and just letting go -- allowing to happen. The factors set for this project are obviously the dimensions and materials -- everything took place within the frame, contained in a picture of a certain format (70x100cm). But I was not sure what he wanted to capture, or present; not sure what the work's relation to music was -- perhaps the bright poster-like nature in the gouache medium, perhaps the dotted figures/objects against a happy whimsy background, or just a daily mundane rhyme on a 2D surface... and perhaps therefore from an unknown source.. lol


Sigmar Polke: Inscrutable master of the unexpected
http://www.getty.edu/art/exhibitions/polke/
http://wwar.com/masters/p/polke-sigmar.html

Expo : Portrait of a marriage - Deborah Smith

30/11-21/12/2007
Opening Friday 30 November at 17h30

One photo a day, day after day for 365 days, from one wedding anniversary to the next, Deborah Smith's project Portrait of a Marriage can be read as a diary on the one hand, a series of questions investigating boundaries for portraiture on the other.

I saw a man, half naked at times, often wearing a blank expression on his face; a boy jumping happily in the garden, the summer warmth; a woman and her camera, silent. Objects, the house, and the city. Rich in colour, but the presentation did not trigger much dialogue in me, at times I found it hard to engage in this almost generic auto-biography format.

It has to be personal and it also has to speak to others. I felt this negotiation through the depiction of objects, sites, changes of focus and perspectives. I also felt that this project could have been operated by a few different people, perhaps at a particular time on a particular day, she decided to see this marriage in a complete different way. .. No, I am not reading this right. But did she demand any deeper reading? There was hardly intimacy in the horizontal bands of pictures.

And I wondered, did she only take one photo a day, or she selected one from the hundreds a day?

=====================================
Frances Hodgkins
http://www.teara.govt.nz/1966/H/HodgkinsFrances/HodgkinsFrances/en
http://www.johnleechgallery.co.nz/artists/featured/franceshodgkins/

Joan Didion
http://www.npr.org/templates/story/story.php?storyId=4956088

Expo : Cont.Artists from China

Contemporary Artists From China
Cui Guotai, Danwen Xing, Feng Zhengjie, Frank Fu, Li Luming, Luo Brothers, Miao Xiaochun, Sheng Qui
9/02-3/03/2007 Gow Langsford Gallery


15/02/2007
Auckland can be depressing, I see artists of my age participating in ‘big’ events whereas I just shh around still not putting in much effort doing what I should be doing. Well, this is not a place to discuss WHAT I can do (for that the discussion would be far too long and lack of significant direction), I just want to write about something I saw and enjoyed.

“In Memory of Contemporary Art” by Frank Fu is probably the only piece worth seeing in this exhibition – and actually, you don’t even need to go into the gallery space to enjoy this piece – it’s an installation performance piece in the gallery window on Wellesley Street. http://www.gowlangsfordgallery.com/featured/contemporaryartistsfromchina/frankfu.asp
Well, I figured that the official documents are always useful when you need some back up info or simply when you are not in the mood to write. Another interesting fact, he is the only artist out of the eight who is Auckland-based, I guess there is certainly this cultural barrier in the presentation and appreciation of art/Art that attracts me to his work.

Would like to continue this writing if I get the chance to talk to the artist himself, chances are probably pretty high, I imagine.

James ROSS

James Ross
The Red Studio – Small paintings and sculpture 1982-2006
Curated by Luke Smythe
9/02-2/03/2007 The Gus Fisher Gallery

10/02/2007
Despite the un-popularity of people attending the artist’s talk to this exhibition, I nevertheless hold an opinion that this is a rather worth-seeing painting show. For that this exhibition is simple, well-installed, and the selection of work was good – it gives a clear idea of the artist’s practice in painting-sculptures, or sculptural-paintings. In an exhibition space no bigger than your living room, and full of bloody red on the walls – there is however relaxing ambiance in the room in which all the paintings set quietly. And one next to another, they vaguely tell a 20-year long process of the practices of their creator.

Vaguely as it may have seem, catalogues provided in the gallery explained everything.. and probably even more than what the general public needed to read about 10-ish paintings in an exhibition. Ross himself did go on a detailed talk on each painting – I arrived late but was impressed to see his explaining to only one person attentively.

What I liked most about this show was its clarity and simplicity – one of the exemplary exhibitions to take your friends to see and have a (nearly) purely objective discussion afterwards. His use of colours, shapes of supports and materials used, incorporation of objects and forms, his 2D and 3D definitions to presentation, etc. Clockwise in the room we could see the gradual change of colours from dark red to orangy red; creating dimensions by painting on irregular supports, or by cutting or building up impastos. The last piece in the gallery that was installed standing out from the wall acted as such a foreign object and had me wonder leaving the room.

“So, it was a painting show.. EH!”

13/02/2007 SH 1023