The Quantification Trilogy of Jeremy Shaw

The Quantification Trilogy of Jeremy Shaw / Julia Stoschek Collection

by Elda Oreto

How could we imagine the human body if not as a door or a vehicle, as something that can be crossed and that crosses, perhaps a path but it is also its own obstacle in a dialectic of growth. This door or this path leads in different directions both in space and in time but that, in any case, cross the limits of the individual, of the private, ideological and real to lead towards an abyss of complete fusion between the Self and the Whole.

Jeremy Shaw, I Can See Forever, 2018, two-channel HD video installation; VHS video and HD video transferred to video, 44′05″, color, sound. Installation view, JEREMY SHAW, QUANTIFICATION TRILOGY, JSC Berlin. Foto: Alwin Lay.

Jeremy Shaw’s Quantification Trilogy, presented at the Julia Stoschek Collection until November 29, 2020, is set in a parallel, science-fiction world. This world called “parafantascientific” has its own rules, its own language, its own formal aesthetic, its own absurdity. It is our Other. The stranger, the unknown. Knowledge and the possibility of reaching the Other are the subject around which the three films Quickeners (2014), Liminals (2017) and I Can See Forever (2018) revolve. The Canadian artist, who lives and works in Berlin, made these films during different periods of time. The first was Quickeners, in 2014, set 500 years after our present. Liminals, made in 2017, is set 100 years from now; and I Can See Forever, the most recent in 2018, is set about 40 years from now. It is precisely from this last film that the exhibition itinerary begins and then goes back to the first filmed. Describing a time span of 500 years the observer is placed sometime in a further future.

Towards Universal Pattern Recognition (Copy 9.3.91. Computers. Sep 23 1991), 2016, Archival photograph; b/w, acrylic, chrome; b/w, Acryl, Chrome, 37,5 x 42,5 x 16 cm. Courtesy of the artist and Jorinde Voigt, Berlin.

The three films in a found footage format tell a story through an external narrator voice. The starting point, which is also a little bit the common thread that connects the three films, is an event, possibly located in our present, called “Quantification”. This event consists of a collective awareness that allows humanity to understand everything, any aspect of life and death, to know everything. A bit like flattening a three-dimensional object on a sheet to be able to look at it from all sides at the same time.

Jeremy Shaw, Quickeners, 2014, 16mm film transferred to video, 36′24″, color, sound. Video still. Courtesy of the artist and König Galerie, Berlin.

Which is also a way of not feeling, controlling, moving away from the emotional and therefore uncontrollable and mysterious part of life. But freezing feelings leads to a flattening of the mind. And, in fact, this event has catastrophic consequences for the human race which, without a ‘spiritual’ dimension, is destined for extinction. Forty years after Quantification, the government conducts experiments on humans to create Cyborgs by injecting machine DNA into the human body. But the experiment, very dangerous, leads the human guinea pigs to go blank, that is to cancel themselves in a mechanical superconsciousness which we will later discover is called The H.I.V.E.

Jeremy Shaw, Liminals, 2017, 16mm film and HD video transferred to video, 31′25″, color, sound. Video still. Courtesy of the artist and König Galerie, Berlin.

During the experimentation period, children are born who automatically enter the blank zone. Only one, different from all the others, has a particular DNA with a slightly lower mechanical gradient and possesses special qualities, exceptional agility and physical strength in dance, an incredible memory and the ability to feel things and see beyond their surface. This boy, Roderick Dale, dances wonderfully and reaches a state of mystical ecstasy that makes him transcend and merge with the Whole. The short film ends with an extraordinarily evocative dance sequence in which the image slowly crumbles in a prismatic shape and in which the dancer’s body shatters and recomposes itself into an abstract form.

Jeremy Shaw, Liminals, 2017, 16mm film and HD video transferred to video, 31′25″, color, sound. Video still. Courtesy of the artist and König Galerie, Berlin.

Liminals (2017) is the second moment in history, set 100 years from our present. Mankind has reached the awareness that it will be extinct soon, after an event called “The Announcement” and is desperate to find a formula of salvation. “In stark contrast to Humanity’s growing apathy towards The Announcement’s revelation of our inevitable extinction, periphery altruist cultures have reacted by launching idealistic crusades that desperately attempt to incite evolutionary advancement. They hope to save, or at least prolong, our remaining time on this planet. One of the most radical and compelling of these groups speculates that a specific paraspace could serve as a transitory zone for Humanity — an intermediate area between the physical and the virtual where a generative incubation period towards our next phase in evolution could take place. They refer to this paraspace as The Liminal.” The film imitates the style of a found footage format of the 60s or 70s and has the same structure as the first one. In a climax of images and music the narrating voice disperses into a frantic rhythm and obsessive dance that leads to the decomposition of the image.

Jeremy Shaw, I Can See Forever, 2018, two-channel HD video installation; VHS video and HD video transferred to video, 44′05″, color, sound. Video still. Courtesy of the artist and König Galerie, Berlin.

The last film is Quickeners, which was also the first of the trilogy to be made in 2014, differs from the first two because it is a real documentary about a religious sect of the 1950s. Shaw manipulated the narration of the documentary for the purpose of his story. The off-screen voice, similar to that of a Robot, tells us that humanity has been completely extinct for 400 years and has been replaced by Quantum Humans. Quantum Humans live in perpetual and inseparable connection with a higher technological entity The Hive, a kind of mechanical neuronal structure. The QH no longer have any aspect of sociality, spirituality, they do not feel, they have no emotions. In a phantom Area 23 some Quantum Humans show a behavior disorder called H.A.S. which consists in the survival form of antecedent human behaviors: making music, dancing, singing, screaming, praying, sharing.

Jeremy Shaw, I Can See Forever, 2018, two-channel HD video installation; VHS video and HD video transferred to video, 44′05″, color, sound. Video still. Courtesy of the artist and König Galerie, Berlin.

These Q.H. through some rituals they manage to detach themselves from The H.I.V.E. and to reach a deeper stage of consciousness. “It is during these mimed ceremonial activities that the Quantum Humans with H.A.S. detail a phenomenon that they refer to as “Quickening” and define as a moment of pure cathartic transcendence achieved via a strictly organic biological means — disconnecting one completely from their direct neural link to The Hive and any extraneous technology at all. Although the instance of a “Quickening” would violate all logic within our Quantum Human existence, it is the pursuit of this speculative phenomenon that has earned them the name: Quickeners.” explains the Robot voice. The Quickeners distinguish themselves from the others in the black and white film to acquire a sort of evanescent light.

Jeremy Shaw’s films have something that is haunting. The artificially documentary format goes incredibly well with the use of special effects, new technologies and music. Shaw also invents its own linguistic system characterized by a terminology that takes words from different contexts, science, philosophy, anthropology, religion to give them a new meaning that refers to the “parafantascientific” world invented by him.

Each film has a structure that pursues a climax that ends with a combination of music and images that mimic this mystical fusion with a higher spiritual entity, into which the viewer is absorbed. The trilogy itself repeats a pattern of Hegelian dialectic.

It reminds of the ecstasy of Saint Teresa of Avila and the search for a complete mystical fusion with God described in The Inner Castle: “This secret union takes place in the deepest centre of the soul, which must be where God Himself dwells, and I do not think there is any need of a door by which to enter it. I say there is no need for a door because all that has so far been described seems to have come through the medium of the senses and faculties… But what passes in the union of the Spiritual Marriage is very different. The Lord appears in the centre of the soul, not through an imaginary, but through an intellectual vision (although this is a subtler one that that already mentioned), just as He appeared to the Apostles, without entering through the door, when He said to them: “Pax vobis” {cf. John 20:19,21}. This instantaneous communication of God to the soul is so great a secret and so sublime a favour, and such delight is felt by the soul, that I do not know with what to compare it, beyond saying that the Lord is pleased to manifest to the soul at that moment the glory that is in Heaven, in a sublimer manner than is possible through any vision or spiritual consolation. It is impossible to say more than that, as far as one can understand, the soul (I mean the spirit of this soul) is made one with God, Who, being likewise a Spirit, has been pleased to reveal the love that He has for us by showing to certain persons the extent of that love, so that we may praise His greatness. For He has been pleased to unite Himself with His creature in such a way that they have become like two who cannot be separated from one another: even so He will not separate Himself from her”.

Elda Oreto

Nina Canell, Dits Dahs

Nina Canell, Dits Dahs

Galerie Barbara Wien, Berlin

9 September – 7 November 2020

Galerie Barbara Wien presents the fourth solo exhibition with the Swedish artist Nina Canell, whose work revolves less around the finished art object, than the surprising, movable and inexhaustible capacities of the matter it contains. Throughout the sculptural process, this potential of energy is managed, placed, distributed, lost and regained, but never fully controlled.

Nina Canell Studio 2020

The exhibition title “Dits Dahs”, an oddly formed onomatopoeia, is borrowed from the two different signal durations of Morse code, called dots and dashes or dits and dahs. Canell‘s new body of work takes its cue from such transfers – its gaps as well as glitches – breaking down conduits in order to reflect on material interference. As a result of both chance encounters and careful observations, this mediation between substances and stuff leaves traces: from the distance that they travel, the things they bump into, or the vibrations that pass through them. Canell incorporates real-time presence as an integral aspect of her sculptural situations – which are not an attempt to explain the world but to densify it with the impurities of process, the agency of materials and the unexpected directions in which they send our attention.

Coinciding with the exhibition, Nina Canell and Robin Watkins will launch a new artists‘ book: “Amber (A visual anthology of the contradictory representation of the female body in the electrical age)”. 176 pages, colour offset with a screen printed slipcase, published by Rhombus Press, New York, limited to 250 copies (120 Euro).

“Dits Dahs” runs in parallel to Canell‘s exhibition at Daniel Marzona, which shares the same title.

Nina Canell (* 1979 in Växjö, Sweden) lives and works in Berlin. Her recent solo exhibitions include Kunsthalle Baden-Baden (2019), Kunstmuseum St.Gallen (2018), S.M.A.K. Ghent (2018), Museo Tamayo, Mexico City (2017), Center d‘art contemporain d‘Ivry – Le Crédac, Paris (2017), Arko Art Centre, Seoul (2015), Moderna Museet, Stockholm (2014), Hamburger Bahnhof, Berlin (with Rolf Julius, 2013). Her work was presented at the Nordic Pavilion at the Venice Biennale (2017), as well as biennales in Cuenca (2018), in Lyon (2015), Sydney (2012), La Triennale, Palais de Tokyo, Paris (2012), Tate Liverpool (2010), Gwangju (2008) and Manifesta 9, Rovereto (2008).

Friedrich Kunath, SENSITIVE EURO MAN

Friedrich Kunath, SENSITIVE EURO MAN

15 AUGUST, 18 OCTOBER 2020 
KÖNIG GALERIE Berlin, ST. AGNES, NAVE

KÖNIG GALERIE presents Friedrich Kunath’s first solo show in the NAVE of St. Agnes, starting on 15 August 2020, and his first solo show in Germany since 2016. The collection of previously unseen works includes an oversized sculpture.

German Romanticism is the most German of all German art ideas. It is the expression of, and opposition to, emergent modernism, and probably the last rearguard action against the relentless advance of progress, enlightenment and industrialisation. It addressed the Dialectic of Enlightenment 150 years before Horkheimer and Adorno did.

The deep connection between the art of painting and seemingly harmonious cultural landscapes at imminent risk of destruction from the ‘blessing’ of progress first came to light when their beauty seemed. And it is this pain of parting that has sustained German culture for over 200 years. It is the soul of the German soul and, in its perversity, brokenness and radicalness, it connects with any political persuasion. In his work, Friedrich Kunath cites German Romanticism as he sees it in his Californian rear-view mirror: having left his homeland for the far, far west, he views it from a place where only a surrogate Romanticism exists. In Westerns, the wilderness is threatening, a place of doom; in John Ford’s The Searchers, it provides the backdrop for a radical void, for an adventure trail in the search for meaning; and its radical isolation is the sole element unifying Ethan Edwards and the lonely Monk by the Sea. So whilst the German romanticseeks refuge in nature, the Western hero is challenged by it and seeks to escape.

Friedrich Kunath has no belief in Romanticism, yet artistically he remains under its aegis. From the writings of Schlegel, he learned about irony as a fundamental aesthetic principle of Romanticism. Romantic irony is the conceptual abyss to this subjectivist art form: its meta-level or double floor – or both. InRomantic art, irony has its own characters and tricks, such as the Buffo, or clown and light-hearted deconstructor in opera, and the Parabase, a level of reflection specially introduced into a work identifying the artist, conditions, and principles of its creation and subject.

When irony switches to deep sincerity, it becomes a philosophical heavyweight. Perfect irony ceases to be irony and becomes earnest, wrote the young Schlegel. Having converted to Catholicism, Schlegel died a proud reactionary who sought a return to a hierarchical society, in much the same way as Romantic painting went into reverse — only gaudier — with the Nazarenes.

Everything is process. Nothing is true. Everything is subjective. The path is a goal. And with Kunath, there is a moment when he releases a picture to mature on its own, to finish creating itself. To him, a painting is good when the artist chose the right moment to let go. Navigating a labyrinth of false emotions, heseeks an exit from the surrogate Romanticism, often leaving his pictures to reverse out of the maze for themselves.

On this journey, Kunath sees every means as justifiable. He becomes overly saccharine, undermines, scuppers, executes, twists, and exaggerates, fights and fights back… — but still the primal sense of the longing remains, outlasting everything, indestructible. And that’s the miracle: Kunath places the crash test dummy alongside Schlegel’s Buffo. Time and again, he leaves his paintings to collide head on with the same wall of naïve art-is-beauty-is-perfection-pathos. Everything remains a fragment. Only when they have documented their crash and its impact are his pictures — fragments — complete.

In the race for the autonomy of art, classic modernism fielded two philosophers — the utterly caustic Marcel Duchamp and Francis Picabia — in contention against the immediacy of what is sensed and thought. Picabia especially laughed, cried and dreamed in quotation marks, and in the pictures of Kunath, every false, gummed-up feeling is followed by a break that illuminates the space behind the phoniness.

With Kunath, a sequential transmission of emotional samples rattles through his pictures at breakneck speed. There is no straight route conveying what is real and/or real feelings any more. Our global visual culture has boiled almost every visual signal down to an emoji, and it’s into this tornado of representations that Kunath flees. He drifts — with paradoxes, sarcasm, and bar humour — from the sublime into the void. And yet every single painting, drawing andinstallation suggests a pathway that began with the longing for a Romantic feeling. “Why does melancholia require exteriour infinity?”  reads the brief, diary-like reflection at the bottom of the painting A Shady Paste of White (2012). None of Kunaths works features an intact communication landscape. Far more,Kunath applies Schlegelian irony like a hooligan, destroying everything needed by a type of idyll, contemplation, bourgeois-idealist cultural consumption routine. He is like the beaver in his installation/sculpture that has gnawed one of the four legs of a barstool down to radical fragility. It is impossible to getcomfortable in or with his works. Kunath f***s the observer with a friendly smile. After all, “not every clown belongs in the circus”, as it says beneath the imageWenn ein Mensch Lebt (When a Man Lives).

The contemporary paradigm of communication is that it has become even more improbable than Niklas Luhmann had assumed. Mass media and amonstrous cultural-industrial complex have robbed speaking, writing, painting, and filming of their innocence. And with each cultural shift, contemporary art follows with ever more abstract derivations. The first derivation were Duchamp and Picabia, the second was Warhol, the third Richter, Polke and Kippenberger, and Kunath is now daring to be the fourth. Every mathematician knows things can get complicated, often enough with ‘zero’ as the result. Need an example? Longing for love in total isolation and complete hopelessness. Derivation 1: Illustrate the feeling with pretty cliches. Derivation 2: Cite references to pop culture, e.g. by integrating a pop song into an installation as a video or audio track. Derivation 3: Write in a section of the lyrics from a song by someone like Morrissey. Derivation 4: Friedrich Kunath writes: Morrissey Lyrics. (Derivation 5: Turn the two RRs of the singer into the initials of Rolls-Royce.)

I dreamed it was a dream… that you were gone.

Kunath floats through derivation 4, has loosened up and is dancing.

Ultimately, in the end, when all is said and done, it really is sheer Romanticism after all. When all that other stuff — the disruptive, stupid, shitty, f***ed up, gummed up stuff, —receives the absolute caustic treatment of deconstruction, all that’s left to see is simple happiness. NOW IT’S JUST YOU AND ME, reads the torn-off note a car rental company. Or the sculpture of one burial cross lovingly embracing another.

Kunath’s big heart has his mind to use as a death strip, to keep everything safe in the heart or soul, in the ideal — and only in the ideal. But after all his dozens and hundreds of pictures, you see there’s quite a lot to them, behind them. And for everybody who gains an interest in this fantastic work, the art is the wall they can — and want to — climb over. That takes effort, but it’s a laugh. And after 100 years of solitude, you find yourself alone on a beautiful beach in the sunset. And yes, there’s someone else there too. So simple.

Friedrich Kunath (*1974) was born in Chemnitz, Germany, and lives and works in Los Angeles. His painting is inspired by German Romanticism and American pop culture in equal measure. Kunath studied at the University of Arts in Braunschweig but decided soon afterwards to leave Germany. His oeuvre includes not only paintings but also sculptures and installations, through which he explores recurring themes such as longing, loneliness, euphoria and fear.

Kunath’s works have already been exhibited in solo shows at various renowned institutions including Sammlung Philara in Düsseldorf, the Kunsthalle Bremerhaven, the Sprengel Museum in Hanover, the Schinckel Pavillon in Berlin, the Hammer Museum Los Angeles, the Kunsthalle in Baden-Baden, and the Aspen Art Museum. In 2012 he was awarded the Sprengel Prize for fine arts, presented by the Sparkassen Foundation of Lower Saxony.


Dr. Ulf Poschardt 

Images > exhibition view by Roman Maerz 

C’era una volta / GHIRRI, LINDOW, VAN GOLDEN

C’era una volta / LUIGI GHIRRI, CHRISTIAN LINDOW, DAAN VAN GOLDEN

11 Sep – 07 Nov, 2020

Mai 36, Zurich

Mai 36 Galerie presents an exhibition featuring works by Luigi Ghirri, Christian Lindow and Daan van Golden – three artists whose estates are represented by the gallery.

Luigi Ghirri, Modena (Serie: Catalogo), 1972
c-print, vintage
11.42 x 13.39 in (29 x 34 cm)


Luigi Ghirri (1943 – 1992) started out as a self-taught photographer in 1970 and went on to become one of the leading Italian photographers of the postwar era. He revolutionised Italian photography in the 1970s1990s and his seminal influence on photography still reverberates strongly to this day. While Ghirri endeavoured, on the one hand, to capture everyday things in an unprejudiced light, his images of architecture and landscape, on the other, bear witness to his quest for the very essence of things. He sought forms of expression that reflected the mood of the day, the Italian view of their own land, and the world in general. His photographs convey a longing for a distinctly classical aesthetic, explored in perfectly composed images, and at the same time a counterpoint, often in the form of triste scenarios that he stylised, heightened and condensed into an inimitable visualisation of his viewpoint.

Christian Lindow, Untitled (Still Life), 1984
oil on canvas
31.5 x 31.5 in (80 x 80 cm)

Christian Lindow (1945 – 1990) was born in Altenburg in the former East German state of Thuringia and settled in Bern in the late 1960s. Following on from his geometric sculptures and his work in the field of conceptual photography, he turned his attention to illustrative painting and, before long, began to combine this with processes of concretion, contamination and decay. His use of thick, heavily applied paint and rapid brushstrokes suggest a struggle with the material. At first glance, the rapid and gestural brushwork and the intensely emphatic subjectivity make these works by Lindow seem redolent of German Neo-Expressionism.
Yet the motifs are everyday things that he has chosen precisely because they are neutral in character: a fish on a plate, postcard landscapes of mountaintops and seashores, a curtain. Free of lyricism, focused on content, more laconic than vivacious, Lindow’s unique style is evident in his highly expressive works.

Daan Van Golden, Sex Pistols, 2007
c-print mounted on aluminium
27.17 x 34.65 in (69 x 88 cm)

Daan van Golden (1936 – 2017) studied at the Rotterdam Academy of Visual Arts and Technology, where he specialised in painting and graphic design. During an extended stay in Japan, his work evolved into the style that he would retain for the rest of his life. Between 1963 and 1965, he developed a technique using Japanese enamel paints, which he began adapting to create patterns on paper and fabric with meticulous precision, using such materials as tablecloths and packaging materials. On the whole, van Golden looked to his everyday surroundings and personal experiences, translating these in his own way into an artistic context that united life and art. He would create several variations on the same theme, in different colours
and dimensions, which took on an existence of their own and became autonomous motifs through his form of appropriation. Later, in similar vein, he created variations and abstractions of enlarged details from
paintings by such artists as Jackson Pollock and Henri Matisse as well as photographic works and silkscreens.

Hassan Hajjaj: A Taste of Things To Come

Hassan Hajjaj: A Taste of Things To Come

Barakat Contemporary, Seoul
August 5 to September 27, 2020.

Barakat Contemporary presents a solo exhibition of the artist Hassan Hajjaj, A Taste of Things to Come, from August 5 to September 27, 2020.
Hassan Hajjaj moved to England with his family at a young age and is an artist who lives and works in Morocco and England, using photography as his main medium. The title of this exhibition, A Taste of Things to Come, is a message that reveals an embracing worldview that looks at the future through a constructive and positive perspective, taking care of one another and moving forwards at a time when humans are faced with global change. Through his body of work, the artist seeks to convey the importance of sharing the various cultural tastes of the world in which we live and communicate with each other.

A Taste of Things to Come, 2020, Exhibition view. Courtesy of Barakat Contemporary

Hajjaj’s work reflects the powerful, rhythmic colors, patterns, and unique poses of North Africa. The artist reveals the hybridity of contemporary culture by creating unique frames that incorporate bottles, cans, toys, recycled tires, and matchboxes. This is not merely decorative, but a reinterpretation of Morocco’s traditional mosaic patterns and tiles from Hajjaj’s point of view, revealing the complexities of contemporary culture. Hajjaj’s body of work is the result of his experiences in multicultural fields of art including street music, fashion and interior design, naturally encountered while living in huge, cosmopolitan London in the 1970s and 1980s, together with North Africa’s intense visual elements. Hajjaj’s work, with its rebellious and creative spirit, will guide us to a vibrant and playful world.

A Taste of Things to Come, 2020, Exhibition view. Courtesy of Barakat Contemporary

This exhibition will feature a series of photographs from the artist’s representative series, including My Rockstars, Kesh Angels, Dakka Marrakchia, Legs, as well as the video work My Rockstars Experimental Vol. 2. In addition, it will be an important occasion to explore Hajjaj’s diverse fields of work, which traverse the boundaries of fashion, design, and art, at the same time as embodying his boutique space in Morocco.

A Taste of Things to Come, 2020, Exhibition view. Courtesy of Barakat Contemporary

With their offhandedly splendid colors, patterns, and designs, Hajjaj’s images lend themselves easily to being interpreted within the category of Pop Art, but they encompass a far more complex and diverse blend of social and cultural layers. This is a pronounced quality of his portrait photographs, which boast creative framing that combines the powerful, rhythmic colors and patterns of North Africa with figures adopting idiosyncratic poses, as well as commercial objects found in Morocco including drinks, canned food, playthings, recycled tires, and matchboxes.

A Taste of Things to Come, 2020, Exhibition view. Courtesy of Barakat Contemporary

The various products combined in his camera’s frame are not simply decorations; they are reinterpretations of traditional Moroccan mosaic patterns and tiles based on the artist’s own perspective, with products often chosen from those produced in the model’s country and a certain sense of humor reflected in terms of the model’s personality or profession. For example, Hajjaj’s first portraits used canned chicken to characterize female models referred to in slang as “chicks,” while cans of beef were used for “beefy” male models. The latest exhibition includes works from some of the artist’s most representative photography series—such as My Rockstars, Kesh Angels, Dakka Marrakchia, and Legs— along with the video work My Rockstars Experimental II. The My Rockstars series in particular is a record of people that Hajjaj met while operating pop-up photography studios on the streets of Marrakesh, London, Paris, and Dubai for over a decade.

Hassan Hajjaj - My Rockstars Experimental Vol. 2, 2013; Video installation
©Hassan Hajjaj

A diverse range of people appear in the series’ images—from famous entertainers to underground musicians, henna tattoo artists, fashion designers, hip hop dancers, martial artists, and cooks. All of them sources of artistic inspiration to Hajjaj, they each follow their own unique lifestyle and path. Within his work, new stories are created for artists working in different realms of life—from Ghetto Gastro (2018/1440), which captures a chefs’ collective working in cooking, design, and art in the Bronx, to the British fashion designer/musician/photographer in Blaize (2013/1434), the Afro-Brazilian dancer/choreographer/acrobat Rilene (2013/434), and the Malian traditional musicians in Songhoy Blues (2014/1435). My Rockstars Experimental II is a video featuring songs, dancing, and other performances by the artists in the My Rockstars photography series. A work of comprehensive art combining music, fashion, installation design, and performance, it places musicians in nine different frames as they sing, rap, play transitional instruments, and belly-dance. It offers an excellent illustration of the artist’s attempts to experiment with different media as each of the photography subjects appears in vividly moving images.

Hassan Hajjaj - Blaize, 2013; Framed photograph; ©Hassan Hajjaj

Other leading series by Hajjaj include Kesh Angels and Dakka Marrakchia, which offer clever twists of Western clichés regarding Arab culture. Women hold an important place in these series:
the women who appear in the works wear hijabs and sit on motorbikes in Morocco’s narrow side streets. Their faces veiled in the images, they wear caftan dresses with leopard and camouflage prints. As they stand before the camera, they stare into its lens— not as secretive, passive presences, but with bold and cynical poses. Hajjaj’s camera presents its figures in bold and vibrant ways, applying the kind of shot-from-below compositions seen in fashion magazines, hip hop, and martial arts performances. The works in these series, which date back as far as the early 2000s, offer an excellent illustration of how deeply engaged the artist is with culture and gender issues.

Hassan Hajjaj - Che Lovelace, 2012; Framed photograph, ©Hassan Hajjaj

Using the space of photography, Hajjaj deconstructs the concept of “country” to create an utterly new dimension of the world—one where boundaries of nations, borders, peoples, and cultures have been torn down, with subjects pursuing an endless affection and joy toward life. As a second-generation immigrant who lived through an era of post-colonialism, Hajjaj focuses less on representing the historical hardships of being situated between North African identity and British colonial history than on adopting this as a new societal phenomenon, sublimating his own multicultural identity and hybridity through art. The photographic spaces he captures may be seen as similar to the “in-between spaces” described by the Indian-English philosopher and cultural critic Homi Bhabha as being linked to the conditions for understanding cultural hybridity. These are spaces where one can elude the mere homogenization or imposition of cultural meaning through colonization, focusing instead on the ambivalence of different cultures and the new cultural phenomena and meanings that emerge there.

A Taste of Things to Come, 2020, Exhibition view. Courtesy of Barakat Contemporary

In addition to his photography and video work, Hajjaj has also produced sculptures and installations. In his travels to Morocco, the artist has obsessively collected everyday items there that remind him of his childhood: book and album covers, film posters, matches, bars of soap, cans, and so forth. To create his sculptures, he had scanned or photographed these collected items to reproduce them via digital means or as newly constructed art objects. It was from this process that his early Pop Art series Graffix from the Souk emerged. Here we see the recycling of old objects that has been a major approach in Hajjaj’s art. Recycling in daily life—making mugs out of cans or using drink crates as chairs—has been a commonplace practice in Morocco, offering an excellent illustration of its socioeconomic context. Hajjaj has adopted the characteristics of this practice in his own artistic process.

Hassan Hajjaj - Ghetto Gastro, 2018; Framed photograph - ©Hassan Hajjaj

The works in his Graffix from the Souk series have been produced in collaboration with Moroccan artisans, craftswomen, and African refugees. As they imbue new hope and purpose into the lives of members of the community, women, and refugees, they broaden the role of art into the social realm. To help in understanding the broad-ranging nature of Hajjaj’s body of work, the latest exhibition includes a recreation of his boutique, where visitors can view Buy Me Shelf (1997/1418)—a piece derived from Graffix from the Souk—as well as various items the artist created through the recycling of Moroccan products. The boutiques that Hajjaj operates in Morocco and the UK function as artistic settings where people can actively communicate with local artists.

Hassan Hajjaj (b. 1961) was born in the northern Moroccan city of Larache and works and lives in Morocco and England. Hajjaj’s numerous solo and group exhibitions include those at the Hayward Gallery, London, Maison Européenne de la Photographie, Paris, Somerset House, London, Los Angeles County Museum of Art (LACMA), the British Museum, London, the de Young Museum, San Francisco, Centre Pompidou, Paris, and National Museum of the 21st Century (MAXXI), Rome. His work has been collected by a number of leading institutions, including the Los Angeles County Museum of Art, Victoria and Albert Museum, Guggenheim Museum Abu Dhabi, Brooklyn Museum, and the British Museum.

Camilo Restrepo: Pescando Con Dinamita

Camilo Restrepo: Pescando Con Dinamita

Steve Turner Viewing Room

23 Aug – 19 Sep 2020
Online Exhibition

Steve Turner presents Pescando Con Dinamita, a solo online exhibition by Medellín-based Camilo Restrepo that introduces two new series of work–Pescando Con Dinamita and Juegos Finitos / Juegos Infinitos.

Camilo Restrepo - Pescando Con Dinamita 1, 2020. Ink, water-soluble wax pastel, acrylic, tape and saliva on paper, 145.4 x 145.4 cm. - Courtesy of Steve Turner Gallery

In the former, Restrepo continues his practice of creating large scale drawings that bear numerous scars. When he completes the drawing phase, he perforates the paper with a soldering iron before causing all the colors to run by spraying water at high pressure. He then meticulously repairs all the damage. The title refers to the brutal practice of fishing with high explosives, something that is done in Colombia. Restrepo sees this as another aspect of our hyper-masculine culture, one that mostly relies on violence to solve its problems.

Camilo Restrepo - Pescando Con Dinamita 2, 2020. Ink, water-soluble wax pastel, acrylic, tape and saliva on paper, 145.4 x 145.4 cm. - Courtesy of Steve Turner Gallery

In the latter series, the artist first downloaded a photograph from the Internet of someone who was killed in connection with drug trafficking. He then digitally erased the background and printed it in the 1 x 1 inch format of a passport photograph. He then aggressively drew upon the image in red ink, re-photographed it with a macro lens and finally, printed out the image in a larger size.

These steps rendered the subjects largely unrecognizable, as though their faces were obliterated by violence. In so doing, Restrepo aims to draw attention to the Colombian practice of glorifying death while pointing out that the war on drugs has caused deaths on all sides of the issue. Good people are killed by narcos and narcos are killed by the police and each other. In this series, every mutilated face is nearly the same.

Camilo Restrepo - Juegos Finitos / Juegos Infinitos 12/02/1993, 2020. Edition 2 of 2, Digital print, 47 1/4 x 35 3/8 inches (120 x 90 cm) - Courtesy of Steve Turner Gallery.
Camilo Restrepo - Juegos Finitos / Juegos Infinitos 03/01/2008, 2019. Edition 2 of 2, Digital print, 47 1/4 x 35 3/8 inches (120 x 90 cm) - Courtesy of Steve Turner Gallery.
Camilo Restrepo - Juegos Finitos / Juegos Infinitos 04/30/1984, 2019. Edition 1 of 2, Digital print, 47 1/4 x 35 3/8 inches (120 x 90 cm) - Courtesy of Steve Turner Gallery.

Camilo Restrepo (born 1973, Medellín, Colombia), earned an MFA from CalArts (2013) and a masters degree in aesthetics from the National University of Colombia (2008). He has had solo or two-person exhibitions at Sala de Arte Suramericana, Medellín (2019); Steve Turner, Los Angeles (2013, 2014, 2015, 2017, 2019) and the Lux Art Institute, San Diego (2016). Restrepo was a recipient of the Fulbright Grant and was nominated for the Premio Luis Caballero, the most important prize in Colombia for artists over 35. A major monograph, Alias, was published in 2019. This is Restrepo’s sixth solo exhibition with Steve Turner.

Izumi Kato @ Perrotin, Paris

Izumi Kato @ Perrotin, Paris

PERROTIN, Paris – Rue de Turenne

29 August – 10 October 2020

For his second exhibition at Perrotin in Paris, Izumi Kato has brought together an assembly of strange creatures so diverse that it seems as though an entire macrocosm has been summoned to bear witness to the complexity and beauty of the worlds he explores.

Izumi Kato @ Perrotin, Paris - Exhibition view
Courtesy of Perrotin.

The Japanese artist presents here a diversity of forms and techniques that testify to the complexification of the supernatural pantheon that he has been developing for almost two decades.

When describing the work of Izumi Kato (born in 1969, Shimane Prefecture, Japan), the first thing that inevitably comes to mind are large-eyed humanoid forms with natural protuberances, in wood, canvas, or soft vinyl. On first impression, his proliferation of strange creatures, with their variable sizes, the curious fact that none of them have feet, seem to belong to aliens. It is difficult to say whether they are hostile or benevolent.

Izumi Kato @ Perrotin, Paris - Courtesy of Perrotin.

2020 is the first time in a while that I have been staying in one place for this long. I enjoy building plastic models and choose old-fashioned robots, animals and beasts that I was familiar with when I was a little kid. I made lots of those model kits and I wondered if I could use them as artworks. Therefore, I make a series of sculptures and incorporate those models. In addition, the packing boxes for the plastic models in early times are so cool – although I have no idea who designed them. I make flat works and use them as inspiration.
— Izumi Kato —

Izumi Kato @ Perrotin, Paris - Courtesy of Perrotin.

Kato seems to want to free himself from all constraints, so that his own creativity is his only limit. It makes sense, then, that he has always been interested in art brut. In its spontaneity, its obliviousness to the codes of art history, art brut shares with his painting a simple but essential diktat: freedom. Technical freedom, to start with, as found in the portraits of Jean Dubuffet, with whose work a number of parallels could be developed here. Without holding himself to standards of excellence or quantifiable results, Kato seeks above all to freely express form and color. He seeks to sculpt the figures in his paintings so naturally and simply that he ends up forgetting his brushes and using his own fingers.

Izumi Kato @ Perrotin, Paris - Exhibition view
Courtesy of Perrotin.

My subjects are human figures, but I don’t emphasize the actual mechanisms of the body at all, and they are not realistic people but human forms that I produce with a large degree of freedom because they are, after all, paintings and sculptures. In other words, what interests me is not the structure of the body. Shapes or forms that appear humanoid are simply the means I used to create works of art.
— Izumi Kato —

Izumi Kato @ Perrotin, Paris - Exhibition view
Courtesy of Perrotin.

In nearly twenty-five years of artmaking, Kato’s work has gone through several gradual and regular shifts, manifesting no brusque turns but instead undergoing a slow change in composition and subject, technique and palette.
Without letting them speak, or even see, Kato allows these beings to exude intense emotions, notably by their postures and through the connections that are created between the viewer and these sculptures, resulting on occasions in a kind of strange vibration that makes them polarizers of energy. It is perhaps this indefinable exchange that bestows on them an aura outside time and space.

– Text by Matthieu Lelièvre

Izumi Kato @ Perrotin, Paris - Izumi Kato & Exhibition view
Courtesy of Perrotin.

Children with disturbing faces, embryos with fully developed limbs, ancestor spirits locked up in bodies with imprecise forms—the creatures summoned by Izumi Kato are as fascinating as they are enigmatic. Their anonymous silhouettes and strange faces, largely absent of features, emphasize simple forms and strong colors; their elementary representation, an oval head with two big, fathomless eyes, depicts no more than a crudely figured nose and mouth. Bringing to mind primitive arts, their expressions evoke totems and the animist belief that a spiritual force runs through living and mineral worlds alike. Embodying a primal, universal form of humanity founded less on reason than on intuition, these magical beings invite viewers to recognize themselves.

Kato graduated from the Department of Oil Painting at Musashino University in 1992. Since the 2000s, he has garnered attention as an innovative artist through exhibitions held in Japan and across the world. In 2007, he was invited to take part in the 52nd Venice Biennale International Exhibition, curated by Robert Storr.

Toby Ziegler: The sudden longing to collapse 30 years of distance

Toby Ziegler: The sudden longing to collapse 30 years of distance

SIMON LEE GALLERY, London

7 SEPTEMBER – 14 OCTOBER 2020

Simon Lee Gallery presents The sudden longing to collapse 30 years of distance, Toby Ziegler’s sixth solo exhibition with the gallery, in which the artist explores the complex relationships between experience and memory, image and data, through the twin lens of figuration and abstraction.

Spider (R.I.P.), 2020
Paper on dibond
243.8 x 189.8 x 3.3 cm (96 x 74 3/4 x 1 1/4 in.)
Courtesy of Simon Lee Gallery

The exhibition can be experienced in two dramatically different states. The gallery is lined with a group of large geometric, non-figurative works on paper, reminiscent of Ziegler’s early works, juxtaposed with a group of smaller more figurative oil paintings on aluminium. Periodically though, the tranquil space of the gallery is transformed into a multi-projector video installation, in which a barrage of projected images covers the walls and overlays the 2D works, to a soundtrack that oscillates between melody and noise.

Anchorite porn, 2020
Oil on aluminium
246 x 171 cm (96 7/8 x 67 3/8 in.)
Courtesy of Simon Lee Gallery

In the works on paper, Ziegler takes as his point of departure a group of ‘ghost files’: digital images he lost to an unresponsive hard drive fifteen years ago that have recently been retrieved. Rather than returning to the original idea – distorted by the intervening years – Ziegler reconciles the past and present in an entirely new narrative, reactivating the files from their years of suspended animation.

Avatar, 2019
Oil on aluminium
150 x 194 x 3 cm (59 1/8 x 76 3/8 x 1 1/8 in.)
Courtesy of the artist and Simon Lee Gallery

In the oil paintings, which refer to works by Poussin and Jan Van Eyck amongst others, the artist expands this concept, connecting his interest in the abstraction of memory to a broader art historical context. Using an orbital sander to efface the surface of the panel, Ziegler directly contrasts the time-consuming process of figurative painting with the rapidity of erasure. Yet, these works give themselves to the viewer very slowly, compressing time, from the facture of the source painting and its ensuing life span, to Ziegler’s own reincarnation of the image. The strong formal connection that links the works connects Ziegler’s early and recent practice. Both sets of works walk the line between representation and abstraction, collapsing narrative and pictorial space at the risk of dissolving into pure abstraction.

Base rate, 2019
Oil on aluminium
165 x 142 x 3 cm (65 x 55 7/8 x 1 1/8 in.)
Courtesy of Simon Lee Gallery

In Ziegler’s new video diptych, one projection shows a sequence of images relating to historical forms of divination, such as geomancy, extispicy and tarot. The artist has fed these source images into an online similar image search, and presents the results in another projection, as an accelerating sequence of thousands of jpegs which morph from the original. Though ‘visually similar’, the algorithm throws up images that are wildly incongruous in content, juxtaposing fairy-tale cottages with an exploding sperm whale. These sequences reveal systemic stereotypes and power structures prevalent on the internet, but Ziegler also seems to be examining the human predisposition to find meaning and pattern in seemingly random arrangements of images.

Sarah Entwistle, Anu Vahtra, Paul Kuimet / Galerie Barbara Thumm

Sarah Entwistle, Anu Vahtra, Paul Kuimet / Galerie Barbara Thumm

Galerie Barbara Thumm Viewing Room
Online Exhibition.

Curated by Alfredo Cramerotti

Sarah Entwistle
Large-scale folded and dyed cardboard screens fabricated from layered sheets of paper in the colours of architectural drawings – cyan, magenta and sepia, are conceived by the artists Sarah Entwistle and Paul Kuimet as a figurative re-scaling of the architectural archive of Clive Entwistle, grandfather of Sarah Entwistle. The screens act as a spatial scenography for a series of works on paper and steel sculptural objects. The surface of the screens is treated with hand drawn grammatical notations such as ticks, crosses, question marks and hashtags, also borrowed from the archive. With this monolithic re-scaling these symbols take-on an expletive directness and urgency.

Sarah Entwistle - Exhibition view - Courtesy of Galerie Barbara Thumm

Shown together with the screens are a series of works on paper by Entwistle. Using original architectural reprographic prints from the archive the artist has partially submerged the original drawing with blooms of marbling ink. The drawings depict details of the roof structure for the ‚Transportation and Travel Pavilion‘, New York World Fair, 1964. The pavilion designed by Clive Entwistle was articulated by its large spherical roof, imagined as a representation of the moon’s surface replete with craters and texture. 

Sarah Entwistle - Exhibition view - Courtesy of Galerie Barbara Thumm

Concurrently to designing this project C.E was drafting a screenplay entitled ‚Harvest Moon‘, which explored, through the narrative guise of a love story, druidic imagery and feminine mythologies of the Harvest Moon. The moon, recognised as an astronomical body aligned with the female cycles and mythological deities is here reclaimed, and as with other aspects of her practice these works of vandalism attempt a spiritual repatriation of the female narratives and energies held both within the archive and more broadly in her ancestral line.

Sarah Entwistle - Exhibition view - Courtesy of Galerie Barbara Thumm


Anu Vahtra
Anu Vahtra’s works investigate found spatial situations. Initiated by the architectural characteristics as well as historical and contextual background of a certain site, they often focus on the exhibition format and specifics of an exhibition space but also tackle issues of public space. Vahtra composes both physical and photographic space as if through the camera, bearing in mind distinct vantage points. What’s important is that the focus of attention is not so much on what her work depicts but rather on how it relates to and is displayed in a specific space.

Anu Vahtra - Exhibition view - Courtesy of Galerie Barbara Thumm

Untitled (Double over), a series of four black and white photographs created for Galerie Barbara Thumm’s New Viewings, is a result of printing, folding and scanning the images of the empty gallery space. The attempt to bring back the third dimension in a two-dimensional representation of the space suggests an alternative spatial narrative and contributes to Vahtra’s ongoing exploration into site-specific space-oriented problematics. In the exhibition space, the series is juxtaposed with photographic fragments of the space, plotted life-size, and wallpapered directly on the wall.

Anu Vahtra - Untitled (Double over) III, 2020
Archivial pigment print - 135 x 100 cm.

Anu Vahtra has participated in numerous group exhibitions internationally, and has had solo exhibitions in Amsterdam, Brussels, Budapest, Cologne, New York, Prague and Tallinn. She has been nominated for the Kristjan Raud Prize (2015) and the Sadolin Art Prize (2014); in 2015 she won the Köler Prize 2015 grand prix, and in 2017 received the Annual Award of the Cultural Endowment of Estonia’s Foundation for Fine and Applied Arts. In 2017 Vahtra was an artist in residence at the International Studio and Curatorial Programme (ISCP) in New York, where she produced a new performance piece for the Performa 17 Biennial. Currently lives and works in Brussels where she is an artist in residence at the WIELS Contemporary Art Centre. She is also one of the founders of Lugemik Publishing (2010) and Bookshop (2013) in Tallinn.

Anu Vahtra - Untitled (Double over) II, 2020
Archivial pigment print - 135 x 100 cm


Paul Kuimet
A Brief History of Scaffolding / SE Screens juxtaposes photographs from Kuimet’s ongoing series of photographs with the yet to be realized screens/space dividers developed in collaboration with Sarah Entwistle. A detailed image of a scaffolding is somewhat like the smallest structural unit of the modern real estate economy, a temporary and modular element that appears and disappears in every modern city as quickly and inconspicuously as the movement of capital that assembles the scaffolding in the first place. As with the physical screens made of steel and paper, the photographs’ materiality is emphasized by them being presented unmounted and unframed.

Paul Kuimet - Exhibition view - Courtesy of Galerie Barbara Thumm
Paul Kuimet - A Brief History of Scaffolding (Brussels, yellow, blue), 2020
c-print - 48 x 48 cm

Paul Kuimet’s works with photographic installations and 16 mm films, the subject matter of which ranges from landscapes and architecture to autobiographical objects and works of art. Obliquely addressing capitalism and its structure and modus operandi in which we are all immersed, Kuimet visually and aurally presents social and cultural values of our days through a-temporal details and fleeting moments.

Paul Kuimet - A Brief History of Scaffolding 1 (Brussels, sun) , 2020
c-print - 48 x 48 cm

Paul Kuimet’s most recent presentations include solo/duo exhibitions at the Tallinn Art Hall (with Mihkel Ilus, 2020); EKA Gallery, Tallinn (2020); Narva Art Residency (2018); WNTRP Berlin (with Nina Schuiki, 2018); Contemporary Art Museum of Estonia – EKKM, Tallinn (2016); Tallinn City Gallery (2016); Espace Photographique Contretype, Brussels (2016). In 2018 he participated in residency programmes at WIELS Contemporary Art Centre, Brussels and at the International Studio & Curatorial Program (ISCP) in New York City.

Peter Atkins: TV Week 1980 – 1985

Peter Atkins: TV Week 1980 – 1985

Tolarno Galleries Viewing Room
Online Exhibition

26 August to 23 September 2020

“TV Week 1980-1985 attempts to locate pure monochromatic colour within the specific era of the early to mid-1980s.

Peter Atkins' 2019 TV Week series of paintings in his Melbourne studio

The pastel blues and pinks along with the quintessentially ’80s fluorescent greens and yellows remind us that colour can transport us into another time and emotional space. Adding to this, each work in the series has two titles which reference the layered headlines seen on the covers of the popular Australian TV gossip magazine – when television series such as Cop Shop, Dallas, Sons and Daughters, A Country Practice and The Love Boat were prime time viewing for most families in Australia.

1980s TV Week magazines, reference material for the project.

The sensational headline ‘Why Jack Thompson Posed Nude’ coupled with the evocative ’Inside Kamahl’s Sydney Mansion’ was the first work in the series which came from the cover of a magazine picked up in a flea market and led into the entire project as more and more magazines were sourced online.

PETER ATKINS 'Why Jack Thompson Posed Nude / Inside Kamahl's Sydney Mansion' 2019
acrylic on board - 28 x 21 cm.

It appeared that each magazine had increasingly more ridiculous headlines, including ‘Rowena: Why I Killed Pat the Rat’, ‘Nose Job for George Negus?’ and ‘Benny Hill – Why I Shun Women’.
Other titles such as ‘Jamie Redfern – Liberace Was Like A Father to Me’ and ‘New Sexy Rolf Harris’ take on a different meaning, adding a somewhat sinister tone, especially when viewed through the lens of history.
These titles are important descriptors as they help guide the viewer back to particular moments in time.

1980s TV Week magazines, reference material for the project.

I have kept the large bold television shaped text of the TV Week logo intact as it’s a firm memory trigger and an important locator of experience for the viewer of the project.
It’s almost impossible to look back at these magazines with their lurid headlines and storylines and not marvel at the apparent innocence of the 1980s, especially when viewed from the world’s current context.”

– Peter Atkins, August 2020

PETER ATKINS 'Go-Go's Pin-Up / Tony Barber's New Toorak Home' 2019
acrylic on board - 28 x 21 cm

TV WEEK 1980-1985

  1. Why Jack Thompson Posed Nude / Inside Kamahl’s Sydney Mansion
  2. Go-Go’s Pin-Up / Tony Barber’s New Toorak Home
  3. All the Logie Winners / Superbitch Joan Goes on Strike 2019
  4. E.T. the Alien Who Took Over the World / Tony Barber’s Sexy Summer Fashions
  5. Benny Hill – Why I Shun Women / The Woman Who Tamed Erik Estrada
  6. Larry Hagman Feud Erupts / My Shocking Sister Joan – By Jackie Collins
  7. Rowena: Why I Killed Pat the Rat / Nose Job for George Negus?
  8. Larry Hagman’s Crash Diet / Cop Shop Shock
  9. TV’s Magnum Calls Off His Marriage / Wandin Valley Bomb Blast… Who Gets Killed?
  10. JR’s Wicked Women / The Secret Side of Mike Walsh
  11. Women and Me – Tom Selleck Tells / Joan Collin’s Nude Scenes
  12. Secret Side of Dolly Parton / For Olivia the Terror Goes On…
  13. Angry Network Dumps Rowena / Robert Wagner – The Love That Soothes His Silent Pain
  14. Jamie Redfern – Liberace Was Like a Father to Me / Dune Photo Special
  15. Pop’s Bitter Feud – Marilyn Vs Boy George/Thrown in a Communist Jail – Neighbours Beauty Tells
  16. New Sexy Rolf Harris / Penelope Keith’s Husband What’s the REAL Story?
  17. Abigail: Sex Siren Turns Arch Bitch / Brian Mannix Security Scare!
  18. Those Crazy Dukes of Hazzard / Neil Diamond’s Torrid Love Scene
  19. Love, Romance and Andy Gibb / Love Boat Captain Heads Religious Sect
  20. Paula Duncan Back in Uniform / Lee Major Woos Farrah Fawcett Look-Alike
PETER ATKINS 'All the Logie Winners / Superbitch Joan Goes on Strike' 2019
acrylic on board - 28 x 21 cm

Peter Atkins is a leading Australian contemporary artist and an important representative of Australian art in the International arena. Over the past thirty-five years he has exhibited in Australia, New Zealand, England, France, Spain, Italy, Japan, Korea, Taiwan and Mexico. He has been described as ‘a cultural nomad’ by the former director of the Art Gallery of South Australia, Daniel Thomas, ‘an obsessive psychological wanderer’ by curator Simeon Kronenberg, ‘a visual anthropologist’ by the director of Fleisher/Ollman Gallery in Philadelphia, Alex Baker, ‘a visual terrorist’ by Spanish Curator and arts writer Paco Barragan and ‘a hyper-caffeinated bowerbird’ by arts writer Ashley Crawford.

Peter Atkins in the studio, 2018

Atkins’ practice centres around the appropriation and re-interpretation of readymade abstract forms that he documents within the urban environment. This collected material becomes the direct reference source for his work, providing tangible evidence to the viewer of his relationship and experience within the landscape. Particular interest is paid to the cultural associations of forms that have the capacity to trigger within the viewer, memory, nostalgia or a shared history of past experiences. Recent projects including Disney Color Project, Hume Highway Project, Station to Station, Polaroid Project and The Passengers all evoke within the viewer our collective, cultural recall.

Peter Atkins - RAILway 2018
Metro Tunnel Creative Program - City Square, Swanston Street, Melbourne 2018-19

His work is represented in the collections of every major Australian state museum including the National Gallery of Australia, the Art Gallery of NSW, the National Gallery of Victoria and the Museum of Contemporary Art as well as prominent institutional, corporate and private collections.


PUBLICATION LISTED IN THE ITALIAN PRESS REGISTER BY THE SASSARI COURT OF LAW WITH REGISTRATION NUMBER 447/2017.
EDITOR IN CHIEF: ALICE ZUCCA

SUBSCRIBE TO OUR NEWSLETTER
CHECK ALL THE
AND DON’T FORGET TO FOLLOW US ON SOCIAL MEDIA

SO YOU WILL BE ALWAYS UP TO DATE WITH OUR LATEST NEWS

Privacy Settings
We use cookies to enhance your experience while using our website. If you are using our Services via a browser you can restrict, block or remove cookies through your web browser settings. We also use content and scripts from third parties that may use tracking technologies. You can selectively provide your consent below to allow such third party embeds. For complete information about the cookies we use, data we collect and how we process them, please check our Privacy Policy
Youtube
Consent to display content from Youtube
Vimeo
Consent to display content from Vimeo
Google Maps
Consent to display content from Google
X