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#Hirst Takeover
duvalart · 2 years
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I finally pumped up my Kehinde Wiley basketball and I am loving it. So I suppose this is me saying yes to the increasing commercialization we are seeing from blue chip artists. If I am in for EveryDay art, then I will be all in. Perhaps this is Damian Hirst’s takeover of his own market to its logical next step.#everydayart #kehindewiley #damianhirst #basketball https://www.instagram.com/p/CeOYX1-OTzF/?igshid=NGJjMDIxMWI=
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gagosiangallery · 2 years
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Third Phase of Damien Hirst’s Yearlong Gagosian Takeover Opens Today in London
October 5, 2021
Third Phase of Damien Hirst’s Yearlong Gagosian Takeover to Feature Emergency Paintings, Danger Paintings, Hazard Pictures and Seizures Opening in London on October 5, 2021
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It’s about violence and danger and escapism and death and warning signs and being safe or getting caught. —Damien Hirst LONDON, October 5, 2021—Gagosian is pleased to present Emergency Paintings, Danger Paintings, Hazard Pictures and Seizures, the third phase of Damien Hirst’s yearlong takeover of the Britannia Street gallery. The exhibition features paintings, photographs, and sculptures that address the experience and emotions of warning, danger, crime, rescue, and death. The works take their inspiration from a variety of sources, including the bold designs on emergency vehicles, the skins of dangerous animals, and media images of police activity. The exhibition follows the inaugural installment in the takeover sequence, Fact Paintings and Fact Sculptures, and the second, Relics and Fly Paintings. The Emergency Paintings series (2014–16) was born from long car journeys during which Hirst was struck by the graphics emblazoned on emergency vehicles and their use of color as a warning. He took photos of these disturbing and beautiful designs with his phone and incorporated their high-visibility stripes and chevrons into his paintings. Powerfully conveying a sense of real-world crisis, these works also evoke the hard-edge abstractions of such painters as Ellsworth Kelly, Kenneth Noland, and Frank Stella. Featured alongside the paintings is a framed selection of Hirst’s original source photos, which the artist values for their raw documentary quality: “They aren’t careful or considered. . . . They are quick and easy snaps taken as the world was flying by,” he remarks, “and all the better for it.”
Also on view at Britannia Street are several smaller oil-on-canvas compositions from the related series Danger Paintings (2016). These show close-up views of the skin of dangerous animals including poisonous frogs, snakes, insects, and sea creatures—living things that employ color and pattern to signal their danger to potential predators. As Hirst notes, this coloration represents “a thing that nature does that’s similar to what we do on emergency vehicles. We stole the idea from nature, of course, and hid it in geometry.” Finally, the exhibition includes several sculptures based on media photographs of police drug seizures, in which large quantities of illegal substances are displayed to promote the authorities’ success. The Seizures series (2021) represents a continuation of Hirst’s long-standing fascination with drugs and medicine—which has also resulted in such iconic series as Instrument Cabinets, Medicine Cabinets, and Pill Cabinets—and reflects his interest in and use of systems of taxonomy and display. Damien Hirst was born in in Bristol, England, and lives and works in London and Devon, England. Collections include the Museo d’Arte Contemporanea Donnaregina, Naples, Italy; Museum Brandhorst, Munich; Museum für Moderne Kunst, Frankfurt am Main, Germany; Stedelijk Museum, Amsterdam; Centro de Arte Dos de Mayo, Madrid; Tate, London; Israel Museum, Jerusalem; Astrup Fearnley Museet, Oslo; Gallery of Modern Art, Glasgow, Scotland; National Centre for Contemporary Arts, Moscow; Museum of Modern Art, New York; Hirshhorn Museum and Sculpture Garden, Washington, DC; Art Institute of Chicago; The Broad, Los Angeles; Museo Jumex, Mexico City; and 21st Century Museum of Contemporary Art, Kanazawa, Japan. Exhibitions include Cornucopia, Oceanographic Museum of Monaco (2010); Tate Modern, London (2012); Relics, Qatar Museums Authority, Al Riwaq (2013); Signification (Hope, Immortality and Death in Paris, Now and Then), Deyrolle, Paris (2014); Astrup Fearnley Museet, Oslo (2015); The Last Supper, National Gallery of Art, Washington, DC (2016); Treasures from the Wreck of the Unbelievable, Palazzo Grassi and Punta della Dogana, Venice (2017); Damien Hirst at Houghton Hall: Colour Space Paintings and Outdoor Sculptures, Houghton Hall, Norfolk, England (2019); and Mental Escapology, St. Moritz, Switzerland (2021). Hirst received the Turner Prize in 1995. __________ DAMIEN HIRST Emergency Paintings, Danger Paintings, Hazard Pictures and Seizures Open from October 5, 2021 6–24 ­Britannia Street, London _____ Damien Hirst, Safety, 2015, acrylic and acrylic lacquer on canvas, 94 × 84 inches (243.8 × 213.4 cm) © Damien Hirst and Science Ltd. All rights reserved, DACS 2021
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jordi-gali · 3 years
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"End of a Century" an exhibition of over fifty early works by Damien Hirst, spanning his formative years as a student in the 1980s through the 1990s, when he became one of Britain’s leading contemporary artists, reopens today at Newport Street Gallery, London. Featuring installations, sculpture, and paintings, some of which have not been seen before, the show surveys a selection of Hirst’s most iconic series. Concurrently, "Fact Paintings and Fact Sculptures," the first phase of Damien Hirst’s yearlong takeover, is on view at Gagosian, Britannia Street, London. The show sees Hirst as both artist and curator, presenting this deeply personal series of work created between 1993 and 2021 through his own eyes. Follow the link in our bio to learn more about the exhibitions.
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#TAKEOVER Darwin, Sinke & van Tongeren @finetaxidermy // As enthusiasts and collectors of finely crafted Victorian taxidermy, we often discover that much of what presents itself to us in the marketplace is either in very poor cosmetic condition or crudely fashioned by amateur taxidermists from years passed. Its quite rare to find a taxidermist that can encompass the style and aesthetic of Antique natural history and intertwine it with a 21st century flare and modern knowledge of the craft. @finetaxidermy Dutch Artist duo Sinke & van Tongeren take that very concept of 17th Century Flamboyant Taxidermy and recreate a 21st Century modern day work of museum quality art. Their works are collected around the world with their second exhibition entirely acquired by Damien Hirst for his 'Murderme' Art collection. They strictly work with animals from Zoo's and breeders that died of natural causes (none of their specimens have been taken from the wild). @finetaxidermy is considered by us to be the most innovative and skillful taxidermists of the 21st century.
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@odditiesfleamarket : Beautiful Bizarre guest curator.
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#beautifulbizarre #artmagazine #odditiesfleamarket #ryanmatthewcohn #reginamariecohn #finetaxidermy #sinkevantongeren #oddities #fleamarket #darkart #macabre #skulls #taxidermy #reliquaries #sculpture #bizarre #gothic #anatomy #vanitas #art #culture #takeovermonday #takeover
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joel-furniss-blog · 4 years
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Destroying Art
Artwork is centred around creation. The act of making art is exactly that, to make, to bind raw resources both physical and mental and distil them into a finished product. Whether the laying of paint, melding of clay, marking of charcoal, or whatever in between and beyond, art has always been about creating. Originally what was created was something of aesthetical import, something beautiful to excite the senses, but under the progression of society past tradition art was being made that did not excite the eyes but instead flared the mind, the takeover of conceptual art.
The forebearer of conceptual arts lofty goals came in the form of anti-art, a topic I’ve been discussing at length in recent research due to its contextual relevance of my work. Recently I’ve begun questioning my place (if any) in the artworld and the overall pushed notion of the fabled ‘professional artist’ my tutors hold in such high esteem, mainly wondering if that’s a title suited to myself. Perhaps the title of artist isn’t my suit, but rather that of an anti-artist? And if I wish to become the antithesis of an artist, I should not seek to make art, but to destroy it.
I’ve been fascinated with the whim of what could be considered the ultimate artistic subversion for a while now, since last year where I repurposed materials from semester one to continue with in the second semester. The act of reducing my previous work’s sentimental and artistic values to aid my future work as a form of upcycling felt satisfying in an odd way, mainly for its oxymoronic nature. Art is often thought as a culturally sacred ideal, often highly valued (although the work of an art student holds noticeably less value than anything in Sotheby’s) so the act of ruining and repurposing it seems irreverent to the artist who made it and the potential viewer. However, if an artwork remains to the artists who made I, it’s entirely in their right to desecrate, decimate, or otherwise destroy their belongings.
And some artists have indeed done exactly that. Past examples include famous artists often seen as masters of their craft which deem their work unsatisfactory enough to destroy, as an attempt to save themselves the perceived embarrassment of having to display them. Michelangelo, unhappy with his statue The Deposition (1547-55), violently attacked it with a hammer, severing Christ’s leg in the process which remains missing. Claude Monet found many of his revered Water Lily paintings unfit for exhibition and had them demolished, with plans to destroy more before his death. Georgia O’Keefe, before an 80’s solo exhibition at the Whitney Museum, trimmed her catalogue, much like Monet insisting that some were not at her ‘level’.
Examples of artist’s rendering their work inert through repurposing and upscaling is likewise present, typically stemming from a financial lacking. Pablo Picasso’s The Old Guitarist was painted on an already complete canvas, as was Vincent van Gogh’s Patch of Grass, each example theorised as a decision made due to the artist’s inadequate funds at the time, an example of necessary upcycling. Other examples include the covering of minute Easter Eggs, such as Kazimir Malevich’s early Suprematism/monochrome painting which has recently revealed as being painted atop a Cubo-Futurist design featuring the description: ‘Battle of negroes in a dark cave.’, a reference to Alphonse Allais’ all-black comic panel titled similarly, which itself is a reference Paul Bihaud’s also similarly named proto-minimalist painting.
While interesting examples, these all stem not from a need or exploration of destruction, but from the artist’s largest enemy, their ego. Deemed unworthy by the creators themselves in either fits of rage, elderly introspection, monetary restrictions, or simple pride, they dismantled and devalued their own works because of self-defined sense of place as an artist, their own ego holding them to a standard which is literally destructive. I should note however while some injustice is felt from the fact that these works are lost, ultimately, it’s the artist’s opinion and decision, which I personally believe is paramount to an art piece.
Destroying one’s own art for pride’s sake has been done by many artist’s, but what of the opposite, destroying one’s own art for the sake of art itself. As previously stated, doing so would subvert art’s creative power, but now we know it also subverts the source of art’s creative power, the artist’s own ego. Despite art’s relationship with the viewer, which typically decides its value, art can also be viewed as a sole extension of the artist’s self and thus destroying it is a self-destruction, an infanticide of the work or furtherly a suicide of the artist. It’s an interesting theme for its subversive and contradictory aspects, it raises questions about art’s value, the relationship between artist and audience, and the overall place of the artist.
Before I list some important samples of artists destroying their own work, I’d like to briefly highlight some examples of artist destroying the works of other artists, a similarly artistic sacrilege yet lacking the interference of the ego to focus solely on the profane idea of ruining art. A nice example is Erased de Kooning Drawing (1953) when Robert Rauschenberg took a painting from artist friend Willem de Kooning and completely erased every trace of it from the canvas, leaving a mere textured plain with little hints of the paintings past. A more contemporary example is when brothers Jake and Dinos Chapman purchased a mint set of Francisco Goya’s revered Disasters of War prints and ‘rectified’ them via inclusions of clown makeup, cartoonish grins, and Mickey Mouse-esque heads, which many saw as an act of artistic vandalism. While not entirely relevant to the ideas I seek I still hold an appreciation for the bold artistic tactics employed shown, questioning art’s value and role into society and whether the destruction of art is art within itself.
As I’ve drawn examples of artist’s destroying their own work out of status and artist destroying other people’s works out of artistic intention, I’d like to finally broach those artists who subvert the ego through anti-art philosophies and conceptual grounds and display through performance or adjacent recordings. An early example is the task undertaken by American painter John Baldessari in his aptly titled Cremation Project (1970) in which he took a total of 123 paintings made between May 1953 and March 1966 and incinerated them in a crematorium, documenting the whole process through photographs and slides of the works. As a final installation Baldessari baked a small portion of the ash into cookies (which he referred to as ‘corpus wafers’), forged a commemorative bronze plaque dating the ‘birth’ and ‘death’ of the works, and published an affidavit in the San Diego Union newspaper noting the work’s destruction, a sort of artistic obituary. The event itself is not only an example of grand artistic suicide/spectacle but also delves into concepts of morality by using the crematorium as a space/material, but also cycles as seen in the cookies representing cycles of digestion (the paintings and the cremator) and excretion (the ash).
An example close to Baldessari but more contemporary and personal is that of Young British Artist Michael Landy who for his work Break Down (2001). For the ambitious project he catalogued all 7,227 of his worldly belongings including all his food, his clothes, furniture, art materials, his art collection (including works by Tracy Emin and Damien Hirst), books, his car, and even his vital records including his birth certificate and passport. He then organised his possessions into categories and systematically destroyed them all in a two-week period using a reverse-assembly line track in which a series of workers individually shredded, smashed, and crushed them into debris. The process was recorded as part of a documentary and open to the public, attracting 45,000 viewers and ultimately amounting to a six-tonne pile of granulated waste either recycled or sent to landfill and a 300-page book showcasing a full inventory of his belongings. An intentional reaction to consumerist society, the performance also holds some relevance toward my focus as Landy disposed of not only his own physical artworks but also those in his collection, some of which would be considered precious today. It suggests that art is a consumer product like food and clothes, that assigning it a monetary value actually devalues it to a mere product, and not something that incites thought or excites the senses.
An even more recent and largely banal example is when in 2018 a print of street artist Banksy’s Girl With Balloon was presented for auction at Sotheby’s in a suspiciously large frame. Sold for a record sum of £1,042,000, moments after the gavel banged the work began shredding itself using a mechanism built into the frame. Playfully titled a prank by the media, Sotheby’s commented that they had no knowledge of the auto-destruction and championed it as "the first artwork in history to have been created live during an auction" while the work was sold for the original price and gained a new-found publicity as a result. With the publicity the work came under scrutiny, and considering the unusual thickness of frame compared to the piece, the unnoticed weight of the shredder, the artwork conveniently halting halfway despite originally rehearsals fully shredding it, and speculation the video recording the event was filmed by someone in Banksy’s circle, it’s easy to see where the conspiracy took root. Given Banksy’s supposed sell-out status I personally choose to believe that he and Sotheby’s were in cahoots around this prank, and if it is true it shows how the destruction of art can be bastardized. As a rebellious act, an extension of taboo and contradictory self-destruction, it loses some validity when its endorsed by one of the most elite establishments in the artworld, its as if the Queen was the manager for the Sex Pistols.
Despite some critique for the subject, I hold an appreciation for all previously discussed works mainly for their sheer contraction ethic. I love contradiction, as a way to goad and reveal root meanings and problems I find it a useful tool and aids my quest for subversion. Destroying artwork is a contradiction, a confusing farce. Why destroy something that took time, effort, and passion for someone to make? But remember that destroying an artwork in itself takes time, effort, and passion as detailed by my examples (and state-sponsorship in one case). I shall continue to experiment with the theory and practice of decimating and destroying art, but I might not take it to the extremes set by Landy.
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cryptoevent · 3 years
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Angst and anger as NFTs claim high-culture status
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It’s as immutable as a blockchain company: Irreplaceable tokens, or NFTs, have made art history forever. While some in the Arterati movement swoon at the thought of unwashed digital hordes besieging their domain, the reality is that the two worlds of great art and crypto are destined to become one.
You may never have heard of Mike Winkelman, but at least one art icon is willing to say he can get a spot next to Pablo Picasso. The 39-year-old artist, better known as Bipple, has managed to make his way into more than half a dozen different encyclopedias after auctioning off his career summary collage, The First 5000 Days, for a whopping $69.3 million today.
Son of a bitch.
– beeple (@beeple) March 11, 2021
The auction set numerous records and earned Winkelman a number of superlatives that collectors and NFT competitors will no doubt be rubbing their hands with: third most expensive item sold at auction by a living artist, first all-digital NFT auction at Christie’s, and most expensive NFT ever sold.
Except that the $69 million price tag not only exceeds some of the biggest records, but also marks the end point of no return. If ever there was a chance to shake up the narrative, to change the course of the zeitgeist, it has passed. Beeple is now an artist of world historical importance; Beeple is high culture. Bipple has sold his work as NFT; NFT is the new medium of high art. The debate is over and we wonder what it all means.
As told by Kenny Schachter, writer-artist-curator-teacher-dealer:
Whether the art world likes it or not, this is the art world of today […] These are the people who will revolutionize the industry – they already have – and change the way people collect and what they collect. It’s already happened.
The great irony, of course, is that the world of fine arts and that of cryptocurrencies have more in common than not. While the guardians of high art scramble to protect what Miner calls the last bastion of expression untapped by the media from the corrupting invaders of the NFT, the existing culture, ethics and technology of the NFT could ensure that the last bastion retains its elite status for generations to come.
Abundant Fear Quotes
Bipple is one of the nation’s largest digital artists and one of Christie’s largest traditional auction houses, said Aaron Wright, co-founder of OpenLaw Auction and NFT Flamingo DAO Investment Group. NFTs no longer operate on margin. They settle in the heart of the art world.
It’s a change that even people who have long been involved in the NFT field, like collector and developer Nate Hart, haven’t gotten around to. Just two years ago, Hart was participating in NFT hackathons and shipping independent projects; now he’s being interviewed about his collection on national television news.
Beeple is a pretty crazy thing to me. It doesn’t strike me as something that can be classified as high art, but I’ve long expected some of the more elite NFTs like CryptoKitties #1 and/or CryptoPunk Aliens to end up at Christie’s or Sotheby’s, Hart said. I have a couple of NFTs that are now worth 6 figures and I’m wondering: Am I now a top quality art collector?
This is exactly the time when the elite of dealers, collectors, gallery owners and other standard-bearers of the art world are having an apoplectic fit. There was a wave of grumbling, disguised as food for thought, from representatives of the art world, high and low: Georgina Adam cited scary quotes that most established participants in the art world would be appalled by much of the art offered as NFT; Brian Droitcourt called most offerings on SuperRare derivative junk and said the broader crypto space is fundamentally pyramidal in nature ; And before dismissing some of his statements in the Cointelegraph interview as foolish, Schachter combined Adams and Droitcourt’s views by saying that much of the NFT art doesn’t communicate and only has its exchange value.
Art critic Blake Gopnik was particularly clear in an interview with Marketplace:
No one, I hope, is suggesting that these are timeless works of human creativity and genius, because as works of art they are just commonplace.
In addition to these qualitative arguments, allegations against Artereti’s custodians have been circulating lately in the form of accusations of catastrophic environmental impact from the NFT, a tired old galoot that the broader crypto-currency world has been pushing away for over a decade. The thing about crypto is that it can fight over and over again: Outsiders vastly underestimate the fun nerds take in creating rebuttal blogs.
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– Moxarra Gonzalez (@Moxarra) March 10, 2021
If digital currency enthusiasts feel like they’ve heard it all before, that’s because they have – It’s going to be Blockchain, not Bitcoin…. It’s a nice experience,but there’s no way to keep it up….. It’s a Ponzi scheme; the only value comes from the biggest fools. There are some minor variations in terminology and language (art instead of currency), but ultimately it’s the same long-dollar-note cocktail.
Strange, my bed is the son of a swallow
Even those in the art world with a greater sense of nuance (or the financial interest in embracing a new trend, take your pick) notice the cyclical nature of these critics’ arguments.
Noah Davis, a specialist in post-war and contemporary art at Christie’s and curator of the Beeple auction, told Cointelegraph that the clutch’s reaction was not unlike the rise of the street art category as a major collectible, with the controversy surrounding the work of maverick artists like Banksy paradoxically legitimising the work of auction houses.
A similar opinion is shared by Damien Hirst, the iconic British artist who recently stated that he loves cryptocurrencies and would print them. When Hirst and other young British artists appeared on the scene in the late 1980s, critics began the same predictable and frighteningly violent tirades, even writing entire books about why Hirst’s work was a sham. Today he is one of the most attractive artists at auctions.
Hurst told Cointelegraph that a critical robbery is a rodeo he has been to at least once:
I have yet to hear a good argument as to why this new cryptographic art is not art, and this is how it always starts, there is no doubt that Bipple (Mike Winkelman) is a damn great artist, and why shouldn’t he put himself on par with all the great artists in history? I love it when something upsets the narrow-minded art world, and when that happens, in my experience it usually doesn’t go away anytime soon.
The Santimillionaire also spoke about his own project, NFT Currency, which will be released later this year – a release that makes him the most prominent institutional artist to make the jump into the NFT art world.
Ideology, art and technology
What makes Artery so picky is that the NFT, as an art movement, resists easy historical contextualization. It is not a semi-homogeneous aesthetic trend like Pop Art or Post-Internet, nor is it a mere technological advance like photography – nor can it be reduced to an ideological movement like the Situationists or Dadaism. It is a free and dynamic mixture of ideology, art and technology. But despite this ever-changing landscape, critics have sought and found the necessary ingredients in this suspension to cause dyspepsia.
On the contrary: The participants of the youth movement are extremely optimistic. The gmoney NFT manifold has three major technical innovations:
I think there are a few things that distinguish art from blockchain as a movement. Firstly, the artist can come into more direct contact with his collectors. The second is the demonstrability of the work and the possibility of being paid for that work. And thirdly, it is an international market that is open 24 hours a day, seven days a week.
Combine these characteristics of blockchain with a free and open nature and an aesthetic that, for better or worse, tends to be bright and more or less expressive, as Hart says, and you have the contours of something that at least vaguely resembles a full-fledged art movement.
Critics, however, point out that, with the exception of blockchain-based technological advances, everything the NFT arts movement puts forward has been done before. According to Droitcourt, pure digital art has been experimented with since the 1990s, and many observers note that NFT artists are mainly introducing well-thought-out forms that artists have been experimenting with since the emergence of digital art in the 1960s.
Aside from these annoyances, most critics just don’t like NFT art. The reason for this is that: NFT art doesn’t know how to remove the little finger.
The descriptions are lurid, cartoonish and similar to what you might see in the back of a pickup truck. We need a little more critical engagement. There is more than a faintly paternalistic belief that NFT artists need to open a few history books and learn art-arts if they really want to have a lasting historical impact.
Tin Tulips
Most of the above comments come from one particular critic: Miner. But someone who describes himself as the most democratic person you’ll ever meet, holding a position in the visual arts world, has since given up at least some of that and now thinks NFT art is heading for an institutional takeover.
Anyone who laughs at it will have it hanging on their wall in five to ten years’ time, he told the Montelegraph.
Rather, Shachter’s face reflects the transformation of the rest of the art world. And how could they not? The cryptocurrency market is fast approaching half a billion dollars, a growing percentage of the overall art market. If you want blockchain tech and blockchain new money, existing cultural capital blockchain art is the necessary stick.
The air is out of the ether and nothing will push it back, Schachter said. There will be price hyperinflation with some specific phenomena, but it is by no means a bubble.
However, in both worlds, marriage requires a period of mutual maintenance. Mr. Schachter is currently teaching an NFT course at New York University (it was supposed to be a course on the history of furniture design, but the students asked for more current content), and is delving into the history of NFT and NFT art.
He says he loves anarchy and nihilism, I love it when these people upset and shake up the art world, but he laments the lack of contextualization of NFT artists in terms of their place in art history.
I wrote for my grandmother @opensea pic.twitter.com/3NNZgEI0ck
– kenny bergmann (@kennyschac) 7. March 2021
Some of these artists don’t know who Calder, Giacometti, Miro or the most famous artists are, he said. […] These people are artists, I don’t care if they know who Basquiat is or not, if someone does something that is a visual medium, then everything is fair. But if you want it to be art, or call it art, open the book.
It is a burden he places on himself, on the NFT artists and on the art world, which must learn from each other’s stories and adapt to the new technological world.
Covid has accelerated the art world’s dull and foolish relationship with technology, moving it forward 15 years in one year, he said. There’s no turning back.
To bring these two worlds together, Miner is curating NFT’s Breadcrumbs art exhibition, which opens September 9. April in the German gallery Nagel Draxler. The preview shows that the Cryptopunks and Pepe, among others, will be there:
Breadcrumbs is an NFT art exhibition at @nageldraxler in Cologne, Germany, which will open on 9… April will be open. A list of artists to follow…. pic.twitter.com/MmHHC7HpIu
– kenny bergmann (@kennyschac) March 10, 2021
If there is a battle line between the traditional art world and the NFT world, Miner’s position is clear (even if he throws grenades in different directions). By asking for breadcrumbs, the commissary’s theme was not subtle:
It’s about making the art world believe it’s art, whether you like it or not.
Citadel, meeting with Bastion.
Of the dozens of reviews I read, only one was nearly correct.
In an article for her publication, Marion Maneker, president of ARTnews, portrayed cryptocurrencies as barbarians who have successfully taken down financial skeptics and are now scouring the country to flatten another city – a city that, as Maneker implies, exists only in her imagination.
It’s not about art. It’s not even about the money, he wrote. […] He is about to overthrow what many proponents of cryptography consciously or unconsciously consider the last bastion of a distant, opaque and gnostic high culture.
Mr. Maneker, whose resume is surprisingly long (he has worked for three different publications with New York in the title), suggested that the idea of an isolated, elite art world was absurd, using largely unpublished quotes – a notch above the quotation marks. After reading his resume, I don’t believe it.
Snobbery aside, Maneker was finally treading on the right path of psychodynamic diagnosis, but he just came to the wrong conclusion. Barbarians don’t always break and fall; in fact, there is good historical evidence that barbarians are sometimes lovers, not fighters. And like ancient Rome, the art world can skillfully bring strangers together.
Bitcoins and cryptocurrencies joke about the Citadel, a dystopian future in which they have become a permanently entrenched neo-aristocracy after the collapse of the outdated financial system. The Citadel needs art – and residents need to feel important. The barbarians don’t want to burn down the Last Bastion, they want a ticket.
For now, the art world wants cryptocurrencies; soon, after a few more years of snobby quotes, it will want art too. The Citadel and The Last Bastion will become one, and visual art and NFT will consummate their marriage. The two already intolerable communities are destined to produce terrible ideological children who will undoubtedly earn the guillotine, and the cycle will begin again.
Water falls from the sky, but the oceans never fill up. Blockchain and art are shaped by a destructive/regenerative dual energy – an energy that excites artists like Hirst:
Picasso made childlike art when he was a grandiose old man, Cy Twombly sells paintings for millions that look like doodles that know very well. Who knows what will happen next? Which is appropriate. Let those who are not yet born decide.
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arth415 · 5 years
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The exhibitions have immersed audiences in an impactful and significant experiential context — from damien hirst’s mysterious treasures of venice to yayoi kusama’s takeover of david zwirner gallery in New York.
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gagosiangallery · 3 years
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Damien Hirst at Gagosian Britannia Street, London
June 10, 2021
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DAMIEN HIRST Relics and Fly Paintings
Open from June 5, 2021 6–24 Britannia Street, London __________ I always say [my work is] about life, but I don’t know, I suppose it does dwell on the dark side. —Damien Hirst Gagosian is pleased to present Relics and Fly Paintings by Damien Hirst, the second phase of the artist’s yearlong takeover of the Britannia Street gallery, following the inaugural exhibition of Fact Paintings and Fact Sculptures. For this new iteration, the artist has clad the interior of the gallery in black butterfly-patterned wallpaper that reproduces the kaleidoscopic surface of his painting Valley of Death (2010). With its uniquely immersive atmosphere, the exhibition brings together a number of Hirst’s bodies of work, prompting reflections on themes of darkness and death, the past and the future. Hirst’s Relics are memento mori: cast in bronze, they depict corpses, skeletons, and mummies in meticulous detail. Juxtaposing morbid realism with fantastical sources of inspiration, these bodies frozen in time emphasize the artist’s deft combinations of art, science, history, and religion. A suite of metallic Meteorites of various sizes continues Hirst’s engagement with the concept of the simulacrum and plays into the long-standing human fascination with outer space. The monumental sculpture The Martyr – Saint Bartholomew (2019) follows the historical tradition of depicting its subject flayed alive as an écorché figure study, balancing biblical devotion with a similar reverence for the human body. While Hirst’s sculpture is a nod to this centuries-old artistic practice, the holy man’s solid stance and gleaming figure are also reminiscent of a robot or a modern anatomical model.
Hirst incorporated real insects into his Fly Paintings, mining their myriad symbolic associations with cycles of life and the fear of death. Like much of his oeuvre, these paintings revel in startling dichotomies while harking back to various formal precedents; subjecting organic matter to the strictures of geometry, they evoke Kazimir Malevich’s Black Square (1915) and Richard Serra’s black paintstick drawings, among many other references. The Fly Paintings offer a hauntingly detached perspective on human existence that is at once microscopic and macrocosmic in its purview. Damien Hirst was born in 1965 in Bristol, England, and lives and works in London and Devon, England. Collections include the Museo d’Arte Contemporanea Donnaregina, Naples, Italy; Museum Brandhorst, Munich; Museum für Moderne Kunst, Frankfurt am Main, Germany; Stedelijk Museum, Amsterdam; Centro de Arte Dos de Mayo, Madrid; Tate, London; Israel Museum, Jerusalem; Astrup Fearnley Museet, Oslo; Gallery of Modern Art, Glasgow, Scotland; National Centre for Contemporary Arts, Moscow; Museum of Modern Art, New York; Hirshhorn Museum and Sculpture Garden, Washington, DC; Art Institute of Chicago; The Broad, Los Angeles; Museo Jumex, Mexico City; and 21st Century Museum of Contemporary Art, Kanazawa, Japan. Exhibitions include Cornucopia, Oceanographic Museum of Monaco (2010); Tate Modern, London (2012); Relics, Qatar Museums Authority, Al Riwaq (2013); Signification (Hope, Immortality and Death in Paris, Now and Then), Deyrolle, Paris (2014); Astrup Fearnley Museet, Oslo (2015); The Last Supper, National Gallery of Art, Washington, DC (2016); Treasures from the Wreck of the Unbelievable, Palazzo Grassi and Punta della Dogana, Venice (2017); Damien Hirst at Houghton Hall: Colour Space Paintings and Outdoor Sculptures, Houghton Hall, Norfolk, England (2019); and Mental Escapology, St. Moritz, Switzerland (2021). Hirst received the Turner Prize in 1995. _____ Damien Hirst, Destruction, 2008, flies and resin on canvas, 84 × 84 inches (213.4 × 213.4 cm) © Damien Hirst and Science Ltd. All rights reserved, DACS 2021
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Damien Hirst Meets Downton Abbey: Inside the Artist’s New Polka-Dot, 18th-Century Takeover
Damien Hirst’s signature spots can now be found all throughout the former home of Britain’s first-ever Prime Minister at Houghton Hall. Powered by WPeMatico
The post Damien Hirst Meets Downton Abbey: Inside the Artist’s New Polka-Dot, 18th-Century Takeover appeared first on NOBLES FASHION HOOD.
from NOBLES FASHION HOOD http://www.noblesfashionhood.com/damien-hirst-meets-downton-abbey-inside-the-artists-new-polka-dot-18th-century-takeover/
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peryerdesign · 6 years
Video
#Repost @designmuseum (@get_repost) ・・・ 7/9 In 2015 Banksy invited me to take part in a contemporary art show he was planning in an abandoned theme park in Weston-Super_Mare. The show was to be called Dismaland. Banksy was initially interested in my collapsed yellow face paintings and asked if he could exhibit one at the show. We then got on to discussing other ideas and how if rather than just displaying a painting I could actually build one that rotated and all of the bits of the face tumbled around as it turned. This idea manifested itself as a video installation with the animated sequence displayed on a large circular screen that looped continuously.⠀ ⠀ I was one of 58 artists exhibiting in the show including Damien Hirst, Jenny Holzer, David Shrigley and of course Banksy. - @jamesmjoyce ⠀ •⠀ •⠀ •⠀ •⠀ •⠀ #jamesmjoyce #Banksy #Dismaland #contemporaryart #art #movingimage #installation #jamesjoyce⠀ #exhibition #takeover #openstudio #artiststudio #sneakpeek #design #illustration #colour #arte #artanddesign #instaart #instaartist #creativity #votd #videogram #smileyface
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londontheatre · 6 years
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The newly conceived production of Richard III at the Barons Court Theatre, reinterpreted through the lens of the East London gang rivalries during the 1960s, is an enterprising (if not fully formed) conception. While the seediness of East London does indeed provide the premise and setting for the play, the dynamic of this postulation is not wholly explored once it gets underway. The text is left largely untouched, apart from appropriating some (not all, which leads to some of the confusion) locations to London and an added East London expletive here and there.
One aspect of the play that is impressively conceived is the splitting of the title role into two parts, and the presupposed allegory of their identities as the Kray twins provides an entertaining twist. While they are not addressed by name as the infamous gangsters, in keeping with the production’s choice to retain the original cast of characters, the roles are portrayed very much with this in mind, accents and all. Samuel Parkinson, who enacts the sinister, more menacing aspect of Richard’s character (ostensibly an incarnation of the notoriously darker brother, Ronnie Kray), is the show’s standout performer.
The separation of the characters means his role is comprised predominantly of Richard’s inner narrative with the audience, and thus intrinsically contains the majority of the play’s best lines. With neither of the two actually affecting Richard’s deformity, Parkinson’s skilfully perverse bodily contortions, embodying all of Richard’s depravity, become a suitable metaphor for his ‘deformation’ as it were.
His co-star Duncan Mitchell, the second inhabitant of Richard, gives a solid performance, if occasionally slightly monotone. Mitchell is impressive in his handling of the play’s confrontational scenes, but from time to time relies on it too heavily, and is less convincing in the character’s more subtle moments. This is partly a product of the decision to split the characters; in a paradoxical way, it results in Mitchell’s character having less emotional depth to it than in a typical production.
Elsewhere, Beatrice Lawrence produces an accomplished performance as Queen Elizabeth and is the most assured in grappling the prose, while Harry Omosele is promising in his renditions of first Clarence, then the conniving Buckingham. Director Matthew Turbett uses his limited space efficiently, and the fight scene at the culmination of the piece, adapted to a street style boxing match between the two warring parties, is curated with aplomb. Whilst the production is somewhat ambiguous, especially in its execution of its premise, as a whole it should be commended for its ambition and endeavour.
Review by Wilf Dutton
After months of gang violence, an uneasy and tenuous peace returns to the East End. With Edward on his deathbed, who will claim the inheritance of The Firm? His younger twin brothers may have their eyes set on leadership, but they are not alone: they will have to do everything they can to secure their rule against the threat of Edward’s daughter. Meanwhile, more gangs assemble south of the Thames in preparation for a bloody takeover to oust the Krays from their throne, one which will shake the criminal underworld of London to its core.
The eponymous role of Richard III has been reinvented as two characters in this production to echo the most infamous gang leaders in 1960s London.
Cast: Richard III – Duncan Mitchell (Guildford School of Acting), Samuel Parkinson (Drama Centre London) Queen Elizabeth – Beatrice Lawrence (Central School of Speech and Drama) Duchess of York – Debbie Bird (ALRA) Clarence/Buckingham – Harry Omosele Princess/Lady Anne/Secretary – Bibi Lucille Salmons Rivers/Catesby – Brian Adam Merry Hastings/King Edward/Murderer/Mayor/Tyrell – Cyril Blake
Creatives: Director – Matthew Turbett Assistant Director – Roselle Olivia Hirst Executive Producer – Patrick Wilson Producer (Marketing) – Daniella Harrison Production Manager – Kevin Forde Marketing Design – James Cassir Composer – David Denyer
Supported by StraightUp Productions
Start time: 7:30pm Tickets: £16 (£12 concession) Reservation: http://ift.tt/2zI6qLn (pay in cash on the door) Location: Curtains Up Pub, 28a Comeragh Rd, W14 9HR
http://ift.tt/2xjzsPP London Theatre 1
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b-sidemusic · 6 years
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NEWS: HAIL BBC, SIR!
This week is the 10th anniversary of BBC Introducing and to mark the occasion three of East Anglia’s Introducing shows are putting on a series of (mostly free) events at various venues around the region.  Here’s a quick round-up of what to expect from the next seven days: 
BBC Introducing in Suffolk
Monday 2nd Oct, 7-8pm - Live on BBC Radio Suffolk with as-yet-unannounced special guests.
Tuesday 3rd Oct, 7-11pm - Live on air from Ipswich Smokehouse until 8, followed by a free gig with Underline The Sky, Impilo and NotFamous.
Wednesday 4th Oct, 7-8pm - Live on BBC Radio Suffolk with a session from ShiningPath.
Thursday 5th Oct, 7-8pm - Live on BBC Radio Suffolk with a session from Izzy’s Daughter.
Friday 6th Oct, 7-11pm - Live on air from Bury St Edmunds Hunter Club until 8, followed by a free gig with Gaffa Tape Sandy and Cathedrals & Cars.
BBC Introducing in Suffolk is hosted by Graeme Mac and Richard Haugh every Saturday, 8-9pm on BBC Radio Suffolk.  For more info and announcements, see their Facebook page here. 
BBC Introducing in Norfolk
Tuesday 3rd Oct, 7.30-11pm - Gig at Norwich Open with Mullally and Maya Law. Wednesday 4th Oct - All-day takeover of BBC Radio Norfolk with live sessions from Milly Hirst, Sefo Kanuteh, Mullally, PlayingHouse, Ginny DIx, Lewis Riches, The Revelation Brothers, The Watanabes, Lucy Grubb, Youth Killed It, Franko Fraize, The Renadeens and Magoo.
BBC Introducing in Norfolk is hosted by Sophie Little, Jay Lawrence, Amy Nomvula and Sam Day every Saturday, 6-8pm on BBC Radio Norfolk. For more info and announcements, see their Facebook and Twitter pages. 
BBC Introducing in Essex
Sunday 8th Oct, 7-11pm - Free gig at Southend Chinnery’s with Arcaves, Freak and Georgia Box.
BBC Introducing in Essex is hosted by Ollie Winiberg every Saturday, 8-9pm on BBC Essex.  For more info and announcements, see their Facebook and Twitter pages. 
BBC Introducing is ace because anyone can upload their tracks and get played on their local BBC station.  Presenters are then able to recommend their favourite new bands to national stations (including BBC 6music and Radio One), and put bands forward to play major festivals including Glastonbury, Reading, Leeds, Latitude and Standon Calling.  Tune in tomorrow for our interview with BBC Introducing in Suffolk’s lovely Graeme Mac and Richard Haugh; in the meantime, you can see a selection of before-they-were-famous BBC Introducing performances by now rather massive artists - including Florence and the Machine, Alt-J, Ed Sheeran, Catfish and the Bottlemen and Bombay Bicycle Club - right here.  Photo credit: BBC Introducing in Norfolk presenter Sophie Little (from the BBC website). 
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the-mceblog-blog · 7 years
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Recommendations for PR agencies
Option 1.
Task PR
 A PR agency that is founded and run by Tamara Kretzer and Andre Schlagowski in partnership with an experience of 25 years in the fashion industry and offers a number of services like
- Finding celebrities / bloggers that would be best suited for the brand
- social media takeover 
- Photography and imagery is very impactful
 Cost- usually discussed while signing the contract.
Number- 020 7636 1399
Located on 85 Great Titchfield Street
London W1W 6RJ
   Option 2.
Kay Flawless PR
 A PR agency founded by Karine Laudort and has an experience of 15 years in the Fashion Industry.
They specialise in Fashion, Lifestyle and Entertainment. And support their customers with a vast network of contacts for press, magazines and trade shows.
 They have numerous amount of contacts for the press in the UK such as Vogue (UK and Italia), Hello, OK! Magazine, The Kuwait Times, GQ, l'Officiel (France), Cosmopolitan, UK national newspapers, Mail Online, Metronews and Stylist Magazine.
Kay Flawless offer a number of services like
-          work with medium sized designers like Steven Tai
-         Known for providing photographers for shoots and videography. 
 Cost- only discuss when the contract is being made.
Contact number- +447964209601
Located on 90 Main Yard 90 Wallis Road, Studio 2 London E9 5LN
   Option 3.
Trace Publicity
A PR firm founded by Lian Hirst
 Trace offers a number of services like
-       Promote the brand from the initial stage of concept to delivery, have strategic campaigns with maximum impact.
-          Building brand credibility and recognition
-          Recreate the brand’s presence on social media
Cost- discussed according to services
Contact number-  +44(0) 207 240 9898
Located on 22 little Russell Street
London WC1A 2H
By Aditi Batra
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jeniferdlanceau · 7 years
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12 must-see installations and exhibitions at the Venice Art Biennale 2017
With the 57th edition of the Venice Art Biennale now open to the public, managing editor Olivia Mull selects some of the best design-led exhibitions, spatial installations and pavilion takeovers.
The Venice Art Biennale is the world's biggest and oldest art festival – and the model on which all biennales are based.
Started in 1895, the festival has outgrown its two main venues – the Arsenale and Giardini. Now exhibitions, installations and national pavilions spill out of palazzos, squares and churches across the Italian city, many of which are usually closed to the public.
This year's biennale runs until 26 November. It was curated by Christine Marcel of the Pompidou Centre under the title Viva Arte Viva, which she describes as "designed for artists, by artists, with their practice in the centre".
However artists, curators, architects, designers, musicians and refugees have all collaborated on works for this year's show. They range from architectural installations to spatial performances, covering topics embracing all aspects of life and society.
Read on for our guide to 12 that are not to be missed:
Photograph by Matthieu Salvaing
Dialogo: Ettore Sottsass and Carlo Scarpa Olivetti showroom, Piazza San Marco
An exhibition of Milanese designer and Memphis group founder Ettore Sottsass' little-known ceramics is on display at Olivetti's Venice showroom, which was renovated by Venetian architect Carlo Scarpa in 1957. Curated by collector Charles Zana, the show sets up a dialogue between the work of the two Italians.
Seventy pieces – created by Sottsass between 1957 and 1969 – are positioned throughout the two-storey space. Three 1.5-metre-tall coloured totems stand in the shop front, while smaller geometric vases sit on the sills of lens-shaped windows.
Photograph by Riccardo Tosetto, courtesy of the artist
Counterbalance: The Stone and The Mountain by Cody Choi and Wan Lee Korean Pavilion, Giardini
A collection of garish neon signs complete with phrases including "Free Orgasm" and "Major Credit Cards" cover the roof of Korea's national pavilion as a reference to the casinos of Las Vegas and Macao. The piece – titled Venetian Rhapsody – was created by artist Cody Choi to reflect on the "spectacle of global capitalism".
Artworks by Choi and fellow Korean artist Lee Wan fill the inside of the pavilion, all of which explore Korean identity through personal stories. Pieces include the vast archive of deceased Korean journalist Mr K and a wall of 668 clocks, moving at a rate determined by the amount of time it takes for individuals to earn a meal.
Photograph by Maria Nitulescu, courtesy of the artist and the Georgian Pavilion
Living Dog Among Dead Lions by Vahjiko Chachkhiani Georgian Pavilion, Arsenale
This year's Georgian Pavilion takes the form of small abandoned wooden hut, found in the Georgian countryside and reassembled by artist Vajiko Chachkhiani on-site. Furniture, pictures, lights and other household items are the only occupants of the cabin.
Chachkhiani has simulated a never-ending rainstorm inside the hut by puncturing the ceiling with hundreds of holes and installing an irrigation system above. Water puddles on the floor and furniture, and trickles through cracks in the wood. Visitors can watch the interior decay and rot over the course of the biennale, while the exterior of the house will remain untouched.
Photograph by Ruth Clark, courtesy of the artist, the British Council and Hauser & Wirth
Folly by Phyllida Barlow British Pavilion, Giardini
Huge bulbous coloured sculptures, skewered on spindly metal stands, cluster around the entrance of the neo-classical British Pavilion. Inside, a forest of grey columns overwhelm the interior of one gallery space while in another, a wall of coloured wooden panels with protruding spikes leans precariously.
Created by 73-year-old British sculptor Phyllida Barlow and commissioned by the British Council, the monumental sculptures are constructed from cardboard, paint, foam, plywood and concrete. They resemble both giant comic toys and theatrical architectural remains.
Photograph by Nadine Fraczkowski, courtesy of the artist and the German Pavilion
Faust by Anne Imhof German Pavilion, Giardini
Artist Anne Imhof has transformed the Nazi-era German Pavilion into a hostile stage set for her Faust exhibition. The front entrance has been blocked with anti-riot wire fencing and a pair of Doberman dogs stand guard. Inside, an unnerving raised glass floor spans the white space and glass pedestals jut out from the walls.
At points in the day, groups of young performers dressed entirely in black sportswear occupy the space. They move emotionlessly amongst visitors against a backdrop of harsh metallic music – crawling under the glass floor, dragging their feet and bizarrely embracing.
Undeniably the busiest pavilion, Faust has been awarded this year's prestigious Golden Lion prize. It was described by the jury as "a powerful and disturbing installation that poses urgent questions about our time".
Photograph by Sandro E E Zanzinger, courtesy of TBA21
Green Light project by Studio Olafur Eliasson and Thyssen-Bornemisza Art Contemporary Central Pavilion, Giardini
Berlin-based artist Olafur Eliasson's Green Light is a workshop-cum-studio at the heart of the Giardini's Central Pavilion. It brings together visitors and refugees to make geometric lamps designed by the artist, which are then on sale to raise money for two NGOs. The project is centred around collaboration and conversation, with language courses, seminars and film screenings also being hosted in the space.
Eliasson says Green Light displays a "modest strategy for addressing the challenges and responsibilities arising from mass displacement and migration" – a recurring theme of the whole biennale.
Photograph by Joshua White, courtesy the artist and Hauser & Wirth
Tomorrow is Another Day by Mark Bradford US Pavilion, Giardini
American artist Mark Bradford has turned the stately Palladian-style US Pavilion into a ruin. Visitors are greeted by litter scattered across the gravel outside, before entering the pavilion through a side door. The first room has a bulbous red and black mass hanging from the ceiling where it appears to have given way, and the central rotunda now has peeling and patchy walls.
Los Angeles-based Bradford intends for the crumbling pavilion to address the discrimination of black, gay and other marginalised groups, particularly in America today. "I felt like a lot of the progress we've made to be inclusive, to make sure young little trans kids are safe, was gone in the blink of an eye," Bradford said.
Photograph by Gréaudstudio, courtesy of the artist, Cody Choi
The Unplayed Notes Factory by Loris Gréaud Campellio della Pescheria, Murano
For this year's biennale, French artist Loris Gréaud has resurrected a disused factory on the island of Murano – Venice's famous centre of glassmaking.
The furnace is transformed into a repetitive and hypnotic production line, with glassblowers working to create up to 1,000 pieces that hang from the roof of the factory. Gréaud describes the immersive exhibition – titled The Unplayed Notes Factory – as a "true tableau vivant".
Photograph by Prudence Cuming Associates, courtesy of Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017
Treasures from the Wreck of the Unbelievable by Damien Hirst Palazzo Grassi and Punta della Dogana
British artist Damien Hirst's Treasures from the Wreck of the Unbelievable is rumoured to be one of the most expensive exhibitions ever put on by a contemporary artist. The vast show takes over two of the city’s museums – the Punta della Dogana and the Palazzo Grassi – and contains almost 200 new artworks, including 100 sculptures in precious materials such as gold, marble, bronze and crystal.
The objects – the largest of which is a 16-metre barnacle-encrusted decapitated demon in the Palazzo's courtyard – were supposedly lost in a legendary shipwreck 2,000 years ago and rescued from the sea by the Turner Prize-winning artist. Hirst plays with the concepts of reality and originality, claiming the much-discussed exhibition is "all about what you want to believe."
Photograph by Giacomo Cosua, courtesy of the artist and ADAGP
Studio Venezia by Xavier Veilhan French Pavilion, Giardini
French sculptor Xavier Veilhan has transformed his national pavilion into a working recording studio, putting music at its centre. Veilhan remodelled the interior to create a faceted wooden, soundproofed shell with oversized instruments integrated into the floors.
Over the next seven months, more than 100 musicians – ranging from classical to electronic – will used the studio to experiment and record their work, both solo and in collaboration with other musicians.
Photograph by Richard Ivey, courtesy of Michael Werner Gallery New York and London
The Golden Tower by James Lee Byars Campo San Vio, Dorsoduro
A 20-metre-tall golden totem has been erected in Venice's Campo San Vio and will tower over the Grand Canal for the duration of the biennale. The sculpture was created by the late American artist James Lee Byars in 1976 but is being exhibited in a public space – as Byars intended – for the first time.
Presented by Fondazione Giuliani and Michael Werner Gallery, the glowing tower is entirely gilded and took several months to craft. Consequently it is being guarded around the clock, but it can be spotted from across the city.
Photograph by Simon Vogel, courtesy of Galerie Nagel Draxler in Berlin/Cologne
Shipyard by Michael Beutler  Giardino delle Vergini, Arsenale
German artist Michael Beutler's shipyard installation is a salute to the original identity of the Arsenale. The artist has constructed an enormous floating boathouse from Douglas fir using a mixture of traditional European and Asian joinery techniques.
Stacks of wood, piles of offcuts and boards mounted with plans give the illusion of a worksite that has recently been inhabited. The ghostly worksite is located in the walled Giardino delle Vergini, away from the biennale crowds.
The post 12 must-see installations and exhibitions at the Venice Art Biennale 2017 appeared first on Dezeen.
from RSSMix.com Mix ID 8217598 https://www.dezeen.com/2017/05/16/venice-art-biennale-2017-top-picks-highlights-pavilions-exhibitions-installations/
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gagosiangallery · 3 years
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Damien Hirst at Gagosian Britannia Street, London
April 12, 2021
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DAMIEN HIRST Fact Paintings and Fact Sculptures
Opening April 12, 2021 6–24 Britannia Street, London __________ I like to say something and deny it at the same time. —Damien Hirst Gagosian is pleased to announce Fact Paintings and Fact Sculptures, an exhibition of rarely seen works by Damien Hirst created between 1993 and 2021. The exhibition marks the first phase of Hirst’s yearlong takeover of the Britannia Street gallery, and is his first exhibition there since The Complete Spot Paintings 1986–2011 in 2012. As artist and curator, Hirst presents this highly personal series of work through his own eyes. Throughout his storied career, Hirst has confronted the systems of belief that define human existence, from common trust in medicine to the seduction of consumerism. At a moment when the idea of “truth” has never been more tenuous, Hirst’s Fact Paintings and Sculptures question the obduracy of “fact” as a governing principle of society. Mimicking color photographs, the Fact Paintings are rendered in oil on canvas, sometimes with meticulous fidelity, at others reveling in the physicality of mark making. Their verisimilitude recalls the historical role of painting as a tool to represent the visible world and lead the viewer to believe that a two-dimensional image is, in fact, the three-dimensional object it portrays. With the birth of photography in the nineteenth century, painting’s relationship with reality continued to evolve. Hirst’s Fact Paintings explore this back and forth between the brush and the camera as the agents of “truth.”
The first exhibition of the Fact series, The Elusive Truth, was presented at Gagosian New York in 2005 and focused on paintings derived from newspaper photographs. Other subjects include Hirst’s signature motifs of butterflies and diamonds, depictions of his own previous works, and portraits of his friends and family. In many ways, the Fact series can be seen as the artist’s self-portrait, highlighting significant moments of Hirst’s life and career: Michael with Diamond Skull (2008), for example, portrays Michael Craig-Martin—his former tutor at Goldsmiths—posing with the famed sculpture For the Love of God (2007); in Self-Portrait as Surgeon (2007) the artist, dressed in blue scrubs, stands next to a hospital bed; while Cleaning New Baby (Cyrus) (2007) depicts his own newborn son. In the Fact Sculptures, presented alongside the related paintings, Hirst moves beyond the readymade, instead constructing detailed replicas of real objects. In Love Dies Fast (2020) and Station (2014), physical elements of workshops and storage spaces appear, while in Snob (2006–20) and Public School Tosser (2006–20) he makes reference to his own iconic jewelry cabinets, wryly juxtaposed here with garbage bags and cans. Other sculptures attest to Hirst’s preoccupation with the order of things, their preservation and display: in Persil (2015) and Coke/Diet Coke Vending Machine (2007), a stacked pallet and a vending machine underscore the significance of consumer goods and product packaging, the high with the low. Some of the sculptures on view are charged with relevance to lived experience in the COVID-19 era. Remedies Against the Great Infection (2020) offers hand sanitizer and personal protective equipment, while sculptures such as Don’t Stop Me Now (2006) and Warsaw (2008), replete with medical supplies, take on new meaning within the context of the enduring pandemic. By incorporating these by-now-ubiquitous commodities into sculptures, Hirst speaks to the new landscape of material culture that has become a dark fact of contemporary life. Damien Hirst was born in Bristol, England, and lives and works in London and Devon, England. Collections include Tate, London; Gallery of Modern Art, Glasgow, Scotland; Stedelijk Museum Amsterdam; Museum für Moderne Kunst, Frankfurt am Main, Germany; Museum Brandhorst, Munich; Astrup Fearnley Museet, Oslo; Centro de Arte Dos de Mayo, Madrid; Museo d’Arte Contemporanea Donnaregina, Naples, Italy; Israel Museum, Jerusalem; Museum of Modern Art, New York; Hirshhorn Museum and Sculpture Garden, Washington, DC; Art Institute of Chicago; The Broad, Los Angeles; Museo Jumex, Mexico City; National Centre for Contemporary Arts, Moscow; and 21st Century Museum of Contemporary Art, Kanazawa, Japan. Exhibitions include Cornucopia, Musée océanographique de Monaco (2010); Tate Modern, London (2012); Relics, Qatar Museums Authority, Al Riwaq, Qatar (2013); Signification (Hope, Immortality and Death in Paris, Now and Then), Deyrolle, Paris (2014); Astrup Fearnley Museet, Oslo (2015); The Last Supper, National Gallery of Art, Washington, DC (2016); Treasures from the Wreck of the Unbelievable, Palazzo Grassi and Punta della Dogana, Venice, Italy (2017); Damien Hirst at Houghton Hall: Colour Space Paintings and Outdoor Sculptures, Houghton Hall, Norfolk, England (2019); and Mental Escapology, St. Moritz, Switzerland (2021). Hirst received the Turner Prize in 1995. _____ Damien Hirst, Papillio palinurus in Achillea millefolium, 2009, oil on canvas, 36 × 54 inches (91.4 × 137.2 cm) © Damien Hirst and Science Ltd. All rights reserved, DACS 2021. Photo: Prudence Cuming Associates
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