='data:blog.isMobile ? "width=device-width,initial-scale=1.0,minimum-scale=1.0,maximum-scale=1.0" : "width=1100"' name='viewport'/> The Crawford Arts Review

Wednesday, 14 November 2018

Until Friday 21 December

Ilse D'Hollander at Victoria Miro Mayfair

Ilse D'Hollander, Untitled, 1996, © The Estate of Ilse D'Hollander
Ilse D'Hollander's work shows a lyrical line that is architectural, even geological, in its deep reading of landscape. Had she lived (she died in 1997 at the age of 28) she would, possibly with the right advice and support, have become the equivalent of, say, a Rothko - abstractor, colourist, shape shifter, master narrator, her work achieves minimalist perfection. Well, go and see her. 

Ilse D'Hollander, Descent, 1996, © The Estate of Ilse D'Hollander
D'Hollander trained at Antwerp's Institute of Fine Art and in Ghent. That heritage shows. Indeed, I can't do better than to quote David Anfam from the book, Ilse D'Hollander, on sale now at the gallery.

'She upheld a lineage as venerable as Dutch landscape painting of the Golden Age and as modern as Piet Mondrian's sparse compositions . . .'.

Victoria Miro Mayfair
14 St George Street 
London W1S 1FE
t: 44 (0)20 3205 8910
Tuesday - Saturday: 10am - 6pm 
Monday: By appointment

Saturday, 20 October 2018

Nature's autumn palette that, in conjunction with nature's ally the landscape gardener, he/she uses to paint these pictures everywhere you look

Saturday, 8 September 2018

Until Sunday 23 September

An intrepid family set sail to visit The London Mastaba by Christo and the late Jeanne-Claude on the Serpentine. People in boats are asked not to get too close of course. The temporary sculpture is 40 metres long, 30 metres at its widest point and 20 metres high, so massive that it can practically be seen from the edge of the park. It coincides with an exhibition of the artists' work at the Serpentine Gallery.
       During the summer, Hyde Park is open daily from 5am– midnight and the Serpentine Galleries are open 10am6pm daily. Entry is free.  

Tuesday, 4 September 2018

Until Saturday 15 September: Moshekwa Langa's 'Relatives'

A double first for the UK and the Blain|Southern gallery. 

The works of Limpopo-born* Moshekwa Langa are shown here for the first time. 

These works are sumptious, texturally and spatially rich, and instantly engaging. I trust they have not gone unnoticed by acquisition personnel. 

Moshekwa Langa, Sunlight,
© the artist and
Sumptious seems the appropriate term to describe surfaces that are masterfully collaged with such throwaway items as a cutout from a box the artist might have found in his mother's backyard; the inner cardboard rings of rolls of sellotape; strips of tape or bin bag. In handling these elements with such confidence, the artist defines what can be done using the material to hand.  
     In addition, there is no way we can fail to see how an upbringing in a remote South African township has trained this particular artist's eye in how to observe the natural and reproduce its endless array of colour, texture, patterning and depth.

Moshekwa Langa, Fightback,
© the artist and
Blain|Southern s a gallery that chooses its artists well, knows what it wants from them (all 29 works shown here were made between 2014 and 2018), how to get it, and perhaps most of all how to curate it. This is an exhibition of big, bold, white-framed beauties. Moshekwa Langa has an inborn feel for visual placement. Indeed, on a 2-dimensional surface, he exhibits a spatial mastery architects might envy. 
     Nothing less than metamorphosis has taken place here: the patterning of sunlight through forest, the fine reticularity of the surface patterning of creatures from amphibious to land- and tree-dwelling - images we normally only see reproduced in the artefacts and gadgets we surround ourselves with, from TVs and computer screens to fabrics and coffee cups, here metamorphose back to original nature, original life. Every colour, textural and rheological placement speaks to the organic. The wonder is that an area, say, that seems to evoke the spiny shape of leaf veins possibly comes from the repurposing of an old net curtain. It is a narrative structure takes the eye on a symphonic journey through the artist's life and what he has made of it thus far. In this reviewer's opinion, Langa's work is already worthy of its own Artist Room.

* Moshekwa Langa now lives in the Netherlands. During his early years in the South Africannativelands of Limpopa under apartheid, the area wasn't even given the dignity of appearing on maps.

Moshekwa Langa
at Blain|Southern
4 Hanover Square
London W1

Monday, 20 August 2018

Chance occurrences? They happen. Life-changing chance occurrences? They happen too. Listening to a performance of Bach's Chaconne and later seeing Lucas Cranach the Elder's Cupid complaining to Venus in Room 4 of the National Gallery quite possibly did it for me last Friday.

Music first: It was the video* of members of the New York based Limón Dance Company** dancing to the Bach Chaconne played live in their studio by violinist Johnny Gandelsman that seized my ears. Apologies if I have not managed to upload it here in a playable form: I will go on trying. Or go direct to @stradmag on Twitter and scroll down to Friday 17. I wonder if you can imagine this music before your ears open to it, this highest of high art. 

Bach was writing the Partita of which the Chaconne is the final part between 1717-20. Cranach was painting Cupid and Venus, the painting that seized my eyes, around 1526-7, two centuries earlier. Yet the sources seem similar, at least in artistic terms, the solemn, celebratory or seasonal dances dating from before the Renaissance: gigues, gavottes, sarabandes, allemandes, all of them gradually becoming formalised and standardised through the Baroque period and beyond and taken to the highest state of art by Bach in his Suites. What melodies Cranach had heard while he painted we know not. But the way he depicts Venus is dance-like in her graceful, balletically attenuated descent, called to earth by her lovable little imp, her face a study of maternal forbearance.

Cupid has stolen a honeycomb and been well stung by the angry bees. Cranach painted the subject many times. The inspiration was a poem by Theocritus. The version in the National Gallery (acquired by purchase in 1963) is for my money the best of the lot. In it Venus wears the kind of a-la-mode hat with ostrich plumes that Cranach had earlier used for his depictions of royal hunting parties. Sheer painterly panache.

In the poem, Cupid does have a question for his mother. Look at these tiny insects he exclaims. How can they make these great big painful wounds? Well, look at you she says, ask yourself how can such a little boy make such a big, painful wound every time you shoot one of your arrows. Room 4, German works, is filled with such wonders. Have a look at them before your visit at this link.

*   From WQXR via Twitter
** Choreography by José Limón

The National Gallery
Trafalgar Square
London WC2

Friday, 3 August 2018

Until Saturday 18 August

At Sadie Coles, 62 Kingly Street W1
Urs Fischer 'soft'

The artist and their gallerist represent a productive dyad, the latter providing motivation and the former earning a regular pay cheque and reputation boost for work sold.