bloomanthology

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LS 26 | Habitare SUBMISSION

Vassilis Konstantinou - SOUTHERN PROVINCE

magazine.landscapestories.net

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SVERRE BJERTNÆS

PURPLE AND BLUE, 2015-16

Oil on canvas

80 x 70 cm 31 1/2 x 27 1/2 in

http://kristinhjellegjerde.com/artists/116-sverre-bjertns/works/

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https://news.artnet.com/art-world/clouds-inspire-munch-scream-935855

In 2004, American astronomers theorized that Munch had painted a sky brightly colored by particle pollution from the 1883 Krakatoa volcanic eruption. But the new paper, presented at a meeting of the European Geosciences Union in Vienna, said he more likely depicted a rare sighting of "mother-of-pearl" clouds over Oslo. A volcanic outburst does not account for the "waviness" of Munch's clouds, Helene Muri, a researcher at the University of Oslo, told journalists in Vienna. Furthermore, volcano-tinted sunsets tend to be common for several years after an outburst, "whereas Munch's scary vision was seemingly a one-time experience, the way he described it in his journal," she said. In his diary, Munch wrote of the sky turning suddenly blood red. Mother-of-pearl or "nacreous" clouds, require unusual conditions to form -- very cold temperatures in the atmosphere, in a high altitude band of about 20-30 kilometres (12-19 miles).

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Ana Mendieta, Untitled (from the Silueta Series), 1976, Richard Saltoun

‘An influential artist best known for her “earth-body” performances, as she called them, Ana Mendieta explored her identity as a female emigrant in work that also encompassed photography, film, and sculpture. Exiled from Cuba at the age of 12 and sent to an orphanage in Iowa, Mendieta used the earth as a site to address issues of displacement, impressing her body in various outdoor locations and recording its imprint in photographs and video. In these Silueta works, performed from 1973–77, she would often fill in the silhouette of her body with materials including rocks, twigs, flowers, and blood, combining a concern with primal rituals and a modern, feminist sensibility. Mendieta wanted to invoke the “magic, knowledge, and power of primitive art…to express the immediacy of life and the eternity of nature,” as she once said. In other works she smeared herself with blood, or used it to trace her outline. She tragically died, aged 36, in New York when she fell from her 34th-floor apartment window; her husband, the artist Carl Andre, was acquitted of her murder.’

American, Cuban b., 1948-1985, Havana, Cuba, based in New York, New York

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http://www.dreamsrewired.com/synopsis

“DREAMS REWIRED traces the desires and anxieties of today’s hyper-connected world back more than a hundred years, when telephone, film and television were new. As revolutionary then as contemporary social media is today, early electric media sparked a fervent utopianism in the public imagination – promising total communication, the annihilation of distance, an end to war. But then, too, there were fears over the erosion of privacy, security, morality. Using rare (and often unseen) archival material from nearly 200 films to articulate the present, DREAMS REWIRED reveals a history of hopes to share, and betrayals to avoid.”

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Jiang Zhi 蒋志, love letters No.3, 2011, Tang Contemporary Art

Jiang Zhi’s practice includes photography, video, installation and painting, as well as documentary film and text, reflecting on philosophical questions about what constitutes ‘reality’ or ‘truth’. Following his early focus on specific cultural and political topics, Jiang Zhi’s more recent work addresses wider issues concerning ideas about the temporality and materiality of objects, as well as the broader socio-political context in which the art is made and interpreted.

The exhibition title ‘The Sight’, refers to the act of seeing and the passage of time, and hints at the artist’s understanding of the illusory and mutable nature of the world around him. In his series of photographs titled Love Letters, Jiang Zhi explores the visual and temporal themes of photography itself, as well as the mechanism by which the image comes into being. The burning flowers are not only the subjects, but also the light source by which the image is captured. In works such as the The Gift or 0.7% Salt, the videos do not yield a narrative structure but rather record a period of time.

Jiang Zhi does not set out to dictate the means of production of his works, allowing the elements of controlled chance to inform the final result. This is explored further in his silk-screen paintings where the colours on the front of the canvas are a register of an action, whereby the artist has used the reverse of the canvas as a silkscreen surface. This results in the colour seeping through to the front, somewhat mirroring the process of photography, so that the image is achieved through reversal.

http://whitecube.com/exhibitions/jiang_zhi_inside_the_white_cube_hong_kong_2015/  

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Chris Trueman, NS 34, 2013, Adah Rose Gallery

Chris Trueman draws on Op Art and Abstract Expressionism for his distinct style that references graffiti and digital art. “I make paintings based on the premise that the sum of two contradicting experiences does not cancel out but creates a whole separate experience unto itself,” the Southern California–based artist has said. Trueman achieves his unique optical and textural effects by alternating between gestural painting and spray-painting. Working on unprimed canvas, he uses squeegees and brushes to apply gestural swatches of paint. He then tapes off layers of his canvases and sprays acrylic paint on them, noticing how it adheres to the canvas. Such techniques create hard-edged bands of untouched canvas that bring a sense of order to his otherwise expressionistic compositions.

American, based in Los Angeles, California

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Emilie Brout & Maxime Marion, Oasis Max Life, 2016, Steve Turner

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Emilie Brout & Maxime Marion, Return of the Broken Screens (Philips Ambilight II), 2016, Steve Turner

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Emilie Brout & Maxime Marion, Return of the Broken Screens (Apple iPhone 4s II), 2016, Steve Turner

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Yung Jake, 1 RETWEET, 2016, Steve Turner

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Thrush Holmes, Untitled, 2016, Beers London

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Felix R. Cid, Untitled (New York, Monegros Desert), 2015, Garis & Hahn

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Maha Malluh, Sky Clouds, 2009, Galerie Krinzinger

700 black polyester gloves filled with polyester and dessert sands, praying rugs

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Felix R. Cid, Untitled (Subtractions of Color and Flesh), 2016, Garis & Hahn

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Constant Dullaart, Orchid I, 2014, Carroll / Fletcher

Although he trained in video, Constant Dullaart’s medium is the internet. Rather than creating works from the ground up, Dullaart instead relies on existing frameworks, websites, search engines, and the like, treating them as “found objects” on which he enacts distortions and witty reconfigurations. One of his best-known works is The Revolving Internet, a website that presented the Google homepage spinning in circles—and was shut down by Google, but not before garnering three million hits. He’s also created a work, Terms of Service, that turns the Google search bar into a mouth that reads the site’s oft-criticized terms of use, as well as several websites that poke fun more specifically at the art world—including a seizure-inducing version of a Berlin art museum’s website and an inversion of Georg Baselitz’s Wikipedia page. “The Internet has been out there for a long time; it’s already nostalgic,” Dullaart says of his medium of choice. “It just became a large corporate backyard and that’s what we’re all frolicking in.”

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from a roll of 120mm film that I shot on my recent trip to North Carolina