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Hicham Berrada

Présages (2018)

'Entre fascination et toxicité.'

Activating inherent properties of metals in chemical reaction.

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Daniel Steegmann Mangrané

La Pensée Férale

Cibachrome prints and serigraphed texts

"Claude Lévi-Strauss coined the concept of pensée sauvage (not la pensée des sauvages, as we are often reminded), a type of “untamed” thought, kept alive in the modern western world within “natural reserves” of art, as he would say."

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Diana Thater Chernobyl

Installation. Przewalski horse living wild in a post human landscape.

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Presage, Tranche - Hicham Berrada

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Robert Gober

Waterfall 2015–2016

Wool, cotton, wood, paint on epoxy putty and resin, recycling pumps, lights, water 292 × 170 × 163 cm

Whenever I give a talk about my work I am invariably asked who my influences are. Not what my influences are, but who. As if the gutter, misunderstandings, memories, sex, dreams, and books matter less than the forebears do. After all, in terms of influences, it is as much the guy who mugged me on 10th Street, or my beloved dog who passed away much too early, as it was Giotto or Diane Arbus.

—Robert Gober

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Pierre Huyghe. Untilled (Liegender Frauenakt). 2012 | MoMA

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"Ah well, natural laws, natural laws, I suppose it’s like everything else, it all depends on the creature you happen to be. "

Photographs of Happy Days by Samuel Beckett (2007 revival starring Fiona Shaw at the National Theatre) photographer Donald Cooper

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"ANISH KAPOOR 'Descension'"

https://www.finestresullarte.info/en/works-and-artists/anish-kapoor-the-challenge-to-perception

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"It is as if decoherence opens a zipper between parallel universes"

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Mary Beth Edelson: Ritual Performances

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Saodat Ismailova Chilltan (2022)

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Laura Fitzgerald | I am an Artist

Laura Fitzgerald's exhibition 'I Have Made a Place' at Crawford Art Gallery. Picture: Jed Niezgoda

Artist statement

I am unhappy with all my previous statements. I have said things in the past that I didn’t mean (and they were not as satisfactory as I had originally hoped them to be). They were vague. They were complicated. It was all absurd. It made no sense at all.

This one is much better:

Laura Fitzgerald is an artist. She is practicing (getting better at getting worse, slowly but surely). She makes drawings, videos, installations and paintings. Her work is personal and political. She has notions to be someone like Robert Smithson but she has to be realistic. Although Dad was okay about the mountain poem, sadly he is not onboard with a Spiral Jetty down the marsh. 

She is interested in the rural but she is also interested in internationalism – she wants to be David Shrigley. He is the kind of artist that can have a show in the Hayward Gallery, London, and a greeting card range. Laura is considering cards as a business, her Mother always said she made really lovely cards.  

Laura Fitzgerald’s practice involves you. Come on in, tell me what’s wrong with you and I will write you a prescription which (disclaimer) may or may not really help you. If you are sad I will try to tell you something ridiculous about myself. It is good to laugh. 

Sometimes I will prescribe a dose of large-scale drawings to, say, deal with compacted geographical narratives, family rows over private property disputes, postcolonial trauma, ancestral guilt or magic. Other times I might prescribe you to just sit down.

Laura Fitzgerald’s work is essentially a stick; a gnarly knobbly piece of hawthorn. A pointer. She hopes that within this activity that there might be something cathartic in it for you. But that may be only something we can find out at your next appointment, or in time. 

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Clodagh Emoe

South African Irish hybrid Crocosmia

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Art Spotlight: Martin Eugen Raabenstein - The Woven Tale Press

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Drawing with weather data - collaborating with the wind.

Felicity Clear

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Untitled (hole), 2007, cast aluminum;