Archive for July, 2012
by Suzanne on July 22nd, 2012
019 by Berlinde De Bruyckere, 2007, wax, epoxy, metal, glass, wood, blankets, 293.5 x 517 x 77.5 cm, Collection Claude Berri © Andri Stadler- click to enlarge
I’ve often raved about Berlinde‘s art on here - in fact, her work even invades my everyday life as arty backdrop - so I’ll spare you the superlatives but instead just want to make you aware that if you’re Melbourne-based, you now have less than a week left to catch her fascinating We Are All Flesh show at the ACCA.
In case you were wondering: Yes, Berlinde did have a show with the same title three years ago at Hauser & Wirth in London but it seems that different and lots of newly commissioned works are on display in Melbourne.
If you’re not yet familiar with her work, the 15-minute interview below offers a great introduction into her vision, process and technique but of course will neither replace the olfactory, visceral and epidermic qualities of the wax, skin, hair and fabrics she uses for her sculptures, nor explain the necrophiliac alchemistic ways in which she can turn branches into limbs, tree trunks into fresh corpses by masterfully applying an organic colour palette (pinks for skin, off-white for adipose tissue, greys/greens/blues for the circulatory system) onto wax with which she can control, halt and synthesise transformation, decay, death.
If you’re not in Australia but in.. who knows.. Turkey, you can also catch her Wound show at the ARTER Space for Art in Istanbul until August 26 where she has inspired Vincent Dunoyer to dance Bruyckeresque choreographies in the exhibition space surrounded by her sculptures.
Details for the Istanbul show can be found here. The information below is for the ACCA exhibition.
On show: Jun 2 – Jul 29, 2012
Hours: Tue – Fri: 10 AM – 5 PM, Sat – Sun: 11 AM – 6 PM, Mon: By appointment
Max Klinger at the Museum of Modern and Contemporary Art, Strasbourg, and OH MAH GAWD IS SHE BACK OR WAT
by Suzanne on July 22nd, 2012
An die Schönheit; Vom Tode Zweiter Teil by Max Klinger, etching, 1890, courtesy V&A London – click to enlarge
Hi. I guess I’m back. Let’s see whether I can still werq dis blog, yo.
In case you were wondering, I’ve been mainly hanging out over on FB (yes, yes, I know… stop looking at me like that – it just so happens that most of my online contacts are over there and it’s just been too convenient to stay in touch). Anyway, just like most other anti-social online platforms, I’m using FB in a very unusual and actually useful way so if you care about getting a more daily dose of Wurzeltod®, you can subscribe to its public updates.
I’ll try to do a better job at mirroring my FB posts to my Twitter like I used to do in the past for all those of you who rightly boycott FB, but let’s face it, it’s just not in my nature to ever be concise enough to tweet successfully.
I have also fed the forum with loads of new content, so go check it out and please note that a lot of the posts are NSFW. I can highly recommend the Symbiosis/Parasitism/Mutual Decay, the Eros & Thanatos as well as the Eyeballs thread. They make me happy. Yes they do.
Flickr update is also imminent, btw, maybe this news is of interest to those of you who still mainly remember me for sporting industrial insulation tape on nipples and other shit we used to do on Fotolog in the early noughties for reasons I now ABSOLUTELY cannot remember.
NEVER MIND.. on to more important matters now: Art that doesn’t suck. We’ll start with painter, sculptor and engraver genius Max Klinger.
Brahmsphantasie, Opus XII: Abduction of Prometheus by Max Klinger, etching, 1894 – click to enlarge
Max Klinger. We had him here back in 2008 with two examples from his magnificent dream-inspired Paraphrases about the Finding of a Glove series from 1881.
Now the Museum of Modern and Contemporary Art in Strasbourg is presenting a vast range of his engravings in a show called Max Klinger – The Theatre of the Bizarre which, as the title suggests, hopes to focus on how Klinger was forever driven by dream imagery and the relentless search for ways to visualise the cryptic, the elusive, the primordial, the eldritch, the uncharted, the subconscious.
Strasbourg hasn’t sent me the press login through yet but with the museum’s graphic arts room housing nearly 200 of Klinger’s engravings, I can guarantee you that you will find some fantastic oneiric trouvailles at this retrospective.
Rettungen Ovidischer Opfer, Opus II: Erstes Intermezzo by Max Klinger, etching, courtesy British Museum London – click to enlarge
On show: May 15 – Sep 16, 2012
Hours: Tue – Sun: 10 AM – 6 PM