His trench coat is thrown on a rudimentary bed surrounded by small shelves filled with plaster figurines; an unfinished bust seats in the central pedestal, looking in the distance. He could be back any moment. “He” is Alberto Giacometti, and the space I am taking you to is his atelier in Paris. It might get crowded when he comes back: the space is tiny (only 23m² / less than 250 square feet) but this was where Giacometti felt comfortable. He never moved to a larger space when success came. In a sense, this is no surprise as you look at his stretched thin sculptures. For maybe, from the small confine of his atelier, he stood a chance to recreate the essence of a person using his sculpture, but also countless drawings of the same repeated motifs, as well as paintings of incredible complexity of line. Searching for truth, Giacometti tirelessly fashioned the heads and bodies of his sculptures, constantly reworking, repeating, reusing the same models who sometimes posed on a kitchen chair (see below) for more than 100 hours in the case of Isaku Yanaihara. His permanent fear of failure made him remove – each time more and more of the […]
Visiting the Heavenly Bodies exhibition straight from a red-eye flight was equivalent to waking up in art and fashion heaven. And I got blessed being the first one in, meaning my pictures are relatively crowd-free compared to what you can see elsewhere. So seek the limelight, walk the red carpet, your eyes might even see some angels! Spanning both the Metropolitan Museum of Art on 5th Avenue and their Cloisters location perched on the highest point of Manhattan, Heavenly Bodies is truly a visual tour-de-force. Let’s face it, if I tell you “come with me to the museum, there is this fantastic exhibition on medieval art at the Met”, I can already hear a thousand excuses. And I am with you: despite having come to appreciate how rich this art can be during my Art History studies, I would not put Medieval or Renaissance art on my walls. But what about if Byzantine art comes with this little Dolce & Gabana number? With Heavenly Bodies, there are many mutually reinforcing forces at play, and they all compel the viewers to look and learn from this cleverly orchestrated dialogue between past, present and future. Perhaps finding mannequins wearing haute couture gowns […]
Honoured to travel with the San Diego Museum of Contemporary Art, I had the opportunity to lunch and look into Nick Cave’s eyes last week. What struck me besides an incredible kindness, was the intensity of those eyes. They translate his double vision of the world perfectly: how intensely he sees and feels the divides plaguing our society and how resolute he is to shake this, with a dance and many Soundsuits.
Time we don’t have and don’t take. Time we can’t get back and most crucially time we can never acquire…I knew nothing of Valeska Soares and her art but how apt that her works poetically speak of time and memories. Since I saw her exhibition at Phoenix Art Museum, her pieces have lingered on my mind so much that I am in no danger to ever forget her name. And her world might just bring you a welcome dose of mindfulness as we all get ready for a bit of summer madness…before it’s time to face school supplies again.
Visiting Christopher Puzio’s Studio was a real treat: his work plays a lot on the “frame the view” concept, a key sub-line from the beginning of Reinventingrid, back in January 2017. That is how my eye travels: I simply love capturing in pictures how some art installations encapsulate what lies around them. Bringing the world to attention… San Diego is incredibly fortunate to have many Christopher Puzio works around. All have this uncanny versatility of framing a view while opening up space. He is literally, and figuratively, drilling on what an open work can be.
It comes as no surprise that Iris van Herpen interned with a fashion genius like Alexander McQueen. What is more surprising is that, Iris, age 36, a young Dutch designer who has been making fashion for the past 10 years, is already the subject of an exhibition/ retrospective at the Phoenix Art Museum. I use the word retrospective here due the sheer magnitude of her body of work and the unique creative mind she brings to each and every one of the dresses she conceives and creates. Fully at the intersection between couture, sculpture, science and technology lies…the art of her fashion!
The art of Howardena Pindell makes for an explorative journey of the difficulties she encountered as an artist of color in the US, yet this is all wonderfully retraced in her current retrospective held at MCA Chicago. Entitled What Remains to Be Seen, the exhibition shows how her artistic experimentation is deeply rooted in the interaction she observes between dots and grids, two elemental forms she has used since the Space Frames she started with as an artist in the late 1960s.