Eliana Willis

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    in Exhibitions

    Contested Wood Sculpture Will Get Star Turn at Venice Biennale

    A contested ancestral wooden sculpture owned by the Virginia Museum of Fine Arts (VMFA) will be temporarily loaned to the artist collective Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC) as part of their exhibition for the Dutch Pavilion at this year’s Venice Biennale. It will go on display at a gallery in Lusanga, a town in the Democratic Republic of Congo (DRC), and be livestreamed into the Dutch pavilion for the duration of the biennale, which runs from April 20 to November 24, 2024.
    The wooden figure was carved by a Pende artist from the Kwilu province of the DRC after the Pende Revolt against Belgian colonial rule in 1931. It is a depiction of the abusive colonizer Maximilien Balot, who was decapitated during the uprising, and is intended to contain and control his angry spirit. In this way, it would protect the Pende people.
    In 1972, the sculpture, known as “Balot,” was bought by an American collector for just $120. He later sold it to the VMFA, where it has been since 2015. CATPC has long pushed for the figure’s return to Lusanga, where it would be reunited with members of the local community ranging from traditional chiefs to current plantation workers.
    Chief’s or Diviner’s Figure Representing the Belgian Colonial Officer, Maximilien Balot, circa 1931. Photo: Travis Fullerton, © 2015 Virginia Museum of Fine Arts.
    “By restoring the balance and correcting past injustices, the return of Balot will allow us to continue to buy back the land that was taken from us by colonial forces,” said the artist Ced’art Tamasala on behalf of CATPC. “It will enable us to abolish forced and destructive monoculture and to plant, regenerate and nourish back into existence our sacred forests.”
    Alex Nyerges, the director of VMFA, said the museum is “delighted to partner with CATPC,” adding, “we hope it will inspire a new era of collaboration and partnerships between museums on both continents.”
    These comments suggest that some resolution has occurred between CATPC and VMFA since 2022, when the artist collective minted a collection of 300 NFTs containing a rotating image of Balot without the museum’s permission.
    “Unfortunately, the NFT has broken all trust between VMFA and the exhibition organizers,” he told me,” Nyerges told Artnet News at the time, branding the NFTs “unacceptable.” He added that VFMA would no longer loan the work to CATPC to be exhibited at the White Cube, an art gallery in Lusanga founded by the CAPTC in 2017.
    Now it seems he has changed his mind and Balot is expected to go on public display at the White Cube in April. The loan is being funded by the Mondriaan Fund, which is organizing the Dutch Pavilion.
    CATPC invests any proceeds from its artistic projects towards buying back plantation land that was formerly owned by the company Unilever. The collective has been collaborating with Dutch artist Renzo Martens for years, and will partner with him once again for its forthcoming exhibition at the Dutch Pavilion in Venice.
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    in Exhibitions

    Tate Modern Taps Fast-Rising South Korean Artist Mire Lee for Turbine Hall Commission

    The annual commission for Tate Modern’s capacious Turbine Hall has tended to go to established artists at the height of their careers: Louise Bourgeois for the first edition in 2000, Anish Kapoor in 2002, and Bruce Nauman in 2005. This year, though, Tate said that the closely watched exhibition will be staged by the daring 35-year-old artist Mire Lee, whose disturbing and alluring kinetic sculptures have appeared in major shows around the world over the past few years.
    Lee, who works between Seoul and Amsterdam, joins a small group of artists who have been tapped for the London venue in their mid-30s, including Olafur Eliasson (in 2004) and Tino Sehgal (2012).
    Details on Lee’s project are sparse, for now, but the dates are set. Her Hyundai Commission, as the series is known, will open on October 8, the week of the Frieze art fair in London, and run through March 16. A triumvirate is curating: Ann Coxon and Alvin Li, curators of international art at Tate Modern, and Bilal Akkouche, an assistant curator there.
    The Tate display comes as Lee has been on a tear, contributing thrilling pieces to the 2022 iterations of the Venice Biennale, the Carnegie International in Pittsburgh, and the Busan Biennale in her native South Korea. In Busan, Lee erected scaffolding in a massive abandoned building and mounted on it fabric torn with holes that suggested lesions or burns.
    Other recent pieces by Lee—powered by motors, flowing with vile-seeming substances—can bring to mind malfunctioning organs or malformed creatures as they transmit fraught psychological states. They sometimes appear to be breaking down or metamorphosing.
    “I always wanted to make wild-looking kind of works, or crude works,” Lee told me in an interview for the New York Times as she prepped a solo outing last year at the New Museum in New York. Using motors and other unusual techniques, she said, “gave me surprising results.”
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    in Exhibitions

    The Dutch Artist Famed for His Portrait of the Dodo Painted More Than That

    Roelant Savery, the industrious Dutch Golden Age artist best known for his painting of the dodo bird, is the subject of a new exhibition at the Mauritshuis museum in the Hague, Netherlands. Titled “Roelant Savery’s Wondrous World,” the show celebrates the painter’s iconic depiction the now-extinct species, but also his work as the first Dutch artist to paint floral still lifes and street scenes.
    Savery, who lived from 1578 to 1639, spent the better part of his career as a court painter to the Habsburg emperor Rudolf II in Prague. The emperor’s wealth and connections allowed Savery to explore a variety of subjects and genres. He produced some of the earliest known topographical drawings of the Czech capital, featuring landmarks like the Charles Bridge, Prague Castle, and the Strahov Monastery.
    One of these cityscapes includes a small self-portrait, showing Savery, sketchbook in hand, recording his exotic surroundings.
    Roelant Savery, View of Prague (1604–08). Rijksmuseum, Amsterdam (acquisition F.G. Waller Fund). Photo courtesy of the Mauritshuis.
    Like other Dutch artists from the time, Savery enjoyed drawing ordinary people as they went about their day. These sketches range from a young man sleeping in the street, to a beggar wearing tattered clothes, to a group of well-dressed Jewish people on their way to the Neualtschul (“Old New”) synagogue in Prague, the latter of which constitute some of first artistic depictions of Jews in Europe.
    Roelant Savery, Sleeping Young Man, Probably Pieter Boddaert (1606–07). P. & N. de Boer Foundation, Amsterdam. Photo courtesy of the Mauritshuis.
    Roelant Savery, Vase with Flowers in a Stone Niche (1615). Mauritshuis, (acquired with the support of the VriendenLoterij, the Rembrandt Association, and Mr H.B. van der Ven, 2016). Photo courtesy of the Mauritshuis.
    The exhibition also documents Savery’s a passion for flora and fauna. Some of his still lifes feature as many as 64 species of flowers. He frequently visited the imperial menageries, which included a deer park, a pheasant garden, and an area for Rudolf’s collection of lions. The Mauritshuis noted that, while many of these animals could never coexist in the wild, “in Savery’s paintings they peacefully lived side by side,” united by biblical and mythological symbolism.
    Roelant Savery, Two Horses and Grooms (1628). City Collection, Abby Kortrijk. Photo courtesy of the Mauritshuis.
    Although many of Savery’s paintings are not scientifically accurate, his most famous portrait of the dodo played an important role in the early scientific community. In the 19th century, biologist Richard Owen, the first superintendent of the Natural History Museum in London (which holds the painting), placed it next to an actual dodo skeleton to explain the creature’s confounding anatomy to students. To this day, the notoriety of the dodo and its evolutionary fate is closely linked to the popularity of Savery’s painting.
    “Roelant Savery’s Wondrous World” is on view at the Mauritshuis, Plein 29, 2511 CS Den Haag, the Netherlands, through May 20.
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    Testing the Market for a Controversial Artist, Pace Will Exhibit Chuck Close’s Last Works

    Pace is mounting its first exhibition of work by the late artist Chuck Close, whom the gallery has represented since 1977. The show may answer the question of whether the art market, and the art world in general, will support the work of an artist who was accused of inappropriate behavior by models in one of the most prominent art-world examples of the Me Too movement. 
    “Red, Yellow and Blue: The Last Paintings” will feature paintings, photographs, and works on paper, most of them formerly unseen, all employing only the three primary colors. A catalogue will feature a formerly unpublished 2018 conversation between Close and the artist Cindy Sherman (also known for her depictions of faces and her self-portraits), originally commissioned for the Brooklyn Rail. Also featured will be a new essay by critic Carter Ratcliff on the late works and one by Barbara Knappmeyer, associate director and scientific program manager at the New York Academy of Sciences, on Close’s work in the context of facial recognition technology. 
    Two former models accused Close of sexually inappropriate behavior in 2017. He apologized for his “dirty mouth.” According to his CV on Pace’s website, after the accusations emerged, he had no solo shows until 2020; he had only three solo presentations in 2020 and 2021, and none since then. Zachary Small, writing for Artnet News in 2021, asked whether his supporters could stage a posthumous comeback. His works have sold at auction for as much as $4.3 million, fetched by a 1971–72 portrait of painter John Roy at Sotheby’s New York in 2005.
    Close became known for his large-scale photorealist portraits that departed from the dominant paradigm of Minimalist art in the 1960s and 1970s. He painted self-portraits as well as a who’s who of cultural figures, including Cecily Brown, Alex Katz, Richard Serra, and Cindy Sherman. His focus on faces grew partly out of his having suffered from facial blindness. In 1988, Close suffered a spinal aneurysm that left him paralyzed, and he relied on a wheelchair for the rest of his life. He was able to paint—despite doctors’ predictions—after extensive rehabilitation and through the use of brush-holding devices strapped to his wrist and forearm.
    Close’s work resides in public collections internationally, including those of the J. Paul Getty Museum in Los Angeles, the Museum of Modern Art in New York, Tate Gallery in London, and the Musée national d’art moderne, Centre Georges Pompidou in Paris.
    “Red, Yellow and Blue: The Last Paintings” is on view at Pace Gallery, 510 West 25th Street, New York, through April 13. 
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    in Exhibitions

    These Spectacular Wildlife Images Won Big at a Top Photography Contest

    A tender image of a young polar bear drifting off to sleep in a bed he carved out of an iceberg has won over the masses. The photograph, titled Ice Bed, won British amateur photographer Nima Sarikhani the People’s Choice Award for the Wildlife Photographer of the Year, a prize organized by London’s Natural History Museum.
    To capture the image, Sarikhani spent three days searching for polar bears through a dense fog around Norway’s far-northern Svalbard archipelago. Finally encountering a young male bear just before midnight, he watched as it climbed the small iceberg, clawed away at the sea ice, then curled up into a serene slumber.
    In a statement, Douglas Gurr, the museum’s director, described the image as a poignant reflection on habitat loss: “His thought-provoking image is a stark reminder of the integral bond between an animal and its habitat.”
    The photograph was selected from a shortlist of 25 images, whittled down from 50,000 submissions. A record 75,000 voters participated in the 59th installment of the competition. The image, along with four other “highly commended” finalists, will be on view at the London museum through June 30.
    Audun Rikardsen, Aurora Jellies. Photo: © Audun Rikardsen / Wildlife Photographer of the Year.
    The other finalists include Norwegian photographer Audun Rikardsen, who captured Aurora Jellies, an ethereal image of the aurora borealis illuminating the night sky over the waters of a fjord, aglow with the bioluminescence of moon jellyfish.
    Kenyan Photographer Mark Boyd captured two lionesses grooming one of their shared cubs together after an unsuccessful hunt. Lionesses raise each other’s cubs as their own. Shared Parenting evokes the bond of sisterhood as well as the universal love of motherhood.
    Mark Boyd, Shared Parenting. Photo: © Mark Boyd, Wildlife Photographer of the Year.
    Starling Murmuration by German/Romanian photographer Daniel Dencescu was shot in Rome, Italy. He followed the starlings across the city for days as they danced across the sky, creating enchanting organic shapes. In Israeli photographer Tzahi Finkelstein’s The Happy Turtle, a balkan pond turtle smiles as a northern banded groundling dragonfly pays it a visit in the swampy waters of Israel’s Jezreel Valley.
    Tzahi Finkelstein, The Happy Turtle. Photo: © Tzahi Finkelstein / Wildlife Photographer of the Year.
    Daniel Dencescu, Starling Murmuration. Photo: © Daniel Dencescu / Wildlife Photographer of the Year.
    The prestigious Wildlife Photographer of the Year competition celebrates the nature-focused work of amateur or professional photographers. The 60th edition is currently being judged by an international panel, with its winners set to be announced in October 2024.
    “Wildlife Photographer of the Year” is on view at the Natural History Museum, Cromwell Road, South Kensington, London, through June 30.
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    in Exhibitions

    Black History Foregrounded in New Show at London’s Royal Academy

    We are fortunate enough to live in a time when many contemporary artists are reckoning with the past and making heard the once suppressed voices of people of color, women, and members of the LGBT+ community. Often, however, representations of the white- and male-focused histories being redressed are physically absent from exhibitions of such works.
    Not so at the Royal Academy’s “Entangled Pasts: Art, Colonialism, and Change” in London. Here, historical documents of empire, systemic exclusion, and outright racism are shown side-by-side with monumental works by some of the U.K.’s leading contemporary artists like  Frank Bowling, Yinka Shonibare, Isaac Julien, Sonia Boyce, and Lubaina Himid. Other major headliners include El Anatsui, Kerry James Marshall, Kara Walker, Betye Saar, and of course, Tavares Strachan’s majestic public sculpture in the museum’s courtyard.
    John Singleton Copley, Watson and the Shark (1778). Photo: © 2024 Museum of Fine Arts, Boston.
    The role of art in shaping convenient narratives and promoting those with power is exemplified by many of the historical paintings on show. The American artist John Singleton Copley was an Academician known to have owned enslaved people and among his works in the show is a double portrait of a plantation owner’s daughters Mary and Elizabeth Royall (ca. 1758). His painting Watson and the Shark (1778) thrilled audiences when it was first shown at the RA for its depiction of a shark attack in Havana harbor, imbuing Britain’s activities across the Atlantic with a sense of heroic excitement.
    These canvases form the backdrop to the exhibition’s standout work, Hew Locke’s Armada (2017–19), a suspended fleet of ships. These intricately detailed, colorful vessels represent various moments in history, from the Mayflower that brought early colonizers to America in the 1600s to the cruise liner HMT Empire Windrush, which carried Caribbean passengers to a new life in the U.K. in 1948. Local economies are represented by shipping boats while cargo ships are synonymous with modern-day global trade networks.
    Kerry James Marshall, Scipio Moorhead, Portrait of Himself, 1776 (2007). Photo: James Prinz Photography, courtesy of the artist and Jack Shainman Gallery.
    Landscapes by the 18th century English painter William Hodges are typical for their era in how they depict places like the Caribbean and India as exotic, untouched idylls that bear no trace of colonial violence. They are placed beside Yinka Shonibare’s Woman Moving Up (2023), which directly quotes the grand staircase at Chatsworth House as a symbol for the generational wealth evident in Britain’s many country houses, much of which was accumulated by investment in colonial ventures abroad. A female figure ascends the staircase, representing for Shonibare the migration of Black Americans away from Southern states during the 20th century.
    “While the geographical move for African Americans ended in 1970,” the artist explained in the show’s catalog, “the spiritual, cultural, economic, and social uprising has yet to cease.”
    Installation view of the “Entangled Pasts, 1768–now. Art, Colonialism and Change” at the Royal Academy of Arts, London, featuring Yinka Shonibare’s Woman Moving Up (2023), courtesy the artist and James Cohan Gallery, New York. Photo: © Royal Academy of Arts, London / David Parry. © Yinka Shonibare CBE RA.
    The RA itself is implicated as a force of oppression and exclusion within the exhibition, which at least attempts to reckon with its own history as a venue for the promotion of Britain’s imperial ideals throughout the 18th and 19th centuries. The considerable crowds that flocked to its salons to witness works like those by Hodges and Copley are evidenced by a cartoon form 1787.
    It would be a mistake to think that the promulgation of detrimental colonial values was limited to before the 20th century. Painter Frank Dicksee, who was president of the RA from 1924 to 1928, insisted that “our ideal of beauty must be the white man’s,” a world view clearly at play in his work Startled (1892), in which two pale figures frolic under a purifying golden light. Another damning painting in the exhibition is The Royal Academy Selection and Hanging Committee 1938 (1939) by Frederick William Elwell, which shows a formal dining table around which pompous white men sit and confer.
    Installation view of the “Entangled Pasts, 1768–now. Art, Colonialism and Change” at the Royal Academy of Arts, London, featuring El Anatsui’s Akua’s Surviving Children (1996), courtesy of the artist and October Gallery, and Frank Bowling, Middle Passage (1970), © Frank Bowling. All Rights Reserved, DACS 2024. Photo: © Royal Academy of Arts, London / David Parry.
    Most staggering of all, however, is the fact that the first Black member to be elected to the Royal Academy was Frank Bowling in 2005.
    In this exhibition, his majestic canvas Middle Passage (1970) is an abstracted meditation on the horrors of the transatlantic slave trade. Yellows, oranges, and greens refer to his birthplace of Guyana and we can make out the faint but familiar outlines of Africa and the Americas. It is staged in conversation with El Anatsui’s Akua’s Surviving Children (1996), in which pieces of driftwood are assembled to imply a gathering of figures. The sculpture was made while the artist was in Copenhagen for a conference on the Danish slave trade, during which he discovered pieces of wood washed up on a beach that brought to mind the many people who had been torn from their homeland and enslaved.
    “Entangled Pasts: Art, Colonialism and Change” is on view at the Royal Academy in London through April 28, 2024. 
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    in Street Art

    “Cherry Mouse” by Bordalo II in Lisboa, Portugal

    Portuguese artist Artur Bordalo, known as Bordalo II, is renowned for his transformative street art creations. His latest work, the Cherry Mouse, unveiled at the Cor de Chelas Festival  festival, is a testament to his unique approach to art. Situated in Lisbon’s Estrada de Chelas neighborhood, the installation breathes new life into the urban landscape, bringing color and creativity to the community.Born in Lisbon in 1987, Bordalo II’s artistic journey began at an early age, inspired by his grandfather’s passion for painting. Drawing from his background in painting and sculpture, Bordalo II developed his signature style of creating sculptures from discarded materials found throughout the city. The Cherry Mouse exemplifies his commitment to using art as a platform for social and environmental commentary.Using street garbage such as scrap metal and plastic items, Bordalo II meticulously constructs intricate animal sculptures that serve as poignant reminders of the environmental impact of consumerism and pollution. Through his installations, Bordalo II seeks to raise awareness about the urgent need for sustainability, inviting viewers to reflect on their relationship with the natural world. As Bordalo II continues to push boundaries with his “trash art,” his work serves as a powerful reminder of the transformative potential of art in addressing pressing environmental issues. More

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    in Exhibitions

    Harmony Korine’s L.A. Debut of His New Film ‘Aggro Dr1ft’ Was an Odd and Artistic Spectacle

    For two consecutive nights last week at the Hollywood club Crazy Girls, entertainment polymath Harmony Korine screened “Aggro Dr1ft,” the debut film of his Miami-based multimedia company EDGLRD. Shot entirely in infrared, the 80-minute film has both a retina-burning, acidic palette, as well as a 36-percent rating on Rotten Tomatoes. You might also recognize a few of its scenes from the DayGlo-colored paintings Korine made for his debut Hauser & Wirth show in Downtown L.A. in September.
    If I had to sit through “Aggro Dr1ft” in a theater, sober, I might’ve hated it. Following its Venice Film Festival debut, critics immediately derided its tedious meandering, lack of character development, and general depravity—coincidentally all hallmarks of widely celebrated video art. Fortunately, I saw “Aggro Dr1ft” as it was actually meant to be seen, in the form of a multichannel installation in a strip club, the piece played on screens installed around the perimeter of the main stage and on the ceiling. With dancers in pasties working the poles and colored lights that blunted the finer visual details of reality, the venue transported us to the movie’s correct spiritual plane—that of male fantasy, where spectatorship has neither self-consciousness nor shame. 
    Courtesy of EDGLRD
    The plot follows sympathetic hitman BO (Jordi Mollà) on his hunt for a demonic Florida crime lord, taking us through a lurid universe of gratuitous violence, poverty, opulence, dwarves, yachts, fist fights, and dancers with lit fireworks in their nether regions. Travis Scott, playing Zion, delivers a beautifully wistful, stoner performance, and it’s hard to believe he’s even acting.
    On-screen, Korine’s infrared effects and limited dialogue function the same way, flattening characters and scenery to planes of color and simplified outlines. And it truly works, tuning the graphics and melodrama to the simplicity of a comic strip. In scenes like where BO slowly decapitates a villain with a small knife, the cartoonish rendering serves as a protective filter between the audience and the goriest details. In a venue full of semi-inebriated men, these visuals feel somehow less offensive—and to some, pretty laugh-out-loud funny!
    The overexposure of the infrared burns the finer details out of the frame, but it also pulses and heaves; it creates a world of science fiction in the present day where everyone glows internally like a burning ember. The effect nicely serves what I’ll call Florida Noir, a hypothetical genre that Korine’s embraced and refined since moving to Miami nine years ago. Like film noir, it’s a melodrama of seedy underbellies and corruption, but amplified and distorted by the particularities of the Sunshine State. It’s where the tropics meet the American South—distinctly more lawless, freakish, colorful; more everything. It’s Baz Luhrmann’s “Romeo + Juliet,” “Grand Theft Auto 6,” and Janicza Bravo’s “Zola.” It’s the strip club and ornate floral patterns on men’s shirts. It’s Korine’s 2012 film, “Spring Breakers,” and it is James Franco, in cornrows, singing a Britney Spears ballad as the sun sets.
    Courtesy of EDGLRD
    Florida Noir is weird. It’s also the aesthetic realm Korine tried and failed to capture with his artworks at his inaugural solo show at Hauser & Wirth, where the movie’s most anodyne stills appeared more like posters than paintings. It was safe imagery rendered with a perfunctory handling of paint—the simple coloring-in of a picture rather than expressing paint’s actual capabilities. “AGGRESSIVE DR1FTER” was like an attempt to Google Translate the language of cinema into the language of painting—the latter of which Korine isn’t quite fluent in yet. In the language of video installation, the work suddenly speaks more clearly.
    The transgressive ambitions of Korine’s practice, established long ago with the cult classic films “Kids” and “Gummo,” is in the lineage of Paul McCarthy and Hermann Nitsch—white guys similarly seeking spiritual release by diving further into the abject and male toxicity. They’re all also multidisciplinary artists with a performance practice, which brings us to the real reason I came to this screening: to catch EDGLRD reprise its now-iconic, FOMO-inducing Boiler Room set that I missed during Art Basel Miami Beach.
    Courtesy of EDGLRD
    This key part of the Korine universe came in the form of an outro: after the screening, shortly before midnight, Korine and his crew filed out onto the stage. There were about a dozen of them: dudes in white hazmat suits and demon masks with ram horns, petite women in ghost makeup and neon green wigs, and little people in Super Mario masks.
    Korine and his D.J. friend were on the decks, also masked and horned. They opened with Sixpence None the Richer’s 1997 ballad Kiss Me. A girl in the front row rolled a blunt and passed it, then began pouring clear liquor into the mouths of interested parties. There were some Brazilian beats played, as well as Metallica’s Enter Sandman, a song sampled from the video game Legend of Zelda: Ocarina of Time, and something sleepier as a finale—it might have been Phil Collins, but it’s hard to remember. It was a contained chaos that reasonably ended by 12:45, which made me wonder if Hauser & Wirth might consider hosting this work in the gallery.

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