Firstindigo&Lifestyle

21-century art

Category: fine and contemporary art

  • Bettina Pousttchi explores world time and architectural history in east coast premiere

    Bettina Pousttchi explores world time and architectural history in east coast premiere

    Bettina Pousttchi is a Berlin-based artist working in photography, video, and sculpture. German-Iranian artist studied at the Kunstackademie Düsseldorf, and participated in the Independent Study Program at the Whitney Museum of American Art in New York from 1999–2000. Pousttchi has exhibited throughout Europe, including Amsterdam, Berlin, Köln, and London, and participated in the Venice Biennale in 2003 and 2009. She held her first U.S. solo exhibition in 2014 at the Nasher Sculpture Center in Dallas, Texas.

    Through photography and sculpture, Bettina Pousttchi is interested in altering architectural buildings and monuments as indicators of the past and media of remembrance. Currently, the artist exhibits in two different museum spaces in Washington D.C. First exhibition titled Bettina Pousttchi: World Time Clock is on view until May 29, 2017, at the Smithsonian’s Hirshhorn Museum and Sculpture Garden filling the museum’s third-level inner-ring galleries. Concurrently with the World Time Clock series, The Phillips Collection presents her second D.C. appearance with the works titled Double Monuments. This exhibition by Bettina Pousttchi  is on view until October 2, 2016.

    Pousttchi’s exhibition at the Hirshorn is a premiere of her World Time Clock series, a project the artist began in 2008 and recently completed. The installation consists of a group of photographs that she created in 24 time zones around the globe over the last eight years. The artist has often contemplated systems of time and space in her art. To accomplish the World Time Clock photography, she traveled the globe capturing a portrait of a public clock in each time zones. In the final production, represented are locales far apart from each other, such as Bangkok, Moscow, Los Angeles and Tashkent, Uzbekistan. The circular format of the Hirshhorn’s inner-ring galleries on third floor works well with the theme of this exhibition.

    Bettina Pousttchi's World Time Clock at the Hirshorn's third floor is on view until May 29, 2017.
    Bettina Pousttchi’s World Time Clock at the Hirshorn’s third floor is on view until May 29, 2017.
    Bettina Pousttchi's World Time Clock.
    Bettina Pousttchi’s World Time Clock.
    Bettina Pousttchi's clocks come from 24 different time zones.
    Bettina Pousttchi’s clocks come from 24 different time zones.

     

    The photographs each show a clock displaying the same local time: five minutes before two. Together the images suggest a sense of suspended time and what the artist calls “imaginary synchronism.” Seen in close-up, the clocks are united in a single scheme that calls to mind the historic role of Washington as the site of the International Meridian Conference in 1884. It was here that the Greenwich Meridian was adopted as a universal standard, determining a zero point for the measurement of both longitude and time.

    Bettina Pousttchi’s second display, on view at the Phillips Collection until October 2, takes on from the notion of history and memory of architecture. The exhibition is part of the Phillips’s ongoing series Intersections, which interestingly highlights contemporary art and artists in conjunction to the museum’s permanent collection, history, and architecture. With her works Double Monuments for Flavin and Tatlin (2013), Pousttchi is in conversation with art and architectural histories, addressing the historic works of Russian Constructivist sculptor and architect Vladimir Tatlin from the 1920s, and American minimalist artist Dan Flavin from the 1960s. Pousttchi’s sculptural installation is composed of materials deriving from street barricades, and metal crowd barriers, which the artist transformed into sculptural forms. The objects create contrast and volume with neon that grows inside the powder-coated abstract forms. The sculptures include spiraling neon light tubes reminiscing those fluorescent light works created by Dan Flavin. The five sculptures range from 5 to 12 feet creating dramatic presence and enhancing both sculptural form and architectural setting at the Phillips. Their tower-like shape is a homage to Tatlin’s sculptural works, yet they have a theme and form of their own. Pousttchi’s works carry an idea of mystery of bringing in outdoor elements into the white gallery space. The white paint creates sophistication out of the raw urban elements while neon makes them settle somewhere in between the indoors-outdoors -scale.

    Bettina Pousttchi Double Monuments
    Bettina Pousttchi with Double Monuments on view at the Phillips Collection.
  • Teresa Dunn: Motherload

    Teresa Dunn: Motherload

    Painter Teresa Dunn has her new exhibition Motherload on view until June 18 at the First Street Gallery in New York. Her current show depicts recent oil paintings and mixed media works on paper and canvas. For this exhibition, the artist who masters the Renaissance school of nature and human portraiture to the fullest forms has adopted new richness of palette. Her repertoire has gotten fuller, perhaps partially due to the size of the panels, paper and the use of triptychs, which allow larger developments and almost surgical dimensionality. Now the center is the body as tissues and palpable beats. In these new works, the body is joined with the amounts of vegetation, which makes the skin appear as fruitful foliage. Painter Teresa Dunn is making serious rising; she is represented by the Hooks-Epstein Galleries in Houston, Texas, and by Galerie l’Échaudé in Paris in France.

    Teresa Dunn at her Motherload show in First Street Gallery.
    Teresa Dunn at her Motherload show in First Street Gallery.
    Teresa Dunn, Birth of the Pink, Oil on paper, 60x45, 2016.
    Teresa Dunn, Birth of the Pink, Oil on paper, 60×45, 2016.
    Teresa Dunn, Interlaced, Oil on paper mounted on canvas (triptych), 60 x 120, 2015.
    Teresa Dunn, Interlaced, Oil on paper mounted on canvas (triptych), 60 x 120, 2015.

    In an action packed painting there was a pause, when Teresa Dunn imagined communities within narrative landscapes full of thick Renaissance color and light. The water rose through the images, leaving behind people on their isolated islands, together, alone, breathing air, figuring the scenes of us existing on the planet. The scenes were almost apocalyptic, borrowing from Biblical and mythological imageries of human drama and emotion. And it all made sense, as her paintings were influenced by the Venetian school, especially by the works of its great master Titian. Drama and poesia in the same theme, when color and light create unparalleled resonance.

    Now, the next pause was different. Teresa became a mother. From artistic point of view, the dreaming in her works became increasingly about the simultaneously occurring events. These happenings were seemingly not relating, but arbitrarily meeting in the same future. This time the fragments of narration made sense as islands of vegetation. The theme of water from previous paintings had changed into the vegetation. Or the water had become an overflow, which got mixed into and within the vegetation becoming moisture, as palpable like a touch of mist on the skin. An underpinning, a reflection on canvas. Like her inspiration of the magical realism, Colombian novelist Gabriel García Márquez imagined fog. Can you see distances through the fog. Or how a distant place somewhere far resonates here in this place. How everything connects and makes a reason, but not as univocality. The story is about bringing together universal fragility of existence and our mortality.

    In the new works, the colors have become evidentially subtler with more visible brushstrokes, with circular patterns of movement. The palette is lighter, and the narration seems to be settled in the background in the midst of a natural flow and overgrow of things; more than objects. The natural life and still life has found a lingering attachment inside the palette, showing that humans as actors play no longer the central role. In a triptych ‘Interlaced’ (2015), a loose tire rolls through the canvas, as if being a sign of an uncontrolled human motion. In another triptych, ‘Slippage’ (2015), a woman is growing out of a bush representing the nature herself and our origin. In this triptych, the panels together seem to be cumulating as a force, which becomes a wave. A water splash is running from one panel to the other in ‘Slippage’. Teresa Dunn’s triptych form borrows from the Renaissance art. In her paintings, the occurring shapes are creating new terms to reinvent the classic.

    Artist website: http://www.teresa-dunn.com

    FIRST STREET GALLERY: http://www.firststreetgallery.org/

    526 West 26th Street, Suite 209, New York
    Gallery hours: 11 am – 6 pm, Tuesday through Saturday

  • Camilla Vuorenmaa carves wood into paintings

    Camilla Vuorenmaa carves wood into paintings

    Camilla Vuorenmaa is a young visual artist focusing on the human experience and the everyday encountering between people. She creates portraits with full of affect that stem from an exceptional artistic medium. Her portraits appear on carved wood as vigorously painted characters. An award-winning Finnish artist had a recent museum exhibition at the EMMA – Espoo Museum of Modern Art in Finland.

    The main motive in my works is the individual experience and a sort of portrait. Effort, success and experiences of failure, the dignity of everyday life, affection, frustration and the experience of innocence and pain are subjects I reflect in my works. Mainly I portray the figures as themselves, doing some kind of a activity or being in the middle of it. Fundamentally we are all alone with our personal experiences. -Camilla Vuorenmaa

     

    Firstindigo&Lifestyle: How did you find your recent artistic medium, is it common that an artist combines woodcarving and painting together?

    Camilla Vuorenmaa: I started to work with wood year 2010, when I had the first opportunity to work as a full time artist for longer period of time. I had wood on my mind already before, but then I knew it was time to start with this material. My work has though always been moving between 2 and 3 dimensional form. I have felt the need to add mass and structure to my paintings, for example continue it with foam rubber stuffed canvas, or continue painting to the wall, over its material form.

    Using wood in sculpture and even painting on the wooden sculpture is quite common. But this combination, painting and carving on wood boards is not yet very common. My working method is actually closer to the graphic boards that graphic artists make as a basis for their prints. Difference is, that I use that basis as the art piece itself, instead of making prints out of it. I call them paintings; others might call them something else.

    As an artist do you feel that you can associate with both design practices and with the fine art history?

    Camilla Vuorenmaa: Hard to say. I guess the things you grow up with, see and smell, forms, colors, light and shadow, basically everything has an effect on the visual idea. I am sure that Finnish design and especially its patterns have had influence on my visual choices. It is more unconscious than relevant though.

    Your recent exhibition at the EMMA – Espoo Museum of Modern Art, was about people working by the sea. Could you tell more about this project?

    CV: I applied to the SIM residency in Reykjavik on the winter 2014. I got the residency time to the September and October 2015 and it was perfect timing, since this project was on my mind before I knew about the prize and following exhibition at EMMA. All together, I had only nine moths to prepare EMMA exhibition, so it was good to have this idea already burning on my mind. I wanted to investigate the basis of the culture in Iceland, which is fishing. Everything in that country has basis on their fishing culture, so very simply, my aim was to go with the fishermen to the sea for some period of time, observe their working habits as an isolated community, atmosphere at the boat and individuals’ relation to the sea. I got connected to the MSC-Marine Stewardship Council representative Gisli Gislason in Iceland, and he told me a lot about the history of the fishing industry and helped me to connect with the Helga Maria ship’s crew. I went to the Atlantic Ocean with Helga Maria ship for one week on September 2016. During that time I photographed their working and used later these photos as basis of my paintings. The ship left from Reykjavik and went up until the northeast Iceland sea area. And returned. Gladly, weather was good most of the time.

    Camilla Vuorenmaa, The Sea Separates Us-exhibition, 2016, EMMA -Espoo Museum of Modern Art. Photo: Ari Karttunen/EMMA.
    Camilla Vuorenmaa, The Sea Separates Us-exhibition, 2016, EMMA -Espoo Museum of Modern Art. Photo: Ari Karttunen/EMMA.
    Camilla Vuorenmaa, The Sea Separates Us -exhibition, 2016, EMMA -Espoo Museum of Modern Art. Photo: Ari Karttunen/EMMA.
    Camilla Vuorenmaa, The Sea Separates Us -exhibition, 2016, EMMA -Espoo Museum of Modern Art. Photo: Ari Karttunen/EMMA.

     

    What was your experience in working with EMMA museum; did you work particularly with a curator to build the show?

    CV: Making an exhibition is usually a lonely work, but bigger shows definitely involve more people and more things to be taken care for. For EMMA exhibition I was closely working with curator Tiina Penttilä from EMMA. She came to visit me at my studio and also interviewed me for the catalogue several times during the making of the exhibition. I felt I got well supported by Tiina Penttilä and the whole museum crew during the making and building process. As an exhibition space, EMMA is wonderful and gives many possibilities to an artist. Especially I enjoyed making the wall paintings to the space. This was great experience as a whole.

    Where does your artistic process start, from the idea of a canvas, or from the wood?

    CV: Everything comes side by side, simultaneously. I choose material same time as I collect ideas. I take photos of something that interests me, like for example wrestlers. I made series of paintings based on the observation of the movement of one wrestling team in Helsinki. I do not really make sketches on paper; I see my photos as my sketches. I buy material, print photos that inspire me and spread them around the studio. Then I start to combine different sized wood panels and paint the beginning of the piece on the boards. I paint and carve, paint and carve until it is ready.

    Wood has been my main working material for the past six years, but now I start to feel working again also with other materials.

    You have worked with mixed media, how did you develop the techniques in each period of time, can you speak of artistic growth, or is it more like a seasonal thing?

    CV: I guess all the developments on my techniques have had to do with the search of some kind of layer in between a painting. Painting on canvas, plexi glass, paper, mdf-boards, wood, wall, all these have circulated in my work. I can return to a technique I tried and worked with several years later and proceed with it further. I see working as a visual artist also some kind of work of an inventor, chemist, and alchemist. All the material details and accidents with them lead in to interesting paths and can start even a new process.

    Camilla Vuorenmaa, Fisherman, 2015, painting (carving on wood), 200x120x2cm, EMMA -Espoo Museum of Modern Art. Photo: Ari Karttunen/EMMA 

    What are you inspirations for creating your art, does it usually start with observations or fieldwork?

    I used to collect inspirational pictures from old magazines. I spend hours and hours in old bookshops and went through dusty old magazines and photography books. The nostalgia and history inspires me, and also the idea that everything that happens in the world has already happened many times, they just appear in more modern form from century to century. Also my love to literature and books as objects has something to do with it. For the past years I have also started to use more my own photography as a basis of my paintings. I have become maybe more brave to confront the subject, or my curiosity has gone over my shyness.

     

    How would you describe the education in Finland, much did you learn from your art education?

    CV: My times in Finnish Art Academy were great. My teachers gave me a lot of freedom and opportunity to try everything. I was on the painting department but visited other departments regularly to try their material and working methods. For some, this kind of working freedom might have been too much, but for me it worked perfect. And if I needed support or comments, I could get that from the courses or ask studio visits from the teachers.

    Is there something particularly Finnish in your art making?

    CV: Well, I guess wood is pretty Finnish material. As wood industry is still so big in our country. Also I have understood from my colleagues and collaborators in Sweden, Denmark, Iceland and England that Finnish painters seem to have something peculiar and wild in their visual language. This has been of course great to hear – what a compliment to Finnish painters.

    Do people ever ask you about the nature of your practice in regards to your gender as a woman making art, and your subjects for art, does the gender play any role in your art making?

    CV: Well, I wish I could answer that “no – I have never have heard any questions that have something to do with my art making and being a woman”. But of course I have. Many people still seem to wonder how a small woman like me can handle big wood blocks, or do so big sized works. Once I even heard one man saying to me that your works are great, they look as if they are made by a man. I wonder what Louise Bourgeois must have heard! Good thing is that these comments are though not the first and the only thing I hear about my work and my working methods. Art is always political. So of course my art is too. I am more interested to hide my perspective of the roles of humans in my work, than comment it very straight in my work. But of course it is there. And I was the one who made these images.

    What expectations do you have for the future, where do you see yourself going next?

    CV: Now I am in the rare situation that I have exhibitions and plans made already until next year. Usually I have not known my ways for more than six moths. Interesting for me is to also see how this will affect on my artistic work, I have a possibility to plan and make long-term choices. My next big solo exhibition will be on January 2017 in Gallery Forum Box in Helsinki. After that I will take part to two group exhibitions in Sweden. I am more than exited and grateful for this situation. My aim has always been to make it possible to work as a visual artist without making compromises in the content. I follow that road.

    Artist website:

    http://camillavuorenmaa.com/