Almost thought, that I wouldn’t visit The Armory Show, which took place in the first week of March. The art fair’s tiredless self-promotion worked, however, and the show on Piers 92 and 94 didn’t disappoint. Next time, The Armory will move to a new location, providing also different dates. New York’s Javits Center will host the show in September 2021.
Exhibitions of delicate, poetic, musical, and folding works, that create beauty in a world full of turmoils, took a center stage. One could pick the art with rose colored glasses. The Women’s History Month approved to be relevant. I immediately fell in love with Francois Morellet’s red neon work “Contorsions” (2007), at a Milanese gallery A Arte Invernizzi’s beautiful and minimalist booth.
Shahzia Sikander’s“Double Sight” (2018), is a mosaic work that draws from classical miniature painting traditions of Indo-Persian origins. The Pakistani-born international artist has experimented with the medium, and employs multiple perspectives to her works, including those of South Asian, American, Feminist and Muslim. The topics the artist explores are globalisation, languages, trade, empire, and migration.
Artist Kim Jones’photograph has texture. In the one above, the hair is covering a face, while his other works on display were installations made out of wigs. The life of an artist includes time spent in Vietnam War, making his world appear as creating asymmetry, or holding a point of view that is more hidden.
Rosa Loy’s painting, on the other hand, creates different magic with narratives, in which unknown looms in the air. The Leipzig-based painter makes compositions, in which women perform in seemingly weird and ritual-like settings.
Moyna Flannigan’s new works include paintings and collages. They draw from art history, mythology, and popular culture to explore issues in the contemporary society. She is interested in the representation of women in art. The figures in her works, have ambiguity in mind. The dark tones are discovered with humor and irony. She is at The Armory with the Ingleby Gallery from Edinburgh.
These artworks remind us of the fact that the life is in a state of suspension. The everyday life feels more as if we face it in a raw spacetime continuum.
Rina Banerjee’srecent sculptures are part of her concept of ‘irresistible earth’, that can be described as something uncontrollable and unconditional. In it, our senses play a central role in a process of figuring out, what is right and what is wrong in the migrating destinies of our lives. Banerjee is an Indian artist who lives in New York City, and is represented by GalerieNathalie Obadia in Europe. Of her new sculptural work, she writes poetically.
“Fastened to two walking sticks and lopsided imagined she in a world without opponents, unburdened by squabble and masonary bricks, she a prop propped up man from man not capable of understanding the parts that ripped and torn like partition, camps, detention pockets and passport tangles bottled black glory and tangerine blossom.” (Rina Banerjee, 2020)
For the Women’s History Month, Nancy Wilson-Pajic’sfeminist cyanotype photogram recalls the time, in which women artists were not accepted to the canon of the art world. Therefore, the radical expression of her art developed into significant styles that she became known for. Her multidisciplinary art was aiming, “to create mental spaces within which creative reflection may take place.”
These artworks remind us of the fact that the life is in a state of suspension. The everyday life feels more as if we face it in a raw spacetime continuum.
ruby onyinyechi amanze embeds a notion of scholarly artist in a true sense. Next to her large drawings on paper stands a mind that is influenced by spatiality in a geographical sense. The artist employs a design sensibility that gives her drawings variable perspectives. ruby amanze completed her art degrees, worked in art institutions, and as the Director of Education at the Museum of Contemporary African Diasporan Arts (MoCADA). She was a Fulbright Scholar teaching art at the University of Nigeria, Nsukka in 2012-2013. Currently, while still teaching art, her artistic practice evolves in a studio located in Brooklyn, New York City.
Firstindigo&Lifestyle: It is fascinating how you translate the theme of hybridity into formations with so much vivid color and fluidity. Do you think this resonates with the fact that you were transferring between various continents?
ruby: Most definitely. There is a way of being and moving in space, that I feel is unique to the experience of having come from many places. Automatically, there is less permanence associated with land (geography) or a sense of home. My understanding of home was that it changed a lot. So I adapted into a shared consciousness that home equates fluidity. Also, that my physical body had the right to claim space wherever I was- nothing felt off limits. I started to identify myself as a hybrid and to recognize that there were many narratives of hybridity. Initially, there was an idea that people who moved in that kind of way didn’t belong anywhere- that they had no home and somehow weren’t “authentic”. Or that they lost something…something they would always search for. I disagree.
I feel that my life is enriched by these multiple homes. I meet people from all over the world who have had similar transcontinental experiences, and I know I’m part of a borderless, expansive “country”. We don’t have a landmass. But the space is a legitimate one. A lot of this informs my spatial decisions in the drawings.
What does being ‘African’ mean to you personally, was there a strong sense of a Nigerian community in England where you grew up?
ruby: Being African for me can mean many different things, depending on the context. Generally speaking, I think it’s far too broad and simple of a “classification”. What I know of Africa is miniscule compared to its vastness. And that goes for any of us, who refer to the region so lightly…the truth is we know next to nothing. Even to zoom in to Nigeria, where I’m from- the same sort of complexity exists. Non-African colonizers, as is the case for many – if not all African ‘countries’ – arbitrarily decided the country’s borders. The writer Taiye Selasi said in a Ted Talk, “nations are concepts”. They’re inventions. She said that what makes more sense, is to think about where you are ‘local’ of, as opposed to a ‘national’. I think this is true, so while I was born on the landmass we call Nigeria, what is more accurate to say right now, is that I have a relationship with the city of Lagos. That’s what I know most of Nigeria. That’s where I have friends and routines…where I invest time and spirit. That’s where I am at home. Yes, there was and still are, large communities of Nigerians throughout England. Growing up there, my family was part of a circle of families that emigrated around the same time, some of whom had known themselves in Nigeria prior to relocating. My generation of this circle is still close. We grew up essentially as cousins.
When did you start making art, how did your career path take direction?
ruby: I’ve been making art, and identifying as an artist, since I was a small child. It has always been, everything I’ve wanted to do and be. My pursuit of it was single minded. At every point that there was an option, I chose art. Coming from a family of Nigerian immigrants, who had grown up with the societal framework that art is not a career, I had to be quite stubborn and relentless in advocating for it. To my favor, I excelled in all academic areas, so my parents didn’t fight me too much, and perhaps took the mentality of ‘waiting it out’ to see if it would pass! It didn’t pass and here I am today, as I knew I would be. All of my life choices have been around art. I did my B.F.A and M.F.A worked in art institutions, taught art (and still currently do)…The turning point for my career was when I decided to leave the best job I’d had, as the Director of Education at the Museum of Contemporary African Diasporan Arts (MoCADA). I left to do a Fulbright on contemporary drawing in Nigeria. It was a year commitment primarily to the studio. When I returned, there was no going back to anything other than a full time dedication to my career as an artist. This was the best decision I ever made…
Can you recall your aesthetic language? Somewhere in the drawings/paper, the characters dance, move, and seem to be very mobile?
ruby: Funny that you say that, as I’m influenced a lot by dance, performance and movement languages such as Gaga (that I recently discovered and have since incorporated into my extended ‘studio’ practice). Also films…slow moving, non-linear, beautifully ‘choreographed’ spaces and exchanges. I go to the cinema every other week if I can, and am completely absorbed into the imagery. It’s like going to library and collecting books for research. I collect images, not knowing when or how exactly they’ll resurface. Architecture and design influence my imagery a lot.
In hindsight, I’m aware of many instances where I aligned myself with design conversations and practices. I don’t think I had the language to make the connections before…to talk about my drawings as design. It just was a pull that I kept following. After my M.F.A, I contemplated returning to school to study architecture. I think architectural drawings are so beautiful. And the ways they think about space, as something malleable that can be shifted or constructed, is fascinating to me.
Your drawings on paper seem to be narrating things, and yet say something very poetic in their way of leaving lots of white space around the figures and colors. How about, are any of these patterns and colors influenced by some African aesthetic traditions, and folk features?
ruby: I think of the drawings as non-linear narratives. Story telling is a fluid art, and even when it’s ‘true’, there is always an element of fiction in it. I’m a storyteller. And I leave space for the viewers to insert themselves or participate in constructing the narrative. There are clues- some of which come from actual experiences (mine or sampled), some of which are entirely fabricated. I don’t feel any obligation to give the viewer everything. Nor do I feel that art is a platform solely for me to communicate a particular and clear ‘message’. That’s not my job as an artist.
While spending time in Nigeria, what did you learn and study? How was the experience like; did it feel foreign at times, or was it more like returning home?
ruby: I’m sure I learned many things…but mostly from the normal day-to-day living, as anyone would wherever they found themselves. There were no grand epiphanies. Generally speaking, there was no “adjusting”. I wasn’t there as a student, but in the position of a professor, I think there’s always a reverse learning that happens in the classroom- if nothing else, how to be a better professor. I was there and it was my home, my life- it felt familiar. Of course, there were things that were different. But the only thing that really rattled me were social attitudes that seemed antiquated when it came to gender or sexual equality. Let’s just say, I got into a few fights!
Do the paper works without borders or frames imply different moods than the ones with frames?
ruby: No, it’s just a different presentation. I like that paper does many things.
Could you tell a little about the experience and feedback you received at the Armory Show, you were there with Mariane Ibrahim Gallery during the first week of March?
ruby: I’m happy to have had the opportunity. It can be a complicated space for an artist to navigate, because it’s a market. There is little conversation about practice or curatorial interests. I had to separate it in my mind from the studio. In making the work, I was very intentional about maintaining my integrity. Time wise, the work was shown at the Armory, but in a different time, it could have been shown anywhere. In other words, showing at the Armory didn’t change anything for me in terms of what I’m interested in exploring in the studio. More than sales, what I’m most excited about is the visibility…the introduction to museums and such.
Where are you heading next, artistic plans for the future?
ruby: I look forward to many things in my career as an artist. But the number one joy in all of this is what happens in the studio. That’s where I’m heading next…
What are the most celebrated features in the international art scene at the moment? The big art fairs, such as The Armory Show display candy art, and communicate the global tends. What strikes through from the art fair’s mass volume is the moment factor. The art takes place in the now, and is grasped as intensely global. Sometimes the moment appears as too loud and cacophonic, and as hard to perceive. However, it is always interesting to see how new ideas are shaping the content of the art world. Currently, we certainly live in an era of an object, we believe in the objects, and are looking for new center pieces that reflect more dynamic, perhaps organic, maybe even transformative ideas. With the object comes the abject, the ideas, the observations in the chaotic, the necessary artistic vision and paradox. The abject visualizes our need to give shape to turmoil in the world and in our personal lives. In the midst of it, there is a sense of calm, a need to seek out to other realms, or to give the paradoxes a more usual everyday reference. Art has hardly ever been so metaphorical as it is now. Here pulsates both the object and (its) abject. Berta Fischer’s sculptures attracted with their transparency and with their neon-candy volume of lightness, they are popular and easy to access. Some of her works have a different texture in them, like the oval-shape, red-yellow wall sculpture below. It comes closer to definition of an abject reminiscing of the interior, and the morphological. Nicole Eisenman’s reclining head-sculpture titled Big Head Sleeping, spoke about the materiality and shape, asking how a single body part connects to a dominance of a head, but with a cut-out presence. Her sculpture stood as an abject with introspection, critically studying our contemporary culture.
This year, The Armory Show included a curated section highlighting the geographic region of the Middle East, North Africa, and the Mediterranean. Jumana Manna was one of the artists featured in this section, presented by CRG Gallery, New York.Manna’s works stand for ruins, and act out the disappearing landscape of people and their cultural heritage. More general references are to the origins of the culture, since the artifact nature of the ruins is present. Yet, her works narrate of the idea of the home, and perhaps of the lost home. The artist uses film and sculpture to capture history, anthropological sensibility, and truly benefits from the performative ways to present realities of her projects. Another focus artist was Mona Hatoum’s art presented by Alexander and Bonin,New York.Mona Hatoumi’s black circle on the floor, appears as if it is glued to the space, leaving lots of room for interpretation. Overall, the curated section in this year’s art fair comprised of fifteen gallery presentations from across the globe, including non-for-profit institutions. The Armory Focus 2015 was curated by Omar Kholeif, a curator based at the Whitechapel Gallery in London.
What else was capturing the moment factor? The time of the selfies, and an act of self-reflection, when we are looking at ourselves and the others in the mirror, having object-devices as the backdrop of our doings: performing ourselves, and putting ourselves out there in the social media, which in someways acts as today’s mirror. This is a theme that young generation artists will return to with new and different ideas. One is the always relevant question of identity, how we look ourselves in the mirror, and what does the mirror show. This interplay is shown in Alicja Kwade’s mirror-sculpture titled, Figure. It stands on a leg, being humorous, historic, reflecting the person-in-charge, whoever looks into the depths.
Environment is one topic in the current art world. And it should be. Among the chaos, across the globe, where natural disasters and turmoil take place on a regular basis. Art necessarily reflects this. The references are not too obvious, but you can understand the point through the presentation. Such was the installation by Yargo Alexopoulos, presented by Bryce Wolkowitzfrom New York. The infinite loop might as well be artificial, but it connects to the ocean, presenting a dynamics of the water surface, as monotonous and as moving with tension. Similar subliminal feel comes out of the visual imagery of Catherine Yass, presented by Galerie Lelong, New York. This work was a light-box installation, in which the artist used photographic exposures of the lighthouse and blue-colored filters. The result is eerie, and comes with a message, where the source of light has turned black.
One of the personal favorites in this year’s Armory Show was a Los Angeles based gallery which brought along fresh ideas to the East Coast. The meditative palette by artist Luke Diiorio, presented by Anat Ebgi, was unique. The gallery showed his recent work-series titled ttylenol. These linen works praise craft, meditate, and encompass, and have some feel of the work-in-progress.