Riot Material

Art. Word. Thought.

Bodies, And Limits, Beyond The Norm In Touch Me Not

By 1 Comment

Reviewed by Arabella Hutter von Arx

At the start of Touch Me Not, which opened the 2018 Romanian Film Festival in New York City, two men set up a device involving a glass plate and a camera. This is followed by a panning shot in shallow focus detailing the landscape of a male body, skin, hair, follicles, moles. The movement of the camera and its focus are perfectly controlled: light floods the body evenly, leaving no shadows, resulting in a flat objectivity with no physical feature being favored over another. The blurred face of Adina Pintilie, the director of Touch Me Not, appears on the glass plate. She is talking to someone about the film, questioning their relationship: “Why did you not ask me about the film? Or was it me being relieved you don’t ask?” A disembodied woman’s voice replies. The camera turns to reveal, Laura, who is played by Laura Benson, or who is Laura Benson. A svelte woman in her 50s with a mane of dark hair, the seasoned English actor has worked with Patrice Chéreau and other directors known for their exploratory approach to drama. [Read more…]

In Paris: 1,2,3 Data Group Show; Suter’s Radial Grammar; and VHILS’ Fragments Urbains

By Leave a Comment

Reviewed by Arabella Hutter von Arx

1,2,3 Data group show, Batia Suter’s Radial Grammar, and VHILS’ Fragments Urbains are three exhibitions of contemporary art taking place in Paris this season. While they vary greatly in form and content, they all use found materials as the source for their art and address the relationship of humans to their environment, both natural and manmade.

VHILS, Fragments Urbains (19 May – 29 June 2018)
at Centre Centquatre, Paris

The Portuguese artist Alexandre Farto, who goes by the street tag VHILS (his favorite letters to spray as a teenager), came to fame for his street art first in his native Seixal, and then in a number of metropolises around the world. He created images by stripping, tearing, scratching through layers of posters on billboards, in what he calls an archeological process. [Read more…]

Immersive Forays Into Klimt, Schiele and Hundertwasser

By 3 Comments

at Atelier des Lumières, Paris (through 11 November 2018)
Reviewed by Arabella Hutter von Arx

Gustav Klimt, Egon Schiele, Friedensreich Hundertwasser

Imagine entering a large raw space plunged in darkness. A few structures barely emerge out of the gloom, adding complexity to the basic box: a cube, a rectangular cuboid, and a cylinder. Images start fading in or flaring up on theblack surfaces. Hugely enlarged photographs of people, buildings, bridges, paintings by super famous artists such as Van Gogh and Picasso and Michelangelo fill sequentially the vertical planes. Decorative or architectural elements from every period — balustrades, cornices, columns, metal arches, clockworks are projected on the smaller structures and on the floor. The photographic or graphic elements or details from the paintings duplicate, triplicate, multiply, creating a rhythmic composition. Blown-up out of all proportions, they are then shrunk back to flash, strobe, fade-out, zoom-by at high speed, making it all the more surprising that warnings for epileptics are not issued at the entrance. The experience is not unlike standing at Times Square at night, but the honks of the city are replaced by a classical music track, and fewer people mull around gaping at the bright spectacle. In fact, there is no need to even move, as the show takes place all around, and people do sit or even lie down. [Read more…]

Manifesta 12 Promises The World, And Delivers

By 8 Comments

by Arabella Hutter von Arx

“I have pushed for the transformation of Manifesta . . . into a more inclusive, pragmatic and sustainable format that turns signals into substance.” – Hedwig Fijen, founding director of Manifesta

1. Opening Rites To Our Common Humanity

Buzz words fly around at the press conference launching Manifesta 12 in the breathtaking Renaissance Church of Santa Caterina: incubator, civic cooperation, testing ground, sustainability, interconnection, flowing networks. The 12th edition of the biennial took as guiding vision the “Planetary Garden,” a term coined by French gardening philosopher Gilles Clément. They add that Manifesta, the nomadic biennial, was created in the early 90s as a response to the erection of new partitions and borders in Europe after they had been felled in the previous decade. Manifesta 12 wants to shift perspectives, in order to imagine and promote caring for the world through collaboration, the second tier of its title, “Cultivating Coexistence.” This “cultivating,” a gardening of sorts, is to replace the existing paradigm of one species’ domination at all cost. The concept of cultivation is to be applied to the city of Palermo itself, with the ambition of bringing lasting change and empowering its citizens of all origins and classes. [Read more…]

Michelangelo: Divine Draftsman and Designer

By 3 Comments

at The Metropolitan Museum of Art, NYC
Reviewed by Arabella Hutter von Arx

While individual galleries throughout this fine exhibition at The Met lie hushed in low-light to preserve these truly masterful drawings—their nuanced hatchings, their delicate shadings, their refined, ephemeral colorings—the pièce de résistance of Michelangelo: Divine Draftsman and Designer will stun the visitor: The Sistine chapel’s ceiling frescos projected on an upside down screen. The flawless, backlit surfaces convey most effectively the colossal composition, and reproduce with accuracy the gaudiness of the original. This technological marvel might be perceived as preposterous by the more discerning modern visitor, but is likely to have been applauded by Michelangelo and the public of the Renaissance.  [Read more…]

The Redemption Of Art Through Disfigurement And Slaughter

By 4 Comments

Kara Walker
at Sikkema Jenkins & Co, NYC
Reviewed by Arabella Hutter von Arx

A black lascivious baby bandaging the head of a wounded soldier, possibly confederate. A white man walking while giving (or imposing) cunnilingus to a black hydrocephalic woman. Fredric Douglass. OJ Simpson. A composite of Peter Tosh and the Baron Samedi holding Trump’s head. Salome offering Trayvon Martin’s severed head on her tray, while a missionary with a voluptuous backside admonishes her. A Ku Klux Klan member hiding Trump under his skirts. An 18th century libertine masturbating. Batman stealing a mummy topped with a black head. [Read more…]

Proof: Francisco Goya, Sergei Eisenstein, Robert Longo

By 4 Comments

at the Brooklyn Museum of Art until January 7, 2018
Reviewed by Arabella Hutter von Arx

 While it has long been traditional to show artists together when they belong to the same art movement, such as fauvists or expressionists, exhibitions with fairly unrelated artists seem to be the latest rage with curators. Monet, Hodler, and Munch, who were featured in a joint exhibition at the Marmottan Monet Museum in Paris earlier this year, overlapped chronologically over one century (1840-1944), but are classified respectively with impressionism, postimpressionism and symbolism. The Musée d’Art Moderne is currently showing together Derain, a fauvist, Balthus a neoclassicist, and Giacometti, usually classified as an existentialist sculptor. The work of Mapplethorpe was recently displayed on the walls surrounding Rodin’s sculptures at the Rodin Museum. [Read more…]

Art/Afrique: Le Nouvel Atelier

By 5 Comments

Les Initiés (The Insiders)
A Selection of Works (1989-2009) from the Jean Pigozzi Collection of African Art
at The Fondation Louis Vuitton, Paris
Reviewed by Arabella Hutter von Arx

Works by artists from South of the Sahara are being exhibited at the Louis Vuitton Foundation in Paris, one of three exhibitions of African art. The building, a folly Frank Gehry has indulged in his advancing years, reportedly cost just under 900 million dollars, while less than a decade earlier his Guggenheim Museum in Bilbao cost a comparatively scant $100 million.

The works are part of a collection that curator André Magnin has put together on behalf of Jean Pigozzi, an art collector and heir to the Simca automobile brand. Pigozzi owns yachts and islands and admits, quite unabashedly, he has never set foot on the African continent and doesn’t plan to. Despite this rather paradoxical setup, the art — vibrant, expressive, masterly — silences any misgivings about the contradictions between art market and free expression, about the morality of exiling these works from their native audience, about the appropriateness of an “African Art” label and, finally, about the subjectivity of a Western critic’s review. [Read more…]

Florine Stettheimer: Painting Poetry

By 6 Comments

at the Jewish Museum, NYC
Reviewed by Arabella Hutter von Arx

In 1916, when Florine Stettheimer was 45 and had been painting for over 20 years, she had her first solo show at the Knoedler Gallery in New York. Half way through the show, she wrote in her diary: “I am not selling much to my amazement.” And, at the end, “Nothing sold.” She did not get the recognition she expected as an artist through the sale of her paintings. Reviews were derisive or indifferent at best. It must have hurt. Had her paintings sold, she would have joined the ranks of painters such as O’Keeffe and Aaron Douglas and Arthur Dove and Gaston Lachaise, her Modernist friends who lived from their art. Instead, she was denied an escape from her position as an upper class idler. From then on, she refused all solo shows. She embraced brazenly her identity as upper class, at least publicly. She overpriced her paintings to prevent any sales. [Read more…]

Making Space: Women Artists And Postwar Abstraction

By 5 Comments

at Museum of Modern Art, NYC
Reviewed by Arabella Hutter von Arx

I have a vested interest in finding whether essential differences exist between the art of women and that of men. A woman, I’ve been doing, appreciating, thinking about art all my life. Questions assail me as I approach the MOMA exhibition Making Space: Women Artists and Postwar Abstraction. Is their work different from their male counterparts? If it is different, in what way? Is their art worse, justifying the relative obscurity they have been left in? Is there a unifying quality to the work, or is the collection of individualities more defining than the elusive gender? [Read more…]

When The Imaginary Reader Gets Real

By 3 Comments

by Arabella Hutter von Arx

Exploring the writer-reader relationship, whether real or imaginary

“I know it’s happenin’, but who is it happenin’ to? I know it’s happenin’, but who is it happenin’ to? What am I gonna do to wake up? ” cries Kate Tempest, the UK wunderkind, into an imaginary cellphone.  On the largest stage of the Jaipur Literature Festival 2017, she is performing her work Let Them Eat Chaos, part one- woman play, part rap, part poetry. Gutsy, gusty, genuine, she paints with brilliance and poignancy the world of anguished young Brits: “He can’t tell, he can’t dream, he can’t feel, he can’t scream … And he thinks, Is this really what it means to be alive?” But the packed audience of young Indian people knows without the shadow of a doubt who it is happening to and what it means to be alive: they feel only too urgently their desire for a better life, a better India. Still, they clearly appreciate the passionate lament, and with open minds try to understand the strange, frumpy woman plodding the stage. [Read more…]