Revolutionary Rembrandt: Masterpieces from the Leiden Collection

Musée du Louvre is currently presenting Masterpieces from the Leiden Collection: The Age of Rembrandt; a selection of masterpieces by 17th-century Dutch painters, including Gerrit Dou, Jan Steen, Jan Lievensz, Frans van Mieris – and of course Rembrandt. The exhibition focuses on what was – until recently – a relatively unknown and unnamed collection formed by Dr. Thomas S. Kaplan and his wife, Daphne Recanati Kaplan, who have quietly assembled the body of works since 2003 – quietly that is, until now.

In fact the Kaplans have been generous by allowing access to this collection, having loaned works on more than 170 occasions. But the couple have never lived with any of the paintings, instead made the principled decision to take paintings from the private domain of previous collectors and return them to the public eye; believing that the works – especially those of Rembrandt – have an important socio-cultural role to play in our currently unstable post-truth world.

Although the collection ‘highlights the “fine painters” of Leiden’ – and not (as the American philanthropist and Francophile pointed out) – the collector of the work; instead Kaplan and his wife wished to take a back seat to the artists in their collection, most notably Rembrandt. Having created the largest private holding of the artist’s work, among which is Rembrandt’s striking Minerva, part of a series of ‘strong women and mythological goddesses’. Kaplan has a plan for this collection.

The philanthropist admits that the collection is part of a manifesto, one that is an attempt to promote humanism and tolerance in a world suffering from a frightening lean to the far-right which is embracing intolerance as part of its own global manifesto; this is a collection made public to highlight the need to respond to an attack on progressive thought, creativity, and freedom.

As Andre Malraux stated that Rembrandt was ‘the first to touch the soul’ with his painting; perhaps the artist’s brush is the tool we need to battle the cold embrace of intolerance? With this progressive sensibility in mind, the collection will later travel to The Long Museum in Shanghai and the National Museum in Beijing in 2017 and 2018 – then on to the Louvre Abu Dhabi, as Dostoyevsky wrote: ‘beauty will save the world’; and perhaps Rembrandt is indeed the artist capable of transcending the enveloping darkness?

Kaplan’s vision of the artist is as a riposte to the brutal philistines of Palmyra, an antidote to the ugly lies of the far-right, an attempt to build bridges between disparate cultures, using the ‘soft power’ of great art that will touch the universal soul in us all.

When we view the collection from this progressive perspective, it places the artist in a revolutionary light; it is startling to be reminded of the contemporary power of artist’s work and what – on a global level – it might help to achieve. This is a series of works with the power to remind the viewer of the beauty in the world, and Rembrandt’s unconventional beauty was indeed revolutionary. In this we must remember the importance of beauty as a positive influence, after all beauty is truth.

In this context Rembrandt is rendered ambitious and idealistic, something that we need to aspire to again, reminding us that art is inclusive, and that perhaps the artist can take a tangible role in healing global divides that are in danger of destroying great culture and progressive thought. Perhaps here at the Louvre it has finally been pointed out that the revolution is indeed possible, and let us hope that Kaplan has started that revolution.

Paul Black
Art Journalist

Featured image – Masterpieces from the Leiden Collection: The Age of Rembrandt – Musée du Louvre, Paris – until 22 may 2017 Photo: P A Black © 2016

Modern Art Oxford, The Vanished Reality: Exploring Context And Temporality

During 2016 Modern Art Oxford presented KALEIDOSCOPE ‘The Vanished Reality’, its final exhibition in a series of shows celebrating the Gallery’s 50th anniversary. The show consisted of nine artists who work with various media, presenting photography, sculpture, painting, video and installation, juxtaposing the socio-political, economic and environmental frameworks within which the works were made.

This was in fact, a multi-generational exhibition including pieces by Marcel Broodthaers, Hans Haacke, Iman Issa, Darcy Lange, Louise Lawler, Maria Loboda, Kerry James Marshall, Katja Novitskova, and Hardeep Pandhal, with works that were reflective and temporal contemplations of its varying eras, as we simultaneously revisit Modern Art Oxford’s fascinating history.

This was the concluding exhibition in the celebratory series of interconnected shows spanning 2016, with a journey which has seen the Gallery take a nostalgic look through some of its curatorial highlights from the past 50 years. In doing so, curators have presented works from across the Gallery’s long history and recontextualised them with contemporary works of art and the present day; highlighting everything from temporality, consumerism, conceptuality, and consciousness.

Among the wide array of works displayed were the notable pieces by Louise Lawler, with the artist’s self-reflexive ‘tracings’ of her own photographic works superimposed on the gallery walls, recontextualising them with the physical and cultural environment, and, of course, Hans Haacke’s, ‘A Breed Apart’, 1978; a brutal and unflinching attack on capitalism and political power, exposing systems of influence with the artist’s assault on British Leyland for their seeming assistance of Apartheid.

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Katja Novitskova, Louise Lawler, installation view. KALEIDOSCOPE: The Vanishing Reality, Modern Art Oxford. Photo P A Black © 2016.

Then there were the giant cut-out animals of Katja Novitskova’s ‘Approximations Series’. The artist appropriates images of animals from the internet; the flat cut-out nature of the work is a signifier of its origins, as the digital image is reproduced exponentially, multiplying like a virus as the animals themselves, head toward the oblivion of possible extinction; a terrible irony. All the works form a reclassified system, a dwindling eco-system recontextualised, an identity ‘evolved’ into a perpetual virtual reality system. A simple yet powerful piece, highlighting the emptiness of the ‘replacement’.

But the primary element of the curatorial focus on context and temporality, is the video work ‘Studies of Teaching in Four Oxfordshire Schools, UK 1977’ by conceptual artist Darcy Lange. The series was shown with black-and-white photographs in the exhibition Work Studies in Schools, at what was then the Museum of Modern Art Oxford, in 1977.

The video studies of teachers’ performances become almost ‘performative’ in nature, and were extended by then videotaping the teachers’ and pupils’ reaction and analysis of those very recordings – in conversation with the artist, resulting in a self-reflexive recontextualised system. With the passage of time and the context of hindsight the work has also become a fascinating historical document of a temporal, sociological, and cultural location, a fitting curatorial conclusion to a year-long celebration of 50 years of art at Modern Art Oxford.

Paul Black
Art Journalist

Featured Image – Katja Novitskova, Approximations Series, detail, KALEIDOSCOPE: The Vanished Reality, Modern Art Oxford. Photo P A Black © 2016.

Exploring The Post Brexit Art Market: Will Artists Lose Their Resale Rights?

Could Brexit actually be good for the British art market? Well it turns out that it could, but like so many other erosions of rights: this could come at the artist’s expense.

Could Brexit actually be good for the British art market? In light of cultural and artistic diversity, that seems like somewhat of an irony. And if and when – and one assumes when – the potentially cultural and economic hammer blow of Article 50 is invoked, in what way will the UK art market be affected?

There is actually no particular reason for post-Brexit Britain to be an unstable market for art; after all Sotheby’s contemporary art sale in London on the 28th June achieved £52 million with an 87% sell-through rate, and included bidders from 41 countries. No one was panicking. This is in part due to global art collectors thinking of prices in terms of dollars – and then secondarily in euros, so the decline in the value of the pound had little effect on the UK market, which eventually saw it drop to a 31 year low as the general markets were rocked by the country’s decision to leave the EU. The art market was less affected, with collectors merely translating value, investing in an area with greater stability than is currently afforded oil or gold.

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Frieze Art Fair 2015, installation view. Photo: P A Black © 2016

So, could Brexit actually be good for the British art market? Well it turns out that it could, but like so many other erosions of rights: this could come at the artist’s expense. Due to a likely set of events, a post-Brexit London could become an even stronger auction market compared to Paris and the rest of Europe. Once the two year process of leaving the EU has passed, Britain will be free of E.U. regulations – and the possible absence of one regulation in particular will forever change the market, regressing it back to its stronger and unregulated self – this will be the potential abolition of the Artist’s Resale Rights levy (ARR).ARR was implemented in the UK in 2012, after six years of typical resistance by the British government. The regulation entitles creators of original works of art to a royalty each occasion a work is resold through an auction house or dealer for more than €1,000. ARR is levied at 4% on sales between €1,000 and €50,000, declining to 0.25% on sales at more than €500,000. Artist’s royalties cannot exceed €12,500 – but the levy continues for 70 years after the artist’s death. Or it did. That is, it probably won’t two years post Article 50.

With this potential disappearance the UK art market will no longer be disadvantaged compared to the markets of New York, Switzerland, or Hong Kong, which do not levy this particular charge. According to a 2014 report ‘The EU Directive on ARR and the British Art Market’ by Dr. Clare McAndrew of Art Economics for the BAMF, the sector that was most affected by ARR was the UK’s global art market share in post-war and contemporary art, which fell from 35% in 2008 to 15% in 2013. The disappearance of the Artist’s Resale Rights Levy could see a reversal in these dwindling fortunes – if not the fortunes of the artist.

The art trade was seen in a more positive light by artists under ARR, but this is likely to revert to the feeling of dissatisfaction with the distinct lack of regulation that the market had thrived on in the past. ARR was supposed to ‘give a substantial boost not only to thousands of artists and their heirs, but also the whole art market’ – according to Labour and Lib Dem MPs – it certainly was a boost, albeit a brief one for the artists and their heirs, but certainly not to the ‘whole art market’ – even if that market looked a little less grubby as a result.

Of course there is no guarantee that a post-Brexit government will abandon ARR – even though only one Tory MP actually voted for it in the first place, (a fact that is hardly surprising). With a host of EU directives potentially being dragged towards the post-Brexit revolutionary chopping block, ARR might just escape, but it won’t if the market has its way. If it doesn’t avoid the swing of the axe – which would be a depredation if you will; alongside austerity, isolationism, and anti-immigration: all of which are detrimental to a flourishing cultural existence – we may, ironically, have a strengthening of the UK art market, but we will also be left with the woeful devolution of artists rights.

Paul Black
Art Journalist

Featured Image – Frieze Art Fair 2015, installation view. Photo: P A Black © 2016.

The Mornington Peninsular

A place for relaxing leisure persuits, adventure junkies, food discovery and art appreciation.

It’s not just the all-year-round sun, it’s not just the aquamarine of the sea, and it’s not just the sand on the beach. This place has so much to offer it’s surprising it’s not plastered across every tour and holiday brochure in every holiday agents shop on the high street, in Australia, Europe and the UK.

The Shire is a local government area in Victoria, Australia. It is located to the south of the city of Melbourne on the Mornington Peninsula. It has an area of 723 square kilometres.

If sand, sea and sun are your idea of a perfect holiday, a long weekend, a one day stop over or a drive through, then Mornington Peninsular has everything you need.

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For The Graze And Laze

Relax in a beach hut, stroll through the vineyards or take an evening hot bath after golfing, it’s all there for your enjoyment, graze or laze.

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Cafes and restaurants are to be found around every corner in the villages and towns throughout the peninsular. There are so many places to eat it’s impossible to list them all here. The best thing to look for is the local produce cooked and served close by.

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And if a day messing around on a river or lake appeals to you, take a boat out and row yourself to bliss. Sun cream should always be considered of course, you don’t want to come back looking like a yabby or kōura, (that’s fresh water lobster to you and me). The Devilbend Natural Features Reserve is a special place to visit with excellent freshwater fishing for Rainbow Trout, Brown Trout and Estuary Perch, and if you get in touch they will tell you when and where you can catch along with licensing requirements. You have the added advantage of nature trails and wild life at your disposal.

Action packed adventure

Mornington Peninsular doesn’t leave out action junkies, whether you are a novice or expert in your chosen activity.

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There are plenty of activities for water fanatics, try this list for size: sailing, surfing, boating, snorkelling, swimming with the dolphins, deep sea diving, paddle boarding, kayaking, fishing and last but not least, skinny dipping where appropriate. Check out the local riverside and beach notices on clothing before you do though.

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There are walks for every level, from 1 to 4 hours (and they are easy to find here, https://goo.gl/K9LzPD). Coastal, rough terrain tracks, rugged landscape trails and woodland meanders are some of the walks you can experience…what more could you want.

Find a tea house or cafe on an afternoon stroll or take a back pack and go out for the day. Don’t forget to pack your walking boots and blister plasters – you are likely to need them.

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Fancying the wheel instead of your feet, 30 bike trails are just the thing. Take to the hills with your mountain bike, or alternatively take the easy terrain tracks on more ordinary bikes. Smooth coastal sealed cycle paths are great for the novice. Overall there are at least 30 rides to choose from. You will find yourself sharing them with walkers and horses and want to stop at the captivating villages along the way.

Grab your bike, your back pack and don’t forget the biker’s first aid kit, sore thighs and blistered hands can hold you back on your second day or third day so don’t be caught out.

Art And Artifacts

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Contemporary landscape artist Miodrag Jankovic creates spectacularly striking scenes, inspired by the powerful scenery of the Mornington Peninsula. Jankovic moved to Australia from Serbia with his family during his teenage years. Now, Jankovic is situated in a perfect location for creating magnificent works of art, having chosen this area of Australia to settle with his own family. View more works by Miodrag Jankovic – http://explorersfineart.com/miodrag-jankovic.html

Another artist, living and working on the Mornington Peninsula is glass blower Eileen Gordon.

“My passion for colour and form as a fused glass artist is greatly inspired by the environment of the Mornington Peninsula – the surrounding ocean, its sunrises and fabulous sunsets.”

Eileen Gordon established the Gordon Studio with her partner Grant Donaldson in 1990 and has gone on to become one of Australia’s foremost glass blowers. To see Gordon’s work for yourself, you can visit the studio, located in Red Hill.

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And if you aren’t completely exhausted yourself after all of that, there are plenty of Theatres, Festivals, Heritage sites and Museums waiting for you to visit. Festivals celebrate the sea, the summer, wine in winter and jazz in the spring. You can catch comedy, concerts and other performing arts at Theatre spaces and Arts Centres. On the waterfront in Frankston 3,500 tonnes of sand get converted into giant sculptures: watch artists at work and view their displays when they have finished. The final flourish may surprise you…it’s horse racing.

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One of the greatest horse races takes place every year in Melbourne, it’s the Melbourne Cup. In 2015 a lady jockey rode the winner, her name is Michelle Payne. Eat your heart out Frankie D!

Jemima J. Jones.
November 2016

Yinka Shonibare: End Of Empire, The Power Of Immigration At Turner Contemporary

Upon the shoulders of the artist’s figures rests conflict, dominion and the highly contentious and contemporary issue of migration.

Turner Contemporary’s Sunley Gallery is currently displaying two major works by leading contemporary artist Yinka Shonibare MBE. These latest works by Shonibare have been created as part of the 14-18 NOW programme of World War 1 Centenary Art commissions, and also coincides with the gallery’s fifth anniversary.

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Yinka Shonibare, The British Library, 2016, Turner Contemporary, Margate, Photo: P A Black © 2016

Upon entering the gallery the viewer is met with the sight of the artist’s first work on display; ‘The British Library’. The piece consists of shelves of myriad-sized books, with sleeves made from the artist’s trademark colourful wax fabrics. The spines of the books bear the names of immigrants who have enriched British culture –  including the likes of T.S. Eliot, Hans Holbein, and Zaha Hadid. This installational work is a reflection on the nature of social displacement, and a rebuke to many who fear immigration, and social change. The piece is a signifier of the amalgamation of cultures, fusions of creativity and intellect leading to the enrichment of our social and cultural lives, a process that has enriched our environment and in turn, the art that occupies it.

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Yinka Shonibare, End Of Empire, 2016, Turner Contemporary, Margate, Photo: P A Black © 2016
Shonibare’s trademark colours are also unveiled in the form of two figures dressed in the artist’s bright and patterned fabrics –  a material usage remaining at the heart of the artist’s practice – each figure balanced in opposite positions on a Victorian-style steam-punk-esque seesaw. Atop the shoulders of both figures rests ‘globe-heads’ – the traditional spherical globe one remembers from school – highlighting the countries involved in the First World War.

Upon the shoulders of the artist’s figures rests conflict, dominion and the highly contentious and contemporary issue of migration, as the figures slowly rise and fall, their kinetic dance symbolising conflict and resolution, in a state of unending flux, the relationship remains perpetually unresolved both literally and metaphorically.

Set against Turner Contemporary’s dramatic view of the North Sea the work takes on a further poignancy. After all the background of the work is a  conveyor of commerce and migration. The globe heads of the figures highlight socio-cultural changes forged by post-war political alliances that changed our geopolitical map forever, and with it our societies.

The artist’s material usage becomes another conceptual element of both works, and a signifier of cultural diversity effecting creativity, positive change, and social evolution. Shonibare’s works truly reflect the current zeitgeist via one enduring element of the artist’s work: Shonibare’s continued use of ‘African’ fabrics – a key material in the artist’s work since 1994, which is in fact Dutch wax-printed cotton – this material usage serves as a signifier of societies cultural misconceptions. In fact shonibare’s kinetic sculpture plays with the very balance and imbalance of personal and global human relationships. A kinetic metaphor for an empire-building industrial revolution, these latest works by the artist balance frivolousness and the weighty topics of Empire and exclusion in equal measure.

Yinka Shonibare MBE RA was born in London and moved to Lagos, Nigeria at the age of three. The artist returned to London to study Fine Art first at Byam Shaw College of Art (now Central Saint Martins College of Art and Design) and then at Goldsmiths College, where Shonibare received his MFA, graduating as part of the ‘Young British Artists’ generation. The artist currently lives and works in the East End of London – and is himself a signifier of the role global movement plays in the enrichment of our culture.

Paul Black
Art Journalist

Featured image – Yinka Shonibare, End Of Empire, 2016, Turner Contemporary, Margate, Photo: P A Black © 2016

A Tale of Two Cities

By tradition and culture they are as diverse from each other as they could get.

One of these two cities is built on water, the other is land locked.

One was established in 421 AD, or thereabouts, and the other is as ‘old as the hills’ going back to at least 2400 BC.

One has a subtropical climate and the other, Mediterranean with desert close by. One gets flooded now and again whilst the other has snow falls once in a great while.

There are 117 islands that belong to one city and nations are divided about the national boundaries of the other, both areas have been ruled by outsiders. The city that sits on wooden stakes and platforms has been taken over by the Lombards, the Normans, the French and the Austrians to name a few of its invaders. The Ottoman Turks and Romans once ruled the city in the desert and it was subjugated under the King of Jerusalem during the crusades. That King being Christian was not of Israel (mid 12th century).

By tradition and culture they are as diverse from each other as they could get and each gets its share of millions of visitors. What cities are they? Here are some more clues.

The city of stakes and platforms boasted trade routes that ran from Northern Italy to China, thanks to one of its most famous men, Marco Polo. It enjoys masked parades and festivals and is very famous all over the world for its art glass.

The city in the desert on the other hand is famous all over the world for its religious history and connections to the bible. It was ruled by two of the most famous biblical kings in history, (David and Solomon). As a result of that history it has the highest ratio of museums per capita in the world.

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Did you guess right? These two cities are of course Jerusalem and Venice and they do have one unusual thing in common.

They both have encountered an icy anomaly in their climate in recent years, i.e. snow! In the last two decades Venice has had an unusual amount of snow given its geographical location. It snowed more recently in 2005, 2009, 2012 and 2013 but Jerusalem has also experienced an unexpected amount of snow.

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Venice – Gondolas in the Snow. Photograph: Francois Xavier
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The entrance to Jerusalem December 2013. Photographer unknown

They do have one or two other things in common, in the field of faith and worship, and that is grand architecture. Both have buildings with religious themes etched in their stones.

If we look at Venice first, whilst it has remained a Christian place of worship, the Basilica of St Marco in Venice has a chequered history in terms of invasions, damage and ownership. Byzantine, Austrian and French invasions all took their toll on the church and the city as a whole. Napoleon for example stole many treasures and sent them all back to France.

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The Basilica of San Marco. Photographer unknown

At the time it was painted, Gentile Bellini’s vision of the Basilica and the square in front of it was very fitting of Renaissance taste. The painting represents the miraculous intervention of the Holy Cross in St Mark’s Square on 25th April, 1444, on the occasion of the Feast of the Holy Cross. During the procession a merchant from Brescia by the name of Jacopo de’ Salis knelt before the relic of the Holy Cross being carried by the members of the Confraternity and prayed that his dying son should be saved. It is said the son recovered immediately.

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The Basilica of San Marco Gentile Bellini 1496

A contemporary artist, who duplicates and understands the city of Venice in modern times, Lucia Sarto, uses both sketching and photography to create brilliant renderings of modern day Venice and its architecture.

The beauty of the Venetian buildings which still stand today and the true blue skies and blue waters are to die for. The Venetian Gothic architecture, along the lagoon’s edge, is nothing short of brilliant. Finely etched verticals and horizontal lines are clear and concise. These two factors bring a harmony to the city view as a whole and entice the discoverer within to experience these scenes in person.

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Aerial View – Lucia Sarto

And now to Jerusalem. It can be difficult to distinguish each religious area within Jerusalem’s architecture, the below map can help with that. The key and text is very clear, with straightforward plan lines. It defines the religious sites in the city to some extent, each of which has its own story to tell.

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Map of Jerusalem

One building you can’t miss in the city is the Dome of the Rock. In 1933 King Hussein of Jordon sold a house he owned in London to fund 80 kilograms of gold needed to refurbish the dome on the outside. You just can’t ignore this spectacular building. This diagram shows, what is believed by many to be hidden underneath the structure.

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Diagram of The Dome of the Rock

The Dome of the Rock is the central feature in another of Lucia Sarto’s paintings. Working plein air with sketches and photographs Lucia’s artwork is a truly beautiful vision of the city. Her inspiration has captured Jerusalem and the Dome, in particular, in the snow!

Prints of Lucia’s work are available on request.

Jemima J. Jones.
October 2016

Explore It’s Me To The World, Celebrating 50 Years Of Modern Art Oxford

My footsteps make the mark. My legs carry me across the country. It’s like a way of measuring the world. I love that connection to my own body. It’s me to the world.

Modern Art Oxford is currently presenting its fourth exhibition ‘It’s Me to the World’, the show is the latest iteration of KALEIDOSCOPE, a celebration of 50 years as an internationally acclaimed gallery, and features works by Marina Abramović, Mohammed Qasim Ashfaq, Dorothy Cross, Richard Long, Agnes Martin, Otobong Nkanga, Yoko Ono, Hannah Rickards, and Richard Long.

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Richard Long, Walking a Labyrinth, 1971. KALEIDOSCOPE: It’s Me To The World , Modern Art Oxford. Photo P A Black © 2016.

The title of this latest exhibition by Modern Art Oxford is in fact taken from a text by Long: ‘My footsteps make the mark. My legs carry me across the country. It’s like a way of measuring the world. I love that connection to my own body. It’s me to the world.’ Here the viewer may connect to the white cube space of the gallery with their own body, and explore the artist’s work; a refreshing piece in an environment notorious for its ‘do not touch’ ethos.

Looming over Long’s labyrinthine installation is a new site-specific drawing by London-based artist Mohammed Qasim Ashfaq. The artist’s current work is a vast black circle of dense charcoal drawn directly on to the gallery wall reflecting light and resembling a large steel disc. The artist’s works draw on the traditions of Islamic art and 20th century western modernism, in this case blurring the distinctions between, drawing, sculpture, and installation, with a minimal efficiency.

Among other works the central gallery houses a floor-based sculptural work titled ‘Tsumeb Fragments’ by Nigerian artist Otobong Nkanga, a series of low tabletops containing mineral fragments and photographs of equatorial scrublands. The artist creates works that reflect the decimation of the natural world by ‘colonial powers’, mining and the dissemination of natural resources. The mineral fragments are taken from the environment and re-contextualized within the white cube of the gallery space becoming ‘art’. These minerals become ‘Repurposed’ artifacts of the destruction of a treasured environment.

Marina Abramović presents a number of works from her 1995 exhibition at the gallery. This includes the work ‘Cleaning The Mirror I’, consisting of a stack of video monitors each displaying a section of a skeleton being scrubbed clean by the artist. This performative video work is a signifier of the viewer’s relationship with their own mortality. There is a slow transposition of material and grime, as the skeleton slowly becomes bone-white, and a grey film begins to form on the artist’s hands. We face the temporality of our existence, as the artist has previously stated: death is the final mirror that we face.

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Dorothy Cross, Buoy, 2014. KALEIDOSCOPE: It’s Me To The World , Modern Art Oxford. Photo P A Black © 2016.
Among the works by Dorothy Cross is ‘Buoy’, 2014, a Blue Shark skin, empty and dried, balanced on a painter’s easel, the underside of the shark has been gilded in precious white gold, below which a thin slab of translucent alabaster sits like an expectant artist’s canvas, awaiting some act of creativity, to re-instill some form of energy or life. The shark has been a recurring leitmotif in Cross’s practice for a decade, and here the artist’s work is cleverly re-contextualized and juxtaposed with Abramović’s own reflections on the body and mortality. The passing of time is indeed a major curatorial factor in this exhibition.
KALEIDOSCOPE has been a year long series of interlinking exhibitions reflecting on some of the great moments in Modern Art Oxford’s history – with varying success, but ‘It’s Me to the World’ is a worthy reflection of the gallery’s relationship with some of the world’s most prominent artists of the previous and current century, as it reflects on the body, as the temporal journey of the viewer is mirrored by that of the gallery’s own journey through time.
Paul Black, Art Journalist
September 2016
Featured image – Dorothy Cross, Scales, 2014. KALEIDOSCOPE: It’s Me To The World , Modern Art Oxford. Photo P A Black © 2016.