States of Exchange, Artists from Cuba INIVA January 2008

States of Exchange
Artists from Cuba
INIVA London
23 January – 22 March

The Institute of International Visual Arts (INIVA) in London has put on a great exhibition of six contemporary Cuban artists working and living in Cuba. Works by Iván Capote, Yoan Capote, Jeanette Chávez, Diana Foseca, wilfredo Prieto and Lázaro Saavedra were show at their new space at Rivington Place, inaugurated in October 2007.

States of Exchange was curated by Gerardo Mosquera, well known Latin American art writer/critic and curator, and by Cylena Simonds who works for INIVA.
The artworks range from sculpture and performance to video installation. This exhibition as described in the catalogue, “explores how artists in Cuba deal with the contradictions, ambiguities and social negotiations in Cuban life”. The exhibited pieces are all contemporary and belong to what Gerardo Mosquera named at the beginning of the 1980’s “New Cuban Art”. All the works represent a break with the official ideology of culture imposed by the Cuban regime no longer following their political and nationalistic clichés.

The exhibition was an absolute treat and a rare occasion to see work from relevant contemporary Cuban artists that work and live in the island. The work is surprisingly critical of aspects of the regime in Cuba and the live Cubans lead there, which is a mark of the “New Cuban Art”. Some examples of pieces that are really striking are Jeanette Chávez’s video Self-Censorship (2006) where the artist is tying up her own tongue to illustrate the self-censorship practice by everyone in Cuba and the way they are complicit in their own silencing.

Another piece worth mentioning is History (2001) an applied mechanics work that Elvis Fuentes describes in the exhibition catalogue as: “an electric motor drives a revolving metal rod, to either end of which – at equal removes from the still centre – a marker and a felt duster have been attached, so that the line traced by the first upon the glass ‘blackboard’ is promptly erased by the second”. It is a beautifully visual metaphor of Cuban History being written and re-written on a daily basis, it is also an aesthetic poetic way of debating/contesting the written Cuban History in opposition to the reality of living in the Island. Of all the pieces, it was my favorite.

This exhibition was ultimately about the way that Cubans have become experts at negotiating exchange between each other as well as with the rest of the world. It illustrates how artists in this island, caught in a flux between local restraints and different levels of limitations can still communicate and exchange meaning globally. It’s about their artistically creative exchange strategies.


Sidonio Costa
London April 2008

Frieze/Bridge/Zoo Art Fairs in October 2007

Reviews


Frieze Art Fair
London 10 – 14 October

The fifth edition of frieze took place this year from the 10 to the 14 of October in London. Regents Park was again the home for this international contemporary art event, now recognized by all as one of the three pillars of the contemporary art market, alongside Art Basel and Miami Art Basel.
151 galleries representing 28 countries were exhibiting in this year’s edition. This show has become an international source of knowledge for all those who work or are interested in contemporary art at an international scale. It has since it begun, struggled to show its public new trends in contemporary art and it had been successful at that so far.
According to statistics released by the Frieze Press Office, 80% of the public visiting the show are not coming to buy art but to look at art, and to learn about contemporary art. While that is true for the general public, the professionals are starting to show some disappointment with the art exhibited in the sense that we are all starting to see too many deja vue pieces on exhibition. The same stands are now too often showing the same artists, some times with the same works from the previous year, but different editions. This is cause for discomfort for professionals that are hoping to come to the show and see the chosen galleries exhibit what is new in the contemporary art world, not necessarily the same works they were presenting the previous year.
While this is disappointing for the contemporary art professionals it isn’t for the new and more mature contemporary art buyers visiting the show, these come to buy and invest in art, and for them this repetition of works is great because it gives them the chance to catch up with the art market.
Frieze has become a commercial enterprise, to be honest, it was always a commercial enterprise, it is an art fair, and a successful one from the beginning, but in its early years, the galleries exhibited were not afraid to exhibit new works and be “outrageous” in their choice of artists. Today, those same galleries have settled into a commercial practice of showing what they know they will sell, and for a lot of money. That is not a problem at all as far as I am concerned, but it does, for me, take away from Frieze Art Fair, some of its cutting edge and excitement.
Like its two counterparts of the contemporary art fair trinity, Art Basel and Miami Basel, Frieze Art Fair has settled and has established itself as a contemporary art commercial event. This is nothing to be ashamed of, just a new reality that all visitors should be aware of.
Some of the already veteran galleries to this fair were present in the show again, Brazilian galleries like Galeria Fortes Vilaça, exhibiting interesting works by Valeska Soares, among other artists, and Galeria Luisa Strina, exhibiting Carlos Garaicoa, among others. Mexican Gallery Kurimanzutto was also present again this year.
This year, Gallery Aurel Scheibler from Berlin was exhibiting for a second consecutive time, new works from Anthony Goicolea, beautiful photographs full of desolation but somehow very inspiring and poetic. Their booth was chosen by Deutsche Bank as one of the "must sees" of the fair, due to their presentation of works by Anthony Goicolea.
Galeria Casa Triângulo from Sao Paulo was this year one of the 9 new galleries to exhibit at Frieze Art Fair for the first time. They were exhibiting among other artists Rubens Mano and Felipe Barbosa. New York Gallery Tanya Bonakdar was exhibiting some pieces by Ernesto Neto.
We were glad to discover that this year’s Cartier Award was given to Mario Garcia Torres. His new commission for the fair was presented in the form of a keynote speech by Allen Smithee. Mario was also granted an artist residence in London to produce and research his work.

Bridge Art Fair
London 11 – 14 October

This year was the first edition of Bridge art fair in London, the fair was housed at The Trafalgar Hotel in London, very close to Trafalgar Square itself. There was nothing too special about this fair; it resembled a lot Scope Art fair, even in the setting of the gallery stands. The works were exhibited at different floors in some rooms of the hotel.
There was not a great variety of galleries participating, American, European and some Asian galleries mainly. The works exhibited and their quality varied, it was possible to see works of good quality and works that had no place in a gallery to begin with.
Bridge is another art fair jumping on the Frieze Art Fair “satellites” band wagon, a fair that happens itself in two other locations annually, Miami and New York. Apparently it will return to London next year, which is good, it increases the offer of contemporary art that the London Public in general, and in particular the Frieze Art Fair visitors can also have access to.
Bridge Art Fair was not breaking ground with their gallery choices and their galleries were not taking any major risks with the artists they were choosing, but none the less it is another contemporary art event promoting contemporary art. It is a new forum for new artists to be shown and to have a chance to get noticed and bought by a larger public. Like Zoo Art Fair, I thing this fair will consolidate its position in London, during “Frieze week”, and become a “must visit” event also.


Zoo Art Fair
London 12 – 15 October

The success of this art fair has continued in this year’s edition, the organizers reported a significant growth with increased attendance and sales figures. The fair moved from its original location at the London Zoo to the more sophisticated and central Royal Academy of the Arts. This move allowed the participating galleries to bring and exhibit more ambitious works this year.
This is a fair that has year by year seen its reputation and high level of visitors and collectors increase. There is no doubt that initially it was the fact that the fair was very close to Frieze that was attracting public, but with the succession of editions of this event, it became clear that new and interesting contemporary art could be seen at this event and ultimately that was the fact that captivated collectors and visitors.
At this 4th edition of the fair, 61 galleries were exhibiting and one of the new galleries exhibiting this year was Gallery A Gentil Carioca from Rio de Janeiro, showing Laura Lima, Jarbas Lopes and Renata Lucas among other artists.
One of the successful strategies of this fair has been to exhibit new artists alongside well known artist, that has allowed the visiting public to see their favorite artists but at the same time to learn about new talent, something that is beneficial both for the galleries/artists and the public.
I do not want to mislead the reader into believing that the gallery choices of artists for exhibition is always a hit, it’s a hit and miss as it is for most other fairs, even Frieze, but this young art fair is still very refreshing and a great counter balance to Frieze. It is a chance to come down from the high sphere art dealing occurring at frieze and see how smaller scale galleries can operate with the same professionalism and offer great contemporary art at much more reasonable prices.




Sidonio Costa
London

Luis Gonzales Palma at Light Contemporary Art Gallery August 2007

Luis Gonzales Palma
Review of exhibition at Light Contemporary Art Gallery in London.
2nd of August to 4th of September 2007


Light Contemporary Art Gallery in London was showing work by Luis Gonzales Palma from the 2nd of August to 4th of September 2007. Although the works in exhibition were not new to us, we have seen them at Venice Biennale in 2005; they are extremely interesting and were at that Biennale some of the best pieces presented by a Latin American Pavilion.
Luis Gonzales Palma is considered one of the most important photographers in Latin America and his work is widely respected and revered in that continent and throughout the world. At Light Contemporary we could see some pieces from his “The Mind’s Light”, what Graciela de Oliveira from the Italo Latinoamericano Institute, described as “(…) a personal re-interpretation of Catholic iconography”.
In this series the artist re-visits some of his childhood memories as a boy brought up in a very catholic environment, he re-presents and re-translates some of the rituals and iconographic images that marked him during that period, such as the loincloth covering Christ’s genitals.
The Technique used in these works heightens the solemn mood. The images, printed on ortho clear film, are laid over a deep red board covered with sheets of gold leaf, the whole encased in resin. Each crack and seam in the gold allows the rich colour to show through; the materials become integral components of the piece, adding depth to the works without obscuring the photographic image. The crinkles in the gold leaf highlight the delicate texture of lace, the mottled surface of a pine plank table, or the peeling walls.
The resin adds a slightly murky sepia tone that gives the work an antique look.
The exhibition was inaugurated and received the patronage of the Guatemalan Ambassador, Edmundo Urrutia.


Sidonio Costa
London, September 2007

Yasmany Arboleda at Imagination Ltd Gallery September 2007

Yasmany Arboleda Review
Imagination Ltd Gallery
London 15th of September 2007


Yasmany Arboleda is a Colombian born architect, working as an environmental designer at Imagination, in their New York office; he is also a painter and a photographer. Yasmany was presenting at his company’s gallery in London work from his “New Vitruvians” series. The exhibition was on for one day only, the 15th of September 2007, as part of the architecture weekend, Open House in London.
I asked Yasmany how he places his work in the contemporary art world today, noticing that it is highly guided by rules of architectural interior design. He replied that he considers what he does to be art pieces and not interior design or decorative pieces, although I agree with him, it is very interesting to see how obvious his training and architectural designer skills influenced this work on exhibition.
The work exhibited, “New Vitruvians” according to the artist, offers a contemporary take on the intricacies of human beauty and perfection, and it tries to reveal new truths about perceptions of physical ideals and the social and cultural factors that influence them. The pieces are unique, large-scale neo sphere paintings, 3-D sculptures and even “ball-dresses”, all of which were being exhibited in the atrium space of the imagination building.


Sidonio Costa
London
September 2007

Doris Salcedo at the White Cube Gallery October 2007

Doris Salcedo Review
White Cube Gallery
Hoxton Square, London
15th September to 20th of October 2007


Doris Salcedo is one of the rare cases of Latin American artists that work and live in her country of Origin. Colombian by birth, she works and lives in Bogota where she produces most part of her work. She is known internationally as a great installation and sculpture artist. The fact that she still chooses to live in her country of origin is determinant for her work and the messages she is trying to send out to the general public.
The White Cube Gallery in London has put together an exhibition with sculptures made between 1989 and 2007, with the objective to complement the installation piece the artist will have in the Turbine Hall of the Tate Modern in London, opening the 9th of October 2007, and in exhibition until April 2008.
At the white cube we could see sculptures where the artist was using everyday domestic and personal items, such as furniture and organic substances. The use of these types of materials is recurrent in Salcedo’s work, where she intends to produce pieces that evoke and address loss, grief, pain, memory, absence and mourning.
In this exhibition, pieces of furniture are merged together in perfect harmony, a product of a violent merge for sure, but of which there is no sign or violence whatsoever. Salcedo’s work is charged with political meanings and comments to the political and social situation lived in Colombia, it is about and in response to, all the violence and daily conflicts in Colombia.
The sculptures she creates from wardrobes, tables and chairs relate to the private live of the family space. The result is traumatized and dysfunctional objects that mirror the trauma families in particular and the Colombian population in general feel as a result of the violence to which they are subjected daily. These sculptures signify also the absence of the human body; it is Salcedo’s way of translating the Columbian population feelings of loss and absence.
In her own words, Salcedo explains this well when she says that “Sculpture for me is the giving of a material gift to the being who makes his presence felt in my work”.
Doris Salcedo’s works are objects found on an archeological expedition into past and recent past events in Colombia. Her works are invaluable contributions for an anthropology of pain, absence and survival/resistance in her country. They are unavoidable documents of remembrance and great additions to political and social memory in Colombia. True works of art!


Sidonio Costa
London
September 2007