Nightmares on Wax has shared a retrospective documentary directed by Rollo Jackson, giving insight into Nightmares on Wax’s long-standing career and 25 years of music history in anticipation of the ‘N.O.W IS THE TIME’ compilation out this month.
TweetHundred Waters drop a new video for their track “Murmurs” from their LP The Moon Rang Like A Bell. Directed by Bangs, it features singer Nicole Miglis.
TweetGil Heitor Cortesão has been interested in swimming pools for a long time – in the case of his works, at least since 2002 – as well as houses and interiors, both public and private. One can also state that the situations represented in his works tend towards the liquid state; that is, it is as if reality is subjugated to the painting itself and the latter ended up by contaminating it until its irremediable corrosion. Due to all this it perhaps may not be an exaggeration to state that this is a work about the end of the times, and is therefore eschatological. The way he applies the paint on the surface of each work – allowing it to run, using it to form stains, or also using it to create areas of great chromatic turbulence – reinforces the idea that the image represented is about to disappear, such is the feeling of dizziness transmitted by this aqueous dimension.
Gil Heitor Cortesão’s choice not to paint on canvas, wood or any other surface more usually chosen by the artists who work in the same medium, but rather to prefer to use acrylic, a transparent material, also allows him to reinforce the liquid dimension that emerges from his works. That which the spectator sees is almost always an image painted from behind the acrylic: the outer part, that which is closest to the observer, has never been touched by the paint, and this latter, under normal circumstances, will never be touched by the public, as it is protected by that membrane that is simultaneously transparent and opaque, front and back, beginning and end of each instant represented there. Francis Bacon’s idea to place glass in front of his paintings, a manner of simultaneously distancing the spectator from and bringing them close to the work, may here be called up, as, in the case of Gil Heitor Cortesão, his option for acrylic seems to have more to do with his desire to question the status of the image itself and its intention to set itself up as absolute truth – hence the fact that his representations are on the edge of decomposition, as if it were no longer possible to extract anything else from them other than the sight of their implosion.
Opposite – Lost Summer 1, 2013
Exhibition runs through to July 26th, 2014
Galeria Pedro Cera
Rua do Patrocínio, 67 E
1350-229 Lisbon
Portugal
Brendan Fowler’s gradual transition from the indie music scene to the art world reveals various experiments in breaking the rules of the newfound realm whose properties he seeks to tame. Seen from afar, the works in the exhibition look like segments of photographs gone wrong. The densely arrayed rows of threads, into which the image resolves itself on closer inspection, disclose the work’s means of production – an industrial embroidery machine. The shock of the encounter with the works stems in large part from their scale. Under Fowler’s directions the mechanical embroidery becomes a mechanism for the detailed production of an all-encompassing picture. Yet, Fowler undermines against the picture’s completeness at two levels: actively, before production, when he edits the images in Photoshop, and later on, more passively and randomly, through the production flaws of the industrial machine.
For years, Matthew Chambers’ abstract works were an inseparable part of a feverish practice of figurative painting. In a work routine involving dozens of canvases in parallel, the abstract works showed up as the destination for the paintings in which Chambers identified an overburdening: he would cut these up into strips and begin a course of assembly according to a geometrical pattern. In the past two years Chambers began to experiment more and more with the geometrical arrays, and gradually the abstract works have become an independent body of work, no longer dependent on the destruction of his figurative paintings. Out of the sequence of works in the exhibition, we witness two different modes of confronting the canvas: one seeks to contend with the unceasing flow of vacuous images from the outside world, while the other turns assiduously to realms of mathematical order and logic.
Opposite – Matthew Chambers, The Only Thing I Do Energetically Is What I Want to Do, 2013
Exhibition runs through to July 26th, 2014
Hezi Cohen Gallery
54 Wolfson Street
66042 Tel Aviv
Israel
Openness and Clarity: Color Field Works from the 1960s and 1970s, is curated by Hayden Dunbar, the show will include works by Josef Albers, Anthony Caro, Helen Frankenthaler, Morris Louis, Robert Motherwell, Kenneth Noland, Jules Olitski, and Frank Stella.
Openness and Clarity pays tribute to the legacy of Color Field artists who paved the way for Minimalism, Conceptual, and Pop art, creating an enduring shift in the course of art history that can still be seen today.
Exhibition runs through to August 2nd, 2014
Honor Fraser Gallery
2622 S La Cienega Blvd
Los Angeles
CA 90034
Drako Zarharzar remembers working with Salvador Dali, but he doesn’t remember yesterday. Funny, charming, exotic, and oblivious to others, at 76 he lives “completely in the now” following brain damage that robbed him of his ability to create memories. To compensate he has created a beautiful, shocking 3D autobiographical collage that fills every space in his tiny flat – so if you enter his home you enter his mind. I wanted to understand him, I end up caring for him as his unique philosophy TRUST ABSOLUTE CONDITIONAL conflicts with reality.
The film is a collaboration between us, a record of a relationship that brought me great joy and wonder but also real pain.vel by John Green.
Premiere screenings at Picturehouse Cinemas in London, Cambridge and Brighton on June 13th and then on July 1st in the rest of the country.
www.themanwhosemindexploded.com
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