Carl Kleiner is a master of balance, colour and form. We have featured the photographer’s work on Frontier before, and you have probably come across the delicious culinary arrangements for Ikea, made in collaboration with partner and stylist Evelina Kleiner. His portfolio is so inventive and diverse, that it’s hard to believe that the photographs have all been taken by the same person. Commercial work is set off with a healthy dose of personal projects, the stunning Postures series being a recent one.
In Postures, Kleiner uses bent wires as supports, and with the assistance of gravity creates precariously balanced compositions with tulips. The thick, fleshy stalks are twisted into elegant curves, framed by leaves that look frozen in the midst of a rippling wind. Some hover in the air, bent like some circus contortionist, other flowers look like restrained dancers folded in a graceful moment of repose. Kleiner manages to make blooms appear light as butterflies in one image, and sinking into the ground with heaving weight in the next. Blocky plinths and stiff lines of brass wire beautifully complement the softness of the plants. This series of photographs demonstrates Carl Kleiner’s expertise in manipulating light. The crispness, colour and rich range of shadows is reminiscent of the inimitable clarity held in the still lives of Dutch Golden Age painter, Balthasar van der Ast.
Carl Kleiner is represented by MINK MGMT in Sweden and Mini Title in the UK, you can see more of his work there or on his own website. He also keeps a gorgeous photographic diary, which combines documentation of his process with arresting shots of daily observations.
Last year she won the Silver Lion at the 55th Venice Biennale for her video piece Grosse Fatigue—an attempt at retelling the creation of the universe in 13 minutes through rhythmic spoken word and a Mac desktop screen full of shifting browser windows. Camille Henrot plunders Western history, mythology, religious texts and science to blend them together into a narrative accompanied by images and videos she created, many taken from her fellowship at the Smithsonian Institution, with some footage found on the internet.
Her most recent exhibition Pale Fox, at the Chisenhale Gallery in London, is a development of the video work, or perhaps the debris of objects and references she gathered while working on Grosse Fatigue. The overarching themes of order and chaos, the origins of the world as we know it and the systems we’ve developed to catalogue it, such as museology and historical records, are being explored here. Henrot blends Western perspectives and indigenous mythology, tribal objects and beliefs, in the way that questions not only creation but knowledge itself—what it can be, where it comes from and how it can be used. The exhibition includes a myriad of objects: there are stacks of National Geographic magazines, modernist sculpture, African figurines, digital photo frames, ink drawings, Henrot’s bronze sculptures, photographs…All this is pulled together with the help of the undulating metal display system which hugs the walls of the gallery and the incredible ultramarine blue walls and carpet.
While we can pull out some narratives and thematic threads in this work, there is no strong statement being made here, no loud message the artist is trying to communicate. It seems a documentation of Camille Henrot’s own search for meaning in our contemporary information jam-packed times, and a reflection of the ways in which we navigate and archive the world—with multiple tabs open, dubious sources and short attention spans. I wish I could get to London to see the installation, it is up until 13 April for those who can!
Photographs: Andy Keate. © ADAGP
At first glance the sculptures of Li Hongbo seem cold and antiquated. They exude a solidity that we normally associate with marble and the classical genre. These objects from his current exhibition titled Tools of Study at the Klein Sun Gallery are familiar, yet remain impenetrable in their static state. And then, they move, and bend, and stretch, air seeps into small crevices and they assume a new life form, one that is vastly different from the viewer’s original assumption that these are indeed made of an immovable substance.
Hongbo uses paper, thousands upon thousands of interlocking stacks of paper that are carved into pieces such as Bust of David, 2012 (top images). Recognizable masterpieces take on a startling personality as eyes widen and necks elongate. Oddly I’m reminded of aliens taking over human bodies, or something like it anyway! I’m marveling at the textural surface achieved in each of the busts, it’s flawless.
Li was influenced by paper gourds, a traditional Chinese decoration consisting wholly of paper. His representation of this media is refreshing and original and challenges our initial perceptions of the Western Art world. The film, titled Extended, that accompanies the images is beautifully shot by Kid Guy Collective in collaboration with the Klein Sun Gallery and really gives you a feel for the fluidity that is achieved through the use of paper.
Hongbo was born in China and this is his first exhibition in the United States. He has exhibited widely on an international level, including Europe and Australia. Tools of Study finishes up on March the 22nd so get in there and see it if you happen to be in New York (if only!).
This is blimin interesting stuff. If you’re feeling inspired maybe you could have a play next time you’re bored shitless standing at a photocopier….
Photographs: Lucia Franco
It’s that time of year again—the newly commissioned Serpentine Pavilion to grace the lawns of the Kensington Gardens has been revealed. You can refresh your memory of last year’s popular installation by Sou Fujimoto here, and the 2012 collaboration between Herzog & de Meuron Ai Weiwei here. The 2014 Serpentine Pavilion is intended to act as a temporary multi-use space to house a variety of performances, talks and events run throughout the coming months.
This year, Chilean architect Smiljan Radic was chosen to realize his design of a cocoon-like structure. He will be the fourteenth architect to participate in this project and is being heralded the youngest and least-known choice to date. Radic was inspired by small romantic decorative garden sculptures of the 16th–19th centuries in the conception of his design. The oval part of the construction, made of fiberglass and intended to resemble a shell, hovers upon large boulders of stone.
My first response to the renders was: “Awkward!”. However, upon closer inspection the relationship between the materials, with contrasting qualities of lightness and weight, is intriguing. Much has been said of the strange outer appearance of the structure, but I think the magic of this pavilion will be in its tactile details and the experience of the interior space. From what I can tell it will create an airy ambiance, the draped covering opening out to the gardens and simultaneously creating the sensation of being enveloped. Just imagine the glowing warmth the translucent shell will emit at night-time!
Placed in the context of Smiljan Radic’s past work, this design is another showcase of his talent for creating a delicate balance with a combination of earthy and artificial materials, light and space. His structures and interiors are atmospheric and sensitive to their environment. I look forward to seeing the pavilion materialized in June!
Photography by Gonzalo Puga and Smiljan Radic
When I came across the work of Skyler Brickley I was reminded of a guy I used to share my studio with at art school. Said guy would shoot bullets through giant sheets of metal, it was a gutsy aesthetic that was all about the media and the arbitrary nature of creating. The art work was solid, random and oh so very tactile; Brickley also ticks these boxes with the above body of work, hell, the two of them should start a club!
Sitting somewhere between the realms of painting and sculpture this series titled Meltdown came into fruition last year. Brickley uses large plastic sheets of PETG (Polyethylene terephthalate) and transforms them into hard, beautiful, moving objects, caught in rippling movements. There is a delicacy to these parodies of modern manufacturing; Brickley manages to tame his material, making it work in unexpected ways. The crimson curtain Thorotrast, 2013, (bottom right) holds so much tension as it hovers just above the gallery floor, its sides appear to curl and singe as though a flame lies beneath it.
While Brickley subverts notions of painterly tradition through use of industrial media he simultaneously references its concepts - I’m reminded of the Abstract Expressionists and their use of color to elicit different emotional responses. Deep, dark and brooding through to light and joyous are what I’m getting from these sculpted paintings, what I wouldn’t give to see them in the flesh, they’d suck you right in.
Skyler Brickley lives and works in New York. He has exhibited widely throughout the States and is also represented by the Mottahedan Projects in Dubai. Check out his website here.
What could be better than melting and bending the shit out of plastic? Not much. That’s why this is so good.