Since they began collaborating in 1993. John Wood and Paul Harrison have accumulated a series of playful and beguiling video works which are distinguished as much by their droll sense of humour as their unerring economy of execution. Played out against a minimalist, monochrome backdrop, or within the sealed-off space of the monitor itself, each of the works involves the presence of one of the artists, either as the butt of an extended sight-gag or as the trigger for a spiralling, visually surprising conceit. This publication, which features an essay by Charles Esche, documents Wood and Harrison's work to date, including single-screen works and installations.
The project takes its name from the demand for the transfer of power and other things to the newly independent Indonesia in 1945. It travels through time, from European colonial occupation through the development of the republican state to the trans-national contemporary cultures of today. It looks at the various international exchanges that happened in the territories of contemporary Indonesia through the images and ideas of artists. The catalogue and the exhibition will follow a broad chronological narrative, allowing readers and visitors to learn more about how this huge archipelago has changed over the past two centuries and to observe how it has responded and adapted to different influences originating both from inside and outside the islands. The influence of the imperial Dutch and Japanese occupations naturally form a signifcant element in the narrative of the exhibition as well as the constant struggles for different forms of independence or equal treatment by the Javanese and other Indonesian cultures. The importance of Chinese and Arab influence on its cultural history will also feature as the exhibition tries to look for other ways alongside the post-colonial for understanding the present.
This publication, designed in close collaboration with the artist, is primarily a pictorial documentation of the artist's new installation at the Henry Moore Institute, Leeds (February - May 2010). Alan Johnston was invited to use the Institute's white walls as a blank sheet of paper on which to base his drawing. Arriving in Leeds a month before his show opened, he divided the main galleries up into unequal frames, drawing directly with a pencil onto the walls in strips covering an area of about 2 square cm. Navigating the corners, recesses and architraves; the space which is left is equally as important as the space that he fills in; constantly measuring the shape in space, he makes sculpture out of architecture Part of an ongoing series of wall drawings – which includes works at the Haus Wittgenstein in Vienna, Inverleith House in Edinburgh, the Museum of Fine Art in Houston and SAFN in Reykjavik – the installation explores the ways in which we see a building and how this viewing can be made manifest.
Starting on 2 November 2013, the Van Abbemuseum presents a completely new narrative presentation of its collection. This exhibition brings together artworks, archives, histories and relations in historical constellations that connect individual artworks to the social and political contexts in which they were made and exhibited. The works are shown over five floors, starting with a Picasso from 1909 and ending in works from 2013. Never before has the museum exhibited such a comprehensive selection with over 600 elements being brought together to tell stories of aesthetics, ethics and politics over the last 100 years. Besides giving attention to art from the last century, a significant part of the exhibition is devoted to art after 1989 and to new acquisitions not previously shown. The design of the visitors’ experience has also led to a number of surprising interventions in the architecture of the 2003 extension.0Exhibition: Van Abbemuseum, Eindhoven, the Netherlands (2.11.2013-).
Charles Booth, owner and master hair designer of La Coupe Salon, provides easy-to-follow, step-by-step instructions on how to cut and style your hair at home. 90 line drawings.
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