Tuesday, 17 October 2017

Ceramics at Montpellier




I always try to pop into Montpellier whenever we go to Stratford as they tend to have some interesting ceramic pieces. The problem is that they never indicate who the artist is so you have to ask about every piece, which gets tiresome after a while, particularly since quite often they do not know who the artist is. So, they have to look at the code of each piece which is written next to the price, then consult the book. It gets very frustrating and you end up feeling that you are being a nuisance. 

Here are some pieces that I particularly liked, but, with the exception of Sally MacDonell, whose work I recognise, I do not know who the artists are.



















Sally MacDonell














Friday, 13 October 2017

Joseph Beuys at Hamburger Bahnhof/Museum fur Gegenwart, Berlin





Joseph Beuys at Hamburger Bahnhof/Museum fur Gegenwart, Berlin

Beuys was a German Fluxus, happening and performance artist as well as a sculptor, installation artist, graphic artist, art theorist and pedagogue. His work is grounded in concepts of humanism and social philosophy; it culminates in his 'extended definition of art' and the idea of social sculpture as a gesamthkunstwerk, for which he claimed a creative, participatory role in shaping society and politics. He was confident in the potential for art to bring about revolutionary change.

I found this exhibition extremely helpful in helping me understand his work.




Das Kapital Raum, 1970-1977 (1980)









'This is the monument now. That's right, the monument as we know it, rigid, constructed. There are the individual signs, something's written on it like on the pyramids, there are hieroglyphs, they must be deciphered'. J. Beuys, 1980





Beuys was interested in creating his own new concept of capital which he developed in relation to Karl Marx. He explained how he was no longer using the term to refer to economic ownership but rather to intellectual and creative property. Beuys therefore equates art, as an exemplary expression of creative power (art - creativity), with capital (art= capital). The 36 blackboards on the rear wall bear witness to this discursive process, which took place in Kassel over the 100 days of Documenta 6 in 1977.

Beuys works on two levels, combining his rational work in the conceptual definition of terms with the more spiritual level evoked by the mysterious concepts of Celtic Christianity. In the opening sequence of his performance at Basel Beuys highlighted the Christian reference by washing the feet of seven visitors. The piano is not played but creates anticipation for the possibility of music, a sound of the future.  He also conveys this 'empty' state through the film equipment and tape recorders he put on display without rolls of film or tapes. Beuys called it a monument in which the movements are, so to speak, frozen and waiting for the viewer to revive them.





Strassenbahnhaltestelle. A Monument to the Future, 1976




looking closer




detail




from a different angle




detail




Tallow, 1977

The aim of this installation was to question the underlying motives behind urban planning which produce concrete deserts, and the restricted understanding of art which condones this.





In the concrete underpass to a new auditorium of the university of Muenster, under the access ramp was a dead corner, a deep wedge-shaped acute angle in which nothing but dirt could collect. He took an exact cast of this spot and in the process a negative vacuum was transformed into a positive form - a sculpture. 20 tonnes of mutton fat granules, mixed with a few drums of beef fat for extra firmness were melted down over fire day and night at a concrete factory outside Muenster.  Vat after vat was poured into the reinforced plywood mould which was buttressed with beams.




After a month and a half the sculpture was still completely fluid at the centre; at the end of three months it was cool. Beuys said: 'This is the first sculpture that will never get cold, and if it gets cold it will never get warm again'.





detail




looking closer





Richtkraefte einer neuen Gesellschaft, (Directional Forces of a New Society), 1974-77

The 100 blackboards came out of a month of discussions during the Art into Society - Society into Art exhibition at the Institute of Contemporary Arts in London in November 1974. This installation can be seen as an action, for lectures in Ireland where The Secret Block for a Secret Person in Ireland was on show in Belfast. The drawings document encounters with people, theories of sculpture, creativity and society, together with traces of the events of that month both in Beuys' own life and the world outside.  That November, for instance, Holger Meins, a member of the Baader-Meinhof group, died on hunger strike in a German prison, and the board which is an epitaph to his plight caused consternation when the work was eventually installed in the Nationalgalerie, Berlin.




Throughout the discussions Beuys carried an upturned walking stick (Eurasian staff) painted brown, and by the end of the month contact with his hand had worn what turned out to be a 'hare in the moon' on its tip. When Directional Forces appeared in its next stage as an environment at The Rene Block Gallery in New York in April 1975, this hare had been photographically enlarged and placed in a box lit from behind. The element of mystery must never be completely lacking.  In New York the boards could be studied and walked over by the public; but by then the action stage was over. Unused boards were piled into a 'Fond' or battery, with an east-west line drawn on them; and three easels represented the key democratic questions:

Cultural life - (Freedom) Law - (Equality) Economics - (Fraternity)




looking closer





When Directional Forces appeared at the Venice Biennale in July 1976, it had been pulled another step back from the spectator; it could only be viewed through glass. In the Nationalgalerie in Berlin it is scattered over a raised platform which is the closest Beuys has ever come to a sculptural pedestal.




Filzanzug, 1970




Capri-Batterie, 1985





looking closer.




Tuesday, 10 October 2017

Rudolf Belling


When we were in Berlin quite a few months ago now, we visited lots of galleries and saw some wonderful art. I did not have the time to write it all up, but I am now trying, very slowly and when I have the time, to make a record of what we saw. This exhibition on the work of Rudolf Belling was one I thoroughly enjoyed, particularly since I was not familiar with his work. 




Rudolf Belling




at Hamburger Bahnhof - Museum fuer Gegenwart, Berlin.




Belling was one of the most important German sculptors of classical modernism. His artistic creation, spanning six decades, was shaped by a unique variety: his stylistic vocabulary ranges from expressionism to new objectivity, futurism to constructivism, abstraction to naturalism. He worked as a stage designer, a costume designer, an architectural and advertising sculptor, a portraitist and a designer. In collaboration with architects he created interiors, architectural sculpture, fountains and monuments. His fashion sculpture is still considered today an outstanding example of the modern mannequin. 'Whether figurative or abstract, I give myself permission to do anything that seems necessary to form in an organically sensible way', the artist wrote in 1922. The principles of the 'Belling System', as he called it, include a conception of sculpture as seen from many different perspectives and the inclusion of empty space as an elementary compositional element.

The idea that sculpture and space form a whole was further expressed in Belling's work for the performing arts. He created costumes and sets for film and theatre. Describing his development, Belling said that he had been a realist initially and then a period of experimentation began, around 1915, when he started exploring Expressionism and Cubism.




Pilot, 1917, (aluminium)




Fashion Sculptures, 1921

Belling designed avant-garde window display figures for the factory Erdmannsdorfer Buestenfabrik. Introduced to the public as 'Modern-Plastiken', in 1921, they caused a sensation. They were made from varnished papier mache but in all their modernity they were dubbed goddesses of aluminium. Belling's fashion sculptures anticipated Art Deco aesthetics.





This model was used to present skirts and corsetry. 




Two abstract heads were available for this model, to be fitted onto the bud-shaped neck; arm pieces could be short or long.




Triad, 1919





Belling's central thesis, which says that sculpture arise from a synthesis of space and the sculptural form, finds full articulation in this sculpture. Three slender, abstracted shapes envelop an open, hollow space. Dance and music resonate here, as do notions of the organic and the constructed. Created as a model for an open-air stage, Triad symbolises the unity of the arts: painting, sculpture and architecture meet performing arts. This artwork is considered a milestone in modern sculpture. Triad was the first cubist abstract sculpture in Germany - it also incorporates futuristic and constructivistic design principles.




Head in Mahogany, 1921







Portrait of Joseph von Sternberg, 1930

In 1929, film director Joseph von Sternberg came to Germany from the US to shoot the film Der blaue Engel. Belling helped him in his search for a female protagonist. The part was given to Marlene Dietrich who subsequently gained international fame.








Organic Forms (Striding Man), 1921, (bronze)








Sculpture 23, 1923, (bronze)








Head in Brass, 1925





This female portrait radiates cool elegance that anticipates the aesthetics of the machine age and the Art Deco Style. With its android-like clear cut features, the Head in Brass could be seen as direct precursor of the machine woman from Fritz Lang's classic movie Metropolis. The droid C3PO from George Lucas' Star Wars saga might be inspired by it. The Head in Brass is one of the masterpieces of modernism in Germany, but nevertheless for a long time art criticism was divided about how to judge this cross between technoid futurism and female gracefulness that characterises the polished surfaces of this work.









Portrait of Richard Haertel, 1926

Beginning in 1925, Belling received commissions from unions and workers' associations in Germany and the Netherlands. Here, the artist made use of a predominantly figurative visual language. These figures and portraits are strongly stylised, but to contemporaries they appeared to possess a truly captivating liveliness. The portrait mask of Richard Haertel, founder of the German Printers' Association illustrates this.




Miner, 1930




The ethos of the working-class movement is conveyed by this larger-than-life miner from the foyer of the head office of the Rechsknappschaft, the occupational pension and health insurance organisation for miners.

A number of Belling's works were melted down by the Nazis.








Man and Woman (standing figures of the table sculpture Gemeinsamkeit), 1930-32, (bronze)





The two figures were originally part of a sculpture (now lost) for the reading table in the foyer of the publishing house De Arbeiderspers in Amsterdam, In it, the tree of life grew from a globe surrounded by waves in front of which stood the man and woman holding hands as a symbol of community.




Symbolic Shield, 1926/29, (bronze)














Fountain for Haus Goldstein, 1978


In 1922 the lawyer Ismar Goldstein commissioned Arthur Korn to build a modern villa, and by 1924, it was finished in Berlin's west end. For the terrace facing the gardens designed by Richard Neutra, Rudolf Belling created a fountain sculpture with moving parts The constructivist shapes make reference to the villa's architecture. The revolving spirals of the garden fountain make it an early form of kinetic modern art. However, it was dismantled in 1925. After 1933, the villa was expropriated. Goldstein died in 1942 in the Riga ghetto. The building was torn down during the post-war period. 







Design for a filling station in Halle ander Saale, 1923




The innovative 1923 design for a filling station resulted from the collaboration of Belling, Gellhorn and Knauthe: a sculptor, an architect and an engineer. In the 1920s when the German motorway network was first being developed, the roofed-over filling station was an all-new building typology. The OLEX neon sign further emphasised its modernity. The structure however, was never built.








Max Schmeling, 1929, (bronze)





Design for a fountain in the garden of the Technical University of Istanbul, 1956, (bronze)


With the support of architect Hans Poelzig, Belling got a teaching assignment in Istanbul.  He had to abandon his studio in Berlin as well as numerous works.  Emigrating was the right decision, because in 1937, when the National Socialists presented their defaming propaganda show Degenerate Art at the Hofganrtenarkaden in Munich, Belling was represented by two works, the Triad and the Head in Brass.




Mask of an Orator, 1959, (bronze)












Symbol of Community, 1966-67, (bronze)





Primordial Animal, 1969, (bronze)




Design for a Relief, 1967




Relief with Seated Woman, 1946, (bronze)




Sculpture 49, (bronze)