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Conversations With Artists - Callen Schaub

Tue, 24 Dec 2024 21:13:57 +0000

⁣https://www.artresin.com Welcome to our new series, Conversation With
Artists! In this series, ArtResin’s co-founder Rebecca provides an opportunity
to hear from different contemporary resin artists as they discuss their work,
inspiration and the artistic process. Callen is a contemporary abstract artist
with his own unconventional twist on spin art. He paints using gravity and
homemade machines including a canvas spinner made from bicycle parts, paint
trough swings and leaking paint can pendulums. When art and science collide,
the results are nothing short of fantastic - vibrant, explosive canvases that
capture the motion and energy of flying paint! Rebecca recently sat down with Callen
to examine how his creative process is a dance between order and chaos, the
role of the artist, and why art is the only career path for him. See more of
Callen's art: visit his website at https://callenschaub.com follow him on Instagram: https://www.instagram.com/callenschaub

Conversations With Artists - Callen Schaub
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All artworks shown in this video is under Copyright Callen
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Tacita Dean talks about her exhibition at Mudam

Tue, 24 Dec 2024 21:09:38 +0000

⁣Since the early 1990s, Tacita Dean (b. 1965, Canterbury) has developed a singular body of work using multiple mediums, like film, photography and sound; drawing, printmaking and collage. Encompassing a diverse array of subjects, her work is characterised by a careful observation of time, a keen attention to history and a love of the fine details in life. Dean also welcomes chance as one of her guiding principles. A great believer in the non-deliberate act, Dean sometimes allows contingency, circumstance and accident to dictate the final outcome of a work. Since 2011, the artist’s work has also had to deal with digital imaging eclipsing photochemical film and photography, a topic she has written and spoken about at length describing an exponential accumulation of images: ‘A world that does not forget is a world that is drowning in its inability to forget.’ The East Gallery brings together the original artworks used in the stage sets for the ballet The Dante Project,
which premiered at the Royal Opera House in London in October 2021. Dean
designed the sets and costumes for a ballet choreographed by Wayne McGregor (b.
1970, Stockport) with an original score by the composer Thomas Adès (b. 1971,
London). The Dante Project is based on Dante Alighieri’s (b. 1265, Florence –
d. 1321, Ravenna) The Divine Comedy and staged in three parts, representing
Dante’s journey through the realms of the dead – Inferno, Purgatorio and
Paradiso. Using three distinct mediums – drawing, photography and film – for
each act, Dean’s set design moves from negative to positive, monochrome to
colour and from representation to abstraction, plotting Dante’s passage through
the underworld. Inferno (2019) is the largest blackboard drawing Dean has made
to date and depicts an inverted frozen mountain landscape in negative. Taking
inspiration from the cold environment described by Dante, Dean conceived a
versatile netherworld where the souls dance beneath a low ceiling. Above them,
a small mirrored ellipse rights the inverted mountains revealing a glimmer of
the normal world, unattainable to the damned. Purgatory (Threshold) (2020) is a
large-scale photograph pinned to the wall, laboriously overlaid with white
pencil. Just as Dante’s ‘Purgatorio’ is an intermediary state, Dean explored
the idea of making an image somewhere between negative and positive.
Photographed using an 8 x 10 analogue camera, Jacaranda trees – with foliage
that turns completely purple in the spring – are depicted in prints that
reverse the negative to a positive, turning the distinctive violet flowers into
an other-worldly green. The white pencil veiling the surrounding urban
landscape accentuates the strangeness of the image. In the centre of the
gallery is a pavilion housing the 35mm film Paradise (2021), the final work of
the trilogy. It is the first time that Paradise is being shown as an artwork
outside of its staging in the ballet. The soundtrack is a digital simulation of
Thomas Adès’s orchestrated score Paradiso. Known technically as a MIDI, the
computer simulation became an invaluable tool while the orchestra were unable
to record the music during the Covid-19 lockdowns. Paradise was filmed in the
extended format Cinemascope and is entirely abstract, drawing on the circular
and planetary motifs present in Dante’s ‘Paradiso’. The film’s rich colours
were taken from the palette of William Blake (b. 1757 – d. 1827, London) and
can also be seen in the ten hand-printed silkscreen prints representing the
planetary states in the corridor. Other works associated with The Dante Project
are also on show, including two artworks from the Purgatory series entitled
Purgatory (Mounts I & II), 2021 and an eight-part photogravure entitled
Inferno, 2021, made from a panorama of vintage photographs showing mountains
with collage and notation to depict Dante & Virgil’s journey. A small chalk
drawing, Expulsion (2019), after Masaccio’s (b. 1401, San Giovanni Altura – d.
1428, Rome) fresco in the Brancacci Chapel in Florence, depicts Adam and Eve’s
expulsion from Eden. Commissioned by the Süddeutsche Zeitung Magazin, the
drawing was made in response to Britain’s exit from the European Union. The
second half of the exhibition is formed around Tacita Dean’s 16mm film One
Hundred and Fifty Years of Painting (2021) shown in a specially designed pavilion
that also includes two paintings by the artists featured in the film: Luchita
Hurtado (b. 1920, Caracas – d. 2020, Santa Monica) and Julie Mehretu (b. 1970,
Addis Ababa). Media partner: Monopol

Tacita Dean talks about her exhibition at Mudam (EN – Subtitles: EN/FR)
⁣Copyright ⓒ Mudam Luxembourg Museum
License: Creative Commons Attribution license (reuse allowed)
Thumbnail Photo Copyright Tacita Dean, VSA Digital Design.
All artworks shown in this video is under Copyright Tacita Dean or Representative Agent/Gallery
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Artist's Talk: Artist David Altmejd

Tue, 24 Dec 2024 20:15:12 +0000

⁣DAVID ALTMEJD FLUX @ Mudam Luxembourg - Musée d'Art Moderne Grand-Duc Jean “In the space between science fiction and reality, between fantastic zoology and scientific creativity, David Altmejd accomplishes the feat of uniting the colourful magic of material, the endless fantasy of forms and the poetry of ancient artistic
skills in one and the same melting pot.” (Louise Déry) In a career spanning
nearly twenty years, the Canadian sculptor David Altmejd has produced a wide
variety of formally and thematically complex works in surprisingly diverse
materials. The artist’s interest in biology and architecture combines with a
fascination with metamorphosis to produce compellingly strange images
reminiscent of the dreamlike or nightmarish worlds of David Cronenberg and
David Lynch, or the labyrinthine narratives of Jorge Luis Borges. Altmejd’s
works are characterised by a wealth of detail that lends formal momentum to
individual elements, which in some instances seems to originate from within the
elements themselves. Animated by inner forces and radiating a taut sense of
energy, they are like snapshots of single moments within a continual process of
evolution. The natural forces illustrated in his sculptures are counterbalanced
by currents of energy (as epitomised by the gold chains in The Index).
Altmejd’s works unfold a disturbingly ambiguous narrative: even as they
challenge viewers with unanswered questions, the sculptures validate their
feelings and interpretations. From the beginning of his career as an artist,
Altmejd has been using a wide variety of forms and materials in his sculptures.
The werewolf, a prominent motif in his work, appeared early on, whether in the
shape of individual heads or as complex presentations on pedestals. Epoxy clay,
crystals, plexiglass and mirrors are recurring materials in his work. The heads
presented in this exhibition, from the years 2006 to 2015, convey Altmejd’s
central concern with the inherent tension in the work, the potential energy it
generates, and the possibility of releasing that energy. The Builders (2005);
The Outside, The Inside and The Praying Mantis (2005); and The Trail (2006) are
developments of earlier table-like pedestals. As model-type architectures, they
constitute a mixture of independent microcosms and set-ups for scientific
presentation. Upon closer examination, these works, which at first glance seem
to be structured in an architectonic, rational manner, turn out to be rampant
geometric growths and surreal labyrinths with organic, exotic elements. Altmejd
overcame the horizontality of these presentation structures with a series of
giant, vertical figures; although the figures are enormous in scale, Altmejd
worked meticulously on each section and component independently, rather than in
the context of the massive whole. With their hermetically block-like,
classically inspired, or open, deconstructed character, these colossal statues
inhabiting the museum’s Grand Hall, like animated “landscapes” or as completely
mirror-clad forms, trigger associations with golems and cyborgs. They are
complemented by the series Bodybuilders, plaster figures which seem to embody
their own production process. The artist’s more recent plexiglass works provide
a spatial framework for his sculptural compositions, restraining them within a
transparent cover while at the same time allowing glimpses into their inner
coherencies. In Le Guide (2010) and Le Souffle et la Voie (2010), the focus is
on a symmetrically structured representation of inner energy currents; in
sculptures such as The Orbit (2012), architectonic elements, mirrors, fruits
and anatomical fragments again enhance the complexity of the works. For
Altmejd, the dynamic movement in these pieces, which repeatedly breaks through
the inner and sometimes even outer (plexiglass) boundaries, is a sign of
powerful vital energy. David Altmejd was born in Montreal in 1974. He lives and
works in New York. Curator: Marie-Noëlle Farcy Exhibition organised in
collaboration with: Musée d'Art moderne de la Ville de Paris Musée d'art contemporain de Montréal In partnership with: Ambassade du Canada au Luxembourg

Artist's Talk: David Altmejd
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Artist Leonor Antunes Talk about her exhibition at Mudam Luxembourg

Tue, 24 Dec 2024 20:03:35 +0000

⁣Leonor Antunes. joints, voids and gaps 10.10.2020 – 05.04.2021 @ Mudam Luxembourg – The Contemporary Art Museum of Luxembourg Mudam Luxembourg’s Henry J. and Erna D. Leir Pavilion is the site for a new exhibition of recent sculpture by the acclaimed artist Leonor Antunes (b. 1972, Lisbon). Antunes has created a new installation that responds to the physical qualities and proportions of this iconic architectural space designed by Ieoh Ming Pei (b. 1917, Guangzhou; d. 2019, New York). For her exhibition at Mudam, Antunes has conceived of an expanded sculptural environment that occupies the Henry J. and Erna D. Leir pavilion and the glass-walled walkway that serves as its entrance. The installation is composed of a suspended structure made from steel and tied cords that doubles the hexagonal profile of the pavilion and serves to frame existing and new sculptures. They echo the artist’s free-standing light sculptures, and a new body of so-called ‘climbing’ sculptures made in situ from knotted cord and leather. Anchoring the
installation horizontally is a new floor piece designed by Antunes in reference
to painted volume studies by the artist Lygia Clark (b. 1920, Belo Horizonte;
d. 1988, Rio de Janeiro). The floor work links the exhibition at Mudam with the
artist’s recent exhibition at MASP – Museu de Arte de São Paulo and in the Casa
de Vidro (Glass House) designed by architect Lino Bo Bardi (b. 1914, Rome; d.
1992, São Paulo). The title of this exhibition refers to Bo Bardi’s design and
its joints, voids and gaps. The sculptures of Antunes are often conceived and
installed in response to a given spatial situation, its architecture and
history as well as the physical or sensory experience of that place. Her works
draw upon research that has encompassed less visible figures within the history
of Modernist architecture and design such as architects Eileen Gray (b. 1878,
Enniscorthy; d. 1976, Paris), Egle Trincanato (b. 1910, Rome; d. 1998, Venice),
and Carlo Scarpa (b. 1906, Sendai; d. 1978, Venice), designers Anni Albers (b.
1899, Berlin; d. 1994, Orange) and Clara Porset (b. 1895, Matanzas; d. 1981,
Los Angeles), and the artists Lygia Clark and Mary Martin (b. 1907, Folkestone;
d. 1969, London). Antunes interprets their forms, motifs and measures in
materials and textures such as rope, wood, cork, leather and brass, and a
sculptural vocabulary inspired by handcrafted and artisanal techniques. Working
at different scales and through processes of knotting, sewing, beading and
weaving, she creates spatial environments composed of draping grids, and
suspended, free-standing and climbing forms that constitute a visual and
sculptural choreography and whose visual narratives are woven through time and
through space. Leonor Antunes. joints, voids and gaps is part of a new
programme of exhibitions in which artists are invited to create works for the
Henry J. and Erna D. Leir Pavilion of Mudam. Biographic notes Leonor Antunes
(b. 1972, Lisbon) has held solo exhibitions at MASP – Museu de Arte de São
Paulo (2019); Pirelli HangarBicocca, Milan (2018); Museo Tamayo, Mexico (2018);
Whitechapel Gallery, London (2017); Tensta Konsthall, Stockholm (2017); San
Francisco Museum of Modern Art (2016); CAPC musée d’art contemporain de
Bordeaux (2016); New Museum, New York (2015); Kunsthalle Basel (2013). In 2019
Antunes represented Portugal at the 58th Venice Biennale. Her work has been
exhibited in significant international surveys including the 12th Gwangju
Biennale (2018); 57th Venice Biennale (2017); 8th Berlin Biennale (2014). She
was awarded the Zurich Art Prize in 2019. Her work is held in major public
collections including the Solomon R. Guggenheim Museum, New York; Musée d’Art
Moderne de Paris; Calouste Gulbenkian Foundation, Lisbon; Serralves Foundation,
Porto. Antunes lives and works in Berlin.

Artist Leonor Antunes Talk about her exhibition at Mudam Luxembourg
⁣Copyright ⓒ Mudam Luxembourg Museum
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Thumbnail Photo Copyright Leonor Antunes, VSA Digital Design.
All artworks shown in this video is under Copyright Leonor Antunes or Representative Agent/Gallery
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Artist Jean-Marie Biwer Talk about his exhibition "D’après nature" at Mudam.

Tue, 24 Dec 2024 19:26:33 +0000

⁣Jean-Marie Biwer. D’après nature 07.03 – 24.05.2020 @ Mudam Luxembourg – The Contemporary Art Museum of Luxembourg D’après nature presents a selection of paintings, drawings and prints by Jean-Marie Biwer (b. 1957, Dudelange). Spanning fifteen years of production, these recent works reflect his exploration of landscape, nature and the everyday environment. Over the past four decades, Biwer has developed a body of figurative work that reflects a sensitivity to the world around him: both in terms of his immediate environment – the Ardennes countryside in the
north of Luxembourg – and in relation to society in general. His works address
subjects that are well established in the traditions of painting including
landscape, the body and still life. Yet they also question the role of painting
within a world that is dense with images and information. Faced with the
proliferation of screens and moving images and the acceleration of the pace of
life, Biwer seeks to make paintings that hold the intensity of the present moment,
creating a space for contemplation. D’après nature highlights various themes
and subjects that run through his work since 2005: the studio, everyday life,
trees, the sky and the changing seasons in the landscape that surrounds him.
‘These things are there,’ the artist explains, ‘we just need to look at them.
They are simple, but today they have the power to bring so much to people.’
D’après nature reflects the artist’s concern with both craft and conceptual
thinking – two aspects that converge in a quest for beauty. Curator: Christophe
Gallois Assisted by Nelly Taravel Exhibition design: Polaris Architects Media
partners: Luxemburger Wort, RTL Luxembourg

Artist Jean-Marie Biwer Talk about his exhibition "D’après nature" at Mudam
⁣Copyright ⓒ Mudam Luxembourg Museum
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Thumbnail Photo Copyright Jean Marie Biwer, VSA Digital Design.
All artworks shown in this video is under Copyright Jean Marie Biwer or Representative Agent/Gallery
Music License: Published under Creative Commons Attribution license (reuse
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