Untitled (Corner Piece), Fred Sandback: gray elastic cord 45.7 x 172.4 x 45.7cm, originally constructed 1967, image via Marian Goodman Gallery, Paris

Last month, when I was in Paris for Une Valse Lente @ Abstract Project, a most memorable experience at Marian Goodman Gallery happened with Jacek Przybyszewski via the reinterpreted, unparalleled work of Fred Sandback. Elastic cord and acrylic yarn made “room-filling volumetric forms using the most minimal of means. By stretching single strands of yarn point-to-point to create geometric figures, Sandback’s near intangible objects nevertheless amounted to precise and subtle delineations of pictorial planes and architectural volumes.”1


Le Fil d’Occam, the exhibition’s title, comes from an idea by the 14th century logician, William of Ockham, who reckoned the best solution to almost any problem is usually the simplest. Well, these objects of simplicity brought tears to my eyes but apparently this unexpected reaction is not an isolated one. Andrea Fraser delves into understanding why constructions designed by Sandback and presented in gallery spaces have such an effect on the mind/ psyche in her article from 2005, Why Does Fred Sandback’s Work Make Me Cry.2 “It is a place of affective possibility created by work that doesn’t ask me to feel, and so, I think, allows me to feel, and to be alone, in the presence of this art that’s so quiet and still, and makes too little in the way of demands. It is an art of objects without shadows.”

 

The after-effects of exposure to contemplative purity seem to be long-lasting: not only as spontaneous recollections but, above all, as a constant catalyst for perceptual refinement.


Untitled, Fred Sandback: one 32”/81.28cm black elastic cord 279.4 x 335.3 x 96.5 cm, originally constructed in 1967,
image by Jacek Przybyszewski


 

 

Fred Sandback: Le Fil d’Occam

8 September – 27 October 2018

Marian Goodman Gallery

79 rue du Temple

75003 paris www.mariangoodman.com

 

 

1 https://www.lissongallery.com/artists/fred-sandback

2 grâce à Jacek

 

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Une Valse Lente (A Slow Waltz) with Kazimir Malevich: imagine it…!

Based on this very idea, my next solo exhibition takes place at Abstract Project, an associative gallery with Le Salon Realités Nouvelles, in Paris.

 

The floorplan (above) shows graphics of the five geometric components; mais oui, images and text to follow.

 

If you happen to be around, do come by for a glass of wine at the vernissage on the evening of 5 September 2018 between 18h-21h. The exhibition continues until 15 September with gallery hours from 14h-19h, Wednesday to Saturday.

 

Abstract Project

5 rue des Immeubles Industriels

75011 Paris

Métro: Nation

www.abstract-project.com

 

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Dittico Blanco e Crema, Amarie Bergman: balsa wood, acrylic paint and soap 15cm diameter x 8cm high; 4.4cm diameter x 2.2cm high 2017-2018

 

"Something unexpected happens when a flat field wraps around two circles of parallel planes to create a cylinder; it appears to simultaneously curve and straighten in a sensation of endlessness. The twin planes accentuate this quality through the continuity of their boundaries. Bergman presents a pair of cylindrical forms having similar proportions but different scales and degrees of precision. Made from contrasting materials, balsa wood and soap, their tints pay homage to the monochromatic works by Richard van der Aa and Ettore Spalletti."

 

How pleased I am to be presenting this two-part work in Abstraction Twenty Eighteen at Langford 120. The show, curated/organised by Pam Aitken, Lisa Sharp, Irene Barberis, Wilma Tabacco and Stephen Wickham, in conjunction with four other curated exhibitions taking place across Melbourne that were all initiated and timed by Stephen to coincide with The Field Revisited at the National Gallery of Victoria.

 

The opening is on Sunday, 29 April from 2 - 4 pm at 120 Langford Street, North Melbourne VIC 3051. http://www.langford120.com.au/e18-abstraction-twentyeighteen.html

 

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Perlustrata no. 1, Amarie Bergman: softwall 183cmH x 30.5cmD, approximate footprint 425cmL x 130cmW 2018
molo designed softwall supplied by Seeho Su, Surrey Hills, Sydney


Quite surprisingly, I was invited by Martina Copley to present an exhibition project at BLINDSIDE, a rather prominent artist-run initiative in Melbourne. Saying yes meant exhilaration and a short lead-time: less than 4 weeks to prepare. My primary concern was locating a source of molo softwall but Joyce Seeho, at Seeho Su / Sydney, cordially said, "yes, I can loan you a pre-loved one." The available softwall’s height was only 183cm, although this meant it could remain vertically free-standing without hidden stabilizers as well as be easy to manoeuvre into the desired placement. The plan went as smoothly in practice as it sounded in theory: the entire process, with Paul MacGillivary as my ‘volunteer assistant,’ took five minutes from start to finish.

 

On a clear, full moon-graced evening, Perlustrata no. 1 opened on 29 March at BLINDSIDE alongside The Lunatic by Henry Trumble. Both exhibition projects continue until 14 April 2018; gallery hours are Tuesday to Saturday, 12-6pm.

 

 

Two excerpts from the room sheet:

H Perlustrata no. 1, a translucent, snow-white textile configures a pleated line in a phenomenological intervention of geometric simplicity. The line takes the form of a three-dimensional double curve within BLINDSIDE Gallery Two, which redefines its architectural space.

 

This is the first work in a series of reductive objects having a poise, not unlike the stillness between two thoughts. It tangentially honours the 920th anniversary of the birth of Hildegard von Bingen, a visionary saint who always seemed to be perlustrata – shining with light.

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Post-process image by Christopher Gulick, Factory 49, Sydney, image courtesy of the artist (2017)

I'm pleased to say Held in Suspense, my first article for Rochford Street Review, has just been published. It's on the American sculptor, Christopher Gulick, and his rather astonishing residency-workshop-performance-exhibition at Factory 49 in Sydney.

 

"The universe is in a constant state of change. Christopher Gulick presented us with concrete evidence of space-time’s temporal poignancy by energising the Main Showroom at Factory 49 with an informal suite of angular and curvilinear projection-relief sculptures. Such a construct could have been kindled in the 20th century in two-dimensions by Matisse while making his most edited cut-outs. It also recalls Arshile Gorky’s ‘Child’s Companions’ (1945), Mondrian’s balanced black and coloured subdivisions in the last grid paintings with a generosity of white galaxies, and Kandinsky and Joan Miro’s ability to seemingly levitate flat forms..."

 

In-process image by Christopher Gulick, Factory 49, Sydney, image courtesy of the artist (2017)

Factory 49's catalogue http://factory49.blogspot.com.au/2017/10/christopher-gulick.html
+ images by Marlene Sarroff of the finissage on 10 November 2017
https://www.facebook.com/marlene.sarroff/posts/10213091287429823

 

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Works in progress by Pablo Atchugarry, outside his studio at Fundaciόn Pablo Atchugarry, Uruguay


What a privilege to be one of only two visitors roaming around 30 hectares of the Sculpture Park created by the Fundaciόn Pablo Atchugarry near El Chorro / Maldonado in Uruguay. The Park was “designed in dialogue with the landscape… to appreciate the monumentality of the work of national and international artists.” Naturally, I concentrated on Atchugarry’s work, especially the massive ones in progress outside his studio and those installed in the Permanent Collection building. Although smaller, the latter sculptures showed his evolutionary explorations of scale and materials – not limited to wood, steel and bronze (finished with immaculate monochromatic glossiness) and marble. The most attractive pieces had a multiplicity of folds, initially reminiscent of flowing drapery, but Atchugarry increases the intensity of their intro-/extro-version with an inherent attribute of verticality: aspiration.

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Portrait of Susan Sontag 1975 by Peter Hujar from "Hide/Seek: Difference and Desire in American Portraiture"

 

Maria Popova, in the latest edition of Brain Pickings, (re-)introduces us to The Aesthetics of Silence: a most eloquent essay by Susan Sontag on art as a form of spirituality and the paradoxical role of silence in our modern world's creative culture.

 

Let me know if you would like a PDF copy of the entire essay and I'll send it along.


BTW I only just discovered Brain Pickings via Nicola McClelland. Thanks to her for revealing this site of such contentment!

 

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Ornament is a crime? Well, yes, there are crimes and then there are other crimes.
Ornament is Crime, a legally luxurious visual manifesto co-authored by Matt Hibberd and Albert Hill, pays "unprecedented homage to modernist architecture from the 1920s up to the present day."

 

Review by Frankie Crossley

 

Review in Aesthetica (edited):

"Ornament is Crime journeys between the decades to liberate Modernism from its traditional definitions and proposes its continuing presence in the work of 21st century architects... [With] elegant spreads and striking examples...  The use of quotes from cultural figures as diverse as Leonard Cohen and Kazimir Malevich here reframes Modernism as a timeless dialogue."

 

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