“Since the late 1950s, a PLEBIAN cult of urban anthropologists, sociologists, urban planners, cultural geographers and historians have focused their attention on how our existences are affected by the social texture and infrastructures that have remodeled and informed the notion of ‘the city’ in contemporary terms (the ‘de-industrialized’ and the ‘post-modernist’ cities being particularly relevant cases at hand).”
And so begins the bicycle ride of hell....
A few painters that spark out at this years Liverpool Biennial is Oren Eliav, Tim Eitel, Markus Schinwald and Csaba Kis Roka- these artists have been defined within a spectrum of ‘The Human Stain’ at the Cooperative in line with this year’s theme of ‘Touched.’ Tim Eitels piece ‘Matratze,’ (2008), Oil on canvas – collates a number of questions, firstly is this a cheesier, colder, Nigel Cooke, or am I just happy to move onto the next room? Susanne Altman (2003) wrote of Easel’s work as a ‘subtle social and cultural thermometer’ but also raises the question ‘How does the human figure fit into such overpowering constructions without being reduced to mere decoration?’ Eitels ‘Untitled (Transit),’ (2009) that was not included in the Biennial almost works that complexity and history; works that subtle social memory – and is almost alike to Michael Borreman’s piece ‘Automat (I),’ (2008)- though this could be due to a more subtle composition and similar painterly palette.
What slated painting – was the John Moores painting prize 2010 exhibited at the Walker Art Gallery. It was ruthless, and lost in its exclusivity. Nic Fox was one of the prizewinners of the show, his piece ‘Metatopia,’ (2009) Acrylic and ink on panel showed a William Blake feel to it – awkward but atmospheric.
Jim Caroll’s (1980) ‘It’s too Late’ lyrical reputation comes to mind- is it “too late?”
‘but it ain’t no contribution
to go and rely on an institution
to validate your chosen art ‘
Csaba Kis Roka evokes a play on the history and staging of image; the sexual implications are obvious, rabid, versatile…. definitely rich palette but this is almost due to the obliqueness by lighting in the show. There is no doubt about thinking of Goya, but also weirdo artists like Mark Ryden– specifically his ‘Blood’ show in 2003 with pieces as ‘Wound’ (2003), Oil on Panel. His ‘Heroes’ 2010, Oil on canvas resembles pieces such as Goyas ‘The Spell’ (1797-98), oil on canvas and ‘Flying Witches’ (1797-98). What’s all right about the show is that they’ve got some good manipulation of skill and it’s the subject matter that was a bit naff – for once. There is also a reminiscent aspect of Dutch Renaissance portraiture, as Jan van Scorel- going on in Markus Schinwald’s pieces.
Matthew Collings (2010) -‘Chris Ofili and Beauty’ superimposes this idea that contemporary shows, contemporary art is still going through transformation, still hanging in there but stuck, dull, lost.
”…When I point it out in this way, I’m considered by insiders to be either faltering or conservative; the statement is considered either baffling or outrageously exclusive (callously leaving out ordinary people). But actually it’s not a vote for the return of elitism but a straightforward description of the problem of a nonvisual art culture and why we have it. Skills of looking and making — the making skills responding to the looking skills — build up over time, and they constitute a set of traditions. Contemporary art often ignores the skills and the traditions and answers to a new audience that isn’t aware of either of them.
….How does art continue and not just become something that is worth less than movies and ads and all the things it’s supposed to be worth more than?”
Susanne Altmann article on Tim Eitel (2003)
Lorenzo Fusi, on ‘The Human Stain’ Liverpool Biennial (2010)
Mark Ryden
A Co-operative Project of Frankfurter Kunstverein and Siemens Arts Program
Modern Painters April (2010)
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Sam Meech and Katie Mason were exhibiting when I was doing some invigilating for the cooperative.
Sam had some really interesting archive/footage he had collected when he was in residency at the North West film archive in Manchester – some personal footage of family home videos from the 1960’s, some footage of messages sent back to families from soldiers in the second world war and of his own interaction with his grandmother.
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