Curated byZiggy Hulot from the ZH Agency, Julien Cottret and l’Envers , Generations Boum Boum is celebrating until 4th June the underground techno culture with a wealth of events in Bordeaux (FR) from concerts , documentaries, workshops and exhibitions. From electronic music including electro, breakbeat, trance, techno to visual installations, the Generations Boum Boum retraces the artistic movement across generations since the 90s.
At Laboratoire BX, leading multidisciplinary artist from the underground techno scene <++ (covered) is presenting a multi sensorial exhibition called ‘FUTURE IZ PAST’, featuring an installation with kinetic machines and black and white rotoreliefs as well as original visual display sets .
Originating from Marcel Duchamps, the name ‘rotoreliefs’ refers to optical illusions which appear as three-dimensional forms when displayed on a rotating surface such as a phonograph turntable. Once in motion they display a pulsating “relief” that oscillates between positive and negative space. Playing with black and white, light and dark, the visual intensity and emotion is increased by the flashing lights of the stroboscope and the viewer is no longer in control, but immersed by the experience.
A series of flyers with original visuals by <++ from the various free parties from the 90’s to date are scattered across the floor, reminiscent of a joyous and festive era. Videos taken during these techno parties enable the viewers to discover or revive the atmosphere of that period while performance artist 1KA also played live during the opening.
View the full set of pics here and the full programmation
of Generation Boum Boum.
<++ FUTURE IZ PAST Until 21 May 2016 Laboratoire BX 4 bis Rue Buhan 33000 Bordeaux (FR)
Icelandic conceptual artist and abstract painter Katrin Fridriks returns to Lazarides Rathbone in London for a new solo exhibition entitled ‘Macrocosm‘.
Alongside the 2014 installation Perception of the Stendhal Syndrome – Gene&Ethics Master Prism with a giant magnifying glass, the exhibition features a whole new body of works, with canvasses bursting with vibrant and swirling energetic coloured shapes of splashing paint.
The role of the magnifying glass is to enhance the intensity of the experience of being overwhelmed by the artwork, evoking a phenomenon that is called “beauty nausea”.
The two dichotomies contained within the gallery space represent the elusive philosophical idea of macrocosm with one canvas being a micro particle of the other. ‘Macrocosm’, originating from Ancient Greek philosophy, refers to everything that exists, an infinite, complex structure that can be regarded as a universe, or the cosmos. The microcosm, however, is just a small representative part of it. Since the time of Plato, human imagination has been drawn to an idea of an analogy between the macro and the microcosm. Thus ‘as above, so below’ was a leading motto in the doctrine of ‘correspondences’ between the two dimensions.
The spatial arrangement of this show invites viewers to participate, to adopt various viewpoints, and to discover new perspectives and hidden depths within the paint through the magnifying glass.
Sotheby’s Contemporary art gallery in London. S|2, is currently showing an exhibition of new works by Charming Baker (covered) entitled ‘Sweet Nothing’, featuring canvasses and a series of studies on paper, and large scale drawings.
Known to purposefully damage his work by drilling, cutting and even shooting it, Baker intentionally puts into question the preciousness of art and the definition of its beauty, adding to the emotive charge of the work he produces.
Working towards his new exhibition Sweet Nothing, Charming Baker hasdescribed his overriding influences as “…Schrödinger’s cat, Pavlov’s dog, bitter nostalgia, sex, joy, folly, loss, Don Quixote, tended gardens, gypsum foundations, concrete ideals, loose morals, nature, nurture, sweet nothing…”
Earlier this year when Angoulême, one of the world’s biggest comic-book festivals, failed to include a single woman on its 30-strong Grand Prix shortlist, it created a widespread of fury and several prominent artists and campaigners threatened to boycott it.
Women have always been present throughout the evolution of the comics medium and produced some of its defining works, but their contribution has been often overlooked. Debunking the myth that there are very few female creators in the industry, Olivia Ahmad has been working together with journalist and comics enthusiast Paul Gravett to curate a new exhibition called Comix Creatrix: 100 Women Making Comics at the House of Illustration in London.
Featuring original comic artworks, graphic novels, comics and zines from 100 pioneered female comic artists from 18th-century caricature to today’s graphic novels, it is the UK’s largest ever exhibition ever displayed, working across genres and generations, from observational comedy to surreal fantasy, challenging biography to subversive dissent.
Mary Darly’s 1775 portrait, Corporal Perpendicular, is the earliest work in the exhibition. She was among the first professional caricaturists in England. When working in the 1920s and 30s British cartoonist Anne Harriet Fish signed her work with the gender ambiguous ‘Fish’ to avoid discrimination, drawing cartoons satirising the ‘flapper’ lifestyle for the Tatler, American Vogue, Vanity Fair.
Other highlights include work from Jackie Ormes, the first African-American woman to create a syndicated comic strip in Torchy in Heartbeats (1954), as well as Miriam Katin’s We Are On Our Own, a moving account of her escape from the Nazi invasion of Budapest. No subject is taboo, art of protest or with hard hitting social themes also feature prominently at Comix Creatix: Una addresses the ocean of unreported sexual assault in Becoming / Unbecoming. Nina Bunjevac’s Fatherland traces the life of her father Peter, a Serbian nationalist who was killed in an explosion while preparing a bomb intended for supporters of Yugoslavian President Tito.
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Images courtesy of the House of Illustration
The 100 artists are: Aline Kominsky-Crumb, Alison Bechdel, Alison Sampson, Angie Hofmeister, Angie Mills, Anke Feuchtenberger, Anne Harriet Fish, Annie Goetzinger, Art is a Lie, Asia Alfasi, Audrey Niffenegger, Aurélie William-Levaux, Aya Morton, Barbara ‘Willie’ Mendes, Barbara Yelin, Blackjack, Brigid Deacon, Carla Speed McNeil, Carol Swain, Cat O’Neil, Catherine Anyango, Chantal Montellier, Charlotte Salomon, Chie Kutsuwada, Claire Bretecher, Claudia Davila, Corinne Pearlman, Dale Messick, Denny Derbyshire, Donya Todd, Eleni Kalorkoti, Ellen Lindner, Emma Vieceli, Evelyn Flinders, Fay Dalton, Florence Cestac , Francesca Ghermandi, Hannah Berry, Hwei Lim, Isabel Greenberg, Jackie Ormes, Jacky Fleming, Joana Estrela, Josceline Fenton, Julie Doucet, Karrie Fransman, Kate Beaton, Kate Brown, Kate Charlesworth, Kate Evans, Katie Green, Kaveri Gopalakrishnan, Kripa Joshi, Laura Callaghan, Laura Howell, Leela Corman, Leila Abdul Razzaq, Lily Renee, Lizz Lunney, Lorna Miller, Lynda Barry, Lynn Paula Russell, Manjula Padmanabhan, Marcia Snyder, Maria Stoian, Marie Duval, Marion Fayolle, Mary Darly, Maya Wilson, Miriam Katin, Nadine Redlich, Naniiebim, Nell Brinkley, Nicola Lane, Nicola Streeten, Nina Bunjevac, Pat Tourett, Patrice Aggs, Philippa Rice, Posy Simmonds, Rachael Ball, Rachael House, Ramona Fradon, Reina Bull, Reshu Singh, Roz Chast, Rutu Modan, Sarah Lightman, Shirley Bellwood, Simone Lia, Sophie Standing, Suzy Varty, Tarpe Mills, Tijuana Bibles by Horizontal Press, Tillie Walden, Tove Jansson, Trina Robbins, Tula Lotay, and Una.
So do not miss this fantastic exhibition as it is running until 15 May.
Until 15 May 2016 House of Illustration 2 Granary Square King’s Cross London N1C 4BH
Swiss painter Andy Denzler is having his first London solo show at Opera Gallery. Featuring a series oil canvasses and bronze sculptures, the exhibition “Between Here and There” explores the romantic idea of young urban creatives’ existence in the inner city life: a creative mind surrounded by the decay of buildings a search for identity within the fast paced world.
The artist weaves nostalgic photorealism with gestural expression in his style of painting. Through the use of intricate and detailed images, staggered by recurrent flowing horizontal sweeps of the brush, Denzler’s works resemble at once a still from a paused film and a fuzzy dreamlike memory.
Bronze sculptures represent life size urban individuals holding their cellphones or taking a selfie. With the decayed texture, they look suspended in time during their everyday actions.
Andy Denzler – Between Here and There
Until 20 May 2016
Opera Gallery London
New Bond St. London
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