“Be childish. Be irresponsible. Be disrespectful. Be everything this society hates.”
If you want to see the soul of the country – even it’s a broken one – go to watch the film This is England, read Martin Parr’s photo book, and see the new exhibition ‘This is England‘ in the newly opened Aubin Gallery on Redchurch Street in Shoreditch.
Here the artist is the mirror of the society, to reveal the soul and conceal the artist becomes the art’s aim. The work itself, either in the form of painting, sculpture, video, performance, photography or interactive works, becomes ‘the picture of Dorian Gray’. You thought you have seen everything that is wonderful and fascinating in life in England, but you have not. You have to come to see ‘the picture’.
Why do you appreciate art?
A late style may dazzle us with its beauty, amaze us with its scale, impress us with its craftsmanship, charm us with its wit, or stun us with its excess and opulence. It always trumpets the spirit of its age—and is often highly valued by many critics in its own day.
But in order clearly to see what is in front of our eyes, we must acknowledge that much of the last decade’s most famous work has been unimaginative, repetitious, formulaic, cynical, mercenary. Why wait for furutre generations to dismiss this art of celebrity, grandiosity and big money?
– Ben Lewis, Prospect Magazine
Too much will go into the dustbin of art history, but what if the original creation is a ‘dustbin’? I’m amused by the Japanese artist Kimiyo Mishima’s work of “Dustbin”, collage ceramic works using newspapers and magazines. For once I do appreciate a ‘dustbin’.
26 – 30 May, 2010
Hong Kong International Art Fair
KEE Club Hong Kong
Past Present Future is a multi-screen video installation created by artist Rosey Chan in collaboration with the UK artist/filmmaker Mike Figgis. The work explores the ephemeral themes of time and memory in the context of shifting and evolving identities.
After experiencing too much vanity in the art fair in a week, it’s good to be back and read Jonathan Jones’ post on ART
The era of shock and sensation is giving way to something more considered and – gulp – mature. Not a moment too soon, either.
Hirst, as artist, curator and in his prime a cod philosopher of almost Warholian dumb articulacy, was the true author of British art’s fame in the 1990s. The innumerable artists who swam in his wake and shared his success were minnows by comparison. Now the great white shark himself has turned out to be such a little fish after all, what does that make his contemporaries? Plankton.
– Jonathan Jones