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Whitechapel gallery - Collection surreal science

10/26/2018

Whitechapel gallery
The Whitechapel gallery is wonderful firstly for the wide selection incredible whitechapel documents of art available for purchase. and for the numerous and varied exhibits it presents I really enjoyed the Elmgreen and Dragset Survey -this is how we bite our tongue In Which they make real and imagined memorial swimming pool in a surreal embodiment of shattered dreams.

Elmgreen and Dragset : Too Heavy ,2017

Collection surreal science: Loudon collection with Salvatore Arancio

in this small but vivid exhibit Visual Artist Salvatore Arancio responded to George Loudons exceptional collection of scientific objects
the Artist Arancio was asked to choose objects from Loudons collection and design display and respond to his selection with his own works. The Artist sets a scene lit with kaleidoscope of colour and sound Arancios exalts Loudons singular and exceptional and collection by responding intuitively to the objects chosen like the amazing crystal towers made as specimen of the rich mining industry of Russia, taxidermy oddities a incredible glass jellyfish and magical rendered illustrations of extinct creatures,plaster molds of human heads. Life like models of fungi, invertebrates a myriad of objects which capture the wonder of science and the natural world.with his own ceramic si-fi/past/present objects akin to Upritchards work in its fantastical interpretations. The artist highlights human fascination with understanding the natural world.
I love this merging and blurring of lines between artifact and artist I think this is a perfect example of how history museums can re-present collections to new audiences.

sumptuous botanical paper mache models from the Loudon collection which Arancio had lit with a projection of flowers opening,These made as life sciences teaching aids for students in German schools between 1866 and 1972.

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OCEANIA, the royal academy of the arts

10/25/2018

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Detail of Kiko Moana

OCEANIA

It began with an incredible sculptural textile work titled Kiko Moana conveying the oceanic divide. It felt like a tidal wave of water. I loved this work how this work hit me emotionally not just because of the towering blue appearance of a wave but because of the familiar material vernacular of the the tarpaulin, it seemed to suggest a sail/voyage and also the shelter or a make shift home. However the the woman of the Mata aho collective who made the work were envisioning what a taniwha may look like if it had to combat poor water quality. As activists for our oceans and environment Mata aho made Kiko(substance or body of flesh) Moana (sea), as a work designed to travel and to convey, Moana as taniwha, as a guardian, and as communicator with messages for learning. along side this significant work sits a wonderful collection of indigenous taniwha tales which can be found online at https://www.kikomoana.com/.

Oceania presented incredible collection carved living Atua and artefact which express of the true mastery of materials and techniques of the oceanic regions, rich with symbolism and narrative Oceania brings together around 200 exceptional works from public collections worldwide spanning over 500 years. I was Interested to see contemporary artworks alongside works with ritual and supernatural purpose. On reflection the Anglo Saxon exhibit of stone gold and precious metal objects as history convey material wealth, often been found buried down deep in the earth like bones. however these traded and stolen objects from oceanic cultural history seem to be alive, ethereal delicate associations are web like. Speaking of air, sea, of the ecosystem.Some of the intricate weaving and carvings must have taken many many months to complete affirming for me the ability of objects to hold power and convey narrative, further power was given to these objects over time in they way they were gifted or used in ceremonial activities.

Of interest to me was the evidence of a change in trade due to colonial rule perhaps this is integral to the creation of a souvenir trade in New Zealand, notably the trade of mokomoki initiated by Joseph banks...undertones sinister colonial beginnings. These ideas are explored in Lisa Reihanas meticulous panoramic video work which is is set against the scenic wallpaper from 1805 called Les Sauvages de la Mer Pacifique (or Savages of the Pacific) which depicts pacific peoples in fantastical landscape romanticized by pacific people in neoclassical poses and attire. Transit of Venus (infected) challenges this colonial gaze Reihana invited people of varying Oceania decent to enact scenes of encounter as 'authors of their own representation'.

The exhibition concluded with works that refer to memory and one of my favourite works John Pules huge 5 panel painting, All new Arrivals. This work places Polynesian Atua within the contemporary landscape and is concerned with the migration of people liking modern conflict and terrorist acts to past and ongoing effects of colonial conflict. I found to work to be really moving.

It is interesting that the contemporary pieces that resonated with me were from New Zealand perhaps it is because they all posses scale a vastness that perhaps I was missing? the familiar horizon of home? I feel incredibly lucky to have experienced these works in such a new and powerful context.

papua new guinean crocodile

Detail of John Pule's painting, All new arrivals

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Te Ao Huri Huri

10/24/2018

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Te Ao huri huri was a dynamic and unusually lively show considering it was held in a Crypt which is still the final resting place to 557 people. Although there were parts of the crypt that were extremely eerie After some ceremony and blessings and time spent together there as a group I found a real sense of ease. The venues history provided the perfect backdrop to our contemporary work. The public responded with enthusiasm and wonder. The crypt actually made great spot for a party too!
Handshake 3 operates with a high level of professionalism and communication which made for really impressive fund-raising Interesting and challenging thinking which resulted in an excellent and well hung show. For me personally working with the more experienced Handshake 3 group has not only had the positive effect of extending my sense of community and belonging but has extended the boundaries of the mentor ship giving me the opportunity to learn from a incredible group of knowledgeable Artists.
The Dialogue Collective works with a high level of involvement and organisation taking on tasks without reservation, Perhaps this is borne out of a kind of underground ethos the group holds, for instance collectively the DC put very little emphasis on selling there own exhibition works instead what the DC aims to create are experiences for the audience and wider community of a deeper conversation about what jewellery can mean. Could it be this is a reaction against the constraints and competition of living in a mega city such as London? Or perhaps it is because the European culture seems somehow more engaged and accepting of contemporary jewellery and so the DC seek to stretch the boundaries further?.
Being a part of this multicultural collaboration has provided me with diverse experiences and exposure to a different way of seeing the world. The involvement in planning, fund-raising and co-ordination stages to exhibition display, networking not to mention multiple professional development opportunities such as group gallery visits and new connections made have been invaluable. These experiences will nourish my practice for years to come
learn more and see images from the exhibition here

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British Library

10/24/2018

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Anglo-Saxon kingdoms Art,Word,War
this exhibit was incredible conveying history of through objects art and earliest evidence of the English language dating back to the 5th century and the development of kingdoms laws and religious conversion. Of most interest to me where the bent and broken gold objects from incredible finds like the Sutton Hoo and the Staffordshire and the Binham hoards, interesting to learn that it been identified that specific hoards have been buried deliberately to perform ritual purposes. I like that these differing objects are connected in some unknown mystical way. And can relate this as a quality within my own exhibition work over the last 2 years.
I love that these object with have been buried for centuries and even when fragmented and crushed can convey such intense opulence and craftsmanship. Throughout the exhibit there where objects which showed advancement of techniques like engraving and filagree , stone setting and enamelling and also the advancement of technology I loved this portable sundial especially.I was particulary taken with the way they displayed coins as if floating in mid air using with a simple finre wire bracket

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London

10/21/2018

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On the 20th of October I arrived in London participate I a collaborative show with the Handshake 3 team and the Dialogue collective, At the Saint Pancras Crypt after which I embarked on a 9 day intensive self directed professional development tour of Amsterdam Paris and Munich

I have chosen to write a report to elaborate on particular experiences amd exhibition visits which have contributed to the multiple aims of this travel:

conduct research toward a new work body of work relating to materiality, the vernacular and souvenir jewellery to exhibit in 201
Gain Professional development towards the jewel and the jeweller contemporary jewellery workshop and studio and my role as co-educator and facilitator of community initiatives
Extend Ideas around display and exhibition design
visit and talk with makers, educators, gallerist and curators
develop new ways of thinking about jewellery in both historical and contemporary contexts
and thereby gain a broader understanding of the underpinnings of my craft.

British Museum

I am Ashurbanipal king of the world,king of Assyria This guys reign from the city of Nineveh (now in northern Iraq) marked the high point of the Assyrian empire and the collection was made up of About 200 objects including enormous stone sculptures, rare wall paintings, gold and ivory furniture fittings and extravagant metalwork my pick were the incredibly detailed walls of relief carving depicted a rich narrative from an ancient and almost forgotten culture. Sadly the archaeological sites these objects are from have since been attacked and destroyed by the Islamic state. This was the first exhibition I had seen and realised I would have to pick up the pace if I was to get around this immense Museum. Of interest to me were the crazy souvenir shops , offering countless iterations of pens, magnets, tea towels and so on.. a compulsive a mirroring of the museums massive hoard of artefacts and evidence of our societies deep obsession with commodity in the form of souvenir

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Whitechapel gallery - Collection surreal science

OCEANIA, the royal academy of the arts

Te Ao Huri Huri

British Library

London

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