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H ISSUE
Out now
I is for INFLUENCE MACHINE.
Tony Oursler presents his ghostly installations outside the Tate Modern on Friday 15-19th February, 18:00 - 22:00.
Oursler, renowned for his imaginative use of projection and performance creates this major video installation creating outer-world environments. Not to be missed.
Playing on both the technological and supernatural meanings of the word ‘medium’, The Influence Machine is conceived as a kind of ‘psyco-landscape’ in the spirit of late eighteenth-century phantasmagorias. It examines the machines that have been created as tools of communication, from the radio to the telephone, the television and now the internet, and explores this history of disembodied voices and fleeting images.
The work consists of monologues performed by several ethereal figures which will be projected onto trees, walls and clouds of smoke around Tate Modern’s riverside landscape. A haunting soundtrack, played on a glass harmonica, was composed by musican and expanded cinema pioneer Tony Conrad in collaboration with Oursler. These elements combine to create a fractured multimedia world of spectres, sounds and light.
On Saturday 16 February, Tate Film will also present a programme of screenings of Oursler’s single-channel videos in the Starr Auditorium.
Thursday night saw the official launch of Portobello Road’s latest gem. Chic Freak is the brainchild of Tamarisk East-Rigby who’s background in make-Up, theatre and fashion combines artistically to produce a concept store set for success.
Like being thrown into a giant dressing up box, visitors of Chic Freak will be presented with shark shaped handbags, metallic lycra jumpsuits, plastic-coated lace mackintoshes, fuchsia evening dresses…get the picture. A treasure trove of fashion, that undoubtedly has an editorial/directional flare. Tamarisk explains how Chic Freak is much more than a clothes shop. Clothing will be able to be used for editorial shoots, customers can enjoy having their nails and make-up done in the studio space at the back of the store and come summer time it is intended to have coffee available al fresco allowing visitors to soak in the surrounding Portobello charm.
With champagne and sushi in abundance Chic Freak was filled with people who spilled out onto the street taking in the vintage jazz sounds of The Dixie Ticklers band.
Singer songwriter Viktoria Modesta agreed. “The range is great I have worked with many of the designers [available at Chic Freak] and it is just what this area of London need.”
When asked to described Chic Freak, launch attendees responded with “niche”, “selective” and “God love the bags!”
See for yourself.
Cristo Johns
W is for Warhol
This is a Self-Portrait in Drag, 1981, by Andy Warhol
Courtesy of Collection of The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc
See Glamour, Glory & Gold (1967) inspired by Warhol in our current ISSUE G,
by Photographer Rory van Millingen
http://www.twenty-6.co.uk/issue-g/beauty/glamour-glory-gold-1967
TWENTY6 Magazine
E is for EVERYTHING WAS MOVING.
The Barbican Centre presents the exhibition, Everything Was Moving: Photography from the 60s and 70s, exhibiting some of the most inspiring voices in 20thcentury photography, in order to reflect on the world then – and now.
This major photography exhibition surveys the medium from an international perspective, and includes renowned photographers from across the globe, all working during two of the most memorable decades of the 20th century.Everything Was Moving: Photography from the 60s and 70sbrings together over 400 works, some rarely seen, others recently discovered and many shown in the UK for the first time.
It features 12 key figures including Bruce Davidson, William Eggleston, David Goldblatt, Graciela Iturbide, Boris Mikhailov,Sigmar Polke, Malick Sidibé, Shomei Tomatsu, and Li Zhensheng as well as important innovators whose lives were cut tragically short such as Ernest Cole, Raghubir Singh andLarry Burrows.
The world changed dramatically in the 1960s and 1970s. From the Cultural Revolution to the Cold War; from America’s colonialist misadventure in Vietnam to the indelible values of the civil rights movement; this was the defining period of the modern age. It also coincided with a golden age in photography: the moment when the medium flowered as a modern art form.
Exhibition runs at the Barbican Art Gallery until the 13th Jan 2013.
TWENTY6 Magazine
C is for Costumes
Hollywood Costume at the Victoria and Albert Museum, London
Sponsored by Harry Winston
“I don’t dress movie stars. I dress actors who are playing characters.”
Ann Roth, Academy Award-winning costume designer
Hollywood Costume explored the central role of costume design as an essential tool of cinema storytelling. It portrayed the costume designer’s creative process from script to screen and revealed the invention of authentic people within the story. The exhibition sourced, identified and secured objects from all across the world over the course of five years. The collectors who have loaned to the exhibition range from major motion picture studios, costume houses, public museums and archives and private individuals.
Hollywood costume, the V&A’s major autumn exhibition, was truly amazing, incredibly interesting and far surpassed my expectations. For the first time, classic costumes such as Dorothy’s blue and white gingham pinafore dress designed by Adrian for The Wizard of Oz (1939) the ‘little black dress’ designed by Hubert De Givenchy for Holly Golightly in Breakfast at Tiffany’s (1961), could be seen together in one place.
Hollywood costumes, takes you on a three gallery journey from Charlie Chaplin through the Golden Age of Hollywood to the cutting-edge design for ‘Avatar” (2009). It was amazing to see all the vintage costumes that we all know so well, as well as the state of the art costume design by Mayes C Rubeo and Deborah L Scott, for Avatar. This was a wonderful example of the changing social and technological context in which costume designers have worked with over the last century.
I was impressed that the exhibition was more than just viewing costume after costume. The curators had gone to meticulous detail to provide a strong narrative alongside, by putting the exhibition into three sections that told the story of costume design. Act One: Deconstruction, introduced the role of the costume designer in cinema. Act Two: Dialogue, examined the intimate creative collaboration among great filmmakers, actors, and costume designers. It used archival film footage as well as specially-commissioned interviews and explored four key director/designer pairings. The final section, Act Three: Finale presented the best known costumes in cinema history in a spectacle of Hollywood heroes and femme fatales. It was a truly interactive experience, with amazing 3D projections and famous film clips.
Deborah Nadoolman Landis, Hollywood costume designer and senior guest curator, said: “This landmark exhibition provides a once in a life-time opportunity to explore the most beloved characters in Hollywood history and gain insight on the role of the costume designer and their vital contribution to cinema storytelling.”
I would definitely recommend this exhibition to anyone, not just film and fashion enthusiasts. Whether you go on your own, or with your family you will have fantastic day. The only slight criticism was that it was rather busy when I attended which made it difficult to see some of the exhibits at times, so I would advise to avoid weekends.
For more information, visit www.vam.ac.uk/hollywoodcostume
• Hollywood Costume is curated by Hollywood costume designer and senior guest curator Deborah Nadoolman Landis, guest curator Sir Christopher Frayling and V&A assistant curator Keith Lodwick
• The exhibition has been designed by Casson Mann
• The Museum is open daily 10:00 – 17:45 and until 22:00 every Friday
The exhibition runs from 20 October 2012 – 27 January 2013
All Images courtesy of the Victoria and Albert Museum, London
by Lauren Fisher
B is for BARBICAN.
The Barbican houses one of the most talked about exhibitions in London currently: The Rain Room. This carefully choreographed downpour tests the bravery of many, as they enter the torrential rain in the Barbican’s Curve Gallery.
Known for their distinctive approach to digital-based contemporary art, Random International’’s experimental artworks come alive through audience interaction. Their largest and most ambitious installation yet, Rain Room is a 100 square metre field of falling water for visitors to walk through and experience how it might feel to control the rain. On entering The Curve the visitor hears the sound of water and feels moisture in the air before discovering the thousands of falling droplets that respond to their presence and movement.
Random International said: “Rain Room is the latest in a series of projects that specifically explore the behaviour of the viewer and viewers: pushing people outside their comfort zones, extracting their base auto-responses and playing with intuition. Observing how these unpredictable outcomes will manifest themselves, and the experimentation with this world of often barely perceptible behaviour and its simulation is our main driving force.”
The exhibition runs until the 3rd March 2013.
All images courtesy of Barbican Art Gallery.
B is for BIGGER SPLASH.
The Tate Modern’s exhibition:A Bigger Splash takes a new look at the dynamic relationship between performance and painting from 1950 to the present day. Taking its title from David Hockney’s iconic 1967 image of a Californian swimming pool and Jack Hazan’s film about Hockney’s life, it brings together a range of key works by over 40 artists including Yves Klein, Jackson Pollock and Cindy Sherman. Moving through half a century of painting, video and photography, alongside archival and documentary material, this major group exhibition shows how the key period of post-war performance art has challenged and energised the medium of painting for successive generations.
The show begins by exploring Hockney’s striking treatment of the splash in his major work A Bigger Splash 1967 against Jackson Pollock’s radical ‘action painting’ Summertime 1948, to examine the painted canvas as an arena in which performative gestures and experiments are acted out. It goes on to explore how paint has been used on the body as a surface, and how painting is now being used by contemporary artists to create social and theatrical spaces.
A Bigger Splash offers a unique chance to see how ‘action’ painters worked in the 1950s, 1960s and beyond, including Niki de Saint Phalle, Pinot Gallizio, the Japanese Gutai and Viennese Actionists. Rarely seen films and photographs reveal how their experimental works were made, showing artists using their feet as brushes, snipping up their canvases and shooting their paintings with air rifles.
Moving beyond ‘action painting’, the exhibition also shows how artists experimented with painting as a transitory form using drag or camouflage, often treating make-up as a vernacular equivalent of ‘fine art’. These explorations of role-play and illusion include videos, such as Bruce Nauman’s Flesh to White to Black to Flesh1968, photographs, such as Cindy Sherman’s self-portraits disguised as strange characters, and film stills, such as Jack Smith’s fantastically made-up cast of performers in his painted apartment.
As well as seeing paint as the trace of an action and as ‘masquerade’ on the body, A Bigger Splash explores how artists have played with the idea of the ‘stage set’. The exhibition showcases a number of recent large-scale installations, such as Karen Kilimnik’s dream-likeSwan Lake 1992 and Marc Camille Chaimowicz’stheatrical room “Jean Cocteau…” 2003-12. It reveals how attitudes developed through ‘performance art’ paved the way for contemporary artists such as IRWIN, Jutta Koether, Ei Arakawa and Lucy McKenzie to rethink painting. By examining this relationship between paint, the body and the gallery space, A Bigger Splash uncovers the underlying influence of action and performance after the 1950s upon artists working with painting today.
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