November 22, 2014

Samiro Yunoki, MNAAG, Musée Guimet, Paris : La danse des formes. Textiles de Samiro Yunoki

La danse des formes. Textiles de Samiro Yunoki 
MNAAG, Musée Guimet, Paris
Jusqu'au 12 janvier 2015

Cette exposition marque l’entrée dans les collections de 71 œuvres, essentiellement textiles, données au musée national des arts asiatiques - Guimet par Samiro Yunoki, artiste japonais né en 1922 à Tokyo.

Issu d’une famille d’artistes, Samiro Yunoki s’oriente vers des études d’histoire, d’art et d’esthétique au sein de l’université de Tokyo et s’intéresse après la Seconde Guerre mondiale au travail du textile et des techniques artisanales, en suivant les enseignements de Keisuke Serizawa, grand artiste japonais (1895-1984) dont il fut l’élève.

La diversité des pièces de la donation reflète la variété de son œuvre qui allie savoir ancestral et vision moderne, tant dans les techniques et matériaux employés que dans les motifs décoratifs eux-mêmes. Eclatantes de modernité, ces œuvres attestent d’une parfaite maitrise de la technique japonaise de la teinture au pochoir, technique du katazome, littéralement « teinture à partir d’une forme ».

L’artiste se distingue également par l’emploi de couleurs vives, en parfaite harmonie avec la texture du tissu ainsi que par des motifs imaginaires abstraits mais si évocateurs qu’ils en deviennent presque figuratifs. Une extrême clarté des formes et un remarquable sens du mouvement donnent un caractère singulier à l’œuvre de Samiro Yunoki qui, outre les textiles, s’exprime sur des supports très diversifiés tels que peinture sur verre, collages, sculptures ou livres illustrés pour enfants.

En marge d’œuvres imprégnées par le Japon traditionnel, une grande partie de son travail est très ouvertement influencée par l’Occident et notamment Matisse. Yunoki ne considère pas ses textiles comme de simples décors en aplats mais comme des objets d’art tridimensionnels et dynamiques qui se déploient dans l’espace.

Autour de l’exposition, tarifs, informations pratiques et horaires :

Présidente de l’établissement : Sophie Makariou
Commissaire : Aurélie Samuel, chargée de la section textiles au MNAAG

Samiro Yunoki. La danse des formes 
Catalogue de l'exposition
Coédition musée national des arts asiatiques – Guimet / Réunion des musées nationaux – Grand Palais, 2014
Auteurs : Samiro Yunoki ; Aurélie Samuel ; Kévin Kennel, assistant section Textiles au MNAAG.
Broché, 48 pages, 40 illustrations - Prix : 10 euros 

November 16, 2014

Ann Edholm at Galerie Nordenhake, Berlin - Trotz

Ann Edholm: Trotz
Galerie Nordenhake, Berlin
November 15, 2014 - January 10, 2015

Galerie Nordenhake presents new and recent works by Ann Edholm from her latest body of work titled Trotz (In Spite of All). With an elaborate network of cultural, religious and symbolic references Ann Edholm meticulously merges classical painting with elemental geometric shapes and slight painterly gestures. The size of the canvases and the relationship between form, scale and colour in the compositions subtly define the meeting between viewer and painting.

Working in extended series Ann Edholm often stages large, occasionally even monumental, paintings that straddle both geometric abstraction and subtle expressionism. The latter reveals itself in barely perceptible details, such as small fingerprints or smear marks made by the brush or, more often, the palette knife, thus destabilising the seemingly solid compositional patterns of basic geometric shapes, simultaneously reminiscent of, for instance, the Russian Suprematist Kazimir Malevich and the American Abstract Expressionist Barnett Newman. Her latest paintings from Trotz connect to these sources as well as they point to profound layers of Expressionism in her oeuvre.

Looking at the “Trotz”-paintings art historian Tom Sandqvist emphasises the painter’s specific and decidedly non-abstract approach: „Ann Edholm has again and again fought against the conception of being an abstract painter. Now it’s obvious that her paintings are more than realistic, they are – indeed – painfully real confronting us with our own dark ugliness.”

The four large scale black and red paintings from the series Trotz entitled Oświęcim (2014) are based on the four famous photos taken inside Auschwitz–today’s Oświęcim–by prisoners in 1944, discussed by French philosopher and art historian Georges Didi-Huberman in his book Images malgré tout (2004). Of one and a half million surviving photos related to Nazi concentration camps, only four depict the actual process of mass killing perpetrated at the gas chambers. These images, taken clandestinely in spite of the ban of images by one of the Jewish prisoners forced to help carry out the atrocities, were made as a potent act of resistance. Ann Edholm’s paintings hereby also are an act of resistance, as they remind us not only of our own pain in realising who we really are, but also of our greatness when refusing to forget and why we make images in spite of all. Didi-Huberman’s relentless consideration of these harrowing scenes demonstrates how Holocaust testimony can shift from texts and imaginations to irrefutable images that attempt to speak the unspeakable. Indeed, Didi-Huberman puts the agenda already in his first sentence: ”In order to know, we must imagine for ourselves.”

ANN EDHOLM was born in Stockholm in 1953, and now lives and works in Nyköping, Sweden. Last year her site-specific commission for the ECOSOC Session Chamber at the United Nations headquarters in New York DIALOGOS was inaugurated. Ann Edholm has had solo exhibitions at Karlskrona Konsthall (2012), Millersgården (with Håkan Rehnberg) in Stockholm (2007), Göteborgs Konstmuseum (2003), and Uppsala Konstmuseum (2003) among others. In 2009 she participated in the Tirana Biennial, Albania. Her works have been exhibited in group exhibitions at abc - art Berlin Contemporary in Berlin (2011), Immanuel Kant State University in Kaliningrad (2006), IASPIS in Stockholm (1999), Rooseum in Malmö (1996 and 1992), Frankfurter Kunstverein in Frankfurt/Main (1995), Moderna Museet in Stockholm (1995 and 1991), and PS1 in New York (1988). In 2007 she was honoured with an award from the Landstinget Sörmlands artist fund and was awarded with the second price of the Carnegie Art Award 2012. She has been exhibiting with Galerie Nordenhake since 1994.

Lindenstrasse 34, 10969 Berlin

November 5, 2014

Ai Weiwei at La Virreina Image Centre, Barcelona

Ai Weiwei: On the Table
La Virreina Image Centre, Barcelona

5 November 2014 - 1 February 2015

On the Table. Ai Weiwei offers a comprehensive view of the artist's life and work through the display of a variety of artworks and materials, set up to match the scale of La Virreina Image Centre.

The exhibition aims to give an idea of the scope of Ai Weiwei's artistic career, from his beginnings in 1980s New York to his present-day status as the best-known and most influential Chinese artist in the world. Work by this media-savvy activist calling for greater freedom in China can now be found in leading contemporary art museums and collections worldwide.

Ai Weiwei makes use of a number of artistic practices, including photography and documentary film, sculpture, design and architecture, in operations that transcend formats and disciplines to create images that infiltrate and propagate through social networks and popular culture. In addition to several key pieces for appreciating this artist’s work, the show at La Virreina Image Centre also presents unseen work, new productions and installations by Ai Weiwei specially designed for this exhibition.

Curator: Rosa Pera


Ai Weiwei is well known for his longstanding confrontation with the Chinese communist government and for his large-scale installations in leading contemporary art museums and events worldwide. He works on a global scale with any format and medium that comes to hand—or simply invents new ones.

A staunch defender in the struggle for freedom, he has used his work as a potent mouthpiece for speaking out against the unseen repression and censorship as China opens up to capitalist markets. As an artist, he strives tirelessly to raise critical awareness in society.

On the Table. Ai Weiwei aims to give a comprehensive overview of his work by exploring some of his best-known pieces alongside previously unseen work. Ai Weiwei makes use of a wide range of techniques—including photography, architecture, video, sculpture, graphic design, installations, objects and music videos, among others—but central to all his work is the role of the image as a construction and vehicle for reality. He then uses this to explore the tensions between truth and lies, evidence and ambiguity, control and freedom, politics, art, power and society.

Ai Weiwei sees art as a device for striking up dialogues within various contexts, comparing and contrasting different traditions and visions, negotiating, dissecting, projecting and sharing: like a table on which we can lay out our credentials and show our cards, discovering what is underneath and, if necessary, turning the tables.

Rosa Pera

La Virreina Image Centre and La Fábrica have prepared a catalogue to accompany the exhibition On the Table. Ai Weiwei. It offers an insightful rereading of the artist’s work and runs to 180 pages, including over 240 pictures of 42 pieces. The idea, design, editing and sequence of images were all personally overseen by Ai Weiwei himself. The catalogue also includes an interview with the artist in his studio in Beijing by Llucià Homs, director of La Virreina Image Centre, and an essay by Rosa Pera, curator of the show, entitled Image and Power in Three Movements and a Device.

La Virreina Centre de la Imatge
Palau de la Virreina
La Rambla, 99. 08002 Barcelona