Art Review - March Issue - (Page 36)
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MUSIC, ARCHITECTURE, FILM, SHOPPING, NEWS AND THINGS TO MAKE AND DO…
ART, MUSIC, ARCHITECT OR THE LOVE: TONY JUST Artists have been drawn to
all kinds of qualities in graffiti – from its anonymity and suggestions
of chance expression, to its mood of unrefined thought and tough
directness. But one doesn’t usually find it appreciated for sensuality,
lyricism or melancholy. That’s certainly the feeling one gets from Tony
Just’s pictures. In recent years his pastels have captured pink hearts
bobbing along a wall of black signatures in Paris, with warm fleshy hues
and consoling roundness. His source images aren’t always so touching -
one motif borrowed from a wall in Berlin simply spells ‘TOMB’ – but
they have gained a soft, rich warmth from being rendered in pastel. His
new show at Gavin Brown’s Enterprise in New York this month brings new
qualities to the fore, as Just has returned to working in oils, something
he hasn’t done for ten years. He’ll be showing these larger works
alongside smaller pastels, and he also plans to exhibit some aluminium and
collaged cardboard sculptures based on large-scale outdoor works by Picasso
and Keith Haring. And maybe his mood has changed as well, as in some
measure his new pictures also reflect the rise of the anti-war movement.
“It’s part of the art because it’s part of the world around me,”
he says, and it’s something that his work glimpses obliquely in
everything from fliers for protest marches to images in the newspaper.
Tony Just’s last solo exhibition was back in 2004, but since then he has
been included in a series of good group shows, from Greater New York, at
P.S.1 in 2005, to shows at Paul Kasmin and Nicole Klagsbrun. This new
outing could launch him on to greater things. Morgan Falconer TONY JUST,
TO 27 MARCH, GAVIN BROWN’S ENTERPRISE, NEW YORK, WWW.GAVINBROWN.BIZ
Delvoye’s pigs in China, 2005. © Delvoye Studio. Courtesy Galerie
Emmanuel Perrotin, Paris UNDER THE SKIN: WIM DELVOYE Wim Delvoye’s work
has long explored the dichotomies separating sacred from profane, soul
from body, and art from base material. Channelling the idea of the artist
as alchemist, in 2000 Delvoye created a machine, called Cloaca, capable of
turning food into excrement and, eventually, into a work of art. Picking up
where Piero Manzoni he of the hermetically sealed cans of excrement left
off, Delvoye made a business out of selling bonds for vacuum-packed cans
of artificially produced waste. For his upcoming show at Emmanuel Perrotin
gallery in Paris, the artist will unveil a model of a Gothic-style church
that he is currently building in Belgium. Xray scans of human bodies
replace the traditional stained glass windows, holding medical negatives
up to the light in an attempt to locate the soul within the body. Also
included in the exhibition will be a signature tattooed pigskin from
Delvoye’s pig farm outside Beijing. Like the X-rays, Delvoye’s skins
suggest an absence, of an animal body filled not by a soul but with what
it consumes and, inevitably, what it excretes. Laura Allsop WIM DELVOYE, 3
MARCH – 7 APRIL, GALERIE EMMANUEL PERROTIN, PARIS WWW.GALERIEPERROTIN.COM
ARTREVIEW F p 31-40 Dispatches AR Mar07.indd36 36 21st Century, 2006,
pastel on paper, 41 x 32 cm. Courtesy Gavin Brown’s Enterprise, New York
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Table of Contents for the Digital Edition of Art Review - March Issue
Manifesto
Dispatches
Consumed
Tales from the City
David Lynch
Marcel Dzama
Future Greats
Art Pilgrimage: Moscow
Mixed Media: Moving Images
Mixed Media: Photography
Mixed Media: Digital
Reviews
Book Reviews
On the Town
On the Record
Art Review - March Issue
https://www.nxtbookmedia.com