Masaaki yamada
Yüklə 4,6 Mb. Pdf görüntüsü
|
| MASAAKI YAMADA 山田正亮
WORK Masaaki Yamada (1930–2010) produced a series of ritualistic and meditative paintings he called Work
completed between 1949 and 1989. Vigo is proud to show an exceptional group of these works at Frieze Masters. In December, there will be a solo show at the National Gallery of Modern Art in Tokyo from where the exhibition will travel to the National Gallery of Modern Art in Kyoto.
In his Work series, Yamada was determined to produce paintings on a continuum, the whole being a work in progress where one painting followed another, repetitive, ritualistic and meditative. This practice resulted in an accumulation of works which give the unique impression of having occurred simultaneously.
The process is akin to that of the British craft potter in terms of a ritualistic daily practice where balance, modesty and a feeling of rightness prevails. This sustained, introverted approach within a closed world occupied only by the artist and his paintings, was not reflective of the changes going on socially and politically around him, and resulted in works produced solely in terms of their own internal logic.
The stripes in the paintings can be understood as metaphors for space. Kunio Motoe suggested we look at the stripe paintings as akin to the still lives of Morandi and consider them in terms of meditations on existence in order to understand them more clearly. Like Morandi’s paintings the same thing manifests itself, just in various forms and colour relationships. MASAAKI YAMADA 山田正亮 WORK
Work C. 225 1965 (detail) oil on canvas 45 × 38 cm / 173⁄4 × 15 in Work C. 225 1965 oil on canvas 45 × 38 cm / 173⁄4 × 15 in When visiting Japanese museums with the artist Oliver Marsden eight years ago I was introduced to Yamada’s work by my good friend Noriyoshi Horiuchi. I immediately bought a small grey and white 1965 painting from a modest and gentle dealer whose exhibition we visited. The following day I went to see the artist at his home, spending hours looking through paintings with him. He seemed calm, kind and patient.
These very rare stripe paintings include some I saw on my first visit, and have for the most part come directly from the artist’s collection. Others have been purchased over the years when great examples became available. We have worked closely with Yohei, Horiuchi’s son, who with his siblings recently opened Gallery 38 in Tokyo, starting with an exhibition of the wonderful ceramicist Eiji Uematsu.
This exhibition stems from Vigo’s interest in nurturing artists of historical importance who are relatively undervalued and due reappraisal. Yohei and I look forward to sharing these works with you. This is the first time Yamada is being shown in the UK. Toby Clarke October 2016 Work C. 48 1960 oil on canvas 72·8 × 50 cm / 285⁄8 × 193⁄4 in Work C. 203 1964 oil on canvas 80·3 × 60·1 cm / 315⁄8 × 241⁄8 in Work C. 445 1969 oil on canvas 80·3 × 60·1 cm / 315⁄8 × 241⁄8 in Work C. 126 1962–63 oil on canvas 80·3 × 53 cm / 315⁄8 × 207⁄8 in Work C. 170 1963 oil on canvas 91 × 65 cm / 357⁄8 × 255⁄8 in Work C. 178 1964 oil on canvas 100 × 73 cm / 393⁄8 × 283⁄4 in Work C. 196 1964 oil on canvas 100 × 73 cm / 393⁄8 × 283⁄4 in Work C. 186 1964 oil on canvas 91 × 65 cm / 357⁄8 × 255⁄8 in Work C. 352 1968 oil on canvas 100 × 73 cm / 393⁄8 × 283⁄4 in Work C. 282 1966 oil on canvas 65·2 × 80·3 cm / 255⁄8 × 315⁄8 in Work C.p 162 1963 oil on paper 79 × 54 cm / 311⁄8 × 211⁄4 in Work C.p 180 1963 oil on paper 90 × 60 cm / 353⁄8 × 235⁄8 in Work C.p 111 1961 oil on paper 43·5 × 29 cm / 171⁄8 × 113⁄8 in Work C.p 137 1962 oil on paper 58 × 37 cm / 227⁄8 × 145⁄8 in Work C.p 104 1961 oil on paper 79·5 × 54 cm / 311⁄4 × 211⁄4 in Work C.p 40 1960 oil on paper 61 × 50 cm / 241⁄8 × 193⁄4 in RESPECT I respect this artist’s work very much and to a great extent identify with its concerns. I like its light and wholeness, and the generating of complex intensity from simple means. The word spiritual is often used in relation to it. I think believably self-contained would do as well. However, how the physical, tangible properties of painting might be said to be spiritual is a fascinating subject, which I’m happy to explore in this essay. First I should say I’m glad Yamada, very well known for many decades in Japan, is now getting the attention he deserves in the UK, courtesy of Vigo. He wasn’t protected from the sight of modernism by any means. That’s clear. But although anyone informed about the history of art might see in all the phases of his work the influence of western abstract art, it’s all really his own thing. In his words, it’s a “self-generating” body of work. He regarded every painting he painted as part of a continuous whole. He was born in Tokyo, in 1930 and had just turned sixteen when he made his first painting, in the year of Japan’s defeat in the Second World War. He saw painting as a joyful activity contrasting with negation. Stylistically, he settled into landscape and still life formats, making pictures up out of his head. He began exhibiting professionally when he was nineteen. He always had some kind of audience but it wasn’t until the late 1970s that he became known throughout Japan because of museum exposure. In 1956 he embarked on a series called Work. He overlapped a few other experimental formats during the next forty years, but Work — which began with loose, abstracted deconstructions of his earlier still life formats — eventually became solely the stripe format, which he continued exploring into the late 1990s. The stripes emerged after the Work series was about three years underway. By the early 1960s, because of the stripes, he became somewhat famous in the then still small international art scene. It’s from that historic phase that the present marvellously calm and luminous display is selected. MASAAKI YAMADA UNBIND YOUR MIND MATTHEW COLLINGS Work C. 126 1962–63 (detail) oil on canvas 80·3 × 53 cm / 315⁄8 × 207⁄8 in
5,000 Yamada produced over 5,000 paintings before his death in 2010 at the age of 80. The titles are for convenience of storing and recording, they don’t tell us if passion is involved in the work or not, or if the endeavour of a lifetime is mathematical, scientific or theoretical, or roughly descriptive of sunsets. There is a letter followed by numbers, with the letter standing for a particular decade: for example, the 1950s are B and the 1960s C. Sometimes the striped format is large, with the vertical rectangle stretched right out, and sometimes smaller, the vertical becomes less dramatic — it’s simply enough of a vertical to be easily seen as such, so the horizontal stripes can be seen as opposite. The present show is all Cs. They are almost entirely from the early Sixties and are mostly verticals a metre in height or just under. The exceptions are a horizontal work from 1966 featuring a white-on-white square, and a 1969 stripe painting in blue. Some smaller works on paper are also included. They are about half a metre in height and feature stripes applied in very diluted watercolour: they hover with an awesome beauty. PULSE
Typically, the oil paint is physical, it has substance, there’s a deliberate turbulence to it: slight but insistent. A pulse animates the painted surface. It’s part of the shape of the stripes and also independent of them. This rhythmic pulse is created by pressure of the brush and we can tell it’s both deliberate and also unconscious. It contributes to an overall effect of light. Yamada’s organisation of contrasting colour- tones creates the light, certainly. But also this evenly distributed but not slick or streamlined pulse deepens the effect. UNIVERSE Our minds pulse, our brains pulse, our thoughts pulse, and our consciousness pulses — as does the universe. BRUSHING AND WOBBLING Preceding the stripe paintings within the Work series were paintings of simplified large shapes on their own in a space; or the whole space divided by painted lines whose placement reiterated the outer sides of the overall rectangle, as if the painting was echoing and reechoing itself. Then there were broken vertical bars. Every experiment had a delicate colour tension. And then finally colour was contained only in stripes. The typical characteristics of the stripes paintings include a vertical rectangle whose only marking is a brushy, horizontal coloured line that repeats up and down the entire area. The lines might be loose, liquid, often dripping, often bowed and curved, ending left and right at a slight distance from the sides of the paper or canvas, with the exact amount of empty space always slightly different. Plus, colours are organised tonally as well as by chroma. A rhythmic flicker is always there and is achieved by careful pacing out of similar contrasting elements, dark and light. A further typical characteristic is that colour isn’t pure but broken, and replete with small surprising bursts of activity: shadows, blips, drips and streaks. The reduced format constrains drama but also makes the whole painterly event intense. There is a visual kinship between Yamada’s confident abstraction that leads on and on, and the smoldering dimmed intensity of seemingly endless still life paintings by Morandi. Yamada’s stripes are loosely marked or else they are basically painted bands. (The latter approach comes in in the mid 1960s.) With the bands, it is no longer rhythmic, open brushing that creates the pulsing effect, but lines wobbling in a semi- controlled way. HISTORY OF PAINTING Yamada was never interested in fashion, and always avoided it. He had his own preoccupations. But these do, to some degree, as they’re manifested in his paintings, tell you about painting generally and its history. Our resources for even beginning to understand what we’re seeing, with Yamada, include a sense of the history of painting. How do we get it to lead to his stripes exactly? METAPHOR AND ANALOGY Old master paintings always stamp out an image somehow — it has to be comprehended in a single glance — and then there are mediations of every aspect of the image — the more slow- burning aesthetic matter. Broken lines in Titian; the shadows and clarities in Jacques-Louis David; and transitions and colour passages in Cézanne. Modernist abstraction transposed that stamped-out quality of pre-modern art into the realm of purity — pure form, pure gesture, pure colour and pure space. It’s the realm Yamada chose to occupy or was led by his instincts to do so. In the history of modernism these purities were not really divorced from the world but they did seem to be. It was natural to link them early on to spirit forms and thought forms, especially as these were middle class preoccupations of the day — the 1910s were the last period of the bourgeois fascination with Theosophy, a semi- religious movement that preached spiritual evolution. The pure shapes in pioneer abstract art were thought by the audience for art to be something like enlargements of diagrams in Theosophy books, but they were only superficially so. They aren’t flat, of course, like imagery on a printed page. They are very physical and embodied, and as tangible, in fact, as the richly worked surfaces of Impressionist paintings by Monet and Pissarro that were so much a part of the lead-up to early abstraction. Abstract art revealed visual interests artists had, beyond depiction. This painterly realm of shape and colour freed from old tasks, could, in fact, lead back to representation, but not directly, only via metaphor and analogy. Patterns, structures, a visual order — an arrangement — they convey reality but at a remove. LIGHT A pattern reduced to simple bars of light and dark communicates sensation. Patterns are present and doing the same sensual work, in a bark painting by an aboriginal artist in Australia and also in Raphael’s Transfiguration in the Vatican. Both tell us about flickering light. A painting of stripes by Yamada is also a painting of the operation of light, and how things in the world are revealed by it. COSMOS AND LUXURY A bark painting is inherently cosmic, and it’s always transcendent. By contrast, a Renaissance altarpiece fluctuates. Its spiritual meaning disappears and reappears. It tells the viewer of the fifteenth or sixteenth century about local contextual complicated power set-ups, and about luxury: it depicts luxury objects and is one itself. It is a portal to the heavenly realm but also propaganda for earthly powers. Modernists were fascinated by the purity of the bark painting, its compressed intensity, delighting in its stripping away of artifice (as they saw it). But modernist painting’s means, especially when it was purely abstract, were the separated left-over fragments of old representational art. Abstract painting was thought to be absolute painting, communicating truth via painting itself, leading to the spirit via the operations of absolute form. But there was a paradox to it, which was that spirit and the absolute, the higher and purer reality seeable only by those who are spiritually evolved, painter-philosophers, should be so richly sensual. SENSATION “There's something strange in the fact that the point of departure towards absolute painting lies in sensations,” writes Motoe Kuneo, researcher in chief at Tokyo’s National Museum of Art, in a thoughtful essay about Yamada’s relationship to early modernism. With Yamada, the sensation is different with every work but also the same. It is aroused by similar means. There is a robust but delicate surface and a
simple set of colours. Each of the colours is muted but also confidently physical and frank. There is a unifying format you can take in all at once but in whose slight irregularities and differences you soon find yourself getting beautifully lost. The format as a whole recalls light coming through leaves or shutters, light revealing an object, light distributed unevenly. WHAT DID HE SEE? How are his spiritual meanings his own? Yamada once asked himself what it was he saw when he began painting at sixteen. He contrasted real life desolation in 1945 with “the proper order of things” that painting a picture involves. In the ensuing years he made pictures from memory and only rarely experimented with live things: people or flowers, say. What did it mean to sketch glasses, bottles, dishes and cylindrical fruits such as peaches and lemons, and compose spaces and objects in hatched shading and a spidery line — or in diluted paint, drawing with a loaded brush — what were his choices based on? He wrote out his answer: an overwhelming reality, his senses had been full of it. “There was no landscape before me, nothing but still life. The situation was so real I could not grasp it conceptually.” The reality he spoke of was the condition of starvation, dialectically opposed by the typical counter-association that a still life painting tends to have, that of eating. By painting still life pictures in 1945 he was painting life continuing and not ending. A LINE GOING BACKWARDS AND COMING FORWARDS In a text written in 2005, entitled ‘Between one painting and another,’ Yamada reflected on the shadowy existence that lay before him: “The territory of the imagination will continue as something indefinite.” Once again, he thought about the original moment of painting sixty years earlier. “The perceptive responses that move across these two points in time flow ceaselessly from moment to moment, going back to the past in stages while making contact with the present at each stage and revealing the conditions of that time.” THERE IS NO TIME In the same text he said he got some old works out of storage and lined them against the bright walls of the studio. He got lost in their details. He described his sensation. “A sense of sinking to the bottom of some sort of bitter memory, and the operation of time seemed to stop temporarily.” He saw all previous experience “condensing,” and it was as if he was digging down in his feelings to an even deeper level: “led from my present position to a double vision that revealed the background of the painting.” He couldn’t resist reliving “post war conditions, which were always accompanied by a sense of emptiness.” HEGEL The early modernist abstract painters were impressed by the philosophy of Hegel, they imagined him contemplating the phenomenology of consciousness: pure spirit knowing itself through sense experience. ONE RHYTHMIC THING Yamada’s stripes connect to everything in existence but they come only from him. As if they could be his whole being embodied in a painterly rhythm. Rhythm: as a painter you appreciate it and see things in terms of it. Plus you have it and you make things according to it. In their quietness and tension it is as if these stripe paintings invite us to think of time transcended or, as we have seen, standing still. He painted in a certain way to begin with, in 1945, and then everything he did after felt like a clear development. In his memory, after so many decades in the studio, everything really was of a piece. Lines, forms, colours and formats, all connect. One work leads to another, and each paint stroke has a natural consequence: an answering stroke obeying an intuitive rhythm. DISCORPORATE By the early 1960s, the dominating period of this display, several years had past since Yamada’s stripes first entirely replaced depicted or semi-abstracted still life subjects. Work C. 203, (1964), in the display, has stripes of dirty blue, muted pale tangerine, greenish and whitish misty overlays. Work C. 170, (1963) has greenish tan stripes opposing vibrant ruby red ones, with dirty blue intervals overlaid with narrow bands of fleshy white. The palette relates to landscape, urban and rural, and all kinds of objects, animate and still, as if the paintings are about life even though they don’t picture it. “Life” is out there but it has to be perceived to be so; it is atoms and solid things but also sensations, a nervous system and a set of ruling ideas. The stripes conveying life, whether they have a ragged or wobbly contour, are nervous, active, pulsing and vulnerable. They communicate simultaneously worldly sensuality and discorporate being. Work C. 170 1963 (detail) oil on canvas 91 × 65 cm / 357⁄8 × 255⁄8 in 1929 Born in Tokyo 1949–53 Participates in Yomiuri Independent show, Tokyo Metropolitan Museum of Art 1950–56 Participates in Jiyu Bijutsu-ka Kyokai Association show, Tokyo Metropolitan Museum of Art 1958 One man show: Kyobunkan Gallery, Tokyo 1962 One man show: Yoseido Gallery, Tokyo 1963 One man show: Yoseido Gallery Participates in 4th École de Tokyo exhibition, Jewish Center Hall, Los Angeles 1964 Established a studio in Kamikitazawa, Tokyo One man show: Nantenshi Gallery, Tokyo 1965
One man show: Tsubaki Kindai Gallery, Tokyo The Meaning of Lyricism, Gallery Cristal, Tokyo 1966 One man show: Muramatsu Gallery, Tokyo 1967 Contemporaries, Gallery Cristal 1968 One man show: The Case of White, Gallery Cristal 1969
The 9th Contemporary Art Exhibition of Japan—Frontier of Contemporary Art, Tokyo Metropolitan Museum of Art 1970 Moved to a new studio in Yoyogiuehara, Tokyo Group show, Aoyama Gallery, Tokyo 1971
’71 Show, Tokyo Gallery Contemporary Artists, Kurai, Tokyo 1972 Modern Japanese Graphic Art, ICA, London; The National Museum of Art, Stockholm 1973 ’73 Show: Hisashi Indo, U-Fan Lee, Masaaki Yamada, Shirota Gallery, Tokyo Travelled to Germany and stayed in London; returned to Japan in the same year 1974
Contemporary Art Exhibition of Japan—Tradition and Today, Städtische Kunsthalle Düsseldorf Plan and Drawing, Gin Gallery, Tokyo 1975 Group show, Gendai Geijutsu Kenkyuhitsu, Tokyo 1977 Contemporary Art ’77, Gendai Geijutsu Kenkyuhitsu MASAAKI YAMADA
1978 One man show: Masaaki Yamada 1957–1978, Koh Gallery, Tokyo Contemporary Art ’78, Gendai Geijutsu Kenkyuhitsu 1979 The Non-Figurative World, Satani Gallery, Tokyo One man show: Painting of the Late 1960s, Satani Gallery Contemporary Art ’79, Gendai Geijutsu Kenkyuhitsu 1980
The Non-Figurative World, Satani Gallery, Tokyo One man show: New Works in Oil Pastel, Satani Gallery Artists Today, Yokohama Citizen Gallery, Yokohama Variations on Planar Painting, Fukuoka Art Museum, Fukuoka 1981
One man show: Paintings of the Early 1960s, Satani Gallery; Est-Ouest Galerie d’Art, Tokyo The 1960s—A Decade of Change in Contemporary Japanese Art, National Museum of Modern Art, Kyoto 1982
Moved to Kokubunji, Tokyo One man show: Paintings of the early 1960s, Kasahara Gallery, Osaka A Panorama of Contemporary Art in Japanese Painting, Museum of Modern Art, Toyama One man show: Masaaki Yamada 1950–1980, Satani Gallery 1983 Art Now—Frontiers of Contemporary Art, Isetan Museum of Art, Tokyo One man show: Masaaki Yamada 1983, Satani Gallery; Inoue Gallery, Tokyo A Century of Western Painting, an exhibition sponsored by Art Exchange Association of Japan, Matsuzakaya Department, Tokyo 1984 Expression in Watercolor, Kamakura Gallery, Tokyo Japanese Contemporary Paintings 1960–1980, Museum of Modern Art, Gunma Exchange of Contemporary Art, Tokyo-Paris, Galerie Deniese René, Paris 1970s Show, Kamakura Gallery One man show: Recent Watercolor Works, Satani Gallery 1985
Exchange of Contemporary Art, Tokyo-Paris, Yurakucho Asahi Gallery, Tokyo Spring Show, Satani Gallery One man show: Massaki Yamada—Late 1950s Paintings, Gallery Yonetsu, Tokyo Japanese Contemporary Paintings, Museum of Modern Art, New Delhi Abstract Painting in Japan, Inoue Gallery Masaaki Yamada 1976, Gallery Yonetsu Masaaki Yamada: Watercolors and Pastels, Kabutoya Gallery, Tokyo The Mid-60s: A Monochrome Age, Satani Gallery 1986
One man show: Late 1950s Paintings, Part II, Gallery Yonetsu One man show: Masaaki Yamada 1960–63, Inoue Gallery One man show: Massaki Yamada 1985–86, Satani Gallery The Message, Sogo Museum, Yokohama Black and White in Art Today, Museum of Modern Art, Saitama Contemporary Asian Art Show, The National Museum of Modern Art, Seoul One man show: Cross and Stripe 1964–67, Gallery Yonetsu 1987
Exhibition from Ahara, Seibu and Takanawa Museums’ Collections, Museum of Modern Art, Toyama 18th Exhibition of Japanese Contemporary Art—Aspects of Contemporary of Painting, Tokyo Metropolitan Museum of Art; Kyoto Municipal Museum of Art; Kitayushi Municipal Museum of Art; Miyagi Museum of Art 1987 The 19th São Paulo Biennial, São Paulo Painting 1977–1987, The National Museum of Art, Osaka One man show: Works on Paper 1960–87, Satani Gallery 1988
One man show: Exhibition of Contemporary Art, Berlin–Tokyo, Galerie Yonetsu; Gallery Yamaguchi, Osaka Movements in Contemporary Japanese Art: Painting Part 2, Toyama Museum of Modern Art 1989 One man show: Paintings of early 1970s, Satani Gallery Exhibition of Drawing Now, National Museum of Art, Osaka From Figurative to Abstract: Transformations and Comparisons, Laka Yamanaka Art Museum, Yamanashi Showa Art, National Museum of Modern Art, Tokyo 1990 Masaaki Yamada and Tadaaki Kuwuyama, Gallery Yamaguchi, Warehouse Gallery A Phase in 1960s Art, Gallery Veda, Tokyo One man show: Masaaki Yamada 1959, Inoue Gallery Drawing ’90, Kyo-ni Gallery, Tokyo One man show: New Oil Paintings 1989–1990, Satani Gallery One man show: New Pastel Painting, Gallery Saint-Guillaume, Tokyo One man show: Cross and Grid 1957–1990, Gallery Yonetsu Masaaki Yamada and Tadaaki Kuwuyama, Gallery Yamaguchi Minimal Art, National Museum of Art, Osaka Published Works: Yamada Masaaki, Bijyutsu Shuppan-sha Ltd., Tokyo 1991
Moved to Kunitachi, Tokyo One man show: Late 1970s Works, Satani Gallery 1992
One man show: Kagawa Gallery, Osaka One man show: Masaaki Yamada Works 1951–91, Satani Gallery (NICAF) One man show: Masaaki Yamada 1950s–1970s, Gallery Yamaguchi One man show: Masaaki Yamada 1951–1992, Kasahara Gallery 1993
One man show: Masaaki Yamada Recent Works, Satani Gallery 1994 One man show: Masaaki Yamada Still Life 1948–1955, Satani Gallery One man show: Masaaki Yamada Monochrome Works 1965–67, Benesse House, Naoshima Contemporary Art Museum, Kagawa 1995 One man show: Masaaki Yamada Recent Watercolors, Satani Gallery Painting—Singular Object, National Museum of Modern Art, Tokyo 1996 One man show: Masaaki Yamada Works 1995, Satani Gallery One man show: Watercolor, Muse A Muse, Tokyo 1997
One man show: Masaaki Yamada Works 1995, Gallery Art Point, Tokyo One man show: Masaaki Yamada Stripe Paintings from the 1960s, Satani Gallery One man show: Kasahara Gallery (TIaF ’97) 2000
One man show: Color Watercolor 1997–2000, Kasahara Gallery 2001 One man show: Color Oil Painting 1997–2000, Kasahara Gallery One man show: Grid Paintings from the 1970s, M.Art, Tokyo 2003
One man show: Masaaki Yamada 1966–67 For White, M.Art 2005 One man show: The Paintings of Masaaki Yamada from Still Life to Work to Color, Fuchu Art Museum, Tokyo PUBLIC COLLECTIONS The National Museum of Modern Art, Tokyo The Museum of Modern Art, Toyama Miyagi Museum of Modern Art, Sendai Museum of Modern Art, Shiga Museum of Modern Art, Saitama Kitakyushu Municipal Museum of Art Ohara Museum of Art, Kurashiki Takamatsu City Museum of Art The National Museum of Art, Osaka Nerima Art Museum of Art Fukuyama Museum of Art Sezon Museum of Modern Art Wakayama Prefectural Modern Art Museum Ashiya City museum of Art and History Aichi Prefectural Museum of Art The Museum of Contemporary Art Tokyo Hiroshima City Museum of Contemporary Chiba City Museum of Art Osaka City Museum of Modern Art Niigata City Art Museum Yokohama Museum of Art Utsunomiya Museum of Art Tokyo International Forum Adachi City Office Fukushima Prefectural Museum of Art The Museum of Art, Ehime Hyogo Prefectural Museum of Art Ministry of Foreign Affairs of Japan Nagoya City Art Museum Tokyo Opera City Art Gallery
Published on the occasion of the exhibition Masaaki Yamada: Work at Frieze Masters, London 5 – 9 October 2016 05.10.2016 - 08.11.2016 Kadar Brock gifts ungiven Vigo 21 Dering Street 06.10.2016 - 09.10.2016 Masaaki Yamada Work Frieze Masters Stand G20 06.10.2016 - 08.01.2017 Henry Krokatsis Kabin Frieze Sculpture Park 06.10.2016 - 09.10.2016 Zak Ové Mask of Blackness Courtyard, Somerset House (1:54) 06.10.2016 - 09.10.2016 Ibrahim El-Salahi The Arab Spring Notebook Presented by Modern Forms 1:54 African Art Fair Room G19A 06.10.2016 - 09.10.2016 Ibrahim El-Salahi / Zak Ové 1:54 African Art Fair Room G10 until 16.10.2016 Marcus Harvey Inselaffe Jerwood gallery Hastings until 19.03.2017 The Boyle Family* Flesh York Art Gallery until 26.02.2017 The Boyle Family* You Say You Want a Revolution? Records and Rebels 1966–1970 V&A Museum
* group shows
Catalogue design Tim Barnes herechickychicky.com Vigo 21 Dering Street London W1S 1AL +44 (0) 207 493 3492 vigogallery.com #vigogallery Yüklə 4,6 Mb. Dostları ilə paylaş:
|