Art in Print
Shake your booty at the Hayward Gallery’s intoxicating audio-visual show
The urge to dance is an uncommon response to art, but it’s hard to stay still during The Infinite Mix. Grinding, humping, shaking, gurning, tutting, popping, noodling and twerking: here, across ten audio-visual works, bodies of all kinds move in response to music. From the stately spectacle of Dominique Gonzalez-Foerster lip-synching to Maria Callas, to the rude moves of Bom Bom, Japanese star of Jamaican dancehall, from robotic arms on a production line to the writhing limbs of plants in a storm, The Infinite Mix offers an intoxicating and intimate portrait of rhythm and motion.
The Infinite Mix in question is the interplay between image and sound, and this tightly assembled exhibition presents artworks in which the audio is treated as lovingly – or at times, irreverently – as the visuals. This ‘mix’ of course is nothing new. Art and music have ever been intertwined, and music videos remain a fertile ground for collaboration, but with one notable exception, the audio-visual works on show here are far removed from MTV/ YouTube fodder. Multifaceted, unpredictable, technically complex, elusive, uncomfortable and often delectably odd, these works are a welcome antidote to culture driven by instant gratification.
Via i News
From Bruce Nauman, More Contrapposto Studies
The Italian word contrapposto in art refers to an uneven pose used in Greek classical sculpture to make standing figures appear more dynamic. Bruce Nauman explored this concept with his 1968 video work, “Walk With Contrapposto,” in which he moves slowly and deliberately down a narrow corridor of his own design.
Using that piece as his point of departure, Mr. Nauman has created seven large-scale video projections with sound in a new work that will be presented in September at the Sperone Westwater gallery in Manhattan and, in slightly different form, at the Philadelphia Museum of Art.
The projections, which at times become fragmented and stacked in two layers, are accompanied by the sound of the artist’s movements and his surrounding studio.
In Mr. Nauman’s 1968 piece, “he’s leaving the camera, his body’s getting smaller with the perspective,” said Carlos Basualdo, the Philadelphia Museum’s senior curator of contemporary art. In the new work, “the body is always unfocused,” as if it’s active, he added, “but, in a way, he doesn’t seem to be moving.”
Via the New York Times
Nicholas Serota: even he was shocked by the success of Tate Modern
There has only ever really been one director of Tate, and that has been Nicholas Serota. Before Serota, there was only the Tate at Millbank. No Tate Modern nor St Ives. Tate Liverpool opened just as he joined in 1988. Since then, he has successfully reinvented the Tate name, steering a somewhat fusty and guarded institution into the 21st century.
The popularity of Tate Modern took Serota by surprise. No one expected such numbers. Serota thought he had an art museum; what he got was a major tourist attraction. But he never forgot that Tate must stay serious, as well as providing the public with an experience of art on its own terms. Serota is respected because he also respects art, embracing and fostering the new, and its antithetical demands.
It was perhaps predictable that Serota would announce his departure after the recent opening of Tate Modern’s extension, and the appointment of Frances Morris as its director. But in the light of the Brexit referendum, and last week’s surprise announcement of the departure of the V&A’s German director Martin Roth, his resignation feels precipitous. The announcement of Brexit shocked Serota, coming the week the extension of Tate Modern opened.
Via The Guardian
‘She seemed shy. Then suddenly this wild beast came out’ – my 10 years shooting Kate Bush
It was 1am one night in 1989 and the Italian had been photographing Kate Bush non-stop for 15 hours. Bush had asked Harari to do the official photo shoot for her new album The Sensual World.
Harari decided to create this image by shooting Bush in a Romeo Gigli dress in front of a rented painted backdrop that looked like a Pollock painting. Then he would ask her to step out of the shot, rewind the film on his Hasselblad camera and shoot the backdrop again, making it look like she was a swimming through a submarine world of drips and blobs.
Harari has shots in his new book The Kate Inside, which documents his 10 years photographing the British pop star. It shows her wearing a T-shirt that says: I am a prima donna. “My God,” he says. “I’ve worked with some real prima donnas, not to mention any names. She wasn’t one of them.” Indeed, there is a copy of her handwritten thank you note which says: “You’ve made me look great.”
After doing the photography for Hounds of Love and The Sensual World, in 1993 Harari was asked to be the stills photographer for her 50-minute film The Line, The Cross and the Curve starring Miranda Richardson, Lindsay Kemp and Bush, and showcasing songs from Bush’s album The Red Shoes. That shoot marked the end of their collaboration.