Renee Van Halm’s installation comprises four wood constructions, two wall pieces and two freestanding pieces, each pairing a modestly realistic black-and-white painting of Mies van der Rohe’s well-known Edith Farnsworth house (1941-51) with a reproduced early twentieth century furniture piece designed by either Charlotte Perriand, Eileen Gray or Serve Chermayeff. This remodeled furniture is illusory, that is, it is constructed to be non-functional; Van Halm simply marks two-dimensional reliefs of drawers and panels with in-cut lines to feign depth. The paintings show either exterior or interior views of the house usually stressing its characteristic glass walls. By means of these conglomerates of painting and furniture, and with an addition of abstract sculptural form in two of the pieces, Van Halm subtly contests how modernist architecture avoids a critical tackling of issues now considered integral to modernist architecture: scopophilia, public/private space, feminism and commodity signification.

Of the four works, Nightgown (1997) is the most prominent, due, for one reason, to its large scale but more importantly to its unusual form. The piece is of an irreverent, altered shape resulting from a fauxcabinet modified to include two paintings on opposite sides of the piece, and, adjacent to the paintings, an unusual addition of a pair of portholes. While appearing as whimsical additions by Van Halm, the portholes actually are based on the original furniture design. Naturally, the portholes instill the curiousity to peep through them, exemplifying a theme of voyeurism that pervades this exhibition, which is reinforced throughout by the glass walls of the van der Rohe house and the invitingness of openly displayed but unopenable drawers. Disappointment will likely prevail upon sighting the unsexy scene lying behind the porthole, a small white grid criss-crossing a grainy, grey “wall,” actually the facade of the cabinet. Being left frustrated by unfulfilled promise compares to seeing only closed-off rooms, or private space, when looking in the glass house’s ample windows, a connection stressed here because the paintings beside each porthole focus on windows. Further, the annoyingly impenetrable grid wall is a facade metaphorically indicative of a Greenbergian, illusory two-dimensional surface, and, consequently, of how modernism is intellectually cut off by such a shallow, formalist plane.

If you have an interest in contemporary art, welcome to look into: wall art Youtube

Works of art by artist Franoise Nielly employ a discernible depth that come by every single composition. Having mastered palette knife portrait ideas, the painter makes use of thick strokes of oil on canvas combine some abstraction into these figurative paintings. The artworks, which are based off of relatively easy black or white images, feature great light, shadow, depth, and lively neon color styles. Based on her bio on Behance, Nielly carries a risk: her art work is sexual, her colorings free, joyful, incredible, sometimes mind-blowing, the cut of her knife incisive, her colors pallete fantastic.

Francoise Nielly is definitely an artist characterized by challenging and sophisticated techniques making fascinating and crucial energy and strength.

Video about Francoise Nielly Paintings

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Francoise draws lines to discover charm, feelings, and focus of memories. Every single portrait signifies a sense of enjoyment and misery. As soon as we find out these kind of sensuous, expressive and tremendous drawing, we understand that special attention can drive sincerely in any look, in the action, in the position which outlines ones methods of being. The shades are the reason Nielly’s work so realistic and natural and it’s hard not to fall in love with her ideas. A great number of might be the inspirations, which often dance within these kinds of sensibility, and quite a few might be the interpretations which happen to be expressed. ?Have you ever told yourselves how crucial this is to get styles? Perhaps you have had asked yourself how important it will be to control this kind colors?

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Nielly displays a safety exploration for impression and ends up being an instinctive and wild goal of expression. Any time you close your eyes, you wouldn’t normally think a face, which has colors, but if you ponder over it directly, everything gains a form through our hopes. The most troubled soul can get colors, which happen to be buried but always alive. A number of people think in a portrait, there’s always a peace that runs away, but in my estimation, every definition is impressed in their face. Eyes find sins and fervour, a smile reveals fulfillment or a decisive lie, and bright tones show judgments without having much more movement.

In the way, Francoise Nielly delivers a person’s face in each of his art. And then she paints it continuously, with slashes of paint across their face. Experiences of life that occur from her artworks are put together from the clinch with the canvas. Color selection is brought out as a projectile.

Francoise draws lines to uncover charm, feelings, while keeping focused of memories. Every portrait brings together a sense of joy and gloominess. When we uncover these kinds of sensuous, expressive and confusing drawing, we know that concentration can touch significantly in any look, at a action, have the ability which specifies ones means of being. The shades are the thing that makes Nielly’s work so true and natural and it is hard not to love her themes. Lots of might be the inspirations, which often show up in these types of feeling, and many can be the definitions which are shown. ?Have you asked yourselves how vital it will be to acquire tones? Perhaps you have questioned how important it may be to control these kinds of shades?

Video about Francoise Nielly Paintings

Do you enjoy Francoise Nielly’s paintings? Are you looking to order a portrait painting created by this painter? I don’t know if Francoise receive commission job? But if she do, i bet price should be super expensive the majority of her artworks sell $10,000 to $30,000. Therefore, generally, it is nearly extremely hard to let Francoise Nielly draw your portrait, nonetheless, guess what happens, our talented artists can! We can paint your image exactly like Francoise Nielly do!

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In Francoise Nielly’s paintings, she will never use any modern tools and makes use of only oil and palette knife. The shades are spread out roughly on the canvas turn out to be an incredibly impressive work. Her portraits encapsulate power of color choice as a amazing way of viewing life. The conception and form are simply beginning factors.

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turning photographs into paintings

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Despite such gratuitous use of theory, it largely remains an instrument reserved for the exploration of “serious” subjects. Indeed it is probably not too farfetched to say that some of the most important work done by theory today is the lending of weight to otherwise indifferent ideas. It is to this paradox that Sharon Kivland’s recent work speaks. Like much work concerned with theory, Kivland’s Letters of the Blind (1995) relies heavily on a chic “conceptualesque” aesthetic, the clean assembling of ready-made objects and the citation of theory yet, despite the formal similarity, there is nothing gratuitous about this work’s relationship to theory. Although Kivland has titled the work Letters of the Blind – in a reference to Diderot’s Lettre sur les aveugles a l’usage de ceux qui voient (his treatise on vision) – the wall text directs the viewer away from general references to Diderot and toward an intimate, albeit intellectual, moment between Diderot and his lover Sophie Vaillant. In this exchange Diderot describes how, having returned home late, he writes to her in the dark causing much of what he has written to be illegible. Diderot then explains that where his writing has become illegible she should read that he loves her.

It is here, within the context of romantic love, that the intersection of theory and practice, mind and body, happens in the work. Recalling both the truism “love is blind” and Diderot’s world of the Cartesian subject where geometry (mind/theory) and not sight (body/practice) maps the territory of vision – Kivland has assembled twenty-six small ovals of polished glass behind which are mounted life-sized colour photographs of the tearfilled eyes of twenty-six men and women crying or at the point of weeping. To the right of each oval are a pair of chrome surgical scissors and a large white linen handkerchief on which has been embroidered, in white thread, one of the letters of the alphabet.

Bound by love, separated by language (the embroidered alphabet on the handkerchiefs) and dislocated from their bodies (the scissors recall the amputation) the lovers stare side-by-side into the empty gallery space. Trapped in the philosophical context of metaphysical dualism where theory is the preserve of the disembodied subject, the weeping eyes and blurred vision of the lovers work to represent something of the impossibility for representation structured along such a body/mind schism, whereas the scissors – violently thrust into the gallery wall – suggest that this separation is nothing if not painful.

 

 

In citing Diderot’s letter to Vaillant, Kivland reminds the viewer that there is a way of doing theory through practice that does not entail becoming a disembodied spirit and, in so doing, the artist throws a spanner in the works of those practices for which theory is used to affirm and not challenge those very ideas against which it was originally deployed. This disruption is further effected by the content and composition of the photographs. These images, which at first glance could appear to be multiples of the same tearfilled eyes – serving more as intellectual motifs than as the distinctive representations of individuated subjects and their pain – eventually manifest themselves as “portraits” of twenty-six individuals. Simple as this realization might be, it changes the terms of engagement with the work as the viewer realizes that the tearfilled stares which have been directed at her from behind those sterile ovals of polished glass come from the weeping eyes of thirteen men and thirteen women for whom love, in its many different guises, is supposed to have inflicted the sort of pain which defies description through the spoken or written word. We come to realize that to understand their pain we must leave behind the sort of cerebral engagement with the work which Kivland invites through her use of clinical materials and the deployment of an established conceptual aesthetic and prepare to negotiate the work through mechanisms of the body.

These paradoxes (the apparent contradictions between form and content, style and intent) are at play throughout this work, confounding the expectations we bring to the interpretation of both ready-made objects and theory in contemporary art. The handkerchiefs held by the embedded scissor points (the type used in operations of the eye) provide a further example of these incongruities. Although there is nothing unusual about the handkerchiefs (they are large and cut from the sort of fine linen reserved for lingerie) or the embroidered letters (monogrammed handkerchiefs like these can be bought at any gentleman’s outfitters), the stitching which forms each letter is sewn so irregularly that they can only have been the work of an amateur embroiderer. While the handmade nature of the embroidered lettering is an almost indiscernible detail, it does serve to reinstate the body within the piece, and through the marks of its labour, offer an unexpected point of (re)entry into a work ostensibly ordered by formal traditions developed in antithesis to its domain.

The text which frames the exhibition, Diderot’s letter to his lover, is on the wall facing the row of photographs, scissors and handkerchiefs. It is with this contrast that the ultimate structural contradiction of the work occurs. By selecting the context of romantic love as the site of theoretical enterprise, Kivland again forces the intersection of mind and body – an intersection made all the more visible by her careful treatment of the lettering which (although rendered in a size and font typically used by the manufacturers of vinyl lettering) has been painstakingly hand-painted in soft gray paint.

In challenging the expectations we bring to work informed by theory and structured within established aesthetic paradigms, Letters of the Blind speaks not only to the practice of theory within art but to the importance of vision as a form of theory in practice.

La sculpture a connu depuis quelques decennies bien des eclatements. Malgre ces nombreuses ruptures, elle a toujours conserve sa nature anthropomorphique que ce soit sur le plan structural ou conceptuel. Par contre, elle a pratiquement evacue la figure humaine de son registre formel. Defiant pour ainsi dire cette convention, Balkenhol renverse la situation. Mais ce revirement ne signifie pas pour autant une attitude reactionnaire pronant simplement le retour a la tradition, a la figuration et au realisme. Heritier du minimalisme par l’enseignement d’Ulrich Ruckriem et conscient de l’histoire des formes, il reconcilie l’ancien et le nouveau dans un travail de synthese habite par la reflexion mais rehabilitant le plaisir, trop souvent absent dans l’art contemporain. Car Balkenhol s’amuse avec l’histoire tout en questionnant les fondements memes de la sculpture. Il puise dans le repertoire de la statuaire, notamment de l’epoque medievale, des modeles qu’il transpose dans un monde actuel en les adaptant a son style bien personnel qui consiste a rendre les sujets ordinaires et impersonnels. Mais en les rendant plus semblables a l’homme contemporain, il les banalise. Homme portant sa tete sous le bras (1994) en est un exemple frappant. Inspiree d’une sculpture gothique representant un saint martyr tenant sa tete dans ses mains, cette oeuvre nous montre un homme debout sur un socle en forme de tabouret, vetu d’une chemise blanche et d’un pantalon noir, tenant sa tete sous le bras, comme s’il s’agissait d’une scene banale. La banalisation, chez Balkenhol, n’est toutefois jamais ironique. Elle vise plutot a redonner un statut democratique a la sculpture qui, autrefois, occupait essentiellement la place publique. D’ailleurs, Balkenhol a realise plusieurs oeuvres publiques reprenant sensiblement les memes sujets masculins, anodins, inactifs et inexpressifs. Ils sont toujours de meme format, soit un peu plus petit que grandeur nature, et leur emplacement dans la ville a souvent de quoi surprendre, places sur une bouee ou a meme un mur de maconnerie a une distance ou une hauteur qui laisse croire que le personnage est reel et dans une mauvaise posture. Parmi ses sculptures publiques, se trouve aussi une statue equestre, situee dans un parc a Hambourg, qui n’a conserve de l’histoire classique que le theme car elle n’a rien en commun avec la monumentalite et la noblesse des cavaliers celebres, vestiges de la Rome antique. La contrefacon ne s’arrete pas la. Balkenhol a aussi recupere, avec humour, un cliche de la sculpture moderne, le fameux Penseur de Rodin, qui devient sous la gouge de l’artiste l’Homme assis (1990), un personnage au torse nu portant le legendaire pantalon noir qu’on retrouve dans prasque toutes ses oeuvres ou figure un personnage masculin.

L’art contemporain nous a entraines a percevoir le travail tridimensionnel comme un systeme additif dans un esprit plus ou moins dadaiste ou constructiviste. Il nous a aussi habitues au conflit, au drame ou a la complexite symbolique. Balkenhol brise a nouveau ces preceptes en taillant, tel un artisan, des sculptures polychromes et monoxyles presque trop limpides ou le conflit est absent. Il n’y a pas de rapport de force entre les protagonistes, entre l’homme et l’animal dans les pieces telles Homme aux lions, Homme au taureau, Petit homme aux deux crocodiles (1994), pour n’en nommer que quelquesunes, ou figure un petit homme avec des animaux de taille similaire. Il n’y a pas de domination mais une complicite immediate, une confiance mutuelle qui conduit au jeu et a l’univers fantasmagorique de l’enfance ou toutes les associations deviennent possibles, meme ces tetes de vache, lion, aigle sur des corps d’hommes de toute evidence <<civilises>>. Avec Trois bybrides (1995), Balkenhol est plus pres d’un La Fontaine que d’un Ovide, plus pres du conte populaire que du surrealisme.

L’aspect schematique des personnages de Balkenhol et leur simplicite caracterielle sont d’une familiarite enfantine. L’Homme au maillot de bain noir (1993) et la Femme au maillot de bain vert (1993) sont tellement personne en particulier qu’ils deviennent uniquement des representants sociaux de l’homme et de la femme adultes, les <<Paul et Marie>> de nos livres scolaires. Cet interet pour la periode scolaire est particulierement manifeste dans Seize dessins au tableau noir (1994), dont quelques-uns ont donne naissance a la serie des petits hommes avec animaux. Ces oeuvres representent des dessins a la craie blanche executes sur un tableau noir. Cette allusion a l’ecole n’est pas nouvelle, en 1990 l’artiste avait presente en Belgique une exposition ou le dessin prenait une place considerable et la couverture du catalogue imitait un cahier de composition d’ecolier allemand.

La facture des oeuvres, conjuguee aux antecedents culturels de l’artiste, pourrait laisser croire a une filiation avec l’expressionnisme allemand. Ses portraits sculptes en creux dans des planches de bois evoquent un certain primitivisme que les expressionnistes revendiquaient en valorisant la gravure sur bois propre a la culture germanique. Mais, contrairement a ceux-ci, la marque brute et rapide du ciseau ne procure aucune expression aux objets. Paradoxalement, elle ne laisse paraitre aucune emotion, que de la neutralite. Balkenhol n’est pas non plus un sculpteur naturaliste. Ses personnages, entiers ou partiels, ne sont pas des portraits dans le sens noble du terme et les animaux sont isoles de leur contexte naturel. Habitue d’inventer des histoires, le spectateur croira voir une banquise dans Cinquante-sept manchots (1991) alors qu’il s’agit en fait d’un groupe de pingouins sculptes individuellement a meme la colonne de bois qui preside a la forme et dont la partie non touchee fait office de socle. La figuration est bien un leurre, car le spectateur traversant cette installation apparemment illusionniste sera confronte a un ensemble de colonnes carrees dont la hauteur et la disposition imposent une presence, amusante et intimidante a la fois. Les proportions de la salle rectangulaire et etroite qui accueille cette oeuvre contribuent a augmenter l’effet de cette rencontre inusitee entre le spectateur et l’objet, obligeant le premier a prendre conscience de son corps et de sa presence dans cet espace occupe par les colonnespingouins. On retrouve bien la, dans cette oeuvre, la dimension minimaliste heritee de Ruckriem. Car ce n’est ni l’individu ni le heros qui preoccupe Balkenhol mais la presence immediate imposee par le caractere affirmatif des structures et des corps anonymes.

Dans le travail de Balkenhol, le prototype l’emporte sur la personnification et la repetition du modele l’emporte sur l’unicite qui caracterise le genre humain. Ces individus ne sont plus que des representants de l’etre culturel dont la posture, les traits et les vetements trahissent l’archetype occidental. En ce sens, l’oeuvre rappelle l’anonymat et la depersonnalisation largement exploites dans les annees soixante par les artistes du Pop Art. Toutefois, on ne trouve pas chez Balkenhol la connotation critique propre aux premiers. L’anonymat contribue plutot a detourner l’attention du spectateur qui, faute de pouvoir trouver un sens a une narration volontairement eliminee, doit considerer la sculpture pour ce qu’elle est, c’est-a-dire une structure dans l’espace qui interpelle le spectateur.

Meme si, a premiere vue, les oeuvres de Balkenhol semblent raconter des histoires, l’artiste se defend bien de faire de la sculpture anecdotique. A la limite elles sont des declencheurs de recits mais ceux-ci restent ouverts a toute interpretation. Ce qui interesse Balkenhol c’est d’abord le volume, le materiau et la presence, caracteristiques tout a fait minimalistes auxquelles il ajoute une bonne dose d’humour.

Il se publie peu d’ouvrages specialises en danse. Aussi, faut-il saluer cette nouvelle parution dans la Collection Art Nomade dirigee par Michel Bernard, et qui traite de la rencontre entre le corps dansant et le theatre. L’auteure brosse un tableau fort complet des multiples phenomenes qu’englobe l’effet-theatre en danse, en plus de proposer des avenues pour en saisir les mecanismes comme les racines; historiques, sociales, culturelles, emotionnelles et sensitives. Restituant tout d’abord la danse dans son contexte historique et theatral, tout en soulignant la dichotomie corps/langage et corps/sens qui l’accompagne, Michele Febvre explore ensuite l’ensemble des avenues actuelles de la theatralite en danse; entre un desir de faire ou de ne pas faire sens. En effect, les corps que proposent les choregraphes des vingtcinq dernieres annees (Bausch, Gallotta, Chouinard, De Keersmaeker, Laurin, Lock, etc.) temoignent d’une diversite oscillant entre le retour au contenu (avec le traitement d’une thematique), <<l’appetit semiotisant du spectateur>>, et une theatralite in situ qui nait de la conjugaison du mouvement, des sons, des corps, etc., presents dans une oeuvre. De cette diversite decoulera un agregat de pratiques du theatral en danse allant de la theatralisation de fait a la dramatisation, en passant par l’incorporation du quotidien dans le choregraphique, l’autoreferentiel du danse et du dansant, et la vocalisation; phenomene particulierement present dans la danse contemporaine, et dont l’auteure realise une analyse fort interessante de l’utilisation du langage, reel ou invente, structure ou non, de la voix comme extension sonore du corps, etc. A travers l’idee d’une coexistence des diverses voies de la theatralite, cet ouvrage riche de contenu et tres bien documente, nous rappelle en dernier lieu les tentatives constantes <<du choregraphique pour echapper a la pesanteur d’un narratif oblige>>; realite de la danse actuelle qui <<se maintient en etat d’erethisme perpetuel>>. Embrassant l’ensemble des diverses pratiques choregraphiques contemporaines, cette nouvelle parution permet de mieux cerner la relation signifie/signifiant qu’observe aujourd’hui le fait dansant. Un ouvrage de reference quasi incontournable. A. M.

Queer geography, with its concentration on issues of place and space (both physical and imaginary) adds a significant and necessary dimension to queer theory by grounding it in questions of how we navigate everyday life. Mapping Desire extends the notion of queer beyond the practices of bodies in the bedroom and examine the ways that sexuality is inscribed on the body and in the landscape.

The essays are organized into four sections and investigate a diversity of queer negotiation and resistance in geographies both rural and urban, including: Europe, America, Canada, Australasia, Africa and the Pacific. Lynda Johnston and Gill Valentine explore the concept of the parental home, the ways that heterosexuality limits lesbian identity and practice, and how lesbian households have attempted alternatives. Tamar Rothenberg looks at questions of where one might choose to live, and reports on a lesbian community in Park Slope, Brooklyn. Linda McDowell analyzes financial traders in London and the (explicit, implicit, and self-policed) demand for a particular heterosexual male performance in order to succeed. Sally Munt addresses the ambiguity (sexual, identity, gaze and otherwise) of the lesbian (butch) flaneur challenging both Modernist male and feminist analyses that strictly define the flaneur as masculine. Clare Hemmings lucidly examines the ambiguous relationship of bisexuality to feminism and queer theory, while looking for a space within both.

Among the refreshing aspects of Mapping Desire are the quantity of essays by women and lesbians, the inclusion of Canadian situations and the plain language which makes these texts accessible to readers unfamiliar with geography theory. These provocative essays are a significant contribution, for the question of finding “home and a place to be” is deeply resonant across the landscape of everyday (queer) life. C. M.