Contemporary Art Week!
The series explores a reoccurring gilt-bronze, “Moorish” aesthetic invention oft evidenced in European Medieval and Renaissance art. The arena in which this aesthetic is played in the series removes the ever-present narrative of servitude and alienation (persistent in European depictions) to expand upon how “Black and Gold” as a palette can create a variety of narratives. The storytelling throughout "Of Another Kind" highlights how removing markers in portrayals (based solely on utility) can transform the very notion of what an aesthetic can become.
The Hijab, a headscarf worn by Muslim women in the presence of men they are not closely related to, divides opinion both in Muslim countries and in secular countries which Muslims call home. In the Islamic Republic of Iran, where Shia Islam has become the very raison d’être of the current state following the Islamic Revolution of 1979, the wearing of an approved form of head covering for women is relatively strictly enforced, regardless of the level of religious observance a woman may adhere to at home. So called Basij, or members of the ‘Organization for Mobilization of the Oppressed’, a volunteer citizens militia, roam the streets of Tehran and other Iranian cities, monitoring religious observance and clamping down on such illegal activities as fraternising between unmarried couples and the ownership of satellite dishes.
Improper dress code, including insufficient coverage of head, shoulders and chest of women in public is officially illegal and can incur arrest and heavy fines. Though Iran’s new president, Hasan Rohani, who is seen by many as a moderate and a reformer, has said publicly that guidance on women’s dress code should be encouraged through education rather than enforced by the police, secular Iranian women continue to face censure for insufficiently modest dress. Hossein Fatemi met 20 women, some of whom wear the Hijab voluntarily, and photographed them through their veils, giving a rare insight into the private spheres of Iranian women, many of whom are not allowed to appear in public how they want to.
Inspired by a pursuit of beauty, Riley combines classically thoughtful botanical designs with Parker’s carefully considered film images in an expression of the multifaceted relationship between humankind and nature. The two artists contrast anonymous portraiture with sweeping landscapes in an attempt to capture both the malleable and untamed aspects of the natural world.
Les jeunes filles d’Irana Douer (l’auteure de la pochette de l’album Headlesse Heroes dont j’ai posté une chanson hier, vous aurez reconnu la jeune fille rousse au mascara dégoulinant) ont de grands cheveux enveloppants et les yeux qui pleurent. Ou les narines. Ou la bouche. Ou les deux. Elles semblent risquer l’asphyxie, ou une mélancolie fulgurante. Seules les couleurs, éclatantes et acides, contredisent ce triste pronostic. La dessinatrice argentine a en tous cas un style bien à elle, reconnaissable au premier coup d’œil.
“Ghost Photographs“, a project of the American artist Angela Deane, who replaces people by ghosts on found photographs, playing with anonymity and the memories of strangers…
Yijun Liao’s new photo series ‘Experimental Relationship’ reverses the traditional roles of males and females (where the male is typically in power and authoritative while the woman is fragile and obedient). This series of photos ‘subverts the ways we view masculinity and femininity in relationships’ by seeing Liao take on the role of the dominant figure, ‘positioning her significant other in compromising poses’ that are usually inferior to her own body.
Liao says, ‘As a woman brought up in China, I used to think I could only love someone who is older and more mature than me, who can be my protector and mentor. Then I met my current boyfriend, Moro, who is five years younger than me. I felt that the whole concept of relationships changed, all the way around. I became the person who has more authority and power’. (source)
Aldo Tolino is an Austrian artist who invests himself on paper objects and sculptures, manufactured, folded and photographed by himself. The folding techniques vary and so do the photographs; this is what makes the work interesting, as there are infinite number of permutations that will work for this purpose. The redundancy of the project is much like a philosophical argument, one that loops around and is at some point, unanswerable. Tolino is currently working on a book project “Interferenz”, which evolves around the topics paper, folding, image, object, sculpture, texture and recursion. (src. Artist’s biography & Beautiful Decay)