Interview with the German artist Tobias Rehberger at the booth of Fondation Beyeler at Art Basel Miami Beach 2015. December 2, 2015.

In a previous video, we attended the opening night of the Public sector of Art Basel in Miami Beach 2015. This video shows how the outdoor sculptures and site-specific installations look by day. As a reminder, the 2015 edition of Public is titled “Metaforms”. Metaforms presents works by the artists Olaf Breuning, James Capper, Tony Cragg, Melvin Edwards, Sam Falls, Sylvie Fleury, Katharina Grosse, Matt Johnson, Jacob Kassay, Kris Martin, Rubén Ortiz Torres, Athena Papadopoulos, Ishmael Randall-Weeks, Sterling Ruby, Michael Sailstorfer, Tomás Saraceno, Tony Tasset, Rirkrit Tiravanija, Francisco Ugarte, Timm Ulrichs, Marianne Vitale, Ursula von Rydingsvard, Hank Willis Thomas, Robert Wilson, Yan Xing, and Yiao Yu.

Art Basel Miami Beach 2015: Public Sector by Day. Miami Beach, Florida (USA), December 3, 2015.

Recreating a figure from a Chinese painting in the gongbi style. Gongbi paintings are characterised by meticulous brushwork and highly coloured palettes.

Chinese ink is made in a solid form, and needs to be ground and mixed with water. A full-size line drawing, known in Chinese as huago, is made on paper with a brush and ink. The outline of the figure is carefully drawn.

A piece of silk is selected for its weave and texture. Raw silk is non-absorbent, so it needs to be treated in a process called sizing. A solution of glue and alum is used to make the ink pigments stick to the silk. The ratio of glue and alum must be carefully balanced. Too much alum makes the surface difficult to paint, but too little means that pigments will not adhere properly. The solution is spread with a flat brush. The silk is stretched over a board or stretcher with paste. When the treated silk has dried, it is ready for painting.

The silk is placed over the drawing and the lines are carefully traced with ink. The artist can change the weight of the line by varying the pressure. Because silk is thin, colour needs to be built up through a process called tuose. An even layer of paint is applied to the back of the work. White pigment is usually used. Darker pigment is used for the dark areas.

After the paint on the back has dried, the front is ready to be painted. First a base layer is painted. Colour pigments are prepared one by one. The painter carefully fills in the smaller areas. Two brushes are used to create colour washes. Layers of light wash are applied over painted areas until the artist gets the right tone. The process of building up colour and creating the right tone is painstaking and can take a long time. Fine details such as facial features and clothing patterns can now be added. The figure’s outline is accentuated with black ink or colour for the final time.

The London based Heatherwick Studio epitomises the spirit of invention of a new wave of British designers. Featuring drawings, models, films and test pieces generated by speculative and built projects from the past 20 years, the exhibition is a window into the studio who have become renowned for projects such as the UK Pavilion at Shanghai Expo 2010. It offers unique insights into the ideas and experiments that go into realising projects that span architecture and engineering, as well as furniture, sculpture and product design. Curated by Kate Goodwin, Drue Heinz Curator at the Royal Academy of Arts, and designed by Heatherwick Studio, the exhibition captures the studio’s spirit of discovery, demonstrating their imaginative and entrepreneurial approach to design.

Date: 11 March – 12 April 2015
Venue: Atrium, National Design Centre, 111 Middle Road, Singapore 188969
Time: 9 am – 9 pm Daily
Free Admission

Organisers: The British Council in collaboration with the GREAT Britain Campaign.
Supported By: DesignSingapore Council
The exhibition is part of the GREAT British Week and is a partner event of the Singapore Design Week.

Swing from politics to ayahuasca with one of the leaders of Brazil’s contemporary art scene.

For NY TImes Style Blog
DIrected by Meredith Danluck
Music by John Fraser Carpenter

The exhibition Constantin Brancusi and Richard Serra at Fondation Beyeler brings together the oeuvres of two of the most important sculptors of the 20th Century. About 40 exemplary pieces of Constantin Brancusi meet with important works by Richard Serra such as Strike, Olson, and Fernando Pessoa. More info: vernissage.tv/blog/2011/05/22/constantin-brancusi-and-richard-serra-at-fondation-beyeler/

Exposition Daido Moriyama, Daido Tokyo
6 février › 5 juin 2016

La Fondation Cartier pour l’art contemporain consacre une exposition à Daido Moriyama, figure incontournable de la photographie japonaise. Né en 1938 à Ikeda, Daido Moriyama invente dès le milieu des années 1960 un langage visuel nouveau, frénétique et tourmenté, privilégiant le flou, le grain et la déformation du réel. Après avoir consacré en 2004 une importante exposition personnelle à Daido Moriyama, présentant son œuvre en noir et blanc, la Fondation Cartier pour l’art contemporain dévoile un aspect moins connu de son travail. Composée exclusivement de photographies couleur, cette nouvelle exposition a pour sujet les quartiers underground de la capitale nippone si familiers au photographe. On y retrouvera la noirceur et les motifs qui traversent l’œuvre de l’artiste et traduisent son goût des cadrages chancelants et des textures.
Commissaire : Alexis Fabry

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Still Life: Ron Mueck at Work – Short Edition, de Gautier Deblonde, 2013.

Un film inédit de Gautier Deblonde réalisé avec le soutien de la Fondation Cartier pour l’art contemporain et présenté en exclusivité dans l’exposition Ron Mueck.

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Vivant à Londres, Ron Mueck a exposé dans les musées du monde entier, au Japon, en Australie, en Nouvelle Zélande et au Mexique. Son exposition à la Fondation Cartier est un événement d’autant plus exceptionnel que les opportunités de voir ses œuvres sont extrêmement rares. Travaillant lentement dans son atelier londonien, il fait du temps un élément privilégié de sa création. Ses figures humaines, réalistes à l’excès, mais qui jouent sur des changements d’échelle surprenants, demeurent aussi éloignées du naturalisme académique que du pop art ou de l’hyperréalisme.
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Based in London, Ron Mueck has had highly acclaimed exhibitions around the world from Japan to Australia, New Zealand and Mexico, but shows of his new work in Europe have not been frequent occurrences. Mueck works slowly in his small North London studio, making time itself an important element in his creative process. His human figures are meticulously detailed, with surprising changes of scale that place them as far from academic realism as they are from pop art or hyperrealism.