As the northeast of the United States has been submerged into a deep freeze, it seems appropriate to circulate these chilling images poised to go on view at Sean Kelly next week.
Known for his images of Berlin’s transformation into a postindustrial global capital, Frank Thiel’s latest series of photographs captures the majesty of glacial ice formations in Argentina’s southern Patagonia region.
Enigmatic strokes of artistic provocation, drapery and textiles fashioned in the language of artists, woolen blankets, vintage scarves and tapestry as haute couture: that is the staple of the Maison Martin Margiela 2014 Spring Couture Collection.
Jon Jaylo’s artworks play around a parallel dream world where everything is floating surreal and dancing in a contained universe inspired by poetry. His technical depictions are often varying in display and style, as if he himself is never contented with the present stature of his works. They are constantly evolving in both idea and form, gradually maturing together with the artist himself. Continue Reading
When Russian President Vladimir Putin banned gay “propaganda” in June last year, Russia’s LGBT community went from being a stigmatized fringe group to full-blown enemies of the state. Homophobia becoming legislation means it’s now not only accepted in Russia but actively encouraged, which has led to a depressing rise in homophobic attacks and murders.
Surrealism isn’t a thing of the future — it has always been present in the past. That’s why Paco Pomet‘s paintings are so glorious. Combining classic imagery from early photographic works with the otherworldly sensibilities of the early 20th century Surrealist movement, Pomet’s work plays with the viewer’s brain as much as it does the eye. Continue Reading
Louise Riley embroiders human figures using a mattress as a canvas. Usually in repose, these figures create an intimate experience for the viewer. Riley’s work demonstrates a fine attention to detail and color shading, rendering vulnerable and realistic characters out of linear and geometric forms. Part of her practice includes that of altering the flat shape of the mattress, creating rolls and curves in her mattress-canvas, or cutting shapes into or on the mattress.
From her artist statement, “When I am sewing figures, I think of the thread being strands of DNA and the stitches binary codes and the fabric (our second skin anyway) a grid and that leads me onto String theory, experiences happening alongside each other with endless alternative outcomes. These grandiose thoughts are what get me through the hours. The literal abundance of fabric and thread as domestic content and construction, not limited to gender, makes our relationship to it very intimate. I use the mattress as a backgroundless background that holds weight of experience conceptually, spiritually and physically. Blood, sweat and tears like tree rings in its core. Its presence in our rights of passage, our sleep, rest, thoughts, dreams, the theatre of life spilled out onto it. How could I work on anything else! It is a ready-made canvas, it allows my ideas to penetrate it and collaborate with it to unearth a supposed breath-taking, yet ordinary, history or herstory.”
You can keep up with Riley’s work by following her blog or Facebook page.
Hush is a project that maps the various stories of a group of Palestinian women, each of whom-for one reason or another-became a victim of gender-based violence and was consequently placed in a shelter or a so-called safe house.
The project has the clear objective of using the photographic medium in an attempt to portray the distorted image people have of gender-based violence and its victims. The final outcome of the project clearly denounces the violence and harsh circumstances these women have to live in and creates a platform for the victims to make their voices heard.
“He used to undress me, tie a rope around my neck and then rape me. It became harder every time, as I knew what was to come. I could feel the burn and pain between my legs before he would rape me. I hate my brother.”
Abeer might have escaped her violent and abusive brother after long years of suffering, but an even harsher reality was yet to come. As she marks her fifth year at the Women’s Shelter in Palestine, Abeer is subject to yet more abuse, this time from society. “People talk badly about the shelter. They spread rumours claiming that there are prostitutes inside. Sometimes they even don’t hesitate to call it a whorehouse.” Abeer cannot leave the shelter. She is still at risk of her brother seeking revenge and carrying out a so-called honour killing. Marriage could be a way out of the shelter for her, but even that will prove a struggle as very few men want to marry a woman who is not a virgin, especially if she is a shelter girl.
Abeer’s situation worsens with the Israeli Occupation, as travel restrictions are imposed on Palestinians by Israel, reducing her chances of seeking shelter abroad. Gender-based violence remains a taboo in Palestinian society as most of the attention is given to political and military issues while little time and energy are left for what they dismiss as mere domestic disputes.
Through this project, victims like Abeer are calling out to help raise awareness and present this problem to the public. At no point does the project intend to present them and their stories as cultural dupes. It intends to reflect their everyday life, convey their concerns, the way in which their options have been limited by systemic power and the strategies they themselves have developed to deal with their situations.