Issue 29 Articles
Magazine: Issue 29
Spotlight: The Paperworks
The Paperworks Halfway between Borough and Elephant and Castle is a new venue, The Paperworks. It is in the open air. Green. Fresh. Vibrant. Diverse. Combining everything joyous sandwiched between two buildings on a long narrow plot that used to house a paper factory.
CØPPERFIELD The Copperfield Gallery opens its solo show of Eric Van Hove this month, presenting his ‘V12-Laraki’ – a replica engine to the Mercedes-Benz V12, hand-crafted by 42 Moroccan artisans using 53 materials as diverse as bone, tin, terracotta and goat-skin. The piece was celebrated by many as a centre piece to the 2014 Marrakesh Biennale; its aura exudes an eclecticism of human production from rigorous industrial and Western engineering, to the archaic elegance of Moroccan craftsmanship and heritage. The engine has been dismantled and excavated by both artist and curator Will Lunn, presented to us in all its scrupulous beauty, leaving us able to explore the meticulous detail and craft to which Eric and his atelier have laboured. CM: How did you first come into contact with Eric’s work and how did the idea of this exhibition materialise? Will Lunn: I found Eric's work at the Marrakech Biennale. It was the absolute stand out from the entire program for me and on visiting the amazing studio and meeting all of the people involved I was certain I wanted to support the project. Morocco, Moroccan craftsmanship and the social situation there has fascinated me for many years, but while I have a personal interest I think this project is important on a more global level. It speaks to a number of problems and decisions facing us as a global society and at a smaller communal level in different guises.
Spotlight No 2: Sigrid Holmwood
Sigrid Holmwood Spotlight The exhibition comes as a result of a research residency Sigrid Holmwood undertook at Hallands Art Museum, in Halmstad, Sweden, working in response to their collection of peasant paintings. These peasant paintings are particular to the region of Halland and Småland in South West Sweden, and are believed to originate in church painting and the mediaeval tradition of painted wall hangings which was once widespread in Sweden. Between 1750 - 1850 this practice underwent a great revival and development among the peasant farmers in South West Sweden. Many named and unnamed, men and women, painted these large canvases in egg tempera. They were designed to fit exactly the walls of the typical local peasant cabin and were used for special occasions such as Christmas and weddings. The biblical scenes were painted alongside everyday scenes of peasant life revealing their particular interpretation of these stories, and their relationship to the land and their animals. The nativity is shown to be a story about the fertility of humans, animals and the earth, and the farm animals are as much protagonists in the story as the humans. Several schools and styles associated with various villages developed and some painters gained particular respect and fame in their communities. Above all, this rich culture of peasant painting challenges the dominant idea of painting as a bourgeois phenomenon, and that anything outwith should be considered singular instances of ‘outsider’ art. In this exhibition, Sigrid Holmwood presents them as an alternative art history.