Art News – Art Plugged https://artplugged.co.uk Contemporary Art Platform, Fine Art, Visual Ideas | Art Community Tue, 05 Nov 2024 15:33:40 +0000 en-US hourly 1 https://artplugged.co.uk/wp-content/uploads/2020/04/cropped-art-plugged-favicon-32x32.png Art News – Art Plugged https://artplugged.co.uk 32 32 Lakwena Designs the Poster for the 59th Montreux Jazz Festival https://artplugged.co.uk/lakwena-designs-poster-59th-montreux-jazz-festival/ Tue, 05 Nov 2024 10:00:00 +0000 https://artplugged.co.uk/?p=63551 Montreux Jazz Festival today reveals that artist Lakwena has designed the festival poster for its 59th edition, taking place from 4 July – 20 July 2025. This typographic work quotes the song lyrics of “Stars,” performed by Nina Simone during a legendary show in Montreux in 1976 – and sees Lakwena join a prestigious list of poster creators including Keith Haring, Andy Warhol, David Bowie, Tomi Ungerer and Camille Walala.

A profusion of kaleidoscopic colours, hypnotic shapes, and an eye-catching message in bold capital letters: Lakwena’s work immediately grabs attention. With text as the central element of her visual, London-based Lakwena, who is from British and Ugandan heritage, signs the first typographic poster in the festival’s history. The work revolves around five words – ALL YOU SEE IS GLORY – a short, impactful message open to various interpretations.

Lakwena Designs the Poster for the 59th Montreux Jazz Festival
Lakwena’s Poster for the 59th Montreux Jazz Festival

This phrase is taken from the lyrics of the song “Stars,” composed by Janis Ian in 1974 and performed by Nina Simone at Montreux in 1976. During her research on the Festival, Lakwena was immediately captivated by Simone. This emotionally charged performance – where Simone famously ordered a woman to sit down – is one of the most iconic moments of her career, and also featured in the documentary What Happened, Miss Simone?

Nina Simone – Stars (at Montreux Festival 1976)

I was researching the Festival and I found out about Nina Simone’s 1976 performance. It’s so incredible, so moving, the intimacy, it felt really raw, very real.

Lakwena

“The word ‘GLORY’ reflects the legacy of the Festival, its legendary concerts, and the beauty of the lake and mountains. But this message can also be interpreted in different ways. There’s a certain melancholy too, as the song “Stars” is mainly about the fleeting nature of fame. I think it’s a really grounding concept and a nice contrast to our culture’s obsession with fame. Glory can be passing, fleeting and brief, but it is beautiful.”

Montreux Jazz Festival: A Tradition of Creative Freedom Since 1967

Since 1967, the Festival has given Swiss and international artists full creative freedom to design its official poster. In 1982, Jean Tinguely left an indelible mark that became the Festival’s recognizable logo. Keith Haring designed three versions in 1983, then collaborated with Andy Warhol in 1986. David Bowie took part in 1995, followed more recently by Yoann Lemoine (Woodkid), Malika Favre, Christian Marclay, Tomi Ungerer, JR, and Rylsee.

Lakwena Designs the Poster for the 59th Montreux Jazz Festival
Lakwena
Portrait Danika Magdalena

About Lakwena

A London-based artist of British and Ugandan descent, Lakwena is known for her use of vibrant colors and powerful texts, creating a world that is both optimistic and subtly subversive. Her paintings, installations, and murals draw inspiration from shared daily experiences and popular culture, including music, fashion, and basketball.

With messages of hope, Lakwena explores a utopian vision imbued with freedom, through a self-taught and instinctive approach. Her works have been exhibited worldwide in cities such as London, Paris and New York, aswell as in prestigious institutions like the Tate Modern, Southbank Centre in London, and Yorkshire Sculpture Park, and she has collaborated with The BRITs, Fiorucci and MINI.

©2024 Montreux Jazz Festival

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Royal College of Art (RCA) Alumni Opens ‘Imagined Realities’ at FRAMELESS https://artplugged.co.uk/royal-college-of-art-rca-alumni-opens-imagined-realities-frameless/ Mon, 04 Nov 2024 17:32:36 +0000 https://artplugged.co.uk/?p=64448 FRAMELESS has selected a collective of Royal College of Art (RCA) alumni, and their new show Imagined Realities as its latest residency. The three-part audio-visual immersive art experience explores how we confront and navigate complex emotions.

The new immersive show navigates the interplay between imagination and reality, from ancient worlds to modern times, unravelling how storytelling and wonder can help make sense of inner narratives – from joy and sorrow to greed and hope – in order to better understand the world around us.

Royal College of Art (RCA) Alumni Opens 'Imagined Realities' at FRAMELESS
Janmajay Singh ‘Roots to the Universe’

Artists Riya Mahajan and Ruby Bell’s Moody Monsters artwork began as a workshop with 12-14 year-olds from Kensington Aldridge Academy, where young people crafted clay monsters to reflect different emotions. From the joy of first friendships to their initial encounters with anxiety, by harnessing digital technology, they are brought to life in an immersive playground of imagination.

The new 3-month residency, starting on 25th October at 1pm, comes as part of an ongoing partnership between FRAMELESS and the Royal College of Art’s Digital Direction MA programme, with the shared goal of platforming emerging talent in the world of digital and immersive art.

Riya Mahajan said, “By personifying feelings and bringing them to life through art, we can help young people nurture positive relationships with their friends, families, and even their own thoughts. Bringing emotions to life encourages children to connect with their feelings, highlighting the importance of making art appealing to kids by offering them an engaging connection to imagined worlds, all while helping them confront their own realities.”

Royal College of Art (RCA) Alumni Opens 'Imagined Realities' at FRAMELESS
Vivian Li ‘From the Ground Lost in Synthetic’

Vivian Li’s chapter, ‘From the Ground / Lost in Synthetic’, takes visitors on a journey through a mythological world, blending traditional narratives with hyper modern content. The re-imagining of the ‘Legend of the White Snake’: a Chinese myth of a white snake looking for the magic reishi mushroom (the mushroom of immortality), invites audiences to embark on a magical journey through the shared challenges that can be observed throughout history and mythology that remain relevant to the modern-day human experience.

Imagined Realities builds on the success of FRAMELESS’ Let’s Talk About Art campaign, inviting children to critically engage with the artworks featured within the galleries. During half term visitors will be able to review the artworks in the galleries to be in with a chance to win a seat at the FRAMELESS Creative Table, as well as a lifetime membership to FRAMELESS.

Royal College of Art (RCA) Alumni Opens 'Imagined Realities' at FRAMELESS
Riya Mahajan & Ruby Bell ‘Moody Monsters’

Access to Imagined Realities will be part of any standard ticket to FRAMELESS, meaning visitors to the show will also have access to the full FRAMELESS experience, embarking on an emotionally charged journey, experiencing 42 immersive artworks from some of the world’s most revered artists including Hokusai and Van Gogh, which have been reimagined in collaboration with BAFTA award-winning VFX studio and FRAMELESS’ Official Production Partner Cinesite, whose previous work includes the Harry Potter and James Bond films.

‘Imagined Realities’ at FRAMELESS is open from:
  • Monday to Friday: 11:00 am – 5:30 pm
  • Saturday to Sunday: 10:00 am – 6:00 pm
    (last entry at 4:00 pm)
  • Frameless Lates (18+ only) is open from:
  • Friday to Saturday: 6:00 pm – 10:00 pm

©2024 FRAMELESS

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M&C Saatchi Group and Saatchi Gallery announce the six regional winners of their annual Art for Change Prize https://artplugged.co.uk/mc-saatchi-group-saatchi-gallery-annual-art-for-change-prize-winners/ Mon, 04 Nov 2024 11:41:27 +0000 https://artplugged.co.uk/?p=64393 M&C Saatchi Group, the global creative solutions company, and London’s renowned Saatchi Gallery have revealed the six global winners of their Art for Change Prize, an international art initiative that attracted a record-breaking number of entries this year.

The 2024 Art for Change Prize challenged emerging artists worldwide to tackle some of the world’s most pressing issues through the theme ‘Tomorrow’ing: Visions of a Better Future.’ With a grand prize of £10,000, the competition offers a platform for artists to envision solutions for a brighter tomorrow and showcase their work at Saatchi Gallery.

M&C Saatchi Group and Saatchi Gallery announce the six regional winners of their annual Art for Change Prize
Y si le pongo estrellas © Paola Boyance

This year saw a 56% increase in entries, with 4,667 submissions from 140 countries, and over 53% coming from developing nations across Latin America, Africa, Asia, and Oceania. The six selected winners, representing Mexico, Hong Kong, Australia, Spain, Morocco, and the UK, will present works that explore critical issues such as humanity’s relationship with the Earth, the impact of industry on sustainability, and the hopes and fears for future generations.

M&C Saatchi Group and Saatchi Gallery announce the six regional winners of their annual Art for Change Prize
Gossan. Wilyakali Country © Jo Mellor

The winning artworks span a variety of media including painting, photography, video, and mixed-media installations. Through their art, the winners highlight urgent global issues, offering creative solutions and raising awareness about the challenges of our times.

2024 Art for Change Prize Regional Winners:

  • Americas: Paola Boyance (Mexico)
  • Asia: Wincy Kung (Hong Kong)
  • Australia & New Zealand: Jo Mellor (Australia)
  • Europe: Ana Monsó (Spain)
  • Middle East & Africa: Hiba Baddou (Morocco)
  • UK: Lulu Harrison (UK)

Each winner will receive £2,000, and one overall winner—set to be announced at the exhibition launch on 28 November—will take home an additional £8,000.

M&C Saatchi Group and Saatchi Gallery announce the six regional winners of their annual Art for Change Prize
Thames Glass Carafe © Lulu Harrison

Paul Foster, Saatchi Gallery Director, adds: “Congratulations to the regional winners. They’ve shown us again, how artists can rise to the challenge of addressing contemporary events and issues in a creative way. We’re looking forward to an exhibition of diverse winning works later this year that should prove inspirational for all visitors.”

The winners were selected by a distinguished panel of business and creative leaders from M&C Saatchi Group, along with esteemed guest judges from the arts and creative sectors.

The winners’ work will be exhibited at the Saatchi Gallery from 29 November 2024.

©2024 M&C Saatchi Group, Saatchi Gallery

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Art on a Postcard Announces its 10th Anniversary Fundraising Auction https://artplugged.co.uk/art-on-a-postcard-announces-its-10th-anniversary-fundraising-auction/ Wed, 30 Oct 2024 10:40:30 +0000 https://artplugged.co.uk/?p=64079 This November Art on a Postcard celebrates a decade of innovative fundraising with its 10th anniversary auction. From highly collectible Royal Academicians to the most exciting emerging names in contemporary art, this auction marks Art on a Postcard’s largest fundraising project yet featuring 237 participating artists. The global online auction runs via Art on a Postcard from 5 – 19 November 2024 with a private view on 12 November at Gathering London.

Since 2014, Art on a Postcard has raised more than £2 million for The Hepatitis C Trust through support from immovable art icons like Damien Hirst, Marina Abramović, Peter Blake RA, Grayson Perry RA, Chantal Joffe RA, Paula Rego, Andrew Cranston, Lubaina Himid, Michael Craig-Martin, Hurvin Anderson and Claudette Johnson among many others in the charity’s signature postcard auctions, which are also considered an unmissable opportunity for spotting new talent as well as acquiring mini-masterpieces by world famous, sought-after names.

Art on a Postcard Announces its 10th Anniversary Fundraising Auction
Gemma Peppé Art on a Postcard founder

“Over the last ten years, Art on a Postcard has become a thriving community. We have dedicated collectors who participate in every auction and passionate artists who contribute each year. Our postcard-sized art has found homes worldwide, remaining affordable even in today’s economic climate. With well-researched auctions and collaborations with respected curators, you can always expect to acquire exceptional quality and significant artwork.” – Gemma Peppé

2024 marks 10 years since Gemma Peppé founded Art on a Postcard to raise funds for the Hepatitis C Trust in response to her own decades-long battle with hepatitis C, at a time when there was little information, support or research available.Both she and her son, infected at birth, would eventually receive life-saving treatment years later fuelling her desire to raise awareness and support others affected by the virus. After hepatitis C testing became available, Gemma led the Trust’s Get Tested campaign.

Art on a Postcard Announces its 10th Anniversary Fundraising Auction
Damien Cifelli: Im Afraid, Thats All We’ve Got Time For

Art on a Postcard’s 10th anniversary auction comes at a time when the Hepatitis C Trust is on the cusp of delivering its lifechanging goal of eliminating Hepatitis C by 2030.

The Tenth Anniversary Auction features the provocative Wynnie Mynerva, whose work challenges societal norms around gender and desire and Florine Démosthène, an internationally celebrated artist exploring identity and culture.

The auction also features acclaimed names like Charming Baker, recognised for his darkly humorous, classically inspired works, and Chris Levine, a pioneer of light art, best known for his iconic portraits of HM Queen Elizabeth II.Also contributing is Antony Micallef, known for his powerful expressionist paintings that blur the line between painting and sculpture, Emma Cousin, whocontributes her surreal, vibrant explorations of human experience, while Mali Morris RA offers her luminous abstract pieces that play with complex colour relationships.

Further notable contributors include Stephen Chambers RA, whose patterned, geometric works have been exhibited at the Venice Biennale, and Oona Grimes RA, whose multidisciplinary approach spans drawing, ceramics, and film. Katherine Jones RA, brings her meditative works that blend printmaking and painting, and Mick Rooney RA, his narrative-driven compositions that frequently draw on myth and history. Nathalie Du Pasquier, founding member of the Memphis Group, contributes vibrant experimental pieces that blur the boundaries between painting and object.

Helen Beard adds a fresh perspective with her vivid, textural depictions of intimacy, while David Harrison presents his fantastical and surreal interpretations of the natural world and Roland Hicks brings his meticulous paintings that hover between abstraction and realism.

Art on a Postcard Announces its 10th Anniversary Fundraising Auction
Artist featured in
Art on a Postcard 10th Anniversary Fundraising Auction

Bobbie Russon’s contemplative figurative works and Ryan Mosley’s narrative pieces with rich historical references will also be showcased, alongside Emma Richardson’s oil paintings which investigate themes of female desire and transcendence, while Clayton Schiff’s haunting figures offer a quiet reflection on human nature. Plus artist Jessie Stevenson, whose expansive landscapes have recently shown at Berntson Bhattacharjee, and recent RCA graduate Alexis Soul Gray

In addition, bidders can look forward to Hayden Kays Pop Art sensibilities, Charlotte Keates compositions inspired by modernist architecture and natural environments, Nana Wolke’s film-like analysis of actual and artificial realities, Adrian Dica’s mixed media works which juxtapose industrial ruins with unexpected elements, and John Stark’s evocative landscapes blending the spiritual and material worlds.

Anne Rothenstein’s delicate, layered oil paintings invite emotional reflection, and Alyson Helyer’s surreal portraits delve into the complexities of human identity. Klodin Erb presents her expressive explorations of gender and identity, while Anna Rock’s fragmented, pattern-rich compositions blur the lines between memory and reality, and Atticus Gordon explores the processes of meaning-making in painting.

Curators of the November auction include longtime Art on a Postcard supporter and Soho Revue founder India Rose James, Jealous Gallery founder Dario Illari, artist and founder of The Bomb Factory Pallas Citroen, The Auction Collective founder Tom Best, Benjamin Murphy and Nick J Smith of Delphian Gallery, and Art on a Postcard founder Gemma Peppé.

The Hepatitis C Trust was started as a small patient organisation. Today, their increasingly ambitious work has evolved to reach over 300,000 people considered “hard to reach” by the NHS with peer-to-peer programmes and help over 15,000 people into treatment. The Trust now expands this model to reach those other complex health needs, including cancer and heart disease, bringing much-needed healthcare to some of the UK’s most excluded populations. This auction will empower the trust to expand its lifesaving work.

Art on a Postcard Announces its 10th Anniversary Fundraising Auction
Tang Shuo, Busy Farming Season

As Art on a Postcard enters its second decade, the award-winning charity continues to harness the power of art to drive meaningful change. Established in 2014, and intended to be a one-off secret auction, Art on a Postcard has become one of British art’s most celebrated fundraisers and curators, hosting events in partnership with Photo London, Art Car Boot Fair and The Other Art Fair. Art on a Postcard recently curated the annual Sound & Vision fundraising auction for War Child.

Art on a Postcard auction runs from the 5th November, 2024 until 19th November, 2024

©2024 Art on a Postcard

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Chris Levine Unveils New Sun-Tracking Installation at Egypt’s Great Pyramids https://artplugged.co.uk/chris-levine-unveils-new-sun-tracking-installation-at-egypts-great-pyramids/ https://artplugged.co.uk/chris-levine-unveils-new-sun-tracking-installation-at-egypts-great-pyramids/#comments Mon, 28 Oct 2024 21:48:01 +0000 https://artplugged.co.uk/?p=63997 Acclaimed British artist Chris Levine has created an immersive artwork at Egypt‘s sacred Giza pyramid complex to encourage viewers to connect with the ancientarchaeological site by reaching a state of stillness.

Renowned for his portraits of the late Queen and exploration of light to heighten awareness and perception, Levine’s latest installation at Art D’Egypte‘s Forever Is Now exhibition from now until 16 November, sees him working with the medium of sunlight for the first time.

Titled Quadrivium – the ancient study of arithmetic, geometry, astronomy and Pythagoreans believed sound, which the to be essential for understanding the laws of the universe – the 4m-high tensile sculpture at the famous site outside Cairo, tracks the sun’s movements and is, like the Great Pyramid, aligned true north.

Chris Levine Unveils New Sun-Tracking Installation at Egypt's Great Pyramids
Quadrivium
Image courtesy of the artist

Levine integrated sunlight into the structure, drawing on the intriguing connection between the Great Pyramid’s latitude (29.9792458°N) and the speed of light (299,792,458 m/s). This, among other coincidences, has fueled beliefs that the Ancient Egyptians were spiritually in tune with the universe. Notable observations include how the Great Pyramid’s 6-million-tonne mass, multiplied by 100,000,000, equals the overall mass of the Earth, and the layout of Giza’s three pyramids aligns with the relative separation of Orion’s Belt stars.

Levine’s Quadrivium design, described as “a circuit powered by Divine intervention,” is based on astronomical numbers, ratios, and geometry inspired by the Great Pyramid’s mathematical connection to the cosmos. Each element echoes the pyramid’s dimensions and angles. For instance, the two dichroic glass discs and one copper disc, connected by a steel pole, are proportionally sized according to the Earth and Moon’s diameters—highlighting the pyramid’s alignment with the triangle formed by the Earth’s diameter and the distance to the Moon’s center.

Quadrivium
Image courtesy of the artist

As sunlight moves across the reflective discs, the rays refract, creating an oval-shaped shadow on the ground and a square-shaped base made from the same locally-sourced granite used in the pyramids. At a specific point during the year, shadows will completely cover the base, potentially solving the ancient geometric riddle of ‘Squaring the Circle,’ according to Levine.

Additional elements of the structure include a crystal sphere made from crystallized water, representing ancient waterways beneath the Pyramid, and a conductive copper coil symbolizing energy flow and serving as an antenna for electrical forces.

Levine has incorporated two healing frequencies from the ancient Solfeggio scale—528 Hz and 432 Hz—often used in meditation, healing, and manifestation. These were showcased during the opening night on October 26. Overall, Levine hopes that visitors exploring the immersive installation will find a place of stillness and connect with the Great Pyramid’s invisible energy.

Chris Levine explains, “We are electrical beings; light is a magnetic, electromagnetic force, and around the Earth is a grid circuit of electric energy. Megalithic structures like the pyramids tap into that, and certain stones—granite in particular—can manipulate the flux of the electrical field.

“Most of us are numb to this ancient wisdom, but your attention can be drawn to the invisible power of the site—its energy, its alignment with ley lines, sun cycles, and cosmic cycles. It evokes a sense of awe that brings you to the present moment.

Quadrivium
Image courtesy of the artist

“The Ancient Egyptians lived through their third eye, which connected the physical and spiritual worlds, allowing them to tap into Earth’s energy. In our modern world, this is beyond most of our understanding because our bandwidth of perception is quite limited. We’re so distracted by what we can feel and touch and disconnected from our hearts, only dealing with what’s in the here and now.

“Through my work, I try to connect with a more divine realm beyond the distractions of modern life, enabling people to connect with something much bigger, even just for a moment. This work resonates harmoniously with the Great Pyramid, helping people tune into something beyond our understanding. You don’t have to comprehend the Great Pyramid’s calculations; you just have to feel it.

“You’re not thinking about what someone might have said to you or a problem at work. It welcomes you into a meditative zone, cultivating positivity, optimism, and harmony. If I can help a viewer achieve that, even briefly, then my work is fulfilling its purpose.”

Quadrivium is the first installment of a new chapter in Levine’s work, titled The Divine Intelligence of the Sun, centering on the Egyptian pyramids. Levine first encountered them 15 years ago during a visit to Cairo, where he was staging a laser performance for a fashion show at the British Embassy. During a pre-sunrise visit to the sacred site, Levine and his sound engineer, Marco Perri, spent 15 minutes alone in silence in the King’s Chamber—an experience that fully opened his eyes to the pyramids’ mystical power.

Levine recalls, “When Marco returned to London and played an audio recording he made in the chamber, there was the distinctive sound of a dog barking. The Egyptian god Anubis is represented by a jackal and is said to protect tombs and the souls of the dead. Just recalling that moment gives me goosebumps. Experiencing something so spiritual drew me closer to the pyramids, and I knew one day I’d return to work with them, which I now genuinely feel I’ve been called to do.

“The Art D’Egypt Forever Is Now exhibition is my marker in the sand, an appetizer ahead of something bigger. My work in Egypt feels truly exciting.”

©2024 Chris Levine

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Unseen But Not Forgotten: Artist Sarah Bracken Soper’s New Mural Exposes Family Homelessness in Dublin https://artplugged.co.uk/unseen-but-not-forgotten-artist-sarah-bracken-sopers-new-mural-exposes-family-homelessness-in-dublin/ Mon, 28 Oct 2024 15:51:55 +0000 https://artplugged.co.uk/?p=63921 In Dublin’s Temple Bar, a new mural has emerged, confronting the stark reality of family homelessness in Ireland. Created by street artist and activist Sarah Bracken Soper, the piece marks a collaboration with Focus Ireland, aimed at highlighting the charity’s ongoing work and fundraising efforts to address a crisis that has remained largely invisible.

Soper’s work consistently engages with pressing social, cultural, and environmental issues, and this mural is no exception. The piece is a deeply resonant portrayal of family homelessness as an overlooked struggle.

Unseen But Not Forgotten: Artist Sarah Bracken Soper’s New Mural Exposes Family Homelessness in Dublin
Sarah Bracken Soper’s Unseen But Not Forgotten Mural at Temple Bar

Central to the mural are two women in an embrace—one rendered clearly while the other lingers as a shadow. This composition speaks to the duality of visibility: the visible figure embodies the compassion and support of the public, while the shadowed woman stands in for the countless mothers living through hidden homelessness, their plight often ignored. The mural was unveiled alongside a major ‘sleepout’ event, bringing renewed urgency to the conversation around homelessness.

The statistics are sobering. Currently, 2,099 families are experiencing homelessness in Ireland, including 4,419 children, with many confined to emergency accommodations offering little more than a single room. This reality chips away at any sense of stability, especially for children who are left without a place to truly call home.

Unseen But Not Forgotten: Artist Sarah Bracken Soper’s New Mural Exposes Family Homelessness in Dublin
street artist and activist Sarah Bracken Soper

Reflecting on her motivations, Soper explained, “Art has a unique power to deepen our understanding of the world and can act as a catalyst for change. My hope is that this piece can offer even a small comfort to those facing homelessness today, showing them there are people who care and are ready to take action.”

The Brill Building ECD Roisin Keown spoke about the ambition for the activation: “It was important for us that this mural could be something that would just appear overnight to gain maximum attention for this important issue. We want to encourage Ireland to quite literally wake up to the rising crisis in our society that is only growing in scale and the damage it is doing every day. The ambition to have a mural at this scale installed in just a few hours needed an incredible team to work through the night and we were so fortunate that as day dawned a beautiful golden sunrise helped emphasise the beauty of Sarah’s creation that we all want to be a beacon of hope for those in homelessness.”

Unseen But Not Forgotten: Artist Sarah Bracken Soper’s New Mural Exposes Family Homelessness in Dublin
Unseen But Not Forgotten

This installation marks Temple Bar’s first mural tackling a specific social issue since Maser’s powerful ‘Repeal’ heart, which became a defining symbol during Ireland’s 2018 referendum on abortion rights. The new mural is part of Focus Ireland’s Shine A Light campaign, supported by Bord Gáis Energy. A dedicated team from The Brill Building brought the project to life, including photographer Johnny Savage, creative lead Peter Snodden, and project lead Eleanor McCarthy, with key contributions from campaign creatives John McMahon, Laurence O’Byrne, Shane O’Riordan, and Gayle Briody. Filmmakers Luke Sweetman and David Christopher Lynch captured the journey of its creation.

For those curious about the process behind the artwork, a film documenting the making of the mural can be viewed here.

©2024 Sarah Bracken Soper

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Nicolas Poussin’s Vénus Épiée par Deux Satyres Heads to Auction https://artplugged.co.uk/nicolas-poussins-venus-epiee-par-deux-satyres-heads-to-auction/ Tue, 22 Oct 2024 14:43:36 +0000 https://artplugged.co.uk/?p=63648 SALE: TABLEAUX ANCIENS
Tuesday 26 November 2024 at 2 PM
Hôtel Drouot – Salle 6
9, rue Drouot
75009, Paris

On 26 November 2024, the French auction house of Ader, with the assistance of Cabinet Turquin, will be selling an early painting by Nicolas Poussin, Vénus Épiée par Deux Satyres (Venus Spied Upon by Two Satyrs). Estimated between €800,000 and €1,000,000, this large canvas measuring 70 x 95.5 cm, with its erotic subject matter, is completely different from the more classical works that one expects of Nicolas Poussin. The works of this artist are exceedingly rare on the art market, and this work, only recently rediscovered, is being sold in Paris at Hôtel Drouot.

Nicolas Poussin’s Vénus Épiée par Deux Satyres Heads to Auction
Nicolas POUSSIN (1594-1665)
Vénus épiée par deux satyres Toile
Hauteur : 70 cm
Largeur : 95,5 cm
800 000 / 1 000 000 €

One simply doesn’t find paintings by Poussin from this period, with this theme
and of these dimensions on the market.

French auctioneer David Nordmann

This work, published by the historian Tancred Borenius in 1933, was once in the collection of Paul Jamot, chief curator of the Musée du Louvre and a specialist in Poussin, until its sale in 1943. Held in private collections since that date, this Venus Épiée par Deux Satyres was known only through a black-and-white photograph.

Nicolas Poussin’s Vénus Épiée par Deux Satyres Heads to Auction
Nicolas Poussin (1594-1665),
Vénus épiée par deux satyres, vers 1626,
huile sur toile, Kunsthaus, Zurich.

Based on this photograph, the painting was rejected by Anthony Blunt in the 1960s but was later cited by Jacques Thuillier as possibly being by Poussin. It was in 2017, with the publication of an article by Nicolas Milovanovic and Mickaël Szanto, as well as a meticulous restoration, that definitively placed this painting within the early oeuvres of Nicolas Poussin, among numerous canvases of similar subject matter dating from 1625-1627.

This rediscovery culminated in last year’s exhibition at the Musée des Beaux Arts in Lyon, Poussin et l’Amour, in which our painting featured prominently between the equally erotic Venuses from the Kunsthaus in Zurich and the National Gallery in London.

Nicolas Poussin’s Vénus Épiée par Deux Satyres Heads to Auction
Nicolas Poussin (1594-1665),
Vénus épiée par deux satyres, vers 1626
The National Gallery, Londres.

The three paintings, which are very similar, all date from the years 1625-1626.
The painting will be included in Pierre Rosenberg’s forthcoming Poussin catalogue raisonné.

An Early Work by Nicolas Poussin

Nicolas Poussin arrived in Rome in 1624. Influenced by Titian and Carracci, he liked to paint mythological scenes of amorous encounters. The very subtle colours and the delicate brushstroke of the present painting, as well as the importance of light, used to define the position of each figure within the composition, are characteristic of the works of Poussin in the years 1625 to 1627.

Nicolas Poussin’s Vénus Épiée par Deux Satyres Heads to Auction
Nicolas POUSSIN (1594-1665)
Vénus épiée par deux satyres Toile (detail)
Hauteur : 70 cm
Largeur : 95,5 cm
800 000 / 1 000 000 €

Our painting, with its highly pictorial approach, can therefore be dated to around 1626. Having passed through Venice before settling in Rome, Poussin took up the theme of the nymph sleeping in the woods surprised by satyrs which was omnipresent in Venetian 16th century painting.

The rosy complexion of the goddess, contrasting with the rough and lustful faces of the satyrs confers a vivid sensuality to the painting. Poussin’s licentious imagery later disappeared, giving way to more classical subjects.

Nicolas Poussin’s Vénus Épiée par Deux Satyres Heads to Auction
Nicolas POUSSIN (1594-1665)
Vénus épiée par deux satyres Toile (detail)
Hauteur : 70 cm
Largeur : 95,5 cm
800 000 / 1 000 000 €

A New Light Is Shed on an Aspect of Poussin’s Work

From the 18th century onwards, the erotic dimension and underlying violence in this scene of voyeurism were simply too blatant for the painting to be attributed to Nicolas Poussin. ‘We couldn’t imagine that Poussin would have painted a subject like this in 1626,’ says expert Eric Turquin.

The evolution in the way Poussin’s work is viewed, and the reconsideration of art historians, have led to this work being restored to its rightful place, making this Venus an essential milestone between the Venetian eroticism of the 16th century and the renaissance of eroticism in French painting in the 18th. The years 1620–1630 were a pivotal period during which Poussin enjoyed painting erotica before becoming one of the masters of classicism.

‘The pictorial quality, the freedom of the brushstroke, the subtle tonality that envelops the body of the goddess, the rendering of the volume of the satyrs’ flesh through the singular use of the reserve allow it to be included without question among the French master’s works produced around 1626.’
— Mickaël Szanto (exhibition catalog Poussin et l’Amour)

Nicolas Poussin’s Vénus Épiée par Deux Satyres opens at Auction on the 26th of November, 2024 at Ader

©2024 Ader

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Artsy Announces The Artsy Vanguard 2025 https://artplugged.co.uk/artsy-announces-the-artsy-vanguard-2025/ Mon, 21 Oct 2024 21:55:25 +0000 https://artplugged.co.uk/?p=63555 Artsy, the world’s largest online platform for discovering and collecting art, is pleased to unveil its 2025 edition of The Artsy Vanguard, an annual feature on the most promising artists working today.

This year it will focus on 10 early-career artists gaining international traction, who were selected based on their original work, growing influence among galleries and institutions, insightful Artsy data—such as follows and commercial interest on Artsy—as well as interest from private collectors, in addition to other factors.

Artsy Announces The Artsy Vanguard 2025
Taylor Simmons, Up First, 2024. Courtesy of
the artist and Public Gallery, London

The Artsy Vanguard 2025 includes: Agnes Waruguru (b. 1994, Nairobi, Kenya), Chris Oh (b. 1982, Portland, USA), Emily Kraus (b. 1995, New York, USA), Hettie Inniss (b. 1999, London, UK), Holly Hendry (b. 1990, London, UK), Laís Amaral (b. 1993, Rio de Janeiro, Brazil), Melissa Joseph (b. 1980, Pennsylvania, USA), Moka Lee (b. 1996, Incheon, South Korea), Taylor Simmons (b. 1990, Atlanta, USA), and Xin Liu (b. 1991, Xinjiang, China).

Artsy Announces The Artsy Vanguard 2025
Emily Kraus, Agon (ambidextral), 2024. Photo
by Ollie Hammick. Courtesy of the artist and
The Sunday Painter.

Commenting on the much-anticipated Artsy Vanguard 2025, Artsy’s Director of Content, Editor-in-Chief, and Curator-at-Large, Casey Lesser, who was responsible for selecting the artists and conceptualizing the feature—now in its seventh year—said: “Artsy’s 2025 Vanguard includes a diverse and talented group of contemporary artists, spanning geographies, generations, artistic practices, and messages. Each year, The Artsy Vanguard attracts huge interest among collectors, and we look forward to shining a much-deserved spotlight on these standout artists, each of whom we’re honored to celebrate.”

Artsy Announces The Artsy Vanguard 2025
Moka Lee, Ego Function Error 04
자아 기능
오류 04, 2023.
Courtesy of the artist and Jason Haam.

Every year, the Vanguard selection is made by Artsy’s Editorial and Curatorial teams, which handpick the 10 decisive rising stars of the art world based on their expertise and an open call to galleries; the 2025 edition resulted in more than 500 nominations.

The criteria for this year’s nominees included: recent or upcoming solo exhibitions at esteemed galleries; and/or participation in group exhibitions at major institutions and biennials. The team also thoughtfully reviewed the candidates’ recent artistic output, CVs, and websites, as well as their Instagram accounts, paired with insightful Artsy data.

Artworks by all 10 selected artists will be featured on a digital billboard in New York City’s Times Square for two weeks (until November 3). Additionally, each artist will be profiled on Artsy Editorial, and available works will be featured on Artsy by their representing galleries. Past Artsy Vanguard lists included notable names who are now some of today’s leading artists.

Artsy Announces The Artsy Vanguard 2025
Xin Liu, installation view of “Self Devourer” at
Make Room, Los Angeles, 2023. Photo by
Christopher Wormald.
Courtesy of the artist and Make Room, Los Angeles

Many have gone on to show with some of the biggest galleries in the world—for example, within the past three months, Li Hei Di (Vanguard 2023–24) gained representation with Pace Gallery; Sasha Gordon (Vanguard 2022) gained representation with David Zwirner; and Michaela Yearwood-Dan (Vanguard 2022) gained representation with Hauser & Wirth.

Many Vanguard artists have also gone on to receive mainstream recognition, as seen in the recent 2024 TIME100 Next list, which featured three Vanguard artists: Sable Elyse Smith (Vanguard 2018), Lawrence Abu Hamdan (Vanguard 2019), and Jadé Fadojutimi (Vanguard 2020).

View the full feature of The Artsy Vanguard 2025 Edition here

©2025 Artsy

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Takashi Murakami in Conversation at Japan Cultural Expo 2.0 https://artplugged.co.uk/takashi-murakami-in-conversation-at-japan-cultural-expo-2-0/ Mon, 14 Oct 2024 12:46:18 +0000 https://artplugged.co.uk/?p=63337 Japan Cultural Expo 2.0 is delighted to announce that world-renowned contemporary artist Takashi Murakami will be speaking at the Victoria and Albert Museum, South Kensington on 8th December 2024, in his first public event in the UK since 2018.

The talk forms part of Japan Cultural Expo 2.0, an initiative of the government of Japan to promote Japanese arts and culture around the world. The event will be hosted by and organised in association with the Victoria and Albert Museum, the world’s leading museum for art, design and performance with collections unrivalled in their scope and diversity, spanning 5000 years of human creativity.

Takashi Murakami in Conversation at Japan Cultural Expo 2.0
Takashi Murakami
Photo by Shin Suzuki

Best known for his instantly recognisable paintings, sculptures, fashion collaborations and films populated with motifs and characters of his own creation, Murakami is recognised for his mix of fine art and commercial media. His practice ingeniously combines the past and future of Japanese art by using traditional techniques and motifs like ukiyo-e and byōbu-e (Japanese folding screen paintings), as well as references to contemporary Japanese pop culture including anime.

Takashi Murakami in Conversation at Japan Cultural Expo 2.0
Installation view of “Takashi Murakami Mononoke Kyoto”, Kyoto City KYOCERA
Museum, 2024, Kyoto, Japan
Photo: Joshua White
©2024 Takashi Murakami/Kaikai Kiki Co., Ltd.
All Rights Reserved.

Drawing inspiration from Japan Cultural Expo 2.0’s concept The Beauty and Spirit of Japan, this event will delve into the country’s rich arts, history and culture, while exploring Murakami’s key works and the enduring appeal of Japanese art and how it informs his practice. As part of the wide-ranging Japan Cultural Expo 2.0 initiative, which encourages global audiences to engage with Japan’s vibrant cultural landscape through a cultural programme including exhibitions and talks, this event offers a unique opportunity to appreciate the depth and beauty of Japanese tradition.

Takashi Murakami in Conversation at Japan Cultural Expo 2.0
“Under the Wave off Kanagawa” from the Series “Thirty-Six Views of Mount Fuji”
Katsushika Hokusai (1760–1849)
Woodblock print ([nishiki-e])

About The Japan Cultural Expo (JCE)

The Japan Cultural Expo (JCE) is an initiative of the Japanese government to promote
Japanese arts and culture worldwide. Through a wide array of cultural programmes, including exhibitions, festivals, talks and performing arts initiatives, JCE’s mission is to encourage people from around the world to discover the richness of Japanese culture.
Led by the Agency for Cultural Affairs and the Japan Arts Council, it is a collaborative,
inter-agency project that draws on the cooperation of numerous public and private sector partners.

The Japan Cultural Expo serves as an information hub for people to experience Japanese arts and access community culture.

Takashi Murakami in Conversation

Sunday, 8 December 2024
4 – 5pm followed by a drinks reception
V&A South Kensington
General – Onsite: £18.00
General Under 26 – Onsite: £15.00
Online livestream: £6.00

Tickets will be on sale from 16 October and available to book through the V&A’s website via the following links:

In person

Livestream

©2024 Japan Cultural Expo 2.0

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Intimacy of Memory: Kingsley Ayogu’s Poignant Reflection on Grief at AKAA Art Fair https://artplugged.co.uk/intimacy-of-memory-kingsley-ayogus-poignant-reflection-on-grief-at-akaa-art-fair/ https://artplugged.co.uk/intimacy-of-memory-kingsley-ayogus-poignant-reflection-on-grief-at-akaa-art-fair/#comments Tue, 08 Oct 2024 16:17:49 +0000 https://artplugged.co.uk/?p=63111 At this year’s AKAA Art Fair in Paris, celebrated Nigerian artist Kingsley Ayogu invites
audiences to immerse themselves in the emotional depth of loss with his solo exhibition, Intimacy of Memory: A Journey Through Grief.

Presented by The African Art Hub (TAAH), the exhibition is inspired by Chimamanda Ngozi Adichie’s memoir Notes on Grief and delves into the fragile yet powerful experience of mourning.

Intimacy of Memory: Kingsley Ayogu’s Poignant Reflection on Grief at AKAA Art Fair
Ayogu Kingsley Awareness of my own mortality II
88 x 90 cm
Oil, sponge on canvas
Image courtesy of The African Art Hub (TAAH)

Ayogu, known for his striking hyperrealist works, takes a transformative leap in this
exhibition, blending abstraction and symbolism to explore the transient and often elusive nature of memory. His visual narrative transcends the canvas, offering a contemplative space where personal grief becomes a shared emotional experience. Through layers of transparency and symbolism, Ayogu’s work captures the liminal space between presence and absence, where memory and reality blur.

Drawing from Adichie’s 2021 memoir, written after the death of her father, James Nwoye Adichie, Ayogu weaves visual interpretations of her emotional journey into his work. Her poignant reflections on loss resonate in his art, where symbols such as nets and African bathing sponges recur throughout the exhibition. The nets, appearing fragile yet resilient, serve as metaphors for the complex emotional entanglement of grief—memories intertwined, difficult to untangle yet holding the strength of connection. The African sponges, rooted in tradition, act as vessels of collective wisdom and healing, grounding Ayogu’s pieces in a sense of cultural identity and shared human experience.

The exhibition space itself becomes an extension of this narrative. Visitors encounter Ayogu’s paintings suspended in mid-air, creating an ethereal atmosphere where the artworks seem to float between dimensions, much like the memories they represent. This immersive installation invites the audience to step closer, to peer through layers of color and meaning, engaging them in a journey of reflection and introspection.

Intimacy of Memory: Kingsley Ayogu’s Poignant Reflection on Grief at AKAA Art Fair
Ayogu Kingsley
Reading my own words II
92 x 164 cm
Oil, sponge on canvas
Image courtesy of The African Art Hub (TAAH)

Ayogu’s creative process for Intimacy of Memory is deeply spiritual. He describes it as an almost trance-like state, where the paintings come to life as if guided by unseen forces. Each piece is imbued with this meditative energy, making the exhibition not just a visual experience but a personal and collective meditation on loss and remembrance.

Intimacy of Memory: Kingsley Ayogu’s Poignant Reflection on Grief at AKAA Art Fair
Ayogu Kingsley Imbroglio III
123 x 179 cm
Oil, sponge on canvas
Image courtesy of The African Art Hub (TAAH)

Accompanying the exhibition, Dr. Odile Goubali Talon, a renowned scholar in African literature, offers a contextual essay linking Ayogu’s work to African cultural traditions. She highlights how both Ayogu’s art and Adichie’s memoir confront grief in a way that is deeply rooted in African identity, emphasizing the importance of communal healing and shared memory.

Intimacy of Memory offers more than an art showcase; it is a powerful exploration of grief, identity, and resilience. Through Kingsley Ayogu’s transcendent work, visitors are invited not only to observe but to participate in a collective narrative of healing—one that transcends borders and resonates universally.

As TAAH brings Ayogu’s work to the global stage, it reaffirms its commitment to elevating African artists and ensuring their stories reach audiences far beyond the continent. This exhibition stands as a testament to the enduring power of art to navigate the complexities of loss, memory, and connection.

Kingsley Ayogu’s Intimacy of Memory: A Journey Through Grief will be on view from the 18th of October, 2024, until the 20th of October, 2024, at AKAA Art Fair, Paris

©2024 The African Art Hub (TAAH)

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