Photo credit: Royal Academy of Arts, London/David Parry

(5 / 5)
Marina Abramović has now been in London for some months. This performance artist who brought the form to the mainstream, has been collaborating with some of the city’s big institutions: English National Opera, Southbank Centre and more. Her fascinating exhibition at the Royal Academy of Art has gotten loads of attendees. It was her birthday a not long ago and even one of her photos at Phillips Auctions sold for over £58,000. There is much going on…

From 2002 comes The House with the Ocean View a durational piece where Marina lived in the gallery for 12 full days. Only allowed water, no food or talking or writing, people flocked to her as if for guidance. Let’s not forget this was in the aftermath of 9/11. After loving the show in London there were three chances to catch this piece, with three separate artists, all of which taught under the Abramović method. Firstly, it was Elke Luyten and now it was the time of Kira O’Reilly..

I wanted to spend as much time in the space as possible. I arrived around 10:30ish briskly past the masses in the exhibition to make my way to the end of the gallery. The space for The House, had one man who appeared to be meditating, I sat near him upon the wooden benches, with huge crystals both sides. Security kept up their demand of no photos. Kira, who appeared to be sleeping on her wooden bed, with a crystal slab as a pillow, similar to what he could try earlier in the exhibit. It was a quiet air within the space. For one unforgettable moment, Kira turned her head very slowly and gazed upon myself and the other gentlemen. This was the start of her last day in the gallery.

Gradually she rose, filled up a glass of water from her personal tap to the brim and carefully walked around the space so there would be no spillage. This almost Zen feel to the room was incredibly calming, just what I needed. Kira would often gently scan the room and share moments with the visitors. Through it all, it was her smile I’ll remember most fondly. It was a lovely sharing moment. She played with her hair, the wooden comb one of a few generous offerings. She moved about, altering the tempo of a metronome, one of the lone sounds in the space. My worry was its clacks would haunt me, yet this marker of time felt right and sombre in the space. Humour and horror would also be present thanks to the amazing ladders going up to the house which featured knives as its steps.

During I was in need of lunch, after going around the full show trying out all the hands-on crystal formations. Prior to leaving I saw Kira had placed her table and chair in at an angle in the space, as if hung from the air. We see all this, even in her platform rooms above us. Curiously the one thing absent from Mariana’s instructions for the piece is the telescope which featured in the original duration. I feel it would have added little and was perhaps cut with good intentions.

After being at the Southbank Centre I vowed I would make it just to see the end of Kira’s final half hour in the space. Wading through Xmas shoppers, I made it thanks to the gracious staff at the RA. I was let in, the room now stuffed with people. I sat and within minutes, who would turn up but Marina herself. I was metres away. She got up toward Kira still in her performance state standing and smiling. Marina, overcome, began to cry and then let it all out. It was incredibly touching. I wanted to comfort her. The idea of someone else trying this demanding piece would touch Marina and others. The security said they were closing, and we all gave Kira huge applause for such a feat. It was great to see her again at the end, she looked at me as if to say, ‘You’re back!’

An incredibly invasive film crew disrupted the good vibes, mucking about between artist and Marina. I found it didn’t matter.

Amanda Coogan performs The House with the Ocean at the Royal Academy of Art from 6 to the 17 December 2023.

The full Marina Abramović exhibition continues at the Royal Academy of Art till 1 Jan 2024. 

(4 / 5)

As I gaze upon The Lute Player by Frans Hals (1582-1666), I smirk at at the likeness between myself and the model, who remains a mystery to this day. A friend a few years back showed me the resemblance during our performance of a Shakespeare play. It seemed to me with the longer hair and the costume triggered this semblance of connection. It was fun to pose and try to capture the facial features of someone long dead. I do plan to go back and make myself look even more like the cheeky fella.

Photo credit: James Ellis

Getting that out of the way, this Frans Hals exhibit was simply wonderful. Often overshadowed by the eternal Rembrandt, a fellow Dutch master, time and time avian this show proves the brilliance of Hals. Lovers of more unconventional paintings of the period will stew over this highly emotive and relatable portraits. Staggering for a young man to simply strike a pose that only a bachelor could make of the time. The Portrait of Catharina Hooft and her Nurse is a swell example. Catharina the child, dressed in the most luxurious dress of the era and the nurse who still gets a loving depiction here. It’s one of many masterpieces you’ll see in this gallery.

The aforementioned Lute Player might just be his best, the facial expression and light are heaven sent. The similar Merry Lute Player, the figure gets a highly detailed face that I found myself drawn into. His larger commissions would wow and put light upon the black servants and wriggling children, whom Hals again gives much respect. It’s the elder looking Dutchman in their famous black hoods and massive hats that appear ludicrous in nature. Either looking defeated or fed up, I found it hard not to laugh in this sea of black fabric, white faces and a lone, shocking red-orange stocking of one gentleman.

The Portrait of Jasper Schade that is devilishly detailed and impeccably crafted, later work would show Hals commitment to more wild brush work, near impressionistic in style, through still of its time. Jasper’s proud stance and affirmed glance is the cock-sure male we never lost in society, though its hard not to marvel at his drip (clothes for the older readers out there). A tiny room with miniatures are another joy, children and smaller ideas haunt the space.  A Young Man Holding a Skull is another famous flutter, though the blurb next to the painting says it is not likely to be a depiction of Hamlet, looking at the timeline, I dare say it might be.

A disappointment came when the gift shop was not selling postcards of Hals’ iconic work as singles, but in multi pack. What surprised me the most was the smallness of the exhibition. I did expect it to be a few rooms bigger, though this should not sway anyone to see this genius of the candid, polished portrait.

It runs at the National Gallery till 21st Jan 2024. 

(4 / 5)

Perhaps overshadowed by later artists, Donatello wows in many ways. The sculptures remain highly polished and from the era of the 15th century being well before his time.

The V&A have take it upon themselves to grace London with a wonderful show of his work, though looking at the details of a lot of the pieces, only so many are officially linked to the master. A majority of work is attributed to him, or from his school, or perhaps later loving tributes, what is actually his remains uncertain. Though his genius is proven in his David, a world away from Michelangelo’s more famous statue. David here is more androgynous, the head of Goliath slumped below him. David stands proudly, his left arm resting confidently on his hip. This was the start of the exhibit and there were many more joys to see.

Of note were the fellow artists around the time of Donatello. A huge head, God the Father by Beltramino de Zuttis da Rho, made from copper gilded and silvered remains a staggering vision. It’s size is imposing and the vivid details are also fascinating, tuffs of hair and beard aside, wrinkles and slightly open lips. How well persevered the marble bust of Donatello’s doctor Doctor Giovanni Chellini by Antonio Rossellino remains. Donatello’s Reliquary bust of San Rossore, is bronze though is a typically gilded site you’d see for a reliquary in a cathedral. It has a remarkable pull to it commanding attention away from the other busts around it.

The Sarcophagus of St Justina from the workshop of Gregorio di Allegretto is a fine example of perspective. With upcycling of this Roman sarcophagus, this was once believed to have been by Donatello and makes the female body match the length of it with feet spread apart and shoulders wide. This marble wonder also sees angels carved upon its side ends were by another craftsmen. Giovanni Pisano also had a fetching marble piece of Virgin and Child: turn to the left of it and both Mary and Jesus gaze at you almost judgementally. Donatello’s milky white marble relics are also staggering. One phenomena sees Mary as if she slammed her nose against the baby Jesus, a vision of true beauty. His bronze statue Attis-Amorino sees the Pan like fella stomping on a snake and gesturing with his fingers also OK signs. This is certainly a real highlight of the show, I saw a few people spend time with it and marvel upon it.

Two angels from a tomb by Michelozoo di Bartolomeo also had a lot going for it, their preservation also note worthy. As you go on a huge horse head, St George, a Crucifix and St Maurelius stunt the viewer as the exhibit continues. These are the show stopper sculptures and perhaps the main reason to come and see this. Even a drawing believed to be my Donatello of a section of The Massacre of the Innocents, sees vidid eye markings and horrible facial expressions.

Though a painting by Giovanni Bellini of Dead Christ supported by two angels is awkwardly place in a corner of a wall where you cant get to take it in, its positioning made it hard work. The immaculate, angular revelation of the Lamentation over Dead Christ by Bartolomeo Bellano also felt way ahead of its time and could have easily been by David Jones. The creases in the shrouds cannot be hyped use enough, I was ecstatic. The last rooms set tributes, influences and even fakes all turning to Donatello as a guide. An arch in the wall makes you look back at the David we started with and we see the Victorians develop a love for this Italian master.

Lovers of sculpture shouldn’t think twice about seeing this show.

Donatello: Sculpting the Renaissance continues at the V&A till 11th June 2023.

(3 / 5)

Another centre to the Royal Academy in London would see a huge show with a massive scope spanning centuries for the art of Spain. There was a lot to get in here and I dare say I think a good three hours (consider a break in between) would be advised to drink in its entirety. 

We start with the Bronze Age and Roman finds from Spain, though there a only a few items on display. A headless statue of Diana, goddess of hunting and the moon is one curiosity, the other an astounding pair of trullae, large silver spoons two thousand year olds and in phenomenal condition. Later rooms would feature the influence of Islam and the Moors, textiles becoming mainstream with intricate detailing and fine craftsmanship. Larger and larger bolts would also prove popular with wonky animals and more elaborate patterns, though this gradually grew overdone. 

A dog door knocker possibly from Galicia excited one of my friends from the area on Messenger, I also noted that the map of Spain upon entry, only listed some cites and regions and not others. What did, wow were the coloured busts of saints, both the fine artistry of Juan de Juni and Pedro de Mena whited gleamed in their light and candid ecstasy. Even more amazing remained the Polychrome wooden busts of Christ and the Virgin Mary by Andrea de Mena and what remained a highlight of the whole epic show. Mary even had eyelashes…I remained floored by these two creations.  

Work from their empire in the Americas would see a dazzling aqua lion water kettle, vivid plates and a statue of an angel so dramatic it somehow appeared Asian in design. The smaller things in the show would prove the triumph with ‘The Four Fates of Man: Death, Soul in Hell, Soul in Purgatory, Soul in Heaven’, attributed to Manuel Chili (called Caspicara). You can just feel the shame and guilt these little half bodied figures would install in people back then, their death metal appearance is still vivid all these years later. Some classic, conventional Goya portraits are also a delight, though I did crave some of his more twisted, unsettling works.  

Many pieces do obviously feature religious subjects, more specifically Catholicism and we can see this grip loosen as the empire dies down, after looking at some famous maps of the Americas and Europe. Velazquez still has a pull over an audience all these years later, his portraits command the space. ‘El Costeño (The Young Man from the Coast)’ by José Agustin Arrieta sees a young man of colour who was possibly a slave, holding an abundance of tropical fruits, a decent painting loaded with more than you think.      

The work of Joaquín Sorolla moved with it’s watery impressionistic beach scapes, really lovely just to look at. Contrasting this in the same space was Ignacio Zuloaga disturbed with ‘The Penitents’, dark and moody, blood everywhere. The show ends with a sketch of one of Sorolla’s murals ‘Vision of Spain’…but the question remains…where is the art that came out of Spain since these painters? We are talking over a century of work which has been completely ignored for perhaps a safe choice of not going into Modernism and other movements. What about Picasso? Dalí? Joan Miró? This remains a shame as it could have crowned the exhibit with a final flourish. 

Spain and the Hispanic World runs till 10 April 2023 at Royal Academy of Art, London.  

(3 / 5)

It is water, the lifeblood of all things that is the major component of Chapter’s latest exhibit. A diverse group of mostly female artists and other academics have teamed together to tell an absorbing tale of their relationship with water on both a personal and cultural level. The lands of Wales, Palestine and Morocco feature, spread out in the gallery and not cluttering any of the work.

The first room with Kandace Siobhan Walker sees a fishing net looming over us with polaroids, song lyrics and sea-scape video that welcome us with much poetry and retro charms. Noureddine Ezarraf had made fabric pieces which I’ll confess don’t ignite the senses, though do have subtle nuances, both works marbled with black lining over the soft, amber palettes.

Bint Mbareh has found her own little nook, with a live performance of Stellar Footprints in her fabric fort. As we watch seeing only her feet and bottom legs, she asked us to feel as if we had water dropping on us and around us, then requested we walk around her structure so that she could capture the sounds. Speaking to Bint after, she admitted more needed to be done to capture the energy of the audience, who fizzled out after a while, giving up on the stomping, as if we were wading through water. She invited us beforehand for a select few of us to join her in the fort towards the end, some did though the piece appeared to be over. With a bit more rehearsal this could be quite tight, Bint’s vocals singing through especially exquisite towards the end.

Fern Thomas’ work sees wordy verses spread out all over the wall, as a rock on rope gently sways in our line of sight. A rich spiritual heritage fills the words and a universal mood comes across in these words of love and respect for water. The final room filled with the pieces by Alia Mossallam and Maya Al Khaldi had headphones with folk singing mothers looping and a little study area with desks and carpets (we are encouraged to add to the embroidery, with staff offering needles). I found this room quite absorbing, letters from the British government in Egypt allude to corruption and racism, the carpet spreading up to the wall a really nice touch as well. Veils also hang from the ceiling a slight flutter to the end of a exhibit with history and culture as it core.

Calls the Waves continues at Chapter Arts Centre till 20th November 2022 along with further workshops, talks and further performances. 

(5 / 5)

One of the many fine exhibitions in London presently has to be for Raphael. Though well known as a master artist in every field he covered, he might still be lesser known, more love for his contemporaries. 

Arriving in the space we are first met with a stunning small piece, a painting of Saint Sebastian. Here, he appears full faced and holding a spear, his famous symbol from the Romans trying to do him in. He simply glows and the finer details of his bright features and eloquent clothes stand out. You can see why they chose this first. I loved it so much I went all the way back to see it again prior to leaving the show. 

The amount of painting of baby Jesus is on mass. Of course he is frequently seen with the Virgin Mary and his cousin, John the Baptist, recognisable for his long, cane cross and fur. It’s the posturing of each figure that helps formulate a highly stylised vision. It’s the shading that stands out and the magic that Rapheal could colour with paint. Ginormous fabric pieces based off his work tower over exhibition walls, staggering to think the amount of hours that would have gone into making these. 

A huge Crucifixion impose upon the viewer, though not his most stimulating offering. Saint Catherine of Alexandria looks to the heavens for answers, in a perfectly contoured show of details and poise. Some drawings are too indistinct to truly appreciate and some scribbly letters prove his muddled writing, through a brilliant intellect.   

Lorenzo de’ Medici stands proudly in the final room, his clothes showy for this huge figure in Italian history. Growing up an orphan, one wonders if these mother and child iconography had a deep impact on the Rapheal. Architecture and metal work would also show off his vast talents, reaching fever pitch in a tiny room with video work of his buildings and some frescos. Looking back a good amount of time is required to drink this show in. At least two hours I’d say. 

Truly the hot ticket of the summer. 

Raphael: The Credit Suisse Exhibition continues at the National Gallery till 31 July 2022.