A Story of Deception
Tate Modern, London
15 June–5 September 2010
By MK PALOMAR
Trained as an architect in 1986, Belgian born Alÿs moved to Mexico City to work on regeneration projects after the earthquake of 1985. From his studio he made works responding to everyday life in the city. Walking is central to Alÿs’s practice, whether pulling magnets that attract the metal detritus off the street (The Collectors 1990–2), pushing a block of ice until it melts to nothing (Paradox of Praxis 1997), or leading a flock of sheep round a flag pole (Patriotic Tales 1997), his actions reference the frustrations and political difficulties of South American life.
In 1997 Alÿs was invited to take part in InSite, a biannual exhibition held on the border between Mexico and the US. Using his commissioning fee Alÿs travelled to the US the long way round, via Australia and Europe, and in making “The Loop” highlighted the difficulties that South American citizens face when attempting to cross into America. In Alÿs’s, When Faith Moves Mountains (2002) some 500 Peruvian students collaborate in shovelling a mountain a few centimetres, this quixotic enterprise again references the political and social struggles so prevalent in South America. Towards the end of the When Faith Moves Mountains documentation, one Peruvian participant laughingly tells the camera “we are now working on some other projects to drink the Atlantic and paint the sky”. With these marvellously impossible works that subvert the grind of politics and social deprivation, Alÿs empowers his collaborators enabling them to overcome the everyday by participating in mythical acts. However in his work Tornado, (2000–10) it is us (his audience) that Alÿs takes with him literally into the eye of Tornados. And if you have ever stood with your back to the wind thrilled at being held up by that elemental blast, this roaring spinning ferocious experience will take you back to that childhood time where if you didn’t hold tight to some solid thing then the wind might blow you clear off your feet. Like Jacob wrestling the angel Alÿs repeatedly hurls himself back into the spinning roaring dirt to battle for us, against (I believe) the misery of servitude. This is the stuff of myth and dream; this is Francis Alÿs.
Mark Rothko: the 'end of philosophy, the beginning of art'
The current exhibition at the Tate Modern enables Studio International to focus on the critical and cultural backdrop to the artist Mark Rothko and his work. Previously, we have included, from New York, an article by our regular reviewer Cindi di Marzo on the circumstances of Rothko and parallels in earlier American history, and Sophie Arkette has independently reviewed the Tate Modern exhibition of later Rothko works. The enigma of Mark Rothko's remarkable work of the later period persists, in terms of his transcendental abstraction.
Cy Twombly: Cycles and Seasons
The opening of Callimachus's 'Hymn to Apollo' as translated by Lombardo and Rayer. The god, patron of archers, poets and musicians, is about to arrive. The signs are all around: trembling, nodding, sweetness and singing in the air. The world is vibrating in expectation of presence. Then the poet veers off into a learned digression on Apollo's names and deeds, which becomes the whole poem: by the time he looks up from his books, the god is sat there giving Envy a kick up the backside.
Ai Weiwei: Sunflower Seeds
The Chinese artist Ai Weiwei, with his Sunflower Seeds exhibition, has set a mind-twisting game in the Tate Modern in which sensorial stimulus and cognition processes are confounded into a single operation repeated millions of times. Ai Weiwei uses the creative potential of imitation to reinvent and reformulate an unchanging language.
Douglas Gordon: Superhumanatural
The film and video artist Douglas Gordon had his first one-man exhibition in Britain at the Lisson Gallery in 1994, sponsored by its perceptive director Nicholas Logsdail, to which he returned again in 2001. The following year, he was to exhibit 'Entre'Act 3' at the Stedelijk Van Abbe Museum in Eindhoven. 'Fuzzy Logic' followed at the Pompidou Centre in Paris, and from about this time his work really took off internationally.