Malevich-Revolutionary-of-Russian-Art-exhibition-at-Tate-Modern-London-2014Kazimir Malevich (1878–1935) was a radical, mysterious and hugely influential figure in modern art, who lived and worked through one of the most turbulent periods in twentieth century history. Tate Modern presents the first major Malevich retrospective for almost twenty-five years. This groundbreaking exhibition draws on the world’s greatest collections of his work to offer an expansive view of his career in its entirety.

Having come of age in Tsarist Russia, Malevich witnessed the October Revolution first-hand. His early experiments as a painter led him towards the cataclysmic invention of Suprematism, a bold visual language of abstract geometric shapes and stark colours, epitomised by the Black Square. A definitively radical gesture, it was revealed to the world after months of secrecy and was hidden again for almost half a century after its creator’s death. It sits on a par with Duchamp’s ‘readymade’ as a game-changing moment in twentieth century art and continues to inspire and confound viewers to this day.

Starting from his early paintings of Russian landscapes, agricultural workers and religious scenes, visitors can see Malevich’s journey towards abstract painting and his iconic Suprematist compositions, including almost all the surviving paintings from the legendary 0.10 exhibition. The show explores his collaborative involvement with architecture and theatre, including his designs for the avant-garde opera Victory over the Sun. The exhibition also follows his temporary abandonment of painting in favour of teaching and writing, and his much-debated return to figurative painting in later life.

Malevich’s work tells a fascinating story about the dream of a new social order, the successes and pitfalls of revolutionary ideals, and the power of art itself. This exhibition, for the first time, offers visitors a chance to trace his groundbreaking developments not only through well-known masterpieces but also through earlier and later work, sculpture, design objects, and rarely-seen prints and drawings.

Tate Modern’s exhibition is made possible by a unique collaboration between the Stedelijk Museum and Khardzhiev Foundation in Amsterdam and the Costakis Collection in Thessaloniki, enriched with key loans from public and private collections around the world, including the State Russian Museum, St Petersburg; State Tretyakov Gallery, Moscow; MoMA, New York; and the Centre Pompidou, Paris. It also brings together the largest number of Malevich’s works on paper ever to be displayed. Unprecedented in scope, the exhibition sheds new light on his career, from his participation in the quest for a new society to his confrontation with the Stalinist regime. 

Continue reading in Artdaily


Can books cross borders?

Written on July 16, 2014 by Administrador de IE Blogs in Literature

booksIs it in any way “important” to read writers from our own country? Is there even any real difference in reading a book from home and a book from abroad?

Or to put it another way: when I pick up a novel, is it merely a question of a free-floating individual, the absolute, unconditioned me, picking up any literary performance from any time or clime and simply deciding after an hour or two whether I like the thing or not, so that when the final page is turned it is immaterial whether this book was written in Manchester or Melbourne and whether I grew up in Gloucester or Grozny?

I am trying to find a frame for the recent debate on the British school literature syllabus, a way of considering the question that will take us beyond the merest collision between supposedly blinkered nationalism (UK education secretary Michael Gove wants Charles Dickens) and supposedly enlightened openness (the writer Robert McCrum and Guardian readers prefer John Steinbeck). I also want to suggest that the fact this debate is taking place at all is part of a deep change occurring in the way literature is written and read across the world, a change also reflected in the decision to open the Man Booker prize to all fiction written in English.

Or is it rather a question of me as member of a community, steeped in my national culture, picking up a novel that may or may not have been produced in that same culture, within or without a framework of shared assumptions? If this version is more accurate, then my reaction to a book might very well depend on where it was written and where I was born.

For example: a boy from a well-to-do Cheltenham family is given Harry Potter and the Philosopher’s Stone, recognises in Hogwarts school a caricature of his own public school – certain teachers seem to be drawn from life! – and is thrilled to see his familiar world transformed by witchcraft and magic. Meantime, a middle-class girl in Bangkok is given a copy of the same book; she finds the magic surrounding Harry and company rather bland but is bewildered and delighted by a bizarre education system that subjects its precocious children to eccentric teachers in remote and bleak environments. What we think about the relationship between writer, reader and community matters; the question of whether writer and reader, at the deepest level, share a common language, is not an irrelevant one.

Continue reading in Financial Times


Nadine Gordimer dies aged 90

Written on July 15, 2014 by Administrador de IE Blogs in Arts & Cultures & Societies

gordimer_271375cThe South African Nobel-prize-winning author Nadine Gordimer, one of the literary world’s most powerful voices against apartheid, has died at the age of 90, her family say.

Gordimer died peacefully at her Johannesburg home on Sunday evening in the presence of her children, Hugo and Oriane, a statement from the family said.

Born in Gauteng, South Africa, in 1923 to immigrant European parents, Gordimer was awarded the Nobel prize for literature in 1991 for novels and short stories that reflected the drama of human life and emotion in a society warped by decades of white-minority rule.

Many of her stories dealt with the themes of love, hate and friendship under the pressures of the racially segregated system that ended in 1994, when Nelson Mandela became South Africa‘s first black president.

She was called one of the great “guerrillas of the imagination” by the poet Seamus Heaney, and a “magnificent epic writer” by the Nobel committee.

Gordimer became active in the then banned African National Congress after the Sharpeville massacre, and was one of the first people Mandela asked to see when he was released in 1990.

“She cared most deeply about South Africa, its culture, its people and its on-going struggle to realize its new democracy,” the family statement said.

She had three books banned under the apartheid regime’s censorship laws, along with an anthology of poetry by black South African writers that she collected and had published.

The first book to be banned was A World of Strangers, the story of an apolitical Briton drifting into friendships with black South Africans in segregated Johannesburg in the 1950s.

Continue reading in The Guardian


IE organiza una tertulia con la galerista Soledad Lorenzo

Written on July 14, 2014 by Fernando Dameto Zaforteza in IE Art Club

IMG_3551El pasado de 10 de julio el IE Art Club organizó una tertulia con la galerista Soledad Lorenzo titulada “Claves del arte contemporáneo”. Soledad Lorenzo es una referencia en el sector, al ser pionera del galerismo madrileño. Durante 26 años dirigió una galería en Madrid, que llevaba su nombre, donde expuso a artistas de renombre tanto a nivel nacional, como por ejemplo Antoni Tapies, Miquel Barcelo, Jose Maria Sicilia o Juan Uslé, como internacional, entre los que destacan Louise Bourgeois, Julian Schnabel o Robert Longo.

El evento tuvo lugar en el inigualable marco del Pabellón de Papel y se instrumentó bajo el formato de agradable charla, ya que no había un guión marcado y la audiencia estaba invitada a realizar preguntas en cualquier momento.

Soledad Lorenzo comenzó haciendo referencia a los aspectos emocionales y estéticos del arte, compartiendo con los asistentes sus inicios en el mundo del arte, las razones que le llevaron a abrir una galería y lo que para ella significa el concepto de arte, resaltando que sus motivaciones nunca fueron económicas. Se mostró como una persona apasionada por su trabajo como galerista, que en los negocios siemprese dejó llevar por la intuición.  Poco a poco la conversación fue girando hacia temas más concretos del mercado del arte. Los asistentes, muchos de ellos artistas aficionados y coleccionistas iniciáticos, preguntaron a Soledad Lorenzo por numerosos aspectos del arte actual, como su opinión personal sobre el arte urbano o cómo veía el desarrollo del incipiente mercado asiático del arte. Otra de las preguntas más recurrentes  fue sobre sus sugerencias para comenzar una colección, si prefería comenzarla con una obra de un artista consagrado o de uno joven y desconocido. Todas las respuestas estuvieron dotadas de la sabiduría y pasión que le caracteriza.

Tras más de una hora y media de animada y ecléctica conversación la charla llegó a su fin, no porque se hubiese agotado la tertulia sino porque eran las 22 horas y el espacio debía cerrarse. Tras el evento la invitada firmó su biografía a un asistente y se hizo fotos con varios miembros del público.



Written on July 11, 2014 by Administrador de IE Blogs in Film

BoyhoodLike the fabled Jesuit, Richard Linklater has taken the boy and given us the man. In so doing, he’s created a film that I love more than I can say. And there is hardly a better, or nobler thing a film can do than inspire love.

This beautiful, mysterious movie is a time-lapse study of Mason, growing up from around the age of five to 18, from primary school to his first day in college. It is an intimate epic: over 12 years, Linklater worked with the young actor Ellar Coltrane, shooting scenes every year with him and other cast members, who grow visibly and heart-stoppingly older around him. The director’s daughter, Lorelei Linklater, plays Mason’s older sister, Samantha; Patricia Arquette is superb as their divorced single mom, hard-working and aspirational, but worryingly condemned to hook up with drunks and give the kids abusive stepdads. Ethan Hawke – his lean, chiselled face softening as the years go by – plays the kids’ feckless and unreliable but charming father, who shows up every few weeks in his cool car. And Mason’s own face changes from its young, moony openness to a closed, grown-up handsomeness. It is the face he will learn to present to the world.

In some ways, the movie invites us to see Mason from an estranged-dad’s-eye-view, alert to sudden little changes and leaps in height. As an unestranged dad myself, I scrutinised Coltrane at the beginning of each scene, fascinated and weirdly anxious to see if and how he’d grown. But the point is that all parents are estranged, continually and suddenly waking up to how their children are growing, progressively assuming the separateness and privacy of adulthood. Part of this film’s triumph is how it depicts the enigma of what Mason is thinking and feeling.

Boyhood is so ambitous and passionate that I can’t imagine anyone cranking out another conventional “coming-of-age” picture. That genre now looks to be obsolete. Which is not to say this film is utterly novel: audiences must remember Michael Apted‘s 7-Up TV documentary project. Michael Winterbottom did something similar with his long-gestating 2012 movie Everyday, interestingly another absent-father tale, this one of a family left behind when the dad goes to prison. And Linklater got Hawke and Julie Delpy to grow up and grow old in hisBefore movie series. There are other approximate examples: Robert Guédiguian, Steven Soderbergh and Mike Myers have used recycled “flashback” scenes of actors’ younger selves from other films. Perhaps the nearest comparison for Ellar Coltrane and Mason is Daniel Radcliffe and Harry Potter – a connection to which Linklater subtly alludes.

But none of these cases really do justice to the substance and completeness of this one thrilling film. The long-term commitment required is such that conventional assessments of “performance” are almost beside the point.

Continue reading in The Guardian

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