Matisse’s Startling Late Works: The Cut-Outs. Tate Modern, 17 April – 7 September 2014 No wonder Henri Matisse is well loved. His works are sensuous, jubilant, gorgeous: they envelop and immerse the viewer in voluptuousness, in light that finds itself materialised as coloured form, coloured space.
The Future-Past: Competing Temporalities of the Ruin. Ruin Lust, Tate Britain, 4 March – 18 May 2014.
A fascination with ruins has not always been with us. It presumes, for one, a linear notion of time, in other words the idea that the past is irrevocably lost. It is also born of a forensic – or archaeological – interest in history, one that sees in broken remains the traces of past acts and endeavours.
I first came across the work of Delhi born artist Dayanita Singh in an exhibition and book, Myself Mona Ahmed (2001), a photo-essay about an aging eunuch transsexual (hijra) living in a graveyard in Old Delhi. In this extraordinary body of work – the book contains various different kinds of text alongside the photographs) – one sensed not only compassion, but a collaboration between the person in front of the camera, and the one looking through the lens.
It is always interesting to pinpoint the moment when one becomes conscious of a change of mood or orientation in contemporary artistic practices. Something has emerged that offers quite a different tonic. This ‘something’ might be termed ‘mindful matter’: it is materialism with a twist, or with a new twist.
The Alternative Guide to the Universe, Hayward Gallery, 11 June – 26 August 2013. Souzu – Outsider Art from Japan, Wellcome Collection, 28 March – 30 June 2013.