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Dialogue - Review
Border Farm at the South London Gallery
Two reviews of the SLG's screening of the Thenjiwe Nkosi's docudrama on a group of Zimbabwean "border jumpers"
Posted: Mar 15 2011 | More...
Dialogue - Review
Martin Creed's latest show at Hauser & Wirth's Savile Row galleries
Posted: Feb 18 2011 | More...
Dialogue - Review
A show of three young artists that display strong narratives in their work, showing until 12 March 2011
Posted: Feb 01 2011 | More...
Dialogue - Review
Unheralded Stories at Purdy Hicks
Tom Hunter's solo show at Purdy Hicks gallery on the Southbank, running until January 15th 2011
Posted: Dec 14 2010 | More...
Dialogue - Preview
Our last preview of the year sees openings at LIMA ZULU, Flowers, John Martin, Hive and last chances this...
Posted: Dec 13 2010 | More...
Dialogue - Preview
Openings at Pilar Corrias, Josh Lilley, Space in Between and talks at Gasworks, Paradise Row, and the RCA
Posted: Dec 06 2010 | More...
Dialogue - Review
Bloomberg New Contemporaries 2010 at ICA
The old lady of 'new artist' awards returns to the ICA this year with outstanding film and video...
Posted: Dec 03 2010 | More...
Dialogue - Review
Zigelbaum + Coelho at Riflemaker
Riflemaker exhibits the Miami Basel Designers of the Future award-winners, running until 31 March
Posted: Dec 01 2010 | More...
Dialogue - Review
Seventeen's latest exhibition, 'a show with Tourette's', which is open until 23rd December 2010
Posted: Nov 27 2010 | More...
Dialogue - Review
Newspeak part II at The Saatchi Gallery
The second part of The Saatchi Gallery's blockbuster new British art show showing in London
Posted: Nov 25 2010 | More...
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art advisory - looking for something specific or help in finding work by early career artists. contact info@murmurart.com
Jon Openshaw
Building a blog entry around Cartesian philosophy seems like a pretty bad idea, but Olivier Richon's Anima(l) nods vigorously towards the 17th century natural-scientist and thinker in both title and approach, so here goes.
The private view was last night at Ibid Projects on Vyner Street, and the artist's second exhibition at the venue is a series of large still life photographs. I say 'still life', but the work is in fact organised around live animals (and this is, I think, where old René comes in). Descartes famously declared the animal to be a machine, driven by complex clockwork rather than the animating soul that distinguished humans. This meant they could feel no pain, was used to justify the fledgling practice of vivisection, and probably made no friends amongst the precursors of Peta and Greenpeace.
The animals in Richon's work are arranged in carefully composed dialogue with classical still life fare - a greyhound stands alert over grapes and velvet, a monkey investigates oranges and nuts, a tortoise nestles amongst books etc. This is all set within the confines of the photographer's studio, with muted and matt backgrounds of glowing grey. Both animate and inanimate subjects are rendered the same with a painterly aesthetic and a hyper-realistic attention to detail. What is created is a static stage set, and that is static in the sense that both animate and inanimate are equally charged.
Richon's photography is a meditation upon the tension between animate and inanimate, and the role of the subjective gaze in making these distinctions. A tortoise appears stiff plastic in one work and then becomes an almost unrecognisable blur of movement when seen through another exposure, whilst wine glasses huddle and lean into a stack of books as if magnetised.
Anima(l) is showing at Ibid Projects until 22 February, and more details can be found here.