Bharti Kher

Solo show: Bharti Kher - inevitable undeniable necessary

Bharti Kher
An Absence Of Assignable Cause
2007Bindis on fibreglass
168 x 308 x 150 cm


In her art, Kher gives form to the slightly strange and slightly awkward encounters with the daily rituals of life. Her vision makes the banal wondrous and the quotidian unusual, sometimes even disturbing. Her use of found objects, such as mirrors or furniture, is informed by her own position as an artist located between geographic and social milieus. Her way of working is exploratory: surveying, looking, collecting, and transforming. By bringing to attention the overlooked world with its everyday acts, such as applying the bindi in Indian culture, confessing as a ritual or looking at oneself in a mirror, and then re-assessing their meaning, Kher’s work repositions the viewer’s relationship with the object.
An arcane symbol of fertility, the contemporary stick-on bindi is a popular cosmetic device available in different shapes and colours and is an integral part of Kher’s Ĺ“uvre. Exploiting their cultural and aesthetic dualisms, Kher uses bindis as an epidermal filter to transform objects. As shimmering signs in the form of waves, constellations, and spirals, Kher’s bindis mediate between codes and symbols and the ritual marking of time.



Eva Hesse

Eva Hesse Studio Work, 
Briony Fer, published by The Fruit Market Gallery

Works from 1965-66 in Eva hesse's studio
left to right: No title (1965); Ennead (1966); Ingeminate (1965); Several(1965); Vertiginous Detour, 1966; No title, 1966; Total Zero, 1966; No title (1966); Long Life (1965); No title (1966); No title (1965); Untitled or Not Yet (1966)

No title, 1966
nets, cord, paper, metal

1966, S-30
acrylic, cord, paper, metal

1968, S105
fibreglass, polyester resin, plastic
Louise Bourgeois, Resin Eight, 1965
resin over hemp

1967, S-66, 
enamel paint, cord, wire, metal

1968, S134
latex, cheesecloth



Mike Kelley 

Memory Ware Flat #18 (detail)

Anthropometry: Princess Helena


Ana Mario Hernando

'La Montana' (installation), 2009, MCA Denver

Ana Maria Hernando's installation, "The Mountain Brings Us Boats Full of Lilies," is part of the "Pure Pleasure" exhibit at the Boulder Museum of Contemporary Art. The museum just reopened after a four-month renovation. (Matt McClain, Special to The Denver Post )

"La Montana Trae Barcas de Azucenas" (The Mountain Brings Us Boats Full of Lilies)
Variable dimensions

Random acts of kindness
Ana Maria Hernando's textiles investigate the transparent acts of humanity that hold our lives and communities together
'I find transparent acts everywhere. My most pressing image would be that of women embroidering tablecloths, washing, ironing. Later these embroidered beauties are stained, and covered with food. Hours of work have become the background. these acts of transparent love that makes no sense, and have no place in accounting books, inspire me.'
- Jessica Hemmings 
Taken from Embroidery January/February 2010 issue

Mona Hatuom

Socle du monde' (Base of the World) 1992-93
wooden structure, steel plates, magnets and
iron filings, 163.6 x 199.5 x 199.5 cm.
Collection Art Gallery of Ontario, Toronto, Canada.

The piece consists of a large metal cube covered with metal filings which cling to magnets on the surface of the cube. The magnetic attraction and repulsion forces the filings into a convoluted, intestine-shaped pattern suggestive of a teeming organism.

"Keffieh," human hair on cotton, 1993-1999,
 collection Peter Norton, Santa Monica

The Body » 'Van Gogh’s Back'
1995, photograph on paper, 600 x 403 mm

'Hanging Garden'
Mona Hatoum is a lebanese-born artist who is now living and working in london. Her work explores issues of fear, fascination and the body, expressed through performance, video, installations and photography. 

Her 'hanging garden' consists of 770 jute sacks, stacked to head level. all together, they form a 10 meter long wall,which looks much like the sandbag barricades used as defense from enemy gunfire during battle and other war zones such as checkpoints and border crossings. despite the associations we have with the image of these barricades, the sacks are filled with seeds that sprout, greening the wall and expressing more of an image of growth and prosperity. the piece deals with the friction between notions of home, security, warmth and their opposites.


Aldo Runfola

Embroidery, wool on canvas,200x150 cm, 2002

Embroidery, wool on canvas, 100x100 cm, 2003
Black Dots
Emboridery, wool on canvas, 40x40 cm, 2008

Chilharu Shiota

  • Born in 1972 in Osaka, Japan
  • Lives and Works in Berlin

simonwinters.wordpress.com/. ../chiharu-shiota/

Duncan Campbell

22 Jan-14 Mar, Tramway, Glasgow
Make It New John
The Glasgow-based artist presents a new film work that continues his interest in documentary film. 'Make It New John' looks back over the life of John DeLorean and the car plant he set up in Belfast. Combining archive material with newly-filmed footage, the film considers DeLorean's own personal rise and fall as echoed in the example of the stylish but flawed DMC12 sports car that was produced at his factory.
-Neil Cooper