I stepped off the train from Schiphol Wednesday morning with just enough time to drop off my suitcase before heading to Domenica for a lunch Annet Gelink was holding for Ryan Gander. While there was some grumbling about the pride of place going to the (nonpaying) art school and the relegation of commercial projects to a Friday night slot, the galleries still found ways to sneak in cleverly plotted previews, staggering their schedules to make sure there was no overlap. Last Wednesday, the Netherlands entered the fray with the eleventh Amsterdam Art Week, a multiday program pegged to the Rijksakademie’s Open Studios, a reliable draw for bargain-hunters and budget-bound institutional directors alike. Meanwhile, art weeks in cities like Salzburg and Ljubljana tend to be more subdued affairs, relying on the power of public cocktails and chic tote bags to attract new audiences at home. Gallery Weekend Beijing, which wrapped up last week, boasts a hybrid model that rounds out local offerings with presentations by visiting galleries, but that’s still not quite enough to get folks-dealers included-queuing for a Chinese visa. The question remains: Do these events actually work? Berlin Gallery Weekend, which just rang in its nineteenth edition at the end of April, has clearly figured out a formula, but it’s safe to say the city had a leg up in that department. Dealers who stepped off the hamster wheel of the fair circuit were surprised to discover you could actually skip a franchise or two (or even more, depending on your jpg game.) In the run-up to Art Basel, galleries around the globe have been banding together for various permutations of the “Gallery Weekend,” a homegrown attempt to lure collectors to the brick-and-mortar locations everyone’s been paying so dearly for. MORE THAN THREE YEARS after the pandemic brought the international art world screeching to a halt, we’re still figuring out how to put ourselves back together again. The mural is situated in central Stavanger and is visible from both sides of the harbour - making it one of the first artworks visitors see when arriving by boat.Jadé Fadojutimi’s And willingly imprinting the memory of my mistakes, 2023, at Gagosian in London. Norwegian street and stencil artist Martin Whatson is best known for his colourful take on graffiti motifs, portraying monochrome stencilled figures interacting with extravagant swatches of multicoloured graffiti imagery.įor their collaboration, Chevrier hand-painted the underlying female portrait while Watson contributed his signature, abstract graffiti as the overlaying mask layer. Chevrier's work creates a new kind of hero, contrasting the fantastical heroics and iconography of comic books with the harsher underlying tragedy of oppressed female identity and the exposed superficial illusion it conveys. In her most well-known series, The Cages, she combines hand-painted portraits of women with iconic imagery from the comic book world - only leaving the eyes and mouth unmasked. Sandra Chevrier and Martin Watson created the Junction mural on the occasion of their two-person exhibition at Nuart Gallery in 2017.Ĭanadian artist Sandra Chevrier creates contemporary pop art that merges painting and collage.
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