Exhibitions: ARANEA

Guido Mocafico • Avicularia Aurantiaca, 2003 • C-print, 180 x 142 cm

Guido Mocafico • Avicularia Aurantiaca, 2003 • C-print, 180 x 142 cm

Guido Mocafico’s solo show at Hamiltons Gallery in London is an example how the right space can influence the viewer’s experience with a work greatly. While the iconic minimalist spider images were of interest, we were most impressed with the overall installation of the show and how well the space and lighting worked with the pieces. The darkened former church was the perfect backdrop for these hairy icons of our contemporary world. The images and the space worked together not only metaphorically but viscerally. Upon entering the darkened gallery the viewer is greeted by Mocafico’s giant spiders. On a primal level, there is a certain feeling of unease created by the juxtaposition of these images in the cavernous setting. If you missed the experience of the show, some of the installation images can still be seen on the Hamiltons Gallery website. Mocafico lives and works in Paris. The images from this show can be seen in his book, Aranea, published by Steidl.


Damien Hirst, the Young British Artist has smashed the $20 million dollar record for an auction of works of a single artist set in 1993 for 88 works by Pablo Picasso.

The 2-day auction that ended today has raised 111.5 million pounds, a feat even more impressive considering the world’s economic issues at this moment. It seems that contemporary art is still selling regardless of the current economic climate.Damien Hirst, The Kingdom, 2008

Damien Hirst, The Kingdom, 2008

Tanyth Berkeley

As described in her statement, Tanyth Berkeley’s work, presents collective desires, struggles and physical manifestations of transgender women, street performers, albinos, nude models and other standouts from the mainstream. We find Berkeley’s overexposed, ethereal Orchidaceae series the most interesting. She is represented by the Bellwether Gallery, New York.

Grace in Window,20″x24″,C-Print,2006


John Currin

Kissers, 2006
Oil on canvas
23 x 25 inches

In a recent exhibition at the Gagosian Gallery, New York, Currin once again dazzled viewers with his humorous mannerist works. In Currin’s latest series he continues his exploration of the history of figurative art and popular culture. Currin has mined diverse sources such as Old Master portraits, 1970s Playboy magazine advertisements, and mid-twentieth century film. These technically laborious works were achieved through a close study and emulation of the compositional devices, graphic rhythms and refined surfaces of sixteenth and seventeenth century European painting. The results of fusing these techniques with contemporary content ranging from popular eroticism to mail-order porcelain creates a body of work that is both attractive and repellent at the same time. Currin and new artists like him seem to be forging forth, rejecting the sanitzed, banal institutional works before them by creating aesthetic, highly charged content driven works.