Art

'Art in the Age of Anxiety': Curator Omar Kholeif spells out ambitions | N.P. Krishna Kumar | AW – The Arab Weekly

Published

5 years ago

February 29, 2020

The Sharjah Art Foundation is introducing the most ambitious exhibition of its kind in the Middle East, “Art in the Age of Anxiety,” to explore ways everyday devices, technology and digital networks altered the collective consciousness.

The 3-month exhibition, which opens March 21, will showcase over 60 works by more than 30 international artists.

Sharjah Art Foundation (SAF) Director of Collections and Senior Curator Omar Kholeif, who also served as curator of Sharjah Biennial 14, calls himself a “digital centrist” or “a digital utopian.”

“I do not believe that the digital creates endless doom and gloom,” he said. “However, I do believe that if we do not pay attention to the changing nature of our everyday technologies — their propriety ownership, their algorithms or their changing apparatus — we could potentially be left in a dangerous situation in which we relinquish our own sense of self control.”

Kholeif said he has always been interested in how the internet could be a unique form of digital distribution, linking artists across the world through shared networks.

Under “Art in the Age of Anxiety,” there are sub-themes, including one focusing on the blurring of the virtual and the physical; how artists transform virtual icons into objects and vice versa.

The exhibition also explores how algorithmic culture is changing the ways narrative, storytelling and identity evolve and are presented.

“I always begin by looking at the art and I see how things come together to tell a story,” Kholeif said on how he selected artists for the exhibition.

“I spent an extensive period researching artists I had worked with previously and many others whom I had dreamed of working with but whom I had never had the chance to before. Through studio visits, portfolio reviews and ongoing conversations, I came to a final list that tells a cohesive and collective story that, I believe, reflects on the current cultural moment in which we live.”

The exhibition is global in scope. There are artists from China and South Africa to North America and the Middle East. Iraqi artist Wafaa Bilal and Lebanese-British artist Lawrence Abu Hamdan are two of the artists representing the Middle East.

The show also attempts to throw light on the global digital divide.

“The way that the exhibition addresses this issue is by imploring the viewer to connect to knowledge bases — structures that will enable them to understand the tools that they use. Internet penetration has exponentially grown with mobile telephony with more than 3 billion people online but is everyone using the internet aware of its implications, one must ask,” Kholeif said.

The works of theoreticians largely influenced the curator’s views on the subject.

“I have written or edited eight books on this topic and curated numerous exhibitions around it so to pivot one theoretician over another feels very difficult,” he said. “I love Bruno Latour (French philosopher and sociologist) but I was also drawn to the work of political scientists like Will Davies.”

He also mentioned: “Lawrence Abu Hamdan, whose research was instrumental to me; Christiane Paul, who has been a constant source of inspiration; Nora M Khan, a young writer who blurs the boundaries of fiction and reality; Jesse Darling, whose manifesto in my book ‘You Are Here: Art After the Internet’ completely opened up new trajectories of thinking for me.”

Kholeif highlighted a few of the works at “Art in the Age of Anxiety” that can guide viewers in navigating through the huge show.

“I believe that the works of Trevor Paglen, which are diverse and varied in the exhibition, anchor the viewer,” he said. “Here, we see algorithms shifting photographic practice alongside video work that reflects on the structures of power that control our media.

“Lynn Hershman Leeson’s film ‘Shadow Stalker’ is also pivotal in that it reveals how the future of citizenship might look like in an era of algorithmic citizenship.

“Overall, it is an experience to enjoy and get lost and immersed in.”

About his new role at SAF, Kholeif said: “Sharjah is one of the world’s major cultural hubs. We stage exhibitions and collect art that you won’t see anywhere else. I hope that, over the coming years, we will be able to continue to push the formal, conceptual and theoretical boundaries that make modern and contemporary art so exciting!”

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

3 days ago

September 13, 2024

Harry Miller

In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

September 2, 2024

Harry Miller

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

4 weeks ago

August 18, 2024

Harry Miller

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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