Art

‘It has the smell of the oasis’: how palm husks became prize-winning Moroccan art – The Guardian

Published

7 months ago

February 28, 2024

The idea of weaving an artwork from palm husks came to Amina Agueznay during a workshop she was leading in Morocco’s Souss-Massa region, as part of a project with local rug weavers to renovate Tissekmoudine, a ksar, or fortified village.

“The plan was to integrate the palm trees from the oasis in our designs, so I encouraged the women to look around them and use whatever material they could find,” says Agueznay, who this month won the Norval Sovereign African art prize, worth $35,000 (£28,000).

“We decided to weave with what, in the Berber language, the women call talefdamt [palm husk],” Agueznay recalls. “We deconstructed it to create a thread that we could use.”

The winning work, Portal #1, is reminiscent of a jagged-edge motif found on Moroccan rugs and inspired by the symbols painted on the doors of a ksar.

The architect turned artist, who is known for collaborating with rural craftworkers and documenting their designs and traditions, says she feels “blessed” by the win.

“This prize is an encouragement and the will to continue, empowering women that I work with. I lead workshops throughout Morocco and what happens is that I always go back. There is a continuity, and continuity is very important to me – what we call la pérennité [sustainability].

A geometric woven design in some natural material

“I would call it a constellation,” says Agueznay. “It’s like building another family.”

Born in 1963, she is the daughter of Malika Agueznay, who is among Morocco’s first female modernist abstract artists and a member of the celebrated Casablanca Art School.

Moving to the US for 15 years after school, Agueznay studied architecture in Washington and practised there and in New York before returning to Morocco in 1997. She started working on smaller-scale projects, such as jewellery, before expanding to large art installations.

“I returned to Morocco to explore scale in a meaningful way,” Agueznay says. “I can’t hug my buildings, but I can hug my artwork.”

Ksars, fortified villages found across the Maghreb, are made of stone and adobe with palm grove gardens. Some are ruined, but many are being renovated as part of a national push to preserve Morocco’s cultural heritage.

Agueznay was invited to get involved with local people in the project to renovate the Tissekmoudine ksar by the architect and anthropologist Salima Naji, who works on using traditional materials and techniques in such renovations.

Agueznay says she drew a door and asked six women to weave for her. “It’s all a performative process,” she says. “It’s like choreography or ballet for me.”

Detail of an old painted wooden door, of interlocking triangles in blue and black

“It’s about the intangible and the tangible. The piece is tactile – you want to touch it, you want to smell it,” she says.

“It has the smell of the oasis, the palm husk. The tangible is the oeuvre, the final piece that you have in front of you, and yet the stories and the process remain intangible.”

A total of 375 works by 160 artists were entered for this year’s prize, organised in South Africa by the Norval Foundation and the Sovereign Art Foundation (SAF). The 27 finalists come from 17 countries, including South Africa, Egypt, Ethiopia, Ghana, Nigeria and Senegal.

Ashraf Jamal, a Cape Town-based academic who was one of the judges, said they had chosen “an artist with an enduring vision of the lives and triumphs of women of the African desert”.

As well as the prize money, Agueznay will have a solo exhibition at the Norval Foundation art museum in Cape Town and an artist’s residency in London supported by the Outset Contemporary Art Fund.

Agueznay, who is represented by the Loft Art Gallery in Casablanca and Marrakech, had an artistic residency at Fondation H in Madagascar last year, where she was inspired by the Malagasy artist Madame Zo, who was celebrated for her textile artworks.

“Weaving is interesting because it’s about going back to the line,” she says. “The line is important for me because of my practice as an architect – I always go back to my architectural primary elements of form: lines, planes and volumes.”

Agueznay says she thinks what comes out of Africa artistically is “always surprising”.

“It’s always new,” she says, “and for a curious person like me that’s what makes the magic.”

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Art

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

Published

20 hours 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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Art

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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