{"id":4447,"date":"2023-10-10T15:23:18","date_gmt":"2023-10-10T13:23:18","guid":{"rendered":"https:\/\/badreljundigallery.com\/?post_type=ux-portfolio&p=4447"},"modified":"2023-10-19T13:05:30","modified_gmt":"2023-10-19T11:05:30","slug":"trace-evidence","status":"publish","type":"ux-portfolio","link":"https:\/\/badreljundigallery.com\/en\/exposicion\/trace-evidence\/","title":{"rendered":"Trace Evidence"},"content":{"rendered":"

Trace Evidence<\/h1><\/div><\/div><\/div><\/div><\/div><\/div>

April 1st -13th June 2021<\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

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\u2018\u2026 works of art are the most intimate and energetic means of aiding individuals to share in the arts of living.\u2019
\u2018Art as Experience\u2019 by John Dewey, 1934<\/p>\r\n

 <\/p>\r\n

[I.art as experience]<\/strong><\/p>\r\n

In art, the presence of physicality breeds symbiosis. An exchange between artist and observer that relies on the act of creating to understand the creation itself. Such record of activity resides principally in the process. When this becomes visible, when an artist consciously leaves traces of life, encountering their work surpasses casual viewing to convey the purity of imperfection and complexity of human expression.<\/p>\r\n

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The works of Tom Anholt, Igor Moritz, Sola Olulode and Ivana de Vivanco in \u2018Trace Evidence\u2019 divulge material and mental environments through narratives of a shared cultural existence. This exhibition inquires into the necessity of biography, referencing fundamental understandings of essayist Roland Barthes doctrine of the \u2018death of the author\u2019 and how character need not condition interpretation. It instead favours those shared glimpses of circumstance, episode and incident. Art as lived experience.<\/p>\r\n

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Chilean-Peruvian artist Ivana de Vivanco extends an invitation to unveil obscured identities and histories, pursuing disclosure in the materiality of clay and oil. She stands out for the theatricality of her pieces which are equally as dramatic as they are discreet. The composition of \u2018Western Hand\u2019 bridges the chasm between figuration and abstraction to offer a metaphor for the writing of history amidst a prism of colonialism. Finding continuity within clandestine occurrences and sufferings universally recognised to constitute such, de Vivanco alludes to the complexities of emotion. The painting \u2018Recognition Failure\u2019 is reactionary in attempting to read greed, grief and guilt, expressing the impossibilities of omniscience both in reality and in paint. The sculpture \u2018Triple Drama\u2019 is contradictorily vivid however, in it\u2019s unmasking of melancholy, is made humorous in an adoption of primary colours and cartoon-like semblance.<\/p>\r\n

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\"artwork<\/span><\/div>
IGOR MORITZ, Christi drinking coffee in a Balaklava, 2021<\/div>
Oil on Linen\r\n140 x 90 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"IVANA<\/span><\/div>
IVANA DE VIVANCO, Western Hand, 2021<\/div>
Oil on canvas\r\n40 x 36 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"IVANA<\/span><\/div>
IVANA DE VIVANCO, Triple Drama, 2020<\/div>
Plaster, Steel, Acrylic, Pigments, Resin<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"SOLA<\/span><\/div>
SOLA OLULODE, Walking Study, 2021<\/div>
Monoprint on paper\r\nA1<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"TOM<\/span><\/div>
TOM ANHOLT, The Merchant\u2019s Daughter, 2020<\/div>
Oil on wood\r\n60 x 50 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"SOLA<\/span><\/div>
SOLA OLULODE, Whatever the Weather, 2021<\/div>
Pastel, charcoal, ink, oil and pigment on canvas\r\n200 x 140 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"IGOR<\/span><\/div>
IGOR MORITZ, B\u0142a\u017cej in Christmas Sweater, 2020<\/div>
Coloured Pencil on Oil Painted Paper\r\n48 x 68 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"IVANA<\/span><\/div>
IVANA DE VIVANCO, Recognition Failure, 2020<\/div>
Oil on canvas\r\n27 x 27 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"SOLA<\/span><\/div>
SOLA OLULODE, Falling in Love, 2021<\/div>
Monoprint on Paper\r\nA1<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"TOM<\/span><\/div>
TOM ANHOLT, Lisa I, 2018<\/div>
\u00d3leo sobre tabla 115 x 75 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div><\/div><\/div>

[II.material traces]<\/strong><\/p>\r\n

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As the characters emerge, these reveal patchworks of process. The artists in \u2018Trace Evidence\u2019 care for the phase of experience in which the artworks come to life. For this very reason, they do not shun moments of resistance and tension, instead cultivating them for their potential to bring spirit to a static scene. In the paintings of UK-based Tom Anholt, material traces are detected in contrasting textures that pull up stories from the past and present. The imaginary portrait \u2018The Merchant\u2019s Daughter\u2019 emerges from its layered surface. Actions of destroying and rebuilding, where elements have been scratched into and wiped away, are reminiscent of an exploratory exercise of origination. Conscious of the tendency to become absorbed by detail, Anholt creates distance in his still life \u2018Lisa I\u2019. Placing emphasis on movement and modification, a wood board is prepared with beads of glue and thick oil skins like scars, telling a story of what came before.<\/p>\r\n

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The tactile painting \u2018Whatever the Weather Study\u2019 by British-Nigerian artist Sola Olulode embraces this investigation, distorting time and space by recasting one of her earlier works. Enclosed by two dancing figures, faded remnants of the original lovers remain. The close and yet distant embrace is both tinged with nostalgic raindrops and embraced by glorious sunshine. A crafted moment entrenching sadness and joy, opposites that are often quite prone to finding each other. The work becomes more than simply a rough redoing to acknowledge evolution as it interweaves notions of intimacy, memory and relief.<\/p>\r\n

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[III.susceptible existence]<\/strong><\/p>\r\n

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In scenes that place value on life as a series of forged connections, Olulode exemplifies experience as a bi-product of an interaction between the organic self and one\u2019s surroundings. Monoprints \u2018Walking Study\u2019 and \u2018Falling in Love\u2019 depict the warm embrace of queer love where excess ink transferred from one to the next, continuing an anecdote of nostalgia and impression of touch.<\/p>\r\n

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Believing too that art is being; being faced with oneself or with the other, Polish born Igor Moritz uses his personal experiences to create familiar portraits that explore the juncture of the inner essence and the outer world. His painting \u2018Christi drinking coffee in Balaklava\u2019 and drawing \u2018B\u0142a\u017cej in Christmas Sweater\u2019 flirt with mimesis while breaking all rules of perspective, proportion and realism. In the mundanity of his repeated subjects there lies a subtle appreciation for the deeply personal, the everyday interplay and conversations that are dismissed as insignificant. Mortiz\u2019s pieces are raw moments to be recorded but also forgotten, but that are never seen in completeness. A leg cut at the knee or torso disproportionately filling the space hint at the same vein of vignettes of wider stories.<\/p>\r\n

 <\/p>\r\n

\u2018Trace Evidence\u2019 is a group exhibition that guides us around a succession of works analogous in their characterisation of a susceptible existence.<\/p>\r\n

 <\/p>\r\n

\u2018The task is to restore continuity between the refined and intensified forms of experience that are works of art and the everyday events, doings, and sufferings that are universally recognized to constitute experience.\u2019<\/p>\r\n

\u2018Art as Experience\u2019 by John Dewey, 1934<\/p>\r\n

 <\/p>\r\n

Writing by Vanessa Murrell<\/p>\r\n

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Subscribe to receive updates on our exhibitions, artists and events.<\/span><\/h3><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

Trace EvidenceApril 1st -13th June 2021\u2018\u2026 works of art are …<\/p>\n","protected":false},"author":1,"featured_media":3403,"comment_status":"closed","ping_status":"closed","template":"","meta":{"inline_featured_image":false},"ux-portfolio-cat":[42,39,171,124,173,172],"ux-portfolio-tag":[],"class_list":["post-4447","ux-portfolio","type-ux-portfolio","status-publish","has-post-thumbnail","hentry","ux-portfolio-cat-2021-en","ux-portfolio-cat-artworks-a-en","ux-portfolio-cat-igor-moritz-en","ux-portfolio-cat-ivana-vivanco-en","ux-portfolio-cat-sola-olulode-en","ux-portfolio-cat-tom-anholt-en"],"yoast_head":"\nTrace Evidence - Badr El Jundi | art gallery, Madrid, Espa\u00f1a<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/badreljundigallery.com\/en\/exposicion\/trace-evidence\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Trace Evidence - 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