Licenciada en Bellas Artes por la Universidad Nacional de Rosario, la artista plástica Alejandra Tavolini desarrolla una obra que, según sus palabras “explora el límite de lo habitual, valiéndome de diversos soportes.”
Larry Bell has been pursuing abstract art for over six decades. He is known for his surface treatment ofglass, using it to explore light and space, reflections and shadows, in sculptures that usually take the form of cubes and nesting boxes.
Concealment and visibility serve as the foundation of Yousefzada’s work, as he re-forms actions and events from the past to reveal the present and future—righting his parents’ wrongs and writing them back into history, while offering his own difference as deliverance.
Manifesta, also known as the European Nomadic Biennial, is currently on view in Prishtina, Kosovo, through October 30, 2022. This 14th iteration, “it matters what worlds world worlds: how to tell stories otherwise,” addresses the idea of reclaiming and reimagining public spaces.
Anina Major connects to her familial lineage as she weaves clay vessels layer by layer. Through her Bahamian heritage, she investigates the uniqueness of being born and raised on an island where the economy and opportunities for upward mobility are directly tied to tourism.
Nathaniel Rackowe’s large-scale, futuristic works are fundamentally influenced by modern urban architecture. Spanning sculpture, installation, and public art, his practice is concerned with abstracting the metropolis into units of form.
“I can’t bear sculpture parks that are ‘shop and plonk,’” says Nicky Wilson, director and co-founder (with husband Robert Wilson) of Jupiter Artland, a 100-acre sculpture park in a rural setting just outside Edinburgh, Scotland. “It’s never successful shoving a piece of sculpture on a bit of grass and then saying it’s a well-installed work.”
The American sculptor Claire Lieberman is well known for her installations in which she combines materials such as marble, Jell-O, and video. Her practice explores a range of dichotomies—for example, the dialectic between “the sublime and the quirky, desire and danger, indulgence and guilt,” as she points out.
For British duo Julia Crabtree and William Evans, sculpture and the sculptural experience are less about fixed forms than an irrepressible interest in materials and matter that might appear uneasy or ugly, that might crack under the weight of expectation.