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By Michael Armitage
Oil on Lubugo bark cloth
From The Kenyan Election Series
In the run-up to the 2017 elections in Kenya, Armitage joined a local TV crew filming an opposition party rally in Uhuru Park, Nairobi. The atmosphere he experienced there and the carnivalesque scenes he witnessed inspired this series of paintings in which Armitage explores power dynamics and the links between religious rhetoric, pathos and politics.
[Royal Academy]
Michael Armitage: Paradise Edict
(May — September 2021)
Michael Armitage is a Kenyan-born artist who works between Nairobi and London. His colourful, dreamlike paintings are loaded with provocative perspectives that play with visual narratives and challenge cultural assumptions, exploring politics, history, civil unrest and sexuality.
Made using Lubugo bark cloth, a culturally important material made of tree bark by the Baganda people in Uganda, many of his large-scale works draw on contemporary events, combining these with Western painting motifs.
This spring – just over 10 years since Armitage graduated from the Royal Academy Schools – we bring together 15 of his large-scale paintings from the past six years, exploring East African landscapes, politics and society.
Alongside will be a selection of 31 works by six East African contemporary artists: Meek Gichugu, Jak Katarikawe, Theresa Musoke, Asaph Ng’ethe Macua, Elimo Njau and Sane Wadu. Chosen by Armitage for their important role in shaping figurative painting in Kenya, these seminal artists have also had a profound impact on his own artistic development. A version of this part of the exhibition will be shown at the Nairobi Contemporary Art Institute, a non-profit visual arts space founded by Armitage.
[Royal Academy]
Taken in Royal Academy
Progetto Giovedì per i Giovani con Liceo Michelangelo, in occasione della mostra Bronzi ellenistici. Firenze, primavera 2015
Progetto Giovedì per i giovani realizzato in collaborazione con il Liceo Michelangelo di Firenze, in occasione della mostra Potere e pathos. Bornzi del mondo ellenistico (14 marzo-21 giugno 2015).
foto: Martino Margheri
Incidents
Igor and Svetlana Kopystiansky
Igor Kopystiansky American
Svetlana Kopystiansky American
1996–97
On View Gallery
In this video, the husband-and-wife team of Igor and Svetlana Kopystiansky follow all manner of discarded items—cups, cartons, bags, newspapers, broken umbrellas, a pipe, unspooled audiotape—as they are blown around by the wind on the street. The results are balletic, whimsical, and even filled with pathos. Each piece of trash becomes anthropomorphized, so that when two bags or wrappers collide, are intertwined, and separate, the viewer cannot help but project a human drama onto the proceedings. Incidents is filled with such incidents, and part of the pleasure of the piece is seeing how the artists pile on example after example and yet are able to imbue each found object with an irreducible individuality and silent poetry.
www.metmuseum.org/art/collection/search/291989
Exhibition history of "Incidents" published by the MFAH, Museum of Fine Arts Houston:
emuseum.mfah.org/objects/163836/incidents?ctx=82733e83136...
• 1997 “L’Autre. 4e Biennale de Lyon, Art Contemporain,” Lyon, France. Curated by Harald Szeemann, (cat.).
• 1997 “2nd Johannesburg Biennale,” South Africa. Curated by Okwui Enwezor (cat.).
• 1997 “In Medias Res,” Dolmabahce Palace, Istanbul. Curated by René Block (cat.).
• 1999 “Szenewechsel” (Change of Scene) Museum of Modern Art, Frankfurt/Main. Curated by Jean-Christophe Ammann and Mario Kramer.
• 1999 “Trace” Liverpool Biennial of Contemporary Art, Tate Gallery Liverpool. Curated by Anthony Bond, (cat.).
• 1999 “Wait,” Kunst-Werke, Berlin. Curated by Klaus Biesenbach.
• 2000 “Moment,” Dundee Contemporary Arts, Great Britain. Curated by Katrina Brown.
• 2000 “Incidents,” Vor und Zurück. Curated by Sylvia Martin. Kunstmuseum Düsseldorf, Germany.
• 2000 “Igor and Svetlana Kopystiansky.” Curator Maria Morzuch. Museum Sztuki, Lodz, Poland.
• 2003 “Incidents” Art Gallery of New South Wales, Sydney, Australia. Curated by Anthony Bond (cat.).
• 2004 “9th Triennal of Small Sculpture” Fellbach, Germany. Curated by Jean-Christophe Ammann.
• 2005 “Igor & Svetlana Kopystiansky,” Kunsthalle Fridericianum, Kassel, Germany. Curated by René Block.
• 2005 “Igor & Svetlana Kopystiansky,” Fine Arts Center of the University of Massachusetts, Amherst, MA. Curated by Loretta Yarlow.
• 2005 “Dust. From the permanent collection. Kopystiansky, Roth, Orozco, Cahn, Muniz.“ AGNSW, Sydney. Curated by Judy Peacock.
• 2007 “Igor & Svetlana Kopystiansky,” ESPOO Museum of Modern Art (EMMA), Espoo, Finland. Curated by Timo Valjakka (cat.)
• 2007 “From the permanent collection.” AGNSW, Sydney. Curated by Anthony Bond.
• 2009 “Igor and Svetlana Kopystiansky” Cinema 2, April 22. Musée National d’Art Moderne Center Pompidou, Paris, France. Curated by Philippe-Alain Michaud.
• 2009 “False Twins” S.M.A.K., Stedelijk Museum voor Actuele Kunst, Ghent, Belgium, Curated by Guillaume Désanges.
• 2009 KunstFilmBiennale, “From the collection of the Centre Pompidou Paris.” Medienkunstraum der Bundeskunsthalle Bonn, Germany. Curated by Philippe-Alain Michaud.
• 2010 “Radical Conceptual. Positions in the MMK Collection.” MMK Frankfurt/Main, Germany. Curated by Susanne Gaensheimer.
• 2010 “Image by Image. Film and Contemporary art from the collection of the Centre Pompidou,” Museum Ostwall, Dortmund, Germany. Curated by Philippe-Alain Michaud and Olivier Michelon.
• 2010 “Igor and Svetlana Kopystiansky, ” Musée d’Art Moderne de Saint-Etienne Métropole. 6th of February – 18th of April, France. (cat.)
• 2011 “Energy and Process.” Presentation of the collection. TATE Modern London. Curated by Stuart Comer.
• 2011 “Wunder,” Deichttorhallen Hamburg and Siemens Stiftung. Curated by Hürlimann | Lepp | Tyradellis (cat.)
• 2011 “From Trash to Treasure,” Kunsthalle zu Kiel, Germany. Curated by Anette Hüsch, (cat.)
• 2012 “Wunder,” Kunsthalle Krems, Austria. March 4th to July 1st Curated by Hürlimann | Lepp | Tyradellis.
• 2012 Igor and Svetlana Kopystiansky: “Incidents.” Curated by Erica Papernik. Public Spaces Changes, Presentation of the collection. MoMA New York.
• 2012 “Incidents,” in works from the collection selected by Rineke Dijkstra for The Krazy House. February 23- May 26. MMK Frankfurt/Main. (cat).
• 2013-2014 “Everyday Epiphanies. Photography and Daily Life Since 1969.” Curated by Douglas Eklund. The Metropolitan Museum of Art. June 25, 2013–January 26, 2014.
• 2014-2016. Collection Display. MMK Frankfurt/Main, Germany.
Published references:
Monographic Books and Catalogues: • 2010 Kopystiansky. Double Fiction/Fiction Double. Musée d”Art Moderne de Saint-Étienne. Texts by John G. Hanhardt, Philippe-Alain Michaud. Les Presses du Réel. • 2007 “Igor & Svetlana Kopystiansky.” Texts by Timo Valjakka, Anthony Spira, Barry Schwabsky, (English, Finnish, Swedish), EMMA – Espoo Museum of Modern Art, Helsinki. • 2005 “Igor & Svetlana Kopystiansky: The Day before Tomorrow.” With introduction by René Block and Loretta Yarlow and texts by Adam D. Weinberg, Barry Schwabsky, Andreas Bee, Anthony Bond, Kai-Uwe Hemken. (English and German), Kunsthalle Fridericianum, Kassel and Fine Arts Centre of UMass, Amherst, Massachusetts. • 2004 Igor & Svetlana Kopystiansky. “Tracking Shot.” With texts by Barry Schwabsky, Andreas Bee, Anthony Bond. (English and Spanish), Distrito4. Madrid, Spain. • 2003 Igor & Svetlana Kopystiansky, “Incidents,” text by Anthony Bond. AGNSW, Sydney. Catalogues of Group Exhibitions: • 2011 “From Trash to Treasure. Vom Wert des Wertlosen in der Kunst.” Edited by Anette Hüsch. Kunsthalle zu Kiel. Published by Kerber. • 2011 “Wunder. Kunst, Wissenschaft und Religion von 4. Jahrhundert bis zur Gegenwart” Edited by Daniel Tyrandellis, Beate Hentschel and Dirk Luckow. Deichtorhallen Hamburg, Siemens Stiftung, Snoeck. • 1999 “Trace. The Liverpool Biennial of Contemporary Art,” Curated by Anthony Bond, pp. 74-77. • 1997 “L’autre. 4e Biennale d’art contemporain de Lyon.” Curated by Harald Szeemann. Réunion des Musées Nationaux, pp. 94-95, 208, 216. • “In Medias Res. Photography and other Media from Berlin.” Curated by René Block, texts by René Block and Angelika Stepken, pp. 86-87,133.
Portrait
Igor and Svetlana Kopystiansky
Igor Kopystiansky American
Svetlana Kopystiansky American
2006
On View Gallery
In this video, the Kopystianskys present a sequence of film snippets (from Masculin Feminin by Jean-Luc Godard), each one
"doubled" by playing two versions of the same clip forward and backward at the same time. As the artists have described their process, "The effect is that most of the time the image is doubled, but in the middle of the program for 1/24th of a second the images merge in one single still. This moment has been determined by the movement of the film in the projection camera." The results are an inventive use of film's flexible reversibility--how motion can unfurl forward or backward depending on how the print is run through the projector.
www.metmuseum.org/art/collection/search/729689
Title: Portrait
Artist: Igor and Svetlana Kopystiansky (American, born 1954 and 1950)
Artist: Igor Kopystiansky (American, born 1954)
Artist: Svetlana Kopystiansky (American, born 1950)
Date: 2006
Medium: Single-channel digital video, black-and-white, silent, 17 min., 55 sec.
Classification: Variable Media
Credit Line: Gift of Gloria Naftali, 2016
Object Number: 2016.398.2
Rights and Reproduction: © Igor & Svetlana Kopystiansky
Curatorial Department: Photographs
Progetto Giovedì per i Giovani con Liceo Michelangelo, in occasione della mostra Bronzi ellenistici. Firenze, primavera 2015
Progetto Giovedì per i giovani realizzato in collaborazione con il Liceo Michelangelo di Firenze, in occasione della mostra Potere e pathos. Bornzi del mondo ellenistico (14 marzo-21 giugno 2015).
foto: Martino Margheri